Advanced Typography | Task 2: Key Artwork & Collateral

21/5/25 - 18/06/25 [ Week 5 - Week 9 ]

Nicco Chew Jin Xun (0366563)

Advanced Typography | Bachelor of Design (Hons) In Creative Media | Taylor's University

Tutor: Mr. Vinod

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Table of contents

Task 2: [ Key Artwork & Collateral ] (30%)

1. Instructions
2. Lectures

3. Task 2 / Exercises

4. Feedback
5. Reflection

6. Further Reading

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Instructions

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Lectures

Week 5 : Perception & Organisation

[ Perception ]

-  The way in which something is regarded, understod & interpreted.

- In typography, it deals with the visual navigation & interpretation of the reader via contrast, form & organisation of content. 

- Content can be textual / visual / graphical / in the form of colour

Contrast

- It's important to create contrast to create distinction / differentiation between information or else reader has difficulty separating different types of the information. 

Fig 1.1 - Several methods of creating contrast by Rudi Ruegg, week 5

Fig 1.2 - Several methods of creating contrast by Carl Dair, week 5

Contrast / Size

- Contrast of size provides a point of the reader's attention.

- We usually see the big letter first before the small one.

- The most common use of size is in making a title / heading noticeably bigger than the body text.

Fig 1.3 - Contrast in size, week 5

Contrast / Weight

- Weight describes how bold type can stand out in the middle of lighter type of the same style

- Other than using bold, using rules, spot, and squares also provide a "heavy area" for a powerful point of visual attraction / emphasis, therefore not only types of varying weight.

Fig 1.4 - Contrast in weight, week 5

Contrast / Form

- The distinction between a capital letter & its lowercase equivalent / a roman letter and its 

italic variant, condensed & expanded versions of typeface are also included under the contrast of form.

Fig 1.5 - Contrast in form, week 5

Contrast / Structure

- The different letterforms of different kinds of typefaces.

- Exp: [monoline sans serif, traditional serif, italic, blackletter ]

Fig 1.6 - Contrast in structure, week 5

Contrast / Texture

- Putting together the contrasts of size, weight form, structure & applying them to a block of text on a page

- Texture is the way the lines of type look as a whole up close & from a distance

Fig 1.7 - Contrast in texture, week 5

[ Example of contrast using multitudes of different weights but also size ]

Fig 1.8 - Contrast in texture, week 5

Contrast / Direction

- The opposition between vertical & horizontal & the angles in between.

- Turning one word on its side can have a dramatic effect on a layout.

- Text blocks also have their vertical / horizontal aspects of direction.

- Mixing wide blocks of long lines with tall columns of short line can also create a contrast.

Fig 1.9 - Contrast in direction, week 5

[ Example of contrast using interesting angles - axial systems ]

Fig 1.10 - Contrast in direction, week 5

Contrast / Colour

- A second colour is often less emphatic in values than plain black on white.

- It's important to give thought to which element needs to be emphasized & to pay attention to the tonal values of the colours that are used.

- If use colour wrongly it will create confusion rather than create organization

Fig 1.11 - Contrast in colour, week 5

Form

- Originating from the Greek words "typos" (form) & "graphis" (writing), typography means to write in accordance with form.

- The overall look & feel of the elements that make up the typographic composition.

- It plays a role in visual impact & first impressions.

- A good form in typography tends to be visually intriguing to the eye.

- It leads the eye from point to point, it entertains the mind & is most often memorable.

Fig 1.12 - form, week 5

Typography can be seen as having 2 functions:

1. To represent a concept

2. To do so in a visual form

Displaying type as a form provides a sense of letterforms' unique characteristics & abstract presentation.

- Some simple combinations of letters but presented in a delicate but also naunced manner that creates beautiful forms but also memorable forms. 

- They being placed strategically within that particular form to create a beautiful & harmonious alignment.

Fig 1.13 - examples of some simple combination of letters, week 5

- Great examples of how form & communication come together right in an attractive combination by Kadamba / Dunbar studio.

Fig 1.14 - examples of form & communication, week 5

Fig 1.15 - examples of form & communication, week 5

Organisation / Gestalt

- Gestalt 

[ German word meaning the way a thing has been "placed" / "put together"]

- Gestalt Psychology 

[ An attempt to understand the laws behind the ability to acquire & maintain meaningful perpceptions]

- Max Wertheimer, a gestalt psychologists developed a number of "laws" that predict how perceptual grouping occurs under a variety of circumstances.

- Gestalt Theory

[ Emphasizes that the whole of anything is greater than its parts based on the idea that we experienced things as unified whole ]

- A gestalt psychologists believed that you must look at the whole of experience.

Perceptual Organisation / Groupings

Fig 1.16 - Gestalt Laws, week 5

1. Law of Similarity

- The gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group.

- Similarity

[ Any number of features, including colour, orientation, size / indeed motion ]

Fig 1.17 - Law of similarity, week 5

2. Law of Proximity

- The gestalt grouping law that states elements that are close together tend to be perceived as a unified group. 

- Items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.

Fig 1.18 - Law of proximity, week 5

3. Law of Closure

- The mind's tendency to see complete figures / forms even if a picture is incomplete, partially hidden by other objects / if part of the information needed to make a complete picture in our minds is missing.

Fig 1.19 - Law of closure, week 5

4. Law of ( Good ) Continuation

- Humans tend to perceive each of 2 / more objects as different, singular & uninterrupted object even when they intersect. 

- The alignment of the objects / forms plays a major role for this principle to take effect.

Fig 1.20 - Law of continuation, week 5

5. Law of Symmetry / Law of Simplicity (Praganz)

- The principle that objects / systems with symmetrical properties tend to be perceived / behave in a predictable way, either by exhibiting similar characteristics / by maintaining consistency under transformations.

Fig 1.16 - Law of symmetry, week 5

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Task 2A / Key Artwork

Task 2A - Key Artwork ( 10% )

- We were required to create a wordmark of our own name / pseudonym

Requirement submissions:

• Black wordmark on white background
• White wordmark on black background
• Colour Palette
• Wordmark in actual colours on lightest shade of colour palette
• Wordmark in lightest shade of colour palette on darkest shade of colour palette
• Wordmark animation

The process begins with creating a personal mind map to explore aspects of ourselves. From this mind map, we will identify keywords that reflect our identity and use them as the foundation for our wordmark design.

Fig 2.1 - About Me Mind Map, week 4

Then, I went to search for inspiration on Pinterest. To organize my ideas visually, I created a moodboard. This helped me gather a cohesive set of images that reflect the style, tone, and atmosphere for key artwork I want to create. The moodboard will guide my creative direction moving forward.

Fig 2.2 - Moodboard (references), week 4

I decided to use my own name — Nicco — as the core of my visual identity. Since this project is about self-expression and personal branding, using my name allowed me to experiment with typography and visual elements that reflect my personality and design style. Then, I try out some sketches. Each sketch reflects a different stylistic direction, and I paired them with specific keywords to help define their unique tone and personality.

1. Decorative, Stylized, Elegant

This version features intricate shapes and ornamental details. It feels artistic and slightly gothic and it reflects a more expressive, design-forward aesthetic.

2. Fluid, Graceful, Feminine (Flowing)

This sketch explores softer curves and flowing letterforms, aiming for a more graceful and organic feel. It leans toward a feminine and emotional tone, influenced by my personality traits like sensitivity and empathy.

3. Bold, Monolithic, Futuristic, Heavyweight

This version is more geometric and solid. It carries a sense of strength, confidence, and modernism. The thick, grounded shapes suggest a futuristic and powerful presence.

4. Playful, Organic, Rustic

Inspired by nature and hand-drawn imperfections, this sketch uses uneven forms and natural curves. It feels approachable, warm, and quirky, showing a more casual, personal side of me.

Fig 2.3 - Moodboard (references, mind map, sketches), week 4

During feedback session, Mr. Vinod suggested that I proceed exploration further with these three concept because he don’t know maybe there are exploration behind it. Besides, I need to refer to the reference pics and figure out / analyze why it looks good and break it down. Find out what I have missing in my work and evaluate other words that we have created & using the breakdown in part of the words. He also mentions that playful is a really good keyword because a lot of good things happen when they are playful.

Fig 2.4 - Sketches chosen by Mr. Vinod, week 4

Sketches

I spent more time sketching and exploring different interpretations of my name to explore how typography could visually express my personality. This stage was crucial in helping me discover the tone and aesthetic I wanted for my key artwork.

Fig 2.5 & 2.6 - Sketches, week 4

Among all the sketches, I decided to go with the second concept which is Fluid, Graceful, Feminine (Flowing) but with improvement. Below is my finalized sketch after more exploration + improvement. I chose this design as it reflects my personality, a more emotional and intuitive side of who I am. Compared to the other styles, this version felt the most successful in maintaining readability while still expressing a unique visual voice. The distinctive shapes in the “n” and “i” add flair, but the word remains clear. I also appreciated how the sharp tapering ends contrast with the rounded bowls of the “c” and “o,” which gives the design character and individuality. 

Fig 2.7 - Final Sketch, week 4

Digitization

Fig 2.8 - Digitizing progress, week 5

Using the Pen Tool, I carefully traced over each letterform, focusing on maintaining the original flow and organic curves of my sketch. This step required a lot of attention to detail especially in replicating the balance between thick and thin strokes and the tapering endings that give the design its unique character.

Once the basic trace was complete, I spent time refining anchor points and adjusting bezier curves to improve smoothness and consistency. I often zoomed in to check curves and spacing between each letterform, especially between the letters 'i' and 'c' where the stroke transitions are more complex.

After the outline was refined, I checked the overall visual balance whether the letters felt cohesive as a whole. I tested how the design looked at different scales to ensure readability and aesthetic integrity. Small adjustments were made to letter widths and spacing to enhance rhythm and unity.

Fig 2.9 - Digitizing progress, week 5

Improvement (after feedback)

During the feedback session, Mr. Vinod said that clearly can read the letters but when it comes to the crafting part, the sharp point of the letters can’t be seen in small sizes (fail). Mr Vinod suggests to make it thicker. Besides, letter 'n' looks horrible, I have to cut off the upper part. Letter 'i' no need to stretch that much. Make sure to have the same thickness of each letter. So, I did the improvement by cut off the upper part of letter 'n' and 'i' and adjust the thickness of each letter.

Fig 2.10 - Digitizing progress, week 5

Final Digitized Wordmark

Fig 2.10 - Final Digitized wordmark, week 5

Colour Application

For the colour palette, I used several websites like Colour Hunt and Pinterest to look for the right colour that would complement the mood and personality of my key artwork.

Fig 2.11 - Colour Palette Exploration, week 5

Fig 2.12 - Colour Palette Exploration, week 5

Fig 2.13 - Colour Palette Exploration, week 5

Final Colour Palette

Fig 2.14 - Final Colour Palette, week 5

Fig 2.15 - Wordmark with colours, week 5

Key Artwork Animation

Fig 2.16 - Progress of making animation on Adobe After Effects, week 6

Fig 2.17 - Final Wordmark animated (GIF), week 6

Task 2A Final Outcome

Fig 2.18 - Final Key Artwork, Black on White Background, week 6

Fig 2.19 - Final Key Artwork, White on Black Background, week 6

Fig 2.20 - Final Colour Palette, week 6

Fig 2.21 - Final Key Artwork in actual colours on lightest shade of colour palette, week 6

Fig 2.22 - Final Key Artwork in lightest shade of colour palette on darkest shade of colour palette, week 6

Fig 2.23 - Final Task 2A Compilation (PDF), week 6

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Task 2B / Collateral

Task 2B - Collateral ( 20% )

We were required to expand the visual identity and apply its idea / design to chosen collaterals using the wordmark that we created from Task 2A

Requirement Submissions:

• 3 Collaterals
• Instagram Link
• A GIF animated key artwork & Instagram

Fig 3.1 - Collaterals progress in Adobe Illustrator, week 6

Fig 3.2 - Collaterals progress in Adobe Illustrator, week 6

#1 attempt of Collaterals

Fig 3.3 - #1 attempt of Collaterals progress in Adobe Illustrator, week 6

#2 attempt of Collaterals

Collateral 1 - Two Bucket Hat

Fig 3.4 - Collateral 1, Two Bucket Hat's progress, week 7

Fig 3.5 - Collateral 1, Two Bucket Hat, week 7

Collateral 2 - Two Bucket Hat

Fig 3.6 - Collateral 2, Hang Tag, week 7

Collateral 3 - Two Bucket Hat

Fig 3.7 - Collateral 3, Packaging box's progress, week 7

Fig 3.8 - Collateral 3, Notebook's progress, week 7

Fig 3.9 - Collateral 3, Packaging Box & Notebook, week 7

Expansion

Fig 3.10 - Creating the flower logo from letters 'n' and 'i' progress, week 7

Collateral B&W Photo

Fig 3.11 - Applying bitmap effects of my own photo's progress, week 7

Fig 3.12 - Collateral B&W photo, week 7

Fig 3.13 - Collateral 9 grid tiles layout, week 7

Task 2B Final Outcome

Instagram Link :

https://www.instagram.com/nnn_dsgn/

Fig 3.14 - Final Collateral #1 - Two Bucket Hat (JPG), week 7

Fig 3.15 - Final Collateral Indigo on Dusty Rose wordmark (JPG),  week 7

Fig 3.16 - Final Collateral #2 - Hang Tag (JPG), week 7

Fig 3.17 - Final Collateral B&W (JPG), week 7

Fig 3.18 - Final Collateral Flower 'N' Icon (JPG), week 7

Fig 3.19 - Final Collateral Dusty Rose on Indigo wordmark (JPG),  week 7

Fig 3.20 - Final Collateral Colour Palette (JPG), week 7

Fig 3.21 - Final Collateral #3 - Packaging Box & Notebook (JPG), week 7

Fig 3.22 - Final Collateral Patters 'I' (JPG), week 7

Fig 3.23 - Instagram link: https://www.instagram.com/nnn_dsgn/

Fig 3.24 - Final Task 2B, Collateral Compilation (PDF), week 7

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Task 2B Final Outcome Compilation

Fig 4.1 - Final Key Artwork, Black on White Background, week 6

Fig 4.2 - Final Key Artwork, White on Black Background, week 6

Fig 4.3 - Final Colour Palette, week 6

Fig 4.4 - Final Key Artwork in actual colours on lightest shade of colour palette, week 6

Fig 4.5 - Final Key Artwork in lightest shade of colour palette on darkest shade of colour palette, week 6

Fig 4.6 - Final Wordmark animated (GIF), week 6

Fig 4.7 - Final Task 2A Compilation (PDF), week 6

Fig 4.8 - Final Collateral #1, Two Bucket Hat (JPG), week 7

Fig 4.9 - Final Collateral Indigo on Dusty Rose wordmark (JPG),  week 7

Fig 4.10 - Final Collateral #2, Hang Tag (JPG), week 7

Fig 4.11 - Final Collateral B&W (JPG), week 7

Fig 4.12 - Final Collateral Flower 'N' Icon (JPG), week 7

Fig 4.13 - Final Collateral Dusty Rose on Indigo wordmark (JPG),  week 7

Fig 4.14 - Final Collateral Colour Palette (JPG), week 7

Fig 4.15 - Final Collateral #3, Packaging Box & Notebook (JPG), week 7

Fig 4.16 - Final Collateral Patters 'I' (JPG), week 7

Fig 4.17 - Instagram link: https://www.instagram.com/nnn_dsgn/

Fig 4.18 - Final Task 2B, Collateral Compilation (PDF), week 7

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Feedback

- Week 5 [ 21/05/25 ]

  General Feedback:  

Mr. Vinod gave feedbacks to our sketches and moodboard of task 2 and gave tips for guiding us in developing our current work further. He also showed us real-life examples and told us the meaning of it which is Alliance Bank Logo.

  Specific Feedback:  

Mr Vinod said he can see what my direction is. Even I have 4 credential options ( he prefer 1,2,3 ) but need to explores further because he don’t know maybe there are exploration behind it. Besides, I need to refer to the reference pics and figured out / analyze why is that looking good and break it down. Find out what I have missing in my work and evaluate other word that we have created & using the breakdown in part of the words. Mr Vinod also mentions that playful is a really good keyword because a lot of good things happen when they playful.

- Week 6 [ 28/05/25 ]

  General Feedback:   

Mr Vinod gave us individual feedback for task 2a. Besides, he briefed us about the next stage which is task 2b. We’re expected to produce 3 product designs with a pattern, chosen colour palette, and portrait poster for next week’s feedback session. 

  Specific Feedback:  

Clearly can read the letters but when it comes to the crafting part, the sharp point of the letters can’t be seen in small sizes (fail). Mr Vinod suggests to make it thicker. Besides, letter ’n’ looks horrible, I have to cut off the upper part. Letter ‘i’ no need to stretch that much. Make sure to have the same thickness of each letter.

- Week 7 [ 04/06/25 ]

  General Feedback:  

This week, Mr. Vinod reviewed our work one by one. He reminds us to complete the animation by next week.

  Specific Feedback:  

I continue developing my wordmark collaterals and making improvements.

- Week 8 [ 11/06/25 ]

  General Feedback:  

This week, Mr. Vinod reviewed our final collateral compilation & Instagram page & wordmark animation for Task 2A.  He then gave us instructions on how to submit the works for this task by showing senior's blogspot to make sure we clearly understand. After the feedback session, he brief us the final task and also showing examples from previous students on what is expected and the benchmark for this task.

  Specific Feedback:   

I continue working up for my wordmark animation and complete the blogspot.

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Reflection

Observations
During the development of my key artwork, I observed how much emotion and personality can be expressed through typography alone. Even small changes in the curve of a letter or the spacing between strokes can completely shift the tone of a wordmark. As I explored different sketches of my name, I began to see how typography is not just about legibility, but about identity. I also noticed how supporting elements like colours, textures, and symbols (such as the flower shape from the letter “n”) play a big role in reinforcing the mood and message of the overall brand.

Experience
This project allowed me to explore both creative freedom and technical discipline. Sketching gave me room to experiment with style and personality, and choosing the “fluid, graceful, feminine” direction helped me connect with a version of myself that felt soft yet confident. Digitizing the sketch in Adobe Illustrator challenged me to pay close attention to curve quality, anchor points, and consistency across letterforms. Animating the wordmark in After Effects was a new experience that taught me how movement could enhance the personality of a design. Creating collaterals like bucket hats, a packaging box, notebook, and hang tag helped me bring the design into real-life applications which made the identity feel more complete and alive.

Findings
Through this task, I discovered that branding doesn’t have to be bold or complex to be strong, it just needs to be meaningful. A subtle, elegant design can still make a powerful impression when it’s built on personal insight and intentional choices. I also found that creating visual consistency across collaterals requires careful attention to scale, placement, and material feel. Most importantly, I learned that the process of building a brand from scratch especially when it’s based on my own name is not only a design challenge, but also a journey of self-expression and discovery.

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Further Reading

Fig 5.1 - 'A Type primer' by John Kane

By John Kane  ·  230 Pages  ·  2011

John Kane is a professor who teaches typography and graphic design at Northeastern University. He wrote 'A Type Primer' specifically for design students, and it’s filled with exercises and examples that will help anyone master the basics of typography.

John Kane’s A Type Primer serves as an essential guide for understanding typography, offering both beginners and experienced designers valuable insights into the art and science of type. The book emphasizes the significance of typography as a critical element of visual communication, focusing on its technical aspects, historical context, and creative applications.

Key Takeaways from the Book:

1. Foundations of Typography
   Kane explains the basics of typography, including type anatomy (e.g., serifs, x-height, ascenders, descenders) and classifications of typefaces. This foundational knowledge is crucial for selecting appropriate typefaces and creating visually harmonious designs.

2. Importance of Context and Purpose
   A central theme of the book is the idea that typography must align with the purpose of the design and the context in which it is used. Kane highlights the relationship between form and function, echoing Bauhaus principles, where type should enhance readability and meaning without unnecessary embellishment.

3. Grids and Layout
   The book emphasizes the role of grids in creating organized and balanced layouts. Kane explains how grids provide structure to a design, helping typographic elements communicate effectively.

4. Spacing and Alignment
   Kane dedicates sections to kerning, tracking, and leading, stressing how small adjustments can significantly improve the overall aesthetic and readability of text. This practical approach helps designers refine their skills in fine-tuning type.

5. Creative Experimentation
   While the book prioritizes the principles of clarity and functionality, it also encourages designers to experiment with type creatively. Kane highlights how typography can evoke emotions and set the tone of a design, providing examples of expressive typographic compositions.