The brief for this project was to create a bespoke typeface based on one of Müeller-Brockmanns classic and lead typefaces. The work should effectively communicate your given adjective mine being 'Broad'. I found this projected really informed me about type theory and the challenges of creating a harmonious and consistent typeface. I found I have learnt a lot of new skills and raised my knowledge and appreciation of typography.
I began this project by reading sections of the Josef Müeller-Brockmann book 'Grid Systems in graphic design' and an Eye Magazine article on their website interviewing Müeller-Brockmann. I found this extremely insightful and an interesting insight into the designers work and design principles. In both he talks about the different typefaces he uses in his work and for young designers what he recommends to use. These being Garamond, Caslon, Baskerville, Bodoni, Clarendon, Berthold, Times, Helvetica and Univers. I then started to analyse what differs in these different typefaces, what makes them individual and what characteristics they portray. For example Garamond is a classical serif typeface with sloping bowls and interesting elements of detail within the serif that create a quite recognisable and legible design. Berthold's Akidenz Grotesk on the other hand being a san serif typeface meaning the letter forms are much wider and simplified with any serifs. I analysed each typeface in a similar manor to think about what is the most appropriate type to base my project around and why. Josef Müeller-Brockmann speaks of the typefaces formal foundations being more universal and expressive. The ends of the C for example is at a diagonal this is the major difference between Akzidenz Grotesk to Helvetica and Univers. Müeller-Brockmann explains how he has come to favour Akzidenz Grotesk over its successors. Due to this and the fact that a san serif typeface for the word broad is more appropriate because of the levels of detail and is a more consistent vertical and horizontal strokes will make for more legible and clear designs reflecting the broad theme I have been given. Therefor at this point decided that I wanted to use Akzidenz Grotesk for this project.
I looked at synonyms of the word broad to further understand different interpretations and meanings of the word. I looked at imagery of things that have been described as broad and look for common details that reflect this idea of something broad. I then began to write a manifesto for my typeface explaining my intentions of the project and initial ideas I would experiment and change as the project went on. This is my manifesto on my typeface based on the word 'broad'. The word broad could be interpreted many different ways wether it being in the shape and wide stroke of the type or broad in terms of something that is widely used, for example a type that can be used in a broad range of different designs. Broad emulates ideas of expansive, generous imagery that is extremely high impact and voluminous. I believe this broad typeface should fill a space and work within any context. The type should be able to fit any large space effectively and remain legible yet expansive. Creating a typeface that can be used in as many different contexts and platforms available is imperative for this work. A thick outstretched letter form that shows the theme of broad in a clean and consist way.
I didn't initially have many ideas and I felt I needed to conduct some more research into examples of type that emulate this idea of broad. I found this amazing typeface on the 'Its Nice That' blog called mutable typeface for the American Institute of Architects gala designed by Natasha Jen. The type moves as the lettering extends and retracts relative to the other letters. This is an interactive and interesting typeface that is extremely engaging and definitely linked with the broad theme I had been given. This typeface totally inspired me and I wanted to use the principles of this typeface and see how I could this in my own designs. I was very interested in this idea of a typeface that fills a space and can move and change. I also looked at the typeface Facebuster in my research. This typeface uses an extremely large stroke the letterforms seem as if they fill the whole space. There is very little negative space throughout the type. I found this a brilliant typeface to get inspiration from and try and formulate some designs again using the same principles and apply them to the Akzidenz Grotesk typeface. At this point in my project I felt comfortable in my levels of research into both the work of Josef Muller Brockmann and some existing and engaging typefaces and that I could transfer what different ideas and principles of type design into my own work effectively.
I then began to start to formulate to initial design sketches. While creating these sketches I really thought about what makes something broad and how this translates into my designs whether it is in the thickness of each letter from the relationship with each part of the letter or the width of each letter and creating a much more extended design, I experimented with different variations of widths of stroke and tried as best I could to try out as many different styles of what I felt a broad typeface would look like. As I drew around thirty different designs initially for the letter A I then went to to B and kept this level of extended experimentation for all the rest of the alphabet. This detailed level of design sketches created and exceptional platform to work with for the rest of the project. I found my ideas becoming much more varied and differentiating due to the extra level of sketch experimentation. I then formulated two more finished and consistent designs in sketch form to base digital designs on and to be drawn on Illustrator. At this point we has a interim critique to talk about our designs so far and what kind of route we were going down in out project. I had feedback on my different sketches and ideas and received a lot of positive feedback about my levels of research and experimentation. The feedback allowed me to be confident I had gone down the right path in my project to begin creating informed and in depth design results.
I went to to create four very different designs in Illustrator from my sketches. Each looking at immersive ideas under the theme of broad. I wanted to look at each more finalised designs and think about the different consistency and styles that make each one different and think about what type is the best to refine and most appropriate considering my research over the project at this point. I decided I was going to refine two of the four typefaces as I felt they both reflected the word broad in varying and immersive ways. I looked at the type as a whole when designing it and tired to make each letter seem of the same typeface experimenting with keeping the counters and stroke as consistent as possible using a grid to keep the letters on the same line and X height's the same the this principle I found from Josef Müeller-Brockmann book 'Grid Systems in graphic design'. Once again I felt that doing this strengthened my work in this project and the level of consideration and analysis of my own work was to a high level.
At this point towards the end of this project I began to think about creating design specimens and using the type in different words combinations and contexts. I felt my final design worked as a display type and not as body copy due to the only uppercase design and the fact the strokes were extremely broad and would become a bit difficult to read at a smaller scale. I created a gridded design specimen influenced by cover of the Josef Müeller-Brockmann book 'Grid Systems in graphic design' I looked at other similar designs by Müeller-Brockmann and tried to use the same principles to effectively show my type in a informative and structured way. I created a pdf presentation of my designs to show to at the final critique of the work. I received positive feedback regarding my levels of in-depth research and creating an informed and engaging designs. I asked questions of the consistency and context of the final typeface and found that some letters like S and G they felt could have been developed a little further to make them stand out less within the typeface I definatly agreed that these letters could have been changed to remain more in touch with the other alphabet. Overall I feel this project really pushed my levels of experimentation and analysis of existing type and my own designs. I think my amount of sketches in particular created a great basis for my work and allowed me to create a lot of refined designs from informed research. I am pleased with my final design and the coherent specimen to go with the type. This brief has defiantly raised my knowledge of typography and different letter forms in particular and what makes up and defines the letters. I feel I have successfully created a appropriate response that coincides with my original manifesto and the requirements of brief.
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