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Expressive type is type that is manipulated in a way to emit a feeling or an idea to add emotion/expression to a word(s) on a page; it also can be seen as extra communication without having to read the word–easier and quicker interpretation. This poster that I took on the TTC is a perfect example of expressive type. It’s based off of a book titled SHE FELL and the letter manipulation used in ‘FELL’ is placed to look as if the letters are in falling motion resulting in enhancing the expression and meaning of the word.

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This poster that I have of RGD 2025 is a great example of grids being used. You can tell grids have been applied by the way the columns of text are divided into three precise, clean, and equally; as well as the separation to the added text and logos at the bottom–all is very clean. Same goes for margins being used as well, the page has a nice even border of space around the page.

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For this design on a hairspray bottle I found, the primary level is “COCONUT & SHEA,” shown in large bold text to highlight the product line. The secondary level is “Volume Hairspray,” which identifies the specific product. The tertiary level is the smaller text such as “Lightweight extra hold and shine” and “+ Biotin,” which provides additional product details.

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This design uses three levels of typographic hierarchy to organize information. The primary level is the large brand name “Scotties,” which draws the most attention. The secondary level is “Supreme,” identifying the product line. The tertiary level includes “House & Home/Maison et Demeure” and the smaller descriptive text, which provides additional product details.

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In this photo,“STYLE FLEX” and “TEXTURE SPRAY” appear in bold, heavier weights to emphasize the product name. Smaller and lighter text is used for supporting information and instructions, helping guide the viewer’s attention from the main product name to the details.

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Different type weights are used to create hierarchy and guide the viewer’s attention. The brand name “CeraVe” and “Moisturizing Lotion” appear in heavier, bolder weights to stand out as the most important information. Supporting details, such as the product description and ingredients, use lighter weights, making the text easier to read while keeping the focus on the main product name.

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The packaging uses two type classifications to create contrast and hierarchy. “Organics Biologique” is set in a script typeface, which gives the product a natural, friendly, and handcrafted feel that aligns with organic branding. “ALMONDS/AMANDES” is set in a sans serif typeface, which is clean and highly legible, making the product name easy to read quickly.

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The word “Villaggio” is set in a script typeface, which mimics the fluid strokes of handwriting or calligraphy. Script fonts often feature connected letters, curves, and varying stroke thickness, giving them a more expressive and personal appearance.

The word “CLASSICO” is set in a sans serif typeface, which is characterized by the absence of small finishing strokes (serifs) at the ends of letters. Sans serif fonts typically have clean, simple, and highly legible forms.

This packaging uses two type classifications to create visual hierarchy and contrast. The script typeface used for Villaggio gives the brand a traditional, handcrafted feel, helping it stand out. The sans serif typeface used for CLASSICO is bold and simple, making the product type clear and easy to read.

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Choice of Typeface and Communication

The choice of typeface, combined with the colour palette, effectively supports the message of the piece. The intent is to convey positivity, and this is successfully achieved through the use of bright colours and carefully selected, expressive fonts. These elements work together to communicate the intended tone even before the text is read.

Kerning and Tracking

Kerning and tracking have been applied with care, contributing to the legibility and polish of the design. Letter spacing is consistent, and the alignment of the text maintains a strong sense of balance throughout the composition.

Aesthetics and Integration

The overall aesthetics are cohesive and visually engaging. The variation in font styles and sizes helps to emphasize meaning and establish a clear hierarchy of information. Decorative elements surrounding the text, along with the harmonious colour palette, enhance the overall appeal without overwhelming the message. The text is centrally aligned, and consistency is maintained where appropriate, contributing to a well-integrated and professional-looking piece.

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An Example of Typography That I Dislike:

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An Example of Typography That I Dislike:

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Title

The typeface used for the title feels a bit off; it comes across as slightly tacky in this context, especially with the left alignment, wide line spacing, and the added stroke outline. While the large size does help it stand out, the white text on a mostly white background makes it easy to miss. It just doesn’t pop the way you’d expect for something promoting an “Art and Chill" event. A bit of colour or a more playful font choice could have made it feel more inviting and on-theme.

Abundant Letter Spacing

The letter spacing in the title feels excessive, particularly in combination with the oversized typeface. This stylistic choice seems mismatched with the font’s characteristics and adds unnecessary visual distance between characters, making the title feel disjointed rather than cohesive.

Contrast

There is a noticeable imbalance between the title and the descriptive text below it. The title dominates the composition, taking up nearly half the page, while the description appears significantly smaller and less legible. Additionally, the contrast in typefaces between the title and description does not create a harmonious visual relationship. Instead, it feels disjointed and lacks a clear typographic hierarchy, ultimately reducing the overall aesthetic impact of the design.