The nature of typography resides in its innate ability to channel languages, ideas and even the personality of the designer (Willen & Strals, 2009). This core idea is what propelled me into my final design.

Learning type anatomy was crucial in providing my designs with research-backed foundations (Visocky O'grady & Visocky O'grady, 2017). For example, making crossbars thinner than the stem is often helpful in legibility and aesthetics. A quote from Visocky O'grady, 2017 really resonated with this thought process as "You can't solve the problem if you don't do your homework". It really provides the design more ‘objective’ nuance to its direction.

I consider myself the client for this project, and it wasn’t always this way. At the outset I wanted to make something that would impress my peers and tutor, although that would be nice, at the end of the day I realised that by making myself the end user, I would potentially be able to not only make something extremely satisfying to myself, but also create a typeface that aligned to my design proclivities. This means it would harmonise and mesh with my work on projects I do in the future, boosting its potential.

Willen, B., & Strals, N. (2009). Lettering & type: Creating letters and designing typefaces. http://ci.nii.ac.jp/ncid/BB01221990

Jennifer Visocky O'grady, & Kenneth Visocky O'grady. (2017). A designer’s research manual : succeed in design by knowing your clients + understanding what they really need. Rock-port, An Imprint Of The Quarto Group.