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TYPEFACE

Comparatively speaking, these two fonts- the first being Rogueland Slab, a sans serif font, and the second being Manta Style, a sans font, are similar in the distinct box-like shape. Though quite obviously the small decorative flourishes on the end of the strokes of each of the Rogueland Slab letters distinguish it apart from the Mantra font.

Above and Below, it is easy to see that the scale of the Manta Style font is a lot larger, with the width of each letter being significantly more so. The thickness of the Mantra strokes is a lot more distinct, with little curves and edges- further establishing it as a sans font.

When overplayed, further comparisons can be made through the sizing, width and alignment of each capital letter, with the Mantra taking up more space despite the fonts both being displayed at a size 48.

Rogueland Slab

Mantra Style

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M.C. Escher analysis of works - demonstration of Gestalt Principles

Reification is utilised in this pattern through the weaving of geometric shapes in a way that similarly depicts the wire mesh of a dence. It is simply sharp edges, blue pentagonal shapes and the clear contrast between black and the absence of colour, namely; white, which can also be seen as the use of the principle that is closure. We are left to see forms that aren’t necessarily there, while continuity is also present in the way that every shape leans into one another. The viewer’s eye can follow either the black shapes, the white or the blue and see more shapes within them. This is a clear demonstration of gestalt principles.

Proximity and continuity is evidently present here. The same shapes are used over and over in a perfect mesh pattern of strange creatures. Despite there being multiple different colours, they all follow a pattern similarly related to that of flower petals. Considering that each is also seamless with little absence, proximity is certainly evident.

Similarly to the previous image, the proximity of these ray-like creatures is seamless and creates a wave formation. It is both aesthetically and visually appealing to the eye, and one could follow the lineart of the shapes and forms in a continuous trance. Both the grey and the blue creatures share the same linework, which may invoke the eye to try to discern one over the other. This can be taken as an aspect of similarity.

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Colour Theory in Visual Communication

https://www.deviantart.com/zandraart/art/Sinking-Feeling-560476165

The use of analogous colours is evident in this illustration. The cool blue-green-turquoise hue of the work conveys a sombre feeling, of loss and despair. Darker shades are used for the deeper waters of the piece, and there is a gradient towards lighter colourations at the top, depicting the surface of water. Overall, the piece utilises pactive colours to maintain an air of cold to the piece, utilising silhouettes in the design to further emphasise the fact.

https://www.deviantart.com/zandraart/art/Assassin-s-Creed-Detroit-Valuable-Cargo-590689053

Use of primary colours darkened through shades and tones, bright in places, complimentary gradient from blue to purple and then to red. Therefore a use of secondary and almost complimentary analogous colours to create a piece with different tonal moods through the use of the pactive blues and purples and the active reds and browns. Lighting is represented through the cool and warm lighting, with darker shades successfully creating silhouettes of figures as well as the lighter tints reflecting light.

https://www.deviantart.com/kuvshinov-ilya/art/balloons-731854241

The use of tertiary colours, lighter tints and secondary colours is evident in this piece, while also having the contrast of a shaded and almost faded human form hidden behind the balloons. It maintains an air of life, light and happiness, keeping to the more active colours while also utilising the pactive sort to compliment the light.

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Colour Theory: Utilising a geometric form to demonstrate the following colour themes:

Primary

Secondary

Tertiary

Analogous

Complimentary

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A demonstration of the Gestalt Principles: Similarity, continuity, closure, figure and ground and proximity

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Fonts- yay or nay?

Typography is a rather important sort, and the correct font can make quite the difference in what sort of impact it may have on a reader or consumer. Really, there is a general idea of personal taste, but overall there are certain lines that should not be crossed if one would like to stick to a successful showing of typography.

The first three fonts showcased here from dafont.com are fonts I personally like, and the final three are ones in contrast that I dislike. Enjoy!

“Afterglow” Is a font that is rather fanciful in appearance with dutiful consistency in its sizing as well as discernible lettering. This ensures that the typography is visually appealing , and equipped with the short spacing between each letter, a type of flow for the word is continuous. As such, the font carries the vibe of a book title for the front cover of a novel- perhaps a YA fiction.

The font, “Nightmare”, is impactful, bold and title worthy. The various lettering size still maintains style consistency, and even though the chaotic inconsistency in the length of strokes causes a lack of parallels in terms of shape and size, it creates a false sense of texture, depicting a horror-esque and gothic vibe.

“My Skinny Type” displays consistent spacing between each letter, and the line work is rather thin, ensuring readability, and the sizing of each letter ensures that the wording is easy to understand. The only issue I have with this font is that the letter ‘e’ does not follow the same level at the peak of the other lowercase lettering. This font would benefit as something one would see as the introductory title to a blog post.

“Shock Rock” is the type of font that I personally dislike. This is mostly due in part to the inconsistent line thickness paired with the unappealing spikes. It would not be so much of an issue were it to be of the same sort of shape and size- however, the varying sizes in the spikes as well as the spacing makes it appear as though each letter is to be take separately rather than gathered together and read as a word. On top of this, the letter ‘c’ looks smaller than the other letters, even though the spikes around the edges reach the same peak.

The “Maelstrom” font is the definition of incoherent- and though it successfully represents the graffitied style that it is meant to replicate, it lacks readability. Although consistent in style, it is almost unrecognisable in reading as a word. The spacing between each letter also defeats the purpose of functionality as typography, and the lines are too varied to discern lettering from.

This particular font, “Portcullion”, is pretty to look at, albeit highly dysfunctional. It may work as a gothic font, but it is impractical as anything one should read, especially since the letters ‘c’ and ‘r’ in lowercase are far too similar, which alludes to the lack of readability that this font presents. The style of writing looks to be more like symbols, and despite the shape and width of most strokes being the same, with many sharp edges that almost appear like a fence, the fact remains that it is a partially incoherent font.