Stairway to Heaven | Andrea Johnson

This illustration of the song "Stairway to Heaven" by Led Zeppelin was done by Nour Tohme.

The type used here is a sans-serif.

This is an illustration of a song; it's part of a serious of two other visualized songs. 

This visualization of Stairway to Heaven is really great. It's very well done and it really helps communicate what the song is about. The style is also parallel to Led Zeppelin's style.

I really appreciate what Tohme has done here. I feel like illustrating an image created with words in a song is a pretty ballsy thing to do. Especially because of how old the song is. Now every time I hear the song, I'll visualize this. This inspires me to think of things dimensionally; when I hear things that I like, whether it be a song, or a book, it would be a good idea to illustrate it, or draw it out just to strengthen those skills. And adding the type to the images makes it a tribute. 

Russian Constructivism

Classification: This font, done during the period of Russian Constructivism, is the grandfather of "modernized" sans-serif type faces. This is where it all began for the intuitive, modern-feel typography.

Object/Audience: This is the cover page for "Good!" by Vladimir Mayyakovsky. It was designed by El Lissitzky and completed in Moscow in 1927. The targeted audience was Russian citizens. So begins propaganda in the form of constructivist Russia.

Font/Layout: Constructivism was used as a break from "art for art's sake" in the early 20th century. The font was developed during this architectural movement and was designed to capture the social attention of Russians and to communicate a (social) message. Therefore the type is very simple, legible, and not clouded with imagery.

Influence: This example will forever influence my work and everyone's work around me. Without this movement, our idea of a sans-serif may be completely different. The way we communicate with simplicity would have been discovered in a different way, or maybe not at all. Now-a-days, type is able to stand alone if used correctly, and I would attribute this design element to the Russians early last century.

Field Notes - Sam Popham

Source: Picked it up from when I got to hear Aaron Draplin speak.
Object Description: A small blue memo book with graphing paper inside. It's neat and small and simple.
Typeface Description: Bold sans serif for the title and smaller sans serif for the rest of the type. There is only one instance of the font being italicized. The inside has some silly 'practical applications' with the same font but smaller size.
How does it enhance message? The neatness/simpleness of the book is enhanced by the clean sans serif. It's all kerned and leaded to make a very uniform, simple cover. 
How will it influence me? It will remind me that simplest designs are very practical especially for such a simple product. It is very uniform and symmetrical and approachable. 

MADE Quarterly | Caitlin Landingham

MADE Quarterly is a publication that "documents the workings of the modern maker".

It explores artists in different facets such as industrial design, architecture, fashion, interior design, photography and the culinary world. 

The beautiful sans-serif Apercu, is used brilliantly throughout each issue. It's very popular in the design community. I love this typeface and really want to use it in my exhibition catalog. Apercu was created by the Colophon Foundry based out of London. So great. Wow.

PRINSENSLUIS:Amsterdam Signage | Caitlin Landingham

Prinsensluis Bridge

This is beautiful typeface my good friend found while visiting Amsterdam. It's a street sign of the name of the bridge above the canal shown in a heavy sans-serif. I enjoy this type and how successful it was in environmental design. It's easy to read, it's white, and it has been around for quite a while. 

The Boston Globe Fresh on Today's Design Market

Classification: I am focusing on the 25th Anniversary font as well as the "logotype" of the "25." The type is a Sans-Serif font, and the type "Anniversary Issue" is a medium condensed version of the font.

Object/Audience: The object was to create an inciting 25th Anniversary edition cover for the people who subscribe to/read the Boston Globe. They wanted to illustrate a modernized type, seen clearly through the stainless steel overlays, as well as the 3-Dimensional typography.

Message: The simply type chosen not necessarily enhances the communicated message, but it's what they've done with it that makes the message so strong. With the use of the stainless steel/3D typography it is known just by the cover they have been around for a long time and have adapted to not only the times but design standards as we know them.

Influence: Not only is this a great technically sound showing of typography, but it is also an extremely creative design pairing the "2" & "5." This pushes the boundaries of design nowadays, which I think is necessary. There's enough tools out there to where nearly anyone can try there shot at design and being a "designer." This shows creativity and function as it is done in 3D. This is extremely beneficial as well as fresh for the designers of today. It is a quality break from transparent design to something all us designers can appreciate.

Classification: The logo is with a sans serif. the writing under is a loose script.

Object/Audience: the type is used as the logo. It works. 
Their audience at that time is a more younger crowd, with the vibrant colors and the fun use of type. 

Communication: The packaging changes in color with the type it is but the main type always stays the same. Its fun. It could be the worst food ever but the type and packaging would make me purchase it. 

Influence: Its influencing because it shows you that its okay to play with type and packaging and colors. This packaging wouldnt be the norm for stew or curry but its very pretty