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k00283712 · 2 years ago

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Typography seminar notes

Notes of everything and straightforward opinions

(notes and reflections)

Typography: how type is arranged on a layout

(how type is format for displaying on a page, product, packaging, signage or layout)

Times New Roman= early roman typestyle

gutenberg's blackletter revolution*

Typography has a long history even before the printing press, I thought this was cool and forced people to learn artistic skills in this area

monks= illuminated manuscript= blacklettering = gothic calligraphy script

adobe jenson= old style roman typefaces

focus on space saving= used italics for limited space

I find it interesting how this is the origin for the usage of italics

france didot family= in vogue and other 'classy' stuff bc of how nice it looks

the industrial revolution= typography suffered a cluttered approach, dense, chaotic, eclectic mix of styles to fit every bit of space (vintage style, circus, etc)

popular early sans serif; futura

this happens to be my favourite sans serif font so it was fun to learn how early it was invented, 10/10

gill sans= more natural curves

= humanist sans

influence of the digital age

= typography seemed out of place for a while

= fonts were rendered useless

= pixel styles more popular

= later on, overuse of really bad fonts (comic sans 😭🤚)

= typeface development can no longer be accomplished by specialists but by anyone with the right programs

DEFINITIONS

typography is the design and use of typefaces as a means of communication

typeface is the term given to a family of fonts like;

helvetic reg, helvetica oblique, helvetica bold, etc

font is the term used when someone is referring to only one weight or style within a typeface family such as helvetica bold

why is typography important?

how we show appreciation for each other

how we communicate

i was kind of aware that typography was important but this explanation really took me by surprise, and made me appreciate typography a lot more

keeps us safe (packaging, medicine, travel signs, expiry dates, times, everything) = everywhere in our daily routine

INFLUENTIAL TYPOGRAPHERS AND ILLUSTRATORS

(Notes on everyone, and how i felt about certain works with little to no explanation)

Jan tschichold=

german calligrapher, typographyer ,illustrator, book designer and educator

style of bowhouse (?), sans serif letterforms, new typography with asymmetrical layouts, integration of photography

simple and dynamic designs were applied to everyday practices

= head of typography and production in penguin

= did penguin covers

I thought he was pretty interesting, was especially interested in his asymmetrical layouts

Seymour chwast

nyc, illustration and graphic design

pushpin studios

= bottom heavy typeface style

used in pelo (magazine)

all lowercase letterforms

milton glaser

important usa graphic designer

= pushpin studios too

= 3 responses to a piece of design;

yes

wow (i love this response so i thought i'd write it here and use it in future notes / opinions)

= he did the 'i <3 ny' iconic logo as part of an advertising campaign (hate is a strong word but i truly do not like this logo, i don't particularly know why but it just irks me, thus i give it a no)

robert indiana

=brought a 2d christmas card into 3d sculpture (Yes absolutely, this was so cool)

wim crouwel

total design= his design firm

created 'new alphabet' =a type of font for machine (yes, I liked it)

alan fletcher

= eloquent work

= v&a logo

= many ways to reshape words into pictures (me personally i give it a no, though i like this concept, i did not quite understand what was so beautiful about his works. I don't think I enjoyed it as much as others did)

paula scher

contemporary usa artist and graphic designer best known for her posters logo design and album covers

= created maps with intricate lettering that indicate political and societal connections

=job of designer is to make things understandable usable and accessible

= each piece (map) she uses 50 pieces of information (roads, airline paths etc)

her public theatre campaign set a new bar for typography

=unorthodox spacing mixed fonts colours and weights and uncommon and historical typefaces is cool asf (SO COOL A WIN FOR THE GIRLS I LOVED HER)

stefan sagmeister

= unique packages and designed books

most famous poster= visually convey the pain that accompanies most of the studios design projects

= got a student to carve text on his torso with an xacto knife and photograph the result (he has a lot of my respect for doing this)

=comes up with compelling concepts

drake and burgess-johnson

crafted typography + atmospheric imagery

pink neon lights, various backdrops, shot in diff location

(photography + typography=cool)

no but this made me realise I don't have as much an interest in photography as I originally thought, though the images were pretty creative 10/10

Claes Oldenberg **

= known for playfully surreal sculptures

soft alphabet 1978

41 sand filled cloth letters + resin letters

I absolutely love and adore these they are so cool and incredible and I love how soft & marshmallow-like they look an absolute 14/10 so based yes yes and ✨wow✨

matthew raw

works predominantly with clay

= new way language can communicate with form

This was really interesting to look at and gave me a new perspective of communication with form- this also made me realise I have a bigger interest in sculpture /3d than I thought i did

richard j evans

information leak= lasercut wood letters (yes am a big fan of this)

stephen powers

ny graffiti artist

= book 'a love letter to the city'

hybrid of sign writing and mural painting

taking power and using it in a good way

alan kitching

renowned for his expressive use of wood and metal letterforms in creating visuals

taxi poster = a1 piece of paper, letterpress effect gives character (yes, i really liked the affect of this one, it felt very clean but emotive(?) if thats a word, and i really enjoyed it)

max miedinger=

HELVETICA creator!!!

= neutral typeface that should give no additional meaning

(i have mixed feelings about this font, hate is a strong word but occasionally i do have mild dislike (occasionally). Also, if helvetica was a neutral typeface that 'should give no additional meaning' then how can one explain the helvetica font in the Thai language???? its so completely different from any normal font in that language and so clearly just uses the english alphabet to replace certain characters , & is BASICALLY unreadable from an inexperienced eye. I feel very strongly about this. A (soft) no from me)

saul bass

picasso of commercial artist

crafted brilliant artwork for hollywood

'vertigo' and 'the shining' movie posters (yes he is very cool i loved the posters)

pae white

= merges art, design craft and architecture through sight specific installations

= south london gallery, mesmerising exhibition with large quantities of coloured yarn spanned and criss crossed the room to create words (the pictures of this exhibition / installation are absolutely incredible 10/10 work)

ebon heath

words are like butterflies pinned to the page

= graphic sculptures liberate letters from 2d space

= text is based off desired concept and is site specific to the location of the installation

= hand cut paper + now laser cutting technology (wow yes, i really liked this too and gave me an interest in laser cutting technology which i hope i can try out later)

cecil touchon

takes fragments of language from different sources and manipulates them into purely aesthetic sounds and arrangements (such a fun concept!)

collage and painting deconstruct shapes derived from central mexican landscapes into abstract shapes

neville brody

most famous for new wave style

art director for art magazine like face

use of bold and unconventional layouts

david carson

self taught, grid free

= made others realise that editorial layouts didnt have to stick to the rules

= unconventional and experimental style revolutionise graphic design seen in 1990s usa

'godfather of grunge typography'

(i love this man his work in the seminar was so cool to me it reminds me a lot of power lines criss crossing in the sky (if that makes sense))

mel bochner

= 'meaningless' phrases into work (very iconic of her)

nate williams

= bold & playful + tribal patterns

personally wasn't a fan of this style but I can appreciate it

adam hayes

pencil sketches in a response to project brief

= refined ink drawings + further refinement in photoshop

i'm also not a fan of this style but the amount of effort and time put into everything is incredible

jessica hische

I didn't really know what to write here as notes but I'm a fan of her book covers they're very nice

craig ward

creative director

=boundaries between illustration and type

(WOWOWOW GORGEOUS 10/10 YES, i l love love love all of his works and here are 2 of them)

TYPE TREATMENTS

album covers

3d type /structural

collage - nice textures

simple/minimalist

relief / interactive (eg. matchsticks)

playful/ stylised (eg. toys, masking tape)

using mundane items

how nature interacts with the font= shadow of something makes out a word (eg. shop front at an urban outfitters)

patterns in environment / general patterns

kinetic type (eg. slow shutter speed with lights)

recycled materials

stitching

laser cutting

3d relief type of cardboard/ 3d printing

paper - quilling, origami, folding, cutting etc

food

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ait-6963-designprinciples · 3 years ago

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Blog Post M4.1

I chose to do my postcard series on a tattoo expo simply because I really enjoy the freedom typography gives to tattooing. After exploring and researching a few avenues, I’m leaning towards either a blackletter or victorian style font because I believe when many people think tattoos, these are the types of fonts they think of. Also because they will be the most fun to create and play around with.

I’ve also discovered some very interesting calligraphy artists, some of which also are tattoo artists also, who use a blackletter type font to create spiral, vertical or circular compositions. These really caught my eye, and although I'm not too sure how it will translate to my postcard just yet, I think a unique composition like this can give that edgy, gritty vibe that tattooing gives off while still allowing all the relevant information to be seen and absorbed.

I will need to use hierarchy to make sure this information doesn’t get confused or lost in the composition. Playing around with positive or negative space could also be fun and make my design more eye-catching. As for colour palettes, I’m leaning more towards traditional colours found in old-school flash sheets or traditional tattoos: red, blue, cream, green and black.

Creating an interesting composition which fits this theme will be a challenge, because most tattoo expos use graphics on their advertisements to grab the audiences attention, however I’m looking forward to the challenge and I’m keen to create something unique and awesome to look at!

- 6963

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fancykraken · 5 years ago

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I gotta get this out of my system because my artist/graphic designer self is screaming and needs release. I WILL COMPARE THE LOKI SERIES LOGO WITH THE NEW THOR ONE BECAUSE... BECAUSE I CANNOT BELIEVE THAT MARVEL/DISNEY WOULD SPEND MONEY ON... ON THAT.

WARNING: lots of capslock.

BAD LOGO DESIGN:

‘QUICK’ POINT FORM OBSERVATIONS:

Did Loki take the whole cut out letters from a magazine as a ransom note/blackmail letter a little too far by actually using 3D letters? Did he just go around the universe stealing random letters from signs? Are some poor independent businesses missing a letter?

LOKI THE TV SERIES: WINGDINGS REVENGE

The ‘K’ is the thing that immediately draws your eye too first. The ‘K’ alone should not be the focal point of the entire logo.

HOLY HELL THE ‘O’ IS TOO DAMN DARK AND MUDDY.

THE L LOOKS LIKE PIGEONS SAT ON TOP OF IT AND TOOK MULTIPLE SHITS ALL OVER.

The L looks like someone with the skill level of Microsoft word art did that and printed it out for a mom and pop... idk, tile, stone, and granite shop? Something you’d pick out for a tile in the 80s/early 90s for a mall or office building?

The ‘I’ is all gem like and more mystical which is in tune with Loki. Is this a promo for Bejeweled the movie?

DO THE SQUINT TEST. If you squint you should still be able to read/see things fairly clearly. YES, YOU CAN STILL READ IT WHILE YOU SQUINT, BUT THE O ALMOST DISAPPEARS AND THE L JUST TURNS TO MUSH.

THE FONTS OH MY GOD THE FONTS WHY DO PEOPLE ALLOW SUFFERING. COMIC-SANS OR PAPYRUS WOULD HAVE BEEN BETTER. AT LEAST HAVE CONSISTENCY. SYMMETRY. SOME KIND OF FLOW BETWEEN THE LETTERS. I get they want to convey that this is Loki hopping around time or whatever, idk, but THERE ARE SO, SO MANY WAYS TO DO THIS BETTER. DO NOT MIX FUCKING BLACKLETTER WITH MORE MODERN SAN SERIFS. OR IF YOU DO AT LEAST MAKE THEM CONNECT SOME WAY WITH SIZE, COLOUR, SPACE, NEGATIVE SPACE, SOMETHING I DON’T KNOW. JUST NOT THIS.

The overall colour palette is dull af. The I is the only thing that pops colour wise because it has that deep emerald colour.

IT’S TOO DARK. HOW IS THAT L AND O GOING TO REALLY POP AND CATCH THE EYE? The O is just disappearing within the rest of the letters followed by the L.

The K is my favourite because it at least has a personality with the different shapes and angles to it. It’s the most fun of the bunch.

WHOEVER APPROVED THIS NEEDS TO HAVE THEIR FUCKING EYES TESTED.

While yes I am aware that the logo may tie into the show more and we could get more context this is not how it should be executed. There could be multiple different ways to tie it in.

WHY!?!?!?!

GOOD LOGO DESIGN:

Imma compare the new Thor: Love and Thunder logo because it fits within the MCU universe and also with Loki ect ect. While it may not be everyone’s cup of tea and yes it isn’t perfect, it is far superior BECAUSE:

BAM! THUNDER CA- THOR: LOVE AND THUNDER IS A GO! IT KICKS YOU IN THE EYEBALLS WITH CAMPY AWESOME RETRO I-NEED-THIS-AIRBRUSHED-ON-THE-SIDE-OF-A-VAN KINDA WAY.

‘THOR’ is what grabs you right away. That alone is far superior to the Loki one because you already are presented with the character, brand, franchise in one look.

IT’S BRIGHT. IT’S ORANGE AND YELLOW AND BLUE. IT POPS MORE THAN A KARDASHIAN SPRAY TAN.

It’S FUN. Look at that fun, bright, eye-cathing retro 80′s sci-fi/fantasy vibe. All that’s missing is Thor in a tiny chain mail bikini and a fluffy white tiger.

ALL THE FONTS CONNECT. While Thor and then Love and Thunder are slightly different shape-wise they are still similar enough that they fit together and give you the same overall message of FUN, ACTION, SCI-FI, FANTASY, ELECTRIC, POWERFUL, AND POSITIVE.

NOTHING IS MUDDY AND LOST! The bright Cheeto orange, the yellow/gold that is Smaug's wet dream, the sky/mirror blue is all vibrant and breathes life into it all.

THE SQUINT TEST. You can still read the key message that is Thor very well. Even if you have trouble with Love and Thunder you will still know it is Thor.

THIS IS GOING TO BE A LOVE STORY FULL OF LESBIANS, CAMP, THUNDER, FUN, HEART, AND SOMETHING THE RUSSO’S COULD NEVER.

This logo is so fun and cheesy (literally in colour and aesthetic) that you immediately know what you're in for right away. It gives you a clear message upfront without giving anything for certain away. THIS is good logo design. While it may not be everyone’s fave, it is clear for what it stands for and represents. The Loki logo is all over, unbalanced, and isn’t cohesive like this.

LOVE AND THUNDER, MOTHERFUCKERS!!!!!!!!!

#Thor: Love and Thunder #Thor #Loki #graphic design #logos #Marvel #Thor 4 #Disney #art #Loki TV series

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bookcoversalt · 4 years ago

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SERPENT & DOVE 2: ELECTRIC BOOGALOO (also blood and honey)

I originally covered (pun intended) SERPENT & DOVE in February 2019, and I wasn't complimentary. While the black and gold color scheme is appealing and there's a nice sense of depth and texture to the snake, beyond that, it is a hot mess. The rendering is plasticky, the imagery is mostly vague ~ AESTHETIC ~ nonsense, the whole thing has an off-center awkwardness, and what, for the love of god, is up with that midcentury typeface. An eagle-eyed blog reader even clocked weird crop mark.

Since then, I've been pointed to the online portfolio post of this cover by the designers, which has some very cool (and enlightening) process shots:

You may notice that this looks better than the actual cover! The serpent and dove figures actually share hierarchical dominance here as a single unit, and their overlap is dynamic and interesting as a focal point. So what happened? Since there's so little color in the comps, I have to assume that either it was originally intended to have a paler overall palette, or the question of color was intentionally punted down the line, but either way, this seems to have been created before the stark black and gold was decided upon. Because that's where we lose the dove completely.

She's also been pushed fully behind the snake, losing any sense of the interaction between them and making our general sense of depth and "physical" space sort of... confused. Knowing how design processes typically work, I would think they tried the dove in gold in that original lockup and for whatever reason, it didn't work: maybe it overwhelmed the cover with too much gold or maybe it interfered with readability too badly. This explains my original discomfort with the size of the snake and weird emptiness of the design between the dramatically spaced type: originally, it was supposed to be (more) filled, and it hasn't been adjusted for the loss of that element.

Full disclosure: the first time I made a post on this cover, I didn't even realize the dove was there. My eyeballs lost it in all the nondescript foliage and flourishes so badly that the meaning-making part of my brain didn't translate those shapes into a specific object. And I spend a lot of time looking at covers when I review them! So that's embarrassing for me, yes, but this is also a failing of the cover itself. Regardless of my other issues with it, I think it's really disappointing that the (interesting! relevant! aesthetique but in a good way!) visual focal point that the entire iterative process centered around ended up completely dismantled in favor of....... ugh, I dunno, the 1950s diner type? Pinterest board trimmings of leaves and sparkles, like turkey trimmings but even less appealing?

Because I didn't know the dove was there, I was, uh, confused when I first got asked about how EXTREMELY similar BLOOD & HONEY is, a sentiment I've heard a number of times now, because BLOOD & HONEY, shall we say, overcorrects on the "bird loss" front.

HELLO, SAM THE EAGLE. LET FREEDOM REIGN, BITCHES. MY COUNTRY TISSSSS OF THEEEEEE-

[Edit: I have been informed that this is probably still a dove, not an eagle, based on the face, but i’m not changing this joke.]

First of all, yes, the red is Bad. The black background of S&D matches the dark coloring of the objects, thereby hiding some of those Rendering Sins and lending a sort of subtlety to the mishmash of Aesthetique Things. It's all out in the open here and no less of a hot mess. The highlights are blindingly shiny and feel arbitrary as hell, like every single spear and leaf is being lit independently of anything else, and the almost pure black shadows that contrast them make my eyeballs burn-- it looks like it's a color being reflected from somewhere, rather than native shadow, because of how metallic objects reflect light, but there's nothing here but a perfectly flat, untextured field of red. I appreciate the emphasized presence of the bird (I'm ASSUMING it's an eagle, but I haven't read it, so correct me if I'm wrong) from a hierarchy and space-filling standpoint, but it is goofy as shit, and I have no idea why its chest has been so aggressively lit and filtered that it looks nearly on fire with saturation.

The primary offense of S&D's cover, that it's a tangled mess of meaningless and poorly crafted flourishes meant to be aimlessly Fancy that ends up being kind of ugly in the process, has been cranked up and the knob broken off here. An "Oooh, shiny!" from a dumb character who is about to trigger a trap manifested through a hypertrendy YA goth lens.

The text is also Still Bad. Compare the font to the one the Fairyloot book box uses for the book:

Although this isn't rendered in the metallic style, which it would have to be to match, it has a dramatic blackletter quality that matches the edgy medieval tone of the story far better than. Whatever the hell this B is doing.

So round!!!! So friendly!!!! So Un-witch-hunt-ey!!!!

To be clear: no, B&H is not a full, exact recolor of the S&D cover-- most of the elements, though the same, are arranged differently, and that's a completely different bird and at least a nominally different snake.

However comma I see why people think it is, because someone got lazy with the bottom left lol.

There is a Behance post for this one, too, although there's noticeably no process work, because the process was quite clearly "do it again but slightly to the left," and that doesn't involve much iterating.

Here's the thing, though; I'm not convinced any of this matters, because the truth is that hot, high-contrast messes photograph well.

Particularly when paired with a moody setting or editing, the red that comes across as kind of a nightmare in the jpeg pops, and the Escherian snarl of detail becomes more a texture nonspecifically indicating luxury and romance than an object theoretically representing something concrete about a story. And I personally may not Love This For Us, but honestly, that's half of a book cover's job these days: look pretty and do nothing.

If there's something to be learned from BLOOD & HONEY's cover, it's that better or worse, instagram filters matter. (Also true of Shelby Maurin's immaculately aesthetically curated, goth-trendy personal brand, which has increasingly been mimicked by other authors since S&D listed, although the author-brand-as-book-marketing-tool has always been a thing to some degree). A book isn't just a book, it's a prop for the countless ongoing performances of book-consumption-as-identity done both for fun and for clout in this particular subculture. I'm not passing moral judgement, here-- anyone buying a new YA fantasy book, no matter what they want to do with it or what my feelings on the book itself are, is a win. But this is the industry moment we live in, and it's savvy of publishers to have it in mind in regards to marketing and design.

Like what I do? Want early access? Support bookcoversalt on Patreon

#bookcoversalt #serpent and dove #blood and honey #YA #book cover

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tonkizero · 2 years ago

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Gothic fonts alphabet

#GOTHIC FONTS ALPHABET DOWNLOAD#

Bahisy Blackletter Font (OTF, TTF, WOFF)īlackletter is a style that resonates really well with a medieval aesthetic. Imagine this one on book covers or used in a newsletter headline. The ornate qualities of this font make it a memorable choice. Oracle Medieval Fairy Tale Font (OTF, TTF, WOFF) Give this font a try in your next design project. The pointed edges on the baseline make for a memorable aesthetic. This medieval font has a more gothic look. Darklands Medieval Gothic Font (OTF, TTF, WOFF) Use this one to tap into a medieval design aesthetic. Isn't this ornate font romantic? It would be a great choice for logos, headlines, and other points of interest. Rose Knight Medieval Font (OTF, TTF, WOFF) There are so many ornate, historical, and elegant display fonts to choose from. Download your favorites today, or enjoy the design inspiration.

#GOTHIC FONTS ALPHABET DOWNLOAD#

Here's a look at some of the best medieval fonts you can download right now on Envato Elements. The Best Medieval Font Designs on Envato Elements to Download Now Use it for your fantasy book, YouTube channel, and more. This medieval video intro template is also included with Envato Elements. All of this content is included for one price. Just customize it with your content, and you have a stylized opening for promo videos, YouTube, and more. Check out this medieval video opening that's also included with Envato Elements. Download stock photos, graphics, design templates, and much more. Download this beautifully designed medieval font on Envato Elements today.īut you get even more content with Envato Elements too. Choose from thousands of fonts, and download without limits. They're all licensed for commercial use too, so you can jump right in and get designing for your project. Try out all the fonts you need for your project. This is an awesome deal for creative professionals. Download from a library of thousands of fonts. Take advantage of unlimited downloads on Envato Elements. One low fee gets you unlimited access to thousands of fonts, including medieval fonts, blackletter, gothic fonts, and much more. Love medieval-style font designs? How about unlimited access to an entire library of them? That's what you get with Envato Elements. Download Unlimited Medieval Fonts on Envato Elements Download this font today on Envato Elements. Medieval calligraphy fonts often tap into an aged, handwriting look. They mimic old handwriting like you would see painted by an ancient record keeper, long, long ago. You might also see medieval calligraphy fonts as they're quite popular in this genre. This font has a magical vibe and keys into medieval font aesthetics. They are ornate and have an aged quality, rather than following modern design trends. Fonts in this genre often have elements that resemble blackletter fonts. You might want fonts like this for role-playing games, renaissance faires, fantasy novels, and more. Medieval fonts largely refer to an aesthetic: think Middle Ages font here. Use a medieval font for your fun, medieval-themed design projects. Looking for the perfect medieval font? Whether you're looking for a medieval gothic font, medieval calligraphy font, or other medieval-style font designs, there's plenty to see in this list.

#Gothic fonts alphabet

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wackyraceshalimekaraca2 · 3 years ago

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Looking At Fonts

Blackletter, also known as the Old English, Gothic, or Fraktur was the first invented font in the world. The style has received recognition from many people due to its dramatic thick, and thin strokes.

https://www.toptal.com/designers/ui/typeface-history

The font you use in packaging can really impact the overall theme of your product. When you create something, you have to make sure that all elements have a link between each other.

This font I would say works pretty good in comics and kids shows. It’s big and simple and easy to read. The simple easy letter combined with a bit of three dimensional element makes it look like something you would see in Regular Show. I would not use this particular font for anything but I still think it could have many purposes.

This one is clearly meant to be horror. Horror fonts usually have traits such as, very rough and scratchy letters that are sometimes uneven to give them an unnerving vibe. Some fonts are also written in blood (or other disgusting liquids) and have drops dripping down. I think this kind of theme is very nostalgic and recognisable but I wouldn't think this type of font is still necessary in horror movies/games. It makes it look pretty corny.

This one gives me Cyberpunk vibes. I have seen a lot of companies/studios use that kind of ‘A’ especially. You can tell this is meant to be futuristic because of the way the letters have 0 curves and some of the lines (i.e. ‘E’) don’t connect with one another making it look like it was computer generated. I really like this kind of font and I would happily use it if my driver didn’t come from a fantasy old world.

Graffiti fonts are my absolute favourite. I was always inspired by graffities and I would probably use this font a lot, but it would be preferable to use it in a game/movie/product that links with street art.

Neon has to be pretty high in my list as well. It looks pretty similar to the cyberpunk one but I do think that this one has it’s own charm. The way all the lines are somehow connected in a weird way that makes them look like some kind of cables or christmas lights. I think this one works pretty well too.

In some cases, for holydays or just for fun, people invent fonts that don’t use actual words at all. Depending on the theme, the characters could look very different. If the theme is Valentine’s day, then instead of snowmen, Christmas trees and mistletoe, you would have, Cupidon, and cherubs and hearts and roses. I don’t really see this one being of any use at all but I do think it's an interesting one.

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joanajoly09 · 5 years ago

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Reflection of the final piece

The first thing I had to do for the "word on the street" banner was to make context research in-depth for the theme of the Feste, which included the Plague, the Well Dressings, and the relation to Derbyshire, which was the initial inspiration for my work. Through the stage of researching, I learned a lot about the pandemic in 1665 and how it affected Britain. This gave me the idea to link the past with what is happening now, with the on-going Coronavirus and how the pandemic affects the world today. To make the link between past and present I also looked at the Cholera, the Spanish flu, and the H2N2 and gathered information and factology about each of them. This not only helped me make a clear vision of contrast and similarities between past and present but also enrich my knowledge. I realized that there is not a big difference between then and now, as the pandemics affect everyone, and is just a matter of time for them to go away, but during this time they have a massive impact on the world we live in and who we are. For the final appearance of the banner, I used a combination of the three samples I made. I took different parts from every piece made, that I like, and compound the final work. I also got inspired by several typography artists that had different blackletter typeface styles inspired by the Victorian- era and the gothic culture. I chose the Victorian-are (Gothic) style as it was traditionally used in the medieval and later on in the 18th and 19th centuries. As this style is typically associated with this ere I decided to link it to the theme I chose, to make my work more authentic and old-style. Through the working process, I had to solve several problems, one of which was the scale and proportion of the letters in ration to the 6ft long banner. I found it very difficult because I was working on a smaller scale when doing the samples. I was able to control the space and calculate the size of the phrase, whereas when I moved onto the actual work I realized that the scale is too big for me. I personally prefer to work on a smaller scale and I have full control over the space and I am able to work in detail. Though, when it comes to bigger scale pieces, I feel like I am not able to translate and enlarge my ideas properly. For this, I had to carefully calculate the letters and trace them onto the bigger paper until I find the right size. Luckily for me, this did not take too long, and I was able to carry on with making the stencils. This stage was probably the most fun for me because it was the first time for me to make my own stencils. However, I chose to work with stencils because I was able to place them where I wanted and how I wanted. In addition, the stencils really helped me create a clean edge, which I would not be able to get if I worked with freehand. Also, even though I roughly have experience with this letter style, from my past project at school, I would not be able to make the letters so clean and detailed without messing them. The third and fourth stages of my work were also very fun but challenging for me. I was very excited about making the head of the "Plague Doctor". This idea came up to my head very spontaneously, after I saw one of my old sketches, where I tried to create a shape of a hand by writing the text in a specific way. I thought it will be a great idea to recreate this idea in a different way, which made my work much more intriguing and provocative. Also, this became a significant part of my work which symbolizes this era, and it's very popular imagery that I think a lot of people would recognize. I was not having any problems through the last stage of my work. Towards the end stage of my working process, I was able to visualize my initial idea more and more clearly and see it coming together. I was not longer lost in the blank space I had at first. I think I managed to avoid the mistakes I made in the beginning. I did not want too much text going on that overwhelms the space. Instead, I tried to synthesize the found information from the pandemics' studies, so it's clearer. I think the end result is what I was hoping to achieve; I did not want it to be too tidy or too chaotic, or too basic with a lot of factology. Instead, I was hoping to make something different and extraordinary which is very out of my comfort zone, and I think I succeed.

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friendshipcampaign · 7 years ago

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Study Session

Downtime fic between Voski and the Book of Teeth and Nightmares.

By the time the imp’s miserable thieving silhouette had faded to a dot on Soreth’s skyline, the front of the cave was essentially uninhabitable. Kriv kept fretting about the stolen ring, which meant Amaranth kept trying to comfort him between enraged tail lashes, which meant Stelly and all the other locals they'd somehow amassed here were even more on edge than usual, even while they took turns promising each other everything was going to be okay. Things were no better outside, what with Rooster pacing about glaring at the horizon and muttering darkly to her crossbow. She seemed less interested in reassurances and more desperate for an obstacle she could actually hit back for once.

So Voski hadn't presented one. Instead, she’d found Tavra perched with her crew on some nearby rocks being aggressively nonchalant again and persuaded the kobold mage among them to cast a quick light spell. She'd asked for white. She'd gotten a sort of washed out sickly orange instead, which in fairness was less harsh refracted off the ice and stone as she slipped past the others down the tunnel towards the cave’s back chamber. Voski still scowled at it, emanating from her oboe like the world’s dullest torch.

At first the spell’s range didn't matter much in the relative confines of the tunnel. A few of the wider curves may have been more dimly lit, but the nearer surfaces glimmered off each other more than enough for Voski to make her way through in a hurry. Then the walls and ceiling vaulted out and upward into the main cavern and the sphere of visibility around her grew unavoidably finite. She pressed a hand to the cold glassy wall and ducked left, guiding herself carefully around the edge of the room.

In a way it was silly they hadn't set up their hideout back here instead. But then again it was technically a little girl’s bedchambers, even if she wasn't dragon-shaped enough to need the whole space anymore, so some deference to privacy was understandable. Voski hadn't felt inclined to wander back here again since the last time in any case. If she was going to focus, though, it was her best option now.

She found a cluster of stalagmites to nestle in and slid down, back to the wall as much as jagged rock curvature allowed. The torch became a lantern when she set the oboe down bell-first, which freed her hands while she unslung her bag and fished out the Tome of Mynskay. Somehow it had snagged a quill between two of the teeth hammered into its foredge. Voski took it begrudgingly. She opened the book and skipped directly to the blank section at the back it used for correspondence, where she wrote:

Which planes does it work on?

The book’s answer bled sleepily out of the page. Did you miss a sentence? it wrote.

Pardon me; I eschewed the formalities, Voski scrawled back. Hello, good afternoon, this is certainly some weather we're having. On which planes does the spell reliably operate?

The Prime Material certainly has the best-established track record, the book replied. It was, Voski knew, incapable of yawning, but if it could have stretched its covers languidly it probably would have. Am I to take it we are no longer there?

You and I are, Voski reassured it, unless I died under a guardhouse today and this is all a sick joke. I am more concerned about the impact of long distance casting.

So the location of the soul? The text seemed to snap a little more uniformly into line when it materialized now, as if the book had finally conceded some scholarly interest. The only requirements are "free and willing." Planar geography is...well, not immaterial. It may take longer to summon. But the spell as written assumes the soul to be on the Astral Plane.

Voski considered the imp’s trajectory as it flapped away, Erwyn’s ring in its grasp, straight to the magic golden beacon blasting out from Soreth Castle where it had first slithered its way into this whole affair. And if it’s further?

Depending on where it is instead, you may experience some problems, the book replied. Not insurmountable ones if distance is the only variable. As long as the soul is intact and hasn't been imprisoned or fallen victim to a contract, it can be summoned.

Then it added, If something happened that could affect your casting, dancing around it won't help you. Where is your friend now?

Voski rolled a single annoyed spark between her teeth before answering. We've acquired a diamond. The soul may be--(she wasn't quite depraved enough to actually write out a dramatic ellipsis, but stalled enough in her word choice that the pause was most likely still felt)--in transit. And while it's too early and information is too limited to say for sure where he's headed, I think one of the Nine Hells is a distinct possibility.

The symbols in the book swirled thoughtfully for a moment.

Well, it wrote. That is a tricky one.

Voski agreed. If it helps, he certainly wasn't handed over willingly.

It does help, the book affirmed. If he were a devil's lawful property, nothing I can teach you would be able to change that.

The cave had been echoing softly with penstroke scratches since she'd started, but Voski had more time to dwell on the distraction while she weighed her response. As I said, we can't be certain that's his destination yet. It could be someplace closer, or more amicable, or the opposite of both. But the fact remains that our single greatest advantage in performing this rite without a skilled necromancer was the soul's proximity, and that may not be reliable anymore.

She sighed.

So what else can I do to even the odds?

There was a long pause while the book considered. Are there other power sources you can tap into? it asked. If you rely on your own and it isn't enough, things could go . . . poorly. You've been practicing the music, I assume?

In my ample and undisturbed leisure time, yes! Voski looped the last words so vigorously she nearly tore the paper. Then she slumped and curled a little closer around the book. My acquaintances may have access to another source. Using it is what ended so poorly for the patient. I would have to take care in applying it here.

You will have to take care in all aspects of this ritual, the book wrote, surrounding the words with stern red ornamentation.

Or painful grisly death, yes, noted. I'll spend some more time with the gesture charts. Voski set the pen down and drummed her claws absently on the page while glancing around the cave. At the light’s edge, she could just make out the spot where she must have been standing a few days ago, oblivious and in direct dragon eyeline. She thought about a flash of white light, then green, and a bone-deep chill inexplicably receding. Erwyn had meant well. He'd failed to think the syntax through. She picked up the pen again.

But if I were to tap into external power, when would the most auspicious time for it in the ritual be?

The penultimate section is the most taxing, said the book. And also when the consequences for failure would be most catastrophic.

Voski remembered those notes. A few included diagrams, with blast radii. As if they ever aren't.

Sometimes they're merely dire.

Is it fun for you, being the way you are?

The pages rustled under her grasp. I have to take my entertainment where I can get it.

I do have one more sincere question, Voski wrote, before seizing a section of still-fluttering paper and flipping back to a part of the ritual steps. In the third section, just before the actual soul calling begins, you make it sound as though someone could successfully complete the rite and still face (she paused again, and felt like a hack) objections. So does managing to bring a soul back always end as well for the caster?

The book rustled its pages again. Voski was certain that if the tome had been capable of it, it would have been laughing. Always? Don't be absurd.

The words didn't fade right away, but rather lingered in the background while the book formed the rest of its response. You're breaking some major laws. Flouting the whims of Death and Fate. That's why you need to get some sort of higher power on your side in case the Raven Queen takes umbrage and sends one of her Inevitables to straighten out the matter.

Fairly and impartially, I suppose, Voski scribbled.

As far as she's concerned, certainly.

I have to confess, I think you're the one coming out better off in this arrangement. I paid for your lessons with some of my very best inks, and you've used them to illustrate a very narrow window for success.

Would you rather I lied to you? the book answered, decorating the words with grotesque golden flourishes. It continued in a looping cursive hand. In that case, of course everything's going to be fine. You'll get your friend back with no consequences and you'll end the spell feeling fresh and invigorated!

Point made, it reverted to its usual spiky blackletter. But if you want the truth instead of some rosy fantasy, then yes. The window for success is extremely narrow and the consequences for failure are steep. You're the one who wanted to work this ritual in the first place. If it's too challenging for you, you can always back out. But don't blame me just because raising the dead isn't all sunshine and rainbows.

Voski watched the page until it cleared itself again, taking the words wherever they went when they weren't useful anymore. Of course I don't mean to sound ungrateful, she wrote. You've stated the facts and clearly done everything in your power to prepare me, and obviously the forces at play here are beyond your control. Her wrist itched. She ignored it. But I can assure you, backing out isn't an option.

She continued in her daintiest hand. And I would hate for you to feel as though your contributions aren't valued! Which is why, in recognition of your labor, I'll be giving you a place of honor in the room when I conduct the ritual. We can find out how impressively this ends together.

Delightful, the book replied, entirely in Voski's expensive gold ink. She only slammed it a little on her way back to the spell guide.

#downtime #fanfic #voski #the book of teeth and nightmares

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simplypsd1 · 6 years ago

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