These are some of the glyphs that come from the font Spumante, taken from Adobe Typekit. This font was created by Laura Worthington, a type designer that takes pride in creating type based off of her own hand lettering and calligraphy.
While this is a web font, I could see these glyphs being used at the beginnings of book chapters, as page borders, or as decoration on invitations if it was ever recreated as a font for print. I was especially interested in the glyph below this text; it would work exceptionally well at the top and bottom of a formal invitation as a page border.
This resource called Typoguide, A Pocket Guide to Master Every Day’s Typographic Adventures is a valuable resource that explains common typographical problems and terms. It has a clean, simple layout, with the ability to choose a specific topic at the top of the page and jump to, or the option to scroll through all of the topics in order. Topics covered range from the differences between typefaces and fonts, to the different uses of different types of dashes, brackets, and quotation marks. One nice feature that this resource includes is a list of keyboard shortcuts for the varying dashes, brackets, and quotation marks, with listings for different keyboards found around the world. If someone is looking for an easy to navigate resource to look up things that come up in typography all of the time, Typoguide is a good website to be familiar with.
For this blog post I chose to look at Typekit. Typekit is easy to navigate and gives many options to search for fonts, I personally like the “List” option that groups fonts into categories such as “Geometric sans-serifs” and “Humanist serifs”.
Two fonts that seem to work well together are Fira Sans, a sans serif font that is available in a variety of weights and Adobe Garamond, a serif font. While Fira Sans seems to look best when used for heading text in its bold weight because of the thick strokes, Adobe Garamond is best used for large sections of body copy because of its legibility at smaller sizes. I prefer to combine both serif and sans serif fonts together when creating chunks of type, I feel that the differences in type anatomy contrast enough that the hierarchy becomes clear.
I think that this poster for a dance event uses type to complement the motion of a photo well. I was drawn to this poster when I first saw it as an example for the current class project. The way the type curves below the dancers expresses the motion that occurred before the photo was taken, the motion of jumping through the air, and the small section of type above the dancers represents the path that the dancers continue to take in the aftermath of the photograph. The type and the photo both work together to create a dynamic composition.
Seventeen magazine uses a very energetic and busy table of contents, but the information is organized nicely and it is easy to distinguish between articles and categories. A modular grid is utilized, and it seems that some of the images break this grid, while the text follows it for the most part, keeping the page balanced. Typographic emphasis is placed first on the catagories of articles, as distinguished from the bright pink boxes and the size of the text. Next is the article title and page number, separated by color, and finally the description of the article is least important. This magazine is written for teenagers to read; mostly teen girls, so the images and colors used are bold and bright, and the page is kept busy, with no large areas of white space to “bore” the younger reader. The table of contents captures the style of the magazine as a whole, and sets the reader up for a design style that continues throughout the rest of the magazine.
I chose Hanna Cavanagh’s specimen book on Frutiger to give a peer review. I was immediately drawn to this book when I first saw it because of the interesting graphics, and the way it clearly displays that frutiger is a typeface used for wayfinding in airports. This book also has a nice balance of graphics, display type, and text type, really showing off the typeface to its best advantage while also giving it a fun, “travelling” personality. My favorite spread in the book is a spread of different sized and colored words that give character to the typeface, words like “quick!”, “Paris”, and “wayfinding”. Overall, this specimen book is successful because it showed how frutiger is commonly used in the real world.
I found a schedule for a music festival called Paradiso that utilized an “a, b, c,…” rhythm of type hierarchy very well. In the many schedules that I looked through, this schedule stood out the most because before I even clicked on the image to make it larger to actually read the text, I noticed how well-organized the text was. The schedule is first separated into days, with the date being the largest piece of text on the page other than the title. From there, it can be easily seen what location each event will be located at; the horizontal bar under the location and the spacing between each location chunks the text nicely. Underneath the locations, the time of each performance and the artist performing is listed. This section is well done because is packs a lot of small text into a small space, but because of the space between time and artist, and the fact that the artists are listed in a different color, makes the information appear clearly separates and easy to read. The overall use of a singular, clean sans serif font aids in the readability of this schedule, and the text color stands out from the background enough that no text gets lost or is hard to comprehend. Overall, this music festival poster is successful in displaying a lot of information in a small space in a way that feels unified and well put together.