Developing the ‘Letterform’ (from Exercise I) a few steps further… the Greek [ δ ] ‘Delta’ (‘thelta) in this case, is rotated, multiplied and rotated again, stacking letter-layer upon letter-layer to demonstrate a variety of potential reconfigurations. Taken to the extreme this technique could rely upon mathematical reoccurrences, such as the uniform transpositions found in kaleidoscopic drawing patterns (among other infinite approaches and solutions). Ideas and intentions may require multiple sketches, inciting accidental drafts (sometimes the best part). Trust your own perceptual process.
While drafts can be symmetrical or asymmetrical, consideration for the negative (empty) space between the visual elements of invented letterform-prompted-deviations (*examples above, with calligraphic stems vs. hairline swashes), can become equally important: providing the capacity for a corresponding, optical illusion… pun, double or deeper meaning. A ‘pin-wheel’ composition, for example, can take advantage of the repetition of curvatures wrapping around a central axis point (or shared pivot), associated with how molecular electrons might disguise a nucleus within a cell >
From Letterform to Colophon (Printer’s Mark) – Mrs. Cruz
Variations to the original letterform/electronic draft might result as a product of continued visualization through drawing, collage, assemblage… to then re-establish the letterform as a ‘Printer’s Mark’ (a press,’ publisher’s, printing guild’s emblem, insignia, imprint, identification, logo) or ‘Colophon.’ Ultimately becoming a vector graphic, it should withstand printing at any size (and will resurface in ‘Project II – Dystopian Novel Book Cover’, as the publisher’s mark: found along the ‘spine’).
Printer’s Marks – such as Penguin, Phaidon, and Peachpit are immediately recognizable:
Questions? Email: AM32@sunywcc.edu