I found these glyphs as a part of the Davy’s font, and I was really drawn to the style of them when I saw it in an article. They definitely are described accurately as “quirky”, and they remind me of small tattoos you might find in a tattoo shop’s book of designs, which I find unique and interesting. The leaves on the top right row are very nice and simple, and I just love all of them together as a set with a cohesive look and feel.
The Typeface Anatomy and Glossary is an extremely extensive resource for all things relating to type terminology. It has an index where the user can jump to different letters on the list, and has definitions for a variety of terms. Unfortunately, it did previously have a FAQs page that answered font-related questions, but it no longer exists. Luckily, the glossary itself is still a pretty useful resource.
I felt that a nice, simple and bold sans serif font would pair really well with a light version as its subheading, and with a serif font for the body text. I believe when pairing two different fonts, it works the best when there is a high contrast between the two in style and weight.
While searching for examples of expressive type, I found an interview with a designer named Tina Smith. She talks about how she did a challenge where she created a typographic design everyday for 100 days based on a word or phrase.
I admire this style and I think it is really pleasing to the eye. The color palette is nice and simple and I enjoy how each one is creative in its own way, not just taking the words so literally. I like the “all in your head” one specifically because it can show how scattered and chaotic the inside of our minds tend to be.
I personally love this design for a table of contents, because it is easy to read while also having a beautiful and interesting look to it. I’m a sucker for minimalism, so the white space and the simplicity of mimicking the circle on the left onto the text is really unique and aesthetically pleasing to me.
I think this lyric video for “Look What You Made Me Do” is extremely well done. The animations are smooth and creative in the ways it incorporates the lyrics, and fits the “edgy” vibe she was going for with her new album. I also really like how well it moves with the song and drawings, because a lot of lyric music videos just have the type in one spot the whole time like a karaoke video.
Here is a flyer for this past year’s Firefly Music Festival I went to. The white text of the performers names are in stark contrast from the dark green background, putting the most emphasis on them. The dates are also important, but they are set back in yellow because someone will most likely decide when they want to go based on who is performing. This music festival has a decent amount of performers playing the whole weekend, so even though the performers’ names seem a little crammed, I think they did a good job at separating them enough and putting emphasis on the more popular performers with the glow and bigger font sizes.
Klim Type Foundry is an independent typeface design studio founded in 2005 by Kris Sowersby. Kris is based in Wellington, New Zealand and has designed custom fonts for clients such as PayPal and National Geographic. On their Fonts In Use page, it shows the numerous customers using their fonts. One of their custom fonts that really caught my eye, Hokotohu, was created for DNA Design to promote the Chatham Islands and the uniqueness of its culture.
This type specimen book for the font Brandon Grotesque was designed by Ioana Frigura. She explains the background of this font and how it was influenced by “the geometric-style sans serif faces that were popular during the 1920s and 30s”. This book caught my eye in particular because of the interesting visuals, energetic color and minimalistic design. I think she really captured the simple elegance of the font while incorporating nice touches of the time period that inspired it.
After using the website WhattheFont.com, I decided that Serlio LT by Adobe was the closest match to the font used on this cover of “The Shining” by Stephen King. The ‘K’ and ‘G’ had the most defining features to me for the word “King”. The K’s “leg” has that distinct curve at the end, but the G is what gives it away. The serif at the top of the G is thick at the top and thins at the bottom, while also being a bit crooked. The other serif also has a slight dip in the middle. When I compared it to “Stephen” the details matched up identically as well.
Typography Fall 19 