Alexander Wing's Constant Output for DM 1143
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Alexander Wing's Constant Output for DM 1143
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This week I studied the most interesting packaging I saw for 5 days. I found the pomeganate drink bottle very interesting. For one, I've never seen a drink bottle anything remotely similar to this so it really stood out. It's shape gives off a unique video-game elixer feel, which in combination with the heart, implies that this drink is probably formulated for more than just taste. This is confirmed as the bottle says antioxidant superpower.
The elta md sunscreen stood out also because I've never seen sunscreen packaged similarly to this. It's design is very reminisent of a perscription lotion or spray. This is probably itentional as the bottle says md in big red letters. Perhaps they are marketing themselves as a very effective sunscreen worth its abnormally high price.
The Chameleon bottle stood out because it primarily used really shiny bright blue designs. Its glass bottle gives off a very upscale feel and its typography makes the drink seem very unique and hipster.
I've decided that the cover of a book is comparable to product packaging and serves a similar purpose. I'm drawn to the blue shiny packaging of the first book and I feel like it does a good job of conveying the fractured world/climate idea presented in the book. I think the Veer cover stood out to me for no particular reason besides that it looked cool and modern.
This font was inspired by a fustration I've had with bold, modern sans fonts when used as display/header text in large point size. Fonts typically thin at joints; I think this works well to even out the visual weight within letterforms but when fonts are blown up, this thinning becomes uncessary and ugly. An interesting alternative I would like to explore is, instead of thinning characters, erase part of the letter entirely similar to stencil fonts. However, unlike stencil fonts that use gaps as an aesthetic, my font will gaps only practically. For example, a C in a stencil font may have a gap in the middle but a C in my font will not as there is no thinning/visual heaviness anywhere in the C. I feel this would make the font equally as readable and pleasing to the eye in large and small point. In addition, the gaps add a unique quality which can let it be used as a display font.
Above is the current font for this post in large point; notice how the thinning looks awkward. I feel like these fonts wern't meant to be used in large type. Below are my proposed fonts. For some, I've created them freehand but for others, I've looked at pictures of fonts and replaced thinning with gaps.
This is my first iteration of the font idea. Here, I focused on experimenting with ways to make gaps look aesthetically pleasing. I tried making consistent use of circles, however, my strategy here led to some characters not being very readable and leaving some joints connected. Therefore, this I determined most of these letterforms as impractical and stencil-font like.
This is my second iteration of the font. Displeased with the unreability of my previous iteration, I pulled up lowercase and uppercase abcdefg... in bold helvetica on my computer while sketching the font. This time, I only added gaps where there were joints or thinning in the helvetica fonts. I had to modify the M's and W's because fixing thier joints would create too many gaps which I felt was ubnreadable. I am much more pleased with this result as I feel it is more readable and more practical.
I went a bit ahead of schedule and dedicated this week to researching how to create fonts and familiarze myself with font-creation software. Since I didn't want to purchase font-creation software, I downloaded a really jank open source font creator called FontForge. It used to be industry standard a couple years ago but now it's not even compatible with my mac: I had to download a mac extention XQuartz to run it. My planned workflow is to therefore use Illustrator to create my glyphs, export them as SVGs, painstakingly import all of them to FontForge, and simply use FontForge to export all the glyphs together as a formal OTF font. In the image above, I have successfully went through this process with a simple "A" glyph which is not part of the final font. I will setup proper guides in the AI file and begin creating glyphs.
I created the first word in the font: Hailiax. From this first draft I decided I should make the gaps in the font larger. Here is a live demo:
The font's dimensions are now more closely modeled after Helvetica after research revealed that this may be a good idea. These are the first characters of what will be the final font.
Constant Output Schedule and Other Projects
I plan to make sketches/research fonts for the next 1-3 weeks. After that I will develop the font in FontForge. First, I will complete a 400 (regular) weight non-italic font in a-z. This font will be complete with letterforms, kerning, etc. As I have never developed a font before, I have no clue how long this will take although my visual foundation teacher says its very time consuming. If I'm able to finish the basic font in two weeks, I will create an italisized and bold version of the font after creating a few symbols. If I still have extra time, I will make 300/100 weight fonts and 800 weight fonts after creating other important symbols.
Above are my first experiments with the laser cutter. I made these for my friends and they loved them. There are more but my friends have attached them to their walls/etc and taking a picture of all of them together would be hard.
Above is a birthday present I made for my mom. Laser cut/engraved on Acryllic. The gift consisted of matching drink coasters (Jane and Alex; I kept the Alex one and sent her the Jane one as a symbol for closeness even though she is on the other side of the US) and a plaque containing a picture of us at graduation and a note (covered by a drink coaster).
Above is a prototype. Prototype for a finger pencil. The finger pencil attaches a soft ink thing to your finger when you place your finger on the circle. The detachable parts are ink cartridges that uses ink that cures to the finger attachment. If you press on one side, the ink cartridge will pop up for easy replacement. The product is supposed to be flush with the card.
Above is a clap fan experiment. Similar to clap lights, this fan will turn off/on when you clap. This video demonstrated this with a snap. Note that these are not all the projects I have made since NYU. Other ones are hard to photograph such as modifications made to my bed or AC using makerspace-made things.
Classmate Discovery Interview
How was your day
Values, interesting habits
Tell me about your creative background/what do you love doing
When were you first introduced to x
How did you expand your skills and experience in x
What do you see yourself doing with your skills
If everything goes 100% perfectly, where do you think you’ll end up
Any specific events that stand out?
Any deep personal motivation for doing what you do?
What skills do you want to learn/are learning
Do you have a specific creative process
How did you develop this process
More very specific questions to fish out details
Collaborative Constant Output
Our collaborative constant output is a music reactor featuring a song by Kevin and a 3D model by Julia. The animations are done by Alex.
Here is Kevin's Protools session where he made the song used in the animation.
Here is Julia's Maya session where she made the 3D object used in the animation.
Above is the 3D model of a planet Julia made that will be the center of the animation.
Here I converted the 3D model to a series of manipulatible points in After Effects.
Here I begin animating the planet to three audio layers. I've removed two audio layers from the original piece that I felt were unnescessary to animate.
I begin animating some other audio layers to particle effects.
Finally I add the background. The next step is touching up the particle effects and then render to the piece shown at the top of this page.
Font Letterforms Completed 11/24
Above, you can see how the completed letterforms in Illustrator.
I then exported every letter into an SVG to painstakingly import to FontForge
I exported from FontForge to create my Hailiax font a-z and A-Z. All that is left in my project is kerning/metrics and perhaps some basic puncuation marks and numbers. Not shown here I performed an autowidth command.