Response to Research

Hand drawn responses for the research gathered into the sublime 

Experimenting with line and shape that are present in Julien Breton's work. Looking into weight of line, the relationship between straight and curved, as well as the overall mood emitted from the calligraphy. 

Using the shapes present from the experiments above, I joined some together and flipped others around in order to pick out the relevant letters to spell sublime. Here I was able to gather an understanding of how letters can be manipulated in ways that still allow them to be recognisable, and also gain idea to how I could create my font in a style of spirituality (Breton's reference). 

Gothic sublime:

Looking into gothic fonts and styles that resemble 18th century England. Using Bodoni, the font I chose for my typeface, I gradually manipulated the letters by adding curves and lines, extending serifs and cutting out parts that join, in order to create this flowing gothic font. 

Further research and experimentation, investigating gothic sublime evidenced in history, particularly through typography:

In order to create a Bodoni styled authentic gothic font, I looked into existing styles and tried to pick out relevant ones that could be applied in a constant and applicable way to an entire appropriate typeface.

Below shows my gothic sublime interpretation

A redrawn version of the uppercase letters I created from editing Bodoni, spelling my chosen word. The gothic feel is evident and recognisable, and the typeface is constant. It has a strong recognisable feature to the gothic font 

Article: http://hubpages.com/entertainment/The-Bradley-Nowell-Story-Sublime-and-Their-Reggae-Influences

When investigating more into 'gothic sublime' I cam across a more contemporary example of a kind of punk rock / gothic band named "SUBLIME" who use an interesting variation of fonts to represent their name. Below show their various album covers, some which explore the gothic type and others that steer away. The interesting variation exemplifies the various definitions of the word and styles it connotes. However, if we focus on the exploration of gothic type, we see a strong resemblance in the mixture of curved and straight lines. 

I wanted to steer clear of making it too bold as Bodoni is delicate and I wanted this to transpire within the new style. Nonetheless, experimental with the capital side of Bodoni and gothic literature presentations has allowed me to create a successful experiment as part of my type's development.