AVANT GARDE
Ir TdCe Av atnhti c G a G o is named a geometric sans serif configuration, implying that its essential shapes seem, by all accounts, to be built from circles and straight lines. The plan’s legacy has here and there been followed to the geometric sans serifs created by Bauhaus originators in the mid-1920s. Notwithstanding, the structure has its establishment in the first sans serif at any point delivered – a cap only face made by the Caslon Type Foundry in 1816. L u b a l i n ’ s l o g o f o r Av a n t Garde was an energizing development of covering and firmly set geometric capitals. Subsequent to building up the notable logo, Lubalin turned his harsh sketch over to lettering craftsman and type a r c h i t e c t To m C a r n a s e , h i s accomplice at Lubalin Smith Carnase. Carnase rendered the last craftsmanship and planned extra characters and ligatures to set the feature for every branch of the magazine. Before long there were almost enough characters to finish a whole alphabet– and t h e Av a n t G a r d e G o t h i c p l a n was conceived. This was later authorized to ITC. T h e I T C Av a n t G a r d e Gothic family is comprised of five weights and four consolidated structures, all with relating italics (obliques). The condensed structures were
Typography began to gain another dimension, people using it in more than just to write something, giving it an artistic perspective as well.
T h e I T C Av a n t G a r d e Gothic® configuration was the first typeface family made and released by ITC – and keeps on being one of its generally famous. The reason for the typeface was that it was made in the late 1960s for a magazine brought by the ground breaking distributer and mana g e r, R a l p h G i n z b u r g . T h e magazine took the same name a s t h e t y p e f a c e , Av a n t G a r d e . Herb Lubalin made the logo a n d To m C a r n a s e d r e w t h e l e t ters on Lubalin’s drawings and sketches.
g r e a t i m p a c t. I chose this typeface because it is geometric, but elegant at the same time, and you can play with the letters and create standing projects b a s e d o n l y o n t y p o g r a p h y. Even though it is a sans-serif, I see it as a feminine font, soft and even romantic, if it i s u s e d i n t h e r i g h t c o n t e x t. I t can be a great display typeface through the way the capital letters, really imposing and bold, as well as tall and geometric. It can also be a g r e a t , c l e a r, s i m p l e t y p e f a c e f o r b o d y - t e x t. A s i t w a s d e signed for a magazine, I think it can make a great typeface for the spreads of Creative Review .
drawn by Ed Benguiat in 1974, and obliques were planned by A n d r é G ü r t l e r, E r i c h G s c h w i n d and Christian Mengelt in 1977. I T C Av a n t G a r d e G o t h i c structure has gotten a strong staple in the collection of the p r e s e n t v i s u a l d e s i g n e r. The lowercase x-height and open counters help to make this family per fect as a display typeface, but also as b o d y - t e x t. T h e I T C Av a n t Garde Gothic structure is utilised in the corporate logo of Adidas and is one of the primary typefaces in Sony’s corporate promoting programs. OpenType® innovation makes a total f o r m o f I T C Av a n t G a r d e Gothic conceivable, offering the full broadness of Lubalin and Carnase’s p l a n . I T C Av a n t G a r d e Gothic Pro incorporates all the first characters in addition to a suite of extra capital and lowercase interchanges, new ligatures and an assortment of biform characters (lowercase letters with top extents). The first structure contained a suite of 33 interchange characters and logot y p e s ; I T C Av a n t G a r d e G o t h i c Pro dramatically increases this number by double.
WHAT MAKES AVANT-GARDE soFAMOUS?
Av a n t G a r d e
typeface is a historical and classic typeface invented by H e r b L u b a l i n a n d To m C a r n a s e in 1970 for the magazine with t h e s a m e n a m e “ Av a n t - G a r de”. Typography began to gain another dimension, people using it in more than just to write something, giving it an artistic perspective as well. Now type was a way to express yourself and it was used combined with images, being seen as an independent, art thing. His first use was on the cover of the magazine issued with ligatures and had a really
Avant Garde it is such a flexible typeface in my opinion and this is the reason I chose it, as it works as a display typeface, but also as body text. In my opinion it is a really strong and powerful typeface, as you have weights to play with and different shapes of some letters, creating ligatures, and that gives you a wider range to experiment in order to create an outstanding design. In order to illustrate the different use of Avant-Garde, as a designer I chose to create two completely different situations so I can show the diversity of this typeface and its different uses, one being my business card and one being a fictional poster for a Pink Floyd concert.
One project where I celebrated the typeface is in creating a business card, which looks formal, elegant, modern and contemporary. It is a personal project, as I created my own logo and my own business card, as I consider that as a designer you need to represent yourself and to create a brand around you. Avant-Garde is the perfect typeface to represent me and my work, and I took the opportunity to show its modernism and geometric shapes. My goal was to use just Avant-Garde in order to show its flexibility and I just played with the weight and
Avant Garde it is such a flexible typeface in my opinion and this is the reason I chose it, as it works as a display typeface, but also as body text. In my opinion it is a really strong and powerful typeface, as you have weights to play with and different shapes
its characters. First step was designing the logo, where I wanted to make use of its ligatures as I wanted to use my first and second name together and the typeface is perfect for that, as I could change the shape of the letter A to make it collide with E, as they can merge together as one. In order to stand out, I put them in a light purple, as I consider the colour to be feminine and elegant, but also confident and serious. The line has the purpose to unite the white background with the logo.
and that gives you a wider range to experiment in order to create an outstanding design. In order to illustrate the different use of Avant-Garde, as a designer I chose to create two completely different situations so I can show the diversity of this
t Chan al
I took two approaches to this brief and I created two variants. For both of them I used as a starting point one of my chosen typefaces, which is Chantal. My lyrics are We are just two lost souls, swimming in a fishbowl, and I tried to make them in a curved way as they were sitting in a fishbowl to make them true to their meaning. My first approach to this was to create it in a curved way and I printed them out and started to make them like they are melting, as a way of suggesting the fact that they are lost and trapped in a fishbowl and they are washing off. I used ink on a layout pad to trace the outline of the typeface and combine it with water for that effect of washing off. I created two options of just the lyrics washing off and another one where they sit in a fishbowl. Another approach to this,which you can see in the next spread was to create a completely different outcome to this, still using my typeface, Chantal. I created a typographic illustration in pencil after my printed typeface and I tried different ways to play with it, by experimenting with shadows and curved typeface creating a disco vibe to it. I see it working as a piece of graffiti, because of the typeface and the way I played with weights, black and white and shadows.
The way I designed it, it leaves space in the middle, as I made it fit in an actual fishbowl from having the two lines of the lyrics in an lower arc and the other two in an upper arc. I placed two fish in the middle that merge with the typography. I see it working as a piece of graffiti, because of the typeface and the way I played with weights, black and white and shadows. The way I designed it, it leaves space in the middle, as I made it fit in an actual fishbowl from having the two lines of the lyrics in an lower arc and the other two in an upper arc. I placed two fish in the middle that merge with the typography. I placed two fish in the middle that merge with the typography.
“ There is something about ink that inspires sadness” ”
Pink floyd I just Wish you were here
Faced with the question “What is your favourite album?”, the answer was quite easy, “Wish you were here” by Pink Floyd. Faced with the fact that I needed to design my own cover for it, my answer to this brief was immediate and I loved the idea. My idea behind the cover was to create something really personal, looking almost like a diary, as the album are thoughts and feelings of Roger Waters, who wrote the lyrics.
My idea behind the cover was to create something really personal, looking almost like a diary, as the album are thoughts and feelings of Roger Waters, who wrote the lyrics.The album is in a way dedicated to one of the founding member, Syd Barrett who left because of mental issues, and talks about how he is missed. The album also speak about sensitive subject as the absence from this world and also how everything degrated. Having this fact, I wanted it to be confesional and to suggerate this idea of intimacy and to be really personal.
The beginning of the end
u s e d l s i i n t t sa ce a a r l a e p V pef an ny y c a t ou m it o Chocolate Packaging is one of the projects that I wanted to do for a long time, especially taking a typographic approach to it. In designing the package, I wanted to take a playful and joyful approach to the package, as this is the image that the brand wants to have. The brand is advertising itself as a vegan, cruelty free product so the package that I designed, I wanted to reflect that. I used Chantal to play with the words that describe the brand and its personality, by attributing human traits. By overlaying them and changing the kerning, tracking, leading, and using false italic, I took a typography only approach for the upper part, as I feel it supports the qualities that are attributed to the chocolate, which is playful and a full of energy typeface is supporting the way wants to be seen and it helps in creating a friendly package that will make people that share the
d y a y h t
same interests buy it. I used the typeface to play with the words that describe the brand and its personality, by attributing human traits. By overlaying them and changing the kerning, tracking, leading, and using false italic, I took a typography only approach for the upper part, as I feel it supports the qualities that are attributed to the chocolate. By choosing bright pastel colours, the brand it presented as a positive one. The use of Rift, as I consider it to be really modern, supports in creating the image of the chocolate as well, as it is new on the market and it is targeting young people. The young girl and the one line drawing attracts the desired target audience and complements the modernity of the brand. I only used two fonts, that are expressing completely different ideas and feelings, but by using them together, even though they are both sans-serif, I think they complete each other, as they are building the right image that the brand wants.