Throughout this seminar the focus stayed on type families and how alterations to a font can create a new one.
The traits that need to considered to isolate and create a type family and the fonts within it.
-Does the font concept work across all glyphs?
- Is it legible?
-Are all the fonts consistent and recognisable throughout the type face?
-How do the fonts relate to one another?
As the seminar progressed we started to look at how far the alterations to create italic, bold ect.
After evaluating the work each person had brought to the seminar (a URL to mine is shown below), a list of similar problems and stress points was created.
-Everyone managed to create a recognisable set with relatable traits.
-Italic caused problems for everyone.
- Accuracy of anatomical drawings was a problem
-Changes between fonts needed to be more extreme.
-The key to successful type creation might be to glean the essence of the regular type and changing and applying it in such a way as to maintain this essence throughout.
In an effort to help with the problems with italics we were informed that the maximum sheer is 12 degrees. The sheer distance should be no more than half the x-height.
The difference between italic and oblique is that oblique is sans serif.
When creating our fonts we must focus on:
-What will be modified?
-How are you going to modify?
-How bold can it be?
-How light can it be?
-How sheer can italic be?
-Knowledge, accuracy and scale are quintessential to the consistency of design within a type face and font.
The more experimental designing of the different areas of type face is shown below. We were encouraged to go as far as we possibly could to 'break' the letter forms so as to understand the limitations of them.