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Advanced Typography: Task 2 Key Artwork & Collateral

13/05/2025 – 20/05/2025 (Week 4 – Week 5)

Valerius Ethan Wirawan / 0372774

Advanced Typography / Creative Media / School of Design 

Task 2: Key Artwork & Collateral

TABLE OF CONTENT

1. Lectures

1. LECTURES

All pre-lecture materials are the intellectual property of Mr. Vinod Nair.

1.1. Lecture 4 (AdTypo_4_Designing Type)

Introduction to Typeface Design

  • Typeface design is essential despite the existence of numerous typefaces. Designers have a social responsibility to improve legibility and express artistic vision.

Social Responsibility in Design

  • Designers have moral obligations to address needs and solve problems through their work.

Notable Type Designers

  • Adrian Frutiger: A significant figure in 20th-century typography, known for creating the Frutiger typeface for Charles de Gaulle Airport, focusing on legibility from various distances.

Fig. 1.1.1. Airport Signage Using 'Frutiger' (Image by Alamy)

  • Matthew Carter: Known for Verdana and Georgia, designed to be legible on screens, addressing specific technical challenges.
Fig. 1.1.2. Verdana and Georgia Font (Image by Typography Daily)

  • Edward Johnston: Created the London Underground typeface, emphasizing bold simplicity and modernity while rooted in tradition.
Fig. 1.1.3. Johnston's London Underground Typeface

Design Process

  1. Research: Understanding type history, anatomy, and conventions is crucial.
  2. Sketching: Designers may use traditional or digital tools for initial sketches, each with its pros and cons.
  3. Digitization: Professional software like FontLab and Glyphs is used for refining designs.
  4. Testing: Rigorous testing is essential to refine and correct typefaces before deployment.
Considerations in Typeface Design
  • Legibility and Readability: These are critical for text typefaces, while display typefaces can prioritize form over function .
  • Visual Corrections: Adjustments for optical illusions in letterforms and spacing are necessary for uniformity.

Additionals

Designers are motivated by both personal passion and external tasks in typeface design. Intrinsically, they may create out of curiosity or self-expression, while extrinsically, they might be commissioned or assigned projects that guide their work.

1.1. Lecture 5 (AdTypo_5_Perception & Organisation)

Perception in Design

  • Perception: The way something is regarded, understood, or interpreted.
  • In design, especially graphic design and advertising, perception is often manipulated to influence understanding.

Typography and Visual Navigation

  • Typography involves the visual navigation and interpretation of content, which can be textual, visual, graphical, or colored.
  • The organization of typography is crucial as it interacts with various elements beyond just text.

Creating Contrast in Typography

  • Importance of Contrast: Essential for differentiation between information, aiding reader comprehension.
Fig. 1.1.4. Contrast in Typograohy
  • Methods of Creating Contrast:
    1. Size: Larger text draws attention first, commonly used for headings.
    2. Weight: Bold type can emphasize important points.
    3. Form: Distinction between different styles (e.g., italic vs. Roman).
    4. Structure: Different letter forms create visual interest.
    5. Texture: The overall appearance of type can create depth.
    6. Direction: Mixing vertical and horizontal text can enhance layout dynamics.
    7. Color: Must be used thoughtfully to avoid confusion.

Gestalt Principles in Design

  • Gestalt Psychology: Focuses on how we perceive whole forms rather than just individual components.
  • Key principles:
    • Law of Similarity: Similar elements are grouped together.
    • Law of Proximity: Items close together are perceived as a group.
    • Law of Closure: Our minds fill in missing information to perceive complete forms.
    • Law of Continuation: We perceive lines and patterns as continuous.
Fig. 1.1.5. Gestalt Theory

2. INSTRUCTIONS

Fig. 2.1. Module Information Booklet (MIB)

3. PROCESS WORK

3.1. Task 2 (A): Key Artwork

Task brief:
Design a Key Artwork using your first name or a pseudonym. Theartwork must function as both a wordmark and a visual artwork that can later be expanded into patterns or collateral. Explore various compositions and refine the best version. Use only black and one additional color, with minimal graphical elements.
To start off, I started with my ideation process and sketches manually on a sketchbook.
Fig. 3.1.1. Wordmark Ideation & Sketch (JPEG - 18/05/2025)

I chosed to use the tilted 'v' the wordmark on the middle top, then I chosed some color scheme.
Fig. 3.1.2. Wordmark Ideation & Sketch (JPEG - 18/05/2025)

The readability of my wordmark was still poor as the letterforms were perceived as three letters instead of four, the lecturer advised me to redesign the work.

Fig. 3.1.3. Redesigned Wordmark With Color Scheme Seletion (JPEG - 26/05/2025)
After redesigning, I noticed that my wordmark improved slightly, but the letters were still perceived as 'vae'. So, I redesigned it a third time to make it clearer and more readable as 'vale'.
Fig. 3.1.4. Wordmark 1st Attempt (left) & 2nd Attempt (right) (JPEG - 26/05/2025)
Then, I realized that the spacing between the 'v' and 'a' was too wide. Mr. Vinod advised me to adjust the kerning, and he also pointed out that I had used too many unnecessary anchor points in the design. He recommended simplifying it by removing the excess anchor points to make the design process easier.
Fig. 3.1.5. In Class Presenatation: Feedback Purposes (JPEG - 27/05/2025)

3.2. Task 2 (B): Collateral

Task brief:

Transform your Key Artwork into a cohesive visual identity by applying it across different mediums. You are required to create an animated Key Artwork (GIF, 800px × 1024px), a T-shirt design, a lapel pin design, and three Instagram posts (or as instructed). Use the same color scheme as in Task 2A. Present each collateral using appropriate mockups. Submit final outputs as PDF, JPEG, and GIF. All process and final work must be clearly documented in your eportfolio.

For task 2B, I made some mockups, patterns, and planning to post the instagram feeds. The squares in the middle of the screen is how I'm planning to post the feeds.
Fig. 3.2.1. Collateral Work Process (JPEG - 31/05/2025)

Fig. 3.2.2. Mockup Work Process (JPEG - 31/05/2025)

The images above demonstrate my process for creating mockups in Adobe Photoshop. All photographic elements used, excluding the mockups themselves, are my original artworks.

below, is an illustration for the instagram profile page (mockup).

Fig. 3.2.3. Instagram Profile Page Mockup (JPEG - 01/06/2025)

Instagram recently updated the default aspect ratio for instagram feeds posts from 1:1 to 4:5. In response, I created a new design using the updated ratio. Several changes were made, including the number of mockups, the self-portrait, and the pattern.

Additionally, the original self-portrait Instagram feeds design felt too noisy, so I redesigned it for a cleaner look.


Fig. 3.2.4. Instagram Feeds Work Process: Self Portrait (JPEG - 01/06/2025)

Fig. 3.2.5. Collateral Work Process (JPEG - 08/06/2025)

Then, animation was made on Adobe After Effects.


Fig. 3.2.6. Animating Wordmark & Collateral (JPEG - 09/06/2025)

Fig. 3.2.7. Animated Wordmark 1st Attempt (GIF - 09/06/2025)

After consultation with the lecturer (Mr. Vinod) advised that the animation should convey a stronger sense of unity and flow, particularly ensuring that the letter "e" emerges naturally from the "l" to create better connectivity.

Fig. 3.2.8. Animated Wordmark 2nd Attempt (GIF - 09/06/2025)

4. FINAL OUTCOME

4.1. Task 2A: Key Artwork

Fig. 4.1.1. 'Key Artwork/Wordmark' Final Outcome (JPEG - 10/06/2025)

     
Fig. 4.1.2. 'Key Artwork/Wordmark' Final Outcome (PDF - 11/06/2025)

Fig. 4.1.3. 'Animated Wordmark' Final Outcome (JPEG - 11/06/2025)

4.2. Task 2B: Collateral

Mockups
Fig. 4.2.1. Collateral: Pin Mockup (JPEG - 11/06/2025)

    
Fig. 4.2.2. Collateral: Business Card (JPEG - 11/06/2025)

Fig. 4.2.3. Collateral: Portfolio Photo Book (JPEG - 11/06/2025)

Fig. 4.2.4. Additional Collateral Mockups (JPEG - 11/06/2025)

Instagram Profile Page

   
Fig. 4.2.5. Instagram Profile Page @val.creative.studio (JPEG - 10/06/2025)

    
Fig. 4.2.6. Animated Instagram Feeds (JPEG - 10/06/2025)

Fig. 4.2.7. Color Scheme (JPEG - 10/06/2025)

5. FEEDBACK

Week 8
Mr. Vinod advised that the animation should convey a stronger sense of unity and flow, particularly ensuring that the letter "e" emerges naturally from the "l" to create better connectivity. He mentioned that the use of mockups and text was a strong professional addition, and that incorporating "val" in one of the frames was a nice touch. However, I learned that I should avoid leaving too much blank space and instead use more elements from the "vale" pattern to reinforce the brand on the text-based page. From his general feedback, I learned that animations for the web should be exported as GIFs, while Instagram animations should be in video format. He also reminded us that adding too many colors to repetitive patterns can make them noisy or overwhelming and stressed the importance of consistently documenting our design process.

Week 7
Mr. Vinod reminded us that patterns can be constructed from single letterforms and that contrast is key to enhancing the visual impact of a design. He encouraged us to take bold creative decisions, referencing examples like Helions and the Pentagram website. From his specific feedback, I learned that my design included too many unnecessary elements. He advised me to simplify it by removing points that were not essential to the composition.

Week 6
Mr. Vinod noted that many reference images in our work lacked a clear connection to the letterforms, which weakened the overall design concept. He pointed out that most posters showed limited interaction between the typography and the visuals and encouraged us to create more dynamic and engaging compositions. He also introduced Task 2 where we will be designing a wordmark as part of a visual identity. We are to begin this process by creating a mind map focused on ourselves to guide our ideation. The final wordmark should be elegant, simple, and functional. From his specific feedback on my work, I learned that the readability of my wordmark was still poor as the letterforms were perceived as three letters instead of four. Mr. Vinod advised me to revise the design to improve clarity and legibility.


6. REFLECTION

Experience
Task 2 was a very rewarding experience. Creating a key artwork based on my name made the process feel more personal and meaningful. It was not easy at first because I had to explore different styles while making sure the design was still readable. Going through several revisions helped me understand how small adjustments like kerning or anchor point cleanup can make a big difference. Once the wordmark was finalized, applying it to different collaterals such as the T-shirt, pin, and Instagram posts taught me how important consistency is when building a visual identity. Designing the animation was also a new experience for me and I learned how movement can bring more life to a wordmark when done with clear intention.

Observation
I noticed that the more I refined the design, the more effective it became. In the early stages my wordmark was misread and lacked clarity. Feedback from Mr Vinod helped me focus on the structure and form of each letter. Simplifying the design made it stronger and easier to use across different applications. In terms of animation I learned that every transition needs to be intentional. Making the letter e connect naturally from the l took a lot of trial and error but the end result felt much more cohesive. Seeing how others approached their work also gave me insight into what worked and what could be improved in my own design.

Findings
This task helped me see typography as more than just static design. I started to understand how type can carry identity across different mediums while still feeling unified. Principles like balance, contrast, and hierarchy became more clear through practice. I also learned that simplicity often leads to better results. When I removed unnecessary details the wordmark became cleaner and more effective. Overall this project made me more aware of the design decisions I make and helped me gain more confidence in applying my ideas in a practical and creative way.

7. FURTHER READING

Design School: A Practical Guide for Students and Designers by Richard Poulin

Fig. 7.1. Further Reading 'Design School: A Practical Guide for Students and Designers'

After reading pages 15–45 of Design School Layout I started to appreciate just how foundational measurement and proportion are to graphic design. The book’s breakdown of absolute and relative measurement systems like points picas and ems gave me a clearer sense of how designers achieve consistency and harmony across different projects. I realized that even the smallest unit such as a point or a unit within an em plays a role in how text and images relate to each other on a page.
One thing that stood out was the section on proportional systems. The book didn’t just mention the golden section or Fibonacci sequence as abstract concepts it showed how these ratios can actually guide the placement of elements making layouts feel balanced and intentional. Seeing examples of dynamic rectangles the Van de Graaf canon and the rule of thirds helped me connect these mathematical ideas to real design decisions. It made me think about how much of what we find “pleasing” in a layout is rooted in centuries old systems not just personal taste.

I also found the explanation of ISO paper sizes and standard book formats helpful especially when thinking about designing for print. Knowing that A4 or other standard sizes are based on the root 2 rectangle means that scaling documents up or down won’t distort their proportions. This is something I hadn’t considered before but it makes a lot of sense for maintaining consistency across different formats.

Reflecting on these pages I see that understanding measurement and proportion isn’t just about following rules, it’s about having a toolkit for making design choices that are both creative and functional. The historical context provided in the book also reminded me that these systems have evolved alongside technology and culture and that as designers we’re part of that ongoing story.

If I were to dig deeper I’d want to look at how contemporary designers adapt these classical systems for digital media where screen sizes and resolutions vary so much. I’m also interested in exploring case studies where breaking away from traditional proportions leads to innovative results and how designers decide when to follow the rules and when to bend them.

Overall these chapters gave me a practical framework for thinking about layout and I’m motivated to experiment with different measurement and proportional systems in my own projects. I think that by consciously applying these principles I can create work that’s not only visually appealing but also communicates more effectively.

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