After I had all the letters drawn, the accents were all that were left to do. This allowed me to trace the two sides of the design with more precision, creating a much more refined final piece. Once I thought that the design was good enough to continue, I moved on to my trusty light table that I built for my tattoo designs. With this design, I drew out the first half of the design with all of its guidelines and errors on my drafting table. In this design, I knew that I wanted there to be more lines and curves, and I wanted an old-school tattoo look to it because that is a big part of the San Diego culture that I love. Often, I don’t even know I am done until I feel like I have run out of more to do. This may sound a bit unusual, but when I start almost any of my designs, I have no idea how they will look when they are completed. If you have formal typography training, I’m sure you know all the proper terminology to use for these lines, but I don’t, so please forgive me. Unless I am doodling, I usually start with guidelines for the top and bottom of the letters and some lines in between, which are properly spaced to assist with the placement of other parts of the letters (Figure 2).
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I used the D in Diego as my center point, but there are three letters in front of it and four letters after it, so the solution required me to figure out how to match up the number of vertical strokes in each letter. By that I mean if you can match up the number of vertical strokes between the words “San Diego” for example, you can find your solution. I’ve reached a point that when I look at any word, I can come up with some sort of solution that relies on the number of vertical strokes in the word or words. Fortunately, I knew the solution to this design prior to starting, but for discussion purposes, I’ll share one of the thought processes I use when I’m designing ambigrams. I’m a big fan of lettering and typography, and my background in drafting (in high school and in college) gave me some of the tools I use today to create my ambigrams. I knew that I wanted the D in the middle to remain more or less how it was, but the S/O solution could be improved. I thought about what I wanted to change and what I wanted to keep.
![circle ambigram creator circle ambigram creator](https://1.bp.blogspot.com/-8zO0dhR0-Ds/T1I8-zzZ7pI/AAAAAAAAALw/4pgMxjSjHLQ/s1600/corey+taylor+1.jpg)
When I started reworking this design, I first took a step back and looked at the original.
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In addition, I took out the 619 in this design, but I did love the fact that the area code is a natural ambigram all on its own. I also made some changes along the way to add to the overall aesthetic. The newer version of the design is much larger and more detailed. So with all that in mind, a remake of one of my favorite designs just seemed to make sense.
![circle ambigram creator circle ambigram creator](https://live.staticflickr.com/1127/1140581065_508b70e8a8_b.jpg)
In the challenge, I took second place behind John, which was quite an honor for me.
![circle ambigram creator circle ambigram creator](https://farm4.static.flickr.com/3077/3218599256_795dd43a62_m.jpg)
Like many designers, I started designing ambigrams after seeing John Langdon’s work in Angels & Demons by Dan Brown. That doodle would evolve and later take second place in one of the original Ambigram Challenges on. I was in a meeting at work, not paying attention and doodling as usual on some yellow lined paper. Let me give you a little background of how it came to be. I’m sure a few followers of ambigrams and my work have seen the other version of my San Diego design. My daughters are definitely Southern California girls. Twice in my career in the United States Navy I was stationed here, and both times I loved every minute. The city of San Diego in the southwestern corner of California is where I keep my heart and soul. More after the jump! Continue reading below↓įree and Premium members see fewer ads! Sign up and log-in today.įigure 1 The finished ambigram with the shading and details