Critique: Typography assignment
The latest layout I worked on was for our typography assignment. When I originally drew the font “Albertus,” no typeface recognition came to mind. Purely by word association, it made me think of Harry Potter’s Albus Dumbledore, and then I thought it might be a more traditional looking, wispy serif font.
Turns out, the typeface was created by Berthold Wolpe using a chiseled engraving technique and was named after 13th century German philosopher Albertus Magnus. The type was originally only made available in a titling font, so its uppercase letters looked best in title or display font. As I learned this, I knew that I wanted to fill the page with large text to clearly see its shapes, as well as play with columns and spacing to imitate what the carved-looking font might look like engraved on a tablet.
Good ol’ Bertie liked to stick to the font’s intricate simplicity, and he only created three different weights. That, and the designer created each letter and symbol by chiseling away a raised inscription until it was just so. After I figured out how much information I wanted to display on the page and at what size, I wanted to adjust some of the type and graphics to make it less stuck in the columns. I added the different weights of the font, spruced it up with some bright color in the text and a patterned background, and featured a nice photo of Mr. Wolpe just to put a font’s face to a designer’s.
I’m still not 100 percent satisfied with the way the right-most column has a a bit of a gap, but neither making it left-aligned nor centered helped. Perhaps moving around more of the information would have been better, but I do think that overall the page is pretty well balanced with different type weights, sizes, colors and graphics.
UPCOMING WORK: I’m still in the idea-generation and sketching stage of True/False and trying to incorporate the potential themes we were given by the writing class. So far, one idea in the running is along the lines of “Your brain on True/False.” While it’s nice to have a sense of direction regarding what kind of editorial themes will play out, it can also be hard to tailor it toward a very specific idea another person has come up with. My biggest challenges thus far are conceptualizing photos (or at least photo shoots that I have the resources to pull off) if that’s the direction we do end up going in, and how to visually embody the themes we’ve been given (drugs and obsession … hmm).
You can’t miss: Vanity Fair‘s 20th annual Hollywood issue
Here are a few of the magazine’s previous covers:
You can’t miss: #myNYCFC design contest
Logo Design Love recently posted an interesting example of a logo design contest gone a bit awry. In an attempt to open up the NYC Football Club’s logo competition to the organization’s enthusiasts, the NYCFC tweeted out a blank badge illustration asking for design submissions. The team’s expansion rights were bought last year despite opposition, and subsequently some of the submissions reflected those still disapproving of the project and its backers. Then again, there are some pretty good ones, too.
Photo inspiration: Halls’ “A pep talk in every drop”
I spent the better half of last week and weekend with another cold (I usually get one at the turn of every season, so hopefully this means I’m getting out of the way early for spring). My design inspiration comes from the cough drops that became my daytime companion, not necessarily because they’re oh-so-beautifully designed, but more for the packaging idea of having little personal notes on each cough drop’s wrapper. It’s a simple technique that’s been done before á la Dove chocolate or even quirky Taco Bell sauce packets, but it’s an effective tool at giving a product character and making it seem like it’s working for the consumer. If anything, it makes a dreadful situation such as having a case of the sniffles a little bit more interesting.