Wednesday, 31 October 2012


I created this typeface on Illustrator just for fun, in an attempt to create a patriotic USA flag themed typeface.

I like the playfulness of this typeface and thought it would be good perhaps for a propaganda poster or an infographic piece of design. This is also something I would like to work on and develop further.

Tuesday, 30 October 2012



Using the skills I had previously learnt in the software workshops for my final typeface design, I used the Pen tool to draw a varied of long, thin lines. 

These were manipulated using the anchor points and handles, allowing me to create a 'vein like' series of lines, which I put together in a suitable pattern. I

 felt like a monochrome typeface alone would be slightly stark, and serious for this brief, as I wanted to do something fun and slightly more slight hearted, than my original idea of 'type anatomy'. I had experimented with this on illustrator, using a literal illustration of dissection and felt it didn't work. 

I added Pantone colours to the veins in different opacities of black/grey and blue, until I had achieved the look I wanted. I wanted the colours to show fade and tonal change, to make the typeface more visually pleasing.

I chose the font 'Ribbon' to use, as the typeface has cut outs which show as a different colour when finished with a clipping mask, and is delicate but bold, like the print and concept of dissection I have chosen. 

Layers and objects selected.

I added the type and created outlines on the typeface to make it an object so I can manipulate it easily. I enlarged to the desired size and positioned on top. I added a light grey background under the print which was an experiment, which I ended up liking and continuing throughout. 

Letterforms were placed using rules and grids to ensure they were the same size, and laid out correctly. 



Produce an alphabet based on one of the letterforms you created from the Alphabet Soup, Visual Thinking brief. Once again you are restricted to using one colour and it is to be produced in CMYK (cyan, magenta, yellow, key). Although you are restricted to one colour you experiment with opacity and half tones.


Think visually. Consider what the visual essence of your subject matter is and how best to communicate it. How can these letterforms that you created be developed further now that you are working digitally? The following terms may prove useful:
Trace, edit, layer, combine, outline, silhouette, positive/negative, contrast.
Make mistakes in order to learn from them.
For this workshop the emphasis is on investigation and experimentation. You will develop a quantity of material that will allow you to maximise your understanding of the applications potential within the time available. 
One of the problems with software is that everyone has access to it but not everyone knows how to use it creatively. Abode illustrator is primarily used for the generation of vector-based images and as a type tool. When used as a means for visual investigation it offers the potential for rapid generation of visual variations. The possibilities of which can used as a springboard for further visual research.

The image I have chosen to use is the 'n' from the following:

I felt using illustrator I would be able to try out different methods and achieve an illustrated digital typeface using blue also to add detail and depth. Some designs wouldn't work well with all letterforms like the spine on the 's' and the vein pattern is something reproducible and effective. 


This is the illustrator task which I completed in a workshop, introducing us to the Pen Tool enabling us to digitise our Alphabet Soup typefaces.

Using the instructions I completed the task. I found it challenging at first but once I had several attempts  I began to pick up the different techniques and tools.

We then had to trace over this letterform, which again was challenging but worked in the end.

Saturday, 27 October 2012


For the brief I am currently working on for the Design Skills module 'Message and Delivery: Research' I am researching the current US Presidential Election between Barack Obama and Mitt Romney. This started out looking at how the killing of Osama bin Laden may improve Obama's chances for being elected for a second term as the President of the United States. The story was seen in The Metro, on Tuesday 23rd October 2012, and started off my research.

Below is a series of work I developed at the beginning of the year, however it relates perfectly to the project at hand;

This is a series of postcards I created around a brief given over last Christmas for my work submission to Leeds College of Art, before I received an offer for interview. I was given a series of shapes to choose from. I chose a heart, and wanted to look at the other side of Love and the contrast between Love and Hate.

I wanted to express how I feel about the world around us and how everything is dictated largely by culture and religion, especially terrorism. But, as a unit we are all told to love one another and care for one another, and this has been said since the bible was written, and what 'God' leads us to believe. But, my arguement to this is, if we are all meant to live in peace and harmony and love one another, why do we kill each other? Terrorise each other? Take innocent victims lives in major attacks like 9/11, which can put a country and the world to a stand still in disbelieve what some people can do to others. Hence, the post cards above.

This is something I am really passionate about and the text and imagery used, formed of 'hearts' which are visible up close and not at a distance are ironic for the love we have, but don't. I wanted this work to make people think, question, doubt, and it seemed perfect to bring it in with the current news stories I am looking into with the Presidential Election and Terrorism.

Sunday, 21 October 2012


We were asked to put our typefaces into a different context opposed to just relating them to our partners. I thought instantly about an editorial magazine spread/title due to the detailing, then decided to work on a smaller scale, and decided to re work a clothing tag from a high street store. I thought about Urban Outfitters, however they have a strong, hip, brand image already, and I wanted to try and improve and modernise the logo of an existing store. I decided on River Island, a popular, well known store, which in my opinion is due a make over in every sense - from branding, to in store design and clothes. I wanted to make it much more straight edge, quirky with a bit of hip/aztec styling.

This is the clothing tag I based my design around. It is 35m x 95mm and is made of a black, rubber like material. The tag can be easily manipulated and will retain it's shape. The images of the tag used as a basis are shown below.

Variations of tag colour:
Classic Monochome


Cream and Black

I personally like the black and white inverted tag and the cream and black colour schemes the best. I feel they'd work best for the brand and their corporate colours used, unlike the monochrome scheme which is a bit too polished and sharp for River Island. On the tag which the size and layout is based upon, the type used is cream on top of a black background. 

I feel the typeface works really well in this context as well as the work created for my partner James. I think it shows that it is a versatile font and the detail/pattern inside the letterforms could be changed seasonally or for different brands, or even for different aesthetic purposes allowing for even more versatility. 

Friday, 19 October 2012


I wanted to digitally create my name badge for my partner, to show variation and how the typeface would look if it was all created in the same way.

I wrote out the necessary text and once sized aligned properly, and traced over the type as desired. I felt like this process was much easier and less time consuming than hand rendered type, and gave a much cleaner, polished look. 

I really like how the details and patterns looked when digitally rendered. 

I added extra details such as the patterned circle of the base of the 'J' and an underline coming from the letter 'K'. These were for aesthetic purposes. 

Designing the typeface digitally made me much more aware of scale as I had previously been working at a scale appropriate for A1 whilst the name badge was to be made to the dimensions of 45mm x 90mm. On screen this didn't seem to make a vast difference but when printed it was considerably smaller, but still legible. The only downside was due to the small, intricate lines and shapes used inside the letterforms this made some not as easy to make out, and harder to add colour.

I decided to print off my name badge on plain white paper, which would then be stuck to card and cut down to size. Any colour detailing would be added afterwards. This was my final design for the name badge, complete with colour:

I tried adding colour inside the letterforms however I felt that this ruined the typeface and style I was going for. It was hard to place colour into the the type without detracting from the actual pattern and detail being shown.

 I decided to use 2 shades of purple and a turquoise ink to make the letters stand apart from each other and make the letterforms 'pop' so to speak. 

I am happy with my final name badge as the type is legible and fits my partners personality and character, as well as showing his interests in design. It is based on his favourite font Futura, and has splashes of his favourite colours. 

Wednesday, 17 October 2012


This is my final typeface design. It is laid out on A1 trace paper and was drawn out with a HB pencil, then further detailed with a fineliner, and grey marker pen for shading and detail. I secured the A1 trace on to a piece of white mount board for sturdiness.  

You can see here some of the details in the letterforms. Some have grey marker also for shading and to create extra pattern and texture. You can see on the 'X' I used a grey marker to create a 3D look and depth, and on 'O' I used pattern and tone to create a geometric mosaic. 

I feel like my typeface really reflects my parter and his personality. with his interest in geometric shapes being shown as well as the thin simple typeface itself, showing my partners quiet, reserved side but inside is very opinionated and has strong likes and dislikes. 


Using Photoshop I set up an A1 canvas, and added my type at 350pt after experimenting from 250pt upwards to find a size for the type which would allow the letterforms to be legible and all at the same scale to fit on the page. Once I was happy with my layout, I printed this out on 2 A3 pieces of paper, so I could align and use the basic Futura font as the base for my typeface.

This is the aligned typeface under the A1 trace paper I used for my final design to be drawn onto. 

When I was drawing out the letterforms, I changed my mind about how I had designed the 'Z' and came up with 2 alternatives. I wasn't happy about how the type looked uneven and unbalanced when placed in order. I chose the first alternative, as the main diagonal structure mirrors 'Y' and '/' allowing the typeface to flow smoothly throughout.

I used my design sheets with geometric and linear style patterns and shapes, and began to draw the details on to the letterforms. I used gridded paper to make sure the sizes and lines were all accurate. 

Here are some of the drawn up letterforms:

Once I had everything drawn up as I wanted, I added on extra details and gave some letters some shading and depth depending on the letterform/glyph and the patterns used.