Project: 3D typography
Objective: Create a unique typeface that will sell to Graphic Designers. The typeface must work in multiple contexts (positive/negative). This is a handcrafted project, but digital tools may be used in post to fine tune work.
Sean Ferguson is our guest Art Director for this project. With good conceptual skills and ideas-a-plenty, he’s an overall cool guy that works at Staplegun. Ghost and Staplegun just so happen to be my two favorite agencies in OKC, so I was pretty stoked to know that a Gunner was critiquing my project. Sean helped narrow down my choices to the Pantone/Pixel idea (above). I came in with a notebook full of possibilities, and a handful of test roughs that I shot last night—and I left with one or two solid ideas that I’m eager to explore.
Oct. 07, 2013 Critique
Sean is back in class today to give critiques on our alphabet’s process. After constructing different pieces of type based off of various typefaces, I settled with a geometric sans—Avant Garde. The block-by-block hand assembly is reduced by creating the common shapes of letterforms (bowls, stems, etc.) and duplicating in Photoshop.
The concept of this project is to sell designer’s on a typeface, and my selling point is that these are unique pixels, each with their own texture and slight flaws. A hyper real take on the micro, digital world. Wood cubes meet 2D pixels. Organic meets digital. Ridiculously meticulous meets the minute world of individual pixels, the very building blocks of any GUI.
Below are the examples that were critiqued today. They need to be color corrected for consistency, as well as textured a little more to clearly show that these are individual blocks. The letters that seem too “real” (e.g. the letter ‘E’) need to be fixed so there’s no confusion that these are in fact small wooden cubes.
Oct. 09, 2013 – Update
I finished my lowercase build and shot all of it last night. I’m still cropping in PS, but I should be finished this evening. I did, however, manage to test some suggestions given to me by Sean. I tried a flat shadow effect, as well as contrast enhancements to bring out the wood grain and subtle imperfections of the blocks. These effects need to be carried through the set, but I have the adjustment levels dialed in, so it’s just a matter of copying and adjusting for light discrepancies. Here are results, as well as some “in the wild” process shots.
Oct. 14, 2013 – Update
Most of the project is wrapped up. Here are some photos of the type specimen brochure/mailer. The outer packaging still needs postage, etc.