Advanced Typography / TASK 2

 2024/4/22 - 2024/7/26

TAO YUZE/0366967

Typography / Bachelor fo Design (Honours) in Creative Media

TASK2A  KEY ARTWORK

According to MIB requirements, I will choose a word of no less than four letters as my key artwork.

The word should represent who I am in many ways.

I chose RIAZ as my key artwork word, RIAZ is my English name.The name "Riaz" is of Arabic origin and is commonly used in Muslim cultures. It means "garden" or "Greenfield" and symbolizes beauty, peace and prosperity.At the same time, my Chinese name "Yu Ze" means "nurturing wetland", which happens to be similar to RIAZ.

I am a person who loves nature and peaceful life, this represents me well.

In the initial creation of key artwork I chose a style similar to Bauhaus：

key artwork 1 2024/5/27

This artistic style is inspired by the packaging of ASUS pro art series products.

ASUS PRO ART 2024/5/27

In this version of the key artwork I used my full name RIAZ TAO and used a cross combination. I also made each letter width consistent and connected seamlessly, which allowed them to form many Bauhaus-style patterns. This style represents my perfectionist pursuits (obsessive-compulsive disorder) and minimalist design style.

Pattern exploration 2024/5/27

Pattern exploration 2024/5/27

I personally like this version of key artwork, but the style lacks readability and its reading order is very complicated for people who don't know the word RIAZ TAO. I overlooked this due to my preconceived approach to design, and Mr. Vinod pointed this out in his feedback. At the same time, Mr. Vinod pointed out that I need to explore more styles and have more iterative processes. So I gave up this version of key art work

In the new version of the key artwork I plan to use a traditional Chinese font with a long history as my style

九叠篆 (Jiǔ Dié Zhuàn), also known as "Nine-fold Seal Script," is a highly stylized and complex form of Chinese calligraphy. It is characterized by its intricate and ornate design, often used in seal carving. Each character in 九叠篆 is composed of multiple overlapping and intertwined strokes, giving it a distinctive and decorative appearance.

https://pin.it/1hWfYleLa

I like the style of the Nine-fold Seal Script very much. The regular and square shape is also consistent with my design concept and aesthetics. I have been imagining an English version of the Nine-fold Seal Script a long time ago. This opportunity gave me the opportunity to practice it.

There are several issues that need to be addressed when creating a nine-fold seal style English font. First of all, Nine-fold Seal Script is an artistic font, and its direct readability is very low. Its existence value focuses more on symbolic and artistic significance. Nine-fold seal script requires a unique reading method to identify specific characters.

https://pin.it/4Jav7Slud

There have been some attempts on the Internet to create fonts similar to the nine-fold seal script, but they are generally very different from the real nine-fold seal script and have low readability.They have very low readability without the contrast of multiple characters.An excellent nine-fold seal style character should use one continuous line to fill the entire square space as much as possible.

In the word RIAZ, the nine stacks of R and A will be difficult. Nine-fold seal script does not allow slanted lines, and all lines should be replaced by folded lines.

process

I created a 17X17 grid. Although the nine-fold seal script does not necessarily have to be folded nine times, I chose to fold it nine times for perfection.The structure of English letters is very simple compared to Chinese characters. I tried to use one line to fill the entire space and clearly show the shape of the letters. This was a very challenging process for me, as I created multiple versions of multiple characters. I settled on a design language that used stepped gaps between lines to represent diagonal lines. Horizontal lines are displayed using horizontal lines and negative shapes.

proccess

I explored several different versions of the letter A because its structure was complex and it was difficult to show the full structure of the A while ensuring that one line filled the entire space. I decided to use A that was simplified into a triangle and also created a version with horizontal lines (but I personally don't like it, it's not elegant enough) To avoid the possibility of being confused by W, I created a version without outer wrapping lines Version. These versions will be retained until the second feedback for decision

In the feedback, mr vinod affirmed my design style, but mr vinod pointed out that my design would destroy readability at smaller sizes. During the class I tried to g'ha, Mr Vinod affirmed my design style, but Mr Vinod pointed out that my design would destroy the readability at smaller sizes. In class I tried to improve it.I initially tried to increase the width of the accent lines, but it was unsuccessful because the folded structure of the lines was very high pressure. Especially R, if you do this it will seriously damage the aesthetics.

So I adopted a rough improvement method and filled in the key lines. The readability of the filled font was approved by mr vinod. But I'm a little disappointed because this way ruins the ingenuity of the Nine-fold Seal Script.

After feedback

So I further improved it after class.

improved 

The improved version changes the padding to an extra line (the width of the line can be adjusted at will), which does not destroy the elegance of the Nine-fold Seal Script and achieves higher readability.

TASK 2B

In TASK2B, I kept the font without guide lines as a decorative pattern. English does not require too much readability in decorative function, but focuses more on the harmony of decorative and visual effects.The version with a leader line to increase readability will be used for signatures or avatars.

In terms of color selection, I personally prefer gray colors (low saturation). I chose two photos I took and an oil painting as my color sampling references.

color board

I finally decided on my palette：

color board

My idea is that when the key artwork is at a larger size, it will show the folded structure, with the focus on the nine-fold style. When it is at a smaller size, the leading lines will enhance the readability of the letter structure, focusing on the display of the letters.

INS LINK:https://www.instagram.com/riaz_tau?igsh=MXJ1Z2Rud2ZobW9wcQ%3D%3D&utm_source=qr

Reflection

Experience

This task involved a significant amount of self-reflection and understanding as we were required to create a 'brand' based on our own personality and traits. It was challenging yet enjoyable to design key artwork and a wordmark, as it provided an opportunity to delve deeper into my own characteristics. Initially, I was uncertain about the direction to take, but sketching various ideas helped me decide to go for a brand that represents an easy-going personality.

Observation

During this task, I noticed that an effective wordmark should be easily recognizable and visually appealing. Therefore, it’s essential for them not to be overly complex.

Findings

A successful piece of artwork should be instantly recognizable and clearly convey its intended message to the audience.

Feedback

Week10:

Specific Feedback: The font is too thin, the proportions of some letters need to be adjusted, and the curves of fonts such as S and D need longer straight lines to transition. General Feedback:Basic feedback on fonts, no problem with main styles, PPT needs to be made

Week 9: *Public holiday Week 8 ： *Independent learning week (IDL)

Further reading

Designing Type
Author: Karen Cheng
Link: Amazon

Karen Cheng's Designing Type is a detailed and comprehensive guide focused on the process and principles of designing typefaces. This book delves into the intricacies of type design, providing insights into the anatomy of typefaces, the technical aspects of type creation, and the creative processes behind successful type design. It is a valuable resource for both aspiring and professional type designers.

Chapter 1: Introduction to Typeface Design

In the opening chapter, Cheng introduces the fundamental concepts of typeface design. She explains the importance of understanding the anatomy of type, including elements like serifs, ascenders, descenders, and x-height. Cheng also discusses the historical evolution of type design, providing context for the contemporary practices and styles.

Chapter 2: Serif Typefaces

This chapter focuses on the design principles specific to serif typefaces. Cheng examines the different categories of serif fonts, such as old-style, transitional, and modern serifs. She provides detailed analyses of well-known serif typefaces, discussing the unique characteristics and design considerations for each category. This chapter also includes practical guidelines for designing serif fonts, highlighting common challenges and solutions.

Chapter 3: Sans-Serif Typefaces

In this chapter, Cheng explores the world of sans-serif typefaces. She explains the history and development of sans-serif fonts, from their early use in signage to their prominence in modern design. The chapter covers various styles of sans-serif typefaces, including grotesque, neo-grotesque, humanist, and geometric sans-serifs. Cheng offers insights into the design process for sans-serif fonts, emphasizing the importance of balance, proportion, and legibility.

Chapter 4: Display Typefaces

Cheng dedicates this chapter to display typefaces, which are designed for use at large sizes for headlines, posters, and signage. She discusses the unique challenges of designing display fonts, such as creating eye-catching and memorable designs while maintaining readability. The chapter includes case studies of iconic display typefaces, illustrating the creative and technical aspects of their design.

Chapter 5: Script Typefaces

This chapter focuses on script typefaces, which mimic the look of handwritten text. Cheng examines the different styles of script fonts, including formal scripts, casual scripts, and brush scripts. She provides practical advice on designing script typefaces, covering topics like stroke consistency, slant angle, and contextual alternates. The chapter also includes examples of successful script fonts and their applications.

Chapter 6: Other Typefaces

In this chapter, Cheng discusses typefaces that do not fit neatly into the categories of serif, sans-serif, display, or script. This includes monospaced fonts, blackletter fonts, and decorative fonts. She explores the unique characteristics and design challenges of these typefaces, providing guidance on their creation and use.