A new set of lovely quotes all hand drawn with 0.3mm fineliner. Hopefully going to carry on with this for a while and create a lovely collection. I will also try to experiment with colour and digitalising my typography with vectors etc.

If anyone has any good quotes feel free to comment and I will upload it when I’m done ūüôā

-Apologies for the watermark at the bottom, the disrespectful people of tumblr have drawn me to this! I don’t mind if people like to share my work but when my link is deleted I get angry. Support new artists people!!!

The first of many I hope.

Currently having my facebook and twitter feed full of rubbish about Made in Chelsea so I made this. I am missing doing my typography, there aren’t enough hours in the day! Work, work, work.

Read and enjoy.

All copyrights to Christie Powers 2012.

Agostina

13/Nov/11

This is one of the top typefaces out of the ten I have chosen. Agostina was made by Michael Cina, and “internationally recognised” graphic designer who’s clients include: Adobe, Apple, Kodak, MTV, Sci-fi channel, Wired and loads more. I was mostly attracted to his font Agostina, it was created especially for YouWorkForThem, it is described as a modern sans-serif typeface.

I love this typeface because of its successful retro feeling and it’s quirkiness and I really hope I see it more in the future. Not only do I like Agostina I also really admire Cena’s collection of work he presents on his website and it has inspired me to aim to creating something like this myself.

Also watch this animation promoting the typeface created by Michael Paul Young if you’re interested.

Nobel

10/Nov/11

Nobel is another geometric typeface in my top ten- found in the Amsterdam Type foundry book. Nobel is designed by Sjoerd Henrik de Roos and Dick Dooijes between 1929 and 1935.

Nobel was made 2 or 3 years after Futura and is quite similar in it’s geometric composition. The typefaces includes Extra Light which was added into the family later on.

I like Nobel because of a)its geometric properties, b) its similarities to Futura, yet it’s distinct style is still recognisable and c) because of its quirky characteristics which make it unique, such as:

a is double-storyed, the g has an open tail, and the t has a distinctive curved terminal.

Here is the font itself.

 

Garamond

8/Nov/11

Originally commissioned to create a typeface for the French king Francis I, Claude Garamond’s work became prestigious and recognisable. However, Garamond has become more of a ‘category among serif text faces.’

I don’t usually like ‘fancy’ serif ¬†fonts but I quite like this one, even when italicised, in fact it’s one of the only fonts that i enjoy looking at in italic.

Helvetica

8/Nov/11

Even though I have been quite persistent with comparing typefaces with Helvetica, I do still credit it. When I started studying Graphic Design I was introduced into many typefaces I didn’t even know existed, the more I see the fonts in class the more I recognise them in everyday life and how prestigious they are. I think Helvetica is the most successful font since it was brought out-in 1957 by the Swiss typeface design Max Miedinger and Edward Hoffmann. Designers have become so good at using Helvetica in the right ways that I think Helvetica has become the king or queen of typography.

If you’re interested I definitely think you should watch this.

Univers 45

7/Nov/11

In 1954, Adrian Frutiger created the font Univers (pronounced “univair”). ¬†It was released into the wild in 1957 by Deberny & Peignot in Paris. Univers is part of the sans serif family and is quite similar to the typeface Akzidenz Grotesk, the Univers family has 44 members:

with 16 uniquely numbered weight, width, position combinations. 20 fonts have oblique positions. 8 fonts support Central European character set. 8 support Cyrillic character set.

The typeface has been redesigned by Frutiger and Linotype, thus renaming the type Linotype Univers, which has 63 variations, the new family included Ultra Light and Extended Heavy.

Univers 45 Light and  Univers 65 bold oblique.

I like this typeface because of the same reasons as Akzidenz Grotesk, the typeface is more delicate and has more character than Helvetica.

Designed by Paul Renner in 1927 you will probably not realise how much you look at Futura without realising it. One of the most used and still used to this day fonts and really popular in advertising, eg. Red Bull, 2001: a space odyssey, Louis Vuitton and Absolut Vodka. One of the words that crops up a lot when reading about Futura is geometric or geometry (which is probably why it stands out most to me).¬†However, I haven’t chosen the original Futura, although the original is appealing, I prefer Futura Condensed (Extra Bold- if i’m being really picky). I find Futura is good for body text but I love what Condensed Extra Bold can provide for headings or for making things stand out. Here is an example (by Jerry Ketel, a poster against the use of Futura Extra Bold Condensed claiming that advertising overuse the font.)

This is Akzidenz Grotesk-originally called ‘Accidenz-Grotesk’, it is an early san-serif typeface brought into the world by Berthold Type Foundry in 1896. This typeface has been rumoured to be adapted from the typefaces, Walbaum or Didot.¬†The recognisable features of this font is the square dot of the i and the ‘dropped horizontal element on A’. I like this font because it is it thinner than Helvetica and can be used for delicacy in design, for both strong headings and also I think this font is suitable to use for body type. There are many variations of this font such as:¬†Akzindenz Grotesk Book,¬†Akzindenz Grotesk Book Rounded,¬†Akzindenz Grotesk Schoolbook,¬†Akzindenz Grotesk Old Face and Akzindenz Grotesk Next, each having certain changes in the font.

Bembo

5/Nov/11

Bembo is a redesign of the 1495 font produced by Francesco Griffo. Stanley Morrison is responsible of redesigning it in 1929, even though it has been remade there is still features of the old style that he kept. For example,

minimal variation in thick and thin stroke weight; small x-height; ascender height exceeding cap height; oblique stress; short, bracketed serifs with cupped bases and angled top serifs on lower case letters.

I enjoy this typeface because it’s really clean and simple font regardless of it being a serif font, I also enjoy it’s small recognisable features, for example, the hook on the ‘J’ and the different versions of capital ‘R’.