Advance Typography - Task 2
Advance Typography - Task 2 :
Lee Jong Yun / 0358356
Advance Typography
╎Task 2: Key Artwork (A) & Collateral (B)
Table of Contents
Instructions
LECTURES
Perception And Organisation
Perception is basically about how we see, understand, or make sense of something.
In typography, it relates to how readers visually follow and interpret what they’re reading.
This process involves things like contrast, visual form, and overall layout, which all help guide the reader’s eyes and understanding as they move through the content.
methods of contrast by rudi ruegg
Carl Dair introduced several key principles that help make typography more effective and expressive. These are:
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SizeLarge text helps draw attention and create a visual hierarchy.
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WeightUsing bold type among lighter text creates emphasis and contrast.
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FormThis refers to the difference between uppercase and lowercase, or between styles like italic, condensed, or expanded fonts.
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StructureEach typeface has its own letterform structure—like serif vs sans-serif—and using different ones adds visual variety.
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TextureTexture is created by combining contrast in size, weight, form, and structure. It affects how blocks of text look both up close and from a distance.
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DirectionThis is about using vertical, horizontal, or diagonal lines to lead the eye and create movement in the design.
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ColorA second color (aside from black or white) can add subtle contrast and highlight specific elements without overpowering the design.
Form
Form refers to the overall look and feel of the text composition.
It plays a big role in how a design makes its first impression.
Interestingly, the word “typography” comes from Greek roots: “typos” (form) and “graphis”
Perception is basically about how we see, understand, or make sense of something.
In typography, it relates to how readers visually follow and interpret what they’re reading.
This process involves things like contrast, visual form, and overall layout, which all help guide the reader’s eyes and understanding as they move through the content.
Carl Dair introduced several key principles that help make typography more effective and expressive. These are:
-
SizeLarge text helps draw attention and create a visual hierarchy.
-
WeightUsing bold type among lighter text creates emphasis and contrast.
-
FormThis refers to the difference between uppercase and lowercase, or between styles like italic, condensed, or expanded fonts.
-
StructureEach typeface has its own letterform structure—like serif vs sans-serif—and using different ones adds visual variety.
-
TextureTexture is created by combining contrast in size, weight, form, and structure. It affects how blocks of text look both up close and from a distance.
-
DirectionThis is about using vertical, horizontal, or diagonal lines to lead the eye and create movement in the design.
-
ColorA second color (aside from black or white) can add subtle contrast and highlight specific elements without overpowering the design.
It plays a big role in how a design makes its first impression.
Interestingly, the word “typography” comes from Greek roots: “typos” (form) and “graphis”
Organisation & Gestalt Principles
“Gestalt” is a German word meaning “shape” or “form,” but in design, it’s more about how parts come together as a whole.The idea is that the overall design matters more than each individual element—it’s the combination that makes it powerful.
Key Gestalt Principles in Typography:
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Law of Similarity: We group similar-looking elements together.
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Law of Proximity: Objects placed near each other are perceived as related.
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Law of Closure: Our minds tend to fill in missing parts of a shape or image.
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Law of Continuation: We naturally follow the flow of lines and curves, even if they intersect.
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Law of Symmetry: Balanced designs feel more stable and pleasing.
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Law of Simplicity (Prägnanz): We prefer simple, clean, and easily understandable visuals.
-
Law of Similarity: We group similar-looking elements together.
-
Law of Proximity: Objects placed near each other are perceived as related.
-
Law of Closure: Our minds tend to fill in missing parts of a shape or image.
-
Law of Continuation: We naturally follow the flow of lines and curves, even if they intersect.
-
Law of Symmetry: Balanced designs feel more stable and pleasing.
-
Law of Simplicity (Prägnanz): We prefer simple, clean, and easily understandable visuals.
TASK 2
PART A
To begin the process, I created a personal mind map to help generate ideas. Drawing from inspiration i got from pinterest. To build on that inspiration, I browsed Pinterest for visual references and ideas that aligned with the mood and direction I wanted to pursue.
At first, I started by looking for cyber and kinetic-inspired images to spark initial ideas. I also sketched a rough diagram to help communicate my concept and gathered feedback on it. When I presented it to Mr. Vinod, I explained that the typography was based on my name and that I was aiming for something that evokes an architectural feeling.
However, the feedback I received was that my intentions weren’t clearly expressed. Mr. Vinod suggested that I should do more research on typography designers to strengthen my concept. He introduced us to several notable designers, including Ahn Sang-soo, Wolfgang Weingart, Freeman Lau, Wim Crouwel, and more.
Following his advice, I began researching further and found Ahn Sang-soo’s work particularly fascinating, especially his experimental approach to Hangul typography. That inspired me to explore Korean letterforms and to create a design that visually mimics the structure and feel of Hangul, while still being based on the English alphabet.
I began to sketch and design.
After completing the main structure of my design, I began exploring different styles and focused on refining the smaller elements to enhance the overall composition.
After finalizing the wordmark, I turned to Pinterest and Google for inspiration on color palettes. I found myself drawn to cool-toned themes, which helped shape the overall mood and visual identity of my design.
colour palette research
chosen colour palatte
Black Wordmark on White Background
White wordmark on Black Background
colour palette
Wordmark in Lightest Shade of Color Palette on Darkest Shade of Color Palette
Wordmark in Actual Colors on Lightest Shade of Color Palette
wordmark animation in after effects
.png)
wordmark animation
Task 2 A PDF
At first, I started by looking for cyber and kinetic-inspired images to spark initial ideas. I also sketched a rough diagram to help communicate my concept and gathered feedback on it. When I presented it to Mr. Vinod, I explained that the typography was based on my name and that I was aiming for something that evokes an architectural feeling.
However, the feedback I received was that my intentions weren’t clearly expressed. Mr. Vinod suggested that I should do more research on typography designers to strengthen my concept. He introduced us to several notable designers, including Ahn Sang-soo, Wolfgang Weingart, Freeman Lau, Wim Crouwel, and more.
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PART B - COLLATERAL
For the next part of the task, we were instructed to apply our wordmark across three different collaterals in order to expand and develop the brand identity further
The first mockup I chose was a drinking can. After finding a suitable mockup template for my design, I started by creating a few sticker-style designs and tested how they looked together.
At first, I tried making each design stand out individually, but I realized that it didn’t match the consistent feel of my brand. So I changed direction and decided to keep one main design but use different colors to create variation while still maintaining a strong and recognizable identity.
My design was inspired by Hangul Naratmalsami, which refers to an old and traditional form of Korean writing. This writing style often features geometric structure, balanced spacing, and rhythmic flow, which I found visually and conceptually interesting.
By studying this form of old Korean script, I was inspired to incorporate similar characteristics into my typography, such as the block-like structure, vertical and horizontal alignment, and the harmonious arrangement of letterforms. I aimed to create a design that visually echoes the aesthetics of Hangul while still forming recognizable English alphabet shapes merging cultural inspiration with modern typographic expression.
instagram mockup 1
instagram mockup 2
instagram mockup 3
coloured original photo
.png)
adjusted to black and white in photoshop
final outcome
Collateral Drinking Can
mock up designs
final collateral drinking can design
For the second collateral, I chose a round pin badge
mock up designs for badge
final badge design
For the third collateral, I used a duct tape mockup as the base.
I designed a version of my logo specifically to fit the look and feel of duct tape, aiming to make it appear like a branded, industrial-style design that could be used in a bold and creative way.
mock up design for tape
final collateral tape design
After the collateral mock up design was finsihed, I uploaded the designs to instagram.
instagram page link
TASK 2B PDF
The first mockup I chose was a drinking can. After finding a suitable mockup template for my design, I started by creating a few sticker-style designs and tested how they looked together.
At first, I tried making each design stand out individually, but I realized that it didn’t match the consistent feel of my brand. So I changed direction and decided to keep one main design but use different colors to create variation while still maintaining a strong and recognizable identity.
My design was inspired by Hangul Naratmalsami, which refers to an old and traditional form of Korean writing. This writing style often features geometric structure, balanced spacing, and rhythmic flow, which I found visually and conceptually interesting.
By studying this form of old Korean script, I was inspired to incorporate similar characteristics into my typography, such as the block-like structure, vertical and horizontal alignment, and the harmonious arrangement of letterforms. I aimed to create a design that visually echoes the aesthetics of Hangul while still forming recognizable English alphabet shapes merging cultural inspiration with modern typographic expression.
.png)
Collateral Drinking Can
I designed a version of my logo specifically to fit the look and feel of duct tape, aiming to make it appear like a branded, industrial-style design that could be used in a bold and creative way.
After the collateral mock up design was finsihed, I uploaded the designs to instagram.
TASK 2 OUTCOME COMPILED
Feedback
Week 5
General Feedback:
This week, we received feedback on our initial design drafts. The focus was on how well our concepts were visually communicated and whether they reflected a clear design intention.
Personal Feedback:
Mr. Vinod pointed out that my concept lacked clarity and suggested I explore more references to strengthen my direction. He recommended researching the works of influential typographers and designers such as Ahn Sang-soo, Wolfgang Weingart, Wim Crouwel, Reza Abedini, and Freeman Lau. This pushed me to dig deeper into typography history and stylistic influences to better refine my own approach.
Week 6
General Feedback:
We continued developing our wordmarks and received feedback focused on legibility and technical refinement.
Personal Feedback:
My wordmark design was progressing well, but I was advised to remove some of the additional strokes in the lettering, as they might become unclear or lose their impact when the design is scaled down. Simplifying the form would help maintain clarity at different sizes.
Week 7
No official feedback was recorded this week.
Week 8
General Feedback:
This week’s class was held online, with a focus on self-guided development. We were encouraged to continue refining our designs and prepare them for application across different collaterals.
Reflection
Experience
This task was quite challenging at first. I struggled with finding the right direction and spent a lot of time researching before my ideas started to come together. It took effort to translate my concept into something clear and meaningful, especially in the early stages when my intentions weren’t fully developed. However, through continued exploration and feedback, I slowly refined the direction and started to enjoy the process more. It was a valuable learning experience that helped me build patience and persistence in my design workflow.
Observation
I realized that initial ideas don’t always work right away, and sometimes letting go of them is necessary for progress. Getting feedback from others and revisiting the work with fresh eyes helped me see what was lacking. Researching typography designers also gave me a better understanding of what makes a design feel intentional and well-crafted.
Findings
Doing proper research really makes a difference. Looking into designers like Ahn Sang-soo and exploring Hangul typography helped guide my creative decisions. I learned that spending time up front to study styles, references, and context is essential. even if it slows things down at first, it leads to a stronger and more personal outcome.
Further Reading
In addition to the weekly lectures and feedback, I explored the concept of legibility in typography, a topic often overlooked but crucial in visual communication. Legibility is more than just choosing a readable typeface, it involves controlling the qualities of type to ensure that text is easy to read and understand with minimal effort. This idea aligns with Henry David Thoreau’s belief in writing as a clear and intimate form of art. As designers, we have a responsibility to make our messages accessible and impactful through thoughtful typographic choices.
I also referred to Typographic Design: Form and Communication by Rob Carter (2015), specifically the chapter on Typographic Syntax. This reading helped me understand the layered structure of typography, from individual letters to full page layouts. Each component letter, word, line, column, and margin, plays a role in visual rhythm and clarity. I learned how spatial relationships (like form and void, texture, and tone) can influence hierarchy, balance, and reader engagement. These insights encouraged me to be more intentional in how I arrange and design type within my compositions.
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