Critiques & Feedback
Here is the version I came into class with. As explained previously, it is inspired by the flared terminals that help define Optima’s style.
I continued editing my piece until it was my turn to be critiqued. This is the version I presented for critique:
Rather than struggling with the alignments and clever line breaks in attempt to create a smooth curve , I changed the basis of my piece to Roman architecture, which the font is inspired by. I formed a row of columns along the bottom with a set of T’s and I’s. These served both to depict the Roman origins and also the gently flared terminals. Fearing that they were not clear enough in the bottom row, I placed an extra I next to the main body of text. Zooming out (or viewing from a distance) I noticed that things were competing for attention — the bottom row, the I, the Optima. I started changing the columns to a greyscale color, but Somya had a better idea — keep that black for the eye-catching impact it creates, and remove the random floating I. The text and title looked too spacey and unstable, so she suggested grounding it to the columns (which conveniently form a flat line). This would also create more white space on the top that would help balance the big, bold letters at the bottom. As for the body of the text, I will keep that the same — most in greyscale with some key phrases in black. I will also keep the alignment — it currently lines up with the stem of the P in Optima, and the edge of a column on the bottom.
I followed Somya’s advice and grounded the text to the column structure at the bottom. I was unsure of how much white space to leave at the top, so I made several versions and zoomed out to compare them.
I decided to go with version 3. This has equal amounts of white space on the left and top. Finally, I turned on the grid and fine-tuned the spacing. I made sure that the space between each line (leading) was equal to the space between the title and subtitle, subtitle and body, and body and graphic.
The hierarchy is as follows:
1. graphic column design (bottom)
2. Optima (top)
3. Inspired by Roman architecture.
4. key phrases in black
5. remainder of body text
To create this piece, I used alignment, position, greyscale, and scale.
Here is some work I did in the process of designing my button badges. It has multiple drafts, as well as the entire alphabet and some symbols on the side for me to look at.
Here were the final three that I selected.
I created 3 button badges. The first highlights some characters to show off their curved features. They are rotated and positioned, and have a large scale. The second badge is similar to the poster design’s arrangement of T and I to create the columns. The last one shows the letter T in larger scale than before. I also enlarged the word Optima and grounded it, as per Somya’s suggestion.
I used Photoshop to fit my poster into this image of a bus stop. For the button badge, I Photoshopped my images onto the buttons of a bag on a cosplayer of a video game character. Since this was my first time using Photoshop, it was not easy. The poster one was much easier because our images are already the right shape. For the button badges, figuring out how to select a circle and then move it around was troublesome. After some trial and error I finally got it working the way it was supposed to work. Here are my finished products: