D3 F22 Font Mannerism

For the type specimen project, I was randomly given Jenson, a humanist typeface created close to the invention of the printing press. I tend to prefer geometric sans serifs, so Jenson was not my thing. Because of this, I wanted to use this project to fully embrace a style I didn’t particularly like. I chose to make the portfolio layout reminiscent of the bibles and religious texts that would have been set in Jenson back in when Jenson was printing. I used gold foil and speckled paper to give it a more classic, textured feeling.

For the type specimen project, I was randomly given Jenson, a humanist typeface created close to the invention of the printing press. I tend to prefer geometric sans serifs, so Jenson was not my thing. Because of this, I wanted to use this project to fully embrace a style I didn’t particularly like. I chose to make the portfolio layout reminiscent of the bibles and religious texts that would have been set in Jenson back in when Jenson was printing. I used gold foil and speckled paper to give it a more classic, textured feeling.

For the type specimen project, I was randomly given Jenson, a humanist typeface created close to the invention of the printing press. I tend to prefer geometric sans serifs, so Jenson was not my thing. Because of this, I wanted to use this project to fully embrace a style I didn’t particularly like. I chose to make the portfolio layout reminiscent of the bibles and religious texts that would have been set in Jenson back in when Jenson was printing. I used gold foil and speckled paper to give it a more classic, textured feeling.

For the type specimen project, I was randomly given Jenson, a humanist typeface created close to the invention of the printing press. I tend to prefer geometric sans serifs, so Jenson was not my thing. Because of this, I wanted to use this project to fully embrace a style I didn’t particularly like. I chose to make the portfolio layout reminiscent of the bibles and religious texts that would have been set in Jenson back in when Jenson was printing. I used gold foil and speckled paper to give it a more classic, textured feeling.

For the type specimen project, I was randomly given Jenson, a humanist typeface created close to the invention of the printing press. I tend to prefer geometric sans serifs, so Jenson was not my thing. Because of this, I wanted to use this project to fully embrace a style I didn’t particularly like. I chose to make the portfolio layout reminiscent of the bibles and religious texts that would have been set in Jenson back in when Jenson was printing. I used gold foil and speckled paper to give it a more classic, textured feeling.

After being assigned a typeface, we were tasked with exploring the font family with this portfolio to further understand typefaces and their design and classification. I worked with Didot, a modern serif typeface, and chose to create an elegant, vintage aesthetic for my portfolio to match the mood and uses of the font. This font mannerism included 14 pages with character displays, a pangram, type diagrams breaking down the characteristics of the family members, and some more creative explorations of Didot’s mood.

After being assigned a typeface, we were tasked with exploring the font family with this portfolio to further understand typefaces and their design and classification. I worked with Didot, a modern serif typeface, and chose to create an elegant, vintage aesthetic for my portfolio to match the mood and uses of the font. This font mannerism included 14 pages with character displays, a pangram, type diagrams breaking down the characteristics of the family members, and some more creative explorations of Didot’s mood.

This font mannerism is about the typeface Futura. I designed the cover page to represent futura being used on the plaque on the moon. The table of contents needed to include hierarchy. You can get more inflammation about Futura in the family history page.I studied three fonts, Light, Extra Bold, and Condensed Italic. These fonts are displayed on the family display pages. Characteristics of the fonts include uppercase, lowercase, numbers, and symbols. The family mannerism pages show the formal characteristics shared by the fonts and their differences. The digital handset type pages displays words describing each different font than hand set them myself. I used the word feather from Futura light to emphasize the connotation, than placed the word feather into context.

This font mannerism is about the typeface Futura. I designed the cover page to represent futura being used on the plaque on the moon. The table of contents needed to include hierarchy. You can get more inflammation about Futura in the family history page.I studied three fonts, Light, Extra Bold, and Condensed Italic. These fonts are displayed on the family display pages. Characteristics of the fonts include uppercase, lowercase, numbers, and symbols. The family mannerism pages show the formal characteristics shared by the fonts and their differences. The digital handset type pages displays words describing each different font than hand set them myself. I used the word feather from Futura light to emphasize the connotation, than placed the word feather into context.

This font mannerism is about the typeface Futura. I designed the cover page to represent futura being used on the plaque on the moon. The table of contents needed to include hierarchy. You can get more inflammation about Futura in the family history page.I studied three fonts, Light, Extra Bold, and Condensed Italic. These fonts are displayed on the family display pages. Characteristics of the fonts include uppercase, lowercase, numbers, and symbols. The family mannerism pages show the formal characteristics shared by the fonts and their differences. The digital handset type pages displays words describing each different font than hand set them myself. I used the word feather from Futura light to emphasize the connotation, than placed the word feather into context.

This Font Mannerism Portfolio displays Mrs Eaves, a typeface designed in 1996 by Zuzanna Licko. The Typeface has a strong and feminine presence that I captured with a bold but feminine color pallet. Mrs Eaves has many beautiful variations such as the Heavy Italic, Regular, italic, and petite caps. I used glyphs for decorative accents throughout the portfolio. The typeface also displays many beautiful ligatures, some which can be seen in the pangram.

This Font Mannerism Portfolio displays Mrs Eaves, a typeface designed in 1996 by Zuzanna Licko. The Typeface has a strong and feminine presence that I captured with a bold but feminine color pallet. Mrs Eaves has many beautiful variations such as the Heavy Italic, Regular, italic, and petite caps. I used glyphs for decorative accents throughout the portfolio. The typeface also displays many beautiful ligatures, some which can be seen in the pangram.

This Font Mannerism Portfolio displays Mrs Eaves, a typeface designed in 1996 by Zuzanna Licko. The Typeface has a strong and feminine presence that I captured with a bold but feminine color pallet. Mrs Eaves has many beautiful variations such as the Heavy Italic, Regular, italic, and petite caps. I used glyphs for decorative accents throughout the portfolio. The typeface also displays many beautiful ligatures, some which can be seen in the pangram.

This project was a portfolio based in our typeface family chosen (mine was archer) to study different fonts within it. 13 pages total, this helped with understanding of what makes a typeface unique.

This project was a portfolio based in our typeface family chosen (mine was archer) to study different fonts within it. 13 pages total, this helped with understanding of what makes a typeface unique.

This project was a portfolio based in our typeface family chosen (mine was archer) to study different fonts within it. 13 pages total, this helped with understanding of what makes a typeface unique.

For this project, we each were assigned a typeface to research, examine, and study. This font mannerisms portfolio includes three unique typeface specimen sheets, pages highlighting type anatomy, and exercises involving kerning and manipulating type to emphasize connotation. The typeface I worked with was the beautiful slab-serif, Clarendon. The cover of my portfolio is inspired by the old western wanted posters Clarendon was often used in. For the rest of my portfolio, I continued with a hot pink and yellow theme to add aesthetic and a form of consistency.

For this project, we each were assigned a typeface to research, examine, and study. This font mannerisms portfolio includes three unique typeface specimen sheets, pages highlighting type anatomy, and exercises involving kerning and manipulating type to emphasize connotation. The typeface I worked with was the beautiful slab-serif, Clarendon. The cover of my portfolio is inspired by the old western wanted posters Clarendon was often used in. For the rest of my portfolio, I continued with a hot pink and yellow theme to add aesthetic and a form of consistency.

For this project, we each were assigned a typeface to research, examine, and study. This font mannerisms portfolio includes three unique typeface specimen sheets, pages highlighting type anatomy, and exercises involving kerning and manipulating type to emphasize connotation. The typeface I worked with was the beautiful slab-serif, Clarendon. The cover of my portfolio is inspired by the old western wanted posters Clarendon was often used in. For the rest of my portfolio, I continued with a hot pink and yellow theme to add aesthetic and a form of consistency.

These are the pages for my Font Mannerisms Project. For this project, I had to display the font that was assigned to me, Bodoni, and showcase some of its distinct qualities. I included history of the font and the designer of the typeface, Giambattista Bodoni. I showcased anatomy and picked three words to accurately define Bodoni.

I was assigned the font Helvetica for this project. Helvetica is a very commonly used font which inspired me to recreate the MTA posters and iconic usage of Helvetica for this project.

These are the pages for my Font Mannerisms Project. For this project, I had to display the font that was assigned to me, Bodoni, and showcase some of its distinct qualities. I included history of the font and the designer of the typeface, Giambattista Bodoni. I showcased anatomy and picked three words to accurately define Bodoni.

I was assigned the font Helvetica for this project. Helvetica is a very commonly used font which inspired me to recreate the MTA posters and iconic usage of Helvetica for this project.

The font I was assigned for the font mannerisms portfolio is Futura. In this portfolio, I explored different aspects of the font such as examples of what it looks like in different weights, typing out a pangram in the font, and describing the font with different words. While describing the font, I tried to create a way for the words to also visually demonstrate the effect I was trying to explain. I also detailed the history of Futura such as the designer, style, and historical significance.

The font I was assigned for the font mannerisms portfolio is Futura. In this portfolio, I explored different aspects of the font such as examples of what it looks like in different weights, typing out a pangram in the font, and describing the font with different words. While describing the font, I tried to create a way for the words to also visually demonstrate the effect I was trying to explain. I also detailed the history of Futura such as the designer, style, and historical significance.

For the font mannerism portfolio I got to do Interstate typeface. I faced the problem of coming up with ideas on how to represent this typeface well. After the research I did, Tobias Frere-Jones created this typeface based on the Highway Gothic, which is the official typeface of American Federal highway. I decided to relate my project to the roads, my color palette was yellow, darker gray and green, yellow lines represent the movement too.

For the font mannerism portfolio I got to do Interstate typeface. I faced the problem of coming up with ideas on how to represent this typeface well. After the research I did, Tobias Frere-Jones created this typeface based on the Highway Gothic, which is the official typeface of American Federal highway. I decided to relate my project to the roads, my color palette was yellow, darker gray and green, yellow lines represent the movement too.

A set of twelve pages exploring the background and applications of an assigned font.

A set of twelve pages exploring the background and applications of an assigned font.

Since interstate is a font that is inspired by road signs, as well as sometimes used on them, throughout my font mannerisms portfolio I used many road signs as labels and text boxes so that I could keep that theme. To create an image of the descriptive word I chose, I wrote the word "bold" in sriracha sauce and added some spices, since interstate is a bold font and these are all very bold flavors.

Since interstate is a font that is inspired by road signs, as well as sometimes used on them, throughout my font mannerisms portfolio I used many road signs as labels and text boxes so that I could keep that theme. To create an image of the descriptive word I chose, I wrote the word "bold" in sriracha sauce and added some spices, since interstate is a bold font and these are all very bold flavors.