Analyzing image driven type

For my next brief I am focussing on creating a series of pieces of illustrated/experimental/3d type, each for a specific purpose, and then presenting them in an appropriate context. These are some examples of type that I think both work and don't work and a brief analysis of each.

Working Format Custom wordmark for Writeability, a professional writing services company based in Toronto.

This is an example of decorative type that functions as an extension of the literal translation of the word.
The typeface is fluid in its appearance - the letters and ligatures flow freely from one to the other giving the impression of joined up hand writing - and implies ease.




Non-Format
Nike SPARQ Training.

Upper case, bulky type - denotes power, strength and austerity.
The explosion effect achieved by the use of sharp angular shapes reinforces the them of power and creates an impacting image - like a freeze frame on some glass being broken. The statement is supposed to be short and succinct and impact on the reader, and the way that the type is illustrated helps to enforce this. It is not just the language that is evoking a reaction and an interpretation from the viewer.
Non-format are relying on the readability of the word rather than simply the legibility- the correct reading of each individual letter. The reader will understand and interpret the word correctly despite some of the letters being less legible and obscured by the other shapes.





E.g. 


I cnduo't bvleiee taht I culod aulaclty uesdtannrd waht I was rdnaieg. Unisg the icndeblire pweor of the hmuan mnid, aocdcrnig to rseecrah at Cmabrigde Uinervtisy, it dseno't mttaer in waht oderr the lterets in a wrod are, the olny irpoamtnt tihng is taht the frsit and lsat ltteer be in the rhgit pclae. The rset can be a taotl mses and you can sitll raed it whoutit a pboerlm. Tihs is bucseae the huamn mnid deos not raed ervey ltteer by istlef, but the wrod as a wlohe. Aaznmig, huh? Yaeh and I awlyas tghhuot slelinpg was ipmorantt! See if yuor fdreins can raed tihs too.


NY Times style magazine
Type design reflects the style of the clothing being presented as well as the image - tribal.
Type is being used as an illustration.



Print Magazine
 Type suits the content of the article.

Orange
Flowers floating and colour choices denote happiness, freedom, hippies.


Hanne Hukkleberg
Here the type is almost completely unreadable/illegible without first being able to read the supporting title 'Rykestraase'. In this situation type is being used as a piece of ambiguous artwork rather than a functioning piece of design.

Venice Biennale - Pompei
In this example the type acts as a freestanding illustration/poster design.
Again, the word that is being depicted is additionally communicated through the body text of the poster.
Does this mean that it does not serve its purpose as a communicative piece of type?
Is this therefore an illustration.....
Where is the defining line between illustrated typography and typographic illustration?

Back to black
This piece of type relies on the choice of stock to contradict the content of the words.
This is a perfect example of where in order for the intended message to be delivered effectively then words are not enough - design is important - in this case stock. However, this is not to say that a more minimalist Swiss style font could not have been used.

Si Scott
Tiffany and Co. Christmas Card
This type is extremely flamboyant, luxurious and feminine. Not only the style of the typography, but the choice of stock, the print processes - (de-bossing and foiling) all give the impression of decadence and expense. I think that it is fair to say that without the aid of these elements - particularly the type, the same impression would not be made on the viewer/recipient.



David Carson
The Rules Of Graphic Design
In this piece of typographic design David Carson appears to deliberately break the suggested 'rules' of graphic design - directly contradicting the message that is read.
This is also another example of letters not being in the right position on the page (conventionally) - but the reader is still able to read the words correctly and in the right order.


Craig Ward
In this piece of typography work by Craig Ward the message is communicated by both the worded message and the media - the media becomes part of the message.

Similarly, for this poster Craig Ward created this blood effect to connote death and the human heart.

This typographic poster by Craig Ward allows to messages to be communicated simultaneously, which more conventional type and layout rules would not necessarily allow. Although the second layer is less easy to read, the red type is very readable, so your eye is guided through the poster, from one piece of text to the next beneath.



Steve Bonner
Sometimes I think that a custom typeface - such as this piece of type can help the viewers understanding of the words/language/tone of voice in addition or instead of colour/stock/image/format. For example, in this instance, this type reflects stereotypical typography associated with rock and roll, so before the viewer as even read the words, they have formed some element of understanding as to the context. Understandably this has both upsides and downsides; a badly chosen typeface could inadvertently miscommunicate the message to hand. However, a well chosen/designed piece of type could enhance the viewers understanding and interpretation of the text.

Happycentro 
This editorial header type reflects the theme of the article. I think that in this instance it acts as an illustration rather than a functioning piece of type.....

However in the example below I think that the design of the type helps to communicate the word 'poverty' due to the materials used to create it.



This piece of type design by Happycentro relies not only on the media - pastry, but the image itself and the surrounding elements. The pastry alone connotes pastry, but with the addition of the other elements it suggests baking, the spilled ingredients suggest a less professional environment; such as the home ('home baking'). The content of the words 'say hello to santa' put the image in a context - baking (perhaps traditionally mince pies) for santa claus. The words would not communicate the same message if they weren't supported by the image and vice versa. This is an example of the words and image being equally as important as each other in order to communicate a specific message.