ADVANCED TYPOGRAPHY - PROJECT 2
ADVANCE TYPOGRAPHY - PROJECT 2
While designing my typeface, I figured that I needed a guideline for some of the shapes and curves. I used the circle in the letter "A" as a guideline for all of the curves used in the letters. As you can see, I just placed it on top of the places I wanted it to be curved instead of sharp and adjust it to the curve of the circle.
Halfway through the process, I felt like I was a bit confused as I only had Futura Std as my reference to look at how the latin letters look. As my typeface was supposed to be inspired by the Korean Alphabets, I felt like I should include some Korean letters in my illustration file. Previously, I would just swap my screen to the reference, but I felt like it wasn't the most effective way and that would lead to me vibing more to Futura instead of Nota Sans KR. After having some Korean Alphabets on my artboard, I adjusted some of my letters to make it more fitting to the Korean Alphabets.
As I introduced some white space in the middle of certain letters, I decided that I needed a better guide for it. At the beginning, I started with a 15px gap between the letters.
After making my artboard more smaller, I felt like it wasn't very obvious for a longer distance. Especially for the letter "O". I increased it to 30px, which can be seen in Figure 1.7. The white space between "O", "L", and "M" are 30px. You can see the comparison of the previous spacing by referring to the top "M" (15px) and bottom "M" (30px).
After exporting the files, I felt like I like my other sketch for "V" so I changed it to this. I also went back to adjust all of the heights of the letters as some were slightly outside the guidelines. I also elongate the top part of the "T".
For the numbers and punctuations, it was sort of the same process as the letters. The only "different" approach was for the question mark. Below are some of the steps:
After drawing out the main shapes, I used the divide tool to cut out individual sections.
I then remove the shapes that weren't needed.
Below is the final design of the typeface:
I then move into Font Lab to generate the typeface.
This was my first attempt in kerning in font lab. I felt like it could be tighter and the spacing was a bit awkward so I reattempted it by pulling the letters even closer.
I really didn't like the alignment so I ditched the layout and try to create another one.
The above version is the reworked one. I feel like I like this more because you can see the work "TOPIK" typed out in one line, which looked a bit weird in the 3rd version for the poster. Though, I'm not too sure if this is acceptable as Mr Vinod did mention that the title should be aligned and not broken into pieces. Not too sure if it's find that I have it turned over.
This is a mock up shot for the poster.
FEEDBACK
Week 9 (21/10/20)
The letters distinguishes one family of type from another. It exists in various weights, sizes, and shapes. Although the letter typically functions as part of a word, individual letters are frequently combined into new configurations. It can be used to create a stable gestalt, typographic signs that interacts with the while space, and creating balance. Contemplating this ability of space to define form, Amos Ih Tiao Chang—architect and author of The Tao of Architecture— observed, “It is the existence of intangible elements, the negative, in architectonic forms which makes them come alive, become human, naturally harmonize with one another, and enable us to experience them with human sensibility.”
The word
By definition, a word has the potential to express an idea object, or event. Word signs are independent of the things they represent, yet by design they can be made to signify and reveal their meaning.
The line
Words are joined to form verbal sentences and typographic lines. The configuration and placement of lines of type are significant structural concerns. In its most basic form, a line of type consists of a single point size and a single weight extended horizontally over a specific line width. Lines of type can be arranged symmetrically, or asymmetrically. The viewer/reader must sense a clearly established relationship between individual lines of type and the surrounding space. The smallest change in point size, weight, or line length controls the overall emphasis given to a line of type.
21/10/20 - 18/11/20 (Week 9 - Week 13)
Chan Jing Wen (0340480)
Advanced Typography
Project 2
INSTRUCTIONS
PROJECT 2
21/10/20 (Week 9)
Advanced Typography
Project 2
INSTRUCTIONS
PROJECT 2
21/10/20 (Week 9)
Before the briefing, I came up with a few ideas on what I could work on for this project. However, I shorten it down to two as some of the ideas didn't seem to appealing to me and I didn't feel like working on something that I'm not confident/interested in. Below is the proposal for my 2 potential ideas, one being a ancient greek writing inspired latin typeface, and the other is a korean alphabet inspired latin typeface:
Before receiving any feedback, I sketched out the ideas for both of my typeface.
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| Figure 1.1 Sketch for the Korean Inspired Typeface |
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| Figure 1.2 Sketch for the Ancient Greek Inspired Typeface |
After receiving feedback from Mr Vinod, I decided to work on the Korean inspired one. I also went around to download different Korean Typeface that resembles my idea.
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| Figure 1.3 Korean Typeface shortlisted |
In the end, I decided to reference Nota Sans KR as it looked more like the Korean Typeface I had in mind.
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| Figure 1.4 Process 01 |
While designing my typeface, I figured that I needed a guideline for some of the shapes and curves. I used the circle in the letter "A" as a guideline for all of the curves used in the letters. As you can see, I just placed it on top of the places I wanted it to be curved instead of sharp and adjust it to the curve of the circle.
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| Figure 1.5 Process 02 |
Halfway through the process, I felt like I was a bit confused as I only had Futura Std as my reference to look at how the latin letters look. As my typeface was supposed to be inspired by the Korean Alphabets, I felt like I should include some Korean letters in my illustration file. Previously, I would just swap my screen to the reference, but I felt like it wasn't the most effective way and that would lead to me vibing more to Futura instead of Nota Sans KR. After having some Korean Alphabets on my artboard, I adjusted some of my letters to make it more fitting to the Korean Alphabets.
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| Figure 1.6 Process 03 |
As I introduced some white space in the middle of certain letters, I decided that I needed a better guide for it. At the beginning, I started with a 15px gap between the letters.
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| Figure 1.7 Process 04 |
After making my artboard more smaller, I felt like it wasn't very obvious for a longer distance. Especially for the letter "O". I increased it to 30px, which can be seen in Figure 1.7. The white space between "O", "L", and "M" are 30px. You can see the comparison of the previous spacing by referring to the top "M" (15px) and bottom "M" (30px).
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| Figure 1.9 Typeface Design 01 |
This was the design of all the capital letters.
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| Figure 1.8 Process 05 |
After exporting the files, I felt like I like my other sketch for "V" so I changed it to this. I also went back to adjust all of the heights of the letters as some were slightly outside the guidelines. I also elongate the top part of the "T".
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| Figure 2.1 Typeface Design 02 |
This is the design of the 26 letters as for now.
28/10/20 (Week 10)
Based on the feedback given, I made some minor amendments to the alphabets and started working on the numbers and punctuation. I basically added a 5pt curve to most of the edges. I changed the design for the letter "K" as well. Other than that, everything is pretty much the same.
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| Figure 2.2 K before and after |
For the numbers and punctuations, it was sort of the same process as the letters. The only "different" approach was for the question mark. Below are some of the steps:
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| Figure 2.3 Process for "?" 01 |
After drawing out the main shapes, I used the divide tool to cut out individual sections.
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| Figure 2.4 Process for "?" 02 |
I then remove the shapes that weren't needed.
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| Figure 2.5 Process for "?" 03 |
And then I removed the excess part of the hook by using minus front.
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| Figure 2.6 Typeface Design 03 - Alphabets |
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| Figure 2.7 Typeface Design 03 - Numbers & Punctuation |
04/11/20 (Week 11)
Based on the feedback, I made further amendments on the letters "P" and "R" and change up the numbers "6" and "9" with the smaller version. Below are the comparison photos:
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| Figure 2.8 Before and After for "P" and "R" |
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| Figure 2.9 Before and After for "6" and "9" |
Below is the final design of the typeface:
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| Figure 3.1 Final Design of Typeface (JPG) |
Figure 3.2 Final Design of Typeface (PDF)
I then move into Font Lab to generate the typeface.
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| Figure 3.3 Attempt 01 - "Quick Brown Fox" phrase, numbers, and punctuation |
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| Figure 3.4 Attempt 01 - Letters |
This was my first attempt in kerning in font lab. I felt like it could be tighter and the spacing was a bit awkward so I reattempted it by pulling the letters even closer.
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| Figure 3.5 Attempt 02 - Letters, Numbers, Punctuations |
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| Figure 3.6 Attempt 02 - "Quick Brown Fox" phrase |
Above is the final attempt that I generated. The kerning is tighter compared to the previous attempt.
Click Here to download the typeface.
I then worked on some design implementation. Below are the attempts:
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| Figure 3.7 Logo Design - Black (Top), White (Middle), Colour (Bottom) |
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| Figure 3.8 Poster Ver 01 |
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| Figure 3.9 Poster Ver 02 |
Week 12 (11/11/20)
After receiving feedback, I reworked on my poster.
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| Figure 4.1 Poster Ver 03 |
I really didn't like the alignment so I ditched the layout and try to create another one.
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| Figure 4.2 Poster Ver 04 |
The above version is the reworked one. I feel like I like this more because you can see the work "TOPIK" typed out in one line, which looked a bit weird in the 3rd version for the poster. Though, I'm not too sure if this is acceptable as Mr Vinod did mention that the title should be aligned and not broken into pieces. Not too sure if it's find that I have it turned over.
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| Figure 4.3 Poster Mock Up |
This is a mock up shot for the poster.
I then continued on by applying the typeface to a brochure, business card, and memo pad.
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| Figure 4.4 Brochure Exterior Design |
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| Figure 4.5 Brochure Interior Design |
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| Figure 4.6 Brochure Exterior Mock Up Shot |
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| Figure 4.7 Brochure Interior Mock Up Shot |
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| Figure 4.8 Business Card Front Design |
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| Figure 4.9 Business Card Back Design |
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| Figure 5.1 Business Card Mock Up Shot |
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| Figure 5.2 Memo Pad Design |
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| Figure 5.3 Memo Pad Mock Up |
Week 13 (18/11/20)
Based on the feedback, I created 2 more collaterals: Sweatshirt and Tote Bag. The reason behind this is based on my experience taking the Topik Exam. Literally all the examiners were wearing long sleeves during my TOPIK examination as the hall was just too cold. Since the venue of the exam is always the same, I felt like a sweatshirt design would make more sense than a tee-shirt design. If I remembered correctly, they also gave us a paper bag at the end to store some of our documents (and the pens that they distributed to us to use during the examination). Below are the designs of the sweatshirt and tote bag:
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| Figure 5.4 Tote Bag Front Design |
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| Figure 5.5 Tote Bag Back Design |
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| Figure 5.6 Sweatshirt Design |
Figure 5.7 Final Compilation of All Collaterals (PDF)
FEEDBACK
Week 9 (21/10/20)
Specific Feedback:
Familiarity is key when doing something. It will come in handy if I have a Korean Typeface to sample when applying what I have created.
Week 10 (28/10/20)
Specific Feedback:
Can introduce a slightly (5px) rounded corner for the sharp corners. The "O" is nice. Try to rework the "K". Look at how "K" in other typefaces are constructed. Start constructing the numbers. The "TOPIK" seems good.
Week 11 (04/11/20)
Specific Feedback:
The comma looks good, most letters are fine also. The R's curve looks a bit off, like it's cut off so see if it can be adjusted better. Go for the smaller version for the number 6 and 9. Can start working on the collaterals.
Week 12 (11/11/20)
General Feedback:
For the portfolios, make sure everything is public. There should be headers and sub headers for different sections. Feedback should be written in detailed. Make sure reflection is in the blog also.
Specific Feedback:
The logo should be aligned, don't break it up. It's possible to break it into 2 or maybe 3 lines, but not as it is in the current poster. The sides can still have the Korean letters, wrapping the English text. Make the "72th Topik Exam" smaller, focus on the headline/logo.
Week 13 (18/11/20)
Specific Feedback:
Everything seems fine, but can try to make it more "human". Maybe try to create a T-shirt design.
REFLECTION
Experience :
REFLECTION
Experience :
Week 9 (21/10/20); Since I already had an idea on what I want to do prior to this week, it wasn't too hard for me to decide on the topic. I feel quite happy that I actually managed to finish the first draft of the letters in the first week of the exercise. Week 10 (28/10/20); I think creating the numbers were a bit of a challenge as some of the numbers looked similar to some of the letters. Though I did some sketches at the beginning, I wanted to make it look more like a number instead of another design of the letter they resemble. I feel like the draft was really useful as it sort of got some ideas out of my mind before the actual creation of the design. Week 11 (04/11/20); Since the font design was sort of done, I could generate them in Font Lab. It was sort of confusing at first because I forgot how it worked already haha. Week 12 (11/11/20); Creating the collaterals were a bit confusing as I kept remembering that I can't have the title in a line(s). It was also confusing since my senior's blog all have different amount of collaterals so I'm not too sure if there's a minimum amount of collaterals we need to create. Week 13 (18/11/20); I'm very excited that my collaterals weren't rejected though I had to do more. The last two collaterals were a bit hard to do because I actually had them in mind previously but I just couldn't think of how to incorporate the text into it. I wasn't sure if it was supposed to look similar to my other sets of collaterals, so I was a bit confused in the beginning. Still, I was really happy to be able to come out with something that's hopefully decent enough :3
Observation :
Observation :
Week 9 (21/10/20); I noticed that some of my classmates were really enthusiastic for this project. They really prepared well even before the start of the project. Week 10 (28/10/20); I was a bit confused when people were showing their ideas because I thought we were supposed to show the whole set of alphabet this week. Never the less, some of my classmate's ideas / work were really cool :3 Week 11 (04/11/20); I noticed that I sort of knew what I was doing (or maybe it's just an illusion) in FontLab although I forgotten a lot about it. At the beginning I couldn't even find the software in my laptop :D Week 12 (11/11/20); I think I really do like doing this module more than the others (especially Interactive Design) although it's also challenging in a different way. This makes me a bit conflicted if I should still study New Media. Week 13 (18/11/20); I noticed that binge watching YouTube sometimes is quite useful. I feel like I've been quite inspired by some of the graphic design youtubers I've been watching casually. I actually learnt a few tricks for Illustrator and Photoshop because of them.
Findings :
Findings :
Week 9 (21/10/20); I found out that the Greek Typeface that I had in mind was a bit different from what my research shown. After researching, I find that some of the problems that I identify aren't actually problems, it's just a reminiscence of a Greek writing style that I was unaware of. Week 10 (28/10/20); I find that having drafts are really useful as it helps visualize different possibilities in mind. It also helped me get more inspiration of what other possibilities there might be as I can compare different drafts with each other. Week 11 (04/11/20); My blog on Font Lab during Typography is useless :') I was absent then so I literally had no notes about Font Lab. Luckily I could find messages from back then where my friend taught me how to do it. Week 12 (11/11/20); I find it very stressful that my laptop is literally dying. It crashes at least 5 times a day. :') At the beginning of the semester I thought it was because of the effect I used in Project 1(A), but since this problem still occurs even until now, I feel like it's really a laptop problem. Week 13 (18/11/20); I found myself enjoying doing this module than my other modules in general. I think it's been a really fun journey although I felt stuck at times.
FURTHER READING
FURTHER READING
TYPOGRAPHIC DESIGN: FORM AND COMMUNICATION by Rob Carter, Philip B. Meggs Ben Day, Sandra Maxa, Marks Sanders.
21/10/20 (Week 9)
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| Figure 5.8 Typographic Design: Form and Communication |
pg 90 - 95
The letterThe letters distinguishes one family of type from another. It exists in various weights, sizes, and shapes. Although the letter typically functions as part of a word, individual letters are frequently combined into new configurations. It can be used to create a stable gestalt, typographic signs that interacts with the while space, and creating balance. Contemplating this ability of space to define form, Amos Ih Tiao Chang—architect and author of The Tao of Architecture— observed, “It is the existence of intangible elements, the negative, in architectonic forms which makes them come alive, become human, naturally harmonize with one another, and enable us to experience them with human sensibility.”
The word
By definition, a word has the potential to express an idea object, or event. Word signs are independent of the things they represent, yet by design they can be made to signify and reveal their meaning.
The line
Words are joined to form verbal sentences and typographic lines. The configuration and placement of lines of type are significant structural concerns. In its most basic form, a line of type consists of a single point size and a single weight extended horizontally over a specific line width. Lines of type can be arranged symmetrically, or asymmetrically. The viewer/reader must sense a clearly established relationship between individual lines of type and the surrounding space. The smallest change in point size, weight, or line length controls the overall emphasis given to a line of type.
THE VIGNELLI CANON by Massimo Vignelli
28/10/20 - 18/11/20 (Week 10 - Week 13)
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| Figure 5.9 The Vignelli Canon |
Week 10: pg 10-11
SemanticsSemantics, defined by Massimo Vignelli, is the search of the meaning of whatever we have to design. When starting a new project in any form of design, graphic, product, exhibition or interior, we have to start by searching the meaning of it. It can start from the history of the subject, This would provide a better understanding on the nature of the project and to find the most appropriate direction for the development of a new design. Depending on the subject the search can take many directions such as information about the Company, the Product, the Market Position of the subject, the Competition, its Destination, the final user, or indeed, about the real meaning of the subject and its semantic roots. Research and understanding is crucial in creating satisfactory results of any design, so spend time on the search of the accurate and essential meanings, investigate their complexities, learn about their ambiguities, understand the context of use to better define the parameters within which we will have to operate. Sometimes it is useful to follow our intuition and our diagnostic ability to funnel the research and arrive to a rather conscious definition of the problem at hand. Semantics will help indicate the most appropriate form for that particular subject that we can interpret or transform according to our intentions.
Week 11: pg 12-13
SyntacticsSyntactics is the discipline that controls the proper use of grammar in the construction of phrases and the articulation of a language, Design. The components in a project is what provides syntax of a design. This can be the overall structure, the grid, the typefaces, the text and headlines, the illustrations, etc. Syntactic consistency is impotance and can be achieved through grids and several tools. The relationship between different elements of the projects helps build consistency. For example, the relation between type to grids and images from page to page throughout the whole project, different type sizes, relation between pictures as well as the whole composition.
Week 12: pg 14-15
Week 13: pg 24-25
Visual Power
There are many ways to achieve a visually powerful design. For instance, contrast creates a strong impact. This can be achieved through scale, colour, form, texture, and more. In three dimensional design, manipulating light through different textures and materials gives infinite and effective results. Visual strength can be achieved also by using delicate layouts or materials. Visual strength is an expression of intellectual elegance and should never be confused with just visual impact - which, most of the time, is just an expression of visual vulgarity and obtrusiveness. Visual power is, in any event, a subject which deserves great attention to achieve effective design.
Week 12: pg 14-15
Pragmatics
A design that isn't communicated well and understood is a waste of effort. Even if the design is semantically correct and syntactically consistent, if no one understands the result, or the meaning of all that effort, the entire work is useless. Brief explanation is acceptable, but it would be great if people could understand it without any clarification. After all, the purpose of designing something is for it to be comprehended by others. Clarity of intent will translate in to clarity of result and that is of paramount importance in Design. Confused, complicated designs reveal an equally confused and complicated mind. Designs should be intellectually elegant, beyond fashionable modes
and temporary fads and as timeless as possible. Week 13: pg 24-25
Visual Power
There are many ways to achieve a visually powerful design. For instance, contrast creates a strong impact. This can be achieved through scale, colour, form, texture, and more. In three dimensional design, manipulating light through different textures and materials gives infinite and effective results. Visual strength can be achieved also by using delicate layouts or materials. Visual strength is an expression of intellectual elegance and should never be confused with just visual impact - which, most of the time, is just an expression of visual vulgarity and obtrusiveness. Visual power is, in any event, a subject which deserves great attention to achieve effective design.
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