Studio brief 2: Rationales

Research:
The initial research was based on various type foundries, as a way to see the common adjectives used to describe the typefaces created so that I could write a professional rationale.

a2-type

India

'India' is an inventive display font commissioned by Wallpaper Magazine for their 'Reborn in India' issue. The typeface is inspired by traditional Indian floor drawings and pattern art known as Kolam. 

London

'London' is a clean and mechanical serif font inspired, in part, by Edward Johnstone's underground alphabet. A contemporary design that evokes the past but also embraces the future. London is available in six weights and corresponding italics. 

Staton

An idiosyncratic stencil font with delicate serifs and tall elegant proportions, Staton is an adaptable typeface that works equally well as a headline or text face. Suited for editorial work and advertising campaigns.

Klampenborg

Originally developed as a singe weight signing typeface in 1997 the 'Klampenborg' type family has recently been overhauled; the proportions refined and the weights recalibrate to form a harmonious suite of fonts. Klampenborg is named after an area of Denmark.

Subway

Originally commissioned in 2015 by Matt Willey for the New York Times Magazine 'Walking' issue. The font is directly influenced by signs found in the collection of the Brooklyn-based New York Transit Museum (MTA). This single weight font has plenty of character and works equally well set in large or small point sizes. 

Made from the fonts found on political posters

Rationale 1

This typeface focuses on the concept of being 'uncommon'. Most typefaces use serifs to show history and tradition. This typeface breaks that traditional use of serifs and the manipulated versions illustrate the adjective 'unorthodox'. The adjective is represented by the manipulation of one common element within the existing typeface. The typeface is bold, but playful and commonly used as a display font. 

Rationale 2

This typeface is based on how the meaning of the word 'unorthodox' can be illustrated throughout the application. The concept of change is the central focus of political views and campaigns, so this typeface would be designed for the use on political posters. The typeface will have powerful, authoritative and bold characteristic; reflecting the views of political parties. It will be an effective typeface to use if the main aim is to obtain the viewers attention and to make a particular opinion evident.



Research

The idea of using the meaning of 'unorthodox' and relating it to a suitable context and designing the typeface accordingly. Politics is an area to focus on as it is the most powerful form of change. Some of the political ideas go against tradition and the uncommon ways of thinking are made very public.
I have gathered a selection of political posters in an attempt to look at the typefaces that are commonly used and what characteristics make the most successful typefaces for communication.

• Bold
• Sans-serif
• Capital letters
• With or without counters