Advanced Typography - Task 2: Key Artwork & Collateral
Miao Xinjun / 0379525
Advanced Typography / Bachelor of Design in Creative Media / Taylor's University
Task 2: Key Artwork & Collateral
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Task
- Final Submission (Key Artwork) - Final Submission (Collateral)4. Feedback
5. Reflection
1. LECTURES
- LECTURE 4:
ADTypo_4_Designing Type
Two reasons for designing a typeface were introduced by Xavier Dupre: 1. Type design carries a social responsibility, so one must continue to improve its legibility.
2. Type design is a form of artistic expression.
General Process of Type Design:
1. Reaserh
First, we need to understand the history, structure, conventions, relevant terminology, margins, metrics, and kerning of typefaces—these are essential prerequisites for designing a typeface.
- The history of typefaces: This provides context and perspective.
- The structure of typafaces: Helps in understanding the different components of letters.
- Typographic conventions: Aids in grasping the unspoken rules of typesetting.
Next, defining the purpose of the typeface is a crucial step. We need to clarify what problem the typeface is intended to solve or the context in which it will be used—for example, on school buses or airport signage.
When you understand the purpose behind a typeface’s design, you can analyze other typefaces created for the same purpose, thereby gaining insight into why and how they are used. This is undoubtedly valuable for our own type design.
Furthermore, we should study existing typefaces that are currently in use, draw inspiration from them, learn about the designers’ thought processes, and understand their usage contexts and patterns.
2, Sketching
Two different methods, both of which can be adopted based on personal preference:
Using traditional tools such as writing brushes, ink, and paper to sketch typefaces, followed by scanning and digitization. The limitation is that while this approach allows designers to engage in deeper thinking, it does require a significant amount of time.
Directly sketching typefaces in font design software using digital tools like a graphics tablet. This method is more efficient but can sometimes hinder the natural flow of brushstrokes.
3. Digitizing
At this stage, attention should be paid not only to the overall shape but also to the counterform—the internal and external shapes of the typeface. These two factors largely determine the reliability and readability of the typeface.
4. Testing
As a key part of the design thinking process, test results can help improve and revise various aspects of the typeface. Prototyping, which is part of the testing process, can yield crucial feedback.
Verifying a typeface’s usability is just as important as designing it. Repeated feedback helps avoid excessive errors later on, improves efficiency to a certain extent, and provides designers with vital input.
Legibility and readability hold varying degrees of importance for typefaces with different functions. For example, for headline fonts, the expressive power of form is more important than legibility; whereas for text fonts and computer fonts, legibility is paramount.
5. Deploy
Rigorous and repeated testing is still necessary at this stage.
Typeface Construction:
Roman capitals can be used in typeface construction: The grid consists of a square, and inside it 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 centre of the square.
Consideration of Construction:
During the construction process, the 26 letters can be grouped according to the structure of each letter. Additionally, some letters share similar shapes and structures, and these common structural features can be designed uniformly.
Glyph fitting: The spacing between letters should appear consistent, with attention to rhythm and visual adjustments.
Summary:
Most typefaces are designed in response to internal or external needs and requirements. It is crucial to clarify the motivation behind one’s typeface design, which stems from two aspects.
- Internal: The designer's own ideas or passion;
- External: The designer's or student designer is commissioned or instructed to complete a job or task.
- LECTURE 5
ADTypo_5_Perception and Organization
Perception & Organisation
Perception:
Perception is “the way in which something is regarded, understood, or interpreted”. In typography, designers can use the coordination between elements (such as shapes, text, and images) to create visual guidance for readers.
Contrast:
Typography designers create contrast to effectively distinguish between different pieces of information.
Dair posits 7 kinds of contrast (most of which have already been covered by Rudi Reugg, albeit using different terms):
1. Size
It provides a point to which the reader’s attention is drawn.
2. Weight
Weight describes how bold type can stand out in the middle of lighter type of the same style.
3. Contrast of Form
Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant. Condensed and expanded versions of typeface are also included under the contrast of form.
4. Contrast of Structure
Structure refers to the different letterforms of different typefaces.
5. Contrast of Texture
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.
6. Contrast of Direction
Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short lines can also create a contrast.
7. Contrast of Color
The use of color suggests that a second color is often less emphatic in values than plain black on white.
Pay attention to using color cautiously; when used appropriately, it can bring order; but when used improperly, it can cause chaos.
Form:
Form refers to the overall appearance and feel of the constituent elements. Good typography can attract people sufficiently, guide them to read, and leave a deep impression. In many cases, a good typographic form is more easily remembered by readers than the textual content itself.
Typography can be seen as having two functions:
- To represent a concept.
- To do so in a visual form.
Organisation / Gestalt
A work is experienced by people as a whole, which involves many aspects of the work, such as elements like images and textual information, or aspects like form and typesetting. However, when we analyze a work, we often need to break it down into multiple aspects; yet when we experience it, it must be perceived as an integrated whole that combines all elements.
2. INSTRUCTIONS
3. TASK
3.1 Key Artwork
In the first part of Task 2, we first need to create a mind-map about "Who you are or like to be?" Then, we extract keywords from the mind map and use them as the theme to design a word mark using my first name, pseudonym, or pet name.
Considering the task requires our word mark to have at least four to five letters, I chose to use my pseudonym, Esther, for this task. An English teacher of mine gave me this name, and I really love it—it means diligent, ambitious, and positive, which is exactly who I want to be. At the same time, looking at myself now, I think while I’m striving to improve, I still have some shortcomings, such as being introverted and not being good at speaking. Combining these points, I see myself as an introverted person who’s constantly seeking transformation to become a better version of myself. So I’ve defined "Introverted" and "Positive Transformation" as my two key words.
Next, I will start designing my word mark around the two keywords I selected earlier.
3.1.2 Sketches
My pseudonym: Esther.
For the keyword "introverted":
The first shape that came to mind was a circle. In many works of art I’ve seen, circles are sometimes used to represent the self-protection and inward focus of people with introverted personalities. So, I initially experimented with various design concepts based on "circles" – but I wasn’t satisfied with most of the drafts.
For the keyword "Positive Transformation":
When I extracted this term from my mood board, the first thing that came to mind was a "butterfly." As we all know, a butterfly starts as an unappealing caterpillar and goes through a gradual external and internal transformation before finally becoming an eye-catching butterfly. This process perfectly embodies what I want to become, as well as the message I want my word mark to convey to others. Meanwhile, the butterfly itself is a common symbol of "transformation." Starting from this idea, I tried several different design concepts to create drafts of the word mark centered around "persistent transformation." Some of the results were quite good and could be further developed and explored.
- After receiving the first round of feedback on this task：
Regarding the keywords: Per the feedback, "introverted" is not a positive term and cannot be used. Meanwhile, "Positive Transformation" can be split into two separate keywords: "Positive" and "Transformation."
Regarding the drafts: Some of the drafts are acceptable, but most suffer from issues like poor readability, insufficient complexity, or lackluster visual impact.
In summary, I need to conduct further exploration and in-depth excavation of my "About Me" mind-map to extract more keywords. At the same time, I also need to carry out more exploration and experimentation with my drafts.
Based on the feedback I received, I conducted another self-analysis from multiple aspects, including my personality test results, personal traits, and hobbies. After deeper reflection on who I am and who I want to become, I explored further in my mind map, as shown in the figure below.
- I extracted several new keywords from the updated mind map, including: Transformation, Beautiful, Elegant, Creative, Easy-going, Inquisitive, Artsy, Rational, Objective, Organized, Intelligent, Exciting, Brave, Positive, Ambitious, Dynamo.
1. For the first set of keywords—Transformation, Beautiful, Elegant:
I chose to continue with the "butterfly" concept from my previous drafts. This not only conveys Transformation but also embodies "Beautiful" and "Elegant."
2. For the second set of keywords—Creative, Easy-going, Inquisitive, Artsy:
I thought cursive fonts would work well for Creative and Artsy.
Additionally, based on feedback from other students that I learned about in the lecture, I realized my word mark needed a neat, aesthetically pleasing outer outline to complement the complex cursive structure. Combining all four keywords, I saw that both "creativity" and "Artsy" imply strong inclusivity—so I decided to experiment with the "circle" element. Circles convey inclusiveness and breadth, offer a larger area than most other shapes of the same size, and are simple and clear enough to meet the design needs of a word mark. Meanwhile, circles lack sharp edges, creating a friendly, non-threatening feel that aligns with the keyword "Easy-going."
For "Inquisitive": I see curiosity as a desire to explore the unknown. Unlike the directness of straight lines, the process of being curious feels like wandering through many intricate, winding paths for random discovery—so I believe a curved cursive structure will help express this keyword. My idea was to incorporate curved, complex cursive into the word mark; combining all the above thoughts for this set of keywords, I experimented with several drafts, striving to retain readability while adding richness and complexity.
Given my years of experience in drawing, the first thing that came to mind for "Artsy" was a "paintbrush." I tried to convey this keyword by leaving negative space within a bold word mark. Furthermore, for "Easy-going," I explored rounded font shapes—As I mentioned earlier, fonts without sharp edges feel more approachable.
3. For the third set of keywords—Rational, Objective, Organized, Intelligent：
Given the inherent connections between these four terms, I experimented with designs incorporating elements like squares, clock hands, and brains. When exploring the square element, I turned to the Bauhaus design style for reference, as it aligns perfectly with the concepts behind this group of keywords.
For the other batch of drafts, I drew on knowledge and experience from a previous project. Instead of adding excessive graphic elements, I aimed to express the keywords through the font structure of the word itself. I explored word mark designs by referencing Gothic fonts, cursive fonts, and sans-serif fonts.
3.2 Collateral
In accordance with the task requirements, I began creating a simple and smooth animation based on the word mark.
I referenced many excellent works by former students and realized that this short animation needs to be cleverly designed by integrating the existing shapes and structures of the word mark. I demanded of myself not to merely create a simple short animation and call it a day, but to try my best to produce one that matches the word mark.
As we learned in the fifth online lecture, I believe the word mark and its animation should be regarded as a whole, capable of bringing viewers a harmonious and natural visual experience.
Based on my vision for the word mark animation, I carefully examined the structure of my word mark. Surprisingly, I discovered that the structures between every two letters can move toward each other from two different directions and eventually interlock. Incorporating the concept of "butterfly" in my word mark, I designed a wavy movement curve for each letter, resembling a butterfly fluttering in the air, which eventually interlocks to form the complete letters. Below are the animation sketches I created using Procreate.
Based on my initial animation draft, I feel its visual effect is not aesthetically pleasing. The process of each letter coming together makes them look somewhat loose, so I decided to try a new approach.
3.2.3 Final Submission
Fig 3.2.3.6 Final Task2B (PDF), Week 8 / 12.11.2025
4. FEEDBACK
- Week 5:
General Feedback:
Conduct further exploration of the mind-map, keywords, and wordmark drafts.
Specific Feedback:
1. Avoid using negative keywords.
2. "Positive Transformation" can be treated as two separate keywords: "Positive" and "Transformation."
3. The drafts are generally acceptable, but note that they need to be readable or sufficiently complex to convey a unique personality.
- Week 6:
General Feedback:
The wordmark remains difficult to read and needs improved legibility.
Specific Feedback:
The digitized version of the presented word mark is sufficiently stylized and has a distinct personality. However, its flaw is evident: it is hard to read, and adjustments should be made again to address this issue.
- Week 7:
General Feedback:
Interesting, but the collateral looks monotonous.
Specific Feedback:
1. Interesting, but avoid repeatedly using the same design in the collateral—it would make the collateral appear monotonous and lack a sense of design.
2. The icon designed by extracting certain features from the wordmark is quite interesting. However, when creating charts, posters, and collateral, do not over-repeat this icon in the layout.
- Week 8:
General Feedback:
Ok, I can continue.
Specific Feedback:
When placing the wordmark on products, if it is too small to be readable or lacks visual clarity and distinctness, further layout adjustments are necessary, since a blurry or unreadable wordmark on a product is not advisable.
5. REFLECTION
- Experience
- Observations
- Findings
6. FURTHER READING
I chose The Type Primer from the several books recommended by the professor as additional reading. As a practical introductory textbook on typography, it starts with glyph structures, font classifications, and measurement systems, and clearly explains how to select and use fonts, typeset body text, organize layouts, and establish grid systems. For beginners in typography, this book not only helps novice typographers understand the basic principles and applications of typefaces but also, through numerous examples and exercises included in the reading, allows them to learn about typography history and the development of digital fonts, aiding in training a "typographic eye."
Comments
Post a Comment