six Variations of Two Elizabeth Lipanovich
six Variations of Two Elizabeth Lipanovich
Visual Communications Design Department of Art & Design School of Visual and Performing Arts Purdue University West Lafayette, Indiana A publication of the School of Visual & Performing Arts. All content is copyright by Elizabeth Lipanovich November, 2013
I would like to dedicate this to my mother, Cherie Lipanovich. As long as I can remember it has always been just the two of us. I would not want to have it any other way.You are constantly there for me and have always stuck by every decision that I have made. I honestly don’t know where I would be without your love and support.
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Introduction Six, a number of all things, PLJKW QRW EH WKH ÀUVW WKLQJ WKDW comes to mind when thinking of two letters. However, it makes perfect sense in this case with A and G. Each of these letters have three different variations. The capital A is one variation and the lowercase has two. Same circumstances with G. Each variation of these letters is a strong shape that makes the letters very recognizable from the rest of the alphabet. 10
Aa a g g G 11
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Exploring the different options.
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Hand Sketches You would think that I would be happy being the only one out of two class sections with two letters having three variations of each but I wasn’t. Right from the start I knew they were going to be trouble, especially being able to use ten different typefaces. I’m a very indecisive person so I kept feeling overwhelmed with all the different choices I had. However, hand sketching the letters numerous times got me over this feeling. I learned their form and eventually got use to having so many different options. 14
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Computer Sketches Moving forward to using the computer was a big step up in my design process. I was able to use the actual typefaces. I saw the real contrast of each letter in a design. Being comfortable with the shapes that each letter made, I was able to make conscience decisions about each sketch. I wasn’t letting the computer design for me. I used the computer to enhance my hand sketches and expand my ideas about these two letters. 38
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Narrowing down the possibilities.
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Final Designs I experimented a lot with using combinations of serif, sans serif, italic, bold, roman, upper case, and lower case; after reviewing DQG UHÀQLQJ P\ PRUH VXFFHVVIXO sketches I have narrowed them down to just three designs. The three that I have chosen kept the readability and integrity of each letter but come together as a single form more than the rest. Even with the overlapping, elimination of elements, and rotation inside of each design, one letter isn’t more dominate than the other. 54
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The conclusion of Q] TVSGIWW
The Final Design Here it is, the result of six, my strongest design. I believe this is my most successful solution because I combined lowercase variations by over lapping them at their counters and eliminating unnecessary parts of each. There is a great sense of balance with equal amounts of contrast between negative and positive space along with using two different styles, roman and italic. Each letter keeps it’s integrity and readability while not being obvious by leaving the terminal of the A and the loop of the G in place. 58
Thank you Kristine Anderson;; Professor
Emerita, Libraries, Purdue University. Cathy Aper;; Manager, Purdue Printing Services. Scott Benham;; Vice President, Haywood Printing Co. Inc., Lafayette, IN. K. Lynia Coates;; Purdue Printing Services, BoilerCopyMaker. Dennis Ichiyama;; Professor, Purdue University. %DUEUD 0D\ÀHOG Continuing Lecturer, Purdue University. Sherry Swank;; Design Manager, Purdue Printing Services.