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I categorized this font as either a script or a sans serif, though it could be a typeface. The font of line underneath I think is a good pairing because it shares some elements of a more hand-done feel with the E crossbar being lower and very round Os. I  feel I think that it is successful in bringing a more youthful packaging design to vegetables to possibly appeal to younger audiences.

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The pairing of the script with the hand done feel of the text below is a subtle and charismatic contrast. I think this is successful because it gives the package a homemade feel.

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The text from this example comes from "You can't say 'umm'". Similar to the choco coffee example, this type is given a 3D element, and the contrast of white/black gives it a bit more umph off of the page, an appeasing thickness. I like the usage of the 3D element for the quotes and dots at the end, it's rather unique. The letters seem a bit squished together, like a graphic tee design almost.

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I would classify this as a transitional serif due to the width of the letterforms. It has a hand done feel with the added texture. I think it is successful because it draws in the eye and the placement of the words has good hierarchy.

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Humanist serif, taken from a book in the special collections library. I think this serif is successful in its elegance and simplicity. Here it is shown in all capitals. I particularly enjoy the terminal of the 'N.'

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The text 'Lunar dial' is a Modern Serif, unique ball terminal on the 'r', I think it is sucessful beacause it contrasts well with the other type and brings in focus. However, the italicized "the" above seems too large.

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- grotesque sans-serif, the top of the a is flat rather than pointed

- Cover of a memoir

-Successful, however the tightness of the leading, while intentional is not even in all the same places

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-Condensed sans-serif, grotesque? double deck a, body copy found in the local paper

-I think it is successful due to the use of bold for the headline, however it is not the easiest to read compared to a serif font for body copy

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-Grotesque sans-serif

-Found on an infographic

-While I like the simplicity of the font choice, I think a heavier weight might help the title stand out more

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the two examples that really shined for me from this poster were "birth-o-ween" and "nuclear tourism"

birth-o-ween having devil horns is fantastic, as well as the centering of it and having it be at the crux of the banner is AMAZING.

Nuclear tourism feels so bubbly, and squished into the slice of cake, I could almost take a bite out of it. Love it.

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This serif type is a bit of a safe play in my opinion, I feel like there could've been more risk taken for a design of a state botanical garden

It does seem to "pop" out a bit more on this sign, in-person, with the choice of a serif

The white on the black leaf design & grey stone is a good balance of color

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Iconic. Incredible. What more could you ask for from a theatre sign? The splicing of the color on the "georgia theatre" between the outer red and inner gold/yellow is such a fantastic dichotomy, and balance with the red text below and golden lights shimmering around the rest.

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Does it look a bit tacky/outdated? Yes, however I am a fan of this type.

The script "bundt" is a breath of fresh air compaired to the in-your-face serif, all-caps, of the "Nothing Cake" surrounding it.

The blue seems to have faded from a brighter color which does a disservice to the sunflower, as there is not a secondary bright color for it to truly complement

the connected crossing of the t and d in "bundt" is well done.

Kerning between C and A in cake seems a bit more distant that it should be.

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Not sure how I feel about the excessive flourishes, however I appreciate the design choice to keep it somewhat consistent in terms of symmetry

The e's are a rather unique character to add loops on, especially not coming out of the bottom, and instead the side

The lowercase L almost serves as a lasso at the bottom of the page, 'catching' the bottom of the lowercase n above it.

A lot of interconnectedness!

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-Geometric sans-serif, each letter fits into a tight square

-Box of a Lego set

-Successful, the choice to use a geometric sans-serif is strong because it aligns with the themes of the brand (shape, building etc)

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"flower stems" is the hand-lettering used in this example

very reminiscent of a wedding invitation-type font, with the loopy circular lettering seen

I think the F and S being lowercase kinda impacts them negatively, the f almost gets swept away visually in the loopy cursive type

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Bigger weight is given to the H and C beginning each word of hot coffee, which I think helps the phrase pop off the chalkboard

The fire design on the o's is eye-catching and colorful

There is almost a rounding/slight bubble letter element to the type throughout the bottom

inconsistent weight on some letters, i.e. the e's in coffee

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this...is quite interesting. and not in exactly the greatest way.

The type isn't consistent across the letters. The W's bottom edges aren't consistent, and should be a bit more filled out/flat.

The kerning between the O and W is touching, and not well-done.

The cow tail on the C is a cool element, however it touching the edge of the sign looks tacky

the cow pattern across isn't as equal and well done as it should be.

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The pairing of the serif of ‘library’ with the script of ‘jane’ is lovely. This design works well will paddy wax’s overall branding. I think it is successful in conveying a calm and relaxing message.

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This may be one of my favorite finds altogether. The coloring mix of cream and a christmas red, with the unique curves of the C's, the beginning A, and the lowercase h, with the concluding L, this is just incredibly satisfying to look at.

The choice to keep the lettering a normal lowercase/uppercase mixture with proper capitalization for the story is very clean and appeasing

The coloring of the text matches well with the full-white snowflakes, the off-white balance of the text is fantastic

The A at the top is beautiful, such elegant poise

The C's loop at the bottom almost serves as a final note, and underlining of sorts

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The script for this is the text is "paso robles". The picture comes from a wine bottle, and I really like the choice of a script here. it gives a hint of elegance to the bottle and specific type of wine. I would say, the P to the a in "Paso" seems a bit distant, given the R is connected to the O in "Robles"

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The symmetry on this one is enticing to the eyes with the connected Li and AY on opposite sides especially.

The dot of the i that is somewhat interwoven/connected with the edge of the N is well done

I will say, connecting the N and the D seems a bit forced, especially considering the S stands alone, it looks a bit odd like that.

The curvature of the text above the curved line is well done, espeically with the round design below

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The script used in this picture comes from the text "Maple Syrup." Honestly, the usage here seems a bit random, given the other typefaces used. It could be improved by the utilization of a heavier weight. The script here just seems a tad unnecessary, as emphasizing the fact that it is indeed maple syrup, is redundant.

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The experimental text in this example comes from the text "oh my mother!" It's experimental in the sense that there's an element of depth in play here, with the yellow-green lines travelling through multiple letters, a sense of layering with the lines through/behind/over the text as well. The type is reminiscent of a fountain ink pen in its strokes, and I think it's very interesting.

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-Slab-serif, While the font looks handwritten it uses slabs on the end of terminals

-Taken from a popular children's book

-Successful, I think the texture and hand-done quality helps this slab-serif remain relevant to its younger audience

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This candle label pairs a geometric sans-serif

With a modern display serif. I think this pairing is successful in its simplicity.

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This type is just one of the most lackluster, boring sans serif's I observed in a built environment.

It is too flat, too stale, and just average as all could be.

The coloring of a rather matte black on a disgusting, rotten lemon yellow background doesn't do it any favors either.

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The font used here in question is seen in the text "Rouge", it's almost a decorative version of bubble letters, with some interesting rounding around the ends of letters like "U" and the "R." I think the curved edges all throughout are executed well, and it's a very appeasing typeface to the eyes and reminiscent of 70s fonts.

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All the type on this cover fits with the decade of the 1920s, when the book took place. I think it is sucessful due to the effectiveness of the hierarchy and context of the novels subject matter.

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The script in this picture comes from the text "Regular." While I do like the usage here, as it really contrasts from the donut color scheme and gives it a unique feel as a flavor, I think it may be a bit too flashy for something that's simply "regular." I think the bordering of the text is effective, and goes well with the white border of the donut.

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Type found on a toy box, reminds me of 60s and 70s fonts from advertising for shows and activism at the time. The flow of the letters works well and is successful to me due to the bold bright color choice.

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Actually an incredible treat to the eyes, in what is a rather sub-par coffee shop inside of Barnes and Noble.

There is a rather glossy quality to the 3D type of "Cafe" and it sticks out from a rather far distance, shimmering in the lighting of the store

The terminal of the C is fantastic, and I like the connectedness with the a, which looks fantastic as a double decker.

Overall it reeks of an early piano lesson book font, but the type here sticks out incredibly and gives a whiff of character that the B&N's coffee itself lacks.

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The text 'Dicey's' is in Blackletter popular from the 17th century. I think it is successful in that this is a business card for a pizza/sub joint and adds some flair. However the choice of blackletter is a bit random.

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-reminisent of 80s typefaces, popularised by Stranger Things Series

-sucessful, reminds me of fall and pairs well with illustrative elements

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The experimental font used here comes from the text "choco coffee." The letters are given a sense of three-dimensional depth, and somewhat 'pop' off of the page. The c's go with the o's perfectly, as the round circle shape is consistent between the similar letters. Also, each letter is given equal weight, which is very appeasing. I do think using lowercase E's in coffee would be interesting to see how it'd look instead of uppercase, as they would match the shape of c's and o's better.

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The kerning that I have an issue with in this example comes from the incredibly minute gap between the A and the first L. It quite literally is microscopic, and contrasted with the spacing in the rest of the text, seems odd. Specifically looking at the kerning starting with P and ending at T, The first A and L look out of place. Not sure what's going on here.

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Taken from the cover of their record. Both fonts are reminiscent of the 60s/70s once again with heavier weights and flowing words. I think what makes with successful again is the use of texture throughout as well as the context of the album.

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This example sports multiple letters with elongated edges, specifically the B's, A's and connected S at the end

Honestly, it seems a bit unnecessary, just with the inconsistent type and the lowercase "delicious"

The kerning between E and O in Georgia appears a bit off due to the diagonal slanted edges of the serifed E

Not sure why the A and S are connected

The type looks the best with "Best Bite" however the rest is just a jumbled mix of lowercase and uppercase, too inconsistent overall

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-The text 'Snoop Dogg' is the decorative font, it is reminiscent of blackletter, however with the addition of the stars it becomes more decorative

-I think it is successful because it is well-balanced with the sans-serif on either side

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the body text is handwritten and does a solid job contrasting the sans serif with heavier weight.

it's successful, however not the most legible, considering the targeting of the content towards younger audiences who may not be the most cursive-literate :/

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This is a rather unique one. The dash through the Y immediately makes me think of the japanese yen symbol, however that obviously is not the intent.

The book is about Greek myths, so perhaps the Y is a reimagining of the Ypsilon

The O with a rhombus in the middle is a unique touch

Overall, an interesting sans serif typceface, and the spacing/letting throughout is clean

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Overall the leading on this word seems too right. I think the kerning should be increasing between a few letters most notably the u and e

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A theme that I've seen across multiple of Stephen King's novels is that the kerning seems to emphasize his last name, especially with the weight being increased to give it bigger standing on most covers. I think any passerby's eyes would be immediately drawn to "King" thanks to the generous leading that gives it so much of a dominant presence on the front cover. Well done.

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The lines below the headings, in a more modern serif, are transitional ("dell...Rossini" and "Del...Donizetti") due to the straightness of the axis and lack of contrast between strokes

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The headline "La Semiramide" is in a modern serif due to the high contrast between strokes and vertical stress.

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#g #slabserif
This instresting 'g' is from the font Condensed Foster. I found this letter to be instrestin since the loop at the bottom is not fully complete and flattens out. Additionally, its ear is square and flat to match the rest of the slab serif.

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#italic #serif #1782
The text "Primo Uomo" can be noted as an italic font since the style of a few characters varies slightly such as the 'm'. Whereas, if it was oblique it would just be the same structure slightly slanted.

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This headline on the poster from 1868, is a slab serif since the serifs are flat. I found this font particularly compelling since it was the boldest and largest across the posters in the room.

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#extended #serif
This is from The Story of French Types. In this headline, I considered 'Paper' to be extremely extended since it is tracked to about the width of the body copy underneath.

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#slabserif #lithoantuque
This slab serif stood out to me since it reminded me of the font used on doctor's eye charts. This slab serif, Litho Antique is characterized by shorter more square serifs that match the width of the stroke.

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#canslon #oldsyle #serif #unbracketed
When I saw this font in the selected books, I automatically recognized it as Caslon. It is old style due to the straightness of the axis in the characters, while still offering a fair contrast in stoke weights.

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I found this type pairing interesting as I think I would not have paired these 3 together, yet appear to be successful. 'Glaze' is in a more modern serif. I found the arc of the G very compelling as well as the slanted apex of the A. Additionally, I found the contrast on the Z interesting as well. This more custom serif is paired with a simple script in 'with' and a recognizable transitional script in caps used under that I have definitely seen before.

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I found this example of a script successful also as a typeface pairing with the description of the salsa on the side. I think that this script is reminiscent of the Trader Joes brand and mixes well with the other two typefaces used.

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I found this typeface pairing to be youthful and characterisitc of the product with the use of a geometric sans serifs. I think thefont used with 'Sour S'ghetti' is intresting and quirky and I wonder if is a font or a custom one. Overall, I think these type pairings are successful in that they clearing list the flavors while not straying too far from the brand's history of simple sans serifs.

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This manual uses a script font along with a modern sans serif. I do not find this example successful. I think the kerning on the script headline is strange and the choice to use a script font is also questionable. The hierarchy of this page also feels off to me, I think a better solution would be to make the model number smaller to emphasize the variety of recipes if offers.

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I found this business card's use of type unsuccessful due to its bad kerning as well as bad font choice. The kerning between the 'k' and the 's' of 'Creekside' seems too tight. The heading is a condensed transitional sans serif, however, the second line's leading is gaping and feels unintentional. Knowing this garden center as a great local spot, this card is disheartening. I think they should definitely consider an update, if not already done.

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see post below

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This bottle displays a few successful serifs in my opinion. The headline is a transitional serif, however the contrast on the 'N' is extreme. I especially like the use of small capitals tucked in between the headlines and how they are used with the founding year a few lines below. I do question whether the tighter kerning between the 'R" and the 'I' is intentional. To me, it feels a bit too close.

Additionally, the type below that describes the ML and percent of Alc. is not small capitals, the characters are not square and more condensed but still distinguishable as a transitional serif. Also noting the italicized serif on the more opaque banner above the headline, I think that choice was successful as well. Overall, I think this selection of serifs is successful since it offers a variety that speaks to the voice of the brand yet does not overwhelm the viewer since each appears to be similar and possibly apart of the same family.

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I enjoy a few specific characters from the sans serif that is used, in particular the 'W' and the 'R' in Onion Powder. I would classify that font as a Geometric sans serif due to the roundness and symmetry found in the bowl of the O and Ps. I think that these sans serifs are successful since they are clear in depicting both the brand and spice.

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I found the kerning between the 'P' and 'A' is a bit too much. I would reduce it a bit to match the rest of teh character spacing. Overall, this sweatshirt also mixes geometric sans serif as well as the jeep logo (decorative) successfully. I do question whether the type choice could be more unique and would be interested in seeing a more rugged font.

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This wine label uses a mix of geometic sans serif in 'roots', as well as a slab serif in 'rose' and even small caps in 'trademark...grapes.' I think this label is succesful in mixing fonts since it leans into hierachy that justifies mixing typefaces. Each font is not too decorative and allows for easy legibility.