My process of brainstorming involves setting a goal of what I need to figure out, in this case, how to convey meaning of these words through designing a typographical system (simply put), and then examining every nook and cranny of possibility that is available. Once I have options, I can use my Sherlock Holmes deductive reasoning skills to narrow down my ideas.
Destructive – (adj.)
1. Causing great and irreparable harm or damage.
2. Tending to negate or disparage ; negative and unhelpful
– A majority of the time it has negative connotations.
– Some personal connotations that come to mind are : “war”, “wrecking ball” , “explosions”, “disease”. Mostly things that cause damage or create immense amounts of power. “powerful”. Some ideas for characteristics in typography that can be used to create the connotation for this word are “sharp”, “chaotic”, “disruptive” and so forth…
Energetic – (adj.)
1. Possessing or exhibiting energy, especially in abundance; vigorous: and energetic leader.
2. Powerful in action or effort; effective; to take energetic measures against crime.
-The connotations for this word are normally both negative and positive.
-Some personal connotations are “youthfulness”, “punk-rock genre of music”, “treadmills”, “lightning”, and “sports”. A few words that can be carried over into the element of design are “flowing”, “excited”, “lively”.
Ron’s fictional letterform sits in between the “j” and the “k” of the alphabet and seems to blend in without effort. That is most likely because it shares the characteristics of the transitional serif typeface category, (ITC New Baskerville Italic to be specific). Some of the most notable characteristics being the slanted angle on the end of the bracket and the variation of thick and thin in the stroke of the letterform. These features give the transitional serif category a certain elegance to it. The fictional letterform sets itself apart from the other letterforms in the alphabet by having a descender and an ascender which no other letter in the alphabet has.
It mildy resembles the letter ‘h” yet the descender sets it apart. Another important aspect that i felt was taken into account was the thought of writing this fictional letterform out on a piece of paper and seeing how fluently it wrote. Overall it successfully connects the relationships of the transitional serif typeface category to create a believable letterform. As far as the subject of craft, there were a few edges that could be straightened out. Fortunately those are very quick fixes, other than that Ron created a letterform that accomplished his goal of fitting in with the alphabetical system that he chose.
Our class was assigned a project to create a new letterform based off of a set of characteristics from a legitimate typeface, e.g., times new roman or futura. We were separated into different categories and I ended up with Transitional Serif typefaces. I chose Baskerville. Based off my drawings , the Baskerville letterforms have many unique characteristics. They seem to be stemmed from hand-drawn letterforms, there is a lot of variation in the stroke width (thick and thin), some of the brackets are angled, the counters in a lot of the letters are not centered and the crossbars are slightly longer on the right sides of the “t” and “f”. This is an inverted photo of my sketches and font family showing. Just to clarify, I don’t work on slabs of chalkboard. Its the 20th century…