Type Journal

> type study

SARAH GARDNER/2013

> study 01 AKKURAT SPECIMEN PACKAGE DESIGNER: Laurenz Brunner TYPEFACE: Akkurat TYPE CLASS: Sans Serif, Grotesk

EVALUATION: The most apparent strengths in this typeface are it’s distinctive design and readibility. The sample I used is the type specimen package for the typeface, and true to form it is highly effective.

The relationship of layout design and type is very homogenous. It holds

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similar characteristics seen in European grotesk fonts, such as Helvetica and AG Grotesk.

I chose Akkurat as the general typeface used throughout this journal.

> study 02 HARVEY MILK WINE DESIGNER: Student, Emily Hale from San Francisco, CA. TYPEFACE: Radio TYPE CLASS: Script EVALUATION: As a designer who generally dislikes script fonts, I found myself suprisingly attracted to this branding design. I find that scripts generally lack the seamless quality that is expected when writing in cursive. However, I find this example to be an exception with the types fluid

strokes and varying stroke widths.

It has a striking visual appeal and is complimented by the minimal graphic element.

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> study 03 MARVIS TOOTHPASTE SOURCE: Eataly Online Store TYPEFACE: Unsure, Similar to Times New Roman.

TYPE CLASS: Serif, Old Style

EVALUATION: I was instantly drawn to this products packaging when I was browsing through Eataly, the saturated mint green combined with the reflective silver is undeniably beautiful. It’s suggestive towards the brand being very old and well-established from the cameo graphic and

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the framing on the packaging. The old-style typeface further attests to that notion. It’s bold lines and strong serifs imply that the user is sophisticated. On further inspection, the only weakness I can find is the tracking between the letters, specifically the V and I.

> study 04 HOW TO SHARPEN PENCILS SOURCE: Purchased in 2012.

TYPEFACE: Futura, Freestyle Script TYPE CLASS: Sans Serif, Script

EVALUATION: Futura as a typeface has almost no disadvantages, it is a sharp, readable, and balanced font.

This sample is no exception. The variation with type sizing and leading allows your eyes to easily digest the content and combined with the school-bus yellow hue, it has a nos-

talgic appeal. I understand why the script font is included as an accent, I am not sure I would have kept it, as it seems like although it’s not hindering the design, it’s also not helping.

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> study 05 QUOTE DESIGN POSTER SOURCE: A typography collaborative site, Lineto.com TYPEFACE: Futura TYPE CLASS: Sans Serif EVALUATION: I chose this design because in contrast to Study 04, it is using Futura in a much more playful and contemporary fashion. Rather than simply being content, the type acts as a graphic element. The spacing, effects, and text-wrapping used brings the poster to life and is

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anything but static足足which is the context of this sample, I find completely appropriate.

> study 06 ALVIN DIEC BUSINESS CARD SOURCE: Behance TYPEFACE: Univers Condensed TYPE CLASS: Sans Serif

EVALUATION: I am very partial to the style of this business card. I myself am a frequent user of Univers Condensed because I love the minimal aesthetic it has when the tracking is increased. That and even at small sizes, it still remains legible and retains its distinction. The slab serif is very

complimentary because of it’s subtle contrast. Continuing with the uppercase style and tracking from Univers, it’s serifs add just enough to separate the two visually.

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> study 07 SEGUNDO CHOCOLATE DESIGNERS: Savvy Studio TYPEFACE: Helvetica, Letter Gothic TYPE CLASS: Sans Serif, Monospaced EVALUATION: This is design at it’s finest in my opinion. The synergy of the two different typefaces looks beautiful when done properly. The looseness that comes from Helvetica when spaced properly is the epitome of simplicity. Letter Gothic adds this sensibility of time passed with it’s

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monospaced style. The composition really brings it together, giving it this rich and exclusive feeling.

> study 08 MARK MANDERS REF. BOOK SOURCE: Checked out at the Art Institute TYPEFACE: FF Legato TYPE CLASS: Sans Serif communicate. Seeing as it’s a exhiEVALUATION: I was particularly interested in this book because I found bition reference book, there is very little to be miscommunicated. the typeface to be interesting. The curvature of the stems and stokes seemed modern and unique. In this specific composition, the only element is the text, and for that reason it is discovered quickly if it can properly

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> study 09 THE BELL JAR SOURCE: Personal copy TYPEFACE: Poster Bodoni, Futura TYPE CLASS: Sans Serif, Grotesk

EVALUATION: The combination of Bodoni and Futura is exceptional.

Bodoni’s extreme variation of stroke width is clearly the focal point. I really appreciate the manipulation of the serifs to curve and perfectly fit into eachother due to the tight leading.

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> study 10 NO LI BREWERY IPA SOURCE: Identity/Branding Book TYPEFACE: Vitesse TYPE CLASS: Slab Serif

EVALUATION: The design of these labels opened my eyes to the use of slab serifs. I typically the class off as kind of kitschy. The design does have a more playful feeling but in a contemporary way that has the right amount of diversity to interest consumers.

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> study 11 DWELL MAY 2012 ISSUE SOURCE: Personal Copy TYPEFACE: VWK Mono TYPE CLASS: Sans Serif, Monospaced EVALUATION: Dwell was able to typeset this monospaced typeface in such a way that with the text-box fill and multiple color changes, it doesn’t seem overdone. I love the juxtaposition to the humanist typeface to it’s left.

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> study 12 SCHOOL OF ARTS PAMPHLET SOURCE: Behance TYPEFACE: FF DIN, Prestige Elite TYPE CLASS: Sans Serif, Grotesk

EVALUATION: This flyer was appealing to me because of the modern use of type. The boxed in look of FF DIN is pushed further by decreasing the leading and setting the margins so close to the edges it’s practically off the page. This style is a pretty divergent when it comes to deciding if it

works or not. I do think that because it is attempting to communicate to people who work within the arts, it is functional, but design of this style is too radical for commercial design.

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> study 13 STEPHEN BRODSKY ALBUM SOURCE: Pitchfork TYPEFACE: Herald Gothic Vonness TYPE CLASS: Sans Serif

EVALUATION: The cover art for this album is extremely visual and I would have envisioned a condensed, light font, like this would have disappeared, but i think it works. I believe the best decision made here was to put the color overlay behind the text, almost acting as it’s own stroke. This

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is very eye-catching.

> study 14 EXTENSION 765 WEBSITE SOURCE: Screenshot of webpage TYPEFACE: Mencken, Flood, Alternate Gothic, Normande TYPE CLASS: Multiple Classes EVALUATION: Exactly what I would expect from a directors website. The slab serif typeface works in a very literal way. I don’t find myself much of a fan of slab serifs or handwritten typefaces, but the otherwise minimal layout and perfectly aligned layout allows it to work.

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> study 15 EAT FOOD-TO-GO SOURCE: The Plant’s portfolio TYPEFACE: Eames Century, Eames Stencil TYPE CLASS: Serif, Slab-Serif

EVALUATION: I found this interesting for good and bad reasons.

First off, I find the idea of framing words to be an potentially workable idea, specifically for vinyl window displays. In this case though, too many things are working against it. The variety of

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Serifs and styles of those serifs make it static and awkward. The text frame is too wide, and the decorative design in the border is too small.

> study 16 HP PACKAGING RE-DESIGN SOURCE: Smashing Magazine TYPEFACE: Futura TYPE CLASS: Sans Serif

EVALUATION: I found this re-design so funny and spot on. Not only is it beautifully executed, but the concept of the artist who wanted to replicate the look of a Chanel No2 perfume box(to mock the ridiculous pricing of printer ink) is really genius.

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> study 17 SAGMEISTER & WALSH WEBSITE SOURCE: Internet TYPEFACE: Replica TYPE CLASS: Sans Serif

EVALUATION: Before becoming a frequent visitor of this website, I had never heard of Replica. The font is extremely readable, modern, and is cooperative when it comes to justification, sizing, and leading. With the minimal, grid-style layout of their content

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heavy website, I don’t think there is a better font to use.

> study 18 AKKURAT SPECIMEN PACKAGE SOURCE: Sofia Coppola’s website TYPEFACE: Dom Diagonal TYPE CLASS: Sans Serif, Decorative EVALUATION: Since the early promotional advertisements for The Bling Ring, I was hooked. The intentional and strategic tragic using in the films title is something you don’t see these days.

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> study 19 OFFENBACH HOSPITAL SIGNAGE SOURCE: Behance TYPEFACE: Avenir Next TYPE CLASS: Sans Serif pital their own distinct identity. Very EVALUATION: The typeface in this well-executed. sample is the one constant factor in the signage system implemented in this sample. The clear and readable text allows for quick comprehension to move forward with wherever needed. The coloring acts as visual coding, giving each of the areas in the hos-

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> study 20 DESIGNING NEWS BOOK SOURCE: Designers Universe TYPEFACE: Domaine, Altas Grotesk, Atlas Typewriter TYPE CLASS: Serif EVALUATION: The typeface combination works very well on this book.

Immediately I felt like this book was informative and would be worth looking further. I thought about why I felt that way and decided it communicates it’s credibility and knowledge by the grid formatting, serif typefac-

es, and content loaded front cover.

Seeing as that isn’t typical, I felt as if this book had something to teach me that I might not know.

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> study 21 ESQUIRE’S THE NEW AMERICAN SOURCE: A typography collaborative site, Lineto.com TYPEFACE: Graphik, Mercury TYPE CLASS: Sans Serif EVALUATION: The use of type effects in this sample is what drew my interest. I thought the idea of differentiating colored shadows was inventive and original. The graphic elements floating above and below, acting as what I assume is another shadow gave this a lot of character.

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> study 22 POTWASH IDENTITY BRANDING SOURCE: A typography collaborative site, Lineto.com TYPEFACE: Futura TYPE CLASS: Sans Serif EVALUATION: I love the relationship between the photographed hand and the Futura text. It gives this design a lot of depth. Using Futura in a light-hearted, almost humorous way was really complimentary to the curving nature of the typeface.

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> study 23 A NIGHT AT THE CIRCUS POSTER SOURCE: Personal Design TYPEFACE: Akzidenz-Grotesk, Akkurat Mono TYPE CLASS: Sans Serif EVALUATION: I created this poster for an event coming up in February. I brought together multiple styles and implemented a grid system to keep things in-line with eachother. I am happy with the result.

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> study 24 PUMPKIN PALOOZA SOURCE: Personal Design TYPEFACE: Univers, Orator TYPE CLASS: Sans Serif

EVALUATION: Another poster design I created. I like the relationship between the two typefaces. In retrospect, I would rework the composition. It doesn’t seem to work as well as it could.

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> study 25 DAUGHTER ALBUM COVER SOURCE: A typography collaborative site, Lineto.com TYPEFACE: JAF Domus Tilting TYPE CLASS: Sans Serif EVALUATION: Very obsessed with the balance between the two words.

The tracking of the letters seems effortless, but it was probably painstakingly executed. The similar line stroke pulls everything together.

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> study 26 OLIVER SACKS BOOK COLLECTION SOURCE: A typography collaborative site, Lineto.com TYPEFACE: Garage Gothic TYPE CLASS: Sans Serif EVALUATION: A prime example of how beautiful text can look condesed when done purposefully and thoughtfully. The subtle change of stroke thickness between the Authors name and the title is something to be acknowledged. You don’t have to use high contrast to separate two points.

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> study 27 BUTTERY BUSINESS CARDS SOURCE: Behance TYPEFACE: FF Cocoon TYPE CLASS: Sans Serif, Humanist EVALUATION: There is something very fluid and fitting to the entire design of these buisness cards. The italicized Humanist typeface with the neutralized color scheme is very appealing to look at. Not only that but it is clever.

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> study 29 POSTER DESIGN SOURCE: A typography collaborative site, Lineto.com TYPEFACE: GT Walshiem TYPE CLASS: Sans Serif, Grotesk EVALUATION: The rounded Sans Serif with large, bolded text filled close to the edges, set directly against the tiny vertical content heavy paper, next to the bold black and white stripe pattern, next to the lettering design. It’s all so harmonious. It works perfectly.

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> study 29 PORSTEINN BRANDING SOURCE: Fingerprints II TYPEFACE: Archive TYPE CLASS: Sans Serif, Grotesk

EVALUATION: The most interesting part about this is the fact that all lines, text and graphic, are all the same stroke width.

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> study 30 STORE HOUR WINDOW DISPLAY SOURCE: iPhone Photo TYPEFACE: Avenir TYPE CLASS: Sans Serif, Grotesk

EVALUATION: Perfect example of how tracking and leading can be done well when pushed.

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> study 31 DOGFIGHT, A LOVE STORY SOURCE: Behance TYPEFACE: Balloon, FF Din TYPE CLASS: Sans Serif, Grotesk

EVALUATION: Love the use of color combined with the italicized, angled text. The font in this context works well, it seems like this book would be a satirical read.

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> study 32 EVENT POSTER DESIGN SOURCE: A typography collaborative site, Lineto.com TYPEFACE: Founders Grotesk TYPE CLASS: Sans Serif, Grotesk use text this way.

EVALUATION: The relationship between text and graphic, as far as the arrangement between the two is really what excells here. I do think that there should be more separation between the title and the content below, but I seem to have that issue with most of European designers who

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> study 33 MEIN HONIG WEBSITE SOURCE: Website Screenshot TYPEFACE: Trio Grotesk, Source Code TYPE CLASS: Sans Serif, Digital EVALUATION: I love the minimal aesthetic of the typeface in comparison to the background photograph of the brands products and materials. It emphasizes the importance of good design over embellishment. The stretched style of the sites header does seem a little squished.

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> study 34 PIRATES AND FARMERS BOOK SOURCE: Pinterest TYPEFACE: Macula TYPE CLASS: Decorative

EVALUATION: The decision to let the complicated perspective of the lettering in this text was what makes this book cover work. Any other element would have ruined the balance.

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> study 35 EVENT INVITATION SOURCE: Pinterest TYPEFACE: Landmark, Futura, Commercial Script TYPE CLASS: Sans Serif, Grotesk EVALUATION: This samples typeface combinations bring a lot of elegance to the design. The shadowed text simuates the effects letterpressing, giving it the impression that it was cared for.

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> study 36 CORNELISSEN REVIEW SOURCE: Photographed from Printed Article TYPEFACE: JAF Facit, TYPE CLASS: Sans Serif EVALUATION: The tracking of the typeface in the first line was what drew me to this sample. At first glance I read the two words separately, but at second glance, I found it more difficult to separate the two because of the spacing. The fact that the difference between so small of a

space could be the ultimatium on if a design works or not is something that really needs to be taken into consideration.

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> study 37 DON’T JUDGE A BOOK COVER SOURCE: Behance TYPEFACE: GT Walshiem TYPE CLASS: Sans Serif

EVALUATION: Filling the composition with the title works in this sample for a dew reasons. The tracking, although I would have liked it if the space between words were a big wider, is done properly because of its relationship with the leading and stroke thickness.

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> study 38 TANGENT CAFE CARDS SOURCE: Behance TYPEFACE: ITC Grouch, Prestige Elite TYPE CLASS: Sans Serif, Grotesk

EVALUATION: Another example of complimentary typefaces. Slab serifs and Serifs go very well with eachother, the weight of the Serif font is being balanced by the tighter leading in contrast to the Slab Serifs wider leading.

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> study 39 QUOTE DESIGN SOURCE: Poster Collage TYPEFACE: Gill Sans Shadowed TYPE CLASS: Sans Serif, Decorative

EVALUATION: I have really began to appreciate the use of shadowing in texts, the thin stroke of Gills is well-suited for the shadow. It was clearly thoughtfully designed as the distance between each letter defined it’s readibility. The only thing I might have changed was to make the

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text fill white, rather then match the background color. The composition is also interesting, with the busier elements framing the quote. Nicely done.

> study 40 IOS 7 NEWSTAND APP DESIGN SOURCE: Apple TYPEFACE: Futura, Fette Gotisch, Plak Condensed, ITC Lubalin Graph TYPE CLASS: Sans, Serif, Slab EVALUATION: Although there has been endless criticism for IOS 7 flat design, I really loved it. Specifically the redesign of the Apple pre-installed apps. Newstand was one specifically I found beautiful, and interestingly enough, not entirely flat. The typefaces all properly represent their

own context and are very distinctive.

The small details of this little graphic element in such a large project show the care that the creative team at Apple put into their work.

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