Jul 29, 2024
TYPOGRAPHY STUDY // "why do you have to be so mean?"
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TYPOGRAPHY STUDY // "why do you have to be so mean?"
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Letter ‘a’Â
Letterstudy and draft by Joëlle Batens
Typeface analysis — italic / oblique
Continued analysis into different typefaces. This time looking at italicised versions of the typefaces... The same pattern continues; the newer typefaces follow some mathematical rules which I will adopt when designing for code.
Typeface analysis — different weights
I have been struggling with the drawing of the actual typeface. Whilst the typefaces I have been creating are looking good, after a few characters, I am getting stuck when I start to explore how I can develop this into code to animate. I order to get around this problem I have been doing extensive studies into existing, well established, typefaces and their different weights to see how they related to each other.
The above pic shows some of this exploration. You can see each weight laid on top of each other. It is where there is a pattern between each weight that I am most interested in. The top two, this particular cut of Futura and Neubau Grotesk you can see this pattern. Especially, Neubau Grotesk which I know has been drawn on a strict grid. Didot and Berthold Akzidenz Grotesk on the other hand are much older, traditional typefaces and will have been drawn by hand, well before the advent of computers, this is why you see less mathematical correlation between the different weights.