Typography 27, p280
PampaType Digital Foundry, Rayuela Chocolate 2.0, Alejandro Lo Celso, poster

What a fun way to display a typeface! Typography has taught me the importance of that little g and boy, does this poster show it. I love how it's the center of attention surrounded by all of the other letters. It's amazing how much detail is in a letterform when it's blown up out of proportion and you can see all of the little nuances. I found myself looking at the other letters around the wheel to see what else stands out. But, here's the best part - the font is named Rayuela Chocolate. Who wouldn't like a font named after chocolate? Kind of makes me wonder if the font is arranged in a circle to represent a chocolate candy and the g is the filling inside.
The font is a very bold serif and this is an example of self-promotion in a Barnum and Bailey sort of way!

Aniene

Typography 27, p285
Elsner & Flake, Adriane Krakowski, poster

This is a type poster for a typeface called Aniene designed by Adriane Krakowski from Germany. I like how the font is used to create the outline of a Roman statue which seems to hint that the font itself has classic Roman characteristics. I found it interesting how the designer incorporated the alternate characters into the alphabet lines and highlighted them in red so they were noticeable. The purpose of the font in this case is self-promotion.

Section8

The Big Book of Logos 3, 2002, p108
Maysville Pictures, Gord Woolley, logo

I enjoyed the play on the word eight in this logo with the letter E being formed by the actual number. It's a simple logo with a twist, stirred not shaken. The use of two similar sans serif fonts seems to work in this case, the contrast being made by the weight of the font. The use of yellow helps to emphasize the Roman numeral 8. The word SECTION is identified as sanzettica 1 thin font and IGHT is Copperplate classic sans font. The use of font in this case is identity.

Something smells fishy!

The Big Book of Logos 3, 2002, p67
Ed Cervantes, Jack & Bonnie Evans, logo

This designers did a great job with distorting the fonts to look like fish bones yet still be readable. It was a great choice of font with serifs that could be easily stretched. I like the horizontal line that goes across the fish and adds to the effect of the letters being bones, and the use of a red dot on the i conveniently placed for an eye. The font is Goudy Trajan and is used for identity.

Bill! Ballenberg!

The Big Book of Logos 3, 2002, p59
Bill Ballenberg, Gary Skeggs, logo

I loved the simplicity behind this design. Very clean, very clear, very stark. It would make a great sign for a political candidate. The font is gill sans and the purpose is identity.

Songwriter Records

The Big Book of Logos 3, 2002, p266
Songwriter Records, Damon Meibers & Derek Aylward, logo

I like the big-eye bird on this logo but what really set it off was the upside down m used for the w. It makes you look twice. And so does the eye that's looking back at you. The use of two different fonts and two sizes of fonts help to establish a good design. The "songwriter" font is a rather decorative, casual serif but I was unable to identify it. The footers on the m and n are rather unique. The "records" font matches very well to Ocean Sans Std.

Avant Garde

The Big Book of Letters 3, 2002, p336
E. DeMartino Design, Eric DeMartino, logo

I found this to be a very simple but clever logo. Highlighting de in the top line of type instead of the bottom adds a lot of action to the design. It makes you stop and look closer because it appears the word design has been bisected. The use of all small letters where you expect to see capital letters and the use of 2 very strong contrasting colors is also engaging.
The font is identified as Avant Garde Demi which is a sans-serif geometric font often used for display. Here it's used to create an identity.

liquid

The Big Book of Logos 3, 2002, p325
Liquid Agency Inc., Alfredo Mucinno & Joshua Swanback, logo

I like the contrast between the fluid liquid droplets and the stiff upright letters, which is also emphasized by the color contrast. I find it interesting how the d breaks the border of the droplet. It makes the word look less contained. The vibrant color choice leads me to immediately think of water and seems to make me thirsty.
The font is Futura, a geometric sans-serif typeface. The purpose here is to establish an identity.

Chicago

The Big Book of Logos 3, 2002, 124
Chicago, Davis Harrison Dion, logo

I loved the use of the I as the Sears Tower in this Chicago logo. It's a perfect identity symbol for Chicago. The use of orange and blue links Chicago to the state of Illinois, which, in turn, seems to align itself with the University of Illinois. The large letters stacked on top of each other and in close proximity seem to mimic skyscrapers crowded together in the city.
The font is Gloriola Display Standard Fat according to What the Font. The font is sans-serif and is used as an identity.

Brandable

The Big Book of Logos 3, 2002, p48
Brandable, Erika Kao, logo

This logo caught my eye for two reasons. The first was the irony in the image. UPC codes seem so generic and the way this ones morphs into something unique seemed to emphasize the company name Brandable. It's like saying our product is special enough to have its own identity and not just be another number. The second reason I was drawn to this logo is because of how well the font correlated with the UPC bars and the uniqueness of the D. I thought it was interesting how the the other letters had rounded bowls but the D was pointed.
The font was immediately identified by WhattheFont as OCRA. The style is sans-serif and the purpose is identity.

Fun with Letters!

The Big Book of Logos 3, 2002, p20
Albuquerque Arts Alliance, Dean Gianopoulos, Tom Antreasian, Kevin Tolman, logo
This reminded me of the face exercise we did. I thought it was a very clever logo since the a's are connected representing an alliance. The double a's stand for Albuquerque and Arts, and the underlying bracket reinforces the concept of an alliance. I tried the font identifiers but couldn't find a match for the typeface. The style is a sans-serif and the function is identity.


The Big Book of Logos 3, 2002, p24
Henning Gutmann - The Gutmann Group, Mary Valencia, logo
I chose this example because of the emphasis on the letter g. I've learned that this letter is important in determining a typeface and I've noticed some type posters tend to use the g as a background image (including mine). I really like the g. It's such an artsy letter. I thought this logo used the g very effectively. It is another repetition of a visual g that reinforces the company's name. It looks like the gutmann group is looking at you!
The font is gill sans and the function is identity.