04/22/2025
ZHANG TIANYAO(0376838)
Bachelor of Design (Honours) in Creative Media
Task2
List
1. Lectures
2. Instructions
3. Feedback
4. Reflections
5. Further Reading
Lectures
Week 4
AdTypo_4_Designing Type
He emphasized two fundamental motivations behind type design:
Functional Clarity – The primary goal of creating typefaces is to enhance readability and ensure clear transmission of information, serving the needs of readers and effective communication.
Creative Exploration – Beyond utility, type design offers an avenue for imaginative expression, allowing designers to infuse personality and originality into their work.
These perspectives illustrate that typography bridges usefulness and artistry, requiring both attention to function and a spirit of innovation.
Frutiger & the Purpose of Typeface Design
The Frutiger typeface was created in 1968 with the specific goal of serving the newly built Charles de Gaulle Airport in France. Its primary focus was to develop a font that was clear, unique, and easily readable from various distances, ensuring maximum effectiveness for public signage and wayfinding.
Fig 1.1Left: Univers typeface sample from Adobe Illustrator/InDesign (2015)
Right: Airport signage using Frutiger typeface
Fig 1.2 Frutiger Arabic: adapted letterforms for Arabic readability with clear, modern strokes.
Matthew Carter is a British type designer renowned for creating fonts that address technological constraints. One of his notable works is Verdana (1996), developed for Microsoft during the early days of web and digital interfaces.
Design Purpose: Verdana was crafted to maintain high readability even at small sizes on low-resolution screens, making it particularly effective for websites and digital platforms in the initial stages of the internet.
Fig 1.3 Georgia and Verdana: screen-friendly fonts by Matthew Carter.
Fig 1.4 IKEA’s 2010 switch to Verdana sparked debate over print typography.
Bell Centennial and Functional Print Design
In 1976, AT&T enlisted Matthew Carter to develop a new typeface for their telephone directories. The main challenge was to improve upon the limitations of the older Bell Gothic font, especially for printing on low-quality paper and at high speeds. The resulting typeface, Bell Centennial, was created between 1975 and 1978 and introduced the concept of ink traps—small notches in the letterforms that help control ink spread during printing. This design feature ensured that the text remained highly legible at small sizes, even under less-than-ideal printing conditions. This work exemplifies how type design can be directly influenced by the technical demands and material restrictions of the printing process.
Fig 1.5 Ink traps in Bell Centennial prevent smudging in small-size, fast-print phonebooks.
Johnston Sans and the London Underground
In 1916, Edward Johnston designed the renowned typeface for the London Underground, initially called the Underground typeface and later known as Johnston Sans. His brief was to create a font that embodied “bold simplicity”—a design that felt contemporary yet drew inspiration from classical Roman letterforms.
The main goal was to establish a cohesive visual identity for the subway’s signage and advertising, which previously lacked uniformity.
Johnston’s design combined classical Roman proportions with humanist features, resulting in a type that seamlessly bridged tradition and modernity. Its clean, elegant lines made it both aesthetically pleasing and highly functional for public communication.
Fig 1.6 Johnston’s type was inspired by Roman letterforms for a modern yet classical look.
Fig 1.7 Evolution of Johnston Sans
Gill Sans was created by Eric Gill, a former student of Edward Johnston. He openly admitted that his typeface was heavily influenced by Johnston’s Underground lettering. In his own words, he once stated, “Gill Sans owes all its goodness to your Underground letter.”
This acknowledgment highlights the respect and connection between the two designers, as well as Gill’s intention to build upon Johnston’s foundational work while infusing his own style into the typeface.
Week 5
AdTypo_5_Perception And Organisation
Contrast
Fig 1.2: Rudi Ruegg’s typographic contrast principles, including weight, width, size, form, and colour.
Fig 1.21: Visual example of size contrast in typography to guide attention and create hierarchy.
Fig 1.22: Visual example of weight contrast in typography to emphasise boldness and create focal points.
Typography Contrast Summary
Contrast plays a vital role in shaping how we perceive and engage with visual content. In this study, I examined nine fundamental principles of contrast—Size, Weight, Form, Structure, Texture, Direction, Colour, Type Style, and Negative/Positive Space—drawn from Rudi Ruegg’s theoretical framework.
Each contrast type fulfills a specific purpose in guiding viewers’ focus, establishing visual hierarchy, and improving overall clarity and rhythm within a design. For instance, size contrast highlights important elements like titles; weight contrast introduces emphasis and structure; direction contrast creates visual interest by deviating from traditional flows.
By understanding and intentionally applying these contrast principles, designers can create work that is both visually appealing and highly functional—enhancing communication and impact through typography.
This exploration has deepened my understanding of typographic structure and will inform my development of key artworks for this project.
Physical Class
This week, Mr. Vinod asked us to share our initial idea sketches, digitized versions of key artwork (if finished), and keywords that describe our concept on Facebook. He provided detailed feedback and encouraged me to push my design further. He noted that my work leans too traditional and suggested exploring more innovative and creative directions. Additionally, he recommended reviewing the reference materials he shared for inspiration and further idea development.
Week 6
Physical Class
This week, I received feedback from Mr. Vinod regarding my key visual artwork. He pointed out that my current font design does not effectively convey a sense of unity and teamwork, appearing somewhat disjointed and lacking cohesion. He suggested that I make the font look more consistent and harmonious to better represent the group's collective identity and strength. Additionally, he emphasized that the font style should highlight the team's cohesion rather than focusing solely on aesthetics. This feedback made me realize that font design is not just about visual appeal but also a crucial tool for expressing group spirit and unity. I plan to revise my font, using more structured and uniform letterforms to strengthen the overall team concept and improve the impact of my work.
Week 7
Physical Class
This week, Mr. Vinod gave us a lot of specific and practical feedback, mainly about our typography, color choices, and overall visual presentation.
He mentioned that my work could still be improved by paying more attention to some details, especially the decorative elements. He encouraged me to refine these parts to make the overall design look more complete and appealing.
I showed four versions of my key artwork and collateral design. Based on his suggestions, I started refining my product mockups to make the concepts more practical and visually impactful. I also kept adjusting the overall layout to make my work look more professional and attractive.
Week 8
Physical Class
This week, Mr. Vinod went through the full requirements for Task 2 (Parts A + B), covering lecture notes, process, feedback, reflection, and additional reading materials. He reminded us that the final submission is due on June 17 at 11:59 PM.
He shared some excellent blog examples and provided individual feedback—he mentioned that while my idea was interesting, there are still some details that need further refinement. Additionally, he introduced Task 3 – Type Exploration and Application, where we can choose to design a new font, improve an existing one, or experiment with innovative type formats. He encouraged us to explore creatively and shared inspiring examples, such as unique type variations from Taylor’s and llmnormal fonts.
Instructions
Task 2 : Key Artwork and Collateral
In this task, we are required to develop multiple versions of a key artwork featuring our name, presented as a wordmark or lettering. The final design should be clear, balanced, and refined. It’s important to avoid overly complex or difficult-to-read styles, ensuring the overall look remains simple, elegant, and easy to recognize.
Mind mapping
Fig 2.1 About My Mind Map
Sketches
Fig 2.2 Draft
Fig 2.3 Attempt #2 sketches
Throughout this design process, my goal was to make the font not just a logo, but a symbol that represents a team. I carefully focused on the layout and structure to create a sense of stability and harmony, conveying the cohesion and collaborative spirit of a team. By arranging the letters thoughtfully, I aimed for them to appear as a tight-knit and supportive collective, emphasizing an organized and unified presence. My vision was for this font to exude strength combined with warmth, much like a team that works together with shared purpose and trust. This design is more than just a simple combination of letters; it’s meant to embody a dynamic, supportive group identity that reflects my aspiration for teamwork and unity.
Digitalize
Fig 2.4 Final Digitalized Artwork
Color Selection
After digitising my key artwork, the next step was to explore a suitable colour scheme that would enhance its personality and visual impact. To do this, I referred to the websites and resources recommended by Mr. Vinod, which provided a variety of inspiring palettes and typographic case studies. These references helped me understand how colour can influence mood, tone, and emphasis in typographic design.
Fig 2.5 Final Colour Scheme
TASK 2A FINAL OUTCOME
Fig 3.1 Black wordmark on white background
Fig 3.2 White wordmark on black background
Fig 3.3 Wordmark in darkest shade of the palette and background in lightest shade of the palette
Fig 3.4 Wordmark in lightest shade of the palette and background in darkest shade of the palette
Fig 3.5 Task 2A Compilation
Fig 3.6 Reference colors, fonts, and background shades.
Fig 3.7 Finalized Animation
1. Handbag
Fig 4.1 The final collateral#1 (03/06/2025) (Week 7)
Why I chose handbag
I chose a handbag because it’s a practical and common item in daily life. It not only naturally integrates into everyday use but also highlights the element of a team — symbolizing shared goals and mutual support. Handbags are versatile and approachable, serving as a physical medium to communicate the spirit of collaboration and collective strength within a group.
How I designed it
I applied the “TIAN” wordmark in a bold orange color on the bag, with a clean and balanced layout. The design emphasizes clarity and vibrancy, combining practicality with visual appeal, and reflecting a lively, confident personality through color and composition.
How it reflects my identity
This design embodies my core brand qualities: playful, approachable, and confident. It demonstrates my desire to create visuals that are relatable and supportive, while also showcasing a bold, energetic attitude. The handbag acts as a personal symbol of my brand’s individuality and strength.
2. Stone
Fig 4.2 The final collateral#2 (03/06/2025) (Week 7)
Why I chose stone
I chose stone because it symbolizes resilience and durability. Stone endures the test of time in nature, representing the perseverance and indomitable spirit of a team, embodying strength in the face of challenges.
How I designed it
I used the texture and patterns of stone as the background, emphasizing its strength and rugged natural qualities. The typography and color scheme are kept simple and powerful, highlighting a sense of stability and resilience that conveys the team's toughness and perseverance.
How it reflects my identity
This design embodies my brand keywords: tenacity, resilience, and strength. It reflects my pursuit of persistence and facing difficulties with courage, transmitting inner power and enduring belief. It also emphasizes my aim to express the unwavering team spirit through design.
3. T-shirt
Fig 4.3 The final collateral#3 (03/06/2025) (Week 7)
TASK 2B: KEY ARTWORK & COLLATERAL
Self-Portrait Description
Fig 4.1 The photo I chose
Fig 4.2 Final Self-Portrait Description
1. Apparel – Bringing Visual Identity into Everyday Expression
Why I chose apparel:
Clothing is one of the most direct and personal forms of expression. T-shirts are both casual and versatile, widely used in everyday and creative settings. They allow brand identity to "move," integrating into real-life scenarios and becoming a medium for personal connection.
How I designed the piece:
I placed the custom letterform "TIAN" on the back of the T-shirt. The design reflects my personality and visual aesthetic—featuring unique structure and smooth curves, creating a strong visual presence. The lettering stands out against a clean background, balancing emphasis and clarity in layout.
How it reflects my design identity:
This T-shirt communicates my design keywords: confidence, minimalism, and modernity. "TIAN" is not just a name—it’s an attitude. It demonstrates how I bring my visual language into daily life, allowing the brand to "come alive" on physical objects and form emotional resonance with the wearer.
Fig 4.3 The final collateral#1
2. Stone Carving — Bringing Visual Identity into a Symbol of Strength and Permanence
Why I chose stone as the medium:
Stone represents permanence, strength, and natural history. Unlike everyday objects, it carries symbolic weight — a connection to time, nature, and resilience. Carving my custom letterforms into stone allowed me to explore how typography can embody power and meaning beyond the screen.
How I designed it:
I carved the custom wordmark “TIAN” directly into the surface of a rock. The letterforms were adapted to interact with the stone’s texture, incorporating organic cracks and rough edges to make the design feel like it belongs in nature. The overall look is bold, grounded, and tactile — visually echoing timelessness.
How it reflects my design identity:
This piece expresses my brand keywords: minimal, authentic, grounded, and strong. “TIAN” is not just a name, but a visual declaration — one that reflects my commitment to solid, emotionally resonant design. By carving it into stone, I show how identity can be both expressive and enduring in physical form.
Fig 4.4 The final collateral#2
3. Crossbody Bag — Carrying Visual Identity through Everyday Movement
Why I chose a crossbody bag:
A crossbody bag is practical, mobile, and often used in daily life. It naturally exposes the design to public view, allowing brand identity to interact with people in motion. It represents functionality and urban lifestyle, making it an ideal medium for design expression.
How I designed it:
I applied the custom lettering “TIAN” to the front flap of the bag. The type is embroidered in clean white thread on a matte black fabric for strong contrast and visibility. The layout is minimalist—centered and balanced—reflecting a calm but confident design attitude. The overall shape of the bag is compact and unisex, suitable for a wide range of users.
How it reflects my design identity:
This crossbody bag communicates my brand’s key traits: modern, bold, and functional. By embedding my custom typography into a wearable item, I bring the visual identity into motion. It travels with the user, symbolizing how design should not only be seen, but lived. It demonstrates how design can move through space and spark subtle connections in everyday life.
Fig 4.5 The final collateral#3
This 9-grid Instagram layout serves as a visual showcase of my personal brand identity, TIAN. It integrates custom letterforms, a consistent color scheme, symbolic graphics, and product applications to form a unified and expressive brand story across digital space.
Fig 4.5 Instagram Feed Design Layout.
Fig 4.6 Instagram Feed Design Layout.
Fig 4.7 Task 2B Final Outcome
Feedback
Week 4
Specific feedback:
This week, Mr. Vinod once again discussed the issues in our revised assignments. He pointed out the shortcomings again and reviewed my font poster. The problems were that the font edges should not have any borders, and I need to add a logo and the small text at the corners.
General feedback:
This week, Mr. Vinod informed us about next week’s task and shared the required materials, guidelines, and examples via Teams, giving us a clear understanding of what the final outcome should look like.
Week5
Specific feedback:
This week, Mr. Vinod once again discussed the issues in our revised assignments. He pointed out the shortcomings again and reviewed my font poster. The problems were that the font edges should not have any borders, and I need to add a logo and the small text at the corners.
General feedback:
This week, Mr. Vinod informed us about next week’s task and shared the required materials, guidelines, and examples via Teams, giving us a clear understanding of what the final outcome should look like.
Week6：
This week, Mr. Vinod highlighted an issue with typographic consistency in my work—specifically, the lack of uniform font sizing. He noted that the inconsistent sizes made the layout feel disjointed and disrupted the visual flow. A clear typographic hierarchy, he explained, is essential for readability and professional structure.
General feedback:
This made me realize that font size is more than a visual choice—it’s a way to guide attention and establish order. I’ve learned the importance of setting consistent rules for type scaling, and going forward, I’ll refine my system to ensure stronger typographic rhythm and better clarity across all elements.
Week 7:
Specific feedback:
In this session, I didn’t present my own work, but I closely observed Mr. Vinod’s critique of other students’ typographic designs. He focused on issues such as inconsistent spacing, poor alignment, and weak hierarchy in type layouts. I found his comments particularly insightful, especially his emphasis on structural clarity and the importance of refining letterform details to improve overall readability and professionalism.
General feedback:
Listening to these critiques gave me a clearer understanding of what elevates a typographic design from student work to professional quality. I realized that even small adjustments—like aligning baselines or correcting uneven kerning—can significantly impact how polished a design looks. This week, I revisited my own work with a more critical eye, applying what I learned to improve spacing, rhythm, and consistency across my compositions.
Week 8：
Specific Feedback
In this session, I focused on developing and refining my key visual using Photoshop. Mr. Vinod briefly reviewed my progress and suggested that I don’t need to stay fixated on a single object for the composition. He encouraged me to try building the visual around a different item altogether, which could open up more possibilities in terms of layout and narrative. That advice made me reconsider my current direction and gave me more flexibility in how I approach the design.
General Feedback
This week reminded me that creative decisions shouldn't be overly rigid. I had been locked into working with one object, trying to make it fit perfectly, but now I realize that switching elements can sometimes lead to stronger outcomes. The session helped me let go of that attachment and explore alternatives more freely. I’m learning that adaptability is just as important as consistency when developing a visual system.
Experience
In Task 2, I developed a visual system centered around the word “TIAN.” Unlike soft or rounded letterforms, I intentionally designed a sharper, more angular type style to convey a sense of strength and assertiveness. After finalizing the structure, I applied the design to various physical contexts, including apparel prints, engraved stone textures, and tote bags. This process challenged me to think about how typography can express not only aesthetic choices but also personality and attitude. I aimed to build a cohesive identity system that was both visually striking and adaptable across different materials.
Observation
Throughout the design and mockup process, I began to notice how typography behaves differently depending on the medium. For example, engraving on stone revealed how stroke weight and structural balance affect clarity and texture. On fabrics and packaging, the legibility and spacing of the type became critical. I also realized that while sharp-edged fonts deliver a strong visual impact, improper spacing or composition can make the layout feel overwhelming or difficult to read. I started to explore how contrast, breathing space, and visual rhythm could help balance the intensity of the design.
Findings
This project helped me understand that typography is not just about crafting letterforms—it’s about designing a visual attitude. Through continuous refinement of “TIAN,” I learned that a successful type-based system needs to maintain consistency in form, logic, and flexibility. Moving from sketches to digital design to real-world applications taught me how small adjustments—like line width, spacing, or background interaction—can significantly influence a system’s overall effectiveness. Ultimately, I created a typographic identity that reflects my personal voice, while sharpening my ability to translate conceptual ideas into functional visual assets.
Further Reading
Typographic Systems by Kimberly Elam
While reading "Type Systems," I discovered the richness and beauty of typographic design. In its organized approach, Kimberly Elam categorizes typography, and I realized how these systems work together to convey information.
Through the visual presentation of various typographic methods, I could feel the emotions and atmosphere, particularly the contrast between symmetry and asymmetry left a deep impression on me.
By studying the practices of these typographic systems, I found that they are not merely formal choices, but they truly impact readability and the audience's experience. I believe this book has not only enhanced my skills as a designer but also deepened my knowledge and appreciation of the art of typography.
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