Design Rescue: Part Deux

Peer Analyses Critique


Part two of Design Rescue, reexamines peer analyses that was provided within our discussion board. The following statements are in respect to an emotional response about each typographic example:

“Your post really struck a chord with me. It is amazing how quickly we tend to forget the crises going on around the world that do not directly affect our daily lives. As Armstrong describes in Hearing Type, typography is “visualizing language through the hierarchical organization of glyphs in a spatial field.” In your example, the typography is especially powerful as it fills the entirety of the circle. Even with the ornamentation of the font you still can read the message intended.”

“The second example you posted, I actually came across at the mall today. It is a great example of strong typography. However I have to admit, I looked at it and thought “ that’s very beautiful typography” but I definitely did not jump to the conclusion that it was a message to take action for countries living under impecunious conditions. As you describe her style as playful and romantic it seems in some ways to contrast the intended messaging.”

“AIGA seems to sum it up the best, breaking the standards of professional design practice into categories. In speaking on the designer’s responsibility to society and the environment one of the most recent amendments states, “A professional designer shall consider environmental, economic, social and cultural implications of his or her work and minimize the adverse impacts.” I agree that in order to be responsible with our graphic design work we must consider the message and promote it accordingly.”

“Jessica Hische is the bomb, and this piece is lovely. It is a happy, illustrated, and beautifully executed literal interpretation of the message. Its pleasant approach to the subject matter engages with the viewer to make the viewer feel good about contributing.”

“The piece by Boris Pelcer is difficult to read, but it works as a beautiful artistic piece that engages the viewer through sheer aesthetics. Both pieces work because the viewers will emotionally invest in them: to engage with these communications and respond to them promotes the viewers’ identities and views of themselves and, in turn, identifies the viewers with the causes.”


Based upon the last comment, I decided to further investigate the typographic works of Boris Pelcer and determine if other examples of his work prove legible or emotional. I’ll admit, the “Together As One– Help Japan,” was initially difficult to read fluidly, at first glance. However, by default, it forced me to further investigate the message (prior to knowing the meaning behind the artwork). Its simplicity and elegance due to its well-crafted typography alone, is a selling point. However, the depth behind the message because of Pelcer’s social responsibility (the emotional chord in relation to promoting support for the natural disasters in Japan) adds extra value.

Natural Selection

Pecler, Boris. “Natural Selection” T-shirt Design

Pelcer’s “Natural Selection” lettering design is a limited edition print for t-shirts. The intention was to “project positivity, celebrate life & all that you are,” according to Pelcer. The lettering is moderately high in contrast between stroke widths and emulates old style swashes in calligraphic form, conveying romantic, charming (and handmade) aesthetic appeal. Technically, it’s without a doubt appropriate for the literal meaning. Emotionally, it feels grand, relaxing and bountiful with beauty.

Beauty Is The Beast

Pelcer, Boris. “Beauty Is The Beast.” Self promotional.

It’s evident that Pelcer has a strong ability for lettering- particularly, swash or script. You’ll recall that the initial peer response was in relation to legibility. In my estimate, I think that perhaps if one example seems illegible that there’s reason to test for consistency. Realizing that two examples may not do just however, seems challenging to prove otherwise. Alas, these are two of my favorite examples of Boris Pelcer. Both examples are also legible upon first glance, albiet not quickly deciphered. Perhaps my peers make a valid point.

“Beauty Is The Beast,” is purely self-promotional. As a designer, I think that this is where our best work is often created and helps elevate us to the next level or challenge (commercially). Pelcer explains his intent:

All throughout our lives beauty never seizes to stop influencing our judgement. It is quite fascinating how easily we can overlook the way we perceive a person simply by how beautiful they are. For the custom lettering I intentionally left the brush marks made in the process of refining the lettering to point out just how much absurd effort & time is invested in the process of getting ourselves closer to that memorizing state of beauty.

Well played, Boris. Keep up the stunning work.


Works Cited

Pelcer, Boris. “Natural Selection: Socialfabrik Lettering.” Accessed January 17, 2012. http://www.borispelcer.com/socialfabriklettering.php

Pelcer, Boris. “Beauty Is The Beast.” Accessed January 17, 2012. http://www.borispelcer.com/beautyisthebeast.php



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