Here is the final typeface design in a digital format, and examples of it in use for a few different words. The research that has impacted my design was research into serifs, it gave me a better understanding of the relevance stroke weights have on a typeface and it's serifs. It also made me realise the potential that my design has when it comes to it's wider application and use on other typefaces.
The purpose of my typeface is display. Because of the extended serifs, if the typeface was used as a body text, there would arise many complications concerning legibility and usability. The 'maliciousness' that the typeface communicated makes it more so appropriate for horror movies and posters. The typeface could be used for titles, credits, and other forms of text information that is conveyed within the projects. Nevertheless, the typeface could easily have other uses too. If you play around with colour and kerning, the typeface allows function within other genres as well as industries. The typeface could easily be used as logotype, online headings, book designs and etc. It is a characterful typeface that sets a malicious atmosphere, but has a range of applications.
Final Crit Feedback
"Do you think my typeface communicated 'maliciousness'? How/Why? What quality do you think does this?"
- Yes, I think the extended serifs add meaning (maliciousness)
- The use of sharp lettering shows a sense of maliciousness, as it represents anger and is quite striking.
- Yes. The quality that does this is the sharp serifs that become more narrow as they extend outwards. They are reminiscent of thorns & other villainous things.
- With the very sharp serifs I feel you are communicating 'maliciousness' correctly with this design decision.
- It definitely communicates maliciousness. The contrast in stroke width works well to combine to this and the pointed serifs make the glyphs sharp, and malicious.
- The sharp serifs and angled bars works well to convey an angry mood. Would like to see you put it in context or a type specimen.
- The sharp serifs represent the word so well!
- Sharp serifs add a feeling of aggression.
"Any other comment/suggestions? Any other design you liked more/thought to be more appropriate?"
- I think the design you went with works best, although the designs where the spikes go inward maybe convey the word better, but would be more difficult to read.
- Maybe decrease the width of the letterforms. Thin and spiky might look more malicious instead of a wide letter. Wider letters typically are more friendly looking and approachable.
- The spikes work well and the subtle change really suits your word. Stick with this design.
Evaluation
During this brief I had created a type face that I believe successfully communicates the word 'malicious'. From my final critique, the feedback I received was that my design of sharp serifs was what demonstrated my intentions most clearly. The sharp serifs I designed extend a slightly different length with each stroke within each letter. This was done because I believe it helps to balance the typeface out as whole. If all the sharp serifs were the same length, the typeface would not only seem visually off-balance, but also quite dull and lacking personality. The difference in serif stroke length create a form of uncertainty and unawareness, which in my opinion successfully communicates the scheming quality of maliciousness.
The sharp serifs are also characterised by brackets. This was done so that the spike of the serif could flow smoothly from the letterform. I believe this aids in communicating the typeface as 'malicious' because such an evident connection between the letterform strokes and the serifs implies a unity; not only is the serif 'sharp', but the whole letter form is.
I had chosen Caslon because I knew it would be a very intriguing juxtaposition if I was to give such a graceful and traditional typeface a malicious personality. I liked the subtlety of the stroke weight of Caslon, and knew that I could use that to my advantage and create a malicious atmosphere that was more obscure but at the same time, because of the same reasons, more evident. This was confirmed during feedback as someone agreed that "the contrast in the stroke width works well to combine this and the pointed serifs", in order to communicate maliciousness.
Also, I believe that by adding sharper and more extended serifs, I was able to take an innocent typeface, and rebrand it as more threatening and untrustworthy. This is evident when we consider the functionality of my typeface. Because of the extended serifs, when wanting to write something, close attention would have to be made to the kerning between each letter. Each serif is a slightly different length, which makes this even harder. The whole process would feel dangerous and as if it could go wrong at any moment. This is especially effective because my typeface not only visually looks malicious, but it also stimulates maliciousness towards the user.
The design decision I seemed to have not considered was the width of the letterforms. During my final critique, someone suggested that I should "decrease the width" with reasoning that "thin and spiky might look more malicious" whereas "wider letters are typically more friendly looking and approachable". I agree with this to the extend that thinner letterforms may present a sharper look as a whole, however, due to my interpretation of the word 'malicious' I feel as if that would be too obvious and not be as effective as the typeface is currently. The aim for the design of this typeface was to communicate maliciousness in a very subtle manner, to make the typeface seem sneaky and for it to constantly keep you on your toes. Because of this, I believe having a wider letterform width gives the typeface stability. Where a thinner width may communicate fast actions and obvious malevolence, in my opinion the wider letters seem more self-assured and intimidating, as if they are in no hurry to do you harm because they are confident in that they surely will. Consequently, I believe this communicates my intentions far better, the communication of the word seems laid-back, which in turn could make it seem even scarier for the audience. Even though letterform width was something I had not though about, the message it communicates was something that I was already aiming for. Potentially the problem lies in that I had not communicated this aspect of the intentions quite as well as the others. Maybe I should have built up a focus on the weight of the main strokes of the letterforms, as well as the manipulation of serifs, and explored how changing both could affect the communication of the typeface.
Overall I believe that my typeface communicates what I had planned for it quite successfully. Although of course there are potential improvements to be made and design aspects to be considered, I believe that Caslon Malicious is a characterful typeface, that is visually striking and conveys all the qualities of maliciousness and more.
The sharp serifs are also characterised by brackets. This was done so that the spike of the serif could flow smoothly from the letterform. I believe this aids in communicating the typeface as 'malicious' because such an evident connection between the letterform strokes and the serifs implies a unity; not only is the serif 'sharp', but the whole letter form is.
I had chosen Caslon because I knew it would be a very intriguing juxtaposition if I was to give such a graceful and traditional typeface a malicious personality. I liked the subtlety of the stroke weight of Caslon, and knew that I could use that to my advantage and create a malicious atmosphere that was more obscure but at the same time, because of the same reasons, more evident. This was confirmed during feedback as someone agreed that "the contrast in the stroke width works well to combine this and the pointed serifs", in order to communicate maliciousness.
Also, I believe that by adding sharper and more extended serifs, I was able to take an innocent typeface, and rebrand it as more threatening and untrustworthy. This is evident when we consider the functionality of my typeface. Because of the extended serifs, when wanting to write something, close attention would have to be made to the kerning between each letter. Each serif is a slightly different length, which makes this even harder. The whole process would feel dangerous and as if it could go wrong at any moment. This is especially effective because my typeface not only visually looks malicious, but it also stimulates maliciousness towards the user.
The design decision I seemed to have not considered was the width of the letterforms. During my final critique, someone suggested that I should "decrease the width" with reasoning that "thin and spiky might look more malicious" whereas "wider letters are typically more friendly looking and approachable". I agree with this to the extend that thinner letterforms may present a sharper look as a whole, however, due to my interpretation of the word 'malicious' I feel as if that would be too obvious and not be as effective as the typeface is currently. The aim for the design of this typeface was to communicate maliciousness in a very subtle manner, to make the typeface seem sneaky and for it to constantly keep you on your toes. Because of this, I believe having a wider letterform width gives the typeface stability. Where a thinner width may communicate fast actions and obvious malevolence, in my opinion the wider letters seem more self-assured and intimidating, as if they are in no hurry to do you harm because they are confident in that they surely will. Consequently, I believe this communicates my intentions far better, the communication of the word seems laid-back, which in turn could make it seem even scarier for the audience. Even though letterform width was something I had not though about, the message it communicates was something that I was already aiming for. Potentially the problem lies in that I had not communicated this aspect of the intentions quite as well as the others. Maybe I should have built up a focus on the weight of the main strokes of the letterforms, as well as the manipulation of serifs, and explored how changing both could affect the communication of the typeface.
Overall I believe that my typeface communicates what I had planned for it quite successfully. Although of course there are potential improvements to be made and design aspects to be considered, I believe that Caslon Malicious is a characterful typeface, that is visually striking and conveys all the qualities of maliciousness and more.
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