Task 2 / Key Artwork & Collateral
Bachelor of Design (Honours) in Creative Media
Advanced Typography GCD 61004
Task 2 - Key Artwork & Collateral
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Class Summary
After completing Task 2(A), you may move on to Task 2(B). Identify 3 collaterals (T-shirt, Tote Bag, etc.) and expand your key artwork into your chosen collateral.
Complete Task 2 (A+B) eportfolio. Prepare Task 3 presentation in Google Slides or PPT as soon as you can, explain your intention, show examples and make an attempt at a design.
Lectures
05💬 Perception & Organisation
Instruction
WEEK 5
These are my attempted sketches. I tried different styles to
explore their potential, because we not only want to express our
personality style through these wordmarks, but we also had to
think about whether these designs will be attractive and unique
when it comes to peripheral products.
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| Fig 1.1 Wordmark Sketches |
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WEEK 6
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| Fig 2.1 Wordmark Version 1.0 |
I first tried to make the "I" become more thicker. Looks a lot better, but still not up to my expectations.
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Fig 2.3 Wordmark Version 3.0 |
In physical class, Mr. Vinod asked us to print out our wordmark with the sizes of 1024*1024mm & 15*15mm. Mr. Vinod advised me to pay attention to the alignment of the strokes of each letter.
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Fig 2.4 Printout |
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In Task 2(B), we had to make a collateral and identity expansion of our wordmark.
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Fig 3.4 Expansion |
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Fig 3.5 Expansion |
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Fig 3.6 Mockup |
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Fig 3.7 Insta Layout Organisation |
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Feedback
WEEK 5
General
The keyword cannot be a derogatory term, as it will leave a bad impression.
Specific
The workmark must have readability. Redefine your workmark.
The workmark must have readability. Redefine your workmark.
WEEK 6
General
The workmark must have readability and be easy to identify.
Specific
Try to keep the edges of your wordmark from being rounded, as the rounded edges make the letters look unbalanced. Notice the alignment between the letters.
WEEK 7
General
Explore and research more about how to expand your design.
Specific
Since you are working on only two colours this will lead you to a limited scope of expansion, so you have to explore more colours.
Reflection
Experience
This task was a big challenge for me because it required a series of image designs. There are many factors to consider, especially the expansion part. How to make good use of the characteristics of your own design and expand them is really troublesome.
Observation
In this task, I learn how to explore and design self-identity. It’s not just about design, it also has to consider many aspects, such as the choice of colour, what characteristics and personality which I want to bring out in this wordmark, and subsequent expansion, etc.
Findings
Design requires balancing creative expression
with practical considerations. While it is
important to push the boundaries of
creativity, the design must also be
functional, versatile, and able to withstand
the demands of real-world application and
expansion.
Further
Reading
I.D.E.A.S. by David Creamer
Serif
Common text or body copy font. They can come with three sub-categories, as follows:
1) Oldstyle
Based on classical Roman inscriptions. The letters are slightly wider between each other and the stroke thickness is contrasting.
2) Modern
They are more mechanically faultless than Oldstyle
fonts, clearly distinguishing between heavy/light
strokes and thin/square serifs.
3) Square Serif
Slab Serifs are a modern style that is primarily used
for little pieces of text, such as advertisement copy,
subheadings, and headlines. The letters include square
serifs and largely consistent strokes with little
distinction.
Experience
This task was a big challenge for me because it required a series of image designs. There are many factors to consider, especially the expansion part. How to make good use of the characteristics of your own design and expand them is really troublesome.
In this task, I learn how to explore and design self-identity. It’s not just about design, it also has to consider many aspects, such as the choice of colour, what characteristics and personality which I want to bring out in this wordmark, and subsequent expansion, etc.
Findings
Design requires balancing creative expression
with practical considerations. While it is
important to push the boundaries of
creativity, the design must also be
functional, versatile, and able to withstand
the demands of real-world application and
expansion.
Further Reading
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| I.D.E.A.S. by David Creamer |
Sans Serif
As its name suggests, Sans Serif fonts lack serifs
and typically have uniform stroke weights, so there
is minimal distinction between the letters. This
kind of font can evoke a more modern look for a
report, however, it can be harder to read than Serif
fonts.
Display
The purpose of display and decorative typefaces
is to serve as visually striking headline fonts.
As its name suggests, Sans Serif fonts lack serifs and typically have uniform stroke weights, so there is minimal distinction between the letters. This kind of font can evoke a more modern look for a report, however, it can be harder to read than Serif fonts.
The purpose of display and decorative typefaces is to serve as visually striking headline fonts.
Font Styles
Many script, display, and text typefaces are only
available in their naked form; even after styling
has been applied, they still seem bold or italic.
Some fonts only come in plain and bold versions,
plain and italic versions, or plain, bold, and
italic variants, which further complicates the
situation.
Font Families
Fonts with the same design but different weights
are called "font families". In order from the
lightest to heaviest, as follows:
- Extra Light / Ultra Light / Extra Thin
- Thin / Light
- Roman / Book
- Medium / Regular
- Demi-Bold / Semi-Bold
- Bold
- Heavy / Extra Bold / Super Bold
Some fonts may even have matching condensed and
extended version too.
Underlining
The underlining ought to be lowered and stay away
from the characters.
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