Advanced Typography: Task 2 Key Artwork & Collateral
Advanced Typography | Task 2: Key Artwork & Collateral
June 12, 202517/5/25 - 12/5/25 (Week 4 - Week 8)
Hu Yao Ping | 0376768
Bachelor of Design (Honours) in Creative Media | Taylor's University
Advanced Typography
Task 2: Key Artwork & Collateral (30%)
[Table of Contents]
[Lectures]
Lecture: Advanced Typography - Perception & Organisation
Introduction：
Typography is far more than just arranging letters; it’s about
shaping how audiences perceive and engage with information. Today,
we’ll dive deep into “Advanced Typography: Perception &
Organisation”, unpacking how contrast, form, and Gestalt principles
transform text into impactful visual communication.
Perception in Typography: The Role of Contrast:
1. Defining Perception in Context:
Perception dictates how we “see” typography—what stands out, what
recedes, and how our eyes navigate content. Contrast is the engine
driving this: it creates hierarchy, guides attention, and injects
personality into designs.
2. Carol Dair 's 7 Contrast Principles (A Core
Framework):
Carol Dair's work codified how contrast shapes typographic
perception. Let’s break down each type with examples:
Fig 1.1
Fig 1.2
a. Contrast of Size
• Purpose: Dominance and hierarchy. A massive headline vs. tiny body
text forces the eye to prioritize.
• Example: A poster with “SALE” in 100pt font towering over 10pt
product details.
• Tip: Use size contrast sparingly—too many large elements lose
impact.
b. Contrast of Weight
• Purpose: Emphasis without reusing fonts. A bold “WARNING” vs.
regular-weight copy adds urgency.
• Example: A magazine pull quote in heavyweight, contrasting the
light text of surrounding articles.
• Pro Tip: Mix weights within the same type family for cohesion
(e.g., Montserrat Bold + Montserrat Light).
c. Contrast of Form
• Purpose: Visual intrigue. A serif “Elegant” vs. a sans-serif
“Modern” in the same layout creates duality.
• Example: A logo blending a geometric sans-serif (for structure)
with a hand-drawn script (for warmth).
• Caution: Overdo it, and readability suffers—balance is key.
d. Contrast of Structure
• Purpose: Rhythm and flow. A rigid, justified block of text vs. a
loose, ragged-right poem disrupts expectations.
• Example: A cookbook with strict, columned ingredient lists and
free-flowing narrative recipes.
• Why It Works: Structure contrast mirrors content tone (e.g.,
technical vs. creative writing).
e. Contrast of Texture
• Purpose: Tactile depth. A rough, distressed font vs. a smooth,
clean typeface evokes different emotions.
• Example: A music festival poster using a gritty, “textured” font
for band names and a sleek font for venue info.
• How to Apply: Use texture subtly—too much can feel chaotic.
f. Contrast of Colour
• Purpose: Focus and mood. A bright red “URGENT” vs. muted grey body
text commands attention.
• Example: A charity flyer with a bold, contrasting color for
donation calls-to-action.
• Pro Tip: Mind tonal values—high-contrast color pairs (e.g., black +
white) ensure legibility.
g. Contrast of Direction
• Purpose: Dynamic movement. Vertical text in a sea of horizontal
copy breaks monotony.
• Example: A menu with vertical “SPECIALS” labels alongside
horizontal dish descriptions.
• Risk: Overuse confuses readers—reserve for key focal points.
Form in Typography: Beyond Letters:
1. Etymology and Function
“Typography” stems from Greek roots: typos (form) + graphein (to
write). This duality matters:
• Function: Typography must communicate clearly (e.g., a road sign’s
sans-serif font).
• Expression: It can also evoke emotion (e.g., a wedding invitation’s
flowing script).
2. When Form Overrides Legibility
Pushing typography into abstract “form” blurs its role as text.
Example: A poster where letters morph into shapes—readability fades,
but artistic impact emerges.
• Use Case: Gallery exhibits, experimental branding (prioritize
concept over clarity).
Organisation: Gestalt Principles in Action:
1. What Is Gestalt Psychology
Gestalt theory argues: “The whole is greater than the sum of its
parts.” In typography, this means readers perceive text as unified
groups, not just isolated letters.
2. Key Gestalt Laws for Typography
Let’s explore how these laws organize content (and why they
matter):
a. Law of Similarity
• Rule: Similar elements (color, size, font) are grouped.
• Example: A blog listing where all headlines share the same
color—readers intuit they’re “titles.”
• Design Hack: Use similarity to create sections (e.g., bold subheads
in the same style).
b. Law of Proximity
• Rule: Elements close together are perceived as related.
• Example: A product card with price, description, and image
clustered—readers connect them as “one product.”
• Fix Common Issue: Avoid awkward spacing that severs relationships
(e.g., a headline too far from its body text).
c. Law of Closure
• Rule: The mind “fills in” missing information.
• Example: A logo with incomplete letterforms (e.g., a “C” missing a
stroke)—readers still see “C.”
• Creative Use: Simplify logos or headlines while retaining
recognizability.
d. Law of Continuation
• Rule: The eye follows continuous paths (lines, alignment).
• Example: A justified text column—readers follow the straight edge
as a visual guide.
• Pro Tip: Align elements (e.g., images, text blocks) to create
“invisible” pathways.
e. Law of Symmetry
Fig 3.5
• Rule: Symmetrical layouts feel stable and ordered.
• Example: A book cover with centered title and balanced
imagery.
• When to Break It: Asymmetry creates dynamism (e.g., a music album
cover with off-kilter text).
f. Law of Simplicity (Pragnanz)
• Rule: The mind simplifies complex forms into order.
• Example: A messy text block with varied fonts—readers still seek a
“system” (e.g., grouping similar styles).
• Design Goal: Reduce clutter to let simplicity guide
perception.
Putting It All Together: A Design Workflow:
1. Define Purpose: Is your typography meant to inform (prioritize
clarity) or inspire (embrace experimentation)?
2. Map Contrast: Use Dair’s 7 contrasts to outline hierarchy (e.g.,
size for headlines, color for CTAs).
3. Apply Gestalt: Group elements with similarity/proximity, guide
eyes with continuation/closure.
4. Test Perception: Show drafts to others—does the hierarchy work?
Are groups clear?
Final Takeaways:
• Perception is shaped by contrast—use it to control what readers
notice first.
• Form balances function (readability) and expression
(creativity).
• Organisation relies on Gestalt—leverage these laws to create
cohesive, intuitive layouts.
[Instructions]
[Task]
Task 2 (A) — Key Artwork (10%)
Timeframe: Week 4 - Week 6 (Deadline Week 6)
In task 2A, we were given instructions to create a wordmark of our
own name/pseudonym.
What we need to submit:
- Black wordmark on white background
- White wordmark on black background
- Colour palette
-
Wordmark in actual colours on lightest shade
of colour palette
- Wordmark in lightest shade of colour palette on darkest shade of colour palette
- wordmark animation
Task 2 (B) — Collateral (20%)
Timeframe: Week 6 - Week 8 (Deadline Week 8)
Using the wordmark that we created from task 2A, we were instructed
to expand the visual identity and apply its idea/ design to chosen
collaterals. This also included creating a layout design for my own
Instagram page.
What we need to submit:
- Collateral 1, 2, 3
- Instagram link
- IG screen grab with good resolution
（A）: Key Artwork
In this task, the primary design will serve both as a word mark and
as a standalone piece of visual art. As a word mark, it represents
an individual’s identity, while also functioning as a graphic
element that can be applied to products such as lapel pins,
T-shirts, and posters. The design can be deconstructed into its
fundamental shapes to generate dynamic patterns, reinforcing and
extending its visual identity.
We will experiment with multiple variations and arrangements of our
name as a word mark. The final outcome should be a refined, visually
balanced, and easily recognizable design that is practical and
communicative. This finalized key artwork will be utilized in Task
2(B) across various applications like pins, apparel, and printed
media.
1.Mind Map:
For this assignment, we need to create a mind map to explore
ourselves and expand our thinking, which will lead us to design a
font. I will use my name YAOP as the text brand name for this
assignment.
Fig 1.1Mind Map
2. Sketches：
At first, my name YAOP means the sun, so I wanted to make something
related to the sun, so I made the following sketch.
Fig 2.1 Sketches
Fig 2.2 First attempt
The second one is based on my personality traits. The irregular
cutting and tough lines of the letters convey a sense of positivity
and courage to break through. Perhaps it reflects the positive and
enterprising spirit contained in my name, suggesting my attitude of
forging ahead and constantly exploring in life.
Fig 2.3 Second attempt
Final Choice：
According to Mr. Vinod's suggestion and my own thinking, I finally
decided to choose YAOP, which is the origin of my personality
traits.
For the colors, I chose the colors from Color Hunt because I still
wanted to stick to the meaning of the name. YAO represents sunshine, so
the colors I chose are more in this aspect. The following is my color
card
Fig 3.2 my colour
Fig 3.3 process
Here is the final result of the font and color palette study:
Fig 3.5 White wordmark on black background
Fig 3.6 Colour palette
Fig 3.7 Wordmark in actual colours on the lightest shade of your colour palette
Fig 3.8 wordmark in the lightest shade of your colour palette on the darkest shade of colour palette
Final Submission:
I wanted to create a relatively simple animation for my text logo that
would fit the meaning and simple feel of my text, so I went into After
Effects and started creating the animation.
Fig 4.1 process
Fig 4.2 Animated
（B）: Collateral
1.Specimen：
I looked for a lot of images online for collateral and ultimately
decided on a badge, scented candles and business cards based on my
font.
Fig 1.1 medal
Fig 1.2 card
Fig 1.3 Aromatherapy candles
Then I tried to incorporate my text into it and also blend it with the
sun pattern.
2.Process:
3.Final Result：
3.Final Result：
Fig 3.1 medal (result)
Fig 3.2 Aromatherapy candles(result)
Fig 3.3 card (result)
Fig 3.3 picture
Fig 3.4 Text pattern
Fig 3.5 Color Card
Fig 3.6 Creative color card
Fig 3.7 Social media posting
Fig 3.8 Final Result
[Feedback]
week 5:
General Feedback:
This week our task is to make a mind map based on your name, and then
design a meaningful name (4-5 words) based on it. This design made me
re-understand myself and have a deeper understanding of font design.
Specific Feedback:
Mr. Vinod said I needed to give a better explanation to the font of my
design, so I modified it and showed it to him again. Next, I need to
modify my letters to make them look more integrated and coordinated.
Week6:
General Feedback:
This week we modified the font according to last week's feedback,
and then edited the color card
Specific Feedback:
In our online class this week, Mr. Vinod gave us feedback that we
need to make some adjustments to the letters so that they look
uniform in size.
Week7:
General Feedback：
This week we basically completed Task 2 A & B, and presented
them to the teacher in class and received feedback.
Specific Feedback：
I made a few more samples for display, and Vinod Mr. selected
three of them and said I needed to adjust some details, but
everything else was OK
Week8:
General Feedback：
Since this week is a learning week, our feedback this week is
conducted online, and Mr. Vinod mentioned the deadline for Task
2.
Specific Feedback：
Because I had already shown my Nine Grid task to Mr. Vinod last
week, I just took a quick look at it this week.
[Reflection]
Experience：
In Task 2(A), I explored font creativity centered around my name “YAOP,”
which implies the sun. I integrated rotation into the design to symbolize
solar energy, experimenting with spiral arrangements and repeated
typography using Adobe Creative Suite. After refining dozens of drafts, I
finalized a concise and highly recognizable wordmark, with the rotation
element vividly conveying vitality and brightness.
In Task 2(B), I extended this sun-inspired wordmark to various
applications, including badge, aromatherapy packaging, and hang tags.
Each medium required careful consideration of scale, material, and usage.
For instance, I simulated curved-surface printing on the aromatherapy jar,
allowing the rotating logo to visually wrap around like sunlight. On badge , I balanced logo size and wearability, simplifying the rotation
graphic to match a minimalist style while maintaining brand identity.
Although the process was meticulous, it was rewarding to see diverse
designs unified through a consistent visual language.
Observation：
I discovered that the rotation element has strong adaptability. On the
aromatherapy package, it evokes a warm, radiant feeling. On apparel, the
minimal graphic fits fashion aesthetics while preserving its
symbolism.
The iterative process documented in my portfolio—from rough sketches to
final versions—reveals how my ideas matured. Peer feedback also opened my
eyes to alternative directions, like emphasizing color or form. This
showed me that a visual identity must remain flexible to allow creative
extension across mediums.
Findings：
A key takeaway is the importance of a consistent visual “gene” in brand
design. The rotation motif introduced in Task 2(A) acts as a unifying
thread, tying all applications together. Adjustments to typography can
shift the tone—bold type on hang tags suggests strength, while softer
strokes on the aromatherapy label convey warmth.
Moreover, the electronic portfolio isn’t just a record-keeping tool—it
helps reflect on design logic. I’ve learned to establish a core visual
element first, then adapt it thoughtfully across materials. This approach
will be invaluable in future brand extension projects.
[Further Readings]
Kimberly Elam’s Typographic Systems offers a structured and
insightful exploration of eight fundamental approaches to typographic
organization: axial, radial, dilatational, random, grid, modular,
transitional, and bilateral systems. These systems are not just visual
arrangements but serve as frameworks that bring clarity, hierarchy,
and rhythm to typographic compositions.
Each system is illustrated with clear visual examples and design case
studies, helping readers understand how form and structure influence
communication. For instance, the radial system, which radiates outward
from a central point, creates a strong sense of dynamism and is
well-suited for conveying movement or centralized focus. In contrast,
the grid system emphasizes order and logic, making it ideal for
publications, editorial layouts, and digital interfaces that require
consistent structure and readability.
Elam encourages designers to view these systems not as constraints
but as creative tools that enhance visual coherence. She also
discusses how combining multiple systems or deviating from them
strategically can lead to innovative and engaging results. This
perspective highlights the balance between structure and expression in
design—reminding us that successful typography often arises from a
dialogue between logic and creativity.
Reading this book deepened my appreciation for the foundational role
structure plays in design. Rather than relying solely on intuition,
understanding these typographic systems allows for more intentional
decision-making. Whether in print or digital media, the systems
outlined in Typographic Systems provide essential guidance for
creating effective, engaging, and communicative design work.
[Quick Links]
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