September 21, 2025 - December 31, 2025 (21/09/2025 - 31/12/2025)

WangJiheng / 0378904

Bachelor of Design (Honours) in Creative Media

Taylor's University

1. Lectures

2. Instructions

3.Task 1

4.Task 2

4. Feedback

5. Reflections

6. Further Reading

Lecture

Lecture 1 Introduction

The focus of the day’s lecture was Brand Corporate Identity. Ms. Vitya pointed out that corporate identity holds great significance in graphic design, particularly when it comes to maintaining the consistency and clarity of a brand’s visual language. This module was designed to introduce us to the topic of identity design, helping us grasp how brands communicate and take the lead through visual representation.

One of the key concepts covered was the symbol. A symbol can range from a logo and a sign to even a word—it is far more than just an image or shape, as it carries specific meanings and helps facilitate effective communication.

Lecture 2

What is a Brand?

Essentially, a brand is our instinctive reaction to or impression of something—whether it is a product, service, or company. It is not shaped by the claims a business makes, but by the perceptions of consumers and society.

What is Brand Identity?

Brand identity refers to the elements a business develops to shape how it is perceived in the market. It encompasses two key aspects: consumers’ instinctive reactions and the brand’s visual identity system. Unlike branding or brand image, brand identity focuses on the tangible components that convey the brand’s core essence.

What is Branding?

Branding is the process of endowing an organization, product, or service with meaning. It acts as a strategy to help consumers recognize and choose their preferred brand. At its core, branding creates a unique and long-lasting impression in people’s minds.

Designer’s Role in Branding

Designers play a vital role in the branding process. They transform strategies, content, and messaging into visual formats, conduct research on clients, products, and target audiences, and develop trademarks, logos, and more comprehensive brand systems.

Benefits of Branding

Branding provides a wide range of advantages for businesses:

It helps them stand out in competitive markets.

It establishes trust and credibility among consumers.

It cultivates customer loyalty, which leads to repeat purchases.

It enables the business to have greater pricing power.

It guarantees consistency in brand presentation, saving time and reducing costs.

It facilitates the launch of new products or services.

It offers a clear roadmap for the brand’s long-term development.

Lecture 3 Types of Marks – “Basic Classification Logic” for Logo Design

My Reflections

The essential knowledge I acquired from this lecture is that the substance of a brand is the consensus of social groups, rather than a definition that enterprises unilaterally proclaim. I also feel more deeply that the value of designers lies not only in visual beauty, but also in leading and optimizing such social consensus with the help of visual design language based on research. The logic of adaptation between intuition and visual cognition is one of the core issues of my future design work, and it will also make my work more targeted.

Lecture 3: History of Print

What is Branding?

Branding as meaning-making (the process of shaping perception)
Example: Diesel “Be Stupid” Campaign

Brand Identity vs Branding

Brand Identity = Visual + Verbal expression (logo, typography, colors, tone)
Branding = Strategic process (advertising, packaging, storytelling)
Example: MUJI store experience

Types of Branding

Personal Branding
Product Branding
Corporate Branding
Service Branding
Cultural Branding
Luxury Branding

Logos and Their Forms

Wordmark / Logotype (e.g., Coca-Cola)
Logomark / Symbol (e.g., Apple)
Lettermark / Monogram (e.g., McDonald’s “M”)
Combination Mark / Signature (e.g., Pepsi)
Emblem (e.g., traditional crests, badges)

Key Takeaway

A brand is more than a logo or product — it is an identity and perception.
Designers transform strategy into visual identity to build recognition and loyalty.

Fig. 1.1 Examples of Logo Types (Logotype, Logomark, Combination Mark)

Term: Monogram

A monogram refers to a graphic symbol created by overlapping or combining two or more letters or graphemes into a single sign. Typically designed using the initials of an individual or a company, it is widely recognized and used as a well-known symbol or logo.

"The original Greek meaning of the term 'monogram' is 'a single line', which refers to a figure written or drawn in outline form." (Mollerup, 2001)

Key Points

Monograms can simplify complex names into easily recognizable visual shorthand symbols.

Their advantage lies in integrating letters with design to create distinctive and exclusive identities.

Examples

New York Yankees (NY)

H&M

Chanel (CC)

Volkswagen (VW)

Hewlett-Packard (hp)

LG

Fig. 1.2 Examples of Monograms in Branding

Term: Heraldry

Heraldry is an extensive, time-honored term that encompasses the design, display, and research of armorial bearings (or armoury)—the symbolic emblems used to identify individuals, noble families, or institutions. It also involves studying the related ceremonies, social ranks, and family pedigrees that these emblems reflect and document.

Fig. 1.3 Structure of a Coat of Arms (Key Components Labeled

Lecture 4: Brand Ideals

Intro

Neumeier (2003) said a brand is people’s gut feeling about a product, service, or company. Businesses can’t control this feeling but can influence it by highlighting product uniqueness.

Branding isn’t just logos or visuals—it’s people’s emotional perception of a company based on its values, communication, and actions.

A brand ideal goes beyond selling. It’s a brand’s higher purpose, core beliefs, and how it inspires people via values and storytelling.

Fig 1.4 Apple

Format 1: Point-by-Point Summary

I. Case Analysis: Apple’s “Think Different” Campaign

Core Proposition: Celebrates creativity, individuality, and innovation.

Communication Strategy: By featuring influential world-changers, Apple positions itself as a brand for dreamers and innovators.

Brand Ideal: Focuses on simplicity, quality, and the power of human imagination to endow technology with practical meaning.

II. Definition of Brand Ideal

A brand ideal refers to the higher purpose of a brand or organization that goes beyond the products or services it sells. It represents the core value system that shapes how a brand connects with the public and builds long-term trust.

III. Nine Core Brand Ideals (from the lecture)

Vision: A clear and inspiring development direction led by strong leadership.

Meaning: Clearly conveying the brand’s values and core principles.

Authenticity: Constructed based on self-awareness, market insight, and consistent actions.

Differentiation: Creating unique brand characteristics to enhance consumer recognition.

Sustainability: Maintaining the brand’s long-term market relevance through stable core ideas.

Coherence: Ensuring all brand experiences are familiar and trustworthy.

Flexibility: Enabling the brand to adapt to future changes and achieve sustainable growth.

Commitment: The full enthusiasm and dedication of all participants.

Value: Sustaining user engagement and brand influence through measurable results.

IV. Core Summary (Ms. Vitiyaa’s Perspective)

Brand ideals provide responsible guidance for the creative process, helping organizations establish closer connections with employees and consumers, achieve spiritual inspiration, and build more solid relationships.

Week 1

In the first week of the course, Ms. Vitiya introduced the concept of Brand Corporate Identity and explained its role in building an exclusive brand ecosystem and communicating a brand’s core propositions. This provided a theoretical foundation for the subsequent analysis of the SKIMS brand. The lecture was particularly helpful in understanding how SKIMS constructs its brand image through key characteristics such as inclusivity and “second skin”, and how these values are reflected in both product design (such as full-size coverage) and marketing strategies.

During the same session, Ms. Vitiya also introduced the semester project Breaking the Brand, which requires group collaboration alongside individual division of responsibilities.

Following the project briefing, our four-person group focused on SKIMS and conducted preliminary research based on the course analysis framework. Each group member explored a specific aspect of the brand, including the logic of brand image construction within the underwear category, the characteristics of celebrity-founded brand endorsements (such as Kim Kardashian’s role in SKIMS), differentiation strategies within the inclusive fashion market, and the role of cross-industry collaborations—such as SKIMS’ partnerships with the NBA and the U.S. national team—in enhancing brand image. After discussion, the group agreed to formally confirm SKIMS as the final subject of analysis in Week 2, allowing for deeper research into its corporate identity, positioning, and brand values in the following stages of the project.

WEEK2

This SKIMS brand analysis PPT is a collaborative effort of our group, and its core explanatory power lies in ——

instead of merely "listing brand information", we used "problem decomposition + data support + user perspective" to thoroughly elaborate on the logic of SKIMS' journey "from starting with controversies to becoming an industry benchmark", enabling the audience to clearly understand "why it succeeded" after viewing it. This is specifically reflected in the following 3 points:

1. In-depth explanation of "key brand nodes":

Instead of just mentioning "SKIMS changed its name", we clearly broke down the process of "from the Kimono Intimates controversy to renaming to SKIMS within 3 days" in the PPT. We also pointed out that "the name change was not just to avoid suspicion, but more importantly, to shift the brand's core from a 'controversial symbol' to the comfortable positioning of 'second skin' — helping the audience understand how this adjustment turned the brand from a crisis to a precise track."

Visual explanation of "differentiated advantages":

Regarding the core selling point of "inclusivity", instead of just saying "SKIMS is very inclusive", we marked "Full size coverage from XXS to 5X + 11 skin-tone fabrics" in the PPT. We also created a competitor comparison table (for example, Spanx has limited sizes, and Victoria’s Secret has a single skin tone), and even incorporated real user feedback (such as "Finally bought a plus-size shapewear that doesn’t dig into the crotch") — transforming "inclusivity" from an abstract concept into a "comparable and perceptible actual advantage" to avoid being vague.

Coherent explanation of the "logic of success":

In our PPT, we have connected "celebrity effect", "pricing strategy", and "marketing methods" into a "user demand-oriented" logic. For example, when mentioning Kim's influence, instead of just saying "she made the brand popular", we emphasized that "we included cases of her sharing daily outfits in the PPT to explain 'how to convert celebrity traffic into a sense of trust that "ordinary people can also wear (the clothes)"'".

Week 3

In this week’s Brand Corporate Identity class, our group presented our brand analysis project to the whole class.

Week 4

Ms. Vitiyaa detailed the requirements for the "Logo Research & Development" task. She emphasized that logo analysis should delve into the logic of visual communication rather than merely describing appearances, and that we need to study elements such as logo structure, colors, and typography. She demonstrated through cases how logos reflect brand personality and assigned the next phase of the project: determine the type of our own brand, sort out the brand tone via mind maps and moodboards first, then proceed to sketching.

Week 5

After completing the "Research & Analysis" task, I deepened my understanding of how logos convey brand identity and improved my ability to identify the connections between logo forms, colors, and typography.

Week 6

During the "Logo Ideation and Sketching" task, I learned to transform research insights into creative directions. By developing multiple sketch versions and selecting core visual elements, I laid a foundation for subsequent digital refinement.

Week 7

This week, Ms. Vitiyaa commented that my flower shop logo design was mediocre and overly generic. She searched for creative cases on Google Images for me to refer to.

Task 2A - Logo Research: Collect & Analyze 28 Logos

Final Slides:

Fig. 1.1 - Week 4, Final Slides "Task 2A 28 Logo Analysis", (17/10/2025)

Task 2B - Logo Development: Idea Sketches & Conceptualization

I initially formulated three career choices, and the corresponding mind maps are as follows.

Fig. 2.1 - Week 4, Mind Map, (16/10/2025)

Out of the three occupations explored — Bloomtail Florist, Papermint Studio, and Windowside Coffee —

I was most inspired by Bloomtail Florist, a concept that merges natural aesthetics with emotional storytelling.

The idea of expressing feelings through flowers felt closest to my design approach, combining poetic visuals, gentle tones, and human warmth.

This theme later evolved into my logo development process, focusing on the emotional connection between nature, art, and self-expression.

Fig. 2.2 - Week 4, Mood Florist Mind Map, (18/10/2025)

Fig. 2.3 - Week 4, Mood Florist Mind Map, (18/10/2025)

The business-based mind map of Bloomtail Florist illustrates how the brand’s emotional identity transforms into tangible experiences and services.
It focuses on using flowers as a medium to connect with people’s emotions and create a sense of calm, beauty, and meaning in everyday life.

The map highlights five key areas — Service Content, Brand Experience, Target Audience, Marketing & Promotion, and Brand Core Concept — showing how Bloomtail builds a gentle, human-centered floral brand.

From customized bouquets and handwritten message cards to soft in-store atmospheres and emotional storytelling on social media, every touchpoint reflects warmth, sincerity, and artistic expression.
Ultimately, the goal of Bloomtail Florist is to help people express feelings, rediscover inner peace, and experience emotional resonance through the language of flowers.

Sketches & Exploration

At the early stage of my logo development, I began by exploring a series of sketches that reflected the core emotion and visual personality of Bloomtail Florist.
The main intention was to express the brand’s gentle, romantic, and nature-inspired identity, balancing between organic softness and elegant structure.

My design exploration was guided by the following ideas:

Nature & Emotion:
Since “Bloomtail” evokes the image of blooming flowers and emotional storytelling, I experimented with shapes inspired by petals, stems, and leaves, aiming to capture the feeling of natural growth and human warmth.
Typography Exploration:
Several sketches focused on serif typefaces to convey professionalism, sophistication, and timeless beauty, while others used handwritten lettering to introduce a sense of sincerity and intimacy — like the personal touch of giving flowers.
Symbolic Forms:
I explored the monogram “B” as the central element, shaping it into floral silhouettes or geometric stems. This represented the brand’s philosophy of growth, life, and renewal.
Some variations combined circular or petal-like enclosures, symbolizing harmony, continuity, and emotional balance.

Fig 3.1 Monogram “B” Symbol Exploration

Color Mood:
I tested a palette of blush pink, beige, olive green, and warm brown, which together express warmth, calmness, and natural beauty — aligning with the cozy, heartfelt tone of the florist.

Fig 3.2 Color Mood Exploration — Blush, Beige, Olive & Brown Palette

Through these sketches, I aimed to visualize Bloomtail Florist as more than a flower shop — a brand that represents the emotional connection between people and nature.
Each concept was an attempt to balance aesthetic refinement and emotional softness, ensuring the logo feels inviting, calm, and heartfelt.

3.3 Logo Refinement Process

After presenting my initial sketches, my lecturer pointed out that most of my early designs appeared too generic and lacked distinctive character. The floral motifs and serif compositions were aesthetically pleasant, but they did not convey a strong brand identity for Bloomtail Florist.

Fig 3.3 Early Logo Sketches and Variations — Bloomtail Florist

This is the first round of logo explorations for Bloomtail Florist, testing the combination of serif and handwritten typefaces with floral and monogram “B” icons. I used variations of these marks to capture a soft, delicate mood, however the lecturer suggested that they were too generic and there was no distinctive visual identity.

To enhance the concept my lecturer advised me to generate more creative monogram-based solutions- specifically the incorporation of the letter “B” with flowers/petals and minimalistic form in order to achieve a clean, sophisticated and memorable visual.

After this consultation, I looked into a few reference logos provided by my lecturer from Google. All of these references consisted of minimalist line work, soft organic shapes and hand-lettered balance which was exactly the brand tone I wanted to convey — soft, emotional and timeless.

Taking this cue, I started to remodel the logo on Adobe Illustrator. Making some adjustments to the structure, ratios, and emotional feel, I moved towards creating a more individual, mature identity for Bloomtail Florist.

3.4 Typography Exploration

Stage 1: I started to try a variety of typefaces to find the appropriate tone that reflects Bloomtail Florist’s brand personality.

Version 1: I first used a geometric sans-serif typeface, to look more modern, clean and structured. Although it well suited the logo’s symmetric flower shape, my lecturer felt it was a bit too corporate and lacked personality or emotion – it was not quite capturing the soft, personal side of a florist brand.

Fig 3.4 Typography Exploration — Sans-serif

Version 2: I then tried experimenting with lettering that are script-based, to appear more handcrafted and intimate. I chose SignPainter as the primary typeface, which gave a soft handwritten flow to the overall logo, in line with the brand’s identity of “crafted with care”.

Pairing the elegant script type Bloomtail with uppercase FLORIST also provided good contrast for clear visual hierarchy while still being refined and approachable.

Fig 3.5 Final Logo Refinement — Elegant Script & Floral Monogram Integration

Fig 3.6 Symmetrical Logo Design with Auxiliary Circles

It was pointed out that there was an asymmetry issue in my previous logo design, so I remade it. In this design, I used elements such as auxiliary circles to precisely control the proportion and layout of the graphic, ensuring that the entire logo graphic is symmetrical and enhancing the sense of visual balance and harmony.

Fig 3.7 Logo Design with Grid Auxiliary for Symmetry

Fig 3.8: The left logo is the old version, and the right one is the new version.

The logo I redesigned uses grid assistance to make the shapes and positions of each part more precisely symmetrical, and the thickness of the lines is also consistent. Compared with the previous old version, which was loose and had poor symmetry, the new version looks more rigorous and professional visually. It has corrected the problem that the "B" part in my previous logo was unequal and asymmetrical on all four sides.

Section: Final Logo Digitized

1.Black & White Version

Fig 3.9 Final black & white logo digitized, Week 7 (8/11/2025)

2.Reverse Version

Fig 3.10 Final white logo reverse version, Week 7 (8/11/2025)

3.Full Color Version

Fig 3.11 Final full color logo digitized — Primary Version, Week 7 (8/11/2025)

4.Secondary / Contrast Version

Fig 3.12 Final full color reverse version, Week 7 (8/11/2025)

Below is the final colour palette developed for the Bloomtail brand, refined through multiple iterations and aligned with the brand’s soft, warm, romantic identity.

Fig 3.13 Final colour palette and multi-colour logo applications, Week 7 (8/11/2025)

Fig 3.14 Layout grid showing colour palette and logo combinations, Week 7 (8/11/2025)

Fig 3.15 Background colour animation

Design Rationale

The Bloomtail Florist logo embodies the brand’s emotional philosophy: celebrating growth, warmth, and emotional connection via nature.

It strives to convey sincerity, gentleness, and timeless beauty, aligning with the brand’s belief that flowers are not merely gifts, but emotional messengers reconnecting people with their feelings.

The floral-inspired monogram “B” symbolizes blooming — representing vitality, life, and inner renewal.

The symmetrical frame with petal-like enclosures expresses balance and harmony, mirroring the emotional stability and comfort flowers bring.

The soft blush-pink color palette reinforces a sense of warmth, intimacy, and affection.

The handwritten “Bloomtail” wordmark reflects a personal, human touch — emphasizing authenticity and heartfelt care.

The final logo captures the essence of emotional softness and natural balance, creating a brand identity that feels inviting, calm, and genuine — echoing the experience of receiving or gifting a flower.

Positioning and Identity Display

Below is my finalized slide:

Positioning & Identity Slides, Week 9 (22/11/2024)

3. Application

During the independent learning week, I was instructed to create mockup applications to visualize and support the brand's position and identity.

Below are the contents I created for the brand:

Corporate Stationery: Business Card, Envelope, Letterhead, and Invoice.
Collaterals: Bouquet Wrapping Paper, Ribbon, Gift Bag, Florist Apron, Receipt, and Flower Pot.
Digital Presence: Website UI Design (Desktop & Mobile).
Environmental Graphics: Sandwich Board, Hanging Sign, and Window Graphics.

Initial Mockup Application (Attempt 1) & Refinement

Below is my progress on the application in early Week 9. Initially, I developed my designs heavily around the Pink (#D93F71 & #F8D7DA) color palette. My rationale was that pink naturally resonates with the feeling of a flower shop—romantic, soft, and sweet.

However, during the feedback session, Ms. Vitiya commented that my designs appeared too feminine.

Fig 4.1: Initial Logo Color Palette Exploration (Pink Version) - Week 9

Fig 4.2: Early Business Card Mockup (Pink Version) - Demonstrating Initial Color Scheme and Contact Info Draft

Fig 4.3: Initial Logo Design in Primary Pink Palette (Before Refinement)

Pivot to Deep Botanical Green Taking this feedback into account, I decided to revise my color strategy. I shifted the primary brand color to a deeper, more neutral Deep Botanical Green (#0A4D5C), while keeping the soft pink and ivory as secondary accent colors to maintain the brand's warmth.

The Result: The new dark green palette adds a sense of professionalism, elegance, and gender neutrality. For example, the Florist Apron and Business Cards now look more sophisticated and inclusive, ensuring that Bloomtail Florist appeals to all customer groups while still maintaining its romantic essence.

Artwork & Application Adjustments

To amend this, I strictly followed Bloomtail Florist’s logo variations (symmetrical "B" monogram + script-typography combination) and clearspace rules (11pt side clearance, 28pt top/bottom clearance) to strengthen consistent brand visual patterns across all applications.

1. Corporate Stationery

Business Card

Aligned with the brand’s "gentle & sincere" personality, the letterhead adopts a soft ivory (#F3E7DC) background base — referencing the warm, textured tone of handcrafted stationery in Fig 3.1. The refined symmetrical "B" monogram (deep botanical green #0A4D5C) is placed at the top-left corner, strictly adhering to the 28pt top clearance rule.

Fig 5.1 Bloomtail Florist Corporate Stationery Mockups (Week 9, 22/11/2025)

Continuation Sheet

Fig 5.2 Bloomtail Florist Continuation Sheet (Adobe PS Production) (Week 9, 22/11/2025)

Envelope

Adobe PS operation: Open the envelope mockup, replace the smart object, and add the brand color and logo.

Fig 5.3 Bloomtail Florist Envelope (Adobe PS Production) (Week 9, 22/11/2025)

Invoice

Adobe PS operation: Import the invoice template, add a brand bar and a details table, unify the color scheme, and then save.

Fig 5.4 Bloomtail Florist Invoice (Adobe AI Design) (Week 9, 22/11/2025)

Fig 5.5 Bloomtail Florist Invoice (Adobe PS Production) (Week 9, 22/11/2025)

2. COLLATERALS
Bouquet Wrapping Paper

Fig 5.6 Bloomtail Florist Bouquet Wrapping Paper (PS Production) (Week 9, 22/11/2025)

Adobe PS production: Open the wrapping paper mockup, replace the smart object, and add paper texture and slight wrinkles.

Ribbon

Fig 5.7 Bloomtail Florist Ribbon (PS Production) (Week 9, 22/11/2025)

Adobe PS production: Open the ribbon mockup, replace the smart object, and add satin texture as well as wrinkle light and shadow.

Gift Bag

Fig 5.8 Bloomtail Florist Gift Bag (PS Production) (Week 9, 22/11/2025)

Adobe PS production: Open the gift bag mockup, replace the smart object, and add paper texture and handle light and shadow.

Florist Apron

Fig 5.9 Bloomtail Florist Apron (PS Production) (Week 9, 22/11/2025)

Flower Pot

Fig 5.10 Bloomtail Florist Flower Pot (PS Production) (Week 9, 22/11/2025)

Receipt

Fig 5.11 Bloomtail Florist Receipt (PS Production) (Week 9, 22/11/2025)

3. DIGITAL PRESENCE: Website UI Design

Desktop Version

Fig 5.12 Bloomtail Florist Website UI (Week 9, 22/11/2025)

Fig 5.13 Bloomtail Florist Website UI (Week 9, 22/11/2025)

4. ENVIRONMENTAL GRAPHICS

Sandwich Board

Fig 5.14 Bloomtail Florist Sandwich Board (PS Production) (Week 9, 22/11/2025)

Hanging Sign

Fig 5.15 Bloomtail Florist Hanging Sign (PS Production) (Week 9, 22/11/2025)

Window Graphics

Fig 5.16 Bloomtail Florist Window Graphics (PS Production) (Week 9, 22/11/2025)

Instagram

Fig 5.17 Bloomtail Florist Instagram (Week 9, 22/11/2025)

Final Submission

1. Positioning Slide (Brand Positioning + Improved Logo System + Visual References)

Fig 6.1 T3 Positioning & Identity Slides, Week 9 (22/11/2025)

2. Application (Corporate Stationery + Collaterals + Digital Presence + Environmental Graphics)

Fig 6.2 Application (Corporate Stationery + Collaterals + Digital Presence + Environmental Graphics) (Week 9, 22/11/2025)

TASK 4 BRAND GUIDELINE

In Task 4, we were instructed to create a comprehensive Brand Guideline based on our brand created from the previous tasks. We needed to utilize the logo, brand positioning information, and applications created earlier as content for this task, organizing them into a professional digital book

Week 10:

Grid Structure & Initial LayoutIn Week 10, I started planning the layout for my Brand Guideline. The goal was to create a clean, structured layout that reflects Bloomtail’s "Gentle & Romantic" identity while maintaining professional readability.

I decided to use a multi-column grid structure in Adobe InDesign to ensure that my text and images were aligned perfectly.

Cover Design: I aimed for a minimalist approach, using the Deep Botanical Green background with the logo centered to establish a strong brand impression immediately.
Typography: I set up my paragraph styles using Helvetica for body text (for clarity) and SignPainter for headers (to match the logo's handcrafted feel).

Fig 7.1: Initial Layout Grid and Structure Setup in InDesign, Week 10

Week 11:

Drafting & Compiling ContentIn Week 11, I began compiling the assets into the book. I structured the book into three main chapters:1. Brand Profile: Inserting the Mission, Vision, and Brand Story.

I used soft floral background patterns to break the visual monotony of text.

2. Visual Guidelines: This was the most technical part. I created pages for "Logo Clear Space," "Minimum Size," and "Do's and Don'ts." I had to ensure the diagrams clearly explained how to use the logo correctly.

3. Color Palette: I documented the specific CMYK and RGB codes for the Deep Botanical Green (#0A4D5C) and Soft Pink (#F8D7DA) to ensure consistency.

Fig 7.2: Drafting the Visual Guideline Section, Week 11

Week 12:

In Week 12, I moved to the final assembly stage. After finalizing the visual designs in Illustrator, I imported the artboards/assets into my InDesign structure.

Linking Assets: I placed the designed pages from AI into the InDesign frames.
Refinement: I used InDesign to handle the text flow for longer paragraphs (if any) and ensured the page numbering was correct.
Interactive Features: I added navigation buttons (Table of Contents, Next/Previous) in InDesign to make the PDF interactive and user-friendly.

This hybrid workflow (AI for Design + ID for Layout) allowed me to maximize the strengths of both software—creating high-quality visuals in AI while maintaining a professional book structure in ID.

Fig 7.3: Finalizing all page layouts on Adobe Illustrator artboards before importing to InDesign, Week 12

Fig 7.4: Final assembly and layout refinement in Adobe InDesign before exporting.

Complete Thumbnail Layout

Fig 7-5 Complete Thumbnail Layout (JPEG) Week 13

FINAL SUBMISSION

Fig 7.5 Complete Thumbnail Layout (PDF), Week 13

Final Brand Guideline (InDesign Viewer & PDF)

InDesign Viewer:https://indd.adobe.com/view/87593a12-e46d-4c9a-b085-1f6d86026355

Fig 7.6 Final Brand Guideline (PDF) Week 13

Feedback

Week 01

During Week 01, Ms. Vitiya walked us through the definition of brand image. She instructed us to conduct research on international brands and select one for in-depth analysis.

Week 02

In Week 02, Ms. Vitiya elaborated on the differences between "brand" and "branding". She provided several clear examples to help us gain a deeper understanding of these core concepts.

Week 03

Week 03 was the presentation day for Task 1. In class, each group presented their work to Ms. Vitiya.

Week 04

During Week 04, we listened to an introduction to Task 2 and Task 3 to better grasp the subsequent requirements. Additionally, the instructor explained the importance of brand voice and brand tone, noting that these are foundational knowledge for conducting our brand project.

Week 05

Week 06

Week 07

In Week 07, Ms. Zhou reviewed the logo I designed. She emphasized that every word in the design needs careful crafting and found relevant examples on Google for reference. I was asked to redesign the logo accordingly.

Week 09

During the consultation for Task 3 (Application), I showed my initial corporate stationery designs which used a primary Pink palette. Ms. Vitiya pointed out that the design appeared "too feminine" and might limit the brand's target audience, specifically male customers. She also noted that my invoice and name card lacked essential contact information. Based on this feedback, I was advised to pivot to a more gender-neutral color scheme (Deep Green) and ensure all practical details were included.

Week 10

In Week 10, we started Task 4, the Brand Guideline. I presented my initial layout grid created in InDesign. Ms. Vitiya advised me to pay attention to the hierarchy of information, ensuring that the background patterns (floral grids) do not distract from the main text. She emphasized that the "Brand Profile" section must be readable and well-structured to tell a compelling story.

Week 11

This week, I focused on the "Visual Guideline" pages designed in Illustrator. Upon review, Ms. Vitiya highlighted the need for absolute precision in the "Clear Space" and "Minimum Size" diagrams. She explained that these technical rules are the most critical part of the manual. I was also advised to give the "Application" pages more breathing room and not to clutter too many mockups onto a single spread.

Week 12

During the final review before submission, I showcased the complete compiled Brand Book with the new Deep Botanical Green identity. Ms. Vitiya commented that the new color palette gave the brand a much more mature and professional look compared to the earlier weeks. She checked the interactive navigation buttons in my PDF and reminded me to ensure all hyperlinks work correctly for the final digital submission.

Week 13

Week 13 marked the final submission of the Brand Corporate Identity project. We finalized our blog posts and submitted the interactive Brand Guideline link. The final feedback from Ms. Vitiya concluded that the transformation of Bloomtail Florist—from a generic initial idea to a complete, structured brand identity—was successfully achieved through consistent refinement and attention to detail.

Reflection

Experience This module transformed my understanding of branding from simply "creating a logo" to building a comprehensive identity system. I learned that successful branding requires not just visual aesthetics, but a strong logical strategy to ensure consistency across all platforms.Observation A key turning point was pivoting my color palette from Pink to Deep Botanical Green based on Ms. Vitiya’s feedback. I realized that design must be inclusive; the previous pink tone was too restrictive. The new green palette not only made the brand look more professional and premium but also successfully broadened the target audience to include male customers.

Findings Technically, I mastered the efficient workflow of designing assets in Adobe Illustrator and compiling the layout in InDesign. I also learned that a Brand Guideline is essential for protecting the brand's integrity. Defining strict rules, such as Clear Space and Minimum Size, ensures that Bloomtail Florist maintains a consistent and high-quality image in the real world.

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Wang JiHeng（0378904）

Brand Corporate Identity