The last Serif typeface I chose was Mrs Eaves. I like the story behind this typeface and it also ties in nicely with Baskerville.
Mrs Eaves was designed in 2006 by Zuzana Licko in 1996. It is a variant of Baskerville. Baskerville is known for being absolutely perfect, stark and sometimes hard to read and Licko went out to create a version that was softer and more feminine in approach.
Mrs Eaves was named after Sarah Eaves; Baskervilles live in housekeeper who would later become his mistress and eventual wife. It was the story that drew me in to this typeface.. Sarah Eaves was John Baskervilles live in house keeper whose husband went on to leave her and her 5 children. Sarah in time became Baskervilles creative assistant and mistress and then when Sarah’s estranged husband died, they were married. Sarah Eaves was very much the woman forgotten in typography.
I wanted to bring an element of this story into the design; again, similar to Baskerville I had the idea to create a book design for the layout and tell the story of Mrs Eaves but then I saw that Mrs Eaves has the most beautiful ligatures and I wanted to do something with this. At college when I was 17 we had a project (similarly worded to this exercise actually!) called “create a type-FACE” or something similar where I had to create an actual face out of typefaces. I thought about creating a similar thing on my layout using just ligatures. I had the idea of a very feminine pattern and then possibly repeat printing it across the page. What I ended up with though was slightly different; I am a little bit disappointed because this is one of my least favourites looking back on it and it seemed to have so much more potential at the beginning but time was very much against me in this exercise.
I created a very similar layout to Baskerville as the 2 are related back to each other and then started messing around with the ligatures to make a feminine looking pattern. The pattern I created looks a bit like a Celtic cross, it reminds me of something that would appear in a stained glass window. It has a traditional yet modern feel to it. I tried to turn the opacity down on the design as I still think it looks a bit harsh but tuning it down just made it disappear into the backdrop.
This was the typeface I was quite looking forward to designing for! Didot typeface is very elegant looking and is used in glossy, expensive fashion magazines such as Vogue and Harpers Bazaar. Didot is named after the Didot family who were artists and printers. Didot was inspired by Baskerville which is another reason why I have used it as part of my type specimen book.
Didot is most famous for being on the cover of Vogue as “Vogue”, because of this I wanted to create a layout that represents high fashion magazines. Vogue magazine always has a celebrity or a fashion model on their cover so I wanted to include a similar thing in my layout. I went onto Pexels website and typed in “Vogue” and it came up with an image of a woman in fashionable clothing holding a Vogue magazine close to her chest. It seemed like the perfect image to use for this design!
There were a few more variations of this photograph as well which I downloaded in case I wanted to use different images on my layout:
Photographs courtesy of Dziana Hasanbekava (pexels-dziana-hasanbekava-5480694) from Pexels.com
The next step was to import the photograph into Photoshop and then adjust the colours. I wanted it to have a Sepia filter to it; Black and White photography suits High quality fashion magazines more and looks good on a layout for contrast. I wanted to put the “Didot” heading on my layout but didn’t just want to place it on the page with no creativity.. I decided to make the D part of the photograph by using layer masks again to mask part of the D out to look like she is carrying the D as an accessory in the photograph. I think it works well! I decided to do the rest of the layout in a similar style to a fashion magazine with the text in 3 columns and one column talking about the history of Didot.
Futura is the last Sans-Serif typeface in my collection! I chose this one because again it is a classic and it also ties in well with the Bauhaus era along with the other Sans-Serif typefaces that I have chosen.
I did take a more modern approach when designing this layout though; instead of staying with traditional Bauhaus colours (Red, Yellow, Black, White) I was inspired by a German slogan “die Schrift unserer Zeit” (“the typeface of our time”) It gave me futuristic/modern vibes and I decided to play off this when designing my layout!
Futura reminds me of “future” and the future is modern and a mystery to us yet… I designed Futura around the theme of modern, futuristic space vibes with vibrant colours and an interesting layout.
“The Futura is now“
I had the idea to create planet-like orbs using Photoshop by using my brush tool and layer masks. I used this technique on one of my posters that I did for the “365 a poster a day challenge” I started a few years back. I masked the orb area out and making my paintbrush big, airbrushed different colours over each other to create a planet effect. I then copied it twice more create 2 in both corners. I really like the effect it gave. The bright colours contrast against the black to really make the design stand out. I also created contrast between small and big text.
Design Development – The stages of reaching my final design and layout!
Following on from Univers, I chose to do another famous typeface by Adrian Frutiger.
Frutiger is a Sans-Serif and was designed to be legible at any size. It was originally commissioned by Roissy Airport in Paris, (Charles De Gaulle) when it was first built to design all the signage in the airport. The airport wanted a new directional sign system. It was going to be named “Roissy” in 1972 after its success but was then Frutiger was approached to make the typeface suitable for print and it was then named after the designer himself.
The way forward for this layout design seemed quite obvious; to base it around signage and CDG airport. The first idea I had was to make the layout look like a baggage tag or boarding pass with the barcodes and airport names etc.. taking a little bit of inspiration from my Casetify Pangram phone case… My idea was to scan some barcodes in and then create another “swiss grit” style design.
I did ask my boyfriend if he had any boarding passes kicking around from his visit to Dubai a few years back (I haven’t travelled abroad in a few years now!) and he did have one boarding pass that I managed to take a QR code from and import into my design;
I also keep a bag full of different cardboard and paper textures and barcodes and anything interesting I could potentially use in my designs; I found a relevant barcode that I could use.
I felt like I needed some images of airport signage next. I did not want to take images from the internet because they would be very low resolution and would ruin my clean, legible design. The only way I could use airport images in my work was to import a web image of a sign and then trace around it in Illustrator to produce a high quality vector image. I did this for a plane and an arrow.
After I had collected these bits I decided to just take it straight into Adobe to try and make into a layout for the typeface. As you can see from the design development, It took me several attempts to get to the final piece! I had a lot of design elements to cram onto one page and I wanted to keep it as clean and as minimal as I could so it was a case of moving elements around the page to see what worked the best. I wanted the design to flow and to not be “too busy”. I think the version I decided on works the best.
Design Development – stages to the final design!
These are all the development stages I had to go through before I reached the final design.
Another typeface I chose for my Sans-Serif collection was Univers. I have already used Helvetica and Akzidenz Grotesk and this is the third typeface that relates to all those; they are all based upon Akzidenz Grotesk. Univers again played a crucial role in Swiss style. I did worry that by doing all three of these typefaces that they would be too similar as they are often mistaken for each other but if I am creating a specimen book for my own personal use I would use all 3 of the typefaces in my work.
I tried to make the design for this slightly different to the others that I completed to date; Univers referenced the periodic table and Adrian Frutiger took a different approach to designing it then anyone ever had before. He wanted a table system that showed the different typeface weights and variations as numbers instead of names. Frutiger has since used this method in more of his type designs.
55 was crucial in the design of Univers; how Frutiger designed the whole typeface was to design “55 Roman” first and then base the other variations and weights around that. I decided to use this as the main design in my typeface book. I tried to be more experimental with this layout, using the 55 as part of the negative space in my design. I did want to bring in the periodic table element but struggled to keep it looking clean and simplistic. In the end I used blocks of colour to represent the periodic table influence on the typeface and I think this worked well.
Design Development – The stages of reaching my final design and layout!
I wanted to carry on down a similar path for my next typeface, Akzidenz Grotesk was the next best Sans-Serif to choose. Akzidenz Grotesk’s history goes back further than Helvetica’s but despite this, they are still closely related. Akzidenz Grotesk was the inspiration behind the design of Helvetica.
Akzidenz Grotesk was known as the “jobbing” typeface; what this means is that it was heavily used in trade printing, advertising and forms that were made at the time. The typeface was designed to be seen from a distance. “Akzidenz” comes from the German language and means trade printing for an occasion or event. The latin term refers to it as “that which happens, a casual event, a chance”. I liked this saying and used it further in my design (I will come to that later!)
Keeping in mind that Akzidenz Grotesk was used predominantly in advertising and posters I decided to base my design around this, researching further I also found that Josef Muller Brockmann heavily used Akzidenz Grotesk in his poster designs.
Josef Muller Brockmann
Brockmann was a Swiss Graphic Designer but also the pioneer of the International Typographic Style which tied in brilliantly with this typeface. He was recognised for his clean use of typography, shapes and colours in his designs. His work mainly consisted of poster design. I bought a book about him and studied his posters to see how I could get a similar style for my own design. I also did some in depth research on Pinterest again to get some ideas and a feel for his style.
I found an image on Pinterest which caught my attention and gave me an idea for my design:
Composition 5 by Eduardo Seco
I liked the way the colours pop and contrast each other and the different styles/weights and sizes of the text also work together to create contrast. I felt I could create something like this using Akzidenz Grotesk, the Bauhaus colours and make it look like “trade printing or advertising with the modern influence of “Swiss Grit”.
I wanted to create the poster layout for my type specimen pages but just didn’t know how to do it…yet.
Using the image from Pinterest to vaguely copy, I knew I had to layer up and collage different posters to recreate that torn and ripped look. I decided to create a poster with a made up event (A typography exhibition in honour of Josef Muller Brockmann) then layer up behind it contrasting colours and different type relating to Akzidenz Grotesk. The only implication was that I wanted to actually create my poster on a real wall and photograph it and then import it into Photoshop to do any adjustments etc.. The issue was where would I find an urban wall when I live in the country? and how would I even get out to photograph one during lockdown?.. I then looked no further than home because we are currently renovating our house and the upstairs second bedroom wall is being ripped out and is covered in plaster, paint ripped off.. ideal for the urban look! I created a few A3 pages with different colours and pages filled with Akzidenz Grotesk type and then printed them off to later PVA glue onto the wall with a roller which I hoped would give a wrinkled, worn feel.
I enlisted my boyfriend with the roller to help glue them on! I needed someone who (no offence to Chris because he is super talented with cars and a brilliant Motor Vehicle Teacher! :p) has no creative flair or direction and would just stick random pieces anywhere without overthinking it! I procrastinate too much and am too regimental in my approach which is something I did not really want! I wanted it to look random and “rough” . At the end of the evening after doing these posters I decided I needed to go away and have another go printing off more sheets and make further alterations. The blue that I used was too much and it wasn’t layered how I wanted it to be. We just ripped pieces of paper and layered them on top of each other, what I needed to do was to print 4/5 pages and stick them all on top of each other and rip into them to reveal a page at a time.
The next day in my lunchbreak at work I decided to trial a test piece on some card I ripped off a cardboard box; it was rough in texture so I thought it would have the same similar feel to a wall. It turned out to be perfect! I scrapped the wall idea totally and used this as my final piece for my design.
I then imported it into Photoshop and made some minor adjustments like changing the brightness/contrast etc. I also added the type point sizes onto the side of it to show what the type looks like at different sizes. I created 2 more pages on my Indesign document below my Helvetica pages and imported my collage poster into Indesign to start my final layout!
Digital Development
Again, I wanted a layout that was minimalistic and clean with lots of negative space. I decided to place the poster on the right hand side page and place the character alphabet of Akzidenz Grotesk on the left side.
I wanted to use Red as a predominant colour again as it represents Swiss design and also the Bauhaus influence. I wanted to be in keeping with the “Swiss Grit” style of the poster though with the “Akzidenz Grotesk” heading and decided to try something experimental and different… I watched an interview with Chris Ashworth about a year ago where he explained what sort of experimental “grit” typography he does such as sticking type to the bottom of his twin girls school shoes so that when they return back from school in the evening the type is all ragged to give that worn down texture. He then uses this in his pieces rather than using digital textures. I wanted to do something similar for the type on my page. I decided though to try the cellotape method… I made friends with a Graphic Design student on Instagram who is also into Swiss Grit and he did a demo on his page of how he created his “gritty” type. He printed his type out using a laser/inkjet printer and then covered the text with cellotape and gradually pulled away at it to rip the ink off the page onto the cellotape. It worked! It gave a great gritty texture to my type which I then imported in and tweaked to become part of my layout.
Design Development – The stages of reaching my final design and layout!
The final layouts were received VERY well when I uploaded them onto Instagram. It got the most likes my page has ever got and everyone seemed to love it! I felt very proud of this piece when it was done!
My Instagram screenshots
The final design pages and final mock up
The final mock up!
Responding to Tutor feedback…
“The sketchbooks evidence in between stages, idea development and layout/mark making: do you have any evidence of the planning for the laying for the Aksidenz poster? Is this a place where you could experiment with textures and layering with surfaces and drawing media?“
I have sketches in my sketchbook and images that I found on Pinterest that inspire the collage that I did for the Akzidenz Grotesk poster:
Work by Eduardo Seco
I agree with the feedback that I didn’t document the Akzidenz Grotesk collage all too well… but it was created entirely how it is pronounced!.. a complete happy AKZIDENT!
I had no idea really how to put the collage together for Akzidenz Grotesk. I tried first on the wall of my house PVA glueing different sheets of coloured paper that I printed out from my printer at work and this just did not work. I tried rubbing Letraset on the walls too, My plan originally was to create the poster on the wall using Letraset letters or printed type on sheets of paper that I would dampen and then rub off onto the wall!
Another thing that inspired me was a few photographs I took of the side of my old cooker… When I moved house in October 2020 I rented my house and inside it I had an awful, old cooker (possibly from the 1970s!!) when I moved it out to clean it I noticed some markings on the side of it. It was quite cool and I took the photos to bank in my resources for any future projects:
I knew I wanted to create this kind of effect but I was struggling as to know how…I then had the idea of photographing some different textures and then importing them into Photoshop to play around with for my poster. These were some of the textures I found, (again, they were all from the upstairs of my house which is currently now only starting to be renovated!)
The textures idea just wasn’t gritty enough for me though… This is where I went to work the next day feeling really frustrated at the fact that I didn’t know how best to create the idea I had in my head!!
I have a very rigid “Neat” approach to my work, everything I do is very structured and organised and I couldn’t quite get myself to create something “messy” enough!- I needed to switch off and just become careless and wreckless to see what I could create!! I had another go on my lunch break when I had the classroom to myself; I filled a paint palette up with PVA, found a screen printing roller to layer it on smooth and what I ended up with was the unexpected, perfect finished piece! I have photos that I have found in my design archive of me creating this final piece but other than me being really inspired by some collage work I found on Pinterest it happened without any prior planning or any planned sketchbook experimental work.. it was completely by accident! A really happy accident! I literally just created pages in Microsoft Word (my work laptop did not have Adobe at the time!) of block coloured pages and pages with some type using Akzidenz Grotesk, I printed them out using the laser printer and then layered them up on top of each other using PVA glue. Carelessly I just ripped sections away to reveal layers underneath. The idea was to create the feel of a really old billboard that has had hundreds of posters ripped off and layered on in its time in a really rural area of a city..
The final piece was perfect for me! In fact it seems such a shame to pack it away with all my Core Concepts work that I have thought about framing it as a showpiece!
When you think of Sans-Serif there is only one typeface that comes to mind immediately and that is Helvetica. Helvetica is possibly a designers all time favourite. It was designed in 1957 in a new world after the war where the need for function over beauty prevailed. There was a need for clarity, function, cleanliness and for text to be readable, legible and straight forward communicating. The mantra was “less is more” and “form follows function”. The focus became on the content rather than the design and any ornate detailing. The designs of the time were very mathematical; Designers of the time designed religiously around the grid. Bauhaus at the time was also a massive influence.
For this design I wanted to represent everything that this typeface stands for; minimalism, cleanliness, Swiss designed and legible. I started off by doing some intensive research into the typeface; I used Pinterest as I always do to look at lots of type specimen books that already exist for Helvetica. I watched the film Helvetica again, I bought a book all about the history of Helvetica.. I really went deep with the research!
I noticed that a lot of type specimen books use “The quick brown fox jumped over the lazy dog” to showcase their typefaces with the different styles/weights/widths etc.; I did not want to do that. It just did not fit in with the feel of the typeface at all! I was really making myself nervous about completing this double page layout for the fact that I wanted to do the typeface justice and didn’t want to design something awful. I decided to refresh myself on the typeface by re-watching the film “Helvetica” for some inspiration and ideas, It was from this that I got the idea to use one of the quotes from the film;
You can say, “I love you,” in Helvetica. And you can say it with Helvetica Extra Light if you want to be really fancy. Or you can say it with the Extra Bold if it’s really intensive and passionate, you know, and it might work.
Massimo Vignelli
I decided it would be a good idea to use this on my main design to replace “The Quick Brown Fox”. I actually used Helvetica Extra Light and Extra Bold when I wrote the quote to show the different styles and weights of Helvetica on my type specimen page.
I used Red as the dominant colour and the red Swiss cross in my design to represent the origins of Helvetica.
I then started to lay everything out onto my pages and reorganise. I wanted a lot of negative space. It needed to be minimal and to not be ornate in any way.
Design Development – The stages of reaching my final design and layout!
I was really happy with how my final design and layout turned out and it was also well received on social media when I uploaded it to my college Instagram page!
Hello and thank you for joining me on the last of my 10 city guidebook designs! 10 of 10 – Mumbai!
This is it! The end of the infamously difficult Abstract Cities exercise! I won’t lie to you and say I am not happy to see the back of this exercise! BUT! moving on to the write up of my last design!
Again, my lack of geographical skills led me to question whether Mumbai was in Africa or India… India! (*eyeroll!) so I felt it best to do the normal and to search Pinterest for inspiration and ideas!
The most popular image that appeared was The Gateway to India. It reminded me a lot of the design that I had done for Marrakech, in my head I was conscious that I had to try and make this design look different.
Again, I tried to pick out important features from the building which I could include in an abstract way on my design. I didn’t want to draw the building as it is on the cover because that would not be portraying it in an abstract light. If I picked out key features and then simplified the design I could place key elements of the building on my cover.
The colours of Mumbai are very similar to that of Marrakech, India is very rich in colour. Purple is the best colour to represent wealth, richness and luxury. On the photo of The Gateway of India that I found on Pinterest, it showed water in the background inside the gateway. I had a look on an aerial photograph of this and it showed that the gateway is almost on water. I included this on the design going through the gateway as it appears on the photo but then travelling it across the cover to take the eye on a journey across the design. The yellow block represents the warm sun but also acts as the actual door or gateway. The 2 circles in my design appear on the photograph in the doorway, they are decorative on the actual gateway. I have taken them and split them up over the design to keep the eye interested in all areas of the design. There is a lot of negative space in this design which I like. The design is not constrained to the edges and it has plenty of room to breathe. The black squares which bleed out over the right hand side edge are windows that appear in one of the arched windows on the photograph. I have used them to add contrast and to give a level of interest to the design. The blue is the dominant colour in this design with the yellow following closely behind as a subordinate. The accent colour is the rich purple. The layout is the same as the other 9 designs I have done in this series. They are all in keeping with each other, the repetition is there.
When I think of Montreal I think of Canada and Canadian moose’s, Mounty’s and all things stereotypical!
Brushing my naive knowledge of Canada to one side I decided to do the usual search on Pinterest to get ideas and inspiration for this one!
What appeared and grabbed my attention more than most was the Habitat 67 development. This housing complex is abstract in itself! It met the brief and it seemed like the perfect choice to feature on my cover!
In March 2012, Habitat 67 won an online Lego Architecture poll and is a candidate to be added to the list of famous buildings that inspire a special replica Lego set. Lego bricks were actually used in the initial planning. Initial models of the project were built using Lego bricks and subsequent iterations were also built with Lego bricks.
I didn’t actually do a lot of sketching for this one because I knew I just wanted it to be comprised of blocks of colour to represent Habitat 67. I knew that I could develop it as I went along in Illustrator.
I started from the bottom of the design and added a pop of green for the accent colour which represents the tree at the bottom of the complex. I then wanted to work my way from the bottom left to the top right so that the eye flows naturally ad comfortably up and across the design. I wanted negative space so kept the bottom right free for this. I created several blocks of squares and rectangles with overlapping colours to best represent Habitat 67. I think this is the most abstract design in the 10 that I have done, it works put quite nicely because this is the city in my eyes with the most abstract landscape. I used different weights in the blocks and line to create a contrast. There is repetition in my design, I tried to replicate the appearance of each apartment of Habitat 67 as they appear in reality.
Hello and thanks for meeting me here at city guidebook number 8 of 10- Melbourne!
When you imagine Melbourne you see sun, sea and surf! I found myself getting confused between Sydney and Melbourne though! :s Again, I did a search on Pinterest for ideas and inspiration.
What I noticed was a lot of photos with Pink hue skies. Pink is a colour I know I haven’t used much in my designs so far, so I decided to use Pink and make it a dominant colour in this design. Pink is modern, confident and warm so it would make it an ideal colour for this popular city. An iconic structure in Melbourne is the Princes bridge, it appeared in a lot of the photos on my search. Melbourne is a coastal city with a lot of landscape and structures but there is also a lot of green around the city. This is something else I would include!
Similar to my design that I did for Manchester, I didn’t want to draw the bridge looking exactly like a bridge.. I wanted to leave it open to interpretation and make sure that the abstract was present with it. I took a photo of the bridge and sketched it out above using only its simplest form. The bridge uses triangles as part of the design so I used this as the main frame for it.
This is the final mock up. I feel like this design is very balanced. The design has a centre point where everything comes together and then there is a lot of negative space and room for the design to breathe. This design allows the eye to travel from the bottom left to the top right. It flows naturally ad comfortably. As I said, I wanted to use Pink as the dominant colour. It is bright and modern and confidently portrays the atmosphere of Melbourne. To break the pink up I used a cool blue, this brings contrast between the 2 colours. A pop of green was used to represent the natural environment which does appear within the city itself. This I feel fights with the blue for attention but it is definitely the attention seeking accent colour of the design. The bridge itself is built from the triangles which appear on the real thing. It is seen to appear in the distance and then come closer to finish at the forefront of the design. It is the bridge in this design which perfectly balances this design. The eye flows comfortably across the design.
pinkangeleno.com 