Based on our initial type sketches, we started to translate the font digitally. We began with the A, figuring out a coherent process to create the subtle curved crossbar. The first design used a much stripped back geometric structure but through trial and error, we had a more polished and refined curve.
We used a consistent 4x6 grid aside W and M which extend another 2 columns due to the narrow format. Some letters eventually extended the grid slightly to create a balanced, optical aesthetic.
The R is probably my favourite letterform. We incorporated the curved crossbar into the glyph and again, used a rigid, geometric structure. We decided to extend the leg slightly to account for the top heavy nature of the glyph.
Again, we incorporated the curved characteristics of the previous letterforms into the other glyphs. Based on the sketches, we initially decided upon a relatively low crossbar but once we translated this into Illustrator, we decided it was more aesthetically pleasing to have a mid-height crossbar (plus this tended to fit within the other letterforms). The E ultimately formed the F.
We tested out a couple of circular radius sizes on the G but eventually settled on a larger and more prominent curve to fit with the characteristics of the other letterforms such as the R, for example.
We preferred the more rounded G (image 1 - far right, image 2 - top) as the more solid G's tended not to flow with the rest of the glyphs. The rounded G balanced well with the curve found in some of some of the other letterforms (image 2).
We used the basic structure of this glyph to create other letterforms - D, Q, C, O and U. We added a subtle curve to the bowl of the Q to keep the characteristics of the font consistent throughout.
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