Creative Brand Strategy | Final Compilation & Reflection
23/04/26 - /04/26 [ Week 1 - Week 14 ]
Nicco Chew Jin Xun (0366563)
Creative Brand Strategy | Bachelor of Design (Hons) In Creative Media | Taylor's University
Tutor: Mr. Goh
Table of contents
1. Instructions
-
Task 1
-
Task 2
-
Task 3
3.
Feedback
4.
Reflection
Instructions
Project / Process Work
Part A: Presentation
In Week 1, Mr. Max introduced Task 1 and explained the project
requirements, which included developing a campaign on a mental
health awareness topic. After the briefing, I began exploring
different mental health issues that could be meaningful for my
campaign. Initially, I was interested in topics related to anxiety
and panic disorders. After further consideration, I decided to focus
on agoraphobia, as I personally relate to some aspects of social
anxiety and have previously done a small amount of research on this
condition. I discussed my proposed topic with Mr. Max, who agreed
that it was a suitable direction for the project. With his approval,
I began gathering references and conducting further research to
better understand the condition and identify possible directions for
my awareness campaign.
Agoraphobia campaign / research i found
Case Study Analysis Report
After presenting my case study, I received positive feedback from
Mr. Max. He commented that my analysis of Beyond Blue's PACE: Daily
Wellbeing campaign was clear, well-structured, and comprehensive. He
agreed that I had demonstrated a good understanding of the
campaign's objectives, target audience, visual identity,
communication strategy, customer journey, and SWOT analysis. He also
felt that my research provided a strong foundation for developing my
own mental health awareness campaign.
Mr. Max suggested that, as I move forward, I should clearly define my chosen mental health issue and focus on creating a campaign that balances practical guidance with emotional connection. He encouraged me to combine awareness with interactive or experiential elements so that users not only understand the issue but also feel supported and motivated to take action. In addition, he recommended considering long-term user engagement to ensure the campaign remains meaningful beyond the initial interaction.
Part B: Situation Analysis
After conducting further research, I refined my campaign direction and
developed the concept "Where 's The Exit?" with the
subtitle "Name It Before It Traps You." Instead of
explaining agoraphobia through clinical information, I wanted to create
a campaign that allows audiences to experience the emotions behind the
condition through visual storytelling. My goal is to help young adults
recognise the early signs of agoraphobia before they mistake them for
personality traits or temporary stress.
The campaign focuses on immersive photography,
first-person/third-person narratives, and emotional storytelling to
recreate the feeling of anxiety in crowded public spaces. The main
deliverables include a photography zine, posters, and a short conceptual
video, all designed to encourage self-recognition, empathy, and open
conversations about agoraphobia. Rather than simply raising awareness, I
hope the campaign can help people realise that what they are
experiencing has a name and that they are not alone.
Campaign Proposal
After making several adjustments, I completed the final version of the
proposal template. I then started designing the presentation slides by
organising the content and visuals in preparation for the final
presentation.
Presentation Slides
Task 1: Presentation & Situation Analysis
Task 1 - Presentation Slides
In Week 5, we conducted our proposal presentation online via
Microsoft Teams, with a 7-minute presentation allocated to
each student. During the presentation, I introduced my
campaign proposal on agoraphobia, explaining the problem
statement, target audience, research findings, campaign
concept, and visual direction. The presentation also allowed
me to receive valuable feedback from Mr. Max, which helped me
identify areas for improvement before moving on to the next
stage of the project.
Task 1 - Presentation Slides
Task 2: Purpose, Positioning, Personality
Part A: Ideation
In Week 5, we completed the presentation for Task 1 and moved
from campaign proposal development into Task 2: Visual
Identity Design. After presenting my campaign direction, I
confirmed my brand name as The Edge. The name represents the psychological state of someone
living with agoraphobia that exists between safety and fear,
never feeling fully inside or outside a space. It also
reflects the common behaviour of staying close to exits,
remaining at the edge of crowds, and constantly looking for an
escape route. I chose this name because it captures both the
emotional and physical experience of agoraphobia while
remaining simple, memorable, and meaningful.
The campaign title, "Where's The Exit?", was inspired by the automatic thought that many people with
agoraphobia experience whenever they enter a crowded or
unfamiliar environment. It is not simply a question about
leaving; it represents the immediate need to identify a safe
escape route before feeling comfortable in a space. Through
this title, I wanted to communicate the hidden anxiety that
many individuals experience internally, while encouraging
audiences to understand that this constant search for an exit
may be an early sign of agoraphobia rather than just a
personal habit or preference.
Brand Name & Campaign Name
After finalising the brand and campaign names, I began
exploring the logo design for The Edge. During the initial
ideation stage, I produced 23 logo sketches, experimenting
with different concepts related to negative space, edges,
and the psychological feeling of being "in between." I
wanted the logo to visually represent the emotional
tension and uncertainty associated with agoraphobia.
During the consultation, Mr. Max pointed out that several
of my initial concepts appeared too dark and negative. He
explained that, as a mental health awareness campaign, the
visual identity should encourage people to seek
understanding and support rather than make them feel
intimidated. But he did choose 2 sketches for me to work
on. He suggested that I could further explore concepts
inspired by puzzle pieces, staircases, connections, and
transitions, as these ideas better represent hope,
progress, and the journey toward self-recognition. Based
on his feedback, I continued refining my concepts and
explored more meaningful directions for the final logo
design.
Logo Sketches #1
Based on Mr. Max's feedback, I continued refining my ideas
by producing 14 additional logo explorations. This time, I
focused more on incorporating negative space, puzzle-like
connections, interlocking forms, and edge-inspired geometric
shapes to better reflect the campaign's concept. Instead of
emphasising fear or isolation, I aimed to create a logo that
symbolises recognition, transition, and the journey between
uncertainty and understanding. Through this exploration, I
experimented with different ways of communicating the
meaning of The Edge while maintaining a clean and memorable
visual identity.
During the following consultation, Mr. Max reviewed
the new logo concepts and selected two designs that best
represented the campaign's identity and direction. These
selected concepts became the foundation for developing my
final logo design.
After finalising the brand and campaign names, I began
exploring the logo design for The Edge. During the initial
ideation stage, I produced 23 logo sketches, experimenting
with different concepts related to negative space, edges,
and the psychological feeling of being "in between." I
wanted the logo to visually represent the emotional
tension and uncertainty associated with agoraphobia.
During the consultation, Mr. Max pointed out that several
of my initial concepts appeared too dark and negative. He
explained that, as a mental health awareness campaign, the
visual identity should encourage people to seek
understanding and support rather than make them feel
intimidated. But he did choose 2 sketches for me to work
on. He suggested that I could further explore concepts
inspired by puzzle pieces, staircases, connections, and
transitions, as these ideas better represent hope,
progress, and the journey toward self-recognition. Based
on his feedback, I continued refining my concepts and
explored more meaningful directions for the final logo
design.
Based on Mr. Max's feedback, I continued refining my ideas
by producing 14 additional logo explorations. This time, I
focused more on incorporating negative space, puzzle-like
connections, interlocking forms, and edge-inspired geometric
shapes to better reflect the campaign's concept. Instead of
emphasising fear or isolation, I aimed to create a logo that
symbolises recognition, transition, and the journey between
uncertainty and understanding. Through this exploration, I
experimented with different ways of communicating the
meaning of The Edge while maintaining a clean and memorable
visual identity.
During the following consultation, Mr. Max reviewed the new logo concepts and selected two designs that best represented the campaign's identity and direction. These selected concepts became the foundation for developing my final logo design.
Logo Sketches #2
After narrowing down the logo concepts, I digitised the
selected design and explored several refinements. I
experimented with different stroke weights, typographic
hierarchy, and the use of uppercase and lowercase lettering
to evaluate how each variation affected the overall visual
identity. These iterations allowed me to compare the
balance, readability, and impact of the logo in different
applications.
During the consultation, Mr. Max also advised me that different stroke thicknesses create different visual impressions. He also suggested experimenting with using uppercase letters for "THE", as it could create a stronger visual hierarchy and improve the logo's overall presence. Based on his feedback, I continued refining the proportions and typography before selecting the final logo version.
Digitalised Logo
Final Logo chosen by Mr. Max
After finalising the logo, I continued developing the Brand Guidelines for The Edge. I established the typography, colour palette, and other visual identity elements to create a consistent design system for the campaign.
For the typography, I selected Helvetica as the primary typeface because of its clean, timeless, and highly legible appearance. Its neutral and structured design conveys a sense of clarity, reliability, and professionalism, allowing the campaign to communicate sensitive mental health information in a calm and approachable manner. As the secondary typeface, I chose Departure Mono to introduce a bitmap-inspired aesthetic that complements the campaign's visual direction. Its pixelated letterforms reinforce the digital and fragmented visual language while subtly expressing feelings of uncertainty, sensory overload, and the restless thought patterns often associated with agoraphobia. I also felt that the contrast between Helvetica and Departure Mono creates a balanced combination of structure and emotion.
For the colour palette, I primarily chose shades of blue paired with warm cream and soft off-white tones. The blue hues represent calmness, emotional depth, and moments of isolation, while also reflecting the overwhelming yet quiet psychological experience of agoraphobia. In contrast, the warm cream tones symbolise light, safety, and the possibility of comfort or reassurance. The combination of cool and warm colours reflects the emotional contrast between fear and security, reinforcing the campaign's concept of existing "on the edge" between anxiety and relief.
Colour Palette
Primary Typeface
Secondary Typeface
At the same time, we were required to collect 100 symbols and visual elements related to our chosen topic to support the development of our visual identity. I began by researching symbols that are closely associated with agoraphobia, such as exits, crowds, edges, doors, bus stops, hallways, pathways, and transitional spaces. These visual references helped me better understand the behaviours and emotions experienced by people with agoraphobia, while also providing inspiration for my logo, campaign visuals, and overall design direction. As my research progressed, I continued expanding the collection by exploring additional metaphors and symbolic elements that could effectively communicate the concept of agoraphobia.
100 Symbols
Initial sketches of symbols
After consulting with Mr. Max, these are the strongest symbols/icons
he suggest me develop further of:
- Exit Sign — this is one of your strongest symbols because it directly shows the constant scanning for escape in public spaces.
- Half-open Door — strong because it represents the threshold between safety and uncertainty.
- Threshold — very suitable because agoraphobia often involves the fear of crossing from a safe space into an unpredictable public environment.
- Home — important as the safe zone, but design it subtly so it does not look like a real estate or home comfort campaign.
- Locked Door — strong because it represents both protection and imprisonment at the same time.
- Open Field — good symbol for exposure, vulnerability, and no place to hide.
- Crowd / Shadow Crowd — one of the most important symbols because crowds are central to the fear of being trapped or overwhelmed.
- Narrow Corridor — very strong because it visually creates pressure, restriction, and the feeling that the exit is far away.
- Safe Zone Circle — one of your best conceptual symbols because it shows the shrinking radius of places a person feels able to tolerate.
- Map with Radius — very strong because it communicates how life becomes limited around home and “safe distance.”
- Tunnel Vision — strong because it shows how perception narrows during panic.
- Caution Tape — useful for self-imposed exclusion zones and places mentally marked as unsafe.
- Invisible Leash — one of the strongest metaphors because it shows the unseen pull back to safety.
- Emergency Button — strong for the desperate need to stop, exit, or return to safety.
- No Entry Sign — useful for avoidance and self-created restrictions.
- Elevator Interior — strong because it represents a sealed public box with no immediate escape.
- Counting Tiles — very good because it shows grounding behaviour and coping rituals.
- Crowd Noise Wave / White Noise — strong for sensory overload and the feeling that sound becomes physically overwhelming.
- Breath Count — important because it gives the campaign a coping or support direction, not just fear.
- Comfort Object — useful for grounding, safety, and carrying a small sense of control into public spaces.
Since I wanted the visual identity to follow a bitmap/pixel-art aesthetic, I recreated each symbol manually in Adobe Illustrator using a grid-based approach instead of applying a simple pixel effect. This allowed me to control the shape and consistency of every icon while maintaining a clean, retro-inspired visual language.
I designed a series of symbols based on the key themes of agoraphobia, including exit sign, half-open door, home, locked door, crowd, safe zone circle, map with radius, invisible leash, and emergency button. Each icon was simplified into geometric pixel forms while remaining easily recognisable. The consistent pixel style reinforces the campaign's visual identity and creates a distinctive system that can be applied across posters, the zine, social media, and other campaign materials.
Symbols made on Adobe Illustrator
Brand Guideline
Task 3: Cause / Campaign / Event Branding
After completing the Brand Guidelines, I moved on to developing the campaign applications. For this project, we were required to produce three different application designs that effectively communicate our campaign across multiple touchpoints. Based on my campaign concept, I chose to develop a poster series, a photography zine, and Instagram social media campaign posts, as these platforms best support the visual storytelling approach of The Edge.
The poster series serves as the first point of contact, aiming to capture attention in public spaces and encourage audiences to learn more about agoraphobia. Each poster features thought-provoking visuals and short internal monologues to spark curiosity rather than directly explaining the condition.
The photography zine is the core outcome of the campaign. Through photography, fragmented layouts, and emotional narratives, it recreates the internal experience of agoraphobia and helps audiences recognise the emotions and behaviours associated with the condition.
Lastly, I designed an Instagram campaign to extend the campaign beyond the printed materials. By integrating QR codes, short video (impactful project - video), and social media posts, audiences can continue exploring the campaign online, increasing engagement and making the campaign more accessible to young adults. Together, these three applications create a connected audience journey from initial awareness and curiosity to emotional understanding and further engagement with the campaign.
After completing the Brand Guidelines, I moved on to developing the campaign applications. For this project, we were required to produce three different application designs that effectively communicate our campaign across multiple touchpoints. Based on my campaign concept, I chose to develop a poster series, a photography zine, and Instagram social media campaign posts, as these platforms best support the visual storytelling approach of The Edge.
The poster series serves as the first point of contact, aiming to capture attention in public spaces and encourage audiences to learn more about agoraphobia. Each poster features thought-provoking visuals and short internal monologues to spark curiosity rather than directly explaining the condition.
The photography zine is the core outcome of the campaign. Through photography, fragmented layouts, and emotional narratives, it recreates the internal experience of agoraphobia and helps audiences recognise the emotions and behaviours associated with the condition.
Lastly, I designed an Instagram campaign to extend the campaign beyond the printed materials. By integrating QR codes, short video (impactful project - video), and social media posts, audiences can continue exploring the campaign online, increasing engagement and making the campaign more accessible to young adults. Together, these three applications create a connected audience journey from initial awareness and curiosity to emotional understanding and further engagement with the campaign.
Progress of making applications
After completing the photography zine, I designed a series of nine Instagram posts to extend the campaign beyond printed materials and create a continuous online experience. Rather than using Instagram solely for promotion, I designed the content as an educational and awareness platform where users can gradually learn about agoraphobia through short, engaging posts.
The first post introduces The Edge through the campaign logo and tagline, establishing the campaign identity. The second post communicates the core message, "My world keeps getting smaller," using a visual metaphor to illustrate how a person's comfort zone gradually shrinks. The third post introduces the campaign's vision and mission, explaining the purpose of raising awareness about agoraphobia.
The fourth post encourages self-reflection by asking audiences about their personal comfort zone, helping them relate the campaign to their own experiences. The fifth post presents a series of common internal thoughts experienced by people with agoraphobia, allowing audiences to recognise these thought patterns. The sixth post highlights the instinct to constantly search for exits, reinforcing one of the key behaviours associated with the condition.
The seventh post presents a "Survival Checklist," featuring behaviours such as staying near exits, avoiding crowds, planning escape routes, leaving early, and cancelling plans. It emphasises that these are not personality traits, but coping mechanisms often developed by people living with agoraphobia. The eighth post explains what agoraphobia is in a simple and accessible way, helping audiences understand the condition without using overly clinical language. Finally, the ninth post encourages audiences to take the next step by learning more about agoraphobia through additional resources and by sharing their own experiences, reinforcing the campaign's goal of creating awareness and open conversations.
In addition to the Instagram posts, the campaign's short awareness film will also be published on the account to strengthen the emotional storytelling experience. The Instagram bio includes a direct link to the digital photography zine, allowing audiences to seamlessly continue their journey from social media to a more immersive exploration of the campaign. Together, these digital touchpoints support the audience journey developed earlier in the project, guiding users from awareness and curiosity to understanding, reflection, and engagement.
Progress of making Instagram posts in Adobe Illustration
Instagram Social Media Campaign Posts
To bring my photography zine concept to life, I collaborated with a friend who acted as the main subject throughout the photo shoot. Instead of staging the scenes in a controlled environment, I chose to photograph in Pasar Seni, bus stations, and KL Sentral as these locations are constantly crowded and filled with movement. These spaces closely reflect the environments where people with agoraphobia often experience feelings of anxiety, sensory overload, and the need to locate an exit.
Following the concept proposed in my campaign, I focused on capturing authentic moments rather than posed photographs. I experimented with different perspectives, motion blur, distance, and crowd density to recreate the feeling of being overwhelmed while remaining physically present in the space. These photographs later became the main visual content of the zine, helping audiences experience the emotional atmosphere of agoraphobia through immersive visual storytelling rather than direct explanation.
Pictures taken for photography zine
Throughout the shoot, I captured hundreds of photographs and videos while experimenting with different camera angles, compositions, and movement. I intentionally photographed from both first-person and third-person perspectives, as outlined in my proposal, to communicate both the internal experience of agoraphobia and how it appears from the outside. After the shoot, I carefully selected and edited the strongest images before incorporating them into the zine layout. The final visuals support my campaign's objective of helping audiences recognise the emotional experience of agoraphobia through photography and storytelling.
Progress of colour grading in Adobe Photoshop
Progress of making applications
After completing the photography zine, I designed a series of nine Instagram posts to extend the campaign beyond printed materials and create a continuous online experience. Rather than using Instagram solely for promotion, I designed the content as an educational and awareness platform where users can gradually learn about agoraphobia through short, engaging posts.
The first post introduces The Edge through the campaign logo and tagline, establishing the campaign identity. The second post communicates the core message, "My world keeps getting smaller," using a visual metaphor to illustrate how a person's comfort zone gradually shrinks. The third post introduces the campaign's vision and mission, explaining the purpose of raising awareness about agoraphobia.
The fourth post encourages self-reflection by asking audiences about their personal comfort zone, helping them relate the campaign to their own experiences. The fifth post presents a series of common internal thoughts experienced by people with agoraphobia, allowing audiences to recognise these thought patterns. The sixth post highlights the instinct to constantly search for exits, reinforcing one of the key behaviours associated with the condition.
The seventh post presents a "Survival Checklist," featuring behaviours such as staying near exits, avoiding crowds, planning escape routes, leaving early, and cancelling plans. It emphasises that these are not personality traits, but coping mechanisms often developed by people living with agoraphobia. The eighth post explains what agoraphobia is in a simple and accessible way, helping audiences understand the condition without using overly clinical language. Finally, the ninth post encourages audiences to take the next step by learning more about agoraphobia through additional resources and by sharing their own experiences, reinforcing the campaign's goal of creating awareness and open conversations.
In addition to the Instagram posts, the campaign's short awareness film will also be published on the account to strengthen the emotional storytelling experience. The Instagram bio includes a direct link to the digital photography zine, allowing audiences to seamlessly continue their journey from social media to a more immersive exploration of the campaign. Together, these digital touchpoints support the audience journey developed earlier in the project, guiding users from awareness and curiosity to understanding, reflection, and engagement.
Progress of making Instagram posts in Adobe Illustration
Instagram Social Media Campaign Posts
To bring my photography zine concept to life, I collaborated with a friend who acted as the main subject throughout the photo shoot. Instead of staging the scenes in a controlled environment, I chose to photograph in Pasar Seni, bus stations, and KL Sentral as these locations are constantly crowded and filled with movement. These spaces closely reflect the environments where people with agoraphobia often experience feelings of anxiety, sensory overload, and the need to locate an exit.
Following the concept proposed in my campaign, I focused on capturing authentic moments rather than posed photographs. I experimented with different perspectives, motion blur, distance, and crowd density to recreate the feeling of being overwhelmed while remaining physically present in the space. These photographs later became the main visual content of the zine, helping audiences experience the emotional atmosphere of agoraphobia through immersive visual storytelling rather than direct explanation.
Pictures taken for photography zine
Throughout the shoot, I captured hundreds of photographs and videos while experimenting with different camera angles, compositions, and movement. I intentionally photographed from both first-person and third-person perspectives, as outlined in my proposal, to communicate both the internal experience of agoraphobia and how it appears from the outside. After the shoot, I carefully selected and edited the strongest images before incorporating them into the zine layout. The final visuals support my campaign's objective of helping audiences recognise the emotional experience of agoraphobia through photography and storytelling.
Progress of colour grading in Adobe Photoshop
Progress of photography zine in Adobe Illustrator
Photography Zine
Photography Zine in digital flipbook
As part of my campaign applications, I designed a series of three posters to raise awareness of agoraphobia from different perspectives. Instead of relying on statistics or lengthy explanations, I wanted each poster to communicate the emotional experience of agoraphobia through visual storytelling, internal monologues, and symbolic imagery. Together, the posters guide audiences from experiencing the feeling, understanding the behaviour, and finally learning about the condition.
The first poster recreates the overwhelming feeling of being surrounded by crowds while feeling mentally "frozen." I incorporated interface-like elements such as heart rate, crowd count, safe radius, and distance to the nearest exit to visualise the constant mental scanning that people with agoraphobia often experience. Rather than explaining the condition directly, the poster immerses viewers in the emotional state of anxiety and uncertainty.
The second poster shifts the focus to the idea of home as a safe zone. The statement "Home isn't where I live, it's where I can breathe" reflects how familiar environments often become the only place where individuals with agoraphobia feel a sense of control and security. The circular safe zone, pixelated house illustration, and supporting labels symbolise the shrinking comfort zone that gradually limits a person's daily life. A QR code is included to encourage audiences to continue exploring and visits the Instagram account of The Edge.
The final poster introduces the term agoraphobia and explains the condition in a clear and accessible way. After experiencing the emotional and behavioural aspects shown in the first two posters, audiences are finally given a name for what they have seen. The poster combines simple educational information with common thoughts such as "I just want to stay at home" and "Where's the exit?" to help viewers recognise the signs of agoraphobia. It also includes the QR code that directs audiences to the campaign's Instagram account for further information and support.
Progress of making poster series in Adobe Illustration
Posters Series (PDF)
Journey Map
Final Application Design
Final Brand Guideline
Final Presentation Slides
Impactful Project
Editing progress in CapCut
Feedback
Week 1 (21/04/26)
General Feedback:
Mr. Max introduced the module and explained the overall project brief. This project focuses on mental health awareness in collaboration with Taylor's Counselling and Career Services (CCS). We are required to develop a campaign that not only communicates mental health issues effectively but also presents them through a strong and engaging visual identity.
Specific Feedback:At the beginning of the project, I knew I wanted to focus on a topic related to anxiety and panic. This led me to explore agoraphobia, as I personally relate to certain aspects of social anxiety and had previously read about similar cases. I also found that agoraphobia is a mental health condition that many people are unfamiliar with, making it a meaningful topic for an awareness campaign. After discussing my idea with Mr. Max, he confirmed that no one else had chosen this topic and agreed that it would be a suitable direction for my project. Following his feedback, I began researching agoraphobia and looking for relevant case studies to support my campaign development.
General Feedback:
Mr. Max introduced the module and explained the overall project brief. This project focuses on mental health awareness in collaboration with Taylor's Counselling and Career Services (CCS). We are required to develop a campaign that not only communicates mental health issues effectively but also presents them through a strong and engaging visual identity.
Specific Feedback:
At the beginning of the project, I knew I wanted to focus on a topic related to anxiety and panic. This led me to explore agoraphobia, as I personally relate to certain aspects of social anxiety and had previously read about similar cases. I also found that agoraphobia is a mental health condition that many people are unfamiliar with, making it a meaningful topic for an awareness campaign. After discussing my idea with Mr. Max, he confirmed that no one else had chosen this topic and agreed that it would be a suitable direction for my project. Following his feedback, I began researching agoraphobia and looking for relevant case studies to support my campaign development.
Week 2 (28/04/26)
General Feedback:This week's lecture focused on how to analyse existing campaigns and structure an effective case study. Mr. Max explained the key components that should be included and how the findings could be applied to our own campaign development.
Specific Feedback:Since agoraphobia is a relatively under-discussed mental health condition, I found it difficult to locate an existing awareness campaign that focused specifically on this topic. During the consultation, Mr. Max explained that my case study did not have to be directly related to agoraphobia, as long as I could clearly apply the campaign's strategies and strengths to my own project later on. Based on his advice, I shifted my focus to finding a well-executed mental health campaign that could provide useful insights and inspiration for developing my own campaign.
General Feedback:
This week's lecture focused on how to analyse existing campaigns and structure an effective case study. Mr. Max explained the key components that should be included and how the findings could be applied to our own campaign development.
Specific Feedback:
Since agoraphobia is a relatively under-discussed mental health condition, I found it difficult to locate an existing awareness campaign that focused specifically on this topic. During the consultation, Mr. Max explained that my case study did not have to be directly related to agoraphobia, as long as I could clearly apply the campaign's strategies and strengths to my own project later on. Based on his advice, I shifted my focus to finding a well-executed mental health campaign that could provide useful insights and inspiration for developing my own campaign.
Week 3 (05/05/26)
General Feedback:This week, Mr. Max introduced the requirements for Task 1: Campaign Proposal, outlining the content and direction that should be included in our presentation.
Specific Feedback:This week, I focused on refining the direction of my campaign by clearly defining its target audience. After reviewing my research on agoraphobia, I decided to focus on first- and second-year university students aged 18 to 25 as the primary audience, as they may experience the early signs of agoraphobia without recognising it. I also identified peers, friends, family members, and the general public as the secondary audience, with the aim of helping them better understand behaviours such as avoiding crowded places, social withdrawal, and the constant need to stay close to exits, which are often misunderstood or dismissed as personality traits.
General Feedback:
This week, Mr. Max introduced the requirements for Task 1: Campaign Proposal, outlining the content and direction that should be included in our presentation.
Specific Feedback:
This week, I focused on refining the direction of my campaign by clearly defining its target audience. After reviewing my research on agoraphobia, I decided to focus on first- and second-year university students aged 18 to 25 as the primary audience, as they may experience the early signs of agoraphobia without recognising it. I also identified peers, friends, family members, and the general public as the secondary audience, with the aim of helping them better understand behaviours such as avoiding crowded places, social withdrawal, and the constant need to stay close to exits, which are often misunderstood or dismissed as personality traits.
Week 4 (12/05/26)
General Feedback:The lecture focused on brand positioning, where Mr. Max explained the importance of developing a clear campaign identity. We were also required to present our campaign's USP (Unique Selling Proposition) and UVP (Unique Value Proposition).
Specific Feedback:This week, I focused on developing my campaign proposal and preparing the presentation slides for the proposal presentation. I spent time organising the research findings, campaign objectives, target audience, problem statement, and proposed outcomes into a clear and logical sequence. Besides refining the written content, I also started arranging the visual layout of the slides by incorporating relevant images, references, and design elements that reflected the overall direction of my campaign.
General Feedback:
The lecture focused on brand positioning, where Mr. Max explained the importance of developing a clear campaign identity. We were also required to present our campaign's USP (Unique Selling Proposition) and UVP (Unique Value Proposition).
Specific Feedback:
This week, I focused on developing my campaign proposal and preparing the presentation slides for the proposal presentation. I spent time organising the research findings, campaign objectives, target audience, problem statement, and proposed outcomes into a clear and logical sequence. Besides refining the written content, I also started arranging the visual layout of the slides by incorporating relevant images, references, and design elements that reflected the overall direction of my campaign.
Week 5 (19/05/26)
General Feedback:
This was the submission week for Task 1. After submitting the proposal, each student presented their campaign individually through Microsoft Teams.
Specific Feedback:
Mr. Max was satisfied with the overall quality of my case study and agreed that it demonstrated a clear understanding of the selected campaign. He pointed out that my analysis of the campaign's objectives, target audience, brand positioning, visual identity, customer journey, and SWOT analysis was well organised and relevant to the project. He also noted that I successfully identified how the campaign translated mental health awareness into practical actions through a structured approach.
As I move into the campaign proposal stage, he encouraged me to develop a campaign that balances both emotional impact and practical guidance. Instead of only informing audiences about a mental health issue, he suggested creating an experience that allows people to better understand and connect with the emotions behind it. He also reminded me to narrow down my topic to a specific mental health condition and ensure that every aspect of the campaign, including its visual identity, communication strategy, and user journey, supports that focus. Finally, he recommended considering ways to sustain audience engagement over time so that the campaign could remain meaningful beyond the initial interaction.
General Feedback:
This was the submission week for Task 1. After submitting the proposal, each student presented their campaign individually through Microsoft Teams.
Specific Feedback:
Mr. Max was satisfied with the overall quality of my case study and agreed that it demonstrated a clear understanding of the selected campaign. He pointed out that my analysis of the campaign's objectives, target audience, brand positioning, visual identity, customer journey, and SWOT analysis was well organised and relevant to the project. He also noted that I successfully identified how the campaign translated mental health awareness into practical actions through a structured approach.
As I move into the campaign proposal stage, he encouraged me to develop a campaign that balances both emotional impact and practical guidance. Instead of only informing audiences about a mental health issue, he suggested creating an experience that allows people to better understand and connect with the emotions behind it. He also reminded me to narrow down my topic to a specific mental health condition and ensure that every aspect of the campaign, including its visual identity, communication strategy, and user journey, supports that focus. Finally, he recommended considering ways to sustain audience engagement over time so that the campaign could remain meaningful beyond the initial interaction.
As I move into the campaign proposal stage, he encouraged me to develop a campaign that balances both emotional impact and practical guidance. Instead of only informing audiences about a mental health issue, he suggested creating an experience that allows people to better understand and connect with the emotions behind it. He also reminded me to narrow down my topic to a specific mental health condition and ensure that every aspect of the campaign, including its visual identity, communication strategy, and user journey, supports that focus. Finally, he recommended considering ways to sustain audience engagement over time so that the campaign could remain meaningful beyond the initial interaction.
Week 6 (26/05/26)
General Feedback:This week, Mr. Max introduced the brief for Task 2: Brand Identity and explained the required deliverables. A template was provided to help us organise our work and ensure that all the required components were included. Unlike Task 1, this task did not require a formal presentation. He mentioned that the rationale behind our branding decisions would be explained verbally during the final presentation instead of being presented separately at this stage. Besides, Mr. Max asks us to start showing him the initial sketches of logo to him.
Specific Feedback:
This week, I began exploring the visual identity of my campaign by producing a series of initial logo sketches. I experimented with different concepts and forms inspired by the themes of agoraphobia, such as boundaries, exits, safe spaces, and the feeling of being caught between comfort and fear. The purpose of this exploration was to generate a variety of ideas before narrowing them down for further refinement. I started by producing 23 initial logo sketches and presented to Mr. Max for feedback. He mentioned that some of the concepts appeared overly dark and emphasised the negative aspects of the condition too strongly. As the purpose of the campaign is to raise awareness while encouraging understanding and support, he suggested that the logo should communicate a greater sense of hope and progression instead of fear alone. Among the sketches, he selected two concepts that showed the most potential for further development. He also recommended exploring ideas inspired by puzzle pieces, staircases, connections, and transitions, as these better reflect the journey of recognising and coping with agoraphobia. Based on his suggestions, I continued refining the selected concepts and used them as the foundation for the next stage of the logo design.
General Feedback:
This week, Mr. Max introduced the brief for Task 2: Brand Identity and explained the required deliverables. A template was provided to help us organise our work and ensure that all the required components were included. Unlike Task 1, this task did not require a formal presentation. He mentioned that the rationale behind our branding decisions would be explained verbally during the final presentation instead of being presented separately at this stage. Besides, Mr. Max asks us to start showing him the initial sketches of logo to him.
Specific Feedback:
This week, I began exploring the visual identity of my campaign by producing a series of initial logo sketches. I experimented with different concepts and forms inspired by the themes of agoraphobia, such as boundaries, exits, safe spaces, and the feeling of being caught between comfort and fear. The purpose of this exploration was to generate a variety of ideas before narrowing them down for further refinement. I started by producing 23 initial logo sketches and presented to Mr. Max for feedback. He mentioned that some of the concepts appeared overly dark and emphasised the negative aspects of the condition too strongly. As the purpose of the campaign is to raise awareness while encouraging understanding and support, he suggested that the logo should communicate a greater sense of hope and progression instead of fear alone. Among the sketches, he selected two concepts that showed the most potential for further development. He also recommended exploring ideas inspired by puzzle pieces, staircases, connections, and transitions, as these better reflect the journey of recognising and coping with agoraphobia. Based on his suggestions, I continued refining the selected concepts and used them as the foundation for the next stage of the logo design.
Week 7 (02/06/26)
General Feedback:
As this week fell on a public holiday, the consultation session was conducted online via Microsoft Teams/Whatsapp. Instead of meeting in class, we submitted our progress digitally and received feedback remotely.
General Feedback:
As this week fell on a public holiday, the consultation session was conducted online via Microsoft Teams/Whatsapp. Instead of meeting in class, we submitted our progress digitally and received feedback remotely.
Specific Feedback:
Following the previous consultation, I continued developing the logo by creating 14 new design explorations based on Mr. Max's suggestions. Instead of focusing solely on the darker emotions associated with agoraphobia, I explored concepts that could better communicate the campaign's message through negative space, interlocking forms, puzzle-inspired elements, and geometric shapes. My aim was to create a logo that represents the process of recognising the condition and gradually moving towards understanding, while keeping the overall design simple, distinctive, and adaptable across different applications.During the next consultation, I presented these refined concepts to Mr. Max for further review. After discussing the strengths of each direction, he selected two logo concepts that most effectively reflected the identity and values of The Edge. These two designs were then taken forward for further refinement before developing the final logo.
Specific Feedback:
Following the previous consultation, I continued developing the logo by creating 14 new design explorations based on Mr. Max's suggestions. Instead of focusing solely on the darker emotions associated with agoraphobia, I explored concepts that could better communicate the campaign's message through negative space, interlocking forms, puzzle-inspired elements, and geometric shapes. My aim was to create a logo that represents the process of recognising the condition and gradually moving towards understanding, while keeping the overall design simple, distinctive, and adaptable across different applications.
Following the previous consultation, I continued developing the logo by creating 14 new design explorations based on Mr. Max's suggestions. Instead of focusing solely on the darker emotions associated with agoraphobia, I explored concepts that could better communicate the campaign's message through negative space, interlocking forms, puzzle-inspired elements, and geometric shapes. My aim was to create a logo that represents the process of recognising the condition and gradually moving towards understanding, while keeping the overall design simple, distinctive, and adaptable across different applications.
During the next consultation, I presented these refined concepts to Mr. Max for further review. After discussing the strengths of each direction, he selected two logo concepts that most effectively reflected the identity and values of The Edge. These two designs were then taken forward for further refinement before developing the final logo.
Week 8 (09/06/26)
General Feedback:There was no regular class this week as it was replaced by Prof. Cleavers' Graphic Design Workshop. Although the workshop took the place of our scheduled class, I continued progressing with my campaign by refining my brand identity and preparing for the next stage of development.
Specific Feedback:
After deciding on the strongest logo concept, I recreated it digitally and began refining its overall appearance. I explored different variations by adjusting the stroke weight, letterforms, and typographic hierarchy to see how each version influenced the logo's readability and visual impact. I also experimented with both uppercase and lowercase lettering to identify the option that best suited the campaign's identity.During the consultation, Mr. Max reviewed the digital logo and provided further suggestions for refinement. He explained that the thickness of the strokes could significantly influence the personality of the logo and encouraged me to test different weights before making a final decision. He also recommended capitalising "THE" to strengthen the visual hierarchy and make the logo more balanced. Based on his feedback, I continued fine-tuning the typography, proportions, and overall composition before finalising the approved logo.
General Feedback:
There was no regular class this week as it was replaced by Prof. Cleavers' Graphic Design Workshop. Although the workshop took the place of our scheduled class, I continued progressing with my campaign by refining my brand identity and preparing for the next stage of development.
Specific Feedback:
After deciding on the strongest logo concept, I recreated it digitally and began refining its overall appearance. I explored different variations by adjusting the stroke weight, letterforms, and typographic hierarchy to see how each version influenced the logo's readability and visual impact. I also experimented with both uppercase and lowercase lettering to identify the option that best suited the campaign's identity.
After deciding on the strongest logo concept, I recreated it digitally and began refining its overall appearance. I explored different variations by adjusting the stroke weight, letterforms, and typographic hierarchy to see how each version influenced the logo's readability and visual impact. I also experimented with both uppercase and lowercase lettering to identify the option that best suited the campaign's identity.
During the consultation, Mr. Max reviewed the digital logo and provided further suggestions for refinement. He explained that the thickness of the strokes could significantly influence the personality of the logo and encouraged me to test different weights before making a final decision. He also recommended capitalising "THE" to strengthen the visual hierarchy and make the logo more balanced. Based on his feedback, I continued fine-tuning the typography, proportions, and overall composition before finalising the approved logo.
Week 10 (23/06/26)
General Feedback:This week focused on developing the visual identity of our campaigns through ideation. Mr. Max reviewed our initial concepts and provided feedback on how visual elements could better communicate the chosen mental health issue. He also emphasised the importance of selecting meaningful symbols and refining them into a consistent visual language that could be applied across the entire campaign.
Specific Feedback:Mr. Max reviewed my symbol exploration and identified several concepts that best represented the experience of agoraphobia. He recommended focusing on symbols such as the exit sign, half-open door, threshold, crowd, safe zone, map radius, narrow corridor, tunnel vision, invisible leash, and counting tiles, as these effectively communicate themes of safety, avoidance, restriction, and the constant search for an escape. He also reminded me that symbols like home should be designed carefully to avoid being associated with home comfort or real estate. For the next stage, he advised me to narrow the selection down to 10–15 final icons and redesign them using a consistent visual style so they could function as a cohesive icon system for the campaign.
General Feedback:
This week focused on developing the visual identity of our campaigns through ideation. Mr. Max reviewed our initial concepts and provided feedback on how visual elements could better communicate the chosen mental health issue. He also emphasised the importance of selecting meaningful symbols and refining them into a consistent visual language that could be applied across the entire campaign.
Specific Feedback:
Mr. Max reviewed my symbol exploration and identified several concepts that best represented the experience of agoraphobia. He recommended focusing on symbols such as the exit sign, half-open door, threshold, crowd, safe zone, map radius, narrow corridor, tunnel vision, invisible leash, and counting tiles, as these effectively communicate themes of safety, avoidance, restriction, and the constant search for an escape. He also reminded me that symbols like home should be designed carefully to avoid being associated with home comfort or real estate. For the next stage, he advised me to narrow the selection down to 10–15 final icons and redesign them using a consistent visual style so they could function as a cohesive icon system for the campaign.
Week 11 (30/06/26)
General Feedback:This week, I continued developing the brand guideline by finalising the core visual elements of the campaign. I focused on ensuring that the typography, colour palette, and supporting brand applications worked together consistently to establish a cohesive visual identity before moving on to the remaining deliverables.
Specific Feedback:This week, I confirmed the final typography and colour palette for my campaign after reviewing how they complemented the overall brand identity. I also began designing the brand stationery, starting with the letterhead and other supporting applications. Throughout the process, I ensured that each design element followed the established visual guidelines, maintaining consistency in layout, typography, colour usage, and overall brand communication across all materials.
General Feedback:
This week, I continued developing the brand guideline by finalising the core visual elements of the campaign. I focused on ensuring that the typography, colour palette, and supporting brand applications worked together consistently to establish a cohesive visual identity before moving on to the remaining deliverables.
Specific Feedback:
This week, I confirmed the final typography and colour palette for my campaign after reviewing how they complemented the overall brand identity. I also began designing the brand stationery, starting with the letterhead and other supporting applications. Throughout the process, I ensured that each design element followed the established visual guidelines, maintaining consistency in layout, typography, colour usage, and overall brand communication across all materials.
Week 12 (07/07/26)
General Feedback:This week, I focused on designing the core campaign applications, including the poster series and Instagram posts. Using the approved typography, colour palette, icon system, patterns, and visual style, I developed a set of posters that communicate different aspects of agoraphobia through immersive visuals and concise messaging. At the same time, I planned and designed a series of Instagram posts to introduce the campaign, educate audiences about the condition, and encourage further engagement. Throughout the design process, I ensured that they maintained a consistent visual identity and effectively supported the overall campaign narrative.
Specific Feedback:N/A
General Feedback:
This week, I focused on designing the core campaign applications, including the poster series and Instagram posts. Using the approved typography, colour palette, icon system, patterns, and visual style, I developed a set of posters that communicate different aspects of agoraphobia through immersive visuals and concise messaging. At the same time, I planned and designed a series of Instagram posts to introduce the campaign, educate audiences about the condition, and encourage further engagement. Throughout the design process, I ensured that they maintained a consistent visual identity and effectively supported the overall campaign narrative.
Specific Feedback:
N/A
Week 13 (14/07/26)
General Feedback:This week, I designed the photography zine, organising the images and written content into a narrative that reflects the emotional journey of living with agoraphobia. The zine was developed to provide a more personal and in-depth storytelling experience. In addition, I carried out the production of my Impactful Project, a short campaign video that visually communicates the thoughts, emotions, and behaviours associated with agoraphobia. I planned the filming, selected appropriate locations, and recorded footage that supported the campaign concept. The completed video was designed to work alongside the zine, posters, and social media content, creating a cohesive and engaging campaign experience across multiple platforms.
Specific Feedback:N/A
General Feedback:
This week, I designed the photography zine, organising the images and written content into a narrative that reflects the emotional journey of living with agoraphobia. The zine was developed to provide a more personal and in-depth storytelling experience. In addition, I carried out the production of my Impactful Project, a short campaign video that visually communicates the thoughts, emotions, and behaviours associated with agoraphobia. I planned the filming, selected appropriate locations, and recorded footage that supported the campaign concept. The completed video was designed to work alongside the zine, posters, and social media content, creating a cohesive and engaging campaign experience across multiple platforms.
Specific Feedback:
N/A
Week 14 (21/07/26)
General Feedback:This week was the final presentation and submission for the Creative Brand Strategy project. Each student presented their completed campaign, explaining the research process, brand strategy, visual identity, campaign applications, and the overall rationale behind their design decisions. The presentation also provided an opportunity to receive final feedback on the completed campaign.
Specific Feedback:N/A
General Feedback:
This week was the final presentation and submission for the Creative Brand Strategy project. Each student presented their completed campaign, explaining the research process, brand strategy, visual identity, campaign applications, and the overall rationale behind their design decisions. The presentation also provided an opportunity to receive final feedback on the completed campaign.
Specific Feedback:
N/A
Reflection
Experience
Throughout this module, I gained a much deeper understanding of how a brand is built from research rather than aesthetics alone. At the beginning of the project, I was mainly focused on creating visually appealing outcomes. However, as the project progressed, I realised that every design decision from defining the target audience and developing the campaign strategy to designing the visual identity and applications needed to be supported by research and a clear purpose. Working on The Edge challenged me to think beyond graphic design and consider how branding can communicate meaningful messages while creating emotional connections with an audience. One of the most rewarding parts of this project was transforming an abstract mental health topic into a cohesive campaign. Developing the logo, icon system, posters, photography zine, social media content, and campaign video allowed me to explore different ways of communicating the experience of agoraphobia across multiple platforms while maintaining a consistent visual identity.
Observation
Throughout the development process, I observed that effective mental health campaigns are not only informative but also emotionally engaging. Researching existing campaigns and receiving feedback from Mr. Max helped me understand that simply explaining a mental health condition is often not enough. Audiences are more likely to connect with a campaign when they can relate to the emotions and experiences being communicated. I also noticed how branding extends beyond creating a logo or selecting colours and typography. Every element, including the tone of voice, imagery, layout, and campaign applications, contributes to building a consistent identity that shapes how audiences perceive and interact with the campaign. This reinforced the importance of maintaining consistency across every touchpoint.
Findings
Through this project, I discovered that research plays a significant role in every stage of the branding process. Conducting case studies, defining a clear target audience, and continuously refining my ideas based on feedback helped me develop a stronger and more focused campaign. Rather than making design decisions based solely on personal preference, I learned to justify each choice according to the campaign's objectives and audience needs. Overall, this module strengthened both my strategic thinking and design skills. It taught me that successful branding is about solving communication problems and creating meaningful experiences, rather than simply producing attractive visuals. Moving forward, I will continue to approach future design projects with a stronger emphasis on research, user experience, and purposeful storytelling to create designs that are both visually engaging and impactful.
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