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The main transport system takes people into the economic and commercial centre of Walthamstow, with visitor attractions such as the William Morris and Town Hall further away.

When Waltham Forest was the Borough of Culture in 2019, wayfinding signs such as this were painted on walls to help visitors navigate. They are high up on walls and very visible as Hoe Street twists and turns to reveal them.

The grey type is outline in black to enhance visibility, and uses icons of a walking man and arrow as designed by Margaret Calvert to emphasise their use as wayfinding signs.

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Walthamstow is very multicultural and the High Street is lined with shops with cuisines from around the world. Many people are Muslim and eat Halal food, and shops advertise that they sell products adhering to this cultural practice.

This sign is an example of the bilingual  stickers in English and Arabic found in windows and positioned away from notices so that it stands out to passersby.

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This light which is in keeping with the historic feel of Stony Stratford sits outside Cox and Robinson Pharmacy where the company was originally founded. Even though the light looks as if it was originally part of the chemist, it is not seen in images from 1971 so would have been added after for aesthetics. The glass is painted green other than the text masking out the words 'dispensing chemist' in an all capital serif font. The text is curved to sit within the space in the glass and mimics the brands font seen on the signage below.

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A powerful message. "Just Love Letter" under the slot of a mailbox is as smart as it is beautiful. The font is bold and has a graffiti look. It is also a kind of contemporary handwriting and could be seen as an update of the script font above. For these reasons, I would like to describe this graffiti-like type as a youth cultural variation of typeface design that is visually comparable to typographic design. While typography always depends on its medial usability and thus on media-specific criteria of readability, graffiti is to be understood as a more media-independent artistic-creative form of expression and communication. Here, however, it is not the word semantic level as the main component of the construction of meaning that must be in the foreground, but the visuality of the letter sequence including graffiti form conventions, proportions, compositions, choice of colour, background, contrasts and most importantly the local context. In the case of text graffiti, here with a felt-tip pen, the graffiti can also be understood as a multi-modal text, which in its overall meaning forms a synthesis of the various attributions of meaning of the realised sub-modalities.

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Contrasting to the neon image, The Mall monster is the Mall mentioned, which wants to expand into green space, cutting down mature trees marking a path. The Mall’s large shops profit from the community without the same return of the independent local shops along the High Street. The development would include homes which are unaffordable for Walthamstow's citizens.
This is an unofficial poster following the grassroots campaign to save the trees. Designed in Word, the designer used a yellow background to draw attention, with black-outlined text in Arial. The black ink separated, the blue component streaks across the yellow, despite the weather-proofing lamination. The designer knows how to draw attention, using caps and increased kerning to emphasise HELP and TREES.
We might lament the ability for everyone to create typography, however, it enables people's voices and dissent to be heard against powerful lobbies.

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The opening of St James Street station at the end of the High Street developed it into a bustling shopping centre. In 2017, £2.9 million was spent on shop fronts, building restoration and environmental improvements. The unification of shop fronts was deemed “driven by a total misunderstanding of what makes London interesting” by local residents.

For this original sign, the first and third lines span the width of the painted display, with the kerning and horizontal width of the third line condensed to allow for all the letters. The second line is shorter and has a wider kerning to take up more space with fewer letters.

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Heart of Awesomestow is a piece of artwork by local artist Chris Bracey. He continued his father’s business, illuminating Soho and creating for films. Now, his work focuses on commissions, moving with neon’s reputation from Soho alley to high art.

Mixed typefaces and colours embody the melting pot of Walthamstow. There are serif and sans serif; high and low contrast strokes; rounded ends and slab serif.

This is placed within the Mall, a shopping centre that is a huge contrast to the locally-run shops on the High Street. The homogenisation of Walthamstow echoes the upward move of neon from seedy to high art.

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The Chintz is situated in the Old Brewery Yard on The Old High Street in Falmouth. It's in a thriving courtyard where students and locals are attracted to. The Chintz has done a brilliant job in creating a bar based on the Alice in Wonderland theme with hidden rooms and a ceiling full of hidden treasures. The typography here fits their theme perfectly. They have used a type which I would usually match with a circus theme. Pointed edges with different levelled letters which are at a slant. The metallic golden brings the glam and glitz of the fantasised world, with the deep red bringing the drama and whimsical swirls of Alice in Wonderland. If anyone saw this sign in Falmouth they would recognise it as the Chintz bar straight away.

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The signage for this retro store in Falmouth is so bold. I really like how weathered each letter has become. At first glance I thought they could be letters for print but infect is just weathered signage. The type is strong, with the curved letting such as the 'C' and 'O' having the very bottom's cut off, but the 'B' and 'D's being fully rounded. I love that it has that quirkiness to it. It summerises everything the shop is about. It's weathered look goes hand in hand with the retro and antique items it is selling.

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The Royal British Legion, Garden of Remembrance

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The Royal British Legion, Garden of Remembrance

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The Garden of Remembrance is a small garden located outside of Falmouth's Library. It has the signage for The Royal British Legion and behind are silhouette's of figures at war. On these figures are hand written messages, this specific one being 'In God We Trust'. The hand written contrast of the black and white really stood out in comparison to the garden foliage surrounding it and the signage from the Remembrance. The message being hand written makes it a lot more personal, where people will relate to it. The running of the chalk and the wearing away of the type  goes hand in hand with the wearing down of war itself.

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The Packet Walkway was sponsored by The Falmouth Packet, the local newspaper which was named after the ship that transported the oversea's post. The type is the exact same on the newspaper and represents the ship used for transportation. These plaques are placed all over Falmouth town. It is only until now I have realised they are placed at historical points over Falmouth where people can follow information through the town which explains the historical references and how the town has changed over time. What a brilliant edition that I have never noticed, so small that I have walked over it for so many years. It keeps the history alive through today's current town.

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The Old Town Hall was originally built as a chapel in 1715, and in the 18th century used as the Court House and Town Hall. 'The Old Town Hall' sits above the central doorway, in an arch in a medieval typeface. You can see this is very worn down and they have re-touched it with a metallic gold which gives it a very handmade / shabby look. The gold takes away some of the black outline, making it less bold, but gives it that importance which this building deserves giving it it's history. (In 1884, the crew of the Mignonette stood trial here for murder and cannibalism.) I really like how the shadow of the type is reflected in the glass underneath. The Old Town Hall is now surrounded by antique shops, pubs and bars and has been turned into an art gallery so I quite enjoy the contrast of the Old English type and the finish of it, I feel it fits well with the surroundings.

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This is one of a few ancient relics that remind us of the town that once was. This sign is one I walk past daily but it isn't preserved or celebrated the way it should be. With the town being so rich in history you would want type such as this defended. It reads "slow down, turn left, halt before, turn right for Guildford, most... Good food.." If you can read the rest I would be intrigued by what it did say, as it speaks about a town that once was. A completely different way of life and time to be alive. A little reminder of the many ways things have changed over the last few hundred years or so.
66 Quarry St, Guildford, UK

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Throughout Guildford, there are signs dotted around that are made from metal (like most other signs around the town), that tell us about the history of its location. They all have the same design, letterform, and colours. They aren't too large, they sit on walls at eye height, and subtly grab your attention by blending in with its surroundings. This closeup of one at Quakers' Acre shows its age from weathering of these sign. More importantly, we can see the letterform in detail. The serif type attempts to mimic the rich history of the town, having these dotted around in the endeavour of reminding the residents and visitors of this.
Quakers' Acre, North St, Guildford, UK

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The Guildford Library stands out along the high street with its aggressive council style type that emerges from what looks like a concrete prison along the high street. The lack of modern renovation throughout the town leaves a lot to be desired. The combination of attractive historic type and cheap attempt of modern improvement has left the town looking like it needs a facelift. This letterform really does express this need for more creative and artistic design to be put into its public buildings.
77 North St, Guildford, UK

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Guildford Castle grounds are a touch of quiet and a reminder of the history of this city centre town. However, even within this sacred area of untouched history, we find postmodern type that has aged and weathered even after a few years. This metallic font that has such contrast with the dirt and rust wearing away around it stands out like a sore thumb. For me, this type represents the ageing of the town, the attempt and lack of care for such a historically rich and green town.
Guildford Castle, Guildford, UK

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The tranquil village town that is Guildford is stuck in the juxtaposition of the aged historical type that illustrates the towns deep history and the postmodern which sees the city centre shopping culture expressed through jarring type such as this one buried between the two. This painted letterform that sits on a wall alongside a small street just off the hustle and bustle of the town centre lacks major footfall. When noticing this type that has the essence of graffiti from its humourous new meaning after the fading of the first two letters, I couldn't help but find this type one that sums up the abandoned view of Guildford.
3 Woodbridge Road, Guildford, UK

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Here we have an example of how, by referencing a more traditional aesthetic, the local proprietors are continuing to retain a connection with the history of the town.
Once again, the choice of materials has value and contributes to our understanding of the messaging. It is this application of the chosen materials that provides the viewer with a visual prompt and establishes an emotional connection between the brand-message and the members of the public.
What do we take from this outcome? Our attention is directed towards the past, of an idealised interpretation of history, which may in-turn evoke a sense of nostalgia and a yearning for our own past.

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What can we say about a seemingly nondescript example, of contemporary way-finding?
For me, this application of low-cost paint on a poorly maintained tarmac road is allegorical in nature and indicative of the economic state of many of the rural communities around the UK.
Often starved of funding and dismissed in favour of more commercially viable towns and cities, the traditional market town is often reliant of low-cost materials and is seldom prioritised in the awarding of funding or in the provision of vital resources. This visual is a damning statement on the failing infrastructure, that is on display all across the UK.

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The second major building in Leominster is The Grange, a Tudor building that is regarded as the finest surviving example of a timber-framed building, from that period. The structure was designed and built by the Kings’ carpenter, who is believed to have been a native to the town.
Today, the building is located in a large open parkland in the centre of the town and is used for a multitude of purposes, including: The hosting of cultural events and private functions.
This interplay between contemporary life and legacy is evident in the choice of font and in the application of the materials, which instils the letterforms with a sense of dignity and elegance. Together, the combination of polished metal and traditional typography directs the reader once again to the past, however, here we are also informed of the buildings intention to endure and transcend the changes taking place within the modern age.

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The interplay between modernity and the history of the town is ever transient, and here we can observe an example of how a previous attempt at modernising the signage in the town has been dismissed by the passage of time.

The typography resigned to the besieging gestures of the natural processes that have occurred, within the environment.
This example possesses a visually stimulating assemblage of organic matter and man-made materials, and as a consequence of this juxtaposition of materials, we can view the signage as a metaphor for the overall narrative of the towns history.

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Here we can see how Type has been used in the construction of a war memorial. The brass plate is secured to a tree that was brought from the battlefields of Verdun during the 1914-1918 war.

The tree stands adjacent to the towns war memorials, the Priory Church, and a children’s play park. In my view, this gives the placing of the object a more profound presence and signifies a relationship between all three locations. This is evident in the choice of font, which aligns itself with the tone of the subject in question.

The typography takes on a greater meaning when viewed in-situ, and communicates a firm connection between the memorial and the adjacent priory. It tells the viewer that the landscape in which the memorial is located possesses an almost divine quality, which in-turn contributes to the elevation of the message itself.

The materials too, are indicative of the narrative that is being conveyed to us. The weathering of the brass and the cosmetic damage that is present on the surface of the structure denoting the destructive nature of mechanical warfare.

In response to the tone of the message therein, which is arguably one of loss and forlorn hope, we must once again refer to the placing of the signage. Adjacent to this sign is the children’s play park, and for me this geographic relationship establishes both a literal and philosophical dialogue between life and death. The children’s play area evoking a sense of rebirth and new life, free of the burdens of war.

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This photo wasn't taken with my original batch of photographs whilst exploring Macclesfield. Instead, this was taken backstage of the Daneside theatre in my neighbouring town of Congleton. This image struck me as unusual as I liked the contrast between the printed, bold and bright word 'STAGE' compared to the hand written and ornate calligraphy, therefore I found myself taking a photograph! I particularly like the politeness of the bottom sign, even though if this instruction is not followed it will cause issues during the live performance (as light and sound would travel from backstage), so whilst breaking this rule is not without consequence, it has been written in lowercase letters with pretty detail in which someone has clearly taken their time to write. Would it be the fact that this sign is written so nicely that people would follow this rule rather than being shouted at? Or is it that there was no need to write this in capital sharp letters as the rules were being followed anyway?

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This sign is discreetly placed on the corner of King Edward Street in Macclesfield's town centre to direct worshippers to the hidden chapel which was built in 1690. Initially an independent chapel, it became Unitarian during the ministry of John Palmer between 1764 and 1780. In the early 19th century a number of Gothic features were introduced to the interior. I don't know how long this sign has stood for since the change of the chapel's name from Back Street Chapel in 1825, but it looks very worn out and the use of Gothic typeface leads me to believe that it has been stood for some time. This chapel is unique for it accepts any religious view, a chapel in which both my parents and older sister have held their weddings over the previous 2 decades. I wonder if the use of wood nailed to brick was intentional to make it temporary or movable, rather than announcing its presence in the longer lasting technique of engraving stone for instance, could this be because it was frowned upon by certain people for not being devoted to one religion?
The use of gold paint makes for an elegant sign, whereas the handwritten letters make this sign less formal and more inviting. I like the way in which the author has used larger letters to write the name of the chapel, and letters equally as large to tell the public that all are welcome.

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The Three Pigeons was an important nineteenth century coaching inn, and still has stables attached. It has been disused for several years.
This sign is still hung on the derelict building and is showing signs of their history and the need for much love and attention.
The sign is showing less deterioration compared to the sign seen on the other side of the building due to its more sheltered location.
This sign shows its history through the red paint fading to reveal the original painting underneath. The style of lettering used is typical for Macclesfield. A capitalised font with serifs and the occasional embellishment to showcase the towns wealth. Derelict pubs and building are a common sight in Macclesfield today after many businesses closing down during the recession. Unfortunately the night life isn't great here with Manchester being on our doorstep.

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Macclesfield became a centre of the Silk Industry during the Industrial Revolution, a past which is well known and celebrated by Maxonians daily, I love that buildings such as this remain and are reused for museums such as this one to showcase the towns history. Once known as Macclesfield School of Art which opened in 1877 to train designers for the silk trade, this beautiful building is now home to the Silk Museum which showcases old machinery and silk pieces which were created in this historic town. The embellishments seen around the capitialised letters V and R reflect the artistic talent that was found in Macclesfield in the 1800’s.
This particular typography reminds me of the Macclesfield Alphabet book which I found in my research this week. The ornate design draws the viewers attention upwards from street level and highlights the wealth of the town during its peak time of producing silk all those years ago.

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A sign made from stone, placed so high up on the old drill hall in the centre of Macclesfield that I have never noticed this before in my life. The building was designed as the headquarters of the 8th Cheshire Rifle Volunteers and opened in 1871. Following this it became the meeting point of the 4th and 7th Battalion, before being decommissioned and recently converted into apartments.
Underneath Macclesfield’s coat of arms can be read the Latin words ‘NEC VIRTUS NEC COPIA DESUNT’ which translates to ‘Neither virtue nor plenty are lacking’. Set in heavy capitalised typeface to maximise readability from street level, the simple lettering is used in stark contrast to the more decorative swirls of the shield in which the words are set.

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Macclesfield’s Technical School which occupied this building in 1900 is now home to the local Wetherspoons pub close to the centre of Macclesfield.
The old style serif typeface here is typical of the town with a lot of the signs I have photographed having similar fonts to this, mostly used in their capital form to allow for maximum readability. I love the unusual design of this typeface, I imagine it to have been designed by hand as there are many flourishes which give this text personality and charm. I particularly like the imperfect ‘and’ sign, which seems to be disproportionate on the right hand side. Wetherspoons have mirrored this typeface with their pub name ‘Society Rooms’ which is placed above the original door which ties in nicely the new with the old.

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The historic city centre is signposted with the traditional blue metallic plaques enamelled with white lettering. They are informative, proud and, for me, a classic trademark of my hometown. I chose to photograph La rue de l’Hotel de Ville because of the sheer amount of times the road name has been changed – for mainly political reasons - and the enduring evidence of this in the traditional yellow coloured stone. The same road has been Rue du Département (named after the home of the Archbishop of Bordeaux, which is now the town hall, 1971), rue de l’Arbre Chéri (with the French revolution came new ideas and emblems, the name meaning equality, brotherhood and freedom!) and rue du Palais-Royal (in 1800, after Waterloo, the white flag was raised on the royal palace of Bordeaux and so the name was changed). Now the name of the street is rue de l’Hotel du Ville because the Palace of Rohan became the town hall of Bordeaux in 1835. The street name was updated in 1857.

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A giant gorilla towers over an abandoned barracks within the Darwin Eco System. The gorilla was originally created by a group of protesters

to bolster their fight against global warming, providing a backdrop to a demonstration about ocean pollution. The chosen typography helps to reinforce the irony inherent in an ape – seemingly in the process of breaking free itself from human capture - reminding humans that their disregard for ocean life will lead to their own extinction:  the large scale of the font on the ape’s chest, framed in ‘broken ironwork’, is highly impactful, the apparent stencilling lending credence to the suggestion the words are those of the ape itself. The sense of menace is extended to the lettering of ‘sea shepherd’ on the handmade banner, crowned by the jarring combination of crook, trident and skull.

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What was previously known as the ‘dodgy’ part of town is now a hub of huge tech companies and smaller creative design studios in ultra modern buildings adjacent to a magnificent new carafe- shaped wine museum. Amongst this novelty are remnants of buildings that used to surround the docks that historically transported wine out of the city. I chose to photograph a piece of work by David Selor – one of many street artists exhibiting in these parts - because it is a clever play on words: J’aime CENT conditions (‘I love with one hundred conditions’) is pronounced J’aime SANS conditions (‘I love with no conditions’). The play on words is reflected in the playful hand sprayed type and the ambiguity of meaning in the indescribable figure who appears to occupy a window frame on an abandoned building viewable from the the tram.

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Also found in the Darwin ecosystem, is the ‘Magazin General’, which caught my eye as the white typography painted onto corrugated iron panels reminds me of where my grandparents live in Texas. The rustic materials and textures and the hand-drawn or crudely stencilled type convey the ambience of an old western film set or the sensation of being in the middle of the Texas hill country. The use of a crude, outmoded typeface to add personality to an old military barracks might seem somewhat bizarre. However, noticing again the arrow motif crowning the typography (and the Cherokee headdresses at the side), there is a strange continuum there – albeit the arrow is associated with primitive, ‘natural’ defence systems and the barracks with more ‘advanced’, organised campaigns.

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On the right side of the river to the historic city centre there is a green economy hub called Darwin. The Urban Farm is a section of Darwin that has been created to promote self-sustainability, the importance of eating locally and the importance of community projects and re-education. I chose this typography because I like the contrast between the modern sign and the wild undergrowth surrounding it. It almost feel like the sign, which has been designed digitally in blocky modern capitals, is being swallowed up and drawn back into nature, the weathering in the upper black section and the arrow shape ‘pointing’ to the responsible surroundings, serving to highlight and underline this process.
87 Quai des Queyries, 33100 Bordeaux

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5. The Private Shop, 40 Wyle Cop, Shrewsbury

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5. The Private Shop, 40 Wyle Cop, Shrewsbury

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One of a kind in Shrewsbury, the elephant in the room; NOBODY talks about it.
The thing I like about this shopfront is its dilemma: should it stand out or should it step back? It feels like it’s trying to do both at the same time and its run-down state makes it more so: give it a refresh and it might draw too much attention to itself.
Someone at sometime has tried to give the frontage a degree of sophistication by using the ‘gold’ lettering… and there’s still a trace of the previous sign’s weathered edges.

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4. Brass Plaque, Tanners Wine Merchant, Wyle Cop, Shrewsbury

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4. Brass Plaque, Tanners Wine Merchant, Wyle Cop, Shrewsbury

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Tanners Wine Merchants was founded in 1842 and moved to these current premises during WWII. Their brass plaque by the entrance shows lettering all but worn away from years of polishing, I had to wait for someone to pass before taking the image so that more of the detail would show when the reflection distorted as there is hardly any detail left. The shapes change as you move past and the light catches a different ridge or curve.
The fact that the type is so worn shows the pride in the company, making sure they look the best they can, polishing the plaque over and over again.

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Heavy wooden side door to Shrewsbury Abbey showing the date 1640. The Abbey was founded in 1083, so in those terms it’s quite a modern addition. This part of the Abbey was demolished in 1540 and further damaged during town fortifications for the English Civil War. Repairs where carried out by the Parliamentarians in the 1640’s – there’s the new door – the style of the carved type is contemporary for the 16th & 17th centuries.

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2. Velocette Ghost Sign, Wyle Cop, Shrewsbury

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2. Velocette Ghost Sign, Wyle Cop, Shrewsbury

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This is by far the best Ghost Sign in the town. It looks like two sets of information for the same cycle shop, the second being painted over the first. The top layer has faded to reveal parts of the original. Two brand names are visible: Velocette and Lington Cyclecars.

This one of the main entrances to the town and so would have been a good location for billboards and hoardings to advertise. 100 yards from the sign is a run-down shop ‘FW Thornton & Son’, founded in 1922 and opened it’s premises here in 1939 selling engine parts, perhaps a supplier to the motorcycle builders on the ghost sign. It closed in 2012.

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This bronze plaque on the bridge tells of the history of the English Bridge. Originally completed in 1774, it was ‘taken down and completely rebvilt’ flatter and wider in 1925-7 with ‘every sovnd stone in the original strvcture revsed’. What I like about it is that the first ‘U’ letter, shaped as a ‘V’ in ‘BUILD’ is worn to a sheen and has none of the other patination because of people touching it as they point out as the ‘wrong’ letter.

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Created for the San Francisco Municipal Authority and to be adorned on cable cars, buses, underground rails and above ground lightrails in the 1970s by industrial designer, Walter Landor the founder of globally recognized Landor agency, and the designer behind the Coca-Cola script and Levis logo (another native San Francisco brand). The Muni "worm" connects native California and Mexican roots to (at the time) modern day San Francisco. The letterforms are connected in a way that is funky and uniquely San Francisco with a convergence of Opt Art and psychedelia. In 1997, there was city-wide outrage when the head of the SFMTA recruited students of the Academy of Art to create a new mark for MUNI claiming lack of funds to hire a proper firm to do the work. Needless to stay outside of a slight facelift in 2015, the Muni "worm" remains intact today and likely for some time to come.

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A hat tip to the pioneers of the Gold Rush which created a massive migration to California, especially San Francisco. It's polish comes from the fine details of the serifs which also nods to the posh Art Deco era of the 1900s-1930s. Elite Cafe was a stalwart member of the Fillmore District for nearly a half century having recently closed its doors. Mudpie furthers the contemporary softened serif that harkens to the slabs of the pioneer typographic poster of the 1800s West. This version includes a unique foiled background and detailed drop shadows.

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Quintessential San Francisco 1960s "Summer of Love" mural in the infamous Haight-Ashbury neighborhood could very well be seen as cliche. But psychedelic typography was born and raised in San Francisco. Many artists, most famously Wes Wilson, Victor Moscoso and Bonnie MacLean, were headquartered here, and received a great number of commissions for poster designs from local rock ‘n roll concert venues like The Fillmore and the Bill Graham auditoriums. And remember, these were all drawn by hand, no computer. The psychedelic typography of San Francisco is experimental, curious, and it doesn't care if you can read it. Ya dig?

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California is the Golden State. This mural, painted atop a ghost sign in San Francisco's SOMA district reflects the personality of the city through its grit, textured, and layered appearance. The juxtaposition of script and a bold serif is inviting, strong, and prophetic. For “Knowledge is Golden” the inspiration was specific to the area which the mural was done. Dan Pan, one of the mural artists, said, "San Francisco is seeing its second gold rush with information and knowledge being the currency of today, with technology leading the transformation." Pick axes and gold pans have been replaced by Google buses, startups, and big data. While seemingly a reminiscent piece it is actually a beautiful commentary on the present and future of San Francisco.

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The all caps, sans serif typographic sidewalk stamps used on every corner in San Francisco is clean, accessible, and informational – literally making its mark. San Francisco is among the few cities to systematically engrave street names on every corner. As for how this unique custom of engraving street names first started, some theorists believe the tradition began after the devastating 1906 earthquake that destroyed much of the city and made it difficult for resident to recognize where they were. However, the original ordinance that started the practice was actually placed into effect on Nov. 6, 1905. The result is not only useful, but also historically nostalgic in its origins.

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The bridge towers above many buildings in Southport and features in the town’s landscape, from many areas it is visible. Being one of the largest structures it is part of the local identity and features in iconography around the town. The font is Machined metal and a serif type style, its robust look echoes that of the bridges design, sturdy and strong. The placement of the type in an apex of a triangle adds to a powerful display, the photograph had been taken on a rainy evening and takes away from the aesthetic as it looks degraded and damp in those conditions. There's no extra decoration other than the serif style. The font spacing, kerning and size feel very precise and determined, lending from the aesthetic of the bridge.

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Unlike the previous examples this sign does not include a wave pattern although, OCEAN is featured directly within the wording of the signage. The letterforms are bold, the A in ocean has been constructed with the icon of the Marine Bridge a major feature in the landscape at Southport. The word Plaza, has oversized and quite dramatic serifs similar to the Victorian styled lamp posts, iron works and features dotted around the town. Again, I think that this particular sign speaks to the modernisation of the town and its constant strive to be up to date, current and popular.

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Pleasureland is a fairground made of amusements, small roller coasters and food stalls. This is just one of the park’s signs. I think this is a great example of tradition being modernised because it features a scripted font alongside a futuristic fixed width font. The tittle promotes the roller-coaster attractions and is yet still reminiscent of a wave, featured in many of the towns identities. The specific colours of red and blue are also used around Pleasureland for signage and clearer communication. This sign is fun and invites people into the park with its appealing demeanour.

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Roundabout Billboard – The Plough, Crossens, Southport

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Roundabout Billboard – The Plough, Crossens, Southport

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The billboard features the an advertisement for Southport’s arcades, shops and boulevards. The type features the wave pattern suggesting the coast and the sea. It has connectedness throughout the san serif letterforms of the header text, however, the body text is serif, all lowercase and much more traditional. The two fonts share a rounded aesthetic in their appearance and whilst the header has a modern flair to its bold and blocky structure, the body text on the other-hand (similar to Times New Roman) has a more classic appeal and perhaps signals toward the town’s Victorian architecture and origin. Similar to many places, Southport is updating constantly and I think that the modern header type style for the advertisement, reflects the modernisation of the town.