Advertising

Sagmeister’s “Here for Good”

From the ever-inventive designer Stefan Sagmeister comes this TV commercial for Standard Chartered Bank. Sagmeister’s approach to typography continues to shock and delight. Who can forget his 1999 poster for an AIGA lecture that displayed the words actually carved into his skin? Sagmeister has also turned typography into an environmental art form by constructing words in — and out of — nature. You can’t help but read and reflect on the message.

The advertising commercial for Standard Chartered Bank aptly represents the multinational scope of the company’s business, which was formed in 1969 through a merger of the Standard Bank of British South Africa, founded in 1863, and the Chartered Bank of Australia, India and China, founded in 1853. International and exotic, steeped in cultural traditions and totally modern, the TV spot makes the bank’s philosophy feel sustainably organic and mindful of the global markets it serves.

Typography

Avoiding Typographic Fiascos: H&FJ Offer Tips.

There’s an art to combining typefaces. When it is done well, the entire layout comes alive. Words become more legible, information feels organized and easier to understand, and the typography itself reflects a mood that is consistent with the message being conveyed. When it is done badly, it’s a jarring hodge-podge.

That’s why when we ran across this lesson on Hoefler & Frere Jones’s website, we had to bring it to you. (H&FJ, as most of you know, is one of the world’s foremost digital typehouses.) H&FJ’s overriding advice is: Keep one thing consistent, and let one thing vary.

1. Use typefaces with complementary moods to evoke an upbeat, energetic air.

The interplay between fonts gives them energy.


Read More »

Animation

“Bored to Death” Animated Type Title Sequence

The new HBO comedy series “Bored to Death” created by novelist Jonathan Ames is about a fictional writer named “Jonathan Ames” who hires himself as a private detective. For that kind of story line, the opening title sequence had to reveal a lot of background information – namely that the show somehow involved a novelist, fascination with words, a central character who lived a “noir” fantasy life, and a comic book quality. Tom Barham, title sequence director for Curious Pictures, found a way to weave all of this into the opening sequence by animating typography and using it to carry viewers from scene to scene and letting characters interact with letterforms as they walked across the page. The “flashlight” effect with darkened edges of the book also created a nice noir touch.

In an interview with artofthetitle.com Barham explains, “I wanted to do a combination character and flip-book animation to move the Jonathan character from location to location in a book format. Additionally, since the characters were made from text contained within the book where they exist they needed to move and interact with each other as if they were emitting or leaking letterforms or words.” The title sequence uses words from Ames’ original story and illustrations by comic artist Dean Haspiel, who is also the basis for the Ray Hueston role, played by Zack Galifianakis.

Typography

Entrepreneurial Design:
Turning a Passion into a Product

The Pentagram 365 Typography Calendar now celebrates its tenth year, prompting us to ask its originator Kit Hinrichs what drove him to create this now popular product.

04_typecal_10

What was your inspiration for the calendar?
I’ve long been an admirer of Massimo Vignelli’s iconic Stendig calendar, introduced in 1966. It’s classic Helvetica typeface is boldly graphic, contemporary and easy to read. If I may speak for Massimo, it was “Perfetto!” Yet as someone who loves and uses type, all kinds of type, I felt there was room for a wall calendar where the typography was in more than one face. So many people, designers included, have no idea who designed the beautifully crafted typefaces that are very much a part of our everyday life. I wanted to enable people to become more aware of type as a designed object.

Read More »