Type Abstraction

This project showcases the beauty and elegance of letterforms. Capital ‘Q’ and lowercase ‘g’ were used in six different font families from every major style: Blackletter, Oldstyle, Transitional, Modern, Egyptian, and Sans-Serifs were all represented in a single unified piece. The use of only two colours further intensified the emphasis on form.

I selected saffron and deep purple for my hues, and heavily illustrated several portions of my concentric design, to lend emphasis to the open white space within the main ring.

Letterform Illustration

The goal of this project was to take an object, and using only the letters in its name, render its likeness through a typographic illustration. I chose a dolphin and a porpoise as my subjects.

Rendering similar subjects through two different words allowed me to examine and refine the minor differences between the designs. For example, ‘porpoise’ is a longer word than ‘dolphin,’ yet the actual animal is smaller, which lead to condensing the letterforms. Additionally, the anatomical structure of a porpoise’s skull is fused to its neck, which led to the near-overlap of the ‘p’ and the ‘o.’ The final design challenge was rendering two similar faces, yet retaining distinct ‘P’ an ‘D’ letterforms.

Tiny Paper Shapes

This project created a new typeface, using the theme ‘geometric blackletter.’ This involved combining the old-fashioned complexity and elegance of traditional blackletter, with the precision and simplicity of modern geometric designs. These two themes conflict, so it was an interesting challenge trying to bring them into a harmonious balance.

I chose to approach the task by creating the letterforms themselves entirely out of negative space, using only ovals and triangles to mould that space. That way, the clean geometric shapes would introduce the modernity, while the blend of straight edges from the triangles, and curved edges from the ovals would create negative forms to create a blackletter aesthetic.