For this blog post I discovered and learned about fonts.com. What I’ve found and actually purchased from Fonts.com is an online subscription that unlocks thousands of fonts for a mere 15$ a month. In the past I’ve always found the differences in font lists across different computers to be a problem, especially when dealing with work horse fonts like Helvetica and Frutiger. With the subscription from fonts.com, most work horse fonts, and a ton of other fonts become available to use and work with at the click of just a button. Once installed on your computer, their program will sync whatever fonts you choose online with your computer and will allow you to use them in an instant. What’s especially useful to me was that it can be used across multiple computers as well, so when dealing with a unique font at home, I can also work on the same project in class or on campus. Fonts.com not only made working across multiple platforms easier, but unlocking thousands of fonts that i didn’t know existed was also quite pleasant.
Above are some of the ornaments that can be found in the Minion Pro font family. Designed by Robert Slimbach in 1990 for Adobe Systems, these ornaments were consciously given the character of being hand-drawn. With how beautiful and unique these ornaments look I feel they can be used in a wide variety of places, I personally chose to use the heart ornament in one of my business card designs. I can definitely see myself using them more in the future.
While on Google Fonts found it really fun messing around with the different serif and sans-serif fonts and how they look when combined. Above is a combination of the Anton font found on google fonts and Google Fonts’ Slabo font. I feel like Anton’s thick, sans-serif letters add a nice contrast to Slabo’s thin serifs. I could definitely see myself using this combination in future projects.
Above is a picture of a boy crying that is strongly reinforced by text that forms a hand that appears to be choking the small boy. The artist takes what would still be a very strong picture on its own in a small boy crying, but then adds an adult’s hand made up of hateful words choking the boy. Not only is the image of an adult choking a kid strong, when you add all the hateful speech that’s accompanied in the fist, the image gets even stronger. The image of an adult possibly choking a small child and calling him a “moron,” “jerk,” and/or “pig,” while doing it is just disgusting. I think this artist used typography along with this photo perfectly. It intensifies the message extremely.
Above is a picture of a table of contents of a Nintendo Power magazine from September of 1993. What I found interesting was that good, strong design hasn’t changed much over the past 20 years, as a good columnar grid design can still withstand the toll of time. There is a very clear and clean hierarchy to the table of contents, and even when dealing with many different subjects, 8 in total, each group is still well organized and distinct from other pieces of information. The design shows a great use of pictures to accompany the text, with each picture very clearly belonging to each group under the hierarchy. Nothing in the design seems out of place and everything seems well thought out according to the grid system in place.
Above is a music festival flyer for 2013’s Camp Bisco. The first step in the hierarchy that establishes the date and location of the event are separated via font size, and is done quite successfully. However, following the date and location of the event are two separate lists of performers, both separated by color and a nearly unnoticeable change in font size. One can assume that the top list of acts in the orange are headliners and that the bottom list of performers in the blue are openers, but if you weren’t familiar with who exactly the headlining acts were the differentiation between the two could be tough. While the two separate steps in the hierarchy do look unified, its difficult to tell exactly what they’re trying to get across. What’s interesting is that in years following 2013, Camp Bisco made very apparent strides to differentiate the headliners from openers on their fliers. Now, on their 2016 fliers, the hierarchy is very well established.
Dardenstudio.com . At first glance Darden Studio does an excellent job showcasing their typefaces and showing how they can be used. By rotating their font families in different languages, the viewer gets a really good feel of how each font can be used and how each one is unique and looks. Darden Studio is a typographic studio that produces and publishes the typeface designs of Joshua Darden and those who collaborate with him. Based out of NYC, Darden Studio was founded and ran by Joshua Darden. Joshua Darden published his first typeface at the age of 15, and spent the next decade assisting in the development and production of typefaces until establishing his brooklyn-based studio in 2004. There are four other members of Darden’s studio, Joyce Ketterer, Robert Esmay, Lucas Sharp, and Eben Sorkin. Darden Studio is responsible for 6 different font families : Birra, Corundum, Dapifer, Jubilat, Omnes Pro, and Freight.