Editorial Research
Saul Bass Saul Bass, born in 1920, was a graphic designer and filmmaker, best known for his design of film posters and title sequences. He has worked for; Alfred Hitchcock, Stanley Kubrick, Otto Preminger, Billy Wilder, and Martin Scorsese. Bass also designed some of the most iconic corporate logos in North America, including the original AT&T “bell” logo in 1969, as well as their later “globe” logo in 1983.
Looking at Saul Bass has really helped my creative thinking because I have been able to look at him as a designer and take inspiration from his work. I have been able to look at his skills in art and design and take inspiration from them when thinking about how I will compose my work. It is effective looking at multiple designers to inform my decision when I choose my final designer for my magazine.
Bass’ poster designs for Anatomy of a Murder (1959) and Love in the Afternoon (1957)
Bass stepped up the sophistication of movie posters with his individual minimal style and he completely changed the role of title credits in films. Credits used to be static and boring. They were considered so unimportant, they would actually be projected onto the closed curtains which would only open for the first official scene of the movie. Bass, wanted to make it come to life, he made them as much a part of the cinema experience as anything else. He made “kinetic type,” Bass’ letters dashed and moved across the screen and frequently incorporated images other than text. This made the experience of going to the cinema much more enjoyable and made everything fit together nicely, this is what he became very famous for. To critcally analyse, I think making the start of the movie interesting is important because it sets the scene for the audience and makes them enjoy the movie more. Looking at this has really helped me to think about how I could use InDesign to possibly make aspects of my magazine move and animate to make it more effective when in an online format. I could potentially come back to this research to take inspiration from what Saul Bass done with kinetic type, even if I don’t end up choosing him as my final artist to base the magazine on.
(from left) Bass’ designs for Kosé Cosmetics (1959), Kibun (1964) and Warner Communications (1972)
Typeface made for the logo for Geffen Records.
Bass’ logo for Geffen Records (1980) He gave birth to the creation of a title equence at the start of a movie in the late 50s.
Bass’ logo for Geffen Records (1980) Overall, Saul Bass is a very good designer and uses narrative to create his work and bright colours. He creates art that communicates, this could be used as inspiration within my magazine if I choose Saul Bass to create my magazine in the same way he creates his pieces of art.
I could use these pieces of work as inspiration within my magazine in terms of how he composes them and the narrative behind them, he also uses grids within the designs e.g. Anatomy of a murder uses white space and rule of thirds.
Bradbury Thompson Bradbury Thompson studied printing production, was an art director for mademoiselle magazine, designed book, pushed the boundaries of conventional typography and taught design at Yale University.
Bradbury came up with printing overlays of CMYK colours. He used the war to create stamps. Alot of design was involved in propaganda, but he used his designs to represent American history and culture during that time.
Made this font because not many fonts were that clear, he Thompson definitely specialized made it for children and they in magazine layouts, but he also actually read better with it. An consulted for the U.S. Government alphabet where the uppercase and during World War II and designed lowercase forms of each letter were over a hundred stamps for the U.S. identical, and case was expressed postal service. Some of the through the letter size only. This signature designs include the simplification was intended to “Love” and “Learning never ends” make the letters of the alphabet stamp. As someone who was very more logical and intuitive, and well-versed in typography, it was hence render the alphabet easier to fitting for Thompson to design learn and use. Thompson first his own typeface. Alphabet 26, a published the alphabet in a monoalphabet font where the case Westvaco Inspirations for Printers. forms were identical and were only distinguishable by size.
A
“A constant interest in work plus an interest in everyday things, can give the artist and designer endless numbers of fresh ideas”-
Bradbury Thompson
This book was one of the first to use the Sabon typeface designed by Jan Tschichold and released in 1967.
The WashBurn College Bible- In this version of the bible the type is set flush left and ragged right allowing for strong legibility and ease of use. The type has plenty of space between paragraphs allowing the readers eyes to rest between sections. Then there is a beautiful image on the left side of the page.
This redesign of the bible was considered one of his more important works as it shows his endless layout and typography skills as a graphic designer, completly re-designing it to become more innovative and easy on the viewers eyes using his knowledge of typography and layout, which is a really big inspiration for my magazine making.
This work was made by someone today, inspired by Bradbury. This layout and type of art is helpful to me because it will enable me to be inspired when it comes to making my layout for my magazine as it shows how they have interpreted his work and applied it to a layout. This helps my creative thinking as, if I choose to go with Bradbury, then I will have reference to what other people have interpreted his work as and how I can do this in my own work. An article written by WideWalls uses a typeface similar to Avenir or Lucida Grande, this could be a link to typography to Bradbury that could be applied when creating a magazine for him, if I choose to base it on him.
C
Communication Arts, “When it came to the blending of photography, typography and colour, nobody did it better than Bradbury Thompson.... In his own quiet way, he expanded the boundaries of the printed page and influenced the design of a generation of art directors.”
Overall, Bradbury would be a really effective designer to base my magazine off of as he uses colour and composition in such a different effective way and inspired many things when he was alive within design,I have seen what he has made and how he has made it, examples of his work and peoples opinions on him. This research has really helped me to look at his skills, his pieces of work and how everything is effective and how I can take inspiration from it all.
This piece of work by Bradbury really catches my eye as it shows how he uses CMYK colours to create these flat graphics that are very well composed, and uses bigger font’s to make the viewer look more at that particular word. Looking at this piece of work would really help my overall design when I get to creating my magazine because this shows how he uses columns and grid systems to create his designs and I can take inspiration from this and apply it to my work if I choose to make my magazine about Bradbury. To be critical, this piece of work isn’t the most detailed piece he’s done, but it does follow composition rules thats why it caught my eye.
“Typography is a hidden tool of manipulation within society.”
Neville Brody is perhaps the best known graphic designer of his generation. He studied graphic design at the London College of Printing and first made his way into the public eye through his record cover designs and his involvement in the British independent music scene in the early 1980s. In 1994 he formed Neville Brody Studio, now Research Studios, which has enjoyed much success and has since expanded to include offices in London, Paris, Berlin and Barcelona. He is a founding member of the London based type foundry Fontworks and has designed over 20 different typefaces during his career. He was also a major contributor to FUSE, which was a publication about the practice of experimental typography an d was an avid user of the computer as a design tool during its developmental stages. He is a founding partner of FontShop and has designed many typefaces such as Industria, Insignia and Blur, which was included in the Museum of Modern Art’s architecture and design collection in 1992.
Neville Brody
These magazine layouts really interest me, Neville takes his way of working and places onto a magazine format, taking how he places typography in a composition and makes it work. This skill really interests me and would really help when I look at making my own magazine if I were to pick Neville as the artist that I use. His use of colour and composition of typography is really interesting and goes against boundries that you’re usually meant to stick by, he puts his typography upside down, skewed left and right etc, it makes the composition more interesting.
Overall, Neville is an amazing typographer, graphic designer and art director. He takes type and he makes it move on the page and makes you look at the whole composition. Looking at typography he has made and typefaces created has really shown me how I could use him to create a magazine and how the compositon would look within it. His designs and magazine layouts all influence eachother as he puts all his work into how he composes the magazines above and makes them look visually pleasing.
Brand Strategy for Nike – Designed in 1988. This piece of work is considered on the internet one of his more famous pieces as it was a design for Nike, a now world renouned company. His use of typography within this piece is really effective and makes me think about how I could interpret his skills into a magazine layout. He uses three simple colours, bold type, different angles for the type and makes a very intriguing composition for viewers. This could be interpreted into a magazine layout if I were to pick Neville Brody as the person I was going to do my magazine about, how he uses typography to create an image almost. This design would infleunce the magazine layout because how he uses typography and compositon would make the articles look so different and have letters going everywhere. This piece of work is by someone that was inspired by Neville. This is really inspiring and helpful to me because if I choose to base my magazine off of Neville then I could use how they have interpreted his work and interpret it in my own way. I think this piece is really cool and captures how Neville composed his typography and imagary really well, post-moderist. To be critcal, I would have maybe slanted the typography less to make it more legiable and follow Neville’s way of working a bit more, but overall this design by someone being inspired by him is really well composed and makes me think about how I could compose grids and columns in a magazine and also interject how he works into it also.
Brody assosiates.com is a company founded by Neville, they have worked for massive world wide companies such as:
Type they made and use for Channel 4.
Kate Moross
Here I researched on her website about who she is, who she has worked for and where I found her. I actually didn’t find Kate on purpose, I typed into Google ‘ Famous Graphic Designers’ when researching and she came up and I happened to click on her and found that she is an upcoming designer from London and has really amazing work that really caught my eye. I am probably going to do my magazine on her as she is the one that really caught my eye.
Working from their studio in south London, Studio Moross have been busy these last few years creating iconic design and art direction around music and TV. From tour visuals for One Direction and Disclosure, to logos for record labels such as Young Turks and total branding for artists like Jessie Ware and Sam Smith, the studio pride themselves on experimentation and their ability to solve creative solutions via their huge range of talent. Kate Moross is a rising contemporary London-based graphic designer, illustrator and art director. She is recognized for her typographic illustrations. At the young age of twenty-six she has achieved a prominent position in the world of designing. She is currently the art director of Studio Moross. Her designs follow a certain pattern such as three sided shapes, illegible typography and she is fond of freeform lettering.
Here I am looking at studio Moross, this is a studio that Kate Moross started and now has other people working there for her. This is important to look at for my designer as I can see who she has worked for and the work that came out of it. Studio Moross has now worked for famous people such as Sam Smith and One Direction and also MTV making graphic design advertisements for them all.
Looking at her life and how she was a student that started her own graphic design firm is really inspiring and makes me think about how I could portray her and what I could write about her in my magazine to show her life as well as her work and how she got to where she is today. Looking at the people she has worked for has really made me think about my developments and how I could show the work she has done for them in a way that is suited.
We’re a young company, with every year we have been going we have expanded our skill-set. From branding, illustration and packaging at the start, to an ever-growing video and animation department, and now stepping into broadcast and live shows. We want to offer our clients a 360 degree service whether its the campaign, a clothing range, music videos, visualisers, live show design, or TV commercials-Kate Moross
Overall, looking at her work and who she is overall has give me a background to her as a person and why she makes the work the way she does and her techniques and skills that she uses. This will really help me in my developments to produce a layout that compliments her work and portrays her in the way that she works.
Kate Moross
Hand written typography
Split design based off of images.
Images of how she sees park life, colours go well together.
Fun and colourful, suits the audience of children, hand drawn. Album cover is different and more simple compared to other works-could take inspiration from this.
Here are some examples of work that Studio Moross create, they have created really famous pieces of work such as the album cover for Sam Smith, Parklife advertisement, One Direction tour ad and a red bull skin for the cans. The amount of work that Studio Moross has done gives me a lot to work with when creating a magazine based off of Kate. These pieces of work are all famous so they are all over Google. Looking at this work has really helped me develop my creative thinking ideas as well because I’ve been able to see what type of typography and layout she uses when she produces pieces of work and how I can apply that to the layout and type that I use when creating my magazine in my developments. This has helped me see her skills that she uses when using type and image and be able to apply it to my developments, Her layout is very fluid as well as her typography, she uses symbols to portray whatever she is trying to advertise and gives the advertisment it’s own brand almost, which shows her talent in graphic design.
In this adverstiment she uses the way that the rapper brands himself and puts it into an advertisement poster for him. She also uses a three colour palette, which is really eye catching and doesn’t distract you too much with too many colours. This has inspired me as I could use how she brands herself to produce a piece of work in the magazine to advertise her as an artist and the way she works. Colours go together really well, layout is centered, images go with narrative and advertise it really well. Type is biold and stand out.
She has done countless branding to do with logos. These are all really interesting and make me think about the typography that is related to her as a designer that I could include in the magazine about her.
Here are more works that Studio Moross has done. They complete all kinds of projects, from advertisements to logos to album covers, they do anything to do with graphic design. Looking at all the different type of work they produce and how they lay it out has really helped me to look at how the designs and my magazine layout will influence eachother. I have found that her typography is really fluid, so when I produce my headlines they will be really fluid and graffiti/hand drawn like, following the way she produces her work. This research has really influenced the way I will go with my developments and produce my magazine because looking at these examples I’ve really been able to critically look through her work and the type of work she produces. This will be really effective because I will be able to apply her skill to making my magazine and the layout and type that goes into it.
Kate Moross Moross was born on April 09, 1986, in London, UK. She went toWimbledon University of the Arts, London. In 2008, she earned her Bachelor of Arts degree with first class from Camberwell University of the Arts. While studying, she launched Isomorph Records, a vinyl only record label. The record label was set up so that Moross could further examine the dynamics between music and design. The label has launched several music artists including Cutting Pink With Knives, Pictureplane, Apes and Androids, Midnight Juggernauts and Hearts Revolution. In 2010, she joined Pulse Films as a director.
Here she directed a number of music videos for popular artists, such as Mobile Disco, Alpines, MTV EMA, AB Carter and Simian. Most famous piece of work she has produced, and my favourite piece of work she has produced.
Besides, her signature clothing range for Topshop, illustrations for Vogue Magazine and a nationwide billboard campaign for Cadbury helped her put her name on the map. In 2012, she sat on the jury for the D&AD Awards. Some
of the renowned magazines such as Grafik Magazine, Vice magazine and Dazed & Confused have profiled her in the recent years. She has also been
selected for Creative Future award by Creative Review, in 2007. Additionally, Prestel Publishing has recently published her first book, Make Your Own Luck (2014). Here is one of her most famous pieces of work she has produced. Advertisements for cadburys dairy milk chocolate bar. This is actually my favorite piece of work she has produced also because of how simple yet how much it portrays her as an artist it is. It shows that you should make art in your own style and people will like it. I will really like to portray her style like this in the magazine that I produce. This piece will definatly be featured as well. This has really inspired how I will portray her as a designer in my magazine as well.
Editorial
Colourful, graffiti, bubble writing, layout works together. Here I have looked at editorial work that she has completed, which I thought was appropriate because the project we are doing is editiorial so to be able to look at the work she has done and take inspiration from it for my layouts. Her pieces of editiorial work are always hand drawn typography and patterns with alot of colour, so by looking at this research I have been able to be inspired by this so when it comes to making the magazine for her I will apply this and make the articles and images really colourful with patterns etc to follow the way she works. This has really helped how I will approach my developments because I have been able to see how she approaches editorial and what type of layout and type she uses overall. Type and image is colourful, works together, shows a narrative, so I will apply that when I produce my pages in my magazine.
She uses a colour palette that works together here, she uses hand drawn typography that is fluid and goes around the image, which is a really effective way of showing typography.
This is her book that she produced called ‘make your own luck’, this is a really good thing to look at to do with editorial that she has produced to give me inspiration on how I should use layout to display Kate’s way of working within editorial.
This is a front cover editorial that she done for a magazine. This is typical of Kate’s type of working as she uses her skill as an art director and typographer to make this layout design and make the words work around the layout to create this front page, which is really inspiring for my work.
Typography/ editorial/famous work
Kate Moross
Its pop its art project- all you need is love. Her interpretation was to create something that had her stamp on it and used colours that go together that show the lyrics in a fun, playful way and you get a feeling from every word She cleverly incorporates her typography skills into common things you hear when on a train or bus. This makes it close to written. home for the passengers and also follows the colour palette of the She also
makes music videos for famous people such as disclousure and uses her invidual style of overlaying animations on top of people to make a really interesting music video-effective, simple, makes me think about my developments when I make my magazine.
Simple coloured swirls added to show the fun, kid friendly atmosphere that innocent smoothies are about. It also shows confetti that you would have at a birthday.
London public transport services.
3D editorial, geometric. Different type of style, effective.
This was a piece of work that has a really strong narrative and shows 3D typography skills, which I could incorporate in my work.
Here is a piece of editorial work she has done to advertise disclosure, the music artists using staple patterns by Kate Moross. She also uses her staple hand drawn typography skills that make the advertisement stand out even more. This is really inspiring for my front cover of my magazine and I will be refering back to this piece when I am planning my concepts.
Part of the ongoing adidas consortium ‘your story’ project. This collaboration with Kate Moross is themed around the 2012 London olympics. Created with grey suede shoes. They feature a reflective triangle based pattern including block-colour triangles, which reference the various colours of the olympic rings. Simple design, with strong narrative.
Here I am looking at pieces of work she has done herself as a graphic designer, art director and illustrator. She has created many pieces of work with strong narratives that show her skills. These are really effective because they show how she applies herself to each project she is given. She has a signiture type of working and I would like to incorporate that into the magazine that I end up coming up with. There are some famous pieces here that she has came up with, like the London underground sleeve, the innocent smoothie bottle, the disclosure video for one of their songs, and a design for adidas shoes. These are all inspiring and help me think about how I can show her skill through my magazine layout and how the type and image work together. She will highly influence my layout when I come up with my magazine because of how many different disciplines she has done within her career and how I can incorporate that into my work.
Inspirations
Kate Moross Kate Moross logo-could be incorporated into the magazine? This shows her branding herself as a designer in an individual way that means something to her-effective.
Here I am looking at what inspires her to look at quotes I could use within my magazine and it has really helped my creative thinking because I have been thinking about how I could put them into my magazine using the type of hand drawn typography she uses in a layout type she sues.
Looking at how Kate works and what her inspiration is was really helpful because I am able to see what her brain thinks like and how she gets her inspiration incase I decide to make a piece like hers inspired by her to put into my magazine. This has also been helpful because its enabled me to gather information for my magazine because in order to write 500 words I need to look at who she is and what she believes in as a designer, so this is really helpful because I could take some quotes that she has said and put them into the magazine the way she uses typography and layout effectively. This could be a perfect way that my designs and magazine layout could infleunce eachother as I could use type to manipulate the layout of a page and use a quote by her to show more about how she thinks in a way of how she designs, which would be an effective page to show about her and her design work.
Here I am looking at the typefaces that are related to her and assosiated with her. This first one is used on her website and is most like the font:
Avenir
The next image is something that she branded on her online portfolio. The font on the bottom of the skirt is most like
Bebas This is important to look at because in order to create a magazine that is effective and makes sense I need to look at typography that relates to her in order to write the body text as the type of typography she uses for everything she makes is hand drawn, graffiti type writing and that wouldn’t work as body text because it would be ilegible and wouldn’t look aesthetically pleasing to the viewers of the magazine. Looking at this is helping me to progress and develop my designs for my magazine because I’m able to relate certain typefaces to her and see which ones would be suitable for body text within my magazine. This last picture is a piece that she created that I thought perfectly shows the type of typography that she creates, all hand rendered, colourful, graffiti type that doesn’t have any certain type face at all. I looked at this and critically analysed it to come up with the conclusion that this type of typography she creates isn’t suitable for body text within a magazine after looking at examples of magazines. This is why I started to reserach what typefaces were assosiated with her and her work and how I could incorporate that. Looking at her work and everything has made me synthesise my ideas and realise how I could develop to make my magazine more effective and use the type of typography she creates for headers and sub headings and pull quotes but not for actual body text because that wouldn’t be effective at all and ilegible for the audience. Overall I’ve been able to see a couple of exampes of typography that relates to her and think about how I will go about my developments creating a magazine that suyits and realtes to her but is also aesthetically right.
Kate Moross
Front of her book saying ‘Foreword by Neville Brody’.
What types he created.
Above is something I discovered when researching Kate. She made a book called ‘Make your own luck’ and on the front page of it, it says ‘foreword by Neville Brody’, which is a designer I previously looked into so obviously I was curious. It turns out that he actually looked over and interacted and maybe even made some of Kate Moross’ book, which I thought was a great link between the two practitoners. This link could create a link between her having types that he has created in the magazine that I create, even if it doesn’t it’s still a link to look at between the two designers. So he looked over her book and maybe even wrote some of it, which means that his types he has created in his career could relate to her and she may well have been inspired by some of his typefaces when she is producing her work. He came up with the fonts, industria, insignia and Blur, he also came up with the typeface that Channel 4 use to advertise themselves and the programs that they play. Overall, looking at this link was really interesting because it shows how practitoners can be linked without you even knowing it and has helped my developments because I will now be able to look at her work and think about how she has been inspired by that work etc so I can be inspired by her work to create the magazine and use her sense of layout and typography and how she makes type and image interact with eachother when she produces her work.
This was more research about Kate Moross and typefaces that relate to her, but it’s also research about what press she has been in or done work for. This caught my eye because after reseraching different magazines that I could base mine off of, I saw a few familiar names; Computer Arts, Grafik and Eye magazine. These are all design magazines and would be really good to look into as a development to see which ones I could base my designs off of. The above image is a creative review article on Kate Moross that I found, this shows an article that a famous design magazine has wrote about her and it shows what font they have chosen to use to portray her in writing. They have used a simple sans serif font with different weights that could be similar to Helvetica or Lucinda Grande, these are fonts that realte to her also, which is helpful for my developments because it shows how I could use these fonts within the body text for my magazine. Overall, reseraching about Kate Moross has brought me to the conclusion that I would like her to be the designer I make my magazine about because she is young, interesting, fun, from London, who is new and upcoming in design and the designs, whether it be typography, moving image or editorial, are all branded with the specific type of design that she came up with and that is her as a person, she has managed to brand herself at just age 31, and I find that more interesting than the other artists when I critically compare them. She has a type of design that I can also already picture incorporating into a magazine and making my designs shout her type of design e.g. I could do photography and copy the way she illustrates around the photography to make the person almost pop out of the page with animation. Looking at her work, the way she works, quotes by her, her life and how she links to typography and other designers has really helped inspire me and my techniques and developments that I will be going into when coming up with my concepts for my actual magazine. Overall, I am now able to go into my concepts confidently with a lot of knowledge to do with Kate and the way she work and a bit about her life and incorporate that into layout, typography and design and make a magazine about her that shows off her and her work ethic as a designer.
Claude Garamond
The typefaces Garamond produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His fonts have been widely copied and are still produced and in use today.
Based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types. It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text typefaces for bookwork, especially in Germany. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds. Many designers regard the Italics in the Stempel Garamond family as the most beautiful “Garamond� Italics.
Garamond. This is a page I scanned in from the design magazine ‘Computer Arts’, that I’m thinking about using for my magazine to be based off. I researched and in this particular page and others, they use Garamond, or a font very similar to Garamond, which provides a link between the pracitioner I want to use and the font, as the designer I want to use suits Computer Arts because of the way she works and because the content featured in Computer arts is always colourful and about how design is important and different ways of designing and she is very similar to that, being able to do alot of different design practice’s e.g. typography, editioral, art direction, illusration and it is all individual and stands out, very contemporary. Computer Arts use Garamond as their body type, so this could be a realtion between the two and therefore because my artist uses type that wouldn’t be suitable for body type in a magazine I could use this type so it is ledgible for the viewer.
Not suitable for body type within a magazine, but is suitable for headers etc. Garamond would be a ledgible type to use for the body text within my magazine.
Overall, Garamond is a very good font for body text in magazines and realtes to my artist in that the magazine I will probably base my magazine off is Computer Arts and they use Garamond. Claude Garamond is also an amazing typographer and created such a clear, attractive font for it being such a long time ago.
Ed Benguiat Ed Benguiat is an American typographer. He has crafted over 600 typefaces including Tiffany, Bookman, Panache, Edwardian Script, and the self-titled typefaces Benguiat and Benguiat Gothic. He is also known for his designs or redesigns of the logotypes for Esquire, The New York Times, Coke, McCall’s, Ford, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, AT&T, A&E, Estee Lauder...
“I do not think of type as something that should be readable. It should be beautiful.” Here are some of the types that he created as a typographer. His typefaces are really inspiring because as soon as I saw them they reminded me of the artist I’m basing my magazine off of and her type of work-Kate Moross. Her work is hand made and flows like Ed’s, it creates a composition within itself as a typeface.
Logo’s he made:
Looking at his typefaces that he has produced has made me think about what would look the best in my magazine and how it would link to my artist, Ed’s typography would be really good to go alongside with the type of art I’m showcasing within my magazine. His designs would influence my magazine layout by making it flow together and look like it belongs together on the page.
Yet another version of Garamond that has been developed over the years. These typefaces and logos are some of his best known work as a typographer.
Here you can see a very recent piece of work influenced by Benguiat. His font ITC BENGUIAT is used as the stranger things title-Show on Netflix. They used this because it is meant to be set back in the 80’s and they found that this font was perfect for this. This shows how he is even influencing pieces of work today with his fonts. As a typographer, he really did come up with fonts that were a bit different but really worked. His typography works because it makes the title of anything stand out and work together with the text and imagary on a page, this is why it would work if I were to use it within my magazine for my text, it would stand out and would link to my artist because it’s different and invidual and doesn’t follow the same rules as most typography did were it was sleek and simple, his was different and it worked and would work as an effective typeface for text in a magazine. Looking at this research will help my magazine because I’m able to see how typography should be layed out and composed to create something that is has narrative and structure. Ed Benguiat was one of the most prolific lettering artists and became typographic design director at Photo-Lettering, affectionately known as PLINC. He designed logotypes for publications like “Esquire and New York Times and for movies like Superfly and The Guns of Navarrone”. He had drawn thousands of alphabets and typefaces including Souvenir, Bookman, and Benguiat. In the early 70s he began teaching at the School of Visual Arts in New York and continues to work there.
To be critical, his work is individual and different, but I do not think it would go with the type of magazine I will be trying to produce as it’s too clean cut with straight edges, where my artist’s work has a lot of ‘flow’ and doesn’t really conform.
His work could really influence my layout as his typography really takes over a page if it is on it , the image plays 50/50 with the type because the type is that important and a piece of art itself, if I choose to do Ed Benguiat as a typographer that would work, but if I end up choosing an artist, I don’t think his work would go with another persons art. His techniques as a typographer are inspiring and alot of his work helps me think about composition within mine.
Adrian Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. Though interested in many fields including woodcut
and
paper sillhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for
Adrian Frutiger Frutiger is one of only a few typographers whose career spans across hot metal, photographic and digital typesetting. He has also been instrumental in refining his own typefaces to include more weights and true italics, some eamples are Frutiger Next and Avenir Next.
D eberny & P eignot
He created the fonts:
Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa and Avenir.
updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own. accord, he has created almost typefaces.
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Looking at the typefaces he has created has helped influence my work as I am now thinking about how he created the typefaces and the ideas behind them. If I choose Adrian, I could use his typefaces and interpret them to create compositions within a magazine that would follow his beliefs of type being beautiful and legible. Above is an image of the typeface ‘Avenir’ that he created. He made this in order to improve the font ‘Futura’ to make it a better text face.
“From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader. In the course of my professional life I have aquired knowledge and manual skill. To pass on what I had learned and achieved to the next generation became a necessity.”
Here are pieces of work today that are inspired by Adrian and use his typefaces. These pieces are really inspiring to my work because I’m able to see how other people have interpreted his typefaces and composed them and made them into pieces of design. The piece of the left is simple but displays the fonts, which is what I could do as he wanted his typefaces to be beautiful, so showing them in a simple way is a way to display that.
Adrian was a great influencer in typography and created types that are still used today all around the world. His work is really inspiring and helps me think about how I am going to develop because I can see how he composes his work and how people have interpreted his typefaces and where they are most used and where is suitable for them to be used. This research will help with my magazine making because if I choose him or even if I don’t, I can take his typography and put it into compositions that suit his way of working. His work is really interesting and would make really good compositions within a magazine and being able to play with his typefaces to create layouts will enable me to explore grids more and how to work with them. To conclude, Adrian is a famous typographer and his typefaces are still used today, including on a website of one of the artists I’m considering, which could enable for a link between the two to use them both to create my magazine. His work is well recognised and he has inspired work today, which I can take inspiration off of how they have interpreted it also.
Garamond & Avenir
Garamond. I am considering using Garamond or Avenir as the typeface for my bodytext in my magazine. These two typefaces are made by two typographers I have been researching, from the research I have found they’re both suitable for magazine use and would make effective, ledgible body text. I am considering these two typefaces particularly because they both can be linked to the artist I am going with to do my magazine about also. Garamond links because after looking at existing design magazines, the artist I’m going with is most suited to being in the ‘Computer Arts’ magazine (a scan can be seen above and Garamond pointed out), and Computer Arts uses Garamond as a font to write body text in articles. Avenir is linked to the artist I’m choosing because after looking at her website that she has with her company, they use Avenir as a body type to show what their company is about etc. In my develoments I am now able to look back at this research and the links between everything and choose which type I will use that is most suited to my artist and how she will be percieved within my magazine. A simple Google search enabled me to see what typefaces are used mostly in magazines in terms of what they use to write the articles and these are what came up. The two typefaces I am considering are included in there so I am now able to move forward with them as I know they are both known for being used in magazines today. I am trying to figure out a body text because from my research I am able to see my artist uses hand drawn typefaces, which can be used for headers etc because they will be legible enough, but I am needing to find a body text for the articles that can be read and is legible for the audience but also links to my artists, which is these two typefaces.
Below I have screenshots of Kate Moross’ website and the typeface that they use. I put it up against a lot of different typefaces and came to the conclusion that it is closest to Helvetica and Avenir. I thought Avenir was slightly closer so I chose that one to be the one that linked to my artist. Using this typeface as body text would link to my artist because she uses it herself and it is effective as body text, as I found from my research on Adrian Frutiger, the person to create Avenir as a development from Futura. Computer Arts also links to Kate Moross because she actually produced a piece of work that was featured in their magazine, which develops the link of Garamond to my artist.
Overall, critically analysing and researching the typefaces I am considering using and looking at how they link to my artist has really helped my development because I have been able to research about magazine layouts and what typefaces are good for body text and good for headers and how I should consider that when producing my magazine. It has really helped my developments and I am now able to move forward with two potential body text typefaces, I think I will be using Garamond as it is a more common body text magazine typeface used than Avenir and still links to my artist and would suit when I have to write 500 words about her and will be legible and effective to be included in the magazine.
They have gutters, and type fits in perfectly against all the edges They act as a tool to divide images and words in a satisfying way.
“Essentially they give you a tool to create with an underlying consistency and allow you to think less about basic design principles and more about finding a design solution. This allows you to design at a more advanced level, being more able to think about advanced concepts like page rhythm. They also give you a structure place your page elements on.”
Grids became popular in design coming out of the Modern movement in around about the 1950’s. Tschichold having written a book titled “The New Typography” in 1928 was a pioneer that encouraged the use of standardised design ideas. It eventually became the modernists handbook on good design and is loved by many designers. Grids came out of these modern ideals, mostly in and around Switzerland and are a major counterpart to what is known as the “Swiss Style” or furthermore the “International Style”.
Columns &Grids
Looking at columns and grids is essential for magazine designing and making because you need to They were produced with the have a basic knowledge of grids intent of helping designers design to be able to create a magazine faster, streamlining that has effective composition and the process of laying out pages. looks professional. In this research What they have I have looked at where grids came allowed me to do is spend less time from, when we use them and on the basics and some examples and have pointed think more about more advanced out grids on real magazines I have principles, such as scanned into the printer. This is paragraph and sentence rhythm, helping my developments because division of space and I can now start to plan my grid other typographical principles. layout for my magazine that will be appropriate for my content and refer back to this research for inspiration. This is a helpful grid system that I can go by step-by-step to help me produce better grid system when producing my magazine to make it more aesthetically pleasing.
Grid System
This helps me to solve complex visual communication issues because having a composition that flows properly and follows a grid will be more effective visually for the audience and will enable ease of visual communication of the information and art I provide on the pages.
Simple column/grid being made:
Here is a simple way of producing columns. Columns are important within a magazine because it’s where you provide the body text and provide the information for the audience. This is a grid shown as boxes then in action in a magazine. Looking at these examples is really helpful because I will know what a grid is meant to look like when I apply it to my magazine. This is an example of a grid being used in a magazine and pointed out, this is helpful in developing my understanding of grids, which will enable me to apply it to when I produce my own grid for my composition of my magazine and apply it to make it aestheically pleasing for my audience. Looking at the aspects of a real magazine that I scanned in really helps me to visualise how I can develop my composition. Header
Two column grid system
Image
Alley
Columns &Grids
1. Axial System Design to the left and right of a single axis
5. Bilateral system Single axis with lines of text centerd on the axis
Gutter The gutter is the space between columns. In typical grid design, columns and gutters have consistent widths. Commonly, in print design, the space between each column is one to two picas. (A pica is a unit of measure that is equal to 0.1667 inches.) Column Inch When measuring news or advertising space in newspapers and magazines, editors will often refer to column inches. One column inch is one inch of vertical space by one column wide. The number of words that fit in a column inch varies by font and the grid a publication uses.
Jump When items flow from one column to the next, it is called a jump. Text can jump from one column to the next on the same page, or can jump across multiple pages. Rail In some grid structures, a skinny column that is about half the width of columns in the standard grid, occupies the space from the top to bottom of the page on the far leftor right-hand side of the page. This column, which is off the page’s grid, is often called a rail. Rails were common newspaper design tools in the 1990s and early part of this century but have fallen out of fashion in recent years.
Modular Grid A modular grid uses less of a vertical column format and allows designers to package text and images in rectangles. Column widths may vary from element to element on the page, but all elements will stack to form rectangular spaces. Publications that sell ad space to fit a modular grid offer increments of eighth, quarter, half and whole pages. Looking at jargon and examples of grids is really helping my knowledge of them to develop and become more effective when I produce my actual magazine, I will be able to point out and label everything, which will make my composition more effective. My designs and magazine layout will be able to infleunce eachother and work together to make my work stand out and make it visually pleasing also.
Grid systems examples:
Balance is established with having symetrical images by eachother, in two’s or one big one the same size as two. Pull quote
Image
Drop cap
Alley
Three column system
Folio
Image captions under every image.
Typography Jargon
Here I am looking at terminology within typography and basic typography rules. This is important to look at because without knowing the basic rules and terminology within typography, I wouldn’t be able to complete the magazine effectively because the typography wouldn’t be right. When using typography you have to think about kerning, tracking,leading, the atomy of the actual letters and what families you can use together within typefaces. This is all important when building typography within a magazine. Researching typography and looking at terminology will help in my developments with solving complex visual communication because being able to apply legible type and have it in a composition in which your audience can understand it is important to be able to display a narrative properly to the audience reading the magazine. This will help my developments because I can now use it so my designs and magazine layout influence eachother and make eachother stand out and work together, if they didn’t influence eachother it would be an un effective layout and would not look nice when produced, which is what I’m aiming for.
Type Families
Here I am looking at typeface families. This is an important part of typography. A type family is a selection of typefaces that work together, like a family and compliment eachother on a page/composition. To the left is a Garamond family, all of these typefaces work together when in a composition. For example, the bold would be used for a header, the roman would be used for the body text, and semibold and italic used for quotes etc or sub headings. The phycology of typeface families is that they look nice together and work together within a composition effectively and overall make something look better when it’s all put together.
I have learnt from looking at typeface families that using typefaces together that work make a composition more effective and when I produce my developments I will be taking typeface families into consideration and making sure I use typefaces that work together to make my composition more effective overall.
Typography Alignment
Looking at typography alignment is important because knowing how to align typography will make composition better within a magazine. Justified is usually the alignment they use when creating articles for magazines, left or right justified because it looks neater and effective. I will be taking this into consideration when I am developing my layout within my magazine to make my final more effective and show technique within being able to do layout and type and make them work together.
Typography
Here are three of the most important words when working with typography within layout. Kerning, tracking and leading. These three words are important and are the difference between your typography being legible and effective or being un legible and not looking nice at all. These are things I will be considering when producing my magazine layout. Researching the meaning and examples is really important because without knowing this basic knowledge about typography, my typography within my magazine wouldn’t look effective at all. Overall, I will be applying these words to my typography within my develoments to enable my composition overall to be as effective as I can make it.
Typography terminology: This terminology is important to look at to enable me to produce a layout in my magazine with type and image that work together and enable the design and magazine layout to influence eachother and be more creative.
I have used this layout to show an example for the above typography terminology because the layout is quite different but there is still basic typography rules in there, the baseline and x-height are there and tracking, kerning and leading. This shows that you can create a different layout and still make the layout and design work together and influence eachother as long as you follow the rules that will make the typography effective. Overall, researching typography terminology and layout has really helped me develop my knowledge and be able to realise and think about how I am going to apply this when creating my magazine.
Images
Body Copy
Headline
Folio Images Labelling these two magazine layouts has started to help me understand the anatomy of a magazine and what goes into it to make the composition look right. Looking at different compositions and how they can be laid out has helped me to think about my developments and how I could consider composing my magazine to be invidual and fit the narrative of the magazine overall. I like this bottom composition as it is balanced on the page and uses a three colour palette, which made me realise I should be thinking about colour palettes when completing my magazine also. This composition is effective and simple and has made me think about my developments and how I will go about composing my magazine.
Image
Folio
Magazine Layouts
Main Cover line/ headline
Smaller body copy
Above is a labelled magazine. This is important to look at before making my own magazine because I need to know the anatomy of a magazine and be able to realise and apply how I am going to compose my magazine. This helps me solve visual communication issues because by looking at this research I am able to look at what makes up a magazine and how all of the bits work together to create a good composition. Looking at all of these magazine layouts and labelling them myself and looking at an already labelled one has helped my inspiration because I have been able to compare and constrast these different layouts and see how even if the layout is different it can still work as long as you think about the composition that you are producing and how it will look on a page. Looking at these has also inspired me because I was able to see how magazine layouts work and all the different compositions that can actually be created and work well. The designs and magazine layout influence eachother on all of these layouts. They all compliment eachother and don’t overlap or look too cluttered. This is what I will be aiming to do in my developments when I am coming up with my design ideas for my magazine, I will be looking at how I can make the grids/composition work and look right overall. Overall, this has really helped influence my developments looking at how I will compose my magazine and how I will use type and image together to work in a composition, it has also helped me to look at the relationship between the designs and magazine layout and how when they work together they compliment eachother and lead the audiences’ eye around the page.
Layout Things I like about these layouts and will take inspiration from: -Overlaying shapes on to images -Simple colour palette infographics -Clear columns with not too much writing -Words working with and around an image -Clear, legible typefaces
I have researched layout examples within magazines that already exist to look at how different layouts are composed and how I could take inspiration from that. After looking at all my previous research, I was able to look at these layouts and take away from them what I like about them, which made the critcal analysis more effective because I was able to point out particular things that were effective within the compositions of the magazines.
Visual communication is key within magazines, and looking at these various layouts has really helped me to see that and establish what are the key factors I actually like about these examples I have chosen. It has made me think about my developments and how I will move forward within my project and produce concepts for my magazine based off of this inpiration.
Things I like about these layouts and will take inspiration from:
I have found that magazines tend to use simple colour palettes on each page to not distract from the images or the overall meaning of the articles.
-Bold colour -Simple designs -White space -Simple colour palette -Geometric shapes -Black and white images on a colour foreground -Type written over columns to break the grid system: interesting to look at because it relates to Kate Moross as this is a way she would work looking at her work.
It seems that overlaying type and image and making them work together as designs and layouts really makes the magazines look more professional and more effective because of how aestheically pleasing they seem to be when this occurs e.g. the example to the right overlays hand image over the writing, which looks effective and makes you think about the design and grabs your attention- I will take this into consideration when I am producing my magazine in development stages. The example to the left really caught my eye because it is something that I can relate to the artist I am choosing to do my magazine on and was actually thinking about doing this before even seeing this example. This is a really interesting break of a grid and really grabs your attention and links to the artist I have chosen, Kate Moross. She uses typography really fluidly and uses a lot of colour, which is what this piece does. I will take this into my developments and apply think about applying it to my magazine.
Magazines Magazines suitable for mine to be based off of. This first magazine is computer arts. This magazine is about art, graphic design, 3D design, bascially everything to do with design. I am looking at this magazine because it suits Kate Moross and the way she works and anything she does would be featured in this magazine because of how vast she works and how vast this magazine is. Not to mention that she actaully has done a front cover and an article for them in the past as part of her work as you can see below. This magazine would be perfect to base my magazine off of and use their logo to create it because in real life she would fit perfectly into the magazine and already has been with pieces of her work you can see below.
This second magazine is called Vice. Vice is a bit more out there and inclueds things about culture and news rather than design, but does have some design aspect to it. Kate Moross has also designed a piece of work for this magazine as you can see on the right. This magazine, compared, to be critcal, is less suited for Kate to be issued in there compared to Computer Arts as it is more about culture rather than art and design. Looking at this magazine has helped me to see what doesn’t suit Kate and help me evaluate what does and how I can incorporate that into my development work. Overall, looking at this magazine may have not come of anything but it has helped me to see how suited she is compared to other magazines.
Magazines Magazines suitable for mine to be based off of.
Grafik is another magazine I have been looking at to see if it is suited for Kate Moross to be based in. This magazine is another really good one that would be perfect for Kate to be suited in, the only upper hand that Computer Arts has against Graphik is that she has actually done work for Computer Arts and therefore links to it more. This magazine is a specialist magazine on graphic design and visual culture, which fits perfectly to Kate. The designs on the front also have a similar type of design to the way Kate works and therefore link to her. This would be a good magazine to base mine off of because of how it links to Kate and how effective it would look as a designed magazine at the end of it.
Front covers look really similar to Kate’s way of working as a designer.
Computer Arts- three column grid.
Here I am showing what each magazine looks like inside and how they set out their grids within their articles. This is really effective to look at because it has helped me to compare and contrast how they look so when it comes to actually choosing a magazine to base mine off of I can apply the way they set out their designs and use their grid when I am placing my work. This was really effective in helping my creative thinking also because I have been able to critically analyse the layout of the magazine, and visualise how my designs and the magazine layout will infleunce eachtoher, e.g this example of vice magazine has made me think, if I choose vice I could use this layout but with the portrait I could do doodles around it like Kate to make the magazine really feel like its about her. Overall, looking at the layouts of these magazine has really inspired the techniques and development route I will be taking in terms of layout. It has also helped me think about visual communication and how I can enhance that using type and image and layout.
Computer arts have tended to use alot of image boxes with a three column grid system in their magazine, which shows off alot of work whilst giving you an insight to what the work is about and why it’s being featured.
Vice- one paragraph grid with full bleed image. Vice work with a very simplistic grid system, with one lone column, a big title and an image. This layout is actually quite aesthetically pleasing and has helped my inspiration and development because I am now thinking how I could mock up this grid system in my concepts when it comes to that stage and see how I could interpret Kate’s work into it. Grafik- two short column grid with image and typography and subheading at the bottom left of each grid.
Finally, Grafik have used the most Graphic design heavy grid layout with 2 column grid system, low lying bottom left sub headings and an image and typography floating with two opposing shapes that have low opacity but really make the layout stand out, with a simple two colour palette, this layout is by far the most effective and I will be taking inspiration from it when making my own magazine.