CDF P3 Exercise
Type Tracing
Before filling in the type faces, I noticed the line weight differences between the serifs and the san-serifs. Specifically, Didot stood out to me for having thin lines compared to Futura’s heavy lines.
After filling in the type faces, I noticed the how the thinness/thickness of each letter really added to the general effect and meaning overall.
Typographic Voice
Serendipity is a “happy coincidence.” I wanted to find fonts that were light-hearted and carefree. I also wanted to find fonts that do not appear super exact or planned out.
I decided to play with serifs and found Marion to be very elegant. The kerning is very equal and the x-heigt is consistent.
Bodoni, compared to Marion, stretched out more. Specifically, the e’s differed from Marion’s centered approach. In my opinion, this gave Bodoni a less exact and more playful font. Overall, I believed Bodoni 72 expressed serendipity the most.
After serifs, I wanted to play with script to emulate a carefree, handwritten note. However, Brush Script proved to be too heavy for the word’s meaning.
Zapfino is a lot lighter than Brush Script but the elegance almost was too well planned for it to fully express serendipity.
Open Sans was my only san-serif font. I wanted to invoke a carefree feeling but Open Sans ended up being too balanced compared to my favorite, Bodoni.
Typeface Research
Typeface: Futura
Designer: Paul Renner
Year Designed: 1927
Type Classification: geometric sans-serif
Features: Low x-height, tall ascenders, near perfect circles
Fun Fact: Futura became a type face representative of the Bauhaus movement.
Typographic Hierarchy
