Brief 05 - Jewellery Brand - Typeface Scale & Selection

To create the shapes of the diamond using the phrases that are relevant to that shaw, I chose some calligraphic typefaces to work with to see which would work well. These include: Tangerine Regular & Bold, Arizona, CAC-Champagne, Great Vibes, Lovers-Quarrel. I printed them off in different point sizes so I can trace them over the diamond shapes over a Lightbox to see how the words will fit.

Open publication - Free publishing - More brand


And these are the diamond shapes that the phrases need to fit into. Similarly with the typefaces I printed them off in two different sizes just as I was not sure how the typeface would work within the shapes, as some phrases have less words than the others, so would therefore not take up as much space unless they were in a larger point size:

Pam & Jenny

Pam&Jenny

TYPE - Andrew Woodhead

Graphic designer Andrew Woodhead takes from his Parisian surroundings by consistently managing to make each typographic project truly elegant. Whether it is a logo or a full typeface, there is a running theme of experimentation and sophisticated stylistic choices that create Andrew’s cohesive style.

Brief 02 - Fashion Identity - Logo Ideas

The logo needs to look classy, elegant, traditional with a modern edge. It will be used alongside a lot of photographic imagery so must not detract from the image. The typeface needs to be kept simple and clear, however a logo/symbol that can accompany the brand name 'Lorin Shepherdson', can be a bit more extravagant as a contrast. The logo needs to be used as a away of the audience identifying the brand as Lorin Shepherdson, so must reflect the style/nature of the brand.

A few typefaces I think may work well:

- PassionSans Light
- AW Conqueror Didot Light
- Big Caslon Medium
- Sanford Book

Lorin creates womenswear clothing designs that accentuate the female figure, using traditional fitting methods such as nipping in at the waist. I tried to incorporate this through the type, the 'R' in the first has a silhouette of the side of a womans' figure however i don't think it is obvious enough and looks quite gothic. The second nips the whole name in the sides with particular curved edges on the 'L' and 'N', which is quite subtle. The third with the first and last name over two lines and centralised has a slight slant with the narrowest part being in between the two words. The fourth is same as the third however with a slightly larger vertical scale.

An idea for how the woman figure could be applied to products:

The logo below is the initials of the designers name in lowercase and joined up. The detail within Lorin's designs means a lot of handcrafting has to be done. This logo idea takes uses this handmade style through handwriting. I quite like this as it is not too obvious.

Here is how the logo looks with the Sanford Book type. I think the contrast between the hand drawn logo and the digitally produced type works really well as it reflect the designs of the clothing, which are taken from old traditional fitting methods and translated into modern designs.

T Magazine Supplement

T Magazine is the supplement to The New York Times magazine. Here are a few of their covers. Artists and Designers are invited to interpret the franker T in any way. They each portray the T in distinct style yet work together and are consistent with the letter.

The supplements I am designing for, need to work together and still be consistent through the use of the circle. The circle could be made up of letters from the professionals name, or of something that is relevant to them. This could also be through using colour.

Domenic Lippa & Harry Pearce

Magnetic Type

http://www.behance.net/DominicLe-Hair

Made by cutting rubber magnets into letters with an x-acto knife and sandwiching them between sheets of paper before dusting it with iron fillings.