Archive for February, 2012


Typography of the Week – 6

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2.24.12

Today’s post was inspired by a typeface I saw in a couple different places this week. The Tire Barn logo caught my eye as I drove past it the other day (and not in a good way). And later that night when I got home, I noticed a pack of “War” playing cards we picked up for my nieces and nephews. Both logos featured a variation of what most type foundries call “interlock”. One of the most well known versions of this type of font is House Industries’ Ed Benguiat Interlock. House Industries worked with renowned type designer, Ed Benguiat, to develop five typefaces based off his designs (Script, Interlock, Gothic, Roman, Brush). They’re all Open Type fonts with tons of alternate characters and close to 1,4000 ligatures. Really not sure who did the original version of this font, but searching for “Interlock” on MyFonts.com turned up 59 versions, all by different designers.

 

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ITC Franklin Gothic

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2.20.12

Type specimen poster for my typography class. Wanted to show that though Franklin Gothic is often associated with newspaper headlines, it’s actually much more versatile and can feel cool and modern if applied that way. The typeface was named in honor of Benjamin Franklin, who was a printer by trade for more than thirty years. That printing association inspired the CMYK color palette of the piece.

 

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Typography of the Week – 5

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2.16.12

Brilliant film posters by U.K. designers All City. Love the way they make type an integral part of the design—never an afterthought. Beautiful use of gestalt alignment in their typesetting. Predominately use Helvetica while display type looks to be set in Helvetica Black.

 

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Typography of the Week – 4

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2.10.12

I just discovered the work of Ryan Atkinson through a poster project he did for Hype for Type. Love his style of typography where type is treated as an image (focal area of importance) and still conveys information. Big fan of graphic design that relies on typography and very little illustrative or design elements. It just lets the type carry the burden of the communicating the message.

 

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Typography of the Week – 3

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2.2.12

My dad was having surgery last week at the Mayo Clinic, and as you often do in situations like that, I found myself with quite a bit of time on my hands while waiting around the hospital. I started to notice there were at least three versions of the Mayo Clinic logo. After some research I found that they’d gone through some rebranding over the last few years—going from a sans serif typeface in their logo to a classic serif. Couldn’t quite identify the typeface used for it. Appears to closely resemble Palatino Roman, but maybe with a “Y” from a different typeface swapped in.

Almost all traces of the sans serif logo were gone—exceptions seemed to be on items it would cost a lot to change, like automated lobby doors. Most of the signage directing you around the hospital featured the same serif typeface as the current logo.

This handicapped sign in the parking garage of St. Mary’s Hospital caught my eye. Wouldn’t have thought much of it except that I recognized the capital “Q” as being from the Avant Garde typeface (has that distinctive curly tail). Avant Garde seems like such clean, modern typeface that I was surprised to see it blend in so well surroundings with its surroundings.

 

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