Type in the Wild Booklet - Katie Romano

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A semester-long observation of typography in our daily lives.

Katie Romano GRA2208C - Typography Fall 2021

Table of Cont ents Week One ..................................................................................... 4 - 5 Week Two ..................................................................................... 6 - 7 Week Three .................................................................................. 8 - 9 Week Four ............................................................................... 10 - 11 Week Five ................................................................................ 12 - 13 Week Six ................................................................................. 14 - 15 Week Seven ............................................................................ 16 - 17 Week Eight .............................................................................. 18 - 19 Week Nine ............................................................................... 20 - 21 Week Ten ................................................................................. 22 - 23

1

GO O D

& Not only do I think the notion of having a moonshine label on your head is funny, but I also think this hat is an example of good typography. I appreciate the contrast between the sweeping lines of the upper font and the more static, block-like forms of the lower font. The weight of the “moonshine” is appropriately heavier, and the font size is larger, which centers it on the cap and draws the most attention, as it should. Compared to the bad example, this hat has a more purposeful font selection and a concise color palette. Although these design choices don’t work for every application, I think it is effective for this hat design and would have been similarly effective for the gas station sign example. Granted, it’s no “Pumps,” but the combination of fonts is not distracting, the arrangement of the words is balanced nicely, and the shape of the block of text creates interesting lines. You can buy this at Dollar General, you’re welcome for that valuable information in advance.

I consider this a bad example of typography, given the chaos and inconsistency of the upper half of the sign. The combination of colors and fonts isn’t as egregious as other examples I’ve seen, but I find it distracting and ineffective. I think the sign would be more aesthetically pleasing if there were one font for the larger heading (“Beacon Store”) and one for the smaller signs, not including the price. Additionally, a simpler color palette and more consistent font size and weight would make the sign more legible. These changes would allow for the name of the store and the main attraction, “Pumps”, to stand out from the other information. Consistency and purposefulness in typographic design are both essential for vaguely threatening gas stations. The chaos of the sign is likely meant to draw attention, but I think the same result could be accomplished with a bolder but more refined design. You can’t have a weird message AND weird design choices, that’s too much.

& BAD

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2

GO O D

This is a decoration in a coffee shop that I go to pretty frequently. I’ve taken note of it before, but this week I realized that it would make a great addition to my Type in the Wild entry. I think that it is a good example of when the designer considers the medium on which the typography will be displayed. A lightweight, small, or highly stylized font would be difficult to read on burlap. However, these letterforms are appropriately considerate of the material. Perhaps the main concern was just “look like an old sack of coffee” (maybe it actually is a recycled sack of coffee), regardless, I think the typographic design is effective.

BAD

Although I appreciate some aspects of this design, there are some issues that distract from the overall functionality. Firstly, the use of the natural aluminum on the front of the can decreases the contrast and makes the white text difficult to read, even more so when the can reflects light.

Similarly, the font size used for their names, “Jordan, Jake, and Jimmy” is so small that the kerning is nearly indiscernible, and the letters seem to fade into one another. The same typeface at a larger size makes “Positive Energy” slightly easier to read but nonetheless retains the muddiness. I also find the combination of typefaces in “Super” and “Espresso” to be a bit strange. It’s not jarring, but I’d prefer it if the lower text were not italic, as the slant is throwing the lines off.

If I were responsible for re-designing it, I would cover the aluminum color. I would also increase the size and decrease the weight of the names to achieve a larger, lighter, more legible font.

Lastly, I would remove the italics from “espresso.”

2

GO O D This is a metal can of Bailey’s chocolate truffles, it is my good example of typography this week. I’ve noticed certain typographic designs struggle because the designer did not consider the shape of the product on which their design would be displayed. I think this Bailey’s can is a good example of a design that works well on a round product. For example, the baseline of the logo is curved, which makes it more legible on a round vessel.

Additionally, although there are many distinct typefaces (I can count four) with differing styles, weights, and degrees of leading and tracking, they all work together to form one consistent, cohesive design. The Bailey’s typeface has serifs, whereas the rest of the typefaces are sans-serif, the tracking is larger on “Irish Cream” than it is on “Non-Alcoholic.” There are many variations among the lines of text, but the design still maintains a singular voice without resorting to a singular typeface or standard combination of typefaces to achieve it. The color palette works well for legibility and effectively brings the viewers eye to the most important text (‘Bailey’s Original Irish Cream”).

BAD For the most part, this typography is fairly straightforward, not eye-catching but not glaringly bad either.

The background photograph is almost completely obscured by the text, which doesn’t necessarily decrease the legibility, but it’s a questionable design choice, nonetheless. My real issue with this design is the inconsistency of the three blue circles that sit towards the bottom, I find it distracting and slightly bothersome. Each circle has a larger, bolder word that is meant to be emphasized, which makes sense. Yet, the first circle (at the far left ) has a smaller, lighter word at the top, and the last circle (at the far right ) has a secondary bold word. To me, the arrangement of the words makes the leading look erratic even though, mathematically, it is the same across the circles. I think the design would be helped if the wording was changed so that there could be a singular template for the format of each circle have one bold word (prevents, repels, shines) followed by the smaller, secondary text underneath. The design would be helped if the circles were a little larger or were a different color, so they could display the functional features of the product more effectively and uniformly.

GOO D

4

This chaotic Hyundai is my good example of typography for this week. The upper sticker, in particular, struck a chord. Imagine how different this design would be if it was written in comic sans instead, imagine how much internal discomfort that would bring. “Existence is Pain.”

As it stands, though, this design accomplishes everything it should. The font is simple, the letters are well-tracked, and the curved baseline fits the context of the sticker perfectly.

This sticker was extremely legible even at a distance and at a speed. Nothing like a good sans-serif typeface to distract you from the fact that existence is a living hell-vetica.

BAD

I’ve had these toothpicks for many years, the box is my example of bad typography for this week. I appreciate that the ascenders on the d’s in diamond fade into the border of the actual diamond. I also like that the blue beneath the logo simulates a shadow and serves to elevate the branding. My real problem with this typographic design is the logo. I find the diamond pattern hinders legibility.

The spacing of the letters in “diamond” seems very tight.

I’d remove the pattern from the background and adjust the tracking to make the brand name more legible.

I’d also change the color of the lines in the background pattern so that it did not match the color of the text.

4

GO O D

5 This packaging is a fantastic example of how typography can influence perception. This gum was an impulse purchase at Trader Joe’s, and the typographic design on the package is a large part of why I bought it.

The typography is a primary consideration of the product design and it is used as a way to artfully display information and appeal to the consumer. The “G” is obviously quite intricately designed and bold. I love the amount of attention that was paid to the G, down to its spur. I also appreciate the modern typeface used for the “UM” with its dramatic serifs and extreme contrast. The use of banners to display product information creates interest that otherwise would not have been there.

BAD

5 The tag says “Original American Ride Truck Jeans” but I find it difficult to read. I appreciate the typeface used for the brand name, in the context of their branding. However, there are several major issues with this design that contribute to the problems with legibility. The font size for “Original American Ride” is far too small. The tracking on that line is so tight that it exacerbates the sizing issue and makes the letters difficult to distinguish. The primary grievance I have is the leg of the “R” in “Truck,” because it runs into the lower stroke of the “C.” Is it TRUIK? TRULK? TRU<K? No one knows. I would adjust the leg of the R downward and soften the angle of the C to increase legibility.

all together now

This week my analysis focuses mainly on the use of color to strengthen typographic design and the way that typefaces are used in branding. My example of bad typography is the “Bounce House Thai Dishes” sign. I initially noticed the dual colors in “Bounce House” and I wondered what secondary message the sign was trying to convey with the highlighted letters. I’d expect either the red or black letters to form a word, but that is not the case with this sign. I found the use of color in this sign confusing. I think the sign would have been better served if the first letter of each word were red and the remaining letters were black, or vice versa. Else, all of the letters could be one color and no meaning would be lost.

I also find the combination of three typefaces to be distracting and slightly chaotic. Although the sizing of the font does maintain the correct hierarchy of information. The upper sans-serif font is large and bold, which is good for a road-side sign like this one that must be read quickly in passing and from a distance. However, the lower two typefaces clash with the first one and with each other. If “Thai Dishes” were written in the same typeface, with “dishes” being italic, I think there would be more unity in the design.

In contrast, my example of good typography is the “Once Upon a Child” sign. My only problem with this sign is the arrangement of the words. I think, since Once Upon a Child is the brand name, the entire name should have the same prioritization on the sign, instead of highlighting “child” as the largest word. However, this sign is more successful in coloration and typeface choice than the other.

Firstly, the choice of colors matches the theme of the business. The “baby” pink and blue convey critical business information at first glance. Secondly, because the alternation of colors is consistent, it is not confusing. Lastly, the typeface chosen emphasizes the theme of the business and helps bolster the branding.

As an added detail, the “O” in “Once” is formed with two arrows.

Without ever having visited this establishment, and without knowing anything about the business, I can tell it is likely a second-hand store for children’s items from the sign’s design alone. This typographic design effectively conveys implicit information about the business while also maintaining the brand’s voice. I think this sign is more likely to bring foot traffic to the business than the Bounce House sign is, because it is more succinct and immediately recognizable.

The typography on this sign does it’s job effectively, by catching a driver’s attention even when they are passing quickly.

The bold strokes help this sign to stand out from the surrounding environment. The tail of the “Q” has been used to emphasize the theme of their business, because it imitates the side of a roof. Now, I don’t know if the designers did this purposefully, but when the sun shines through the sign, the tail of the Q on the other side is visible and aligns perfectly to create the illusion of a full peaked roof. Normally, direct sunlight may make these types of signs difficult to read because the writing on the other side shows through and interferes with the legibility. In this case, however, I think the designers may have paid attention to how the writing would line up in direct light. If this was an accident, it was a happy accident for BQR’s typographic designers and marketers.

There isn’t anything glaringly wrong with it. However, there are a couple of minor changes that I would make. Chiefly, I’d adjust the kerning of the brand name. “Listerine” is written with a standard, legible font, but certain of the pairings of letters seem to crowd each other. Specifically, the “ST” and “RI” pairs are touching, when the other letters have more uniform space between them. I’d kern these pairs of letters so that the perceived space between is consistent across the brand name. Secondly, I’d adjust the font size or the letter spacing in “Antiseptic” so that it appears more centered over the word “Listerine.” Although both words seem to be mathematically centered on the label, “Antiseptic” looks slightly skewed to the right, from my perspective. Since Listerine has nine letters, I would alter the design to have Antiseptic align with the three center letters, “TER.”

I think that each of the individual products displayed on the cover have interesting and well-executed typographic designs. I also think the product and text arrangement is compelling. The striped background and the diagonal product orientation creates a sense of motion that points to each block of text. The brand name is appropriately prioritized, and the essential information about the material (“Gift Ideas”) is highlighted by a contrasting typeface and color. The designer also maintained a proper hierarchy of information through the font size. More important details like “70% off” and “free shipping” are larger and draw the viewers eye immediately.

Less important details, like page numbers, are sized down so they do not distract from the primary advertisement. Although there are some minor issues with the cover design, like slightly inconsistent leading in the “70% off” block of text, overall, I find the design to be appealing.

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GO O D

BAD

8

Literally what does that even say. I understand that it may be the designer’s signature, but it is completely illegible. If they intended to leave the organic signature on the tag, illegible as it may be, then the designer’s name or the brand name should have been printed elsewhere on the tag. This tag does a poor job of advertising the brand.

The lack of a clearly denoted brand name negates the possibility of appealing to brand recognition. Without changing the signature, the typographic designer could have adjusted the weight so that the letters could be more easily distinguished. Additionally, it appears as though “collection” is not centered underneath “iconic,” but is sitting slightly to the left of center. This may be a negligible issue, but I find it to be distracting. Given that the text is minimal, and the typefaces and colors are limited, I think the other aspects of the design, like the spacing and kerning, need to be extremely well-executed.

GO O D

9

The typeface used for “Papa Murphy’s” is styled to match the branding of the business. Papa Murphy’s assembles “take and bake” pizzas for customers to cook for themselves, at home. Loyal consumers consider Papa Murphy’s a reliable source of handmade pizza, without the personal commitment of hand-making their own pizza.

Their typeface choice, as well as the slight curve to the baseline, give the “Papa Murphy’s” a hand-written quality while maintaining a refined style. The contrasting green line in the center also creates a visual distinction between the lines that aids legibility. Also, the typeface used for “Pizza” does not seem detached from the rest of the design and does not create an unsettling contrast. The kerning was well done and creates consistency throughout the typographic design. Lastly, both typefaces appear to be weighted similarly, so that neither line is overwhelmed by the other.

However, the sizing and positioning allows for easy readability that gives the brand name initial priority but allows for the other essential information to follow immediately behind it, without getting lost.

BAD

9

I included a secondary example from the Lambert’s website since I could not get a straight-on photo of the billboard. As great as Lambert’s is as a restaurant, I do not appreciate their decision to make the “E” in café as large as it is. I understand that this was done to create symmetry in their design, but the increased font size of the “E” interrupts that natural flow of language for the viewer. The “E” overwhelms the remainder of the word and creates emphasis where it should not. Although the flanking larger letters create an interesting silhouette, they could have achieved something equally compelling without sacrificing readability. There’s also an issue with the kerning, as the “E” appears to be much closer to the “F” (in Café) than the “L” is to the “A” (in Lambert’s). Lastly, while the typeface used for the brand name is stylized appropriately to fit the traditional, homestyle branding of Lambert’s, the font used to advertise the location (Exit 44) does not share any similar characteristics. Those two aspects of the billboard seem completely disjointed from one another.

Especially given the difference between the weight of both typefaces.

GO O D Throughout our observation, I’ve noticed many designers struggle to create rounded typographic designs. Sometimes, the kerning is exaggerated, and words become distorted, decreases readability. However, this cup executes the rounded design well.

Although the upper text is made larger to fill the allotted space, the letter spacing remains uniform. The designer paid attention to centering the curved text, so that both ends of each line are equally distant from “Fresh.”

My only concern is the capital “F.” Had the “f” in “fresh” been lowercase, it would appear more balanced with the “h.” Additionally, the white space on either side of the fork and knife emblem would be balanced. However, because “Fresh” is the focal point of the design, I believe the decision to capitalize the “F” makes sense.

I also appreciate the typographic elements in the background. The white circle acts as a common region that separates the important text from the decorative script.

BA D

Normally, I would not hate from outside the club, but luckily, this club is “OPEN TO THE PUBLIC” so I am free to hate. First, most of the sign is written in small caps, but there is little contrast between the small and large capital letters, which creates a weird silhouette with no particular purpose. They also capitalized “To The” which is not standard practice for title case.

Second, the word “Restaurant” appears to be off center.

Third, the name of the establishment is difficult to see from the road. It says “Scenic Hills Country Club” and the year that it was established, but I cannot make out what it is. The emphasis is on the Golf Course, Bar, and Restaurant. However, one could maintain proper hierarchy and size the business name appropriately. There is enough available white space to accommodate a larger font size for “Scenic Hills Country Club.”

Artist Statement This project is the culmination of a semester-long observation of typographic design in our every day lives. The copy in this booklet was written over the course of many months, as the result of typographic study. The final spreads are my own typographic designs, created to display my images and analysis from this semester. Each page was carefully designed with the assitance of typographic grids, to reflect the knowledge and confidence I have gained as a typographic designer over the Fall 2021 Semester.