These are the ornaments that come with the Didot font, which was created in 1784. I chose to focus on the rounded ones in the top row. They have a very mod, 60s look to them, which is when Didot regained popularity due to fashion magazines like Vogue. I think they would work well as ornamentation on a chapter header in a book or in a magazine.
I decided to explore Typewolf.com. I found that it is very organized and easy to navigate. It has a lot of resources within it, such as font guides and cheatsheets. One of the most beneficial resources it includes is a long list of free fonts that are similar to popular expensive fonts, and many shorter lists of alternatives to certain fonts. The site also has its own blog, which features posts on many topics in typography. Most analyze the typography behind popular websites, while others list favorite fonts, and a few simply explore common issues in the world of typography and web design. I think it’s an overall helpful resource because it goes into depth on using and designing type for the web.
I chose to use Google Fonts for this exercise. I have used it for other classes and I really like how easy it is to customize your search and to download or embed fonts. For this, I searched for a sans-serif for the header and a serif for the body, which I think generally works best for websites or any large blocks of text. Two fonts that I liked and thought went well together were Oswald, a narrow but bold sans-serif, and Sumana, a very classic looking serif font. I think they go well together because of their juxtaposition, especially with Oswald as a header and Sumana as body copy.
I chose a poster by Alan Fletcher, who is known for using expressive type. The text is accompanying an image of a man shouting, and the type is arranged in a way that looks like the words are coming out of his mouth. They seem to be pushing forward forcefully, which goes well with the passionate imagery. The words are also arranged in a slightly sporadic way that implies urgency and chaos.
I chose to examine the table of contents in a double issue of W magazine. It was interesting to see the same table of contents done two ways. The first edition split the table into two pages. The modular grid is evident; the pictures used line up with the grid, and are from featured articles in the issue. Each page only has one large photo that takes up most of the page. The emphasis is placed on the title and page number of each article by capitalizing the title and making the font slightly larger. The featured articles that the photos come from are a different font and much larger. The text is all black, reflecting the more mature, sleek image of the magazine. The graphic images are definitely what makes me want to continue looking through the magazine.
The specimen book that stood out to me was Hanna Cavanagh’s. I was really interested in how she portrayed Frutiger through the use of airport imagery. She made it very clear what the typeface is used for without making the book about the history of the typeface. She made good use of the glyphs as well to add to the mood of the font. I think she chose words that really showcased the font and added to the French feeling and the feeling of giving direction.
I chose this concert poster from The 1975. The hierarchy is clear to understand. The artists are ordered by size from headliner to opener. There is good white space between the concert title, the artists, and the concert information. The less important information is left outside of the main frame. Other than the band and concert logos everything is the same font, which is good for readability; the hierarchy is instead shown primarily through size and placement. Overall, I would say it is a successful tool for understanding the event.