# data[].attributes.body
The typology of street signs are a very stripped down sans serif typeface in a bold capital font. Letters are clearly spaced out front each other and aligned. The effect of this is to present the information as clearly as possible so that it can be read quickly and from afar, the audience being passing cars passing by. It's fitting for analysis because of how prominent this typology is in our lives.

# data[].attributes.body
A calligraphic typeface that mimics the variation in thickness seen in ink brush strokes. The calligraphic strokes draw superficial similarities to the calligraphic script Arabic languages are written in. The second typeface is a simple sans serif all capital type, differentiating it from the main title and giving the logo variation.

# data[].attributes.body
This typeface has a lot of variation. The type is geometric, with even curves, sharp points, and firm 90 degree angles. The color is streaked with a gradient through the center. The typeface is designed to seem futuristic and suggest an intensity, reflecting a (presumably) sci-fi/action narrative.

# data[].attributes.body
A geometric typeface in lowercase. It slants into various thicknesses and lacks curves, opting instead for softer 90 degree angles. This mimics the low pixilation fonts used in early or simple computers. It pulls together the aesthetic of the name and barcode design, a rudimentary technology with a retro slant.

# data[].attributes.body
A thin font with a minimal, clear typeface. The typeface has a timeless neutrality, reflecting the established, old-build of the church. The letters are tall and evenly spread out from each other, making it readable and imposing to passersby. The sharp but subtle serifs evoke the early Roman types.

# data[].attributes.body
This font is designed to evoke the aesthetics of Europe of the middle ages and fantasy. The first letter is an illustrated T, in the tradition of illustrated manuscripts. The typeface is like that of gothic/old English type, bold font. The typeface choice and illustrated first letter hints at the setting of the comic (presumably).

# data[].attributes.body
The typographic design here is very straightforward and modern. The focus is on the consistent x height of the text, with the ascenders of the h being the only deviation. The text feel unobtrusive and unconfrontational, likely reflecting a desire to come off as modern and approachable.

# data[].attributes.body
Much like the last one this logo is deigned around a lowercase, uniform x height text. The font is bolder and rounder than wavechurch, and the deviation from the x height is seen in the descender and ampersand. Here, it feels more trendy and quirky. A minimalist attempt to standout from other older pizzerias.

# data[].attributes.body
This Asian/Latin restaurant logo is designed to replicate superficial aspects of Chinese characters. The thickness of the letters is even with diagonal ends and breaks that seem to mimic a bulky ink brush. The letters are boxy with rounded corners and ends, adding variation. Added flairs like the stems, crossbars, and added marks like the one seen on the L mimic parts of Chinese letters.

# data[].attributes.body
This logo has a distinctly Old-English-esq typeface. The thickness varies greatly throughout the letters, with dramatic tails, spurs, apexes, and arms. The typeface is highly decorative, with many ornamental flairs. The font is reflective of the antiquity of the store.

# data[].attributes.body
Barilla has a modern, sans serif typeface with a semi-bold italic font. The text of the logo is clear and simple, with no added ornamentation. There is slight variation in thickness, with arms and crossbars being slightly thinner than the stems.

# data[].attributes.body
The text of this logo is a standard Roman typeface with tight letter spacing. The letters are all even in height and thickness, with the exception of the first P, the bowl of which takes up the entirety of the cap height and baseline, and whose descender height is equivalent to the height of the other letters. This guys the typography just enough variation to pop, while still remaining standard and professional.

# data[].attributes.body
Here we see two types that create a hierarchy with differing size, typeface, and color. "The" is much smaller and is a flat black, as opposed to the prioritized part of the store name which is larger and a filled out blue with a more intricate font. The typeface has an interesting art deco feel. It is formatted with dramatic kerning and a raised x height. The line of the letter ends in a diagonal slant and are

mostly straight, with subtle curves for variation as seen in the diagonal slant of the N and arm lengths of the Es.

# data[].attributes.body
This text has a simple sans serif arial-esc in all lowercase to come off unthreatening and clear. The title is distinguished from the slogan by being significantly larger and having a bold font. The typeface has an even x and ascender height and thickness that varies only slightly between stems, curves and crossbars. For example in the b, the stem and tail outer part of the bowl are similar in thickness but thins out slightly around the joints.

# data[].attributes.attachment_caption
This is the first one, not sure how it got pushed to the back?

# data[].attributes.headline
Title font of Denis Villeneuve's Dune, from my poster

# data[].attributes.subject
Title font of Denis Villeneuve's Dune, from my poster

# data[].attributes.body
I absolutely love this title font. I'm typically not a fan of minimalism, but I think the stripped back and simple ingenuity of every letter being the same thing but rotated (+ the eclipse marking the e) suits the aesthetic of this adaptation. The simplicity reflects the design of this sci-fi world, with its high-tech extravagance toned down and draped in antiquated architecture and analogue technology.

# data[].attributes.body
The typeface seen in "Thrift World" is associated with 60s hippie/youth culture as we understand it retrospectively. The shapes are fluid and distorted organic shapes that fit together into a non parallel oval shape. The letters are thick and bold with closed counters/eyes as small circles in the top half of the letter. This font is brings to mind a distinct aesthetic and feeling that appeals to an artsy, thrifty audience while still being effectively readable as a decorative font.

# data[].attributes.body
This typeface has a simple base with even line width and firm right angles, but uses interconnection between the letters to make it complex. Descenders hook into letters on the line below. The s and t have a ligature and letters at the end of their words extend out, adding some cohesiveness with the rest of the flyer. This adds a unique sense of movement to the text.

# data[].attributes.body
This sign features two font sizes and hierarchical separation between the primary term. The and Shop are differentiated from the more important "Honey" via a more commonplace typeface and a smaller font size. Honey has unique curves throughout the letter. The cap height is only slightly larger than the x-height, and the descender is drawn up into the x-height. The spurs and tail terminals of the letters form a droplet shape, like honey!

# data[].attributes.body
The title of this comic has a bold impactful type with a flashy sci-fi design within the text to grab the readers attention. The letters are all caps and written with ligature. The letters are boxy, with apexes and curves that flatten out.

# data[].attributes.body
This comic title is designed along a diagonal slant in all caps, but with first letters being slightly larger to differentiate. The typeface has decorative flares and is in a bold font. The line width varies in unique curves, points, and straight edges that give it a fantastical charge. The arms/crossbars extend out past the stems as if the stroke would connect to something outside of it, like with G and R.

# data[].attributes.body
The typeface of The Jefferson logo is a thin calligraphic type. The typeface has flourishes on its descenders and ascenders and closed loops, but not all letters flow into each other. The delicate thin, script gives it the feeling of being prestigious and expensive, but make it less legible against the blinds.

# data[].attributes.body
This sign has a calligraphic script typeface with varying line widths mostly interconnected through joining strokes. Flourishes are limited to descenders and letters at the beginning and end of the word.

# data[].attributes.body
This board game title has a typeface with flourishes that give it an old gothic style and hierarchy. "Betrayal", "House", and "Hill" are given visual priority by being larger and more detailed than "at, "on", and "the". The flourishes on the stems of the first letters of betrayal and house and the diamond shape on the terminals are taken from old gothic typefaces.

# data[].attributes.body
The typeface chosen for the header of the commarts showcase flyer is a clear, serif type. The letters are broad, which combined with the wide tracking expands the word. The most decorative part of the typeface is the x formed in the apex of the W. This font feels professional and respectable.

# data[].attributes.body
This sign is written in a scratchy script typeface. The ink brush line work evokes the writing of Japanese script and the letters appear to be hand written. This combined with its overall simplicity gives it an approachable authentic feel.

# data[].attributes.body
The text of this flyer is written on a diagonal with varying hierarchy in a boxy, bold typeface. The lines of the letters do not curve, but break off into straight edges. But this is softened by the corners being softened out into small curves. The typeface is designed to be bold and read as if its being yelled, which makes it very effective for flyer design.

# data[].attributes.body
This type has an old saloon vibe with decorative flourishes. The mid line of the letters has small spurs poking out, and the serifs flare out in a slight curve. The most decorative part is the flourished swash of the first letter.

# data[].attributes.body
The typeface in this flyer has a whimsical, slight old English feel to it that makes it interesting and unique. The kerning leads the letters to fit into each other's curves nicely. The varyingly thick line work and the slight flourishes on the capital letters, as well as the up ward tilt of the serifs and cross bars feel like they're taken from an old English typeface.