I like how this almost continuous line creates open path characters that are still legible, this use of negative space to display type is creative and visually attractive. Minimal use of colour makes this piece effective.
I like the creation of the ligatures due to the ascending or descending character. The type is tidy and structured, slender, agile, flows that is the typography, not the woman. The second advert is more effective due to the hood up and the sports shirt with the brand logo bang in the middle of her boobs. Whilst the first image appears like a victim of some form of abuse calling for help
Nike launched Australia’s first ever female night race, She Runs The Night. The event challenges and inspires runners of every ability to unite as a community and reach their physical goals.
The old concept of applying companies slogans to condoms has been visually created. Very nice job, most likely photo shopped, but well executed regardless. All these slogans can also refer to sexual activities which makes them somewhat humourous.
I would like to own these as collector items as the type of advertising is unusual for the displayed companies making them somewhat surreal.
What I like about this piece of design is how the deconstruction of characters, gradual reduction of leading (in order from bottom to top) and varied baseline the type appears to be drowning or sinking in sand. The message is not the most legible, but you can make out what is says easily by the remaining strokes.
Not sure what the fuck this thing says, not very legible. This loud high visibility attracted me to the piece, the use of colour palette is attractive and very friendly although what you predominantly see is vertical cascading lines which force you to engage further. Job done, although you may be surprised by what the advert is for.
Effective use of pins to create contrasting 3d typography, really a simple concept. For visual contrast a white canvas would have helped for the darker pins whilst the multicoloured pins provide visual chaos. Just like the use of the pins to construct a large piece of typography :)
“None of my inventions came by accident. I see a worthwhile need to be met and I make trial after trial until it comes. What it boils down to is one percent inspiration and ninety-nine percent perspiration.” - Thomas Edison
Using 8,000 colored and black map pins, designer and artist Dominique Falla recreated one of Thomas Edison’s famous quotes in this beautiful typographical project. On top, she used colorful map pins to demonstrate “inspiration” and on the bottom she used all black pins to show the “boring drudgery” or hard work we must all go through that make up the 99%.
The whole piece, called Ideas are 1% Inspiration … 99% Perspiration, took Falla about a week to complete with part of the time dedicated to driving from store to store to pick up all the map pins she could find. After gathering them up, Falla said that she first typeset the words on the computer to make sure they all fit. “I printed the sheets out and tiled them together, then taped it to the foam core and pierced around the edge of each letter with a pin to make a hole,” she told us. “When I had completed all of the letters, I removed the paper and then stuck pins in all of the holes and after that, filling in the blank areas with the remaining pins was easy.”
Liking this concept, pens that write in a specific typeface opposed to colour. An an ideal world maybe, it even comes with a Comic Sans pen to scratch your arse.
Una selección de las tipografías usadas más normalmente comparando la tinta que gastan cada una de ellas.
oooohhh Neooon. I like!
Also, like the way the message of the signs are not informative.
A Life in Neon by Tim Etchells
Etchells’ twists the societal idea that neon signs are made to instruct you and instead uses them to make you complicit in a personal drama you had no business walking in on. His glow-y neon signs tell brief, fragmented narratives… only a segment of a larger story everyone has missed.
A 3d typographic piece only visible in its full entirety from a distant and direct point of view. This dynamic piece visually changes as the user passes by. The height of the characters allow the type to be viewed from beneath. I imagine that up close this design would appear like some weird and useless contemporary waste of space drawing attention to the large number of vibrant red poles hoisting up individual characters, only at distance the type becomes legible and formatted.