Typeface Design 1.6

Evaluation

The main purpose of this brief was to create my own bespoke typeface that would effectively communicate my adjective, 'narrow'. Looking up the definition of 'narrow' and fellow synonyms inspired my concepts to grow and interpret the brief from new angles. I was limited by Müeller Brockmann's nine typefaces and I found researching and analysing each one time consuming, however really useful because I realised how subtle changes to typography can connote different personalities. Having Müeller Brockmann's typefaces as a benchmark also helped me to make informed decisions which ultimately made my design decisions efficient. I found sketching out initial concepts useful, however I couldn't be very accurate when drawing by freehand so to solve this, I used tracing paper to mirror the original typeface and then accurately adapt it. Choosing between Bodoni and Univers was challenging because I like the contrast that I could create with a serif typeface, however Univers was ultimately a lot more balanced which meant I could experiment with more concepts. 

I found creating my own manifesto challenging, especially because I hadn't created my typeface yet, but I knew it would give me some guidance and purpose for my typeface. I tried to sell my typeface, instead of just describing it, so that my audience could see why it's successful and how it could benefit them.

My key influences were useful because they allowed me to see what context condensed typefaces were used in. I found they are usually presented on large scales such as headers and titles. This influenced my design decisions as I wanted my typeface to consist of bold line so that it would impact an audience and be legible on smaller scales. Design Monsters' header uses a condensed typeface which took advantage of the space available. I liked how consistent the height and width of the characters were and I wanted this to be reflected in my outcome. Galaxians' header was influential as it allowed me to see how a serif typeface could be condensed to look balanced and consistent. My research influenced me to produce an upper case typeface because it's predominantly used for headers and commands the reader. 

Predominantly using Illustrator as my design tool was extremely useful and it allowed me to be accurate and broaden my skills with the software that I can transfer into other projects. The initial sketches pushed my idea generation, using tracing paper allowed me to accurately manipulate the original Univers Ultra Condensed. Using inspiration from my research, I decided to 'squash' the type so that it was condensed. In order to visually portray this, I 'bent' the cross bars and ears of characters. Each character consists of different elements that are available to adapt and I wanted to keep my typeface as consistent as possible. 

I struggled to keep the width of line consistent throughout each character which I think is my main downfall. During the final crit, this was picked up on numerous occasions, specifically 'M', 'W', 'X' and 'Y'. However, people thought that the consistency of the stroke made the typeface more assertive. During the final crit, it was suggested that I should evaluate consistency optically, instead of measuring which mean I need to become confident making decisions based on visual comfort. 

One of my primary aims was to produce a concept that was visually consistent throughout all characters. Feedback from my crit suggested that I did this successfully, however some people didn't like how the manipulated cross bars weren't consistent in direction. This was a shame because I'd experimented with different directions for the 'B' and decided it needed to be diagonally down in order for that specific character to look visually strong and legible. The crit was a really useful opportunity to gather feedback on what context my typeface would work well in. I got a broad response which I am pleased about because my manifesto states, 'It is a transferable typeface that creates different connotations, depending on aspects such as the kerning which makes WidthRelation a dependable and adaptable typeface.' It was suggested my typeface should be used on a fashion label because it's high impact content is appropriate and evokes sophistication. I am pleased with this feedback as the condensed structure would also allow more type on small clothing labels. Other suggested contexts were film posters, magazine title and even a soviet 1930s movie poster.

It is evident that my 'squashed' concept was successful as people thought it was unique, bespoke and emphasises how squashed the characters are. I am really pleased my typeface is still legible on smaller scales which would be useful for subheadings and I feel I achieved a goal for this brief.