Advanced Typography / Task 2 (A) Ker artwork & (B) Collateral
Week 6 - Week10 05/10/22 - 04/11/22
Riko Matsuyama 0351470
Advanced Typography / Task 2 (A) Key artwork & (B) Collateral
Instruction
Lecture
Designing type
So 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.
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Fig1.1 : universe by adobe illustrator, indesign (2015) |
General Process of Type Design:
1. Research
When creating type, we should understand type history, type anatomy and
type conventions. We should also know terminologies, side bearing,
metrics, hinting...
It is then 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.
2. Sketching
Some designers sketch their typeface using the 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 designers sketch their typeface using digital tool sets, 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.
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Fig1.2: Sketch of Johnston Sans, designed by Edward Johnston, sketch by Eachs Kons |
3. Digitization
There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App. There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist.
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.
4. 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 typ) the
readability and legibility of the 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.
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Fig1.3: Prototype Stencil (Stenz) developed and designed by Vinod J. Nair. |
5. 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 rigour
of the testing is important in so that the teething issue remain minor.
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Fig1.4: Prototype Number plate typeface (Car license registration) Myno & Nomy designed by Vinod J. Nair 2018. |
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 thus endeavors to solve it
through the design of the typeface. For a design to be successful the
designer needs to be invested in the idea and understand the
requirement/limitations/use/stakeholder.
Task 2 (A) Key Artwork
What is a Key Artwork?
The key artwork is a wordmark/lettering, but is also an artwork. As a
word-mark/lettering it is used to identify an event/person but it is also used
as an artwork that might adorn on a lapel pin/T-shirt/poster
(collateral).
Week 6
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Fig2.1: idea research |
First, I looked for a logo and art for my idea. Then, I made sketches based on
those ideas. in the 6th week of class, I received feedback from Dr. Vinod. Put
into words your relationship to yourself and what you want to do. When you
create a font, you need to rationalize its shape.
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Fig2.2: idea sketch |
Red has good potential but it is common. Blue is difficult to read. Green is interesting but why is it curving. that's what I need to think about. Dark green is interesting but I need to explain. Also, I can use kanji or your character's language.
Week 7
Mr. Vinod was absolutely right, I was just making what I wanted to make and could not
explain it well when asked to explain. I need to verbalize my ideas better and
need to give meaning to it.
I chose the red one. Red is my favorite shape. Foundations of this shape are often seen in street art. The slightly bulging shape is impressive.
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Fig2.3: sketch after feedback |
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Fig2.4; process |
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Fig2.5: key artwork first outcome |
This is my final idea. In week7 class, Mr. Vinod said, make the line of the
bubble a little thicker. After changing the thickness, we widened the gap between the letters of the
alphabet. This is because when upper image is reduced in size, the gap will
be difficult to recognize.
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Fig2.6; key artwork process |
Task 2 (A) Key artwork final outcome
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| Fig2.7: final key artwork outcome black & white (.jpg)(20.10.22) |
Fig2.8: final key artwork outcome black & white (.pdf)(20.10.22)
Task 2 (B) Collateral
Week 8
After created logo, I made key artwork animation using Adobe After Effects.
I used the video below as a reference.
Fig3.1: reference video
First the base shape falls from above, then bubbles come out from below.
Each circle moves to the same position as the logo. The timing of the
appearance of the bubbles is not the same, but staggered.
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Fig3.1: animation sketch |
Fig3.2: animation process
Two circles of the same shape, one white and one black, were used to
represent the R and O spaces.
When the white circle overlaps the white base, it becomes invisible.
Therefore, a 0% black circle of the same size is placed where the white
circle overlaps, and the opacity of the black circle is increased while
moving.
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Fig3.3: how to circle appears |
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Fig3.4: process, After Effects |
Fig3.5: final animation black & white
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Fig3.6: example |
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Fig3.7: example 2 |
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Fig3.8: example 3 |
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Fig3.9: searching Instagram |
I have used artwork to create four products. Some of the ideas were based on
bubbles. I removed the original backgrounds to include neon-like
illustrations in and around the products.
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Fig3.10: process |
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| Fig 3.11; 4 products |
These are the color palettes used.
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Fig3.12: color palettes |
Based on these, four illustrations were created. We referred to the often
seen glowing signs in the city and neon signs in front of stores.
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Fig3.13: neon sign |
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Fig3.14: illustration posts |
I chose the best looking arrangement. I chose the third one because it looks better with the open post in the middle.
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fig3.15: 3 layouts |
Week 9
In week 9 class, I received feedback from Mr. Vinod. This is a very consistent design pattern based on bubbles. Incorporate a few more different patterns. This is your brand to you and it is important to be clear on the direction of your brand.
If you create this type of illustration, the overall impression will be all illustration. I like the use of color like a cube, but you also need a logo. Phone cases and chains are fine with similar products, but others do not look the same. There is no uniformity in the products.
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Fig3.16: first design outcome |
I likewise felt that when completed, the illustration, not the product
as a whole, made a strong statement. The most important thing to convey is the
product, but it is difficult to convey that. Since there are no shadows on the products, the overall impression is of a flimsy lay-out. Also, there is only one logo posted and more need to be added.
And as Mr. Vinod said, there was no consistency in the product. Some of the
products are bubble based, but some are not. So, I decided to brand direction to
stationery and household items. Last time I used the concept of neon colors and bubbles, but this time We decided on a simple, calm, and cute concept of products as the direction of the brand.
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Fig3.17: color palletes |
First, I decided color palette, I chose my favorite colors, which is pale and soothing. Based on these, I selected six products. They are stationery or daily necessities.
In the logo post, I used not only the shape but also a hand-drawn style brush tool to express a little 3D effect.
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Fig3.18: logo post |
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fig3.19: logo posts |
Having created the black-white version, I next created the key artwork animation for the color version. For the first part of animation, I thought it was not enough to just have the base of the logo fall from above. So, I added a movement like that of a falling ball. The mass of the logo base was not changed, but the size of its length and width was varied. In this way, the movement becomes natural.
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Fig3.22: ow the logo base falls |
I changed the ending from Black&White. After being reduced in size, the actual logo appears as it rotates.
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Fig3.23: rotate, scale |
Fig3.22; final animation
1. Tote bag
The "R" alone looked better than "Riko", so I decided to use that. I used Photoshop to attach the logo to the product. I created it in two different colors to help determine good overall placement.
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Fig3.23: tote bag process |
2. Masking tape and paper fan
Based on the color palette we initially decided on, we created a pattern for the masking tape and round paper fan. It was difficult to accurately represent the roundness of the tape in the logo.
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Fig3.24: masking tape process |
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Fig3.25: masking tape |
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fig3.26: color pallets |
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Fig3.27: paper fan |
3. Coffee cups
I pasted a logo mark based on a white circle on the coffee cup. With the layout in mind, I've come up with a few candidate colors. I chose the left one because of its compatibility with other works. I used Photoshop, but it was difficult to express the roundness of the cup with an arch.
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Fig3.28: process |
4. Key chain
I wanted to create the key chain in the shape of the original logo, so I cut off only the top chain part and combined it with the logo. I attached a small object in the shape of a bubble to the upper chain.
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Fig3.29: key chain materials |
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Fig3.30: bubble object |
The edge of the logo has a silver gradation to match the silver color of the chain.
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Fig3.31: key chain process |
5. Phone case
I also changed the design of the phone case. Before, there were many logos in a regular pattern, but now there is only one. The white space was large, so I added some circles under the upper left circle of R.
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Fig3.32: phone case |
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Fig3.33: Instagram layouts |
Task 2 (B) Collateral final outcome
Instagram link: https://www.instagram.com/rk._.bbl/
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Fig4.1: phone layout outcome |
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Fig4.2: PC layout outcome |
Fig4.3: final animation
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Fig 4.4: phone case (.jpg)(29.20.22) |
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Fig4.5: logo (.jpg)(29.10.22) |
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Fig4.6: masking tape (.jpg)(29.10.22) |
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Fig4.7: coffee cups(.jpg)(29.10.22) |
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Fig4.8: paper fan (.jpg)(29.10.22) |
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Fig4.9: logo post (.jpg)(29.10.22) |
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Fig4.10: key chain (.jpg)(29.10.22) |
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Fig4.11: tote bag (.jpg)(29.10.22) |
The final outcome (.pdf)(29.10.22)
Feedback
Week 6
General feedback: put in words, how it relates to you and what you wanna do. you need to rationalize that shape when you create a font. Specific feedback: Red has good potential but it is common. Blue is difficult to read. Green is interesting but why is it curving. that's what you need to think about. Dark green is interesting but you need to explain. Also, you can use kanji or your character's language.
Week 7
General feedback: make the line of the bubble a little thicker.
Week 9
General feedback: This is a very consistent design pattern based on bubbles. Incorporate a few more different patterns. This is your brand to you and it is important to be clear on the direction of your brand. Specific feedback: If you create this type of illustration, the overall impression will be all illustration. I like the use of color like a cube, but you also need a logo. Phone cases and chains are fine with similar products, but others do not look the same. There is no uniformity in the products.Reflection
Findings
All in all, I had a good experience. The final design was a radical departure from the first design. I wasn't convinced with the first idea, but after making it again based on feedback and idea research, it turned out better than first outcome. I felt that it is very important for the development of design to think about each cause, such as what is lacking and why you feel that you are not satisfied with things.
Observation
Personally, it was difficult how to attach the key artwork to the product. Some products, such as tote bags, are suitable for simple designs, while others, such as paper fans, look better with non-simple designs. Also, it was difficult to come up with a layout, but looking at the other students' work, it was well organized.
Experience
I had a lot of fun coming up with and creating the key artwork with my name on it. I need to verbalize and make sense of my ideas more. I want to work on future projects with these in mind.
Further reading
Visual Research
An introduction to research methodologies in graphic design
I chose this book and read and looked at the "ways of thinking" section.
Research methods can be defined as ways of approaching design problems or investigating contexts within which to work. Through knowledge of existing conventions and the development and application of a personal visual vocabulary, designers are able to make more effective use of their perceptions and discoveries, and to work practically and creatively with reference to a wider cultural context.
Breaking the project down into a set of intentions, each with defined parameters and a predetermined level of background knowledge or experience on the part of the designer, makes the task more achievable and the goals of each stage of the process more explicit.
The first task for the designer is to identify what he or she is attempting to achieve with the project. Within commercial graphic design, this might be described in the brief as the intended message that is required to
be communicated, or the target market which a commercial enterprise wishes to engage with.
The first task facing the designer is to research their field of study, to acquire knowledge of what already exists in that area, and the visual languages which can be directly associated with the specific target audience or market for the design.
The designer needs to consider both the external position of their intended work (the explicit aim of the communication itself) and its internal position (the relationship between this particular piece of visual communication and others within the same context). This is very important, as contemporary cultures are saturated with displays of visual communication, in the form of advertising, information graphics, site-specific visual identities and images related to entertainment or decoration.
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