From a selection of samples I chose the Beethoven poster designed by Josef Müller-Brockmann to take inspiration from and interpret that into a typeface. Of course the element I was influenced by from the poster was the circular shapes and motion which focuses your eye in on the information, and so I started with that. I drew a very simple circular grid consisting of concentric circles 5mm larger than the other, I then added 5mm width rectangles to the grid for the ascenders, defenders, cross bars and terminals etc. I also added some terminal end guides every 45 degrees around the circular stroke guide so I had a choice and guide as to where I will set the terminals. Once I had set the grid I set about creating a starting shape of the circle and building the letters elements onto it, constructing each character from the inside out. There were tricky letters to work around this circular grid, like the letter S. Typically the letter S is built upon two circles on top of each other, however doing this and breaking my grid would make the
letter S considerably thinner than the rest of the characters and the flow of the words would be lost. So I had to carefully consider these awkward letters when using this restricting circular grid. Of course due to the strict grid the typeface it very simple and utilitarian, there are no characteristic flares like you would find with humanist faces, and even the very small details on most grotesque typefaces. But the downfall to this is that it is impractical to use for body copy and other small sizes as the letters are not economical with space or have the ergonomic handwriting inspired shapes which make a word recognisable and legible at small copy sizes. But as a display face this typeface is interesting, it has terminals that abruptly end sooner than on most typefaces, for example the letter E which terminal stops at the 6 o’clock position rather than somewhere around 3-4 o’clock. These features trip up expectations and so sets it apart from the many minimalist typefaces that are out there.
letter S considerably thinner than the rest of the characters and the flow of the words would be lost. So I had to carefully consider these awkward letters when using this restricting circular grid. Of course due to the strict grid the typeface it very simple and utilitarian, there are no characteristic flares like you would find with humanist faces, and even the very small details on most grotesque typefaces. But the downfall to this is that it is impractical to use for body copy and other small sizes as the letters are not economical with space or have the ergonomic handwriting inspired shapes which make a word recognisable and legible at small copy sizes. But as a display face this typeface is interesting, it has terminals that abruptly end sooner than on most typefaces, for example the letter E which terminal stops at the 6 o’clock position rather than somewhere around 3-4 o’clock. These features trip up expectations and so sets it apart from the many minimalist typefaces that are out there.
