Prior to starting any digital work I have sketched out a range of really rough designs to expand on.
As a majority they have been unsuccessful in determining a definite typeface, however they have fully served their purpose as they have lead me on to think about possible adaptations which may be more effective to connote my chosen word.
My intention for this sequence was to create a 'Hugo Stigletz'-esq approach to a bolder typeface, incorporating a constant width and 3D Block/ shadow. As the angle of this is pointing up I feel it is too childish and almost resembles cartoon/ a primary school classroom typeface
- definitely not 'immense'.
As the results of the critique was to explore and pursue a slab serif route, I tried first with a hand rendered approach. As this is very rough I think it connotes more 'American frat jacket' typography rather than a powerful message. I will experiment with this in digital to see if the results are different, but as of now I feel the integrity is weak where I need it to be strong.
As the hand rendered versions based on Berthold did not have me hooked, I experimented with more unusual methods of creating something 'immense'. For something to be immense, it has to be stationed next to something of regular size to see it's huge scale (or something skinny in this case). With this in mind I experimented with a style inspired by Bodoni Bold. I wanted to showcase the vast weight of certain points of the letterform, contrasting with the skinnier lines holding up aspects of the middle (e.g.- middle arm in E and F). I felt this contrast would suggest immenseness, whilst introducing cubic elements (especially within the A), which was one of my intentions during my initial research.
Following on from my mildly cubic experiment above, I tried to manipulate this further with a boxy/ 3D vibe in mind. I feel the way the A all comes off one point is really effective in contorting geometric qualities, with the main stem of the letterform always being the widest. This still showcases contrast between the skinnier (un-cubed) elements with the heavier 'immense' characters. I have asked peers their feedback and so far it has been positive, this is definitely something I will bring to the next critique on Friday. To make this more effective I may alter the angle direction, making the cubic element point down- suggesting that the letterform is the focal and is not being looked down upon, instead it is reining over everything and standing the tallest.
After hopelessly staring at the previous idea for a good 10 minuets, I thought how about creating a bolder silhouette from the new letterforms. Instead of filling in the space I outlined the peripheral in a thick black marker (yes, my pen tried to die on me half way through) to suggest what would be the new shape form. This will be thick, bold and dark- something I will try and experiment with on Illustrator.
Whilst I was creating one of these sketches 'The Jesus Lizard' came onto my iPod Shuffle and I noticed the typography. The way the serif is bold and slightly tweaked (on the 'G' and top left 'e') is subtle and simple- whilst the overall design is slightly garish and old fashioned. The simplistic editions made and the thick lines used to emphasise the outline are effective for their purpose- something I will consider when progressing with digital experimentation.
No comments:
Post a Comment