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Type Style Finder by Timothy Samara

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(Provision) Type Style Finder
L805.130 / 4228
3 TSF_MOOD 2_pp056–089_.qxd 8/17/05 9:08 AM Page 80
Graphic and experimental typefaces are most often immediately associated
with the exotic; they often try, purposely, to flout convention. Typefaces
with extreme exaggerations of width, posture, or weight—and sometimes
all three—as well as proportional discontinuity among characters or coun-
terspaces, typify exotic typefaces. Added to these structural extremes may
be graphical substitutions of abstract shapes, curls, dots, and so on, for
the expected stems, diagonals, and cross-strokes of a classical face.
Alternatively, strange size changes between letters within the alphabet,
tilting off-baseline in straight setting, bleeding, burn marks, extra limbs,
and illustrative or abstract inclusions—all these stylistic possibilities
may characterize a typeface as exotic.If the type becomes difficult to read
because of these formal alterations, chances are it’s an exotic face.
The sense of “foreign” exotic implies depends, of course, on context;
exotic in France is not the same as exotic in the United States (where,
in some places, “French” itself may qualify as “exotic”). Specific allusions
to locale, therefore, are meaningless without a specific audience in
mind. But notions of outlandishness, curious or bizarre qualities, or even
glamour—perhaps a somewhat outdated interpretation—all are
conveyed by unusual shapes, proportions, and odd color combinations.
Event Poster
top, and detail, bottom
Joe Millers Company
Santa Clara [CA] USA
Exotic
Moods
80
(Provision) Type Style Finder
L805.130 / 4228
P22 Catalan
Graphic | Pronounced
Contrast | Erratic Baseline |
P22 Type Foundry
www.p22.com
p22@p22.com
800.P22.5080
Linotype Albafire
TM
Regular
Graphic | Bold Weight |
Abstract Details |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Cult
TM
Graphic Sans Serif | Light
Weight | Erratic Widths |
Heavy Joints |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
F2F Mekkaso Tomanik
TM
Graphic | Light Weight |
Textural Details |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Fusaka
TM
Graphic | Medium Weight |
Glyphic Detail |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Hollyweird
TM
Graphic | Medium Weight |
Script Detail | Moderate
Contrast | Erratic Posture |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Type Style Finder
81
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(Provision) Type Style Finder
L805.130 / 4228
Moods Exotic
Jazz
TM
Graphic | Black Weight |
Pronounced Contrast |
Inline Detail |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Juniper
TM
Serif | Bold Weight |
Pronounced Contrast |
Condensed |
Flared Strokes |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Shaman
TM
Graphic | Bold Weight |
Inline and Illustrative Detail |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Linotype Sunburst
TM
East Heavy
Graphic Serif | Bold Weight |
Angled Bowls and Joints |
Slight Italic Posture |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
ITC Cherie
TM
Sans Serif | Light Weight |
Pronounced Upper Emphasis |
Alternate Capitals |
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
Linotype Sicula
TM
Regular
Graphic | Erratic Weight |
Pronounced Contrast | Structural
Distortion | Script Details
Linotype Library GmbH
www.linotype.com
info@linotype.com
+49 (0) 6172 484.418
82
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(Provision) Type Style Finder
CL905.042 / 4108
Sample Color Combinations
Type Style Finder
Exotic Color
Color that can be considered exotic is difficult to pin down. Since
exotic” connotes something unknown or foreign, and most colors
carry associations that are familiar, attempting to represent the
alien and outlandish can be challenging. Often, designers resort to
jarring combinations, such as a hot orange and a supersaturated
pink; but these are not exotic so much as electric. Another relatively
weak color concept is to use earthy tones that evoke the designer’s
sense of the so-called “Third World” of preindustrial nations—
terra cotta, deep ochre, olive, and deep rose. These colors are a
good base for the palette, but what becomes unusual enough
to represent exotic are combinations of them in almost unrelated
ways: a pale cyan, an electric violet, and a muddy, olive brown,
for example. Complementary combinations, such as violet and yellow,
allude to the idea of foreignness in their chromatic opposition—
as do orange and blue, red and green.
10 C
100 M
0 Y
0 K
>
0 C
68 M
79 Y
22 K
>
0 C
41 M
85 Y
34 K
>
65 C
100 M
0 Y
0 K
>
34 C
0 M
5 Y
0 K
>
80 C
80 M
100 Y
0 K
>
100 C
40 M
0 Y
60 K
>
43 C
15 M
100 Y
71 K
>
0 C
65 M
0 Y
75 K
>
0 C
79 M
100 Y
0 K
>
3 TSF_MOOD 2_pp056–089_.qxd 9/16/05 8:48 PM Page 83

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