Advanced Typography Task 2 Key Artwork & Collateral
Eric Chang (0378298)
Advanced Typography
Task 2 (A) & (B)
Table Of Contents:
Instruction:
Lecture:
|
| Fig 1.0.1 Frutiger typeface |
|
| Fig 1.0.2 Verdana Typefaces |
|
|
Fig 1.0.3 Johnston sans |
.
Some designers use traditional tools like brushes, pens, ink, and paper to sketch their typeface, then scan them for digitization. They prefer this method because they have better control with their hands. Others use digital tools like Wacom directly into font design software, which is faster, more consistent, and persistent. However, this can sometimes hinder the natural movement of hand strokes. it’s important to keep in mind that both methods have their advantages and disadvantages.
Professional software like FontLab and Glyphs App digitize typefaces. There are some designers who use Adobe Illustrator to craft letterforms and introduce them into specialized font apps. However, this is frowned upon by purists. Consider the counterform when evaluating readability.
4.Testing
5. Deploy
Deploying a completed typeface doesn’t end the revision process. Thorough testing helps minimize teething problems.
A grid consists of a square with a circle touching its lines at four points. Inside the square is a rectangle three-quarters its size, centered. Grids with circular forms can facilitate constructing letterforms and are a possible method for building, creating, or designing letterforms.
|
| Fig 1.0.4 Roman Capital |
Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercase letters.
|
| Fig 1.0.5 Grouping |
When designing a new type, consider various forms and constructions. An important visual correction is extruding curved (and protruding) forms past the baseline and cap line, as well as aligning curved and straight forms vertically.
Another visual correction is the distance between letters. Simply placing them next to each other with equal spacing is not enough. The letters must be altered to a uniform visual white space, ensuring the white space between them appears the same. This is called ‘fitting’ the type.
|
| Fig 1.0.6 Space and Alignment |
Week 5:
Perception is the way something is regarded, understood or interpreted. What you see and understand.
Perception in typography is about visual navigation and interpretation of reader visa contrast, form and organisation of content. Contrast can be textual, visual, graphical or in the form of colour. Contrast is to create distinction or differentiation of information.
|
| Fig 1.1.0 Carl Dair 7 Types |
Carl Dair 7 types of contrast Size, Weight, Form, Structure, Texture, Colour, Direction
Contrast in Size
- A contrast of size draws the reader’s attention.
- For example, a big letter is more noticeable than a small letter.
- Size is commonly used to make titles or headings stand out from the body text.
|
| Fig 1.1.1 Contrast in size |
Contrast in Weight
- Weight describes how bold type can stand out in the middle of lighter type of the same style.
- Using bold type is one way to create a “heavy area” for visual attraction or emphasis.
- Other methods of creating a “heavy area” include using rules, spot, squares, and other types of varying weight.
|
| Fig 1.1.2 Contrast in Weight |
Contrast in Form
- Structure refers to the different letterforms of various typefaces.
- Examples of different structures include monoline sans serif and traditional serif, or italic and blackletter.
|
| Fig 1.1.3 Contrast in form |
Contrast in Texture
- Texture refers to the way the lines of type look as a whole up close and from a distance.
- It depends partly on the letterforms themselves and partly on how they’re arranged.
- By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture.
|
|
Fig 1.1.4 Contrast in texture |
Contrast in Direction
- Contrast of direction refers to the opposition between vertical and horizontal, and the angles in between.
- Turning a word on its side can create a dramatic effect on a layout.
- Text blocks also have their vertical or horizontal aspects of direction.
- Mixing wide blocks of long lines with tall columns of short lines can create a contrast.
|
| Fig 1.1.5 Contrast in direction |
- The use of color is suggested to be less emphatic in values than plain black on white.
- It is important to consider which element needs to be emphasized.
- Pay attention to the tonal values of the colors used.
|
| Fig 1.1.6 Contrast in colour |
Contrast in form
- Form refers to the overall look and feel of the elements that make up the typographic composition.
- It is the part that plays a role in visual impact and first impressions.
- A good form in typography tends to be visually intriguing to the eye.
|
| Fig 1.1.7 Contrast in form |
Gestalt, a German term meaning “put together,” emphasizes that the whole is greater than its parts. We perceive things as unified forms, not as individual elements. Perceptual organization is governed by six laws: similarity, proximity, closure, continuation, symmetry, and simplicity.
The Law of Similarity, a gestalt grouping law, states that similar elements are perceived as a unified group. Similarity can be based on color, orientation, size, or motion.
The Law of Proximity, a gestalt grouping law, states that elements close together are perceived as a unified group, while those further apart are less likely to be grouped.
The Law of Closure states that the mind tends to perceive complete figures or forms, even in incomplete, partially hidden, or partially information-deficient pictures.
Law of (Good) Continuation holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role for this principle to take effect.
Task 2 (A)
 |
| Fig 2.0.0 Simple Mindmap (Week 4, 16/05/25) |
|
| Fig 2.0.1 Research Progress (Week 4, 16/05/25) |
|
||
|
|
||
|
|
|
|
|
|
|
|
|
|
-28.jpg)
|
|
(Week 6, 28/05/25) |
-29.jpg)
|
|
(Week 6, 28/05/25) |
-30.jpg)
|
|
(Week 6, 28/05/25) |
-32.jpg)
|
|
(Week 6, 28/05/25) |
-31.jpg)
|
|
(Week 6, 28/05/25) |
PDF:
|
|
(Week 7, 03/06/25) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Initialy, i wanted to use the brightest color from my palette, however I found that it destroy the simple and calm vibe that my wordmark have, and so i decided to change the colour.
|
|
|
|
|
|
|
||
|
|
|
|
|
|
|
|
||
|
|
||
|
Task 2 (B) Outcome
|
|
|
|
|
Fig 2.2.7
|
|
|
Fig 2.2.8
|
|
|
|
|
|
|
|
||
|
|
||
|
|
||
|
|
||
|
|
|
Fig 2.3.5 Animation (Week 8, 11/06/2025) |
Feedback & Reflections
Further Reading
Discipline is essential for attention to detail. Sloppiness, carelessness, and procrastination are unacceptable. Every detail is crucial because the final result is the sum of all details in the creative process, regardless of the task.
Comments
Post a Comment