Brooke Garner

This is a postcard from the 1960's of Elmer's Pancake and Steak House located in Portland, Oregon. It is a unique dining spot that provides a Colonial atmosphere and courteous service that is especially popular for tourists. On the postcard, the typefaces Mandate and Brush Script are used which I feel is appropriate because Brush Script was very successful and popular at the time. The picture cropping of the postcard allows the viewer to see the restaurants advertising logo billboard, so I feel it is important that the type for the logo and text on the postcard flow nicely together. Although Brush Script was named #3 in "least favorite" nomination in 2007, I believe it can be a nice solution for an appropriate subject depending on the time and usage. For the future I need to be sure I am aware of my subject and appropriately consider the logo and typeface that might be already used.

robert johnson 4-14

For this weeks post I have selected a simple pictogram of the word tsunami.
The s is curved and enlarged in such a way as to give the visual representation of a large wave crashing over the rest of the word. While there isnt a heirarchy per se, the large S definitely attracts your attention right up front allowing the clever use of the letter form to take highest priority. I enjoy this sort of type treatment as it incorporates pictures with letterforms to bring the point across. The font itself is a very simple sans serif form, which I believe to be univers or futura.

Good is invisible- Danika Birkes

Bad Type is every where, Good Type is invisible... This applies to all of us in this class, as us as students, we are learning about type and how to make an impact in our world. Here is a nice example of pairing type, a serif and a san serif, the colors allows for equal hierarchy with the shadow involved. Over all typography is an art skill to which all designers need to master.    

Blocks on blocks on blocks

I chose this particular type specimen because I appreciated the way the designer handled the negative space. This typeface was found in a magazine and the designer uses simple parallel lines of white with the middle line holding color. This 'bar' is then placed however needed to convey which letter is which. Notice on the "R' that the negative space between the legs aren't addressed; this is because the exterior shape of the letter and application of the white bars imply which letter it is. Notice the "O" and the "D". Very similar except the corners of the "O" are blunted round and only the right side of the "D" is.
      I usually don't gravitate towards thick, block type, however this particular example made me reconsider that. The geometric properties and negative space applications found in this typeface make me a better designer because it will force me to reconcile how I handle a letter's negative space. It may also inspire me to try to create different representations for that.

Cantara Ali: Week 11

This is the book jacket cover, designed by Peter Mendelsund, for the book Things We Didn't See Coming by Steven Amsterdam. The typeface is Baskerville, which is a transitional serif font. The book is a collection of short stories that follow the same post-apocalyptic timeline. Reviews have said that it is wonderfully subtle and humanistic science fiction. This makes the jacket cover so well designed. By "wrapping" the text around the spine to simulate the future gaining on the present without the present's knowledge, the cover artfully conveys the nature of the book. This is not a book that has aliens dropping out of the sky, but neither is it unexciting. This is what good type design is. Something that is so simple, yet still conveys so much meaning is an inspiration to me going forward in this program.