Final Outcome for a Typeradio Magazine Supplement based on Kris Sowersby.

Mock Up of Magazine Supplement (for Final Critique).

In its current situation, the design piece is visually appealing, although in some sense the understanding and theory behind it is less recognisable after discussions about this, it was recommended to create a slogan-style title for which could be implemented as part of the piece.

From many names, I decided to focus on using the name ‘clash of the type’; this literally reflects the concept, whilst sounding catchy and memorable. Peers have also compared the name to a popular movie franchise, which could be said to further provide attraction.

To implement the name as said previous, I felt it was best to present it in a simple logo format that works in relation to the current design, and links to the style used by Kris Sowersby. From the selection of digitalised ideas presented in the lower image, I decided to choose the logo design presented above, as beside relating to Kris Sowersby’s clean and simple style, the colour used is vibrant against the proposed white background (and is included in the main design), and the extra surrounding circle provides emphasis, in turn increasing attraction.

Throughout work on this particular idea, I wanted to keep/retain a very simple cover design, using Kris Sowersby’s initials ‘KS’ (preferably in a capitalised format) on the side relevant to that particular font.

The lower of the designs presented implements each font over half of the design, for which each section uses the older and modern fonts, and could be spilt over each cover. However, from designs considered, I have chosen to use the concepts in the top images, for which will be presented on each alternate covers.

The simple join between the two letterforms are clearly reflective of Sowersby’s logotypes found on his website, and the blue colouring chosen to present the older font (Caslon) is an obvious link to the tone within the inside pages.

As mentioned in the previous process section, I was going to consider using ‘sectional merging’ rather than by each letterform. The images above are designs using this new version representing quotes and names that I may want to use, which I believe are visually much more appealing, so I may want to consider continuing with these designs…

Now that I have finalised the concept to take forward, the images above show 2 of the 3 idea formats in which I could use. Examining influences from past type, I have distinguished two fonts to use, Helvetica and Caslon (Adobe Caslon actually used).

The ideas are explained:

1. Merging Type- As in the first concept, one end of what would be a concertina book is Helvetica, the other Caslon, and throughout the middle is the merging of the two; the closer to that typeface, the more of that font shown compared to the other.I have created two versions for the concept, the first being hand-drawn presentations of the type (to reflect Sowersby’s interest), the second a digital version. At the current moment all the designs change over each letterform separately, so I could consider producing a version that uses larger sections instead.
2. Focused on Letterforms- Taking particular sections of each letterforms, they are shaped into the ‘KS’ initials, and would be placed large onto a possible fold out poster, with relevant labels to each font. Colours could be considered to distinguish between each typeface…
3. (Designs not presented)- Using research from the timeline ‘influence’, a concertina book is split into sections from top to bottom, the top being the modern font, and getting older the further down you go. Dependant on position of typography in the document, the type is changed to that specific font section, meaning they may overlap into each font styles, creating interesting designs.

After discussing with peers and lecturers about which idea to use, it was unanimous in the first idea being developed; therefore, this is the one I will further pursue with.