I Got Rhythm: A Study of L
Oct. 16th, 2017 08:25 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shantellWhat happens when the upper-case letter L is investigated as an abstract design element? “A Study of L” investigates this idea in a minimalistic fashion. A grotesque sans serif L, with stem equal in length to the arm, is depicted in each rendering.
Every L is rendered in black ink on white paper. A grey line intersects the arm and stem on all but one L, with a single dot punctuating each. The result of these combinations is both geometric and evocative of petroglyphs and Inuit typefaces, with their angles and curves.
The top leftmost rendering sets the stage for the study. This L is tilted so that it resembles a bow, with the dot representing a projectile. This motif ties in with the petroglyph/Inuit typeface concept and traditional hunter/gatherer iconography while simultaneously incorporating simplified geometric elements of trajectory.
From there onward, each rendering demonstrates inclination angles, slant ranges, and horizontal distances from a variety of positions. The final L in the series creates an emphatic finale. Like the first rendering, the arm and stem are at forty-five degrees to the frame. The grey line no longer touches the L. Three grey lines show movement away from the dot. They do not touch the L, as there no longer is a trajectory: the red dot is a bullseye, and the bow’s projectile has met its target.
Every L is rendered in black ink on white paper. A grey line intersects the arm and stem on all but one L, with a single dot punctuating each. The result of these combinations is both geometric and evocative of petroglyphs and Inuit typefaces, with their angles and curves.
The top leftmost rendering sets the stage for the study. This L is tilted so that it resembles a bow, with the dot representing a projectile. This motif ties in with the petroglyph/Inuit typeface concept and traditional hunter/gatherer iconography while simultaneously incorporating simplified geometric elements of trajectory.
From there onward, each rendering demonstrates inclination angles, slant ranges, and horizontal distances from a variety of positions. The final L in the series creates an emphatic finale. Like the first rendering, the arm and stem are at forty-five degrees to the frame. The grey line no longer touches the L. Three grey lines show movement away from the dot. They do not touch the L, as there no longer is a trajectory: the red dot is a bullseye, and the bow’s projectile has met its target.
