eBook - ePub
In Progress
See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector
Jessica Hische
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- 176 páginas
- English
- ePUB (apto para móviles)
- Disponible en iOS y Android
eBook - ePub
In Progress
See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector
Jessica Hische
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This show-all romp through design-world darling Jessica Hische's sketchbook reveals the creative and technical process behind making award-winning hand lettering. See everything, from Hische's rough sketches to her polished finals for major clients such as Wes Anderson, NPR, and Starbucks. The result is a well of inspiration and brass tacks information for designers who want to sketch distinctive letterforms and hone their skills. With more than 250 images of her penciled sketches, this highly visual ebook is an essential—and entirely enjoyable—resource for those who practice or simply appreciate the art of hand lettering.
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ArteCategoría
Arte generalProcess in Action: Differing Steps for Different Projects
Most of the work that I do falls into these categories: editorial, advertising, books, logos, and miscellaneous (which includes hard-to-categorize printed and non-printed projects, including some of my type design work). Through case studies, you’ll see how my process shifts depending on the category of work and who the work is for. We’ve gotten over the hump of technical talk; on to the pretty pictures!
Creating artwork for magazines and newspapers is very fun, and because the timelines are generally pretty tight, you can create a large portfolio of work very quickly. Early in my career, people who stumbled upon my portfolio were shocked at the amount of work I’d created in such a short period of time, and I was able to amass such a big body of work because of all the editorial projects I’d been working on. If I look at my calendar from that time, it’s packed with editorial work. I’d be working on up to twelve or fifteen jobs simultaneously, which in retrospect seems crazy. What made it possible to work on so many projects at once was the inflexibility of editorial deadlines—a magazine or newspaper went to press on a certain date, and my artwork had to be delivered by that time. I could piece together my calendar like a complicated puzzle, everything staying neatly in place, jobs hardly ever requiring many rounds of revision or pushing past their original deadlines.
One of the most fun things about editorial work is that you get to read endless fascinating articles and brainstorm about what concepts would best articulate the ideas expressed in them. I particularly love illustrating for science magazines because of all the random things I get to learn about. As an editorial illustrator, you have more freedom to experiment than you often do on other client projects because what you’re creating isn’t a part of a big expensive campaign. It isn’t going to be used by the client on everything they make for all eternity—it exists in just one issue, on one page, as a part of one article of one publication. I don’t do as many editorial jobs now as I used to, but I still love to take them on here and there as palate cleansers.