Main Street USA Part 3

Welcome back to Designerland's Typography Case Study. This weeks study is our conclusion of Main Street USA as I've had to break up the post into a three part series. So sit back and enjoy more of those fantastic fonts used by Disney designers.

As stated in the first Main Street Case Study, most of the fonts used on the thoroughfare are display fonts ranging in classifications such as Victorian, Script, Tuscan, Latin, Slab Serifs, Serifs, Edwardian, Ornamental, and so on, used for the various fictitious storefront shops.

Well that does it for the final installment. . .or does it? Main Street is ever evolving with the plussing of new signage and graphics. New fonts will be added yearly and I can't wait to track more down. In my research for this three part case study I was able to locate 68 fonts and just today I found a new one making it 69. I have over 100 reference photos of fonts I have yet to track down and will always be on the hunt. Look for updates. Well that about does it. Tune in next week as I spent the last three days working on some overdue offerings for Designerland. Until next time, have a great week. Thanks for stopping by.

Main Street USA Part 2

Welcome back to Designerland's Typography Case Study. This weeks study is a continuation of Main Street USA as I've had to break up the post into a three part series. So sit back and enjoy more of those fantastic fonts used by Disney designers.

As stated in the first Main Street Case Study, most of the fonts used on the thoroughfare are display fonts ranging in classifications such as Victorian, Script, Tuscan, Latin, Slab Serifs, Serifs, Edwardian, Ornamental, and so on, used for the various fictitional storefront shops.

Well that does it for the second instalment. Tune in soon for part 3 as well as other fun Designerland offerings. With that said I've started a new project for Designerland that I'm so excited to be working on and I believe is long overdue. I hope you guys will enjoy it. Hold tight and tune in real soon. Until next time, have a great week. Thanks for stopping by.

Main Street USA Part 1

Welcome back to a long-awaited Designerland Typography Case Study. As promised, this week we're looking at the amazing typography used on Main Street U.S.A. Main Street is a typographer’s paradise full of amazing vintage display fonts. In fact, Main Street is the one place within the Kingdom that is most saturated with typography—you could spend hours if not days trying to document all the fonts within this land. This is too much content for just one case study, so we’ll look at the typography through a three part series.

Most of the fonts used on Main Street are display fonts, which are decorative in nature and used for logo design. In this case, most appear in logos for the various storefront businesses that call Main Street U.S.A. home. These display fonts include Victorian, Script, Tuscan, Latin, Slab Serifs, Serifs, Edwardian, Ornamental, and so on, but you won't find any sans serif fonts in this section of the Magic Kingdom. Through the process of locating these fonts, I found that the display fonts, while vintage in nature, actually come from type foundries from the 1950s, and some even come from foundries from today. 

 

This large variety in typography is another layer that helps the thematic atmosphere, and Disney Designers do it well. As of late, designers have taken a keen interest in one particular type foundry, and this brand of ornate, vintage type not only appears on Main Street, but also in the new Fantasyland expansion. So the next time you stroll down the street on your way to the hub stop, this typography is sure to catch your eye. Well that about does it for this week’s post—tune in next week for a new Retro '71 shirt concept. Have a greet week and see you all soon.

Rocket to the Moon | Flight to the Moon | Mission to Mars

In this attraction typography case study, we will look at some of the typefaces used for Rocket to the Moon/Flight to the Moon/Mission to Mars.

Rocket to the Moon was one of Disneyland's original opening day attractions.  It was a simplistic show that utilized circular screens in the center of the floor and ceiling. It seated the guests in the round, and a screen on the floor would show the guests where they had been, while the above screen showed the destination. Over time the attraction began to show its age and was reimagineered to Flight to the Moon. After six years, the attraction was rebranded yet again to Mission to Mars. Disneyland's Mission to Mars shut its doors in 1998 while Walt Disney Word's attraction closed in 1995. 

 
The typography for this long-forgotten attraction focused heavily on popular Sans Serif typefaces. The simplistic, classical typefaces represent progress and the future, and the italic-set fonts convey the feeling of movement and speed as if we the guests were thrusting into a world of Tomorrow. A few classic Serif fonts do make their appearance in the font palette, but these are more secondary to the Sans Serifs. With all the rebranding and re-themeing of the attraction, a few small decorative display fonts made their way into the palette, like the main font used for the attraction signage spelling out "Mission to Mars", which is a wide-set, italicized stencil font that looks extremely sci-fi/space race. 

Well that about does it for this week's case study. Thanks for stopping by and be sure to come back on Monday for a new Retro '71 shirt concept. Have a great weekend!

Peter Pan's Flight

 

In this week’s case study we'll be looking at the simplistic font palette of one of the most popular rides within the Magic Kingdom, Peter Pan's Flight. Peter Pan's Flight is one of the original attractions designed by WED for opening day at Disneyland and quickly became one of the staples of Fantasyland, so it comes as no surprise that most every Fantasyland from here on out would have its own version of the attraction.

When the attraction first opened, Imagineers were giving guests too much creditability by casting them as Peter Pan. Guests couldn't quite grasp the concept of this first-person point-of-view, and they often asked where Peter Pan was within the ride, as was the case with the original Snow White and her Adventures. When Imagineers began re-imagineering the attraction for the Walt Disney World Resort, they quickly added Peter Pan into the attraction’s storyline. Peter Pan wouldn’t make his grand appearance at the Disneyland attraction until 1983 when Disneyland's Fantasyland underwent a major face-lift.

This attraction only uses a few different fonts, which is the case with most of the attractions within Fantasyland as these generally feature simpler thematic detailing. Peter Pan's Flight uses some of the same classic fonts used to brand other attractions within Fantasyland, with the two main classifications being Serif and Blackletter. These two classifications are the perfect mix of British and Medieval typography which reflect the story of Peter Pan by author J.M Barrie (born Scottish but lived and worked in London) and Fantasyland’s overall theme of a Medieval fair.

Well that concludes this week’s short but sweet post. Tune in on Monday for another Retro '71 concept and thanks for visiting. Have a great weekend!

If You Had Wings

I'd like to welcome you all back to the Designerland attraction typography case studies. In this week’s installation, we will look the typefaces of the gone-but-not-forgotten attraction, If You Had Wings.

If You Had Wings was one of the original attractions at the Walt Disney World Resort. Modeled after Disneyland's Journey through Inner Space, the attraction focused on flight, and appropriately, the attraction was sponsored by Eastern Airlines. The attraction took guests through various exotic ports of call, all set to a catchy 70's theme tune written by Buddy Baker and X Atencio. Over time the attraction saw various name changes due to changes in sponsorship: If You Could Fly, Delta Dreamflight and Disney's Take Flight were the different incarnations of the attraction until Buzz Lightyear's Space Ranger Spin finally settled in.

As we've seen in previous posts about Tomorrowland, If You Had Wings used the same sans serif font palette as most attractions in Tomorrowland. The most noted typeface used in the attraction is the classic font, Helvetica. A few display fonts that mimicked the Eastern Airlines logo were also used throughout the attraction. Over time, with new sponsors came new branding, and with new branding came new logos and signage, and new logos and signage meant new fonts! When Delta Dreamflight moved in, more serif fonts were introduced into the attraction. The main serif font used in branding Dreamflight does convey a sense of dreamy flight, especially when set in italic. However, when juxtaposed against other Tomorrowland attraction typography, this attraction seems a tad out of place because both the typography and the attraction itself were more contemporary than futuristic.

Well that does it for this week’s case study. Tune in on Monday for a new Retro '71 shirt concept and thanks for stopping in.

Backstage Magic with Mickey Mouse

In this week’s case study we'll be looking at the magical typography used throughout the new Backstage Magic with Mickey Mouse character meet and greet.

On April 1^st of this year, the Main Street Exposition Hall changed its name to the newly renovated Town Square Theater. The Theater now includes two elaborate character meet and greets: one for the Disney Princesses and one for the main mouse. The new character meet and greets are the first to utilize Disney's FASTPASS ticketing system, which now guarantees guests an audience with the beloved mouse.

Imagineers designed this new experience to resemble a turn-of-the-century magic show, where Mickey is the main magician and the guests get to venture backstage to interact with him before his next act of people-pleasing prestidigitation. 

While in line, guests are treated to humorous and clever advertising bills for Mickey the Magnificent. The posters depict Mickey and some of his noteworthy feats of illusion. Using cutting edge technology mixed with some good old fashioned mathematical magic, a few posters actually interact with guests as they wait. 

These posters set the stage for some amazing type specimens. The designers of the various posters and signage really streamlined the font palette. Most of the typography comes from one particular type foundry, which is noted for producing turn-of-the-century, elaborate display fonts. Some of the classifications of fonts seen throughout the new meet and greet area are: Western, Victorian, Script, Late 1800's, Early 1900's, and Decorative. Main Street U.S.A. has a great many fonts used from this foundry, and if one were to ask me where to find Disney Park fonts with that Main Street feeling, I would recommend this one foundry right off the bat. What is this foundry you ask? Well . . . a true type magician never reveals his secrets.

I think that does it for this week’s typography case study. Tune in Monday for another Retro 71 concept and for those of you who have enjoyed the Haunted Mansion Soundboard app, I pleased to inform you that I have created 2 new soundboard apps and have a 4th one in the works, so tune in for these real soon! Thanks for stopping by and have a great weekend.

Mad Tea Party | Alice in Wonderland

In this week’s Designerland typography case study, we'll look at the wild fonts from the Alice in Wonderland dark ride and the Mad Tea Party.  The Alice in Wonderland dark ride is a classic of the Disneyland Resort. Opened in 1958, the attraction honors the time-treasured animated classic where guests follow Alice down the rabbit hole and through her many adventures in Wonderland. As an East Coaster, I’d never had the privilege of riding this attraction until about two years ago while visiting the Disneyland resort for the D23 Expo week. I truly enjoy this dark ride, but what dark ride don’t I enjoy?

Having grown up with the Disney World Resort as a second home, my only experience with Alice in the parks was the Mad Tea Party. Mad Tea Party is a copy of Disneyland's version, only Walt Disney World Resort's Mad Tea Party features an elaborate pavilion-type awning that offers relief from the harsh Floridian sun and tropic storms. 

The classic spinning tea cups and saucers have become a staple in Disney Theme Parks across the globe. Every park has its own version with only a few differences, such as adjustments in the names of the attractions, the color palettes, and the pattern designs on the tea cups.  Also, some have awnings while others do not.

Disney designers took a whimsical and wacky approach when selecting fonts for the signage and logo treatments. The theme is extremely fitting, seeing how the attractions are based on Wonderland and the famous Mad Hatter tea party scene. All of the fonts used in this attraction are display fonts that include curled or swirl serifs (which mimic the theme of the spinning tea cups) and fonts that look as if they bounce up and down the baseline. This attraction doesn’t feature some of the highly-used fonts of Fantasyland, such as Bradley Gratis. However, Devinne Swash, another favorite font of Fantasyland, is present in the signage for both of these Alice attractions. In my research, I could only find one bit of signage that pays tribute to the fact that Alice in Wonderland is a classic British novel. Other than that, this attraction abandons the storybook village look of Fantasyland, but does it appropriately well. 

That about does it for this week’s case study. Tune in on Monday for another Retro 71 concept design and look forward to some new colors added to our Wonderful World of Kuler account. As always, thanks for popping in and have a swell weekend.

Pirates of the Caribbean

This week we set sail with some of the wildest fonts to ever terrorize the Spanish Main as we look at the typography of Disney's Pirates of the Caribbean. What can be said about this all-time classic that hasn't already been covered on many a Disney blog, book or fan site? 

On a personal note, Pirates of the Caribbean is my all-time favorite Disney attraction. I have many memories of my dad and I at Disney World late at night during the extended hours. We would end our nights continuously riding this classic, seeing how many times in a row we could get in. My dad loves to tell the story of how he could never keep up with me as I ran from the exit, through the gift shop and back to the entrance. The only time I would ever pause was to stop and purchase one of my MUSTS from the shop: a mini skull necklace which was made of plaster with a rhinestone “diamond” in one of the eyes. How I treasured it! Despite the countless times my parents had to buy that exact same necklace, I haven’t managed to keep a single one. I keep a weathered eye out on eBay from time to time, but have never seen one up for grabs.

The first Pirates of the Caribbean opened at Disneyland in 1967, and it was originally designed as a walk-through wax museum-like attraction. However, the plans changed when WED decided to incorporate some of the new animatronic technologies they had created for the World’s Fair. The attraction became an instant success. When Walt Disney World opened its gates in 1971, fans demanded that the show be brought to the Sunshine State. Disney World's Pirates attraction opened in 1973 with some slight modifications from the original. As we all know, most every park Disney has built from here on out has a version of this masterpiece.

When looking at the type used by designers, we see a wide variety in classification of display fonts. Most of the typography is based on classic 60's and 70's fonts with a few subtle nods to the sea fairing, scripty, pirate-looking fonts like Caslon Antique. It wasn’t until the Pirates of the Caribbean film franchise that some of the typography changed, mainly at the Walt Disney World attraction, where we now see the font from the films’ titles now branding the attraction. Once again, we see our favorite font, Bookman Swash, along with some other notable 70's fonts like Columbus. Disneyland's attraction has a larger variety of typography as compared to the Walt Disney World attraction, so most of the fonts in this week’s study come from the Anaheim original.

The one thing I enjoy about the typography of the Pirates of the Caribbean attractions is the use of such dated and classic fonts. This one attraction features the works of such time-honored typographers such as William Caslon, John Baskerville and Ed Benguiat. If a Pirates attraction were designed today, I'm apt to say the designers would probably choose more aged and distressed fonts. To a type nut like me, the typography tells the story of when this attraction was created—it has a refinement that doesn't rely on gimmicks to enhance the story. It is truly one of my favorite font palettes within the Disney Parks. 

Well that about does it for this week’s case study. Tune in for more fun Designerland updates. Thanks for stopping by and have a great weekend.

Storybook Circus

In this week’s case study we'll be looking at a wall. What's so special about a wall you ask? Well a wall at Disney Theme Parks is usually hiding something truly amazing behind it: a new attraction, a refurbishment or even a whole new extension of Fantasyland. WDI has realized as of late that they're wasting valuable market space with just blank construction walls when they could be promoting, enticing and even teasing guests with what's about to come to the theme parks. Their solution to this problem was to theme these walls with various graphics and signage to really get the guests excited about what's to come. In this case study we'll look at one wall in particular, the Storybook Circus wall that's currently up between Fantasyland and the old walk way to Mickey's Toontown Fair.

Before we talk type, let's talk about inspiration. It seems I may have tracked down WDI's reference photo for the Storybook Circus wall. In comparing the photo with the Storybook Circus wall, I can find 13 similarities between the two, which leads me to suspect that the wall’s designer looked to this very photo for inspiration. Do you see the similarities?

We all know that I enjoy a good Slab Serif font, so when I saw this wall's teaser "billing" art I got excited. The overall graphic has a disjointed look: predominately type-oriented sections are broken up by large illustrated concept art. It’s my theory that the illustrated portions were done in Glendale and the typography portions were done by WDI in Orlando. Why do I think this? When studying type, there's a BIG difference between Glendale's campus and Orlando's WDI campus. As of late, it appears WDI Glendale has been using free fonts from such sites as dafont.com and abstractfonts.com, whereas WDI Orlando tends to use professional, commercial fonts for their signage. The sections of the wall that are mainly type-heavy use a variety of classifications: Slab Serifs, Western, Tuscan, and Woodblock. These same classifications can be seen in Frontierland, which is fitting because they all have a Wild West look to them. Traveling circuses were extremely popular in the late 1800's and early 1900's—the same time period from which many of these “Western” typefaces originated. As for supporting my theory, it just so happens that all of the fonts featured on the Storybook Circus wall can be found in the Western section of the type foundry from which WDI purchased most of their commercial fonts.

In comparing the type with other vintage circus posters from the time period as well as the reference photo, the designer(s) paid a great deal of attention to detail. I hope that WDI continues the theme of a late-1800s-to-early-1900s traveling circus with the signage in this extension of Fantasyland. I'm excited to see what typographical wonders show up when this new section finally opens. Well that about does it for this week's case study. Tune in on Monday for an all new Retro 71 concept. As always, thanks for visiting and I hope to see you back real soon!

Mr. Toad's Wild Ride

This week we're merrily, merrily, merrily, merrily, merrily on our way to nowhere in particular as we look at the terrific typography of the Mr. Toad's Wild Ride.

Mr. Toad's Wild Ride is one of the classic dark rides of Fantasyland. It's one of the last remaining attractions from Disneyland's opening day back in 1955. The attraction is based on the Disney short, The Adventures of Ichabod and Mr. Toad, and loosely based on the classic tale of The Wind in the Willows. Disneyland wasn't the only park to feature this attraction—Walt Disney World had its own version which was much larger and boasted a two track system. Sadly, on September 7th of 1998, Winnie the Pooh evicted J. Thaddeus Toad, Esq. from Toad Hall. To this day, fans are still upset over the loss. Thaddeus, however, still roams around the park to this day. You can see him handing over the deed to Mr. Owl in The Many Adventures of Winnie the Pooh; a few retro t-shirt designs pay homage to the attraction, and at one time you could see a grave marker dedicated to the loss of the beloved character over at the Haunted Mansion’s pet cemetery.

As with any attraction in Fantasyland, you’ll notice the heavy hand of Fraktur, Blackletter, Gothic, Medieval and Old English fonts, which is fitting to the themes of fantasy and fairy tales, not to mention Mr. Toad. The classic novel of The Wind in the Willows is set in a pastoral version of England, the country from which many of these type classifications originated. Amongst the classic typography of the attraction, designers incorporated wacky and fun display fonts to carry out the theme of a wild ride. Unlike Walt Disney World's version, Disneyland's typography consists strictly of classic font specimens and doesn't incorporate the silly and fun display fonts. When WDI remodeled Disneyland’s Fantasyland back in the early eighties, all of the classic dark ride attractions received new facades to better fit their respective themes. It appears Tony Baxter nixed any crazy display fonts that broke the theme and tight integration of the story. 

Mr. Toad's Wild Ride will always be my favorite classic Disney dark ride. I have fond memories of me and my mother speeding through Toad Hall and the British countryside. Each time I visit Disneyland, it's one the highlights of my trip. Well that does it for this week’s installment of typography from the parks. Tune in for another fun Retro 71 concept and a few new Kuler palettes. Thanks for stopping by and have a swell day.

Skyway

It's a two-for-one typography treat this week as we look at the gone-but-not-forgotten Disney Skyway, so let's jump aboard for a one-way trip into this week’s case study!

The Skyway was a simple gondola lift attraction that ushered guests back and forth between Fantasyland and Tomorrowland. The first Skyway was built at Disneyland and tunneled through the icy slopes of the majestic Matterhorn. Disneyland wasn't the only park to feature this attraction: both Walt Disney World and Tokyo Disneyland had Skyways of their own. Sadly, the Skyway at Disneyland was closed in the early 90's, and like falling dominoes, Tokyo Disneyland closed theirs a few years later, followed shortly by Walt Disney World.

The Skyway still has some presence in the parks, but that's all about to change shortly. The Skyway station still sits to this day in Fantasyland at both Disneyland and Walt Disney World. Walt Disney World's station is about to undergo a major refurbishment to house larger restrooms, feature lush landscapes and possibly some water features as well. I'm looking forward to what the Imagineers have in mind, but I’m also hoping they'll retain a subtle nod to the original attraction.

Now on to the type. Let's start by looking at the Fantasyland Skyway first. Like all attractions in Fantasyland, the Skyway used decorative display fonts such as Old English, Blackletter and Fraktur, which all combine the themes of English/European fairytales with a Swiss edge to convey the theme of a gondola taking us high into the snowy alps. Once again, the designers have used more German-based fonts to represent Switzerland. Swiss typography does get featured—just not in Fantasyland.

The Tomorrowland Skyway Station used only one classification of fonts, sans serif. The main font used on the signage was the classic typeface Helvetica, which was designed by typographer Max Miedinger back in 1957 in none other than Switzerland. Various weights and sizes where incorporated on the signage along with another popular yet overused typeface, Impact. A few decorative futuristic fonts made their appearance later on in the years. One specific typeface was used to brand Walt Disney World's second gate.

I miss the Skyway—it was a great way to get off your feet for a few minutes and get a bird’s eye view of the park. It was a small thrill as well—I remember being scared as a child that the cables would snap. I even miss those out-of-place pylons positioned right in the middle of Fantasyland. One thing I do not miss is seeing the unfinished tops of the show buildings within the park—it was the first time I had ever seen the illusion revealed. Ever since, I've been interested in the art of illusioneering, if you will, which has been perfected by those mad geniuses over on Flower Street.

Well that about does it for today. I look forward to seeing you back on Monday for a new Retro 71 design. Thanks for stopping by and have a great weekend.

Matterhorn Bobsleds

Guten Tag, y'all! This week we’ll take a brisk look at the typography used throughout Disneyland's Matterhorn Bobsleds. Walt Disney came up with the concept for the attraction while visiting the Swiss Alps on vacation with his family. Once back home in the states, Walt tasked his Imagineers with creating a Matterhorn of his own. Stepping up technology, as Imagineers do, the Matterhorn was the first roller coaster to implement a tubular steel continuous track system. This innovation ushered in a whole new era of thrill ride capabilities.

Many of the typefaces and fonts used throughout the attraction are derived from English, German and Irish lineage . . . while the actual Matterhorn is located in Switzerland. Regardless of whether or not it is completely accurate, the typography does give an air of authenticity to the overall theme.

 

Most of the typefaces used on the signage are display fonts. The signs feature a few classic Serifs and italicized Sans Serifs to convey the speed of the bobsleds barreling through the icy slopes of the mountain. However, the two most prominent classifications are Blackletter and Calligraphic.

Blackletter typefaces are heavy, bold, angular fonts derived from medieval script writing, and are Disney’s fonts of choice for most anything and everything in Fantasyland. Blackletter typefaces can break down even further into five subcategories: Bastarda, Fraktur, Quadrata, Rotunda, and Textura.

Calligraphic fonts are hand-drawn fonts. Typically gentle and light in weight, these are designed to mimic the traditional quill-and-ink flowing script found in early monastic manuscripts. Two main variations appear throughout the Matterhorn Bobsleds: Uncial and Jackboot. Uncial fonts are more consistent with what you’d expect from calligraphy. While most are Irish-based, some can be traced as far back as the late Roman Empire.  Jackboot fonts are bolder, heavier variations that are crisp, sharp and usually italicized. These make for a perfect transition between the themes of Fantasyland and Tomorrowland. 

 

While the typography used may not be historically accurate in terms of origin and locale, Disney designers knew what they where doing. These interesting and unique typefaces blend together into a font palette that truly evokes the Swiss Alps.

Well that does if for this week - thanks for dropping by and I look forward to seeing you back on Monday for a new Retro 71 concept. Auf Wiedersehen!

Space Mountain

In this week’s case study we take a look at the typography of Tomorrowland's Space Mountain. Space Mountain is the brainchild of WDI legend, John Hench, who began designing the attraction in the early 60's for a revamp of Disneyland's Tomorrowland. With the desire to appeal to an older demographic, Walt Disney World management felt the Resort needed a high-speed "thrill" ride similar to Disneyland's Matterhorn Bobsleds, and Space Mountain was their answer.  After many revisions, the attraction officially opened at the Walt Disney Resort in 1975. Many of Hench's early concept sketches differ dramatically from what was finally built — here is just one example of what could have been: WYW Model.

Space Mountain became an instant classic, and Disneyland soon followed suit with the construction of its own version. Today, Space Mountain appears in every Disney theme park across the globe with a few subtle theme variations.

The typography of Space Mountain, which has evolved over the years due to various refurbishments, falls into three main classifications: Sans Serifs, Art Deco and Retro. We could even go as far as describing the themes, such as techno, LCD, comic, etc.

As discussed in my earlier case study on the Wedway Peoplemover, Sans Serif fonts are the fonts of the future: they’re progressive, sleek, and in some cases, futuristic. Various weights and treatments are present within the font palette of Space Mountain.  In the 90's, designers began to incorporate Art Deco fonts with their elongated x-heights, sharp serifs and terminals which convey both the old (one foot in the past) and the new (one foot in the present). More recently, designers have begun to add retro-themed fonts to help support the comic book/Buck Rogers feel of Tomorrowland. Most of the retro fonts are script-based fonts derived from the Atomic Age of the 1950s and 60s.

The fonts and type used for Space Mountain provides viewers with a glimpse into the unknown that speaks of classic science fiction; a sort of H.G. Wells meets Down and Out in the Magic Kingdom. The steel structure looms in the distance, beckoning guests to Tomorrowland where Mission Control prepares their voyage into the true final frontier.

Well that about does it for this week. Tune in next week for a new Retro 71 shirt concept and case study. Thanks for coming by.

The Enchanted Tiki Room

In this week’s case study we look at Disney's own tropical oasis, The Enchanted Tiki Room. The original Tiki Room opened in the early sixties, when Polynesian pop was at its peak. This Americanized take on Polynesian culture quickly evolved into heightened kitsch, and as countless tiki-themed bars and hotels popped up all over the states, it was only fitting that Walt would want to design an attraction based on this craze. Originally conceptualized as a dining experience, Walt and his Imagineers felt the new-fangled Audio-Animatronic birds could carry their own weight as a floor show attraction.

 The typography used to help establish The Enchanted Tiki Room comes from the early to mid-sixties. Most of the display fonts are heavily themed to reflect the Oceanic cultures represented within the attraction. A few of our classic Disney fonts make their appearances in the signage, such as the popular typeface Bookman Swash, which appears in two other attractions within the parks. A few classic serif fonts are used here and there, most likely to ease the viewer’s eye. The Enchanted Tiki Room also includes a few hand-carved and hand-painted fonts. Out of love for this classic Disney attraction, a few typographers such as David Occhino and Brian Bonislawsky have taken the time to recreate these one-of-a-kind fonts.

Over time, designers have added more tropical tiki-themed fonts through various refurbishments and enhancements. Unfortunately (or thankfully, depending on how you see it), you will not see any of the WDW “Under New Management” fonts in today's case study poster.  Well that about wraps it up for this week. I raise my tiki mug of Otto's Octane to you, Mahalo.  See you next week for another exciting look into the wonderful world of Disney typography, and be sure to stop by Sunday evening for another Retro 71 shirt concept.

DCA Attraction Posters

This week, I'm stepping away from the Magic Kingdom to look at some new Disney typography from the all new Disney California Adventure attraction posters.

A few versions are floating around out there, so we can only speculate on which posters will make the final cut. The first set of three were released for public viewing on the official Disney Parks blog, but these have clearly undergone a few edits, which are evident in the newer three over at the Blue Sky Cellar. Most of the edits are typography-based, and we designers can breathe a collective sigh of relief that they have axed copperplate.

The typefaces used in the designs are true to the time period of Paradise Pier with a few creative liberties taken here and there. Type within these new posters range in classification from Gothic and Art Deco to Carnival/Tuscan and 1920/30s.

 It took me four days to track down the fonts used on the new posters—some of the fonts were rather tricky to locate. I had almost thrown in the towel on one of the fonts until Sunday evening. I was on my way to dinner when I passed a well-known chain restaurant and noticed they had used that same font in their signage. With a bit of light searching, I finally found that one elusive font.

Stylistically, the posters are great. I really appreciate Disney ushering back the classic attraction poster. Speaking of which, there's rumor of a new Disney publication, set to release this spring, which focuses on attraction posters from the parks. I have yet to see anything on Amazon about said book, but I know one guy who will be buying three copies when it finally is released! 

Be sure to tune in Monday for a very special, non-t-shirt Retro 71 concept. Thanks for stopping by and have a good weekend!

Big Thunder Mountain

In this week’s case study, we look at one of the wildest rides in the wilderness, Big Thunder Mountain.

A Disney park wouldn’t be a Disney park without Big Thunder Mountain. Big Thunder was designed by an Imagineer I truly admire, Tony Baxter. I've had the pleasure of meeting him twice and have even dined with him on one occasion. It was a dream come true to spend a good hour plus with someone I felt I could truly relate to. After dinner, as we parted ways, he said he looked forward to hopefully working with me one day. I almost died. It's still one of my dreams to work under him, like a humble apprentice shadowing a great sorcerer.

What's great about Big Thunder Mountain in type take is the use of some amazing fonts and typefaces, which happen to be some of my all-time favorites. The typography used in this land pays homage to a time when the bold was big and the wide was wild! Throughout this land, you can find variations of such classic type specimens as Slab Serif, Antique, Clarendon, Latin/Antique Tuscan, Tuscan and Egyptian typefaces.  These fonts were all popular during the 1800’s when gold was discovered in Southwest America, turning Big Thunder Mountain and the small community of Tumbleweed into a thriving mining town. These typefaces are known for their distinct weight and serif treatments.

In typography, a slab serif is a kind of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt or angular. Because of their bold appearance, they are most commonly used in large headlines and advertisements and are seldom used in body text.

You’ve probably seen these types of fonts used in other places around the parks. Adventureland has a few scattered here and there, mainly within the Jungle Cruise queue. Using these same styles of typefaces for a tour down the Nile River was actually quite accurate, because slabs aren't just for the Wild West. Slab serifs, which are also known as Egyptian/Egyptienne, were so named not because they look like something inscribed in the halls of the great Egyptian pyramids—they where called so because when King Tutankhamun was discovered, the newspapers, handbills, and posters of the day used these big, bold typefaces to draw reader attention to Howard Carter’s discovery. Slab serifs also have their place in the steampunk genre as they evoke an Industrial Revolution-era feel. With that said, you could probably think of a few other lands where this classification of type would fit nicely.

Well that's it for this week. Tune in next week for more adventures in terrific type and thanks for stopping by!