- Mini Creative Brief:
- Media Type: Weekly Digest of Arts, Science, and Culture
- Audience: Instructors & Peers
- Three Words: Dependable, Informative, Engaging
One of my greatest takeaways from Paula Scher’s episode of Abstract was her approach to the fundamentals of type. While I’m still learning to fully grasp them, I began to resonate with her emphasis on elements like weight, baselines, space, and the broader purpose of context for each design. Scher demonstrates that the messages aren't just made simply of words "themselves", but how we use them—both literally and figuratively. Understanding type as an integral part of information design allows for a greater sense of its purpose.
Point: In this design, I explore the concept of point, as it relates to both motion in the image, and relativity to the article. The clocks, and their melting forms shift the gaze of the observer, bringing their attention towards the central point of the image. The design also plays with the idea of continuance—the sense that everything is being pulled towards a point of no return-- along with the outstretched silhouette of the original image(interaction with the unknown). I chose the "Ethnocentric" font for its Sci-Fi aesthetic, but also for its metallic-sliced, pointed edges, and contrast with the rest of the image's soft- rounded distortions. I also gave the type a subtle black outline to prevent it from being “absorbed” by the vortex--adding emphasis within the cosmic-narrative.
Type: I used Literaturnaya, a classic serif typeface rooted in 1930s Russian Constructivism, to invoke a sense of machine-age modernity. The asymmetrical layout and heavy serif font contrast sharply with the image, drawing the viewer’s attention toward the text and image in a a persuasive and hypnotic way. I also used a white blur around the font to mimic a subtle haze, or glow– similar to that of the white noise coming from a television set. Something nostalgic and atmospheric to the themes of the article. By aligning the text to the right of the image, I guide the reader's gaze, adding depth and movement to the overall design. This balance of bold type, and enigmatic imagery also reflects the tension between belief, and skepticism central to the story.
Grid: For this design accompanying the article "Evelyn De Morgan: The Pre-Raphaelite Sister You May Not Know," I chose the Ambicase sans-serif font for its blend of contemporary-elegance, luxurious and feminine, feel. The weight of the font adds an indulgent, yet playful quality, complementing the subject’s artistic spirit. I structured the layout using a multi-column horizontal grid, inspired by classic editorial to create a visual flow, while also maintaining a sense of hierarchy. The abstract placement of text mirrors itself on opposite sides, producing balance by way of symmetry.I also found that this grid system offers a seamless integration of freedom and chaos —reflecting both the chaos, and harmony found in De Morgan’s art.
White space: For this design accompanying I drew inspiration from El Lissitzky’s style of Constructivism and Suprematism, for its emphasis of 2d functional-simplicity. The design employs active whitespace to mirror themes within the article, such as a cognitive-download, but can also be interpreted as a cognitive cleanse. I made strategic use of white space for minimalist and impactful layout; allowing the observer to decide whether they resist or accept the message. I chose the image of the “planet gazer” for its use of bold and primary shapes, and the typface "Agenda One" in a small scale for a Constructivist, and subtle influence. I also added a hazy glow around "Resist Psychic Death” for a retro cult-like effect.
Emphasis: I used Montserrat, a "geometric" sans-serif typeface to create visual interest and establish hierarchy within the type. The main title "Archway" is positioned in the upper right third of the grid-- drawing awareness through to the subtext for strategic placement (proximity), size and contrast; guiding the reader's attention naturally. The sleek-modern lines of the sans-serif intuitively reflect the architectural themes of the article, and add emphasis to the image. Additionally, I chose this image as it utilizes basic elements of “emphasis”, i.e., shape, and colour contrast.
Form and three-dimensional shape: I created a dice using ellipses and flat surface “3D materials,” adjusting their axis to build depth and structure. I applied similar techniques for the dice's surface appearance by carefully placing ellipses and modifying their axis placement. To add dimension, I used a soft bevel for the background lift and a glass overlay to introduce texture and depth. Along with a radial gradient, for light and direction of the viewer's focus to the center of the image—the dice. Additionally, I experimented with image trace and incorporated a 3D typeface. For color, I kept within a grayscale palette with lower values, resulting in a monochromatic, metallic look.
For this design, I focused heavily on symmetry and an abstract use of the grid. I incorporated a monochromatic golden palette to create a Rococo-inspired feel, while also aiming for the aesthetic of a "megachurch" flyer. To achieve depth and contrast, I utilized the flare ellipse tool for inverted symmetry and layered it strategically, centering one flare behind the focal point of the image. I applied a clipping mask in the form of an oval ellipse, keeping it opaque enough to allow the flares to remain visible but subtle. For spatial depth, I used two-dimensional shapes with drop shadows, for a glossy layered effect. I also lowered the text's opacity to blend in smoothly with the layers below.
For this design, I used Adelle Sans, inspired by the “Phenix American” typeface from the Got Milk? campaign. My focus was on emphasis, contrast, and white space, aiming for simplicity to keep the story and the banana as the focal point. From the first carousel to the last, I gradually reduced layers and adjusted the design: I began with an off-white background and a multiplied blue layer.
For this carousel, I focused on incorporating Art Deco influences into the design. I kept the colours bright and paired them with soft, aged canvas textures to emphasize the paintings featured in the images. I experimented with the ellipse and rectangle tool throughout the carousels. Along with gradients, layered opacity, multiplied colours, and a 'papier-mache'-like texture to create a sense of depth and contrast.
This design focuses on white space and minimalism, utilizing a small/clean typeface paired with a larger but still minimalist image of food. I incorporated 2D shapes to guide the composition and added a pop of emphasis with red text against a soft pink background for further contrast towards the focal point. The central image uses balance through size and placement. I also applied Image Trace to create an inked effect, along with a glazed textured layer for added depth. The overall aesthetic is to evoke a sleek aperitif or minimalist cocktail lounge menu.
In this design, I focused on grid structure, repetition, and alignment as the primary elements. The image of the train car served as the grid and focal point. I paired the image with a constructivist typeface, intentional spacing and opacity. This approach allowed the windows of the train car to remain visible within the composition. Alignment through the placement of the type-- I aimed to create a sense of order and organization that mirrors the structure of the story itself. The alignment also groups related elements from the article while simultaneously enhancing the visual narrative.