Typeface Mixing: Mixing typefaces can be successful at times, but unsuccessful at times as well.
Kerning: Some companies are very successful in the way the name looks.
Leading: In order to make text look pleasing to the eye there needs to be proper leading.
Marking Paragraphs: Successful type categories need to be broken up accordingly. In order to stray away from confusion.
Typeface Mixing. (mostly used in logos)
Kerning. adjusting the space in between the characters
Line Spacing (Leading), the space adjustment between two words
Marking Paragraphs
You can use indents and play with the heading, for example, to make your paragraphs more stylish.
One of the purest forms of typography: Lettering is the art of drawing letters to create a unique and customized typography image. This design challenges the creative artist to integrate imagination, typefaces and text by combining them into a fluid and very creative art. Creating this typographic art form grants the artist a great deal of “creative real estate” because it is done without the assistance of typical typography tools and it often requires diverse techniques to perform (free hand lettering, technical lettering and digital lettering.) Having the freedom to run and design typo by hand without any mold or pattern (paper or digitally) can be a very challenging task for any designer, but if done correctly, the artist can create amazing typography art.
For example: Nolen Strals’s Melt Banana
Another example: Sean McCabe
&
As you can see, lettering (Hand lettering) is a very creative and vibrant technique to design in this medium, it is also the basis for many digital typography art forms and typefaces. However, one (the designer) must be very talented in order to design quality and premium lettering art work.
I recommend checking out this web page of an awesome lettering artist: Sean Mcabe http://seanwes.com/category/lettering/
I love the work of Sean McCabe. He does a lot of hand lettered type that’s always beautiful. He used his knowledge of typography to create different typefaces for the quote, and It’s very successful.
This is a great example of leading. THere is so much information on these pages, but the speaking between lines makes it look readable. Nowhere on the page is there any dense type, the spacing makes it attractive.
This is bad kerning. Look how “available” just stands out because of the awful kerning. The real question is how nobody noticed this.
These paragraphs are marked with line breaks. The text holds form, and the paragraphs are clearly marked. It looks great and its beautifully laid out.
Who knew that a mixture of the traditional serif font Centennial and the Pop classic VAG Rounded would be combined together creating a whole new creature called Dead History. P. Scott Makela’s new typeface designed in 1990, was designed by manipulating the vectors of readymade fonts showing a strategy in contemporary art and music. By embracing the burden of history and precedent, this typeface has played a role in every typographic innovation.
This typeface has a mixture of serif and non serif which is appealing because one area of the font is thick while the other area of the font is thick. It is similar to Bodoni, however it is more bold and gives a twist in the shape and size of the typeface.
In your reading, you learned about:
pp. 54-55 Mixing Typefaces
pp. 102-105 Kerning and Tracking
pp. 108-111 Line Spacing (leading)
pp. 126-127 Marking Paragraphs
Find and post an example of each of the following. Please put them all in one post and label them in the post. Use the “add media” button in the menu right above you when you’re writing your blog post to add images.
Categorize your homework as Blog HW#3.
Monster fonts came during a time when new ideas were being explored. Around the 19th century industrialization took on a major role. Mass advertising became a new form of communication, which called for new designs and new typefaces. Instead of the classical typefaces, designers began to change the shapes and sizes to form more noticeable fonts.
Some ways that they did this were to expand, heighten, enlarge, shadow and flatten these typefaces. In order to print these enlarged typefaces the people had to resort to wood, which helped to create the decorations and textures to typography. Monster fonts created a way to form fonts in any way you wanted by just adjusting a serif to your liking or combining it with abstract art.
The movement of monster fonts grew with the rise of advertising in the 19th century. These large-scaled and bolded letters demanded immediate attention from potential consumers. They are sometimes known as “font on steroids” because they are very in-your-face. During this time of advertising, multiple different typefaces would be used to maximize the use of letters in the negative space. Many of these were bolded and enlarged, with strong strokes and/or serifs.
The avant garde typeface movement is more modern and abstract compared to monster fonts. This movement explores negative space and geometric lines of characters (e.g. ligatures), and is often labeled as an advanced, innovative, and creative type compared to others. They can seem very modern and sometimes even futuristic. Herb Lubalin designed the Avant Garde typeface in the 1970s, originally for a magazine logo (Avant Garde Magazine) and not as a commercial typeface. Especially for its time, this typeface was considered very different compared to what the public was used to–almost alien-like because there was nothing else quite like it.
The Gotham typeface is a digital typeface classified as a family of geometrically structured sans-serif’s and also consists of other variations (Gotham Rounded, Gotham Narrow, Gotham Condensed, and Gotham X-Narrow). They were designed in 2000 by an American designer named Tobias Frere-Jones. His motivation to create this typeface came from walking through Manhattan “block-by-block” searching for different source material. Gotham was inspired and came about as a form of architectural visual graphics that were designed to attract a particular type of audience during the mid-twentieth century and became very favored and used this way throughout New York City. It was enfranchised by the editors of GQ magazine to give the magazine a “masculine, new, and fresh look”.It has been seen in very distinguished places such as Barack Obama’s 2008 presidential campaign, at the Port Authority Bus Terminal, and The Freedom Tower at the World Trade Center location in 2004. I find this typeface to not only be not boring but beautiful besides the fact that it is used a lot in many different places.
Template Gothic is a typeface inspired bu letters drawn with a plastic stencil. Designed by Barry Deck in the 1990s during the time when digital design tools increased in popularity. Template Gothic describes the process that was once mechanical and manual. Barry Deck designed this typeface because of his desire to abandon the perfection of modernists letter-forms. The features of this typeface includes an irregular, tapering strokes, thickened junctions, inconsistent weight and lopsided rhythm combined in making this typeface unique.
This typeface shows Deck’s interest in type that is not perfect. It is a type that reflects the imperfection of the world and the imperfect beings inhabiting in this world. Deck said he “… was inspired to design a face that looked as if it had suffered the distorted ravages of photo-mechanical reproductions.” Also, this typeface embodies a post- modern narrative on the methods of character-generation it supersedes, and can withstand the most casual of designs. Template Gothic released by Emigre Fonts in the 1990s have since became an important milestone in the history of digital fonts.
