Design Posts


You Need A Budget

I spend a lot of time considering the healthy tension between an experience’s form and function. How one informs another is the first, and most important, decision a designer will make. While there’s no universally applicable formula, users crave the balance. This balance is the reason Instagram is addictive and ride-share apps have changed our social lives. YNAB is successful because the form (a digital experience built around a budgeting philosophy) firmly guides the function (healthy and informed budgeting habits). Cheers to budgeting bliss!

IMG_8374Budget available money where it’s “needed” most, then where it’s “enjoyed” most.
IMG_8378Add transactions on-the-go to maintain an accurate budget you can trust.
IMG_8380Report for “Rule #4: Age Your Money”, a tactic to break the paycheck-to-paycheck cycle.

.letterMpress

This iPad application for digital letterpress work takes remarkable strides to incorporate modern technology while upholding the integrity classic artistic processes. Check it out!

Thanks for the link, Richard!

With a smile,

Monet

.font fun {knock-out effect}

I came across a really cool tutorial on Photoshop Essentials for a knock out text effect. The tutorial is really simple and comes with great pictures to depict the step-by-step processes of the tutorial.

There are two parts to this tutorial. The first is manipulating the objects such that any overlap results in white space. That effect is cool by itself but there is also a brush effect that makes the text glow. Give it a try!

.font fun {font monster}

I enjoy playing around with typography so you can imagine my excitement when I found a tutorial for creating a typography creature! I followed a simple tutorial from LayersMagazine.com that described the process of using typography and glyphs to create something cool and realistic. Well maybe not so realistic, but definitely cool!

Glyphs are all characters belonging to a typography. Most of the glyphs appear on a standard keyboard, making up most of the symbols, numbers and letters but there are also things like Greek characters, mathematic symbols and accented letters. In some fonts, the glyph pallet includes alternative letter formats. For example, below are the glyph options for the lowercase ‘s’ and ‘f’ in Zapfino. For this font in particular, the glyph options allow the designer to choose fancier (or simpler) letter options depending on the project requirements.

I really enjoyed the creative freedom LayerMagazine encouraged through their tutorial. There wasn’t a step-by-step process for creating a typography monster which left a lot up to the creator’s imagination. To create your own monster, create a painter’s palette of glyphs and let your imagination flow from there. I recommend using a classic font over a downloaded font just because the glyph palette will be more extensive. I decided to use good ol’ Arial Regular and here’s my creature!

My advice: let your imagination flow. I had no intention of creating this creature but one thing lead to another and before I knew it he had personality and the rest flowed. Start with a vague target (i.e. I used a cartoon picture of a woman with glasses…go figure) but don’t constrain yourself to one vision. Happy typing!

.font fun {sketch font}

I love working with typography and font manipulation so I thought, “What better place to share my interest than on my blog?!” Every time I find a new typography tutorial, tip or trick, I will share it in a post about font fun! Today, I will be sharing the simple joy I get out of the sketchy font trick. Note: for the duration of this post “sketchy” refers to a particular pencil stroke and outcome, not an adjective you would use to describe someone that makes you uncomfortable.

Here’s an example of the sketchy font trick:

Sketch Font

TutorialMagazine.com‘s tutorial about creating a sketch font in Adobe Illustrator helped me build a foundation for this post. I tweaked almost all of the property values to create the example above. In the process, I  learned how to manipulate a lot of fill and stroke properties for future typography work.

Having a command over the fill elements of a font opens doors to a lot of typography related possibilities. When working with solid colors, the fill is in the internal color/texture of a shape or, in this case, typography. To change the fill properties, use the Appearance window in Illustrator. For the sketch font effect, use the Effects > Stylize > Scribble… menu. I find it helpful to select the Preview box (under the “OK” and “Cancel” buttons to the right) because you will see the edits as you change property values.

There are several options that you can edit to customize this scribble effect, but don’t let the quantity intimidate you! First, I suggest playing around with them. Save your work periodically so you don’t loose anything valuable and don’t forget that you can press “Cancel” at any time to reject current changes. Let’s start slow and work through all of the custom setting options within the Scribble Option menu. Below is a screenshot of the Scribble Options menu after I designed the sketchy font effect above.

Example Settings Option Menu

Settings: This drop-down menu controls a few pre-programed settings provided by Illustrator.

Angle: The angle controls the orientation of your line scribbles. Imagine, holding a pencil and drawing lines from left to right on a piece of paper angled at the number you specify.

Path Overlap and Variation: The path overlap controls where the scribble is centered. Values closer to 0 result in a scribble centered in the center of the shape/font versus values further from 0 that will scribble well outside the shape. The variation changes the randomness of the scribbles.

Line Options: These options are pretty self explanatory and control the actual stroke properties (width, spacing, curviness, etc) of the line.

Stroke Width: Controls how thick or thin the line is. Not much of a surprise there.

Curviness and Variation: On a scale of 0 to 100 (with 0 being straight lines and 100 being curvy or loopy lines), the curviness controls how loopy the lines are. It’s basically the difference between doodling with straight lies or curvy strokes. Much like the variation mentioned above, the curviness variation controls how together (and clean) or spread out (and messy) the lines look. Remember, when it comes to design, clean and messy are mere adjectives and don’t indicate how good the final product is, since each is unique.

Spacing and Variation: Surprise! Spacing controls the amount of space between your scribble lines and the variation controls how random your line spaces are. The greater your variation, the messier or more random the final product.

This is really simple and cool tricks that can use to spice up your typography. In my opinion, its easier to try out some of the scribble effects using a big rectangle instead of a font. For some of the properties, especially spacing and variation, you won’t notice the changes because typography doesn’t offer as much functional space as a large rectangle.

I hope you consider trying sketch font the next time you want to add some flare to your next design project. Happy typing!