The presentation 'type in context' illustrated to me how important context is to a typeface and how a new typeface can be created from an existing one.
The context of which the typeface is placed on can have a dramatic effect on the visual style of the typeface and the message it aims to portray. By giving the typeface a form of context it allows you to see the font in a different light. This can either sway a decision on whether or not the typeface is suitable for its intended purposes.
Take for example the typeface 'Times'
without context it doesn't seem exciting.
However when added with a form of context:
Suddenly it looks like a contemporary and elegant font that reflects the nature of the magazine.
So context is definitely an important aspect to consider when designing a new typeface or implicating typography into a brand.
Another aspect of the presentation which opened my eyes was the ability of changing a preexisting typeface to suit the needs of the brief.
It told me that typefaces as a whole should not be seen as absolutes. We can draw inspirations from certain aspects of a typeface we think it suitable for the brief, and help tweak it in a way that conveys the message better and more clearly. This can be seen through the interaction between film director Wes Anderson and type designer Jessica Hische. The original typeface of Edwardian Script was seen to be too formal for Anderson's film "Moonrise Kingdom". Hische then took inspirations from that and created a type that reflected more of '60s America.
Another instance would be Massimo Vignelli's kerning of Helvetica to produce the typographic logo of "American Airlines".
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