ADVANCED TYPOGRAPHY / TASK 2 : KEY ARTWORK AND COLLATERAL
09.05.2022 - 00.00.000 (Week 6 - Week 9)
Muhammad Azka Farezi Septenal / 0351345 / Bachelor of Design (hons) in
Cretive Media
Advanced Typography
Task 2 : Key Artwork and Collateral
JUMP LINK :
Lecture :
Exercises :
LECTURES
WEEK 1 : LECTURE 1
Advanced Typography : Context and Creativity
- Handwriting
Why is handwriting important in the study of type/typography?
We study handwriting because the first mechanically produced letterform were designers to directly imitate handwriting. Handwriting would become the basis or the standard for form, spacing and conventions mechanical type would try and mimic.
The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, feather and steel pens all contributed to the unique characteristics of the letterform.
Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
Figure 0.0 Evolution of the Latin alphabet
- Cuneiform
Cuneiform, the easiest system of actual writing, was used in a number of languages between the 34C.B.C.E. through the 1st century C.E. It is distinctive wedge form was the result of pressing the blunt end of a read stylus into wet clay tablets.
Figure 0.1 Cuneiform
- Hieroglyphics
The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters -- the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways :
- As Ideograms, to represent the things the actually depict.
- As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
- As phonograms to represent sounds that "spell out" individual words.
Figure 0.2 Ancient Egypt Hieroglyphics Charts
- Early Greek (5th C. B.C.E.)
Built on the Egyptian logo consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters. The Phoenicians system then was adopted by the greeks who added the necessary vowels. Early greek was comprised of only capital letters, written between 2 guidelines to organize them into horizontal.
The words may have been in rows but the direction of reading was not yet fixed. Greek was often read in a format known as boustrophedon or "as the ox plows". One row would read left to right and then switch from right to left.
These early greek letters were drawn freehand, not constructed with compasses and rule, and they had no serifs neither the informal entry and exit strikes by a relaxed and fluent writer, nor the symmetrical finish stroke typically added to letters by formal scribes.
In time the strokes of the letter grew thicker, the aperture lessened, and serifs appeared. The new forms, used for inscriptions throughout the greek empire, served as models for formal lettering in imperial Rome.
And those roman inscriptional letters -- written with a flat brush, held at an angle like a broad nib pen, then carved into the stone with mallet and chisel -- have served un their turn as models for calligraphers and type designer for the past two thousand years.
Figure 0.2 Ancient Egypt Hieroglyphics Charts
- Roman Uncials
By the 4th century Roman letters were becoming more rounded. The curved form allowed for less strokes and could be written faster.
Figure 0.3 Roman Uncials
- English Half Uncials, (8th C.)
In England the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and needed a reformer. Luckily it came in the Carolingian Handwriting reform.
Figure 0.4 English Half Uncials
- Emperor Charlemagne (8 C. CE)
After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles. For 300 years the knowledge of writing was kept alive mainly in the remote outposts of religious retreats.
Figure 0.5 Emperor Charlemagne
- Carolingian Minuscule
A court school was established under the direction fo Alcuin of York. During Charlemagne's patronage book production increased and language was standardized -- pronunciation and spelling as well as writing conventions -- capitals at the start of a sentence, spaces between words and punctuation. A new script emerged, the Carolingian Minuscule.
The Carolingian Minuscule, was used for all legal and literary works to unify communication between the various regions of the expanding European empire.
The Carolingian Minuscule was as important a development as the standard Roman capital -- for it was this style that became the patterns for the Humanistic writing of the fifteenth century: this latter , in triune was the basis of our lower-case roman type.
- Black Letter (12-15 C. CE)
What is Gothic? Gothic was the culminating artistic expression of the Middle Ages. occurring roughly from 1200 -- 1500. The term gothic originated with the Italians who used it to refer rude or barbaric cultures north of the Italian Alps.
The vertical supplanted horizontals as the dominant line in architecture; the pointed arch replaced the round arch of the Romans; the almond shaper, or mandarin, was preferred. Gothic writing forms reflected this aesthetic. Blackletter is characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.
Considering line spacing and letter spacing reduced the amount of costly materials in book production.
Figure 0.6 Black Letter
- The Italian Renaissance
As the gothic spirit reached its apex in the other areas of Western Europe. Humanist scholars in Italy were slowly reviving the culture of antiquity. The renaissance embrace of Ancient Greek and roman culture spurred a creative wave through Italian art, architecture, literature and letter form design.
The humanist admired the Carolingian script, which had clear open handwriting.
Humanist named the newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform -- resulting in a more perfect or rationalized letter.
Figure 0.7 The Italian Renaissance
- Movable Type (11 C. - 14 C.)
Printing (wood block) had already been practiced in China, Korea and Japan is the Diamond sutra: 16scroll with the world's first printed illustration
To conclude, the introduction of moveable type was pioneered in China but achieved in Korea (Diamond Sutra). In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg's bible 1439), the Koreans establish a foundry to cast movable type in bronze.
Figure 0.8 Movable Type
- Handwriting
What is important to note is that later day typographers, through research, curiosity and a respect for history would pay homage to these developments. This would result in books being written and published, recreation of the hand written styles into mechanical forms for printing.
With the digital revolution, the west would begin to digitize many of its historical creations and type foundries would create, market and sell or license them. The recognition of the importance of these historical letterforms is something to be admired and learned from.
- Why is handwriting important in the study of typography?
We study handwriting because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard that for form, spacing and conventions mechanical type would try and mimic.
For decades, Asia/East has neglected much of its written heritage and by adapting western printing technologies (letter press, linotype, Unicode), it was difficult to create many of the old text in printed form, because it would take know-how, much time, effort and money.
However with a mild renaissance in the East, with the advent of computer programmers in large numbers, we are starting to see the proliferation of indigenous scripts on phones, tablets and computers.
- Programmers and Type Design
More vernacular scripts are being produced by software giants (Google): in their employment a great many Asian programmers and designers. More and more vernacular and "multi-script" typefaces -- a term coined by Muthu Nedumaraean -- are being produced to cater to situations where the written matter is communicated in the vernacular script or vernacular and Latin scripts.
Figure 0.9 Programmers and Type Design
- Local Movements and Individuals
In Malaysia, murasu.com spear-headed by programmer and typographer Muthu Nudumaran. The programming language needed to encode the different types of vernacular writing systems was cracked by Muthu. The system is now used in mobile phones and desktops.
Huruf a local group of graphic designers interested in the localized lettering of latin and vernacular letters painted or inscribed on walls and signages are amongst the more prominent organizations digitizing and revitalizing typefaces in Malaysia.
Creativity and originality are properties that are most often intertwined. It is important for young designers to look inward and examine their histories, civilization, culture and communities to bring these past developments into the future and develop on them instead of blindly appropriating cultures and developments that have no context, relatability or relevance.
Creativity and inspirations should begin by observing our surroundings and exploration of our collective histories.
INSTRUCTION :
EXERCISES :
TASK 2A : KEY ARTWORK
For this assignment, we will be required to design a key artwork
or simply a logo based on our initials (for me it will be AF).
We will need to investigate and determine our occupation in
relation to our artistic output.
- RESEARCH
To make a well-designed artwork, we will need to find and
develop some of other people's ideas or references. I got a
lot of inspiration and ideas from Pinterest and Behance that I
later found interesting and relevant to my job.
Figure 1.0 References and Ideas
As I previously stated, I found these references I compiled to
be very interesting. It is a simple piece of art, but I find
these pictures to be more expensive and elegant for me. I
believe I could execute these types of letter faces or
artworks to produce a great output later.
- SKETCHES AND DOCUMENTATION
Figure 1.1 Original Sketches and Ideas
I started making these sketches and artworks for this exercise
on my tablet in order to find the best key artwork I could. I
was having difficulty finding a suitable artwork for me
because it was a challenging task for me as a first-timer. I
finally finished 8 sketches and received feedback on them from
our lecturer (Mr Vinod).
- ILLUSTRATOR PROGRESS AND EXECUTION
Figure 1.3 Adobe Illustration Progress (08/05/2022)
Figure 1.4 Sketches #1 and #2 (08/05/2022)
I thought the concept of combining two letterforms was
brilliant. I decided to expand on this concept and create
several sketches. There isn't much difference between these
two images, but I decided to include the stem in the second
sketches to see if it looks better.
Figure 1.5 Sketches #3 and #4 (08/05/2022)
There are no significant differences between these sketches
and the previous ones. On the third sketch, I added some stem
to the letter "F" to mimic the original letterform; however, I
found this sketch to be less interesting than the others. The
fourth one, I thought this sketch was interesting because it
used a different composition than the previous sketches.
Figure 1.6 Sketches #5 (08/05/2022)
I didn't intend to make this sketch; I was about to finish with
only four sketches when I unintentionally made this final one.
Because it has a unique composition and balance, I decided to
include it among my other sketches.
- FINAL ARTWORK
Figure 1.7 Final Key Artwork Variation (08/05/2022)
I ultimately created three distinct colour variations for my
logo. It appears more varied, appealing, and expensive, in my
opinion. For the occupation itself, I chose Pianist because
the logo resembles music notes and appears to be appropriate
for the profession.
Occupation :
Pianist / Piano Concert
Figure 1.8 Final Key Artwork - Black and White (08/05/2022)
Figure 1.8 Final Key Artwork - Light Gray and Black
(08/05/2022)
Figure 1.8 Final Key Artwork - Light Black and Gray
(08/05/2022)
TASK 2B : COLLATERAL
The next stage of this task will be the collateral. Unlike
task 2A, we would need to develop and improve our final
artwork into a typography poster, which means we would need to
highlight our own key artwork and avoid using too many
graphical elements on our poster. We will also be required to
create animation from our key artwork and poster.
- RESEARCH
I was considering making a poster with a very simple colour
scheme that is dominated by white. However, I discovered
that our poster would be extremely boring without any object
other than typography. So I decided to look for a 3D
typographical poster, but it was extremely difficult to find
one that piqued my interest.
Figure 2.0 References and Ideas from Pinterest
However, after discovering these fantastic posters on
Pinterest, I had the bright idea of converting my key
artwork or logo into 3D elements to be the focal point of
my poster. Instead of using simple typography on my
poster, this will make it stand out and interesting to
people.
- POSTER COMPOSITION
Figure 2.1 Composition 1, 2, and 3 (23/05/2022)
As I previously stated, I decided to make my key artwork logo
into a 3D element object. I chose grey as my background colour
because it appears more bold and sophisticated than white. I
also downloaded this interesting font from the internet that I
found very appealing.
Font Used :
- Eu Alonira Personal Use (83pt)
- Nesans Semi Bold (83pt)
Figure 2.2 Composition 3, 4, and 6 (23/05/2022)
I also happened to create another composition using different
color and theme for these posters. I found these posters are
more elegant and expensive than the previous one. These posters
are giving the audience the sense of mysterious that is
attracting for people who see these poster.
*Noted from Mr Vinod, the third poster is really cool poster,
it'll be great if I can utilize this poster even further.
Font Used :
- Eu Alonira Personal Use (83pt)
- Nesans Semi Bold (83pt)
- COLLATERAL #1 : TICKET
Figure 2.3 Ticket Mock-up (23/05/2022)
I chose ticket as one of my collateral items for this task.
In addition, I decided to create two versions of the ticket
itself. I utilised the same colour palettes as in my
previous poster designs. I selected the colour grey for the
"regular ticket" and the colour black for the "executive
ticket." I chose to use both as the final mock-up ticket for
my collateral.
Font Used :
- Eu Alonira Personal Use (83pt)
- Nesans Semi Bold (83pt)
Figure 2.4 Collateral #1 - Regular Ticket (23/05/2022)
Figure 2.4 Collateral #1 - Executive Ticket (23/05/2022)
- COLLATERAL #2 : PIANO BOOK
Figure 2.5 Piano Book Mock-up (23/05/2022)
I decided to create a piano book using the same
composition as my posters as the second piece of
collateral. To create a simple composition for my piano
book, I chose to eliminate several superfluous elements.
Without the extraneous elements that my posters had, it
appears even more refined and expensive.
Figure 2.6 Collateral #2 - Piano Book (23/05/2022)
Figure 2.6 Collateral #2 - Piano Book (23/05/2022)
- ANIMATED POSTER
Figure 2.7 First Attempt Animated Poster (23/05/2022)
Figure 2.8 Second Attempt Animated Poster (23/05/2022)
In the end, I did as Mr. Vinod suggested, and I
discovered that the animated poster looks better this
way. I also discovered that the poster is easier to read
than what I had previously done.
Figure 3.0 Final Key Artwork - Black and White (23/05/2022)
Figure 3.2 Final Key Artwork - Color #1 (23/05/2022)
Figure 3.3 Final Key Artwork - Color #2 (23/05/2022)
Figure 3.4 Final Poster - Piano Concerto (23/05/2022)
Figure 3.5 Poster Mock Up (23/05/2022)
Figure 3.6 Final Animated Poster (23/05/2022)
*Click the picture if it isn't available
Figure 3.7 Final Collateral #1 - Ticket (23/05/2022)
Figure 3.8 Ticket Mock Up (23/05/2022)
Figure 3.9 Final Collateral #2 : Piano Book Light
(23/05/2022)
Figure 3.10 Final Collateral #2 : Piano Book Dark
(23/05/2022)
Figure 3.11 Book Mock Up (23/05/2022)
Figure 3.12 Final Compilation Task 2 (23/05/2022)
Figure 3.13 Final Task2 - PDF (23/05/2022)
Hours Spent :
- Key Artwork (18 Hours)
- Collateral (28 Hours)
FEEDBACK :
Week 7 :
- General Feedback :
Mr. Vinod was able to provide each student with insightful feedback on our work. He seemed to enjoy one of my works and encouraged me to continue improving them. Additionally, he informed us that he will be unable to provide feedback the following week due to independent learning week.
- Specific Feedback :
The first composition, according to him, is well-balanced, but there is always room for improvement; to make it even better, it would be preferable to maintain the same elements between the letters A and F. He also mentioned that my most recent sketch was intriguing and that I should continue to work hard.
Week 8 :
- General Feedback : No Feedback (Independent Learning Week)
- Specific Feedback : No Feedback (Independent Learning Week)
Week 9 :
- General Feedback :
Similar to the previous week, Mr. Vinod provided us with feedback on our final output. He desired to view our online class's progression and final key artwork. All students were able to submit their final key artwork and final posters. Mr. Vinod informed me that I did well with my work and that I may use the first composition.
- Specific Feedback :
He remarked that my poster (Fig. 3.4) was intriguing and advised me to utilise it further. He also mentioned that the typefaces on my poster were intriguing. I was also able to present my animation, and he suggested that it would be easier to read if the typefaces did not obscure the artwork.
REFLECTION :
Experience :
- I thoroughly enjoyed performing this task. This topic is extremely engaging, and I was able to complete my assignments on time. I had no idea that branding ourselves using key artwork and collateral could be so enjoyable and impressive. I wish we could have similar collateral and key artwork for our next project or exercise. Mr. Vinod, our instructor, was also very helpful throughout our second tasks. In conclusion, I found the class and this assignment to be incredibly enjoyable and amazing.
Observation :
- I discovered that these tasks (key artwork and collateral) are crucial for a designer, particularly a young designer like us. The ability to identify oneself and reflect it in one's designs is crucial for designers. In addition, I discovered that this course teaches us how to brand ourselves and incorporate ourselves into our designs.
Findings :
- I discovered that as long as we give our all, the results will speak for themselves. Mr. Vinod appeared somewhat interested in my work on this second assignment, and I hope to improve my academic performance during the upcoming semester. Future branding and typography will be of utmost importance to all design students, as well as those who intend to pursue a career in graphic design, so I believe that this assignment is crucial for all design students.
FURTHER READING :
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