A tall letter, representing the mountain Snowdon. The pointed peak showing the summit the article speaks of, and the slab serifs representing the firm and flat ground on which the mountain stands. Steep angular sides represent the height of the mountain. Varied
angles in the crossbar show Snowdon as the tallest within a range, whilst dually representing the track which the 4x4 was driven up. The letter is constructed through four clearly defined parts- the two sides, the crossbar and the serifs, which represent the 4x4 vehicle itself.
The holiday theme of this article lent itself to the rounded and relaxed design of the character. The global subject was a prompt for the letter to be a rounded, smoothly curved shape, as well as the large counters. The proportioning of the
character is representative of the percentage figures stated in the article, and the larger lower counter shows the increase in these figures referred to in the article.
The circular shape the character is designed around shows the jovial comedy subject of the text. The use of curved serifs show the aptitude of the actors for their profession, while the
contrast in shape highlights the forced vibe of Brannagh’s performance. The uneven spacing and balance of the serifs portrays the difference in the skill of the two actors in their roles.
Heavy weight lines and wide shape of the letter are representative of the references in the article to obesity and health. Serifs mark the formality of the topic, it being an official government tax. The large counter can also be
interpreted as the way the life expectancy of the Danes is expected to increase. Rounded and wide, the character is a portrayal of the state of the health of may of the Danish population, according to the article.
Comprising of three different styles, the letter shows a mix of different messages, illustrative of Easyjet’s stance in the public eye of late. Many different weights of line all vie for superiority, a depiction of the competitive business. Serifs
provide formality and a businesslike vibe, however when together are all varied. The increase in line weight moving up the letter indicates the profits of Easyjet, and their significant increase of late.
Combining traditional Gothic typographic styles with modern shapes and lines, the final letterform is one representative of Calais today. Elements of the old remain, yet the modern
are also present. The broken up, separated elements of the letter present themselves as the state in which the city finds itself– one of change and unfinished improvement.
Of balanced weight and well rounded terminations, the character illustrates the peaceful and level headed stance of people opposing the law reform. The curved but not entirely rounded shape shows the argument in question to be encompassing a lot of different viewpoints but still no straightforward
resolution. No serifs are used, but the neat and well proportioned design makes for a professional appearance. The equally balanced and horizontal crossbar depicts the two main sides to the argument, while the angular stem of the letter is a portrayal of the NUS’ direct and clear stance on the topic.
The many percentages listed in the article are represented initially by the letter being split into serif and sans serif, and then also into different weights. Further representative of this is the variety of serifs applied to only half of the letter.
Four different serif styles are used to illustrate the proportions used in the article. The weight difference in the line is also indicative of the way a number of women were confident with making breast checks, while others were not.
A modern and futuristic shape combining a curved edge with straight lines and angular corners, the letter is representative of the futuristic setting that Terra Nova holds. The article elaborates on the futuristic and the historical themes in the show, and these are represented in the character by the contrasting
styles. Reference to the portal within the show is shown through the multiple strokes within the letter, giving the shape more of a threedimensional feel, while the same point of origin for the lines marks the space and time aspect of the portal reference.
The northern vibe and origins associated with Joy Division are portrayed by the simple and inelaborate letter shape. Functional and hardy, the high impact shape of the character is expanding on the reputation and pride of Manchester as being their city. Musical references can be seen in the horizontal lines within the shape– representative of the visual style of sheet music, and picking up on the
musical theme within the article. The small serif is indicative of the photography element in the article, reiterating the point of it being not about the photograph, but the subject matter within.
Soft and modest serifs portray the vibe of Bombay Bicycle Club’s music, as well as the band’s temprement as popular musicians. The mixed directions of the serifs and crossed lines of the character shape represent the varied
and diverse style and sound of the band’s music. The letter is clearly comprised of four elements– three lines and the serifs, while still creating a consistent and uniform look overall.
With the joining of the two lines of the character illustrating the reunion topic of the article, the weight of one being significantly less than the other can be interpreted as the missing figures of the Beatles band. A rounded serif shows the lighthearted yet formal tone of the setting,
true of the Beatles image. Using the small proportioning of the serif by comparison to the rest of the letter represents the small but essential details– those being highlighted by the making of the George Best film.
Growing from single into multiple lines, the character clearly interprets the subject of growth through investment. Official government propositions are portrayed through the formal applicaiton of the serif,
while the connotations of home and comfort can be seen through the smooth curved and unsharp corners. The increase in jobs provided through the houseing developments is also shown through the multiple expanding lines.
The single heavy weight line, along with the sans serif style of the letter show the undecorated and straightforward mind-set of the sport of Rugby. Teamwork and a driven attitude are presented through the lighter weights of lines
linking into the single heavier one, and the representation of competition is made through the use of only one strong and overpowering part of the letter being prominent.
The wall lizard is illustrated literally by the shape and size of the characters elements. The circular shape of the outline being used as a representation of the sun the lizard needs to thrive, and the proportioning of the counter
being two thirds of the overall diameter, showing the proportional meaturements of the lizard’s tail. A thick and solid weight of line conveys the characteristics of the environment in which the lizard, the subject of the article, may prosper.
Slab serifs form the foundations of the letter, representing the firm and natural resource roots of the Pathfinder Minerals business. Application of the shape of the Mozambique coastline is introduced to bring reference to the location of the article subject. The consistent
medium weight of the lines implies a steady development in the business, with room for growth and increase in value throughout, but also suggests a reliance on balance and thoroughly considered business decisions.
Covering the trade of gold mining, the character illustrates a rich and precious subject matter. The decorative serifs in the tail of the letter tie in with this. Expanding on the ratio percentages referred to in the article, the tail indicates the posibility of a 2:1 increase in funds available, proportioning the tail of the letter accordingly. The variable line weight of the letter indicates
t h e fragile state of the G r e e k economy while indicating the chances for debt reduction and profit.
The traditional and perhaps stereotypical British references to Rolls Royces and Johnny English are carried through formal and elegant serifs, while the rounded shape of the right side portrays Atkinson’s typically comical input to the mix. A smooth line is used for the whole
character, showing class as well as the element of speed brought in by stunt driving themes. A weightier line for the more decorative side of the letter shows the outgoing characteristics of both acting and comedian Rowan Atkinson.
Presenting the subject of schools as a business, the use of an expanding weight of line are indicative of making increasing profits through the schools. The balance of the upper and lower portions of the letter are set equally, so as to display the two options presented in conclusion
of the article–raising fees, or cutting costs. Rounded serifs are used to mark the theme of education as a subject which should be a wellrounded experience, as well as accessible to all children universally.
Combining the artchitectural background with the new vogue career path of Tom Ford, the subject of the article, this letter represents his two distinctive interests. Starting with slab serifs, a stable and structured half of the letter
indicates Ford’s architectural background. The character then makes the transition to the more feminine and decorative side, expanding on the new make-up and womens cosmetic ranges created by the designer.
Themes of space and the cosmos are mixed with finances and funding to create the above character. Using the ÂŁ3.5m funding figure and translating this into a star based representation of 3.5 circles this element is made clear. The visual implication of magnification with the
subject matter being about a telescope is presented by the thicker and bigger half of the letter, while the smooth and neat shape of the character portrays the highly technological and futuristic themes of the article. A wide counter is left within the centre to represent space.
Two contrasting personas are presented through this character. The gentleman who is a member of the England rugby team, and on the other side his primative and ungainly behaviour. Presenting an instinctive, fast and unconsidered state of mind on one half of
the letter, and contracting this with the way the article suggests these players should represent themselves. The two halves of the letter show a clear distinction between clean, clear, considered presentation and a rough, disorderly disposition.
The complext mix of emotions touched upon in the article meant for a varied overall look to the character. Mixed weights of lines and assorted serif styles create this jumbled and confused article representation. The softer curves in
the corners on one side of the character with the sharper corners on the other show the conflicting and contrasting viewpoints of the one subject of the article.
Using inflated and unnatural serifs within the design of the letter, the theme of botox is clear. Based upon a simple and well proportioned character and using slab serifs to highlight the change from the original form, two of the serifs
are enlarged and misshapen to represent the articles stance on botox. The resulting letter is unbalanced and not representative of it’s former state, disguised as a more deceptively decorative letter than it once was.
By lending more weight to one arm of the letter, the message of one part being stronger or more prominent is translated from the mention of a single strong football player within the article. Slab serifs are present as a stable and well grounded stance, a clear representation
of the teams standing within the article. The even distribution in direction of the three main character features creates a visual illustration of the different directions the football teams mentioned may take as a result of the match.
The article refers to football, in particular the 2–0 score of a match. Reference to the zero element of the topic is made by the negative space between the two lines of the letter, a space representing a void. Curved edges
are also used to indicate the shoplifting of a doughnut mentioned in the piece. Two weights of lines imply the two opposing teams, one stronger than the other, while also being used as a visual metaphor for the teamwork in sport.