This exercise explores handwritten, hand-drawn and digital typefaces. My first task is to write 10 opposing words in my natural handwriting: big, small, fat, thin, fast, slow, fun, boring, calm, mad. Next, I must hand-draw the phrases in a way which describes their meaning, before choosing and printing digital fonts that convey some of the same ideas. Following this, I will trace each word with a coloured pencil, using shades which further represent the meaning of the words. I must make mood-boards for each word, collecting textures, colours and images. Finally, I must render my words using the descriptive materials.
Handwriting
Descriptive Hand-drawn Font
After handwriting each word, I drew the phrases descriptively; considering how the thickness of the line, scale and style could represent the meaning of the terms. I sketched each word, both uppercase and lowercase. Admittedly, some of the edges are not as clean as I would have liked; perhaps the ink bled, or my hand wasn’t steady enough. If I had taken more time to measure the heights and widths, using a ruler when drawing any straight edges, the letters would have been more precise. Still, I think these drawings illustrate my ideas adequately.
Big
I created a large-scale, bold font – perhaps an obvious choice. I also added serif’s; the decorative details add a sense of importance or prestige. The font reminds me of the typefaces used to print major headlines in magazines or newspapers; a font that is specifically designed to be prominent and attention-grabbing.
Small
I didn’t have many creative ideas for this one, mainly focussing on the scale and line width. I thought perhaps the font could be child-like, in reference to the size of a child. Ironically, young children can have the largest, most sloppy handwriting of us all! Perhaps the simplicity of the words represent the inconspicuous nature of tiny things.
Fat
My first association with this word: fatty, unhealthy foods. My initial design features an oozing lump of fat. Retrospectively, the letters could have pressed up against each other; as if the word was forced into a box that it couldn’t quite fit inside. My second idea stretches the vertical planes, making them much thicker. I wanted both sketches to be quite large-scale, prioritising width over height.
Thin
I used thin lines to create two hand-drawn fonts. The elongated height and large sizing exaggerate the thin lines, making the designs appear tall and slim. My first idea features a serif font; the additional vertical lines further emphasise the font’s slender qualities. The pointed edges remind me of the thin, intricate details often found in gothic architecture.
Fast
My first design features an italic font, lines trailing behind each letter. The lines are reminiscent of the stripes found on racing cars. Both designs explore similar ideas: something moving so fast that the details become blurry. The second design could represent an experience; when an occasion ends so quickly that the memories become muddled.
Slow
The uppercase version is inspired by the simple, sans serif font used on ‘slow’ road signs. I also included glaring gaps between each letter; this affects the way you read the word. Each gap feels like a brief pause. The lowercase design features wavering, ‘unstable’ lines and drooping edges, representing several things related to the word ‘slow.’ Perhaps the style symbolisms the frail qualities of an elderly or injured person – someone who may have to move slowly. Alternatively, the drooping edges could reference the process of decay; a flower slowly arching its stem and losing its petals. Another meaning: a snail’s sticky trail, as they aimlessly wander in a wavering pattern, lacking any sense of precision or direction.
Fun
I was initially inspired by pop art; specifically Andy Warhol and Roy Lichtenstein’s infamous work. The bold colours and patterns are modern and eye-catching, which I deemed appropriate since ‘old-fashioned’ is synonymous with being aloof or dreary. I sketched the outline of a sans serif font, before layering a duplicate slightly to the right. The layered design reminds me of neon lights. My next idea features wavering, dancing lines, creating a sense of movement and freedom.
Boring
When I think of this term, I remember being stuck in classrooms, learning subjects that didn’t particularly interest me, frequently turning to the clock. School often limited you to a sheet of lined paper, a pencil and a ball-point pen: simple equipment to create simple lines. I can imagine a student scribbling the term down during a particularly dull lesson; doodling to pass the time. My first design is inspired by this vision. The lowercase design features stretched out letters; representing the feeling that time has been stretched and is passing very slowly.
Calm
Nothing is more calming than still water, slowly rippling and wavering. My initial idea illustrates this scene: the word hovering above water with the distorted reflection mirrored below. The second idea is inspired by elegant, calligraphy styles.
Mad
This word has a double meaning: angry or crazy. I attempted both definitions. My uppercase version is hugely condensed and bold, representing the overwhelming, tense feeling that anger can create. The lowercase version is distorted, combining thick and thin lines. The misshapen style could represent the uncertainty and confusion caused by madness.
Digital Fonts
Next, I searched through digital fonts on my computer, experimenting with bold and italic effects. I’d occasionally condense or expand the space between each letter. I used fonts that were already on my computer, as well as others downloaded from the internet. I later chose my favourite fonts: those that I thought best represented the words.
Chosen Fonts
Big
Perpetua / Serif
This font is very similar to my initial drawing. I chose a bold typeface, condensing the letters and vastly increasing the scale.
Small
Fig. 1. Small Pixel / Sans Serif
I downloaded this font from the internet. It is slightly different from my original drawing, but I really enjoyed the concept. The lines are made of squares, pixels, suggesting the typeface has a modest resolution – or is minuscule upon a computer screen. The font is also small-scale.
Fat
Fig. 3. Lethal Slime / Sans Serif
This is another font that I downloaded from the internet, very similar to my original drawing – perhaps a little more gloopy. The letters are thick and bold.
Thin
Didot / Serif
My chosen font is very similar to my original drawing; I altered the typeface in Adobe Illustrator, condensing the letters, before stretching them vertically.
Fast
Fig. 7. ExtraBlur Regular / Serif
My chosen font, downloaded from the internet, combined my two initial ideas. The italic font ingeniously fades in and out of depth, using different line widths to create a blurred effect. The thick letters and repeated lines are reminiscent of car racing. The hazy appearance reminds me of high-speed vehicles or rides; too fast to focus on any one thing as you pass by.
Slow
Ariel Rounded MT / Sans Serif
I chose a rather simple font, expanding the spacing quite dramatically. Although not wholly comparable, the font reminds me of the typeface used on ‘slow’ road signs and other road marks. The curved edges feel safe and precautious; a reason someone may move slowly. I chose a medium size: not too big or too small. I deliberated between both. On the one hand, a large-scale may indicate a warning sign. On the other hand, small sizing may complement the lack of intensity and energy.
Fun
ヒラギノ角ゴ Std W8 / Sans Serif
This is another font I chose to edit with Adobe Illustrator, removing the ‘fill’ colour and warping the typeface. The design combines my two initial ideas: it is modern yet possesses a sense of movement. The original sans serif font is bold and clean; no extraneous details – quite stylish. I layered the dancing word over itself, adding an additional layer of energy; something I thought would look more effective if each layer was a different colour.
Boring
Fig. 10. Scribble / Sans Serif
This font was downloaded from the internet; it embodies my original classroom-inspired idea. Quite messy and sharp, it appears as though the student was so bored that they overlapped the word repeatedly.
Calm
Fig. 11. Mermaid / Serif
Fig. 12. A Auto Signature / Serif
I chose to take two fonts forward; both vastly different from each other. I was curious about the final result of both after applying colour. The first design was edited using Adobe Illustrator: mirroring the duplicated word horizontally, before using the ‘wrinkle tool’ to add ripples. Both versions utilise fonts downloaded from the internet. The first design is more creative and exciting; but, I wasn’t sure how it may translate with colours and textures. The second idea, perhaps more simplistic, but definitely something many would agree has a ‘calm’ appearance.
Mad
Modern No. 20 / Serif
This design is edited to suit the meaning more accurately, layering solid fill and outlined text to create something confusing and intense. I compressed the letters significantly to convey that heavy, tense feeling that anger can create. I think my final choice expresses both ‘anger’ and ‘madness.’ I chose a bold, serif font as I believe the sharp pointed edges suit the subject matter. The formal style suggests the emotion is pressing and painful; not a laughing matter. The layered effect symbolises the echoes caused by screaming or shouting.
Coloured Pencils
After uncovering my low-quality pencils and trusty lightboard, I proceeded to trace the terms, considering how I could use colour to convey the meaning of each word.
Big & Small
I chose the most visually dominating colour to represent the word ‘big’: red. To contrast this, I used a dull shade of grey to symbolise ‘small.’
Fat & Thin
When colouring ‘fat,’ I chose to blend two fleshy shades together. The colours could represent skin tones, referring to being overweight, or could symbolise foods that many associate with gaining weight: cake, chocolate, crisps, etc. ‘Thin’ is a term many people associate with being elegant or slender. I chose a dark, luxurious, somewhat moody colour to represent this word: purple. I think the colour also complements the gothic architecture comparison that I stated earlier.
Fast & Slow
Further developing the high-speed fairground ride idea mentioned previously, I blended 11 different shades together when colouring ‘fast.’ The image of spinning in a late-night fairground ride, moving too fast to focus on any one colour. The colours blend back into each other as if the word represents one cycle on the journey; seeing all of the same colours again and again as you take several fast trips around the track. ‘Slow’ is another word that I coloured reversely to its opposing phrase: a grey hue, appearing quite familiar and safe. The pencil textures remind me of the glistening, gooey fluid left behind by snails.
Fun & Boring
I think many people associate summer with the word ‘fun:’ sunny weather, holidays, colourful blooms, sunsets, as well as exciting drink and food options. I chose hot pink and orange to represent the word; the shades are cheerful and reference certain summer activities. Opposingly, ‘boring’ has a school-inspired colour scheme. I created lined-paper marks before colouring the word using a grey pencil.
Calm & Mad
To accommodate the water ripples, I chose a light blue shade to decorate the first ‘calm’ design. A colour that I think is very elegant and calming, representing water or the sky. I coloured my second ‘calm’ font using a deep shade of purple, inspired by the calming aroma created by lavender. Contrarily, I used quite moody, intense tones to decorate the word ‘mad:’ combining grey, dark pink and red. I like the way the colours overlap one another.
Moodboards
Next, I collected images, colours and textures, preparing to render them within my chosen typefaces. I assembled photographs, as well as various wrapping papers, tissue papers, and ribbons, among other bits. Some of my chosen colours are similar to those selected previously. Other materials possess holographic, iridescent or sparkling finishes; I thought this could be interesting and was appropriate for some of the words.
Big
I found a few potential materials for the word ‘big.’ I took inspiration from the night sky, combining star-patterned plastic wrap with black-painted paper. I also included an extremely eye-catching colour: bright red. Furthermore, I found red glitter-covered wrapping paper: striking and glamorous.
Small
Fig. 13. Under the Microscope 
Fig. 14. Plant Cells: Leaf
Next, I searched for photographs of cells under a microscope. Admittedly, I don’t know what Fig. 13 entails. Regardless, I find the image visually interesting. I thought the contrast between nature and pixels would be unusual yet refreshing.
Fat
I created a doughnut frosting-inspired collage, layering coloured sprinkles over a pink background. My chosen typeface is quite cartoon-like and fun; I thought similar colours and textures would be suitable. At this stage, I also decided I would outline the font with a Posca paint pen to define the shapes; the outline would act as the cake part of the doughnut.
Thin
It was difficult to define ‘thin’ using materials and textures; those I chose were quite simple. At this stage, I decided I would later experiment digitally with this word.
Fast
Fig. 15. Light Speed
I used the internet to find an image of ‘blurred’ light, dancing across the page. I enjoy the blue and pink colour scheme of Fig. 15. Once again, it reminds me of fairground lights.
Slow
Fig. 16. Snail Shell 
I chose two images featuring a snail shell and tree bark; snails being slow-moving animals and trees being slow-growing plants. I thought both pictures displayed impressive textures.
Fun
I found several snippets of brightly coloured materials, some including holographic coatings. I layered the elements tightly, trying to find the perfect combination for my chosen typeface.
Boring
I found two pages of lined paper; one far more aged than the other. I added scribbles, considering whether I should distress the page further. I scrunched and ripped the pages to add texture.
Calm
I chose soft, pastel shades. I layered black paper with certain materials, considering whether to add a starry night sky behind the still-water design.
Mad
I collected moody, monotonous mediums, as well as fiery-coloured materials. I included a fragment from a battered, frosted plastic bag. I thought the texture looked as though it had been squeezed and punctured in a fit of frustration.
Applying Materials
After making mood-boards, I applied my materials to each word, employing several techniques. To create ‘Small’ and ‘Fast,’ I utilised Adobe Illustrator, turning my chosen photos into ‘pattern’ swatches, before using the new swatches to colour the fonts. I warped the word ‘Fast,’ following some the lines found in Fig. 15. I also used the application to create ‘Thin,’ layering white over black, before moving one layer slightly to the side. The designs printed out much larger than I had hoped, despite using correct measurements; something to be cautious about in the future.
I used a different method to create ‘Big,’ ‘Fat’ and ‘Calm.’ I flipped the words horizontally using Photoshop, printing the pages and mounting them on the back of my materials, before cutting around each letter. I used the same collage-technique to colour ‘fat,’ altering the colours slightly. After sticking the donut-frosting-inspired collage down, I outlined the font, redefining some of the lost details by hand. To create the word ‘Calm,’ I layered iridescent ribbon over lilac tissue paper, securing the two materials with a wide strip of clear tape.
I hand-drew ‘Slow,’ ‘Fun,’ ‘Boring,’ ‘Calm’ and ‘Mad.’ When creating ‘Fun’ and ‘Mad,’ I used a similar technique as I had previously: tracing my hand-drawn font to flip it horizontally, before sticking the mirrored words onto the back of my materials and cutting out each letter. I hand-wrote the words ‘Boring’ and ‘Calm’ directly onto paper.
Evaluation
Big
I am pleased with the result of this font. Not only does it embody the meaning of the word, but it’s also visually pleasing. The colours and textures are dazzling and loud. The individual glitter particles have managed to break free from the type; I think this adds to the obnoxious, noisy theme. Perhaps the font could have been scaled up as it’s not much larger than my other designs. I could have found something much bolder. Ideally, the red glitter would have been a brighter, more visually-dominant hue, also.
Small
The contrast between the font and my chosen background image is quite interesting and unique; the patterns found within the microscopic image are comparable to individual pixels. I think the design would have been better if I had used a dark green or black background; colours that are related to computer coding. The light shades of green and cream would contrast with a dark background. Alternatively, I could have found an image with darker colours, or edited my chosen picture using Photoshop. Due to the intricate background image, this font couldn’t be scaled-down further without losing detail.
Fat
The colourful, doughnut-inspired collage complements the cartoon-styled font. The colour bias of the pink and brown shades are somewhat washed out and sickly; this contrasts with the bright, multi-coloured sprinkles while looking unhealthy and artificial. I decided to position the letters haphazardly; I believe this suits the light-hearted styles. I think the design would have been improved if the sprinkles were smaller – or the font was larger. Perhaps using a different medium to do this would save me the frustrating act of colouring, cutting and sticking each sprinkle individually, especially if they were much smaller.
Thin
Not only are the line-widths extremely slim, the font also looks 3-dimensional; like a thin sheet of paper. Perhaps the design would have been improved if I had developed this concept further. Instead of thin black lines, the edges could have looked like shadows. I could have also added subtle shading to each letter. Admittedly, this design could have been drawn by hand quite easily, using high levels of precision and accuracy.
Fast
I think this design is successful, especially from a distance. The warped effect makes it appear as though the speed is increasing. I like how the lines within the photograph somewhat match the shape of the word. The typeface is rather complicated; something that was intimidating to draw by hand. Especially as I wanted to create a paper-cut using my chosen image. I think in this instance, it’s probably best to use digital methods! Otherwise, a simplified font would have worked best.
Slow
This design is one of my least favoured; it feels very dull, and the patterns don’t translate very well. I cut each letter from print-outs of Fig. 16. Snail Shell, using a laser printer to print the images. As I was cutting and bending the paper, the print was tearing and cracking; losing its quality. I suppose this may be an interesting effect to use in different instances. The typeface is far too small to see the swirling snail shell patterns clearly. Perhaps I should have gone in a different direction. If I had developed the road sign idea further, I could have added white letters over a bright orange background, layering an iridescent texture over the two colours to imitate their glow-in-the-dark quality.
Fun
I enjoyed creating an outline of the letters using a craft knife; initially, I thought this could be quite challenging, but it was easier than I thought and produces a very satisfying result. I used holographic pink wrapping paper and orange tissue paper; the dazzling finish and bright colours are perfect for this word. I think the piece may have been more successful if the layers were separated more. Perhaps adding an additional layer would have been effective: reading ‘fun fun fun,’ as if someone is shouting in excitement.
Boring
Every time I catch a glimpse of this design, I think “that is just so boring…” which, I suppose, is perfect! Boring materials and boring media to embody the word itself. I added texture using several techniques: scrunching, ripping and splattering. I also scribbled over the crinkled page with charcoal, emphasising the texture further. I think the rough surfaces and repeated words give the impression that a student has scribbled, doodled and fidgeted to pass the time. Developing this idea further, I could have added equations, diagrams or additional doodles in pencil. I could have ripped the edges in a way that feels more natural; less calculated and tidy.
Calm
I layered iridescent ribbon over lilac tissue paper, mimicking the shimmering effect of water. I think this design is successful; to me, lilac is a very calming, tranquil colour. It reminds me of lavender fields, or the pastel blooms of spring. The iridescent element feels quite heavenly and ethereal. The ‘wrinkled’ reflection took a while to cut out and is perhaps more jagged than I would have liked.
When creating my second ‘calm’ design, I hand-drew the word using a fine gold pen. Warm colours such as gold feel very cozy, reminiscent of a golden sunset beaming through the curtains at 6:00am, or an inviting fire at the height of winter. The flowing lines represent the feeling of being free; having no worries or concerns. The font would be improved if the lines were smoother; perhaps if I had used a calligraphy pen.
Mad
This is one of my most favourable designs. The colours are incredibly moody, dark and powerful. The repetition symbolises arguing and shouting; back and forth voices, echoing off the walls. The slender, outlined layers act as a cage, enveloping the ‘solid’ word inside their bars; the idea of being controlled by angry emotions. The three layers move in a clockwise direction. Perhaps this could reference a spirraling mental state: thoughts going round in circles. The design feels quite confusing and uncomfortable, much like the emotion. To create the sandwiched, middle word, I layered a battered plastic bag over a sheet of adhesive paper, previously sprayed black. I enjoy the texture this has created: battered and aged.
Final Thoughts
I enjoyed this exercise. It was interesting to consider in such detail how font choices, colours and textures can symbolise the meaning of the text. The activity allowed me to practise many techniques and methods; I think my hand-drawn fonts could benefit from additional practice. I often used fonts that I found online. The internet is a great tool to find particular fonts, though you have to note the terms of use. Many of my chosen fonts were either ‘100% free,’ or ‘free for personal use.’ Other fonts on the site require you to pay or ask for a donation. If I were to use downloaded fonts for commercial reasons, I would have to pay great attention to the requirements set by the creators.
Sources
- Fig. 1. Dark MaxX. (2011). Small Pixel. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 2. Shin, G. (2012). Doughnut Monster. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 3. Imagex. (2018). Lethal Slime. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 4. GemFonts. (2005). Tall Films Fine. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 5. Aradea, T. (2019). Summer Cherry. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 6. Chequered Ink. (2016). Go Faster. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 7. Imagex. (2015) ExtraBlur Regular. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 8. xJoseee ♥. (2013). Wobbly. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 9. Gaelleing. (2013). Funny. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 10. Slevin, M. (2009). Scribble. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 11. Simpson, S. (2012). Mermaid. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 12. Wep. (2019). A Auto Signature. [Font]. Available at: URL (Accessed 6 Aug. 2019)
- Fig. 13. jboaden3. (2008) Under the Microscope. [Image]. Available at: URL (Accessed 7 Aug. 2019)
- Fig. 14. Pao, M. (2008). Plant Cells: Leaf. [Image]. Available at: URL (Accessed 7 Aug. 2019)
- Fig. 15. nose.bleed. (2016) Light speed. [Image]. Available at: URL [Accessed 8 Aug. 2019].
- Fig. 16. dobromir.dimitrov (2016) Snail Shell. [Image]. Available at: URL (Accessed 7 Aug. 2019)
Marianne Williams 