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@sseneriz
I genuinely appreciate it when designers/artists are able to create a word from the actual thing the word is. In this case, the artist created the word, “Jam” with physical Jam. I also appreciate the phrase. As a whole though, once more, there is even contrast due to the mixed typefaces of sans-serif and decorative. It also looks nice with the “my” being squeezed in on top of the “am” and next to the”J.”
Photo One: This is Tropical Smoothie Cafe’s to-go bags. I appreciate how the type design is laid out (both logo and the little excess description). I believe this piece works (from a typographical view) due to the continuity of the bold, sans-serif typeface; the evenly distributed typeface variation shown in the logo (a “loud” script typeface and a “neutral” bold geometric sans serif typeface). I also appreciate the designers attempt to make the logo in the type more unified by having, “Tropical Smoothie”wrapped around the “Cafe.” I feel they made a smart move keeping the proximity of everything close together.
Photo Two: This a Pizzeria logo... yes, this is suppose to be a logo. It’s hideous. I understand the designer was probably trying to accomplish the whole “mix and match” typographical trend that the first example was able to achieve, but...they weren't successful! Reason one: poor choice in typefaces. Reason two: awkward leading.. Also I don’t really think the pizza exclamation point is helping with anything either. I feel if they really wanted to pursue the “mix and match” typeface trend, then they should go with a san serif typeface instead of serif. By them keeping the serif typeface along with the script typeface, it clashes. There’s no contrast. Along with that change, they could have made “Andiamo” smaller (scale wise) than “Pizzeria,” and maybe have “Andiamo” sit on top of Pizzeria to get rid of that awkward space. Maybe that’s not the answer but they definitely should adjust the leading.
Photo Three: This typographical beauty is a phone charger case that my father recently purchased. I am absolutely in love with this kind of typographical style. Meaning the whole use of geometric sans-serifs that nowadays, seem to convey a new modern kind of look. Usually, we tend to see this look used often for electronic goods, such as Apple products <3. I love it because it’s simple, to the point but still grabs your eye (even with the unique, vertical placement). The designer was sensitive to the fact of making the brand pop out, but they did it subtly by making it bolder than “mophie” or “ plus.”
Photo Four: This is the Crazy Crepe Cafe logo.. brilliant place for some brilliant grub, but they do not have a logo to fit their brilliance. I honestly feel that, “it’s alriiight...,” meaning, it’s too generic, too safe. I’m not too fond of the typeface choices in general (esp. for “crazy”) so maybe they can choose something neutral but then mess around with the colors to convey “crazy.” Also by really looking at it now, the leading and tracking is too tight.. maybe loosen that up. I also believe they should play with the scale of “cafe” so it’s not too teeny tiny and that needs to rely on a swash to give the logo balance.
Nowadays many designers and consumers are bombarded with Typo-graphics: optical illusions, volumes, multi-layers, graphic vibrations. With their intricate designs, they may confuse the eye at first but they create interesting, grasping visuals. This can be used to fonts or even create logos, or rather logotypes. Due to its unique, yet somewhat structured quality.
This week I will be focusing on the importance of kerning in Typography. Kerning is the adjustment of space between characters (or letters). The importance of kerning is this: if the letters are too close it becomes hard to read for the viewer and if it’s too far apart...than it becomes too awkward to read. And as brought out in creative market, “it can be frustrating for someone to read without fully understanding what’s wrong.” The key to successful kerning is be proportional with spacing between the characters and to take into consideration any serifs or any stylistic flourishes that may need tending to.. The picture above shows an example of the difference to what a phrase looks like before tweaking around with the kerning and AFTER it is fixed with kerning.
Decorative type (and display fonts) were really popular in the 19th century and were seen heavily in ads of various forms (i.e. posters). Jennifer Farley, The Decorative Typeface
Nowadays, designers have fenced opinion when it comes to decorative type.... they either find it atrociously cheap, or find it brilliantly creative! I personally find it brilliant if used properly. Like the above picture here! The designer did not overuse it.. it was tastefully scaled and placed. The article in which the piece was found in, words it beautifully that,”Designs like this demonstrate that even the most unusual of typefaces have a place in web design.” Patrick McNeil, 5 Striking Trends in Web Typography
Slab Serif, which is also known as Mecanes, Square Serif, Egyptian, or Mechanical; was brought into this world in the 1800′s. ilovetypography.com Slab Serif was most likely inspired by the new “demand” for adverting, that’s why the characters are able to almost command the viewer’s attention. They are huge and they would easily be able to sit well into anywhere! Whether it be in billboards, pamphlets and so on and so forth.
I’ve always had a soft spot for this kind of typographical design. It wasn’t until recently I finally discovered the name of it, “Letterpress-Style Typography,” or to be more specific, “Lock-Up Typography.” I decided to post two different images to show how the “Lock-Up” look well, looks in both a hand-drawn and digital piece. The reason why I absolutely adore this style is because it’s chaotically organized. Reason being is because your eye is never bored due to all the different fonts; treatments done to the fonts (ex. different point size) and all the graphic ornaments and such added in (ex. banners). And the fact that your eyes are neither tired due to the grid organization of the type.
In fact the proper definition for Lock-Up (typography) is, “a retro design style in which the text is fit into one centered and justified column, inside which all different point sizes and fonts are mixed-and-matched, creating an effect like a poster designed on an old-school letterpress.” Mark Simonson Studio, Typography Trends to Try in 2015
Usually (professionally away), there’s a special call for this kind of design. For example, maybe in a Starbucks you’ll see their specials on a chalkboard advertised in this kind of style; perhaps in a diner’s menu; or maybe you’ll find this style on just a general poster. Regardless, for designers who want to use this style and make it work, you must be on top strict with your grid (keep everything in) and not too generous with your spacing (or else it comes off to immature).
Photos found on Pinterest and Creative market.
For more information on, “Lock-up (Typography)” check out this website: http://www.howdesign.com/design-creativity/design-inspiration/trends-in-typography-the-lockup-look/
This week I’m going to be focusing on Handwritten Fonts. This photo was found on creativemarket.com. What makes Handwritten fonts unique is said in the name, it mimics someone’s handwriting, not only that, but it’s flexible on how “messy” you want to get it be. It can go as the article brings out, you can go from “Chicken Scratch to Calligraphy. It all depends on the mood you want to convey,” or even how you want your company to be represented by. Those who do use Handwritten Fonts (for their business like a logo or something) usually do so to reflect the business’s artistic individuality. I think that’s pretty neat, and I completely agree with the article when it suggest you can even use your own handwriting to make it more personal. The article even gave a site where you can create your own font made from your own handwriting found on: http://www.myscriptfont.com .
Handwritten fonts are useful in today, in a world of self expression and personalization---which is usually expressed with the constant and various uses of social media. I don’t believe Handwritten fonts while tire out any time soon.
This week I chose to focus on the Mix and Match Typefaces found on this poster (which is found on fromupnorth --a graphic design inspiration gallery. As explained on this creative market’s blog, “Combining a bunch of different fonts that go well together can create an artistic, handcrafted but still polished and purposeful look on a site.” I agree with this because just like this piece above, yes, it’s mixed but hey, the designer proved to be successful in contrast because of this mix. The designer is able to convey contrast by choosing three different font styles ( sans serif, serif and decorative), the decorative bold font demands attention but its logical because it not only makes up the sentence but it also gives a general “statement” of what the whole piece is about (satellites and astronauts).The top portion is able to work due to the smaller scale of the sentences and lightweight of the sans serif (so that the bottom portion “Satellites and Astronauts” are not competing).
This week I’ll put the spotlight on this beauty.. Tom Carnase’s cover design for the book, The Fascinating History of Beards Through the Ages, or rather, the spotlight on the typographical treatment he did on the term “BEARDS.”What Mr. Carnase did is an example of visual language (in the world of graphic design), “refers to the character and significance created by carefully selected typography.” C. Knight, J. Glaser When Typography Speaks Louder Than Words
Some may view that making images out of type may appear childish, but Mr. Glaser puts it beautifully that, “Clever graphic designers love to use typography to explore the interactions between the look of type and what type actually says.” Which is what Mr. Carnase successfully executed with the word, “BEARDS.” I’m not certain if he used a pre-made display typeface or he generated one himself, but regardless, he used this display typeface to his advantage. Reason being is usually one equates beards to be full and curly-like, so he was wise in his typeface choice because this is bold (a lot of volume) and this typeface’s Finials are have a “swash” feel to them (curliness of beard). I’d also like to point out that Mr. Carnase had all the characters tightly kerned that the “e” is overlapping the “a,” but it is not a distraction because it helps to develop the visual language of making the word “beards” look like a curly, majestic beard.
Photo of Carnase’s piece was found on Pinterest
This week I chose to immerse myself more with “Logotypes.” The piece above is an example of that. The reason why I adore this typographical piece is because it is what it says and says what it is (and all through the art of typographical design)! The close placement, or tight kerning of the number “1″ and “3″ is so deliciously clever! Clever in the sense, that it not only looks like the character “B”, but also the number, “13”, which is what is typed below the logo. I also appreciate how the phrase below is leaded closely together as well, since it causes the piece to be neatly compact and easily readable. I’ve come to see that logotypes that use bold and usually san-serif typefaces tend to create fantastic logotypes versus those that use thin serif typefaces. Well, that and the tight kerning and leading, so everything becomes more readable.
I also found cool sites that provides more logo inspiration for designers: http://www.logogala.com and http://www.logomoose.com