BRAND CORPORATE IDENTITY

23/04/2025 - 26/07/2025
Week 01 - Week 14
Adrianna Sofea Mohd Fauzi (0350661)
Bachelor of Design (Hons) in Creative Media
Brand Corporate Identity

1. Task 1
2. Task 2A
3. Task 2B
4. Task 3
5. Task 4
6. Feedback
7. Reflection

Instructions

Lecture 01

An integral part of graphic design as it focuses on the visual integrity of a brand. It about designing an identity and plays an important role in society, business and marketing. It represents a larger entity that has the opportunity to grow into a multinational company.

A symbol is a mark, sign or word that indicates, signifies or is understood as representing an idea, object or relationship. It then goes on to become a brand identity.

Lecture 02

Brand and Branding

Branding is often misunderstood. There are varying opinions on its definitions.

The term “brand” originates from the Norse word “brander,” historically used for marking livestock to indicate ownership.
Branding has evolved from livestock traditions to cultural expressions by artisans and organizations, symbolizing ownership and quality.
Historical methods of branding, including livestock branding and the branding of slaves, illustrate the darker aspects of this practice.
Branding today involves ownership of values, trustworthiness, and emotional connections with consumers, beyond a mere visual identity.

Understanding the Concept of Brand

The concept of a brand extends far beyond mere logos or visual identities. it encapsulates the emotional and psychological perceptions that individuals associate with a product, service or a company. According to Martin Neumeier, a brand is fundamentally a person's gut feeling about a product or service, shaped by societal perceptions rather than the company's internal vision. This understanding of branding emphasizes the collective emotional response shared by consumers.

Key Elements of a Brand:

Emotional Resonance: A brand is built on the emotional connections it fosters with its audience. This emotional response can vary widely among individuals but is crucial for brand loyalty.
Reputation and Perception: The way a brand is perceived in the marketplace is influenced by its reputation, which is shaped by consumer experiences, marketing efforts, and societal narratives.
Collective Understanding: A brand is not merely what a company claims it to be; it is shaped by the perceptions and experiences of the public. For example, the mention of "Apple" conjures specific associations and imagery, demonstrating strong brand ownership.

The difference between Brand and Brand Identity

Brand: Refers to the overall perception and emotional response associated with a product or service.
Brand Identity: This encompasses the visual and messaging elements that a company creates to portray its desired image. It includes aspects like logos, color schemes, and typography, which help manage the gut feelings associated with the brand.

What is the Role of Branding?

Branding is the active process of shaping and defining a brand in the minds of consumers. It involves:

Creating Meaning: Companies aim to give meaning to their products and services, helping consumers quickly identify and choose them over competitors.
Building Credibility: A strong brand instills trust and confidence, making consumers more likely to choose branded products over unbranded ones.
Fostering Loyalty: Effective branding can lead to customer loyalty, as consumers are more likely to return to brands that fulfill their promises.
Consistency: A consistent brand image across all platforms and communications enhances recognition and trust.

The Benefits of Branding

Market Differentiation: In a saturated market, a strong brand helps a company stand out and attract attention.
Increased Value: As a brand becomes more visible and trusted, its perceived value increases, allowing companies to charge premium prices.
Easier Product Launches: Established brands find it easier to introduce new products, as consumers are already familiar with and trust the brand.
Clear Direction: Branding provides a strategic framework for companies, guiding their marketing and operational decisions.

Brand Identity vs. Brand Image

Brand identity includes all elements crafted by a company to convey the desired image, such as visual identity and messaging.
Brand image refers to how the brand is perceived by consumers, which may differ from the intended brand identity.
Branding is an active process aimed at shaping perceptions and associations within consumers' minds.

Effective Branding Strategies

Branding helps distinguish a company in crowded markets and builds credibility among consumers.
Effective branding can result in customer loyalty and repeat business, provided the brand lives up to its promises.
Branding promotes consistency, helps attract ideal clients, and is essential for efficient communication and marketing.
Established brands can more easily launch new products, as familiarity and trust aid in market acceptance.

Designer’s Role in Branding

Designers play a crucial role in branding, contributing to visual identity creation and ensuring message consistency.
Effective design programs facilitate cohesive branding across all platforms and products.
Designers must conduct thorough research to understand history, values, and targeted demographics before developing brand visuals.
A strong visual identity boosts confidence, market share, and audience loyalty.

The Cycle in Branding

Branding can transform a business by creating momentum through differentiation, collaboration, innovation, validation, and cultivation.
This cyclical process promotes continuous improvement and higher brand value over time.
Branding avoids the pitfalls of commoditization, allowing companies to sustain competitive advantages and maintain profitability.
The book “Brand Gap” by Martin Neumeier is recommended for a deeper understanding of branding concepts.

Task 1: Breaking Brand

Research on Uniqlo.

Summary Description

Brand Overview:

UNIQLO is a globally recognized Japanese fast-fashion brand, renowned for its high-quality, functional, and minimalist casual wear.
Originally established in 1949 as a textile business by Tadashi Yanai, the company evolved into a major fashion retailer.
The name “UNIQLO” is a result of a misspelling. Initially called “Unique Clothing Warehouse,” the team shortened it to “Uniclo.” However, during company registration in Hong Kong, a clerical error led to the adoption of the current name with a “Q.” Rather than correcting it, the brand retained the name, which later became a distinctive identity element and an accidental branding advantage.

2. Target Audience

Demographics:

Age range: 18–45 years old.
Gender: Inclusive of men, women, children, and elderly populations.
Primary audience: Students, young professionals, families, and practical fashion consumers.

Psychographics:

UNIQLO appeals to pragmatic, value-driven individuals who prioritize functionality, comfort, and longevity over fashion trends.
The brand caters to those who favor activewear, minimalistic aesthetics, and essential wardrobe pieces.

Geographics:

UNIQLO maintains a robust international presence, with flagship stores in Asia, Europe, and North America.
Its global footprint is indicative of its adaptability to local cultures while maintaining global consistency.

3. The Offer: Products and Pricing

Product Range:

UNIQLO’s product line includes tops, bottoms, dresses, outerwear, innerwear, and accessories.
It is especially recognized in markets like Malaysia for its T-shirts and technologically advanced innerwear.

Pricing Strategy:

The brand employs a value-based pricing model, offering premium-quality apparel at accessible, mid-range prices.
This strategic positioning enables broad market reach and promotes customer perception of quality affordability.

4. Unique Benefits and Technologies

Product Innovation:

Proprietary technologies such as HEATTECH (heat-retention) and AIRism (moisture-wicking and breathable) are developed in-house.
These innovations position UNIQLO as a leader in functional apparel, differentiating the brand from traditional fast fashion.

Design Philosophy:

Emphasis on simplicity, durability, and timeless appeal ensures product longevity and everyday wearability.
UNIQLO’s clothing avoids transient trends, focusing instead on essential, seasonless pieces.

5. Retailers’ Perspective

Retailers are attracted to UNIQLO for several reasons:

Operational Efficiency:
Long-term partnerships with manufacturers like Toray Industries enhance supply chain reliability, fabric innovation, and production scalability.
Sustainability Commitments: UNIQLO invests in sustainable practices, including RE.UNIQLO, a garment recycling program, and responsible sourcing efforts that prioritize ethical production and reduced environmental impact.
Brand Loyalty:
High customer retention stems from consistent product quality and reliable everyday functionality.
Flagship Strategy: Strategically located flagship stores in major cities bolster visibility, encourage brand discovery, and deliver immersive brand experiences.

6. Customers’ Perspective

Customer Motivations:

Consumers are drawn to UNIQLO for its minimalist, versatile design, which suits daily wear and a wide array of occasions.
The brand’s LifeWear philosophy—clothing designed to improve life—resonates with consumers seeking purposeful and high-performing apparel.

In-Store Technology:

RFID-enabled self-checkout systems offer a seamless retail experience by eliminating traditional scanning methods, reducing wait times, and enhancing convenience.
This reflects UNIQLO’s commitment to innovation in customer service and operational efficiency.

7. Why UNIQLO Over Competitors?

Timeless Appeal: UNIQLO avoids seasonal trends, offering longevity and practicality.
Material Excellence: Prioritization of high-quality materials across all price points.
Cultural Integration: Local collaborations enhance cultural relevance and foster emotional connections with regional markets (e.g., Hana Tajima collection in Malaysia).
Mid-Range Affordability: Unique positioning as a premium brand at accessible prices creates value differentiation.

8. Market Positioning

Strategic Positioning:

Global-For-Local Strategy: Tailors product lines and design to cultural and climate contexts while maintaining brand consistency.
Example: The Hana Tajima collection addresses modest fashion sensibilities, especially within Southeast Asian markets.

Inclusive Philosophy:

Clothing is designed to be gender-neutral, age-inclusive, and functional across diverse body types and cultural backgrounds.

Functional over Trend-Based:

UNIQLO favors long-lasting, essential wardrobe items over short-lived fashion fads, reinforcing the brand’s sustainability and practicality ethos.

9. Competitive Landscape

Comparison with Competitors:

Brand	Strengths	Weaknesses
ZARA	High quality, low price	Trend-heavy, focus on specific style and tone, less timeless
Forever 21	Low pricing	Poor quality, unsustainable
Urban Outfitters	Trendy, lifestyle-driven	High pricing, inconsistent quality
MUJI	Premium quality	Higher pricing, maxi minimalist/lack of style

10. Unique Selling Proposition (USP)

High-Tech Fabric Innovations (e.g., HEATTECH, AIRism).
Timeless Minimalist Design that transcends trends.
Affordable Pricing Without Compromising on Quality.

11. Founder Profile

Tadashi Yanai is the founder, chairman, and largest shareholder of Fast Retailing, the parent company of UNIQLO. He was born in 1949 in Ube, Yamaguchi Prefecture, Japan.
He started his career in his father’s roadside tailoring shop, which he later transformed into a retail empire, now known as UNIQLO.
Yanai is known for his consumer-focused philosophy, emphasizing quality, innovation, and practical design over fleeting fashion trends.
The company headquarters is based in Tokyo, Japan.

Shareholders:

Tadashi Yanai and his family collectively own approximately 44% of Fast Retailing Co., Ltd. This makes him not only the richest man in Japan but also grants the Yanai family significant influence over the company’s direction and long-term vision.

The family’s large shareholding supports long-term decision-making rather than short-term profit motives, which aligns with UNIQLO’s methodical, quality-driven approach to product development and global expansion.

12. Logo Evolution

1984–2009: Two abstract human figures symbolizing unity and everyday simplicity.
2010–Present: Bold, red square wordmark representing technological advancement and global ambition. Reflects the transition to a global, functional brand identity.

13. Color-Coded Communication Strategy

UNIQLO utilizes color-coded visual systems to communicate fabric function:

HEATTECH: Warm hues indicating thermal features.
AIRism: Cool tones signifying breathability and moisture control.

This design system enhances product transparency and aids consumer decision-making.

14. UT Collection: Art as Fashion

The UT Collection transforms T-shirts into “canvases” for global pop culture, art, and design.
Collaborations with artists, brands, and franchises foster emotional resonance and increase brand relevancy beyond apparel.

15. Competitive Differentiation from H&M

UNIQLO operates within the competitive fast fashion and apparel retail market, where it is often compared to major global brands such as ZARA and H&M. However, the core strategies and brand philosophies of these companies differ significantly. ZARA, owned by the Spanish group Inditex, is known for its rapid fashion cycles and ability to deliver the latest runway-inspired trends to stores within weeks. It thrives on a highly responsive supply chain, constantly updating its inventory based on customer demand and fashion movements.

H&M, on the other hand, offers affordable trend-based clothing and appeals largely to a younger demographic seeking stylish yet budget-friendly options. Unlike ZARA and H&M, UNIQLO positions itself not as a fast fashion brand, but as a “lifewear” provider. The focus is not on chasing trends, but on creating high-quality, timeless basics with innovative fabric technology and versatile designs that support everyday life. This unique positioning allows UNIQLO to compete on quality and functionality rather than speed or trendiness, setting it apart in the global apparel market.

16. Pricing and Distribution Strategy

Pricing:

Positioned as mid-range, emphasizing value-based pricing aligned with material quality and functionality.

Distribution:

E-Commerce platforms.
Brick-and-Mortar stores, including flagship outlets.
Global Supply Chain designed for scalability and regional responsiveness.

17. Positioning Statement

“UNIQLO positions itself as a brand rooted in inclusivity and global unity, delivering high-quality, essential apparel through its ‘Global for Local’ strategy—tailored to local culture, climate, and consumer needs, while consistently upholding its values of innovation, simplicity, and functionality.”

18. Brand Voice

Sustainable in practices and product design.
Confident in innovation and global relevance.
Inclusive in audience and design approach.

19. Communication Strategy

Brand Ambassadors: Collaboration with global icons (e.g., golfer Adam Scott) enhances international credibility.
Creative Campaigns - Uniqlock (2007): A choreographed fashion campaign that amassed over 68 million views across 209 countries, showcasing UNIQLO’s innovative brand storytelling.
Retail Design:
Minimalist interior layouts, open aisles, soft ambient music, and consistent branding elements reflect LifeWear values—simplicity, comfort, clarity.

So, Why UNIQLO?

UNIQLO is an example of how functionality, innovation, and simplicity can merge to form a trusted, globally beloved fashion brand. Its commitment to quality, cultural sensitivity, and consumer-centric innovation sets it apart in a saturated market, making it not only a fashion retailer but a lifestyle partner for everyday life.

Final Presentation Slides

Task 2A

Lecture 03

Type and Mark

Each type of mark serves a distinct purpose in shaping a brand's identity and should be selected based on what most effectively reflects the company’s image and core values.

Common terms used to describe symbolic marks include:

Logo
Monogram
Heraldry
Mark
Letter
Hieroglyph
Ideogram
Token
Badge
Stamp
Trademark

Logo: A graphic representation or symbol of a company name, trademark, or abbreviation, often uniquely designed for ready recognition.
Monogram: A motif made by overlapping or combining two or more letters or other graphemes to form one symbol, commonly used as a recognisable emblem.
Heraldry: A system by which coats of arms and other bearings are devised, described, and regulated. Often used to create symbols with historical significance.
Mark: A broad term referring to any sign, symbol, or logo that distinguishes a product or brand in the marketplace.
Letter: A single character from an alphabet used in logos or monograms, often stylized to represent a brand.
Hieroglyph: A character of the ancient Egyptian writing system. In modern usage, it can refer to any pictographic writing symbol.
Ideogram: A written character symbolizing the idea of a thing without indicating the sounds used to say it, such as numerals or Chinese characters.
Token: A symbol or sign used to represent a brand or concept, often used in the context of authenticity or validation.
Badge/Emblem: A distinctive emblem worn as a mark of office, membership, achievement, or as a brand symbol.
Stamp: An official mark or seal indicating authenticity or approval, often used in branding to signify a guarantee or certification.
Trademark: A symbol, word, or words legally registered or established by use as representing a company or product.

These terms encompass a range of symbolic marks commonly used in branding, each serving a unique function in conveying a brand’s message, personality, and positioning. These marks differ in form, such as icons, emblems, and abstract symbols, and each carries its own set of connotations that influence how a brand is perceived. Some may communicate tradition and heritage, while others suggest creative playfulness, or minimalism. Understanding these distinctions allows brands to choose the most effective visual representation to align with their target audience, values and brand strategy.

Lecture 04

A brand ideal represents a higher purpose for a brand or organization that extends beyond the products and services they offer. It is the inspirational reason for the brand's existence and serves as a larger goal. The most effective leadership team operates with a shared intention, as this unity is essential for connecting with the target market. An ideal is an ongoing process.

Brand values foster genuine engagement and guide a brand toward achieving better status with consumers. These values act as a "true north," steering the brand toward market success. Therefore, they should be consistently maintained and followed. Effective brand values resonate with consumers' ideologies while aligning with the brand's passions.

"A brand ideal is a higher purpose of a brand or organisation that goes beyond the products or services they sell."

Every brand's ideal is based on its principles. Values are regarded as a brand's cornerstone. It makes it possible for the brand to achieve its goals.

Some examples of ideals include:

Vision: Having a vision takes courage and the ability to think creatively. It's not enough to just have ideas; action must follow. A clear vision is crucial for defining a brand's identity.

Meaning: Develops over time and isn't usually immediate. Designers need to visually translate this meaning so it can be easily understood and communicated.

Authenticity: Involves knowing a brand's identity, strengths, and expression. Authentic brands are trusted by customers because they feel genuine and reliable.
Differentiation: Brands constantly compete for consumers' attention and loyalty. It's important not just to be different, but to stand out significantly from the competition.
Sustainability: Maintaining longevity in a constantly changing environment, adapting to future changes that can't be predicted.
Coherence: A brand should feel familiar to consumers, which helps build trust, loyalty, and satisfaction.
Flexibility: An effective brand identity allows a company to adapt and grow with inevitable changes.
Commitment: Everyone interacting with the brand should be fully motivated and dedicated to its success.
Value: The brand's outcomes must support its sustainability. A brand is an intangible asset that holds significant value.

Lecture 05

Brand positioning involves placing a brand in the minds of consumers, often referred to as positioning strategy, brand strategy, or brand positioning statement. While some argue that strategy refers to a long-term plan that influences a brand's positioning, the essence remains the same.

Strategies for Effective Brand Positioning:

Compete Directly with Market Leaders: Aim to outperform the leading brands by excelling in their domain. This is viable in markets without a clear leader but requires substantial time and resources. An example is the rivalry between Pepsi and Coke.
Target a Niche Market: Focus on a specific segment within a larger market that is underserved. Catering to these unmet needs can create a strong position.
Reframe the Market: Use new terminology to make competitors' highlighted benefits seem irrelevant or dull. This approach works best for innovative products or services.
Be a Market Disruptor: Introduce a completely new market category. Examples include Uber and Xerox. The challenge here is that competitors might quickly copy the idea before the brand is firmly established.

To create a successful positioning strategy, a brand's uniqueness must be identified. Some questions that can be asked include:

Who are you?
What do you do?
Why does it matter?

Steps to Clarify Brand Positioning:

Assess Current Positioning: Understand how the brand is currently perceived.
Identify Competitors: Recognize the direct competitors in the market.
Analyze Competitor Positioning: Determine how each competitor positions their brand.
Find Your Uniqueness: Compare the brand’s positioning with competitors to find what makes it unique.
Develop a Unique Value Proposition: Create a distinct and value-based positioning idea.
Create a Positioning Statement: Craft a clear brand positioning statement.
Test the Positioning Statement: Evaluate the effectiveness of the brand positioning statement.

Essential Elements of a Positioning Statement:

Target Consumer: Define the key characteristics and demographics of the target market.
Market Definition: Identify the category your brand competes in and its relevance to consumers.
Brand Promise: Highlight the most compelling benefit your brand offers compared to the competition.
Reason to Believe: Provide strong evidence that your brand delivers on its promise.

Task 2 (A): Logo Research & Analysis

For Task 2, we were assigned to find and do an analysis on 28 existing Logos/Brands. Here are the Logos/Brands I have chosen for this analysis:

Adobe Illustrator
Duolingo
DogCat App
Spotify
Procreate
Inside scoop
Chagee
Rakuzen
Tony Roma
Krispy Kreme
Jaya Grocer
Mydin
Qra
Village Grocer
Aeon
JD Sports
Birkenstock
Charles and Keith
Clarks
Foot Locker
Fila
Decathlon
Puma
Zara
Muji
Pull and Bear
Lovisa
H&M

Task 2A: 28 logos by adrianna sofea

Task 2 (B): Branding and Logo Design

Career/Business Overview
1. Clothing Line: Adyanna
A casual wear brand that offers everyday clothing made from high-quality, breathable materials like linen. Adyanna focuses on lightweight, cooling fabrics that are perfect for Malaysia’s tropical climate. The designs are relaxed yet refined—ideal for individuals who prioritize comfort, sustainability, and skin-friendly fashion.
2. Collectibles Line: Nyonya Bulan
A culturally inspired blind box series featuring unique Nyonya figurines. Each box includes a mystery figure and a miniature playset that tells a story rooted in Melaka’s heritage. Nyonya Bulan targets both collectors and tourists looking for meaningful, story-rich souvenirs.
3. F&B Line: 2 Messy Bakers
An artisanal cookie brand crafted for dessert lovers and foodies. 2 Messy Bakers specializes in curating unexpected, indulgent flavor combinations—celebrating the joy of dessert without worrying about perfection. Think messy, bold, and deliciously unforgettable.
Service Descriptions
Adyanna (Clothing Line)
Provides breathable, stylish, and eczema-friendly clothing made from organic, natural fibers. Prioritizes comfort and skin sensitivity, offering everyday basics that suit Malaysia’s heat and humidity.

Nyonya Bulan (Collectibles Line)
Offers intricately designed blind box collectibles inspired by Peranakan culture. Each figurine is paired with a mini playset, encouraging exploration through storytelling and cultural education. Ideal as souvenirs and for collectors.

2 Messy Bakers (F&B Line)
Offers unique, handcrafted cookies designed for sweet tooths and adventurous palates. Focused on flavor innovation, fusing local and global taste inspirations for a one-of-a-kind dessert experience.

What Makes Us Different?
Adyanna:
Uses organic materials that are gentle on sensitive skin—free from harsh chemicals and safe for those with eczema. The garments are designed to be both breathable and stylish for hot climates.

Nyonya Bulan:
Each collectible is not just a figurine but a cultural artifact—packaged with a narrative-driven mini playset that brings heritage to life. A fusion of play, art, and history.

2 Messy Bakers:
Flavors are our signature—imagine cookies with twists like gula melaka & sea salt or earl grey & lemon zest. It’s not just dessert; it’s an adventure in every bite.

Target Audience
Adyanna:
Malaysians, eco-conscious consumers, individuals with sensitive skin, and those who value high-quality, sustainable fashion.

Nyonya Bulan:
Figurine collectors, cultural enthusiasts, tourists, and anyone who appreciates local stories and unique design.

2 Messy Bakers:
Dessert lovers, foodies, young adults, and anyone looking for premium, flavorful treats that are a bit messy but irresistibly good.

Brand Names & Rationales
Adyanna:
A name that feels personal, elegant, and luminous—suggestive of a designer label with heart and soul.

Nyonya Bulan:
"Bulan" (moon) symbolizes grace, femininity, and tradition. Paired with "Nyonya," it grounds the brand in Peranakan heritage while remaining charming and easy to remember.

2 Messy Bakers:
Reflects the playful spirit of two bakers embracing the beautiful mess of baking. “Messy” conveys the imperfect joy and indulgent nature of handmade desserts.

Chosen Brand

I chose to continue developing Nyonya Bulan, the collectible blind box series, as it presented an opportunity to refine and restructure its branding. During Major Project 1, the brand lacked a cohesive identity system, largely because my limited understanding of creating a structured brand profile and guidelines at the time. With Task 2B, I now have the chance to revisit and elevate the brand.

Revisiting Logo Construction

Fig 1.1 Logo Exploration

When I went back to my logo exploration, I decided to go with the second one from the left on the bottom row. After looking at signboards, kopitiam shops, and local boutiques in Melaka, I noticed they often use bold serif fonts and hand-painted styles with thick strokes, sometimes with drop shadows or outlines. This version felt closest to that look. The structure of the logo also reminded me of Peranakan buildings, especially the way columns are spaced out on their facades, like the sketch above, second row, third from the left.

Fig 1.2 Logo Revised Attempt

I wanted to explore ways to make the logo more visually interesting, so I experimented using elements from the earlier patterns I created, and even tried incorporating the Nyonya Bulan figure’s head. At first, I thought it could work, but in the end, it felt like too much. The extra elements didn’t add value and started to feel unnecessary. So I decided to scrap that idea and keep the logo as it is. Sometimes, simple really is better and there’s no need to overthink it.

Fig 1.3 Initial Color of Nyonya Bulan

Fig 1. 4 Color Exploration

One thing I knew I wanted to change was the logo color. In Fig 1.3, the original shade was nice and subtle, but it just didn’t leave a strong impression and that didn’t feel right for the brand. I wanted a blue that could really speak for Nyonya Bulan something bolder and more noticeable, even from afar. So I went back to the Pantone catalogue and started exploring different shades of blue, turquoise, and green to find the right one that could carry the brand’s identity.

Fig 1.5 Nyonya Bulan Logo's

The final blue I chose was #00A8B8. It felt fresh, clear, and had just the right amount of contrast to make the logo stand out. I kept the cream and the original blue as accent colors, mainly for the stroke and border when the frame is used. But for the main logo, this new blue takes the lead. It brings more energy and better reflects the personality of the brand.

Rationale Behind the Logo

Nyonya Bulan is a brand dedicated to preserving and celebrating Peranakan culture through designed collectible figurines and cultural souvenirs. Our brand identity is built on the the art of storytelling, historical depth, and joy. The "NYONYA BULAN" logo, set in a classic serif typeface, subtly mimics the architectural strength and structure of traditional Peranakan houses with its sturdy and balance x-height, and stroke weight, along with the structural serif stem. This choice of typography visually communicates femininity, cultural pride, and grace of Peranakan women.

The logo's surrounding decorative frame, resembling an old-style signage or traditional kuih containers, reinforces our brand's embrace of nostalgia and heritage. The timeless and bold character of the "NYONYA BULAN" serif is complemented by the handwritten feel of "est 2025," signifying our establishment year.

The name "Bulan," meaning "moon," instilled the brand with wonder, mystery, and curiosity. Our color scheme, a teal blue earth tone drawn from the rich hues of Peranakan heritage ceramics and vintage textiles, alongside a cream color, which is visually appealing.

Final Submission Task 2B

Consultation Feesback

After a consultation with my lecturer, Ms. Vityaa, she suggested that I explore a parent company for Nyonya Bulan. It was a good direction, but it also meant I now had to develop two brands instead of one. So, I had to move quickly and start curating a new brand to support it.

Progression of the Parent Company

Fig 1.6 Logo Names Exploration and Typeface

To start, I was torn between the names Seni Studio and Seni Seribu. But I was sure of one thing, I wanted the word “seni” (art) to be part of the name. I began exploring with the same typeface as Nyonya Bulan to keep some visual connection between the two brands. But at the same time, I felt the parent brand needed to feel a bit more fun and flexible, something that could carry the spirit of “seni” with more character.

Fig 1.7 Chosen Name and Typeface

I eventually found the right typeface for the brand, Noto Serif Display in SemiCondensed Black. I made a few adjustments to give it a more custom feel: tweaking the height, tightening the spacing, and slightly connecting the letters “i” and “b” to add a subtle touch.

Fig 1.8 Logomark Exploration

Fig1.9 Logomark Draft 1

I had the idea that it would be nice to create a logomark for the brand. I started by experimenting with the letter “S” to see what I could shape from it and how it could represent the brand in a simple but meaningful way.

Fig 2.1 Logomark Draft 2

The logomark was built by combining the letter “S” with a star element. I wanted the form to feel simple yet symbolic, something that hints at creativity, and a spark of inspiration within the brand.

Fig 2.2 Reference: Recycle symbol

Fig 2.3 Logomark Progression

Fig 2.2 Logomark Construction

To refine the logomark, I focused on achieving better balance and flow using geometric guides. I started with the original “S” and restructured it using circular forms to unify the top and bottom curves. The original shape had uneven proportions, so aligning it within a circular grid helped create a more consistent silhouette.

Fig 2.3 Logotype Construction

Fig 2.4 Logomark and Logotype Placement

I then introduced the star element, positioned at the upper left, that reflects creativity and the idea of a guiding light or spark. This same star is echoed in the wordmark, replacing the dot above the “i” to tie the two systems together. The overall structure is designed to feel intentional and well-weighted, while still staying playful and distinctive.

Fig 2.5 Logomark and Logotype Revised

The oval was added to create a more unified and balanced form, it helps to tie the curves together and gives the logomark a clear, contained structure. The shape was inspired by the recycle symbol, carrying the idea of flow, renewal, and continuity. This logomark represents transformation, a kind of rebirth. It reflects the brand’s mission to revive old, often forgotten motifs and give them a new life, reimagined through a modern lens. It’s to say that it carries a cultural memory forward, but in a way that feels fresh and relevant for today’s generation.

Brand Color Exploration

Fig 2.6 Mini Moodboard

Fig 2.7 First Draft Color

Next, when searching for the right colors for the brand, I explored different combinations and mixes. I knew from the start that I wanted the brand to embrace a wide range of colors to reflect creative freedom. It was important that the palette felt open, expressive, and flexible, something that could grow with the brand, however the color in fig (above) did not give that impression.

Brand Typeface Exploration

Fig 2.8 Chosen Brand Typeface Usage

While working on the logo construction and color palette, I was also on the lookout for a typeface that could work across the brand. That’s when I came across Effra, a clean, modern sans serif. As soon as I saw it, I knew it was the right fit. It had the clarity and simplicity the brand needed, and it balanced out the more expressive elements like the logo and colors.

First Draft of Logo Construction

Second Attempt of Logo Construction

Fig 2.9 Moodboard

I came across MoMA’s branding and was really inspired by how they use color. The wide, vibrant palette brought a sense of energy and creative freedom that really stood out to me. Other than that, I also found other inspiration from the use of transparency effect. What caught my eye even more was the use of overlapping colors with transparency, it created this playful layering effect that still felt clean and intentional. That level of flexibility and fun is exactly what I wanted to bring into my own brand.

Fig 3.0 Applied Transparency Effect on Logo

Fig 3.1 Logotype Revised Attempts and Exploration

I used the same logo from my first attempt, but this time I applied the transparency effect inspired by the reference earlier. I started experimenting with the placement and overlapping of each letter to see how they interacted with one another. It was all about finding the right balance, where the layers felt playful but still clear.

Fig 3.2 Chosen Logotype

I decided to go with the version where each letter touches and overlaps slightly, this gave the logo a more connected and cohesive feel. It’s the bottom right option from Fig 3.1. The placement felt balanced, and the transparency effect added a nice layer of depth without making it too busy.

Fig 3.3 Further Refinement of Logotype on Letter "N"

To add more playfulness to the wordmark, I drew a curve on the letter “n” using a pen, just to see how a small tweak could make it feel more unique. At first (top row), the curve was too high and ended up looking more like an “h,” which wasn’t what I wanted. So I adjusted the height, bringing it down just enough for it to still read clearly as an “n,” while keeping that subtle, custom touch. It was a small change, but it added personality to the logo without overcomplicating it.

Fig 3.4 Balancing Logotype Construction

Fig 3.5 Color Moodboard

Fig 3.6 Logo Color Exploration

I started exploring color options for the logo based on the reference shown in the figure. The goal was to keep the palette fun, lively, and full of energy, something that reflects the playful spirit of the brand. I wanted the colors to feel bold but still work well together when layered or overlapped, similar to the inspiration earlier.

Fig 3.7 Adding Gradient Into the Pallete (Color Exploration)

I also wanted to include a gradient in one of the letters on purpose. Since the brand carries the word “seni” (art), I felt it made sense to reflect that through a touch of expressive color. The gradient adds a bit of movement and creativity to the logo, making it feel more like a living, artistic piece rather than something static.

Consultation Feedback

After a consultation with my lecturer, Ms. Vityaa, she suggested avoiding the use of repeated colors across the letters. Instead, she recommended using a wider variation to make the logo feel more dynamic and expressive. This advice helped push the direction further, allowing each letter to stand on its own while still working together as a whole.

Fig 3.8 Color Exploration Progression

Fig 3.9 Logo Color

After testing the logo colors, I noticed that the yellow on the letter “s” appeared too light and didn’t hold up well visually, it lacked contrast and impact. Because of that, I decided to revise the color to make sure it stood out better and stayed consistent with the rest of the vibrant palette.

Fig 4.1 Final Logo Color

The yellow on the letter “s” was replaced with a light green/lime tone to improve contrast and visibility. While not every letter uses a completely different color, the use of gradients blends colors from surrounding letters, creating a more cohesive and connected feel. This layered approach gives the logo a sense of harmony, which aligns with the direction I’m aiming for, which is playful, expressive, but still unified as one identity.

Logo Variation Testing

Fig 4.2 Logo Variation Exploration

Fig 4.3 Logo Variation Attempt (Horizontal)

Cream Color Transparency

Fig 4.4 Logo Color in Cream/White

Logomark Variation Colors

Fig 4.5 Logomark Approved Colors

The logomark can show up in different brand-approved colors when it’s used on its own because I wanted to keep things flexible, especially for stuff like merch, icons, or socials. But when it’s used together with the logotype, the logomark has to stay in its main color. That way, there’s still room to play around creatively without messing with how people recognize the brand when the full logo is shown.

Logo Variation

Fig 4.6 Logo Variation

The full logo meaning the logomark and logotype together, can only appear in these approved variations. The layout, spacing, and placement can’t be changed, even if there’s a need to adjust for more vertical or horizontal space. This is to keep everything consistent and recognisable. But if more flexibility is needed, the logomark can be used on its own,just make sure it follows the approved color variations.

Logo Nyonya Bulan Typeface

Fig 4.7 Bantayog Font

Fig 4.8 Noto Serif Display Font

I changed the strapline font from Bantayog to a different typeface after getting feedback from my lecturer. She pointed out that it’s better to use a font with a complete family for consistency and flexibility—especially when the brand expands into different formats. Bantayog had limited styles, so switching to a more versatile typeface made more sense for the long run.

Fig 4.9 Updated Typeface

Fig 5.1 Updated Typeface

Nyonya Bulan Animation GIF

Fig 5.2 GIF Animation Progress Brand Guidelines in PNG (Week 6)

Logo in Black and White
Fig 5.3
Logo in Reverse

Fig 5.4 Logo in Colour

Fig 5.5 Logo Space Rationalisation

Fig 5.6

Logo Clearspace

Fig 5.7 Logo with Rationale

Fig 5.8 Logo Minimum Size

Fig 5.9 Brand Colours

Fig 6.1

Brand Typeface

Fig 6.2

Fig 6.3
___________________________________________________________________________ Logo in Black and White

Fig 6.4

Logo in Reverse

Fig 6.5 Logo in Colour

Fig 6.6 Logo Space Rationalisation

Fig 6.7

Logo Clearspace

Fig 6.8 Logo with Rationale

Fig 6.9 Logo Minimum Size

Fig 7.1 Brand Colours

Fig 7.2

Brand Typeface

Fig 7.3

Fig 7.4
Brand Patterns
Fig 7.5

Fig 7.6

_________________________________________________________________________

Revised Final Submission Task 2 (Week 6)

Final Submission Task 2 (GIF)

Additional Seni Seribu Brand Guidelines (Week 10)

Initially, we were to include only the basic brand guidelines. The first set was developed based on these mandatory requirements outlined in the assignment brief. However, as I continued working on Task 3 and refining the overall structure, I expanded the content by adding more detailed rationales for each component and a few additional sections to enhance clarity and consistency.

Original required guidelines:

Logo in black and white
Logo in reverse
Logo in colour
Logo clear space
Logo with rationale
Logo minimum size
Brand primary and secondary colours
Brand typeface
Brand patterns

Newly added sections:

Logo do’s
Logo don’ts
Logo grid construction
Logo variations
Typeface usage
Text placements

These additions were included to provide more practical direction for brand application and to align the guideline with professional standards.

Seni Seribu Guidelines Structure | Logo in Black and White and Logo in Reverse with Rationale

Fig 7.7
Logo Construction Grid with Rationale

Fig 7.8
Logo Dont's with Rationale

Fig 7.9

Logo Do's with Rationale

Fig 8.1

Logo Variation with Rationale

Fig 8.2

Logo Variation with Rationale

Fig 8.3

Text Placements with Rationale

Fig 8.4

Typography System with Rationale

Fig 8.5

Brand Colours with Rationale

Fig 8.6

Logo Minimum Size with Rationale

Fig 8.7

Logo Clearspace with Rationale

Fig 8.8

Task 3

Applications Moodboard

Task 3: Applications and Collaterals

Brand Profile for Seni Seribu

Brand Story
Mission and Vision
Brand Values
Target Audience
Unique Selling Point
Brand Personality
Brand Positioning Statement

Brand Story:

Seni Seribu began from a deeply personal dream to hold on to the parts of culture that fade without realizing. The textures, the colors, the stories that we grew up surrounded by were so normal, we barely acknowledged them. But, as time went on, we recognized how meaningful they were. How they made us who we are. This brand is not about perfect, or big, or even trend-worthy. This brand is about remembering. About looking at the familiar with care and curiosity. The kind of curiosity that has you asking where something comes from, who made it, or why it matters. Each item that we produce is a tiny effort to keep these stories alive. Not in a loud way but with genuine honesty, In a way that feels warm, intentional, and connected. Because even if it is just a single person stopping to look closer, or finding something familiar in a pattern that is enough. That is why we are here. Our very first series, Nyonya Bulan, is a love letter to the flavours, textures, and traditions of Malaysian childhood, seen through the lens of Peranakan heritage — a small start to what we hope will be a thousand stories told.

Mission and Vision:

Mission - To showcase and preserve Malaysia’s diverse cultural heritage to the world by transforming its storiesand traditions into engaging, collectible blind box series that inspire curiosity and pride.

Vision - To become a leading cultural lifestyle brand that brings Malaysian cultures and traditions to a global audience through innovative and exciting products

Brand Values:

Emotional Connection: The kind of connection that enables familiar feelings. We believe design can hold memories, create recognition, and illuminate parts of ourselves that we didn't realize we needed to see.
Artistic: Design is our language. We create pieces that feel like art, thoughtful, expressive, and made to be felt, not just seen.
Cultural Rooted: We bring back what’s been overlooked, forgotten art, things once seen as ordinary. Our work gives them space to be seen again, with new eyes.

Target Audience:

Demographic Segmentation: Our primary target audience is 18-40 years old, creatives, collectors and culture lovers who seek personal meaning in their purchases, who are prepared to spend money on meaningful gifts, local art and good design.
Geographic Segmentation: Seni Seribu connects with audiences in Malaysia and Southeast Asia, regions where culture, craft and storytelling are intertwined with ways of living. These audiences appreciate designs that are relatable and mean something.
Psychographic Segmentation: Seni Seribu is catered to those overlooked places. Thos who are reflective or sentimental, with design that embodies emotion and story. These are people who want to connect to place, memory or identity in the things they own.

Unique Selling Point:

The ‘forgotten’ elements of Malaysia’s heritage, we at Seni Seribu! create unique, collectible art objects that are unique, collectible, are complex and valued with great meaning and story. Each one of our works mainly in cultural nostalgia into present form, so that traditions that may have previously been hidden or overlooked can be seen, appreciated and experienced again. Our collectibles are not only collectible pieces of artwork. They are touch-points to emotional connect- tiny stories that reconnect people to their roots, memories and identity. In combining joyful surprise with sentimental cultural preservation, we seek to foster pride and curiosity with the next generations.

Brand Personality:

Expressive: Seni Seni Seribu speaks through design, telling stories through form, pattern, and detail, it leaves a feeling that lingers.
Imaginative: Seni Seribu reimagines culture through fresh perspectives turning heritage into playful, unexpected forms. Using design as a way to polish up new stories from old roots.
Soulfully Modern: The brand is full of curiosity and creative exploration. It finds beauty in the unexpected and reimagines the past through artistic eyes.

Brand Positioning Statement:

“Seni Seribu is a modern heritage brand that transforms Malaysian culture into collectible, interactive artforms, connecting tradition with the next generation through design, play, and storytelling.”

Brand Profile for Nyonya Bulan

Brand Story
Mission and Vision
Brand Values
Target Audience
Unique Selling Point
Brand Personality
Brand Positioning Statement

Brand Story:

Nyonya Bulan is the debut blind box series by Seni Seribu, a playful tribute to Malaysia’s beloved kuih culture and the vibrant spirit of Peranakan heritage. Each figurine is more than a collectible, it’s a pocket-sized story inspired by festive memories, colourful traditions, and the joy of childhood snacks. Born from a desire to preserve fading cultural treasures through modern design, Nyonya Bulan invites collectors to unwrap nostalgia, one surprise at a time.

Mission and Vision:

Mission - To spark cultural pride and joyful nostalgia through blind box collectibles inspired by Malaysian heritage, especially the whimsical world of kuih-muih.

Vision - To become a cherished cultural collectible brand that bridges generations through design, storytelling, and shared memory.

Brand Values:

Nyonya Bulan is whimsy and play in their designs, touches of creativity. From the moment blind boxes are opened, to the delightful faces of the characters, everything is built for joy and wonder.
Every piece is a piece of home, memory, and cultural familiarity. It can be in the shape of a kuih or softness of a vintage pattern.
The joy of discovery, the joy of connection, and the joy of pride in the culture. It is in familiar, the surprise of the unknown.

Target Audience:

Demographic Segmentation: Age: 18–35 Urban dwellers, students, young professionals Digitally native, social media active.
Psychographic Segmentation: Value aesthetics, and cultural identity Emotionally driven by nostalgia Interested in trends, design, and personal storytelling.
Behavioral Segmentation: Share collectibles on Instagram/TikTok Seek out limited editions and culturally meaningful items.

Unique Selling Point:

Unique Figurine Design. A custom character specifically designed to embody nyonya and celebrate the Peranakan's rich cultural attributes.
Interactive Packaging Playset. Comes packaged in a fun to play with box that is designed to become a background scene complete with sliders to represent various elements of the story and display.
Tourist Friendly Souvenir. Specifically designed to be placed in airports and key tourist locations as a character souvenir representing a small piece of Malaysian culture.

Brand Personality:

Nostalgia Driven. A reminder to familiar warmth of heritage through its designs and allows us to connect with the stories, patterns and memories of the past that each of these items culturally represent.
Playful. There are blind box surprises, bright colours and quirky forms. Everything is designed to engage curiosity and joy. Nyonya Bulan is this, while being true to its cultural spirit.
Connected. Every character, shape and motif has a connection to the Peranakan identity, colours and patterns intent to communicate that the most important thing to preserve and pass on, is our heritage.

Brand Positioning Statement:

"Nyonya Bulan is a collectible design brand that reinterprets Peranakan culture through playful storytelling and nostalgia-driven art — creating meaningful souvenirs that bridge the connection between generations of yesterday and tomorrow."

Chosen Applications

Brand Applications: Seni Seribu

Letterhead, Invoice & Business Card
These items support the brand’s professionalism and visual consistency across printed communications. They help establish trust, especially when dealing with customers.
Website UI
A digital presence is essential for reach and accessibility. The website serves as a main source of information for the brand’s story, product catalog, and updates, allowing people to engage with Seni Seribu rather than going to physical spaces.
Store Front, Store Interior & Store Building
These applications bring the brand to life in a physical environment. The aim is to create a immersive experience from the exterior signage to the layout and interior elements. This reinforces brand identity at every customer touchpoint.
Loyalty Card
A simple but effective tool to encourage repeat visits and build customer relationships. It aligns with the brand’s warm, and increase customer's ongoing engagement.

Collaterals: Nyonya Bulan: First Edition Series

Paper Bag & Main Box Packaging (for Figurine)
These are core to the product experience. The box is not just protective, it’s part of the collectible appeal, designed to be visually attractive and reflective of the Nyonya Bulan story. The paper bag complements the box and completes the unboxing journey.
Poster
Used for promotional purposes, posters help build anticipation and brand awareness in physical spaces like pop-ups, events, or retail environments.
Photocards
These add a fun and personal layer to the collectible experience. Inspired by collector culture (like K-pop ), photocards give fans something extra to engage with. It adds surprise, and encourages collecting multiple pieces.
Stand Banner
Ideal for events or exhibitions, the stand banner helps attract attention. It communicates the brand tone at a glance and it's portable and easy to set up.

Applications Progression

Fig 8.9 Envelope Exploration

Fig 9.1 Envelope Progression

Fig 9.2 Business Card Exploration

Fig 9.3 Final Business Card

Fig 9.4 Letterhead Exploration

Fig 9.5 Photocard Progression (Back Cover)

Fig 9.6 Photocard Progression (Front Cover)

Final Submission Task 3 (Week 13)
Seni Seribu Applications in PDF Nyonya Bulan Applications in PDF

Task 4

Drafting Book Layout Progression

Fig 9.7 Text Layout Exploration with 2.2 Margin Draft

Fig 9.8 Text Cover for Topic Layout Draft

Fig 10.1 Text Layout Exploration Draft

Fig 10.2 Text Cover for Topic Layout/Design Draft

Fig 10.3 Layout Exploration

Fig 10.4 Layout Exploration

Fig 10.5 Layout Exploration

Fig10.6 Layout Exploration

Revised Book Layout Progression

Fig 10.7 Table of Contents Text Layout

Fig 10.8 Guideline Layout Structure Exploration Seni Seribu and Nyonya Bulan

Fig 10.9 Special Effects on Element to Include in Brand Values Seni Seribu

Fig 11.1 Effects Progression

Fig 11.2 Finalised Layout for Mission/Vision and Brand Values Seni Seribu

Fig 11.3 Gradient Effect for Brand Personality Page Seni Seribu

Fig 11.4 Finalised Layout for Brand Personality and Brand Positioning Statement Seni Seribu

Fig 11.5 Finalised Layout for USP Nyonya Bulan

Fig 11.6 Final Guideline Layout Structure (Across all guidelines) Seni Seribu and Nyonya Bulan

Fig 11.7 Final Guideline Layout Structure (Across all guidelines) Seni Seribu and Nyonya Bulan

Fig 11.8 Final Guideline Layout Structure (Across all guidelines)

Seni Seribu and Nyonya Bulan Final Submission Task 4 PNG (Week 14)

LINK: Compilation of Book Spreads.PNG Walkthrough Video: Physical Book

Final Submission Task 4 PDF (Week 14)

Flipbook HTML

Feedback

Week 14: Submission of physical book and blog.

Week 13:
Presentation day.

Week 12:
Improve the environment mockup into something more realistic. Submit Task 3 on 10th July, Thursday at 8:00 AM.

Week 11:

Presented the theme, moodboard and collaterals. The presented idea was approved, continue with the progress of mockup.

Week 10:

Finish up brand profile such as brand values, brand positioning etc. Then, collect and choose which collateral and application that is suitable for Seni Seribu and Nyonya Bulan.

Week 9:

Refine the brand guideline into the new template given by Sunday. Decide the items/applications needed for your brand.

Week 7:

Select a typeface that has a type family, ensure that it is suitable with the logo and brand.

Week 6:

Feedback consultation and submission for Task 2.

Week 5:

Continue with Task 2B and finalised the Task 2A Analysis of the 28 logos.

Week 3:

Presentation in class and taking notes of mistakes being made from our research and revise it. Start on Task 2 the analysis of 28 logos and start on Task 2A the foundation of creating a brand.

Week 2:

I had chosen Uniqlo as the brand that I’d like to research on. Continue progressing with Task 1: Breaking Band.

Week 1:

Briefing on the module and explained on what to expect. Provided the timeline for all Tasks and given out Task 1 which is to be completed on Week 3.

Reflection

Experience: Coming in to this module, I was genuinely excited. I had experienced something similar last semester taking Publishing without the Brand Identity module and during my third semester, many of my classmates were doing both subjects at the same time. They had brand identities to begin with, created one in Brand Identity, then changed that into a book for Publishing. I had to put together an entire brand from scratch, no logo, no story, and no previous understanding of identity systems - just to be able to complete my final assignment. It was a lot to manage, but I got a crash course in what a brand truly involves. (including the guideline I put together for that [Publishing Design] ). So coming into this semester, finally taking Brand Identity, I thought I’d be more prepared. And in some ways, I was. I understood the structure and what needed to be done. But this time, the challenge came from somewhere else: I was juggling almost felt like 2 degrees, my major in Graphic Design and my minor in Web Development (IT). I don’t think I’ve ever felt this stretched. I had to constantly switch between logical problem-solving and visual storytelling, sometimes within the same day. Coding doesn’t come naturally to me, so I spent extra hours trying to keep up, all while designing two brands at once.There were times I felt I was failing. I was not able to explore or experiment freely in the ways I had previously hoped, mainly because of the mental and time restraints. But I did not want to disappoint myself, not after how much progress I had made. I was refining both Seni Seribu (the parent brand) and Nyonya Bulan (the sub-brand) and although it drained me, I honestly enjoyed watching both develop. The pressure was on but it also drove me to create something that was, not only visually interesting, but conceptually too.

Observation: As I worked through this module I have learned how complex and intricate a brand identity truly is. It's not only about having a good logo or cool colour palette but rather building a system that works for every single touchpoint. For instance, the small details like logo minimum size and clear space of the logo, they are important for guidelines when considering the logo's legibility in various forms like a storefront sign, website header, and tiny social media icon. Without those rules, the system can easily become inconsistent. I also noticed how each decision has a an effect through the brand. Such as, how typography, tone and even things like layout planning and design elements can effect the perception of the given brand. For example, which font works best at body size? How much spacing is too much? I wanted to make a more conscious and intentional decision for the brand work. One more thing I took note of was the importance of building a system that is flexible and controlled. With Seni Seribu, and Nyonya Bulan the challenge was figuring out how the sub-brand could feel unique and distinct, while still belonging to the same greater universe. Most of all, it made me consider how brands evolve and grow over time, and the fact that if there is an identity that is strong enough, it can flex without losing the core meaning. In some sense even though I have created more polished applications/collaterals in previous work (like my [Publishing Design] assignment) I decided my focus would shift here to building a good identity structure. I wanted to consider everything from rules around the logo to colour variations that were all usable. This change in my mentality about brand work allowed me to view branding less as a static design and more as a living breathing system that our best practice together today will be able to make sense maybe in the years to come.

Findings: One of the major takeaways I took away was how good design can be more than just visually, good design is strategic. Creating two brands simultaneously challenged me to consider scalability, adaptability, and how the choices of design will impact usability. I learned that refining a logo was more than making it pretty, it's thinking about how it performs whether across print, screen, and packaging. It also reminded me how exhausting but rewarding it is to work in that space between logic and creativity. Coding provided the discipline and structure, while design encouraged playing and exploration. Some of the books, like A Type Primer by John Kane and Typographic Design by Rob Carter, helped me understand how much time and consideration goes into each typeface and what might be easily dismissed, like spacing. They made me aware of how design is not random, but it is supposed to be intentional. I also (tried) to let go of my perfectionist tendencies. There were things I didn't get to polish, there were some details I wished to share but didn't have time for. But I completed it and I learned a lot more than I expected from the journey.

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Adrianna Sofea