Azouma Name Creation: Digital Experimentation
In illustrator I used my Intuos Pro and created a calligraphic brush which was pressure sensitive and made the brush so that it was similar to the brushes that Hassan Massoudy and other traditional typographers using bamboo reeds and balsa wood. I began by creating a grid similar to the grid style that Shaun De Burca demonstrated and replicated this for each letter, this grid will make sure that each letter is kept within a specific grid keeping the size of the lettering to all be the same as well making sure that the lettering should be the same distance apart so that there will be a small amount of kerning to the final project. I followed Shaun’s process and began at the beginning of the process and started with the middle letters and using the original pencil sketches went over them using the pen and tried to replicate these and then manipulating them slightly using the direct selection tool. Creating the ‘O’ was difficult because sketching it out in pencil is easier because I can keep going over the shape and them rubbing out anything I didn’t want, however when creating these letters the brush tool is precise so that slight imperfections really stood out and converting from pen and paper to looking at the screen and drawing was a difficult transition.
I still wasn’t happy with the capital A and so took a break from the lettering and began altering the geometric patterns that I had created and adding more detail to them such as the overlapping details and finding other typefaces that I could use on the back of the business card and throughout the menus and other mediums. After a break I returned to the lettering and created the A without sketching an initial idea and created this. I kept to the same brush and tried to make sure that the A that I created was similar to the other lettering but also be bold enough so that stands out. I only used the grid that I created to make sure that it sat on the same base line as the other letters.