This actual piece is 35 inches long, eight inches in height, and is a seven-fold accordion brochure. This is a typographical project using only glyphs and the typeface(s) chosen— with a limit of two. I discovered how much I love Archer and how unique the font family is compared to most typefaces. The typeface really takes on varying personalities and appearances: from caps to lowercase, light to medium, and regular to italic. It’s really sweet and lovely— displaying subtle yet empowering beauty. This typography class at PSU created a true typography fan. And now I feel I am enchanted by its spell. Yum!
I’ve been doing research on fonts for a client’s logo and product line. I’ve taken snap shots of fonts I don’t have on my hard drive and created a font sheet of those I do. This collection will be emailed for client consideration and feedback.
Thanks to one of my fellow designers and wordpress bloggers for having the link to I Love Typography on her site. It proved to be a wonderful reference point. I was able to tap into articles that were very helpful including the 80 best fonts. I found it so valuable that I added it to my links. Thanks Michelle!
When first doing a search for best fonts, I came upon Typographica’s : Best Typefaces 2007. And I’m glad I did because there I found the following distinction:
First, the description has evolved from “fonts” to “typefaces”. Yes, there is a difference. Mark Simonson explains it best: “The physical embodiment of a collection of letters (whether it’s a case of metal pieces or a computer file) is a font. When referring to the design of the collection (the way it looks) you call it a typeface.”
I then continued to prowl the web to uncover Typographica’s : Our Favorite Typefaces of 2008. Did you know we’re living in what is dubbed the new golden age of type? This is because of the rising quality of type design. The list of typefaces presents more selections this year and OpenType technology is now being used by nearly all type producers.
An exerpt from the article states:
“Stylistically, this year’s selections run the typographic gamut: slab serif, typewriter, blackletter, stencil, brush script, geometric sans … and some that are difficult to neatly classify. Some represent contemporary innovations in editorial style, while others look back to pre-typographic history for inspiration. With such a wide range of examples, making any generalizations about the list is tricky. What can be said, though, is that each selection has proved itself enough to be chosen as an exemplary model of what happened in the world of type design last year.”
I’ve pulled a few of samples from the article on Typographica’s website to offer an idea of typefaces on display. It’s a lot of fun to look through all of these. As we know, typography makes, or breaks, a design. And I don’t know about you, but I love type!
I am a huge Myriad fan. So much so that I used this font for my logo and entire identity package. It’s clean, understated and goes well with almost any other font.
Today in portfolio class a fellow student, who I respect as a person and designer (or at least I did!) actually made some kind of comparison between Myriad and Papyrus. I was shocked. He must be joking. This simply couldn’t be! Uncontrollably, a knee jerk reaction of words came flying out of my mouth that called him on his misgivings. The conversation continued, and then like a stab in the back, the two fonts again shared space within the same sentence. Ouch!
So just let me say, to clear the air and set the record straight, there is no comparison between these two fonts. Using Papyrus has got to be in the top ten things that designers must never do. While Myriad continues to hold strong and be a font of multiple purpose. After all, it’s used in Apple’s modern marketing, for goodness sakes. Need I say more? Check it out for yourself.