Chaparral Pro Ornaments

When searching for which ornaments to write about, I came across Chaparral Pro on  Chaparral Pro was designed for Adobe Systems by Carol Twombly in 1997, intended to be a new kind of typeface. According to, Chaparral is the last in a series of incredible typefaces designed by Twombly at Adobe.

I liked the geometric shape of the ornaments, opposed to the more traditional flourishes included in other type faces. Due to the fact that the ornaments reflect the same aesthetic, I think the ornaments could be used to create borders on a printed page.



Typographic Resources

I chose to write about the typographic resource Fontology, a complete online curriculum on the typographic arts structured as a workbook. This online typographic resource was created by to provide useful, informative and relevant information about the typographic arts. The curriculum is divided into four levels: “A Typographic Foundation, Practical Typography”, “Number, Signs and Symbols”, and “Designers and Details”. Each of these levels are divided into three or more modules, each containing several sections. Because Fontology is structured as a workbook, this is a great typographic resource for all different ranges of skills, including design educators, a self-education tool for students and a reference source for professional graphic designers.


Below, I have included some screen shots of the courses that are listed.


Adobe Typekit

I’ve always preferred using Adobe Typekit. It’s easy to navigate and pin-point exactly what specific style font you’re looking for.

Based on the typefaces available, I chose the fonts EloquentJFPro Regular and Essonnes. Both of these fonts are Serifs, but I think the two fonts make a great pair. EloquentJFPro Regular uses very drastic, thick stroke weights. Essonnes, on the other hand, uses much thinner stokes. The weights of the type may be different, but the letter shapes for both type faces are very curvy.

The combinations of similarities and differences between the two typefaces create a hierarchy when used together. The sample heading and sub-heading I used to test out fonts prove that both EloquentJFPro Regular and Essonnes could be used potentially on a website.



Table of Contents:Graphic Design Thinking (Design Briefs)

One table of contents that I found particularly pleasing to the eye was from the book by Ellen Lupton, Graphic Design Thinking (Design Briefs). Ellen uses a modular underlying grid, which allows her to experiment with the use of white space. She uses minimal colors and different font weights to distinguish the hierarchy of elements. I liked how she didn’t label the chapter numbers with a heading, but simply enlarged the font size of it. Over all, I think this table of contents is very neat and clean.toc

Peer Review Specimen Book: Trebuchet

I chose to review Caroline’s Trebuchet specimen book. Her book had triangular panels which folded outward,  making the structure of the book very unique. The triangular panels helped illustrate the literal meaning of trebuchet : a form of a medieval catapult. As stated in her book, the Trebuchet fonts are intended to be the vehicle that fires your messages across the Internet. This concept is excellently illustrated by the use of staggered thin lines, almost as if the text is moving at a fast speed. Caroline did a very thorough job of executing the personality of Trebuchet.


Rhythm of Hierarchy – CounterPoint Music and Arts Festival

The CounterPoint Music and Arts Festival 2014 poster utilized the “a, b, c, …” rhythm hierarchy very well. When trying to find a music schedule to write about, I found that a decent amount of them had listed the bands in the same size font and chunked together. In my opinion, grouping the information like that made it very difficult to differentiate the names from one another, even while separated by a dot or a line. The 2014 CounterPoint poster, however, used different font sizes to clearly display a hierarchy of importance. The top of the poster lists the title of the event in a very large font, the date in a slightly smaller font, and the location of the festival underneath in an even slightly smaller font size than the previous one. The band names were listed in the same “a, b, c, …” rhythmic hierarchy. The headlining band was listed at the top in a much larger font than the other bands listed, and the font size gradually decreased. Having a fairly simple, cohesive color scheme definitely helped keep the information more unified.