The letter shapes are generally rounded and friendly (except for the capital M with its pointy centre line) and there is lots of space between the letters making the title easy to read and suited to young children. The "Peppa Pig" typeface as baseline shift in a few of the letters and the squiggle on the last p (appropriate for pig character) enhances its friendly and appealing stye. I think the pointy capital M adds a bit of contrast to the other lettters drawing attention to it.
The italics, close spatial relationship between letters, choice of colour, gradient colour overlay and shapes of the letters (legs of k, smiley look to e and a and capital C), rounded curves and upward slants gives rich, decadent and appealing style. "Eat me" it says.
Clever use of baseline shift, irregular orientation/slant of neighbouring letters and plenty of space between letters in the main title of the book contrasted with close proximity of letters (kerning) in the Dr.Seuss label adds off-centre quirky interest and character. Block, capital letters of main heading with plenty of space between letters adds boldness while still maintaining child appear. Much like the stories.
What can I say that has not been said before. Everything about this logo works including the typeface. Big, bold letters, closely spaced together, forward leaning suggesting action and forward motion, integration between the E and the "tick" makes everything come together. Its simple typeface (no baseline shifts, no extra complicated bits) and clever use of negative and whitespace adds punch. Clean lines in the typeface - there's a concept!
Bad Examples
For a product that all hospital workers are required to use after and before every time they touch a patient or their records, the choice of the typeface in Aqium is surprising. The evil, dagger shaped tail of the Q, the pointy serifs in the other letters and dot of the I, close spacial relationship between letters and use of all uppercase makes the word look off-putting. Even the spelling is designed to repel not attract.
This from a school newsletter. The irregular, rounded shaped letters and irregular slanting between letters just does not fit with isometric drawings which have precise and detailed arrangements within and between all elements. The typeface suggests the opposite of that meaning.
Nourish typeface - While the rest of typeface on this packaging is appropriate, the narrow shape of the ascender and descender of the letters, particularly in the capital N, kerning between the u and r and the non-sensical baseline shift around the leaf shape (leaf shape?), makes the nourish word seem rather lean and hungry rather than nourished. Rounder, fatter letter shapes with lots of curves would have worked much better.
The Smiths - For an album called "Meat is Murder" the use of bold, block, straight, all uppercase, evenly spaced letters in "the smiths" typeface was incongruent with the album's name. Yes, I get that The Smiths is like a brand name but it was still a good example of how the use of typeface can enhance or detract from overall meaning.
From a school newsletter - I had to search quite hard to find many examples of use of bad examples of typeface in school newsletters. They are generally pretty good amateur publications now. However, this word and is part of a school's moto to help guide and inspire high school students. For such an important symbol, I think the school could do more with the typeface to help inspire. The letters are blocky and there seems to be too much space between the first S and T. Capials work but adding extra interest via experimenting with italics, different typeface, gradient and pattern or colour overlay would work better for the techno-savvy, design/media-saturated target market the school is appealing to.
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