Category Archives: Project 1 Que Sara
2d: CHANGES
Mimi said I would have to use my own images if I want to do this execution and I realised I do not have the time to do that. Also my ideas were not strong conceptually and I needed a strong and effective method yet simple in execution.
I also chose the following method to help me draw a clear line as to how much the imagery should help with the idea because the typography should really be the one to help the with the mood and meaning.
I took these examples as my inspiration.
Below are my first attempts for this execution and the feedback that I got from it:
ARCHITECT
- the stars confuse the viewer
- it makes the think of constellation, astrologist
- the two As that have heavily dotted lines are too distracting
- one “A” is enough to be a skycraper
- draw a real skyscraper as the “I”
- the colour blue as bg to resemble a blueprint
- grids, sketches of buildings
- font is working
FAST FOOD CHEF
- the design is not working
- the ketchup stains resemble a cow
- it is not clear that the ketchup stains are made by the ketchup sachet
- the burger looks like an “E”
- symbols are working that people know it’s a fast food restaurant
- design is too flat
HOUSEWIFE
- it is not clear why there is half brown
- the circles look like poop
- should use the texture of the brush to make dust
- create a home setting by including home items
- woman looks like a toilet icon
SPY
- looks like detective instead of spy
- make use of James Bond
- font is not working
- looks like broadway
- try to create your own font
2d: Typo infused into Pictures
For some reason I wanted my execution to resemble these pictures:
For the next four occupations, I tried to find photos that I could potentially use it for my work:
ARCHITECT
Attempts:
Blocky letters look more like building blocks for kindergarten instead of architecture.
Looks too playful
Doesn’t really fit into the picture
The font and its sketchy lines help communicating the architect idea as it looks like measurements.
I tried to blend the letters into the building as thought it was part of the building
However, it’s not really working out because I think the whole point of it is to see my name.
FAST FOOD CHEF
Attempts:
The letters being formed by ingredients
I thought the letters could be melting cheese
SPY
Attempts:
Fonts supposed to look futuristic
The man being pixelated shows the notion of being unknown
HOUSEWIFE
2d: More creative sketches
2d: drawings
POLICE
I followed the design on the badge hoping that it would give off the police vibe
FAHION DESIGNER
Having the sleek design, helps with the look of a designer brand. I was hoping that I could have the background to have a model or a landscape similar to a model photoshoot.
ARCHITECT
I thought this font is suitable as it has lines that is similar to the lines on the grid. I thought of putting cranes and construction vehicles around carrying the font.
ZOOKEEPER
For the first sketch, I thought using like marker type font with the animals hanging/sitting on the font.
The second sketch, I thought using tree bark for the font and it being surrounded by the animals which are hinted by their hand or mouth poking into the frame.
CHEF
I wasn’t really sure where I was going with this but for the second sketch I thought it could hint the viewer of what food go through during the cooking process. Like going under the fire, or being cut up (the “d”) and eventually being eaten (the last “a”)
2D: My jobs and their typeface “voice”
POLICE
The typeface feels very official, authoritative. It feels professional, serious and real, strong and with pride. All designs use serif and sans serif.
ZOOKEEPER
This typeface sounds playful and full of adventure. I think they fall under the script or display category of typefaces. I think that the reason they used these kind of fonts is to give it a handmade touch. A handmade touch feels as raw and rugged as mother nature and its inhabitants.
CHEF
For this case, I find myself a bit torn on what kind of voice the word chef could have. I think that it is very heavily depended on what kind of food you want to promote.
For example in the last picture, the first book is about sweet treats. The font is swirly and has a sweet voice to it. It falls under the script category and hence also feels very handmade. The book is after all a recipe book where the user would have to make the cupcake himself.
However, the second book, “the family cook book’, although falls under the script category, is not as swirly and curly. The typeface is in all caps and are somewhat straight but not perfect. The “M” however has quite a distinct loop. This tells me that the font has some sort of an prideful voice. Like somehow the person has pride in the recipes that are being passed down from generation to generation but still has a rawness to it that the recipes are handmade and the meals are made from scratch and made with care and love.
The last book is about bbq-ing. BBQ, aka barbecue originates from the Taico Indian natives where it involves slow cooking meat on top of a wooden platform. The typeface has a very texas/native indian feel to it.
As for the two pictures above, the left has a lighthearted, cute and playful feel but still modern and rational. However the right is very raw and handmade. Still very playful and adventurous and looks very handwritten.
I think it all boils down to what I want to portray a chef is which is being playful and adventurous with the flavours of food. A chef constructs a meal with lots of care and love that in the end fills the happy warm tummies of many.
FASHION DESIGNER
These typefaces have a modern feel to it with an edge. They feel elegant and very expensive. Super simple and minimalistic.
2D: Typography And Their Traits & Personality
My four childhood ambitions are: Police, Fashion Designer, Chef and Zookeeper
Here are some keywords I could come up with when I think about these jobs.
Police: gun, blue, handcuffs, police cap, order, authority, law, strong, protection, always on guard, sirens, police car
Zookeeper: animals, nature, earth, boots, poop, warmth, rugged, a humble job, loving, care,
Fashion Designer: fabric, body, mannequin, model, runway, extravagant outfits, sewing, needles, thread, stylish, different, daring, beauty, elegance, bold statement
Chef: food, warmth, comfort food, knives, meat, vegetables, steam, oven, pans, spoons, dessert, ice cream, delicious
I then proceeded to attempt to start my sketches but felt handicapped. Then I realised I should do some research on typography.
RESEARCH
One of the easiest ways to affect the design of a web page is with the fonts that you use. But many beginning web designersoften go crazy changing fonts every couple words and experimenting with fonts that are virtually unreadable, just because they are “cool.” This article will help you find the font family that works best for your situation.
Some Rules-of-Thumb
- Don’t use more than 3–four fonts on any one page.
- Don’t change the font in mid sentence unless you have a very good reason.
- Use sans serif fonts for online body text and serif fonts for headlines and print.
- Use monospace fonts for typewriter text and code blocks.
- Use script and fantasy fonts for accents.
Remember that these are all suggestions, not hard and fast rules. But if you’re going to do something different then you should do it with intention, not by accident. For example, it’s fine to use a serif font as your body text (as many sites do) as long as you’re aware of the possible legibility problems.
http://webdesign.about.com/od/fonts/a/aa080204.htm
Types of Typefaces
SERIF
Serif typefaces are defined by their “feet,” which are yes, technically called feet. They’re the little lines that poke out at the edges of letters.
Serifs are super easy to read because those little feet create a subtle visual connection between the letters. This readability makes them great for paragraphs of text – you’ll see them on everything from blogs to newspapers to ebooks.
Slab serif typefaces, which have thick blocky serifs, are super popular right now.
SANS SERIF
Sans Serif typefaces are like Serif typefaces minus the feet (sans means without).
Sans Serifs are usually clean and geometric, which makes them easiest to read when they are either really LARGE or really small. You will see sans serifs often used for headlines, captions, and short descriptive texts.
DISPLAY
Display typefaces have A LOT of personality.
We are talking about the kind of typeface that is always dressed up in western gear or techy robot suits. Display typefaces are best used when you need a little bit of flair in your design.
You wouldn’t want to read a paragraph set in a Wild West typeface, but they’re great as attention-getter headlines.
SCRIPT
When you are looking for a fancy font with a lot of style a Script typeface is your lady.
These typefaces have lots of swoops and curls and sometimes even look handwritten. Script typefaces look awesome for logos, large headlines, and for little details to give something a nice handmade touch.
SYMBOLS & DINGBATS
Sometimes a picture can say a thousand words. That’s when you cue up a Symbol or Dingbat typeface.
Who wants to write out love when a ♥ says it all?
https://skillcrush.com/2012/04/13/types-of-typefaces/
A more detailed classification: https://www.fonts.com/content/learning/fontology/level-1/type-anatomy/type-classifications
In the above link, they further classify the typefaces into:
Serif
- Old Style
- Transitional
- Neoclassical & Didone
- Slab
- Clarendon
- Glyphic
Sans Serif
- Grotesque
- Square
- Humanistic
- Geometric
Script
- Formal
- Casual
- Calligraphic
- Blackletter & Lombardic
Display/Dingbats
- Grunge
- Psychedelic
- Graffiti
The “voice” in Typefaces
I found the bottom link to be quite cool as the voice of a typeface is subconsciously influencing us to link them to a certain meaning or personality of a word.
https://speakerdeck.com/player/04ca22e090f60131a0563ef48a8c875d#
Tip #1: Think in adjectives rather than in typographic terms
In Gary Huswit’s film Helvetica Jonathan Hoefler talks about this issue. He says “There is no way to describe the qualitative aspect of a typeface without resorting to things that are fully outside it.” When thinking about a typeface’s voice, its categorization/classification is not important. Instead, we need to know if the type is cheerful or dour. Is it relaxed or in a hurry? Is the type serious or frivolous? Luxurious or downmarket? Young or old? Fragile or robust?
If a type seems cotton-y, serpentine or fruity to you, that’s all okay. In a recent design crit of the US FDA’s nutrition label redesign, Tobias Frere-Jones described Helvetica as “[tasting] like authority, like confirmed fact.” All kinds of characteristics may suggest themselves to you. Go with it.
Tip #2: Use familiarity strategically
Familiar forms are usually easier to read. However familiarity isn’t merely functional. It’s a spectrum that can also impart a feeling.
A type design that is slightly unfamiliar looking can feel more fresh, interesting, or playful. A face that’s less familiar may surprise or challenge or create tension in a reader. Even less familiar and it may eventually become unpleasant.
On the other end of the spectrum, a familiar looking typeface can feel comfortable or reliable. But further up the scale, a typeface that is extremely familiar can seem boring in some contexts. It’s worth asking yourself what degree of familiarity will give the feeling you want. Do you want to surprise or reassure? Stand out or blend in? What is most appropriate and beneficial to your use of the type?
http://typecast.com/blog/the-voices-of-type
Recognising fonts and their personality:
https://speakerdeck.com/player/c2944350927b01312a453e6f65fbe210#