In order to create the animation first I did some analysis and images to understand typography classification:

The composition on the left is one of the fist animation that I've made, it shows the transitions of how the letter "U" changes within different families and typefaces: Garamond, Baskerville, Bodoni, Rockwell and Clarendon. The one above is a try of explore animation, is not succesful because the way of how I explain transitional and old style is incorrect.

After one of the tutorials I reconsidered the project and started thinking about the audience, do they need to know all those terms? The answer is no.

At this stage is when the final idea came to my mind with the project "13 miles of typography on Brodway" that Jason Pidd suggested me.

For this I headed Oxford St. with my camera taking pictures of the most relevant typefaces in large scale that I could see. I had to use telephoto lens to capture typefaces in buildings as it s very common to find the year in which a building was constructed.

I selected the images thinking of type classification and retouched them to enhance the power visual of the typefaces. To know what typefaces I found I used the tool:




It helped me to indentify the different typefaces on the images.

Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility.

Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance

BRANDON GROTESQUE

The legendary sans serif design developed by Edward Johnston for the London Underground system in 1916 is available for the first time as a commercial font in an exclusive arrangement with the London Transport Museum. The font, as well as the all-caps bold version, is true to the original design, plus full international characters are also included. The Extras font features graphic elements inspired by the design motifs of items including maps, tile patterns and seat covers.

P22 JOHNSTON

UNDERGROUND

While many consider it to be the quintessential British type style, the Gill Sans® typeface family has been used in virtually every country – and for every application imaginable. The reason for Gill Sans’ near ubiquity is because it is an exceptionally distinctive design with a potential range of use that is almost limitless.

GILL SANS

This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

In 1983, D. Stempel AG redesigned and digitized the “Neue Helvetica” typeface for Linotype and made it a self-contained font family. Today, this family consists of 51 different font weights.

CASLON NO. 224

ITC Caslon 224 was produced by Ed Benguiat for the International Typeface Corporation in 1983. ITC Caslon 224, a modern-day interpretation of the Caslon types, has a large x-height, very high contrast between thick and thin strokes with smooth transitions between the weights.

HELVETICA NEUE CONDENSED BOLD

SCRIPT

Corkboard JNL is a bold, yet fun rounded-ends typeface that was popular in the 1970s and enjoying a revival amongst students and teachers via die-cut bulletin board letters.

Five variations are offered—Regular, Slanted, Shadow, Shadow Slanted and Kiddies.

Corkboard Kiddies JNL has a limited character set and eccentric spacing that emulates the way a child might put letters onto a bulletin board.

COCKBOARD JNL

Australis is a hybrid roman font that won first prize in the Morisawa International Type Design Competition in 2002. After 10 years the family is finally complete and its release coincides with the reopening of the competition in 2012, in Japan.

Designed by Francisco Gálvez Pizarro.

AUSTRALIS PRO BOLD

Handwritten typeface found on the floor, handwritten typefaces