Advanced Typography | Task 2: KEY artwork&collateral|| 23/9/2025 – 14/10/2025
|| ZHOU XINYI 0378623
|| Advanced Typography
|| Task 2: Key Artwork &Collateral
Table of Content
1.Lecture
2.Instructions
3.Process Work
4.Feedback
5.Reflection
6.Futher Reading
1.Lecture
AdTypo_5_Perception and Organisation
Perception in Typography
Typography does more than make text readable — it shapes how people see, feel, and understand what they read. By carefully using contrast, form, and layout, designers can guide the reader’s eye, highlight key points, and create a certain tone or mood. Good typography works together with other visual elements to make communication clear, balanced, and expressive.
Contrast in Typography
Contrast is one of the most effective ways to create visual interest and hierarchy in type. Carl Dair identified seven main kinds of contrast: size, weight, form, structure, texture, color, and direction.
These differences help organize information and draw attention to what matters most.
Common examples include:
Weight contrast: pairing bold headlines with lighter body text
Form contrast: mixing uppercase and lowercase letters
Structure contrast: combining serif and sans serif typefaces
Size contrast: using larger text for titles and smaller for details
Color contrast: applying light text on a dark background or vice versa
Fig 1.1 Methods of Contrast by Carl Dair ＆
Typographical Contrast Devised by Rudi Ruegg |
Form in Typography
The form of typography relates to the visual shape and rhythm created by the arrangement of letters and words. It influences the reader’s first impression and the overall sense of movement and balance within a design. Beyond simply being readable, type can also function as a visual form—used expressively to evoke emotion, suggest meaning, or create artistic impact.
When designers experiment with form, they may distort, combine, or stylize letters to communicate ideas visually rather than verbally. Thoughtful composition and alignment help maintain harmony while ensuring that the design remains engaging and memorable.
Examples of typographic form can be seen in creative letter combinations, experimental layouts, and poster designs where type becomes both image and message, blurring the line between reading and seeing.
Fig 1.2 Examples of posters and letters
Gestalt Principles in Typography
The Gestalt principles describe how people naturally organize visual elements into meaningful patterns and relationships. In typography, these principles help designers guide the reader’s perception, create structure, and achieve visual harmony.
Law of Similarity: When typographic elements share similar characteristics—such as typeface, color, or size—the viewer tends to see them as part of the same group. This principle is often used to create consistency across headings, body text, and captions.
Law of Proximity: Items placed close to each other are perceived as related. In typography, spacing between lines, words, and paragraphs helps indicate which pieces of information belong together.
Law of Closure: The human mind tends to complete incomplete shapes or forms. Designers sometimes use this principle in creative type layouts, where partial letters or fragmented forms are still recognized as complete words.
Law of Continuation: The eye naturally follows smooth, continuous lines or flows of text. Alignments and typographic grids use this principle to guide the reader through a design seamlessly.
Law of Symmetry and Simplicity (Prägnanz): People are drawn to balanced and straightforward compositions. In typography, symmetrical layouts and clean structures help create clarity, stability, and a sense of unity.
Fig1.3Gestalt Principles
2.Instructions
3.Process Work
Key Artwork & Collateral
3.1Initial design
Our first task was to design an image that illustrates who we are, such as our interests or personality.
Fig3.1.1Key Artwork & Collateral-Feeling
I then compiled a set of inspirations relevant to my design.
Fig3.1.2Key Artwork & Collateral-inspirations
After that, I developed two font designs that reflect my tastes and personality.
Fig3.1.3Key Artwork & Collateral-draft
3.2improveUsing this as a starting point, I developed the two font styles.
Fig3.2.1Improve1.0
The professor advised me to go with the fiest font, and I then began developing its design.
Fig3.2.2Improve2.0
It’s too sharp. Remove some elements and ensure the text follows a curved baseline.
Fig3.2.3Improve3.0
3.3final outcome
According to Mr. Vinod’s feedback, I needed to take out “since 2025” and modify it to look like this.
3.3.1final outcome
3.3.2final outcome
3.3.3final outcome
3.3.4final outcome
3.3.5final outcome
3.4Final Task 2B : CollateralHere’s a natural English version of your text:
After completing the final outcome, the professor asked us to create some merchandise and post it on Instagram to make our portfolio more attractive and complete. Considering that my font has a cool, street-style vibe, I chose some trendy items that fit this style.
3.4.1Final Task 2B : Collateral
3.4.2Final Task 2B : Collateral
3.4.3Final Task 2B : Collateral
3.4.4Final Task 2B : Collateral
3.4.5Final Task 2B : Collateral
3.4.6Final Task 2B : Collateral
3.5Final product showcaseInstagram account link：
https://www.instagram.com/tieniu_zhou_xinyi?igsh=dmk1dW80Yml6MGZ2&utm_source=qr3.5.1Final product showcase
3.5.2Final product showcase
4.Feedback
Week 5
General feedback:Today is a consultation class.
Specific feedback: The existing design has high recognition and appropriate thickness hierarchy, but further exploration is needed. It is recommended to try Gothic expressions other than Blackletter and more minimalist ways to integrate cat elements.
Week 6
General feedback:Today is a consultation class.
Specific feedback: It’s too sharp. Remove some elements and ensure the text follows a curved baseline.
week 7：Absent
week8：
General feedback:During today’s lesson, the teacher briefed us on next week’s homework schedule, the submission deadline for the last assignment, and the materials required for Blogger uploads.
5.Reflection
Experience
For this project, I created two versions of my design. After reviewing both, the professor selected one for further development, mentioning that the other was a bit too mainstream. This process was very enlightening for me, as it made me realize the challenge of balancing creativity with appeal. I had to reflect carefully on why one design felt more distinctive and how to enhance the originality of my work. Throughout this project, I went through several iterations, refining both the concept and the visual execution based on feedback. This experience reinforced the importance of reflection and continuous experimentation in design.
Reflection
From this project, I learned that standing out requires more than simply following familiar patterns. While my second design was technically fine, it lacked a unique character, which the professor pointed out. This encouraged me to push the boundaries of my style and think more critically about how design elements—such as font, color, and layout—can express personality and uniqueness. It also highlighted the importance of making decisions based on feedback, rather than personal attachment to an idea, and of being open to revising or even discarding designs that do not meet the intended goal.
Findings
Through this project, I concluded that good design must balance originality, artistic appeal, and audience engagement. A design may look good in isolation, but its impact is truly tested when placed in context or compared to other options. Consistency is also essential; elements like typography, color schemes, and branding need to align to create a coherent visual identity. Overall, this project emphasized that experimentation, iteration, and thoughtful reflection are key to producing work that is both visually compelling and meaningful.
6.Futher Reading
《Anatomy of a Typeface》
Alexander Lawson
6.Futher Reading
Key Points
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The book provides detailed historical and structural analysis of over 30 classic typefaces.
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Lawson categorizes typefaces by style (e.g., serif, sans serif, decorative) and explores their origins and evolution.
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Each type family, such as Garamond, Baskerville, and Futura, is discussed in terms of design features, history, and development.
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The book covers the technical evolution of type, from punch-cutting for metal type to modern digital typography.
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Understanding letterform anatomy (serifs, stroke contrast, proportions) is essential for recognizing and designing type.
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Extensive type specimens and illustrations provide clear visual examples for study and comparison.
What I Learned
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Every typeface has historical roots and design logic, not just a visual style.
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Knowing type classifications helps make structured, informed decisions instead of choosing fonts arbitrarily.
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Small details in letterforms (serifs, stroke contrast, curves) significantly affect the look and function of type.
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The evolution of type design is closely tied to technological advances.
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Studying type specimens helps me compare fonts visually and select the most appropriate one for a project.
Personal Reflection
Before reading this book, I mostly saw typography as “choosing a font that looks good.” After studying it, I realized typefaces are a form of design with history, structure, and purpose.
Seeing Lawson’s analysis of classic typefaces made me reflect on why I choose a certain font: is it just because it looks nice, or does it suit the project’s style and purpose?
In future projects, I want to choose and use typefaces more intentionally, letting the type support the message and meaning of my design, rather than relying solely on aesthetics.
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