Typography - Special Task: Type Design & Communication (Angpow Design)

08.11.2022 - 22.11.2022 / Week 11 - Week 13
Lim Rui Ying / 0358986
Typography / Bachelor of Design (Hons) in Creative Media 
Special Task: Type Design & Communication (Angpow Design)


LIST
Instructions


LECTURES

All lectures are completed in Task 1: Exercises 1 & 2


INSTRUCTIONS

Special Task: Type Design & Communication (Angpow Design)

For the Special Task, we can choose to design Telegram stickers or an angpow packet for Jaya Grocer AngPow Design Competition. We will group with two or three people of our classmates to complete this task. I decided to design the angpow packet and my team member is Xinyi. 

We should include some type elements and present the theme provided in the angpow packet design as this task is under Type Design and Communication. We could play with the type more interestingly with more graphical elements.

Jaya Grocer AngPow Design Competition
Thematic: Prosper with the flavour of togetherness

We are free to design on the theme of Togetherness. Recommended designs:
- A fun take on the characteristics of the rabbit and bringing it to life as anime-styled (no specific anime title) mascots.
- Use the artistry of the Chinese New Year elements to symbolise the bond of family and friends.

Dimension

- Angpow diecut line: 85mm (W) x 165mm (H)
- The design submission can be drawn (scan copy) or designed with computer.
- All designs must be submitted in soft copy format.


1. Visual Research

Fig. 1.1 Rat angpao design by Vivian Loi, from Behance

Fig. 1.2 Angpao design by Fernanda Bella, from Behance

Fig. 1.3 Atap Angpao Design by Pineapple Studio, from Behance


2. Sketches

Fig. 2.1 Sketches, Week 12 (14/11/2022)
(by my partner Xinyi)

Fig. 2.2 Sketches of rabbits combined with texts, Week 12 (20/11/2022)


3. Digitisation
We decided to go with sketch #1 and my partner digitised the sketch as it is best suited to the theme of togetherness. At the same time, I was planning to make a pattern with the rabbits as the background of the angpow.

Fig. 3.1 Digitised sketch #1, Week 12 (15/11/2022)

Fig. 3.2 Rabbit pattern #1, Week 12 (15/11/2022)

Fig. 3.3 Rabbit pattern #2, Week 12 (15/11/2022)

Based on Mr Vinod's suggestion, I made some attempts at displaying Chinese New Year greetings and the number "2023" using the rabbits. We use the word “福”, meaning good fortune in the angpow design. 

Fig. 3.4 Attempts at displaying texts in the rabbit patterns, Week 12 (15/11/2022)

I could not display the text well using rabbit patterns so I change another way to do so. I conducted some little sketches of combining rabbits with the texts (Fig. 2.2). I decided to go with sketch #6, in which I combined a half-outlined rabbit with the word “兔” (rabbit in Chinese) and I plan to use “兔年大吉” (meaning: Happy Year of the Rabbit) in the angpow design.

Fig. 3.5 Sketch #6, Week 12 (20/11/2022)

I used Brush Tool to draw the rabbit and write out the words. I made several brush attempts at the texts to see the differences. I decided to use the brush "Charcoal - Thick" (Fig. 3.6 top right) in the design. 

Fig. 3.6 Brush attempts at the texts, Week 12 (20/11/2022)

I use the rabbits illustrated by my partner in the design, showing them playing around with the text and depicting the theme of togetherness. After that, I change the text colour to gradient gold. Finally, I place the design into the template and add a rabbit at the open end of the angpow.

Fig. 3.7 Progress work, Week 12 (20/11/2022)

Fig. 3.8 Final angpow design, Week 12 (20/11/2022)

Final Special Task: Type Design and Communication (Angpow Design)

Fig. 4.1 Final Angpow Design - JPEG, Week 12 (20/11/2022)

Fig. 4.2 Final Angpow Design - PDF, Week 12 (20/11/2022)


FEEDBACK

WEEK 12
Mr Vinod suggested using the rabbits in the pattern to display the Chinese New Year greetings. In order to do that, I have to create the rabbit pattern in a more mathematical way to display the texts more efficiently. Mr Vinod also suggested using the translation of the meaning of togetherness to the Chinese New Year greetings. 


REFLECTION

Experience
This task is more interesting compared to the previous tasks because we could play around with the texts without many conventions and we could add graphical elements to the texts. This is the only task we are working on in groups, so we have to brainstorm ideas together. I found it enjoyable when I sketched the rabbits in the texts.

Observation
I noticed that communication is very important to express our ideas to our partners. I could see that my partner and I did not communicate too many of our ideas on the angpow design. The angpow design could be more interesting if we express our opinions and have more time to work on it. 

Findings
This task is a simple start for us to touch on commercial design. At this stage, we do not require to know much about the conventions of creating a commercial design such as we might have to consider the colours, printing materials, dimensions, etc during the printing part. However, I still think that it is important to understand those conventions in advance to prepare for involving in commercial designs.


FURTHER READING

by Callie Budrick

Band poster by Mike Joyce

The International Typographic Style (more commonly known as 'Swiss Style') is a graphic design style that is based on mathematical grids and this style presents simple and consistent designs.

The Principles
Cleanliness. Readability. Objectivity.

Grids are used in the Swiss Style as grids are flexible, consistent and easy to follow and they work well with ratios (Rule of Thirds, Golden Ratio, etc). Swiss Style usually involves an asymmetrical layout, sans serif typefaces and the favouring of photography over illustrations.

The pioneers of Swiss Style included Elements from Bauhaus, De Stijl and The New Typography sprinkled throughout the works of Ernst Keller, Max Bill, Josef-Müller Brakmann and Armin Hofmann.

The Typefaces
Sans serif typefaces play an important role in Swiss Style to show the simplicity and cleanliness of the design. Thus, Swiss Style eliminates extra decorative elements for the viewer and allows the information-heavy design to be read.

The typefaces that represent Swiss Style: Akzidenz-Grotesk, Univers, Helvetica

Akzidenz-Grotesk

The Designers
Ernst Keller is known as the "father of Swiss Design". His teachings at the Kunstgewerbeschule (arts and crafts school in Switzerland) mark the beginning of the grid systems for which Swiss Style is known.

Works by Ernst Keller, from 99designs

Armin Hofmann and Josef Müller-Brockmann, Keller's students are strongly influenced by Keller's teachings. Hofmann's work focused on elements of graphic form and made use of typography over illustration. Müller-Brockmann focused his work on the grid system and Akzidenz-Grotesk typeface. They contributed to developing the Swiss Style in education and mass media.

Works by Armin Hofmann, from Exploring Graphic Design

Works by Josef Müller-Brockmann, from GitHub Pages by Emma Corbett


QUICK LINKS


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