Thursday, February 11, 2010

T4 Typographic Experimentation Process / Progress

Through out the week I have been working and thinking in various ways as to how to answer my question for my experimentation thus far: 'What if letterforms are defined through surrounding negative space?' As I have posted in the past, I have found some examples from designers and one inparticular that has tackled this area from one approach was Neville Brody. In his design for Fuse magazine he used systematicly driven negative space within the letter forms. In this approach; however, he did not use the negative space surrounding the form, nor is their interaction between forms. This is an area I would like to explore; how forms may interact with each other and how does that change as letter relationships change.

So far I have been working analog, using existing typefaces and a foundation and seeing what types of forms I can make from them. One of the struggles I am having with that is that I am sticking true to the typeface, it is somewhat limiting my experimentation. From this I am going to strip down to basic letterforms and decipher what exactly are the 'iconic' forms of each letter. In this process I am also putting more research in to finding out exactly what 'negative space' is as I am having a hard time defining some sort of rule set as the where the defining shape or form starts and ends. With this idea, I am working on deriving a set of shapes that could define all letterforms. Organic as well as geometric forms are starting to take place, most letters naturally hold an organic shape that is easy to work with where as some don't and they are proving to be more difficult. My next approach may be that of seeing how an overlay and play of positive and negative work with contrasting serif, sans serif, and slab serif styled typefaces.

Below is a take on what I have developed this week, it is fairly basic but I am hoping that through this process I will be able to get a better handle on the basic form and converting that to abstraction.

typefaces used: Helvetica LT, Bauer Bodoni, Garamond, & Serifa (above)

Here I worked with defining the space similar to Neville Brody's approach using the containment of the letterform itself and having that determine the abstract shape forms. (above)

Second take with Bodoni, just playing with the 'iconic' form of each letter and trying to develop a sense of minimal definition.

I also want to push this idea further than the context of a typeface because in that context it is immediately recognized, I would rather it be a discovery, something you have to take a second look at before you get it. The piece above does just that, although the forms are still recognizable once you find them, this is a similar approach. Possibly the extended environment could be some sort of camouflage similar to how this piece works....We'll see how it goes!

1 comment:

  1. Awesome idea! Definitely worth exploring. Keep it up!