Khara Woods

Graphic Designer

142

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Set in Stone

Typography Exploration

1st Ex.

I've always been a fan of flowy type, which can usually be found in the Script family. I love this example because it's not a Script but just as elegant and flowy. The letter spacing, rhythm and serifs make this an impressive hand-lettered piece by Matthew Tapia.

2nd Ex.

Most, if not all, of Drew Melton's work is an inspiration; this piece is no exception. I love the use of white space and the tracking used between the letters. It's cool that some of the letters are wrapped in a semi circle, some rise up and down, together these elements make an exciting and balanced composition. 

3rd Ex.

The double crossbar on the "H" really sets this piece apart from the rest. The weight and thickness of this typography expresses an established yet lux tone to this vintage luggage label. I'd bet this hotel, just by looking at this advert, was no less than 5 stars.

Type Classification

Humanist (low thick to thin contrast, slopping crossbar on "e", small x-height):

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by Akos Polgardi

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Old Style (oblique stress, wedge shaped serifs, capital height shorter than lowercase ascenders)

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Transitional (Fine bracketed serifs, almost vertical stress, captials same height as lowercase ascenders):

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Modern (Extreme thick to thin contrast, no bracketed serifs, strong vertical stress):

by Antonio Rodrigues Jr 

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Slab Serif (Thick serifs, vertical stress ):

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Sans Serif (No serifs, terminals squared off):

Image from Type Hunting

Type Anatomy

Inspiration:

These are images I've collected during lettering tours at home and away. For the past few months, I'm really into discovering any type set in tile. I especially love the examples that can be found on the ground just underneath doors at storefronts or restaurants. Most people step on or over them and they go unnoticed. It's time this well-trodden piece of type history get some fan fare. I would like to use one of the examples without type as the background for my card design. I think. I may need to sketch again. But here's a collection of photos I'll use for my set of trade cards.

I've picked 5 images I'll use to make my set of cards. I'll make a few edits and they'll be ready to add to my design in Illustrator later.

I want these images for possible backgrounds or at least use them for inspiration.

Moodboard & Mind Map

Sketches

As you can see these sketches don't have to be masterpieces, nowhere near, in fact.

Final Sketch

I have re-worked my final sketch. This level of detail is enough for me to get into Illustrator and start finessing my ideas. I liked the design I had before, as seen in the video lesson, but I feel it should be simplified even more to truly reflect the descriptive words used in my moodboard: muted, victorian, clean. Victorian is usually ornate, but going light on the Victorian elements and heavier on the clean and muted feel is where I'm most inclined. One thing I love about design: iterations! If you don't like something about your sketch, poke and prod it until you do. I will take the weekend to tweak my design in Illustrator. 

Final Sketch in Illustrator

I've decided to change the colors a bit. The colors I chose before were muted but on the cool side. This palette is much warmer and earth-y. Here's the photo for my inspiration.

Because I plan to print my cards I have to take into consideration how many colors I'll use and what type of printing I'll use. I haven't decided whether I'll use this image as the background design for my set or if I'll just base a design from this image. I will continue to look at my chosen photos, mood board and mind mapping to stay on course. 

How my workspace currently looks. It's mess right now, but I'm still exploring my options. 

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