Kara Albe

I can't say enough about how much I love Whataburger's branding. I've probably spent enough money there to buy a car, but I have no regrets. These crunchy french fries are on sale at HEB alongside all of their signature sauces, all displaying that classic orange and white pinstripe. They manage to make 6+ different fonts work on this one recognizable package. HEB has its logo with its wonky letters, uses its usual Gotham for the "extra crunchy," Whataburger's wordmark and script, a tall sans serif and another nice shorter sans serif for secondary information. This whole package is quintessentially Texan. From a distance it's obviously HEB and obviously Whataburger. All of the information is presented clearly and concisely, no fuss and no nonsense. The green accent color indicates jalapeño, and altogether it's very classic and readable. Perfect for a grocery store audience. It's a life goal of mine to create a brand so recognizable. I also want to know the name of that script and want to be able to use many typefaces cohesively as they have done.

Bria Crain: Week 13

I found this week's example of type on Fonts in Use. These images are of a way-finding system for The Queen's House, an important architectural building in Britain. It used to be a royal residence, but is now a museum. The typography shown is used to help visitors navigate the building, as well as to inform them about its history. The type is set in Pitch, a typewriter/slab serif, and Founder's Grotesk, which is a Grotesque sans serif font. It works well for a number of reasons. The type is loosely tracked and elegant, which fits the feel of a royal house nicely. It also has a nice, easy to read hierarchy with main information large and set in Pitch and all additional, less important information set in Founder's Grotesk at a smaller size. I really like this typeface combination, and will probably use it in my work at some point going forward.

So for this final installment I chose a tongue in cheek book about end of the world survivalism. It has a plain san serif font with the title dominating the heirarchy. Below is an unordered list of possible doomsday scenarios that the book shows us how to survive.
This plain font doesnt really seem to do much for the book, and quite frankly I dont care for it. Truth be told I picked it mainly because I was hoping I could call out a bad font choice by this point.

Miguel Ramirez - Pencil Logo

This is a rather simple logo design that I found while browsing through the website Logopond. It was created by an freelance graphic designer named Reghardt Grobbelaar. What caught my attention was the way the triangle positioned below the i and l implies the shape of the pencil without being too distracting from the type itself.

Brooke Garner

This is my friend’s SketchUp book, by Lydia Cline, intended as a resourceful tool for architects. It serves as an introductory for interior design students who are seeking to learn how to use SketchUp software (to create space plans, model furniture, accessories and experiment with materials). Helvetica is used for the cover and subheads throughout the book, and the body text is a serif and appears to be Times New Roman. These fonts are easy to read and used to keep the main focus clear on explanations and helpful illustrations. I believe the designers chose to use simple font solutions, because the visual entertainment is provided from the images and the type is used strictly to inform the reader. The layout of the book is easy to follow and the hierarchy of the type, size and placement, is clear for the viewer. In the future, if I am creating a design for directional purposes, I will choose typefaces appropriately, making sure that the readability of the text is easy for the audience.

Danika Birkes_hang in there

We are near the end of the typography 2 journey and as the final days count down never give up, keep creating and take on the world! Alright, there is my pep-talk, Here we have a nice san serif paired with hand lettering script, done in a #0.2 pen. Designed to motivate and give those who falter a last burst of drive, I thought of all of us as we drive closer to the end of the semester the importance of not giving up, but still fighting for every little point to add to our letter grades. 

Back to the start, this san serif reminded me of the first project in our first design class wayyyy back with Mark Todd(or who ever you had), the negative space project. It is always important for us as designers to never forget the building blocks while we strive to invent something never seen before. So here I feel this type speaks to us, helping us keep whats important in sight, while still reaching for the sky. 

What lies beneath

This week's type specimen is via a restaurant in Mission Beach, California. Although I didn't eat here, I was immediately drawn to this typeface: sans serif, light stoke, tall cap height contrasted with a narrow character width. I enjoy the curvilinear qualities found in the stem & the bowl of the "R". I think this typeface is successful in creating a modern and sophisticated presence; a theme which is very obvious from looking into the restaurant.
      This typeface aids my design skills through it's method of how discriminating typeface selection can convey the underlying theme of what have you. One's choice of typeface conveys a louder message than maybe initially thought. There is depth and meaning to be found.