We had to choose
four different fonts, one of each of the following categories:
- Roman - Century Regular
- Gothic
- Block - Impact Regular
- Script - Edwardian Script ITC
We printed out an Upper and Lower-case for each, of just A and B. We then cut them up into their different anatomical features (as shown above with a lower case a in Verdana, split into the bowl and stem).
The next step was to mix and match the different features of each letter, these are shown below:
Lower Case A:
Upper Case A:
Lower Case B:
Upper Case B:
I came to the conclusion that my original letters were not suitable to work with:
Script: The script font I chose was way to different from the rest of the letters. This meant it was hard to combine with them to make a letterform to work with.
Roman: Whilst I was changing one of the letters, I thought I had the chance to choose a Roman font I liked more. Simply for this reason it was changed.
Gothic: I chose to work with a font that was slightly more simplistic. I see the Gothic font as the choice to add structure, and by adding the most basic of fonts, it would add more clarity to the others that it is to be combined with.
Bold: I chose to work with bolds as oppose to regular, as I feel they would be easier to cut out and manipulate. If every font is bold, then this will make no difference to the shape of the new fonts, since they have all been manipulated in the same way.
New Selection:
Upper Case A:
Lower Case B:
Upper Case B:
I came to the conclusion that my original letters were not suitable to work with:
Script: The script font I chose was way to different from the rest of the letters. This meant it was hard to combine with them to make a letterform to work with.
Roman: Whilst I was changing one of the letters, I thought I had the chance to choose a Roman font I liked more. Simply for this reason it was changed.
Gothic: I chose to work with a font that was slightly more simplistic. I see the Gothic font as the choice to add structure, and by adding the most basic of fonts, it would add more clarity to the others that it is to be combined with.
Bold: I chose to work with bolds as oppose to regular, as I feel they would be easier to cut out and manipulate. If every font is bold, then this will make no difference to the shape of the new fonts, since they have all been manipulated in the same way.
New Selection:
- Roman - Bodoni Bold
- Gothic
- Block - Impact Regular
- Script - Brush Script Bold
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After more experimentation, I came up with my five ost successful font variations:
Helvetiscript Std:
The combination of a Gothic and a Script. I thought this would be most interesting to explore as the two fonts couldn't be further apart. The letters were hit and miss, with ABC working quite well, but both Z's seem confusing and don't seem to fit.
Hand Rendered Version:
Digitally Rendered Version:
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Imponi:
The combination of a Block and a Roman. I am quite fond of this, particularly the letters that contain the rounded terminals (a and c - lower case). At the moment the typeface still looks quite clumsy, but I feel it could possibly work as an entire alphabet.
Hand Rendered Version:
Digitally Rendered Version:
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Helvoni:
The combination of a Gothic and a Roman. I suspected these two would work well together as a hybrid, since them aren't too dissimilar. I like that some letters see to be "semi - serif" -ed. This can be seen with Upper case A and Lower case Y. I feel this is also another typeface to work with.
Hand Rendered Version:
Digitally Rendered Version:
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Brushpact Script Std:
The combination of a Block and a Script. Similarly to Helvetiscript Std, I feel as if this font does not work, with X,Y,Z. They lack consistency, and I think it may be due to those letters differing much more than ABC, so therefore harder to fit together.
Hand Rendered Version:
Digitally Rendered Version:
I think this set is by far the set that works the least. This is possibly due to the fact that the script font I used worked with a constantly changing thickness, so It was hard to line up or to change the scale against the block font. The "Z" was an entirely different style, which I couldn't merge with the structured block "Z".
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Bodvetica:
The second combination of my chosen Gothic and Roman fonts. I feel as if these work particularly well. I like the idea of them being semi - serif (as seen in X). If I was to improve this Crossbreed I would maintain the balance between serif and sans serif. eg. on "a" I would use the stem of my Roman, so that the terminal serif would still be used, and of course the bowl of the Gothic.
Hand Rendered Version:
Digitally Rendered Version:
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Conclusion:
Script: The hardest font to work with, due to the fact that it is constantly changing thickness, and the particular font I chose to work with held no thickness. The style of lettering was also entirely different.
Block: This font wasn't bad to work with, and seemed to work best when used as a stem. One problem I encountered was that the X's were not two lines crossed, as one woud imagine. This meant it was hard to line up whatever the second font was.
Gothic: The easiest font to work with. When separating the different elements, they all lined up well. eg. The stem from the lower case "a", when separated from the bowl, was a straight vertical line, unlike the block and script fonts.
Roman: This generally worked well with the other fonts, especially the Gothic. I feel as if the serif's added character to the font that is lacking with the Gothic, yet still hold's its structure.
