Brief:

To select a minimum of 2 phrases/idioms that are in use today within contemporary British language. Study their origins, meanings and implications in order to develop and produce a series of typefaces that respond to their cultural references in regard to modern day society.

Tone:

The resolution(s) to this brief should be readable and legible, yet experimental and forward thinking. Also aim to familiarise and engage yourself with the irreverent humour synonymous to the British Isles.

Audience:

Typographers and designers who use type within their profession and buy into this area of the creative industry. Also consider both British and worldwide audiences that may potentially engage with your resolutions as a result of the design industry. Be aware of who may be accustomed to the humorous tone of the British Isles... and who may not.

Concept:

To engage target audiences with forward thinking typographic design that is informed by the irreverent humour of the British Isles.

Concept Development:

Initial ideas were informed by an early to decision to work with three dimensional, everyday objects; a process outlined as a key intention within the first taught sessions of the module. The notion of working from 2D to 3D and back to 2D again was also something I aspired to achieve and a method I had yet to work with in regards to my design practice.

Grid Development:

A grid system was devised as a means to carry out further deveopment once desired objects had been obtained; pennies and pounds for example.

Concept Development:

Typographic decisions were carried out based upon the grid structure devised within the early developmental stages of the brief. This proved to be a very useful tool that could be applied to a multitude of objects and subsequently multiple sets of experimental letterforms could be made.

‘Spend a penny’ and ‘sound as a pound’ were amongst the first three dimensional typefaces explored. Although proving successful at first, the difficulty of acquring enough coins severely hindered their progression and the concept was soon abandoned as a result. Likewise, their potential to be successfully converted into vector based letterforms was also questionable.

Experimental Illustration: With a desire to illustrate, the notion of keeping an on-going journal in the form of an address book was a suitable and worthy resource where it was possible to develop letterforms away from time spent with object based photoshoots.

In contrast to the photoshoots however, this process was put into place as an outlet that could potentially inform other design decisions and was therefore never intended to be taken further than the initial experimental stages.

Concept Development:

Successful photoshoots were carried out for the three phrases ‘belt up lad’, ‘takes the biscuit’ and ‘a bad workman blames his tools’. This was after a significant effort to obtain the necessary materials given the failure of initial experiments such as ‘spend a penny’ and ‘sound as a pound’.

With the vast array of objects at my disposal there was a lot more scope to fully develop all 26 characters and experiment with diffierent combinations. The nature of the letterforms also allowed for the opportunity to work back into two dimensions with vector based graphics.

Product 01 - Belt Up Lad:

Vector based letterforms produced in response to the phrase ‘belt up, lad’.The choice was made to use a single flat colour in order to allow artwork to be fully functional across programmes such as Fontlab and Fontographer.

Furthermore, the use of a single colour will reduce costs for print based promotional materials such as billboards, posters, badges and stickers.

The typeface is also suitable in response to phrases such as: ‘cor what a belter’ and ‘he’s tightened his belt up’.

Product 02 - Takes The Biscuit:

Vector based letterforms produced in response to the phrase ‘takes the biscuit’. The choice was made to similarly use a single flat colour in order to allow artwork to be fully functional across font development software.

The typeface is also suitable in response to phrases such as: ‘that’s the way the cookie crumbles’ and ‘you jammy little dodger’.

Product 03 - A Bad Workman Blames His Tools:

Vector based letterforms produced in response to the phrase ‘a bad workman blames his tools’. The choice was made to similarly use a single flat colour in order to allow artwork to be fully functional across font development software.

The typeface is also suitable in response to phrases such as: ‘what an absolute tool’ and ‘tricks of the trade’.

Apple iPhone Application:

Proposed iFonts application for the Apple iPhone (also functional on the Apple iPod Touch and Apple iPad). The application acts as a typographic market place where users can search for typefaces and download the licence(s) straight onto their device for the designated fee. The file can subsequently be synchronised straight onto an Apple iMac/Macbook upon plug in and instantly installed.

Apple iPhone Promotional Wallpapers:

Users of the iPhone (also iPod Touch, iPad) will additionally be able to download free promotional wallpapers (upon purchase of the application) to enhance their home screen. Personalised wallpapers that are illustrated by the first letter of the users name will serve as an added incentive to purchase the application and a range of resolutions will further be on offer for desktop iMac/Macbook screens also.