Typography

The fourth project for Digital Design Concepts | Creator: K

An homage to my roots, this project truly encompasses the defining characteristics of Bulgaria and being a Bulgarian. All of the aspects and features of life that best represent my character I owe to my country and my lineage. And, so, it is only natural that I pay respect, right? This project delves deep into essential characteristics and traits of natives of the aforementioned, and delineates each into a singular category (four, in total): art, historical architecture, food, and entertainment, respectively. To elaborate, the first image displayed above is the Pleven Panorama, and it contains the vast, elaborate pieces of artful expressionism that detail the country’s historically monumental wars and battles. Second in order is the Pleven Mausoleum, which houses the remains of the combatants who fought in such fateful battles and wars. Third is, simply, a “Duner Kebab,” an utterly delicious, meat-and-veggies-filled wrap complete with spices and exotic sauces that are sure to fuel your appetite for more as soon as you have finished with your current one. And, finally, last are the traditional festive dances of the nation, with one of the most popular displayed: the “Rachenitsa.” One can see how spectacularly vibrant and wonderful the nation is simply via this project itself.

The easy aspects:

  • Gathering the necessary images for completion of this particular project
  • Establishing each of the four square-ratio “Artboards”
  • Choosing which colors to utilize for each individual piece

The challenging aspects:

  • Creating and perfecting the stamp’s structure
  • Crafting the minute, distinct details that truly make the picture what is is
  • Finding proper fonts to match with the holistic theme of each quota

What I learned:

  • How to create distinct but united pieces of artwork (i.e., they stand apart, but are fully interconnected)
  • Designing in smaller proportions (as well as more precisely given that fact)
  • The true importance of minuscule details

How my project could be improved:

  • Even more varied color schemes could have been implemented
  • More distinct postage stamps could have been designed
  • A different, more suitable aspect ratio and layout could have been utilized for my creations

How the assignment could be improved:

  • Perhaps, if we designed entire postcards alongside the stamps, the project would become even more interesting
  • Different aspect ratios could be permitted
  • An inclusion of more obscure tools in Adobe software (as well as interesting methodologies) could have also been instructed, possibly

Application of knowledge for future assignments:

  • The manner in which more commercially oriented items are created shall be understood
  • All associated processes for realistic design (real-life-based design, that is) will be acknowledged and properly implemented for similar projects
  • Complexity of said project shall be accounted for whilst effectuating multiple designs

Inspiration (various readings, tutorials, YouTube videos, and in-class exercises/labs):

  • Articles informing readers of the vast universe of typefaces, as well as the distinctions between each of the aforementioned, alongside pertinent terminology
  • A plethora of YouTube videos regarding interesting manners in which to design whilst utilizing unique fonts
  • Tutorials (whether YT or article-/Web-based) actually detailing the exact instructions of how to design a certain piece of artwork with a singular or varying fonts, as well as in-class labs/exercises

Image

Image

The third project for Digital Design Concepts | Creator: K

 

As time passes onwards, we, as human beings, become more educated, experienced, skillful, and–most significantly–aware of who we truly are. Our inner character shines through and envelops our very existence, thus, formulating the individuals we are. This concept/ideation exists as the fundamental, critical core of this composition. The binary ones and zeroes embody a visual representation of the internal machinations of our D.N.A. Additionally, the “always-look-forward” mentality of each figure above denotes how it is of utmost importance to continue to foster your growth, mind, and abilities with time. As is demonstrated above, as one progresses into adulthood, they become … themselves. The strands become more colorful, to denote emergence; light is being shed on one’s true character; and confidence peaks. With this image, complexity coalesces with intrinsic simplicity to establish a new type of image, and it is one that emphasizes a singular phrase: “Develop yourself.”

 

The easy aspects:

  • Setting up each “Artboard”/region for development
  • Deciding the flow of design
  • Formulating the concept of the project

 

The challenging aspects:

  • Conveying simplicity, as well as complexity, within one project
  • Defining a realistic, fully aesthetically appealing pattern
  • Quite ironically, gathering the necessary images

 

What I learned:

  • The manner in which to display complexity properly, while still being fundamentally simplistic
  • How to utilize the variety of tools within both Photoshop and Illustrator to design realistic/aesthetically pleasing patterns
  • The significance of well-detailed patterns

 

How my project could be improved:

  • A more flat, non-extensive color base could have been implemented
  • More elements within the project would have enhanced its aesthetic
  • A different, more clear-cut/obvious metaphor could have been utilized

 

How the assignment could be improved:

  • An extended due date, possibly
  • New, unusual tools to complete the assignment within the software would have spiced it up a bit
  • If information from prior assignments was imbued here

 

Application of knowledge for future assignments:

  • I shall understand how to concisely and precisely create abstract conceptualizations (and metaphors, specifically)
  • I will be fully aware of the plethora of tools offered in both programs
  • The techniques employed throughout the duration of this project’s completion will assist me in acknowledging the many uses of Photoshop and Illustrator’s functionalities, besides the tools themselves

 

Inspiration (various readings, articles, and personal inspiration):

  • One source, regarding the construction of words/language semantics, was quite assistive from a structural standpoint
  • As a secondary source, this article detailing various metaphorical works was truly inspirational
  • Finally, my love for programming/software development played a notable role 😉

Color

The second project for Digital Design Concepts | Creator: K

 

A monumental endeavor was partaken in directly regarding this project. Over a fulfilling, extensive span of time, many ideas, methodologies, and conceptualizations coalesced to formulate a distinctively unique series of designs, each with a fascinating plot. It is simply unfathomably difficult to express typographically or otherwise the extent to which I relished not only the process of creation associated with each piece itself, but also the aforesaid, intrinsically. The vision, ambience, and individuality of myself, as a designer, are imbued into the metaphorical heart and core of each creation. The beauty of life and the planet upon which we stand and breathe are notably represented via each present element, as well, in strikingly phenomenal detail. Expressiveness was a critical aspect here, and I conveyed my personal perspectives regarding the eclectic universe of digital illustration and design in a truly personal, yet connected, manner in each distinguishing landscape.

 

The easy aspects:

  • Mentally visualizing the colors and details of the design itself
  • Setting the four “artboards” as foundations for each creation
  • Gathering the necessary resources/images for the project

 

The challenging aspects:

  • Creating the cumulative/final design, all while utilizing complex gradients, meshes, and so forth
  • Abstracting/outlining (mentally) the precise design of each individual landscape, as well as the processes for creation of the aforementioned
  • Detailing a realistic, fully believable—yet unique—digitized actualization of a presumably echt entity

 

What I learned:

  • Designing intricately pertinent elements of a landscape within designated guidelines (i.e., utilizing a previously specified color schematic)
  • A plethora of elaborately multiplex implementations for distinct tools presently available in Adobe Illustrator CC
  • The significance (as well as how to) effectively operate within a designated segment of time

 

How my project could be improved:

  • Utilizing a singular, prevalent color scheme within each landscape
  • More simplistic design elements/schemes could have been utilized
  • Implementing varying design styles within each design itself

 

How the assignment could be improved:

  • An extended/alternative terminus ad quem of completion, given the possible sheer complexity
  • Multiplex options of landscapes, as opposed to a strictly determined set
  • Freedom in color choices, rather than an imposed limitation of a color scheme

 

Application of knowledge for future assignments:

  • The vast knowledge acquired via recreationally and strategically manipulating the toolset of Adobe Illustrator and Photoshop CC will be employed
  • Acknowledgement of creative constraints, as well as the intellect acquired whilst working within the parameters of the forenamed, shall be implemented
  • Elaborateness of the given project shall be considered thoroughly throughout the absolute duration of the completion of said project

 

Inspiration (various readings, tutorials, and YouTube videos):

  • A primary source exists as an article on how to effectively design/create a “space scene”
  • One secondary source exists as a YouTube video (amongst many others), which details the manners in which to establish realistic foliage
  • As a final source, a piece regarding the plenitude of elements of color itself was truly beneficial

Layout

The first project for Digital Design Concepts | Creator: K

 

A universe filled with elaborate simplicity is expanded upon in this particular contrivance. The various, distinct primitive shapes presented each possess their own unique qualities. Storytelling is deliberately eminent, as one shall notice, when viewing the progression of each individual black-and-white image. The sheer foundational conceptualizations of Gestalt’s design principles, as well as the distinctly pertinent, presently acknowledged “golden spiral”—based specifically upon the Fibonacci sequence—are also prominently emphasized. Given these tools, the mind can imagine a plethora of visualizations. Limitations are merely a fictional caveat, as, with only an idea in mind—as well as these aforementioned essentials and notions—the only limit is the capability of the software itself.

  • The easy aspects:

1. Creating the basic shapes themselves, as well as the layers.

2. Utilizing the simple tools in Illustrator, such as the shape-based tools (for the creation of triangles, squares, et cetera, located in a separate menu), Selection Tool, and Zoom Tool.

3. Establishing the six “Artboards” as canvases for the drawing process.

  • The challenging aspects: 

1. Organizing clipping masks, layers, and individual objects to convey an intended effect or idea.

2. Utilizing the more complex tools/functions in Illustrator, such as the Blend Tool to create linear shape distributions, Pen Tool to establish proper curvature of blend paths, and the Transform Each function to rotate each object to a perfect angle in order to represent certain abstract actions.

3. Purposely creating objects and a comprehensive story given specific constraints such as: Only black and white colorization must be implemented; primitive shapes are the basis; and object details must be limited, yet still represent an abstraction that corresponds with the story being visualized.

  • What I learned:

1. How to effectively, constructively, and creatively perform whilst being limited to constraints (i.e., output a design that is still unique and well-created, while still being minimal in taste).

2. The various manners in which primitive shapes are able to be created from other distinct primitive shapes.

3. The methodology involved with applying Fibonacci- and Gestalt-based conceptualizations in a foundational project.

  • How my project could be improved:

1. Less symmetry could have been applied in the final design.

2. A heavier distinction of Gestalt’s principles may have been applied (proximity, scale, position, etc.).

3. A more simplistic design that is less focused on storytelling, as well as utterly foundational shapes (no rounded corners, etc.), are equally capable of incrementing quality.

  • How the assignment could be improved:

1. Varying colors, as a constraint-based permittance, would allow for increased creativity, rather than the two simple tones of black and white..

2. A few more tools could have been permitted in order to enhance the visualization and alteration processes.

3. Varying “Artboards” of freeform/individualized, preference-based sizes and amounts would have resulted in a enhanced, more creatively elevated group of projects.

  • Application of knowledge for future assignments:

1. I shall possess the newfound ability to develop elaborate creations under a specified set of limitations.

2. I will, from this point in time, actualize and discern the fundamental procedures and exploits pertinent to the approach and completion of a cumulatively rudimental nursery rhyme-based design such as this.

3. Designs and creative operations shall be enhanced in direct association with this newfound/ascertained knowledge.

  • Inspiration (reading: “Intentional or Not: Mathematical Theory in Design“):

1. The ideation of the “nautilus,” which is distinctly relevant to the Fibonacci concept of the sum of two prior numbers, and represents the idealism existing in nature which is also implemented in modern design.

2. The “Rule of Thirds” notion, expressed as a symmetrical representation of any given object or set thereof as if it were (fictionally or factually) divided into three subsequent rows and columns, or nine equilateral squares, in total.

3. The utilization of grids to establish a basis for the placement, proportionality, and cumulative concinnity of each item placed on the screen and within the application itself.