Why Typography Matters — Especially At The Oscars

An anonymous reader shares a blog post: There’s one thing the Academy possibly didn’t consider, or forgot, for this year’s winner cards: typography. First, it’s legible, you can tell all the letters apart. Second, it’s somewhat readable, but the visual weight of “Moonlight” and the producers are equal and blend together. Lastly, even though it is just a winner’s card, it’s not visually appealing. I think it’s fair to say it’s objectively bland. That’s horrible typography. Of course, anyone could’ve made the same honest error! You are on television with millions of people around the world watching. You are a little nervous, and you have to read a card. You will most likely read it from top to bottom (visual hierarchy) without questioning whether the card is right. That look on Warren’s face was, “This says ‘Emma Stone’ on it.” Faye must’ve skipped that part and was caught up in the excitement and just blurted out, “La La Land.” I don’t blame Faye or Warren for this. This was the fault of two entities: whoever was in charge of the design of the winning card (Was it really a design? C’mon), and the unfortunate person who handed them the wrong envelope. A clearly designed card and envelope (don’t even get me started on that gold on red envelope) would’ve prevented this. The blogger, Benjamin Bannister (a creative consultant for old and new media), adds that there were essentially three things wrong with the card in question: Oscars logo need not to be at the top of the card. The category, “Best Acress” was at the bottom, and in small print. And, the winner’s name, the main thing that should be read, is the same size as the second line and given equal weight.

Read more of this story at Slashdot.


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