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I n iti a l S ketc h e s & D ig i ta l Let te r fo r ms

Sketches started with each of the letterforms in the British alphabet, taking inspiration from a few existing typefaces including Avenir, Transport and Johnston. Looking at

bringing unique elements to the majority of the letterforms. Digital production started with a strict mathematical approach, using consistent sizes and shapes to create the full

set of letter forms, numerals and glyphs. Beyond this each individual character was refined with greater visual balance, both alone and amongst others.

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Fonto gra p h e r & Ke r n i n g Pa i rs

All the vectored letterforms were exported from Illustrator to Fontographer, with a bounding box so that they all sat on the same baseline and x-height. These boxes were then

removed, Each of the letters were kerned in pairs with the rest of the alphabet so that they all function in a body of text.

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N a m e?
procrAstinnation. Which is both traditional and conceptual.

Application & Fu n c t i o n

Once exported as a fully functioning typeface, it was used to create body type ready for the type specimens. Starting with a rationale and an explanation of procrastination.

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Application & Pro m ot i o n

Once the typeface was in a position to function entirely was applied to varying degrees of promotion and typographic standard publications. Initially exploring the concept

of procrastination through accompanying visual, before deciding that purely text based sentences are by far more successful in terms of communicating the concept as well as

typographic standard, by attempting the use of a pangrams.

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Final Produ c ts

Specimens and posters were created pushing the boundaries of the typeface and its usage. Having created a fully functioning san-serif typeface, something which is of

great discipline, it application amongst contemporary design elements seem acceptable to explore.

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