Advanced Typography - Task 2: Key Artwork and Collateral
Advanced Typography | Task 2: Key Artwork and Collateral
|| 20/10/2025 – 17/11/2025 (Week 5 – Week 8)
|| BAI ZHUO QING, 0370042
|| Advanced Typography
|| Task 2: Key Artwork and Collateral
|| BAI ZHUO QING, 0370042
|| Advanced Typography
|| Task 2: Key Artwork and Collateral
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Process Work
4. Feedback
5. Reflection
6. Further Reading
1. Lecture：
Week 5：
AdTypo_5_Perception And Organisation:
Perception describes the mental processes by which we observe, decode, and interpret visual stimuli. In typography, this is not just about reading; it also includes how text interacts with images, colors, shapes, and spatial arrangement. Effective typography guides attention, constructs clear visual paths, and allows readers to smoothly absorb content.
Contrast is one of the most essential tools for establishing hierarchy and emphasis. Drawing from principles introduced by Carl Dair, contrast can be created in multiple ways, each contributing differently to the viewer’s visual experience:
- Size — Larger type captures attention first, making it ideal for titles and key messages.
- Weight — Differences between bold and light fonts help establish focal points and guide reading flow.
- Form — Variations such as uppercase vs. lowercase or roman vs. italic introduce diversity in shape and tone.
- Structure — Distinct typeface categories (serif, sans-serif, monoline, gothic, etc.) bring different rhythms and textures to the layout.
- Texture — The density and pattern formed by text blocks determine how the overall composition feels from near and far.
- Direction — Horizontal, vertical, or diagonal arrangements create movement and visual energy.
- Color — Changes in hue or tonal value enhance readability and highlight important details.
Together, these contrasts shape visual hierarchy, clarify organisation, and heighten aesthetic impact.
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| Fig 1.1 Rudi Ruegg's comparison creation method (10-20_W5) |
"Form" refers to the overall visual presentation and expressiveness of typographic elements. It influences the reader's first impression and determines whether the design feels harmonious, dynamic, or chaotic. In many cases, typography can be considered an art form, not just readable text.
- The content of a letter may include:
- enlarging or shrinking
- rotating or slanting
- modifying, distorting, or overlapping
- decorating with textures or patterns.
These techniques give the design rhythm, structure, and personality. Excellent typography is itself a visual work of art, making the design more memorable and captivating.
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| Fig 1.2 Poster and letter examples (10-20_W5) |
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| Fig 1.3 Poster and letter examples (10-20_W5) |
Gestalt theory explains how humans naturally seek order and unity when interpreting visual information. Instead of seeing individual components, we tend to perceive complete structures. Understanding these principles allows designers to create layouts that feel coherent and easy to understand.
Key principles include:
- Similarity — Elements that share similar shapes, colours, or sizes are visually grouped together.
- Proximity — Items placed close to each other appear related, while distant elements seem separate.
- Closure — The mind fills in missing details to complete an incomplete or partially hidden shape.
- Continuity — The eye follows smooth pathways and perceives aligned elements as part of a continuous sequence.
- Symmetry / Prägnanz — Balanced and simple structures are perceived as more stable, pleasing, and unified.
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| Fig 1.4 Gestalt Laws(10-20_W5) |
2. Instructions：
3. Process Work：
Task 2 (A) – Key Artwork
1.Mindmapping / Inspirations / Sketches
Task 2A required us to create a personalized key visual based on
our own name or pen name (at least 4-5 characters). To get started
on the design process, I first created a detailed mind map,
including my personality, interests, and background. After
considering various possibilities, I ultimately decided to use the
name
"QING"
because it aligned with the artistic image I wanted to build. I
really love psychedelic, liquid-like visuals, so I set that as my
primary design style. This preparation helped me determine the
sketches for the wordmark design and the style and creative
direction for the early exploration phase.
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After that, I started collecting works and designs that matched my
keywords as sources of inspiration. Source: Pinterest.
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| Fig 2.2 Mood Board (2025/10/20_W5) |
In the fifth week, I began creating the first version of the
sketch.
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| Fig 2.3 The sketch 1 (2025/10/20_W5) |
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Fig 2.4 The sketch 2 (2025/10/20_W5) |
2. Digitization
After finding a satisfactory version, I began creating the digital version.
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Fig 2.5 Digitalization process (2025/10/20_W5) |
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| Fig 2.6 Overall digital version (2025/10/20_W5) |
In week six, since this week's classes were online, I presented my final digital work to Mr. Vinod online. He gave me some suggestions and asked me to make the "N" more prominent so that people could recognize "QING" even if they didn't know the brand.
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| Fig 2.7 Final digital text logo (2025/10/28_W6) |
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| Fig 2.8 Mr. Vinod gave me the general direction for revisions (2025/10/28_W6) |
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Fig 2.9 Final revised logo (2025/10/28_W6) |
After determining the visual direction of the brand logo, I began experimenting with different color combinations to create a visual atmosphere that was both American and retro. Ultimately, I selected this color scheme primarily composed of dark gray, retro red, caramel orange, nostalgic pink, and off-white.
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Fig 2.9 Color Palette (2025/11/3_W7) |
Final output: Task 2(A) Key Artwork
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| Fig 2.10 Black logo on a white background (2025/11/3_W7) |
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| Fig 2.11 White logo on a black background (2025/11/3_W7) |
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| Fig 2.14 The logo is drawn in the lightest shade of the palette over the darkest shade. (2025/11/3_W7) |
Fig 2.15 Animation main visual. (2025/11/3_W7)
Fig 2.16 Task 2A
PDF. (2025/11/3_W7)
Final Task 2B : Collateral
In Task 2B, we need to expand the artwork created in Task 2A into
three complementary merchandise items, such as tote bags, badges, or
other small items. After completing these applications, we will
create an Instagram account to showcase and promote the main visual,
making it a unified brand identity
So I searched on Pinterest for logo-free clothing, PS5s, and phone
cases.
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| Fig 3.1 Clothing LOGO. (2025/11/3_W7) |
I placed my main logo in the center of the garment and added a black border to define the boundary, and also added an "N" for decoration on the chest.
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| Fig 3.2 PS5 LOGO. (2025/11/3_W7) |
I then chose the PS5 to display my logo and gave it a 3D embossed effect.
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| Fig 3.3 Phone case logo. (2025/11/3_W7) |
I use a dark-colored phone case, add my logo and change its color to orange to make it stand out more, and then decorate it with white cutout logo elements around it.
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Fig 3.4 Instagram feed design layout. (2025/11/3_W7) |
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Fig 3.5 Instagram page screenshot. (2025/11/3_W7) |
Task 2B Final Outcome
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Fig 3.6 Collateral 1. (2025/11/10_W8) |
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Fig 3.7 Collateral 2. (2025/11/10_W8) |
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Fig 3.8 Collateral 3. (2025/11/10_W8) |
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Fig 3.9 Instagram page screenshot. (2025/11/10_W8) |
Instagram Link: Here
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3.10 Final Task 2B( PDF ) (2025/11/10_W8)
Outcome Compilation Task 2: Key Artwork and Collateral
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Fig 4.1 Black logo on a white background (2025/11/3_W7) |
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| Fig 4.2 White logo on a black background (2025/11/3_W7) |
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| Fig 4.5 The logo is drawn in the lightest shade of the palette over the darkest shade. (2025/11/3_W7) |
Fig 4.6 Animation main visual. (2025/11/3_W7)
Fig 4.7 Task 2A PDF. (2025/11/3_W7)
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Fig 4.8 Collateral 1. (2025/11/10_W8) |
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Fig 4.9 Collateral 2. (2025/11/10_W8) |
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Fig 4.10 Collateral 3. (2025/11/10_W8) |
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Fig 4.11 Instagram page screenshot. (2025/11/10_W8) |
Instagram Link: Here
Fig 4.12 Final Task 2B( PDF ) (2025/11/10_W8)
4. Feedback：
Week8:
General Feedback:This week, Mr. Vinod reminded us that the deadline
for submitting Task 2 is November 17th. He also
briefly introduced the content and requirements of
Task 3.
Special Feedback: Because Instagram updated its post size, I adjusted the
output image from a square to a new 1080 × 1350 pixels.
Finally, I asked Mr. Vinod to review my work, but he
wasn't very satisfied. I only changed the "N" part to
make it clear that the logo is composed of "QING," but
other parts still had some issues, resulting in an
imperfect overall font. However, due to time
constraints, Mr. Vinod told me to submit the current
version. Nevertheless, this task made me realize some of
my shortcomings and areas for improvement. Therefore, I
need to work harder in the upcoming Task 3, correct my
weaknesses, and present a more perfect work.
Week7:
Absent
Week6:
General Feedback:This week, for our online class, we received feedback
from Mr. Vinod regarding our Task 2 assignment.
Special Feedback:Mr. Vinod suggested that I
redesign the "N" to make it more obvious, because the
original design didn't allow people unfamiliar with my
logo to immediately recognize what letters it was
composed of.
Week5:
General Feedback:The instructor provided
online feedback and guidance for each
student.
Special Feedback:I received feedback on my
sketches. The instructor felt that my mood board
references were insufficient and requested further
revisions.
5. Reflection：
Experience:
Task Two proved unexpectedly challenging. The
entire process required more reflection and
revisions than I initially anticipated. In Task 2A,
I was confident in my psychedelic wordmark, but Mr.
Vinod pointed out its readability issues, forcing me
to completely rethink my design approach. In Task
2B, I also encountered many problems in selecting
items and designing the layout, but looking back on
the entire task, reflection and perseverance were
key. Each improvement contributed to my progress in
design.
Observation:
Throughout the process, I realized that some designs
don't necessarily require abstraction; readability is
also crucial. My early designs, being overly abstract,
suffered from poor readability. This led me to
carefully consider feedback and begin focusing more on
readability. These attempts significantly improved my
visual appeal and allowed me to unlock greater design
potential.
Findings:
A key takeaway from this project is that design must
be both artistic and functional. Visual appeal alone
is insufficient—design must also function effectively
across various applications and align with the brand
identity. For instance, in Task 2B, I initially felt
satisfied with a particular pattern when viewed alone,
but this feeling changed drastically once applied to a
product. This experience made me realize that design
needs continuous testing in real-world environments to
ensure consistency. Through these two tasks, I now
have a clearer understanding that excellent design
requires a balance between creativity, clarity, and
adaptability.
6. Further Reading：
Picking up where I left off last time: "I.D.E.A.S Computer Typography Basics" by David Creamer.
Line Spacing (Leading)
From these pages, I learned that leading is one of
the most important factors affecting text
readability. It refers to the space between lines of
type, and the optimal amount depends on the font
style, line length, and type size. For example,
fonts with tall ascenders and descenders need extra
spacing to avoid overlapping, while longer text
lines benefit from more leading to ease eye
movement. I also found it interesting that the term
leading (pronounced “ledding”) comes from the
traditional use of thin strips of lead to separate
lines in metal typesetting.
This made me realize that proper leading not only
enhances comfort in reading but also contributes to
the overall rhythm and balance of a design. Too
little spacing can make text appear cramped, while
too much breaks the visual flow. I also learned how
leading values are written in typography notation
(e.g., 10/12, meaning 10-point text with 12-point
line spacing), which helps maintain consistency
across designs.
Line Spacing for Headlines and
Subheads
Studying this section helped me understand that
headlines and subheads require a different kind of
spacing strategy compared to body text. I learned
that the key is not the exact point size, but the
relationship between line spacing values. Using
multiples of the body text’s leading creates a
consistent rhythm throughout the layout, making
the page look more structured and intentional.
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