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Task 2 | Key Artwork & Collateral

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21 May 2025 - 17 June 2025 [Week 5 - Week 9] 
LIST OF CONTENTS:

MODULE BRIEF

Fig 1.1 Module Brief (Week 1, 23/05/2025)

LECTURE NOTES


Week 5 - Perception & Organisation

Perception in typography refers to how readers visually interpret content through contrast, form, and organization. This content can be textual, visual, graphic, or color-based—but this session focuses specifically on typography.


Contrast in Typography

Creating contrast is essential for distinction and emphasis. Carl Dair outlines seven key types:

1. Size
Larger text naturally attracts attention. Often used in headings to create a clear visual hierarchy above the body text.

Fig 1.1 Size Contrast (Week 5, 20/05/2025)
2. Weight
Bold type stands out from lighter text within the same typeface. You can also use solid shapes like squares or rules to emphasize certain points visually.

Fig 1.2 Weight Contrast (Week 5, 20/05/2025)

3. Form
Involves using different styles within the same typeface—like Roman vs. Italic, uppercase vs. lowercase, or expanded vs. condensed.

Fig 1.3 Form Contrast (Week 5, 20/05/2025)

4. Structure
Highlights the unique letterform styles of different typefaces, such as serif vs. sans-serif, or blackletter vs. modern.

Fig 1.4 Structure Contrast (Week 5, 20/05/2025)

5. Texture
Created by combining contrasts in size, weight, form, and structure. It refers to the overall visual density or rhythm of a text block, both up close and from a distance.

Fig 1.5 Texture Contrast (Week 5, 20/05/2025)

6. Direction
Introduces contrast through orientation—horizontal, vertical, or diagonal. Turning a word sideways or mixing long lines with short columns can create visual tension and interest.

Fig 1.6 Direction Contrast (Week 5, 20/05/2025)

7. Colour
Contrasting colors (like black on white vs. grey on white) affect readability and emphasis. The tone and value of a color play a key role in determining which element stands out.
Fig 1.7 Colour Contrast (Week 5, 20/05/2025)


Form in Typography

Fig 1.8 Perception of Form (Week 5, 20/05/2025)

Typography isn’t just about readability—it’s also a visual form. "Typography" stems from the Greek typos (form) and graphis (writing), literally meaning "to write in form."

Typography serves two main purposes:

  • To express a concept

  • To visualize that concept through form

Good typographic form guides the viewer’s eye, creates lasting impressions, and offers visual intrigue. When type is treated as form, it becomes expressive—letterforms may be distorted, textural, oversized, or spatially manipulated until they’re more visual than textual.

This interplay between meaning and form creates a balance between function (communication) and expression (visual impact).



Organization / Gestalt Principles

Gestalt, meaning "shape" or "placement" in German, explores how people organize visual information into whole structures rather than seeing disconnected parts. It’s based on the belief that the whole is greater than the sum of its parts.

Perceptual Groupings (Gestalt Laws):

  1. Similarity
    Elements that look alike (in color, size, shape, or motion) are perceived as belonging to the same group.

  2. Proximity
    Elements placed close together are seen as a unit. Distance weakens the sense of grouping.

  3. Closure
    The mind tends to "fill in" missing parts to see complete shapes or forms, even when information is incomplete or obstructed.

  4. Continuation
    We perceive elements aligned in a continuous line or curve as part of a single group, even if they intersect with others. Alignment is key to this effect.

  5. Symmetry
    Symmetrical elements are seen as part of a cohesive whole. This principle promotes balance and harmony in layouts.

  6. Simplicity (Prägnanz)
    The mind simplifies complex shapes into their simplest, most recognizable form. Clean, simple structures tend to be more easily understood and remembered.



TASK 2

TASK 2(A) : KEY ARTWORK


Mindmapping

We were told to create a mindmap of ourselves to start off this assignment and to give us an idea of what direction to take our design. 


Fig 2.1 Mindmap (Week 5, 21/05/2025)



We also had to compile a moodboard. My moodboard consists of elegant, minimalist examples. I added examples of traditional bamboo carvings and mask, a denote to my cultural background, after the first round of feedback.


Fig 2.2 Moodboard (Week 6, 29/05/2025)


Sketches

These were my initial sketches. They took inspiration from the wordmark examples from my moodboard as well as the tail of a cat and bamboo. For this initial phase, my keywords were: elegant, minimalist, strong. 


Fig 3.1 Initial Sketches (Week 6, 28/05/2025)

After the first round of feedbacks, I took Mr Vinod's advice and tried to incorporate more of my culture and background into my sketches and ideas.

Fig 3.2 Second Sketches (Week 7, 04/06/2025)


Digitisation
I decided to digitised this sketch for my Week 7 submission. It had the aspects of bamboo that I wanted as well as the simple form. For this artwork, the keywords I used were respect for tradition (bidayuh bamboo carving), minimalist, and self-doubt.

Fig 3.3 First Digitised Key Artwork (Week 7, 04/06/2025)

After recieving feedback, I decided to change my design slightly. For my final artwork, I decided to go with this. I added subtle hints of bamboo carvings by using small cutout in the letterings and adding a slight curve and difference in thickness. This is to mimic the chipping and the irregularity that comes with bamboo carvings as traditionally they were done by hand, making every carving slightly different. The keywords for this are minimalist, curious and respect for tradition. 

Fig 3.4 Final Digitised Key Artwork (Week 7, 07/06/2025)

The overall look of the wordmark is minimalist but not boring. The curiousity and the traditional aspect work together. The chipping and irregularity hints back to Bidayuh traditional carvings, especially their masks. The small chippings will lead the viewer to be curious and to look more closely. I didn't want to make the cuts too obvious to keep with the minimalist look.


Colour Application
This assignment is trying to create our individual identity. In such I went with this specific colour palette. I decided to go with pink and blue for my main colours. The raspberry pink (#BC4163) in the middle is expressive, a little rebellious, and full of personality. It’s bold, but not aggressive. Feminine, but not fragile. The coral pink (#3B3B3B), on the other hand, represents the softer side of my boldness. It brings balance to the deeper raspberry, showing that strength and softness can coexist—and that there’s beauty in both.

Fig 4.1 Colour Palette (Week 8, 11/06/2025)

The dusty blue-grey (#7F829A) is muted, thoughtful, and maybe a little introverted. This color isn’t loud, but it’s always present, like a steady rhythm in the background. It suggests maturity, reliability, and a depth that invites people to look closer. This is representative of the part of my personality, where I want to be present but also fade into the background in my introvertness. The off-white (#F5F0E6) and off-black (#3B3B3B) gives my brand a minimal, clean vibe while giving a sense of structure and gentleness.

Fig 4.2 Wordmark Colour Output (Week 8, 11/06/2025)


Wordmark Animation
Part of our submission required an animation of our wordmark as well. My idea for my animation was to had the main body of the letters to rise from the middle. Then, the dot, which is part of my logo, will jump like a ball adding the finishing aspect to the letters 'i'. To animate the video, I created the moving parts in Illustrator before importing it into After Effects to animate it.

Fig 5.1 Wordmark Animating Process (Week 8, 11/06/2025)

Fig 5.2 Final Wordmark Animation (Week 8, 11/06/2025)




TASK 2(A) SUBMISSION

Fig 6.1 Black Wordmark on White Background (Week 8, 11/06/2025)

Fig 6.2 White Wordmark on Black Background (Week 8, 11/06/2025)

Fig 6.3 Colour Palette (Week 8, 11/06/2025)

Fig 6.4 Actual Colour Wordmark on Lightest Background (Week 8, 11/06/2025)

Fig 6.5 Lightest Colour Wordmark on Darkest Background (Week 8, 11/06/2025)

Fig 6.6 Key Artwork Animation (Week 8, 11/06/2025)

Fig 6.7 Task 2(A) PDF Compilation (Week 8, 11/06/2025)




TASK 2(B) : COLLATERAL


For my collateral mockup, I first did my research on what designers usually have for collaterals. Then, I went looking for the most sutiable photos to edit from Pinterest. To edit, I used Photoshop. I used several adjustment layers to create the colours and look that I wanted. Here listed are the URLs to the pins I used:

    

    Baby Tee : https://pin.it/2jhSbZTc1

    Market Tote : https://pin.it/4AGTlx20C

    Insulated Water Bottle : https://pin.it/3QY1YizAR

    Ribbon : https://pin.it/7tYLkxmct

    Ceramic Espresso Cups : https://pin.it/2JRgcIyGE


I also expanded my wordmark to be able to use for my Instagram and for my collaterals.


Fig 7.1 Wordmark Expansion (Week 9, 17/06/2025)

Besides that, I created a pattern that can also be used in my Instagram and collaterals. The pattern is made up of my logo as well as irregular shapes. This pointy array of triangles and irregular shapes mimic the chippings and carved edges of traditional bamboo masks, an aspect which I included in my wordmark as well. Every other piece is slightly different to showcase the fact that there are no two same carvings. 


Fig 7.1.1 Patterns (Week 9, 17/06/2025)



Collateral #1 : Baby Tee


[First Version]

For the t-shirt, I went with a minimalist look. The base colour of the shirt is the lightest colour in my palette and I decided to use the wordmark, instead of my logo, after consulting with my peers and friends. The wordmark is more mainstream and the colour pops againts the base.


Fig 7.2 Initial Baby Tee Design (Week 9, 17/06/2025)

Fig 7.2.1 First Version Collateral #1 (Week 9, 17/06/2025)


[Revised Version]

After getting feedback from Mr Vinod, I tried to expand my wordmark further. I adjusted my tee design by using my secondary wordmark instead of the original. I also a light coral pink edge to my t-shirt. 


Fig 7.2.2 Adjusted Baby Tee Design (Week 9, 17/06/2025)

Fig 7.2.3 Final Collateral #1 (Week 9, 17/06/2025)


Collateral #2 : Market Tote
I decided to go with a market tote bag, instead of a normal tote bag. The form of the bag is more interesting than the generic tote bag and it also fits to the keyword "balanced" from my mindmap. I decided to use the two shades of pink in my palette for this design, and having the lightest shade of my palette for the logo mark. This helps draw attention to it despite the bag's bold colour.


Fig 7.3 Market Tote Design (Week 9, 17/06/2025)

Fig 7.3.1 Final Collateral #2 (Week 9, 17/06/2025)


Collateral #3 : Insulated Water Bottle
I also wanted to do a water bottle as it's a common yet useful type of collateral. The idea is to create a minimalist bottle that might not be very bold in terms of branding but can be memorable. I decided to go with the logo as it seems more fitting for a brand  while the wordmark seems more individualistic, like a custom waterbottle. The difference between each bottle is the colours, which represent the brand.


Fig 7.4 Water Bottle Design (Week 9, 17/06/2025)

Fig 7.4.1 Final Collateral #3 (Week 9, 17/06/2025)


Collateral #4 : Ribbon
In terms of packaging, I chose to design a brand ribbon. This can be used on packages, gifts as well as stationary. It's a minimalist way to increase the brand's recongnition without overwhelming the product itself. The ribbon features the wordmark, repeating at carefully spaced intervals. 

Fig 7.4.1 Final Collateral #3 (Week 9, 17/06/2025)


Collateral #5 : Wrapping Paper

[Initial Development]
This was my initial design. I wanted to go for a simple wrapping paper to conform to the minimalistic style.

Fig 7.5 Initial Wrapping Paper Design (Week 9, 17/06/2025)

[Revised Design]
Mr Vinod's feedback to me was to try and expand my wordmark further and to expand my brand further. So I decided to use my pattern on the wrapping paper as well. The wrapping paper can be used in packages and gifts. It can be reused to wrap presents by the receiver. This is both eco-friendly and helpful towards expanding brand recognition.

Fig 7.5.1 Coloured Patterns (Week 9, 17/06/2025)

Fig 7.5.2 Final Collateral #3 (Week 9, 17/06/2025)




Identity Expansion & Instagram Tile Design


Initial Development


[Colour Palette]

I wanted to display my main colour palette in a more interesting way. So, I used cups which I edited to fit my colour palette.


Fig 8.1 Colour Palette Cups (Week 9, 17/06/2025)


For my first tile design, I tried laying out the collateral images in a way that the colours flow together without necessarily pulling the viewer's focus any which way.

Fig 7.6 Initial Tile Design (Week 9, 17/06/2025)


Revised Version

After getting feedback, I tried to make my Instagram tile more interesting by adding more details.


[Profile Photo]

When comparing with my peers, I realised my profile was too simple. So, I decided to add a bit of details too make it more interesting. I decided to add my wordmark to the background, adding a bit of fun to the picture. 


The final outcome was created by blending the lightest shade and the main colour (Raspberry Pink) using specified steps on Blend Option in Illustrator. Then, to avoid standing out to much in my tile design, I lowered the opacity to almost dissolve into the background.


Fig 7.7 Profile Revision Designs (Week 9, 17/06/2025)


Fig 7.7.1 Final Revised Profile (Week 9, 17/06/2025)


[Pattern]

I added a 3D effect to the logo in my pattern tile. This brings a little more interest to the post. It's interesting and eye-catching while still blending in well with the other posts.


Fig 7.7.2 Final Revised Pattern (Week 9, 17/06/2025)


After making the revisions, this is the final tile design. I rearranged the tiles to try and be more cohesive without leaning towards a specific colour or mark. I also added in the animation post.


Fig 7.7.3 Final Tile Design (Week 9, 17/06/2025)





TASK 2(B) SUBMISSION

Fig 8.1 Collateral #1 (Week 9, 17/06/2025)

Fig 8.2 Collateral #1 (Week 9, 17/06/2025)

Fig 8.3 Collateral #1 (Week 9, 17/06/2025)

Fig 8.4 Collateral #1 (Week 9, 17/06/2025)

Fig 8.5 Collateral #1 (Week 9, 17/06/2025)

Fig 8.6 Collateral #1 (Week 9, 17/06/2025)

Fig 8.7 Collateral #1 (Week 9, 17/06/2025)

Fig 8.8 Final Tile Design (Week 9, 17/06/2025)

Fig 8.9 Instagram Screenshot (Week 9, 17/06/2025)


Fig 8.10 Task 2(B) PDF Compilation (Week 9, 17/06/2025)




TASK 2(A) & 2(B) COMPILATION

Fig 9.1 Black Wordmark on White Background (Week 9, 17/06/2025)

Fig 9.2 White Wordmark on Black Background (Week 9, 17/06/2025)

Fig 9.3 Colour Palette (Week 9, 17/06/2025)

Fig 9.4 Actual Colour Wordmark on Lightest Background (Week 9, 17/06/2025)

Fig 9.5 Lightest Colour Wordmark on Darkest Background (Week 9, 17/06/2025)

Fig 9.6 Key Artwork Animation (Week 8, 17/06/2025)

Fig 9.10 Task 2(A) PDF Compilation (Week 9, 17/06/2025)

Fig 9.11 Collateral #1 (Week 9, 17/06/2025)

Fig 9.12 Collateral #1 (Week 9, 17/06/2025)

Fig 9.13 Collateral #1 (Week 9, 17/06/2025)

Fig 9.14 Collateral #1 (Week 9, 17/06/2025)

Fig 9.15 Collateral #1 (Week 9, 17/06/2025)

Fig 9.16 Collateral #1 (Week 9, 17/06/2025)

Fig 9.17 Collateral #1 (Week 9, 17/06/2025)

Fig 9.18 Final Tile Design (Week 9, 17/06/2025)

Fig 9.19 Instagram Screenshot (Week 9, 17/06/2025)


Fig 9.20 Task 2(B) PDF Compilation (Week 9, 17/06/2025)


FEEDBACKS


Week 5

General Feedback:

We are currently not focusing on a colour palette; the wordmark should be created in black and white only. Originality is key - avoid using overused symbols like the maple leaf, as they can lead to unwarranted associations (e.g., being percieved as distinctly Canadian). Your wordmark should be clean, simple, and designed within a square format. Pay close attention to the balance of black and white space, aiming for symmetrical harmony. Use the graph tool to help maintain structure and precision. A wordmark can be approached in two ways: commercially viable - designed to appeal to a broad audience and sutiable for business use - or as a personal expression that resonates with you. Either way, it sould evoke a feeling in the viewer, even if they don't consciously  recognize the meaning behind it. A good wordmark is timeless, always feels fresh, and it is both readable and memorable. Avoid making the design overly complex, as it must be easy to recall and simple enough to be drawn from memory. Most importantly, enjoy the creative process- when you take pride in your work, the results will reflect it. Good design, after all, is good business.


Specific Feedback:

I should try to include more personal and traditional elements in my wordmark, such as the Pua Kumbu, the hornbill, or other symbols that reflect my cultural background. These elements carry deep meaning for me, and incorporating them allows the design to feel more authentic and personal. While it's important to keep the wordmark clean, simple, and balanced, I believe that using motifs rooted in my heritage can add a unique layer of identity and storytelling. As long as these symbols are thoughtfully integrated and don't overpower the overall design, they can strengthen the emotional connection and meaning behind the wordmark.


Week 6

General Feedback:

Consistency is key when designing anything visual, whether it's a website, poster, or presentation. A carefully chosen colour palette plays a major role in maintaining that consistency—it can't be dull or lifeless. Your palette should include at least four elements: a dark tone, a light tone, and two middle tones—one that complements and one that contrasts. This variety ensures visual balance and interest. Alignment also plays a crucial part; everything should feel anchored and intentional. And no matter how beautiful your design is, it has to be readable—so always check how it looks in both large and small sizes. When you start designing, work with sharp edges first—they bring clarity and precision to the layout before you begin to refine or soften things later.


Specific Feedback:

Mr Vinod said that self-doubt is not a good thing to show clients and that

He said that self-doubt is not a good thing to show clients and that I should change my keyword. Minimalist design might not be the most suitable keyword either, as it I have too many wavy edges and a lack of structure. I need to work on it further to refine the concept and bring more clarity to the overall execution.

Week 7

General Feedback:

Mr Vinod briefed us 
slightly on Task 3.


Specific Feedback:

I didn't recieve any specific feedback. We were given time to work on our designs.


Week 8

General Feedback:

Mr Vinod briefed us on the upcoming Task 3 after giving us feedback.


Specific Feedback:

Mr Vinod told me that my expansion was a bit lacking and that I can try to expand more. It feels like I just threw my wordmark and logo in.




REFLECTIONS

Experience

The foundation of this project was simple in theory : create a wordmark, then extend it into a system. But in practice, it asked for far more than just visual styling - it needed clarity, restraint, and intention. I began by crafting the wordmark as a distilled representation of the brand's personality. Every curve, spacing choice, and weight decision became a kind of language.


From there, the challenge was expansion : how do I let that one word speak across mediums, formats, and materials without losing its voice? Developing collateral like ribbons, packaging concepts, and tote bag mockups turned into a kind of translation exercise - translating identity from a digital space into something tactile, lived, and human.


Observations

As I worked through the design process, I became more attuned to how a wordmark behaves outside its initial context. A few key observations stood out to me : 

  • The logo mark became more than a letter—it became a symbol. On a tote, stitched subtly like a coin, it created a sense of quiet ownership.

  • Colour choices weren’t just aesthetic—they created consistency and emotional resonance across every item. The dusty rose tones (#BC4163 and #D9727C) gave the brand a grounded, soft assertiveness.

  • Expanding the system into collateral made me pay attention to real-world application. Some things looked great on screen but didn’t hold up in print or mockups. Adjustments had to be tactile, not just visual.

I also noticed how certain elements - like the branded ribbon - worked silently but powerfully. It added a layer of polish without shouting for attention, and that balance felt right for the identity I was shaping.

Findings

This assignment deepened my understanding that a wordmark is a foundation, not a full stop. It's strength comes from how it adapts, lives, and repeats in different contexts.


Here's what I discovered through trial and iteration :

  • Simplicity scales better. The more refined the wordmark, the more versatile it became across different applications.

  • Collateral isn’t just decoration—it reinforces message. Whether on packaging, tags, or textiles, every detail can either dilute or strengthen the identity.

  • Consistency isn't about duplication—it’s about continuity. Elements had to feel related, not identical, and that required subtle control over spacing, alignment, and form language.

Perhaps most importantly, I realized that expanding a wordmark into a brand system is as much about emotional coherence as visual cohesion.



FURTHER READINGS

1. "Designing Type" by Karen Cheng (2005)

Fig 10.1 "Designing Type" PDF (Week 9, 17/06/2025)

Out of all the chapters in "Designing Type", the one that I decided to read on further is the one on lowercase letters (Chapter 5). It might seem simple, but this chapter helped change the way I look at type. Lowercase characters carry the weight of almost every piece of text we read. 

Proportion and Visual Rhythm

One of my biggest takeaways was that designing type isn't being perfect mathematically, but it's about trusting the eye. Cheng breaks down how x-height, counter space, and the length of ascenders and descenders all contribute to a typeface's tone.

  • A larger x-height usually improves readability, especially for digital interfaces. 
  • Counters (the white spaces inside letters like 'a' and 'e') need to feel consistent and open enough to breathe.
  • Ascenders and descenders can't just be long or short - they need to feel balanced, not floaty or cramped.
Optical Corrections over Perfect Geometry

Before this, I assumed good type was all about precision. Now I understand it's more about perception.

Karen emphasises how even small optical tweaks - like nudging a curve thicker here, and adjusting a diagonal there - can make all the difference. It's not necessarily cheating. It's more like designing the way we see it, and not just the way shapes work on a grid.


Important Letters

Some lowercase letters are straightforward. Others can come off like a puzzle. A few that I found important were:

  • 'a' : The double storey a is iconic in text. Designing it well means balancing character and legibility.
  • 'e' : Often undersestimated, it's easy to mess up the eye or aperture. If it's too tight, it closes. If it's too open, it shouts.
  • 's' : The letter never looks symmetrical, even when it is. The challenge is to get it to flow without making it feel stiff.
  • 'o' and 'n' : I feel like these are the rhythm setters for designing everything else.
Spacing
Something else that really shifted my thinking is spacing is part of the design, not something you fix after. The white space between letters is just as expressive as the letters themselves. Especially with curved vs. straight characters - e.g. "o" needs tighter side bearings than "l".