TRACK & KERN: Elizabeth Stanford

Showing posts with label Elizabeth Stanford. Show all posts

Monday, April 8, 2013

Serifs/sans serf

I was reading through one of my boyfriends muscle magazines the other day and ran across this article on "put Your Body Into 'Beta',but being a typer I recognized that they were using two different fonts.

On the second page of the article, they have a bullet or a sort of quote. They did this with a very nice serif that matched and went well with the san serif found every where else in the article.

It looked very clean and just noticeable but did not stuck out like a sore thumb.

Wednesday, March 20, 2013

Imagery Group

We were focusing on imagery in our exhibition books. Between the 5 books we were looking at we found many things different as well as many things the same with the way the images were handled. For example in a few of our books there was a obvious grid they were going off of such as the boxed images in Elizabeth's example and also the book we were given by Mia had a different grid as well. Both grids were completely different due to the face they were chosen for different reasons. The one on Margaret Kilgallen was kid of a "clustered" style grid of images which was most likely chosen since her style of art is also in that "clustered" style. Most of our other books were photography or paintings and sculpture installations which some bled off the page and others were strategically placed within the margins amongst plenty of whitespace. It was interesting to see the different play in the exhibition book for the Guggenheim versus the one about transcendence in art. In the Guggenheim book you see a clear approach that was very clean and organized with the intention of trying to just simply showcase the amazing work that is there while the other book had different things going on in different images leaving some full page bleed and others with multiple photos per page. The photographs in Emily's book represented the softness of the artwork which was appropriate for the exhibition while the Guggenheim is covering a much more wide range of art leaving that style a little more basic. In most all of the books the images were in CMYK except Jaclyn's book had some two-toned images as well. The books we were looking at were:

-The Guggenheim Collection (Jennifer)
-Margaret Kilgallen; In the Sweet Bye and Bye (Mia)
-Michael Sailstorfer Forst (Elizabeth)
-The Inward Eye; Transcendence in Contemporary Art (Emily)
-Eran Shakine; Sunny Side Up (Jaclyn)

Forest

The catalog I choice was Michael Sailstorfer-Forest from the Berlinische Galerie.

This first thing I noticed was the over. I love the flat vector images on the front with the pop of color behind. It made me have an interest in per suing more into the book. The second thing that caught my interested with the catalog is the grid system that is being used.It is all laid out in a way that is easy to read, view and understand. Also with the imagery grid work it just creates this interesting movement but is also contained in the rectangular grid structure just like that of a photograph.This is defiantly going to inspire me to create a grid structure of some sorts that relates to the contents of my exhibit.

Elizabeth Stanford

Monday, February 25, 2013

Bello Pro with a fun twist

Bello Pro with a fun twist!

I found this type on Underware.nl and I just love it. Along with the curvy , hand done type of font face it already is and then mixed with the fun material with bright colors(straws) it just creates this fun,play feel.

Monday, February 18, 2013

Wheels of Life

I have been reading this book for a while and when she wanted us to do title type I look at it and did not realize how much I actually enjoyed this type. It may have a bit of a cheesey yellow color and the background is a little busy but as far as the type face goes I love it. I also really enjoy how the W and the H are slightly connected at the top, its a nice serif with a little flare.

Monday, February 11, 2013

University Star-Texas State

Everyday I read the school paper and never took the time to look at the font. I is a pretty generic serif font and it works very well with a lot of text.

It is not to think and not to line , so it creates great body paragraphs and easy to read. This is essential when you are writing for a newspaper and editing because they have a lot of information some times for a small designated space.

They have have a very good layout also and the texts fits perfect into the four columns in the picture above and the times does not look crowded and is still very readable with out frustration.

Now that I understand why this works so well I'm going to use this paper and type as inspiration when doing full body text that needs to be easy to read with tons of information.

Elizabeth Stanford

Monday, February 4, 2013

Karloff

Karloff type created by Peter Biľak

"The goal of my project was to show just how closely related beauty and ugliness are. Donald Knuth, an American computer scientist with a special interest in typography identified over 60 visual parameters that control the appearance of a typeface. I was interested in designing typeface variations that shared most of these parameters, yet included both the ugliest and most beautiful letterforms.

Karloff, the result of this project, connects the high contrast Modern type of Bodoni and Didot with the monstrous Italians. The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin."-Peter

I love the contrast in this type with the line weight and will look back on this for reference type.

Found through ilovetypography.com

Elizabeth Stanford

Monday, January 28, 2013

Jessica Hische—Pinspriation

I was checking out some stuff on the Jessica Hische website and came across this wonderful handwritten type of font. The Client it was created for was Pintrest. It say you are my Pinspiration, because pinterest is a site give or find inspiration. The type if very free flowing and some what of a calligraphy type f type.

I love the way the incorported the light bulb. The letters are filiments. The letters are an image but then of course are still just plain time , so it is as if it speaks in more then one type of "written" language!

Thank you Elizabeth Stanford

Wednesday, January 23, 2013

Print-America's Graphic Design Magazine

Print-America's Graphic Design Magazine

I choose the magazine Print-America's Graphic Design Magazine."Print is a bimonthly magazine about design that places contemporary visual culture in its social, political, and historical contexts."(Printmag.com) Print shows and explains design in its social political and historical contexts. It is written by cultural reporters and critics.

I found while reading and looking over the Print LV:VI 2002 magazine and enjoyed the article "Shadow Play". It talks about shadow letters. I love bold Label,Cover,Sign,etc. typefaces."Whether framed by a subtle tint or bold silhouette, the shadow gives dimension,allowing words to rise like monuments from an otherwise flat surface." Print LV:VI 2002) You can show type hierarchy not only with size and color but shadow letters allow you to also you dimensions and creating the allusion of a non-flat surface.

The font above with my favorite that was talked about in the article. They are Bifurcated Tuscan letters. They were used by French painters during the late 19th century to add dimensionally and luminescence to common words and sayings. I love that is fonts is very organic feeling and that the shadow is realistic. It would not be appropriate for maybe a body paragraph of text but for a headline of some sort would look great. These letter create so much depth on a piece of paper or material that is flat. I am inspired but this font and would really like to try and create my own like minded font.