Advanced Typography - Task 2: Key Artwork and Collateral
20/10/2025 - 17/11/2025 / Week 5 - Week 8
YUAN XIAOYUE, 0367988
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 2: Key Artwork and Collateral
LIST:
LECTURES
INSTRUCTION
EXERCISE
FEEDBACK
REFLECTION
FURTHER READING
LECTURES：
Week 5:
AdTypo_5_PerceptionAndOrganisation:
Perception describes how we observe, comprehend, and interpret what we
see.
In typography, it involves directing the reader’s eye movement
and understanding through the thoughtful use of contrast, shapes, and the
arrangement of content — which may include text, imagery, graphics, and
color.
Contrast:
There are various ways to create contrast in typography. The example on
the left, designed by Rudi Rüegg, clearly illustrates these principles through its visual meaning.
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Figure 5.1 Several methods in typesetting
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Size：
Differences in font size can effectively draw the reader’s attention. For
instance, larger text naturally captures the eye before smaller text. One
of the most common uses of size contrast is enlarging titles or subtitles
to make them stand out more prominently.
Weight：
Bold typefaces stand out against lighter ones of the same style.
Additionally, visual elements such as lines, dots, or boxes can serve as
focal points to enhance emphasis and overall visual impact.
Form Contrast：
Form contrast refers to the variation in letter shapes — for example,
uppercase versus lowercase, roman versus italic, or condensed versus
extended typefaces.
Structure Contrast：
Structure describes differences among typeface styles. Examples
include monoline sans-serif, traditional serif, italic, or gothic typefaces, each bringing a unique visual rhythm.
Texture Contrast：
Texture refers to how text appears as a whole, both up close and from a
distance. It depends on the shapes, spacing, and arrangement of the
letters, which together create a visual texture across the layout.
Direction Contrast：
Directional contrast is created by combining vertical, horizontal, and
diagonal orientations. For instance, mixing wide horizontal text blocks
with tall vertical columns generates a dynamic visual balance.
Color Contrast：
Color contrast involves using hues and tonal values to create visual
emphasis. While pure black text on a white background is often the most
striking, secondary colors can highlight specific elements when chosen
thoughtfully. Understanding which parts to emphasize and how color values
interact is key to achieving effective contrast.
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Figure 5.2 Contrast Types (by Carl Dale)
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Form：
"Form" refers to the overall visual appearance and feeling presented by
the various constituent elements of a typography. It determines the
first impression and visual impact of a work, and is key to attracting
the viewer.
Excellent typographical forms often possess strong visual appeal—they
naturally guide the flow of the eye, making the reading process pleasant
and smooth, and leaving a lasting visual impression.
Typography is both an expression of a concept and a presentation of
visual form. When typography is used as a formal element, it is no
longer merely readable text, but becomes a visual image with shape,
rhythm, and texture. At this point, letters may be enlarged, compressed,
rotated, distorted, or given texture to enhance visual structure and
artistic expression.
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Image 5.3 Example
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Image 5.4 Example
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Organization and Gestalt:
Gestalt theory posits that the whole transcends the sum of its parts. When
perceiving visual information, people do not treat it as isolated
fragments, but rather tend to integrate the elements into a unified
whole for understanding and experience. Although each element possesses
its own function, the overall form presented when they are combined
often brings a stronger visual order and meaning.
(1) Law of Similarity: People tend to group elements that are similar in appearance, color,
shape, or size into the same category. The similarity between visual
elements prompts us to automatically group them together, thus
establishing visual associations.
(2) Law of Proximity: When elements are close to each other, the human eye naturally
perceives them as a whole or a related group; elements that are spaced
further apart are considered independent. Spacing thus becomes an
important factor in determining visual grouping.
(3) Law of Closure: Even if a shape is incomplete or occluded, the human brain tends to
automatically fill in the missing parts to form a complete shape. We
actively "fill in the gaps" to perceive a coherent whole.
(4) Law of Continuity: When lines or shapes are arranged smoothly and continuously, the
human eye is more likely to perceive them as a coherent whole rather
than interrupted parts. Even when two shapes intersect, we still
perceive them as independent and continuous entities.
(5) Law of Symmetry: People have an innate preference for symmetry and balance. When
visual elements are distributed symmetrically or regularly, they give a
sense of stability, harmony, and order. Symmetrical structures can
enhance visual pleasure and a sense of wholeness.
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Figure 5.5 Gestalt grouping principles
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INSTRUCTION:
EXERCISE:
Task 2(A) - Key Artwork：
In task 2(A), we instructed to create a Mind Map of our own name / pseudonym, which will be subsequently used in
Task 2(B) collateral.
1. Mind mapping/Inspirations/Sketches：
We were instructed to begin by creating a mind map about ourselves.
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Figure 1.1 Mind Map "About Me", Week 4 (October 15, 2025)
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Below is my draft:
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Figure 1.2 Sketch 1, Week 4 (October 15, 2025)
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Below is my revised mood board and keywords. The professor said the
initial mood board had too few, so I found many more.
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Figure 1.3 Week 5 progress overview, Week 5 (October 20, 2025)
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2. Digitalization:
Next, we'll begin digitizing the sketches. I intend to use the following
design as the final digital work.
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Figure 1.4 Digitalization attempt, Week 5 (October 25, 2025)
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The professor said there couldn't be a 45-degree angle in the design, so I
revised it again. Below is my final digital work.
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Figure 1.5 Final digital design, Week 6 (October 28, 2025)
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3. Color markings:
I selected the following colors for the next step of the work.
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Figure 1.6 Color Palette, Week 6 (November 2, 2025)
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4. Animation：
Regarding the animation, I wanted it to have a gradual, step-by-step effect,
so I made many changes to make it less abrupt.
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Figure 1.7 Animation visual, Week 7 (November 3, 2025)
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Task 2A Final Result:
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Figure 1.8 Black logo on white background, Week 6 (November 3,
2025)
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Figure 1.9 White logo on a black background, Week 6 (November 3,
2025)
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Figure 1.10 Color Palette, Week 6 (November 3, 2025)
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Figure 1.11 Wordmark in actual colors on the lightest shade of
color palette, Week 6 (November 3, 2025)
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Figure 1.12 The lightest shade of the logo is on the darkest
shade of the color palette, week 6 (November 3, 2025).
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Figure 1.13 Wordmark animation (GIF format), Week 6 (November 3,
2025)
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Figure 1.14 Task 2A PDF compilation, Week 7 (November 3, 2025)
Task 2(B) - Key Artwork & Collateral：
Task 2 requires us to apply the logo and color scheme we designed
earlier to products.
1. Collateral:
I initially chose three products to design: water bottles, phone cases,
and clothing.
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Figure 2.1 Collateral 1, Week 7 (November 7, 2025)
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Figure 2.2 Collateral 2, Week 7 (November 7, 2025)
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Figure 2.3 Collateral 3, Week 7 (November 7, 2025)
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2. Selfies and Instagram Tweets:
I chose a selfie and darkened it; I think using orange in the design
would make the overall look better.
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Figure 2.4 Selfie, Week 7 (November 7, 2025)
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I also created two different creative layout designs and applied them to
the layout of Instagram.
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Figure 2.5 Pattern Design 1, Week 7 (November 7, 2025)
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Figure 2.6 Pattern Design 2, Week 7 (November 7, 2025)
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Figure 2.7 Instagram design, Week 7 (November 7, 2025)
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Task 2B Final Result:
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Figure 2.8 Collateral 1, Week 7 (November 7, 2025)
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Figure 2.9 Collateral 2, Week 7 (November 7, 2025)
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Figure 2.10 Collateral 3, Week 7 (November 7, 2025)
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Figure 2.11 Pattern Design 1, Week 7 (November 7, 2025)
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Figure 2.12 Pattern Design 2, Week 7 (November 7, 2025)
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Figure 2.13 Selfie, Week 7 (November 7, 2025)
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Figure 2.14 Instagram design, Week 7 (November 7, 2025)
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Instagram link:
Figure 2.15 Task 2B PDF compilation, Week 7 (November 7, 2025)
Final Task 2: Main Artwork and Promotional Materials:
Task 2(A) - Key Artwork：
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Figure 1.8 Black logo on white background, Week 6 (November 3, 2025)
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Figure 1.9 White logo on a black background, Week 6 (November 3, 2025)
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Figure 1.10 Color Palette, Week 6 (November 3, 2025)
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Figure 1.11 Wordmark in actual colors on the lightest shade of color
palette, Week 6 (November 3, 2025)
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Figure 1.12 The lightest shade of the logo is on the darkest shade
of the color palette, week 6 (November 3, 2025).
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Figure 1.13 Wordmark animation (GIF format), Week 6 (November 3,
2025)
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Figure 1.14 Task 2A PDF compilation, Week 7 (November 3, 2025)
Task 2(B) - Key Artwork & Collateral：
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Figure 2.8 Collateral 1, Week 7 (November 7, 2025)
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Figure 2.9 Collateral 2, Week 7 (November 7, 2025)
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Figure 2.10 Collateral 3, Week 7 (November 7, 2025)
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Figure 2.11 Pattern Design 1, Week 7 (November 7, 2025)
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Figure 2.12 Pattern Design 2, Week 7 (November 7, 2025)
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Figure 2.13 Selfie, Week 7 (November 7, 2025)
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Figure 2.14 Instagram design, Week 7 (November 7, 2025)
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Instagram link:
Figure 2.15 Task 2B PDF compilation, Week 7 (November 7, 2025)
FEEDBACK:
Week 5:
Overall Feedback: Mr. Vinod provided some suggestions regarding
our online submissions of sketches and keywords.
Specific Feedback: The mood board content was too brief and
needs improvement. The professor will provide further suggestions.
Week 6:
Overall Feedback: Mr. Vinod provided some suggestions
regarding our online submissions.
Specific Feedback: The professor suggested avoiding a
45-degree angle for the logo, so I redesigned the work.
Week 8:
Overall Feedback: The professor reviewed our progress on
Task 2, reminded us of the submission deadline of November 17th, and
explained Task 3.
Specific Feedback: Due to Instagram post sizes, I revised
the design format, and I am currently writing a blog post.
REFLECTION：
Experience：
Throughout Task 2, I gained a deeper understanding of how typography
evolves from a concept into a visual form. I was trying to express
abstract concepts such as "speed," "energy," and "cuteness" using
graphic language. However, the design process wasn't without its
challenges. Initially, I really liked my cat-like typeface structure,
but after receiving feedback that it lacked readability, I had to
re-evaluate and choose a different design. Color adjustments and
animation refinements also underwent multiple revisions. Although the
process was difficult, each iteration taught me how to express concepts
more accurately and maintain visual consistency.
Observation：
In the process of constantly adjusting the typography and graphic
structure, I realized that every detail in the design affects the
overall rhythm and character. The curvature of the letters, the weight
and direction of the lines, all subtly shape the personality of the
image, making it soft, tense, or dynamic. I also discovered that visual
judgment often switches between intuition and logic: intuition guides me
to choose seemingly "reasonable" forms, while logic helps me ensure that
they are in harmony with the overall system. These observations made me
understand that good design does not rely on a single element, but on
the overall power formed by all the subtle changes.
Findings：
In completing this task, I gradually realized that the value of design
comes not only from visual expression itself, but also from the
systematic thinking behind it. I discovered that a logo or graphic only
reveals its true strengths and weaknesses when it is continuously placed
in real-world contexts, tested, and used. Furthermore, I realized that
visual language must be extensible—it must not only be effective on a
single image, but also maintain stable recognizability and
expressiveness across different media. Ultimately, I understood that
design is not about finding a "perfect" solution, but about selecting
the version that best supports the overall concept and can operate
sustainably in the long term from among various possibilities. In this
process, judgment, the ability to make trade-offs, and a consistent
understanding of the system are more important than mere aesthetics.
FUTHER READING：
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| Figure 3.1 Typographic System, Week 8 (November 16, 2025) |
After reading "Typographic Systems", I gained a completely different understanding of "typography." Previously, I always viewed typography as a visual organization process—simply aligning words, paragraphing, and maintaining aesthetics. However, as I delved deeper into the book, I gradually realized that typography is not just a visual operation, but a way of understanding content and constructing order. It shapes the reader's reading path, determines how information is absorbed, and subtly influences how we experience content.
The various systems presented in the book made me truly realize for the first time that "structure" itself is expressive. Each organizational method is not merely a difference in appearance, but guides different reading rhythms. For example, some systems emphasize center and divergence, some emphasize hierarchy and modules, and some emphasize spatial tension. This systematic thinking helped me understand that typography is not a "decoration" attached to text; it is itself part of the content and can even enhance its comprehension.
During the reading process, I also deeply felt that freedom and limitations coexist in design. Typography systems provide direction but do not stifle creativity; they are like maps, helping designers find paths but not determining the final outcome. It was this "freedom within a framework" that allowed me to experience the charm of typographic thinking—considering visual balance, responding to content logic, and maintaining aesthetics and individuality.
Furthermore, the book's discussion of space was incredibly beneficial. In the past, I tended to focus on the typography itself in my designs, neglecting the sense of breath between words. After reading it, I began to realize that a truly mature layout isn't about piling up all elements, but about creating rhythm through appropriate white space, spacing, and directionality. Space is no longer just "empty space," but a visual force as important as the text.
Overall, this book not only expanded my understanding of typographic forms but also changed the way I approach design problems. It made me think: a good layout isn't about random, intuitive arrangement, but rather about continuous judgment of structure, relationships, rhythm, and space. Typography thus becomes a deeper way of thinking, allowing me to stop, observe, analyze, and then make more conscious choices during the design process. After reading this book, I have higher expectations for future design practice and hope to continuously deepen this systematic thinking in practice.
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