A place to look at and discuss typographic samples drawn from a variety of places
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We looked inside some of the posts by stjnelson-blog and here's what we found interesting.
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What I like so much about the text on this sign is the style of the “Alaska”. The letters feel like the came from a quill pen, scrolled across the signboard. The A starts off strong, a mountain next to the thinner letters on its right. The l and k reflect each other, both pointing right to outline of the state itself. In fact, the whole latter half of word leans toward Alaska as the A points to it with the swoop at its center, making this design stylish and deceptively simple in its layout, yet full of intention.
What resonates with me is how the style of Alaska reflects how the state wants to be represented. The scrolling script gives it a sense of age compounded by the choice of setting it on a wooden board, reflecting Alaska’s large expanses of areas that remain relatively untouched. It provides that sense of the outdoors, giving the welcome it was meant to be to anyone who drives by.
https://www.cntraveler.com/galleries/2014-07-24/state-signs-of-america
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What I appreciate about this image is how the text works with the grim sense of this poster. The text lacks ornamentation and is as stark and blank as the ground in the image. It conveys its information, but does it in a way completely in keeping with its content.
What resonates with me is how by itself, this text is just a plain sans serif but in this poster, it make me think of a horror movie. That might be the empty cabin in the background, but this text has taken on a life all its own, taken in by the grimness of the image behind it. There’s simply no avoiding that sinking sense of something gone wrong, and the whole seriousness of the matter.
https://environmentalhumanities.yale.edu/news/landscape-and-memory-spring-lecture-series
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Variety, a magazine that offers all information on the business of the entertainment district to the world of media, has been around since 1905. It is a newspaper, but the content of its topics ended in a logo that looks rather like a newspaper logo but is not quite the usual type you might see. The V stands out with its swoop, leading your eye through but what I like best about it is how the letters work together. They lean gently, the A supports the V, and the R provides a contrast as well as reflecting the ribbon-like appearance of the V. It all ties back together.
What resonates with me is how this font gives me two feeling at once. It feels like an old newspaper. Big, bold, and clear, but the sharp serifs of the A and IETY, contrast with the softness of the R and V, to provide a sense that this magazine is informational, but I also can feel that it is much more than that. It’s something dramatic too.
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The baskin robbins logo is recognizable worldwide, but what I l like most about it are the colors and the letterforms. Everything comes together to create a quirky adn friendly whole, inviting the customer in. Nothing is lined up, but moves around, and the colors make me think of cotton candy. What I like best though is how the quirkiness of the letters was used to create that “31″ out of the B and R.
How it resonates with me in in its playful nature. It feels like an older logo, something out of the 90′s, keeping far from more simple logos used today. It’s a little bit of the old, still hanging on just because it works so well to convey this sense of a place that sells sweet things. Between the cotton candy colors and the fun shape of the letters, you know it’s a place that offers a sweet experience.
https://en.wikipedia.org/wiki/Baskin-Robbins
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What I like so much about this font is its craziness. The name of it is Girls are Weird which seems a fitting title for such an irregular and fun font style, and though it is irregular, it holds together as a recognizable font family with repeated elements like the descenders on the y’s and g’s.
What resonated with me is this font looks like a font you would find on the face of a children’s book about a fairy tale with fairy godmothers and scary creatures. It feels magical in that way. The font invites a sense of fun loopiness that will never take itself too seriously but just serious enough that you know it has a story to tell.
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My focus here is on the titular text of this book cover and what I like so much about it is the use of the lines to create a sense of the text coming off of the page, reflecting this idea of an archaic style. On a classic, and particularly on this one where the 80 is almost always emphasized, its a fitting style to have.
What resonates with me most is this sense that it is a classic and it reminds me of all the classics I had to read back in high school. Yet, it’s fun in a way. The big eighty pronounces that this is a big deal, and this is a story about something daring and great.
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This poster, done by A.M. Cassandre in the 1920′s, comes out of the Art Deco movement, an art and design style all about the sleek and industrial. It would take from the natural world, and shape it into something geometric and not even the font style of this poster escaped that shaping. What I like most about it is the arrangement of the poster. The text reflects the shoulder’s of the man at the bottom, while his head serves as a column and connection between top and bottom, yet the text remains the dominant force. The color, size, and sharp edges call all the attention to, creating a focus point.
What resonates with me about this poster is how simple it is, but so well-arranged as well. It makes you want to look, and when I look at it, I immediately start thinking of the 1920′s and how it shaped even something as small as the text of the poster. What is popular and what is necessary at any point in history shape the text of the time period since text is both art and necessity. Art deco is a great example of that for even the font has become sharp, geometric, and possesses a machine-like quality. It feels sophisticated, clean, and perhaps, just a little, pretentious.
https://retrographik.com/a-m-cassandre-art-deco-poster-artist/
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I saw that movie back when I young and thought it was strange. That may be part of what I appreciate about this text. It is very 1980′sh. The movie came out in 1982 and techno was all the rage, and the text is just that. Incredible geometric, everything perfectly aligned, and the colors are rich and dramatic. I love how the fill of the text matches the poster, and the red outline with white highlights sets it off nicely, providing depth and the plastic feel one might get from handling an arcade game.
The artificiality of the text reflects the movie in many ways. The main character finds himself stuck in a computer and here on the poster, a san-serif typeface fits right into that theme. It’s geometric, simple, and mathematically inclined. All perfect for a move about a man stuck in a computer. What resonated with me was how in just even seeing the text, the font style says that it belongs on this poster. It belongs in the 1980′s being typed up on an old computer screen where technology is new and full of possibility but also clunky and hard.
https://www.movieposter.com/poster/MPW-33798/Tron.html
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Magazine cover type comes in all shapes and sizes but what I like about this font is how accessible it is and how ubiquitous. It’s the kind of font you see anywhere, but done in such a way that it is simple and inviting. The type is all lowercase, and the font has little to no sharp edges, making it more appealing to parents since it feels more friendly, rather than bold or cutting.
What resonated with me is the style of type. You can find it most anywhere, say on a remote controller or advertisement, and that familiarity makes it really appealing. It even makes me think back to older magazines that I read growing up with similar styles of type. Some things just work and when they work, they get used over and over again.
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The logo for Cracker Barrel is a weird one, but I kind of like that about it. The coloring is earthy, but what’s really weird is the type. It’s big and formed of curves and pointed ends all held together by a single swoop around the edge. Altogether, the bold yet loose typeface has a warm undertone. It invites you in and promises homey goodness. What I resonate with in this logo is that sense of invitation. The letters are not quite the same, irregular in places, like something homemade, rather than something that rolled off the line. I think it is that irregularity in the letters which provides that strong sense of open welcome. It’s not perfect, it says, it’s real.
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There are two types of font in this add. One font with serifs, the little tabs on the feet of the letters, and one without. Sometimes they clash, but this time they don’t. The color and the size of the letters balance them out, creating an add that is clear and pleasing to the eye. Not only is the text balanced but with the addition of images, it could have been jam-packed with info but everything has got just enough space to itself, that between them all, it actually works.
It is rather generic, or at least it reminds me of a campbell’s soup can, but what resonated with me was how generic it is. Something about its design has lasted for so long for this ad appeared around 1910. This style is familiar, and the familiar is a comfortable thing in an ever-changing world.
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The arrangement of the type on the poster caught my eye. The “western hoe” is undeniable in its power to make people look at it. It is a type of script font, but so bold and dramatic that its reference to the dream of the “west” carries through nicely. Then the other bodies of text are neatly organized, leading the reader with ease from one line to the next. It’s a successful poster.
I liked to watch Western movies growing up. The wild chases and dirty taverns-all of that is called to mind by one font. It is amazing how the color and style of one font can do that, let alone one on an old ad from the 1940′s.
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The waterloo logo caught my eye the first time I saw it. It is ornate, almost too much so, but I still love all the curls and the flourishes. A lot of logos now are pretty simple but this one keeps its artistic touch.
The logo resonated with me in that I looked at it and my first thought was of old style letters written out on browning parchment rather than being letters on a can. It has a weird sense of style, but it is a style that fits the name, and hearkens back to a time when printing letters was as difficult as carving out wood blocks and running through an entire procedure, just for the sake of one page. This font is a great reminder of the complicated history of type.
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It’s simple and direct. Why buy a Ford. It’s cheap that’s why. The font of the text at the top of the ad reflects the simple nature of having to deal with finances, but the font for Ford is immediately recognizable. It leaves no room for questions.
What resonated with me on this one is just how familiar the logo is. It has been almost a hundred years since this ad was released, but the font for the Ford logo, while it has had some changes, has remained largely the same. Done in a cursive style, it looks more human, trustworthy, and not something that just rolled off a mechanical line. That was one of the major selling points of the Ford company, and even now, they make sure to uphold that idea of producing good quality merchandise for the consumer.
https://auto.howstuffworks.com/1920-1929-ford-trucks1.html
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What is so interesting about this font is how it is used. It is the model name for a sensor activated paper towel dispenser, so high tech, clean, and shiny. Everything about the font works towards that end. The font is sharp, telling you how sharp it is, and the font is tilted, suggesting movement. Then, the swoop at the start of the word denotes that it is a paper dispenser, but also accentuates the tilt of the letters. Then there is the name itself. “Electra” might make someone think “electric” but since the name comes from Greece, the e’s are done in a style that references the letters of the Greek alphabet. Pretty much every single aspect of this model name has been thought through and considered.
It’s hard to make a logo that conveys a clear image and does it in the simplest of ways. What resonated with me here was how sleek the logo looks. That and how the letters are spaced. It’s a great reminder of how letter spacing can change the whole meaning of a word. A compacted electra with all the letters stuffed together would not like the letter were moving anywhere. They’d look more like a blob of letters than anything.
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After looking at some old movie posters, I figured I should look at some new and see what kinds of font looked interesting. This one is because it is as much a part of the poster as the image. The sharp edges suggest the idea of sharpness, and the opposing diagonals provide tension, supporting the theme of the poster.
What resonated was the strength of the message conveyed by the simplest lines and shapes used to compose the lettering. I had the immediate sense of suspense and looming danger. A good reminder of how sometimes the best message is the simplest one. No need to make it fancy.
http://tamsinallencreative.com/2012/01/kellerhouse-incs-fab-movie-posters/
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This is a piece of an old movie poster which caught my eye because of the range of colors, different types of text, and the 3-D style of text. Each part has a different role to play so it gets a different design, emphasizing some features and de-emphasizing others. it could look messy, but it does not feel that way. What made me so interested in it was how in today’s world, designers are streamlining logos and titles, making them as simple as possible. Design has come a long way since this movie was produced back in 1938.
What resonated with me was how jaunty this style is in comparison to the simplified designs of today. We have come a long way, and I find myself wondering when I look at the old posters how we got from “the adventures of Robin Hood” to the movie posters of today.
https://news.wjct.org/post/travel-back-time-hollywood-s-golden-era-through-movie-posters-norton
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