12/05/2025 - 8/6/2025 / Week 4 - Week 7
An Hongzheng / 0378415
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylors University
Task 2 : Key Artwork & Collateral
CATALOGUE
LECTURES
Week 5
AdTypo_5_Perception And Organisation
Typography influences perception by guiding the reader’s visual navigation and interpretation through contrast, form, and content organization. While content may be textual, visual, graphical, or color-based, our focus here is specifically on typography.
Creating contrast is essential for distinguishing and differentiating between pieces of information.
 |
Figure 1.1 Methods of Contrast by Rudi Ruegg, Week 5 (22/5/2025) |
7 Types of Contrast by Carl Dair
1. Size
 |
Figure 1.2 Contrast in Size / Week 5 (22/5/2025) |
A contrast in size helps direct the reader’s attention by creating a visual focal point. The most common application of this is making titles or headings significantly larger than the body text.
2. Weight
 |
Figure 1.3 Contrast in Weight / Week 5 (22/5/2025) |
Bold type stands out prominently when placed among lighter type of the same style, drawing the reader’s attention. Similarly, the use of rules, spots, or squares can create strong visual anchors that emphasize key points.
3. Form
 |
Figure 1.4 Contrast in Form / Week 5 (22/5/2025) |
Using different type weights to create contrast is a key principle in managing information effectively. This includes distinctions such as uppercase versus lowercase letters, Roman versus italic styles, and condensed versus expanded type variations.
4. Structure
 |
Figure 1.5 Contrast in Structure / Week 5 (22/5/2025) |
Different typefaces feature distinct letterforms—for example, the clean uniformity of monoline sans serifs, the classic structure of traditional serifs and italics, and the ornate complexity of blackletter styles.
5. Texture
 |
Figure 1.6 Contrast in Texture / Week 5 (22/5/2025) |
Texture is created by combining contrasts in size, weight, form, and structure. It refers to the overall visual appearance of lines of type, both when viewed up close and from a distance.
6. Direction
 |
Figure 1.7 Contrast in Direction / Week 5 (22/5/2025) |
Contrast can be created through the opposition of vertical, horizontal, and diagonal directions. Rotating a word on its side can introduce a dramatic visual effect, while text blocks naturally carry vertical and horizontal directional qualities. Combining wide blocks of long lines with narrow columns of short lines further enhances contrast in layout.
7. Colour
 |
Figure 1.8 Contrast in Colour / Week 5 (22/5/2025) |
When using colour, it's important to note that a second colour often appears less visually emphatic than plain black. Careful consideration should be given to which elements require emphasis, along with attention to the tonal values of the colours chosen.
Typography can be seen as having 2 functions:
1. To represent a concept
2. To represent a concept in a visual form
Presenting type as a visual form highlights the unique characteristics and abstract qualities of letterforms. Below are examples of effective combinations of typographic forms:
 |
Figure 1.9 Examples / Week 5 (22/5/2025) |
The interplay between meaning and form creates a harmonious balance of function and expression. When a typeface is treated as a visual form, it can lose its legibility as a letter—altered through distortion, texture, enlargement, or spatial extrusion—transforming into a purely expressive element.
Organisation / Gestalt
Gestalt is a German word meaning “the way a thing is placed” or “put together.” It refers to the overall form or configuration of elements.
It represents an attempt to understand the laws behind our ability to acquire and maintain meaningful perceptions.
Max Wertheimer, a Gestalt psychologist, developed a number of laws that explain how perceptual grouping occurs in different situations.
At the core of Gestalt theory is the idea that the whole is greater than the sum of its parts. What we perceive is not just individual elements, but a unified and meaningful whole.
Perceptual Organisation / Groupings
 |
Figure 1.10 Gestalt Law / Week 5 (22/5/2025) |
1. Laws of Similarity
- The Law of Similarity states that elements sharing similar features—such as colour, size, orientation, or motion—are perceived as part of the same group.
2. Laws of Proximity
- Elements that are positioned close to one another are perceived as a unified group, while those spaced farther apart are seen as separate.
3. Laws of Closure
- The mind tends to perceive incomplete or partially hidden shapes as complete, mentally filling in gaps to form a whole image.
4. Laws of (Good) Continuation
- This law states that elements arranged in a line or curve are perceived as part of a continuous pattern, even if they intersect with other elements. Alignment strongly influences this perception.
5. Laws of Symmetry
6. Laws of Simplicity (Praganz)
<Back to the top>
INSTRUCTIONS
Figure 2.1: Module Information Booklet / Week 1 (21/4/2025)
TASK 2(A): KEY ARTWORK
Information Briefed by Mr. Vinod:
3.1 Mind Map, Moodboard and Sketch
Figure 3.1.1 Mind Map / Week 4 (17/5/2025)
Figure 3.1.2 References /Moodboard/ Week 4 (17/5/2025)
Figure 3.1.3 First attempt of sketch / Week 4 (18/5/2025)
Figure 3.1.4 Second attempt of Sketch / Week 5 (25/5/2025)
3.2 Digitisation Process
Figure 3.2.1 Digitise sketches in Adobe Illustrator / Week 6 (26/5/2025)
|
Figure 3.2.2 Colour Palette / Week 6 (26/5/2025)
Figure 3.2.3 Colour Swatches applied on the wordmark / Week 6 (27/5/2025) |
Figure 3.2.4 Colour Swatches applied on the wordmark / Week 6 (27/5/2025)
|
Figure 3.2.5 First attempt Outcome of word mark / Week 6 (28/5/2025)
|
Figure 3.2.6 Adjustment of word mark with and without grid / Week 6 (31/5/2025) |
3.3 Colour Application
Figure 3.3.1 Final Colour Palette / Week 6 (31/5/2025)
Figure 3.3.1 Colour Palette / Week 6 (31/5/2025)
3.4 Key Artwork Animation
Figure 3.4.1 Adjusted Ratio Animation / Week 8 (9/6/2025)
Figure 3.4.2 Finalized Animation / Week 8 (9/6/2025)
3.5 Task 2A Final Outcome
Figure 3.4.1 Black word mark on white background - JPEG / Week 8 (12/6/25)
|
Figure 3.4.2 white word mark on black background - JPEG / Week 8 (12/6/25)
|
Figure 3.4.3 Colour palette - JPEG / Week 8 (12/6/2025)
Figure 3.4.4 Neutral Shade word mark on lightest shade of colour palette - JPEG / Week 8 (12/6/25)
|
Figure 3.4.5 Light Shade word mark on darkest shade of colour palette - JPEG / Week 8 (12/6/25)
|
Figure 3.4.6 Key Artwork Animation / Week 8 (12/6/2025)
Figure 3.4.7 Task 2(A) PDF compilation / Week 8 (12/6/2025)
TASK 2(B): COLLATERAL
Below are the links to the websites I used for mockups:
4.1 Key Artwork Expansion
Figure 4.1.1 Wordmark Variations / Week 7 (4/6/2025)
4.2 Collateral #1 Notebook
Figure 4.1.1 Cans Collateral Process / Week 7 (4/6/2025)
 |
Figure 4.1.2 Collateral #1 Cans / Week 7 (4/6/2025) |
4.3 Collateral #2 Tote Bag
 |
Figure 4.1.3 Case Collateral Process / Week 7 (4/6/2025) |
 |
Figure 4.1.4 Collateral #2 Case / Week 7 (4/6/2025)
|
4.4 Collateral #3 Baseball Cap or Hat
Figure 4.1.5 Hat Collateral Process / Week 7 (4/6/2025)
 |
Figure 4.1.6 Collateral #3 Hat / Week 7 (4/6/2025)
|
4.5 Instagram Layout
Figure 4.5.1 Color Pallete / Week 7 (8/6/2025)
 |
Figure 4.5.2 Color Pallete / Week 7 (8/6/2025) |
Figure 4.5.3 Black and White Photograph / Week 7 (8/6/2025)
 |
Figure 4.5.4 Black and White Photograph with Wordmark / Week 7 (8/6/2025) |
 |
Figure 4.5.5 Pattern Design Before Upgrading / Week 7 (8/6/2025) |
|
 |
Figure 4.5.6 Pattern Design After Upgrading / Week 7 (8/6/2025) |
|
4.6 Task 2B Final Outcome
Figure 4.6.1 Cans - JPEG / Week 8 (12/6/2025)
|
Figure 4.6.2 Case - JPEG / Week 8 (12/6/2025)
|
Figure 4.6.3 Bucket Hat - JPEG / Week 8 (12/6/2025)
Figure 4.6.4 Instagram Feed Design Layout / Week 8 (12/6/2025)
|
Figure 4.6.5 Screenshot of Instagram Page / Week 8 (12/6/2025)
|
TASK 2 OUTCOME COMPILATION
Figure 5.1.1 Black word mark on background - JPEG / Week 8 (12/6/25)
|
Figure 5.1.2 word mark on black background - JPEG / Week 8 (12/6/25)
|

Figure 5.1.3 Colour palette - JPEG / Week 8 (12/6/2025)
Figure 5.1.4 Neutral Shade word mark on lightest shade of colour palette - JPEG / Week 8 (12/6/25)
|
Figure 5.1.5 Light Shade word mark on darkest shade of colour palette - JPEG / Week 8 (12/6/25)
|
Figure 5.1.6 Key Artwork Animation / Week 8 (12/6/2025)
Figure 5.1.7 Task 2(A) PDF compilation / Week 8 (12/6/2025)
Figure 5.1.8 Cans - JPEG / Week 8 (12/6/2025)
|
Figure 5.1.9 Case - JPEG / Week 8 (12/6/2025)
|
Figure 5.1.10 Bucket Hat - JPEG / Week 8 (12/6/2025)
Figure 5.1.11 Instagram Feed Design Layout / Week 8 (12/6/2025)
|
Figure 5.1.12 Screenshot of Instagram Page / Week 8 (12/6/2025)
|
Figure 5.1.13 Task 2(B) PDF compilation / Week 8 (12/6/2025)
Instagram Link: https://www.instagram.com/ahznotreal/profilecard/?igsh=MWlra3p4bHcweHNyOA==
General Feedback - We should first focus on the wordmark in black and .
When designing, we should avoid the inherent impressions of the elements contained in it, so as not to let people's preconceived ideas affect the expression of the design.
Specific Feedback -
Week 6:
General Feedback - Take attention to the requirement of the colour palette , it should have one dark shade, two neutral shades, and two middle shades. For the neutral shades, two colors should better to be complementary colors so there can be different views for wordmark.
Specific Feedback -
Week 7:
General Feedback - Color platte is ok, but my workmark had already include too much designs, the design on letter "A"works, for other designs, I should reduce some of them.
Specific Feedback - For dessign on letter "A", the stroke is too wide, should reduce the size based on the width of the other letters.
Week 8:
General Feedback - One of the slot in instagram page should be animation which is beased on the Key Artwork.
Specific Feedback - One of the composition has issue, the pattern in middle is too huge and lack of the space between shapes.
REFLECTIONS
Experience - In Task 2, I developed my personal wordmark Ahoen and extended it into a full visual identity with collateral designs. This task was both exciting and challenging. One of the hardest parts was transforming the abstract feeling I wanted to express into a visual form. I had a clear concept in mind, but turning that into a wordmark that felt natural and meaningful took many trials. While working with tools like Illustrator and After Effects, I faced some technical struggles, especially with animation. But through experimenting and repeating the process, I managed to reach an outcome I felt more comfortable with. Seeing Ahoen applied on real objects gave me a sense of accomplishment, like seeing my own brand come to life.
Observations - Throughout this project, I realized that visual consistency and clarity are crucial. I often focused too much on the details and forgot to step back and see the whole picture. During the Instagram layout stage, I noticed how much each tile’s tone and rhythm impacted the overall impression of the brand. I also learned that thinking like a customer—asking whether I would personally find this brand appealing—helped me judge my design more critically.
Findings - This task deepened my understanding of how branding works—not just in visual terms, but also emotionally and conceptually. I saw how a wordmark could grow into a system, supported by animation, colors, and layout. References like existing brand case studies helped me recognize the power of design decisions, and that strong identity comes from intention, not decoration. Moving forward, I want to sharpen my observation skills and push the clarity of my design language so that Ahoen can speak more confidently for who I am and who I aspire to be as a designer.
FURTHER READING
THE VIGNELLI CANON,
book by Massimo Vignelli .
(Figure 6.1.1)
Week 5
- Page27-30
Timelessness
We are definitively against any fashion of design and any design fashion. We despise the culture of obsolescence, the culture of waste, the cult of the ephemeral. We detest the demand of temporary solutions, the waste of energies and capital for the sake of novelty.
We are for a Design that lasts, that responds to people’s needs and to people’s wants. We are for a Design that is committed to a society that demands long lasting values. A society that earns the benefit of commodities and deserves respect and integrity.
We like the use of primary shapes and primary colors because their formal values are timeless. We like a typography that transcends subjectivity and searches for objective values, a typography that is beyond times – that doesn’t follow trends, that reflects its content in an appropriate manner. We like economy of design because it avoids wasteful exercises, it respects investment and lasts longer. We strive for a Design that is centered on the message rather than visual titillation. We like Design that is clear, simple and enduring. And that is what timelessness means in Design.
Responsibility
We are against wasteful and ego-driven design that ignores the true purpose of problem-solving. We reject excessive production done for vanity, without regard for efficiency or necessity. We detest careless decisions that overlook the impact on budget, process, and audience.
We are for a Design that is responsible, that seeks the most appropriate and economically sound solution. A Design that understands its duty—first to the integrity of the work, second to the client’s needs, and third to the public who engages with it.
We value thoughtful process and clarity of purpose. We believe in discipline that respects resources, delivers results, and holds itself accountable at every stage. We strive for a Design that needs no excuses or explanations. A Design that stands complete, clear, and honest. And that is what responsibility means in Design.
Week 6
- Page 31-32
Equity
We are against change for the sake of change. We reject the careless disposal of established identities driven by trends or market pressure. We detest the ignorance of history, the disregard for visual heritage, and the superficial reinvention of brands without cause.
We are for a Design that respects identity, that understands the value of legacy. We are for a Design that protects what has become part of our collective memory—symbols that hold meaning, trust, and recognition built over generations.
We believe a logo is not just a mark, but part of a larger system and cultural fabric. We value continuity, refinement, and the careful evolution of established forms. We believe in updating with sensitivity, not replacing with impulse. We honor the equity a logo earns through time, exposure, and association.
We strive for a Design that remembers where it came from. A Design that balances past and present with intelligence and respect. And that is what equity means in Design.
Week 7
- Page 36-38
Paper Sizes
We are against arbitrary choices and the chaos of non-standardized formats. We reject the wastefulness of fragmented systems and the ugliness of proportions that serve no functional or aesthetic purpose. We detest carelessness disguised as freedom and options driven by market confusion.
We are for a Design that begins with intelligent choices—starting with paper size. We are for proportion rooted in harmony, like the DIN A series based on the golden rectangle. We believe in using formats that lead to clarity, economy, and aesthetic integrity. We support standards that contribute to sustainability and reduce waste.
We value ecological responsibility in material selection. We choose papers that suit the job, whether rich or modest, and consider environmental impact without compromising quality. We respect technological advances, printing processes, and regional differences, but always strive for the best possible result. We understand that each paper decision affects cost, production, and the final message.
We strive for a Design that pays attention to every detail. A Design that sees the choice of format as a reflection of ethics as well as aesthetics. And that is what paper size means in Design.
Grids, Margins, Columns and Modules
We are against randomness in visual organization. We reject decorative confusion and empty layouts that lack structure. We detest superficial design that ignores logic, clarity, and the true function of communication.
We are for a Design rooted in structure—a Design that organizes information with intelligence and precision. We are for the grid, not as a constraint, but as a foundational tool. A grid brings consistency, order, and intellectual elegance. It clarifies the message, not controls it.
We value the right grid for the right problem. We understand that overly dense grids are useless, and overly coarse grids are restrictive. We strive for the perfect balance—an appropriate structure that enhances content. We believe margins, columns, and modules are not decoration, but essential parts of visual architecture.
We strive for a Design where every element has intention. A Design where form follows clarity, and where structure supports meaning. And that is what grids, margins, columns and modules mean in Design.
Comments
Post a Comment