Collaboration Partner: Jess Wood
Once I had done the in depth type analysis of the old and modern fonts, caslon and Didot I had three words that I wanted to evoke with the type that I create and a basic understanding of how I might create this. The three words are: sharp, elegant and natural
To get to grips with the 'natural' I spent some time sketching a few of the plants that we selected for our content, simply to familiarize myself with the shapes and forms that might fit into the letters.
I started my design process proper by tracing small all caps versions of caslon and didot and making alterations to them, finding the most important aspects of each letter silhouette and how they might be safely and legibly rethought.
I found that the line weight changes in the letters match the up and sown strokes originally associated with calligraphic forms. I played with sharp serifs and soft natural serif brackets as well as general letter proportions. I found that focussing on the negative space created by the letter is a great way to create a natural and open glyph.
Once I had these theme that I thought could be more widely applied (softened serif brackets, sharp serifs, open and curved apertures and suggestions of calligraphic flourishes) I tried a few more letters at a larger scale. This drew attention to the changes I needed to make, predominantly the balance of line weight. At the moment the letters seem too fat to be elegant, so some slimming of the heavier lines will need to occur.