JEFFREY BETTS

Arcade Process Book Advanced Typography Farmingdale State College Fall 2011

ROUND 1
INSPIRATION As I began this project looking for inspiration and a starting concept, I first researched and looked at a variety of stencil letterforms and ways of disconnecting each individual letters elements into their simplest forms. My original concept was to create a stencil typeface based upon a geometric sans-serif typeface. For the geometric typeface I selected Futura Medium. REVISION AND FEEDBACK After giving feedback, comments, and suggestions from Professor Lee about my preliminary research, she suggested that I look at more stencil typefaces and serif stencil typefaces, such as United Stencil, Stencil Gothic, Glaser Stencil. With that I began additional research and further develop my concept. After receiving feedback and looking at more serif and slab serif typefaces, I began to revise my original concept and began to sketch out new ideas and concepts. I was also curious how my original typeface would work as a serif or slab serif typeface and experimented with this. Throughout this process, I played with the S and how it would look with the two disconnected pieces next to each other as opposed to below one another. When I connected the two pieces and created this solid element, I really liked the resulting letterform and began to experiment with this for the rest of the typeface. For the final typeface, my goal was to create a typeface that is both clean yet decorative and that can be used as a headline or as display type. While looking at other type samples, I also am reminded of an Art-Deco style.

Original S letter

Development of new letter S

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Disconnected letters

Typeface with solid elements

Preliminary Research

Starting with stencil typeface concept

Exploring Variations

Working with the original concept, exploring new variations

A New Typeface is Made

Original refreshed concept from previous page

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Round 1: Initial Refreshed Concept

SKETCHES AND PROGRESS After much exploration and experimentation, I began to form a solid concept and plan for my final typeface. I have chosen Futura as my base typeface and the various letterforms are based off Futura. I chose Futura because it suits my design and system well, while providing a clean and cohesive geometric base for my personal typeface. In this new refreshed concept, I integrated both disconnected pieces as well as connecting pieces and a solid piece to form the individual letters. Initially I had the solid element placed in positions that were not referenced in other letterforms. Through feedback from Professor Lee, I was able to establish a clear and cohesive system for the placement and height of the solid element, while maintaining readability and legibility. Later reviews would provide a way to adjust for small inconsistencies, such as the height and the apexes. Throughout my typeface I find that the solid element connects and ties the entire typeface together as a whole form. With more experimentation I continued to look at ways of executing some of the more challenging letterforms and came across new ways to better improve the system.

Making the typeface cohesive and establishing a system

ROUND 2

Refreshing the typeface

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Designing new letters

Round 2

Round 3 (5 New Characters)

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CHALLENGES AND STRUGGLES While designing the characters for my personal typeface I encountered several challenges a nd had to resolve many minor issues in order to bring my typeface together as a whole. These issues were generally in regard to the system that I was using and the placement of the solid element throughout each character. In my first round, the element was not placed in the same position for each character and through constant revision and experimentation; I designated a height in which each solid piece would reach. Throughout my work I also had to rework several letters, including the K and Q. The X and S were difficult to work with, as I had to keep the system consistent, while working with two irregular characters. The S was challenging, due to the shape and the curve that does not occur in the other letters. With the help of my fellow students and Professor Lee, I was able to revise the letter S and create a character that was more unified and that helped bring the typeface together as one.

Original Q

Revised Q

Original S

Revised S

ROUND 4

Arcade

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A TYPEFACE IS BORN This typeface, entitled Arcade is a geometric sans-serif typeface, which incorporates both a solid element, connected, and disconnected elements. It is a cross of my original stencil disconnected typeface concept and the newly redesigned connected letter concept sketches as seen previously. A system was developed where the solid element is always touching the baseline and always meets at the same height for each letter, which was controlled through guides in Adobe Illustrator. A disconnected element is shown generally on the stems, where a piece of it is missing throughout each letter. In each character, the right side would start its line from the top and connect the entire shape of the letter, while the left side will start at the baseline and raise the same height to form the solid element. The left side of the character will always form the solid element. This typeface is based off of Futura Medium, which was used for the basic form of each letter. In my rounds and sketches, I would trace samples and printouts of Futura Medium in order to experiment and demonstrate my ideas and direction. Another interesting feature of my typeface is within the stems where the solid element is, the line from the solid element will always run through the entire letter, appearing generally on the solid elements right side.

THE SYSTEM OF ARCADE

Line reaches top of the character

Disconnected Element Based on Futura Medium

Solid element at baseline Meets at the same height

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ROUND X

WHATS IN A NAME? The name for this typeface, Arcade is an architectural term meaning a series of arches supported by columns or piers which may be attached to a wall (blind) or freestanding. When I look at my typeface, I immediately recognize this characteristic occurring with the integration of the solid and other elements of the typeface. I chose a term that had an A in it, as my favorite character is the A, mainly for the intersection and the style of the disconnected piece. When I look at my typeface, I as well as my peers and Professor Lee responded to it as resembling an architectural, building, or engineering style. In the end I decided to explore architectural terms in search for a name for my typeface. I researched many different terms and came accross Arcade. It had the A and it described my typeface and the solid elements well.

Examples of Arcades

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Arcade in action as a wayfinding sign

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BIBLIOGRAPHY

Barbecoa. Barbecoa | Jamie Oliver and Adam Perry Lang. Barbecoa | Jamie Oliver and Adam Perry Lang. Web. 08 Dec. 2011. <http://barbecoa.com/>. Typography = Models: Praline & The Model Shop. Daily Icon. 8 Jan. 2010. Web. 8 Dec. 2011. <http://www.dailyicon.net/2010/01/typography-models-praline-the-model-shop/>.

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ACKNOWLEDGEMENTS My friends and peers for the many comments and feedback I received along the way. Professor Lee, also for her constant feedback, suggestions, ideas, and comments.

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COLOPHON
Gotham Bold 9/12
Gotham Book 9/12
Gotham Thin Italic 8/12

Arcade Process Book Advanced Typography Farmingdale State College Fall 2011