Fonts
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The document discusses different fonts for use in intertitles in a film trailer. It considers the Gaskin font, noting that it resembles sophisticated handwriting but may not accurately portray a teenager's handwriting. Another font is described as feminine but possibly too young or crowded for the 14-20 year old target audience. A bold font would suit a film title but the creator does not like its capital E. The favorite font imitates teenage handwriting simply without complications for editing or an immature appearance.
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Typography
The document discusses several fonts under consideration for the title of a film project centered around children and psychological horror. It analyzes how each font choice could potentially match or not match the film's themes. The fonts range from one resembling scratched metal to denote indelible marks, to ones resembling childlike or adult handwriting, to one that looks like writing on a whiteboard. Ultimately, a font is chosen that matches both the film's theme of ambiguity and its psychological horror subgenre through an uneven, messy effect.
Titles
This document discusses font and graphic design choices for marketing teen drama films. It notes that teen drama film titles typically use bright colors and all capital letters to draw attention. The document then describes the design process for a film trailer, where an initial "Suffragette"-inspired font was deemed too serious and not representative of the teen drama genre. Further research on dafont.com led to selecting the "TEEN" font, which was bold yet still youthful and appropriate for their teen drama film.
Font research
The document discusses font research for a horror film opening. It examines several fonts including "Some Lines", "Zombified", "Face Your Fears", and "Scratch Kit" but ultimately selects "Trajan Pro" for the title and credits. "Trajan Pro" was chosen because it had a horror feel, was bold and clear to read, and could transition from red to white to represent the film's mysterious main character.
Research into the title and opening credit for final production
Daisy Newman is researching fonts and text styles for the title and opening credits of her final film production called "Where's Joey?". She evaluates several font options on criteria like readability, era appropriateness, and ability to fit the gangster genre. She narrows her choices down to Ariel, Algerian, and BatangChe for the main title, and Ariel and Bernard MT Condensed for the opening credits. She also considers variations in capitalization and punctuation for the main title to convey different meanings and tones.
Typography
This document discusses typography options for a movie opening sequence targeted toward female audiences. It notes that cursive fonts engage the target audience and shows an example of a cursive pink title that conveys the "chick flick" genre. It also describes wanting to title the movie "LOUBS& LIES" in capital red letters at the end to link the mystery genre to chick flicks. A typewriting transition is proposed to create a feeling of social media popularity.
Typography (1)
This document discusses font choices for a movie opening sequence targeted at female audiences. It notes that cursive fonts engage the target audience and shows an example of a pink cursive title fitting for a chick flick. It also describes wanting to title the movie "LOUBS & LIES" in red capital letters at the end to convey both the chick flick and mystery genres, and include a typewriting transition to link to social media and popularity.
Typography
This document discusses font choices for a movie opening sequence targeted at female audiences. It notes that cursive fonts engage this target demographic and shows an example of a pink cursive title fitting for a "chick flick". It also describes wanting to title the movie "LOUBS & LIES" in red capital letters at the end to convey both the chick flick and mystery genres. A typewriting transition is proposed to create a feeling of social media relevance.
Fonts for film title
The document discusses fonts that are popular in graphic design and films. It mentions that Avenir was used for Inception, Monotype for Wolfman, and Trajan for Black Swan. It also discusses finding additional fonts on Dafont.com to use for a film trailer, poster, and website. Feedback on a custom font combination suggests simplifying it or using Avenir instead.
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Typography
The document discusses several fonts under consideration for the title of a film project centered around children and psychological horror. It analyzes how each font choice could potentially match or not match the film's themes. The fonts range from one resembling scratched metal to denote indelible marks, to ones resembling childlike or adult handwriting, to one that looks like writing on a whiteboard. Ultimately, a font is chosen that matches both the film's theme of ambiguity and its psychological horror subgenre through an uneven, messy effect.
Titles
This document discusses font and graphic design choices for marketing teen drama films. It notes that teen drama film titles typically use bright colors and all capital letters to draw attention. The document then describes the design process for a film trailer, where an initial "Suffragette"-inspired font was deemed too serious and not representative of the teen drama genre. Further research on dafont.com led to selecting the "TEEN" font, which was bold yet still youthful and appropriate for their teen drama film.
Font research
The document discusses font research for a horror film opening. It examines several fonts including "Some Lines", "Zombified", "Face Your Fears", and "Scratch Kit" but ultimately selects "Trajan Pro" for the title and credits. "Trajan Pro" was chosen because it had a horror feel, was bold and clear to read, and could transition from red to white to represent the film's mysterious main character.
Research into the title and opening credit for final production
Daisy Newman is researching fonts and text styles for the title and opening credits of her final film production called "Where's Joey?". She evaluates several font options on criteria like readability, era appropriateness, and ability to fit the gangster genre. She narrows her choices down to Ariel, Algerian, and BatangChe for the main title, and Ariel and Bernard MT Condensed for the opening credits. She also considers variations in capitalization and punctuation for the main title to convey different meanings and tones.
Typography
This document discusses typography options for a movie opening sequence targeted toward female audiences. It notes that cursive fonts engage the target audience and shows an example of a cursive pink title that conveys the "chick flick" genre. It also describes wanting to title the movie "LOUBS& LIES" in capital red letters at the end to link the mystery genre to chick flicks. A typewriting transition is proposed to create a feeling of social media popularity.
Typography (1)
This document discusses font choices for a movie opening sequence targeted at female audiences. It notes that cursive fonts engage the target audience and shows an example of a pink cursive title fitting for a chick flick. It also describes wanting to title the movie "LOUBS & LIES" in red capital letters at the end to convey both the chick flick and mystery genres, and include a typewriting transition to link to social media and popularity.
Typography
This document discusses font choices for a movie opening sequence targeted at female audiences. It notes that cursive fonts engage this target demographic and shows an example of a pink cursive title fitting for a "chick flick". It also describes wanting to title the movie "LOUBS & LIES" in red capital letters at the end to convey both the chick flick and mystery genres. A typewriting transition is proposed to create a feeling of social media relevance.
Fonts for film title
The document discusses fonts that are popular in graphic design and films. It mentions that Avenir was used for Inception, Monotype for Wolfman, and Trajan for Black Swan. It also discusses finding additional fonts on Dafont.com to use for a film trailer, poster, and website. Feedback on a custom font combination suggests simplifying it or using Avenir instead.
Pitch p and grease
The document summarizes and analyzes the opening title designs of the films Pitch Perfect and Grease. For Pitch Perfect, the titles are in bold capital letters on a black background with moving blue and purple sound waves, representing the musical theme. The credits slow and hover to emphasize speed. For Grease, the title is presented in a white, bold sans-serif font resembling bubble writing against a car racing onto the screen. Actor names are in large colored capital letters to highlight their significance, while roles are in smaller darker fonts. Both films use stylistic fonts and animation to set the tone and provide context clues about the films for viewers.
Double page spread
The document summarizes a magazine article spread about singer Sam Smith. It features a large main image of Smith on a balcony, looking down at the camera. The headline "Don't look down" plays on the image and grabs readers' attention. Most of the two-page spread is taken up by the eye-catching main image. The sub-heading is in blue font to match the balcony and links to text describing Smith's "blue-eyed soul" genre. The article aims to appeal to Smith's growing fan base through its creative but straightforward design.
Codes and Conventions Evaluation Question
The document summarizes how a media product challenges and conforms to conventions of real media products. Specifically, it discusses a magazine review and poster created for a film.
For the poster, it challenges conventions by not including a house and using a black background instead. It conforms to using black and white colors to symbolize themes. For the magazine review, it conforms to the layout of Empire Magazine, including formatting of the title, information boxes, captions, and journalist name. It aims to make the review look professional by following codes and conventions.
Digital graphics evaluation pro forma
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide written and visual examples from their work, praise strong elements, and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and was suitable for their intended audience.
Digital graphics evaluation pro forma
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide both written and visual examples from the project, praise strong areas, and identify areas for improvement. It suggests adding slides as needed and deleting any blank slides before submission. The reader is then prompted to evaluate how well their final product achieved their original intentions, how they constructed images, used text, and whether the work is suitable for their intended audience. They also reflect on what techniques they liked and disliked using.
Ancillary Product: Poster Research
The document analyzes and summarizes two silent comedy film posters: Charlie Chaplin's "The Kid" and Laurel & Hardy's "Towed in a Hole". Key aspects discussed include fonts, images, colors, and how conventions are used to appeal to audiences. Research conclusions note techniques like black and white coloring and facial expressions that will be considered for the author's own silent comedy poster. Studying successful posters allows understanding of how to advertise to the target audience through implicit visual elements.
Poster Research
The document provides an analysis of two silent film posters: Charlie Chaplin's "The Kid" and Laurel & Hardy's "Towed in a Hole". Key elements of each poster's design are examined, including fonts, images, colors, and layout. Overall design conventions of silent film posters are also discussed, such as using shapes to frame images and black and white color schemes. The analysis finds that both posters effectively communicate the films' genres through their visual elements and styles.
Digipak Fonts
The document discusses different font options for use on a digipak cover and interior. It evaluates each font for legibility, handwritten style, and appropriateness for titles versus body text. Key fonts mentioned include Kingthings Exeter, Gauntlet Classic, Gessele, and Orial, with Orial selected as most suitable for the cover title due to its bold yet legible style.
Fonts
The document discusses fonts for use in a print production. It analyzes three fonts for the main text and three fonts for headings. For the main text, the author selects the third font because it has a "handwritten vibe" that enhances their brand identity while conveying honesty and insecurity. For headings, the author rejects the first font because it implies vintage titles that do not fit their brand. The second heading font risks seeming futuristic, while the third fits their music video by implying a modern take on an old-fashioned love story.
Imporved casting
The filmmaker will cast their mother and sister in the main roles of pet owner Kelly and protagonist Sam due to their willingness to work for free and coordinate schedules flexibly around filming. The sister fits the appearance and maturity desired for Sam's role. Though not professional actors, the mother and sister suit the envisioned characters through their looks and abilities to portray affection and maturity respectively. The filmmaker will also serve as primary crew to save costs and time.
Dark Arts Productions Typography for ‘Senseless’
This powerpoint includes the various fonts that I have assembled for the Dark Arts Productions' short film, 'Senseless', Poster. It also states why I think some are appropriate and reasons why some are not.
Possible fonts for insanity
This document discusses font choices for branding ancillary texts for a film project about a girl named Flora with dissociative identity disorder. The group explored various fonts to link their poster, trailer, and magazine. They ultimately selected the "Skratch Punk" font which effectively conveyed the narrative of a dysfunctional family and Flora's unstable mental state. For the poster, they positioned the film title "Insanity" offset from the main image to symbolize Flora's instability. Font color, sizing, and positioning presented challenges across the different mediums to achieve a coherent brand identity while meeting the conventions of each format.
Fonts used
The document discusses the fonts used for the credits in a production. Lantinghie TC Extralight and Demibold were used for the opening and ending credits because they fit the serious tone of the drama. For the opening credits, the letters faded in one at a time to create a mysterious feel. A black background was used with a glow on the letters to make them stand out. Demibold, a bolder variation of Lantinghie TC, was also used for the ending credits to help the work titles stand out.
Dark arts productions typography for ‘senseless’
The document provides options for fonts to use for the title of the film poster "Senseless". It examines various handwritten fonts from the website DaFont that could convey the main character Mila's unstable mental state. Options like "Butcher The Baker" and "Mia's Scribblings" are discussed in detail. Other genres like horror fonts "Black Asylum" and "Satanyc Demoniac St" are also considered to portray danger and Mila's evil side. In the end, "Troupers" is selected despite some flaws because elements like cracks in letters could suggest horror.
Masthead Font Styles
Phoebe Regnault evaluated several font styles for the masthead of her magazine. She analyzed fonts based on clarity, uniqueness, and how well they fit the urban style of her target audience. Her favorite was "War is Over" for being bold, faded, and spray painted-looking. However, when designing her cover, this font did not appear as intended. She instead chose "aqawax", which is bold and stands out due to being slightly slanted, fitting her goal of a recognizable quirky masthead. Her color scheme of black and white was inspired by "XXL" and makes the writing pop against the black background.
Analysis of Comic
1) Pride and Prejudice and Zombies adds martial arts and zombie attacks to Jane Austen's original novel, creating a literary mashup. Some critics see it as commercial, while others view it as a delightful reimagining.
2) The graphic novel is targeted towards mature audiences who can understand its complex narrative and high-level dialogue. It appeals more to females due to its romantic elements and more to higher socioeconomic classes due to its complexity and price.
3) The main characters Elizabeth Bennet and Fitzwilliam Darcy realize they are in love as they join together to face challenges throughout their quest against zombies. Secondary characters help the main characters develop while advancing the plot.
Fonts 1
The document discusses several fonts that are being considered for use in a magazine masthead and text. For each font, short evaluations are provided on how well the font matches the intended style and genre of the magazine. Some fonts are deemed unsuitable due to not matching the design ideas or looking too childish. Others are found to match elements of the design or capture the intended messy, hip-hop style. The best options are noted to be those with sharp, bold letters while also having a rounded ampersand symbol.
Comic annotation
The document provides information on the target audience for the Beano comic. It specifies that the target audience is boys ages 8-12, socioeconomic class A-C1 who have disposable income. The comic aims to appeal to boys through its use of stereotypical male colors and a main character who is a mischievous boy. It seeks to be affordable and eye-catching to its target audience.
Masthead ideas
The document discusses font options for a magazine masthead that match the magazine's tone of being relaxed and rebellious while appealing to a younger audience. It evaluates 5 fonts - CF Rebelle, Rebellion, Rebel Power, Indie Hand, and Era Bold ITC - considering how each font's messy, scratchy style aligns with the magazine's theme and how it could be positioned on the cover page. The document recommends either CF Rebelle or Indie Hand as they emphasize the untidy, rebellious theme through their irregular letter shapes and sizes.
Font analysis
The document evaluates several fonts for use in a magazine masthead and sell line. It selects the "Hole Hearted" font for the masthead because it clearly represents the teenage audience with bold letters and hearts, looking cheerful and allowing identification. It also selects "POPLAR STD" for the main sell line because it is a display font that will stand out without overshadowing the masthead, suggesting professional articles with a hint of femininity and fun.
Font Analysis
The document discusses different font options for print production of a band's materials. It examines several sans serif fonts, considering how well they look at different sizes and whether they match the style of the band. The author likes one font for the band name but not the song title. Another font looks retro but the italics make it seem too sci-fi. In the end, the author does not find a font that meets all the criteria of readability at different sizes and capturing the band's aesthetic.
Fonts for Fonts
This document discusses different font options for a band's print production. It evaluates several sans serif fonts on criteria like readability at small sizes, consistency between uppercase and lowercase letters, uniqueness, and whether they match the aesthetic envisioned for the band. In the end, the author likes one font for its retro look but worries another option appears too sci-fi due to its italicization. Overall, the document analyzes fonts' suitability for the band's materials based on visual style, readability, and consistency across elements.
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Pitch p and grease
The document summarizes and analyzes the opening title designs of the films Pitch Perfect and Grease. For Pitch Perfect, the titles are in bold capital letters on a black background with moving blue and purple sound waves, representing the musical theme. The credits slow and hover to emphasize speed. For Grease, the title is presented in a white, bold sans-serif font resembling bubble writing against a car racing onto the screen. Actor names are in large colored capital letters to highlight their significance, while roles are in smaller darker fonts. Both films use stylistic fonts and animation to set the tone and provide context clues about the films for viewers.
Double page spread
The document summarizes a magazine article spread about singer Sam Smith. It features a large main image of Smith on a balcony, looking down at the camera. The headline "Don't look down" plays on the image and grabs readers' attention. Most of the two-page spread is taken up by the eye-catching main image. The sub-heading is in blue font to match the balcony and links to text describing Smith's "blue-eyed soul" genre. The article aims to appeal to Smith's growing fan base through its creative but straightforward design.
Codes and Conventions Evaluation Question
The document summarizes how a media product challenges and conforms to conventions of real media products. Specifically, it discusses a magazine review and poster created for a film.
For the poster, it challenges conventions by not including a house and using a black background instead. It conforms to using black and white colors to symbolize themes. For the magazine review, it conforms to the layout of Empire Magazine, including formatting of the title, information boxes, captions, and journalist name. It aims to make the review look professional by following codes and conventions.
Digital graphics evaluation pro forma
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide written and visual examples from their work, praise strong elements, and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and was suitable for their intended audience.
Digital graphics evaluation pro forma
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide both written and visual examples from the project, praise strong areas, and identify areas for improvement. It suggests adding slides as needed and deleting any blank slides before submission. The reader is then prompted to evaluate how well their final product achieved their original intentions, how they constructed images, used text, and whether the work is suitable for their intended audience. They also reflect on what techniques they liked and disliked using.
Ancillary Product: Poster Research
The document analyzes and summarizes two silent comedy film posters: Charlie Chaplin's "The Kid" and Laurel & Hardy's "Towed in a Hole". Key aspects discussed include fonts, images, colors, and how conventions are used to appeal to audiences. Research conclusions note techniques like black and white coloring and facial expressions that will be considered for the author's own silent comedy poster. Studying successful posters allows understanding of how to advertise to the target audience through implicit visual elements.
Poster Research
The document provides an analysis of two silent film posters: Charlie Chaplin's "The Kid" and Laurel & Hardy's "Towed in a Hole". Key elements of each poster's design are examined, including fonts, images, colors, and layout. Overall design conventions of silent film posters are also discussed, such as using shapes to frame images and black and white color schemes. The analysis finds that both posters effectively communicate the films' genres through their visual elements and styles.
Digipak Fonts
The document discusses different font options for use on a digipak cover and interior. It evaluates each font for legibility, handwritten style, and appropriateness for titles versus body text. Key fonts mentioned include Kingthings Exeter, Gauntlet Classic, Gessele, and Orial, with Orial selected as most suitable for the cover title due to its bold yet legible style.
Fonts
The document discusses fonts for use in a print production. It analyzes three fonts for the main text and three fonts for headings. For the main text, the author selects the third font because it has a "handwritten vibe" that enhances their brand identity while conveying honesty and insecurity. For headings, the author rejects the first font because it implies vintage titles that do not fit their brand. The second heading font risks seeming futuristic, while the third fits their music video by implying a modern take on an old-fashioned love story.
Imporved casting
The filmmaker will cast their mother and sister in the main roles of pet owner Kelly and protagonist Sam due to their willingness to work for free and coordinate schedules flexibly around filming. The sister fits the appearance and maturity desired for Sam's role. Though not professional actors, the mother and sister suit the envisioned characters through their looks and abilities to portray affection and maturity respectively. The filmmaker will also serve as primary crew to save costs and time.
Dark Arts Productions Typography for ‘Senseless’
This powerpoint includes the various fonts that I have assembled for the Dark Arts Productions' short film, 'Senseless', Poster. It also states why I think some are appropriate and reasons why some are not.
Possible fonts for insanity
This document discusses font choices for branding ancillary texts for a film project about a girl named Flora with dissociative identity disorder. The group explored various fonts to link their poster, trailer, and magazine. They ultimately selected the "Skratch Punk" font which effectively conveyed the narrative of a dysfunctional family and Flora's unstable mental state. For the poster, they positioned the film title "Insanity" offset from the main image to symbolize Flora's instability. Font color, sizing, and positioning presented challenges across the different mediums to achieve a coherent brand identity while meeting the conventions of each format.
Fonts used
The document discusses the fonts used for the credits in a production. Lantinghie TC Extralight and Demibold were used for the opening and ending credits because they fit the serious tone of the drama. For the opening credits, the letters faded in one at a time to create a mysterious feel. A black background was used with a glow on the letters to make them stand out. Demibold, a bolder variation of Lantinghie TC, was also used for the ending credits to help the work titles stand out.
Dark arts productions typography for ‘senseless’
The document provides options for fonts to use for the title of the film poster "Senseless". It examines various handwritten fonts from the website DaFont that could convey the main character Mila's unstable mental state. Options like "Butcher The Baker" and "Mia's Scribblings" are discussed in detail. Other genres like horror fonts "Black Asylum" and "Satanyc Demoniac St" are also considered to portray danger and Mila's evil side. In the end, "Troupers" is selected despite some flaws because elements like cracks in letters could suggest horror.
Masthead Font Styles
Phoebe Regnault evaluated several font styles for the masthead of her magazine. She analyzed fonts based on clarity, uniqueness, and how well they fit the urban style of her target audience. Her favorite was "War is Over" for being bold, faded, and spray painted-looking. However, when designing her cover, this font did not appear as intended. She instead chose "aqawax", which is bold and stands out due to being slightly slanted, fitting her goal of a recognizable quirky masthead. Her color scheme of black and white was inspired by "XXL" and makes the writing pop against the black background.
Analysis of Comic
1) Pride and Prejudice and Zombies adds martial arts and zombie attacks to Jane Austen's original novel, creating a literary mashup. Some critics see it as commercial, while others view it as a delightful reimagining.
2) The graphic novel is targeted towards mature audiences who can understand its complex narrative and high-level dialogue. It appeals more to females due to its romantic elements and more to higher socioeconomic classes due to its complexity and price.
3) The main characters Elizabeth Bennet and Fitzwilliam Darcy realize they are in love as they join together to face challenges throughout their quest against zombies. Secondary characters help the main characters develop while advancing the plot.
Fonts 1
The document discusses several fonts that are being considered for use in a magazine masthead and text. For each font, short evaluations are provided on how well the font matches the intended style and genre of the magazine. Some fonts are deemed unsuitable due to not matching the design ideas or looking too childish. Others are found to match elements of the design or capture the intended messy, hip-hop style. The best options are noted to be those with sharp, bold letters while also having a rounded ampersand symbol.
Comic annotation
The document provides information on the target audience for the Beano comic. It specifies that the target audience is boys ages 8-12, socioeconomic class A-C1 who have disposable income. The comic aims to appeal to boys through its use of stereotypical male colors and a main character who is a mischievous boy. It seeks to be affordable and eye-catching to its target audience.
Masthead ideas
The document discusses font options for a magazine masthead that match the magazine's tone of being relaxed and rebellious while appealing to a younger audience. It evaluates 5 fonts - CF Rebelle, Rebellion, Rebel Power, Indie Hand, and Era Bold ITC - considering how each font's messy, scratchy style aligns with the magazine's theme and how it could be positioned on the cover page. The document recommends either CF Rebelle or Indie Hand as they emphasize the untidy, rebellious theme through their irregular letter shapes and sizes.
What's hot (19)
Similar to Fonts
Font analysis
The document evaluates several fonts for use in a magazine masthead and sell line. It selects the "Hole Hearted" font for the masthead because it clearly represents the teenage audience with bold letters and hearts, looking cheerful and allowing identification. It also selects "POPLAR STD" for the main sell line because it is a display font that will stand out without overshadowing the masthead, suggesting professional articles with a hint of femininity and fun.
Font Analysis
The document discusses different font options for print production of a band's materials. It examines several sans serif fonts, considering how well they look at different sizes and whether they match the style of the band. The author likes one font for the band name but not the song title. Another font looks retro but the italics make it seem too sci-fi. In the end, the author does not find a font that meets all the criteria of readability at different sizes and capturing the band's aesthetic.
Fonts for Fonts
This document discusses different font options for a band's print production. It evaluates several sans serif fonts on criteria like readability at small sizes, consistency between uppercase and lowercase letters, uniqueness, and whether they match the aesthetic envisioned for the band. In the end, the author likes one font for its retro look but worries another option appears too sci-fi due to its italicization. Overall, the document analyzes fonts' suitability for the band's materials based on visual style, readability, and consistency across elements.
Designing an effective title
This document analyzes titles from romantic drama films to inform the design of a short film title. It discusses three films - The Fault in Our Stars, Endless Love, and My Sister's Keeper. All three titles use a light blue background or font color, which symbolizes innocence, freedom, and teenage love. The Fault in Our Stars and My Sister's Keeper also use a handwritten-style font to suggest a narrative told from a child's perspective. Endless Love uses a simple typed font that draws attention to the words. Based on these analyses, the author decides their short film title will also use a blue color scheme and a more handwritten font.
Typefaces for poster
This document discusses typeface choices for a horror movie poster. It examines several typefaces that could be used for the main title ("Rosie Black"), text, and credits. For the main title, distorted, dark typefaces are considered to represent the horror genre and mysterious main character. The chosen typeface portrays a sketchy effect to link to the character. Text typefaces are meant to be bold, sharp, and easy to read. The chosen text typeface stands out with bold capital letters. Thin, narrow typefaces are discussed for credits as they are not the primary focus.
Style Sheet
The document discusses various fonts and design elements being considered for use in a magazine. For the masthead, the Laranjha Pro Fraco font is liked as it is simple and easy to read. For the main text, Calibri is liked as it is easy to read and professional looking. For the cover line, the Vanadine font is preferred as it is simplistic and sophisticated. Inspiration is taken from magazine covers showing medium close-up shots of models for the cover image. Poses using hands and busy backgrounds are noted. Double page spreads with articles and full images are preferred. Low angle informal shots and props like guitars are liked for content pages.
Fonts
The document evaluates several fonts for use in a magazine masthead and sell lines. For the masthead, the author likes Bebas Neue because it is simple and similar to Cosmopolitan's font. They also like DolceVita because the unique letter forms give it distinction. For sell lines, they choose "Champagne & Limousines" in lower and upper case because it is different but familiar.
Font analysis 10 different fonts
The document discusses preferences for different fonts based on their visual characteristics such as boldness, spacing, capitalization, slanting, curves, and sophistication. Several fonts are described as having a fun, casual, bold, or old-fashioned quality due to features of individual letters. The target audiences suggested include magazines for children or with an indie/alternative style.
Masthead designs
Nicola Nightingale is choosing a font and masthead for her magazine targeted at young girls. She considers 9 different font options, commenting on whether each font would appeal to her target audience and be bold enough for a magazine cover. Her favorite option is the "Blenda Script" font because it is bold and joins up the lettering in a way that would appeal to young girls.
FONT RESEARCH AND DESIGN
The document discusses selecting a font for an artist's album cover and advertisement. The author tries different fonts from the website DaFont to find one that represents the artist and genre of acoustic/folk music. Ultimately, the author selects the font "Queen of Clubs" because it is bold, readable and similar to fonts used by other acoustic/folk artists. The author believes this font best represents their artist and the genre of music.
Final research
The document discusses various fonts and title sequences that could work for a supernatural horror film. It analyzes fonts used in films like "Blair Witch Project", "Paranormal Activity", and "Scream" that connote danger, loneliness, and screaming through visual elements of the fonts. Placement of credits in films like "Monsters Inc", "Panic Room", and "Psycho" are also examined for how they relate to the narrative. Potential scores using instruments like violins, atonal music, and cello/viola are suggested that could set the right mood and appeal to the intended audience.
Posters
The document discusses film posters, their aims and conventions. It analyzes several posters in detail, including their use of imagery, text, and design elements. Feedback on the posters is provided from class discussion and online reviews. Based on this evaluation, the key elements of an effective short film poster are a simple yet symbolic main image, limited text focused on essential information, and a tagline that conveys the film's theme or message.
Fonts media copy 2
This document evaluates several fonts for their suitability in a pop magazine. It discusses the pros and cons of each font, and whether they would be appropriate for the genre and target audience. Some of the fonts are described as fun, funky, bold, and eye-catching, making them suitable for a pop magazine aimed at teenagers. However, other fonts may be too busy or not have enough character. The document considers whether each font would stand out while allowing the content to remain the focus.
Font presentation
This document evaluates several fonts for use in an indie rock music magazine. For the masthead, the author likes one font for being bold and edgy, but notes it may be too scratchy and sinister for indie rock. Another font stands out but may not be readable or suit indie as well as others. A third font is unique and clear but possibly not bold enough. For body copy, one font is ideal as representing indie well and being clear about the music genre. Another informal font would work well for contents pages and spreads. In the end, the author chooses a masthead font that is clear, bold and powerful while still representing indie rock over straight rock.
Evaluation question 2
The document describes the process of creating a film poster and film review for a short film as part of a course assignment. Key details include:
- The poster uses images of the two main characters, Bobby and Lara, with Bobby looking frustrated in the rain and Lara smiling while checking her watch. Rain and clouds were added to emphasize the "bad luck" theme.
- Red was used prominently to connote romance and draw attention. Fonts, layout, and design elements followed conventions of romantic comedy posters.
- The film review also uses the characters' images and red/black/white colors. It has a clean, organized layout and includes a tagline, 5-star rating, and
Q2
The document discusses the effectiveness of combining a short film with ancillary texts like a film poster and review. It explains that the main task was to create a 5 minute short film and then a poster and review to promote it. A film poster increases awareness and ticket sales, while a review impacts popularity. The student created a drama genre poster showing a deceased mother to reflect how her death impacts the protagonist. Images are dark to match the genre and the black background adds darkness and suspense. Fonts, colors, and effects were chosen carefully to effectively promote the film and draw attention.
Final research
The document discusses different fonts that could be used for horror movie titles and analyzes how each font conveys different meanings and tones through their design. It examines fonts used in titles for films like The Blair Witch Project and Paranormal Activity and how their serif, spacing, and shadowing styles set ominous, unsettling, and mysterious tones. Several spooky fonts found on dafont.com are proposed for a potential horror film title based on how their bold, cut-out, or shadowed lettering could attract attention and relate to themes of mystery, the supernatural, and being watched.
Typefaces
The document evaluates several fonts for suitability in a horror movie poster. It discusses Harabara, Pulse Sans Virgin, Symbol, Times New Roman, Chiller, Resagokr, and Tahoma fonts. Resagokr is chosen for the title as it is simple, easy to read, and appeals to both male and female audiences. Tahoma is selected for small text elements like credits and websites due to its plain readability at small sizes.
Fonts media copy 2
This document evaluates several fonts and mastheads for their suitability in a pop music magazine. For the fonts, pros and cons are discussed for each one in terms of visual appeal, readability with other design elements, and appropriateness for the target teenage audience and pop music genre. Similarly, potential mastheads are analyzed based on their relation to music, visual impact, and how well they represent the top charts theme for both male and female readers. The best options are bold, eye-catching designs that appeal to teenagers while complementing the magazine's focus on popular music.
Typefaces
The document discusses different fonts and evaluates their suitability for a magazine targeted at teenagers who like rock music. It analyzes several serif and sans serif fonts, finding that most do not have the boldness, modernity, or appeal to both genders needed. However, one sans serif font is deemed suitable as it is bold and looks eroded like cracked rock music might, fitting the genre and following conventions of similar magazines.
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一比一原版(BC毕业证)波士顿学院毕业证如何办理
BC毕业证学历书【微信95270640】办理波士顿学院毕业证成绩单（Q微信95270640）毕业证学历认证OFFER专卖国外文凭学历学位证书办理澳洲文凭|澳洲毕业证,澳洲学历认证,澳洲成绩单 澳洲offer,教育部学历认证及使馆认证永久可查 ,国外毕业证|国外学历认证,国外学历文凭证书 BC毕业证，BC毕业证，BC毕业证，BC毕业证，BC毕业证，BC毕业证，BC毕业证，专业为留学生办理毕业证、成绩单、使馆留学回国人员证明、教育部学历学位认证、录取通知书、Offer、
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如果你回国在学历认证方面有以下难题请联系我们我们将竭诚为你解决认证瓶颈
1所有材料真实但资料不全无法提供完全齐整的原件。【如：成绩单丶毕业证丶回国证明等材料中有遗失的。】
2获得真实的国外最终学历学位但国外本科学历就读经历存在问题或缺陷。【如：国外本科是教育部不承认的或者是联合办学项目教育部没有备案的或者外本科没有正常毕业的。】
3学分转移联合办学等情况复杂不知道怎么整理材料的。时间紧迫自己不清楚递交流程的。
如果你是以上情况之一请联系我们我们将在第一时间内给你免费咨询相关信息。我们将帮助你整理认证所需的各种材料.帮你解决国外学历认证难题。
国外波士顿学院波士顿学院本科学位证成绩单办理方法：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询波士顿学院波士顿学院本科学位证成绩单）；
2开始安排制作波士顿学院毕业证成绩单电子图；
3波士顿学院毕业证成绩单电子版做好以后发送给您确认；
4波士顿学院毕业证成绩单电子版您确认信息无误之后安排制作成品；
5波士顿学院成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。疯一把山娃算了算这一次足足花了老爸元够他挣上半个月的山娃很不解一向节俭的父亲啥时变得如此阔绰大方大把大把掏钱时居然连眉头也不皱一下车票早买好了直达卧铺车得经过山娃老家门口山娃拒绝父亲送说往车上一躺就等着下车决无丢失的道理有手机在身联系也方便再说他都岁了还有大半车的小伙伴相伴他不怕在父亲千叮咛万嘱咐中山娃依依不舍地爬上车朝窗外不住地挥手别了父亲别了父亲的城别了我的暑假生活我的城市生活望着窗外挥舞的房
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Storyboard produced for the TV commercial of a toy from the children's show “Dino Ranch”
My storyboard for a sword fight scene with lightsabers
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一比一原版美国亚利桑那大学毕业证（ua毕业证书）如何办理
一模一样【微信：A575476】【美国亚利桑那大学毕业证（ua毕业证书）成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
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三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
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3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
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→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
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一模一样【微信：A575476】【加拿大多伦多大学毕业证（uoft毕业证书）成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
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请您先以qq或微信的方式对我们的服务进行了解后如果有昆士兰科技大学昆士兰科技大学毕业证offer帮助再进行电话咨询。
国外毕业证学位证成绩单如何办理：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作昆士兰科技大学毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。望着父亲山娃反问道父亲听了并不回答只是吃吃地笑山娃很精神越逛越起劲父亲却越逛越疲倦望着父亲呵欠连天的样子山娃也说困了累了回家吧小屋闷罐一般头顶上的三叶扇彻夜呜呜作响搅得满屋热气腾腾也搅得山娃心烦意乱父亲一上床就呼呼大睡山娃却辗转反侧睡不着山娃一次又一次摸索着爬起来一遍又一遍地用暖乎乎的冷水擦身往水泥地板上一勺一勺的洒水也不知过了多久山娃竟迷迷糊糊地睡着了迷迷糊糊地又闻到了闹钟刺耳的铃声和哐咣的关和
Fashionista Chic Couture Mazes and Coloring AdventureA
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
一比一原版美国加州大学圣地亚哥分校毕业证（ucsd毕业证书）如何办理
一模一样【微信：A575476】【美国加州大学圣地亚哥分校毕业证（ucsd毕业证书）成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
哪里购买美国乔治城大学毕业证硕士学位证书原版一模一样
原版一模一样【微信：741003700 】【美国乔治城大学毕业证硕士学位证书】【微信：741003700 】学位证，留信认证（真实可查，永久存档）offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原海外各大学 Bachelor Diploma degree, Master Degree Diploma
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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- 1. Fonts
- 2. I am planning on using a handwriting like font for the intertitles in my trailer. This is because writing is a key aspect of the film, as the main character scribes to her dead best friend Ella on a regular basis, hence the title Dear Ella. I like this font, which is called Gaskin, as it is like sophisticated handwriting and would look attractive during my trailer. However, I would have to consider whether this is an accurate representation of an average teenager’s handwriting due to the fact that this age is what my target audience and the majority of my characters are.
- 3. This font is more feminine, and would therefore appeal to my target audience of 14-20 year old females. However, the serif features could appear over the top and crowded, perhaps even too young for my target audience.
- 4. This font is the boldest out of the others that I have looked at and would therefore be suited to the title of my film. However, I do not like the capital ‘E’ that the font has created. On the editing side of my campaign this would be the easiest to paste onto my poster due to the thickness of it, but I do not like the overall appearance.
- 5. This is my favourite font that I have studied, as it imitates a teenage girl’s handwriting without being too overcomplicated or detailed. The simplicity will not only be easier on my behalf to edit into my campaign but will look attractive. I think I will keep the font black or at least dark as a bright colour would look tacky and too immature for my target audience of teenage/young adults.