This music festival sheet jam packs a whole lot of information but displays it well. It takes a little bit to soak everything in but once you understand how it works. it is really effective in showing what show is playing, when, and on what stage. It’s initially broken up by day, and then by location and time. There’s alternating colors to break up the chunks of information. Instead of emphasizing the specific acts that are performing during this festival (could be on another sheet) there’s emphasis on the location and time for every act.
I found this table of contents from the magazine Sports Illustrated. There’s a lot of things I enjoy about this; I like how they incorporated one picture to fill the whole page where it switches from foreground to background. The text is placed around the people in the picture so it looks more organic yet there is an underlying grid being used. The use of red to make the page numbers pop works, especially since it goes with the color of Frank Kaminsky’s jersey. There’s a clear typographical hierarchy between the page number, the name of the article, the summary, and author. I also like how the main block is just on the articles relating to the NCAA tournament since this specific magazine was made during March Madness.
I found this awesome mock-magazine cover by Francesco Poroli. I love how he used Anthony Davis’ real head on an illustrated, lanky body. His name is stretched along his arm and the rest of the supporting text reinforces his motion. The hand-lettering is another beautiful touch to this organic piece.
For this exercise I chose a sans-serif header with serif body copy from Typekit. My sans-serif is called Museo Sans which comes with 31 different fonts for all of your condensed and varying weight needs. Having such a large font family is always a plus, I feel I can make a website using just Museo Sans. It’s highly legible and can be used for both display and text. My body copy is Alda, which is a typeface that has some character; the bold is nice and concrete but the lighter weights are delicate and soft. It’s another typeface that has a nice variety of weights and styles.
On https://www.typewolf.com/resources I found a link that took me to a website called Typoguide. This website gives a nice pocket guide to overview basic typographical needs. It overviews mixing typefaces, font size and line height, apostrophes, quotes, dashes, and brackets. I find this helpful to have before, during, and after your project for a nice checklist.
These glyphs are included in Minion Pro, designed by Robert Slimbach in 1990 for Adobe Systems. According to https://www.thebookdesigner.com/ These naturalistic ornaments match well with the oldstyle design of Minion, and the designer has consciously given them the character of hand-drawn illustrations. I feel these glyphs can give some modern flair to your typography and these are all very practical to use, especially the arrows. These are bold, clean, and beautiful.
I Reviewed the specimen book Catherine made on Futura. The color palette screams bold and fun which works well with the typeface. She wasn’t afraid to push the boundaries with the sizes of the text and what weights were next to each other. Even now this book makes me feel that Futura is a typeface of the future. It’s well designed and well crafted, the only thing I wish was there was labeling what font family was used where for the quote used in the second picture and I wish there was some text type with different leading compared with each other, labeled. But other than that nice job!