Columbus, Ohio-based Danielle Evans, who goes by the firm name Marmalade Bleue, pursues a quirky design genre – food typography. She uses food ingredients to create very ephemeral letterforms, such as in a “Food for Thought” video for Target stores.
On her Marmalade Bleue blog, Evans explains how her approach differs from others who have used food ingredients as a writing medium. “Food type had been used sparingly as one-offs in the past, all of which utilized the materials incidentally without applying a typographer’s touch,” she says. “The novelty of food as lettering trumped the presentation and legibility of the forms. I chose to apply my background in illustration, sculpting, and painting to create letterforms with dimension, play of light and edges, and happenstance flourishes with personality.”
Describing her methodology, Evans adds, “Rarely do I use typefaces or fonts to influence my work, instead I rely on the materials to dictate the best course. I’ve chosen a symbiotic relationship with my materials, suggesting rather than forcing their direction. Lettering allows for incidental flourishes and ligatures associated with calligraphy, the true nature of my work.” Intriguing and beautiful.
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The words “typeface” and “character” are fitting terms to describe fonts. When listening to good designers talk about them, you would think they were gossiping about people. They talk about their emotional qualities, complain about what they perceive as their flaws, get blushingly specific about their physical beauty. For them, some typefaces are casual flings, good for a quickie when the mood strikes and the lighting is right; with others, they are in love and ready to commit for life. For many designers, a studying letterforms is more engaging than reading what the collected letters have to say.
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Extending a brand into global markets isn’t a straightforward process. Product makers have to consider all kinds of cultural and language barriers. Can the letterforms be read? Can the name be pronounced? Does it have a pleasing or harsh sound when spoken? Does the name mean something else in another language? (An example is the famous case of the Chevy Nova, which in Mexico translates to “doesn’t go.”) Then there is the challenge of trying to maintain some graphic consistency so the brand is truly global and not the same product that looks different in every regional market.
Consider how Carlsberg Beer and Coca-Cola graphically translated their logotypes into multiple languages, for example. LogoDesignLove brought the Carlsberg comparisons to our attention. With Carlsberg, note the way that the designers tried to carry over the signature style of the brand — the flat-top squared-off “C,” tri-leaf accent pattern, the swash decorative flourish under the type, the brushstroke-like serif on the last “r.” Although the letterforms differ dramatically from language to language, the various logotypes have a family look that suggests their roots stem from the original Danish Carlsberg logo.
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One in five Americans suffers from dyslexia, according to the U.S. National Institutes of Health. Essentially that means their brains do not process or recognize certain letterforms and symbols. When looking at words, dyslexics tend to rotate, swap, twist, mirror and flop certain characters, making it difficult to comprehend what they are reading. The word “saw” may be read as “was,” for example.
It doesn’t matter how beautiful a typeface is; dyslexics still find them hard to read. In fact, probably the most elegantly fine typefaces are the toughest to make out.
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Manchester-based Music has rebranded Chester Zoo in Chester County, England, by creating a Crayon-colored typeface and logotype that look like they were drawn and embellished by a child — or a clever chimpanzee.
Playful, uninhibited and gleeful, the letterforms, created in collaboration with illustrator Adam Hayes, look like they were done in the wild with crude implements, away from digital devices that would edit out quirks and enforce uniformity. Free-wheeling details spring out of letterforms suggesting that these characters exist outside of captivity. As individually distinct as the letters are, collectively they make up a cohesive font available in four weights and upper and lower case. If animals had opposable thumbs and were able to hold a crayon to create their own font, this is probably how they would describe the Chester Zoo environment — relaxed, happy and free to be who they are.
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