Typeface Design 1.0

Typeface Design

In order to create my own bespoke typeface, I need to research into the structure of typography and the history behind successful typefaces. For this brief, I have to tailor my outcome to reflect the adjective 'narrow'. This means I need to make objective design decisions.

To begin the brief, I researched into the meaning of narrow using the dictionary:

'Narrow'

1. 
   
2. adjective

   1. 1.

      of small width in relation to length.

      "he made his way down the narrow road"

      
      

      synonyms:

      small, tapered, tapering, narrowing, narrow-gauged;
   2. 2.

      limited in extent, amount, or scope.

      
      
      

      "they ate a narrow range of foods"

      
      

      synonyms:

      limited, restricted, circumscribed, straitened, small, inadequate,insufficient, deficient, lacking, wanting;

      • 
        

        
        
        
      • precise or strict in meaning.

        
        
        

        "the idea of nationalism in the narrowest sense of the word"

        
        

        synonyms:

        strict, literal, exact, precise, close, faithful, true "this is nationalism in the narrowest sense of the word"

      • 
        
   3. 3.

      (especially of a victory, defeat, or escape) with only a small margin; barely achieved.

The synonyms of 'narrow' allows me to have more inspiration and concepts that I can tailor my type such as 'limited', 'tapered' and 'restricted'.

To be able to create my own typeface, I research into type structure. Characters have their own specific structure yet all sit on the baseline. Here is a diagram showing the different parts of typography:

There are so many different elements to adapt and change which is why there are so many typefaces. It seems to be a systematic process and I think I will see type as more of an object/image, especially when designing.

There are millions of different typefaces due to the rise and availability of design software such as Illustrator. This has caused many designers such as Vignellis (see Burflex 1.0) to question which type faces are the best. Müeller Brockmann's theory believes that only 6-8 typefaces is enough. These include:

The original Garamond typeface was cut in Paris by Claude Garamond, 1535. The weight of the type is very balanced and the consistency of the sharp edges make it a very traditional typeface that would be used in formal contexts. When Garamond died, many designers adapted it and made the serifs smaller. These subtle changes make the typeface transferrable in different contexts and medias. 

Designed by William Caslon in the UK between 1720 - 1726. I really like the serifs as they're very prominent, which makes it very clean and modern, considering how old it is. There's a clear difference in the weight of stems as one side is heavier than the other and this is consistent throughout. These narrow lines create contrast with the bold curves and shapes to make the typeface formal.

Created by John Baskerville in 1754, Birmingham. The typeface is very crisp and consistent through lower and upper case so I think it should be used in a formal context. Baskerville has used high contrast and generous proportions, especially on the serif's to produce a timeless, recognisable font. 

I found a good quote in Müeller-Brookmann's 'Grid Sysytems in Graphic Design' that describes Bodoni and his style: 'Bodoni was a noted pioneer of modern type. His design is characterised by exceptionally thin hair lines contrasting with heavy main strokes'. I very much agree with this statement because it still looks like a modern serif font. This would be a good typeface to adapt as I can manipulate the thin and heavy stroke.

Clarendon was created in 1815 in the Figgins Type-foundry. It's creation was influenced by the need for powerful advertising typefaces. Müeller-Brockmann states 'Clarendon is notable for its strong horizontal connecting lines.' This objective font is very traditional and I couldn't imagine it being used a lot in advertising today as it is too chunky. However I really like the terminals and descenders on the numbers as they are really prominent and flow with the shape. Clarendon is a confident typeface due to the large stroke.

Hofmann designed Berthold in 1898, Berlin. I can see that this is the start of sans-serif typography becoming more prominent as Berthold was being described as 'cool' and used a lot in advertising. I like how simple each letter is as they all have an equal thickness of vertical and horizontal strokes. This characteristic makes the typeface successfully balanced.

Times New Roman was designed in 1923 for the newspaper 'The Times' and they still use the typeface today. It is a confident typeface, commonly used around the world. Times was designed objectively to work with newspaper printing and is legible on poor paper. This shows good design skills as the creators have thought about the context of which it will be shown. The short and powerful serif's allow the typeface to be legible which is useful to bare in mind when I create a typeface.

M. Miedinger designed Helvetica in 1957 and it is a hugely successful typeface, even today. It is an adaptation on Berthold and other sans-serif fonts but the edges of the letter have been cut horizontally which improves legibility. I like the simplicity of the type as the horizontal and vertical lines are really balanced. I have used Helvetica Light in previous projects:

Helvetica is such an adaptable font that all I had to do was stretch and rotate the letter form from the same point each time to create really more geometric and natural shapes. The balanced typeface is reflected in these designs because they are symmetrical.

Microsoft created Ariel which is very similar to Helvetic:

Only very subtle changes have to be made in order to create a new typeface. Personally, I think this is a shame as both typefaces are very popular yet they are almost identical. 

According to Müeller-Brockmann, Univers is 'the most widely used sans-serif face'. There are many advantages to using Univers because of the short stem and bowl and as a result, it can be easily transferrable into different medias. This reproduction allows Univers to work well with print, design and film-setting. I personally believe the type face is very similar to Helvetica and Arial, especially in upper case as it's very balanced and has a consistent stroke. This will make it easier to manipulate into a narrow form.

The brief states I have to choose one of these typefaces and adapt it to reflect my adjective; narrrow. I aim to experiment with a sans-serif and serif typeface in order to successfully communicate my adjective; 'narrow'.

Manifesto

In order to sell new typefaces to clients, designers create a manifesto. This is a declaration of aims and goals for the desired outcome. Even though I haven't created my typeface, I am going to make my own manifesto that reflects on my research about my adjective.

I have decided to name my type 'Width Relation' which was influenced by my research into the lexis 'narrow' and I think it allows my designs to be broad. I may need to change the name depending on the outcome:

WidthRelation is a bespoke, sans-serif typeface due to its bold line and condensed structure. The primary purpose is for headers and titles, particularly in editorial contexts and websites due to its intriguing negative space and subtle angular line. It is a transferable typeface that creates different connotations, depending on the kerning which makes WidthRelation a dependable and adaptable typeface.