Currently live-streaming a presentation by Leah Spencer, a designer and typographer who specializes in creating all those period graphics and props you see on screen in film & TV such as The Marvelous Ms. Maisel. Such a fun-sounding niche career, I think there’s a good chance I would have tried my hand at that kind of thing if it had occurred to me earlier in my graphic design career.
ETA: She just brought up an interesting case study for using AI that I hadn’t thought about before; generating body copy for written documents that have to look realistic on screen but nobody is really ever going to read like prop newspapers and such. Definitely one of the more non-creepy uses of the technology for creative fields that I’ve heard of.
I am glad that Randall agrees with me that the American cursive capital A and D both look dumb. Why is the American capital A just a big little a? And D has a silly curly hairstyle.
English on the left, American on the right.
“HarperCollins made a tiny tweak to its book design—and has saved thousands of trees as a result”, or so they claim.
Personally I use a kindle, and adjust the font to my situation. Some fonts are ideal for reading in crosswalks, for instance.
That has to be one of the worst fonts I’ve ever seen.
Do you know what it says?
Is it being used for an extended text block, or one word for a logo?
Is it distinctive and memorable?
It seems like a perfectly good font for what it’s being used for.
What would you prefer? Artistically arranged Baskerville Semibold?
The “J” is someone playing stickball [er, no, wait, it’s someone slicing pepperoni], the “a” is a runaway bowling ball being stopped by a bollard, the “z” on the left is someone using a weight machine, and the “z” on the right is someone who used the weight machine so hard that their head fell off [or maybe The Pepperoni Slicer came after their head 
]. Quite a tale can be told in just four letters! 
Yuo can maek qiuet a feu letzers cofnusign an stil b undretsood tho.
Here it mostly seems weird to me that the zs are different. If it wasn’t a word I knew I might have guessed it was “JAZL”.
JAZC?
So many things about that article make me hope they have simplified the descriptions of the design routes.
Which one?
A Bauhaus-type layout seems congruent with a jazz festival, not sure I would go with a slab serif, but I like the rest well enough.
It’s about the parts of the letters you don’t write!
I agree with @catsidhe and @timd , though. It’s a display font inspired by the Bauhaus. Perfectly appropriate for a jazz festival.
I interpret the zz as a ligature
De gustibus non est disputandum. I quite like that Jazz (or Jażz) font. It’s basically playing off the Bauhaus font’s numbers:
(I know everyone else has already mentioned Bauhaus, but I just hadn’t seen letters formed like that, only numbers.)
The rounded sans serif below seems a little boring, or maybe it’s just the excessive white space between them. I could even imagine packing them together further down, so there was still all the white space, just not between the lines.
(Edit: Oh, but I guess it’s a website menu, not a poster, so different considerations apply to the spacing.)
Josef Albers worked a lot with constructing type design from a set number of simple shapes, but the rounded sans is also typical of Bauhaus typography.
I confess it was a gut reaction without putting too much thought into it. Putting on my thinking cap, Yes I can tell what it says, with a little too much effort. I suppose it fits the jazz topic, but I just find the aesthetics to be a little too hinky. The inconsistency of what the dots do bugs me and I don’t like the z’s and they are inconsistent. I do like all the bauhaus stuff a lot but it strikes me as aiming in that direction while getting it just not quite right.
