digital type compositions, revised!

marty gave me a super nifty blog critique on my wednesday post of those 7 compositions, so i was able to keep moving and making them better even though we didn't have class due to snowmageddon.
none escaped unscathed. (although some were less scathed than others.)

this 'concentration' i made a bit less squared off, lest it look too directional.

space. i simplified my idea from the whole receding plane i had been trying to pull off to a simple 1 point perspective. i got all the way down to .4 pt type! less than half a point! so tiny.

i wasn't 100% sure what marty meant in her comments about this one, but i agree that it lacked dynamism, and i tried the idea of zooming in on a serif-moment. out of curiosity, i tried keeping my original texture as a ground, and adding a figure over the top, and was pleased with how that turned out.

these are some other crops i tried out, but didn't think they turned out as interestingly as the first.

my earlier shot at gradation was compromised by how many shifts in both letterform and typeface there were, and how that was more confusing and eye-grabbing than the subtle variation from dark to light. in this one, i eliminated both of those variables, fixing on one letter and one font-family, futura, focusing instead on gradation achieved through weight shifts.

my first anomaly, like gradation, had too many different things going on. there were two different scale changes and two different letter switches, nevermind the dull crop. i tried a few different things here. firstly, above, sticking to the difference between w & v, trying to make a more interesting form than just lines of letters, and then a tight crop for a more interesting composition. secondly, using rows again, i tried a different typeface, and the difference between u & c, again with a tight crop for more interest.

one last try with the first composition, seeing if it could be improved by a crop, and a zoom-out of the w circle.

my repetition, while a reasonable example of repetition, was very static and locked into the frame, so i tried slanting my pattern for a more engaging composition.

upon marty's advice, i tried utilizing some scale shifts to heighten the sense of movement from right to left.

i think these are much clearer in their intentions, and that the tightened-down compositions helped in terms of keeping everything visually interesting.