Rendered Top View

Description

In the translation of my 2d pattern in to a 3d form I tried to create a completely different reading than the 2d image had shown. I experimented mostly with different solid and void variations trying to find a balance between figure and ground in order to blur the two together. I also experimented with with the hierarchy of some of the solid parts of the patten. The hierarchy is represented in the axon views as certain solids are higher or lower depending on their importance in the pattern. For example the lower right hand circular form is the tallest because that piece is used in the generation of every single letter.  

Rendered Axon

Wireframe Axon

Wireframe Top View

Patterns

My analysis consisted of developing a pattern that is the generator of the typeface. The pattern consists of four overlapping circles broken by three vertical bars and two horizontal bars. In the compositions I highlight how the characters are generated as they radiate away from the original pattern. 

Descrpition

My analysis focuses on several of the nuances contrasted with the overall regularities that occur within the typeface. The most obvious and interesting nuance that is seen in the typeface and composition is the separation of the X letter creating an interesting space between the two sides. Visually the type is blocky and bold as it is in all capital letters that appear to be of uniform height but after further analysis the curved letters like C and O actually extend slightly higher and lower than the other letters. The typeface also includes a couple of major and minor regulating lines that inform cross bar and cross stroke positions. There also appears to be a system where angles are reused and can be arranged to form other letters, for example, the angles used to form the X could be extruded to form the basis of an A. Finally, the decision to strictly use pure black and white in both compositions came from the overall idea that a sans serif typeface is communicating clarity and legibility.

In the second composition my analysis focused on the size and spacing of specific groups and combinations of letter types. I first identified three distinct letter types based on there widths. There are “wide” letters like h c a and u, there are “slim” letters like l and i, and finally there are “midsize” letters like t r and f. These are shown on the right side of the composition in the three vertical bands. Next I analyzed the spacing pattern between two letters starting with two “wide” letters, then a “wide” letter with a “midsize” letter, and finally a “slim” letter with a “wide” and a “slim” with a “midsize” letter. The relationship that I discovered is that the distance between the letters is based on the widest letter in the pairing then that width is aligned with the center of both letters creating a variety of spacing’s that make the typeface unique.

Gothic

Serif

Sans Serif