Untitled

Final

Refinements Project 3

roughs project 3

project 3 Infographic thumbs 

Label rough and final 

Pop Tonic label packaging project Thumbs and roughs 

In this composition, I use digital letterforms and ones found on physical signage to show their range. Using signs from a popular fishing spot in Port Isabel, Texas, I made a dynamic and unsettling composition. I decided to take a somewhat horrific approach due to most examples being almost the opposite. Three large signs dominate the composition in a vaguely triangle shape. One sign in the middle has white letters and stands out more than its red-lettered counterparts. This is the main focal point; the eyes are drawn to the lighter center. Darker tones lead the viewer to be somewhat disturbed but relieved at the friendly imagery of fishing memorabilia. The tones I was trying to capture were found in memories of seasick fishing trips and empty ice chests.

pictures for vernacular type

vernacular type final 

Opposing forces thumbnails and word listing 

For my composition, I chose the opposing forces of outside and inside. To juxtapose these concepts my ideas ranged from things having to do with human emotion, and the literal inside and outside of a conventional structure. For my final idea, the objects I felt best representing being outside was trees and foliage. I used this idea and photographed many trees and plants around my neighborhood. The combination of that and the image of a window made for good starting material. The final photoshop rendering is the image of the window with trees and plants growing out of the interior of the house. Making it in that fashion gives it a very surreal and possibly eerie feeling. Shadows were added behind the trees to give them a sense that they really existed in that space.  

opposing forces final

Project 2 thumbnail sketches

Project 2 Roughs 

The letterform repurposed in this example is a man-made sans-serif. Proving to be a challenge, the decision to use the handcuffs was an appropriate one. Thinking of a manmade object with the specific proportions of a “B” led me to use the repeating cuffs. Like the example of my organic serif, the integration of subject details were used to further reinforce the idea of the letterform. Unlike the organic example, the man-made object has a chain link that deviates and falls off the edge of the letterform. Even the cuffs appear more placed than flush with the existing outline. Despite the lesser level of integration, the object still flows and compliments the letterform well.

The letterform represented is an organic serif. The shape created by the letter “A” was ideal for rendering a sharks face. The entire outline of the “A” is leftover. Only the interior of the letter is utilized for displaying more abstract forms. In mixture with the abstraction, the shark's mouth follows the pattern the letterform normally follows. This detail makes the shark look slightly more like the letter.