You can't resist reading this 'cause it's so hard to read. "What a pretty design . . . Oh wait, are those letters?" It throws the whole rule book out the window:
Discarded Rule 1: Script fonts should look like calligraphy, so they should have an oblique stress.
Discarded Rule 2: Don't use script for all caps (that first line says WHY, doesn't it?).
Discarded Rule 3: Don't reverse a font with hairline strokes out of a black background.

Rule 4: Nobody ever used a script when readability was the prime motive.
Rule 5: Rules don't apply to the unruly
Rule 6: Those who make the rules get to break the rules
Rule &: "It is good to be King"

ChrisL

Maybe so, Stewf but it is different, less handmade looking.

ChrisL

"WKU Tournées." Though I didn't actually manage to read the WKU part, I found that out by reading the comments. (Seems to be a school?)

Anyway … I agree that it's wonderful. And impressive! I wish I could do something halfway resembling this.

Beautiful, and yes - it looks an awful lot like Bantjes work, especially her Seduction poster for Yale.

There are most definitely times when I wish I could replicate her style.

> You can’t resist reading this ’cause it’s so hard to read. “What a pretty design . . . Oh wait, are those letters?” It throws the whole rule book out the window:
Discarded Rule 1: Script fonts should look like calligraphy, so they should have an oblique stress.
Discarded Rule 2: Don’t use script for all caps (that first line says WHY, doesn’t it?).
Discarded Rule 3: Don’t reverse a font with hairline strokes out of a black background.

I had no problem reading it.

The stuff about the rules is a pile of crap, no offence. :)
1. Who says script fonts should look like calligraphy?
2. All caps... I actually see 'wku' in lowercase, if you compare them to T and F's from the other lines.
3. Exactly why should you not reverse hairline from a black background? Seems it's working fine...

Who says script fonts should look like calligraphy?

Hmm… lettering should at least resemble letters, otherwise it's a code, and not script[ure]…
It seems "fonts" have nothing to do with that kind of illustration treatment, as much as I appreciated Lee Schultz Antionette and Salome.
In a similar vein, I think Missionary by Miles Newlyn is a good example to indicate an extreme limit you can reach if you wish to write a text meant to be read, and not decoded, after which letters become mere illustrations.

For example, which has been the idea behind making Restraint as a typeface? Id' be curious to know…
It's a pattern generator in the form of a typeface, and it helps by mechanizing the ornamentation elements, but it's no longer a typeface.

> Hmm… lettering should at least resemble letters, otherwise it’s a code, and not script[ure]…

Well, they are letters? :) I asked 'who says script fonts should look like calligraphy', since Victor Curran said that that is a rule. A script -- or maybe lettering is a better word -- only has to look like calligraphy if the designer wants it to.

That they should look like calligraphy is a rediculous claim/rule, in my opinion, which is proven by Marian Bantjes and Aron.

I wouldn't call it a modern script. Typographic experiment/drawing is more like it. That way's everybody's happy.

I love love love that!

The script that is.

The bottom half of that poster is just okeedokey.

Turn the script into a font.

You have rocked, and you shall rock again!

Mikey :-)

Quincunx: You don't understand what I meant: they are letters, but they are used in a way that becomes more illustration than word, so the text meaning is the second thing you get.
I am not saying this is not good, I just said, as you agree, that this is lettering illustration, or art, as in English art seems to be used for any graphic endeavor.

The fact that one might like it or not is not the key, since taste may be pretty deceiving.
I have tried to incorporate such abstract treatments in typeface design, and I find more interest in this than the simple use of letters in illustration, that's what I mean.
But of course, being an illustration, it depends on the whole essence of its communication as desired by the author.

For example, I prefer a lot Áron's typeface Milen Serif. I would make alternative attempts to re-evaluation of the weight distribution (especially on [c], [s] and [y]), but the alphabet it is done with great consciousness, and the layout choosen to present it and choice of colors are immersive and successful.

Of course, Victor Curran comment did not make much sense.

I am happy whatever you call it.
LOL… :=)

Turn the script into a font.

@Aron
"about the rules...
i wasn’t even aware of such things :D"

Don't be, those 'rules' were nonsense. :)

@Claudio:
I agree. :)