The Golden Age (Group 1)

General PostsArchive

Nov 28

Constrained Letterforms!

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Nov 28

Kerning Blues

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Does anyone else find kerning Capital letters against small caps difficult?

Had I not known about the “secret” techniques towards proper kerning,

I would’ve been squinting for an awful long time

On the other hand, I am now extremely conscious of proper kerning in my immediate surroundings.

It is driving me crazy.

Nov 28

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Movie on Letterform




Nov 26

Some Things to Consider!

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Found some good tips, hope this helps!


Nov 14

Now I’m Just Addicted

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So I spent at LEAST two hours looking at cool typography videos. Most are animated in some way and they are so sweet… I am addicted to animated font videos….

Here, sans serif and serif typefaces have a war!


Talk about connotation in fonts… this video is just wicked… so is the song.





Nov 14


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Jaz here!

Wish I had known this before today…..


Nov 14

My Brief Crystal Goblet Response

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November 14, 2011

 “Type well used is invisible as type”

Typography should be focused not on its visual and tangible aspects but rather its ability to convey meaning or ideas. This can connect with the idea of legibility against readability with legibility having a connotation that seems to suggest visual factors in type. Can it be read? Readability on the other hand represents a type’s ability to convey its message without being recognized as type.

Thinking and feeling also play a role in the development of “good” type as natural, almost seamless functionality has been the determining factor on whether a form of type was considered “good.”

One such example of the practical functionality of type wherein messages are seamlessly transmitted between minds can be found in the typography found in books. For when the reader experiences those pages, his attention is not focused on the letters on the page, but rather the ideas in which the letters and the typography convey so effectively that they blend into obscurity.




Oct 25

My 30 second Critique of Jack’s Fictional Letterform

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Type Critique

Oct 24

Didot and Video Review

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Rada’s Letter Form “Ghay”

Didot Attributes:

Flat slab serifs without brackets

Strong ball terminals

Large variable widths of strokes

Less emphasis on serifs in lower case letters

Small x-height

Sharp shoulders

90 degree axis

Variable stem width

Oct 16

Christopher Alexander’s Timeless Way of Building

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Christopher Alexander’s Timeless Way of Building chapters 10-11 are applicable to the world of design and font face creation. I took away many ideas and analogies that describe the way in which the formation of design works. Just as each building is a member of a family, it is also structurally stands apart. In typography, each letter is a member of the alphabet yet is also unique in structure. In the book, there was an analogy portraying the idea that there is an infinite amount of possibilities within building types. This was only made possible by combining already existing types to make new ones. Designers often find themselves combining different techniques and ideas to make brand new concepts. To make a new concept, idea or way of solving a design problem, designers take tid bits of others and combine them to make something new. Design has a set of rules, just as the creation of buildings requires a set of rules. Designers and builders alike are limited to materials, (and software) as well. I found it to be a very good way to look at design and typography. There are many parallels between the way buildings function, aesthetically and formally. Designers, advertisers and typographers also take into account how the aesthetic design contributes to their products meaning and attributes. These two chapters can be applied to design and advertisement in a positive way, possibly expanding my horizons in the exploration of letter forms. Specifically applied to project 3, these concepts are indeed valuable.