A line of THOUGHT.
Art. Writing. Music. Software.
Each changes the way I see the next.
The first gesture
A line is a small thing.
Until it has something to carry.
The LOGRETTA mark gives me a place to begin. Its curve has weight; its opening has room. Each changes how I read the other. I return to that relationship in a sentence, a silhouette, and the structure beneath a screen.
A little weight.
A little room.
LOGRETTA gives this thought a shape. The sweep moves; the inner form holds. What happens between them matters as much as the line itself.
A new construction study around the original mark. Edge guides show its extent. Two tangent lines follow the curve at their points of contact.
The drawing becomes
an identity.
Take the guides away and the relationships remain. The outer sweep gives the mark its movement. The smaller green form interrupts that movement, and the unprinted space lets both remain distinct.
Inside LOGRETTATwo forms. The unprinted space keeps them distinct.
See the negative-space drawing
Gold shows the unprinted space within the same measured extent.
A different angle.
The same idea.
Give the line an edge and a little depth. Modelling asks for more than the first view: how the parts hold together, what changes in the light, what remains when the perspective moves.
A contemporary vector illustration, made from the original contour.
Open the dimensional studyA new interpretation of the original mark.
Space around a letter changes how a word is read.
The opening in the mark lets two forms remain distinct. Here, the counters inside the letters and the intervals between them give the word its room. The letters keep their shape and weight; their distance changes the rhythm.
Play with the spacing
Composed · 0.06 em. A small interval lets each letter stand. This is the balance chosen for the composition.
Look beneath the impression
The same letters.
The space they hold.
Inside. The counters belong to the letterforms. Changing the interval leaves their shape intact.
Between. The gaps are the choice made here. They gather the word into a shape, or let the letters stand further apart.
The outline and filled word use the same installed font, baseline and interval. This is a new composition in the site’s Koulen face, rather than a drawing of a historic type-design process.
A mark has a voice.
The eagle and star belong to Viemmaco. Their upright force asks for a different composition from LOGRETTA’s curve. I change the space around the mark so its character has room to speak.
The identity, and the business it speaks forThen the line
finds a rhythm.
Music occupies the same mental architecture as writing, built around cadence, tension, and resolution.
I hear room in music too. A sentence can hold all the right words and still ask too much of its reader. The breath between them carries part of the meaning.
Spend a moment with Soulfood After Your Heart (feat. Tiffany Hudson) [Live]Paul McClure, Hannah McClure, Bethel Music
A phrase gathers tension. A pause lets it settle.
“Imagination is not an idle daydream for me, but the primary blueprint for building the future.”
Writing has always been an exercise in spatial awareness. It is the process of removing unnecessary noise until only the structural spine remains.
That spine gives the sentence a direction. In the line below, a few words turn the thought towards the person meeting the work. Reading brings other people’s perspectives into that same room; I come back to my own words with more to consider.
I want the work
to help someone see.
Turn back to the working line
First lineI want the work to be seen.
Revised lineI want the work to help someone see.
The first line asks for attention. The second gives that attention a purpose. A few words move the sentence from the maker to the person meeting the work.
The thought can
be worn.
On the page, space carries a sentence. Here, a seam carries the form. The flat pattern gives the silhouette its structure; the folds let that structure meet a body and the light. The thought has to hold together in both views.
New proportion study for this essay.
The seam is there.
What do I let you see?
A photograph asks what deserves to remain within a single frame. The form can stay exactly the same, and the emphasis can change completely.
Stand back and the silhouette holds the thought together. Move closer and a seam becomes the subject. I am still paying attention to the same thing; the frame decides where that attention lands.
Photography & film, in my own wordsThe whole silhouette.Proportion and presence.
The seam and the fold.Texture and construction.
Film adds time: the pause before a movement, the rhythm of an edit, the way light changes the feeling of a scene.
A wide view gives me a beginning. A closer view asks me to notice. Returning to the whole lets that detail change how I read the form.
01Begin with the whole A silhouette within its space.
02Notice the seam The closer frame changes the emphasis.
03Return with that detail The same whole can now be read differently.
One drawing, read in three moments. An illustrative study in framing, rather than filmed product footage.
That is a question I bring to an interface too.
What needs to be seen first, and what makes sense when someone looks closer?
And when the idea
needs to work in the world,
I build.
I do not believe in artificial boundaries between software engineering, creative direction, quantitative analysis, or hardware architecture.
A frame directs attention. An interface gives that attention somewhere to go. In the LOGRETTA workspace, a balance leads back to its records; an account name tells me whose context I am reading. The detail has to earn its place by making the whole easier to understand.
The work behind the thought
LOGRETTA · an illustrative workspace.
The same concern for what belongs together, and what needs its own room.
Gye Nyame. Except God.
And beneath
every thought.
The curve, the sentence, the seam, the system. I see different ways of paying attention to the same world. Every creative instinct, every intellectual gift, and every ounce of drive I carry originates from His hand.
My love for Jesus Christ is the foundation of my life. Everything I build is surrendered to His purpose and dedicated to His glory.
Notes on the artwork
The LOGRETTA and Viemmaco marks retain their original forms. Construction, dimension, garment and framing drawings are new interpretive studies for this essay, rather than historic design files or photographs of completed products. The interface is the owned, illustrative LOGRETTA workspace. Music artwork belongs to its respective owners; playback lives with the Soulfood playlist on About. Quoted passages come from the complete personal letter.