Posts in Typography

First off let me just say that it’s awesome to have come across this beautiful archive of work by German graphic designer, Anton Stankowski. The images in the archive are fairly large so the detail of the design becomes evident. In the first image of this post it looks to me like the background of the poster was painted with a brush then overlaid by the type. The process of how this was done would be refreshing to see.

The first thing about Stankowski’s work that pulled me in was the amount movement. Nearly every one of these pieces utilizes a visual system that controls your eyes across the graphic elements and to the typography. The system is very effective considering that I keep looking at these pieces every couple of minutes to see how my eyes move around.

The Sulzer poster and the Hill Briskuit Mehl packaging are undoubtedly my favorites. Even though both are very simple they still have a lot of motion in them. Also in the Sulzer piece, the transition of the mountain peak to the type sings composition to me and in the Briskuit packaging I really admire the grid and typography.

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One of the very first articles I ever wrote for this blog lamented the careless proliferation of Archer, the slab serif from H&FJ. At the time, I was specifically reacting to the unfortunate redesign of the San Francisco Chronicle. That was in February of last year. Since then, the typeface has spread itself ever further, and continues to pop up just about everywhere.

Lauren Adams wrote a article about this very topic over on the AIGA blog. She states, “Archer’s instant stardom raises questions about its appropriateness. Can a font with such a defined character properly suit so many purposes?” She goes on to point out numerous recent examples of Archer’s continued domination of the ‘friendly’ typeface sphere. I was excited to see her article, as this issue continues to bug me the more I spot those little ball terminals. (Be sure to check out the blog she mentions, Archer Alert, for recent examples of Archer in the wild.)

At the end of my article back then, I asked if “Archer was the next Papyrus” — a polarizing contention to be sure — but maybe now my question doesn’t seem so far fetched. Before you get all crazy on me, let me say again that I am a *fan* of Archer. It looks good. I have nothing against the way it is drawn and actually think that it is quite amazing (like all of H&FJ’s work). Though as Lauren states, “an elegant typeface doesn’t simply translate to universal functionality.” I would add that such a distinctive typeface shouldn’t translate to ubiquity.

Like Papyrus, Archer shares a unique personality and the aforementioned “defined character”. Just as Papyrus became the go-to font for “exotic” or “earthy”, Archer has become the easy choice for “friendly” and “approachable”, which makes its misuse all the more prevalent. The more Archer is used in scenarios where it’s vaguely appropriate, the less effective it becomes in situations where it actually makes sense. As Christopher Simmons points out in the comments over there, “In unskilled hands even a Stradivarious will only make noise”. With Archer being clumsily wielded as frequently as it is, it’s this “noise” that has rendered unbiased viewings of the typeface impossible.

So I’ll ask again and this time duck for cover, is Archer the next Papyrus? Is it just a matter of time before the next summer blockbuster uses Archer for the movie poster?

H&FJ just put out a really cool article on combining fonts. They break it up into four lessons and provide visual examples and typeface options. All the examples use their fonts, but the lessons carry over to usage with other typefaces easily.

I found the article to be especially inspiring, or at least liberating. I have a weird mental block when it comes to combining typefaces. I’ll often use two different ones, but never three without a huge mental commotion. I don’t know what it is, but I get really stressed out trying to finagle more than two typefaces into a design. Of course it depends what type of design it is. I guess I always felt like there was this mystical over-arching design rule that prevented exciting combinations of type (I know that sounds ridiculous). Anyway, something about their examples opened things up for me. It’s nice to hear it from the high authorities that this sort of thing can be this effective.

I’m also consistently amazed how good they are about talking about type; the adjectives they use are always way out of left field but completely spot on. Calling Gotham Rounded ‘cheeky’, for example, wouldn’t have come to me right away but makes complete sense once I hear it. If you recall their scene in Helvetica where they rattle off some rather satisfying descriptions of type — that was awesome.

Helvetica and the New York City Subway System by Paul Shaw — which examines the Helvetica’s role and history in the New York City Subway system — looks like a must have for any design collector. It’s currently sold out of it’s initial limited edition but Shaw’s site says they are looking for a publisher. Let’s hope that works out.

Also not to be missed is David Heasty’s One Color Subway Map featuring, of all things, Helvetica. You may still be able to score a print, details are here.

Via The Daily Heller via Thinking For a Living

Loving this illustrated type from Michele Angelo. The “W” is giving me some nice Roger Dean-meets-Avant Garde Magazine flashbacks.

I’m embarrassed to say I cannot draw an ampersand from memory; when I do it always looks like an unfortunate treble clef. Regardless I think the ampersand is easily the coolest symbol in any character set (or ever…). There are many reasons for this assessment.

First, it’s a complex symbol. Often times an ampersand would look more at home amidst a group of kanji characters rather than a cluster of geometric letters. This makes it very interesting to look at and you end up perceiving the overall shape, rather than the distinct path of the lines. Second, it can exist in many different forms and still be understood as an ampersand. I suppose this is the same for most letters, but the ampersand varies the most substantially between typefaces (thus allowing for the most potential random awesomeness). The creativity of the typographer is best (or at least more freely) expressed through the ampersand. Lastly, it stands for the word “and”, which if I were a symbol and I had to stand for something, would be a pretty damn good choice. Very optimistic and inclusive. I suppose the only sad thing about the ampersand is its relative absence from written English. (Though Wikipedia tells me it’s making a comeback via text messaging. I’ll have to get on that…)

I can’t write a post about ampersands and not mention the best blog ever: Ampersand. And another one! 300&65 Ampersands. Above I’ve collected just a few of my favorite ampersands; not a definitive list by any means. Links are below:

1. BernhardFasD
2. Caviar Dreams
3. Caslon Semi Bold Italic
4. Hoefler Text Italic
5. United Sans Condensed Bold
6. Sackers Gothic Medium
7. Trebuchet
8. Aller Display

And yes I know the Mother and Child logo is the coolest thing ever. I know there are more killer ampersands…list your favorite here.

Gorgeous typographic works by French studio Hey Ho. I’m a big fan of this super regimented typographic chaos; a contradiction of terms I know, but looking at the pieces I think you know what I mean. Careful inspection usually reveals a tight grid and all of the placement feels *right*. I try to imagine adding or taking away elements and always find that Hey Ho has balanced things perfectly. Their work kind of reminds me of Experimental Jetset in an alternate typographic universe.

via Aisle One

I was inspired to investigate my favorite typefaces of last year by all the “Top Ten Fonts of 2009” lists I’ve seen going around. I tried desperately to make my list longer than seven, but honestly I don’t know if I used more than that. (I only have 50 anyway) Keep in mind, when I say “favorite fonts of the year”, I am referring to the ones I used most, not necessarily ones that were released in 2009. New font releases rarely get me very excited anyway. This list pretty much sums up the only fonts I ever implemented in all of 2009. There is an outlier here or there, but I keep everything pretty regimented.

So here we are, my favorite fonts of 2009:

Knockout – Probably my favorite of last year. I used it everywhere. It’s so versatile, and has so many weights, that I found it really helpful for many projects.

United – You know I love this.

Din – One of my favorites of all time. I found myself using this in just about every infographic I had to create.

Miso – It’s free and comes in handy every once in a while. Found this one popping up in my freelance work a bunch.

Plantin – One of the sole serif representatives. I used this for just about every single time I had body copy. Thanks Monocle!

Futura – Had to include this after my Wes Anderson project. Didn’t use it a whole lot elsewhere, but I always check out how things look in Futura just in case. Especially for logos — Futura comes through in a pinch often.

Trade Gothic – Especially Bold No. 2. If I hear a cool word I don’t know, I will write it down so I can type it out in Trade later just to see how bad ass it looks.

Anyway, nothing too surprising up there I don’t think, but interesting to see it all in one place. List yours if you have them!

I saw Avatar last night (in full 3D IMAX glory) and really enjoyed it. It reminded me of how I used to feel when I would play video games as a kid — not so much because of the graphics or anything like that, more because of how in it I felt. I remember when I used to play Zelda for example, my imagination would just take over and for those couple hours I lived in that universe (I was a nerdy kid). Avatar is like this; it is very easy to forget you are watching a film and think you are actually physically along for the ride, as there are no visual limitations to give you any indication otherwise. There were moments when you could hear the whole theater let out audible gasps as something incredible came on the screen. The first time you see one of the giant mining machines is pretty amazing. Of course the plot follows an extremely predictable trajectory, but seriously who cares. When things look this cool I am willing to make concessions on freshness of plot.

I saw the film with a few friends, one of whom is an interaction designer. He was mesmerized by all the crazy user interfaces the characters were manipulating. The spherical and detachable computer screens were a favorite. Meanwhile I couldn’t get over the choice of typeface for the subtitles; Papyrus (or some variant, essentially the same thing). The rest of my friends thought I was a huge nerd when the first thing I said out of the theater was “What was with that subtitle font!?” It is crazy to think (in my opinion) that $280 million went into this movie and they chose the one font that is at the end of most typography jokes (save maybe for Comic Sans). I know it probably fit better than a super clean sans serif (and I can’t imagine there weren’t hours of discussion over this point), but seriously, Papyrus?

Further: Kottke describes another interesting issue, regarding the realism of the Na’vi’s technological development. I don’t necessarily agree with his point (I think they were as advanced as they wanted/needed to be given the physical and spiritual qualities of their world), but he makes an intriguing argument.

Mrs. Eaves is one of my favorite typefaces. Especially when it comes to serifs — which admittedly, I use infrequently — Mrs. Eaves has long been a go-to. I agree with designer Zuzana Licko’s description that “Mrs Eaves was a mix of just enough tradition with an updated twist. It’s familiar enough to be friendly, yet different enough to be interesting.”

After much anticipation, the sans-serif companion Mr. Eaves is complete. It comes in two varieties; Mr. Eaves Modern and Mr. Eaves Sans (character map pictured above). Like Mrs. Eaves, both variations were designed by Zuzana Licko for Emigre. I’m excited to use this — especially the lowercase ‘a’ variant pictured at the bottom.

Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. [ Purchase ]