Advanced Typography - Task 2 : Key Artwork and Collateral
18.04.2022 - 23.05.2022 ( Week 5 - Week 9 )
Michelle Angeline Gunawan / 0349760 / Bachelor of Design in Creative
Media
Advanced Typography
Task 2 : Key Artwork and Collateral
LECTURES
Lecture 3 - Advanced Typography : Context & Creativity
Handwriting
Handwriting is important in the study of typography because it is the first mechanically produced letterforms were designed to directly imitate handwriting. It would become the basis or standard for form, spacing and conventions mechanical type would try and mimic.
The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them.
Cuneiform (c. 3000 B. C. E)
It is the earliest system of actual writing and it was used in a number of languages between 34C. B. E through the 1st century C.E.
Hieroglyphics (2613-2160 B. C. E)
It is the Egyptian writing system that is fused with the art of relief carving. This system was a mixture of both rebus and the phonetic characters-the first linked to a future alphabetic system.
Hieroglyphic images have the potential to be used in three different ways:
-
As ideograms
To represent the things they actually depict. -
As determinatives
To show that the signs preceding are meant as phonograms.
To indicate the general idea of the word. -
As phonograms
To represent sounds that "spell out" individual words.
Early Greek (5th C. B. E)
- Built on the Egyptian logo-consonantal system.
- Phoenicians developed a phonetic alphabet consisting of 22 letters.
- This system was adopted by the Greeks who added the necessary vowels.
- The words may have been in rows but the direction of reading was not yet fixed and often read in read in a format known as boustrophedon or "as the ox plows".
- These letters were drawn freehand not constructed with compasses and rule; had no serifs-neither the informal entry and exit strikes left by a relaxed and fluent writer.
- In time, the strokes of these letters grew thicker.
- The new forms, used for inscriptions throughout the Greek empire, served as models for formal lettering in imperial Rome
- The Roman inscriptional letters were written with a flat brush, held at an angle like a broad nib pen and then carved into the stone mallet and chisel.
By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and could be written faster.
English Half Uncials (8th C.)
Figure 1.6 English Half Uncials
Emperor Charlemagne (8 C. CE)
Figure 1.7 Emperor Charlemagne
Figure 1.8 Emperor Charlemagne's Writing Era
Carolingian Minuscule
Figure 1.9 Black Letter
The Italian Renaissance
Figure 1.10 The Italian Renaissance
Movable Type (11 C. - 14 C.)
Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?
Because in the 19th century and the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.
An example of this insidiousness is how the European academic process worked to create the discipline of "Indology". Max Mueller who was central to this, never actually visited India. By viewing historical evidence through colonial lenses they ignorantly postulated ideas that were self-serving, i.e. Aryan theory.
And the same is true for: Classicism, Egyptology, Africanism, Indology, and Orientalism
Evolution of Middle Eastern Alphabets
The script has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts
Figure 1.12 Evolution of Middle Eastern Alphabets
Evolution of the Chinese script
From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.
Figure 1.13 Evolution of the Chinese script
Figure 1.14 The Oldest Writing Found in the Indian Subcontinent
Figure 1.15 The Earliest Writing System Developed in India, The Brahmi Script (450-350 BCE)
The oldest writing systems present in Southeast Asia were Indian scripts. The most important would be Pallava (or Pallawa in Malay), a South Indian script originally used for writing Sanskrit and Tamil.
Figure 1.16 Kedukan Bukit Inscription from Sumatra, written in Old Malay
Figure 1.17 Pra-nagari Script used in India for writing Sanskrit
Figure 1.18 Incung
This is Incung from Kerinci. If you have family from Kampung Kerinci, this is your original writing system, not Jawi.
Figure 1.19 Rejang Script from South Sumatra
Figure 1.20 The Batak Script
Figure 1.21 The Bugis Script
Figure 1.22 The Javanese Script
Figure 1.23 Jawi, the Arabic-based Alphabet
Figure 1.24 Baloo by Ek Type
Lecture 4 - Advanced Typography : Designing Type
Why design another typeface?
Adrian Frutiger is a renowned twentieth-century Swiss graphic designer. His valued contribution to typography includes the typefaces; Univers and Frutiger.
Frutiger is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968 specifically for the newly built Charles de Gaulle International Airport in France.
Figure 1.25 Univers by Adobe Illustrator, InDesign (2015)
Figure 1.26 Airport Signage using Frutiger
Roman Capital: The grid consists of a square and inside it is a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three-quarters the size of the square and is positioned in the center of the square.
Figure 1.30 Construction grid for the Roman Capital using 8 x 8 cells
Construction and Considerations
Figure 1.31 Classification according to form and construction
Many different forms and constructions must be taken into account when
designing a new type. An important visual correction is the extrusion
of curved (and protruding) forms past the baseline and cap line.
INSTRUCTIONS
Task 2A : Key Artwork
We were asked to design a key artwork that can be formed into a logo based on our initial or our name. And then firstly I explored the Pinterest to gather some inspiration. I found this image interesting and appealing to me, it has the paper bag that I can also used as an inspiration for the task 2B.
Figure 2.1 Task Inspiration
And then I also took a look at the senior's work, and I think all of them has different idea. So, firstly I did my sketching on Adobe Photoshop.
Figure 2.2 Task 2A Sketches
And after that, I digitized the sketch using Adobe Illustrator. These are my first attempt on designing the task 2A.
Figure 2.3 Digitized Logo, First Attempt
After receiving the feedbacks that Mr. Vinod gave, I decided to refine the first and third logo. And this is the result.
Figure 2.4 First Logo after Refinement
Figure 2.5 Third Logo after Refinement
Figure 2.6 Filled Version Logo Design
Figure 2.7 Colored Version Logo Design
Figure 2.8 Outlined Version Logo
Task 2B : Collateral
This is my first attempt at designing the poster, collateral and animation.
Figure 2.9 Task 2B Poster First Attempt
Figure 2.10 Task 2B GIF First Attempt
Figure 2.11 Task 2B Collateral 1 Attempt 1, Voucher
Figure 2.12 Task 2B Collateral 2 Attempt 1, Tote bag
Figure 2.13 Task 2B Collateral 3 Attempt 1, Mug
Figure 2.14 Task 2B Collateral 4 Attempt 1, Poster Flyer
Figure 2.16 Task 2B Ticket, Second Attempt
Figure 2.17 Task 2B Poster Mock Up
Figure 2.18 Task 2B Ticket Mock Up
- Evolved into a more slanted and condensed form.
- While English and Irish uncials evolved, writing on the European continent developed considerably and needed a reformer.
Figure 1.7 Emperor Charlemagne
- After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles.
- For 300 years the knowledge of writing was kept alive mainly in the remote outposts of religious cloisters and retreats.
Figure 1.8 Emperor Charlemagne's Writing Era
- A court school was established under the direction of Alcuin of York.
- During Charlemagne's patronage book production increased and language was standardized--pronunciation and spelling as well as writing conventions--capitals at the start of a sentence, spaces between words and punctuation.
- The Carolingian Minuscule was used for all legal and literacy works to unify communication between the various regions of the expanding European empire.
- It was as important a development as the standard Roman capital--for it was this style that became the pattern for the Humanistic writing of the fifteenth century.
Black Letter (12-15 C. CE)
- Gothic was the culminating artistic expression of the middle ages, occurring roughly from 1200-1500. This term for Gothic originated with the Italians who used it to refer to rude or barbaric cultures north of the Italian Alps.
- Blackletter is characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.
The Italian Renaissance
- The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letterform design.
- The renaissance analysis of form that was being applied to art and architecture was directed toward letterform -- resulting in a more perfect or rationalized letter.
Figure 1.10 The Italian Renaissance
Movable Type (11 C. - 14 C.)
- Printing (woodblock) had already been practiced in China, Korea, and Japan (Dharani Sutra, AD 750)
- Earliest known printed book (AD 868) is the Diamond Sutra: 16' scroll with the world's first printed illustration.
- China had attempted use movable type for printing but was unsuccessful due in part to the number of characters and clay)
- In late 14 C. several decades before the earliest printing in Europe, the Koreans establish a foundry to cast movable type in bronze-allowed the dismantling and resetting of text.
- With the creation of their new script Han'gul, the Koreans would succeed where the Chinese failed.
- To conclude, the introduction of moveable type was introduced in 1000-1100 CE. This innovation was pioneered in China but achieved in Korea (Diamond Sutra).
- In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg's bible 1439), the Koreans establish a foundry to cast movable type in bronze.
Figure 1.11 Movable Type
Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?
Because in the 19th century and the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.
An example of this insidiousness is how the European academic process worked to create the discipline of "Indology". Max Mueller who was central to this, never actually visited India. By viewing historical evidence through colonial lenses they ignorantly postulated ideas that were self-serving, i.e. Aryan theory.
And the same is true for: Classicism, Egyptology, Africanism, Indology, and Orientalism
Evolution of Middle Eastern Alphabets
The script has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts
Evolution of the Chinese script
From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.
Figure 1.14 The Oldest Writing Found in the Indian Subcontinent
Figure 1.15 The Earliest Writing System Developed in India, The Brahmi Script (450-350 BCE)
The oldest writing systems present in Southeast Asia were Indian scripts. The most important would be Pallava (or Pallawa in Malay), a South Indian script originally used for writing Sanskrit and Tamil.
Figure 1.16 Kedukan Bukit Inscription from Sumatra, written in Old Malay
Figure 1.17 Pra-nagari Script used in India for writing Sanskrit
Figure 1.18 Incung
This is Incung from Kerinci. If you have family from Kampung Kerinci, this is your original writing system, not Jawi.
Figure 1.19 Rejang Script from South Sumatra
Figure 1.20 The Batak Script
Figure 1.21 The Bugis Script
Figure 1.22 The Javanese Script
Figure 1.23 Jawi, the Arabic-based Alphabet
Programmers and Type Design
More vernacular scripts are being produced by software giants
(Google): in their employment a great many Asian programmers and
designers. More and more vernacular and “multi-script” typefaces —a
term coined by Muthu Nedumaran—are being produced to cater to
situations where the written matter is communicated in the
vernacular script or vernacular and Latin scripts.
Figure 1.24 Baloo by Ek Type
Local Movements and Individuals
In South East Asia, the movement has not organized and coordinated
itself well enough. But with increasing awareness and examples from
larger neighbors like India with their large talent pool and
resource, the knowledge behind methods used and approaches taken are
more accessible geographically speaking.
Creativity and inspiration should begin by observing our
surroundings and exploration of our collective histories.
Looking behind gives you context. Looking forward gives you
opportunities.
— Vinod J. Nair
Lecture 4 - Advanced Typography : Designing Type
Why design another typeface?
Xavier Dupré (2007) in the introduction of his typeface Malaga
suggested two reasons for designing a typeface:
- Type design carries a social responsibility so one must continue to improve its legibility.
- Type design is a form of artistic expression.
Adrian Frutiger is a renowned twentieth-century Swiss graphic designer. His valued contribution to typography includes the typefaces; Univers and Frutiger.
Frutiger is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968 specifically for the newly built Charles de Gaulle International Airport in France.
Purpose: “The goal of this new typeface was to create a clean,
distinctive and legible typeface that is easy to see from both
close-up and far away. Extremely functional.”
Considerations/Limitations: letterforms needed to be recognized even
in poor light conditions or when the reader was moving quickly past
the sign.
He tested with unfocused letters to see which letterforms could
still be identified.
Figure 1.25 Univers by Adobe Illustrator, InDesign (2015)
Figure 1.26 Airport Signage using Frutiger
Verdana
Figure 1.27 Georgia and Verdana
Bell Centennial
In 1976, AT&T commissioned the design of a new typeface whose sole purpose would be for use in their telephone directories. The design had to solve multiple technical and visual problems related with the existing phonebook typeface, Bell Gothic. The solution, named in honour of the company's 100th anniversary, was Bell Centennial.
Figure 1.28 Comparison between Font and Printed
Underground Sans/ Johnston Sans
Matthew Carter is the son of Harry Carter, Royal Designer for
Industry, contemporary British type designer and ultimate craftsman.
Carter trained as a punchcutter at Enschedé by Paul Rädisch,
responsible for Crosfield’s typographic program in the early 1960s,
Mergenthaler Linotype’s house designer 1965–1981.
Many of Carter's fonts were created to address specific technical
challenges, for example those posed by early computers.
Purpose: the font was tuned to be extremely legible even at very
small sizes on the screen due in part to the popularity of the
internet and electronic devices.
Considerations/limitations: The Verdana fonts exhibit
characteristics derived from the pixel rather than the pen, the
brush or the chisel. Commonly confused characters, such as the
lowercase i j l.
Figure 1.27 Georgia and Verdana
In 1976, AT&T commissioned the design of a new typeface whose sole purpose would be for use in their telephone directories. The design had to solve multiple technical and visual problems related with the existing phonebook typeface, Bell Gothic. The solution, named in honour of the company's 100th anniversary, was Bell Centennial.
Figure 1.28 Comparison between Font and Printed
Underground Sans/ Johnston Sans
Edward Johnston is the creator of the hugely influential London
“Underground” typeface, which would later come to be knows as
“Johnston Sans” (1916).
Purpose: London's Underground railway ordered a new typeface for its
posters and signage from the calligrapher Edward Johnston. He handed
over details and examples of letter shapes that would set the tone
for printed text until the present day.
Consideration/limitation: "Johnston's remit was to unite the London
Underground Group, the different companies all using the same rails
and tunnels," "All the advertising, all the signage was all
completely different - there was this cacophony of letters. Johnston
applied the proportions of Roman capital letters to his typeface, so
it was rooted in history, rooted in traditional calligraphy. But it
has an elegance and a simplicity that absolutely fitted the modern
age."
Figure 1.29 Johnston Sans
Figure 1.29 Johnston Sans
General Process of Type Design
- Research
- Understanding type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics, hinting
- It is important to determine the type’s purpose or what it would be used for, what different applications it will be used in such as whether the typeface is for school busses or airport signages, etc.
- We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.
- Sketching
- Sketching the typeface using the traditional toolset (brushes/ pens, ink and paper) then scan them for the purpose of digitization.
- Some sketching the typeface using digital toolsets, such as Wacom directly into a font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes.
- Both methods have their positives and negatives.
-
Digitization
- There is professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App.
- Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.
- Testing
- Testing is an important component in the design thinking process. The results of the testing is part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing process and leads to important feedback
- Depending on the typeface category (display type/text type) the readability and legibility of the typeface become an important consideration. However, it is not as crucial if the typeface is a display type, where the expression of the form takes a little more precedence.
- Deploy
- Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment.
Roman Capital: The grid consists of a square and inside it is a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three-quarters the size of the square and is positioned in the center of the square.
Thus, using grids (with circular forms) can facilitate the
construction of a letterforms and is a possible method to
build/create/design your letterform.
Construction and Considerations
Figure 1.31 Classification according to form and construction
A visual correction is also needed for the distance between letters.
It is not possible to simply place letters next to each other with
equal spacing between them. The letters must be altered to a uniform
‘visual’ white space. This means that the white space between the
letters should appear the same. This is called ‘fitting’ the type.
Intrinsic and Extrinsic Type Motivation
-
Intrinsic
The designer has an inexplicable need driven by the interest to design a typeface, and seeks out a form that comes close to fulfilling a desire. It is also possible that the designer identifies a gap/problem and thus endeavors to solve it through the design of the typeface. -
Extrinsic
The designer has been commissioned or the student-designer has a task to complete that involves designing a typeface.
Designing a typeface is a labour of love. Only the brave and
foolish walk this path for the reward pale in comparison to the
work.
The mindset of a type designer—if clinically studied—might be
construed as sick; plagued by an unusual obsession to detail.
— Vinod J. Nair
INSTRUCTIONS
Task 2A : Key Artwork
We were asked to design a key artwork that can be formed into a logo based on our initial or our name. And then firstly I explored the Pinterest to gather some inspiration. I found this image interesting and appealing to me, it has the paper bag that I can also used as an inspiration for the task 2B.
Figure 2.1 Task Inspiration
And then I also took a look at the senior's work, and I think all of them has different idea. So, firstly I did my sketching on Adobe Photoshop.
Figure 2.2 Task 2A Sketches
And after that, I digitized the sketch using Adobe Illustrator. These are my first attempt on designing the task 2A.
Figure 2.3 Digitized Logo, First Attempt
After receiving the feedbacks that Mr. Vinod gave, I decided to refine the first and third logo. And this is the result.
Figure 2.4 First Logo after Refinement
Figure 2.5 Third Logo after Refinement
I decided to redo my logo design. So this is my sketch on the new
logo.
And this is the digitalized version both with the filled version, colored version and outlined version. It is written as Mi from my name Michelle.
And this is the digitalized version both with the filled version, colored version and outlined version. It is written as Mi from my name Michelle.
Figure 2.6 Filled Version Logo Design
Task 2B : Collateral
This is my first attempt at designing the poster, collateral and animation.
Figure 2.9 Task 2B Poster First Attempt
Figure 2.10 Task 2B GIF First Attempt
Figure 2.11 Task 2B Collateral 1 Attempt 1, Voucher
Figure 2.12 Task 2B Collateral 2 Attempt 1, Tote bag
Figure 2.13 Task 2B Collateral 3 Attempt 1, Mug
Figure 2.14 Task 2B Collateral 4 Attempt 1, Poster Flyer
After receiving feedback from Mr. Vinod, my poster design is not making
my logo the main spotlight of the design, it is not showing the key
artwork. And after I redesign my logo, I created another design for the
poster, collateral and animation.
Figure 2.15 Task 2B Poster Second Attempt
Figure 2.15 Task 2B Poster Second Attempt
Figure 2.16 Task 2B Ticket, Second Attempt
Figure 2.17 Task 2B Poster Mock Up
FINAL RESULTS
Task 2A : Key Artwork
Figure 3.1 Task 2A Final Result in JPEG, Black and White
Version (31/05/2022)
Figure 3.2 Task 2A Final Result in JPEG, Colored Version (31/05/2022)
Figure 3.3 Task 2A Final Result in JPEG, Black and White
Version (31/05/2022)
Figure 3.2 Task 2A Final Result in JPEG, Colored Version (31/05/2022)
The job would be an artist and the event would be an art exhibition. The details:
- Venue : Galerie Marian Goodman
- Date : 12/06/2022
- Time : 9 AM - 9 PM
- Website : www.miartcenter.com
Figure 3.4 Task 2B Final Poster in JPEG (31/05/2022)
Figure 3.5 Task 2B Final Poster Mock Up in JPEG (31/05/2022)
Figure 3.6 Task 2B Final Collateral in JPEG (31/05/2022)
Figure 3.7 Task 2B Final Animation in GIF (31/05/2022)
Figure 3.8 Combined Task 2 Final Results in PDF (31/05/2022)
Figure 3.5 Task 2B Final Poster Mock Up in JPEG (31/05/2022)
Figure 3.6 Task 2B Final Collateral in JPEG (31/05/2022)
Figure 3.7 Task 2B Final Animation in GIF (31/05/2022)
Figure 3.8 Combined Task 2 Final Results in PDF (31/05/2022)
FEEDBACKS
Week 7 :
General Feedback : Prevent using pastel colors to make the logo stand out.
Specific Feedback : The first and the third
logo can be improved better.
Week 9 :
Specific Feedback : Should focus more on the key artwork rather than the poster content. The key artwork should be the spotlight on the poster.
Week 8 :
Independent Learning Week
Week 9 :
Specific Feedback : Should focus more on the key artwork rather than the poster content. The key artwork should be the spotlight on the poster.
REFLECTIONS
Experience :
For these tasks, I feel quite confused with my idea for task 2A. I made some sketches and then digitized them. I initially felt pretty safe with my design, but I didn't. On the day we received the feedback, it turned out that I did not understand the real purpose of this task 2. I should have made my key artwork spotlight on task 2B. But I didn't do that, so I decided to recreate both tasks. Even though it's a bit hectic, I still enjoy doing this task, there are many things I can explore and experiment with.
Observations :
In these two tasks, I observe that composition in the poster is very important, we have to understand which part of it that can be the center of the spotlight and so on. Choosing the right color for our key artwork is also very important. Some colors may make it not stand out and some may make it not interesting and appealing to our eye.
Findings :
The time of making the poster, and the composition in it can be associated with 8 typographic systems. I found it very helpful for me in doing this assignment. I realized that there are so much room for us to explore in these two tasks.
FURTHER READING
Typographic Design: Form & Communication (2015)
On-screen type sizing
Choosing the right type size on screen can be measured in several ways. Pixels, ems, rems, xx-small, and relative percentages of parent elements are all acceptable for specifying the size of the on-screen type.
Sans serif and serif typefaces
Usually, a well-proportioned sans serif typeface has a moderate stroke weight and a balanced ratio between form and form. Slightly thick faces generate more characters per line and thus use less space on page.
Combining typefaces
Combining typefaces
The most important consideration for selecting multiple typefaces is contrast, and variations, in contrast, are abundant:
- Serif/sans serif
- Roman/script
- Bold/light
- Thick/thin
- Simple/complex
- Roman/script
- Bold/light
- Thick/thin
- Simple/complex
- Functional/decorative
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