After our second draft critique, we found out that we should have experimented more with materials rather than just creating vector based signs. So I looked at all the materials I had from previous projects and that were around my room, and I started making things.
I used the clock gears and metal clock hand from the word project to make the car, because both these things are made out of metal.
I experimented with tissues and tracing paper to create the thoub, I choose these materials because they were light weight and would kind of ‘float’ and move in a similar way to how the thoub would move if someone was standing on the car like the drifters do.
I then used the sand that I had from my previous experimentation for the first M+P project and used it as sand on both sides of the road, that I could then use as a background for my signs. I also tried to create tire marks between the sand by taping off the areas where the tire marks would be then gluing on the sand on the whole page, so that when I remove the tape, the black paper would represent the tire marks.When I removed the tape, the black paper had this slight texture to it that I thought could work as an abstract way to represent tire marks, so I tried clear tape and blue duct tape to recreate that effect, but it wasn’t that clear that they were tire marks. Leland then suggested that I try the same technique on an illustration board. It did have a better texture, however it was very hard to control the direction of the ripe, even though it was taped, because it had to rip from the sides to reveal that texture. They were good experiments, but I don’t think they communicated drifting enough to work out.I then started to make the signs for each category. For the global, I illustrated a simple Jeep car, so that it can represent a more universal car that could be used to drift. I then experimented with two ways of representing the road, the first one was how I first made the road, the second one looked more like it was in perspective, which is why I think it worked a lot better, and it gave the sign depth.Then I tried making the car itself red to avoid using the hand, and just using the red color as the “stop” part of the sign. I also tried just making the car body red or making the car and the details red. I preferred the details being a darker shade of red because it made the car illustration feel more unified.I then started illustrating the Land Cruiser for the local sign. I experimented with different ways of showing the man standing on the car for the local sign, I used the thoub material experiment, and I used a scanned image of a gitrah’s texture as the silhouette of the man. The gitrah texture worked a lot better because it’s a part of the local visual language. I also added more detail to the car, which I think worked better because it had the same amount of detail as the Jeep, which unified these two signs.For abstract my first sign worked really well, because it communicated the action of drifting by showing the drift marks on a road. It’s much more abstract because i didn’t use real tire marks, but the repetitiveness of the lines is what represents drifting.
For concrete I also tried two different roads. I preferred the perspective road because it was more realistic and ‘concrete’.Then I tried changing the position of the hand, just to see if it would look better. I also changed the Jeep into a Land Cruiser, because I remembered that my audience were Qataris, and it was more realistic that they would be using a Land Cruiser rather than a Jeep. I also preferred the hand below because it balanced out the two wheeled car.For vernacular I used an image of a Land Cruiser, and I also tried out the illustration. I used sand paper for the road texture and sand for the desert on both sides of the road. I preferred the image of the Land Cruiser because it can’t be mistaken for any other car. Because my vernacular is specific for Qatari men who drift with this Land Cruiser.