Resources

Week 1: Bodoni References

Cock-Starkey, C. (2016, April 28). The Stories Behind 10 Famous Typefaces and Where They’re Used. Retrieved from http://mentalfloss.com/article/78962/stories-behind-10-famous-typefaces-and-where-theyre-used

Eliason, C. (2015). “Transitional” Typefaces: The History of a Typefounding Classification. Design Issues, 31(4), 30-36. doi:10.1162/desi_a_00349

Rodríguez, C. C., Lorenzo, F. C., & Rojano, F. J. (2017). La adaptación de la revista VOGUE al nuevo contexto digital del periodismo de moda. Doxa Comunicación. Revista Interdisciplinar De Estudios De Comunicación Y Ciencias Sociales, (24), 43-62. doi:10.31921/doxacom.n24a3

Suffield, L. (2017, November 24). Bodoni, Giambattista. Retrieved from https://doi.org/10.1093/gao/9781884446054.article.T009528

Week 1: Times New Roman References

Coles, S. (2015, May 31). Coke ad: “America”. Retrieved from https://fontsinuse.com/uses/9494/coke-ad-america

Chaparro, B. S., Shaikh, A. D., & Chaparro, A. (2006). The legibility of cleartype fonts. PsycEXTRA Dataset. doi:10.1037/e577712012-024

Grohmann, B., Giese, J. L., & Parkman, I. D. (2012). Using type font characteristics to communicate brand personality of new brands. Journal of Brand Management,20(5), 389-403. doi:10.1057/bm.2012.23

Mann, M. (2015, October 27). Where Did Times New Roman Come From? Retrieved from https://www.nypl.org/blog/2014/12/09/times-new-roman

Week 1: Didot References

Didot. (n.d.). Retrieved from https://www.typography.com/fonts/didot/design-notes

Grohmann, B. (2014). Communicating brand gender through type fonts. Journal of Marketing Communications,22(4), 403-418. doi:10.1080/13527266.2014.918050

Linotype Didot. (n.d.). Retrieved from https://www.typography.com/fonts/didot/design-notes

Martin, G. (2014, February 12). CBS Identity, 1960s. Retrieved from https://fontsinuse.com/uses/6002/cbs-identity-1960s

Week 1: Garamond References

Amar, J., Droulers, O., & Legohérel, P. (2017). Typography in destination advertising: An exploratory study and research perspectives. Tourism Management,63, 77-86. doi:10.1016/j.tourman.2017.06.002

Kibbee, W. (n.d.). Modern Trends In Typography. American Journal of Economics & Sociology,7(2), 215-221. doi:10.1111/j.1536-7150.1948.tb00677.x

Logos. (n.d.). Retrieved from https://brand.duke.edu/logos/

Son, Y. (2018, October). Evolution of Garamond: An Interactive Timeline Demonstrating the Evolution of Garamond. Retrieved May 16, 2019, from https://scholarworks.rit.edu/theses/9922/

The Stories Behind 10 Famous Typefaces and Where They’re Used. (2016, April 28). Retrieved from http://mentalfloss.com/article/78962/stories-behind-10-famous-typefaces-and-where-theyre-used

Week 2: Futura References

Garfield, S. (2012). Just my type: A book about fonts. New York, NY: Gotham Books.

Henderson, P. W., Giese, J. L., & Cote, J. A. (2004). Impression Management using Typeface Design. Journal of Marketing,68(4), 60-72. doi:10.1509/jmkg.68.4.60.42736
https://www.jstor.org/stable/pdf/30162016.pdf?ab_segments=0%252Fdefault-2%252Fcontrol&refreqid=excelsior%3A01ba9cfa90b7dee99096489cf359bc81

Jubert, R. (2006). The Bauhaus Context: Typography and Graphic Design in France. Design Issues,22(4), 66-80. doi:10.1162/desi.2006.22.4.66
https://www.jstor.org/stable/pdf/25224077.pdf?ab_segments=0%2Fdefault-2%2Fcontrol&refreqid=search%3A94ad26034b72bc31c0305a26fb6d4be7

Penney, M. (2019, January 28). Type in History: Futura – Notes on Design. Retrieved from https://www.sessions.edu/notes-on-design/type-in-history-futura/

Sherman, N. (2012, August 18). Volkswagen of America ads, 1960–66. Retrieved from https://fontsinuse.com/uses/1976/volkswagen-of-america-ads-1960-66

Week 2: Gotham Resources

Frere-Jones, T. (n.d.). Tobias Frere-Jones. Gotham. 2000 | MoMA. Retrieved from https://www.moma.org/collection/works/139301

Behance. (n.d.). Gotham Refraction Experiment. Retrieved from https://www.behance.net/gallery/19826231/Gotham-Refraction-Experiment

Could A Font Have Won An Election. (2016, November 21). Retrieved from https://network9.biz/brand-design/designing-obama-the-brand-of-a-president/

Billard, T. J. (2018). Fonts of Potential: Areas for Typographic Research in Political Communication. doi:10.31235/osf.io/g7j4u

Hawley, R. (2019, April 26). How this one font took over the world. Retrieved from https://theoutline.com/post/7356/gotham-font-is-everywhere?zd=1&zi=f7nkjlzk

Heller, S. (2008, April 03). To the Letter Born. Retrieved from https://campaignstops.blogs.nytimes.com/2008/04/02/to-the-letter-born/

Schwab, K., & Schwab, K. (2019, January 31). Why Do Google, Airbnb, And Pinterest All Have Such Similar Logos? Retrieved from https://www.fastcompany.com/90161597/why-do-facebook-google-and-pinterest-all-have-such-similar-logos

Plate, B. S. (2012). Looking at Words: The Iconicity of the Page. Postscripts: The Journal of Sacred Texts and Contemporary Worlds,6(1-3), 67-82. doi:10.1558/post.v6i1-3.67

Week 2: Helvetica References

Bigman, A. (2018, March 14). 20 famous logos made with Helvetica. Retrieved from https://99designs.com/blog/creative-inspiration/famous-logos-made-with-helvetica/

John E. Gump (2001) The Readability of Typefaces and the Subsequent Mood or Emotion Created in the Reader, Journal of Education for Business, 76:5, 270-273, DOI: 10.1080/08832320109599647

Mackiewicz, J. (2004). What Technical Writing Students Should Know about Typeface Personality. Journal of Technical Writing and Communication, 34(1), 113-131. doi:10.2190/nmdq-xbvh-q79j-m749

Matthews, W. (n.d.). Helvetica. Retrieved from http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/736-helvetica

Nedeljković, U., Novaković, D., Puškarević, I., & Tomić, I. (2014). Helvetica as a type convention for the youthful and trendy image: A consumer response to designer safe option. Marketing, 45(1), 50-62. doi:10.5937/markt1401050n
Prisco, J. (2017, August 15). The game-changing design made to go unnoticed. Retrieved from https://www.cnn.com/style/article/helvetica-60-years/index.html

Week 2: Akzidenz-Grotesk Resources

American Red Cross. (2014). Brand Identity at a Glance. Retrieved from https://www.redcross.org/content/dam/redcross/atg/PDFs/BrandPoster.pdf

Ayer, T., Zhang, C., Zeng, C., White, C. C., Joseph, V. R., Deck, M., . . . Ozkaynak, Z. (2018). American Red Cross Uses Analytics-Based Methods to Improve Blood-Collection Operations. Interfaces, 48(1), 24-34. doi:10.1287/inte.2017.0925

Cross, A. R. (2018, June 09). Help the Red Cross fill the Missing Types. Retrieved from https://www.youtube.com/watch?v=rjwOLZPWOTo

Douglas, A. (n.d.). Akzidenz Grotesk. Retrieved from http://www.historygraphicdesign.com/industrial-revolution/genesis-of-twentieth-century-design/823-akzidenz-grotesk

Majoor, M., & Buivenga, J. (2013). The Questa Project. Ninth Letter, 10(2), 191–194. Retrieved from https://search.ebscohost.com/login.aspx?direct=true&AuthType=cookie,ip,cpid,athens,shib&custid=s8863137&db=hlh&AN=93394154&site=eds-live&scope=site

Week Three: Billabong Resources

Foley, M. (2019, May 07). A Brief History Of The Instagram Font. Retrieved from https://www.bustle.com/articles/161386-what-is-the-instagram-font-a-brief-history-of-the-photo-sharing-apps-typographical-design

Instagram Continues Double-Digit Growth. (2016, February 22). Retrieved from https://www.emarketer.com/Article/Instagram-Continues-Double-Digit-Growth/1013612

Nguyen, P. (2017). “Nostalgia for the present”: Digital nostalgia and mediated authenticity on Instagram. Department of Media Studies,1-67. Retrieved May 30, 2019, from http://www.diva-portal.org/smash/record.jsf?pid=diva2:1107774&dswid=-875

Russell Bean « MyFonts. (n.d.). Retrieved from https://www.myfonts.com/person/Russell_Bean/

Shaw, P., & Goldstein, A. (2012). The line of beauty. Eye (0960779X), 21(83), 54. Retrieved from https://search.ebscohost.com/login.aspx?direct=true&AuthType=cookie,ip,cpid,athens,shib&custid=s8863137&db=edo&AN=78120963&site=eds-live&scope=site

Week 3: Balloon Resources

ATF. (n.d.). Retrieved from https://www.myfonts.com/foundry/Kingsley_ATF/

Balloon in use. (n.d.). Retrieved from https://fontsinuse.com/typefaces/1609/balloon

Banet-Weiser, S. (2007). The Nickelodeon Brand. Kids Rule!,69-103. doi:10.1215/9780822390299-003

Henderson, P. W., Giese, J. L., & Cote, J. A. (2004). Impression Management using Typeface Design. Journal of Marketing,68(4), 60-72. doi:10.1509/jmkg.68.4.60.42736

Week 3: Brush Script

Bear, J. H. (2019, May 22). What Is a Script Font in Graphic Design? Retrieved fromhttps://www.lifewire.com/script-font-information-1073829″Brush Script” on

Revolvy.com. Retrieved from https://www.revolvy.com/page/Brush-Script

Communicating brand gender through type fonts. (n.d.). Retrieved fromhttps://www.tandfonline.com/doi/abs/10.1080/13527266.2014.918050

Typography in destination advertising: An exploratory study and research perspectives. (2017,June 12). Retrieved from https://www.sciencedirect.com/science/article/pii/S0261517717301243

Week 3: Bickham Resources

Adobe. (n.d.). Bickham Script® Font Family Typeface Story. Retrieved from https://www.fonts.com/font/adobe/bickham-script/story

Bauerhaus Design. (2015, June 11). What Your Font Says About Your Company. Retrieved from https://www.bauerhaus.com/what-your-font-says-about-your-company/

Flask, D. (n.d.). Type Classification. Retrieved from http://www.designishistory.com/1450/type-classification/

Make-A-Wish. (n.d.). Macy’s Believe Letter-Writing Campaign. Retrieved from https://sf.wish.org/ways-to-help/products-and-promotions/macys-believe

Nakilcioğlu, İ H. (2013). THE EFFECTS OF FONT TYPE CHOOSING ON VISUAL PERCEPTION AND VISUAL COMMUNICATION. Online Journal of Art and Design, 1(3), 35-52.

Tomiša, M., Vusić, D., & Milković, M. (2013). THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES. Influence of Historical Development of Typography on Contemporary Classification of Letters.

Week 4: Product Sans Resources

Bruno Maag Interview. (2014, June 09). Retrieved from https://www.designboom.com/design/bruno-maag-interview-11-28-2013/

Google. (n.d.). Evolving the Google Identity – Library. Retrieved from https://design.google/library/evolving-google-identity/

Powers, S. M., & Jablonski, M. (2015). The real cyber war: The political economy of internet freedom. Urbana: University of Illinois Press. https://itsatypething.home.blog/wp-content/uploads/2019/06/j.ctt130jtjf.8.pdf

Schwabish, J. A. (2017). Better presentations: A guide for scholars, researchers, and wonks. New York: Columbia University Press. https://itsatypething.home.blog/wp-content/uploads/2019/06/schw17520.7.pdf

Staff, C. B. (2014, April 01). Erik Spiekermann on why type is brand. Retrieved from https://www.creativebloq.com/branding/erik-spiekermann-why-type-brand-41411187

Week 4: Netflix Sans Resources

Arditi, A., & Cho, J. (2005, November). Serifs and font legibility. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4612630/

Brewer, J. (2018, March 21). Netflix unveils Netflix Sans, a new custom typeface developed with Dalton Maag. Retrieved from https://www.itsnicethat.com/news/netflix-sans-typeface-dalton-maag-graphic-design-210318?utm_source=twitter&utm_medium=social&utm_campaign=intsocial

Jeremiah, S. (2014, August 12). The World’s Most Expensive Typeface · Typewolf. Retrieved from https://www.typewolf.com/blog/the-worlds-most-expensive-typeface

Hume, A. (2009). The Anatomy of Fonts. The Anatomy of Fonts. doi:10.1007/978-1-4302-2420-4_12

Week 4: Apple’s San Francisco Resources

Ali, A. Z., Wahid, R., Samsudin, K., & Idris, M. Z. (2013). Reading on the Computer Screen: Does Font Type has Effects on Web Text Readability? International Education Studies, 6(3). doi:10.5539/ies.v6n3p26

Business Insider. (2017, February 25). The best Apple ad from each year since its 1984 Super Bowl hit. Retrieved from https://www.businessinsider.com/apple-history-through-advertising-40-years-anniversary-2017-2#2014-the-song-31

Johnson, K., Li, Y., Phan, H., Singer, J., & Trinh, H. (2012). The Innovative Success that is Apple, Inc. The Innovative Success That Is Apple, Inc.

Stinson, L. (2017, June 03). Why Apple Abandoned the World’s Most Beloved Typeface. Retrieved from https://www.wired.com/2015/06/apple-abandoned-worlds-beloved-typeface/

Week 4: Cereal Resources

Dailymail.com, J. S. (2018, July 04). From broke to billionaires: The rise of Airbnb founders. Retrieved from https://www.dailymail.co.uk/news/article-5918039/From-broke-billionaires-rise-Airbnb-founders.html

Dawood, S. (2018, May 15). Airbnb launches new typeface to be more “accessible”. Retrieved from https://www.designweek.co.uk/issues/14-20-may-2018/airbnb-launches-new-typeface-accessible/

Mussi, G. A. (2017). When consuming becomes collaborative: AIRBNB case study (Doctoral dissertation).

Say Hello to Airbnb Cereal. (2018). Retrieved from https://airbnb.design/cereal/function