Feedback Plox

These are the options that I felt more comfortable with, The size of the typeface seems to be easy to read at 25% zoom which is pretty much the same scale at which the images are seen in the apple/amazon store. But still, I decided to use nice and bright colors on the type to get the reader's attention. Aside from playing with color, I added small details for the typography; For the Knife: I made de "f" look like a knife and made it brighter than the other letters to make it a little bit more obvious. For the Two Kings: I added two crown shapes, one on top of the "T" and one on top of the "K", the two crowns are different to convey the fact that in the story the two kings are from different regions as well as two kings, two kingdoms, two mazes to crowns. For the Book of Sand: I stuck to the idea of making the two letter "o" converge and create the shape of an infinity sign, I refined the shape a little bit more so it gets more attention and clarifies the intention a little better.

Research - Univers

Originally conceived and released by Deberny & Peignot in 1957, Created by Adrian Frutiger. Univers is one of a group of neo-grotesque sans-serif typefaces all released in 1957, that includes Folio and Neue Hass Grotesk (Helvetica). These three typefaces dominate the Swiss style of graphic design.

Different weights and variations within the Univers type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes.

Currently, Univers type family consists of 44 faces, with 16 uniquely numbered weight, width, position combinations. 20 fonts ahve oblique positions. 8 fonts support central European characters set. 8 support Cyrilic character set.

In 1997 Frutiger reworked the whole Univers family cooperation with Linotype thus creating Linotype Univers, which consists of 63 fonts. By reworking the Univers more "extreme" weights as Ultra Light or Extended Heavy were added as well as some monospaced typefaces. The numbering system was extended to three digits to reflect the larger number of variations in the family.

Some of its most memorable and important usager where in the Swiss International Airlines branding, Montreal Metro, The Royal Air Force, Audi's Corporate identity, Portal's Aperture Science logo and the current eBay logo among many others.

Construted Typography Final

So after struggling quite a bit with the process and the elaboration of the assignment we finally came up to an agreement and proceeded with a solid-shape composed set of letters. The first set of photos where shot outdoors in a very creepy/spooky hallway. The second set was shot in one of our previously chosen locations, outdoors.

And these are a couple of photos of how it looks in the walls of KCAI

Viscom 1:3 Process - Refined photos, more editing

Book covers progress - Implementing Typography

For the first set the concept was to make the covers look more modern and appealing to a young audience; this way creating a new interest in reading to new generations. The main focus was using vivid colors and a bold, modern typeface in a fairly large size.

For this second set I decided to go for something more traditional and conventional. I used the elegance of the typography in minimal aspect that allows the images to be the protagonists of the composition.

For the last set I used a very subtle level of metaphor in the typography adding small details like in "The Knife" title its slashed very thinly.

Viscom 1:3 Photoshoot phase 1

Energetic and dynamic.

 Confident, dependable and elegant

 Harmonious, dynamic and fun

In context constructed Typography

So we decided to change the material for the construction, from wire to cardboard and go for a much simpler concept. Also instead of creating a three-dimensional piece we resolved that making something in two-dimension that looked like a casted shadow, or just a word stuck on the wall; if given the right context would be as effective to communicate the message as our previous idea.

Here are some photos of the later part of the construction process.

We decided to make solid 3- dimensional shapes covered with gray paper because this color reflects light the best way.