It’s a kind of a visual song, without sounding too wanky. It comes down to the basic principle that all images are a form of storytelling, and illustrative typography is a real belt-and-braces approach to making a design as accessible as possible to a viewer. Where does your love of typography come from? If you’re talking about my work, then that’s a lot more diffuse than my fashion sense- although it is mainly 3D typography these days. My personal aesthetic is mostly Japanese clothing brands that reference vintage British and US designs, which is a fancy way of describing what is essentially a lot of chore coats and work boots that scream “CREATIVE DAD.” How would you describe your personal aesthetic?
I was completely taken by Burden’s creations when I first came upon them, so I had to know more, and he graciously answered a few of my questions below.
Burden is dabbling in a similar space, though playing around mostly with synthetic textures like fabric and rubber. I’ve previously chatted with another 3D typographer, Noah Camp, about his mesmerizing practice that focuses on capturing the texture of food within his lettering. He creates and explores lively worlds of words and letters with textures that look realistic enough to touch. What does a letter feel like? It’s impossible not to ask this question when experiencing the typographic works of UK-based animator, creative director, and 3D artist Thomas Burden. But the age of Cinema4D opens up whole new frontiers of creative dimensionality to access, and for typography, it’s all about texture. When considering the fundamentals of typography, a few key elements are typically top of the list: contrast, consistency, alignment, white space, and color are among the heavy hitters.
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