Studio Brief 02 - Typeface Design (Numerous)

In this Studio Brief, we were told to create a new typeface on a word that we picked out. For this brief I first researched my definition of my word and its background history. And then I started to investigate Müeller Brokmann’s classic lead type face to help me which one would be helpful to convey the meaning of my word.

The word that I got give was ‘Numerous’. Definition of ‘Numerous’ – is an adjective, meaning great in numbers; many. 

Synonyms: many, countless, several, innumerable, various, diverse, copious, frequent and numberless etc. 

Origin: the word ‘numerous’ is from the 18th century Latin word ‘numerus’ meaning a number then changed to ‘numerosus’. Then in the late Middle English, became ‘numerous’.  

So my aim to create a new typeface is to incorporate the visual aspects of numerous into a typeface.

Here are the typefaces that I have researched from Müeller Brokmann’s Classic lead typefaces:

Helvetica – was created to be neutral, not to give many meaning itself. Designed by 1957 by a Swiss Graphic Designer, this was the time when many companies were looking for a decorative typography that covered advertisements at the time.

Univers – is a Swiss designed Sans-Serif typeface, in terms of design the typeface has a tall x-height which is quite common with Sans-Serifs fonts. It is quite a neutral design, but has a slight contrast on stroke combined with curved terminals give the typeface a sense of uniqueness. The added curves also give a sense of friendliness which the legibility make it deal for its usage throughout UK tests and exams.

Clarendon – is a strong British type created to reflect the aspects of the Victorian British Empire. The thick strokes melding into thick slab serifs and the fat ball terminals represent hearty and unstoppable aspects of the British Empire.

One of them which is not Müeller Brokmann’s typefaces but I did some research was Verdana – is a humanist Sans –Serif typeface designed by Matthew Carter. The name ‘Verdana’ is based on verdant (something green), and Ana (the name of Howlett’s eldest daughter). The similarities to humanist Sans-Serif typefaces such as Frutiger, Verdana was designed to be readable at a small sizes on a low-resolution computer screens of the period.

In the sketchbook, if you look at the four pages, it shows my initial ideas of which font would be the most suitable for the word ‘numerous’. So I drew them out to see the differences and similarities and then concluded which one to chose. My final decision was to use the typeface ‘Univers’ as it is neutral design with a slight uniqueness with the contrast on stroke combined with curved terminals. Also I like how it has a sense of friendliness which is legible and the usage throughout UK tests and exams.

Whilst researching I came across a Letter construction grid. This grid was used for the Modernist typography, by using this grid it enable me to structure my typography which portrays my word ‘numerous’ (page 5 in sketchbook).

The other few pages shows my design ideas for my created typeface. The first one use the amount of circles to portray ‘numerous’ more than one definition.


Next is the combination of typefaces (Univers) with Braille. Braille is a tactile writing system used for the blind and low visions to read texts. It is traditionally written with embossed paper. So both has a usage of being equally legible to read visually and physically. 

Next page - by using dots to outline the letter, which signifies the word ‘numerous’ great in number/more than one. 

Another idea but given by a peer during a critique group was to combine two typefaces together. Thus giving ‘numerous’ amount of typefaces in one. (i.e – Univers and Clarendon). 

The other one, was by dotting many dots to create a letter or type. However it would be difficult to make and to read it. 

Final idea, was to emphasise ‘Numerous’ by the number of layers or a great number of layer, giving it a 3D effect.