As I have experimented with designing typefaces this semester, I have learned more and more that each of these tricks are vital to crafting a successful typeface. Obsessive detail and accuracy are exhausting to achieve, but in the end it truly does save you time and reward you with work that you are pleased with. I have put a few typography projects up on my Dribbble account and, although I have not received many suggestions for my work, it is encouraging to get some positive feedback on my designs. Putting my work out there for others to see has boosted my confidence in my abilities and rekindled my enthusiasm for designing.
Although most of these date back several decades, I must say that I appreciate these styles and innovation as much, if not more, than much of the brand new work emerging today. I see very few risks taken in new typeface design, but these artists pushed boundaries and created something new and exciting. It’s interesting that some of these styles have made a comeback in recent design trends.
As I’ve learned in classes, it is important to select typefaces loosely-based on a formula containing one sans serif font, one serif, and one decorative font. Even after these discussions, I still struggled to select three or four typefaces with forms that together create one cohesive style. This link is the perfect guide to clarify exactly how I should go about selecting typefaces that will not only look good together, but evoke a specific mood.
This is one of the most interesting articles on typography I have come across. It is bizarre how similar an attractive typeface is to an “ugly” one. Simply inverting thick and thin areas of a serif font can metamorphose something beautiful into something considered “ugly.”
#5 has taught me that 1. I should probably invest in some higher-quality, newer pens than my 5-year-old Prismacolor set, and 2. Olivia King is a hand-drawn typography goddess. Bonus lesson learned: Gemma Correll has a badass website and pretty funny sense of humor.
The more I read about typography the more I realize I have so much more to learn. I hadn’t thought there were many more categories of typefaces beyond serif and sans serif, but I have discovered otherwise. Not only to several other font classifications exist, but there are also subcategories within the larger groups. After taking a closer look, it is clear that a distinction between types of serif and sans serif fonts must be defined. Each style has a unique personality.
This has been one of my favorite kinetic typography pieces for some time now. The change in typeface to fit the tone of the moment combined with non-type imagery makes for a unique and well-made piece. I haven’t watched or read Fight Club in probably 4 years, but the designs in this video recall every action from this scene. Job well done.
This might be my favorite kinetic typography piece that I’ve seen. Everything about this is well thought out, from the choice to use the Facebook logo typeface to the Facebook color scheme to the moment of awe when the Facebook “f” is revealed at the end of the video. I have created one kinetic typography video myself during which I learned that it is an incredibly frustrating, time-consuming, and challenging process. I have a great amount of respect for this artist.
This has inspired me to create more. A lot more. It is evident that designing every day can improve your ability dramatically, and I am now excited to push myself on a daily basis to better my design skills. (Side note: I appreciate that Eriksen’s designs look very similar to Beavis and Butthead.)
I love the line “typography is not a math problem with one correct answer.” Yes. I may not know all there is to know about typography, but what I do know is that finding the perfect font often times means finding the perfect fonts. Additionally, this essay brings up another important point that is often forgotten: “Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit.” Just as the visuals of a presentation should not take away from what the speaker is saying, a typeface should never distract from the information is it relaying. The means by which a message is sent should always support the content of the message.