3d pattern

After having the last pinup, I realized my pattern was more complex than necessary, and would be difficult to model legibly in 3D, so I went back to try to simplify my pattern. This time, I focused more on creating forms from the negative space than stacking and overlapping forms. This image is the new pattern I developed.

With this pattern, I used a series of rotations and reflections to establish a noticeable star configuration in the negative space. From here, I chose to emphasize this space in Form Z.  I wanted to highlight this form by raising it above the level of the rest of the pattern. I also tried to develop hierarchy among these figures with the use of additive versus subtractive techniques. I reinforced this concept with some color and transparency in surface styles.  I wanted the star extrusions to be transparent so that the original pattern could still be read.

patterns

I ended with a series of three layers of the same pattern.  Each layer is twice the size of the one underneath. This is meant to emphasize the relationship between the stem thicknesses of this typeface.  I chose to create a pattern that was dynamic, incorporating both straight lines, clear diagonals, as well as curves that all interact. The bar of the blown up bold pattern in the center is intended to attract viewers to see more clearly the finite details of the pattern connections.

In this board, I wanted to contrast the horizontality of the previous board. I realized that my analysis was more about the vertical alignment of the characters. I hoped to establish the concept that two of one element fit into the next. The vertical bars are identifying the width of the characters in each layer of the pattern.

process

The goal of my pattern was to establish the spacial interaction between 3 main characters of the typeface I studied earlier. The N, U, and V are all representative of many of the general characteristics that define this typeface. In my analysis, I had already found that both the U and N were the same width along with several other characters.  I had also noticed that this typeface featured a style where 2 primary line thicknesses were used to create charters. After further analysis, I found that the thicker line weight was exactly twice the width of the thinner one.  I wanted to highlight those proportions in my pattern. After rearranging and transforming the characters I developed this pattern where the two thin portion of the V and N line up to establish the thickness of the U, while the other half of the U continues to line up evenly with the other stem of the N. I tried to highlight/bold certain characters to make them identifiable.

From there, I began playing with the idea of separating the pattern, but I realized this took away from my initial intent of identifying the spacial analysis.

I went back to my original pattern, choosing to highlight characters in a series of rows. I also added a dividing element to make the division more clear.  The diving line was a series of I's. I used this opportunity to add another level of analysis to my pattern. This analysis covers the regularity of the shape of the serifs of this typeface.  The serif on the end has a curve that is derived from the same surve on the serif of the I, meaning the two can interlock perfectly.

Project 2

The goal of this design was to emphasize the difference in form of the two fonts despite their similarities. Both are serif fonts that include only capital letters. The University font is a much more elongated, elegant font with curved forms and thin linear elements. On the other hand, the Grand Central font is shorter in stature with thick, broad elements, a blocky form, and wider spacing. I chose to use both pages of this project to reinforce each other.  I began by choosing to represent the University font with predominantly white lettering and the Grand font with black lettering so as to emphasize their contrasting thickness. I positioned the primary lettering of the full words in such a way that highlights an animation of their form.  For example, I wanted to show the short stature of Grand by having it appear to be pushed down on by the graphics above while University is raised above with more freedom to extend upwards. These two actions are created by the integration of both fonts’ T characters. The difference in these characters is clear: the top T has curvature where the bottom T has sharp, clear angles.  In order to continue to bring together the two boards, I established a blend of both fonts’ N characters to show a clear transition.  In addition, I used a gradient of grayscale to provide a clear flow from one page to the other as well as to alternate positive and negative tones. 

The individual design of the University page is intended mostly to highlight thinness and curvature. The various characters in the background are arranged so that their curved paths align and that their similarly curved serifs conjoin. I chose to gradually reduce the size and stroke of the characters as they appear to go back in the distance of the page so as to reinforce the concept of the thin nature. Another primary feature of this board is the blown up U character that frames the page in order to bring attention to the way this font has a tendency to have a greater width on the left side then transitions to a sleek smaller width on the right.

            The individual design of the Grand Central page is intended to highlight thick, bold width as well as block-like features.  The added characters to this page are stacked to emphasize the sharp angles. I also chose to animate the actual word usage on this page by centering the word ‘central’. To provide more emphasis on the edges of the font, I again used stacking, this time on top of the larger scale serifs of the T. In contrast with the first page, the stroke and scale of the additional characters increase as they are intended to pop out of page to establish the bold features of the font.