Choose three layers of colors from the bread layer and the sandwich layer. The sauce layer is constructed into a three-layer gradient color card, and the color system is combined. 

The bread layer (milky white, pale yellow, burnt yellow) 
Filling layer (the red is orange-red, two different saturation brightness vegetable colors) 
Sauce layer mango jam (bright yellow) blueberry jam (light purple) strawberry jam (light pink)

The font design originates from the concept of the “three-layer structure.” The numbers “2” and “6” are horizontally stretched to create direction, rhythm and a sense of sliding movement—echoing the idea of layers gently shifting. 

In the “LETTERFEST” logotype, selected letters are intentionally stretched to balance the composition. This controlled distortion frees the type from strict geometric rigidity while maintaining coherence across the system.

As a result, the typography behaves like a modular framework:

• Extendable — strokes can be stretched and recomposed
• Layered — internal logic reflects the three-layer concept
• Rhythmic — parallel lines introduce visual movement
• Rule-based — all variations follow the logic of “3”
  

This allows the type system to remain unified across posters, motion graphics and merchandise, becoming a key pillar of the overall visual identity.

This week, we mainly adjust and match the colors of graphics. At the same time, we ensure that all three graphics have their own recognizability, and adjust their direction and momentum in different applications. When colors and graphics are combined, they can form a unified visual style.

Pay attention to the consistency of the visuals; it currently looks like there are two visual systems. In commercial design, it is inclined to choose the simple effect of sans-serif fonts, and some speaker photos can be added, as well as changing the way the images are displayed.

• Provide some references

This week’s feedback helped me understand “less is more” in a more practical way. The fact that my work looked like two different visual systems showed that I was adding too many directions at once. A festival identity needs one clear visual logic, not multiple competing ones.

Simplifying the type to a clean sans-serif, reducing unnecessary decorative elements, and refining how images are displayed all push the system toward clarity. I also realised that adding speaker photos is not “extra”—it strengthens communication and makes the identity more grounded.

“Less” here doesn’t mean doing less design; it means removing noise so the system can speak with one voice.

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