As I have previously noted, I was to make a mock up design of the fonts using a new font in which I have chosen the white personally from first preview of the above it is so much better as the juxtaposition between the black and the white enhances the clarity of the font making it far more easy and distinguishable.
To create this font, I
basically made it on the same programmer of Photoshop but, it was far more
easier to make in the sense that the fonts was uploaded to existing fonts on
the Macintosh computers under the text making it easier to find; also meaning
that the fonts were less likely to be pixilated colour as in
generalization some of the screen shots made are rather pixelated in which
makes it have far more clarity.
I then followed the same
cyclic process of making the back colour of the file black for the reason that
the existing fonts are rather dark and black has been used in all the frames
that Louise has Key-lighted. The success of this font is that it has this
connotation of purity and a new soul which can be seen as a foreshadow of our
narrative which is about a grannie dyeing passing in heritage the role of a spy
to her grandson. The purity element is rather fitting, as he is new to the occupation
thus being prone to make mistakes occasionally.
I know plan to apply this
font to Final cut pro straight away as I have learnt today that hen the fonts
are preloaded they can be worked upon straight away in the programmer of final
cut pro by accessing on a tab and clicking text. This will be so much
better for my group as Daisy can do the transitions far easier by basically
opening the document clicking the font and working on the transitions.
If a certain background has
to behind the fonts then obviously we will have to import from Photoshop as an
enhancer of clarity. But, as Jack has assured me this would be quicker and less
time consuming as, we are working straight away onto the document thus meaning
that it can be worked on straight away and less complications with placement
will occur.
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