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Posts tagged ‘o and g’

The o and g reflection

O and G proved to be an exploration in different ways for different people. Many took it as purely an art project, like Casey, who made the beautiful Kama Sutra of Typography. Others, like Victoria, focused on the story of the letter-forms’ relationship. I decided to use the project to explore the variety of available fonts and use them to tell a specific story that can be seen without explanation in viewing the five-panel composition.

In looking back on the work, I wish that I had spent more time focusing on the beauty of a mother-child relationship rather than snapshots of the moments themselves. That’s what I am focusing on the grandfather-grandchild relationship in the color version of this project. Nevertheless, I learned a lot.

Firstly, I learned that there’s a font for everything. I know that I have an advantage because I have CS5 on my laptop and have owned an additional 1001 fonts since high school. In addition to that, I tapped into dafont‘s library to make the composition read as a I wanted it to. Nell even mentioned that I could have drawn in my second “o.” I didn’t, but the “o” does look quite similar to my original sketches, which brings me to my second point.

In graphic design, it is essential to first play with your ideas on paper.  It’s kind of like organizing a paper. The ideas are all out in front of you and you can pick and choose the best compositions.

In terms of new skills, I learned how to group, use pathfinder, provide even spacing between objects, and use the limitations of the artboard to my advantage. There are many similarities between Illustrator and Photoshop, so I didn’t have too many difficulties figuring out layering and the layout of the tools panel.

More than anything I did on my own, however, was the education I got from looking at other people’s work. It has inspired my color design and pushed me closer to the beauty (as opposed to function) of graphic design. Hopefully I will learn how to combine the two.

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O and g, revisited

There were a number of beautiful presentations on Wednesday, which made me re-examine my work. Because another classmate, AJ, took the same approach as I did, I paid special attention to our professor’s critique of her work. Specifically, I pushed the pregnancy more and focused more on the art of the project rather than the story. This is what I came up with.

o loves g again

o loves g again

This is due on Wednesday. In the meantime, we’re supposed to start playing with color. That will be the next post!

o and g: a pregnancy

My o and g project is due Wednesday. By then, we have to build a dynamic relationship between the two letters and express it in a black and white box with no add-ins. There must be five panels total, a mask and base layer, a 7″x7″ box to confine one panel, and each layer must be labeled.

Instead of playing o and g as lovers, I decided that they should have a defined relationship. g is the mother, o is the baby.

g is pregnant with o

g is pregnant with o

The reason why I find this relationship so compelling is because g, I believe, can take on human characteristics. It can have a swollen tummy, a stern expression, a longing gaze. I can play with these attributes to play on g and o’s relationship, and hopefully diminish the number of people who just see “go.”

The first years

The first years

As you can see, I didn’t completely scrap the original romantic relationship between the two letters. I love the CrayonE font that I was using to show closeness in their original relationship, though I toyed with it more to show more of a parental relationship. All of these pages were just favorites of the many many many that I have since made.

o has a tantrum

o has a tantrum

I also decided to keep using Extrafine to demonstrate anger or angst. Some of these files run over each other a bit, but I know how to fix that by reordering the layers; since they’re mock ups the overlap doesn’t bother me so much.

Teen angst with boxes

Teen angst with boxes

Teen angst without boxes

Teen angst without boxes

The most fun that I had when I was making the teenage angst section was choosing the different fonts between the g and the o. I wanted g to be as standard and conservative as possible, so I ended up with Times New Roman. o, on the other hand, had to be a bit wacky. I ended up picking Billy Argel because of the swoopy, emo hairstyle that o appears to have. I’m not sure which of the above images I have, but as you can see in Teen angst without boxes, g definitely holds down the fort while o is a little bit lost.

o leaves for college

o leaves for college

The final panel of the strip will be bittersweet: o leaves for college. The g fonts that I chose were based on their g terminals; I can see the hinting of a face on the g. g, signaled by the direction of its terminal, watches as o leaves, proud and sad. Naturally, I thought the Princeton LET font would be perfect for o. o is half out of the picture because it is almost gone for college.

Though I have a number of prints from these templates, I am going to sit down later tonight and pick the best to show o and g’s story.

O my G, Typography!

In class today, we started to work on our letter projects. My professor, Nell, had some constructive criticism regarding my choice of letters. She said that all she could see was “go,” but that it could work to my advantage (I have yet to see how, but I really like the two letters so I’m working on it).

I only got to work on anger because most of the class was spent on figuring out how to make a mask on Adobe Illustrator. For future reference, a mask is kind of like two pieces of paper stacked on one another, where one has holes in it to see through to the other.

To make a mask, create the object that you want to be cut out. Then, fill the canvass with the same-colored square or rectangle. From there, click the “Pathfinder” tab in the align box, and in that menu click “Divide.” Click the object that you want cut out, and tada, you have a mask! In my canvasses, I cut out 16 squares.

I need to pick five final panels for the class. Here are my four favorites based on what I had thought about in my previous post.

Any and all thoughts would be welcome!

The Selection is Made

I have finally decided on the four images that I will use for my o and g project, representing the need for space, the feeling of being in love, a fight, and growing old together. The image above has been modified to grayscale so that the viewer can see it a bit better.

Needing space

Sometimes, g can be a bit overbearing

I find that when g is capitalized, it is a rather antagonizing letter. It stands taller than most other letters, intimidates, angers. The lower-case g, however, is far more passive, curling its tail well below the baseline in submission. Using the submissive g, I can still play on o’s underwhelming presence, using color (well, black and white as per the project’s limitations) to point out g’s intrusion on o’s space.

Love

Letters in Love

In closeness and cuddling, g and o express their love for one another. The cursive font allows for g to reach for o, yet still allow for o to prematurely curl into g. The vast amount of negative space only compliments the closeness of g and o, regardless of their size dragging g’s descender slightly out of the parameters.

Fights

G has a temper

G has the propensity lose it, and o tends to submit. Playing dead on the floor, o waits until G’s tantrum is over. G looms far above, screaming in its scratched-out font, in frustration in whatever o did this time.

Growing old together

g and o's Long Lasting Love

This is by far my favorite of the illustrations. It was first found in the “in love” work book, but I liked it so much that I used the piece in this section. Both o and g are content with each other, curled into one another’s arms. They are small relative to their borders, but that doesn’t seem to both them because they are so lost in one another. I can see them laying here forever, growing old together.

Love Letters from Letters in Love

“g.” “o.” Two letters of the 26 available in the western phonetic alphabet. Unbeknown to the casual flapping lips of the hundreds of languages that use their melodies, “g” and “o” are special. Why? Because they are in love; I have pictures to prove it.

Today, I drew “g” and “o” going through the motions of being in a relationship. The initial bliss, the fights, the need for space, and, since in my lifetime they will, their years aging together have all come together in these sketches.

Sometimes the font sets the mood. Soulstalker, for example, creates an intense sexual connection, whereas Champagne and Limousines allows for the letters to coddle one another.

More than anything, the proximity that the letters were to each other showed the closeness of their bond. Script fonts easily lean into each other, so that the viewer can see o and g holding hands and reaching for one another. g tended to curl around o, and give guidance and protection, whereas O was happy to let g cuddle up and fall asleep.

Not all times are happy with o and g, though.

Sometimes o has enough of g’s complaining and sucks the air right out of their space. g can’t stand it when o embarrasses it and yells defiantly at its partner. o sometimes gets so mad that g plays dead.

Like children, they will sometimes separate to the point that one misses another, and begs the other to come back to them. g clings, and o walks away. Luckily, they tend to stay together.

Yeah. G can be really nasty.

Luckily, both letters tend to realize that hey just need their space.

G can be a bit stifling. It knows that and tries to control it. Luckily, o doesn’t mind too much.

Sometimes o and g are off doing their own thing. That’s okay, because it doesn’t change the fact that they still mean something to each other. Just because they are in their own space doesn’t mean that they won’t still reach for each other a bit. And they certainly aren’t fighting the whole time.

Growing old together doesn’t necessarily mean that one dies, but we have explored the sadness of what would happen to g or o if they were lost in the world without one another.

Yeah, they do grow old. Luckily neither of them are actually dead, and they do still love each other. What a healthy relationship!

Overall, the mood was determined by the line quality, shape, and intensity in the letters, which was complimented by the use of negative space. Different fonts made  a big difference, but placement, in my opinion were more important. Their relationship could be described with the following restrictive guidelines :

  • Every panel has two distinguishable letterforms
    (but does not have to contain the entire letterform)
  • Black and white only
  • No other elements besides the letterforms (no, color, design or image)
  • Do NOT manipulate (stretch or distort) a letterform. If you want a certain aspect, select a font that contains the characteristic in its form

While drawing, I played with space, font, and size. Though I did jump from idea to idea, the themes remained the same.

Next time: what will I use for my actual project?

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