Advanced Typography / TASK 2: KEY ARTWORK & COLLATERAL

ADVANCED TYPOGRAPHY / TASK 2: Key artwork & collateral

-

13.10.2025 -18.11.2025 (week 4 - week 8) 
Low Xin Er / 0374596 / Bachelor of creative media

Advance Typography / Task 2 - Key Artwork & Collateral

---

• Lecture 5
• Task 2:Key Artwork & Collateral
• Feedback
• Reflection
• Further Reading

---

LECTURE NOTES

week 5 (22.10.2025)

Lecture 5: Typographic systems

Perception & Organisation

• The way in which something isregarded, understood, or interpreted.” 
• Preception in typography deals with the visual navigation and interpretation of a reader via contarst, form and organisation of the content.

Methods to create contrast (by Rudi Ruegg):

• Light/ Bold
• Condense/ Extended
• Organic/ Machined
• Roman/ Italic
• Small/ Large
• Negative/ Positive
• Serif/ Sans serif
• Ornate/ Simple
• Red/ Blue

Fig 1.1 Type of Contrast (by Rudi Ruegg)

7 method to create contrast:

1. Size 
2. Weight
3. Form
4. Structure
5. Texture
6. Colour
7. Direction

1. Size

• provides a point for reader’s attention to be drawn. 
• obviously see the big letter first before the small. 
• Some commomn use of size is the make the title or heading bigger to be more noticible.

2.Weight

• bold type can stand out in the middle of lighter type of the same style. 
• rules, spots, squares are used as “heavy area” for a visual attraction or emphasis.

3. Contrast of Form

• distinction between letters. 
• Exp: Capital letter, lowercase letter, roman letter, italic, condensed and expanded. 

4. Contarst of Structure

• the different letterforms of different kinds of typefaces. 
• Exp of structure: monoline sans serif, traditional serif, italic and blackletter.

5. Contarst of Texture

• the way the lines of type look as a whole up close and from a distance. 
• depends partly on the letterforms and the arrangement.

6. Contarst of Direction

• the opposition between vertical, horizontal, and the angles in between.
• Mixing wide blocks of long lines with tall columns of short line can create contrast roo.

7. Contrast of Color

• A second color is often less emphatic in values than plain black on white. 
• give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used. 
• evaluate which elements that need to be pay attention.

Fig 1.2 Type of Contrast (by Carl Dair)

Form

• Overall look and feel of the elements that makes up the typographic composition 
• The part that plays a role in visual impact and first impressions. 
• Leading eye from point to point & memorable.
• 2 Function of typography:
• Represent concept
• Show through in visual form

Fig 1.3 Form with good communication

Organisation and Gesalt

• Gestalt theory: emphasizes that the whole of anything is greater than its parts as we experience things as unified whole. 
• Although each element may be functional at an elemental level, the overall form is till greater than the sum of its part.

Fig 1.4 Gesalt Principles of Grouping

Gestalt grouping:

1. Law of Similarity

• Humans tend to perceive elements that are close to each other as belonging together
• Spatial arrangement of visual elements influences our perspective of their relationship and grouping

2. Law of Proximity

• Elements that are close together tend to be perceived as a unified group
• Items further apart are less likely to be grouped together.

3. The Law of Closure

• It refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing

4. Law of (Good) Continuation 

• Humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. 
• The alignment of the objects or forms plays a major role for this principle to take effect. 

5. Law of symmetry

• It explains how humans perceive visual elements as balanced when they are arranged in symmetrical or follow a predictable pattern.

---

Task 2A: Key Artwork

Mindmap & Moodboard

Fig 2.1.1 Mindmap_About Me (16/10/2025, week 4)

Fig 2.1.2 Moodboard_Inspiration (16/10/2025, week 4)

Fig 2.1.3 Moodboard_Typefaces (16/10/2025, week 4)

Explore Sketches of Cosette (Name)

Fig 2.1.4 Sketches (18/10/2025, week 4)

Ideas of sketches

Fig 2.1.5 Ideas (18/10/2025, week 4)

Evolution of idea

Fig 2.1.6 Evolution (18/10/2025, week 4)

Attempt 1

Fig 2.1.7 Attempt 1 (19/10/2025, week 4)

Moodboard ver2

Fig 2.1.8 Moodboard_Typefaces 2 (20/10/2025, week 5)

Explore Sketches ver2

Fig 2.1.9 Sketches (20/10/2025, week 5)

Attempt 2

Fig 2.1.10 Attempt 1 (20/10/2025, week 5)

Final Digitised Key Artwork

Fig 2.1.11 Final Digitised Key Artwork  (20/10/2025, week 5)

Feedback

• The link between the C and the o could be thinner or reoriented to avoid looking like a G. 
• Reducing the white space around the C would make the overall design more balanced, rather than weighted towards the C. 
• The letter designs at the back are all good.

Task 2B：Collateral

Color pallate

Fig 2.2.1 Color Palette  (25/10/2025, week 5)

Wordmark with color palette:

Fig 2.2.2 Final Workmark  (29/10/2025, week 6)

Fig 2.2.3 Final Digitised Key Artwork  (29/10/2025, week 6)

Expansion

Fig 2.2.4 Final Digitised Key Artwork  (1/11/2025, week 6)

Collateral

• Badge
• Access Card
• Billboard

Fig 2.2.5 Collateral-Badge  (1/11/2025, week 6)

Fig 2.2.6 Collateral-Access Card  (1/11/2025, week 6)

Fig 2.2.7 Collateral-Billboard  (1/11/2025, week 6)

Attempt 1

Fig 2.2.8 Collateral board  (2/11/2025, week 6)

Feedback (5/11/2025,week 7)

• The color scheme needs to be changed, there are better options.
• The element extraction is too monotonous; it's recommended to refer to previous works for revisions.

Adjustment：New color palette from coolors website

Fig 2.3.1 New color palette  (5/11/2025, week 7)

Fig 2.3.2 wordmark with new color palette  (8/11/2025, week 7)

New extracted elements from word mark

  

Fig 2.3.3  Digitised Key Artwork ver 2  (10/11/2025, week 8)

Fig 2.3.4 Collateral-Badge 2  (10/11/2025, week 8)

Fig 2.2.13 Collateral-Access Card 2  (10/11/2025, week 8)

Fig 2.3.5 Collateral-Billboard  (10/11/2025, week 8)

Attempt 2

Fig 2.3.6  Collateral board 2  (12/11/2025, week 8)

IG screen grab

Fig 2.3.7  IG screen grab  (12/11/2025, week 8)

Final attempt

Fig 2.3.8  Final attempt  (12/11/2025, week 8)

Wordmark Animation

Fig 2.3.9  Animation  (14/11/2025, week 8)

T-shirt design

Fig 2.3.10  DTF printing T-shirt Design（front）  (14/11/2025, week 8)

Fig 2.3.11  DTF printing T-shirt Design（back）  (14/11/2025, week 8)

Fig 2.3.12  T-shirt outcome  (14/11/2025, week 8)

Feedback

Week 5 (22/10/2025)

General

• Keywords need further categorization; similar keywords can be combined into one.
• The design has too many elements.
• Keywords should correspond to the moodboard.
• Overly obvious graphic designs are unacceptable.
• Readability must be considered.
• The design requires a large number of drafts.
• If the keyword categories are different, the works should be categorized separately.

Specific

• The mindmap still has room for further development, but it's acceptable.
• The moodboard's style is limited; you can explore resources on different platforms to expand your stylistic possibilities. The more information, the more possibilities.
• The keywords are a bit detached, but if they can be integrated, that's acceptable.
• The font design is similar, primarily with the C letter changed. Experiment with the arrangement.
• Can draw a box around the wordmark, close to the edge. Check to see if there's excessive white space within the workmark's border. Adjust to balance the overall design.
• Explore more stylistic possibilities.

Week 6 (29/10/2025)

General

• Elements in font design can stand out; being too small will negate any distinctive effect.
• It's not advisable to present a clutted design to a client. 
• Each design should be numbered for better communication. 
• Readability can be tested by having someone who doesn't understand the meaning try to read it. 
• Regarding the value of your work, imagine whether you would be willing to pay for your design to test the quality of the work itself, rather than the time invested. 
• Keywords should reflect attitudes or values ​​rather than explanations. For example, "bubble" is more of an element than a design concept. 
• A good design should be easily memorized, demonstrating distinct characteristics while maintaining a simple form. 
• Before formulating keywords, it's important to understand their meaning more deeply to ensure your design meets the keywords. 
• When designing letterforms based on references from other fonts and creating nonexistent elements, use Adobe Illustration's line-to-stroke function to create shapes and smooth out any inconsistencies. 
• When designing letterforms, consider the appropriate flow of strokes, such as the varying thickness of the "y." 
• Slanted designs are not recommended
• There's no need to complicate workmarks with repeated elements. 
• The bottom line for simplifying workmarks is readability, not blindly pursuing minimalism.

Specific

• The link between the C and the o could be thinner or reoriented to avoid looking like a G. 
• Reducing the white space around the C would make the overall design more balanced, rather than weighted towards the C. 
• The letter designs at the back are all good.

Week 7 (5/11/2025)

General

• If you don't want to wear clothing based on your own workmark design, it means you lack confidence in your work and it's not good enough.
• Refer to previous EportFlolio competitions to learn how to better extract elements from workmarks.

Specific

• The color scheme needs to be changed, there are better options.
• The element extraction is too monotonous; it's recommended to refer to previous works for revisions.

Week 8 (12/11/2025)

General

• Reminder of Task 2 E-portfolio submission:
• Make sure the word mark animation is a GIF.
• Task 3 presentation: Present 3 proposals, identify 3 font designs that need improvement, analyze and summarize the modification plans and concepts, and demonstrate the effect after modification.
• Refer to other students' work.

Specific

• Good wordmark
• Good T-shirt

REFLECTION

Experience

In the early stages of exploring stylistic possibilities, I had already developed a preferred style. However, this very preference limited my ability to develop other styles. Therefore, on the professor's advice, I switched between various resource platforms to explore inspiration, ensuring that my development path wasn't restricted by the platform. Through creating this project, I gradually became familiar with design methods like mockups, including software operation and resource platforms.

Observations

I've found that my tendency to immediately have a design direction before starting a project stifles other design possibilities. This habit can lead to similar or fixed styles in my work, limiting my abilities. Therefore, I need to learn to break this habit and spend time exploring and preparing for development to make my work richer and more complete.

Findings

Designing a piece of work isn't difficult; there are even clear steps to follow. However, creating a good piece is not simple. It requires repeated work and adjustments within these seemingly simple processes, sometimes even with the preparation to start over. Therefore, I realized that solid foundational work is crucial before designing a single piece. It not only saves time on the initial design but also lays the groundwork for future projects.

FUTHER READING

A Type Primer by John Kane

A Type Primer by John Kane is a very helpful book for anyone who wants to understand the basics of typography. Kane doesn’t just talk about what typography is with paragraph but shows how it works in real design.

Some key ideas:

• Type has structure. Each letter has form, weight, and rhythm.

• Space matters. Good typography isn’t only about letters, but also about spacing, alignment, and balance.

• Hierarchy guides the eye. Using size, contrast, and placement helps people read and understand faster.

• Consistency builds clarity. Repeating style choices makes the message stronger.

Kane also encourages designers to experiment to look closely, make adjustments, and learn by doing. I find this approach very motivating because it mixes discipline with creativity. Typography is not just about making things look nice; it’s about communication and personality.

Overall, this book helped me see how even small details, like line spacing or letter width, can completely change how a design feels. It’s a great reminder that good typography is both art and logic, and mastering it can make any design more elegant and effective.