Advanced Typography - Task 2: Key Artwork and Collateral

20/9/2021 - 17/10/2021 / Week 5 - Week 9

Lui Hsiao Hui (Tressa) / 0342003
Advanced Typography / Bachelor of Design (Hons) in Creative Media

Task 2: Key Artwork and Collateral

LECTURES

All lectures 1 to 5 completed in Task 1 - Exercise 1 & 2

INSTRUCTIONS

Task 2A: Key Artwork

For Task 2A we are to design a key artwork, which behaves as a logo and artwork. We are to use our name/initials. This key artwork will subsequently be used in Task 2B on various collateral.

- Not necessarily legible

- Artwork made from type

- Explore options - compositions etc

- Almost monogram-ish

- Certain level of simplicity

- Elegant solution, visual communication

- Artwork needs to be scalable

1. Ideation and sketches

Fig. 1.1 Inspiration sourced from Pinterest

Key artwork ideas/overall look I want based on my style and identity.

- Chinese seal stamp: Represents my culture and the idea of creating an artist signature.

- Fantasy/sci-fi looking: Represents my favourite genres.

- Abstract art/tattoo art: Represents my passion for art/art style.

- Sharpness: Represents my personality and style.

- Serif: I prefer to design serifs over sans serifs, also a stylistic choice.

Occupation: Artist

Fig. 1.2 Sketches, Week 5 (21/9/2021)

Version #1: Thin strokes, geometrical, very fine and sharp.

Version #2: Greater contrast in strokes, more curvatures, almost organic-like.

I decided to use my username TRXSSA which represents my English name Tressa because I identify with it more than my real name. This task is also based on identity so I thought it was better to choose what I identify best with. I'm not going to enjoy and be in tune with the process if I chose my actual name.

I incorporated my key artwork ideas mentioned above into these sketches as seen with the sharpness and almost abstract art style. At first, I did sketches of the letters TRX, trying to combine these letters into one form. Then I got the idea of extending the form with the rest of my username - SSA. It was challenging because all the letters were pretty geometric, except the double S, so it was hard to incorporate them into the form. While the sketches/letters may look understandable to me, they would look abstract and not legible to viewers. The letters can't really be deciphered unless they're broken apart. However, the artistic/fine art side of me really likes the abstract and illegible form. It's my way of expression and art.

2. Digitalisation

Fig. 2.1 Version #2 attempts, Week 5 (21-22/9/2021)

Starting off with version #2 because I didn't end up choosing this design, so I'll get it out of the way first.

1. Digitalised sketch of version #2

2. Overlapped S and A

I wanted to create some abstract form and have it wrapped around the main letters TRX. The concept was to make it look like art interlacing a logo and to represent my passion for art. I think it looks interesting but illegible for people who don't know what the letters are. Nevertheless, I like the contrast of how the black letterforms (TRX) are more structured than the whimsical S and A.

3. Overlapped S

I wanted to see how it would look without the A and overlapped it differently. It looks imbalanced because of the empty space on the right.

4. Overlapped X

The problem with these designs was that the X looked like a K. In this attempt, I removed that and replaced it with an overlapped organic X. The TR is more pronounced now, however, this still wasn't something I was satisfied with as a key artwork. With that, I settled on perfecting version #1 below.

Fig. 2.2 Shape builder tool

To make the vector shapes overlap another shape at specific parts, I used the shape builder tool.

Fig. 2.3 Alignment of anchor points

Fig. 2.4 Misalignment of anchor points

During the creation of the key artwork, I had to observe carefully if the vectors are aligned because when zoomed out they are easily missed.

Fig. 2.5 Version #1 progression, Week 5 (21-23/9/2021)

Fig. 2.6 Version #1 creation - shapes and strokes

These were constructed using a combination of shapes and strokes. The same method was used for Version #2.

Fig. 2.7 Version #1 - digitalised sketch, Week 5 (21/9/2021)

I digitalised version #1 sketch #2 and changed its form slightly. I noticed that 2 pt for the strokes is too thin when viewed from far, so for the next attempts, I changed it to 5 pt. I also observed that it is imbalanced - the thickness of the serifs are varied, hence the 'darkness' isn't spread out well (equal visual weight). The counterform also bothered me - some empty spaces are larger than others. It felt awkward and as if something was supposed to be there.

Fig. 2.8 Version #1 - refining initial idea, Week 5 (21/9/2021)

After much thinking, I decided that it was best to refine/straighten the curved forms of the original sketch and make it less decorative because it already was quite abstract. Especially with the X constantly looking like a K, that was a problem. I still wanted it to look like abstract art, but more typeface-like.

In Fig. 2.8, I was trying to reposition the T and X and decide on the best layout before attempting to add the rest of the letters. It may seem very simple, but I really racked my brain trying to figure this part out. Mainly because when the serifs of the T touches the X, it boxes the counterform which causes confusion of what the letters are.

Fig. 2.9 Version #1 - refining attempt #1, Week 5 (22/9/2021)

Afterwards, I began to explore different variations. I really liked this design because it looks like a sword and I think that’s cool and it fits the fantasy element which I mentioned in my ideation. However, I had no idea how to fit the S and the entire thing looks like TXA instead of TRXA. But I really liked this sword-like structure so I continued it in my subsequent attempts.

Fig. 2.10 & 2.11 Version #1 - refining attempt #2 and #3, Week 5 (22-23/9/2021)

In these attempts, I focused on fitting SS into the composition. Attempt #2 looks a bit repetitive to me, and the enclosure of some parts is distracting and confusing. It makes the letters lose their legibility. The balance isn’t great either because it's slanting upwards on the left and downwards on the right when it comes to the SS. It also reminds me of a centipede - I cannot unsee this and I dislike this design.

Fig. 2.12 Version #1 - refining attempt #4, Week 5 (23/9/2021)

This attempt was unfinished/abandoned. I tried to incorporate the S into the R and X. But I didn't like it so I moved on to another attempt. It reminds me of the Eye of Horus though.

Fig. 2.13 Version #1 - refining attempt #5, Week 5 (23/9/2021)

For this attempt, I tried a different direction/way to join the letters together. Because I struggled so much with expressing the X and R together, I decided to switch the X to an E (so it's TRESSA instead of TRXSSA). I didn't plan on using this because it isn't the style I wanted so I quickly moved back to the vertical composition (sword-like composition) and still went along with TRXSSA instead of TRESSA.

Fig. 2.14 Version #1 - refining attempt #6, Week 5 (23/9/2021)

For the final attempt of week 5, I referred back to the design I liked in Fig. 2.5 and tried to maintain the same sword-like composition. I finally came up with a design I liked and that made sense in the order of the letters. At this point, I was so exhausted after all the frustrating attempts with the brain-damaging joining of the letters.

The Chinese character 蕙 is a part of my Chinese name. The key artwork has a similar silhouette to represent that.

Fig. 2.15 Version #1 attempt #6 "R", Week 5 (23/9/2021)

I was struggling with the bowl of the R. To solve the awkwardness I decided to overshoot the bowl and even out the thickness. As pictured above I used Adobe Illustrator's built-in grids in the creation of my key artwork.

Fig. 2.16 Separating the letters to explore typeface creation

Fig. 2.17 Typeface exploration, Week 5 (23/9/2021)

Halfway through the explorations of version #1, I was struggling to join the letters vertically, so I reverted back to forming the typeface first. It was an attempt at separating the type design, to identify its individual characteristics, so I could see how I could recompose the letters together. I tried to create almost monogram-like logos, as seen with the "TRX" and "TRE".

I ended up not focusing too much on this because I still gravitated towards the vertical composition, and I thought this was too boring, too 'easy'. Having it horizontal would make it look like a normal type display, which isn't what I wanted. I wanted something that looks reminiscent of Chinese seal stamps, yet abstract and looks like art. Nevertheless, this typeface exploration did help me to refresh a bit, taking a break from struggling with the vertical composition and get the idea to formulate the design I liked in Fig. 2.14.

3. Variants of chosen design (Week 6)

Fig. 3.1 Variants of chosen design, Week 6 (27/9/2021)

In week 6, Mr. Vinod suggested trying out a different composition because it looked similar to J.R.R. Tolkien's monogram. I compared J.R.R. Tolkien's monogram with mine and found that it's the T and R. But I couldn't change the positioning of the R as it would affect the spelling. Hence, I did a different design for the T as seen in Fig. 3.1. I also curved the ends of the S/A which turns the typographic letters look into looking more like a symbol. The first 3 designs on the left also look more like a sword, suiting the fantasy concept in my ideation. Regardless, I still preferred the dominant T of the original design because of the stability. The crossbar of the T signifies a starting frame and it appears stronger than the other iterations. Furthermore, its silhouette represents my Chinese name 蕙 much closer.

Compiled workflow of designing the key artwork

Fig. 3.2 Compiled workflow of key artwork (Version #1), Week 6 (27/9/2021)

*Version #2 exploration and typeface exploration are not included in this as they are already compiled above.

Fig. 3.3 Final key artwork - black and white, Week 5 (23/9/2021)

With my key artwork, I wanted to show that I am an artist, so I got the idea of creating something reminiscent of a Chinese seal stamp. The concept is for my key artwork to act as my artist signature, while also showing my design/art style, identity and influence from fantasy/sci-fi. To signify that, it has a slight alien-esque and sinister undertone with thin strokes and sharp edges. Its form is also reminiscent of a sword, representing the fantasy element/influence.

Occupation: Artist

Task 2B: Collateral

We are tasked to design the following with our key artwork in Task 2A:

- Poster (A2)

- Animated invite (square, 800/1024 px)

- 3 relevant collaterals (minimum 2 collaterals)

1. Poster

Fig. 4.1 Poster design attempts of Week 7 (3/10/2021)

Since my key artwork acts as an artist's signature, I decided that my event should be an art exhibition, with the theme being "PANDEMONIUM" deriving from the ominous look of my key artwork.

During this week I was very fatigued and had a hard time focusing on coming up with poster designs, so the designs in Fig 4.1 are repetitive. Moreover, I struggled to incorporate the content seamlessly with my key artwork. I wanted the key artwork to be the emphasis so in these iterations it was always the content being shifted around instead of the key artwork. This actually demotivated me because it was tough to find a good and readable placement for the content (legibility is always a concern).

For the colours, I kept it at a maximum of 3 colours - black and white + one colour. This is because I wanted it to match the art exhibition theme. It is also my preference of using monotonous colour schemes. I like the intensity of the red and black colour scheme. However, this time I felt more drawn towards purple and black which are my other favourite colours. It's also time to take a break from using my ultimate favourite colour scheme red and black often in my work.

For the text of the content, I chose a serif typeface called "Sprat". It has different variations within the type family and it matches the look of my key artwork.

Fig. 4.2 Refined poster designs, Week 7 (5 & 7/10/2021)

In week 7, Mr. Vinod mentioned that I can try placing all the information within one of the frames/box of the key artwork and that I should reduce the size of the content text. The feedback was really helpful because it looks way better as the content doesn't compete with the key artwork anymore.

In posters #3 and #4, I experimented with arranging my key artwork differently to form different patterns. I like the outcome however I think it's a little too complicated and my original key artwork couldn't be seen anymore. Although I like the abstract and complicated patterns, I thought design #2 would be the better choice for cohesion. The key artwork is obvious in that one and it commands the entire poster.

*The black background is actually a really dark gray instead of black.

Fig. 4.3 Alignment of texts to key artwork, Week 7 (7/10/2021)

Fig. 4.4 Final art exhibition poster, Week 7 (5/10/2021)

2. Animated invite

Fig. 5.1 Frames created in Adobe Illustrator, Week 7 (5/10/2021)

To create the animation I used the frame by frame method. I created these frames in separate layers in Illustrator then imported them into After Effects. It do be a tedious method.

Fig. 5.2 & 5.3 WIP in Adobe After Effects, Week 7 (5/10/2021)

In After Effects I used the curve graph to edit the speed of the keyframed movements. This makes the movement more dynamic. Motion blur is also used because the movements look unrealistic without it.

Fig. 5.4 Test logo animation, Week 7 (5/10/2021)

Before attempting to animate the entire invite, I made a test logo animation. My idea was to make the T look like it's stabbing through the logo. The little 'jump' when the T connects with the R and X was done using the scale option in After Effects. It's also to emphasise the movement of the T.

Fig. 5.5 Final animated invite, Week 8 (11/10/2021)

For the logo animation, I made some changes to the speed and also changed the starting formation. Besides that, I decided to not show the poster version of the key artwork in the animated invite because it didn't fit the square frame well.

The X at the end was made using the A, mirrored on both sides. "TRSSA" is engraved in the background to match my artbook collateral.

With this animated invite, I wanted to convey and bring to life the theme of the art exhibition "PANDEMONIUM". One detail is that I purposely made the title "pandemonium" flash to show the word "demon", adding to the theme.

3. Collaterals

Collateral #1: Ticket

Fig. 6.1 Art exhibition ticket designs, Week 7-8 (5-12/10/2021)

I created variations of my key artwork for the ticket designs. I like how the ends of the key artwork in design #2 frame the barcode at the bottom. My favourite design would be #1 because the empty space in design #2 is distracting. While design #3's key artwork strays a little too far from the key artwork in my poster. I decided to use that instead for the back of the ticket as seen in Fig. 6.3 below.

*The part with the barcode has to have a white background because white barcodes don't work.

Fig. 6.2 Final collateral #1: Art exhibition ticket (front), Week 8 (12/10/2021)

Fig. 6.3 Final collateral #1: Art exhibition ticket (back), Week 8 (12/10/2021)

*Glossy effect for the key artwork pattern on the back. The effect was edited in Photoshop.

Collateral #2: Artbook (Cover)

For the 2nd collateral, I chose to make an artbook cover because it makes sense that artists sell artbooks during their exhibition.

I made two variations - black and white. I wanted the book covers to have the key artwork engraved into them and follow the format of the poster. The effect was done using Photoshop. I also added a slight paper effect to indicate the material of the cover.

Fig. 6.4 Photoshop 'layer style'

I used the layer style options to edit the engraved look for the key artwork. A total of 9 layers as seen with the checked boxes in Fig. 7.1. Below are the final covers.

Fig. 6.5 Final collateral #2: Artbook (white), Week 7 (8/10/2021)

Fig. 6.6 Final collateral #2: Artbook (black), Week 8 (12/10/2021)

Collateral #3: Key artwork signature stamp

Fig. 6.7 Final collateral #3: Key artwork signature stamp, Week 8 (12/10/2021)

I wanted to make a stamp of my key artwork/logo. As mentioned in my rationale for my key artwork, my idea was for it to act as my art signature.

The mockup/simulation on the left was sourced online.

Fig. 6.8 Photoshop distort effect 'displace', Week 8 (12/10/2021)

To create the stamp on paper effect, I layered the logo three times with the blending effect 'overlay' (as seen on the right panel). Each layer has a custom displace effect to mimic the look of ink on paper as realistic as possible. The paper texture was sourced online.

Final Task 2: Key Artwork and Collateral

Fig. 7.1 Final key artwork - black and white (occupation: artist), Week 6 (27/9/2021)

Fig. 7.2 Final key artwork - coloured (occupation: artist), Week 6 (27/9/2021)

Fig. 7.3 Final poster - art exhibition, Week 7 (5/10/2021)

Fig. 7.4 Simulated art exhibition poster, Week 7 (5/10/2021)

Fig. 7.5 Final animated invite, Week 8 (11/10/2021)

Fig. 7.6 & 7.7 Final collateral #1: Art exhibition tickets (front and back), Week 8 (12/10/2021)

Fig. 7.8 Simulated exhibition tickets, Week 8 (12/10/2021)

Fig. 7.9 Final collateral #2: Artbook (white), Week 7 (8/10/2021)

Fig. 7.10 Final collateral #2: Artbook (black), Week 8 (12/10/2021)

Fig. 7.11 Simulated artbooks, Week 8 (12/10/2021)

Fig. 7.12 Final collateral #3: Key artwork signature stamp, Week 8 (12/10/2021)

Fig. 7.13 Flat lay of Task 2, Week 8 (12/10/2021)

*Poster, artbooks and tickets are scaled according to size. Poster: A2; Artbooks: A4.

Fig. 7.14 Final Task 2 - PDF, Week 8 (12/10/2021)

Hours spent for Task 2

Task 2A: Key Artwork - 22 hours

Task 2B: Collateral - 32 hours

FEEDBACK

Week 6

General feedback: Relate your key artwork to your occupation if you weren't a designer. The more simple/complicated the form, the less memorable it is. Be more explorative.

Specific feedback: The final choice (attempt #6) reminds Mr. Vinod of J.R.R. Tolkien's monogram. Suggestion to explore other compositions.

Week 7

General feedback: Use elements of your key artwork to create a poster. Implement principles of design - repetition, emphasis, contrast, colour, etc to aid in your poster design. Focus on creating visual impact, then only manage the information to support the visual.

Specific feedback: Reduce point size of information texts, they can be fitted into one section of the key artwork.

Week 8 (Independent learning week)

REFLECTION

Experience

I had many ups and downs during this task, mostly because it was hectic with other modules. I enjoyed Task 2A the most. I really liked my key artwork outcome and was excited to implement it into the subsequent collaterals and poster. However, when it got to Task 2B, I got pretty exhausted and couldn't enjoy the process, so that really took the fun out for me. I lingered on a lot on the designs when doing Task 2B especially. Somehow I just wasn't satisfied and everything felt very mechanical. At the end of the day, I think this task prepares us well for Task 3 because it introduces the process of designing an identity. I also liked how we got to focus on ourselves because we were instructed to use our initials/name. Personalisation allows for better connection.

Observations

From this task, I learned to observe the colour usage in text and the importance of capital and lowercase letters. It was a good refresh on the factors that enhances visual communication and I was reminded of how certain colours can appear different with a different coloured background. More on this in my further reading below. Other than that, during the creation of the key artwork, I had to observe carefully if the anchor points are aligned, because they were easily missed when zoomed out.

Findings

Through this project, I found that design is really all about visual communication, and also how I struggle to prioritise that. I often care more about how the design looks, if I like it etc, rather than if it's decipherable and 'makes sense' to viewers. It felt like a constant battle for my fine arts side because I love making abstract designs. I had to remind myself that this is about typography and not stray too far from it when doing this task.