Project 4

My intent in translating the 2d pattern into a 3d form was to stay true to the hierarchy of spaces set forth in the pattern, which characterized important aspects of the letters; notably the horizontal datum derived from the negative space in-between reflected versions of each form, and the hierarchy of scale towards the center as one examines the pattern. To this end, the red horizontal datum is significantly more extruded then the remaining shapes and creates a strong horizontal axis within the 3d form. The larger scale “e”’s are the next most prominent figure, with the smaller “c” letters stepping up towards them. The minor horizontal datum created from the voids around the “c” letters is extruded slightly higher than them to give it the prominence it help in the original pattern.  The 3d model was constructed by first building the core “T” shape, and then mirroring that upon itself.  This central element remained solid to give it appropriate hierarchy, and the iterations on either side have been made translucent to emphasize the core, as well as providing a strong visibility of the horizontal datum when the form is viewed from the axonometric angle. The orthographic view was selected because it clearly shows the letters stepping up in their respective orders of hierarchy, set against the horizontal datum as a backdrop. Additionally, the changes in density strengthen the repetition in the model.

For this assignment I went through several different composition ideas as part of my process and have posted them here.  Composition number one and number two were an evaluation of how the diagonals in the gothic font can be used to set up a series of regulating lines that shape the other letters. The role of these lines is expressed through a repeated pattern where each letter is scaled from the edge of the page to the intersection of another diagonal (“vanishing point”). Numbers three and four were part of my process for five and six. All four of these compositions attempt to highlight the horizontal datum established in the text by each character’s apex and terminal element, shown using the “C” and “E”. Additionally, the relation of the positive and negative space created by reflecting the letters upon themselves is also a part of the study and is shown most strongly in the color compositions that play contrasting colors against each other to show this relationship.

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Project 2

Project Two Intent:

                On board number one (Grand Marnier) I attempted to express the similar shapes that repeat throughout the font and define the curves within the font. The letter “a” has a void that defines the space between the ear and the hairline; the form of this shape is replicated with a slight modification on the terminal of the letter “e”. The similarity between these positive and negative spaces can best be seen by connecting each letter with a rotated version of itself. The curve of the “a” shapes the “G”’s lower bowl; and the “e” shapes the curves on most of the other letters in the example text. On board number two (ecstacity), one of the defining qualities of the font is that two angles determine the slopes of each letter with an applicable diagonal component. The letters “s”, “l”, and “t” are on the steeper slope; and the letters “e” and “y” are on the gentler slope. Both boards also relate to each other by using the same technique to identify several other qualities of each font. The Gothic fonts have triangular terminals and apexes, the varying forms of each font are enlarged and placed in a repeating pattern along the top and bottom of the boards. The tracking/kerning of each font is expressed by a gradient that darkens in the negative space between each letter of the original translucent text in the background of the image. The consistency of each apex and terminal element is also shown using horizontal lines extending over the length of the image. Lastly, key parts of each font’s “anatomy” are also highlighted on the background text of each board. By analyzing both of these fonts in such a manner, my intent has been to express both the defining elements that appear to shape the characters of each font, as well as different characteristics of the final product that relate to the experience of reading the text.

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