This design entry is dedica
ted solely to the digital manipulation step of. TEXT;
Notes below denoting;
When finalising my greetings card designs, arrised; TEXT was my first initial priority in order to pull my full 'idea' and 'collection' theme together. The first step i needed to carry out, was the gather all of my refined and selected designated 'puns' for each design, together: which were as follows;
- "I love you from my head TO-MA-TOES".
- "I could never BAGUETTE your birthday".
- "LETTUCE celebrate your birthday".
- "Thank you BERRY much!"
- "You're one in a MELON".
- "I'm BANANAS about you".
- "I CARROT about you a lot".
- "I hope you have a FIGGIN great day".
Now with all my quotes finalised, and decided; It was time to insert it in an aesthetic design, on each of my cards;
HOWEVER; a few issues arrose: -
1) what font should I use?
2) How can i make it appear, that my text has been pressed into the page?
3) Positioning
- SOLUTIONS -
Q1) What font should I use?: -
- Due to the lack of time I have left for the duration of this term, I would much prefer to pick a font that WORKS WELL , but also AN EASY task for me to carry out and apply to my collection. - which immediately collates with my eater mini brief task - of TYPE FACE; utilising the previous selection of Palatino Linotype. Due to the clear, legible, reader friendly, professional and aesthetically appealing attributes it holds - that has been reflected with the typeface task due to my analytical research - and I was to achieve this level of professionalism within my own designs. However in relation to my FMP , if i decide to further my studies and continue studying the theme of greetings card designs - I would then take the initiative to thoroughly analyse text as a subject - and possibly create my own. However this would be for my Final Major Project, as I currently am running out of time for this current live brief and term;
As shown in the images screen-shotted below;
Further notes to continue below;
Q2) How can I make it appear that my cards have been hand pressed?: -
- Unsure; on how to exactly, conquer this task; (due to a slight lack of knowledge in design editing software - in relation to altering and modifying TEXT - I decided to - contact , one of my MA peers; Hannah Wright.
Hannah Wright - A very talented individual when it comes to digitally editing software and graphic design. She was more than happy to help, guide me in an editing technique that was easy to locate on Adobe Photoshop.
As pictured on a selection of screenshots, and guidance tutorial supplied by Hannah below: -
My text before I applied the editing software;
- After you click the FX button on the bottom right of the page, this is the window which appears - allowing you to modify your text in any specific design you want to achieve, altering the inner shadow pigment - to the ANGLE of which you want the shadow and high light to appear from - a very cleaver trick to know!! - a technique, i never knew how to do, until today!
My text, after the effect has been applied;
- After altering each text, on all eight separate designs; I click apply on the software - and 'Wallah!, a very cool editing effect, achieving a - solely editing technique - to produce the 'APPEARANCE' of a traditionally hand pressed font - within my designs - which was EXACTY what I wanted to achieve! - Thanks Hannah!
Finally, the final notes for this journal entry; Being POSITIONING: -
Q3) Positioning; How to best position my newly edited text, within the frame - best for the audience and best for reader quality, are;
- You could either decide to follow reader etiquette, and control the text from left to right across the frame, such as a magazine cover of book - for example.
CLEAR SKETCHED EXAMPLES OF THESE TEXT FAMES CAN BE FOUND ABOVE;
- Their is also the use of SYMMETRY , while experimenting with text sizes for emphasis on certain words; text is usually positioned symmetrically down the centre of a the frame. Example above;
- & finally, their is also the option for a much more heavily edited style of positioning. Which can usually be achieved through ADOBE Illustrator, editing your text o follow a curvaceously drawn line. A very illustratively deign option. Great for children and young audiences.
However, in regards to my design collection - the structure i decided to go with was the SYMMETRICAL design option, with experimental emphasis within the text; The only thing to do now, is to digitally implement this within my designs - as shown in the examples below;
My fully edited collection, WITH their text, can be visibly seen below;
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