12/05/25 - 15/06/25 / Week 4-Week 8
Brendan Fedya / 0376283
Advanced Typography / Bachelor of Design
(Hons) in Creative Media / Taylor's University
Task 2: Key Artwork
& Collateral
TABLE OF CONTENTS
I. LECTURES
➼ Week 5
‣ Lecture 5 - Perception & Organization
Perception is how something is interpreted by the public, where it could reach
the readers through contrast, form, and content organization.
Contrast is used to differentiate between information, below are the
methods to create contrast:
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Figure 1.1: Typographical contrast by Rudi Ruegg, Week 6
(26/5/25).
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Carl Dair also pointed out 7 kinds of contrast according to his version:
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Figure 1.2: Typographical contrast by Carl Dair, Week 6
(26/5/25).
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Form is the overall look that makes up a composition—a good form
will be visually engaging and also memorable. Typography is a writing
according to the form, where the function and the expression have to be
balanced.
Gestalt Theory describes how the human's eye perceive visuals as a
whole, even when using simpler shapes or patterns. Psychologically, the human
mind tends to visualize these things according to their own logical thinking.
There
are several groupings to Gestalt Theory:
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Law of Similarity perceive elements that have similar visuals more
related.
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Law of Proximity is where design elements that share the same
characteristics and are related to each other should be placed closely
rather than elements that are not.
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Law of Closure is when we see something with incomplete parts, our
eyes will automatically perceive it into something recognizable by us, could
be patterns, shapes, etc. This technique is to balance the negative and
positive space in a design effectively.
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Law of Continuation is where people tend to follow the direction of
curved, smooth, and organic lines compared to jagged, sharp lines. This
principles is commonly seen in the making of logos, sometimes even posters.
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Law of Symmetry means elements that are symmetrical to each other
will likely appear to belong to the same group.
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Law of Simplicity (prägnanz), elements that are complex are likely to
be perceived as simple as possible by the human eye.
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Figure 1.3: Groupings of Gestalt Theory, Week 6 (26/5/25).
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➼ Task 2(A): Key Artwork
In this task, we have to create a wordmark of our name / pseudonym. I
chose my last name which is Fedya, because my first name 'Brendan'
sounds too generic in my opinion.
Here is a rough sketch of my mind map. I derived ideas from my name
origins, hobbies, aspirations, and my personality traits. Which then I
branched into newer ideas from that. I find some relevant traits that
I think could be expressed through my wordmark.
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Figure 2.1: Mind mapping 'Fedya', Week 5 (19/5/25).
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This are the references that I looked up for the keywords I
decided. The letters as notes have potential to be further
explored in my sketching phase. Other sketching ideas to explore
include modern and cultural patterns as modern are very widely used in
the current era. With cultural patterns resembling tradition. I think
the modern and cultural aspects could be combined to create a great
contemporary artwork.
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Figure 2.2: References, Week 5 (19/5/25).
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I tried to be not that decorative for sketches, but for playful I
don't have any ideas besides this. So, I guess I'll just try it and
get Mr. Vinod's feedback for it. The modern oriental looks sleek and
I quite like the sketch results.
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Figure 2.3: References, Week 5 (19/5/25).
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All of the sketches were not approved. The mistake I did was
that I stuck too much on other cultures rather than my own. The
wordmark should be of my own identity, not by reling on things that I
like that much. I then thought about a unique thing which is only
available in my hometown, nowhere else in this world. It's a shell
creature named Gong-gong, which then it is widely used in batik
patterns in Kepulauan Riau, Indonesia—the place where I'm from.
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Figure 2.4: Batik gong-gong, Week 6 (28/5/25).
Source:
Kabar24
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I began sketching while also incorporating the ideas I used during the
previous sketch. The 'd' and 'y' could be the center of attention for
the wordmark by combining it together. The ends of the stems could be
used as a signature pattern from the gong-gong.
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Figure 2.5: Additional sketches, Week 6 (28/5/25).
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I then started to digitize my sketch—was quite skeptical at first as I
have not received Mr. Vinod's feedback on this sketch, but I'll trust
my guts and just proceed anyways. I used Futura Std as the base font
because I believe a font that have been used for almost a century will
not go wrong as a guide to create new letterforms.
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Figure 2.6: Reconstructing letterforms, Week 6
(28/5/25).
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The rough structure has been done, and now it's time to incorporate
the cultural essence into the letterforms. I used the curvature tool
to pull out the stems into a curved shaped like a gong-gong.
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Figure 2.7: Finalizing wordmark - before
feedback, Week 6 (28/5/25).
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Mr. Vinod said the curves look disordered, probably could use circles
as the guide so it will turn out neater. I then revised all the curved
stems. One crucial thing that I forgot is to use grids, I should have
paid attention to this as it was already stated last week.
Also, the correlation between letter 'd' and 'y' could be improved by
directly mirroring the 'd' into the 'y' shape upside down. These are
the main things that needs to be fixed for my wordmark.
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Figure 2.8: Revising wordmark, Week 6
(30/5/25).
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Minor fixes for the anchor points to make the letterforms look more
natural. Then I make variations of letterforms to see which suits
best.
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Figure 2.9: Wordmark variations, Week 6
(30/5/25).
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I then finalized it with a newer version—shortened the stem of 'd'
because it distracts the focus to the main intended attention while
keeping only 1 curved style so that it won't look too visually heavy.
Also, I made the 'f' appear disconnected from the other letters to
appear more uniform with the letter 'e' and 'a' which are also
disconnected from the main 'dy' letters.
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Figure 2.10: Finished wordmark, Week 6
(30/5/25).
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Before deciding for collaterals, the first thing I did was to
determine the color palette. This is quite challenging for me
when deciding between the 2 middle shades, because it has to be
contrasting while also complement each other.
Here are the color choices I tried, but I ended up using the one
with a red middle shade because in my opinion red looks more
high-end and classic, that's the vibe that I want to incorporate
to my design.
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Figure 2.11: Color palette choices, Week 6
(31/5/25).
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The curves still look somewhat inconsistent, so I fixed it more
in detail.
Figure 2.11: Fixing curved details, Week 6
(31/6/25).
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Here is the wordmark in different colors based on the
instructions in teams:
- Black wordmark on white background
- White wordmark on black background
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Wordmark in actual colours on lightest shade of
colour palette
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Wordmark in lightest shade of colour palette on darkest
shade of colour palette
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Figure 2.12: Wordmark on different colors -
Above (curves not fixed) & below (fixed
curves), Week 6 (31/5/25).
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‣ Animation
I wanted to keep my animation seamless, without too much going on. A
black and white color scheme also supports this statement while
making it look timeless. I then split it into 3 phases, the stems,
bars, and the bowls. I named the bars as vertical stroke but don't
mind it, an error on my part. Theses are all created in Illustrator
and After Effects.
So, the animation will be in this order:
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The stems will go first during the animation, starting from the
curved end of 'y', upwards.
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Crossbars are crossing through the curved 'f'' bar and pierces
the 'e', from left to right.
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the bowls revealing themselves in a counter-clockwise direction,
transitioning seamlessly from the 'e' bar to the bowl, followed
by other bowls in the upcoming letters.
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Figure 2.13: Wordmark animation process,
Week 8 (11/6/25).
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I followed a tutorial I found on
Youtube
to reveal the stroke gradually, like how handwritten letters are
wrote. I made sure the anchor points are consistently in the right
track, so all of the letters will move at a similar speed.
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Figure 2.14: Animation effect based on YouTube tutorial,
Week 8 (11/6/25).
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I still feel that it's not enough, then it came to me another
idea. After the wordmark has revealed itself fully, The background
will then reveal itself into another color. I move this animated
After Effects video into Premiere Pro, it has a suitable transition
that I have been thinking about—cross dissolve .
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Figure 2.15: Cross dissolve, Week 8 (11/6/25).
And here is the result:
Figure 2.16: Animated wordmark, Week 8 (11/6/25).
➼ Task 2(A):
Key Artwork Final Outcome
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Figure 2.17: Black wordmark on white background - JPEG,
Week 8 (11/6/25).
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Figure 2.18: White wordmark on black background - JPEG,
Week 8 (11/6/25).
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Figure 2.19: Color palette - JPEG, Week 8
(11/6/25).
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Figure 2.20: Wordmark in actual colors on lightest shade of
color palette - JPEG, Week 8 (11/6/25).
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Figure 2.21: Wordmark in lightest shade on color palette on
darkest shade of color palette - JPEG, Week 8
(11/6/25).
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Figure 2.22: Key artwork animation - GIF, Week 8
(11/6/25).
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Figure 2.23: Task 2(A) PDF compilation, Week 8 (11/6/25).
➼ Task 2(B): Collaterals
We are asked to make 3 collaterals of our choice with our identity
expansion into a 9 photo layout in Instagram. This will act as our
brand identity. I chose expansions based more on fashion stuff because
I want my collaterals to be worn by others on a daily basis, it could
make my wordmark gain a lot of exposure, hence becoming more
recognizable.
‣ Oversized T-Shirt
For the first collateral, I chose an oversized t-shirt, it could be
a casual daily wear for people who wants a bolder self expression,
unlike usual graphic t-shirts. I used the curve of the wordmark's
'y' as the signature illustration, as I think it will still give the
characteristics of my wordmark without being too weird like my
initial trials.
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Figure 2.24: T-shirt expansion variation, Week 8
(11/6/25).
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After finding more information, I realized that wordmark should be
placed on the left side of the shirt. So, I revised it and
simplified it a bit to make it more suitable to casual wear.
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Figure 2.25: Oversized T-shirt - Final mockup,
Week 8 (11/6/25).
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‣ Socks
My idea was pretty straightforward for socks, usually socks designs
incorporate their wordmark near the top, hence I will do the same
with some characteristic tweaks. I feel enlarging the wordmark to a
ridiculously large size would look better, it will feel like an
intended pattern complimenting the end of the sock.
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Figure 2.26: Socks wordmark expansion,
Week 8 (11/6/25).
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Figure 2.27: Socks - Final mockup, Week 8
(11/6/25).
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‣ Embroidered Patch
Patches are also straightforward, I put my shortened wordmark in it
along with the patterns in the background. I used 2 of the middle
shades for the color combination supported by the light shades in my
color palette which turns out better than I expected.
Figure 2.28: Embroidered patch process, Week 8
(11/6/25).
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Figure 2.29: Embroidered patch - Final mockup,
Week 8 (11/6/25).
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‣ Layered Fabric
After I'm done with 3 of the collaterals, the rest of the images are
to fill Instagram's 9-image layout post. As my main identity
expansion revolves around wearables—where most of them will be made
of fabric, I decided to put my pattern variations into layered
fabrics to see how they clearly look like in these mediums.
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Figure 2.30: Layered fabric process, Week 8
(11/6/25).
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Figure 2.31: Layered fabric - Final mockup, Week 8
(11/6/25).
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‣ Self-Portrait
For self-portrait, I will be using my signature 'y' stem as tears
streaming through my eyes. It looks unique and is more engaging
compared to just putting my wordmark plainly on it. I also included
some effects of my wordmark spreading out from my body, using
clipping masks to add depth to the background.
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Figure 2.32: Self-portrait process, Week 8
(11/6/25).
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Figure 2.33: Self-portrait - Final mockup, Week 8
(11/6/25).
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‣ Instagram Page
After I'm finished with all the images, I started to build up my
Instagram page, making sure every images are working cohesively.
Also, I used the shortened version of the wordmark for the profile
picture using the darkest shade text on the lightest shade
background of the color palette. The classic color will make the
wordmark feel impactful on the first impression.
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Figure 2.34: Designing Instagram page profile picture,
Week 8 (11/6/25).
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And here's the final layout posted on Instagram, sized 1024px x
1024px per image:
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Figure 2.35: Instagram 9-image page layout -
1:1 ratio, Week 8 (11/6/25).
Source:
Instagram
@brenfedya
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➼ Task
2(B): Collaterals Final Outcome
All collaterals are then cropped into 1:1 ratio (1024px x 1024px)
for the final submission:
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Figure 2.36: Oversized t-shirt - JPEG, Week 8
(11/6/25).
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Figure 2.37: Socks - JPEG, Week 8
(11/6/25).
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Figure 2.38: Embroidered patch - JPEG, Week 8
(11/6/25).
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Figure 2.39: Layered fabric - JPEG, Week 8
(11/6/25).
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Figure 2.40: Self-portrait - JPEG, Week 8
(11/6/25).
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Figure 2.41: Patterns - JPEG, Week 8
(11/6/25).
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Figure 2.42: Instagram 9-page layout - 1:1
ratio JPEG, Week 8 (11/6/25).
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Instagram handle:
@brenfedya
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Figure 2.43: Instagram page screenshot, Week 8
(11/6/25).
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Figure 2.44: Task 2(B) PDF compilation, Week 8
(11/6/25).
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➼ Task 2:
Final Outcome Compilation
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Figure 2.45: Black wordmark on white background - JPEG, Week 8
(11/6/25).
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Figure 2.46: White wordmark on black background - JPEG, Week 8
(11/6/25).
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Figure 2.47: Color palette - JPEG, Week 8
(11/6/25).
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Figure 2.48: Wordmark in actual colors on lightest shade of color
palette - JPEG, Week 8 (11/6/25).
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Figure 2.49: Wordmark in lightest shade on color palette on darkest
shade of color palette - JPEG, Week 8 (11/6/25).
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Figure 2.50: Key artwork animation - GIF, Week 8 (11/6/25).
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Figure 2.51: Task 2(A) PDF compilation, Week 8 (11/6/25).
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Figure 2.52: Oversized t-shirt - JPEG, Week 8
(11/6/25).
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Figure 2.53: Socks - JPEG, Week 8 (11/6/25).
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Figure 2.54: Embroidered patch - JPEG, Week 8
(11/6/25).
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Figure 2.55: Layered fabric - JPEG, Week 8
(11/6/25).
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Figure 2.56: Self-portrait - JPEG, Week 8
(11/6/25).
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Figure 2.57: Patterns - JPEG, Week 8 (11/6/25).
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Figure 2.58: Instagram 9-page layout - 1:1 ratio JPEG,
Week 8 (11/6/25).
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Figure 2.59: Instagram page screenshot, Week 8 (11/6/25).
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Figure 2.60: Task 2(B) PDF compilation, Week 8 (11/6/25).
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III. FEEDBACKS
‣ Week 5
General Feedback :
• Associate more with positive traits, it is to suggest that vibe towards our
clients.
• Our personal preference can only be applied
to a certain extent. If we merge a literal element with our wordmark, it will
get misinterpreted easily.
• "You like x, why you like x?" have to think something like
that. It could be something is methaporically represented, it could be a
feeling.
• Things has to incorporate more about commercial value
rather than personal preferences, it is to market ourselves to clients..
• Wordmark should be uniquely presented, not something
generic because it needs to be easily recognizable.
• Use graphs when designing wordmark in illustrator.
• Look for things that are more timeless, trendy things
are too impermanent.
Specific Feedback :
•
Don't worry about color palettes first, the
mark is the most important in this week right now. Imagine your wordmark in
black and white.
•
Don't use non-original resemblance to a
wordmark, for example maple leaves are already associated with Canada, hence it
will cause misinterpretation.
•
Post-rationalization could work sometimes, producing artworks first than
rationalize it.
•
Stick more to
originality, don't find any other culture that you are not associated with.
Every person have their own history, stick more into that.
‣ Week 6
General Feedback :
•
Need 2 light shades, 2 middle shades
, and 1 dark shade for the color palette. Both of the middle shades needs to
be contrasting while also complement with each other.
• Remember to always use grids
when designing.
Specific Feedback :
•
Curved edges is not curved well. Try
using circles as a guide to create a more professional curve.
• Letter 'y' could be better if
it is mirrored from the 'd'. It will result in better consistency.
• Colors are dull, change
completely.
‣ Week 7
General Feedback :
• It takes time to think about
expansions from a wordmark.
•
Start finding ideas for the upcoming
final task.
• When doing animation for the
wordmark, don't be too ambitious. Something simple that will reflect the
wordmark's intention will do.
Specific Feedback :
•
Good to go, try to maintain the
same colors as consistent as possible throughout the posts on Instagram.
‣ Week 8
General Feedback :
•
When developing letterforms,
uppercase and lowercase has to be side by side in the same grid.
• Unicase fonts are also viable
to do.
Specific Feedback :
•
Animation and Instagram post
has no issues, good to go.
‣ Experience
This seems to be the most relevant task from my initial assumption of what
typography is. I loved how we got a task that is already related to the
branding industry—it automatically helps us build our identity, which is
essential for us as designers. Doing it truly feels exciting, as it feels
like we are working in the industry based on real-world practices already. I
hope in the future I can expand my work scope into something like this
again; it’s truly something that interests me a lot.
‣ Observations
I noticed that my work in this task felt a lot less pressured than in my
previous tasks. It’s probably because I enjoyed it very much while doing it
and didn’t feel forced, even though I really spent a lot of time on it.
Gladly, Mr. Vinod often gave me green lights during the feedback sessions,
easing my journey throughout the task.
Honestly, it's my first time having a Typography task so smooth-sailing for
myself, and I'm certainly grateful for it. One more task to go!
‣ Findings
I found that originality isn't something that always appear naturally from
inside ourselves—we look up for inspirations and the processes of other
people works, while also doing initial research, eventually we will get
ideations unique to ourselves that appear gradually without us realizing it,
in which is achieved by fusing knowledge we get from all of these
painstaking studies.
V. FURTHER READINGS
➼ Week 6
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Figure 5.1: Bubble Pop: A Playful Minimalist Typeface by Sue
Zhiun Bong, Week 6 (29/5/25).
Source:
Kreatif Beats
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Grids are definitely very important when designing any
letterforms—rather than complicate it, it makes us significantly easier to
keep track of the letters that we are designing, keeping it consistent and
helping it act cohesively with the other letters that are already created.
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Figure 5.2: Creating a Mayan-Inspired Font by Yu Tian Teu, Week 6
(29/5/25).
Source: Kreatif Beats
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Kreatif Beats articles hooked me up a lot lately, probably it's
because I could get a lot of relevant inspiration by seeing my senior works
here. This one in particular also take aspects of culture, specifically the
Mayan culture in creating the font, and I'm amazed by the amount of rigorous
effort this student went through. It reminds me that great efforts in doing
anything will eventually produce great results. The finalized letterforms
are really intriguing to see, it's in a different level compared to how me
and my current peers are doing—the amount of details, the minor technical
considerations made through trial and errors truly paid off at the end.
Your attention is valued, thank you for reading until the end!
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