Labels

Advanced Typography: Task 2 Key Artwork & Collateral

 


ADVANCED TYPOGRAPHY - TASK 2 KEY ARTWORK & COLLATERAL

12/05/2025 - 15/06/2025 / Week 4  - Week 8 

Begimbaeva Aidina / 0380489

Advanced Typography  / Bachelor of Design in Creative Media 

Task 2: KEY ARTWORK & COLLATERAL


Week 5


Ad Typo_5_Perception And Organisation 


In typography, perception refers to how a reader visually navigates and interprets content through elements such as contrast, form, and structure. This perception shapes the way information is received and understood. While content may include text, images, graphics, or color, our primary focus here is on typographic communication.


Figure 1.1 Methods of Contrast by Rudi Ruegg, Week 5 (23/05/2025)

There are several methods in typography to create contrast the one on the left is devised by Rudi Ruegg. They are self-explanatory.

7 Types of Contrast by Carl Dair

1. Size

Figure 1.2 Contrast in Size, Week 5 (23/05/2025)

Contrast in size helps establish a clear visual hierarchy by drawing the reader’s attention to specific elements. The most common application of size contrast is in titles or headings, which are typically made significantly larger than the body text to emphasize importance and guide reading flow.

2. Weight

Figure 1.3 Contrast in Weight / Week 5 (23/05/2025)

Contrast in weight refers to how bold or heavy type can visually stand out among lighter text of the same typeface. While using bold is a common approach, other elements — such as rules (lines), spots, or solid squares — can also create areas of visual weight. These "heavy areas" serve as strong points of emphasis or attraction, meaning contrast in weight is not limited to just type, but can include graphic elements as well.

3. Form

Figure 1.4 Contrast in Form / Week 5 (23/05/2025)

Contrast of form refers to the visual distinction between different shapes or styles within the same typeface. This includes contrasts such as:

  • Uppercase vs. lowercase letters

  • Roman (upright) vs. italic

  • Condensed vs. expanded versions of a typeface

These variations create visual interest and can be used to differentiate information or emphasize specific elements within a layout.

4. Structure

Figure 1.5 Contrast in Structure / Week 5 (23/05/2025)

Contrast of structure refers to the visual differences between letterforms from different typeface classifications. For example, comparing a monoline sans serif with a traditional serif, or an italic typeface with a blackletter, highlights structural variation. This type of contrast emphasizes the inherent design characteristics of each typeface, helping to create strong differentiation and visual tension within the composition.

5. Texture

Figure 1.6 Contrast in Texture / Week 5 (23/05/2025)

Contrast of texture emerges when differences in size, weight, form, and structure are combined and applied to blocks of text. Texture refers to the overall visual appearance of text — how lines of type look both up close and from a distance. It is influenced by the design of the letterforms themselves, as well as the arrangement of type on the page (such as spacing, leading, and alignment). Texture creates rhythm, depth, and tone in typographic composition.

6. Direction

Contrast of direction is achieved by using different orientations and text flow to create dynamic visual interest.

Figure 1.7 Contrast in Direction / Week 5 (23/05/2025)

Key techniques:

Opposition of vertical and horizontal
– Placing elements in opposing directions instantly creates contrast.
Use of angled or diagonal direction
– Adds energy and movement to the composition.
Rotating a single word or line of text
– For example, turning one word vertically among horizontal lines creates a strong focal point.
Contrasting wide text blocks with narrow columns
– Mixing long lines with short lines introduces rhythm and variation.
Combining multiple directions in one layout
– Such as placing a diagonal heading with horizontal body text for layered visual flow.

7. Color

Contrast of colour relies on the use of different hues and tonal values to create emphasis and hierarchy.

 Figure 1.8 Contrast in Colour / Week 5 (23/05/2025)

Key points:

Colour is often less emphatic than black on white

– A second colour usually carries less visual weight than the stark contrast of plain black text on a white background.

Consider what needs to be emphasized

– Use stronger colours or higher contrast for elements that should stand out.
Pay attention to tonal value

– It’s not just about hue (e.g., red vs. blue), but how light or dark the colour appears in context.

Low-contrast colour choices can weaken hierarchy

– Without enough tonal contrast, elements may blend together and lose clarity.

Use colour purposefully

– Colour should support the message and structure of the design, not distract from it.

Form

Form refers to the overall appearance, shape, and visual character of the typographic elements within a composition.

Figure 1.9 Form Examples / Week 5 (23/05/2025)

Key points:

  1. Form defines the visual personality of typography
    – It contributes to the tone, mood, and first impression of the design.

  2. It affects how the eye moves across the page
    – A well-designed form guides the viewer’s eye naturally from one point to another.

  3. Visually engaging form holds attention
    – Good form is not only functional but also aesthetically pleasing and memorable.

  4. Form can entertain and inform simultaneously
    – It enhances both clarity and creativity within typographic layouts.

  5. Balance between function and expression
    – Strong typographic form supports legibility while also delivering emotional or conceptual impact.

The word typography originated from the Greek words 'typos' (form) and 'graphics' (writing), which means to write in accordance with the form. 

Typography as Form & Function

Typography can be understood as having two primary functions:

To represent a concept

To express that concept in a visual form

Figure 1.10 Examples / Week 5 (23/05/2025)


Figure 1.11 Examples / Week 5 (23/05/2025)

When type is used as a form, it highlights the unique shapes and visual characteristics of letterforms. This approach often emphasizes abstraction over readability, shifting the focus from the literal meaning to visual expression.

Typographic compositions that balance form and meaning achieve both functional clarity and visual expression. When type is perceived as form rather than text, it can become:

  • Distorted
  • Textured
  • Enlarged
  • Extruded into space

These manipulations alter the legibility, allowing the type to function more as visual shape than as textual content. The result is a harmonious interplay between communication and design aesthetic.

Organisation / Gestalt

Gestalt is a German word meaning “form” or “structure.” It refers to how we perceive elements as unified wholes rather than separate parts.

  • Based on the idea that the whole is greater than the sum of its parts.
  • Explains how we group visual elements to create meaning.
  • Introduced by psychologist Max Wertheimer.
  • In typography and design, it helps establish visual order, hierarchy, and clarity.

Perceptual Organisation / Groupings

Figure 1.12 Examples / Week 5 (23/05/2025)

Displaying type as form highlights the unique characteristics of letterforms and their abstract presentation. The balance between meaning and form creates harmony in both function and expression.

When a typeface is viewed purely as form, it goes beyond reading as a letter. Through manipulation — such as distortion, texture, enlargement, or extrusion — the letterform transforms into a visual object rather than a readable element.

1. Law of Similarity

  • Elements that are similar in color, orientation, size, or motion tend to be perceived as a unified group.
2. Law of Proximity
  • Items placed close together are seen as related, while elements that are farther apart are perceived as separate.
3. Law of Closure
  • Our minds tend to complete incomplete shapes or forms, filling in gaps in visual information to create a whole.
4. Law of (Good) Continuation
  • Humans perceive elements as continuous, even when they intersect, as long as they align in a consistent manner.
5. Law of Symmetry
  • We perceive symmetrical shapes as unified and stable, creating a sense of balance.
6. Law of Simplicity 
  • The mind prefers simple, organized forms and tends to interpret complex images in their simplest, most stable configurations.


TASK 2 (A): KEY ARTWORK

Instruction: 

  1. Design a wordmark or lettering based on your first name, pet name, or pseudonym — with a minimum of 4-5 characters.
  2. Experiment with various permutations and combinations of your name to create different wordmark styles.
  3. The final artwork should be an elegant, well-balanced, and composed design that is clear and effective, avoiding unnecessary complexity or confusion while successfully communicating the intended message.
Information Provided by Mr. Vinod:

A wordmark must have a distinct visual identity that evokes a strong brand presence, as a brand is often defined by a gut feeling. The wordmark should be both memorable and easy to pronounce. Ensure that the wordmark contains at least four letters. Take the time to brainstorm and reflect on the meaning of your name or any concepts you wish to convey through it.

Submission Requirements:

- File Format: JPEG, grayscale, 300ppi

- Wordmark Versions:

     Black wordmark on a white background

     White wordmark on a black background

- Colour Palette: Create and include a colour palette (using tools like Colour Hunt)

- Colour Variations:

          Wordmark in the actual colour on the lightest shade of the colour palette

            Wordmark in the lightest shade of the colour palette on the darkest shade of the colour 


      3.1 Mind Map, Mood board and Sketch

      I started by doing research on various wordmarks and logos to understand which styles are close to me. After that, I created a mind map, which included associations with my name, personal qualities, hobbies, typography styles and visual elements that can reflect my personality. This helped to form a general direction.

      Figure 3.1.1 Mind Map / Week 4 (18/05/2025)

      I decided to choose my name because I really like it and it reflects my personality. In addition, the name translates as "moon", which inspired me to create visual images associated with the night sky, soft light, mystery and tranquility.

      Figure 3.1.2 Moodboard / Week 4 (18/05/2025)

      To find interesting styles and ideas for wordmark design, I started looking for references on Pinterest. I have compiled a selection of images of logos, fonts, moon motifs, minimalistic and decorative solutions. This helped me identify the overall mood and possible visual directions for the project.

      I have identified such concepts as: moon, soft light, grace, purity, mystery, smoothness, refinement. These images formed the basis for further visual solutions.

      3.2 Sketches

      In the sketches, I tried to convey a sense of elegance and lightness. I tried the elongated and curved shapes of the letters, connected the elements, and looked for a smooth rhythm. I complicated some letters, giving them personality, but I made sure that the wordmark remained readable and harmonious.

      During the sketching stage, I explored various ways to visually design my name "Aydina" and its short form "Dina." I started by hand—sketching on paper, trying out different letter styles - from minimalistic to decorative.

      Figure 3.2.3 Sketches / Week 4 (18/05/2025)

      In the process, I decided to add unique graphic elements that convey my personality and visual aesthetics.: I wanted to draw the letter "D" in the shape of a crescent moon. The crescent moon symbolizes dreaminess, intuition and femininity, which reflects my personality and approach to design. In addition, I added small stars above the letter "I" to enhance the associations with the night sky, fantasy and lightness. It also makes the wordmark more memorable and playful. I experimented with shapes, letter combinations, as well as with rhythm and contrast between elements. I created some sketches in several versions, with different line thicknesses and serif styles. These ideas formed the basis for further digital refinement in Adobe Illustrator.

      3.3 Digitisation Process

      After completing the sketching stage, I moved on to digitizing the selected ideas in Adobe Illustrator. I selected the most successful sketches, including the one with the letter "D" in the shape of a crescent and stars above the "i", and began to transform them into vector graphics.

      In the first step, I used basic fonts as a starting point to check which letter shapes best fit my concept. Then I started to adjust and modify the letters manually.

      Figure 3.3.1 Digitise sketches in Adobe Illustrator/ Week 4 (18/05/2025)

      During the development of the wordmark, I decided to use two fonts: Minion Variable Concept and Arima Koshi, available through Google Fonts. I did not choose these typefaces by chance — each of them complements the visual concept and helps to express the character of my name through typography. I used the Minion Variable Concept for its classic proportions, elegance and expressive serifs. It gives the wordmark a sense of maturity, sophistication, and visual balance, especially in capital letters. This font emphasizes seriousness and a professional approach well, while maintaining its artistry.
      I used Arima Koshi as an additional accent, as it has a soft shape and a friendly mood. Its rounded contours and light decorativeness help to bring warmth and personality, especially in those parts where there are stars and a crescent moon.

      Figure 3.3.2 Digitise sketches in Adobe Illustrator/ Week 6 (27/05/2025)

      I'm facing a difficulty.: it was difficult for me to choose which of the created ones looks the most successful. I asked Mr. Vinod for advice, and he helped me refine one of the options that at first glance looked the most expressive and conceptual.

      Figure 3.3.3 Progression #1 in Adobe Illustrator/ Week 6 (27/05/2025)

      However, a problem arose: the letter "D" in the shape of a crescent visually resembled the letter "J", especially in combination with the rest of the letters. To test the perception, Mr. Vinod and I conducted a small test and asked my classmates how they read this word. Most of them read it as "JINA" instead of "DINA", which violated the readability and idea of the wordmark.

      After that, I decided to use my full name, Aidina, instead of the abbreviated version. Firstly, it helped to avoid visual confusion with the letter "J". Secondly, I realized that my full name sounds more unique and symbolic.

      Figure 3.3.4 Progression #2 in Adobe Illustrator/ Week 6 (27/05/2025)

      Figure 3.3.5 Progression #3 with grid/ Week 6 (27/05/2025)

      During the digital refinement of the wordmark, I used a geometric grid based on a square, as Mr. Vinod showed in class. This helped me to accurately build the composition and achieve uniformity in the thickness of the letters. I carefully measured the elements so that each letter looked balanced and visually consistent with the rest. This approach allowed me to keep the shapes clean and achieve accuracy in the final version of the wordmark, especially in those details where there are decorative elements — a crescent moon and stars.

      The name Aidina, translated from the Turkic languages, is associated with the image of the Moon, a bright, calm and inspiring celestial object. This perfectly echoed my original idea of using the crescent moon as an element in the letter "D." Thus, the wordmark became not only a graphic solution, but also a reflection of my identity and the meaning of my name.

      Figure 3.3.6 First attempt Outcome of word mark / Week 6 (28/05/2025)


      This turn in the project helped me to understand more deeply how typography can convey personality and history through form, and how important it is to consider readability, symbolism, and aesthetics at the same time.

      Figure 3.3.7 Final digitized wordmark / Week 6 (28/05/2025)

      For the final wordmark, I chose a combination of blue, light blue and white colors. These shades were not chosen by chance — they are associated with the night sky, the moon and the stars, which is directly related to the meaning of my name "Aidina", which translates as "moonlight".


      Figure 3.3.8 Final Colour Palette / Week 6 (30/05/2025)

      Colour Palette

      1) - #202144

      2) - #2f4157

      3) - #587d8e

      1) - #c7d9e5

      1) - #f4efeb

      Figure 3.3.9 Colour Palette / Week 6 (31/05/2025)



      3.4 Key Artwork Animation

      Initially, my intention was to create a refined and elegant animation that would complement the aesthetic of my key artwork. I aimed for a smooth and graceful motion style that would highlight the distinctive qualities of my typographic design without overwhelming it. The idea was to let the letters subtly appear or move in a fluid sequence, emphasizing sophistication and balance.

      Figure 3.4.1 Process in Adobe After Effects / Week 6 (05/06/2025)

      The animation was created using Adobe After Effects. I imported the finalized vector version of the wordmark from Adobe Illustrator, then separated it into individual letter layers for manipulation. To maintain consistency with the static design, I preserved the original color palette and proportions while adding simple motion effects.

      Figure 3.4.2 Animation Key Artwork  GIF / Week 6 (05/06/2025)

                                                  Figure 3.4.2 Key Artwork Animation  GIF / Week 6 (05/06/2025)

      3.5 Task 2A Final Outcome

      Figure 3.5.1 Black wordmark on white background - JPEG / Week 8 (13/06/25)


      Figure 3.5.2 White wordmark on black background - JPEG / Week 8 (13/06/25)

      Figure 3.5.3 Colour Palette - JPEG / Week 8 (13/06/25)

      Figure 3.5.4 Neutral Shade wordmark on lightest shade of colour palette - JPEG / Week 8 (13/06/25)

      Figure 3.5.5 Light Shade wordmark on darkest shade of colour palette - JPEG / Week 8 (13/06/25)

                                                              Figure 3.5.6 Key Artwork Animation  GIF / Week 8 (13/06/2025)


      Figure 3.5.7 Task 2(A) PDF compilation / Week 8 (13/06/2025)

      TASK 2 (B): COLLATERAL

      Instruction:

      Expand your key artworks identity into your chosen collateral.
      For inspiration view Pentagram site and study how identities are expanded.

      Sample identity expansion from Pentagram site :

       
       
      Plan out your IG design, consider creative ways of displaying your visual identity (collateral).

      4.1 Collateral Ideas

      To complete Task 2B, I decided to use my wordmark in the context of a cosmetics brand. I found it interesting to imagine how my name and visual identity could work in the field of beauty products, where it is especially important to convey aesthetics, tenderness and individuality.

      My wordmark with elements of the moon and stars, as well as using blue, light blue and white colors, fits well into the themes of care, freshness, radiance and natural beauty. These associations make it suitable for packaging and visual design, for example:

      Figure 4.1.1 Reference for idea / Week 8 (11/06/2025)

      • decorative cosmetics, candles (highlighters, shadows, glitters),
      • packaging for creams or serums,
      • design of advertising banners and brand merchandise.

      4.2 Final Selection - 3 Collaterals

      Wordmark Variations
      Figure 4.2.2 Wordmark Variations / Week 8 (11/06/2025)


      I decided to develop three facilities where my wordmark will be presented within the framework of the cosmetics brand concept. I have selected the following items:
      1. Face cream is a package on which the wordmark works as a logo, creating associations with tenderness, care and radiance of the skin.
      2. The scented candle is a stylish object of care and relaxation, which uses my signature style with elements of the moon and stars.
      3. A branded packaging bag is a craft or glossy package that serves not only as packaging, but also as part of the brand's visual identity, emphasizing its aesthetics.
      These three subjects help demonstrate how my wordmark can be flexibly adapted to different formats while remaining recognizable and harmonious. I tried to maintain visual unity — in colors, shape and mood, so that each element felt like part of the same brand.

      Process in Photoshop

      Collateral #1 - Face cream

      To visualize my wordmark on a cosmetic product, I chose a mockup of a jar of cream. I used Adobe Photoshop to adapt the wordmark to the shape of the packaging and create a realistic representation of the design.

      Figure 4.2.3 The mockup process / Week 8 (11/06/2025)

      Figure 4.2.4 Face cream layout designs / Week 8 (11/06/2025)

      Process Steps: 1. Choosing a mockup I found a suitable PSD mockup of a cream jar with well-structured smart layers.
      2. Discovery and study of structure I opened a mockup in Photoshop and studied where the smart objects are placed (usually they are marked as “Your design here”).
      3. Replacing the design on the smart layer I double-clicked on the smart layer, opened it, and inserted my wordmark there, taking into account the proportions and placement. I also added a background color matching my signature palette (blue, light blue, white).
      4. Preservation and application I saved the smart layer (Ctrl+S), returned to the main file, where my version of the packaging with the logo was automatically displayed.
      5. Final adjustment I adjusted the shadows, light, and saturation to make the mockup look realistic and harmonious. If necessary, I used adjustment layers (Brightness/Contrast, Hue/Saturation) to improve the visual result.

      Figure 4.2.5 Collateral #1 - Face cream #1/ Week 8 (11/06/2025)

      Figure 4.2.6 Collateral #1 - Face cream #2 / Week 8 (11/06/2025)


      Collateral #2 - Promo candle

      For the second element, I decided to imagine how my wordmark would look on the packaging of a scented candle. This allows you to convey an atmosphere of comfort, tranquility and aesthetics consistent with the brand's concept.

      Figure 4.2.7 Collateral #2 - Promo candle layout designs / Week 8 (12/06/2025) 


      I chose one of the company's colors (for example, a deep blue background + a white wordmark) to preserve the company's palette. If necessary, I added a paper texture or a light gradient.

      Figure 4.2.8 Collateral #2 - Promo candle / Week 8 (12/06/2025)


      Collateral #3 - Packing bag

      For the third element, I decided to use a wordmark on a branded package that could be used to pack cosmetics, for example, when buying a cream or scented candle. Such a package enhances the brand's identity and creates the feeling of a complete, professional product.

      Figure 4.2.8 Collateral #3 - Packing bag layout designs / Week 8 (12/06/2025) 


      Additionally, I chose a light blue shade from my brand’s color palette to use as the main color for the bag, reflecting freshness and softness. I also added a subtle pattern featuring stars and moon shapes, which connects to the original concept of my wordmark. This helped to reinforce the visual identity and make the packaging more unique and memorable.

      Figure 4.2.9 Collateral #3 - Packing bag / Week 8 (12/06/2025)

      I also created additional mockups to explore how my wordmark would look in different real-life applications.
      This helped me visualize the versatility of the design and see how it performs across various formats and materials — from packaging to digital platforms.

      Figure 4.2.10 Additional mockup #1 / Week 8 (12/06/2025)

      Figure 4.2.11 Additional mockup #2 / Week 8 (12/06/2025)


      4.3 Identity Expansion & Instagram Tile Design

      I wanted to create the Instagram tile in a minimalist style to reflect elegance and calmness.
      Before starting, I decided to look for inspiration by exploring examples of minimalist design — focusing on clean layouts, balanced compositions, and subtle use of color and space.

      Figure 4.3.1 Inspiration / Week 8 (12/06/2025)

      These references helped me stay true to my visual identity while keeping the design simple, modern, and visually appealing.

      I decided to work in a minimalist style, as it aligns with the calm, clean, and elegant aesthetic of my identity.
      I carefully selected a photo that reflects my personality and visual tone, then added my wordmark in a way that feels balanced and intentional — without overwhelming the image.
      This approach helped me maintain a sense of simplicity while showcasing the versatility of my design in a real-world context.

      Figure 4.3.2 The Photoshop process / Week 8 (12/06/2025)


      After planning the concept, I moved into Adobe Photoshop to bring the idea to life.
      There, I carefully adjusted the photo composition, added my wordmark in a clean and balanced position, and made sure the colors, contrast, and alignment matched my overall visual identity.

      Using Photoshop allowed me to refine the minimalist look — keeping the design simple yet expressive, and ensuring that my wordmark integrated naturally with the photograph.


      Figure 4.3.3  Attempt #1 / Week 8 (12/06/2025)


      After reviewing the layouts, I decided to make some changes in some areas, as it seemed to me that the design looked too simple. I have added small details and adjustments such as strengthening elements, clarifying shapes, or changing the location of the wordmark to make the overall look more appealing while maintaining a minimalist approach.

      Figure 4.3.4  Improvement / Week 8 (12/06/2025)

      This process taught me the importance of testing, reflecting, and refining. Even small adjustments can make a significant difference in the overall perception of a design.
      By stepping back and evaluating the work with fresh eyes — and even asking for feedback from my classmates and lecturer — I was able to make more informed creative decisions.
      Figure 4.3.5  Improvement / Week 8 (12/06/2025)

      These refinements helped me strike a better balance between simplicity and character, allowing the design to feel more complete and unique.

      Figure 4.3.6 Final Instagram Feed Design Layout / Week 8 (12/06/2025)

      4.4 Task 2B Final Outcome

       Figure 4.4.1 Promo candle - JPEG / Week 8 (13/06/2025)


       Figure 4.4.2 Face cream - JPEG / Week 8 (13/06/2025)

      Figure 4.4.3 Packing bag - JPEG / Week 8 (13/06/2025)

      Figure 4.4.4 Instagram Feed Design Layout / Week 8 (13/06/2025)

      Instagram Link:        https://www.instagram.com/aidina.design_/

      Figure 4.4.5 Screenshot of Instagram Page / Week 8 (13/06/2025)


                           Figure 4.4.6 Task 2(B) PDF compilation  / Week 8 (13/06/2025)                  

      TASK 2 FINAL OUTCOME COMPILATION

      Figure 5.1 Black wordmark on white background - JPEG / Week 8 (16/06/25) 

      Figure 5.2 White wordmark on black background - JPEG / Week 8 (16/06/25) 

      Figure 5.3 Colour palette - JPEG / Week 8 (16/06/25) 

      Figure 5.4 Neutral Shade wordmark on lightest shade of colour palette - JPEG / Week 8 (16/06/25)

      Figure 5.5 Light Shade wordmark on darkest shade of colour palette - JPEG / Week 8 (16/06/25)


                                                
                                                       Figure 5.6 Task 2(A) PDF compilation / Week 8 (16/06/25)

      Figure 5.7 Face cream - JPEG / Week 8 (16/06/2025)

      Figure 5.8 Promo candle - JPEG / Week 8 (16/06/2025)

      Figure 5.9 Packing bag - JPEG / Week 8 (16/06/2025)

      Figure 5.10 Instagram Feed Design Layout / Week 8 (13/06/2025)

      Figure 5.11 Screenshot of Instagram Page  / Week 8 (13/06/2025)

                                         Figure 5.12 Task 2(B) PDF compilation  / Week 8 (13/06/2025)

      FEEDBACK

      Week 5

      General Feedback:
      The main task is to develop a unique and expressive wordmark that follows the author's approach. At this stage, the key priority is the black and white execution of the logo, without emphasis on color.  It is important to pay attention to symmetry and visual balance so that the sign looks harmonious. Avoid overly obvious images and look for more conceptual and sophisticated solutions.

      Week 6

      General Feedback:
      Your color palette should include a balanced range of tones: one deep/dark shade for visual weight, two soft neutrals for subtle contrast, and two mid-tones that complement each other while still offering distinction.

      Specific Feedback:
      Mr. Vinod helped me revise my wordmark by refining its structure and making sure the crescent moon symbol aligned visually with the overall typography. This improved the balance and cohesion of the design.

      Week 7

      General Feedback: 
      There was no general feedback on this day.

      Specific Feedback:
      In the seventh week, I was advised to adjust some design elements and change the template to better showcase my brand name. I took advantage of this feedback and started exploring new layouts and compositions. I also worked on improving the alignment and consistency of the elements.

      Week 8

      During Week 8, I wasn’t able to receive direct feedback on my work. However, I continued developing my project based on the previous suggestions, focusing on refining the layout and making sure my wordmark is clearly integrated. I plan to get feedback in the next session to make further improvements.


      BACK TO TOP
      REFLECTIONS

      Experience

      Working on Task 2 allowed me to experiment deeply with typography and branding through the creation of a custom wordmark. I explored various concepts and visual directions before finalizing a version that reflects my personal design identity. The process included sketching, digital refinement, and testing the wordmark across different mockups and applications. Although some stages were challenging, especially finding the right balance between style and readability, the task helped me grow more confident in making design decisions.

      Observations

      Throughout the process, I noticed how even small typographic changes — like adjusting weight, spacing, or letterforms — can completely shift the tone of the identity. I also observed how important it is to test the design in real-life contexts (e.g., posters, social media, branding mockups) to understand how it functions outside of the screen. Feedback from peers and the lecturer was also essential in guiding the design towards a more polished and professional outcome.

      Findings

      From this task, I learned that typography is not just about choosing a font — it's about crafting a message. A wordmark can act as a powerful symbol of identity, and small visual decisions carry big meaning. I also realized the value of iteration: going through multiple versions helped me refine the design into something stronger and more purposeful. This task reinforced the importance of combining creativity with logic and structure in typography.


      BACK TO TOP
      FURTHER READING


      Figure 6.1 Typographic System by Kimberly Elam / Week 4 (15/05/2025)


      This book was one of the most helpful resources during the project. It clearly explains the core principles of typography, such as type classification, grid systems, and hierarchy. I found the sections on customizing letterforms and working with spacing particularly useful when refining my wordmark. The book also includes real-world design examples that helped me better understand how theory applies to practice.



      This workbook gave me a more hands-on understanding of typography. It includes step-by-step guides, visual references, and exercises that encouraged experimentation. I used some of its techniques when sketching out and testing variations of my wordmark. It also helped me explore different typographic systems and better understand how to structure type effectively in layouts.
      Labels:

      Comments

      Post a Comment

      Popular Posts