The geometric construction has enhanced the look of the base letterforms. They now look serene. And proportions are maintained.
Another interesting thing (once again the thought borrowed from Dr Bhagvat’s process of categorization) is that every letterform will have a specific unit based on the width.
Take a look at the construction of skeleton of the base letterforms. These are intial sketches.
There are many reasons why skeleton should be build upon first.
Skeleton of the letteform will have a structure that helps gain legibility even before the weights are stuffed into the structure. Once the skeleton is perfect, it is just a matter of choice to place different weights around the defined structure.
With this exercise, I have learnt these things:
1. Place letterforms under specific width. Categorize letterforms based on the width too. And if needed, create one’s own unit for width. I have used Graphical unit. One graphical unit being 1 cm. Most letterforms are place inside 4 graphical unit.
2. The logic behind curves in all letterforms can be repeated to control too many variations. So the circles that help construct one base letterform may help construct another letterform without increasing the radius of any of the circles.
3. If the solution to the problem is right, then it has to be beautiful too. Just solving a problem, in type design, is no more a challenge.
4. Before constructing letteforms, clarity can be achieved by creating thumbnails of the trial constructions. Then based on the analysis of thumbnails, final constructions can be carried out. This will save a lot of time and iterations.
5. Why geometry? Because symmetry comes into play. And symmetry definitely works on the screen. And I am sure I will have tough time dealing with these forms on the screen grid.
6. Using graph sheets as medium to plan the construction is recommended. I am using a basic Camlin compass to create circles of specific radius, a blue leaded pencil to mark the centerpoints of the circles and to draw diagonals that help decide the form of most letters, and a charcoal pencil to extract the form out of the construction.