Advanced Typography — Task 2
20.09.2023 -4.10.2023 /Week 4- Week 6
Lim Jun Teng/0362890
GCD61004/Advanced Typography/Bachelor of Design (Hon) in Creative Media
Task 2A: Key Artwork
Task 2B: Collateral
INSTRUCTION
Task 2A:Key Artwork
For this exercise , we need to make a mind-map, create a moodboard or an inspo, determine a direction and decipher it in words. Produce explorations of possible wordmark/lettering of your name (first name or pet name or pseudonym) with a minimum of at least 4-5 characters.
RESEARCH
Before I started this exercise I do some research from
Pinterest and there are the design I found :
Fig 1.1 research
1.SKETCHES
Before settling on the final wordmark design, I crafted 5 sketches,
meticulously refining my creative process to ensure the perfect outcome. I
have some feedback from Mr.Vinod , he said in our design approach, it's
imperative that words serve as a powerful conduit for communicating your
message. When we generate content, prioritizing readability is key, and we are
mindful not to let excessive personalization undermine this critical aspect.
Achieving the perfect balance between personalization and readability is our
goal, ensuring your message shines through effectively. After the feedback
from Mr.Vinod I think I have some idea for my final outcome.
Fig 1.2 sketches
I choose this sketches for my final wordmark design. This design is more
balance then other and it is readability.
Fig 1.3 final sketches
2.Digitalisation
Fig 1.4 progress of digitalisation
Fig 1.5 final of digitalisation
Task 2B/ Collaterals
1.Go to the colour hunt site and pick a colour palette for your
brand's identity
2.Begin Task 2B collateral (same T2 eportfolio), identify 3
collaterals (T-Shirt, Tote Bag, etc.)
3.Expand your key artworks identity into your chosen collateral.
For inspiration view Pentagram site and study how identities are
expanded.
4.Take a self-portrait
Color palette for my brand's identity:
Fig 2.1 different color of wordmark
Fig 2.2 color hunt
FINAL KEY ARTWORK (WITH COLOUR)
Animation:
Expand Key Artworks Identity:
Progress 1 :
Fig 2.5 expand key artwork
Fig 2.6 expand key artwork with product
Progress 2 :
Fig 2.7 final layout of artwork and product
Progress 3 :
Fig 2.8 layout with picture
Final work :
FINAL IG LAYOUT (DESKTOP):
Link to Instagram: https://www.instagram.com/typo_junteng/
Bio: To shine , not be illuminated
Fig 3.0 final IG post
Fig 3.2 final IG post
Fig 3.3 final IG post
Fig 3.9 final IG post
FEEDBACK:
Week 7
General Feedback: Complete the final version and prepare it for use in promotional materials. Also, set up the Instagram layout.
Specific Feedback :
Week 6
General Feedback: The wordmark scale cannot be changed, and the accompanying colors must be the same color palette we used for the wordmark design. Create an Instagram account and upload the graphic designs we created and the products we selected.
Specific Feedback: May I use this line as my signature. Add a slogan.
Week 5
General Feedback: There should be a cohesive connection between each letter.
Specific Feedback : Some elements are quite small, making them barely visible when I reduce the size of the key artwork. Additionally, the readability is still somewhat challenging due to the small size.
Week 4
General Feedback: This week Mr.Vinod give us feedback about our poster and the sketches of wordmark.
Specific Feedback: In our design approach, it's imperative that words serve as a powerful conduit for communicating your message. When we generate content, prioritizing readability is key, and we are mindful not to let excessive personalization undermine this critical aspect. Achieving the perfect balance between personalization and readability is our goal, ensuring your message shines through effectively.
REFLECTIONS:
Experience : I've always been intrigued by the idea of creating a brand bearing my own name. Initially, as I delved into the core artwork, I found myself grappling with uncertainty about how to authentically represent myself through design. I initially attempted to craft a wordmark using the letters from my name, 'JUNL,' but soon realized their inconsistency. Consequently, I transitioned to 'TENG' to continue my creative journey.
While developing my central artwork, I initially gravitated towards pink as the primary color choice. However, my desire for a retro sporty aesthetic led me to take a bold leap into brown and cyan as the dominant colors of my design. The challenge arose when I expanded the brand identity; my instructor encouraged me to explore and expand font size without altering or distorting it, which I found quite constraining.
Among all the aspects of this project, I particularly relished working on the Instagram layout. It offered a sense of accomplishment, but at the same time, it presented a substantial challenge as I had to meticulously adjust the proportions of each element.
Observation: This assignment served as a valuable opportunity for self-discovery and the expression of our creative concepts. Elaborating on the central artwork with colors that resonate with our individual identities facilitated a clearer sense of purpose. It underscored the importance of recognizing that quality work goes beyond aesthetics alone; it hinges on the depth of its significance, the harmony within it, the precision of color coordination, and various other factors.
Findings : This assignment was a profound lesson in initiating the creation of my personal brand. It underscored that branding isn't merely about crafting a name; it's about imbuing that name and brand with distinctiveness that resonates with consumers. The meticulous feedback from our instructor illuminated the delicate equilibrium between color and central artwork.
Furthermore, I gleaned that a wordmark should encompass more than just my name; it should encapsulate my individuality and unique attributes. It should feature a design and extension that imbues the product with intrigue, compelling others to make a purchase. It should possess its own distinctive traits.
FURTHER READING
Line Spacing for Headlines and Subheads :
Advanced layout programs offer various options for specifying line spacing in typography. These options include setting line spacing as a percentage of the type size or adding a fixed amount to the type size. However, it's generally recommended to avoid using the percentage option, also known as auto leading, because it can cause larger headings to appear too widely spaced. When uncertain, it's advisable to use the precise method for setting line spacing throughout the document.
Leading and baseline grid:
Baseline grid alignment is a technique employed to maintain consistent alignment of text across columns or, to a lesser extent, across pages in a document. To achieve this, baseline settings are typically configured to match the leading of the body text in the document's preferences. Subsequently, paragraphs are anchored or locked to this baseline grid during the formatting process to ensure uniform alignment throughout the document.
Headlines and subheads:
Line spacing for headlines and subheads should be established in multiples of the line spacing used for the body text. For instance, if the body text is set at 12-point size with 14-point line spacing, a subhead could be configured as 14-point size with 14-point line spacing, and a headline could be set at 24-point size with 28-point line spacing (2 times the body text line spacing). The specific point size of the type is less critical than maintaining line spacing in these multiples. This approach creates a symmetrical appearance on the page and ensures alignment on double-column pages. Additionally, line spacing for headlines and subheads can be combined with paragraph spacing settings for further design options.
Paragraph alignment:
Alignment in typography determines how text lines up with the sides of a page or column. Text that aligns with the left side of the page margin or column is referred to as "flush left," "aligned left," or sometimes "rag right" due to its uneven appearance on the right side. Other alignment options include "flush right" (also called "rag left"), "centered," "justified" (where text aligns flush on both the left and right sides, except for the last line, which is flush left), and "forced justified" (which justifies even the last line).
Most body text is typically either flush left or justified. Headlines and subheads are usually flush left or centered, although centered text should be used sparingly. Flush right alignment is generally reserved for design purposes and should only be applied to small amounts of text. Forced justified alignment is rarely used.
Paragraph spacing:
Paragraph spacing is an automatic vertical space applied between paragraphs when a new paragraph begins. This spacing can be set to apply either above or below the paragraph. It offers a more refined method for creating space between paragraphs compared to simply using double line spacing, as it allows for global adjustments and fractional line spaces. Importantly, paragraph spacing does not insert extra space when a paragraph falls at the end of a page, whereas traditional double spacing would leave an additional paragraph return at the start of the next page.
Paragraph spacing for subheads:
Subheads should be set with line spacing in multiples, but the choice of where to apply the space is a design decision. For instance, a subhead could be configured as 14/14, with paragraph spacing set at 10 points above and 4 points below. The total space would still be a multiple of 14 (14 pts. line spacing + 10 pts. above + 4 pts. below = 28 pts.). It's important to note that splitting paragraph spacing can potentially lead to issues with aligning to a baseline grid. Paragraph spacing is also utilized when applying paragraph rules in the layout design.
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