Regarding my iteration experiment on the first week, I straightforwardly customised the typed letter ‘sad’ and ‘joy’ to make them more emotional by using the functions of Illustrator. For example, I applied distortion, twist or blur to express the metaphor of sadness with tears, disappointment, or lethargic feelings. However, it was not clear to observe whether these designs could contribute to showing them more emotion since the words already told their emotions.

Consequently, I continued my experiments to randomly put these effects on each letter from A to Z and numbers. Then I made general sentences to investigate whether the design truly could show sadness emotion. As a result, these sentences have some emotions. However, it shows not only just sad feelings but also other feelings like anger or confusion. This situation happens especially the meaning of words is positive and/or neutral. 

In addition, human emotions are also complex, and it seems to be connected to their personality. Therefore, I would like to explore the relations between existing typefaces, which still have their personalities, and human emotions as further projects. At the same time, I also put a single effect on all letters to make typefaces coherent and see the possibility of expressing one emotion more boldly.

Reference:

• Branding for industrial designer, Tej Chauhan by Mark Stuckert
• ‘Pentagram redesigns Virgin Money as a ‘playful, joyful’ brand’ / Creative Boom
• Experimental Alphabet Type Research by Afrika
• Slanted Magazine #40—Experimental Type
• Group Font sees 37 very different creatives contribute a letter / It’s nice that
• 2019 Communication Design Judge’s Choice: Typeface that Varies with Emotion / tdc
• emotional gamut / akshita chandra
• The Psychology of Fonts (Fonts That Evoke Emotion) / envato tuts+
• Emotion and language – When and how comes emotion into words? / Mario Braun