Advanced Typography | Task 2: Key Artwork & Collateral
20
May
2025
-
10
June
2025
(Week
5-8)
Justin
Cleon
(0375523)
Advanced Typography | Task 2: Key Artwork &
Collateral
Table
of
Contects
1.
Instructions
2. Lectures
Lecture
5
:
Perception
&
Organization
Perception
Perception is how something is regarded, understood, interpreted by
the audience, where it could reach the readers through contrast,
form, and content organization. Contrast is used to create
distinction or differentiation between information.
Figure 2.1 Typographical Contrast by Rudi Ruegg
The 7 kinds of contrast by Carl Dair:
Figure 2.2 Typographical Contrast by Carl Dair
Form
Typography is a writing according to the form, where the function
and the expression have to be balanced.
Gestalt
Theory
Gestalt
refers
to
"shape"
or
"form"
in
German.
The
Gestalt
principles
are
guidelines
that
explain
how
the
human
brain
perceives
the
world
around
them:
simplifying,
organizing,
and
rearranging
complicated
objects
so
that
it
can
make
sense
to
us
improved.
Psychologist's
theories,
which
discovered
how
the
human
mind
perceives
the
world
as
an
organized
whole
rather
than
isolated
parts,
emphasizing
that
the
"whole
is
greater
than
the
sum
of
its
parts.
Figure
2.3 Principles
of
Gestalt
Principles
These
are
some
Gestalt
Laws
of
Grouping
and
how
our
mind
understands
the
relationship
between
elements:
• Law
of
Proximity: “They
are
close,
they
must
be
related”
• Law
of Similarity: “Are
they
twins?
Well
let’s
just
group
them
together,
they
look
similar
enough”
• Law
of
Closure: “Let
me
just
fill
on
the
gaps
for
you”
• Law
of
Common
Fate: “We
are
all
moving
in
the
same
direction,
let’s
go
along
with
the
inertia”
• Law
of
Symmetry: “These
are
the
real
twins”
• Law
of
Continuation: “Oh,
I
know
you
work
together,
but
I
can
still
see
through
you”
• Law
of
Common
Region: “This
looks
like
a
nice
little
neighborhood
now”
3. Task 2(A): Key Artwork
For this task, we have to create a workmark of our
name/pseudonym. I chose my last name which is Cleon but
without 'n'.
Ideation & Digitization
Figure 3.1 Digitization of Sketches
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Figure 3.2 Wordmark 'Cleo' - Week 6 (27/5/25)
.png)
Figure 3.3 Board 1 - Week 6 (27/5/25)
.png)
Figure 3.4 Board 2 - Week 6 (27/5/25)
Colour Application
Before deciding what design for collaterals, the first thing
was to choose the color palette. Therefore, I make some
combinations of colors to analyze which ones are the best for
my collateral layout. From 7 palettes, choose 4 palettes and
need to eliminate 3 of them more. After all, I ended up with a
brown palette as my base color for my collateral.
.png)
Figure 3.5 Colour Application (1) - Week 6 (27/5/25)
.png)
Figure 3.6 Colour Application (2) - Week 6 (27/5/25)
Here is the wordmark in different colors based on the instructions:
• Black wordmark on white background
• White wordmark on black background
• Wordmark in actual colours on lightest shade of colour
palette
• Wordmark in lightest shade of colour palette on darkest shade
of colour palette
Figure 3.7 Wordmark on Different Colors - Week 6 (27/5/25)
Animation
For the animation, I wanted to keep simple, seamless and without too much
going on, like how handwritten letters are written. A cream as background
color and brown as color on text. By the end of the animation, the letter
'Cleo' gradually disappeared one by one from the back. These are all created in Adobe Illustrator and After Effects.
Figure 3.8 'Cleo' Animation Process - Week 8 (10/6/25)
Figure 3.9 'Cleo' Animation Finalzed - Week 8 (10/6/25)
Check the animation result here: https://bit.ly/CleoAnimation
Figure 3.10 'Cleo' Animation - Week 8 (10/6/25)
4. Task 2(B): Collateral
We were asked to create 3 collaterals of our choice with
our identity expansion into a 9 photo layout in Instagram.
This will be our brand identity. Therefore, I started by searching for examples using
Pinterest and
Google to help me get a
better idea and ended up with fashion stuff such as
handbags, totes, tags, and some eco product mockups. Some of
the products are on business cards and blade signs for
additional collateral.
.png)
Figure 4.1 Collateral Design Process - Week 7-8 (3/6/25-10/6/25)
Figure 4.1 Layout 1: Color Palette - Week 8 (10/6/25)
Figure 4.2 Layout 2: Mini Handbag - Week 8 (10/6/25)
Figure 4.3 Layout 3: 'Cleo' Loop - Week 8 (10/6/25)
Figure 4.4 Layout 4: Totebag - Week 8 (10/6/25)
Figure 4.5 Layout 5: Self-Portrait - Week 8 (10/6/25)
Figure 4.6 Layout 6: Eco Product Mockup - Week 8 (10/6/25)
Figure 4.7 Layout 7: 'Cleo' Loop - Week 8 (10/6/25)
Figure 4.8 Layout 8: Hang Tag - Week 8 (10/6/25)
Figure 4.9 Layout 9: 'Cleo' Animation - Week 8 (10/6/25)
Figure 4.10 Instagram Feed Layout - Week 8 (10/6/25)
Check the instagram page here: @cleonifylab
Figure 4.11 Instagram Page - Week 8 (10/6/25)
Final Key Artwork & Collateral
Figure 4.12 Black Wordmark on White Background - Week 6 (27/5/25)
Figure 4.13 White Wordmark on Black Background - Week 6 (27/5/25)
Figure 4.14 Color Palette - Week 6 (27/5/25)
Figure 4.15 Wordmark in Actual Colors on Lightest Shade of
Color Palette - Week 6 (27/5/25)
Figure 4.16 Wordmark in Lightest Shade of Color Palette on Darkest
Shade
of Color Palette - Week 6 (27/5/25)
Figure 4.17 Task 2 (A): Key Artwork (PDF) - Week 6 (27/5/25)
Figure 4.18 Layout 1: Color Palette - Week 8 (10/6/25)
Figure 4.19 Layout 2: Mini Handbag - Week 8 (10/6/25)
Figure 4.20 Layout 3: 'Cleo' Loop - Week 8 (10/6/25)
Figure 4.21 Layout 4: Totebag - Week 8 (10/6/25)
Figure 4.22 Layout 5: Self-Portrait - Week 8 (10/6/25)
Figure 4.23 Layout 6: Eco Product Mockup - Week 8 (10/6/25)
Figure 4.24 Layout 7: 'Cleo' Loop - Week 8 (10/6/25)
Figure 4.25 Layout 8: Hang Tag - Week 8 (10/6/25)
Figure 4.26 Instagram Feed Layout - Week 8 (10/6/25)
Check the instagram page here: @cleonifylab
Figure 4.27 Instagram Page - Week 8 (10/6/25)
5.
Feedback
Week 5
General Feedback
: Mr. Vinod gave
feedback on Task 2(A):
Key Artwork.
Week 6
General Feedback : Mr. Vinod gave
feedback for final
wordmark.
Week 7
General Feedback : Mr. Vinod gave feedback on
instagram layout for Task 2(B):
Collateral.
Week 8
General Feedback : I missed the class because I didn't
know it was changed to 8AM (during
Independent Learning Week).
6.
Reflection
Experience
It's been half a year since I started the first Typography
module, and honestly, I'm quite afraid to start Advanced
Typography again. The assignments in the previous module were a
bit more intensive compared to the other modules from the first
semester.
Observation
For observation, the process involves asking Mr. Vinod to
review my work. Additionally, feedback and comments from other
friends has helped me to improve and for me to complete the
assignments.
Findings
Overall
for
Task
2,
for
me,
the
extensive
knowledge
and
the
information
that
I
have
gotten
about
Advanced
Typography.
While
making
comments
about
design
elements
might
seem
straightforward,
however,
deeper
understanding
shows
the
complexity
and
depth
of
the
subject.
The
knowledge
that
I
have
gotten
from
this
learning
experience,
even
though
it
does
not
immediately
applicable,
may
prove
that
it
is
valuable.
7.
Further
Reading
.png)
Typography
is
a
constantly
evolving
discipline,
and
this
book
aims
to
provide
a
concise
yet
comprehensive
overview
of
the
information,
vocabulary,
tools,
and
methods
used
in
effective
typographic-design
practice.
Included
in
the
following
chapters
are
the
history
and
anatomy
of
typography;
principles
of
visual
organization
and
legibility;
a
study
of
the
intersection
of
form,
meaning,
and
media;
projects
that
explore
a
variety
of
contexts;
and
case
studies
devoted
to
traditional
and
nontraditional
typographic
design
processes.
A
knowledge
of
typographic
fundamentals
is
key
to
communicating
in
all
environments
(static,
dynamic,
or
kinetic)
and
the
first
few
chapters
address
the
basics
of
form,
syntax,
how
type
communicates,
and
its
potential
for
expression.
Case
studies
in
applied
problem
solving
are
meant
to
inspire
and
show
readers
how
to
use
their
newfound
knowledge
to
communicate
visually.
Theoretical
and
structural
problem-solving
approaches,
evolved
by
design
educators,
reinforce
the
underlying
concepts
in
this
book.
An
understanding
of
typographic
classification
and
subtlety
of
form
is
gained
from
the
study
of
type
specimens.
Through
the
thirteen
(13)
chapters
of
this
book,
the
authors
share
a
compilation
of
information
and
examples
with
practitioners
and
students.
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