Advanced Typography - Task 2: Key Artwork & Collateral

16.10.2025 - 18.11.2025（Week 5 - Week 8)
Lee Xiang Ling / 0384095
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylors University
Task 2 / Key Artwork & Collateral

LIST / JUMPLINK

LECTURES

AdTypo_5_Percaption and Organisation

This lecture introduced the principles of perception and organization in advanced typography.

In advanced typographic design, perception refers to the way people view, understand, or interpret visual elements. It functions as a form of visual navigation that designers can intentionally shape, enabling viewers to interpret content through contrast, form, and structural organization.

Contrast

Using differences in visual elements to distinguish information is a core method of guiding the reader’s attention in typography.

Rudi Ruegg

It is a fundamental category of contrast, offering multiple methods for creating contrast:

Fig. 1.1 - Example of Rudi Ruegg_JPEG, Week 05 (23/10/2025)

Carl Dair

It builds upon Rudi Ruegg’s foundation by adding two key types of contrast—texture and direction—further enriching the visual possibilities of typographic design.

Texture: The overall arrangement of the text creates differences in visual texture.
Direction: The horizontal, vertical, and diagonal arrangement of text creates visual tension.

Fig. 1.2 - Example of Carl Dair_JPEG, Week 05 (23/10/2025)

Points to Note

Size
Size contrast is an effective way to draw the reader’s attention. By creating a size difference between the heading and the body text (typically a 1–2-point difference or a shift in weight), the hierarchy and emphasis become more distinct.
Weight
Font weight refers to the visual contrast between thicker and thinner styles within the same typeface. Even without traditional bold fonts, structured, dotted, or grid-based designs can create a “bold” visual effect.
Form
There are clear visual differences between uppercase and lowercase letters, roman and italic styles, and condensed versus expanded typefaces. These distinctions are crucial in posters, books, and other designs because they affect hierarchy, emphasis, and readability.
Structure
Different type styles, such as monoline sans-serif and traditional serif fonts, create distinct visual tones—the former feels modern and clean, while the latter appears classic and formal. Choosing between them directly shapes the mood and style of a design.
Texture
At both close and distant viewing distances, the combination of size, weight, shape, and structure creates a distinct textural quality. The way the text is arranged also shapes this visual texture.
Direction
Directional contrasts—such as vertical vs. horizontal layouts and the angles between them—shape the visual rhythm. Variations in text block height, width, and column count also fall under this type of directional difference.
Color
Accent colours are generally less emphatic than pure black and white, so the elements using them must be chosen carefully. Overusing accent colours can quickly lead to visual clutter and confusion.

Form

It refers to the overall look and feel of typographic elements, balancing functionality with expression so that text remains readable yet visually engaging. It is expressed through:

Letterforms
Layout structure
Colour usage
Spatial relationships

Fig. 1.3 - Example of Form_JPEG, Week 05 (23/10/2025)

Gestalt Psychology

Gestalt psychology examines how people perceive visual information as unified wholes rather than isolated parts, forming a key foundation for typographic organization.

Its core idea is that “the whole is greater than the sum of its parts,” as readers naturally group separate elements into meaningful wholes.

Key Gestalt principles include:

Similarity: Similar elements are perceived as belonging together.

Proximity: Elements that are close to each other are grouped together.

Closure: The mind tends to complete incomplete shapes.

Continuity: People perceive visual paths as smooth and continuous.

Symmetry: Symmetrical elements are seen as a unified whole.

Simplicity: The mind simplifies complex forms into basic structures.

-- Back To Top --

INSTRUCTIONS

EXERCISES

Task 2A - Key Artwork

In this task, we select a set of words—preferably a name or pen name—to create a personalized wordmark.

We begin by making a mind map that documents our personality, interests, background, aesthetic preferences, and chosen name. From there, we extract key keywords and search for related images as visual references, then use these inspirations to develop preliminary sketches.

I initially considered using my pen name Alone, but after some thought, I decided to use part of my real name—Ling—as the foundation for my wordmark design.

Fig. 1.1.1 - My First Mind-map sketch_JPEG, Week 04 (21/10/2025)

With Mr. Vinod’s guidance, I realized that my initial search direction was incorrect and that I needed to reduce the number of keywords. After refining the approach, I narrowed the visual direction down to three key terms:

Modern
Stylish
Minimal

After the second round of searching and exploration, I developed a refined set of ideas and created my second mind-map sketch.

Fig. 1.1.2 - My Final Mind-map sketch_JPEG, Week 05 (27/10/2025)

With Mr. Vinod’s guidance, I finalized the overall design direction.

To maintain consistency in the letterforms, I refined several sketches and eventually established the final typographic design.

Fig. 1.1.3 - My Final Sketch_JPEG, Week 06 (29/10/2025)

After finalizing the sketch, I moved into Illustrator to outline the letters, refine the structure, and adjust the details, shaping the wordmark into its final form.

I struggled during the colour palette selection, as the lightest shade in my initial palette lacked visual impact.

Fig. 1.1.4 - My First Colour Palette_JPEG, Week 06 (30/10/2025)

After experimenting with alternatives, I decided to use a contrasting combination of purple and yellow for the final design.

Fig. 1.1.4 - My Final Colour Palette_JPEG, Week 06 (1/11/2025)

While creating the black-background, white-text version, I realized that my original 3D-style design reduced readability on dark backgrounds. I then made structural and detail adjustments to improve clarity.

Fig. 1.1.5 & 1.1.6 - Original Design(L) & Adjusted Version(R)_JPEG, Week 06 (1/11/2025)

-- Back To Top --

Task 2A - Final Outcome

Fig. 1.2.1 - Black wordmark on white background_JPEG, Week 06 (3/11/2025)

Fig. 1.2.2 - White wordmark on black background_JPEG, Week 06 (3/11/2025)

Fig. 1.2.3 - Colour Palette_JPEG, Week 06 (3/11/2025)

Fig. 1.2.4 - Wordmark in actual colors on the lightest shade of the color palette_JPEG, Week 06 (3/11/2025)

Fig. 1.2.5 - Wordmark in lightest shade of the color palette on the darkest shade of the color palette_JPEG, Week 06 (3/11/2025)

Fig. 1.2.6 - Wordmark Animation_JPEG, Week 06 (3/11/2025)

Fig. 1.2.7 - Task 2A Final Outcome_PDF, Week 06 (3/11/2025)

-- Back To Top --

Task 2B - Collateral

This task continues from the previous one. We must create at least three collateral using our designed wordmark and upload the final outcomes to Instagram.

Because my colour palette leans toward a sporty aesthetic, I prioritized selecting sport-related collateral items. I looked into products such as wristbands, caps, and sports jackets for inspiration.

In the end, I selected a cap, a cardholder, and a sports jacket as my collateral items.

Fig. 2.1.1 - Task 2B Final Outcome_JPEG, Week 07 (10/11/2025)

Additionally, our lecturer asked us to print a T-shirt featuring our own wordmark as part of the assignment.

Fig. 2.1.2 - My T-shirt Sample_JPEG, Week 07 (10/11/2025)

-- Back To Top --

Task 2B - Final Outcome

Fig. 2.2.1 - Collateral 1: Cap_JPEG, Week 08 (17/11/2025)

Fig. 2.2.2 - Collateral 2: Sport Jacket_JPEG, Week 08 (17/11/2025)

Fig. 2.2.3 - Collateral 3: Cardholder_JPEG, Week 08 (17/11/2025)

Fig. 2.2.4 - Other Collateral: T-shirt_JPEG, Week 08 (17/11/2025)

Fig. 2.2.5 - Instagram Screen Grab_JPEG, Week 08 (17/11/2025)

My Instagram Link: n.ight_0317

Fig. 2.2.6 - Task 2B Final Outcome_PDF, Week 08 (17/11/2025)

-- Back To Top --

FEEDBACKS

Week 5

General Feedback: Moodboard references are inaccurate, the wordmark lacks readability, and there are too many keywords. Suggest observing more wordmark examples.

Specific Feedback: Keywords should run throughout, serving only visual communication and avoiding literal forms. Add varied composition sketches, expand moodboard sources, and clearly link materials to keywords.

Week 6

General Feedback: Avoid excessive decoration; keep lines smooth and strokes consistent for easy recognition. Create both black-and-white and color versions using high-contrast colors. Check legibility when scaled down and refine if unclear.

Specific Feedback: When presenting sketches, number them for easier viewing. Slightly adjust font size and structure for balance and flow, with a thicker baseline.

Week 7

General Feedback: When working on the Key Artwork and Collateral for Task 2, manage your time well and submit on schedule. Ensure clear visibility of elements and proper color contrast with the background.

Week 8

General Feedback: Discussed the submission date and key notes for Task 2, introduced Task 3, and reminded students to conduct more research and gather references.

REFLECTIONS

Experience

Throughout this task, I went through the full process of developing a concept—from sketches and keyword refinement to final letterform design and collateral creation. This experience helped me understand the design logic behind a wordmark and how typography behaves across different applications.

Observation

During the production process, I realized that typographic details, structural consistency, and colour choices directly influence readability and overall style. This required continuous observation and fine-tuning at every step. By studying my classmates’ work, I also became more aware of my own limitations—I tend to be cautious and hesitant, which restricts me from exploring bolder and more experimental design directions.

Findings

Throughout the design process, I realized that a wordmark is not only a display of typographic aesthetics but also a tool for conveying personal style and brand identity. By continuously refining my sketches and testing various applications, I learned how to better balance style, functionality, and visual impact. I also discovered that colour selection plays a crucial role in design, as it significantly affects mood, recognizability, and the overall visual outcome.

-- Back To Top --

XiangLingLee (0384095)

Search This Blog