Just a word I got stuck on while looking for phrases. I was looking for a bit of a challenge, something longer than I usually did. This obliged.
October 24, 2009
October 14, 2009
I'm hesitant to begin vectorising this one until I get a few opinions on which version is more readable. And yes...'YOU♥ME' is a bit egoistic, but let's try and be optimistic here:)
Share the love...and tell me which one is better.
October 13, 2009
I tried another method of the 's-h' combination from here. I didn't think the other version would fit in with the font. This took me but 20 minutes, I just used shapes form older designs and combined them.
As for the big flowing lines surrounding the word, tell me if it screws up the aesthetics of the overall piece...
Following up on John Langdon's comment (which surprisingly coincided exactly with what I didn't like about this piece.)
I removed those irritating flowing lines from around the piece. Adding elements like that, to me, seems the visual equivalent of forcing the rhyme in a poem. I hate people who force their poems to rhyme...
I also lengthened the 'H & S'. I initially ad trouble deciding what aspect of the 'h' to lengthen, the stem, or the 'curve'. If I made the stem too long it messed with the viewers perception of the 's', so I went with the latter. Although, now the 'h' is floating a couple of centimetres above the other letters... but we have to compromise :)
October 11, 2009
All the 'R' needed was a curve. A tiny...minute little curve, and suddenly the whole damn word is readable...
Just goes to show ... we are truly blind. I managed to figure out the necessity of the curve by writing out the letter 50 times, in various handwritings, then analysing them. Glad to say my knowledge of letter structures, gradually expanding, has just been temporarily sated.
Of course, being me, I still cannot stand the capital 'A' in Sharif, but then, I think I'll rest the project for a while.
Oh, and i did end up breaking the continuous line through the piece. It was just messing with the 'E' a bit too much.
Below is my first attempt at 'decorating' an ambigram with these things called...colours.
I think it looks pretty pants, but it's a 'landmark occasion', hopefully I'll get better.
October 10, 2009
I made a vectorised version, a lot neater, and more uniform.
I changed the 'R' in Zehra, to a capital. I am fully aware of the fact that the 'R' requires you to have an extremely abstract mind to read, but it's conflicting with the 'h'... so well... we'll see. The three versions are different based on the top of the 'H', in Zehra. I cannot determine if any of them are superior in readability. Also, the line going through the letters, spoils the 'E' a bit, but if I break it, the whole piece is thrown off.
I'm still not finished...
October 7, 2009
A rough, 10 minute sketch. I'm not too happy with the way the 'R' turned out in 'Zehra'. I'm thinking about making it Upper Case, incorporating it's curve into the curve of the 'H' (opposite side).
I've also though about making the 'H' on the 'Sharif' side Upper case...
We'll see :)
I'm just glad that i have a good base to start from. This design could turn out to be really neat.
Continuing with the experimentation on gaps...
Maybe I should have made the 'inverted area' in the 'F' and the 'I' a bit wider?
I’m doing a bit of experimentation on disjointed letters, and their effects on the perception of the word. Sorry about the lack of straight lines on this one… one of my fingers got stuck in a door :P
Soon enough I’ll be able to use a mouse again to vectroise this.
EDIT: I vectorised it, but something's not right...
I feel that maybe it's too sharp, I should curve it a bit more?
I made two versions, one with gaps in the 'R', and one without. Comments on your preference in terms of readability and aesthetics?
Actually…I like it. I really do. In my first attempt I think I managed to discover many aspects of ambigram drawing that i would later use more extensively.
I know…the ’h’ looks weird… you cannot see the ‘double r’…
But think of the achievements!
I made a moderately legible ‘a’ and ‘y’. And though I seem to have lost this drawing style (I started ambigrams at the same time I started tribal drawings), I really believe it has depth and potential. Somehow the lack of ‘block uniformity’, something so prevalent in many designs I’ve seen, gives this piece it’s own appeal.
PS: I did make a newer version of this, more recently, with a three year gap between the two. I’ve yet to find the scrap of paper it was on, but I'll update the post with it below.