OUGD403
Evaluation
To conclude I feel that my final resolution is successful in terms of achieving my aims and also referring back to what the brief was asking. My typeface is bespoke and achieved the style I was aiming for and effectively communicated light in an efficient and modern way. The feedback critiques have helped me realise that my design has hit its aims and objectives with people commenting on key aspects of the design. I'm very pleased about the positive and negative feedback I received during the last critique because I always find it helpful and motivational to receive feedback on my own work, the feedback pointed out key aspects that maybe If I asked for feedback earlier on in the brief I could of improved on earlier. Even though a few people mentioned the design behind the 's' and 'z', I wish I truly justified the reasoning behind these characters during the crit, but this is a lesson to be learnt in future briefs.
Overall I've really enjoyed this brief, before I started the brief I'd never designed a typeface before or even knew any knowledge of typography, so one of my personal aims was to finish the brief with a new understanding of typography, the history. the pioneers and the terminology. Now that this brief is finished I can confidently say I've learnt key rules and definitions of typography, I can confidently talk about the anatomy of type thanks to this brief. Ive learnt ways in which I can improve in future briefs, for example not rushing into design decisions and ideas, by doing this it enables me to think more about the briefs and my ideas. Finally when I started the brief I set personal aims of designing a typeface that had a strong theme and related to my given adjective. I believe I've reached this aim, the theme was to have an efficient, modern and consistent typeface that communicates light and judging from the feedback I received I achieved that, so I'm happy i was able to reach that aim.
Showing posts with label OUGD403. Show all posts
Showing posts with label OUGD403. Show all posts
Monday, 16 November 2015
OUGD403
Feedback
In the final critique we presented our final typeface and manifesto to the class, we had to ask three questions to evaluate upon our work, the questions were as follows:
Is my manifesto relevant to to the design of my manifesto?
'I read the manifesto before I read that the manifesto derives from 'light' and automatically recognised the thin, sharp and consistent width of lines which are documented well in the manifesto'
'yes, its absolutely relevant, the thickness of the letterforms are very appropriate'
'yes, very effective and clear'
'manifesto justifies characteristics very well'
I received positive feedback about my final manifesto and how it related to the design of the typeface, the consistent stroke width seemed to be the main attribute to communicating light, it made the typeface clear and members of the class realised this,which is positive to hear.
Other than light, what else does my typeface communicate?
'modern, effeicent, spacious and technology'
'digital / futuristic'
'bowls look similar to leaves'
'digital (retro old computer digits)'
'the geometric forms connate modernism, efficiency and movement'
'structure'
I was very pleased with this feedback because the leaf design was noticed in feedback and all the other words used to describe my typeface were similar to my aims and manifesto, even listening to new words that my typeface could possibly communicate could later influence my manifesto, for example the one piece of feedback saying 'digital' referring to retro computer graphics, I never associated this with my design before the crit but now it has been mentioned, it does have similarities.
What would you change?
'I personally would change the 'z', due to it being similar to the 's', it should be its own character'
'I would change the 'k' so it looks less like the 'h''
'letters 'z' and 's' are hard to read'
'would be good to see variant uppercase'
All the comments were similar, many people change the 's' and 'z', I can take this on board but I think I should have explained the reasoning behind mirroring the characters better. Comments were made about the readability and legibility of 's' and 'z', maybe if i made the 's' vertically longer it'd be easier for the viewer.
Overall I'm very pleased with the positive and negative feedback I received during the last critique because I always find it helpful and motivational to receive feedback on my own work.
Feedback
In the final critique we presented our final typeface and manifesto to the class, we had to ask three questions to evaluate upon our work, the questions were as follows:
Is my manifesto relevant to to the design of my manifesto?
'I read the manifesto before I read that the manifesto derives from 'light' and automatically recognised the thin, sharp and consistent width of lines which are documented well in the manifesto'
'yes, its absolutely relevant, the thickness of the letterforms are very appropriate'
'yes, very effective and clear'
'manifesto justifies characteristics very well'
I received positive feedback about my final manifesto and how it related to the design of the typeface, the consistent stroke width seemed to be the main attribute to communicating light, it made the typeface clear and members of the class realised this,which is positive to hear.
Other than light, what else does my typeface communicate?
'modern, effeicent, spacious and technology'
'digital / futuristic'
'bowls look similar to leaves'
'digital (retro old computer digits)'
'the geometric forms connate modernism, efficiency and movement'
'structure'
I was very pleased with this feedback because the leaf design was noticed in feedback and all the other words used to describe my typeface were similar to my aims and manifesto, even listening to new words that my typeface could possibly communicate could later influence my manifesto, for example the one piece of feedback saying 'digital' referring to retro computer graphics, I never associated this with my design before the crit but now it has been mentioned, it does have similarities.
What would you change?
'I personally would change the 'z', due to it being similar to the 's', it should be its own character'
'I would change the 'k' so it looks less like the 'h''
'letters 'z' and 's' are hard to read'
'would be good to see variant uppercase'
All the comments were similar, many people change the 's' and 'z', I can take this on board but I think I should have explained the reasoning behind mirroring the characters better. Comments were made about the readability and legibility of 's' and 'z', maybe if i made the 's' vertically longer it'd be easier for the viewer.
Overall I'm very pleased with the positive and negative feedback I received during the last critique because I always find it helpful and motivational to receive feedback on my own work.
OUGD403
This is my final typeface, for the production of this typeface I used a method of using the leaf design template to base a majority of the characters from. For example when designing the 'd' I simply added a ascending stem to create the character, the 'e' was created using using a scissor tool. I used this tool in illustrator to take away the straight stroke on the right hand side of the character then I simply added a stroke to the body to devise an 'e'.This was common method I used throughout the design process of the typeface, this method always refers back to the aim of being efficient. Overall I'm very pleased with the final outcome of the design of my typeface, its stuck to the aims and manifesto of being modern, efficient and convey light.
Studio Brief 02
Final Typeface & Typeface Specimen
Final Typeface & Typeface Specimen
This is my final typeface, for the production of this typeface I used a method of using the leaf design template to base a majority of the characters from. For example when designing the 'd' I simply added a ascending stem to create the character, the 'e' was created using using a scissor tool. I used this tool in illustrator to take away the straight stroke on the right hand side of the character then I simply added a stroke to the body to devise an 'e'.This was common method I used throughout the design process of the typeface, this method always refers back to the aim of being efficient. Overall I'm very pleased with the final outcome of the design of my typeface, its stuck to the aims and manifesto of being modern, efficient and convey light.
For the final resolution of this brief I designed a type specimen. I used the type specimens I received from Fontsmith to influence the layout of the specimen. I wanted my specimen to firstly introduce the typeface, then precede to the manifesto and the character set then lastly show the type used in text. Before I started designing the specimen, I wanted the specimen itself to relate to my given adjective, so I had the idea of printing on tracing paper, this stock is translucent alike the name of the type and ties in with 'light'.
The translucent effect works really well for my specimen, when layered on top of each other each sheet is viewable but the only text you can read is the one present on the current page. I like this effect as it signifies translucence and my idea of 'light'. The opening page of the specimen introduces the name of the typeface and I briefly mentioned the brief for the typeface, that I chose Helvetica and had to communicate light. The second page jumps straight into the character set and the manifesto is made known. In the last page I experimented with the letters to see what the typeface would look like in a block of text.
Sunday, 15 November 2015
OUGD403
Study Task 02
Above is an alteration I made to the 'h', it isn't a major change but I think it makes a big difference. I found the original 'h' didn't have any relevance to any characters in the set and looked out of place. To change this I altered the body connecting to the stem, this made a considerable difference as the 'h' now is similar to characters such as 'm' and 'n'. This change also refers back to the manifesto with the contrast of curved and straight lines, the original just seemed to singular and curved.
Study Task 02
Above is an alteration I made to the 'h', it isn't a major change but I think it makes a big difference. I found the original 'h' didn't have any relevance to any characters in the set and looked out of place. To change this I altered the body connecting to the stem, this made a considerable difference as the 'h' now is similar to characters such as 'm' and 'n'. This change also refers back to the manifesto with the contrast of curved and straight lines, the original just seemed to singular and curved.
OUGD403
Studio Brief 02
At this stage I've digitalised my ideas for Lucent, and started developing them in Illustrator.
The base of the design is a leaf influenced design for example found on the a, b, p and the o. The leaf symbolises light referring to a weightless adjective. The design decision to have a leaf shaped body that would act as a base for a majority of the characters, this helps maintain a consistent design also, as well as giving the typeface a distinctive style. The design of the leaf is a contrast of thin curved and straight lines that symbolise a leaf in a modern way.
The leaf design plays a prominent role in the design of some characters, even in some design that the leaf isn't included the curves and lines are similar, this was a key part of the design because I didn't want the leaf inspired characters dominating the character set so I used some of the curves on characters such as 'k', 'r' and the 's'. Subtle changes to the leaf resulted in the design of certain characters. The 'p' and 'q' are simply mirrored then the 'q' has a simple terminal to differentiate the two.
When I first designed the 'r' it seemed rather lost within the set due to its short shoulder, so I extended the shoulder and made the horizontal line longer to make the character larger. I wanted minimal strokes / lines throughout the design, these are evident in the design of 'j' and 'l'. These are very simple characters but are justified in my manifesto, 'clear', 'modern' and 'efficient'.
Studio Brief 02
At this stage I've digitalised my ideas for Lucent, and started developing them in Illustrator.
The base of the design is a leaf influenced design for example found on the a, b, p and the o. The leaf symbolises light referring to a weightless adjective. The design decision to have a leaf shaped body that would act as a base for a majority of the characters, this helps maintain a consistent design also, as well as giving the typeface a distinctive style. The design of the leaf is a contrast of thin curved and straight lines that symbolise a leaf in a modern way.
The leaf design plays a prominent role in the design of some characters, even in some design that the leaf isn't included the curves and lines are similar, this was a key part of the design because I didn't want the leaf inspired characters dominating the character set so I used some of the curves on characters such as 'k', 'r' and the 's'. Subtle changes to the leaf resulted in the design of certain characters. The 'p' and 'q' are simply mirrored then the 'q' has a simple terminal to differentiate the two.
When I first designed the 'r' it seemed rather lost within the set due to its short shoulder, so I extended the shoulder and made the horizontal line longer to make the character larger. I wanted minimal strokes / lines throughout the design, these are evident in the design of 'j' and 'l'. These are very simple characters but are justified in my manifesto, 'clear', 'modern' and 'efficient'.
Saturday, 14 November 2015
OUGD403
Studio Brief 02
After the interim crit I developed the idea for my typeface, first fixing the x-height on the 'a' as it breached the x-height line, which it shouldn't.
Above is the development, I simply removed the ascending line that went over the x-height, then added a bracket at descender line. Now I've made this change the overall design of the 'a' has improved in my opinion. I'm glad I received this feedback in the crit because otherwise I possibly wouldn't have noticed the mistake I made. The older design now looks out of place with the character set I've developed, the angular lines are out of place with the contrasting curves I've now used in the design.
Studio Brief 02
After the interim crit I developed the idea for my typeface, first fixing the x-height on the 'a' as it breached the x-height line, which it shouldn't.
Above is the development, I simply removed the ascending line that went over the x-height, then added a bracket at descender line. Now I've made this change the overall design of the 'a' has improved in my opinion. I'm glad I received this feedback in the crit because otherwise I possibly wouldn't have noticed the mistake I made. The older design now looks out of place with the character set I've developed, the angular lines are out of place with the contrasting curves I've now used in the design.
Friday, 6 November 2015
OUGD403
Typeface Manifesto updated
Following on from the latest interim crit, I decided to update my manifesto to suit the current design and based upon the feedback I received.
Designed to disseminate a modern effervescent style, Lucent has strong characteristics like straight edge shoulders that allow it to have an efficient style. A consistent stroke width gives it a clear approach to any reader of the type. Lucent is best applied as display text as it's modernist look draws an audience in.
Typeface Manifesto updated
Following on from the latest interim crit, I decided to update my manifesto to suit the current design and based upon the feedback I received.
Designed to disseminate a modern effervescent style, Lucent has strong characteristics like straight edge shoulders that allow it to have an efficient style. A consistent stroke width gives it a clear approach to any reader of the type. Lucent is best applied as display text as it's modernist look draws an audience in.
OUGD403
Interim Crit
For this crit we had to present our initial ideas,type manifesto and reasoning behind choosing the specific typeface to base the designs from.
Above is my initial ideas for the typeface, the feedback I received on the design is that it resembles a modernist style that I'm trying to achieve but also the 'A' breaches the x-height, I would need a big design justification to explain this design so I may have to change this aspect in the design, I'm glad I received this feedback as otherwise I wouldn't have noticed this and made a big typography design error. Other members of the class believed this type would work best as a display typeface, I agree as its maybe too thin to read within a block text.
I received positive feedback about my manifesto and typeface name which was encouraging but having the crit enabled me to add new information such as the typeface is applied best as a display typeface.
Interim Crit
For this crit we had to present our initial ideas,type manifesto and reasoning behind choosing the specific typeface to base the designs from.
Above is my initial ideas for the typeface, the feedback I received on the design is that it resembles a modernist style that I'm trying to achieve but also the 'A' breaches the x-height, I would need a big design justification to explain this design so I may have to change this aspect in the design, I'm glad I received this feedback as otherwise I wouldn't have noticed this and made a big typography design error. Other members of the class believed this type would work best as a display typeface, I agree as its maybe too thin to read within a block text.
I received positive feedback about my manifesto and typeface name which was encouraging but having the crit enabled me to add new information such as the typeface is applied best as a display typeface.
Wednesday, 4 November 2015
Monday, 2 November 2015
OUGD403
Setting type lecture & Menu redesign study task
Grids
Common grid sizes are 2x4, 3x6, 4x8, 5x4, 6x6. The more grids you use, the more flexibility you'll have with your work.
Legibility
The quality of text being clear enough to read. Legibility is mainly determined by display faces,x-height, serif and sans serif.
Readability
Readability is about arranging words and groups of words in a way that allows the readers eye to access the content easily and in a way that makes sense. Hierarchy, Contrast, Kerning, Size and Line height, are all used to improve readability.
Alignment
Alignment is used to organize all type . Almost all text uses alignment to organize lines of type, the letters align along their bases and the lines begin along a line. Rag, flush left, centred, justified are the types of alignments.
Orphans
Setting type lecture & Menu redesign study task
Grids
Common grid sizes are 2x4, 3x6, 4x8, 5x4, 6x6. The more grids you use, the more flexibility you'll have with your work.
Legibility
The quality of text being clear enough to read. Legibility is mainly determined by display faces,x-height, serif and sans serif.
Readability
Readability is about arranging words and groups of words in a way that allows the readers eye to access the content easily and in a way that makes sense. Hierarchy, Contrast, Kerning, Size and Line height, are all used to improve readability.
Alignment
Alignment is used to organize all type . Almost all text uses alignment to organize lines of type, the letters align along their bases and the lines begin along a line. Rag, flush left, centred, justified are the types of alignments.
Orphans
An orphan is a single word found at the end of a column.
Widow
A widow is a short line, It is considered as poor typography because it leaves too much white space.
Study Task
For this study task we had to redesign a takeaway menu, with our new understanding of setting type we had to make the menu less complicated and simple for the reader. I decided to use a menu from BentoKing which is Chinese takeaway. The current menu has a few design problems, some of the prices aren't aligned, I think the text is too small and compact so its hard for the reader to understand it. So for the redesign I just wanted to quickly and efficiently inform the reader of the options by improving the line height simplifying the layout.
Sunday, 1 November 2015
OUGD403
Studio brief 02
Typeface interim crit
For this interim crit we had to present our research and initial thoughts on which typeface to select to effectively communicate the given adjective. For the research I looked into Müeller-Brockmanns and the nine selected typefaces, the research is seen in a recent blog post but other research I did was to decide upon whether the individual typefaces would be suitable for 'light'.
Garamond
Garamond has a old style serif that I think doesn’t interact the adjective ‘light’ very well, this could down to the thick strokes. The strong serifs on each letter make the charecters seem heavy at the baseline, I also think each terminal is rather too large and even if I was repurpose the design the stem would still be too strong. This typeface is too heavy in my opioin to communicate ‘light’.
Caslon
I think Caslon is a less condensed version of Garamond, it has cleaner and straighter serifs that I much prefer over Garamond’s thich curved serifs. The main difference between the two is mainly the contrast between straight and curved terminals,ascenders, descenders and brackets. This is one aspect I like about Caslon’s design, the direct charecters do have a modern aspect that could communicate ‘light’ in a strong emphasis thanks to its short ascenders and descenders.
Baskerville
What I like about the design of Baskerville is the disconnected loop found on the lowercase ‘g’ I think this symbolises a less compact design, that could also embody weightless / light. I also like the thin stem strokes that help achieve a clear sharp look. It has a lighter old syle serif personality than say Garamond and Caslon does so this could be one of the old style modern designs that could work.
Bodoni
The elegant modern design of Bodoni could convey ‘light’ well, the mix of straight and curved serifs do achieve a bold design but not too overpowering. Personally Bodoni is one of my favourite typefaces but its more condensed style than its influence Baskerville, which I would prefer to use for communicating ‘light’ because of its less compact design.
Clarendon
Personally I don’t like Clarendon, the ear and shoulders on some characters make me dislike the font, I feel as if these characteristics are unneeded, espicially if im to communicate light, I dont think Clarendon is the most relavant. It has a strong emphasis but doesnt suit the weightless style I’m after, then again I could repurpose this as I dont like it and could find it easy to change certain characteristics.
Berthold
Akzidenz Grotesk is Berthold’s most celebrated,known for being the mother of all sans serif typefaces and I can see why because a majority of swiss modern typefaces are based off Akzidenz Grotesk. Its efficient design is clear and can communicate anything in my opinion as many sans serif can but when repurposing this design I’m not entirely sure what I’d change, the typeface doesn’t have any unneeded characteristics.
Times
Times has a lot of sharp edges that communicate a clear emphasis, if I was to repurpose this typeface i'd keep the sharp strokes as I think they're the strongest characteristic of the design but I'd reduce the stem size.
Helvetica
Simialar to Akidenz Grotesk,Helvetica doesnt have any particular characteristics I’d change. One way in which I could repurpose it is halfing the stems horizontally or expand the bowls in some letterforms. All these changes may seem pointless as Helvetica Light is available to use.
Univers
Univers is the lighest typeface from Müeller-Brockmanns classic and lead typefaces, it lacks any excessive features of any type. Its versatilty makes it a good option to betray light. It works within a strict framework that I could easily modify.
Studio brief 02
Typeface interim crit
For this interim crit we had to present our research and initial thoughts on which typeface to select to effectively communicate the given adjective. For the research I looked into Müeller-Brockmanns and the nine selected typefaces, the research is seen in a recent blog post but other research I did was to decide upon whether the individual typefaces would be suitable for 'light'.
Garamond
Garamond has a old style serif that I think doesn’t interact the adjective ‘light’ very well, this could down to the thick strokes. The strong serifs on each letter make the charecters seem heavy at the baseline, I also think each terminal is rather too large and even if I was repurpose the design the stem would still be too strong. This typeface is too heavy in my opioin to communicate ‘light’.
Caslon
I think Caslon is a less condensed version of Garamond, it has cleaner and straighter serifs that I much prefer over Garamond’s thich curved serifs. The main difference between the two is mainly the contrast between straight and curved terminals,ascenders, descenders and brackets. This is one aspect I like about Caslon’s design, the direct charecters do have a modern aspect that could communicate ‘light’ in a strong emphasis thanks to its short ascenders and descenders.
Baskerville
What I like about the design of Baskerville is the disconnected loop found on the lowercase ‘g’ I think this symbolises a less compact design, that could also embody weightless / light. I also like the thin stem strokes that help achieve a clear sharp look. It has a lighter old syle serif personality than say Garamond and Caslon does so this could be one of the old style modern designs that could work.
Bodoni
The elegant modern design of Bodoni could convey ‘light’ well, the mix of straight and curved serifs do achieve a bold design but not too overpowering. Personally Bodoni is one of my favourite typefaces but its more condensed style than its influence Baskerville, which I would prefer to use for communicating ‘light’ because of its less compact design.
Clarendon
Personally I don’t like Clarendon, the ear and shoulders on some characters make me dislike the font, I feel as if these characteristics are unneeded, espicially if im to communicate light, I dont think Clarendon is the most relavant. It has a strong emphasis but doesnt suit the weightless style I’m after, then again I could repurpose this as I dont like it and could find it easy to change certain characteristics.
Berthold
Akzidenz Grotesk is Berthold’s most celebrated,known for being the mother of all sans serif typefaces and I can see why because a majority of swiss modern typefaces are based off Akzidenz Grotesk. Its efficient design is clear and can communicate anything in my opinion as many sans serif can but when repurposing this design I’m not entirely sure what I’d change, the typeface doesn’t have any unneeded characteristics.
Times
Times has a lot of sharp edges that communicate a clear emphasis, if I was to repurpose this typeface i'd keep the sharp strokes as I think they're the strongest characteristic of the design but I'd reduce the stem size.
Helvetica
Simialar to Akidenz Grotesk,Helvetica doesnt have any particular characteristics I’d change. One way in which I could repurpose it is halfing the stems horizontally or expand the bowls in some letterforms. All these changes may seem pointless as Helvetica Light is available to use.
Univers
Univers is the lighest typeface from Müeller-Brockmanns classic and lead typefaces, it lacks any excessive features of any type. Its versatilty makes it a good option to betray light. It works within a strict framework that I could easily modify.
OUGD403
Studio Brief 02
Adjective meaning
The adjective which I randomly chose was 'Light', so in this blog post I just want to expand more on the meaning of the word and what I could possibly do to communicate this through letterforms.
Definitions:
-The natural agent that stimulates sight and makes things visible.
-Provide with light or lighting; illuminate.
-(of a colour) pale.
-Of little weight; not heavy.
Synonyms:
-Clear
-Glowing
-Aglow
-Vivid
The word light can refer to a number of meanings for instance natural light, weight or colour. So if i’m to effectively communicate my given adjective I need to decided upon one of the meanings or incorporate all them within the design of the typeface. Personally when I think of ‘light’, pale colours,calmness, weightless and modern come to mind.
Studio Brief 02
Adjective meaning
The adjective which I randomly chose was 'Light', so in this blog post I just want to expand more on the meaning of the word and what I could possibly do to communicate this through letterforms.
Definitions:
-The natural agent that stimulates sight and makes things visible.
-Provide with light or lighting; illuminate.
-(of a colour) pale.
-Of little weight; not heavy.
Synonyms:
-Clear
-Glowing
-Aglow
-Vivid
The word light can refer to a number of meanings for instance natural light, weight or colour. So if i’m to effectively communicate my given adjective I need to decided upon one of the meanings or incorporate all them within the design of the typeface. Personally when I think of ‘light’, pale colours,calmness, weightless and modern come to mind.
Wednesday, 28 October 2015
OUGD403
Studio brief 02
Typeface design
The latest brief has been set and the task is to create our own bespoke typeface, which should effectively communicate my given adjective which is 'Light'. The typeface has to be based on Müeller-Brockmanns classic and lead typefaces, so the selection is Garamond, Caslon, Baskerville, Bodoni, Clarendon, Berthold, Times, Helvetica and Univers. Basically I have to repurpose certains shapes/letterforms to symbolise 'Light'.
To start this brief I looked into Josef Müeller-Brockmann in more detail, he was a Swiss graphic designer and teacher. He studied architecture, design and history of art at University. He is recognised for his simple designs and his clean use of typography, shapes and colours which inspire many graphic designers in the 21st century. He often used the word ‘anonymous’ in connection with type.
Studio brief 02
Typeface design
The latest brief has been set and the task is to create our own bespoke typeface, which should effectively communicate my given adjective which is 'Light'. The typeface has to be based on Müeller-Brockmanns classic and lead typefaces, so the selection is Garamond, Caslon, Baskerville, Bodoni, Clarendon, Berthold, Times, Helvetica and Univers. Basically I have to repurpose certains shapes/letterforms to symbolise 'Light'.
To start this brief I looked into Josef Müeller-Brockmann in more detail, he was a Swiss graphic designer and teacher. He studied architecture, design and history of art at University. He is recognised for his simple designs and his clean use of typography, shapes and colours which inspire many graphic designers in the 21st century. He often used the word ‘anonymous’ in connection with type.
By this he meant neutral, rational typography like western typefaces that are based on the universal shapes of circle, square and triangle. That makes them rational and gives them an elegance that is recognisable by all cultures. His personal favourite typeface was Berthold’s Akzidenz Grotesk but he believed in nine classic typefaces that we should use and this was the second research task I undertook, I wanted more knowledge on each typeface so I explored each one of them.
Garamond
Garamond is the name given to many old style serif typefaces, named after the 16th-century punch cutter Claude Garamont, similar to all old-style designs, variation in stroke is restrained so that it resembles handwriting, creating a design that seems hand rendered. Garamond is considered to be among the most readable serif typefaces when printed on paper. What I think makes Garamond effective is the different stroke weights found in certain letters like lowercase 'a' and 'e', it demonstrates the hand rendered style effectively.
Caslon
Caslon is a group of serif typefaces designed by William Caslon, Considered the first original English typeface this font was made famous because of its extensive use throughout the Brtish Empire,It has been revived at various times since then, in particular during the British arts and crafts movement and again each time it went through a redesign for technological changes. It continues to be a standard in typography to this day.One notable design of Caslon it has short ascenders and descenders, it has a bold weight and I think this helps communicate a strong emphasis.
Caslon is a group of serif typefaces designed by William Caslon, Considered the first original English typeface this font was made famous because of its extensive use throughout the Brtish Empire,It has been revived at various times since then, in particular during the British arts and crafts movement and again each time it went through a redesign for technological changes. It continues to be a standard in typography to this day.One notable design of Caslon it has short ascenders and descenders, it has a bold weight and I think this helps communicate a strong emphasis.
Baskerville
Baskerville is a serif typeface designed in 1757 by John Baskerville,Baskerville was a 17th century publisher who developed many innovations across different elements of printing, including paper stocks, inks, and typefaces. The typeface is used mainly for texts in books,A research study showed that the use of the Baskerville font increased the likelihood of the reader agreeing with a statement by 1.5%. I'm not sure what would cause this but Baskerville has a contrast of thin and thick stroke lines that give the serifs a more sharp look.
Bodoni
The various font styles begin with Bodoni’s original Didone modern font in the late 1700s, The original design had a bold look with contrasting strokes and an upper case that was a bit more condensed then its stylish influence Baskerville, variant designs came out but R. Hunter Middleton redesign is considered the most faithful redesign of Bodoni’s original roman design. This is a popular font seen in almost every kind of typesetting situation, but particularly well suited for logos and title fonts, for example high end fashion journals and magazines such as Vogue. Personally Bodoni is one of my favourite typefaces because of its elegant modern design that can draw the attention, even when you subtract the space in kerning Bodoni doesn't loose much of its sturdy design and it think that this down to the contrast of thick and thin strokes.
Clarendon
The Clarendon font family is a modern era of a 19th century publishing classic, apparently named after the Clarendon press in Oxford. It is used in many modern logos across the media spectrum like People Magazine, Clarendon types proved extremely popular in many parts of the world, in particular for display such as posters printed with wood type but today you can see Clarendon for Sony's logotype which is Clarendon bold expanded. Clarendon has a clear style, achieved through thick strokes and serifs.
Berthold
The Berthold type foundry, was founded in 1858 by Hermann Berthold in Berlin.Berthold is known for the development of high quality typefaces. The Berthold foundry's most celebrated family of typefaces is arguably Akzidenz-Grotesk, known as the mother of all sans serifs.Its design influenced many later designs, especially many typefaces released after 1950, like Helvetica in 1957. Other Berthold fonts include Imago, Formata, Cooperate ASE and AG Book.
Times
The story behind Times is rather interesting,In 1931,The Times of London commissioned a new text type design from Stanley Morison and Victor Lardent, after Morison had written an article criticizing The Times for being badly printed. The new design was supervised by Morison who used an older typeface, Plantin, as the basis for his design. As the old type used by the newspaper had been called Times Old Roman, Morison's new design became 'Times New Roman'. The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. There is five Times fonts including Times Ten, Times Eighteen, Times Europa and Times New Roman.
Helvetica
The Helvetica typeface is one of the most famous and popular in the world. It is used everywhere and you come across it daily, Helvetica is so successful because it speaks so much, it can stand for anything. The design has the concept that a typeface should absolutely support the reading process, that clear communication is the primary goal of typography. It was designed in 1957 by Swiss Graphic designer Max Miedinger, Miedinger was under the instructions of Eduard Hoffmann, managing director of the Haas Type Foundry at that time to design a typeface that would unseat a popular family offered by one his company’s competitors. Whenever I'm using Helvetica, the negative space surrounding the letters make it as effective as the lines that make up the characters themselves I think.
Univers
Univers is similar to helvetica but is unique in its own way as the design lacks excessive features of any type, creating a design that is versatile and distinctive. Adrian Frutiger started designing Univers in 1954, completing his design in 1957. The Univers type family has grown to 44 different weights and styles. Frutiger continuously tried to improve and expand the Univers family until his recent death, he always wanted Univers to have a strict framework that worked harmoniously.
Berthold
The Berthold type foundry, was founded in 1858 by Hermann Berthold in Berlin.Berthold is known for the development of high quality typefaces. The Berthold foundry's most celebrated family of typefaces is arguably Akzidenz-Grotesk, known as the mother of all sans serifs.Its design influenced many later designs, especially many typefaces released after 1950, like Helvetica in 1957. Other Berthold fonts include Imago, Formata, Cooperate ASE and AG Book.
Times
The story behind Times is rather interesting,In 1931,The Times of London commissioned a new text type design from Stanley Morison and Victor Lardent, after Morison had written an article criticizing The Times for being badly printed. The new design was supervised by Morison who used an older typeface, Plantin, as the basis for his design. As the old type used by the newspaper had been called Times Old Roman, Morison's new design became 'Times New Roman'. The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. There is five Times fonts including Times Ten, Times Eighteen, Times Europa and Times New Roman.
Helvetica
The Helvetica typeface is one of the most famous and popular in the world. It is used everywhere and you come across it daily, Helvetica is so successful because it speaks so much, it can stand for anything. The design has the concept that a typeface should absolutely support the reading process, that clear communication is the primary goal of typography. It was designed in 1957 by Swiss Graphic designer Max Miedinger, Miedinger was under the instructions of Eduard Hoffmann, managing director of the Haas Type Foundry at that time to design a typeface that would unseat a popular family offered by one his company’s competitors. Whenever I'm using Helvetica, the negative space surrounding the letters make it as effective as the lines that make up the characters themselves I think.
Univers
Univers is similar to helvetica but is unique in its own way as the design lacks excessive features of any type, creating a design that is versatile and distinctive. Adrian Frutiger started designing Univers in 1954, completing his design in 1957. The Univers type family has grown to 44 different weights and styles. Frutiger continuously tried to improve and expand the Univers family until his recent death, he always wanted Univers to have a strict framework that worked harmoniously.
Monday, 26 October 2015
OUGD403
Study task 03
Drawing the detectives
This task was to design a graphic reinterpretation of a chosen Agatha Christie novel as a part of the guardians celebration of what would have been her 125th birthday. Using my newfound knowledge of colour theory and understanding of typographic design I had to redesign a cover for 'Curtain' which was the famous detectives 'Hercule Poirot' last case.
The novel features Hercule Poirot and Arthur Hastings in their final appearances in Christie's works. It is a country house novel,with all the characters and the murder set in one house. Once I had a basic understanding of what the book was about I started to look at previous book covers for this title.
The three I've picked out all have different main focuses, the first one is referencing the morphine used to kill someone, the second one is touching on that Poirot himself was in a wheelchair for his last case and finally the last book cover has went for a stereotypical Poirot moustache. So now I knew what previous imagery was used to represent 'Curtain', I could base some ideas from them. I noted down key words that I could illustrate such poison and country house.
My first initial ideas were to have a curtains shaped in Poirot's famous moustache to signify the curtains coming down on his long detective career, other ideas included pairing Poirot and Hastings alongside each other in a simplified human figure's illustration similar to male toilet symbols but have small details such as Poirot's moustache to differentiate them. Other inspirations came from alternative film posters and this is where I decided upon the idea I would develop.
My final idea was to involve a small part of the house in which the murders took place, and I thought a window would be most suitable, firstly because of its references to the title but also I thought a window could symbolise a way of not getting out,pinning on the point all the murders took place in the house.
I chose to use Bodoni for the type because I believe it suits the style of Poirot, this typeface works well with the 1930s theme of the book and it looks clear and bold at the top of the cover. The secondary type below 'Curtain' is Futura, I chose it because personally I think it works well with Bodoni and isn't too overpowering below the text. I chose the dark and gloomy colours of the 1930s for the colour palette, i think the very light brown offsets well with the white block at the top. The green stands out for me, as it symbolises the darkness going on within the country house.
For the illustration itself i wanted a simple window illustration centre of the page. It was later on in the task when I asked for feedback from a member of the class, and they commented on the sharp light reflection on the window saying it looked like a guillotine, even though the novel has no reference to a guillotine nonetheless its a clever interpretation of death and murder. The small skull and bones symbolises the poison inside the country house.
Once I completed the design I uploaded it to the Guardians website as a part of the live brief,I always enjoy taking part in a live brief as I find it motivates me more during the design process.
Study task 03
Drawing the detectives
This task was to design a graphic reinterpretation of a chosen Agatha Christie novel as a part of the guardians celebration of what would have been her 125th birthday. Using my newfound knowledge of colour theory and understanding of typographic design I had to redesign a cover for 'Curtain' which was the famous detectives 'Hercule Poirot' last case.
The novel features Hercule Poirot and Arthur Hastings in their final appearances in Christie's works. It is a country house novel,with all the characters and the murder set in one house. Once I had a basic understanding of what the book was about I started to look at previous book covers for this title.
The three I've picked out all have different main focuses, the first one is referencing the morphine used to kill someone, the second one is touching on that Poirot himself was in a wheelchair for his last case and finally the last book cover has went for a stereotypical Poirot moustache. So now I knew what previous imagery was used to represent 'Curtain', I could base some ideas from them. I noted down key words that I could illustrate such poison and country house.
My first initial ideas were to have a curtains shaped in Poirot's famous moustache to signify the curtains coming down on his long detective career, other ideas included pairing Poirot and Hastings alongside each other in a simplified human figure's illustration similar to male toilet symbols but have small details such as Poirot's moustache to differentiate them. Other inspirations came from alternative film posters and this is where I decided upon the idea I would develop.
My final idea was to involve a small part of the house in which the murders took place, and I thought a window would be most suitable, firstly because of its references to the title but also I thought a window could symbolise a way of not getting out,pinning on the point all the murders took place in the house.
I chose to use Bodoni for the type because I believe it suits the style of Poirot, this typeface works well with the 1930s theme of the book and it looks clear and bold at the top of the cover. The secondary type below 'Curtain' is Futura, I chose it because personally I think it works well with Bodoni and isn't too overpowering below the text. I chose the dark and gloomy colours of the 1930s for the colour palette, i think the very light brown offsets well with the white block at the top. The green stands out for me, as it symbolises the darkness going on within the country house.
For the illustration itself i wanted a simple window illustration centre of the page. It was later on in the task when I asked for feedback from a member of the class, and they commented on the sharp light reflection on the window saying it looked like a guillotine, even though the novel has no reference to a guillotine nonetheless its a clever interpretation of death and murder. The small skull and bones symbolises the poison inside the country house.
Once I completed the design I uploaded it to the Guardians website as a part of the live brief,I always enjoy taking part in a live brief as I find it motivates me more during the design process.
Sunday, 25 October 2015
OUGD403
Study brief 01
Feedback & Evaluation
'Is the logo appropriate for all ages" was the first question I asked the crit group, for this question I received mixed feedback,some of the points I received were:
"I feel as if its too complicated"
"Its fun but maybe for boys"
"bold and fun,easy to read"
"The final design is quite playful and bold therefore I believe it is associable for different target audiences"
The evaluation of this point was helpful as it pointed out the key characteristics of the design I was aiming for which was clear and bold. I'm glad that this positive feedback was received as it was a aim but other comments claimed that the design was complicated, I can take this on board to make the logo even better but I wasn't entirely certain about what this point meant because was it too bold? hard to read? Receiving feedback at the end of the project is always helpful but its shown me I need to start asking for more feedback during the project.
The second question I asked was "What other colours could I include in the design" I mainly used red and black for the colours but I was interested in knowing which other colours could have worked, when I was doing research for this brief I looked at the Thai flag and the colours associated with Thailand but I never pursued using some of the colours, primarily blue. So it was no surprise in my feedback that people commented saying incorporate blue. Here is some of the feedback I received:
"Red relates to food well so it is easily recognisable"
"Use a pale blue or orange perhaps"
The final question I asked was "Is the logo clear enough? And where would it look best?" the replies were:
"look is very clean and would look best as signage"
"Very unique and stand out piece of type"
"I like the logo in your development with the word 'thai' in small more. The first two I didn't recognise as an oriental style font because the letter ZAAP didn't present the theme very well on their own"
The reason I asked this question is because I was curious to know where people would think the logo would look best considering its a bold logo. Personally I think the logo would look best as a store sign and maybe not as a app logo.This was backed up in the crit as members of the class also believed the logo would look better in store, on menus etc rather than online.
Study brief 01
Feedback & Evaluation
'Is the logo appropriate for all ages" was the first question I asked the crit group, for this question I received mixed feedback,some of the points I received were:
"I feel as if its too complicated"
"Its fun but maybe for boys"
"bold and fun,easy to read"
"The final design is quite playful and bold therefore I believe it is associable for different target audiences"
The evaluation of this point was helpful as it pointed out the key characteristics of the design I was aiming for which was clear and bold. I'm glad that this positive feedback was received as it was a aim but other comments claimed that the design was complicated, I can take this on board to make the logo even better but I wasn't entirely certain about what this point meant because was it too bold? hard to read? Receiving feedback at the end of the project is always helpful but its shown me I need to start asking for more feedback during the project.
The second question I asked was "What other colours could I include in the design" I mainly used red and black for the colours but I was interested in knowing which other colours could have worked, when I was doing research for this brief I looked at the Thai flag and the colours associated with Thailand but I never pursued using some of the colours, primarily blue. So it was no surprise in my feedback that people commented saying incorporate blue. Here is some of the feedback I received:
"Red relates to food well so it is easily recognisable"
"Use a pale blue or orange perhaps"
The final question I asked was "Is the logo clear enough? And where would it look best?" the replies were:
"look is very clean and would look best as signage"
"Very unique and stand out piece of type"
"I like the logo in your development with the word 'thai' in small more. The first two I didn't recognise as an oriental style font because the letter ZAAP didn't present the theme very well on their own"
The reason I asked this question is because I was curious to know where people would think the logo would look best considering its a bold logo. Personally I think the logo would look best as a store sign and maybe not as a app logo.This was backed up in the crit as members of the class also believed the logo would look better in store, on menus etc rather than online.
Monday, 19 October 2015
OUGD403
Whitney Museum rebrand
Experimental jetset were approached by the Whitney Museum to redesign their graphic identity ahead of their move to a new museum designed by Renzo Piano. The redesign focuses around the notion of a zig zag, the design refers a selection of things, for example the industrial nature of the new architecture, the archetypical roofs of factories, and the iconic exterior fire escape stairs of New York. Personally my first thoughts of the rebrand were that the zig zag was initially a 'W' representing Whitney but as I researched into the design process, continuos design explanations are presented for this rebrand.
The use of the line gives the identity an open feel, a sense of freedom. The minimalistic design gives it flexibility in certain ways because I think the weight and thickness of the line look subtle with text but when you add image the logo looses its effectiveness. To allude back to the point of the design being 'open', this is achieved by the use of negative space. The remaining space is the museum itself, the artwork, the artists etc, I think the minimal style is trying to dampen down the institute itself and maybe focus on the pieces of art actually inside the museum.
Back to my point before about the logo being lost once you add image, for instance in this advertisement which I personally like but still I believe the line weight isn't strong enough and is muted, the Neue Haas Grotesk type enhances the design but in this case it shouldn't have to, the symbol should be able to stand alone.
The point in this exercise was to be able to asses my own work like the way I have done for the rebrand of Whitney Museum. I enjoyed this task because I'm bittersweet over the design so it was good to analyse it, other than this task we also had to create a list of words that we could describe our work by,below is a short selection of them :
- Adaptable
- Engaging
- Cohesive
- Intricate
- Conceptual
- Functional
What I've gained from this task is that from now on i'll asses my own work and peers work with more depth and analysis.
Whitney Museum rebrand
Experimental jetset were approached by the Whitney Museum to redesign their graphic identity ahead of their move to a new museum designed by Renzo Piano. The redesign focuses around the notion of a zig zag, the design refers a selection of things, for example the industrial nature of the new architecture, the archetypical roofs of factories, and the iconic exterior fire escape stairs of New York. Personally my first thoughts of the rebrand were that the zig zag was initially a 'W' representing Whitney but as I researched into the design process, continuos design explanations are presented for this rebrand.
The use of the line gives the identity an open feel, a sense of freedom. The minimalistic design gives it flexibility in certain ways because I think the weight and thickness of the line look subtle with text but when you add image the logo looses its effectiveness. To allude back to the point of the design being 'open', this is achieved by the use of negative space. The remaining space is the museum itself, the artwork, the artists etc, I think the minimal style is trying to dampen down the institute itself and maybe focus on the pieces of art actually inside the museum.
The point in this exercise was to be able to asses my own work like the way I have done for the rebrand of Whitney Museum. I enjoyed this task because I'm bittersweet over the design so it was good to analyse it, other than this task we also had to create a list of words that we could describe our work by,below is a short selection of them :
- Adaptable
- Engaging
- Cohesive
- Intricate
- Conceptual
- Functional
What I've gained from this task is that from now on i'll asses my own work and peers work with more depth and analysis.
Saturday, 17 October 2015
OUGD403
Initial Ideas
This blog post shows my initial ideas for Zaap's rebrand. These are just the initials so I've only experimented with one font and a couple of colours. When I received feedback on these designs I was told to look into the Thai alphabet and that Zaap Thai would be a more appropriate name for the logo. Red seemed to be most popular choice of colour for the logo.
Initial Ideas
This blog post shows my initial ideas for Zaap's rebrand. These are just the initials so I've only experimented with one font and a couple of colours. When I received feedback on these designs I was told to look into the Thai alphabet and that Zaap Thai would be a more appropriate name for the logo. Red seemed to be most popular choice of colour for the logo.
OUGD403
Logotype
Brief / Research / Influences
This brief is to design a set of logotypes for a rebrand for a company of my choice, the only two limitations are the company has to have a shop/restaurant in Leeds and is nationwide, and you can only use type therefore you need to experiment with scale, stroke, spacing and contrast.
The company I have chosen is Zaap, a thai street food chain. The company is relevantly new with only two restaurants nationwide. However this is the reason I chose to rebrand them because people don't have a perception on them yet, I believe it'd be easier to have an open mind on rebranding something without a reputation yet.
So who are Zaap? "Starting a thai street food revolution" these are words taken from the website, they aim to make thai food available to the masses so that somewhat covers the target audience. Anyone interested in Thai food will be drawn towards Zaap thai. Zaap currently doesn't have any competitors in the Thai street food market but similar competitors could be Yo Sushi and Wok&Go but I think Zaap can differentiate from these and have its own asian street food gap in the market.
When I started thinking about the rebrand, Asian lettering,symbols and signs came to mind straight away. The bright neon lights found in Hong Kong and Tokyo which have always interested me were an instant influence. I looked at minimal Japanese graphic design as well to seek influence.
Logotype
Brief / Research / Influences
This brief is to design a set of logotypes for a rebrand for a company of my choice, the only two limitations are the company has to have a shop/restaurant in Leeds and is nationwide, and you can only use type therefore you need to experiment with scale, stroke, spacing and contrast.
The company I have chosen is Zaap, a thai street food chain. The company is relevantly new with only two restaurants nationwide. However this is the reason I chose to rebrand them because people don't have a perception on them yet, I believe it'd be easier to have an open mind on rebranding something without a reputation yet.
So who are Zaap? "Starting a thai street food revolution" these are words taken from the website, they aim to make thai food available to the masses so that somewhat covers the target audience. Anyone interested in Thai food will be drawn towards Zaap thai. Zaap currently doesn't have any competitors in the Thai street food market but similar competitors could be Yo Sushi and Wok&Go but I think Zaap can differentiate from these and have its own asian street food gap in the market.
When I started thinking about the rebrand, Asian lettering,symbols and signs came to mind straight away. The bright neon lights found in Hong Kong and Tokyo which have always interested me were an instant influence. I looked at minimal Japanese graphic design as well to seek influence.
OUGD403 Study Task 02
Symbol
First of all i've enjoyed this short brief as I think it didn't have many restrictions unlike study task one in which you could only use one typeface etc, and being able to present numerous ideas instead of just one allowed various styles.
Before the trip to Yorkshire Sculpture Park I had a number of ideas in which i'd like to expand on, the trip was a good source of research and influence as I got primary research on sculptures i'd base the symbol on. What I learnt from visiting YSP is that when designing for a client its best to immerse yourself within the environment to maximise the experience of the client/company. If we didn't have the trip to YSP, I would have mainly focused my ideas from secondary research online.
Above are a handful of pictures I took on the visit, when looking around I was aiming to look for angles and sharp edges as this was one of my early ideas for a symbol. As the trip went on I was influenced by textures and shapes. I wasn't so much influenced by colour because I felt with the it being a park, the colours change throughout the year with the four seasons so sticking with one colour wouldn't work for YSP so I thought a black and white design
would be best.
This idea is influenced by the countless human sculptures you can find at YSP, it has a handful of faces so I had an idea that this would make a good identity for the logo. I didnt design a final solution for this logo just variations of the symbol. I designed the logo in illustrator then added radial blur and a cutout effect to achieve an abstract style.
These ideas are based on the nature at the park,its the biggest aspect of YSP. I wanted the tree symbol to be like a sculpture itself so I used symmetry, which gives it solidity and structure. Personally this symbol is my favourite because its a structure itself but one problem of the design is when scaled down it could lose its effectiveness because of its detailed design. The other design is a minimal tree rings design which I think would look good alongside YSP current typeface logo, this symbol could also represent the shape of the park.
Both designs are inspired by Barbara Hepworths sculptures at YSP. Her sculptures can be described as abstract, geometric and have a semi rough finish. Once I did a small amount of research into Barbara Hepworth I had a concept of what I could do for a symbol influenced by her work, I used circles often found in the centre of her work and wanted to explore the way she stacked vertical arrangements at the same level so I came up with this design.
Using radial blur gives the symbol a semi rough finish that Hepworth was known for. My only problem with this design is that it represents YSP through one artists work, in this case Barbara Hepworth.
Architecture and the Yorkshire sculpture triangle are explored in these designs, the design to the right is influenced by the contemporary architecture at YSP, most of the buildings have sharp edges and look like they were built in 80s due to style. One particular picture I took at YSP is almost illustrated through this symbol. The other symbol is influenced by architecture as well but is referencing more towards the Yorkshire structure triangle which YSP is in.
In the final critique for this task I presented my ideas to a small group, having another insight into my work is always helpful as it always improves my way of working. I received feedback such as
-Expand on why some of the symbols are blurred
-Good reason for not using colour
-Clear Presentation
-Use more range of colours
-Good range of styles but expand on one
-Could of tested the symbol alongside the logotype
I've taken all this feedback onboard and now know what I can do for future study tasks similar to this to improve. I certainly know if this was a longer brief I'd develop one idea further and experiment with colour more. In summary I've enjoyed this small study task as it allowed freedom within design but the most important part was the critique for me because Ive learned I need to ask more questions during the design process.
Symbol
First of all i've enjoyed this short brief as I think it didn't have many restrictions unlike study task one in which you could only use one typeface etc, and being able to present numerous ideas instead of just one allowed various styles.
Before the trip to Yorkshire Sculpture Park I had a number of ideas in which i'd like to expand on, the trip was a good source of research and influence as I got primary research on sculptures i'd base the symbol on. What I learnt from visiting YSP is that when designing for a client its best to immerse yourself within the environment to maximise the experience of the client/company. If we didn't have the trip to YSP, I would have mainly focused my ideas from secondary research online.
Above are a handful of pictures I took on the visit, when looking around I was aiming to look for angles and sharp edges as this was one of my early ideas for a symbol. As the trip went on I was influenced by textures and shapes. I wasn't so much influenced by colour because I felt with the it being a park, the colours change throughout the year with the four seasons so sticking with one colour wouldn't work for YSP so I thought a black and white design
would be best.
This idea is influenced by the countless human sculptures you can find at YSP, it has a handful of faces so I had an idea that this would make a good identity for the logo. I didnt design a final solution for this logo just variations of the symbol. I designed the logo in illustrator then added radial blur and a cutout effect to achieve an abstract style.
These ideas are based on the nature at the park,its the biggest aspect of YSP. I wanted the tree symbol to be like a sculpture itself so I used symmetry, which gives it solidity and structure. Personally this symbol is my favourite because its a structure itself but one problem of the design is when scaled down it could lose its effectiveness because of its detailed design. The other design is a minimal tree rings design which I think would look good alongside YSP current typeface logo, this symbol could also represent the shape of the park.
Both designs are inspired by Barbara Hepworths sculptures at YSP. Her sculptures can be described as abstract, geometric and have a semi rough finish. Once I did a small amount of research into Barbara Hepworth I had a concept of what I could do for a symbol influenced by her work, I used circles often found in the centre of her work and wanted to explore the way she stacked vertical arrangements at the same level so I came up with this design.
Using radial blur gives the symbol a semi rough finish that Hepworth was known for. My only problem with this design is that it represents YSP through one artists work, in this case Barbara Hepworth.
Architecture and the Yorkshire sculpture triangle are explored in these designs, the design to the right is influenced by the contemporary architecture at YSP, most of the buildings have sharp edges and look like they were built in 80s due to style. One particular picture I took at YSP is almost illustrated through this symbol. The other symbol is influenced by architecture as well but is referencing more towards the Yorkshire structure triangle which YSP is in.
In the final critique for this task I presented my ideas to a small group, having another insight into my work is always helpful as it always improves my way of working. I received feedback such as
-Expand on why some of the symbols are blurred
-Good reason for not using colour
-Clear Presentation
-Use more range of colours
-Good range of styles but expand on one
-Could of tested the symbol alongside the logotype
I've taken all this feedback onboard and now know what I can do for future study tasks similar to this to improve. I certainly know if this was a longer brief I'd develop one idea further and experiment with colour more. In summary I've enjoyed this small study task as it allowed freedom within design but the most important part was the critique for me because Ive learned I need to ask more questions during the design process.
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