May 06, 2024

ADVANCED TYPOGRAPHY [ TASK 1 ]

22.04.24 - 13.05.24 / Week 1 - Week 4

Kim Abin 0365392
Bachelor of Design (Hons) in Creative Media / Advanced Typography / Taylor's University
Task 1

OUTLINE

Recorded Lectures

1 // AdTypo_1: Typographic Systems
2 // AdTypo_2: Typographic Composition
3 // AdTypo_3: Context & Creativity

Task 1: Exercise 1
Task 1: Exercise 2

WEEK 2
WEEK 3
WEEK 4

RECORDED LECTURES

1 // AdTypo_1: Typographic Systems
2 // AdTypo_2: Typographic Composition
3 // AdTypo_3: Context & Creativity

Lecture 1 - AdTypo_1: Typographic Systems

All Design is based on a structural system.
There are 8 major variations with a finite number of permutations:
Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

The typographic systems are akin to what architects term shape grammars.
A shape grammar: is a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs.
Axial System: All elements are organised to the left or right of a single axis.

L1_1. Axial System

L1_2. Sample Student Designer, Julius Teoh Hoong Boon

Radial System: All elements are extended from a point of focus.

L1_3. Radial System

L1_4. Sample Student Designer, Tamara Audrey

Dilatational System: All elements expand from a central point circularly.

L1_5. Dilatational System

L1_6. Sample Student Designer, Julius Teoh Hoong Boon

Random System: Elements appear to have no specific pattern or relationship.

L1_7. Random System

L1_8. Sample Student Designer

Grid System: A system of vertical and horizontal divisions.

L1_9. Grid System

L1_10. Sample Student Designer, Tamara Audrey

Transitional System: An informal system of layered banding.

L1_11. Transitional System

L1_12. Sample Student Designer

Modular System: A series of non-objective elements that are constructed as a standardised unit.

L1_13. Modular System

L1_14. Sample Student Designer

Bilateral System: All text is arranged symmetrically on a single axis.

L1_15. Bilateral System

L1_16. Sample Student Designer

Conclusion
Student designers often initially find the grid system awkward, but as their work develops, understanding the system's creative potential becomes apparent. Many designers focus on the grid system, unaware of other possibilities that offer distinctiveness. Understanding the system organisation process allows designers to break free from rigid grid systems and use more fluid means to create typographic messages.

Lecture 2 - AdTypo_2: Typographic Composition

Principles of Design Composition
Composition in design involves dominant principles like emphasis, isolation, repetition, symmetry, alignment, and perspective. These abstract concepts can be ambiguous when translated into typographic layouts or compositions. They are more relevant to imagery than complex units of information. However, applying these principles to real-life content can sometimes feel disparate, with some principles being more easily translatable.

L2_1. Emphasis in typographic composition

The Rule of Thirds: is a photographic guide to composition, it basically suggests that a frame (space) can be divided into 3 columns and 3 rows. The interesting lines are used as guides to place the points of interest within the given space. Realistically no one would ever use the rule of thirds when there are other more favorable options.

L2_2. The Rule of Thirds in Typographic Composition

Typographic Systems
The grid system, derived from letterpress printing's grided compositional structure, is the most practical and widely used of the eight systems. Despite its rigidity, its versatility and modular nature allow for infinite adaptations, making it a popular choice for various applications.

L2_3. Grid system

Post-modernist era typography saw younger designers question and challenge the order of the modernist era, exploring chaos, randomness, and asymmetry. Prominent designers like David Carson, Paula Scher, and Jonathan Barnbrook combined legibility and readability, creating new and exciting chaos inspired by Punk anti-establishment. Asymmetry, random, repetition, dilatational, and redial systems emerged in the lexicon.

L2_4. Left to right: Paula Scher, Jonathan Barnbrook and David Carson

Other models / Systems
Environmental Grid: is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines, both curved and straight, is formed. The designer then organises his information around this superstructure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.

L2_5. An example from lecturer Brenda McManus, of Pratt Inst from the book: Typographic From and Communication, p 211

Form and Movement: is based on the exploration of an existing structure Grid Systems.

L2_6. Form and movement

Lecture 3 - AdTypo_3: Context & Creativity

Handwriting, why is handwriting important in the study of type/typography?
Handwriting is studied as the first mechanically produced letterforms were designed to imitate it. The shape and line of hand letterforms are influenced by tools and materials like sharpened bones, charcoal sticks, brushes, feathers, and steel pens.

L3_1. Evolution of the Latin Alphabet

1. Cuneiform (c. 3000 B.C.E)
Cuneiform, the earliest system of actual writing, was used in several languages between the 34C. B.C.E through the 1st century C.E. Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets.

L3_2. Cuneiform

2. Hieroglyphics (2613 - 2160 B.C.E)
The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters - the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways:
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
3. As phonograms to represent sounds that "spell out" individual words

L3_3. Ancient Egypt Hieroglyphics Chart

3. Early Greek (5th C. B.C.E)
Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters. Early Greek letters were freehand, without serifs or compasses. Over time, their strokes thickened, the aperture decreased, and serifs appeared. These new forms, used for inscriptions throughout the Greek empire, served as models for formal lettering in imperial Rome.

L3_4. Early Greek

4. Roman Uncials
By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.

L3_5. Roman Uncials

5. English Half Uncials (8th C.)
In England, the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent developed considerably and needed a reformer.

L3_6. English Half Uncials

6. Emperor Charlemagne (standardization of the handwriting style: Carolingian Minuscule)
In England, the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent developed considerably and needed a reformer. After the fall of the Roman Empire, illiteracy and regional handwriting styles emerged. A court school was established, and during Charlemagne's patronage, bock production increased and language was standardized. The Carolingian minuscule was used for legal and literary works, unifying communication across the European empire. This style became the pattern for humanistic writing in the fifteenth century, which later formed the basis of the lower-case Roman type.

L3_7. Emperor Charlemagne

L3_8. Carolingian Minuscule

L3_9. Carolingian Minuscule

7. Black Letter (12-15 C. CE)
Gothic, a Middle Ages artistic expression from 1200-1500, originated from Italians referring to barbaric cultures north of the Alps. Blackletter, characterized by tight spacing and condensed lettering, reduced costs in book production by being dominated by evenly spaced verticals.

L3_10. Black Letter

During the Gothic apex in Western Europe, Humanist scholars in Italy revived antiquity culture through their Renaissance embrace of ancient Greek and Roman culture. They admired Carolingian script and named newly rediscovered letterforms Antica. The Renaissance analysis focused on letterforms, resulting in a more perfect or rationalized letter.

L3_11. The Italian Renaissance

L3_12. The Italian Renaissance

8. Movable Type (11C. - 14 C.)
Painting was practiced in China, Korea, and Japan, with the earliest known printed book being the Diamond Sutra (AD 868). China attempted movable type printing but failed due to character limitations. In the late 14th century, Korea established a bronze foundry to cast movable type, enabling text dismantling and resetting. With the creation of their new script, Han'gul, the Koreans would succeed where the Chinese failed. The Koreans introduced moveable type in the 1000-1100 CE, a technology pioneered in China but achieved in Korea.

L3_13. Movable Type

Evolution of Middle Eastern Alphabets
It is also important to note that while the Phoenician letter marks a turning point in written language - the use of sound represented in letters - the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

L3_14. Evolution of Middle Eastern Alphabets

Evolution of Chinese script
From the Oracle bone to seal script to Clerical Script, traditional and Simplified scripts.

L3_15. Evolution of Chinese script

Indus Valley Civilization and Brahmi script
Indus Valley Civilization (IVC) script (3500-2000 BCE), is the oldest writing found in the ‘Indian’.

L3_16. Indus Valley Civilization script

The Brahmi script (450–350 BCE) is the earliest writing system developed in India after the Indus script. It is one of the most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.

L3_17. Brahmi script

Programmers and Type Design
Google, for example, hires a large number of Asian engineers and designers to generate an expanding number of vernacular and multi-script fonts (a term invented by Muthu Nedumaran). These fonts are designed to facilitate communication in both vernacular and Latin letters.

L3_18. Baloo, a multi-script typeface by Ek Type

Baloo: A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. A multi-script typeface, it is available in nine Indian scripts along with a Latin counterpart, the family is Unicode compliant and libre licensed

Local Movements and Individuals
In Malaysia, murasu.com is spear-headed by programmer and typographer Muthu Nedumaran. The programming language needed to encode the different types of vernacular writing systems was cracked by Muthu. The system is now used in mobile phones and desktops.
Huruf, a local group of graphic designers interested in the localized lettering of Latin and vernacular letters painted or inscribed on walls and signages are among the more prominent organizations digitizing and revitalizing typefaces in Malaysia.
Ek Type and Indian Type Foundry are organizations that have done groundbreaking work with the development of vernacular typefaces in India.

INSTRUCTION

Module Information Booklet (MIB) of Advanced Typography

Rules and Advice Instructions

Task 1: Exercise 1 - Typographic Systems

We were tasked with creating a layout for each typographic system with the given content. The eight typographic systems are as follows: Axial, Radial, Dilatational, Random, Grid, Modular and Transitional.

The 8 systems mentioned above are to be explored using the following content:

The Design School,
Taylor’s University

All Ripped Up: Punk Influences on Design
or
The ABCs of Bauhaus Design Theory
or
Russian Constructivism and Graphic Design

Open Public Lectures:

June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM

June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM

Lecture Theatre 12

Requirements:

- Done using Adobe InDesign only
- JPEG @300ppi (1024 px)
- PDF with guidelines and without guidelines
- Size: 200 x 200 mm
- Black and one other colour only
- Limited graphical elements (lines, dots, etc)

First, I started taking the Advanced Typography lecture from week 3 due to mis-selecting the lecture for 2-year students. So I had to finish the two-week tasks in a week. It was a little overwhelming to do it, but I decided to carry them out one by one.

Axial

Fig. 1.1.1 Process 1 (Week 3 / 6.5.2024)

Fig. 1.1.2 Axial Attempt 1 (Week 3 / 6.5.2024)

Fig. 1.1.3 Axial Attempt 2 (Week 3 / 6.5.2024)

Fig. 1.1.4 Axial Attempt 3 (Week 3 / 6.5.2024)

Fig. 1.1.5 Axial Attempt 1-3 without grids and guides PDF (Week 3 / 6.5.2024)

Fig. 1.1.6 Axial Attempt 1-3 with grids and guides PDF (Week 3 / 6.5.2024)

Attempt 1-3 Font: Janson Text LT Std 76 Bold Italic, Futura Std Light Condensed, Futura Std Light

Attempt 1-3 Type Size: 30 pt, 20 pt, 10 pt

Radial

Fig. 1.1.7 Process 2 (Week 3 / 7.5.2024)

Fig. 1.1.8 Radial Attempt 1 (Week 3 / 7.5.2024)

Attempt 1 Font: Gill Sans Std Ultra Bold, Gill Sans Std Bold Extra Condensed, Futura Std Light Condensed, Futura Std Bold, Futura Std Bold Condensed, Futura Std Light

Attempt 1 Type Size: 30 pt, 31 pt, 20 pt, 10 pt

Fig. 1.1.9 Radial Attempt 2 (Week 3 / 7.5.2024)

Attempt 2 Font: Univers LT Std 85 Extra Black Oblique, Gill Sans Std Bold Italic, Futura Std Light, Futura Std Bold, Futura Std Bold Condensed

Attempt 2 Type Size: 34 pt, 25 pt, 18 pt, 10 pt

Fig. 1.1.10 Radial Attempt 3 (Week 3 / 7.5.2024)

Attempt 3 Font: Gill Sans Std Bold, Gill Sans Std Bold Extra Condensed, Futura Std Light Condensed, Futura Std Light, Futura Std Bold Condensed

Attempt 3 Type Size: 34 pt, 23 pt, 16 pt, 10 pt

Fig. 1.1.11 Radial Attempt 1-3 without grids and guides PDF (Week 3 / 7.5.2024)

Fig. 1.1.12 Radial Attempt 1-3 with grids and guides PDF (Week 3 / 7.5.2024)

Dilatational

Fig. 1.1.13 Process 3 (Week 3 / 7.5.2024)

Fig. 1.1.14 Dilatational Attempt 1 (Week 3 / 7.5.2024)

Attempt 1 Font: Futura Std Extra Bold, Futura Std Light Oblique, Futura Std Light Condensed, Gill Sans Std Light

Attempt 1 Type Size: 30 pt, 20 pt, 10 pt

Fig. 1.1.15 Dilatational Attempt 2 (Week 3 / 7.5.2024)

Attempt 2 Font: Futura Std Extra Bold, Futura Std Bold Condensed, Futura Std Light Condensed, Gill Sans Std Light

Attempt 2 Type Size: 44 pt, 28 pt, 15 pt, 10 pt

Fig. 1.1.16 Dilatational Attempt 3 (Week 3 / 7.5.2024)

Attempt 3 Font: Gill Sans Std Extra Bold, Futura Std Bold Condensed, Futura Std Light Condensed, Futura Std Light

Attempt 3 Type Size: 44 pt, 28 pt, 15 pt, 10 pt

Fig. 1.1.17 Dilatational Attempt 1-3 without grids and guides PDF (Week 3 / 7.5.2024)

Fig. 1.1.18 Dilatational Attempt 1-3 with grids and guides PDF (Week 3 / 7.5.2024)

Random

Fig. 1.1.19 Process 4 (Week 3 / 8.5.2024)

Fig. 1.1.20 Random Attempt 1 (Week 3 / 8.5.2024)

Attempt 1 Font: Bodoni Std Poster, Serifa Std 45 Light, Futura Std Light Condensed, Futura Std Light

Attempt 1 Type Size: 61 pt, 57 pt, 32 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.21 Random Attempt 2 (Week 3 / 8.5.2024)

Attempt 2 Font: Bodoni Std Poster, Futura Std Light Condensed, Univers LT Std 49 Light Ultra Condensed, Futura Std Bold Condensed, Futura Std Light

Attempt 2 Type Size: 61 pt, 57 pt, 32 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.22 Random Attempt 3 (Week 3 / 8.5.2024)

Attempt 3 Font: Serifa Std 65 Bold, Futura Std Light Condensed, Univers LT Std 39 Thin Ultra Condensed, Univers LT Std 49 Light Ultra Condensed, Futura Std Light

Attempt 3 Type Size: 61 pt, 57 pt, 32 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.23 Random Attempt 1-3 without grids and guides PDF (Week 3 / 8.5.2024)

Fig. 1.1.24 Random Attempt 1-3 with grids and guides PDF (Week 3 / 8.5.2024)

Grid

Fig. 1.1.25 Process 5 (Week 3 / 8.5.2024)

Fig. 1.1.26 Grid Attempt 1 (Week 3 / 8.5.2024)

Attempt 1 Font: Serifa Std 55 Roman, Serifa Std 45 Light, Gill Sans Std Light, Futura Std Light

Attempt 1 Type Size: 55 pt, 24 pt, 10 pt, 9 pt

Fig. 1.1.27 Grid Attempt 2 (Week 3 / 8.5.2024)

Attempt 2 Font: ITC Garamond Std Ultra Italic, Futura Std Light Oblique, Futura Std Light, Gill Sans Std Light

Attempt 2 Type Size: 30 pt, 10 pt, 9 pt

Fig. 1.1.28 Grid Attempt 3 (Week 3 / 8.5.2024)

Attempt 3 Font: Gill Sans Std Ultra Bold Condensed, Futura Std Light, Gill Sans Std Light

Attempt 3 Type Size: 20 pt, 10 pt, 9 pt

Fig. 1.1.29 Grid Attempt 1-3 without grids and guides PDF (Week 3 / 8.5.2024)

Fig. 1.1.30 Grid Attempt 1-3 with grids and guides PDF (Week 3 / 8.5.2024)

Transitional

Fig. 1.1.31 Process 6 (Week 3 / 8.5.2024)

Fig. 1.1.32 Transitional Attempt 1 (Week 3 / 8.5.2024)

Fig. 1.1.33 Transitional Attempt 2 (Week 3 / 8.5.2024)

Attempt 1-2 Font: Gill Sans Std Bold Condensed, Futura Std Medium Condensed, Futura Std Medium, Gill Sans Std Light, Serifa Std 45 Light

Attempt 1-2 Type Size: 62 pt, 44 pt, 30 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.34 Transitional Attempt 1-2 without grids and guides PDF (Week 3 / 8.5.2024)

Fig. 1.1.35 Transitional Attempt 1-2 with grids and guides PDF (Week 3 / 8.5.2024)

Modular

Fig. 1.1.36 Process 7 (Week 3 / 9.5.2024)

Fig. 1.1.37 Modular Attempt 1 (Week 3 / 9.5.2024)

Fig. 1.1.38 Modular Attempt 2 (Week 3 / 9.5.2024)

Attempt 1-2 Font: Gill Sans Std Bold Condensed, Gill Sans Std Light, Futura Std Bold Condensed, Futura Std Medium, Serifa Std 45 Light

Attempt 1-2 Type Size: 30 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.39 Modular Attempt 3 (Week 3 / 9.5.2024)

Attempt 3 Font: Gill Sans Std Bold Condensed, Gill Sans Std Light, Futura Std Bold Condensed, Futura Std Medium, Serifa Std 45 Light

Attempt 3 Type Size: 28 pt, 20 pt, 10 pt, 9 pt

Fig. 1.1.40 Modular Attempt 1-3 without grids and guides PDF (Week 3 / 9.5.2024)

Fig. 1.1.41 Modular Attempt 1-3 with grids and guides PDF (Week 3 / 9.5.2024)

Bilateral

Fig. 1.1.42 Process 8 (Week 3 / 9.5.2024)

Fig. 1.1.43 Bilateral Attempt 1 (Week 3 / 9.5.2024)

Attempt 1 Font: Gill Sans Std Ultra Bold Condensed, Gill Sans Std Light, Univers LT Std 39 Thin Ultra Condensed, Univers LT Std 45 Light, Futura Std Bold Condensed, Serifa Std Light

Attempt 1 Type Size: 30 pt, 20 pt, 10 pt, 9 pt, 8 pt

Fig. 1.1.44 Bilateral Attempt 2 (Week 3 / 9.5.2024)

Attempt 2 Font: Gill Sans Std Ultra Bold Condensed, Gill Sans Std Light, Univers LT Std 39 Thin Ultra Condensed, Univers LT Std 45 Light, Futura Std Bold Condensed, Serifa Std Light

Attempt 2 Type Size: 30 pt, 20 pt, 10 pt, 9 pt, 8 pt

Fig. 1.1.45 Bilateral Attempt 1-2 with grids and guides PDF (Week 3 / 9.5.2024)

Fig. 1.1.46 Bilateral Attempt 1-2 with grids and guides PDF (Week 3 / 9.5.2024)

Final

Among the attempts I made, I chose the most appropriate ones for each system.

Fig. 1.1.47 Final Axial attempt (Week 3 / 9.5.2024)

Fig. 1.1.48 Final Radial attempt (Week 3 / 9.5.2024)

After a while, I looked back at the Radial attempt 1 I did, and something seemed awkward. So I thinned the thick black line at the top and placed the letter at the bottom right at the top left.

Fig. 1.1.49 Final Dilatational attempt (Week 3 / 9.5.2024)

Fig. 1.1.50 Final Random attempt (Week 3 / 9.5.2024)

Fig. 1.1.51 Final Grid attempt (Week 3 / 9.5.2024)

Fig. 1.1.52 Final Transitional attempt (Week 3 / 9.5.2024)

Fig. 1.1.53 Final Modular attempt (Week 3 / 9.5.2024)

Fig. 1.1.54 Final Bilateral attempt (Week 3 / 9.5.2024)

Fig. 1.1.55 Final without grids and guides PDF (Week 3 / 9.5.2024)

Fig. 1.1.56 Final with grids and guides PDF (Week 3 / 9.5.2024)

Task 1: Exercise 2 - Type & Play

Step:

1. Select an image of a man-made object (chair, glass, etc.) or structure (buildings) or something from nature (human, landscape, leaf, plant, bush, clouds, hill, river, etc.) that does not contain many different elements.

2. Extract letterforms go from crude representation to a more refined expression yet maintain core features of its origin.

3. Combine the letterforms with an image that is the basis of the extracted letters.

Requirements:

- The text must be woven into a symbiotic relationship with the image.
- It is good to have a sample font for direction and reference when refining.
- Extract Letterforms on baseline (illustrator).
- Write the reference font.
- Finding Type poster size: 1024px X 1024px, 300ppi

For this exercise, I chose the following picture from Pinterest:

Fig. 1.2.1 The chosen picture (Week 3 / 9.5.2024)

I used the app Procreate on my iPad to trace letters. And then I did it again in Adobe Illustrator to trace it in more detail.

Fig. 1.2.2 Traced letters - M, I, R, A, C, L, E (Week 3 / 10.5.2024)

Fig. 1.2.3 Extracted Letters - M, I, R, A, C, L, E (Week 3 / 10.5.2024)

After extracting the letters, I looked for the Reference font.

Fig. 1.2.4 Reference fonts (Week 3 / 11.5.2024)

The letter on the top is Bodoni Std Poster Italic. And the letter at the bottom is Futura Std Extra Bold Condensed Oblique. I thought a lot about what to choose between these two, but I finally chose the letter below; Tutura Std Extra Bold Condensed Oblique.

Fig. 1.2.5 Final Reference font (Week 3 / 11.5.2024)

Then I started extracting letters on Adobe Illustrator 2024 as before. As shown in the image I chose at first; Fig. 1.2.1, I tried to make it feel like petals as much as possible in the letters. Still, I tried to incorporate the font shape I selected, but creating the feeling I wanted was difficult.

Fig. 1.2.6 Extracted Letterforms without guidelines (Week 3 / 11.5.2024)

Fig. 1.2.7 Extracted Letterforms with guidelines (Week 3 / 11.5.2024)

Fig. 1.2.8 Final Letterforms (Week 3 / 11.5.2024)

After finishing extracting the letters, I started to compare two letters which are the Original one and the Final one.

Fig. 1.2.9 Comparison of original extraction and final letterforms (Week 3 / 11.5.2024)

Fig. 1.2.10 Comparison of original extraction and final letterform 'M' (Week 3 / 11.5.2024)

Fig. 1.2.11 Comparison of original extraction and final letterform 'I' (Week 3 / 11.5.2024)

Fig. 1.2.11 Comparison of original extraction and final letterform 'R' (Week 3 / 11.5.2024)

Fig. 1.2.12 Comparison of original extraction and final letterform 'A' (Week 3 / 11.5.2024)

Fig. 1.2.13 Comparison of original extraction and final letterform 'C' (Week 3 / 11.5.2024)

Fig. 1.2.14 Comparison of original extraction and final letterform 'L' (Week 3 / 11.5.2024)

Fig. 1.2.15 Comparison of original extraction and final letterform 'E' (Week 3 / 11.5.2024)

After making a comparison, I chose a picture from Pinterest that matched the texture and word meaning of the letter I chose to create a poster which is my goal.

It was a Blue Rose. Blue roses originally meant impossibility and love that could not be achieved. Still, after creating blue roses using genetic engineering, the flower's meaning turned into a love that did not give up or a miracle. So it would be very nice to use the picture of the blue rose.

Fig. 1.2.16 Image from Pinterest

And then I also picked some film studio logos for a film poster.

Fig. 1.2.17 Logo from Pinterest

I tried to use the words and sentences that are related to Blue Rose while I was editing the poster using images and logos. For example, the word JANGMI from the poster is the English pronunciation of the Korean, Rose.

Fig. 1.2.18 Poster process 1 (Week 3 / 2024.11.5.2024)

After deciding what to use for the poster, I thought about which font to use. This is because the atmosphere of the poster can change significantly depending on the font, the size of the letter, and the location of the letter. So I changed the font and compared what was better, and eventually decided to use Fig. 1.2.20, which I tried last time.

Fig. 1.2.18 Poster process 2 (Week 3 / 12.5.2024)

Fig. 1.2.19 Poster process 3 (Week 3 / 12.5.2024)

Fig. 1.2.20 Poster process 4 (Week 3 / 12.5.2024)

Fig. 1.2.21 Poster process 5 (Week 3 / 12.5.2024)

Before the start of the lecture, I finished the artwork once and went to the lecturer for feedback the next day.

Fig. 1.2.22 pre-submission (Week 4 / 13.5.2024)

As written in the FEEDBACK part, I needed to change the letter more simply. I tried to erase the curved parts of the letters as much as possible. And I made the slightly tilted letters upright to give a cleaner appearance.

Actually, there are more parts that I want to fix, but I had to submit them as soon as possible, so I decided to move on to the next task. I had to complete Ex1 and Ex2 together in almost 5 days, so I felt dissatisfied with the overall completion of the task.

Fig. 1.2.23 Final Poster (Week 4 / 13.5.2024)

Fig. 1.2.24 Final Poster PDF (Week 4 / 13.5.2024)

Fig. 1.2.25 Final Finding Type PDF (Week 4 / 13.5.2024)

FEEDBACK

WEEK 2

Specific Feedback: No Feedback

General Feedback: No Feedback

WEEK 3

Specific Feedback: No Feedback

General Feedback: No Feedback

WEEK 4

Specific Feedback: Lecturer said that he could see that I was trying to express the feeling of a flower in the letters, but it might seem too much. He also advised me to be open to the original image of a flower and its texture.

General Feedback: He said that the background image and text should match well, but it doesn't seem to fit well. Overall, he said he didn't understand why I chose this moving letter.

(I attended the lecture in the middle of week 3, so I couldn't get any feedback in weeks 2 and 3.)

REFLECTION

Experience

First of all, it was so hard for me to finish all the tasks for weeks 1 - 3 in one week. I also had other tasks for weeks 1 - 3 from another lecture, so I felt overwhelmed when doing the tasks. Moreover, I wasn't sure if I was doing great or not because I couldn't get any feedback from the lecturer. I just saw examples that the lecturer posted on the Microsoft Team and senior students' e-portfolios and carried out the tasks.

Observations

Doing the tasks without a lecturer was crucial for understanding the lecture. Because I couldn't get any feedback, it made me spend more time checking my final tasks. It was fun while carrying out the task, but I am still not sure if I followed the rules well. Especially Ex 2 was the most worrying part for me. I knew why I needed to do this task, but it wasn't easy to know the exact process since I would carry out the task alone without a lecturer. Also, when I extracted the letterform, I wasn't sure if extracting it with snippet wave texture was okay.

Findings

It was my fault that I chose the wrong second-year lecture and changed it to the first-year lecture later, but I was a little sad that I didn't hear the contents of the lecture from the lecturer. Still, the contents of the tasks were generally fun because it felt like reviewing the Typography lecture I did in the first semester.

QUICK LINKS

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