What a unique take on flags. Most of the letters all maintain the same shape, with the exception of those whose flag designs feature a specific shape or element. All together, the typeface is impressively legible, despite Fabra and Leong Darren Abriel’s creative, more abstract and geometrical shape choices. Watching the examples of the transformation from flag to letter is intriguing.
While still upholding its clean, economical style, it’s amazing how different Helvetica can appear from one context to another. Depending on it’s environment, Helvetica takes on a different personality. The neutral tones paired with the gold used on the perfume bottle make “Helvetica The Perfume” appear luxurious and high class. In comparison, the imaginary “Helvetica Hotel” seems more like a hotel for the average Joe. Both examples, however, exude an air of sterility and simplicity.
Well, this is a dramatic improvement from Comic Sans, however, I can’t say I am a fan of the new take on the infamous typeface. While Comic Sans has an immature style, Comic Neue is more refined while maintaining the quirky essence of its predecessor. Comic Neue seems more professional and credible than the ever-hated Comic Sans typeface.
There’s something about the authenticity of a hand-drawn typeface that is truly captivating. It seems more honest, organic, and amiable than anything created by a machine. The minor imperfections only add charming character to the design and add a human element that a computer simply can not imitate.
Until reading Colin Shillingford’s answer to the question “What are the most readable and aesthetic serif and san-serif fonts?” I hadn’t given much consideration of the different breeds of serif fonts. It’s pretty amazing the different effects you can have simply by choosing one type of serif font over another. A lighter, more delicate Old Style serif font would be appropriate for use at times when a boxier, thicker Slab serif font. Transitional style serif fonts, although a hybrid of Old Style serif and Modern serif, have a look unique from the flatter Old Style serif fonts and the heavier, more narrow Modern style serif fonts.
Some of the items listed on this link are fairly obvious typography issues to keep in mind when selecting and editing a typeface, like size. Others are not so easily recognized, yet make a dramatic difference in the aesthetic of the typeface. Kerning, for one, can make the difference between an average and professional document style. Adjusting the spacing between individual characters to ensure each letter fits in well with those surrounding it can improve readability and style.
This is pretty amazing. Not only is it incredibly impressive that someone so young could calculate something that could make a significant impact on our government’s budget, but the fact that the federal government switching over to a typeface so similar to the one they currently use we can save $136 million annually. As I mentioned in a previous blog post, Garamond is a more “credible” typeface, meaning it gives the reader the perception that a document has more credibility. This could also benefit the government. The only potential issue I can see with a complete government switch from Times New Roman to Garamond is that the latter is much finer and more difficult to read. Times New Roman, due to its heavy ink use, is a much bolder, more legible font. Because of this, Garamond is harder on the eyes for some.
Until it was called to my attention, I hadn’t exactly considered the effect a choice in typeface would have on a webpage. Of course I know that typeface selection is important for any medium, and some styles will be more appropriate than others for a specific use. It seems so obvious now that a thin, serif typeface would not be ideal for the internet.
These are both intriguing and terrifying, but all in all a wonderful example of creativity in typeface design. The level of realism achieved with this software is unreal—which is what makes some of these designs so creepy. At first glance these appear to be photographs of real life sculptures (which reminded me of our handmade typography assignment). The K made to look like human flesh looks almost real, down to the freckle details. And the Z at the end of the article is so lifelike it is almost repulsive. Excellent work.
Of all of these, I must say James Brown is my favorite. I did some further research on him and found out that he does print making in addition to his illustrated typography, and his print work is equally as breath-taking. Brown has a true eye for art direction of and in text. Not only are his font typeface designs beautifully crafted—the way he arranges the words on the page is a masterpiece in and of itself.