Type process

I don't know if you can see the gif move but it is showing the process work of design. 

Water

Source/Description: 
For Good 50×70, Candy and James Reeves designed this poster for the African Medical and Research Foundation. Typography is the sole element used to highlight some startling facts: only half of people in Africa have access to safe water, and water-borne diseases kill one child every three seconds. You can purchase a heavy stock print at various sizes. 2008.

Inspiration: I really appreciate the dynamic message that was expressed in this piece. The type was the main focus and it reminded me of our first project. Using type as imagery is an effective tool when used corectly. I would like to do more like this but the conceptual side of typography is another field that will take some work to master. Overall I appreciate this form of design and will continue to research this form to expand my type usage.

type

This is a poster I stumbled upon recently. I think this is a great example of how powerful typography can be. I'm sure you can name 90 percent of the brands used to create this poster. although the rest of the letters from that brand is not shown, the iconic nature of their typeface is easily recognizable.

Blog: window type

Source: internet

Description: Hand rendered typeface, on window glass

Inspiration: When I first came across this typeface I was in awe of the design of the hand rendered type. As far as communicating a message it is very difficult to read. I may not understand because it is in a different language, but if not it is still very difficult to read. I really enjoy the slab-serif feel with the elegant curves that are added to certain letters. As I progress in my design I will take the dynamic imagery that is created here and apply it to my style. The angle that the type is sitting on is very dynamic and effective. The upside diminishing effect was a nice touch as well.

Ladislav

I saw this article and thought I should share:

Named for one of the most innovative graphic and information designers of the 20th century,Ladislav embraces the legacy of its namesake without being derivative. By employing a systematic — but not dogmatic — approach, Tomáš Brousil creates a tribute toLadislav Sutnar that captures Sutnar’s ethos along with the idiosyncratic character of his design work.

Based on Sutnar’s incomplete type designs, Ladislav draws from the letterforms and numerals Sutnar created for Bronx house numbers in the late 1950s and, later, a wayfinding system for a Brooklyn primary school. Ladislav extends the principles of those partial alphabets into a full typeface, without mimicking any specific letterforms.

Sutnar is widely known for inventing the convention of including parentheses around area codes in U.S. phone numbers. Similarly, much of his other work employed systems to simplify complex information and processes. Ladislav follows a similar tack, using a modular system of simple shapes to create its lowercase alphabets and the rounds in uppercase forms. Ladislav eschews the purely geometric model in the uppercase alphabet, however, and favors optical adjustments to hardline pragmatism in general. The result is a simple typeface with the pleasant quirks of truly geometric models that still works as a harmonious and usable whole.

Composed of thirteen styles, including a left-leaning italic and an inline display face, Ladislav is extensive — with alternates, character support, and styles to address myriad design and language needs. However, its more geometric set of stylistic alternates gives Ladislav its true charm. By mixing perfectly round alternates with the regular character set, Ladislav creates the potential for varying and unexpected rhythms that add just the right of amount of asymmetry and unpredictability to the systematically structured typeface. (Pay special attention to thealternate lowercase ‘g’, which is a geometric approach to character design taken to its logical extremes.) It’s this balance between austerity and playfulness, symmetry and asymmetry, pragmatism and irrationality that makes Ladislav so enjoyable.

Ladislav is a wonderful tribute to an under-recognized graphic and information design pioneer. By balancing a systematic approach with subjective notions of balance and harmony, Brousil blends the two into something much more interesting than either on its own. As a result, he captures the spirit of Sutnar’s work, etching out new territory rather than just retreading the familiar.

Store sign

Source: Storefront sign

Description: This is a store hour sign that is poorly kerned and the two typefaces chosen do not work together. The outline on the typeface is very outdated. Iagree that the sign is conveying a message and serving its purpose, but from a design stand point this is not effective.

Inspiration: I am not an advocate for the design of this sign. The overly spaced letters are ineffective and do nothing for the overall design other than making the viewer work visually. This sign could have worked fine without the outline of the letters and the excessive kerning is unnecessary. The designer could have simply made the type larger in order to create the emphasis they were looking for. I understand there are times when excessive kerning is acceptable, but this is a poor example of it. As I progress in my design work I will look back to this example as something that will avoid in order to be a successful designer.

Blog Adidas

 

Source: My Closet

 

Description: This typography is a nice San-serif font that has a uniformed x-height and is kerned very well. 

 

Inspiration: This brand has a clean aesthetic look that makes it pleasing for the viewer. I appreciate the rounded counters used because it makes the letters stand out more as a logo than just typography. As I continue to grow as a designer I see me style being focused on a clean, simplistic palette with a focus on the basic shapes with an interesting grid. When I viewed this type I applauded the designer for being concerned with the overall look of the type and not just placing it and decorating it.

eggs.

This is packaging for eggs

This is a sans serif typeface with serif body copy.

This is a carton of eggs and it is very futuristic for its time.

The packaging is simple and the type is in good contrast of the package and color. 

This inspires me to think differently about packaging and type together. 

chocolate.

This is packaging for hot chocolate. 

This is a sans serif typeface that has been altered. 

This is a nicer chocolate so the audience is a group of people who have a little bit of money to spend, luxury. 

The hot chocolate packaging goes together very well. 

I really like the color palette in this packaging.

This is packaging for pasta

This is a sans serif and serif typeface.

This is the packaging for a pasta company and I think it works rather well. 

They are trying to have a little bit of fun with the packaging and the type compliments that very well. Its simple, fun, and elegant. 

This inspires me to use all assets of packaging and type

Classification: hand lettering

What: this is just a sticker on a bottle, but i's my favorite wake skate company and although their type is simple and elementary looking, it also represents their company and their view really well.

Analysis: If there was another typeface in place of the one that is there, i don't feel like the message would be heard. it is a small company that hand makes most of their boards and products, so this hand done typeface mirrors that perfectly. The break in the title AQUARIUM sort of makes it hard to read, but maybe separating the word AQUA was intentional. 

Influence: Using a messy hand done type is a risky move, it does look sloppy and it kinda looks like "you don't care" but when done in the right setting it really adds to the overall feel. 

Bed & Breakfast Signage | Caitlin Landingham

Here's some drop shadow text I found at a Bed&Breakfast my friends family owns in New Braunfels. Drop shadows are used in different ways To show dimension and to add emphasis and I'm drawn to the form a letter takes on as it becomes 3-dimensional. I used this technique in my exhibition catalog for that reason. I'm not sure of the typeface, but it's more than likely hand-painted.

type: i chose this image of a cooled mailing box because of the numerous different types on it, they are all san serif but each one has a very distanct characteristic , i find this entertaining because there are literally 7 different typefaces on one package, which in most cases completely goes against the rules. I think the abundance of type has to do with the necessity of reading everything on the package to ensure shipping and to make sure than the box has everyones logo displayed who is involved in shipping. Inspirationally its not much , however i do enjoy the utilitarian aspect of it. I can see myself utilizing this in a kind of package design , but definitely not in a "design" way.

Bad Typography

Classification: all

What: This is pretty funny. It's a collection of bad and funny overused type that someone posted on BAD TYPOGRAPHY.

Audience: This is for anyone who is ridiculously tired of overused and uninspired typography.

Analysis: This person found several typefaces that are overused for the same purposes over and over and effectively made fun of the people who use them. The type is crass and rude and pretty funny. The chose their phrases well to go with the usual functions of the typefaces they chose.

Influence: It's probably not a good idea to emulate this and insult almost everyone who ever tried to make a greeting card, but it is a good exercise to know what is trending and to be able to tell if it is a bad or good trend.

Mission Orange

Classification: San-serif

What: It's an old sign for Mission Orange I found on The Clog Almanac: Old Signs of Life in Idaho. I'm not sure what mission orange is, but I'm guessing this sign is a promotion for a drink. I'm not sure why their brand is a church, maybe they are a church based operation?

Audience: It seems to be for people who like this orange drink, and entices them to go into a store.

Analysis: The typography kind of fun. They used all capital letters, which works for the balance of the sign, and the type is conformed well to the shape. The color choices are bold and eye catching.

Influence: This is a pretty good example of a vintage advertisement, and at the very least it has a fun brand.

Tracy Emin

Classification: san-serif, hand rendered
What: Everyone I Ever Slept With 1963–1995 by Tracy Emin. Tracy created a type and theme for each of the people she has slept with and placed them all in a tent. The tent might signify that she slept with them in a tent(?) or just a place to sleep. The typography is haphazard and in some places almost unreadable, and it might demonstrate her feelings of the people or the experience with them. It looks like a lame high school science board you would see at the science fair, or a little girl's diary. The typography is a bit uninspired and childish, but she might have done that on purpose to contrast with the adult theme.

Audience: I don't really think people were meant to see this. I guess they might have but I'm not sure just who it is supposed to appeal to. It's kind of personal.

Influence: I don't think I will ever do a project like this one. It's a bit childish in an unattractive way and the subject is a little crude for my taste. Well, maybe not so much the subject but the way she executed it. Maybe this was meant to be a personal piece that was never supposed to be viewed.