Brief 7 - Initial ideas stage

I have now reached the initial ideas stage and sent them off to Joe for comment. I presented 3 digitalised ideas this week, and of course, have a much broader selection of sketches leading up to them. I have tried to create 3 fairly disparate solutions for this stage of development to give a varied range based upon the visual research and brief set by Joe. His preferences for a Sanskrit influence that was apparent without being pastiche, rounded/fluid forms and a futuristic aesthetic were all taken into consideration.

These initial sketches gave a feel for the general aesthetics of each style. Working with a 5mm broad nib and biro.


















The sketches were developed further and digitally traced on illustrator to create more polished outcomes. Joe gave me the chapter titles of Rage, Wisdom, Serenity and Practitioner. To begin with, as these ideas where primarily for the header text all presented outcomes were in capitals, however, there is an idea that these faces could lead to lowercase and body text applications at some point.

Inspired by the 'futuristic' type from initial research such as entercourse of the new age. This idea works with rigid rules such as the consistent flat top bar throughout and diminishing curved backbone. The forms always follow the angle of the flat pen nib but the outcome appears quite digital and futuristic due to the heavy contrasts and smooth consistent lines. The outcome removes some of the influence of the human hand and the sharp direction changes give a somewhat sinister aesthetic. There is a definite stylistic tie to the general orient region within this idea but perhaps the sanskrit reference from the top bar and sweeping, ascending lines are somewhat lost in the final display.        

This hand style is far more cursive with a clear and deliberate influence of the hand. The clear fluidity and curved nature of each form make it more so what Joe asked for in regard to personal preference. The top bar taken from Sanskrit and Hindu text, in general, is far more prominent than in the first design due to its detachment from the rest of the character. The face is an extreme italic, meaning it leans further than the standard 6-9 degrees. This allows for a highly directional aesthetic that contrasts the free flow of the vertical lines and provides a dynamism that is perfect for attracting attention as a header text. There is a question around whether forms should continue above the topbar as there is a lack of consistency within this area.

 This final design involved less practical work than the other two because each form is heavily and directly inspired by Sanskrit or Buddhist characters. For example, the letter N is taken directly from the Buddhist character for 'gee' and the M, W and Y are also very heavily inspired by existing characters. This does perhaps open up the issue of cultural appropriation and the issue of pastiche was carefully avoided as much as possible on this face in particular. The contrasting and complimentary, fully original forms that surround these letters go a long way to neutralising the problem. The double weight I, perhaps doesn't fit perfectly as its the only double-weighted character but it fits as a one-off variant due to the decorative nature of the type. The upright nature of each letter was designed to give variation to the first two faces that were very much so italicised. However, perhaps this feature adds formality which is more commonly expected from a body text. Opening up the possibility for the text to be edited into something more legible.


After sending these off to Joe yesterday, heres his response:

It was clear from Joe's response that there's a definite preference for the italicised text presented in the first two ideas. His view is that the first one is the most finished outcome and therefore looks the best but that the second idea is more what he's looking for. So I am going to see what I can do with regards to finding a middle ground between the two. I feel that the most effective bits of the first one are the heavy contrasting swoops that can act as serifs and give a contemporarily popular aesthetic. I think the best plan of action is to attempt to modify the second idea so that it incorporates some of the flair of the first. Testing out forms sitting above the line will also be important progression.