Here is my full font. I would describe it as bubbly because the letters look round and full almost if someone blew them up like a balloon. I would also use futuristic to describe them because they are not very modern or classic. I also think they are also playful because I could not see them being used for something serious. My inspiration was to do something thicker than usual fonts because I think I could be more playful. Like children's building blocks.
Ex:

Here are image examples of those words:

Bubbly

Futuristic

Playful

FUTURA

I chose Futura because it is one of my favorite fonts to use, yet I really don’t know much about it. It is considered a geometric sans-serfic typeface. It was designed in 1927 by a man named Paul Renner. The design was based on geometric shapes. It is considered to be a Bauhaus styled design. The strokes are made up of near ever weight and low contrast. Different versions of this were released in 1930. The success of this font allowed new geometric sans-serif typefaces to take over. It has been used in many logos. 

These are my two favorite fonts that I created. 

This first one can be described as chunky, abstract, and simple. I think that it's interesting because it combines thin and thick lines. Maybe I should do that more with the letter "C". I really like where this one is going because it is easy to read, but still interesting. It is also a bit more decorative. 

I also really enjoy this one because of its simplicity. I would describe it as round, legible, and stiff. I like where this one is going because I could see easily typing many words with this font. It is also very simple which I enjoy. 

Claude Garamond was a typographer in the 16th century. After his death, his types made their way to Christoph Plantin who used them for decades. Years after his death, Jean Jannon used typefaces that had some similar characteristics to Garamond designs. They disappeared for around 200 years, but were luckily rediscovered in the French national printing office where people thought that Garamond created them. This sparked the modern revivals of Garamond type. It is considered to be one of the most readable serif typefaces for print. The ITC Garamond has an inflated x-height. Each version of Garamond reflects its own time era. Garamond is a family with optical sizes. I would describe this font as classic, simple, and readable.

Serifa was designed by Adrian Frutiger. This was in 1966 for the Bauer factory. This font is based on Frutiger’s earlier sans serif design like Univers. Since thick square unbracketed serifs were added to this font, it is considered slab serif. Sometimes slab serif type fonts are blocky and hard to read in a text. However, Serifa was designed to be highly readable for print. This font is considered serif, slab serif, and egyptian. It was released in 1966 in Switzerland. I would describe this as smooth, flowing, and readable. 

Platlet was designed by Conor Mangat in 1993. This font was inspired by California license plates. The "m" and "w" cleverly have a shortened middle stem. The "i" and "l” fill have a large curved lead-out stroke.   I would describe this font as thin, technical, and unique. 

FONTS FONTS FONTS

These are my final three layouts. This project taught us about how to place typography on a page in order to understand hierarchy, not centering everything, and how to place type so it is legible. Something that was unique to this project was simplicity. The directions that we were given led us to only have a few elements at our disposal to create our spreads. This allowed us to stray away from complex designs and focus on the basics. 

The project was to design a book cover for Ruari McLean’s book “Jan Tshicold A Life In Typography 1902-1972”. In real life, the cover of the book is very simple with only words and small graphics that are not for decoration, but to emphasize certain terms. This was also something we learned during this project. There is a difference between design used for decoration and for it actual having a purpose.  

I really improved from the beginning stages. I really think that I learned a lot from this project and that it shows in my improvements. I think this project was difficult because I had to use only simple elements to create my design. I also really dislike using the grid so this project was a struggle for me. I enjoyed using the grid to challenge me, but with my personal work I hate using the grid.

I worked really hard on this project and tried to focus on the goals of the different steps.

Phase Two gave us a new set of guidelines. The size had to be 7x10 inches, 5 column grid, All type had to lock up into the upper left or bottom left corner, we could use any two weights or styles of Univers, any three type sizes, and had to keep our text horizontal. 

Alive Designers

Erik Spiekermann was born in 1947 and is a German typographer. He ran a letterpress printing press in the basement of his house. Him and two other partners cofounded MetaDesign which is an international design consultancy that deals with branding. Spiekermann and his wife created FontShop, which was the first mail-order distributor for digital fonts. He has also designed many typefaces. 

Matthew Carter was born in 1937 and is an English typographer. He is famous for designing fonts like Verdana and Georgia. Along with the rest of the design world, he witnessed the change from physical metal type to digital type. A logo that he created in 1962 for a British magazine called “Private Eye” is still used today. Carter cofounded Bitstream which was one of the first digital type foundries. 

Stefan Sagmeister was born in 1962 and is an Austrian typographer. He has designed for the Rolling Stones, HBO, the Geggenheim Museum, and Time Warner. Around every seven years he takes a year long break where he does not take work from clients. He dedicates 25% of his work to the art world, 25% to the scientific community, 25% to social causes, and the remaining 25% to the music industry. He has work shown in Zurich, Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul. Sagmeister teaches in the School of Visual Arts’ graduate department in New York.

Dead Designers

Piet Zwart was a Dutch designer. He was born in 1885 in North Holland. He actually was taught how to be an architect but sparked an interest in graphic design when he was 36. Since he had this architectural background, his design was very functional. He began to play around with typography. He felt that the 20th century’s need for typography because a cultural force that he felt obligated to contribute to. His work includes primary colors, geometrical shapes, and repeated patterns.

Paul Rand was born in New York in 1914. He used a Swiss style. He was a graphic design professor at Yale University. Since his father did not think art could provide a sufficient living, Rand was very much self taught. He designed many corporate identities that are still used today for IBM, ABC, Cummins Engine, and UPS. Rand was taught at Parsons The New School for Design and the Art Students League of New York.

Max Bill was born in Winterthur in 1908. He studied at the Bauhaus in Dessau from 1927-1929. After, he moved to Zurich. His first big work was his own house and studio which he built thee. His work was considered progressive. He designed many public sculptures in Europe and has exhibitions in many galleries and museums. Not only was he a designer but he was elected to the Zurich municipal council in 1961.