Bergelin+-+Type

http://www.revelinnewyork.com/blog/01/05/2010/avant-garde-magazine http://www.myfonts.com/fonts/itc/avant-garde-gothic/ http://recorder.monotype.com/pencil-to-pixel/itc/
 * Herb Lubalin**, born in 1918, was an American graphic designer who collaborated with Ralph Ginzburg to create many typefaces and fonts. One of these fonts, Avant Garde, shown above, became widely popular as there was a great demand for a new typesetting in the design community. Unfortunately, Avant Garde was overused and became a stereotypical font of the 1970s. Although misused in design in its time, Avant Garde is a unique style of typography that when utilized correctly, can create appealing designs for posters and signs. I like this design because it has tight kerning, to the point of overlapping, and the letters connect, creating different shapes and styles. In my personal experience, I have seen this typeface before, but have not used it. If I were to use Avant Garde, it would be for titles or posters, where the letters would need to be creative and unique, but also large and visible from farther away.



http://sdesadvtype2013s1.blogspot.com/2013/03/avenir.html http://www.smashingmagazine.com/2007/08/80-beautiful-fonts-typefaces-for-professional-design/ http://luc.devroye.org/fonts-71020.html
 * Adrian Frutiger**, born in 1928, was a Swiss typeface designer who largely influenced digital typography. His designs included Avenir, Univers, and Frutiger (all shown above). These designs all are clear and crisp, with normal kerning allowing for easy legibility. Univers, what he claimed to be a model for all his other typefaces, attracted attention outside of Europe and had a positive reaction in the design world, commonly being used on signs. Next he created Frutiger, branching from his other designs, but slightly different. This typeface was also widely used on signs, where the letters could be seen from far away. Then Frutiger designed Avenir, which he considered was his greatest work, stating it was the hardest typeface he ever worked on. This design, which was a more human version of other fonts, was used in the election campaign of a French President and also in Walt Disney: My Disney Experience websites. In Frutiger's typographies, I liked the simple designs he used to make his letters: normal kerning, no serifs, and thick stems. They are all easily legible and not distracting when reading. I am not certain if I have ever used any of his designs, but if I have, they would be for papers or titles, as they are simple and bold.



http://www.100besttypefaces.com/ http://issuu.com/lulubi/docs/gd_style_guide_2014/c/suua0o6 https://www.flickr.com/photos/20745656@N00/406429352/in/photostream/lightbox/
 * Neville Brody**, born in 1957, is an English graphic designer and typographer and is responsible for creating various typefaces. In the 1990s, eccentric fonts were in demand, rather than readable ones. With this, he created the typeface Blur, which was a combination of Helvetica and Akzidenz Grotesk that was applied to a blur filter multiple times. This font paved the way for young designers to design more creative typefaces. Brody was also responsible for founding Fontshop, a website for selling typefaces, and also helped in the FUSE project, poster shown above, which was a combination of a magazine, graphic design and typeface design. This influenced typographers all over to experiment more with their work and think outside the box. I like Neville Brody because he did not follow other people's works and he created unique works that were different than other designs. I have not used any of his designs, but now that I am exposed to his work, I would like to. I would use his typefaces for posters and creative works because his fonts are more artistic and decorative than traditional fonts.