Saturday, 24 October 2009

Visual Language - Type 3 (OUGD104)

This Visual Language task was undertaken on 20/10/2009. The task was to work with several sized boxes so that when looked at directly head on through a viewfinder, a letterform would appear on the boxes as a flat image when in fact different sections of the letterforms would be on different boxes that are at different distances from the viewfinder. The description becomes clearer with the following images:

My group, (Me, Arthur, Alice, Aaron, Chris S. and Will S.) chose to try and make a lower case letter 'g'.

This was the final setup of the boxes:

This is the final result through the 10x10 cm viewfinder as best I could photograph it:

And here's the letterform a bit closer up:

We were all really pleased with the result as we chose a very hard letterform to produce for the task in hand and I personally felt that the exercise was very beneficial in terms of understanding scale and how it works in 3D more. We also worked well as a team together as we were all very co-operative with each other and tried to work as efficiently as possible to get the task done. All in all, a good exercise.


Monday, 19 October 2009

Alphabet Soup - Part 2 (OUGD101)

For this brief, I was paired up with Will Skane-Davis. After interviewing him and noting on his personality traits that stood out to me, I concluded that I was going to base my typeface for him around 4 words which were:
  1. Happy
  2. Joyous
  3. Excitable
  4. Down-to-earth
To me I saw the common denominator as the word 'friendly' which worked as a catalyst in order to help communicate the 4 words I had chosen.

With this in hand I set about finding my typefaces and constructing ideas based around them. I ended up with 54 ideas spanning across 8 different typefaces. Here they are:

So after creating these ideas I chose my favourite ones which I felt communicated the typeface most effectively and made some prototype typefaces on sheets of A4 paper and tracing paper. Here they are:

'Typeface Idea 1'

'Typeface Idea 2'

'Typeface Idea 3'

'Typeface Idea 4'

'Typeface Idea 5'

Not surprisingly, I went on to choose my favourite typeface from the prototypes to go on to produce a final solution following advice from the week one crit I had. This was my result:

'Typeface for Will Skane-Davis'

And along with the typeface I produced my name badge for Will in order to show how the typeface works together:

'Badge for Will Skane-Davis'

In considering my final solution to the problem, I feel that the typeface communicates what I intended for it to communicate successfully due to its lack of serious connotation and organic effect to the stroke. Although admittedly, this effect on the stroke was very difficult to achieve without making it look like I just scrawled around the letterform with a black pen. This appeared to be a main factor in my crit in relation to my typeface.

I liked the concept of using the colour yellow due to its association with happiness although it was difficult combining it with black without inciting danger. However, I felt the texture of the stroke on each letterform shifted the sense of danger to highlight the 'happy' and 'friendly' aspect of the font. But nevertheless, I produced some potential developments of my typeface in order to express where I would've changed it. Here they are:

'Development Ideas'

The ideas above were produced as a reaction to my crit. Some were ideas I was asked to try out to see if they would work better than my final solution whereas others were my own ideas that I felt kept to the brief and more successfully answered the brief in relation to what was said to me in the crit. I was very particular about the quality of line in producing these ideas to make the stroke seem organic yet well constructed as in the original solution one of the main issues was that the stroke looked organic but not very well constructed. Taking more time over the stroke certainly make a difference in my opinion.

I chose my favourite idea and produced the first 6 letters of the alphabet to state my intentions if I were to carry this even further. Here they are:

'Favourite Developed Idea'

I chose this particular idea as I believe it works in communicating Will's happy and friendly character just as much - if not more - than if it was yellow. I didn't like how the slightest implication of danger was implied through the combination of yellow and black so I thought it was best to remove the yellow. The typeface itself is much more manipulated from the original 'Green Piloww' typeface too and it still maintains the organic feel to communicate friendliness, yet this time, more time has been taken over the construction of the stroke to imply a finer finish. I have to agree that it is more successful, but getting an organic stroke like this right is extremely difficult. Nevertheless, I still see this as a successfully communicative development.


Thursday, 15 October 2009

Visual Language - Type 2 (OUGD104)

This is the work that I produced in my Visual Language session on Tuesday 13/10/2009. The idea of the session was to communicate the notion of scale through the letterform of 'A' in different fonts and cases.

After creating 5 ten by ten squares of our own compositions to communicate scale we swapped with a random person and chose what we thought to be the least effective composition and produced 3 variations of it in order to develop the communication of scale. This was the composition I thought to be least effective:

'Least Successful Representation of Scale'

These are the two least effective variations I made in my opinion:

'Two Least Successful Variations I Made'

And with the most successful variation I went on to make 3 variations of that particular variations. (Bearing in mind I am still communicating the idea of 'scale' here.) Here they are. The top left is my original variation.

'Variations of my Favourite Variation'

So with the remaining 4 compositions I was left with, I then constructed 3 variations for each of them. (The top left composition in the set of 4 displayed will always be the one I received from another course mate.) Here they are:

'Variations 1'

'Variations 2'

'Variations 3'

(Stuck on wall in Studio 4. Image yet to be gained.)

'Variation 4'

So that concludes my exercise in understanding the communication of 'scale' through using letterforms as shapes. Although the exercise was admittedly tedious, I did see a point to it and it did help me gain a better awareness of scale when using letterforms and type, not to mention the notion of scale in general in terms of Graphic Design.


Tuesday, 6 October 2009

Visual Language - Type 1 (OUGD104)

This is the work produced in my Visual Language session on 6/10/2009. In each composition I have attempted to use the most appropriate typeface to communicate the given word in the most effective way possible.

This composition should communicate the notion of 'duplication' through one composition on its own:

'Duplication Through Single Composition'

And this should communicate 'duplication' through a sequence of 4 compositions:

'Duplication Through Sequence'

This should be communicating the notion of 'compression' through a single composition:

'Compression Through Single Composition'

This should be communicating the notion of 'compression' through a sequence of 4 compositions:

'Compression Through Sequence'

The following should communicate the idea of 'dissection' through a single composition:

'Dissection Through Single Composition'

And this should be communicating the idea of 'dissection' through sequence of 4 compositions:

'Dissection Through Sequence'

This composition should be communicating the notion of being a 'hybrid':

'Hybrid Through Single Composition'

And this should communicate the same idea of being a 'hybrid' through a sequence of 4:

'Hybrid Through Sequence'

This composition is supposed to be communicating the notion of 'editing':

'Edit Through Single Composition'

And finally, this is my interpretation of a sequence of 4 compositions communicating the idea of 'editing':

'Edit Through Sequence'

And that was the work I produced as a reaction to the instructions given during the session! I felt that that all communicate their given word well enough. I guess this can be supported by the fact that when I muddled up the sequences for someone else to guess which ones matched the words we were given, they got all 5 sequences to match the correct words with which they are associated.

It was a worthwhile exercise in understanding how type can work in communication without having to spell it out. Letterforms can certainly work with the same principles as image when communicating something.


Monday, 5 October 2009

Alphabet Soup - Part 1 (OUGD 101)

The word in which I was given to communicate through my letterforms was 'Deconstruct'. I looked up synonyms of this word to help me get a better idea of different ways in which I could communicate the notion of deconstruction through a letterform then I straight away set about coming up with ideas for my 10 letterforms. I came up with 40 ideas. Here they are:

And so from all these ideas I simply chose my favourite 10 which I felt best communicated the notion of deconstruction in the most interesting ways. I wanted there to be 10 separate letterforms rather than 10 that work as a set because I just felt it would be nicer to have a broad range of ideas as I felt it was more interesting to explore. Here are the final 10 with their font listed beneath that I have manipulated:


'OCR A Std.'

'Hoefler Text'

'Brush Script STD.'



'Modern no. 20'


'Bauhaus 93'

'OCR A Std.'

And here they all are together:

I feel pleased with the solutions I produced. I am particularly pleased with the 'F' in the top left corner as I feel it's quite a clever concept to convey deconstruction through a letterform.