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Week 12 - Design Process (version 6)

Version 6 is a better mix of parts from my two previous designs. I kept the asymmetrical layout and halftone textures, but I added more balance and stronger typographic layering. The round text still shows the sun and moon, which fits with the idea of light changing over time. I changed the flowing type so that the phrases echoed like light moving through space, which helped the eye move more purposefully. The extra lines, spacing, and hierarchy made it clearer while still keeping the poetic tone. This last version feels the most finished. It shows how the gallery's textures change from dawn to dusk in a graceful and rhythmic way.

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Week 11 - Design Process (Version 5)

In Version 5, I worked on showing the passage of time through symmetry and visual rhythm. The entire piece is symmetrical, providing a calm and balanced structure that contrasts with the text, which changes and breaks apart. The round text parts stand for the sun and moon, which makes it look like the day is turning into night. I broke up the main phrase, "The gallery glows differently, moment to moment," to show how light and texture change slowly over time. The building's outside is still visible through the halftone textures, and the scattered type looks like shadows or reflections. This version feels more like a mood, with movement shown through stillness and a structured visual flow.

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Week 11 - Design Process (Version 4)

In Version 4, I worked on making things deeper and clearer by using layers and contrast. The halftone textures show the gallery's outer surfaces, such as its architecture and materials. The diagonal shadow acts like a beam of light, showing important text and cutting through the structure. I made two versions to see how light and dark backgrounds change mood and emphasis. The layered type fits the theme of the show, "Layers of Light," and the colours and serif-sans pairing strike a balance between strength and elegance. This version feels more finished. It captures texture, rhythm, and hierarchy in a way that is both interesting and consistent.

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Week 10 - Design Process (Version 3 - Poster)

This is the third version of my poster design. I focused on expressing the idea of how light changes the gallery throughout the day. I used overlapping, layered text and a diagonal light beam to reflect movement and transformation. The color palette is more refined now, sticking to three tones for clarity and contrast. After getting feedback that it needed to be more thematically accurate and better represent the gallery's textures, I started exploring how to visually suggest material qualities like shadows, structure, and surface. It's closer to the goal, but still needs more texture to fully capture the physical feel of the space.

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Week 9 - Design Process (Version 2 - Poster + Animation)

This version highlights the Auckland Art Gallery’s textures and time. I used layered text and a clock image to reflect structure and movement. In After Effects, I animated the text with smooth position shifts, fades, and motion blur.

After receiving feedback, I realized this version was visually overwhelming and lacked thematic clarity. The overlapping text, while conceptually tied to “layers,” made the layout feel cluttered. I plan to simplify the composition, refine the color palette for better harmony, and reduce the visual noise to improve focus. I’ll also add more texture that reflects the gallery’s materials—timber, glass, and light. The goal is to create a clearer visual hierarchy while keeping the flow and structure inspired by the Auckland Art Gallery’s atmosphere. This revision will bring better balance, clarity, and thematic accuracy.

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Week 8 - Explore After effects

To animate this poster, I used a workaround workflow exporting my InDesign layout as a PDF, then organizing the layers in Illustrator before bringing them into After Effects. I focused on simple but effective motion like smooth fades, subtle scaling, and position shifts to reflect the calm mood of the design. Motion blur added softness to transitions, making everything feel more fluid and natural. I kept testing and adjusting timing to make sure the animation supported the poster’s message without overwhelming it. This process helped me learn how motion can add depth and clarity to static design.

Reference: https://canvas.aut.ac.nz/courses/19619/files/6642875?wrap=1

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WEEK 8 - 2.6 Contextual Annotation: Motion Graphics

Canace Botelho

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Fluid, dreamy motion — type glides and flows instead of snapping

Pastel colors, organic transitions, more emotional and soft

Feels introspective and poetic

Good for storytelling or emotional content, less about urgency and more about vibes

Stig Møller Hansen

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Heavy use of layering and scale — type overlaps, disappears, reappears

Kind of chaotic but also super creative

Text moves like it's being controlled manually, playful but experimental

Could work well in an art exhibition or gallery setting

Husmee Studio

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Bold, high-contrast type that stretches and snaps into place

Black-and-white palette keeps focus on the motion and message

Fast pacing, clean transitions, feels very “designed” but still expressive

Gives off a sense of urgency and energy, kind of like a protest or public statement

Really shows how type alone can feel alive

100-word Design Annotation

This piece by Husmee Studio really hits hard. The type stretches and snaps like it’s being pulled on a rubber band, and the timing is super tight and punchy. There’s no frizz, just bold black letters on white, which makes it feel urgent, like it’s trying to yell something important. I love how the motion is the emotion here. It’s not decorative; it’s the message. The way it commands your attention with just a type shows how strong design doesn’t need extras. This one reminded me that rhythm and boldness can carry a visual idea independently.

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Week 7 - 2.5 Contextual Annotation: Animated Poster

Three Motion Design Examples

Short Critical Review Notes

Designer: Spin

Audience: BBC audience — wide range, but skewing toward modern, professional viewers.

Intent: Reintroduce the BBC Reith typeface and brand identity in a fresh but serious way.

Motion Techniques: Smooth scaling, subtle rotation, slow fades.

Type Interaction: The type subtly moves with the background shapes, always keeping hierarchy clear.

Timing: Smooth and measured — creates a calm, trustworthy feeling.

Effectiveness: The motion helps break the stiffness of corporate branding while keeping it professional.

Design Techniques: Simplicity, elegance, visual rhythm through timing and motion.

Final 100-Word Annotation

Spin's animated billboard for the BBC Reith font is a simple and straightforward way to update the image of the brand. The movement is extremely smooth, with slow spins, slight scale changes, and gentle fades that render it calm and professional. The font moves smoothly along with the background shapes, so the flow is easier to follow. The timing is very measured, so nothing feels hurried or too much. Spin absolutely aced the balance of being contemporary but serious. It truly demonstrates how, with just a touch of movement, one can animate a design without making it overly complex.

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Week 7 - Explore After Effects

Design Process – Animated Poster

I split my poster into layers and brought them into After Effects. I used simple moves like sliding, scaling, and fading to create a smooth, flowy feel like water. I added motion blur to make the transitions feel softer and more natural. Timing was important, too, so I tweaked the speed to keep it calm and not too jumpy. Most of it was just testing things out until they felt right.

Reference:

https://canvas.aut.ac.nz/courses/19619/files/6619548?wrap=1

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Week 4 - 2.8 Rationale—writing your draft for Formative

1. Design Elements Overview

Fonts: Bold sans-serif typeface for the title ("LAYERS OF LIGHT") contrasts with a serif font in body text, adding a sense of timelessness.

Layout: The dynamic diagonal split symbolizes transition—between times of day and between materials (e.g., timber and glass).

Colours: A warm palette of orange and cream evokes sunlight, while dark blue adds contrast and depth.

Shapes: Triangular divisions guide the eye through layers, resembling shafts of light.

Imagery: Includes a halftone classical bust, a giant clock face, architectural blueprints, and framed art—blending heritage, time, and space.

Texture: Halftone effects and layered transparency simulate texture and depth—suggesting architectural detail and materiality.

2. Concept and Communication

Main Concept: The passage of time and its relationship to space and light within the Auckland Art Gallery.

Site of Connection: The Gallery’s architecture, experienced across different times of day—morning, afternoon, and evening.

Intended Message: Invite viewers to reflect on how natural light transforms space and materials, and how the gallery is not just a place to view art, but an artwork shaped by shifting light and time.

Audience Response: Evoke curiosity, appreciation for design, and awareness of sensory experiences in architectural spaces.

3. Design Choices Justified

The clock face is symbolic of time’s constant motion—tying into the exhibit’s theme of daily light transitions.

The diagonal slicing mimics the angle of sunlight and acts as a visual metaphor for the layering of experience.

The orange hues suggest morning warmth, moving toward deeper tones—signifying afternoon glow and evening shadow.

Textures and halftone treatment add visual depth and reference both historic printmaking and contemporary graphic design.

The serif body text grounds the piece with elegance, complementing the structured sans-serif header.

Revised 100-Word Draft Rationale

My poster, Layers of Light, interprets the architecture of Auckland Art Gallery through the changing lens of morning, afternoon, and evening. I used warm-to-dark gradients, halftone textures, and layered imagery to reflect how light transforms material and mood throughout the day. The diagonal composition represents both the passage of time and the structural angles of the gallery. The design emphasises history, rhythm, and presence, featuring a classical bust, architectural plans, and a clock face. My site of connection is the gallery itself—an evolving, sensory space textured by time and shaped by light​.

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Week 4 - 1.4 Texture - Design element

Design Process

This poster started with capturing how architecture and light interact across different parts of the Auckland Art Gallery. I wanted to go beyond just showing the space, and instead hint at the texture and atmosphere, how the gallery feels at different times and how its structure plays with light and shadow.

I used a limited color palette (inspired by morning/afternoon/evening tones) to keep things bold but balanced. The halftone texture gave it that gritty, printed feel, which I felt suited the architectural theme really well. The layout plays with diagonal lines to cut through space, creating movement and contrast, kind of mimicking how light might fall across the building during the day.

Choosing the typefaces was all about balancing modern clarity with a bit of classic vibe. The chunky sans-serif title contrasts nicely with the serif details in the small text, which makes the info feel grounded but not boring.

Reflection

I’m happy with how it turned out! It feels dynamic but still thoughtful. If I had more time, I’d maybe play more with layering or abstracting textures even further. But overall, it captures the feel I was aiming for: layered, textural, and tied to time and place.

Reference

Captured with my own phone

Tamparong, J. (2025, April 1). Clock tower with Roman numeral clock face, Auckland [Photograph]. Captured with Samsung S22 Ultra.

Tamparong, J. (2025, March 14). Marble bust sculpture at Auckland Art Gallery [Photograph]. Captured with Samsung S22 Ultra.

Tamparong, J. (2025, March 14). Framed landscape paintings at Auckland Art Gallery [Photograph]. Captured with Samsung S22 Ultra.

Tamparong, J. (2025, April 1). Timber ceiling detail at Auckland Art Gallery [Photograph]. Captured with Samsung S22 Ultra.

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Week 4 - 2.4 Design Annotation — Helvetica movie

Reflect...

Would you use Helvetica in your designs? Yes, in some cases, it's super clean, readable, and works great for things like: Corporate branding, signs, manuals or instructions.

Would you use Helvetica for one context (type of work/audience) but not another? No, not always, it can feel too plain or overused, especially for: Creative or emotional projects, Music/event posters, fashion, or anything with personality

WHY OR WHY NOT? I'd use Helvetica when I want to be neutral and efficient, and I'd avoid it when I want the typeface to have a strong personality or emotional tone.

As David Carson says, "Don't confuse legibility with communication." [01:02:11]

Just because it's easy to read doesn't mean it says what you want it to say.

Support your position with evidence from the film e.g. quotes or paraphrased ideas

Do you agree or disagree with what they’ve said?

Why?

Erik Spiekermann says Helvetica is too clean and boring: "It’s like air. You don’t notice it. It’s just there." ([00:45:10]) I agree, it can feel overused and kind of soulless in creative work.

David Carson argues that Helvetica lacks emotion: “Don’t confuse legibility with communication.” ([01:02:11]) Totally agree, just being readable isn’t enough when you want your design to say something deeper.

Massimo Vignelli loves Helvetica’s neutrality: “It’s modern. It’s timeless.” ([00:28:34]) I respect that, and I’d use it when I want something clean and objective, but not for everything.

Reference

Hustwit, G. (Director). (2007). Helvetica [Film]. Plexifilm.

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Week 4 - 1.4 Texture - Design element

Design Process

For these posters, I returned to the Week 2 projects and developed them further with some simple yet effective revisions. I didn't change the initial layouts or concepts much, simply added textures and played around with the color schemes to introduce a bit more depth and character to each piece.

I wanted to do something a little more visually appealing without over-complicating the designs, so I threw in some textured overlays to add that retro, tangible feel to it. It also ended up pulling the sets together a little more, although each still has its own thing going on. Color adjustments were largely about increasing contrast and ensuring that the crucial details pop, such as dates, titles, and locations.

Reflection

Overall, I attempted to make the edits small but impactful. It was a nice reminder that small changes, such as texture and color, can refine a design and alter the way it feels. Really simple, but rewarding

Reference

Dipinto Di Blu. (n.d.). Fish pattern illustration [Image]. https://www.dipintodiblu.com/tienda/images/6363_g133-3618.jpg

Amazon. (n.d.). Black and white textured stripe pattern [Image]. https://m.media-amazon.com/images/I/71IsLfwr2-L._AC_SX679_.jpg

IndiaMART. (2023). Black cotton fabric texture [Image]. https://5.imimg.com/data5/NSDMERP/Default/2023/6/317550039/IN/TR/ZL/41229407/black-cotton-fabric-1686999963392-500x500.jpg

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Week 3 - Identifying typeface features—comparative analysis

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Week 3 - 2.3 Process Annotation — Writing Exercise

1. My Creative Process

Started with basics: learned type, line, point, shape. Early stuff was just me playing in InDesign to get used to the tools.

First milestone: experimented with expressive writing using lines/dots — no pressure, just playing. Helped me ease into the software and understand what visual elements could feel like.

Second milestone: site visit sketches (Week 3) — this helped me focus on how mood and meaning could shift just with colour. Freehanded a lot. Some flopped, but that was part of it.

Third milestone: refining compositions based on feedback — especially working on contrast and structure. I learned I needed to be more thoughtful with my layouts.

Strengths: I’m good at exploring different ideas and keeping everything documented on Tumblr.

Weaknesses: I tend to leave things half-done while I chase a better idea, so refinement takes me longer.

2. Reflection on My Decision Making

I made most decisions by just... trying stuff. Like testing font combos or seeing what colour worked with the vibe of my sketches.

Feedback really shaped things. When I heard I needed more contrast, I changed my whole approach to composition.

When I got stuck, I just kept saving versions and messing around until something clicked. Also looked at inspo posters from class to see what others did with colour and layout.

3. Reflection on Progress + Learning

I’ve learned how much type actually does the talking in design, like, even without images, you can say a lot.

Learned heaps about using InDesign efficiently too (swatches, effects, contrast, layouts).

Biggest challenge: finding a balance between expressive and structured.

I still want to work on my visual hierarchy—it’s getting better, but not quite there yet. Also need to spend more time refining ideas, not just generating them.

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Week 3 - 1.3 Colour—design exploration

InDesign

Design Process

I played around with color, form, and typography this week to capture the Auckland Art Gallery's feel. I enjoyed trying out large shapes, grids, and combinations to keep it clean but not dull. Instead of overwhelming users with information, I focused on the typography in the design.

Self-Reflection

I had such a great time playing with one particular color scheme and how it can entirely set a mood. I discovered that type and color together can hit the right note when all you're trying to do is convey a message or mood. Next time, I'd like to keep playing with my fonts, maybe introduce some bold ones while still keeping them readable.

Additional Notes:

Balanced warm and cool colours for contrast and mood

Clean backgrounds to keep focus on shape and type

Typography is used as both a text and a design element

Repeated shapes and lines for consistency

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Week 3 - 1.3 Colour—design exploration

Sketch

Design Process

I explored different layouts for this set using simple shapes, primarily circles, lines, and grids. I played around with balance, symmetry, and spacing to keep things clean but still interesting. A few designs were inspired by the Auckland Art Gallery itself, like the wooden ceiling and architectural elements. I also thought about how text could interact with the shapes and kept experimenting to find cool combos that stood out.

Self-Reflection

These are rough, early-stage ideas, just to get a feel for what might work. I didn’t worry too much about making them perfect; this was more about trying different directions and seeing what clicks. It was a fun way to explore and get ideas flowing, and I’m keen to develop a few of these more with colour and detail.