Apple Keyboard

This was "found" on the keyboard of my Powerbook, something which I see and use every single day. The type on the keys is set in VAG Rounded "a variation on Helvetica Rounded and Futura. VAG stands for Volkswagen Aktien Gesellschaft, and the font was developed by Sedley Place Ltd. for German car manufacturer Volkswagen and is used in much of their marketing materials." (Wikipedia) You've also probably seen it being used by The Gap recently for their graphics. It's a nice and friendly font being so cute and round. It's the Teddy Ruxpin of typefaces. But a cleaner, more teutonic Teddy Ruxpin. Colder, as well, seeing as it's set on a silver background. Anyways, I could see why they would go with such an inviting font like this — it just makes you want to touch the keys, as opposed to the harsh, rigidity of Univers Condensed Light Italic which was used on the previous models.

I suppose the significance of the way it was photographed is to show it's importance. It's a very powerful button in many sense, because it gives us the freedom to edit what we don't need. But really, it's secondary to the ultimate power key which is the "enter return" key. This is the God key. It gets to veto your decision to delete. So yeah. Keyboards.

-Colin

Metro

This sign, was found in the montreal metro, is set in Univers. This font was used throughout the systems signage. It was also used for the Expo 67 and the 76 Olympics. Univers was very popular during the time when the Metro was being constructed (1966). Designed by Adrian Frutiger, it used a unique classification system to eliminate naming confusion. It has been used in other transit systems such as Paris' metro. This font is easy to read and is very appropriate for the aging, yet not bland, metro system. In fact, Toronto could learn a little something from Montreal in regards to subway station design! There had been talk about modernizing the signage. I, for one, am glad that it was decided against such and idea.

-michelle

Magazine Cover

Now, keeping to the typography of music related pieces, (though this will not be a constant) I picked up this magazine. This is not a design magazine, i find it a given that such a magazine would prescribe good design, so for me i like to look elsewhere. However, like anything, my choice of magazine is still designed, as there is a purpose. The focus of this visual dictionary entry is the magazines title (located on it's cover) and the context of it. The cover is from a contemporary music magazine that is primarily focused around interviews, news and record reviews. It's title "Skyscraper", is usually quite the orderly affair, for the most part appearing in an unscathed sans serif or slab serif in most issues.

This issue appears much more radical in comparison and to me better captures the title in it's meaning. "Skyscraper" comes across best here with it's illustrative, raw/scuffed form, which evokes alot more relevence than a sans-serif would. The type conjures up an emotional, against the grain profile from its rash and quickly scribed type. This seems to better reflect the magazine's focus. Giving the viewer better insight into the magazine's content. As well the location, though common, also helps bring across the feeling. The same feeling one gets when looking at a sky scraper and how it towers above it's surroundings and stands out as a focus point. Though this is a literal meaning. The actual intentions of the Magazine name could not be found. Making an assumption, I would think it involves the symbolism that a sky scraper implies, then uses it as a cultural reference that the magazine can create a contrast from.

- Phil Roberto

Jack Astor's Coasters

I’m starting to feel magpie-esque because my typography examples are coming from objects I took from places. These coasters were taken from Jack Astor’s on two separate occasions. Mind you, despite the fact that my last entry was of a matchbook that I picked up at a bar and it was hideously designed, I’m not in the habit of keeping random items. Now that I am actually thinking of why I chose to keep those coasters let alone pin it up on my bulletin board, I have to conclude that it is a successful bit of design, even for something as insignificant as a coaster. It’s a black circle with two words that form a cryptic, vaguely general message in a font that is rough and grungy (kind of like the restaurant itself). The font has the scratched, handwritten quality to it that relates to Jack Astor’s whole ‘writing on the table with crayons because it’s cool’ deal that they have going on but the design is still clean enough that it stands out from it. The little messages on the coasters reminds me of an eight ball in the sense that you can be in any situation, and the coaster could somehow provide some meaning to some aspect of your life. Really, people know that it has no real relevance or connection but it is still something we like to believe is specific to us and it is a sign of something greater than ourselves. The font gives the messages a genuine, raw feeling because of the roughly scratched quality of the letters. I wonder if there was conscious effort to create the messages so that they could be arranged into longer messages or if it was just a happy coincidence.

Submitted by: Teri Yeung

OAK LEAF STEAM BATHS

Inside the window of the Oak Leaf Steam Baths is this sign which delivers 3 pieces of information. First we have hours of operation (24hrs). This bold sans-serif slightly oblique font uses both upper and lower case and has a friendly and inviting feel. Next we have a slogan proclaiming this establishment’s superiority and longevity. Here the type is an old-fashioned script that may have been in use at the time of the Bath’s inception in 1939 - use of this type conveys reliability and a sense of tradition. The third piece of information indicates additional services that one might not normally expect from a steam bath (all night rooms). Here the use of an Art Deco typeface with a mix of upper and lower case is casual and friendly, but unlike the first line, there is an attempt at a more modern feel - possibly to appeal to the folks who may not be responsive to the traditional establishment connotation of the second line. The sign sits at eye level and is hard to miss as you are walking by. The signage is targeting three specific types of clientele. The first being those who simply need a place to go (24hrs), those who are looking to have a traditional steam, and those who are looking to hook up with someone. Even though this sign is not terribly “designerly” it succeeds in delivering specific messages to specific patrons.

Angela

DONDI : style master general

This is a photo taken by Martha Cooper of the artist Dondi White painting a whole car in the New York subway yard 1980. A whole car is a subway car that is painted end-to-end, top to bottom. Dondi was one of the first “graffiti” artists to master a clean typographic style.

I chose this photograph to show the scale of the letters on the subway car. In this photo we only see a part of the “n” and the “D” of a whole car that spelled out Dondi . Martha Cooper photographed DONDI while he was painting this whole car illegally in the subway yard.

I find that the graffiti movement in 1970’s and 80’s New York” is often overlooked as an artistic movement that changed the way typography and lettering is used. There are now thousands of graffiti artists/writers in almost every country around the world.

For more info on Dondi



- The OCAD Library has the book “DONDI : style master general”

- http://www.dondiciakings.com/New_Folder/dondiciakings.htm

Scott Si

I came across this website while browsing.
http://www.siscottdesign.com/homeframeset.htm

There is a lot of recognition for Scott Si, having fellow students talk about his work as well. I think his work is cool; it’s pleasing to look at and definitely a reflection of the designers personal talent and style. Scott uses this consistent style throughout most of his client’s work. It reminds me of Art Nouveau or even the Arts and Crafts movement - Art Nouveau because of the organic lines seen in Muchas’ work, and Arts and Craft, because his work is reminiscent to William Morris’s decorative design – very elaborate and ornamental. At the same time, Si’s work seems to defy the meaning of “form follows function”. Often there are times when the jobs that he undertakes are not so much about function but about style and aesthetics. It’s really cool when his style matches the content he’s designing for because it really strikes the viewer, but it gets rather redundant when you begin to see his style in works that make you question why its there– Its as if its a trend, clients like his unique style and want it in their work, whether or not it really strengthens the content. But I suppose, his work is so unique and bold that the cool factor overrides this kind of observation in regard to the audience. As well, he’s a very successful designer and is recognized for his style which also leads me to think about whether it’s a good idea to be more selective in his work...but then again, who’s going to want his type when its been everywhere a few years later. I suppose it IS a trend and its better to take it on while it’s hot. Is typography viewed as a trend? Particularly typeface design?

In the picture where it says ‘the heart of design still beats’. The content is very subjective. What is it referring to? When I first read it, I analyzed it based on what I think the heart of design is, and kind of scoffed at the context to which it talks about. But then I realized he might be referring to his style, which is obviously the heart of his designs, but also to signify a heart - the organic lines referring to the arteries of the heart. To some, they may disagree based on what their idea of ‘heart of design’ is. If understood the way I first interpreted it…well a swiss influenced typographer would overlook the design. It’s just décor. To me the message speaks that the beating heart is to incorporate passion into your work, and thats his personal style. If your passion is based on style so be it. He loves it and is doing quite well.

Sally Kim

Spence Diamonds?

I was doing research on Spence Diamonds for a corporate project and came across their logo. Compared to most diamond/jewellery companies, their logo is different because of the choice of typeface. As you can see, it is very geometrical, sans serif, boxy and plain in comparison to the common frilly, script or serif font that denotes elegance. At first, I disliked the choice of typeface, especially for a diamond store, which is ‘supposed’ to look classy and rich, which led me to conclude that it needed to be redesigned. What made the designer choose this style of font? Thinking about it now, maybe Spence chose this typeface for a reason - to distinguish themselves from the usual conventional logos that exist today. Perhaps they wanted to portray a sense of strength and power in their diamonds, or a strong/reliable quality of service, or a modern look…that might appeal to ‘men’? since ‘many’ of their customers would be men buying diamonds for their wives? Now that I look it, I like how it’s so unconventional. I think it connotes a sense of openness, honesty as well as durability, which goes well with their mission statement which boasts providing customers ‘the industry’s most comprehensive purchase protection’. And maybe it’s the Canadian nature in them that they didn’t want to convey a sense of class that is too often associated with high society and therefore intimidation. After all, their ultimate goal is to create a better diamond buying experience for everyone that walks in the door. Perhaps I am trying justify a really bad choice of typeface. But the more I analyze it, the more I like it. But after having said all that, my first reaction is probably the essence of a logo. To communicate connotations of the commonly associated.

- Sally

things you notice when you look up.

-Sarah-

Sutra Tiki Bar Matchbook

Location: taken from the bar and on my desk the next day.



Isn’t the whole point when designing promotional pieces for events and places such as clubs and bars, to entice viewers to come? Mostly I find that the various paraphernalia for such places fail that goal by not properly conveying the venue. This matchbook that I picked up from the Sutra Tiki bar is a prime example. The typography is a very obvious choice for their theme, what with the words being spelt out in sticks, that is playful but does not coincide with the muted colour choice. The lack of care that went into the typography brings to mind a cheap, hole in the wall environment filled with unsavory characters as opposed to the modern and trendy place that it was that was conducive to a chill time with friends.

Submitted by: Teri Yeung

The above are Air Waybills forms from Federal Express. This piece was chosen because forms such as this are often overlooked and taken for granted. Having designed forms before, I find that these pieces of communications are very challenging to create and design. Consideration must be made both not only to communicate the often numerous and tiny bits of information to the viewer, but to accommodate the user’s handwriting as well in such a small working area. Looking at how much information has to be read and comprehended, then responded to on just one form, one can begin to see and appreciate how carefully crafted these pieces of typographic work really are.

—Brian Gerard Elicierto

dining room

The typographic style of the word is a rounded serif. It is soft, friendly, and inviting. It connotes that this bar also has these qualities. The lower-case lettering connotes a laid-back, not commanding or uptight atmosphere. This is a plastic sign, protruding from the outside of a building on Spadina, in busy Chinatown. The yellow of the word 'dining room' gives it dominance on the sign even above the name of the bar.

-jes smith

bratz

The typographic style of this word can be considered graffiti. In this case, it connotes gang relation and rebellion. Spray-painted onto a house door, we can also assume it is an act of vandalism. The red paint could connote power, or perhaps a threat to the dweller of the house. It could just be a mark of territory to others in the area, or just a thoughtless prank. The word 'bratz' connotes the same mischief as the marking itself.

-jes smith

Typographic Album Art

Snooping through an array of music that i posses, i came across one of my favorite album designs. This album foldout, which includes an inside tracklist, has always struck me as having excellent visual qualities. The cover is composed of limited amounts of sans-serif typography, with all the letter forms conforming to an oval-like shape. This type is generated by a collection of lines, often with no end point leaving some of the type with no closed in shape.

The letters appear to follow a system where many borrow their characteristics from other letters. Such an example would be the letter "G" and how it borrows structure from both the "E" and "C", the same goes for the letters "H, K, B". These letters also echoe different treatments in the larger picture. Casting off repeated line arrangments creating "waves" of the sort. All of which places more emphasis on the type, despite the lack of colour and additional possibilities. As well there is a creation of depth through the widening and variation of line and space in the word "PASSOVER", making it appear closer, and at greater focus. I've also noticed that when seperated their appears to be much more excitemnet in the visual place within teh front cover, then on the back, placing appropriate emphasis where it should be.

It's the utilization of simple tools like line and space that really make this piece appealing to me. As well, the line work is embossed, so the added texture is also very neat. I can see the patterns in some way imitating the sonic textures of the music, and hopefully embodying it's sixties sound.

- Phil Roberto

Bruce Mau—Walrus

The piece of typography photographed is a spread designed by Bruce Mau for the Walrus Magazine in 2006. The article’s context was about the fashionability of pessimism amongst the educated public sphere and the absolute need for optimism in the design field—in order for design to operate.
In typical Bruce Mau fashion, the typography for the spread is his signature use of the blocky, relatively narrow set sans-serif, commonly found in his other works such as his books with Phaidon, ‘S,M,L,XL.’ Because this is after all, an article written by himself and his outlook with the future of design, the typography thus exudes the vanity and personality of the designer. Hence the ornate and organic scripted B, and M initials found wrapping around the word OPTIMISM. The contrast of the sinuous lines of the script against the cold, hard, sans serif type that dominates the rest of the page works quite beautifully.
In the background, set in the same sans-serif are small, faded bits of type that describe milestones in human history. Some of it positive, some negative, the OPTIMISM comes through to the foreground with its bright, contrasting rainbow colouring.
Conceptually, the spread works quite beautifully and message sinks in quite immediately for most to understand the narration of the story. The use of contrast between colours against the cold dark grey background comes through strongly while the delicate script and its decorative lines give the page the touch of humanity against a background of cold, technologically driven achievements and discoveries.
Say what you may about Bruce Mau, his philosophies and body of work, but this page works quite beautifully in communicating its message.

—Brian Gerard Elicierto

Esprit De Corp

I remember ESPRIT from my early years. I distinctly remember the white polo I had with the red ESPRIT logo stitched into it. It was a Grade 1 staple, I suppose. Something I could always fall back on. This logo brings me back to that time, and also says something about certain styles that are coming back today. Stencil type is back, and the pasteled 80's are, too. The font itself is a re-drawn, altered version of Helvetica. The image was scanned from the book Esprit: The Comprehensive Design Principle which, as of today, is my favourite book. Esprit was a company that for 10 years had no idea about fashion or branding, and come 1980 became an international phenomenon for it's distinct image and lifestyle. You may not know but there was an Esprit Caffe and a restaurant, and stores all over the world which were renowned for their incredible interiors. Wow. And check out that "E." I find it interesting that even though the graphic is completely flat, it suggests something real and tangible with the "fold" over the die-cut "T." It appears to be a representation of a sticker, which I think screams "this is a brand." Anyways, I guess this whole post is just in general praise of Esprit's graphic designers, John Casado and Tamotsu Yagi – true originals.

-Colin

ICY- BRRR

I found this on Queen West awhile a go. I loved that the light was projecting the word on the wood below. Also, i was taken by the irony of the word PARK located in such a commercial area without a park in sight. It was created with that spray snow foam that is used during the holiday season. The simplicity of the hand made font is smart as it doesn't require the counters. The entire message is still communicated without the usual information.
-Michelle

New York

I came across this layout and thought it fit in well with the first assignment. The sans serif, condensed uppercase letters are arranged architecturally, denoting a cityscape. The arrangement also mirrors the image opposite - use of diagonals, dramatic contrast in scale, sepia monochrome and weathered, imperfect type treatment work together to create a familiar New York nostalgia.

Angela

Alef

Alef
Oded Ezer

Alef (seen unobscured in the bottom right) is the first letter of the Hebrew alphabet, and it is the first letter of the words for ‘God’ and ‘Man.’ The artist, Ezer says, “It has a way of linking things, and it suggests we all have a little bit of God in us.” The link between God and Man is explored here by bending the two edges of the letterform so they almost touch, alluding to Michelangelo’s depiction of God and Adam in the Sistine Chapel.

It is photographed closely to bring the viewer into the letter form and appreciate both its form and its meaning. Ezer’s work, while typographically based, is often three-dimensional, and contorted through that dimension. He works by hand as a reaction to a computer-dominated industry.

Snoop Doggy Dogg "Doggy Style"

After doing the reading, I chose this to photograph the type or lettering used in this record because I felt it had a strong use of narrative. Almost all the type is hand rendered in a comic book style expect for the Advisory in the bottom left hand corner which serif and san serif fonts.

The title of the album “Doggystyle” is lettering illustrated as bricks coming out of a wall with the “Snoop Doggy Dogg” logo pasted over it on the top left corner. What I like about this logo is best, is how the two o’s in Snoop make up the smug eyes of a dog smoking a joint.

At the top going left to right, there are thought bubbles coming from each of the three dogs that say “Why must I feel like dat?”, “Why must I chase da cat?” and “Nuttin but da dogg in me!!!”.

On the right sign there is a caption that reads “Dat mean old dogg catcha” the dog catcher and a caption that reads “Ratta Tat Tat” pointing to a rat that has a thought bubble saying “Snoop is always on top of things”.

Finally on the dog’s house there is a sign that reads “BEWARE OF DOGG!!” illustrated as a sign made on a broken off piece of wood and nearby.

All these elements of type together with the illustrations create an expressive and comical cover. It is consistent in style in the way the type is hand rendered and how the word Dogg is spelled through out the piece. I find when there is a narrative on the front cover of an album, it keeps me looking at the piece for a longer time and enjoying the little details.

I photographed this LP as I was pulling it out of my record shelve, I found that showing it in this context, gave a nice relation of how typography is used in records and books, and its purpose of documentation.

Bar

Certain information always gets the same treatment in order to solidify it's credibility within a cultural context. "Bar" in red neon hails those in need of alcohol from great distances, with absolutly no other information on the front of a building, these three glowing letters give enough information to draw specific conclusions about what (or who) you might expect to find inside.

Angela Noussis

(suspect video case)
This is a piece of hand rendered communication on a video I rented called “repo-man” (just so you know). I thought this little bit of writing was really interesting not to mention funny. In that someone took the time to tell you that “if you watch this stoned you’ll think God himself talked to you and He is the funniest guy around.” And then above it (most likely written after by someone else) says’ “say no to drugs hippie.” What I like about this is not only that its funny but that the person who wrote this seems to be confused by upper and lower case lettering and un-systematically uses both. Also that the first letter of each line is this strange script that only extends for the first three lines. Also every word in every sentence is in upper case. its just interesting to see how these people went out of their way to express them selves and they way they went about saying/doing this.

Skin

Skin - A mortal work of art

This is the first image of the Skin project, the author’s tattoo. This project consists of a short story not published in any conventional terms - rather it exists solely on the bodies of volunteers, challenging what people might expect of storytelling.

With each word being hand-drawn by the tattoo artist, and conforming to the contours of the human body, they are all unique. The method of publication challenges both the viewer and particpant’s views of what a story can be by presenting it in an unexpected way. Yet, the author requests that each word be written in a traditional book typeface, and not be ornamental in any way. Obviously she wants to maintain the tie between her work and more traditionally released stories as she requires the viewer or participant to have knowledge of how material is normally communicated. Without that knowledge the artistry, irony, and originality of the idea would be lost. The work speaks to our expectations, and makes us more aware of them.

- Jess Davis

Google Logo Typography

The Google typography is very recognizable as the search engine’s identity. This current image of the typography depicts it in four colours using a humanist serif script. It has the illusion of being three-dimensional from the shadow cast on the website as well as the contours of the letters being shadowed. The fact that the designer used a humanist type serif script conveys the friendly, open feeling and the playfulness of this typography is clearly shown in the colour useage. It is specifically been tailored for Canada as it has ‘Canada’ written under it but in a plain sans serif so as not to detract attention from the main type. I think that the design is very appropriate to the name…hehe..google.

Submitted by: Teri Yeung (2204535)

BEMBO’S ZOO

I'm sure some of you have seen it already, if not, here's the link:
Bembo's Zoo

Watching it, reminded me:
a) type isnt always lines of text on a page
b) of my appreciation of the letterform
c) how one can use technology to bring out the best in typography.
The fact that everything was choreographed; the words,
the type placement - it’s put together so well.

When people read text on a page, lets say a book for instance,
most of the time, they don't realize they are looking at typography -
a piece of work designed by someone. But in this case, it is
obvious enough that they can, letters are being composed in a
creative way (Ok, so perhaps they won't catch that Bembo is really
a font name, but you know what I mean.) Being interactive and
stimulating also helps. As for commenting on the actual type face,
I like how the designer chose a serif over a sans serif, as it creates
more form, but what I love about the font is the name itself 'BEMBO'
- how appropriate.

Sally

Ouija Board, Ouija Board

Pictured above is my girlfriend's Ouija board, which I like to use as a placemat when I eat Alphabits. It's weird because both the board and the cereal can send messages to you. It lies in front of another communication device – the computer. I would say that, in this instance, it defeats its purpose. Moving on, the lettering seems to have been made via machine since this would have been a mass-produced item. The material feels similar to doorskin. The main font is ITC Souvenir Demi, designed by Morris Fuller Benton in 1914. It had a comeback in the 1970's, around the time when this Ouija board was bought.

-Colin