wayne state portfolio
social media designs for magic ink interactive (nyc internship)
design for fellow designer
beretta album work and party promotion (detroit hip hop artist)
looking at the fonts created by wim crouwel gave me inspiration as to how to go about creating a typeface using a modular grid system. it reminds me or prehistoric technology with gigantic pixels. the resulting typefaces have an extreme digital look. there are many different looks that can be created using such limited detail. i will try to create a typeface in my project that resembles the work of mr. crouwel.
this was a very challenging project. the most challenging part was the constraint on what type of letters we had to capture. my group had to find geometric letterforms. we first defined what made a letter geometric so that we would all collect similar letterforms. our conclusive characterization was minimal letterforms only show the bare shape necessary to create the letter. we divided up the letters and symbols and searched, and searched, and searched… this was hard! i could see letters all around me but they didnt fit our definition quiet right, or not at all. i had the typeface Orator STD in mind because i had just done some research on it and it seemed to be geometric. i looked for forms that resembled these letters. i had to find A , H, L, M, N, and *. my final letters could have been better but i will have to use this project as a stepping stone in my crossing of the typography river.
what i enjoyed most about this project was designing a composition with nothing but typography. i looked for inspiration and found the Emigre foundry quiet fulfilling. i liked how they used a lot of layering and colors in their text dominated compositions. i tried applying this technique in my compositions while still remaining within the guidelines and communicating the font mannerisms. when all was said and done, i was most happy with the grayscale glyph compositions.
i think this was my favorite project next to project 4. i really enjoyed being able to bring poetics into typography. i enjoy reading and writing poetry so the brainstorming and writing for the haiku was most enjoyable. after our group chose my poem, i felt like they looked to me for our next step. i browsed through the available fonts and chose about 8 fonts with small caps. as a group we narrowed down the options and selected Garamond No2 DC D. this was a unique font because it had some organic character. the next step for me was to create a layout for how we would install the haiku. our final step was installing. we all worked well together, each giving their own input… some spotting while others placing or taking pictures or masking out the baseline. though we were exhausted with the project when installation was complete, i felt that our group as a whole was still able to enjoy and appreciate the work we had just completed… (i like ours the best)
wow. i really enjoy looking at these fonts by House Industries. they all seem to have a fun character. i could see alot of these typefaces being used for cartoon titles.
at the same time they have groups which are more reserved fonts, almost non-novelty, but they still have their sense of individuality.
the street van group is one of my favorites. these fonts have a wavy/ groovy flow. they remind me of the 70’s. i think it is a combination of the tapering in and out of the letterforms and the wide/ “phat” fonts.
the bullet group reminds me of the 50’s and nostalgic diners…
chalet group makes me think of the 80’s in europe…
nuetraface fonts remind me of futura, or Mad Men… 50-60’s advertising in NY?
i guess what im attracted to in the groups such as shag, tiki type, rat fink, flyer, and scrawl is the humanist presence. i like the irregularity and the discourse from the strict rendering. they have texture… like someone had drawn/doodled them.
i think this research helped me in the search for a font to use for my haiku in project 5. it helped me to think of the typeface as a form of imagery to relate it to the context.
quiet lucid SOUP.