‘Parting is such a sweet sorrow’
Printed typography taken from DAFONT.COM, Sans Serif, bold with many 100 and 1000s placed carefully on top.
Doing this task was time-consuming and took me a while to achieve my desired final result. This was due to how fiddly, and light the 100 & 1000’s were to arrange and keep still whilst moving through the letters. In the end I taped down the strip of typeface to white card and this made it more easier to achieve the final arrangement.
Stencilled first in pencil, then outlined in red, then filled in with coloured red pen.
This was a practice to refine this idea for a possible typeface for ‘Sweet’. This complies of different influences I wanted to use. The colour pinky red, emphasising sweetness and combined this with a swirly serif typeface and extended the serif.
Developed idea above and hand drawn 100 & 1000’s.
The photos I took at the weekend I manipulated in Photoshop and left the surrounding shadows visible to leave a three-dimensional effect. Its was interesting to play around with but the font was very basic that I chose, mainly to make it easier to apply the 100 & 1000s onto and I thought the block lettering would compliment this style.
In the afternoon, we had a ‘Intro to Illustration’ session, this complied of learning key parts of the software such as stylising, create shapes and adding typography within or outside these shapes. More techniques were looking typography following a chosen path and manipulating a photo by using image trace. I particularly enjoyed this last technique as I love photography.
Now I’m at the refining stage and will choose direction for my final piece. I’ve decided to go refine the swirly ‘sweet’ font (day 1) and experiment with the 100 & 1000s on this typeface and then explore sorrow alongside this.
Here I expanded on all the techniques and processes I learned on day two to support my project and push it further.
This is the final typeface for this part of the project of typography only. The coloured ballpoint pens are bright, strong and sweet which communicate the word well. At the point of creating the sweet typeface by hand first, I was reluctant to change it again by adding more typography and found this a challenge. I initially experimented with rough, unrefined sketching of the word sorrow but found it too messy and sizing it up to the an appropriate size for ‘sweet’ was difficult.
To overcome this I scanned ‘sweet’ and manipulated the image into Photoshop, brightening it and correcting its composition for a portrait layout. Then in illustrator I chose to use the scribble effect on the word sorrow. I made several variations of this before choosing the effect that visually suited my design of ‘sweet’. In the end I chose a simple, minimalistic scribble typeface, brought it into Photoshop and sized it to fit compositionally in the layout.
All in all, I really struggled with this task, I found it hard to visually get ideas and be excited by lettering. I’ve learned that I am an extremely visual person and much prefer working with photos, drawings or sketches of objects or people and working on top of them with typography but I’m glad to have explored this area as I know now more about myself and which areas I’m stronger at.