After experimenting with a range of Q's to aid composition and kerning when in sequence, I devised these 'new 4' which the user can switch between dependant of 'Immense's use. As for the standard Q, I feel a happy medium is Option 3 (top left), so a rigidly geometric quality is maintained but it doesn't offset the kerning. Furthermore, all of the typefaces I have analysed have not incorporated the tail to look like a under score, not only highlighting the letter but involving more unique quirks than your standard 'run of the mill' bold typeface.
Responding to the peer feedback looking at 'T', I made the slabs tighter to the stem, whilst taking 2mil off the bottom slab to create a stockier/ condensed ascetic. This is much more relevant to 'immense' and fulfilling my intentions of a tightly compressed letterforms.
I am in two minds with regards to the adjustments made on the I. Despite being a little 'i' in a sequence of capitals, the increased space between the blocks are so it is definitely visible as an I from a distance- and not perceived as a lowercase 'l' increasing readability.
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Another option for 'C'. I don't feel this is effective due to the heavy negative space introduced. I introduced this space between the slabs to make sure the letterform wouldn't look like a G from a distance. However, it is now swaying away from my idea of having the letterform represent a magnet, so this won't be featured in my final outcomes. When referring back to my intentions of creating a cubic typeface, I envisaged a consistent X-Height fluent throughout each character. By observing each letterform on a perfect square art-board, making sure the top of the little caps and the baseline it has become visually evident what needs to be altered. The G's width needs to be increased to emphasise the blocky ascetic intended. Also, the Tail on the J needs to be made bolder with the Slab-Serif's weight increased as it currently looks unevenly weighted with too much white space creeping into the shape. The Spine of the S could do with being made bolder, mainly to condense the white space within the artificial counters. Most of all, when all X-Heights are consistent the width of the W rapidly exceeds the canvas. This may look effective when shown in the correct setting, however I may need to manipulate the structure further to make it fluent and cubic within a sentence view. Finally, the top slabs of the Y are not filling the space as well as they could be, prompting me to possibly increase the width. On the other hand, if I did increase the top slabs horizontally it may become too top heavy, meaning if I make this adjustment the stem should be increased in weight also to add balance and aid composition. ALSO // Through the way my typeface is developing I have chosen to adjust the name from the bland 'Immense' to 'Obese'. This is because the general meaning of the two are the same, yet Obese is more readily known in daily language. As this typeface is coming to be Fat and bulky, I feel Obese is a better classification for the ascetic intentions.  Experimenting with Pangrams to see if my letters work in sequence. This is by far not the smoothest portrayal of 'The Quick Brown Fox...' as my Illustrator skills let me down when it came to sizing. Some (the R in brown) does look slightly skinny in relation to the B, and the i looks slightly too weighty compared to the curvature of the C. Furthermore, I will look to create an alternative J, by adding a arm (or serif) onto the top of the stem so it will look bolder and more authoritative when used at the start of a sentence. Seeing if the letterforms work in different sequences and compositions... this typeface seems to work better for un-linear compositions, highlighting each letterform as its own piece of typographic art and making each letter as impactful as possible.    |
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