ADVANCE TYPOGRAPHY - PROJECT 2


02/06/20 - 16/06/20 (Week 8 - Week 10)
Phoebe Ansel (0340165)
Advanced Typography
Project 2

LECTURES

There's no lectures

INSTRUCTIONS



Project 2

For our 2nd project we were asked to work on our collaterals.

I first started to work on the poster. This was result of my first attempt:
fig 1.1 : first poster attempt

I realized that it had too much spacing and decided to change it. This was the result of my second attempt:
fig 1.2 : second attempt on poster

After receiving feedback, I was advised to make the letters different in size to make it look more dynamic. So I decided to change it again. 

This is the final result of my poster:
fig 1.3 : final result of poster



Instead of creating a microsite, we were asked to create an animated e-invitation. This was my first attempt: 
fig 1.4 : first attempt of the e-invite

After receiving feedback, I decided to animate some of the letters as well. This is the final result:

fig 1.5 : final result of the e-invite


For the second and third collateral, I decided to create a tote bag and a t-shirt. This is the result:

fig 1.6 : tote bag front view

fig 1.7 : tote bag back view

fig 1.8 : t-shirt front view

fig 1.8 : t-shirt back view


This is the compilation of my collaterals:

fig 1.9 : compilation of my collaterals



FEEDBACK:

Week 9:
General Feedback: The font size for the poster shouldn't be too big, it should be around 12 pt.
Specific Feedback: I was told to make the letters in the artwork bigger and vary them in size in order to make them look more dynamic.

Week 10:
Specific Feedback: For the e-invite, Mr Vinod said that I needed to animate the letters in the artwork.  more.



REFLECTIONS

Experiences
Week 9:
I was really confused on how I can incorporate my key artwork in my poster at first. So I decided to create various options.
Week 19:
This week, we all were making finishing touches on our project 2.

Observations
Week 9:
This week everything was very rushed because we should have been working on our collaterals by now but instead, a lot of us are still struggling with the posters.
Week 10:
I saw that everyone had very creative e-invites and it was very interesting to see everyone's work.

Findings
Week 9:
I found this task quite challenging because I wanted to maintain the key artwork while making the poster look interesting.
Week 10:
This whole project was quite the experience, as I have never done anything like it. I learned a lot from both the first and second project.



FURTHER READING

Design Elements Typography Fundamentals by Kristen Cullen

fig 2.1 : Design Elements Typography Fundamentals

This book is a great guide for typography. It discusses the fundamentals of typography and how it affects design. It also introduces typographical terms such as point size, appearing size, and many more. These are a few things I learned:

Point size (type size) refers to the body size of a character—not its appearing size. Typefaces that share matching point sizes do not always have the same optical size.

Body size is the area a character inhabit plus added white space surrounding it. Body height equals point size. The term body size originates in metal-typesetting days when lead-type blocks called slugs(or cast-metal sorts) contained characters

Appearing size refers to optical size or perceived character size; 12-point-type in one face might look larger or smaller than the same measure in other typefaces.

Digital characters have slight whitespaces on their left and right sides are called sidebearings.efining the distance between characters, side-bearings are substantial factors in typeface design. The term
 set width refers to the combined width of the character and sidebearings.

Contrast refers to the relationship between thick and thin strokes. Serif typefaces such as Bodoni and Didot have a high thick-to-thin stroke contrast. Sans serif typefaces such as Trade Gothic and Univers features low to uniform thick-to-thin strokes contrast.

Stress refers to the invisible axis that bisects character tops and bottoms at the thinnest points. Orientation is oblique or vertical. Stress is detectable using the lowercase o as a guide.

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