I’m not breaking any new ground here, but it’s obvious that the peak of novelty New Year’s Eve numerical eyewear was 2000-2009
10/10 for legibility, visibility, and typography
for years now, this industry has been stubbornly clinging to an idea that has become too cumbersome. if you will indulge me, I will now rate 2023’s new designs:
5/10 best I can say is “it gets the job done.” it does clearly read as 2023, but the typography is bad & the visibility leaves much to be desired.
2/10 happy 20?3, i guess. they started with a decent font, but these are illegible and everything about the eyehole placement sucks.
6/10 hear me out: this is an okay compromise. it’s a cop out, sure, but it’s a viable alternative. it satisfies the basic requirements of legibility, visibility, and typographical acceptability, yet it lacks all whimsy. this feels like when you don’t do a project the way the teacher intended but you pass anyway on a technicality. this isn’t school, though, so i’m failing this design.
1/10 come on, guys. if you’re going to use the top of the 2 as an eyehole, at least use a font with a more open design, perhaps something art deco. at least when you look in the mirror with those LEDs directly in your line of sight, you won’t notice how bad the glasses look.
7/10 now we’re getting somewhere. like the first design, it uses the 3 as the second eyehole but it does so without compromising the shape of the number. unfortunately, the lack of outlines does negatively affect legibility and there may be some visibility issues for the left eye.
9/10 this is as good as it’s gonna get, folks. an actual graphic designer was clearly involved here. the typography is appealing, the color works, visibility looks good. nicely done.
-1000000000000000/10 :(
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[Text ID: THE WORLD WILL ALWAYS NEED MORE TRANSSEXUALS. THERE IS ROOM ENOUGH FOR EVERYONE. THAT INCLUDES YOU! /End ID]
click for quality + do not remove caption
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There is a surprising amount of graphic joy in these Milwaukee transit passes from the 1940s-60s. They were featured in the last issue of ghostsign guru Sam Roberts' excellent BLAG magazine and can be examined in more detail at the Letterform Archive.
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‘Typography and logos in knitted structures' presented at the International Symposium in Knitting and Apparel, 2013 by Andrej Vilar, Klementina Mozina and Alenka Pavko-Cuden.
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