Posts from the ‘Inspiration/Miscellaneous’ Category
On Thursday, November 20th, we split into groups and interacted with physical letterforms to practice utilizing kerning when working with type. Each group was assigned the phrase”type rules” printed in a different typeface and was given each individual letter as a print out. We then had to trim the letter from it’s page using an x-acto knife, and perfect their kerning by hand. My group consisted of myself, MaNazah, Taylor, and Mariam.
shown below: our group alongside our version of “type rules”, set in Minion Pro
In the first instillation of my type crimes blog post, I explored the various no-no’s illustrated in Ellen Lupton’s book: “Thinking with Type”. In addition, I have now gone on a scavenger hunt of sorts for examples in the real world of type crimes in relation to kerning and tracking.
“[Kerning and tracking is] The process of adjusting the spacing between characters in a font, usually to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking (letter-spacing) adjusts spacing uniformly over a range of characters.”
The following images are ones I have found that showcase poor kerning and tracking:
ADD 6 IMAGES HERE AND CAPTIONS
In the book “Thinking with Type” by Ellen Lupton, various Type Crimes are pointed out. These are basically the no-no’s of the graphic design world when it comes to typography, and should be avoided at all costs. The different type crimes fall under these various categories:
- Type Families and “pseudo family members”
- Caps, small caps and “pseudo caps”
- Mixing Typefaces
- Line Space
- Vertical text
- Marking paragraphs
Here listed in my own words are the various type crimes Ellen warns us against/things to contiously pay attention to in order to avoid type crimes:
- Some type faces that work well at larger sizes look too fragile when reduced.
- Minimal differences are bad. Strong contrast between type sizes is better.
- Pseudo italics are mechanical, forced and unnatural.
- Pseudo small caps are a no-no. They are just shrunken versions of a typeface’s capital letters.
- Unnatural spaces between lines are bad. Do not let the computer decipher these for you.
- Squeezing lines/competing weights of fonts
- Too close in weight/not enough contrast/no noticeable difference when using more than 1 family member in a design
- 2 different type styles used together with not enough contrast
- Hatch marks vs. quotation marks
- Non-hanging quotes (quotes that are taking out chunks of white space)
- Loosely spaced lowercase letters are awkward
- Tight tracking
- Distortion (stretching and not scaling)
- Not using the baseline shift tool; letting the computer auto space
- Poorly shaped text block
- Gaps/holes in paragraphs of text
- Bad rag/wedged shaped text
- Excessive punctuation on the right
- Stacked lowercase letters
- Paragraph spacing and indents
- Too many signals (bold, italic and underlined all at once)
- Two hyphens instead of em dash
- Hyphen rather than em dash between numbers/dates
- Two spaces between sentences
- Don’t use the space bar to create indents
I took it upon myself to discover some of these horrible travesties as they exist in real life. Here is what I came across..
Shockingly, I found the first 3 all while taking a shower. Apparently the soap and shampoo industry needs to get it together when it comes to typography.
The words “shampoo” and “concentrate” are examples of words with lowercase letters that are spaced much too far apart.
“Fragrance-free” really does not need to be hyphenated.
“Higher priced”- a clear example of not knowing when to use hatch marks vs. quotation marks. Also lots of awkward spaces between words, creating a choppy rather than fluid look overall.
This poster has no real hierarchy or difference at all between texts.
Far too many signals (glitter, rainbow, bubble text, bold).
The G Study assignment was to analyze 3 given lowercase g’s and determine the factors that made them different from one another. From an initial glance, the three g’s were virtually identical, but upon further investigation and using a designer’s eye, the details and differences began to emerge. Here is a photo of the three g’s side by side:
My initial breakdown of the differences of these three g’s are as follows.
From the discussion of the exercise in class, we learned:
- The three fonts used were Helvetica Neue, Ariel, and Univers.
- The G is a good letter to analyze when deciding on what typeface to use, for it contains subtle differences that you would not get in other letter forms while looking at various typefaces.
For the Typographer research assignment, I was assigned LettError Type Foundry.
LettError is an independent type foundry created by two Dutch type designers named Erik van Blokland and Just van Rossum.
(left to right: Erik, Just.)
The two began LettError in 1989 while both working for MetaDesign, a global branding firm. Not only does LettError produce type for web and print, but they also occasionally dabble in illustration and animation.
Erik and Just have both been successful as typographer/graphic designers on and individual basis as well as during their collaborative efforts. The most successful collaboration between the pair would have to be the creation of the font Beowolf.
Beowolf was drawn and engineered in 1989 and was part of the first release of the FontFont library. Beowolf is unique because it’s ragged edges shift randomly each time you print it. The Museum of Modern Art in New York acquired Beowolf in 2011 for it’s Architecture and Design collection.
Here are some other fonts the pair have received recognition for over the years:
Some of my favorite fonts:
–Bebas Neue: Very well could be my most favorite font of all time; a design staple in my opinion.
–Coneria Script Demo: Just a beautiful and clean looking script, I particularly like how the letters vary in thickness at certain points.
-Feast of Flesh: A font that is great if you need to make a bold statement. I’ve used this on quite a few T-shirt designs.
Neou Thin: Super versatile, another design staple! A must have. A great thin font to have.
Wolf in the City: Where do I begin… how can you not love this font. I feel like my eyes turn into hearts when I look at it. 🙂 Reminds me of a hand-crafted retro script, but still somehow feels modern. Very well could be considered one of my all time favorites.
Tamoro Script: I like this one because when I was trying to create my personal logo, I wanted to use a font that closely resembled my signature. Airy and light, this font fit perfectly. I feel it’s a pretty unique looking script due to how the letters are spaced which I also enjoy.