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Geordan Vest- Blog Post #5

1. This is found on the inside of a Texas State University Library Book.

2. The type is a very bold sans serif with an even line weight, set in all caps and colored a vivid red.

3. This type is intended to be eye catching, conveying its importance through its large size as well as severe contrast with the surrounding area.

4. This type achieves its goal effectively. It is immediately visible and eye catching while also being easy to read.

5. While simplistic in nature, I think examples such as these are important to look at as sometimes the best solution is the one that seems most obvious.

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Caroline LaFleur - Journal Entry #5

1.) This is a 1920s poster for a casino in Paris that I found on pintrest.

2.) This typeface is a bold, compact, all caps, san serif typeface. It is very similar to Flounder Black by Dominik Krotscheck.

3.) The 20′s was a time when everyone was always willing to go out and party. This was definitely meant to target that crazy crowd of people who loved to go out and have fun. It was probably more targeted towards men because of the drawing of the women, but the font really would grab anyones attention. 

4.) The hierarchy of the poster is affective in the way that it for grabs the readers attention with the name of the casino. The boldness and font size of the name grabs the attention of the reader and pulls them in to look closer at the details of the casino. 

5.) I’ve been very interested in 1920′s typographic design, because my exhibition catalog presents 1920′s menus. The layout and font choices of this poster allow me to get inspiration for typography for the cover of my book. I do like the layout of this typography, but think that it gets a little too condensed towards the additional information at the bottom of this poster. Other than that I like the hierarchy it creates and the bold lettering.  

[typerighters]

1. This was found on the street side taco truck, located in East Austin. The event promoted is a poolside mini concert, located at the San Jose Hotel on South Congress in Austin Texas. 

2. The display typeface seems to be using a half serif style type, while the body text seems to be a mix of sans-serif and the half serif type. Everything is in all caps. 

3. The audience targeted is anyone who might interested in grabbing a frozen drink on a hot summer day! The vibe is retro and almost psychedelic, so it is likely to pull in young and older adults.  

4. The typeface is the focal point of the image. Since it doesn’t really seem to be an ACTUAL type, its more than likely that it was drawn first followed by the rest of the imagery. The color palette chosen works well with the type of event being promoted. Pink, blue, and yellow are very solid “summer” colors.

5. This style works with the style of artist I have chosen, and it almost feels as though it could be placed within the book. 

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Megan Balden Post 5

Source- Goya Spice Box

1) Goya is an original brand name/logo that has had a self-titled font extrapolated from its logo design. It is a sans-serif font that can be considered art-deco in style with a preference for a circular body shape. A font called “red circle”, a more square version of ‘goya’, was mentioned in research as a reference to this design. The weight of the logo is heavy, though light and medium weights are available. 

Interestingly, I saw in a review of this font from a teacher on a distributing site  - “We use in all our Early Years classes at school to teach handwriting.” Given this, I can see a definite directional stroke present in the font’s design.

The Sazon portion of the logo is written in a serif font called Windsor, a font most easily distinguishable by the diagonally set counter portion of its ‘o’ and the  angular strokes that finish many of the lowercase letters . The round tittles and spontaneous movements in the stroke’s path make it a lively font. 

2) The audience can be anyone, as it is offered as a cooking shortcut. It might lean slightly towards a feminine appeal, but it’s a mostly ambiguous feeling color palette and choice of content within the design so that any level of cook,  from any background, may find it approachable. 

3) Font choice and layout answer to each other. The color choice is deliberately bright and does a great job of standing out on the shelf against similar products. By looking at the illustration you gather a sense of applicability without complicating the message. 

4) I have always loved the Goya line of spice boxes for their festive approach to spices with a simple set of designs. I feel like the exotic appeal is carried over well in their use of tropical colors. I hope I can make something equally as agreeable with such a bright color scheme when the time calls for it.

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Dana Salinas

1. Found in Advanced Photoshop Premium Collection magazine.

2. Typeface being used is sans serif. For the title and numbers, they seem to have used a bolder version, and for the description of the sections they used a lighter version.

3. The audience for this is clearly artists, specifically graphic designers.

4. The typeface chosen doesn’t steal the attention, but still manages to accomplish its intended purpose. They used a color that pops out at the reader for hierarchy. They also paid attention to details, indicating they understand the content of the magazine and are designers themselves.

5. This gives me an idea on how to handle the table of contents in some book designs. Its not too distracting, but not boring either.

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Carmen Vidal

Blog post #5

1. This is the poster for the movie “Moonrise Kingdom”, by Wes Anderson. 

2. This poster uses exclusively a yellow script font. After quickly researching, I found out the name of this typeface is actually Tilda, and the designer’s name is Jessica Hische. I believe that the swirls at the beginning and end of the words are not part of Tilda’s, but they were added for the poster.

3. Despite the child-looking aesthetic, this movie’s audiences are young adults and adults. The typeface represents very well the whole aesthetic of the film; in fact, Tilda was designed specifically for this movie, based on Wes Anderson’s aesthetics. 

4. I do not particularly like how they used the font in absolutely all the text of the poster. It is a very cursive font and it gets hard to read when the size is small, especially in yellow over blue. I think it is a good option for the title and main actors (actually the type has “petite” and “grande” version, to be used in different settings), but it loses legibility when smaller.

5. I do not  usually use script fonts, because of the lack of imperfection, but this one particularly feels very clean and I do not miss the imperfections at all. I also found it very interesting to see the ligatures between the different letter combinations. They actually talk about it in the website that I found: http://tilda.fontbureau.com/

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Tatem Hayward Blog post #5 1. Poster I found on Pinterest 2. I think there are two fonts. The first being at the top, a serif font I believe is didot. Judging by the variation of think and thick lines. The second is at the bottom which is two weights and I think it’s helvetica judging by the upper case R. 3. I think the audience would be directed towards sci-fi movie lovers. Who enjoy simplistic art. 4. I believe didot is at a regular weight just in all caps. I think it was a good choice for the overall design. It adds a somewhat elegant aspect to the piece. And contrast well with the sans serif below it. Although simple I think the overall design is fun and definitely creates a space-like vibe 5. Like I mentioned before the two fonts contrast well together. Not taking too much attention away from the other. I also like the hierarchy with the serif font used as the main display. Hierarchy is definitely something I need to work on in my own world so seeing a good example is nice. There’s not really anything type wise I would like to change about the design. The only thing that (very slightly bothers me) is the shape in the middle looks like the letter “D”.

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Abigail Teets Blog Post #5

1. This is the label for Herman-Marshall whiskey.

2. The logo and almost all of the text is set in an all-caps, sans-serif font, with some texture added. This font shares some letters and characteristics with a lot of fonts that I looked up, but none of them matched completely, so I’m wondering if it was designed specifically for this project. The package volume and alcohol content are both set in small caps, in a serif font.

3. The type is bol, strong, and has some grit to it, so it seems geared towards a male audience. The fact that it’s “hand crafted, small batch, Texas whiskey” is emphasized, so that male audience is probably also a part of the Dallas/Austin hipster scene.

4. The layout is very straightforward, and all the important information is presented clearly. It all feels pretty consistent, especially with how the slant on the top of the label matches the slanted top of the left stem of the H. I thought that was a nice way to add some interest to the design without adding anything too fussy or unnecessary. 

5. I feel like this design accomplishes a lot with a little, and that’s a principle that I’d like to keep applying to my own design work.

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MEGAN HICKS Blog Post #5

This image was found through Pinterest and was from a cookbook from the website Creative Market.

The spread contains mostly sans serif typefaces except for the section header “Fresh Vegetables”. I am not sure the exact typeface that was used. The serif header was created using small caps.

The audience for this cookbook is probably towards young adults, those who enjoy cooking and prefer a minimalist design that is easy to read.

The sans serif typeface creates a very clean and sleek look. This design will fit well with the current minimalism trend. This is also very popular now with new diets / and desire to be healthy, this type of clean typefaces reflects a modern and “organic” look. It is clean which could also mimic “clean eating”.

This example will influence my own work by encouraging the use of grids on a page. I also enjoy the hierarchy and division of text on this page. The header is centered and the heavy text sections are full justified which creates a very even and cohesive look.

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Amarah Williams Blog Post #5

A ticket from the Modern Art Museum of Fort Worth that I went to this summer. Yes, I keep the tickets. Always. And it’s a very nice museum. I highly recommend it.

1. All of the fonts on this ticket are sans serif typefaces. “Gallery Admission” looks to be Franklin Gothic, with the first letters being regular caps and the rest being small caps. Or perhaps the G and A are large caps and the rest is regular caps. I almost thought “Modern Art Museum of Fort Worth” was Futura, but the M is different. It’s something similar. The “Valid for entry” stuff and those weird codes underneath appear to the monospaced. 

2. The target audience is of course people who are visiting the museum and also the people checking the tickets. The words need to be big so they can see what your ticket is for, or that you actually have one. Also, it’s nice and colorful and designed well enough that it’s worth keeping a a souvenir since a lot of things in the gift shop are on the pricier side while admission itself is very cheap.

3. The use of sans serif typefaces makes sense for a modern art museum. Everything is clean and minimal and modern looking. If I couldn’t read and someone asked me to guess what this ticket was for, I think there’s a good chance I would say in full confidence that it was an admission ticket for the Modern Art Museum of Fort Worth. 

4. The only thing that might be out of place is that code or numbers after the date. However, that is more of a function than for it to be aesthetically pleasing. I think if I were ever to design an admission ticket that required that information, I might try to make it fit a little better. The Houston Zoo’s tickets are vertical, so the design part is on the top/left and the extra stuff is on the bottom/right, which is a better way to separate the information in my opinion. Other than that, I really like the hierarchy. Even though all of the fonts are sans serifs, they don’t look too similar too each other.

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Carmen Vidal

Blog post #4

1. This is one of the book cover designs for “A thousand splendid suns” Khaled Hosseini. This cover can be easily found in Pinterest.

2. The main text for this book cover has a sans-serif typeface, with caps and small caps. It also is a little condensed has some sort of drop shadow to the left. I haven’t identified the font name, but it tries to emulate some sort of eroded typewriter or another kind of “stamped ink” font. The rest of the text might be Helvetica.

3. The book is targeted towards young adults and adults. The type and the image make it very clear that it is not a children’s book. The type was probably designed for pieces like this one, that try to inspire rustiness or poverty.  It is definitely not a typeface that you want to have in your go-to list.

4. I think that in terms of “what the type communicates”, it is an adequate choice. The book talks about Afghanistan in times of war, so I understand the look that they wanted to give it. However, it is a font that tries to emulate imperfection and I find terrible the fact that they did not do the effort to change the letters a little bit when they repeat. For example the letter D, has the exact same imperfections three times. It is funny because in his previous book, “The Kite Runner”, they used the same exact font, but they did retouch each letter so it would not look so fake (I encourage you to look it up). I would also like a little more margin around the cover.

5. I like the hierarchy, but there is so much information and so little negative space. Also, this cover makes me even more conscious of how careful you need to be when using fonts that emulate imperfection, such as calligraphic, or typewriters; either it is better to edit them letter by letter, or to choose something without obvious imperfections.

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MEGAN HICKS  Blog Post #4

This image was found on Pinterest and was used in a Vogue spread. I was looking through various spreads from Vogue published in different countries and was drawn to this one. 

The typefaces throughout this image are all serifs– the caption in the top right corner uses sans serif typefaces in bold and regular style. The main typeface in the central image seem like an edited version of Didot. The bottom paragraph is in all caps and the last line is italicized. 

The audience for this typography is for those who enjoy fashion and picked up a copy of Vogue. 

The typeface is simplistic and elegant. It uses serifs and light curves to probably suggest luxury and high fashion. 

This example will influence my work by proving the simple color scheme of black and white can effectively push a message of elegance and class. The variations of small caps, italicized,  serifs and san serifs all work so well together mostly due to the negative space between the different type. 

[typerighters]

The typeface used is a San serif custom type made special for Dominos called Pizza Press. It has several variations, with the biggest being a shadow formed with lines.

This was designed to reach people who buy pizza, probably people who buy pizza often because the box is advertising the reward system they have.

The red and blue contrast is nice, and I like how the type is overall centered and balanced on the box. The things that would call the most attention are bigger and in the big funky typeface with the striped backdrop.

I like that the design was able to use only one type family in different forms, so everything fits together nicely.

Madeline

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Ivan Alvarado- Blog Post 4

1. All typefaces found on here are sans-serif, and both feature curvy letterforms.  The display type is a bit more stylized, while the body text is the same but very simple. This is a music flyer, so its designed to easily pull in a crowd. 

2. This typography is designed to reach music lovers. This crowd can be made up of young kids or older hipsters. 

3. The display type is placed perfectly, right in center at the top. Its attention grabbing and fun! Colors are well thought out. The body type reflects this, with a simple off white color on a black background. 

4. I am clearly in love with any and all music flyer art. This art in particular is a local poster, and it reflects my love for supporting local talent like I am doing with my exhibition catalog. 

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Geordan Vest- Blog Post 4

1. There are two similar typefaces present here. Both are sans serif with thick strokes. One, however, is condensed and set in a light and regular weight, while the other is merely set in regular.

2. This typography is designed to reach a scholarly crowd.

3. The bold weighed title and emphasis on a single word relates to historic newspaper design. The sans serif font also correlates this concept.

4. I think this typography shows a strong traditional design and I hope to look to it as I design a traditionally minded exhibition catalogue.

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Megan Balden Post 4

Source- Vinyl Album Cover

1) There are a few typefaces (3, I think) assigning hierarchy and attention within the cover, though size and color are contributors as well. The word “stereo” is set in a sans serif face that resembles ITC Franklin Gothic ITC the most closely- giveaways were the square top at the bottom counter of the R and the outside strokes of the E. The S doesn't seem to match as closely, with the top and bottom stroke creating much less space between its counters. The square tittle of the i and the curved descender of the y, provide that the third deadline in this composition (the lowercase) also belongs to this family but looks to be medium weight. 

Artist’s names are shown in a decorative slab serif face with some unique qualities- most strokes end with a slab serif set at a high angle against the stroke. Other strokes finish in what look like spurs. The H is the most unique letter present displaying an M-like crossbar.

Both tracking and kerning are used to fill the space more thoroughly. Some faces appear altered/stretched. 

2) Audience can be music enthusiasts or musicians

3) Font choice and layout are complimentary, clearly assigning hierarchy without taking away from the overall composition. I enjoy the artistic embellishment in both the artist name’s and record company’s as homage to the artist and creative industry.

4) I like their unobtrusive and complimentary choice of color, something I often incorporate into my hierarchy and am constantly trying to improve. I would like to be more thoughtful with the meaning colors imply as well.

Poster’s benefit from creative fonts that draw attention to the main subject- I would like to continue to explore this

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1.) This is a promotional poster designed for the Grand Canyon.

2.) There is a combination of two type faces within this poster. A Lighter, thinner san serif combined with a bold hand drawn looking display type.

3.) This poster is meant to reach a broad range of people because families usually go to national parks and usually have a wide range of ages.

4.) I think it achieves that because of its simplicity, but also grabs the attention of the view with the bold type face. The lightness of the type face also adds easy readability to the facts that are on the poster. 

5.) I think readability is super important in every project we do, but using a type face that also translates a message is also just as important. I think this applies to my current project with our books because I’ve struggled to find a good combination of display typefaces and body type that also translates the message I want to achieve.