Part 5: The Block Typeface
An exploration and journey of type design driven by balance.
T Y P E D E S I G N | L E T T E R F O R M S T U D Y | S C R I P T
This work continues on from Part IV of my type design journey, ‘Geometry Block’.
A final attempt at creating one typeface that pulls characters from the Block typefaces created so far.
A final attempt at creating one typeface that pulls characters from the Block typefaces created so far.
Concept 5: Block
One of the issues with combining the typeface characters from different revisions is that there may be words that will end up having all stylised characters clumped together in a given word. Ideally, you would want the stylised characters to provide strategically placed interest. Changing out the vowels of the Sans typeface for those of the Shape typeface seems to be a plausible direction in which this clumping might be avoided for the best part. However, in practice, this doesn't work. There are a variety of double-vowelled words that could cause issues. If this were to be the final route, the option of sans alternates would definitely be required.
Switching out only the oval characters on the account that they seem to be the most successful characters from the Shape revision. By successful, I mean that they hold their own space better and provide interest without being entirely jarring to the eye. This may be down to the proportion of negative space used by the letters or because the oval shape lends itself well to the stylised shift/slice in the form. This option uses a lot more Shape characters overall, including the b, d, g, p, and q characters as well as the oval vowels.
Combining Block-Shape and Block-Sans typefaces (Hart, 2020).
So how about using total subjectivity… an exchange of characters from Sans to those that I feel are the most successful examples of the Shape revision? I am undecided as to whether the Shape v character is of benefit to this set. I like its form, but am unconvinced of its teamwork capabilities. I think an angular v form would be expected. I chose the k and z from the Shape typeface, although they require further amendments. The arm of the k needs lengthening or perhaps an adjustment in its angle. Currently, it is too short in comparison to the leg. I would also make the cutout more evident as I would with the z. Overall though, I can't say I find this option displeasing. As a display typeface, it provides exciting shapes that could be utilised in various ways and presents flexibility for designers. I would, however, still present the Sans discretionary alternates for the Shapes characters to boost the potential of the typeface.
The Block typeface in a display setting. (Hart, 2020)
Having the choice of character sets is what makes this typeface great. It allows the typography to take on a flexible role within a design piece, and its angles, curves and cutouts create beautiful shapes that can really bring a piece together.
Simplifying the letters of the Block-Sans typeface. (Hart, 2020)
Due to the weight of this typeface, I wouldn’t suggest using it at a smaller size, but it is worth noting that it can be read at smaller sizes. However, tests indicate that the letters need to be seen in context as certain letters, such as the k and t can be misread.
Block-Sans waterfall scale from 8pt to 26pt (Hart, 2020)
The curved stems of straight letters provide a unique approach to a sans-serif typeface. This could be used to provide a friendlier tone or, a more stylised variation for an output that demands a less decorative approach. Its bold weight will also withstand further treatment, such as a broader tracking or change in scale, allowing it to fulfil its potential as a display option.
The Block-Sans typeface shown in a display setting (Hart, 2020).
I think there could be room to look at one typeface that relies on the Block-Sans characters and features the more successful letters of the Block-Shapes typeface for standard use, notably the oval characters. Other letters, such as the h, m, n, i and j provide too much contrast in the overall width and weight of the letters.
