Don't think that it's that big? Here's one of it in front of my 24" Dell monitor (which is also awesome and that I heartily recommend to anyone in the market for a high-quality display).
Welcome Wacom
Just got a new (read: second-hand) Wacom Tablet. It's huge. And awesome.
Don't think that it's that big? Here's one of it in front of my 24" Dell monitor (which is also awesome and that I heartily recommend to anyone in the market for a high-quality display).
Don't think that it's that big? Here's one of it in front of my 24" Dell monitor (which is also awesome and that I heartily recommend to anyone in the market for a high-quality display).
Postography
Here are some typographic posters that I did for Studio 4. I think they are pretty nice ... We had to pick two typefaces and create two responses; one a formal type exercise, designed to show the typeface to full effect. The other could be anything we liked. I chose to do Hoefler & Frere-Jones' awesome face, Archer, and a random Korean font called Cursive.
Formal Response
The formal response was designed to be both dynamic and solid, thus representing the feel of both typefaces within the layout itself. This was alot trickier than I first anticipated, as getting the balance of white-space vs. typographic detail was the key to the success or failure of the design. I think I got it in the end, though.
Informal Response
Formal Response
Informal Response
The informal design was alot of fun — I extended the look and feel of Cursive and Archer into a 1950's style advertising design. I wanted viewers to be able to pull the poster apart and examine each advert on their own, so I perforated the final A0 print along the lines of each section. All of the products on the right hand side of the poster are real, while all images used in the poster are featured in advertising from the era. For those paying attention, the third face used in the posters (a sans-serif) is Trade Gothic Condensed 18, in both regular, bold and italic.
Dairy Problems
Just finished the final piece of assessment for Digital Imaging. Namely, a 28-second piece of kinetic typography set to the Go! Team's Milk Crisis. Lucky I picked a great song, because I'm sick of it; taking a three month break from this song. I'm pretty happy with the way that it turned out, although it would've been good to get to do the chorus as originally planned. Maybe over the break.
Also, the line around the 'dial' at 0:21 was done twice; the first time, it took two hours of moving a mask around so that it would all match up nicely. The second took three minutes, simply through using the generate line tool. Which I knew was there all along.Made with Adobe Illustrator CS3 and After Effects CS3.
Type Set
Bob Partington's three-dimensional type makes the regular stuff seem irrelevant. Guess I should just give up now.
This sort of type always interests me — it goes againt every function that typography is supposed to fulfill, only ticking the aesthetics box. Why do people keep trying it? It just seems downright odd; very impressive to look at, but ultimately pointless.
This sort of type always interests me — it goes againt every function that typography is supposed to fulfill, only ticking the aesthetics box. Why do people keep trying it? It just seems downright odd; very impressive to look at, but ultimately pointless.
In Cognito
For the past couple of months I've been working on a typeface - very exciting stuff... Tentatively titled Cognition, it's designed to be useful across a broad range of media, is easily legible down to 7pt and will have a display face as well. My main influences for this one are Century Gothic (most visible in the upper case letters) and Myriad Pro (particularly the lower case n, g and b).
My favourite characters are the lower and upper case G's - they typify the ideas behind the font: legibility with a quirk. I also really like the upper Q - I think it's a neat solution to such a charismatic letter.
