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Advanced Typography - Task 2 / Key Artwork & Collateral

  

13/05/2025 - 18/06/2025 (Week 4 - Week 9)

Chang Wing / 0367807 

Advanced Typography / Bachelors of Design (Honours) in Creative Media / Taylor's University

Task 2 / Key Artwork & Collateral


TABLE OF CONTENTS



LECTURES

Week 5

AdTypo_1_Perception & Organisation

Contrast is important in establishing visual hierarchy and differentiating elements within a typographic composition.


Rudi Ruegg's Typographical Contrast

Figure 1.1 Typographical contrast devised by Rudi Ruegg


Carl Dair's 7 Typographical Contrast

1. Size
- Headings not often made huge in book, 1/2pt larger than body text or bold in same size should suffice, only create huge headline when attention grabbing is needed

2. Weight
- Put emphasis on word by increasing its weight

3. Contrast of Form
- Visual distinction between variations within a typeface, such as uppercase vs. lowercase, roman vs. italic, or condensed vs. expanded styles

4. Contrast of Structure
- Difference between typefaces with different basic shapes or construction (e.g., serif vs. sans-serif, geometric vs. humanist)

5. Contrast of Texture
- How blocks of text visually appear when viewed up close versus from a distance
- Involves differences in type size, weight, spacing, and leading that affect the overall density and feel of the text on a page or screen

6. Contrast of Colour 
- Involves hue, value (light/dark) and saturation
- When used wrong, it distracts or confuses the message

7. Contrast of Direction
- Change in orientation of text (e.g., horizontal vs. vertical, angled text)

Figure 1.2 Carl Cair's 7 Typographical Contrast examples


Forms– Refers to the overall visual feel of the elements in a typographic composition
– A good form in typography leads the eye from point to point and is most often memorable

Figure 1.3 Forms


Gestalt
1. Law of Similarity
- Similar elements tend to be perceived as a unified group

2. Law of Proximity
- Elements closer to each other tend to be perceived as a unified group

3. Law of Closure
- Mind's tendency to see complete forms even some part of the form is incomplete

4. Law of Continuation
- The eye tend to perceive elements as connected if they follow a continuous pattern or direction

5. Law of Symmetry
- Symmetrical elements are perceived as a cohesive and balanced group even when spaced apart

6. Law of Praganz
- Mind tend to interpret complex images in the simplest form possible
- The mind prefers clarity and order

Figure 1.4 Gestalt Theory

Figure 1.5 Law of Pragnanz

Week 7

Mr. Vinod explained about the importance of having a well-considered colour palette to ensure clear contrast between foreground and background elements. He used the rule of heraldic tinctures to explain how complementary colours can help establish that contrast.

Figure 1.6 Heraldic Tinctures



INSTRUCTIONS


Task 2 (A) / Key Artwork

Create a key artwork using the first name or pseudonym. This should function both as a wordmark/lettering (to identify the designer / artist) and as an artwork suitable for applications like pins, T-shirts, or posters. The final design should be versatile enough to be disassembled into shapes or elements that can form vibrant patterns, helping expand and reinforce the visual identity of the artwork.


Task 2 (B) / Collateral

The final key artwork in Task 2 (A) should present a well-balanced, and thoughtfully composed solution. It should avoid unnecessary complexity or visual confusion, resulting in a functional and communicative design.

This refined key artwork will then be applied across various collateral materials in Task 2(B), such as pins, T-shirts, or posters, showcasing its adaptability and strength as a visual identity.



PROCESS WORK

Task 2 (A) / Key Artwork

Keywords

To lay the foundation for the wordmark, I began by brainstorming keywords that reflect the core values and aesthetics of my design brand. I'm aiming to do a wordmark that represents my personal design brand, which spans graphic design, UI/UX, and illustration (Figure 2.1).

Figure 2.1 Mind Map (13/05/25)


Figure 2.2 References Moodboard (Images from Pinterest) (13/05/25)


Sketches

I explored different directions in my sketches based on the keywords (Figure 2.3).


Figure 2.3 Scanned sketches, Week 4 (17/05/25)


Design Exploration

I presented a few of my ideas to Mr. Vinod for feedback, Design 04 in Figure 2.4 was a logo exploration I had developed prior to this task (during semester break), including a dissection of its elements. The overall direction was to explore Ambigrams, typographic forms that read the same even when flipped upside down, they spell out my name: Wing.

Mr. Vinod appreciated the idea of DNA (Design 04, Figure 2.4). However, he noted that the letterforms lacked sufficient legibility to function effectively as a wordmark.

Figure 2.4 Wordmark ideas presentation (First Attempt) (20/05/25)


For the second attempt, I decided to move away from the ambigram concept, as I felt it was limiting my creative possibilities due to the constraints required to achieve its mirrored properties. This second digitised sketch (Figure 2.5) was produced rather quickly (admittedly rushed due to time constraints) and lacks refinement. This approach was more of an experimental exploration to test the boundaries I could push and gather valuable feedback from Mr. Vinod, rather than a finalised direction.

The letter 'I' was illustrated as a figure resembling a man in ascent, symbolising elevation, a nod both to my name and the word "wing" to give the brand a sense of boldness, ambition, and thinking beyond boundaries. The ascending figure also represents a desire to break free from convention. Its blank, emotionless face evokes a quiet sense of confidence (perhaps, also mirrors the fed-up expression one often wear during the design process :D).

Mr. Vinod said the letter 'I' was too cartoonish and needs lot more refinements on the form itself to achieve a cleaner look.

Figure 2.5 Wordmark ideas presentation (Second Attempt) (27/05/25)


Listened to feedback, back to drawing board, explored further with a minimalist aesthetic in mind, didn’t really like how they turned out, abandoned this idea (Figure 2.6).

Figure 2.6 Further exploration (27/05/25)


I produced more sketches, narrowed down the strongest ones, and digitised them in Procreate for greater visual precision (Figure 2.7). This time, I focuses on the keyword "minimalistic", I think they best reflect my personality: very very minimalist, rational? but fun. It also aligns with my stylistic preferences and the direction I see for my brand. Since it focuses on UI/UX and digital design, I wanted the wordmark to lean into a cleaner, more technologically-forward vibe.

I used curved strokes to hint at a sense of fun and straight strokes to bring in that rational, steady feel.
Figure 2.7  Digitised Sketch (Procreate) (29/05/25)


To construct my wordmark with greater structure and consistency, I studied the letterforms of the existing typeface, Futura (Medium) (Figure 2.8). I chose this typeface because its highly geometric construction, featuring straight lines, clean curves, and circular elements which closely resembles the stylistic qualities of my designs in the sketch (Figure 2.7). This study helps to inform adjustments to proportion, alignment, and overall balance in my own letterforms.
Figure 2.8 Dissecting existing font (Futura, Medium) (29/05/25)


Then, I opted to develop the DNA structure inspired design in the sketch (Figure 2.7), a continuation to the first proposed idea (Figure 2.4). I explored different forms for the wordmark using grids and circles in Figure 2.9.

Figure 2.9 Further exploration (30/05/25)


The idea was to make the letter 'N' looks like the DNA strand.

Figure 2.10 DNA structure (30/05/25)


After finalising one of the designs (Figure 2.11), I gathered some quick feedback to check its legibility. The three respondents I asked were fine with the form but all of them were already familiar with my name. Then came my sister, who pointed out that the letter 'N' was barely distinguishable from an 'X'. After reviewing the forms again, I decided to abandon this direction as well. That said, I still like the concept and might revisit it in the future.

Figure 2.11 Wordmark Design #1 (White on black & black on white) (31/05/25)



Final Design Process 

Decided to start fresh again, I opted to develop another idea in week 4's sketch (Figure 2.12).

Figure 2.12 Week 4 Sketch (17/05/25)


Figure 2.13 shows the first design outcome, I constructed the strokes based on the grids and circles. I like the way it gives a clean, minimalistic look, it feels steady yet subtly dynamic, with its geometric curving strokes.

Figure 2.13 Constructing form  (01/06/25)


I replaced the square in the letter 'G' with a circle to subtly give the appearance of an eye, reflecting the way ideas are observed, absorbed, and processed within the designer's mind (Figure 2.14). The circular form symbolises the brand’s emphasis on insight, curiosity, and thought that drives the design process. It also acts as a subtle design flair to add recognisability to the wordmark. 

Then, I kerned them accordingly. The letterspace between ''G' and 'N' was reduced to account for the G's larger counterform in its lower-left area, which can create a greater perceived gap and cause the wordmark to appear unevenly spaced.

Figure 2.14 Final wordmark design (With grids and outlined) (01/06/25)



Figure 2.15 Final wordmark design (01/06/25)


I then developed brandmarks derived from the wordmark’s form to extend its visual identity and create a more versatile representation of the brand (Figure 2.16).

Figure 2.16  Exploration on brandmark derived from the wordmark (01/06/25)


I selected the design in Figure 2.17 as the final brandmark because it completes a full circle, a continuation of the curved strokes used in my wordmark, which were originally derived from a quarter of a circle. Visually, it also resembles a window and a sun, symbolising Wing's portal for ideas, where thoughts, creativity, and design possibilities flow in and out. It reinforces the brand’s identity as open-minded, idea-driven, and forward-thinking.

Figure 2.17 Final brandmark derived from the wordmark (02/06/25)


I positioned the circular form in the upper left quadrant of the brandmark to subtly reference the direction where the sun typically rises, symbolising new ideas and beginnings. It also nods to a small but relatable habit among digital designers: the constant act of left-clicking. To visualise this concept, I created a poster, though I chose not to include it in the Instagram layout, as doing so would exceed the set limit of 9 posts.

Figure 2.18 Brandmark poster (02/06/25)


To create the white wordmark on a black background, I reduced its size by applying a –1x offset path. This ensures that the white-on-black version maintains the same perceived weight as the black-on-white version, since lighter elements on dark backgrounds tend to appear visually bolder to the eye.

Figure 2.19 Offset Path (02/06/25)


I went with a white, blue, yellow, and black colour palette (Figure 2.20) for the final. Blue is my favourite colour and it gives off that calm, techy vibe that fits the brand's digital direction (Digital graphic, UI/UX, and illustration). Yellow complements it nicely and adds a bit of warmth and lift. I like how the overall palette feels grounded from the blue but still has an upward, energetic push from the yellow.
 
Figure 2.20 Final Color Palette (PNG) (02/06/25)


Figure 2.21 Final Designs (03/06/25)



Animation

I animated the wordmark in Adobe After Effects, as it offers greater control over timing and object movements.

Figure 2.22 Animating wordmark in Adobe After Effects (08/06/25)


I used the Easy Ease feature and fine-tuned the speed graph to create smoother transitions and bouncing effect.
Figure 2.23 Easy Ease (08/06/25)

Figure 2.24 Speed graph (08/06/25)


The animation starts with a circular dot bouncing across the wordmark before settling into the letter 'G'. I see it as a little idea hopping around, exploring before finally clicking into place. When it lands inside the 'G', it signifies resolution: the moment an idea clicks into place. It also ties back to the dot’s earlier symbolism as curiosity, insight, and the flow of thought that drives the brand.

Figure 3.25 Final Wordmark Animation (GIF) (10/06/25)



Final Outcome (Task 2A)

*All exported sizes: 1080px × 1350 px (300ppi)

Figure 2.26 Final Wordmark Design (White on black) (PNG) (17/06/25)


Figure 2.27 Final Wordmark Design (Black on white) (PNG) (17/06/25)


Figure 2.28 Final Color Palette (PNG) (17/06/25)


Figure 2.29 Final Wordmark (Darkest on lightest colour from colour palette) (PNG) (17/06/25)


Figure 2.30 Final Wordmark (Lightest on darkest colour from colour palette) (PNG) (17/06/25)



Figure 2.31 Final Wordmark Animation (GIF) (17/06/25)


 Figure 2.32 Final Task 2(A) Compilation (PDF) (17/06/25)



PROCESS WORK

Task 2 (B) / Collateral

References

I looked up for geometrical collateral graphic designs on pinterest for reference (Figure 3.1).

Figure 3.1 References Moodboard (Images from Pinterest) (14/06/25)



Design Exploration

To reconnect with my roots and express more of my cultural identity, I explored the Chinese characters in my name (Figure 3.2). 郑 (Zhèng), my surname, and 颖 (Yǐng), my given name, which translate to my English name, Chang Wing, in Cantonese pronunciation.

Figure 3.2 Name in Chinese characters (14/06/25)


The character 颖 carries meanings of clever, bright, and intelligent. I thought it would be nice if I could reinterpret my chinese name using forms derived from my wordmark design to bring out that sense of thoughtful spirit behind my brand. Figure 3.3 shows my explorations on this idea.

However, the feedback I received from my sister was that the forms were difficult to recognise. I really liked this direction too, but due to time constraints, I had to put it on hold in order to explore other directions for the patterns.

Figure 3.3 Pattern exploration (14/06/25)



I continued exploring more geometric patterns, but I wasn’t satisfied with the first two designs (top left, first and second in Figure 3.4) as they felt too generic, the others look fine to me.
 
Figure 3.4 Pattern & collateral exploration (15/06/25)



Pattern #1

We were advised to include a keyword that communicates the essence, value, or personality of the brand. I chose the word “work” to reflect the brand’s belief that meaningful design is built through hours of intention and effort. It also underscores the designer / brand’s sense of discipline and commitment to the creations (Figure 3.5).

I constructed the word's form using the forms from the wordmark design to ensure continuity and cohesion across the layout and kerned them accordingly.
Figure 3.5 'Work' (16/06/25)


I added the clock hands to the letter to introduce a stronger sense of dynamism and passage of time, as well as serving as a subtle design flair (Figure 3.6).

Figure 3.6 Final Collateral Pattern #1 (16/06/25)


Pattern #2

This pattern were constructed using forms extracted from the wordmark design. They look like interfering ripples to me, ripples of ideas, a representation of how overflowing thoughts / ideas collide and resonate with one another.

Figure 3.7 Final Collateral Pattern #2 (16/06/25)



Collaterals

I developed a series of designs derived from the patterns and wordmark, further reinforcing the brand’s identity.

Figure 3.8 Stickers & name card designs (17/06/25)



Figure 3.9 Final Collateral #1 and #3, sticker pack and name card (Mockup) (17/06/25)



Figure 3.10 Final Collateral #2, Tote Bag (17/06/25)



Mockup

I downloaded mockup PSD files from mockup platforms and worked on them in Adobe Photoshop.

Figure 3.11 Mockup psd on Unblast (15/06/25)


For Collateral #2 (Tote Bag), I manually removed the original background to replace it with a yellow one and added shadows for a realistic look.

Figure 3.12 Photoshop (17/06/25)


 

Final Outcome (Task 2B)



Figure 3.13 Final Collateral Color Palette (PNG) (17/06/25)


Figure 3.14 Final Collateral #1, Sticker Pack (17/06/25)



Figure 3.15 Final Collateral #2, Tote Bag (17/06/25)



Figure 3.16 Final Collateral #3, Name Card (17/06/25)


Figure 3.17  Final Collateral Pattern #1 (17/06/25)


Figure 3.18 Final Collateral Pattern #2 (17/06/25)


Figure 3.19 Final Collateral B&W Portrait (17/06/25)


Figure 3.20 Final Collateral Logo (Blue on yellow) (17/06/25)


Figure 3.21 Final Collateral Logo (White on blue) (17/06/25)



Figure 3.22 Final Collateral Compilation (17/06/25)


Figure 3.23 Final IG Posts Screenshot (17/06/25)
 

Figure 3.24 Final Task 2(A) Compilation (PDF) (17/06/25)
 


FEEDBACK

Task 2 (A) / Key Artwork

Week 5 (20/05/2025)

General feedback: Provide explanation for the meaning behind wordmark's design, ensure legibility of wordmark, think of the purpose of wordmark (commercial/personal/what is the brand for)

Specific feedback: The idea of DNA is great, but the letters are indistinguishable, rework on it


Week 6 (27/05/2025)

General feedback: Ensure consistency across letterforms

Specific feedback: The "i" in wordmark looks cartoonish, work on it



Week 7 (03/06/2025)

General Feedback:  Surveyed about mode of teaching next week

Specific Feedback: Okay, proceed


Week 8 (10/06/2025)

General feedback: Should just focus on one identity; Integrate logo itself to pattern; Do not add graphical elements that are not associated to the logo; Should have 3 collaterals; Animation focus on expressed letters; Can start working on Task 3.

Specific feedback: -


Week 9 (17/06/2025)

General feedback: Organise blog with horizontal rule, put date at each image citation, thumbnail of blog posts give first impression 

Specific feedback:  -



REFLECTION

Experience

Designing a wordmark that represents both myself and my brand made me dig a little deeper into how I think, what I value, and how I want to be perceived. Coming up with sketches for a wordmark for myself felt different from previous tasks, more fun, more personal, but also somehow more difficult. I got to mess around with different forms and ideas, and that freedom was refreshing. That said, I did feel a bit boxed in by the task requirements at times, but it taught me how to work creatively within constraints.

The biggest challenge was definitely finding the balance between standing out as a brand identity and versatile enough to create patterns while still maintaining high legibility, especially since it’s a wordmark. My biggest enemy throughout the process was time. I wanted to explore every idea more deeply and test different directions, but the deadline didn’t really let me. Still, despite all that, I enjoyed the process and I left the task feeling like I understood myself as a designer a little more than before.



Observation
 
Throughout the process,  I realised how easily legibility can be compromised when trying to explore more 'clever' designs like ambigrams. Also, when I first constructed the letterforms purely based on grids, something always felt slightly off. That’s when I remembered the type dissection practice from our final task in the Typography module last last semester, so I did it again this time. It really reminded me how important it is, especially as a beginner designer, to study from existing typefaces to understand proportion, rhythm, and balance before creating a new one.

Feedback also played a crucial role to check and review my own designs. What looked somewhat fine to me made others pause or squint, particularly the letter 'N' which at one point got mistaken for an 'X'. That moment reinforced just how crucial legibility is in a branding wordmark. No matter how smart or conceptual a design may be, if people can’t read it at a glance, it’s not doing its job.



Findings

This task taught me that creating a personal wordmark isn’t just about having a nice-looking logo, it’s about building a visual identity that works across mediums, from printed collaterals to digital interfaces. Setting up a real Instagram account and carefully composing the 9-post feed made me realise how crucial it is for designers to leverage media platforms to gain exposure, build presence, and communicate who they are. I found that even a minimalist, quietly confident design can speak volumes when done with intention. In the end, the IG layout became a mini-portfolio that reflected not just my skills, but also marked a small but meaningful step forward in owning my identity as a designer.



FURTHER READING

Pentagram - San Antonio Book Festival

Figure 4.1 Pentagram - San Antonio Book Festival (Website)


This website documents the creation of a new brand identity for the San Antonio Book Festival (SABF) by Pentagram. The design consultancy was commissioned to develop a refreshed identity that intentionally avoids overused icons in Texas like the Alamo and papel picado. To mark the festival’s 10th anniversary, the team created a stacked, type-based SABF logomark inspired by 1930s Mexican typography and the bold geometric architecture of the San Antonio Central Library, where the book festival is held. Drawing inspiration from the library’s main colour (“enchilada red” and a bright yellow) and the rich colours of Mexican culture, they built a flexible visual system featuring checkered patterns, bold colour palettes, and framing devices that echo the festival’s lively spirit.


Figure 4.2  San Antonio Book Festival (SABF) visual system by Pentagram

Through reading this documentation, it inspired many ideas on how a design can grow from a strong cultural and historical foundation. It showed me how visual identity can be deeply rooted in context while still adapting to contemporary aesthetics and remaining flexible across various applications, which gave me valuable direction in approaching this task.



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