Week 5 - Week 8 [22/5/2024 - 12/6/2024]
Kong Ga Wai 0359692
Bachelor in Design Creative Media
LECTURES
PERCEPTION & ORGANISATION
Perception
Perception is how something is regarded, understood, or interpreted.
Perception in typography deals with the visual navigation and interpretation
of the reader through the content's contrast, form, and
organisation.
It is important to create contracts to create distinctions. Without contrast
in a book with many textual information, the reader would have a hard time
reading it.
Cals Dair added texture and direction into the mix to make design works and
meaning stand out clearly and unambiguously. There are seven kinds of
contrast: Size, Weight, Form,
Structure, Texture, Colour,
and Direction.
Contrast of Size
The contrast of size draws the reader's attention to a point. Readers will
most likely see the big letters first before seeing the smaller letters. Size
is most commonly used for a title and headings making them bigger than the
body text.
Contrast of Weight
The contrast of weight describes how a bold type can stand out with lighter
type of the same style. By using bold, rules, spots, and squares can also
create a heavy area to draw the reader's attention to that area.
Contrast of Form
The contrast of form is the distinction between an uppercase letter and a
lowercase letter. The same can be applied to a roman letter with an italic
variant, a condensed typeface with an expanded typeface, etc.
Contrast of Structure
The contrast of structure is when the different letter forms of different
kinds of typefaces and used together.
Contrast of Texture
The contrast of texture can be created by putting the contrast of size,
weight, form, and structure together. It refers to the way the lines of a type
look as it is close up from a distance. This can be achieved when done right
with the letterforms and their arrangements.
Contrast of Direction
The contrast of colour suggested that a second colour is often less emphatic
in values than plain black on white. It is important to know which elements
need to be emphasised.
Contrast of Direction
The contrast of direction is the opposition between vertical and horizontal,
and the angles in between. By angling with the word, height of the textbox and
length of the line it can create a dramatic effect on a layout.
Organisation (Gestalt)
Gestalt originates from a German word which means the way a thing has been
placed or put together. The Gestalt psychologists developed several laws that
predict how perceptual grouping occurs under a variety of circumstances. They
attempted to understand the laws behind the ability to acquire and maintain a
meaningful perception.
Based on the idea that we experience things as a whole, the theory emphasises
that the whole of anything is greater than its part. It was believed by the
Gestalt psychologists that we must look at the whole experience rather than
breaking down the thoughts and behaviours. Therefore the elements that make up
the design are only as good as the overall visual form.
Perceptual Organisation/Groupings
Law of Similarity
It is the law that states that elements that are similar to each other tend to
be perceived as a unified group. It can include colour, orientation, size,
motions, and any other features.
Law of Proximity
It is the law that states elements that are close together tend to be
perceived as a unified group. Thing close together is seen as a group while
things that are far apart are seen as a separate group.
Law of Continuation
It is the law that states how humans tend to perceive each of two or more
objects as a different, singular, and uninterrupted object even if they
intersect.
Law of Closure
It is the law that states a mind's tendency to see a completed figure or forms
from an incomplete picture such as when objects are partially hidden or a
picture is missing some pieces to complete a full image.
Law of Symmetry
It is the law that states elements that are symmetrical to each other tend
to be perceived as a unified group.
INSTRUCTIONS
TASK 2 (A) - KEY ARTWORK
We had to design a wordmark of our name (at least four to five letters) that
identifies ourselves, it had to be unique and stand out. After designing the
wordmark we had to edit it onto merch.
Process
First, I sketch out some ideas for the design. I decide to use my nickname
'Sylas' as my wordmark. This name would be interesting to work with because of
the ups and downs in the letters.
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| Sketch 1 |
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| Sketch 2 |
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| Sketch 3 |
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| Final Designs (Top & Bottom) |
I decided to go with the Top final design since it expresses more of me as a
person: Fun, Flexible, Sharp, and Silly. (Even though the Bottom design is a fan-favourite, the fans are my friends
DFGHJK)
I'm a fun person to be around, when it comes to
work I am flexible and sharp
with details. I want to implement the sunglasses no matter what so I make them
tilted to the side. Why tilted? Well that is because my glasses do tilt to the
side for some reason making me look goofy (and high, said my
friends).
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| Final Wordmark (B&W) |
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| Final Wordmark (B&W Inverted) |
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| Final Wordmark (Colour: 'Warm') |
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| Final Wordmark (Colour: 'Cool') |
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| Final Wordmark (Colour: 'Look a lot like Christmas') |
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| Final Wordmark (Colour: 'Neon Primaries') |
TASK 2 (B) - COLLATERAL
We had to design different merch, such as t-shirts, keychains, badges etc, and
transform our key artwork into a brand for social media.
Process
For the colour, I choose the Warm colour palette for my branding. I
like the Neon Primaries colour but from what I have seen the
colour is a very common colour palette people choose (had seen maybe tree
classmates with the identical colour).
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| Final Wordmark (Colour: 'Warm') |
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| Editing |
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| Branded Cap |
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| Branded Jacket |
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| Final |
FEEDBACKS
Week 5
Feedback: Research what typeface makes a font look/expresses Funny, Chill, etc.
Week 6 Feedback: Have elements unique to our brand. Make sure the letter form is readable. The brand has to be recognisable.
Week 7 Feedback: Read through the website provided on branding and apply it to our work.
REFLECTION
This task taught me information on designing and building a brand. We had to think about what identifies us and implement them in the wordmark. The task was simple, the one part that took me the longest was trying to find a suitable wordmark design. Went through many sketches, and most looked similar to each other, but eventually, I settled on one sketch that was the most different compared to the others.
What I understand from this is that a brand has to have an iconic design that when people look at it they would immediately recognise the brand. I also personally learned that it is not only the design but also the colour used that can make a brand stand out. I learned it from looking at other classmates presenting, most of them had identical Red, Blue, and Yellow colour palette.
FURTHER READING
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| Typography Referenced by Various Writers |
(Page 12 – Page 15)
This is the chronicle order of the development of type in the 19th century. In this century there were many modern advancements such as the all-cast-iron printing press and the introduction of sans-serif typefaces, many of which are still used today.
- Lord Stanhope invented the first all-cast-iron printing press, which only required 1/10th of the labour and doubled the possible paper size.
- [1816] William Caslon IV designed
the first sans-serif font.
- [1818] Bodoni's Manuale showed the quintessential modern type.
- [1821] The Italienne font was first used, it was one of the first commercially popular advertising display designs.
- [1840s] The Anatomy of Sleep by Edward Binn was the first mechanical typeset book, published in London.
[1844] R.Besley & Co. Type Founders released Clarendon to be used in directories and dictionaries.
- Frederic Goudy [1865-1947] created more diverse typefaces than any designer before him. Self-taught, he learned early on that a typeface's success depended on a good marketing program. As such he used his typefaces in promotional material which were graphically exceptional and compelling marketing vehicles.
- Benton was the person behind the American Type Founders (ATF) type development program. He is responsible for several novelty designs (example: Broadway), sans serifs (example: Franklin Gothic), and mainstay advertising faces (example: Cheltenham Family).
- Emil Rudolf Weiss [1875-1943] was a leading German typographer, designer and calligrapher. He was associated with the Bauer foundry [1930s & 1940s].
- Rudolf Koch [1976-1934], a calligrapher and teacher, is most famous for his sans serif design Kabel. Other faces by him were Locarno, Neuland, Holla, Jessen, Marathon, Offenbach, Steel, and Wallau.
- Lucian Bernhard [1885-1972] began designing typefaces as a young man in Germany. He came to the United States in 1922 to work with ATF, for which he produced 13 types. Among his typefaces were Bernhard Cursive, Bernhard Gothic, Bernhard Tango, and Bernhard Fashion.
- Paul Renner [1878-1972] created the first modern geometric sans-serif face: Futura.
- Oswald Bruce Cooper [1879-1940] is responsible for designing several advertising display typefaces. His best-known typeface is Cooper Black.
- William Addison Dwiggins [1880-1956] had a self-imposed challenge: to create beautiful and utilitarian typefaces for machine composition. He designed Caledonia, Eldorado, Electra, Falcon, and Metro.