Typeface Design
"Critters"
Critters is a quirky, organic typeface, that crawls, slithers and scampers across the page. It conjures up images of aliens from another world, insects flittering around a tropical jungle and fuzz-balls rolling around on the floor spreading laughter and magic dust. Perfect for Halloween, children’s books and explaining science. This is a headline typeface that loves to be tinkered with to suit your world. The Critters typeface brings words to life.
© Kaz T
Designing the “Critters” Typeface
Rationale
The “Critters” typeface is a unique, organic face. Its uniqueness originates from the randomness of shapes blown in ink. Calligraphic type was hand-painted onto a page and then blown (with a straw) to create tentacles, antennae and limbs making the type come alive and the typeface more engaging. In the final coloured form the typeface conjures up images of amoebas, slime and alien life-forms.
Originally created in pure black, colour and texture have been added to create an extra pictorial dimension and visual interest. Patterning from a photo (of a lizard) was applied to the typeface to create an alien-like skeletal and exoskeletal texture. Green plastic wrap Photoshop effects amplify the alien-ness of the typeface. The emerald green colour was selected, not only as it replicates that of the lizard photo, but also has significance as the Pantone Colour of 2013. In addition, emerald green has an interesting history originating as a toxic paint and dye colour with high levels of arsenic. Although this information would not be known by the average person, the justa positioning of a toxic colour on an alien-like typeface makes for a logical choice.
The organic nature of the “Critters” typeface provides a high level of flexibility, allowing letters to be easily adapted to fit and blend with each other. The provision of both upper and lower case letters allow for even greater flexibility through the ability to mix the cases within a word for the best pictorial effect.
Rationale
The “Critters” typeface is a unique, organic face. Its uniqueness originates from the randomness of shapes blown in ink. Calligraphic type was hand-painted onto a page and then blown (with a straw) to create tentacles, antennae and limbs making the type come alive and the typeface more engaging. In the final coloured form the typeface conjures up images of amoebas, slime and alien life-forms.
Originally created in pure black, colour and texture have been added to create an extra pictorial dimension and visual interest. Patterning from a photo (of a lizard) was applied to the typeface to create an alien-like skeletal and exoskeletal texture. Green plastic wrap Photoshop effects amplify the alien-ness of the typeface. The emerald green colour was selected, not only as it replicates that of the lizard photo, but also has significance as the Pantone Colour of 2013. In addition, emerald green has an interesting history originating as a toxic paint and dye colour with high levels of arsenic. Although this information would not be known by the average person, the justa positioning of a toxic colour on an alien-like typeface makes for a logical choice.
The organic nature of the “Critters” typeface provides a high level of flexibility, allowing letters to be easily adapted to fit and blend with each other. The provision of both upper and lower case letters allow for even greater flexibility through the ability to mix the cases within a word for the best pictorial effect.
References:
Douma, M., curator. (2008). Pigments through the Ages. Accessed from http://www.webexhibits.org/pigments/indiv/overview/emerald.html
Pantone 17-5641 Emerald. (2013) Accessed from http://au.pantone.com/pages/index.aspx?pg=21055
Douma, M., curator. (2008). Pigments through the Ages. Accessed from http://www.webexhibits.org/pigments/indiv/overview/emerald.html
Pantone 17-5641 Emerald. (2013) Accessed from http://au.pantone.com/pages/index.aspx?pg=21055
Experimentation phase:
Designing the “Critters” Typeface
Reflection on Project and Process
As the brief was to create an original typeface it seemed logical to begin by looking to the unique lines, shape, colour and textures found in nature for inspiration. In particular the flower was examined. This was followed up with research, looking at how artists, designers and typographers have used flowers to create unique designs and typefaces.
In conjunction with this specific research a broader look at hand crafted typefaces was also undertaken. A number of books together with works found on the internet were examined.
The finished typeface originated following exploration of a range of medium and combining aspects from many of them. Contributing to the finished design were:
- the exploration with creatures out of the garden;
- research on colours;
- exploration with textures and finishes in Photoshop; and
- concepts such as the calligraphic styles by Herman Zapf and thinking about objects differently such as in Michal Batory’s work.
- the organic lines formed from the shadows and flower parts of the Grevillea;
- the attempt to manipulate type from water, ink and bubbles;- the exploration with creatures out of the garden;
- research on colours;
- exploration with textures and finishes in Photoshop; and
- concepts such as the calligraphic styles by Herman Zapf and thinking about objects differently such as in Michal Batory’s work.
Although other design concepts had potential, the time available to develop and produce the idea across a whole alphabet was the limiting factor. In addition, the “Critters” typeface was selected due to a personal affection for handwritten, calligraphy styled type and insects, lizards and all manner of creepy, crawlies. This typeface is fun, was fun to produce, and is a reflection of my quirky personality.
Books researched include, but not limited to:
Heller, S. Anderson, G (2010) New Ornamental Type: Decorative Lettering in the Digital Age. New Your. Thames & Hudson.
Heller, S. Ilic, M (2004) Handwritten: Expressive Lettering in the Digital Age. Thames and Hudson.
Perry, M. (2007) Hand Job. New York. Princeton Architectural Press
Prestianni, John (Ed.). 2001. Calligraphic Type Design in the Digital Age Corte Madera, CA: Gingko Press.
Heller, S. Anderson, G (2010) New Ornamental Type: Decorative Lettering in the Digital Age. New Your. Thames & Hudson.
Heller, S. Ilic, M (2004) Handwritten: Expressive Lettering in the Digital Age. Thames and Hudson.
Perry, M. (2007) Hand Job. New York. Princeton Architectural Press
Prestianni, John (Ed.). 2001. Calligraphic Type Design in the Digital Age Corte Madera, CA: Gingko Press.
