OUGD403 - Studio Brief 02 - Final Crit

Studio Brief 02  - Final Crit

The feedback I received was very positive. My rationale was considered clear and concise. It shows the intentions behind the typeface and explains my ideas and thought process. In this crit I presented my type specimins and a magazine which features the typeface in context. This showed a clear understanding and relevance to the context in which it has been place. It was also suggested that the typeface would work well on a film poster and with vintage clothes shops. The two toned outcome works better overall but the patterned letters work well for display purpose and decorative type.

OUGD403 - Final Rationale

Rationale

Inspired by bright colours, over the top compositions and the work of Morag Myerscough. This typeface is bold and energetic. The deleted counters are minuscule aperture create an intriguing silhouette. This manipulation creates as little white space as possible making a greater visual impact. The design goes against everything Vignelli stands for, this type is so loud it shouts!

Created from the bones of Helvetica, a neutral typeface with no intrinsic meaning, it has been altered to become a striking and obnoxious typeface. The colour scheme has been inspired by the work of Kate Moross and supported by colour theory research. It adds a garish and exciting element to the design. LOUD has been specifically designed to be a title font. It works best in large point text and is well suited to headlines and magazine covers due to its outgoing nature. This will allow the details within the type, such as the back shadows, to be better appreciated.

OUGD403 - Design Brief 02 - Initial Ideas

Initial Ideas

The rational I will develop is the ‘Loud’ typeface

Rationale:

The typeface called Loud will use a bold sans serif type. Large counters will be used to represent an open mouth. Suited to title fonts, this type will be used as the headline for a music magazine or the branding for a music venue or pop band. This typeface will be attention grabbing and in your face. The typeface will explore using neo-humanist sans that have a reduced stroke contrast and apertures are even more open. The x heights are larger.

The typeface will be based on Helvetica.it will challenge the perception of Helvetica being a corporate font. 

I experimented with the idea of using large circle counters to represent an open mouth. This was inspired by the work of Studio Laucke Siebein (OFFSET Sheffield) who designed the visual identity of RijksakademieOPEN (open days) in which the circular ‘O’ screams. I experiment incorporating this circular ‘O’ into Helvetica as the negative space of the counter leaves space for interpretation and functions as an icon as well as typographic element. I created a grid centered around the ‘O’ so every letter was consistent and occupied equal space.

           

I continued to develop this idea by removing the counters in the letters to make a bolder and blockier type.

                   

This type resembled the work of Morag Myerscough of supergroup London. Her work is very bright, strong and bold.

I realized that most of her typography is 3D or incorporates a 3D shadow. I wanted to replicate this. To get a better understanding of how to draw a letter in 3D and what elements would be visible from different angles I created the word ‘loud’ in 3D using paper. I took photos of this from different angles and drew each individual letter.

                           

                            

I also considered the word loud in terms of music and sound. I considered it practically in terms of sound waves and their scientific properties. Sound waves are longitudinal waves that consist of compressions and rarefactions. The compressions are regions of high air pressure while the rarefactions are regions of low air pressure. I represented this using typography by creating an alphabet that compressed and rarefacted.

Finally, I explored another idea associated with music. This type font was inspired by the digital representation of sound waves.