ADVANCED TYPOGRAPHY - TASK 2 : KEY ARTWORK & COLLATERAL

16/10/2015 - 12/11/2025(Week4-Week8）

ZHANG QIYU/0384019

Typography/Bachelor of Design in Creative Media？Taylor’s University

Task 2：Key Artwork & Collateral

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LECTURES

Week 5

AdTypo_5_Preception And Organization

Perception & Organization

Perception in typography involves the visual navigation and interpretation by the reader through the use of contrast, form, and organisation of the content, which can be textual, visual, graphical, or colour-based.

Contrast

Fig.1.1. Typographical Contrast devised by Rudi Ruegg 

1. Contrast of Size

Size contrast draws the reader's attention. For example, a large letter stands out before a small one. This is commonly used to make titles or headings bigger than the body text.

Fig.1.2. Example of Contrast / Size

2. Contrast of Weight

Weight describes how bold type stands out among lighter type of the same style. Besides using bold, rules, spots, and squares can create a "heavy area" for visual emphasis, not just varying type weights.

Fig.1.3. Example of Contrast / Weight

3. Contrast of Form

Contrast of form is the difference between capital and lowercase letters, roman and italic styles, and condensed and expanded versions of a typeface.

Fig.1.4. Example of Contrast / Form

4. Contrast of Structure

Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif  and a traditional serif, or an italic and a blackletter.

Fig.1.5. Example of Contrast / Structure

5. Contrast of Texture

Combining contrasts of size, weight, form, and structure creates texture in a block of text. Texture is how the lines of type appear as a whole, both up close and from a distance, and depends on the letterforms and their arrangement.

Fig.1.6. Example of Contrast / Texture

6. Contrast of Direction

Contrast of direction involves the difference between vertical, horizontal, and angled elements. Turning one word sideways can dramatically impact a layout. Text blocks also have vertical and horizontal directions, and mixing wide blocks with tall columns creates contrast.

Fig.1.7. Example of Contrast / Direction

7. Contrast of Colour

Using a second colour is often less striking than black on white. Therefore, it's important to consider which element needs emphasis and to pay attention to the tonal values of the colours used.

Fig.1.8. Example of Contrast /Colour

Form

Form refers to the overall appearance of the elements in a typographic composition. It influences visual impact and first impressions. Good form in typography is visually appealing, guides the eye, engages the mind, and is memorable.

Fig.1.9. Example of Form

Typography, derived from Greek words meaning "form" and "writing," involves writing with attention to form. It serves two main purposes: representing a concept and doing so visually. Displaying type as a form highlights the unique characteristics of letterforms and presents them abstractly.

Fig.1.10. Example of Form

Organisation / Gestalt

Gestalt theory highlights that the whole is greater than its parts. In design, such as typographic layouts, each component may be functional individually, but the overall visual form is what truly matters.

• Law of Similarity : Elements resembling each other are perceived as a single group. Similarity can involve various features like colour, orientation, size, or motion.

Fig.1.11. Example of Similarity

• Law of Proximity : Elements near each other are seen as a group. Simply put, things close together are grouped, while those far apart are not.

Fig.1.12. Example of Proximity

• Law of Closure : Our minds tend to perceive complete figures or forms even if they are partially hidden or incomplete.

Fig.1.13. Example of Closure

• Law of Continuation : Suggests that people tend to see multiple objects as one continuous object, even if they intersect. The alignment of the objects is crucial for this principle to work.

Fig.1.14. Example of Continuation

• Law of Symmetry : It says that we prefer balanced and harmonious shapes and patterns. We tend to see objects as symmetrical and find them pleasing to look at.

Fig.1.15. Example of Symmetry

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INSTRUCTIONS

Task 2 (A) – Key Artwork

1. Mind-Map

We began the development of our visual identity by creating both a mood board and a mind map.The purpose of these two steps is to explore, define, and refine the conceptual direction behind our wordmark design.

Fig. 2.1 Mind-Map

The mind map helps generate and organise keywords related to my identity, interests, personality, and stylistic direction. It expands the initial theme into sub-ideas, allowing me to identify the visual language and tone suitable for my key artwork.

2 .Mood-Board

Fig. 2.2 Mood-Board

I constructed a mood board featuring graffiti styles, rough textures, contrasting colours, bold lettering, and street art references. This visually represents the energy, rebelliousness, and rawness I want to convey in my key artwork.

Together, the mind map and mood board form the foundation for my design exploration, ensuring that my sketches and digitised wordmarks remain consistent with the punk/street style and communicate the desired urban attitude.

3 .Sketches

Fig. 2.3 Sketches

I explored and designed nine different variations of my letter-based logo, each reflecting a unique approach to street-style, punk-inspired aesthetics.

Each logo experiment focuses on different visual elements, including: bold letterforms, sharp edges, distressed textures, graffiti influences, and urban-inspired motifs. Some logos emphasise raw, hand-drawn energy, while others explore more geometric or typographic experimentation.

By creating multiple options, I could explore how different stylistic choices affect the perception of my identity. These nine logos serve as the foundation for selecting and refining a final wordmark that best conveys the rebellious, energetic, and urban character I aim to communicate.

4.Digitization 

Fig 2.4 Final sketch

For my final key artwork, I selected a logo where the letters are connected and the edges are intentionally irregular and wavy, creating a strong street-style, punk-inspired vibe.

The flowing, uneven forms give the logo a sense of movement, energy, and raw urban attitude, reflecting the rebellious and dynamic spirit of street culture. This design feels hand-crafted and spontaneous, like graffiti or a freehand sketch, emphasizing individuality and visual impact.

The connected letters also enhance the unity of the wordmark, making it distinctive and memorable. This artwork works well in black-and-white as well as in colour variations, serving as the core of my visual identity and the foundation for further applications like collateral or social media visuals.

Fig 2.5 Digitizing process

For my final refined logo, I further adjusted my previous draft to improve legibility while keeping the street-style, punk-inspired energy.

Each letter is now clearly distinguishable. For instance:

• The Y’s starting stroke is shortened for clarity.

• The I’s elongated vertical line remains true to its shape and does not resemble a T, preserving readability.

Fig 2.6 Final digitized wordmark

5.Colour Application

After finalising my key artwork, I began exploring colour palettes to support the visual identity. I reviewed a wide range of palettes from Colour Hunt and compared different combinations of hues, saturation, and emotional tone.From these options, I selected the palette that best aligns with the personality of my design. 

 

Fig.2.7 color selection

Fig 2.8 Final choice of colour palette

For the colour palette stage, I explored various colour-combination resources, including Colour Hunt and Coolors, to search for options that matched the energy of my street-style brand identity. I gathered several palettes and applied them to my wordmark for comparison, evaluating how each colour interacted with the irregular, wavy letterforms.

Fig 2.9 Color palette exploration

Task 2A Final Outcome

Fig 2.10 White wordmark on white background

Fig 2.11 Balck wordmark on black background

Fig 2.12 Colour Palette

Fig 2.13 Wordmark in actual colours on lightest shade of colour palette

Fig 2.14 Wordmark in actual colours on lightest shade of colour palette

Fig. 2.15 Wordmark animation (GIF format)

                             Fig. 2.15  Final Outcome - Task 2(A) Key Artwork

Task 2 (B) – Collateral

Trade Mark

Fig.3.1 Reference

Based on previous design inspirations, I created a personal graphic logo — a crying face — inspired by street culture. This crying face is designed with a spray-paint effect, with raised textures created through spray techniques to add a sense of depth and a strong visual impact. I wanted this logo to reflect both personal identity and street style, resonating with the everyday products and references I use, ultimately forming a unique brand image.

Fig.3.2 icon

Black & White Photograph

  

Fig 3.3 BNW Photo

For this poster design, I used my black-and-white portrait to establish a strong and atmospheric visual tone. I added a layer of noise and grain to create a raw and textured look, which complements the street-style and slightly punk direction of my identity.

I placed my final wordmark in solid black as the main logo, allowing it to stand out clearly against the monochrome background. In addition, I included a dialogue box beside the portrait to add a narrative touch. This small detail gives the composition more personality and enhances the cinematic and expressive mood of the overall design.

By combining grainy texture, monochrome photography, and bold typography, this poster effectively communicates a cohesive visual identity for my brand.

Instagram Posts

Fig. 3.4 Instagram Posts

Task 2B Final Outcome

Fig. 3.5 Collateral #1

Fig. 3.6 Collateral #2

Fig. 3.7 Collateral #3

                     

                                Fig 3.8 Instagram Feed Design Layout

Fig 3.9 Screenshot of Instagram page

link: https://www.instagram.com/ioo777i?igsh=MWZ3cWJzdmJwb25lZw%3D%3D&utm_source=qr

                                                Fig 3.10 Task 2B PDF Compilation

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FEEDBACK

Week 5

• General Feedback：I realize the importance of establishing inspiration sources and encouraged me to begin extracting visual language from existing brand styles.
• Specific Feedback：I was unsure about how to approach my personal brand logo, so I explored inspirations from luxury and niche brands that I like, considering whether I could adapt their styles into my own identity.

Week 6

• General Feedback：I taught  that clarity in letter structure is crucial for brand recognition, motivating me to refine my design through more precise visual simplification.
• Specific Feedback：I created the initial version of my brand identity, and the lecturer advised me to remove the connecting blocks between letters so the letterforms become clearer and more recognizable.

Week 7

• General Feedback：I realise the importance of balancing creativity with clarity. I learned that a strong visual identity not only needs unique personality but also readability and structure.
• Specific Feedback：I presented several variations of my wordmark. My lecturer pointed out that the idea was strong and reflected my intended street-style punk aesthetic. However, some letters were difficult to distinguish due to the tight connection between them.

Week 8

• General Feedback：By finalising the wordmark and testing the colour palette, I understood how style, balance, and tone work together to express brand identity.
• Specific Feedback：I also received comments about colour usage, being encouraged to pick a palette that keeps the punk attitude while achieving good contrast.

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REFLECTION

Experience

I focused on refining my wordmark design based on feedback from my lecturer. In Week 7, I explored multiple variations of letterforms with connected and irregular edges to express a street-style punk attitude. During Week 8, I refined the final version by improving the clarity and spacing between each letter, while also experimenting with several colour palettes to match the rebellious and energetic tone of my brand.

Observation

I noticed that small adjustments, such as the spacing between letters and the smoothness of their connections, had a significant impact on the legibility and visual rhythm of the wordmark. The earlier versions were expressive but difficult to read, while the refined design successfully balanced readability with personality. I also observed how different colour palettes could change the overall mood of the identity — cooler tones felt calmer, while brighter contrasts better reflected the punk and energetic concept.

Findings

From this experience, I learned that effective design requires both experimentation and refinement. The process of revising my wordmark taught me how to merge creativity with technical precision. I also realised that colours play an essential role in defining emotional tone and brand character. Overall, Task 2 strengthened my understanding of how typography, spacing, and colour harmony can work together to create a distinct and memorable visual identity.

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FURTHER READING

This page from The Vignelli Canon on Design showcases the works of the Italian designer Massimo Vignelli, highlighting his approach to graphic design and signage systems.

The page presents two main examples:

• On the left, the Frascati railway station signage system demonstrates Vignelli’s use of a modular grid, Helvetica typography, and a consistent blue-and-white colour palette to achieve clarity, legibility, and visual harmony in public spaces.

• On the right, the Biblioteca Scientifica book cover series illustrates his minimalist typographic style — strict alignment, structured hierarchy, and the absence of unnecessary decoration.

I focused on the pages that present the “Frascati Signage System” and “Biblioteca Scientifica” book cover designs. Through these works, I experienced how Vignelli used a clear design system to bring order and elegance to both public and printed environments. His designs gave me a strong sense of consistency and discipline — everything from the letter spacing, alignment, to the proportion of white space was precisely calculated. It made me realize how much invisible structure exists behind seemingly simple designs.

Vignelli’s works reminded me that timeless design is built on rational order, not trends. The Frascati signage and scientific book covers are more than just visuals — they are systems of communication. They continue to inspire modern designers to value clarity and simplicity in every design decision.