Ambigrams

Objective:
          The student will create an "Ambigram", that is a single letter, set of letters, word or whatever they tackle that will read the same even though rotated 180 degrees.  It is truly a challenge in font design.
 

Materials:
                 Paper and pencil                 a "good paper" for the final presentation of your text
                 Time to explore
                 Patience to explore

Acknowledgment:
          The source of my inspiration to do this art is clearly and plainly John Langdon.  I saw one of his examples many years ago and wanted to do the same; only through patience and the internet have I again found him and his work.  Since I want others to experience it as well, I will freely direct you to his site.  There are others too that do work as he does, but they walk in his footsteps.

          Be sure to check out his internet site at: www.johnlangdon.net

Steps:

“Creating ambigrams is, at its essence,

an exercising in breaking rules.”      John Langdon

This information comes from the http://www.johnlangdon.net/adviceonambigrams.html link.

1. Have fun, be patient, don't expect miracles (for a while). I discovered the ability to create ambigrams by playing with words. If you keep a playful attitude, you may discover something even better than ambigrams, and that would be your personal specialty.

2. Study and draw conventional letterforms. When you're doodling while you're talking on the phone, draw letters. The more familiar you become with knowing, understanding and loving conventional letters, the better you will become at creating unconventional letters. You'll know exactly how much manipulation you can get away with and how to know when you've gone too far.

3. When a word or a name you're trying to make into an ambigram seems impossible, or if the result is too hard to read or hideously ugly, don't call it an ambigram. Call it trash and throw it away. For the first year, just keep looking for words that will cooperate, not forcing words that won't. The longer you use that approach, the more words will cooperate.

4. Never force the ambigram into any pre-conceived style. I tell all the people commissioning ambigrams that the style of an ambigram is almost 100% determined by the manipulations required to make it readable and aesthetically harmonious.

I begin by writing the word or name in all capital letters. I then look at the word upside down. (I have learned to write upside down just to save the trouble of inverting my sketchbook every time.)

I look at the letter that’s farthest to the left (actually the last letter of the word) and try to imagine it as the first letter of the word. Let’s use the word VISTA as an example.

When I look at (an upside down A) and try to imagine a V, it’s pretty easy to see that removing the (horizontal stroke of the A) will leave a V remaining.

Moving to the next letter, I look at the (upside down T) and try to imagine an I. That’s just as easy, if not easier. To make the vertical of the T a bit more convincing as an I, I’ll put a dot above it.

And, hey, look! The S is an S even when it’s upside down.

In order to make the I into a T, it needs a horizontal stroke at the end opposite the dot.
Adding that horizontal to make the T doesn’t have any diminishing effect on the recognizability of the I. This is due to one of the most important factors regarding the success of rotational ambigrams: We “read” (recognize/comprehend) letters using information we get from their tops, more than from their bottoms (much like recognizing people, as well).

is about the easiest word to make an ambigram from that I can imagine, except, of course for words like NOON, of which there are probably a few. But the basic process remains the same even when the manipulations are much more challenging.

There is one major departure from what I’ve described above: sometimes a letter facing one way needs to be created by combining letters that face the other direction, or perhaps parts of letters. An easy example to picture would be a lower-case style M, , that, when inverted would become lower case ITI, , (three vertical strokes connected in a cursive manner, at the bottom.

When a word resists becoming an ambigram on a one-letter-to-one-letter basis, it may sometimes be solved by starting with just the vertical strokes. But the number of verticals may be flexible as well: a capital R will comprise two verticals, while a lower case will have just one. It’s important to remain open to all the imaginable options in order to create an ambigram.

In order to explore and take advantage of those options, it’s critical to determine what the essence of each letter is: what can be eliminated, added, or twisted without losing its basic identity. Many of the capital letters, (, for instance) have a simple vertical “stem” (to use the typographic term) from which the more unique characteristics branch out. With the exceptions of the L and T, eliminating the vertical stem will leave a completely recognizable letter. . So perhaps the number of verticals could be flexible for that reason as well.

In the case of the letter X, the essence is that two strokes cross, and almost certainly at least one of the two crossing strokes will be a diagonal. Capital Xs and lower case Xs are the same, and that essence remains the same in as many calligraphic and typographic styles as I can think of.

Many letters of the alphabet vary from capital to lower case forms. The shapes of a few lower case letters have changed a bit from what they were when they first evolved from capitals, and in a couple of cases, both the older and the newer versions are still used. For instance, there are at least two familiar lower case As () and Gs (). Each of these will have an essence that’s distinct from the others.

Creating ambigrams is, at its essence, an exercising in breaking rules. As a rule, words only read from one vantage point. As a rule, a letterform only needs to represent one sound. As we attempt to create words in ways the alphabet never had in mind, we have to subvert those conventions, and we have to be openminded to doing things we’ve always considered “wrong.” For instance we will often need to mix capital letters with lower case letters.

I can’t emphasize enough the importance of studying and drawing conventional letters from classic typefaces. Knowing them intimately, like knowing people, will bring understanding, respect and love. When you have those as the primary aspects of your relationship with letters, you’l find that they can be very compliant — they’ll be willing do just about anything you want.

Good luck and have fun!

  
The face above is a Mr. Langdon's, be sure to see his site!

NOTE:
            This is the first attempt that I have had at trying to teach Ambigrams to my students, so the information and page design should change as soon as I can improve upon it.  Please be patient.

Thank you,

Mr. Myers

December 2008

Grading Rubric:

      Keep in mind that the grading criteria below is a guide to help you become a successful student.

      Remember, to EARN an “A” the work must conform to the project’s goal and is the correct size while bearing the artist’s full name, date and period number on the lower, back, right-hand corner.

A         All rough draft work and subsequent final copies are turned in and complete.  The work shown is neat and crisp.  Originality of design is apparent.  An “A” is an excellent grade!  This means that you understand the goals desired and have done them well.  You have used your time wisely and understand the project so well that you are probably able to help others to succeed as well.

B          Any one area noted above may cause an “A” work to become a “B”. The work turned in is correctly done but may be a bit sloppy on the final copy.  A “B” is a good grade, but a few areas do need additional work.  You are probably able to help others to achieve “A” quality work even if you yourself have not.

C         The work shows not just ONE but several areas of concern as noted above.  The general quality of the design is very rough though some of the work is fine.  A “C” is an average grade, not great, but not poor either.  Try to do better next time.  You probably aren’t sure how to improve your work and will need to talk to others to see how it can be improved or may even have to try to talk to the teacher, don't be afraid to come after school for one-on-one assistance.

D         This grade means that the work does NOT show much control with the materials and/or the negative spaces.  This probably means that the work isn’t finished, or that the work is NOT original.  Maybe even ALL of these areas are present in your work.  A “D” is a below average grade and should not be earned by you!  You haven’t done enough work on this, keep going, finish this as soon as you can.  You probably haven't given up though, so that is a good sign.

F          This means that you have NOT done enough to pass; you have FAILED to do as asked.  You haven't done enough for your self.  You are living your life, so take charge!  If you check the directions again and follow the steps in the order listed you will not earn this low of a grade.  Please note that an “F” is a failing grade.  You have earned NO CREDIT for this assignment.  Come after school or at lunch for additional assistance.
              An "F", or "FAIL" should be no surprise to you.  You have made great pains to NOT do what was sequentially listed and you have not paid attention to the teacher's directions, handouts, postings and so on.  Time has not been well spent.  Too bad you haven't taken charge of YOUR life.

Don’t complain if you don’t follow the rules.

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Last updated on 9 December 2008