MATRIX
FONT DESIGN - TYPOGRAPHY
This is MATRIX.
Considering the fundamentals of font, and the skeletal formation of each individual letter, I wanted to challenge these limitations and see to what extent I could push their boundaries. Creating a grid font was an incredibly fun and innovative way to do this, because I was essentially giving each individual letter the same skeleton, a test for the grid itself and its hitherto unknown capacity to form the entire alphabet.
Taking inspiration from the De Stijl art movement, which commenced in 1917, I made this grid, focussing on creating a variety of both big and small spaces, so that I would have a fair attempt in building each letter.
From this, I used the same primary color scheme that De Stijl is well known for to live paint each box, taking turns to build each letter of the alphabet. The difficulty I found, besides the limitations of this grid, was making both an uppercase and lowercase set of letters.
I had to find a solution for creating convincing figures of both, whilst maintaining the necessary difference in scale to be able to differentiate one from the other. The result of this is arguably disfigured characters, reminiscent of letters if you take a good look. What this communicates is the importance of proper type structure to ensure legibility, and the creative fluidity presented when ignoring such features.
FONT DESIGN - TYPOGRAPHY
This is MATRIX.
Considering the fundamentals of font, and the skeletal formation of each individual letter, I wanted to challenge these limitations and see to what extent I could push their boundaries. Creating a grid font was an incredibly fun and innovative way to do this, because I was essentially giving each individual letter the same skeleton, a test for the grid itself and its hitherto unknown capacity to form the entire alphabet.
Taking inspiration from the De Stijl art movement, which commenced in 1917, I made this grid, focussing on creating a variety of both big and small spaces, so that I would have a fair attempt in building each letter.
From this, I used the same primary color scheme that De Stijl is well known for to live paint each box, taking turns to build each letter of the alphabet. The difficulty I found, besides the limitations of this grid, was making both an uppercase and lowercase set of letters.
I had to find a solution for creating convincing figures of both, whilst maintaining the necessary difference in scale to be able to differentiate one from the other. The result of this is arguably disfigured characters, reminiscent of letters if you take a good look. What this communicates is the importance of proper type structure to ensure legibility, and the creative fluidity presented when ignoring such features.
UPPERCASE (WITH AND WITHOUT MATRIX)
LOWERCASE (WITH AND WITHOUT MATRIX)
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