Advanced Typography: Task 2 Key Artwork & Collateral

on

13/04/25 - 27/05/25 (week 4 - week 6)

Gabriella Grace Christyanti / 0371915
Advanced Typography / Bachelor of Design (Honours) in Creative Media
Task 2 / Key Artwork & Collateral

TABLE OF CONTENTS 

1. Lectures
2. Instructions
3. Task 2
    Part A: Key Artwork
    Part B: Collateral
4. Feedback
5. Reflection
6. Reading

1. LECTURES

Class Lecture

A wordmark is a stylized version of a brand's name, created using custom typography. It’s not the same as a monogram, which is typically 2–3 letters (e.g., King Charles' monogram), and often used for initials. Design elements like a crown may accompany a monogram but aren't part of it.

Creating a Wordmark

  • Use a custom or modified font –> avoid easily replicated typefaces.

  • Readable, memorable, unique –> choose a name that’s personal and brandable.

  • Experiment with shapes/forms of the letters –> explore ideas visually.

  • Don't overcomplicate –> simple, clear designs are more effective.

  • Emotional connection –> your wordmark becomes the heart of your brand.

A good wordmark feels expressive, timeless, and personal.


Key Tips

  • Choose something you can live with—it should feel authentic and positive.

  • The more decorative or loud a design, the more niche its appeal.

  • Your identity should reflect who you are

WEEK 4: DESIGNING TYPE 

  • Purpose of Type Design

    • Solves visual communication problems and carries social responsibility (e.g., improving legibility).

    • A form of artistic and personal expression.

  • Notable Type Designers & Typefaces

    • Adrian Frutiger: Created Frutiger for Charles de Gaulle Airport—high legibility in motion and poor lighting. Also modernized Devanagari script.

    • Matthew Carter: Designed Verdana and Georgia for screen readability; Verdana addresses pixel clarity at small sizes.

    • Edward Johnston: Created Johnston Sans for the London Underground—modern yet rooted in Roman calligraphic tradition.

    • Bell Centennial (commissioned by AT&T): Designed with ink traps for fast, low-quality printing in phone books.

    • Gill Sans: Inspired by Johnston’s work with slight design updates.

  • Type Design Process

    1. Research – Study type history, anatomy, purpose, and context.

    2. Sketching – Use hand tools or digital tablets; manual offers control, digital is faster.

    3. Digitization – Tools like FontLab, Glyphs App, Illustrator.

    4. Testing – Focus on readability, legibility, and refinement via prototyping.

    5. Deployment – Ensure minor issues remain post-launch through rigorous testing.

  • Typeface Construction

    • Roman capitals use grids (e.g., 8x8 cells, circles, and rectangles) for structure.

    • Visual corrections like curved overshoots and spacing ("fitting") are crucial.

    • Letters categorized by form: round, rectangular, diagonal, etc.

WEEK 5: PERCEPTION & ORGANIZATION

  • Perception in Typography

    • How text is understood and navigated visually.

    • Affects readability, emphasis, and viewer interaction.

  • Contrast in Typography (Carl Dair’s 7 Principles)

    • Size – Larger text draws focus (e.g., headings).

    • Weight – Bold/light contrast creates emphasis.

    • Form – Differentiation in case, condensed/expanded versions.

    • Structure – Using different typefaces (e.g., serif vs. sans-serif).

    • Texture – Visual feel of text blocks from afar or up close.

    • Direction – Contrast between vertical/horizontal or angled lines.

    • Color – Adds emphasis; must be used carefully to preserve clarity.

  • Form in Typography

    • Form = Overall look and emotional feel.

    • Good form leads the eye, engages the mind, and is memorable.

    • Typography serves function (communication) and expression (aesthetic).

Gestalt Principles in Typographic Design

  • Emphasizes that the whole is greater than the sum of its parts.

  • Key Laws:

    • Similarity – Similar elements are grouped together.

    • Proximity – Items near each other are perceived as related.

    • Closure – Mind fills in incomplete visuals.

    • Continuation – We perceive continuous lines or flows.

    • Symmetry/Simplicity – People seek harmony and order in layout.

2. INSTRUCTIONS


4. TASK 2 

Part A: Key Artwork

MIND MAP & MOODBOARD

Before starting the sketches, we created a mind map about ourselves, focusing on our personality, interests, background, and likes. This helps guide the development of a meaningful and personal wordmark. And we also needed to create a moodboard by selecting some wordmark artworks for inspiration. 

SKETCHES & DIGITIZATION

Using my mind map as a starting point, I developed several sketches and digitized it. The first concept reflected a playful and fun personality, but after feedback, I decided to explore a different pseudonym, “Euno,” aiming for a simpler design that better aligned with the direction our lecturer likes. He ended up picking the modern Euno Design and we were told to make a 

Fig 1.1 Mindmap, Moodboard, Sketches, Digitization, (Week 4, 16/05/25)

Fig 1.2 Final Digitised 'key Artwork', (Week 6, 27/05/25)

COLOR APPLICATION 

For my color palette, I used Adobe Color and ColorHunt to explore combinations that matched my theme. Mr. Vinod advised including a complementary color, a dark tone, and two neutrals. He also mentioned that my first option looked dull, so I revised it with brighter, fresher colors. The right side is the updated version I did.

Fig 1.3 Color Scheme, (Week 6, 27/05/25)

TASK 2A FINAL OUTCOME

Fig 2.1 Black wordmark on white background, (Week 6, 27/05/25)

Fig 2.2 White wordmark on black background, (Week 6, 27/05/25)

Fig 2.3 Color Palette, (Week 6, 27/05/25)

Fig 2.4 Wordmark in actual colors on lightest shade of color palette, (Week 6, 27/05/25)

Fig 2.5 Wordmark in lightest shade of color palette on darkest shade of color palette, (Week 6, 27/05/25)

Fig 2.6 Task 2A PDF Compilation (Week 6, 27/05/25)

Part B: Collateral

For this task, we were asked to expand our key artwork into collateral and mockups (using at least three items) and create a 9-post Instagram feed. Before starting, I gathered references from Pentagram, Google and Pinterest. 

COLLATERAL MOCK UP

For this stage of the project, we were asked to expand our key artwork into mockups by designing at least three collaterals and compiling them into a 9-post Instagram feed. I began by collecting visual references from Pinterest and agencies like Pentagram to guide my direction. Since my brand has a simple and clean identity, I selected a tote bag, colored pens, and a phone case, partly to explore how the cream tone in my wordmark would appear on different surfaces. I designed the mockups using a combination of Illustrator, Photoshop, and Procreate, and some elements required trial and error, especially when adjusting backgrounds or fitting designs onto curved objects.

1. Tote Bag
I chose this item because it fits the practical, everyday branding style I want to express. I kept the design minimal and simplistic, aligning it with the rest of my brand direction. And I also tilted the brand name and made the u and n long. I quite like how it looked and it became my brand expansion for all of my other collaterals.

2. Pens
For the pen mockup, I focused on refining the visual balance. I edited the colors and adjusted the angles and sizing to improve clarity and alignment. Originally, I included eight pens, but I decided to remove four since the layout felt too cluttered. The final set has four carefully placed pens that present the branding clearly and neatly.

3. Phone Case
For the phone case, I experimented with how the cream-colored wordmark would look against a darker background. I adjusted the color of the case to a slightly more vibrant orange to create stronger contrast and make the wordmark stand out. 

Fig 3.1 Before and after Collaterals (Week 7, 03/06/25)

Self-Portrait

We were also asked to create a black and white self-portrait and incorporate our brand identity into it. Mr. Vinod didn't like the original photo I used so I recreated both the photo and the pattern following his feedback. 

Fig 3.2 Before and after Self-Potrait (Week 7, 03/06/25)

Instagram Feed

Arranging the Instagram feed was one of the more time-consuming parts of the process. I experimented with different layouts, compositions, and color placements. After multiple attempts, I refined the final layout to showcase all three collaterals, the self-portrait, and key design details in a visually consistent and engaging way.

Fig 3.3 Screenshot of Instagram page (Week 7, 03/06/25)

Key Artwork Animation

For the animation, I used Adobe After Effects to bring movement to my key artwork in a simple and clean way. I animated the letters by having bunch of solid boxes, colored the same as the background, move vertically across the wordmark. As the box moves up and down, it hides and reveals parts of the letters, creating the illusion that the wordmark is stretching and shrinking.

Fig 3.4 Key Artwork Animation (Week 7, 03/06/25)

TASK 2B FINAL OUTCOME

Fig 4.1 Collateral 1 (Week 7, 03/06/25)

Fig 4.2 Collateral 2 (Week 7, 03/06/25)

Fig 4.3 Collateral 3 (Week 7, 03/06/25)

Fig 4.4 Key Artwork Animation (Week 7, 03/06/25)

Fig 4.4 Key Artwork Animation (Week 7, 03/06/25)

Fig 4.5 Screenshot of Instagram page (Week 7, 03/06/25)

Instagram link: @euno.modern

Fig 4.6 Task 2B PDF Compilation (Week 7, 03/06/25)

5. FEEDBACK

Week 5

General Feedback: Mr Vinod checked out wordmarks and he emphasizes the importance of creating a mark that’s memorable and well-balanced. He says a good mark should feel controlled and intentional, it needs to have a strong, clear meaning behind it to help sell the idea effectively.

Specific Feedback: He liked the letterform for the word “Fun” and thought using “fun” as a keyword was a strong idea. However, the execution still needs improvement, especially the grid structure. I need to reduce the descender height on the “Y.” He suggested I explore more design options, but eventually focus and refine again. He didn’t give much feedback on the other wordmarks, so I assume the “Fun” wordmark stood out to him the most since that’s where he focused his attention.

Week 6

General Feedback: Mr Vinod told us to upload our final logo and also the small version to see if our details will be seen when it's small

Specific Feedback: Mr Vinod mentioned that my logo translates well even when it's small, and he also mentioned about the spacing of my logo. The space between can be the same thickness as the thichkness of the letters or half the thickness, depending on the message I want to send. He also mentioned about the thickness of my letterform. He told me to try and find a middle ground between the thichker version and the thinner version

Week 7:

General Feedback: For this class, Mr Vinod went from table to table to give everyone specific feedbacks

Specific Feedback: Mr Vinod told me that my instagram design is already good because it's an expansion of my logo, but he warned me to not make it too repetitive

Week 8:

General Feedback: Mr. Vinod advised us not to just replicate our wordmark for the identity expansion. Instead, we should use elements from the wordmark as a foundation to build a more creative and visually engaging design.

Specific Feedback: Mr. Vinod suggested that I change my photo as well as the pattern used in it with the pattern I had in my other posts

6. REFLECTIONS

Experience

Task 2 was another challenging experience for me. I enjoyed the process of merging my personal design style with a deeper exploration of identity. The task pushed me to play around with the aspects of my personality, something I've never done before. Creating the key artwork and wordmark helped me understand the importance of clarity and having a corporate look compared to a unique and organic look. At times, I struggled with having too many ideas and felt unsure which direction to take, making it difficult to choose the best concept that truly represented my identity. Applying the wordmark across brand collaterals and adapting it for platforms like Instagram was both fun and stressful, especially given the tight timeline. I also appreciated the opportunity to explore various creative tools like Illustrator and After Effects, which strengthened my technical skills and introduced me to new software.

Observations

Throughout the task, I spent time researching brand logos and wordmarks, learning how shapes, forms, and simplicity communicate personality and identity. I realized how important it is for a wordmark to have consistent letterforms and for colors to express the intended theme while creating contrast, especially for platforms like Instagram. I found that paying attention to feedback—both to me and to my classmates—was invaluable. Observing others’ work and the feedback they received helped me reflect on and refine my own design choices. The process taught me how even subtle adjustments can make a wordmark more effective and meaningful.

Findings

This project taught me that branding is ultimately about clear and meaningful visual communication, not just visual appeal. A wordmark or key artwork must represent the brand’s identity in a way that is both simple and deep, so viewers can connect with it easily. Coming from a fine art background, I found it challenging to balance personal creativity with the need for clarity, but I learned how essential that balance is. Careful decisions about typography, consistency, and color are crucial in ensuring that the design reflects the intended identity and communicates effectively to the audience.

7. FURTHER READING

Paula Scher designs bold new identity for New York’s Atlantic Theater Company

Paula Scher created a dynamic and flexible visual identity for the Atlantic Theater Company. The design features bold, geometric letterforms arranged within triangles, reflecting both the name “Atlantic” and the energy of the theater. The identity system is highly adaptable, allowing the logo and typography to shift in scale, color, and composition across different applications—posters, programs, signage, and digital media—while maintaining a strong, recognizable personality. The system emphasizes playfulness and creativity, aligning with the theater’s innovative spirit.

Pentagram’s Paula Scher reveals powerful “anti-sanitarium” identity for the Mental Health Coalition

For the Mental Health Coalition, Paula Scher designed a clean, approachable identity centered on a hand-drawn square speech bubble. The mark symbolizes open conversation and breaking stigma around mental health. The identity system is simple yet versatile: the speech bubble can contain different messages or graphics, and is paired with bright, optimistic colors. This flexible design works across various platforms and materials—social media, merchandise, print—making it easy to adapt the core message for different audiences and contexts, while reinforcing the theme of dialogue and inclusivity.


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