When on my lettering safari, I thought about not only font style, but how the typography is affective and impactful within it's environment. I like this piece from a gallery I visited, because the font is simple, the layout is ordinary - the words flow like a sentence from line to line across the wall - but the sheer size and scale of the words and letters makes people stop, stare and actually read the content. There is a man [bottom right] that heightens the scale of this work by artist Barbara Kruger. 

London is home to many street and graffiti artists. Although not from London, Banksy - whose work is photographed here - has created work all over the city. His "Laugh now" monkey first appeared in 2002, and since, has become an iconic stencil that he has recreated in various different place. I particularly like the way in which the blocked and bold lettering is softened by the spray paint. I also like how the position of this piece is down a lane, barely ever used and so subtly placed. For me, it brings a whole other level of appreciation to the lowkey nature of the graffiti. 

What stood out for me about this lettering above a restaurant is not only the use of 4 different styles of lettering on the signage, but also the different use of colour and also script/language. Notably, the hanging fabric with "sushi" has the "s"s hung upside-down. Whether intentional or not, I feel that it adds charm to the humble style. I also like the way in which the orange "Aburi" is so curved and smooth it feels very 80s retro. 

"Frank the tank" appears here in a style of lettering that resembles stencilled or stamped, lending to the military aesthetic of the top. The green t-shirt contrasts the white writing, with the colouring further enhancing the army vibes. 

Raised and embossed lettering not only stands out physically, but adds textures that blend with those already there, especially as this drain cover in on the ground. I like the simplicity of this lettering: basic capitals, yet doesn't draw your attention to the ground. The lettering is highly functional.

"Life is beautiful" is presented in a much more elegant,  stylised and typically graceful way here. The continuous writing is practical because of the use of lights, but also reinforces the positive, uplifting message displayed. I like the way the lights are set against a busy background, making the single colour of the bright light stand out even more. Also the use of red neon is affective, and connotes with love, lending to the use of love hearts as the tittle of the "I", which is a much more decorative and elaborate use of lettering. 

The stark contrast between the dark background and the bold, futuristic and illuminated lettering is what draws my attention here. Not only is the sign effective for attracting customers into the shop, but it sets the ambience and style of the game store with the modern, digital-esque font, as well as by using lights are letters. 

This clever manipulation of plants to form lettering draws my attention for many reasons. I think it is really impressive how the plants and flowers are arranged as the words "forget-me-not", but this is elevated by the use of actual forget-me-not flowers in the display and arrangement. Artistically, this allows people to appreciate the gardens in a way they might not have before, and also by using type, the potential of using different media as lettering/fort/type, such as grass and greenery, is commendable. 

Lastly, the rough, minimal use of lettering here is big, bold and brash, practically shouting about the closing down sale. I like the way that the white lettering is transparent in some parts because of the glass it is painted on. The dark shadows of the unsuccessful shop behind creates a higher contrast, ironically emphasising that the shop is closing down. The words are rough and shabby, but I like that in this context; it seems quite relevant, although unintentional. 

Looking at Gildersleeve's work, especially in relation to Dyakova's, which I previously explored, I find it most interesting how both designers have utilised paper as their material to base and create their typeface work from. Naturally, lettering/font/words/type associates with paper and the way in which it is printed on, yet both Gildersleeve and Dyakova have somewhat digitised, or digitally manipulated their work, blurring the lines between analogue and digital, 2D and 3D...

This image of the letter N struck me with the great use of strong colour and outline. I think the 3D effect gives impact, making a very classic, simple letter shape more modern and detailed - this is something that inspires me for my own typeface, as I want to give that three dimensional look, enhancing the negative space. I like the way Gildersleeve creates the impression of deep space and shadows in his work in this entire project, "Outside Lands".

"To reflect the festival's [Outside Lands] diverse selection of music and activities on offer we created a series of playful type solutions using a bright but select colour palette. These letters were all handcrafted out of paper, using a range of layers to add an interesting visual depth". Source: http://owengildersleeve.com/showcase/outside-lands

This description of Gildersleeve's work taken from his website is notably interesting for many reasons. Immediately, I thought about the "bright but select colour palette", and looking at the individual illustrations and typefaces together, all the solo pieces look great together because of this "select" choice of colour. This taught me that although the focus is on the design of the type for my project, the colours I use to present the lettering plays a big role in the impressions, ideas and connotations I want to associate with my new font. Furthermore, Gildersleeve's work was commissioned by "Outside Lands" festival, and that brought to my attention the purpose and precision behind his lettering - he was working for a client, a big part of Graphic Design, thus had to think about what styles and designs would be appropriate for the type of organisation. Although I don't have to make my typeface with such restrictions, it is something I will have to consider in the future, so it is interesting to see how Gildersleeve has designed so effective and successfully.