I went into the crit with fairly little confidence in a couple of my 5 ideas. I would suggest that maybe the quality of a couple was bellow par because of how engrossed I have been with the slanted futura/helvetica face and the logistics of that. This has been poor distribution of time from me as I now have nearly a full typeface of the adapted helvetica and lots of experimentation in futura but some if not most of the other ideas were to some extent rushed. I don't think this is necessarily a healthy way to work as it shows I have too much of a preconception of the final product this early on in the brief.
The crit was fairly decisive that the 'main' adapted helvetica idea was strong along with some people liking the contour design but Ben advising me it looked too forced which I can largely agree with. The signal idea and 'cut blocks' also received one half vote each although I think it was clear that these two hadn't been developed sufficiently for a consistent typeface to be produced. There was some questions raised over the consistency of the helvetica face and it was agreed that my next step with it would be to create a set of rules that could be applied to most if not every letter. In terms of any potential specimen, the faces way-finding potential was discussed due to its definite direction and sense of movement. It was suggested I create a stencil from the typeface or a variation of it and use that in signage, or vinyl cut letters that could be used as super graphics. I went to the library immediately after and got out a book on super graphics.
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