Advanced Typography - Task 2: Key Artwork & Collateral
20/10/25 - 16/11/25 (Week 5 - Week 8)
Lim Jia Xuan 0371026
Bachelor of Design (Hons) in Creative Media
GCD61004 Advanced Typography
Task 2: Key Artwork & Collateral
TABLE OF CONTENTS
1.0 LECTURES
View Lecture 1-4 HERE
Lecture 5: AdTypo_5_Perception & Organisation
Perception is “the way in which something is regarded, understood, or interpreted.”
Preception in typography deals with the visual navigation and interpretation of a reader via contrast, form and organisation of the content.
| Fig. 1.1 Methods of Contrast by Rudi Ruegg (Week 5, 21/10/25) |
- Size
- Weight
- Form
- Structure
- Texture
- Colour
- Direction
Form in Typography
Form refers to the overall visual look and feel of the elements that constitute a typographic composition. It is the component that significantly contributes to the visual impact and first impression of the text.
A strong typographic form is typically visually intriguing, guiding the reader's eye seamlessly, engaging the mind, and often making the composition more memorable.
Organisation/ Gestalt
Gestalt theory posits that we perceive groups of elements as a unified whole, rather than as merely individual parts. The Gestalt psychologists believed that to understand perception, one must examine the entire experience instead of reducing thoughts and behaviours to their smallest components.
Therefore, in design—particularly in typographic layouts—the components and elements are only effective when they contribute to a strong overall visual form. While each element may be functional in isolation, the ultimate visual impact means the overall form is paramount, upholding the principle that the whole is different from the sum of its parts.
Perceptual Organisation/ Groupings
1. Laws of Similarity
2. Laws of Proximity
3. Laws of Closure
4. Laws of Continuation
5. Laws of Symmetry
6. Laws of Simplicity (Praganz)
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| Fig. 1.2 Gestalt Laws (Week 5, 21/10/25) |
2.0 INSTRUCTIONS
3.0 PROCESS WORK: TASK 2A KEY ARTWORK
3.1 Research
We were instructed to create a mind map about ourselves, and I went on Pinterest to collect inspiration for a mood board.
Fig. 3.1 Mind map (Week 5, 20/10/25)
Fig. 3.1.1 Mood board from Pinterest (Week 5, 20/10/25)
3.2 Ideation
Keywords & Sketches
Final Keywords: Minimalistic, Connection, Direct
Fig. 3.2 Keywords & sketches (Week 5, 23/10/25)
Process Work
The first version was based on the initial sketches; I then refined and digitalised it. (The issue with this version was the inconsistency of the letters.)
The second version focused on improving the consistency of the letter A.
The third version refined the details in the dash part of the letter A.
The fourth version linked the dash between the letters U and A to make the design more dynamic and less monotonous.
The fifth version (final selection) removed the link between the letters A and N.
Fig. 3.2.1 Process work of word mark (Week 7, 5/11/25)
Final Design of Word Mark
Fig. 3.2.2 Final word mark design (Week 7, 5/11/25)
Final Colour Palette:
- #f8ecd1
- #ed3238
- #3c5e8d
- #a57942
- #231f20
Fig. 3.2.3 Final colour palette (Week 7, 5/11/25)
Animation
I created it with a clean and clear design. The logo appears first, then it pulls the trademark into the frame.
The animation was done using After Effects. For the logo, I applied the Trim Paths effect, and for the trademark, I used the Position property to drag it in, along with a Scale effect to create a zoom-in visual.
Fig. 3.2.4 Animation Process (Week 8, 12/11/25)
Fig. 3.2.5 Final Word Mark Animation (Week 7, 5/11/25)
3.3 Final Outcome of Task 2A - Key Artwork
Fig. 3.3 Black Word Mark on White Background (JPEG) (Week 8, 12/11/25)
Fig. 3.3.1 White Word Mark on Black Background (JPEG) (Week 8, 12/11/25)
Fig. 3.3.2 Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 3.3.3 Word Mark in Actual Colours on Lightest Shade of Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 3.3.4 Word Mark in Lightest Shade of Colour Palette on Darkest Shade of Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 3.3.5 Word Mark Animation (GIF) (Week 8, 12/11/25)
Fig. 3.3.6 Task 2A Compilation (PDF) (Week 8, 12/11/25)
4.0 PROCESS WORK: TASK 2B COLLATERAL
4.1 Research
Inspirations for collateral were taken from a Malaysia local brand- THE WES STUDIO.
Fig. 4.1 Collateral inspiration from The Wes Studio (Week 7, 5/11/25)
<4.2 Ideation
Collaterals
Collateral #1 Pin
The first collateral I chose is a pin. I initially experimented with the plain wordmark design, then later decided to use the logo combined with the trademark, as it makes the keyword “connection” more obvious. Since both designs were good, I decided to keep both.
Fig. 4.2 Pin collateral (Week 8, 12/11/25)
Collateral#2 Flask
For the flask design, I chose to use the logo. Compared to the trademark, the logo offers greater flexibility in adapting to different surfaces and sizes, allowing for a more balanced and visually appealing composition. The trademark, on the other hand, was too dominant visually and could overpower the overall design, making it less suitable for this type of collateral.
Fig. 4.2.1 Flask collateral (Week 8, 12/11/25)
Collateral #3 T-Shirt
The design for the T-shirt was simply a combination of the logo and the trademark. It was printed in an A7 size to achieve a more minimalist and professional look. The layout was inspired by the T-shirts worn by Apple staff, which emphasize simplicity and clean design.
Fig. 4.2.2 T-Shirt collateral attempt (Week 8, 12/11/25)
Collateral #4 Sticker
The sticker set consists of a total of three designs, each showcasing a different combination of colours to create visual variety and appeal. The designs were developed using three different approaches: one features the logo alone, another highlights the trademark by itself, and the third combines both the logo and trademark. This approach allows for exploration of how each element interacts with colour and form, offering a versatile set of stickers that can be used across different contexts while maintaining brand identity.
Fig. 4.2.3 Sticker collateral attempt (Week 8, 12/11/25)
Identity Expansion & Instagram Tile Layout
Identity Expansion
All my collateral designs actually came from the identity expansion designs, so I didn't create more variations to ensure the IG layout is consistent.
Fig. 4.2.4 Identity expansion designs (Week 8, 12/11/25)
Instagram Tile Layout
I structured the layout based on a chessboard reference, creating a clear and organised visual flow. To enhance the contrast and overall aesthetic, I applied the background colours using the darkest and lightest tones from my colour palette, which helps highlight the elements more effectively.
Fig. 4.2.5 Instagram tile layout (Week 8, 12/11/25)
Fig. 4.2.6 Instagram profile picture (Week 8, 12/11/25)
4.3 Final Outcome of Task 2B - Collateral
Fig. 4.3 Collateral 1 (JPEG) (Week 8, 12/11/25)
Fig. 4.3.1 Collateral 2 (JPEG) (Week 8, 12/11/25)
Fig. 4.3.2 Collateral 3 (JPEG) (Week 8, 12/11/25)
Fig. 4.3.3 Collateral 4 (JPEG) (Week 8, 12/11/25)
Fig. 4.3.4 Instagram Tile Layout (JPEG) (Week 8, 12/11/25)
Instagram Profile Link: Click Here
Fig. 4.3.5 Instagram Profile Link (JPEG) (Week 8, 12/11/25)
Fig. 4.3.6 Instagram Page Layout (JPEG) (Week 8, 12/11/25)
Fig. 4.3.7 Task 2B Compilation (PDF) (Week 8, 12/11/25)
5.0 TASK 2 OUTCOME COMPILATION
Fig. 5.1 Black Word Mark on White Background (JPEG) (Week 8, 12/11/25)
Fig. 5.2 White Word Mark on Black Background (JPEG) (Week 8, 12/11/25)
Fig. 5.3 Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 5.4 Word Mark in Actual Colours on Lightest Shade of Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 5.5 Word Mark in Lightest Shade of Colour Palette on Darkest Shade of Colour Palette (JPEG) (Week 8, 12/11/25)
Fig. 5.6 Word Mark Animation (GIF) (Week 8, 12/11/25)
Fig. 5.7 Task 2A Compilation (PDF) (Week 8, 12/11/25)
Fig. 5.8 Collateral 1 (JPEG) (Week 8, 12/11/25)
Fig. 5.9 Collateral 2 (JPEG) (Week 8, 12/11/25)
Fig. 5.10 Collateral 3 (JPEG) (Week 8, 12/11/25)
Fig. 5.11 Collateral 4 (JPEG) (Week 8, 12/11/25)
Fig. 5.12 Instagram Tile Layout (JPEG) (Week 8, 12/11/25)
Instagram Profile Link: Click Here
Fig. 5.13 Instagram Profile Link (JPEG) (Week 8, 12/11/25)
Fig. 5.14 Instagram Page Layout (JPEG) (Week 8, 12/11/25)
Fig. 5.15 Task 2B Compilation (PDF) (Week 8, 12/11/25)
6.0 FEEDBACK
Week 5
General Feedback: The mind map should be more detailed and supported by a comprehensive mood board. The selected keywords must clearly relate to and reflect the concepts presented in the mood board.
Specific Feedback: Ensure that the overall design maintains visual balance. Include a wider range of mood board references and further sketch developments. Additionally, select more aspirational and conceptually strong keywords before moving on to the digitalisation stage.
Week 6
General Feedback:The design must remain readable at different scales, and the strokes should be well-balanced. Finalise the digitalisation process and create the colour palette today.
Specific Feedback:Ensure consistency in the letter sizes. The details of the letter ‘x’ (below) need to be flattened, and the ‘J’ curve should be improved.
Week 7
General Feedback: The mockups should feature everyday items commonly used by designers. Print your wordmark on a shirt and wear it to the next class.
Specific Feedback: Document the entire design process of your wordmark clearly. Rearrange the colours in your palette to create a more cohesive and visually appealing order. The current colour palette appears too plain — consider switching to brighter, more vibrant tones to enhance visual impact and overall appeal.
Week 8
General Feedback:Task 3 has been briefed and assigned, think of three ideas for creating a new font.
Specific Feedback:A new colour palette combination has been created. Even though the previous one was acceptable, I was still not satisfied with it.
7.0 REFLECTION
Experience
Compared to Task 1, Task 2 involved much more self-exploration — designing products, trademarks, and logos in a way that felt closer to how an actual designer works. By trying out different colour palette combinations and experimenting with various options, I gained valuable experience and improved my design thinking.
Observations
Through this task, I realised that I have a hard time making decisions. I kept making changes to the trademark design and colour palette even though the earlier versions were already approved, but I still couldn’t feel fully satisfied.
Findings
Looking at my peers’ designs, I kept questioning myself — is my design too simple? Too minimalistic? Does it make me look lazy? I tried exploring more complex approaches for my trademark design, but none of them felt right to me. In the end, I decided to follow my instincts and create the final design in a style that I genuinely like.
Designing my trademark and logo in a way that feels true to myself is actually something I’m proud of. So why should I feel anxious just because my work looks different from others? What matters most is that the design represents my taste and intention, and staying true to that is more important than trying to fit in.
8.0 FURTHER READING
Fig. 8.0 A Type Primer, John Kane (2002)
This book offers a concise overview of typography's historical development while functioning primarily as a practical handbook for typographic work.
It delves into crucial topics such as how letterforms can enhance the semantic impact of words, principles of text formatting, and grid system theory.
Much of the material covered, including the historical context and practical principles, has already been addressed in our Typography class lectures, tutorials, and practical sessions.
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