Advanced Typography - Task 2A&2B

27/4/2021 - 1/6/2021 // Week 6 - Week 10
Gan Shin Tung / 0346455
Advanced Typography / Bachelor of Design (Hons) in Creative Media 
Task 2: Project 1

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Lectures

Week 4: Designing Type

Why design another typeface?

• type designs carries a social responsibility so one must continue to improve its legibility.
• type design is a form of artistic expression 

Frutiger 

• A sans serif typeface by Swiss type designer Adrian Frutiger in 1968.
• Purpose: create a clean, distinctive and legible typeface that is easy to see from both closeup and far away, extremely functional.
• 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.

Verdana

• by Matthew Carter, son of Harry Carter (Royal designer for industry, British type designer and ultimate craftsman)
• Purpose: extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.
• Limitations: exhibit characteristics derived from the pixel rather than the pen, the brush of the chisel. Commonly confused characters, such as the lowercase i j l.

Johnston Sans

• by Edward Johnson, creator of London "Underground" typeface known as "Johnston Sans"(1916).
• He was asked to create a typeface with bold simplicity that was truly modern yet rooted in tradition. Johnston's design, completed in 1916, combined classical Roman proportions with humanist warmth.
• Purpose: London's Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnson. He handed over details and examples of letter shapes that would set the tone for printed text until the present day.
• Limitations: his remit was to unite London Underground group, the different companies all using the same rails and tunnels. All advertising signage was completely different there was this cacophony of letters to his typeface, so it was rooted in history, traditional calligraphy. But it has an elegance and a simplicity that absolutely fitted the modern age.

General Process of Type Design:

1. Research
2. Sketching
3. Digitization
4. Testing
5. Deploy

Research 

Understand type history, type anatomy and type conventions. 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 weather the typeface is for school busses or airport signages , etc. Examine existing fonts that are presently being used for ideas, reference, context, usage, pattern.

Sketching

Some designers sketch their typeface using traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization. They are more confident with their hands and have better control using it. Some use digital tools sets such as Wacom directly into font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes. Both method has pros and cons.

Digitization

There are professional software that are used in the digitization of typefaces, amongst the leading software are : FontLab and Glyphs App. Also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This is frowned upon by the purist. Attention should not only 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 

Is an important component in the design thinking process. The results of the testing part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing processes and leads to important feedback. Depending on the typeface category (display type/text type) the readability and legibility of the typeface becomes an important consideration. However it is not as crucial if the typeface is a display type, where 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. The rigor of the testing is important in so that the teething issue remain minor.

Typeface Construction:

Roman Capital: The grid consist of a square, and inside it a circle that just touches the lines of the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre 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:

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. This also applies to vertical alignment between curved and straight forms. 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.

Designing & Type

Most typefaces come about due to a need or demand. The need/motivation can be intrinsic and extrinsic. Intrinsic can be best summed up this way, the designer has an inexplicable need driven by 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 this endeavors to solve it through the design of the typeface. Extrinsic can be summed up in this way the designer has been commissioned or the student-designer has a task to complete that involves designing a typeface. For a design to be successful the designer needs to be invested in the idea and understand the requirement/limitations/use/stakeholder. 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 constructed as sick; plagued by an unusual 

obsession to detail                                -Vinod J. Nair

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Instruction

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Task 2:

Task 2(A): Key Artwork

For task2 we had to design the key artwork of the title from several events that was discussed in class. 

Topics to choose from:

1. Russian Constructivism
2. Bauhaus
3. Punk Influence on Graphic Design
4. Sophie Taeuber: Living Abstraction
5. Sama-sama RIUH
6. Urbanscapes

Figure1.1 First Attempt(Wrong) (27/4/21)

Figure1.2 First Attempt(Wrong) (27/4/21)

After getting feedback from Mr.Vinod, I understand my mistakes and I decided to choose another topic to work on. The topic I choose is sama-sama RUIH. Mr.Vinod wanted the designs in both color and black&white versions next week, so I need to quickly keep up with the work. 

Figure1.3 Event Brochure (27/4/21)

Sama-sama RUIH is a Malaysian local event with a variety of performances and also food and drinks provided for the participants and so as audiences. RIUH (pronounced: ri-yoh; means: loud festive noises in Malay) is a curated platform. They curate a variety of pop-up stores & food, creative workshops, showcases and live performances with different creative offerings. They also provide pop-up space to sell, share and flaunt what you do best. They also provides workshops for people to join and learn creative things.

Figure1.4 Second Attempt (4/5/21)

Figure1.5 Final Sketches (4/5/21)

Figure1.6 More Sketches (11/5/21)

Mr.Vinod did not approved the designs I made in figure1.5, therefore I did more sketches in class showed in figure1.6.

Figure1.7 Final Sketches (11/5/21)

This is my last sketch that Mr.Vinod approved on, which I will use this design for my task2A. I will be choosing this design to work on further. 

Figure1.8 Design 1 (11/5/21)

Figure1.9 Design 2 (11/5/21)

Sama-sama Riuh means everyone gather around and get noisy. I arrange sama-sama into a circle to show people come together and form a circle to make noise which is why the middle word is Riuh.

Figure2.0 Color Design 1 (11/5/21)

Figure2.1 Color Design 2 (11/5/21)

Mr.Vinod ask me to get feedback from my classmates during the self study week, after that ask him for more feedback if necessary.

Figure2.2 Final KeyArtwork Design (B&W) (22/5/21)

 

Figure2.3 Final KeyArtwork Design (Color) (22/5/21)

Task 2(B): Poster

For task 2 part B, we have to create an A1 sized poster for the event including our keyartwork that we've designed in task 2 part A. We will use the event details provided in the facebook post that was discussed in last in week 6. 

Figure2.4 Poster Design 1(22/5/21)

After getting feedback from Mr.Vinod in class I made few major changes in my poster.

Figure 2.5 Color Combinations(29/5/21)

I played with multiple colors and chose my top 4 favorite color combinations. I personally prefer the black one but this is a happy event so I chose the one on the right as my final poster design. 

Figure2.6 Final Poster Design(29/5/21)

Figure2.7 Final Poster PDF(29/5/21)

Collaterals:

After done with the poster and keyartwork design, I then move on to the collaterals. Mr.Vinod ask to only do two of them as we running out of time. I chose to design paper cup and paper bag for my collaterals.

Figure2.8 Paper Cup Design(29/5/21)

Figure2.9 Paper Bag Design-Back(29/5/21)

Figure3.0 Paper Bag Design-Front(29/5/21)

Figure3.1 Final Collateral PDF

Animated Invite:

Figure3.2 Animating in After Effects(29/5/21)

After finish animating them I then export to render them in Media Encoder to render into GIF format. 

Figure3.3 First Attempt Invite(29/5/21)

Mr.Vinod said that my animation is too slow and the typeface should change as its hard to read.

 

Figure3.4 Final GIF(5/6/21)

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Reflection:

Week 6: I did search up urbanscapes however I wasn't sure what exactly it was. After looking at the designs my classmates did, I knew I screwed up. Initially I thought it was the urban lifestyle, turns out it was urban landscapes. 

Week 7: I though I got it this time, turns out I didn't. But I'm okay with it, I am here to learn from my mistakes, the more I struggle, the more I learn. I did some brainstorming in class to come out with more ideas to show Mr.Vinod. Finally, my last design got his approval. I am happy for myself.

Week 9: After listening to the feedback while waiting for my turn, I realized that I have so much mistakes so I quickly made another poster design so that Mr.Vinod can look at my latest poster design. I also had some to adjust however it was way better than my first poster design. 

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Feedback:

Week 6: 

Specific Feedback: From your design, I can see that you don't understand the title of the topic. This doesn't look like Urbanscapes, to me it seems like a sport event, go understand the word before you redesign.

Week7:

General Feedback: Work on black and white first, don't rely on colors. Make sure it comes together as a whole. Avoid unwanted whitespaces. Use grey when needed, doesn't have to be only black and white.

Specific Feedback: What's with the chicken feathers, it doesn't show through the text. Try focusing with black and white first, don't focus on the use of color. The third design is a good concept but the event has used it itself, try with new designs. Why is the R bigger than the other letters, it doesn't show it as a whole, you need to understand the event more. The design at the bottom could work but it requires a lot of development, which we don't have that much of time now. Yup, the last one should work, just make sure to fix the gap between the sama-sama. 

Week 9: General Feedback: Don't put too much graphic elements, colors. Make it simple and presentable. Choice of fonts and color are important. Stand out keyartwork, do not try to fill up the spaces with other elements. I'm worried because we have not much time left and you guys have not been meeting the requirements on this task2, you have to work quickly from now on, you are expected to show everything complete by next week. Specific Feedback: The color does imply the event however it is very hard to find a suitable background color since the keyartwork is already have many color elements. Add on the additional information of the event discussed in class then rearrange the information placement. You seems to not know where to place them so you arrange them all in the middle. Try to arrange them using the 8 typographical systems taught in week 1.

Week 10:

Specific Feedback: The movement of transition is too slow, needs to be quicker, also change the font yeah the words is unreadable, too condensed. The collateral are lack of creativity, you can also use the logo as patterns dont just paste it there, play around.

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Further Reading:

The Importance of Typography in Packaging

https://www.sld.com/blog/packaging-design/the-importance-of-typography-in-packaging/

Know your audience:
Understanding who your target market is will help you decide on what direction to take. Even before the customer has processed what they are reading, the font and typeface on a package can convey the idea that you want your audience to receive. For example, the right typeface for an energy drink geared towards Millennials may not be the right typeface for a low-calorie fruit drink aimed at an older demographic.

Packaging shape and size:
The shape and size of your product is another factor that can either limit or enable what is possible for your packaging. A cereal box, for instance, provides a lot more room for text than a tea canister does. When designing your packaging, arrange the words so that they are prominent and legible, as this will ensure that customers can quickly find what they are looking for. By having a sense of balance and symmetry in your packaging design, you can create something that is visually appealing that will also make your customers lives a little easier.

Less is more: 

Though it may be tempting to feature a lot of text or different fonts in your packaging, this has the potential to create a cluttered and confusing design. By using slight variations of the same typeface, you can walk the line between contrast and consistency.
Upper and lower case versus all caps: The human eye recognizes letter characters easier when there is a combination of upper and lower case. This can help customers quickly absorb the information that they are reading.

Typography trends:
Handwritten fonts, minimalist styles, vintage, retro, cutouts and overlays: these are all typography trends that you have probably seen numerous times, and will continue to notice throughout the foreseeable future. While there is nothing wrong with using a popular style that may resonate with your customers or look good in a photograph on social media, it is important to remember that the typeface and fonts you choose must correspond with the product you are trying to sell. If they don’t, it will come off as inauthentic and ultimately do more harm than good. As with many aspects of design, there is no cookie-cutter solution to typography in packaging.