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kelseywood94 · 3 years

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Logo Brief: FoGM

Friends of Glasgow Museums (FoGM)

FoGM are in the process of a brand refresh - they are looking to create a more modern, attractive ad user friendly website to promote their current activities to their current members as well as attract new interest from a younger demographic. Their current logo (above) clearly articulates their main message of friends however has been with the brand for 75 years. FoGM would like their logo to represent their future ambitions to reach a wider & more diverse while maintaining a connection with the current members.

The Brief

FoGM wishes to hold a competition to create a new logo to reflect the ethos of society, the memberships, their activities and their relationships with the Arts & Museums of Glasgow.

They are looking for a refined, fresh, modern & attractive image that would be eye catching and give a strong identity to the society.

It will be the first image on the website and used in all correspondence from FoGM including branding merchandise.

Brand Research

After spending a few hours discussing the brand with the client to better understand the society, their core values and their practice, a number of mind maps were drawn up to focus in on exactly what they were all about.

These words highlight the main focuses of the group and therefore the focus of the logo design & rebrand. Using these words the following mood board was created to reflect my initial understanding of the brand.

Development

This includes iconic images of Glasgow & it’s architecture - the central point of the pride & dedication of the group, artistic images that flow throughout the city - much like the museums that FoGM assist in the development & preservation of, a slogan to represent the societal feel of the city, images of those who have lost their lives to represent the heritage that created the city and an image of the banks and banks of art in storage and protected by the brand.

The main word I chose to focus on from this moodboard was heritage. When I thought of Glasgow heritage I could not help but think of the people from years gone by and created the following moodboard to represent this.

This moodboard depicts images of a Glasgow gone by - a time where the industrial revolution, stemming from the iconic shipyards led to over population of Glasgows streets - and what I believe to be the root of the iconic ‘People Make Glasgow’ and widespread feel of society that has kept Glasgow on the map. Children & young people maintaining a large focus in this moodboard and a nod to the ancient streets of the tobacco merchants who funded the cities development (and also gave back to it). This became the further stem for my project as I thought about times, the streets named after these merchants and their iconic, timeless architecture - it was here I remembered a saying “to see Glasgow best, they say you have to look up’

It was through looking up in awe of the stunning architecture and heritage flooded throughout the streets of Glasgow and it’s architectural skyline - I found myself honing in on the signage all around and from here, I decided the logo should be heavily font based and eye-catching. The message of friendship should remain clear.

Some examples of street signs and font’s I found walking throughout Glasgow. At this stage I wanted to hone in how I wanted the logo to look at took to some research to establish my main focuses of the logo.

My logo design had to be minimalist to provide that modern, fresh approach the client were seeking, variable to cover all of the wonderful aspects of Glasgow’s arts & culture, colourful to remain eye catching and representative of art, geometric to ensure a clear understanding and I liked the idea of something with an overlay to clearly communicate the ‘all in this together’ feel I got from the clients.

The Logo

I created the above logo to represent all aspects of the FoGM brief - a font inspired by local street signs, FRIENDS kept above all else and most distinguishable and a handwritten ‘of’ to represent the feel of people & society, it is clearly written by a real person.

The logo can be used on a number of backgrounds and can be black & white for any other purposes however it was at this point I had to develop this further to represent the variable aspect of the group in an iconic way that I was so desperate to convey. It was back to the drawing board.

Further Inspired Development

I wanted to create a variable logo that could be used in many ways to convey the many messages from the many museums protected by the group.

I played around with outlines of the various museums and the clear message of friendship. This inspiration from Maggies was valuable to my development process as the ethos shared was similar to that of FoGM.

“Reflecting on the idea of Maggie’s being ‘Everyone’s home of cancer care’, many shapes of ‘homes’ drawn in a clear modern style are used as the logo family. The house motif is often used in the graphic language as a framework, representing a space where you can find comfort, warmth and hope. The houses are combined with a bespoke typeface and a warm and welcoming colour palette”

Taking further inspiration from Maker’s Mile.

“a vibrant new platform aimed at celebrating and supporting craftsmanship around the world. Maker Mile’s ambition is to be an itinerant project which can spread and expand, bringing attention to the crafts which define the identity of different cities. [Makers Mile] extends to emphasise the idea of reaching out, symbolising something which is always on the move, and a space where everything comes to life. Pentagram’s playful and expressive identity perfectly encapsulates Maker Mile’s admirable ambition to spread the word about the joy of craft, and to support and encourage makers from around the world.”

This encouraged me to look closer at each individual museum and develop the logo.

Here I have created a set of brand marks for each museum in playful and welcoming colours to represent the brand.

These logos can be further reduced depending on their planned use.

As shown, in black and white or as a simple outline.

Visual Language

The logo was then applied to a number of items to allow the client to see how the message of friendship could be conveyed throughout the logo & its uses.

A membership pack containing a monthly magazine or welcome book, a membership card and a pen.

Merchandise that could be sold in a museum giftshop, at events or online.

An example of stationary, letterheads and business cards displaying a cohesive brand language.

Sources Used:

Pentagram

FoGm Current Website

Mock Ups

Images taken from Google Images

Fonts used from Google Fonts and manipulated in Adobe Illustrator

Final Presentation to client

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chiseler · 4 years

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When Nature Was Golden

Let’s open with a few passages of deathless prose from the classics.

EMORY’S SOFT-SHELLED TURTLE (18 in.; to 35 lb.) is the only Southwest member of an edible group with long necks and short tempers. Handle with care.

BELTED KINGFISHER Where there are fish there are Kingfishers, beating the air in irregular flight, diving into water with a splash and emerging with fish in their beaks.

THE EASTERN MOLE or common mole makes the mounds that dot your lawn. You are unlikely to see any moles, for they stay underground unless molested.

You saw them in the basement of your third-grade best friend, or in your school library. If you were lucky, you had one or two at home—your older sister read them first, years ago; maybe they’d even belonged to one of your parents. Paperback books just a bit smaller than pulp fiction novels, though equally thick, their illustrated pages of a glossier, higher quality. The typeface was Futura, that design marvel of yore, also seen in the old Hall of Dinosaurs in the American Museum of Natural History. Insects, Seashores, Mammals, Reptiles and Amphibians—which did you have? The Golden Guides gave us our natural world in all its glory, and managed to do it in a singular style, dry yet affectionate, concisely informative and never, ever dumbed-down. They were written for children, but each, too, is a cracking read for any adult eager to learn. Or to remember.

Naturalist Herbert S. Zim, who founded this series of guides and wrote many of them, was born in New York in 1909. Raised there and in Southern California, he finished his B.S., M.S., and Ph.D at Columbia University. He was then a science teacher for twenty-five years—at Ethical Culture schools in New York City, and later at the University of Illinois Urbana-Champaign. One wonders where on earth he found the time to crank out so many books. Each was a loving collaboration with other educators, not solely Zim’s effort. But the synthesis of these people, the meticulous research required to bring together all the info, was his responsibility, from 1949 until the early 1970s. Zim, in 1969, was also the editor of an 18-volume set of encyclopedias named Our Wonderful World.

Of the 84 Golden Guides, Zim wrote or co-wrote 24. Is it confirmation bias that makes me believe those are the best of the bunch? The simple style is charming, with phrases like Rock Ground Squirrels, found in the Southwest, are our largest terrestrial squirrels. What grace: with a hint of pride to be from the United States, he said that the squirrels are ours. (I also appreciate that he uses the word “unique” correctly, without qualifiers. The Barn Owl is unique, not “totally” or “somewhat” unique.) The occasional anachronism amuses. Once in awhile Zim tells us which kind of turtle or ground squirrel makes a good pet, if captured.

You have been seeing birds as far back as you can remember and you will continue seeing them wherever you may be. It’s a real pleasure to see them. You can see more birds and more kinds of birds by learning how to look. This book will help you. It is not written for the expert, but for people who want to see birds just for the joy of it.

First become familiar with the mammals pictured and described. Look through the Key to Mammals on the next pages so that you can recognize the major mammal groups. Try to see the mammal well enough to decide, for example, whether it is a rodent or a shrew.

Familiarity with fishes gained by thumbing through pages at odd moments may enable you to make rough identifications at sight. Use this book as an “arm-chair” guide, but also take it into the field with you, for that is where it can be used best. On fishing trips take it along in a plastic bag.

Originally named the Golden Nature Guides, the series name was shortened to “Golden Guides” when they began branching out into other topics—for example, Guns, Sports Cars, and Casino Games. But these adult subjects did not make it into most family rooms, and the more popular guides about flora and fauna, insects, weather, stars, and the like are the ones most frequently found today. The illustrations by James Gordon Irving and others are remarkably detailed, the beauty of pure accuracy from a time when nature photography was rare.

A particularly enchanting feature of the Guides is the family tree, usually a two-page spread of swooping, color-gradated branches, each limb ending in a small picture of an animal in its biological order, labeled something like “Cutlass Fishes” or “Scorpion-Flies.” No less an artist than Matt Groening would eventually parody this format for his Life In Hell comic, describing the evolution of record-store clerks from sullen teens.

Herbert Zim, in his long career as an educator, was the one who brought lab instruction into science courses at the elementary-school level. Anyone who looked through a microscope before they reached ninth grade might have him to thank. And one attribute of Golden Guides is the way they expect one to get involved, not just in the field, but with “amateur activities” like building a birdhouse or preserving animal tracks in plaster. Through such deep engagement, the reader is encouraged not just to appreciate nature, but to discover new things about it, making new contributions to science.

He demanded no less of himself. Going through what biographical information there is on Zim, which is all very straightforward, one notices the list of scientific associations he belonged to, numbering more than twenty. They included the Audubon Society, the Union of Concerned Scientists, the Everglades Natural History Association, and the International Union for the Conservation of Nature. Truly, this was a vigorous and busy man.

Like so many cultural products of their time, the Golden Guides can look antithetical to today’s progressive values. Just ask the Yuman Indian woman who sits weaving cotton, bare-breasted, in one of the pictures in a guide to the American Southwest. In little vignettes we see depicted dozens of trappers, fishermen, tourists, birdwatchers—all white, mostly male. Under the entry for “Other Suckers,” Zim claims “some are so easily caught that every boy knows them.” If the Guides were written just for boys, this is a great shame, though their ubiquity meant that many girls of all different backgrounds would find them. The scientific language is devoid of prejudice, by its nature, and is there for any young person dedicated enough to study it. It prizes the natural world above all. One passage recently took me by surprise for its passion, on a page about the fishing industry: If you are interested in fishes, conservation—the wise use of all our natural resources—is your problem too.

Maybe it’s our current predicament that makes one particularly fond of the outside world, and of non-humans. Back in March, I started watching a live online feed from The Aquarium of the Pacific each night, comforted by the variety of fish, sharks, and rays that swam peacefully by. Curious about a small fish with long, showy gold fins, I consulted Fishes to identify it, and Irving didn’t disappoint. Meanwhile, Herbert Zim informed me that the species, named Lookdown, belong to the mackerel-like family of “jacks” and are fine eating.

In 1934, Zim married the Russian-born Sonia (Sonnie) Bleeker, who had studied anthropology at Columbia. The couple had two sons. Bleeker, too, worked in the book world—as an editor at Simon and Schuster, then as a full-time children’s book author. They eventually moved to Florida. Just like the descriptions in the guides, these biographical facts fall well short of being dull. They force me to imagine how energetic, how full life must have been in the Zim household as the kids grew up; and how many subtropical species kept Herbert company in his later years. After Bleeker’s death, he married Grace K. Showe in 1978. He died at Plantation Key in 1994, of complications from Alzheimer’s.

LIVE OAK has become a symbol of the South. The low, spreading tree, often covered with Spanish moss, marks old plantations and roadside plantings. The elliptical, blunt-tipped, leathery leaves are evergreen—that is, they remain green and on the tree throughout the year. The acorns are small but edible; wood is used for furniture. Two other southeastern Oaks (Laurel and Willow) have leaves of somewhat similar shape, but they are thinner and more pointed than Live Oak. Several western Oaks are evergreen. Botanists apply the unqualified name Live Oak only to this species. Height 40 to 60 ft. Beech family

In a Manhattan backyard in the middle of June, a couple of mourning doves fly between the trees. I’m aware that the gentle woop-woop-woop sound they make is not their voices but their wingbeats. The dogwood’s cream-yellow blooms have begun to fade, as is proper at this time. Above me a juvenile blue jay, still fluffy, shrieks out his typical noisy cry. I’m intrigued to see a red speck moving among the hairs on my arm—it’s a clover mite, an insect I haven’t noticed in decades. As recently as 1982, I was a four-year-old marveling at the rolling movement of clover mites on a windowsill—smaller than pin heads, bright candy-apple red. Somewhere along the line they stopped showing up, at least with the frequency they did back then. Now, seeing even one evinces a swell of emotion. (Incidentally, the same is true of another brightly-colored beauty, the red eft, which used to be so numerous in summer that we had to tiptoe on New York State gravel roads to avoid stepping on them.)

We learn more from Zim’s texts than he bargained for. His Golden Guides speak of a midcentury United States where all these animals and plants were still commonly seen. Just based upon my memories from the past 20 or 30 years, there seem to be fewer animals everywhere; in the 1950s, then, was the Earth just teeming with them, in every corner of every suburban lawn? Having learned that the biomass of insects, in particular, has started to fall fast, I yearn for the spectacle of clover mites and hastily do a search for them. Yes, the internet reassures me: we in New York City still have lots of the red bugs, enough to warrant a FAQ page from a pest-control company. They’re harmless to humans, pets, houses, and furniture. They munch grass and reproduce parthenogenically, which means every individual can lay viable eggs, without mating.

Of course, the sites telling me this haven’t worded their data quite as eloquently as Herbert Zim would have. Still, I thank him for the spark of curiosity that got me there at all. He taught me not just how to identify a clover mite, but how to care about her.

by Amanda Nazario

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jarrettfuller · 6 years

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Put a bird on it

Prologue The most challenging design projects, they say, are the ones you do for yourself. Without parameters and constraints, timelines and clients, you miss the checks and balances that can often guide the process. The markers that tell you you're on the right track, moving in the right direction, are absent. When I was an undergraduate, I had a class where we had to design personal logos we could use on letterhead, stationery, and business cards in preparation for our impending job searches. It was honestly the hardest project of my college years.

Part 1: A Love Story On January 8, 2017, I proposed to my girlfriend, Eurry. It was three years to the day since our first date. We had met over a video conference when we both were working at Facebook; I was in San Francisco and she was in New York. I was a designer and she was a data researcher. One day in the middle of December, my team's project manager asked if I had some time to work on a small data visualization project for someone on the data team in New York. I reluctantly agreed. 'Small projects' always seemed to turn into 'big projects' and this was a team we hadn't worked with before. But a meeting was scheduled and I walked in knowing nothing. I was caught off guard when a cute girl wearing a black and white striped sweater from the New York office popped up on the video screen. I vaguely remember saying something to my project manager when we left the meeting about how cool Eurry seemed. I immediately sent her a Facebook friend request.

A few weeks later she was in the California office and we met in person to go over updates on the project. The meeting quickly turned into friendly conversation about our lives, discovering all sorts of shared interests. I didn't want the meeting to end. The next time she was in town, we went out for drinks and we have talked every day since, beginning what became a multi-year, bicoastal long distance relationship. We became best friends and fell in love.

We both eventually left Facebook — I went to graduate school and she went to work on Hillary Clinton's presidential campaign. We traveled, tried countless new restaurants, met each other's families, watched a lot of movies, and laughed a lot. We started talking about marriage, about moving in together, about our future. And then on a freezing, snowy morning last January after I pulled a ring from my pocket, I asked her to marry me. Through tears she said 'duh'.

But the story I'm writing here is not one of our relationship or of planning a wedding or even our wedding day. That's a story we want to save for our friends and family. Our married friends told us how all-consuming wedding planning can be so we decided early on that we'd share the planning responsibilities and take ownership over the parts we respectively cared more about. Eurry has stronger opinions about drinks, for example, so she'd handle the bar menu while I cared more about music and was tasked with choosing songs for our first dance and processional. You probably see where this is going: I was in charge of the visual design. And the visual design, it turned out, would be a special kind of challenge. This is a story about that process.

Part 2: Location, Location, Location Designing for our wedding became the hardest design project I've ever completed; certainly more challenging than those personal logos I did in college. It wasn't just about how I could represent our wedding visually but how to represent our entire relationship visually. We knew we wanted it to feel different — we wanted something casual and fun, informal and nontraditional. And we both desperately wanted to avoid the cliche calligraphy so dominant in wedding design these days. Almost immediately after we got engaged, I created a massive Illustrator file where I began setting our names in nearly every typeface I own in search of an interesting lockup or style that might emerge (perhaps something interesting with the double R's in both our names? Nope, too obvious), but for a long time it felt like I was going in circles, unable to figure out what our wedding should look like.

The biggest decision we had to make, however, was where we wanted to get married. One weekend last spring, we were sitting on the couch with our laptops looking at potential venues when Eurry found the John James Audubon House, located right outside Philadelphia and just forty-five minutes from where I grew up. We immediately knew this was where we wanted to get married. Audubon was a naturalist and a painter, most known for his paintings of birds. In an ambitious quest, he set out to paint every bird in North America, discovering at least twenty-five new species in the process. These paintings are collected in his famous book, The Birds of North America, which is considered the best ornithological work ever completed. This was Audubon's first home in North America and has since been converted to a public park, bird conservatory, and museum in his honor. We scheduled a visit a few weeks later and fell in love with the property — there was a beautiful apple orchard where we planned to hold the ceremony and an old barn perfect for a party. We picked a date and booked it.

It feels like cheating, but the venue helped clarify the visual design. The Audubon Society has made most of Audubon's paintings available in the public domain and offers high resolution reproductions as free downloads. I could use these images in the design! We both have love of birds and have a secret ambitions to get into birding. In fact, very early in our relationship, we laughed in amazement at how both of us had similar framed images of birds hanging in our apartments. Add the owl references from our favorite show and our love of Portlandia, a bird-themed wedding seemed perfect.

Part 3: Put a Bird On It With the venue booked and a library of high-resolution bird paintings on my hard drive, the design started to take shape. I went through countless typefaces — some were too formal and others too playful. I settled on ITC Serif Gothic for the logotype and Pitch for the accent typography. Serif Gothic is a typeface I've always admired but had yet to find an appropriate use for and Pitch has become a favorite monospace. Paired together, they immediately gave the design something that felt unique — blending the classic with the casual, the fun with the traditional.

I knew this would have to be treated like a brand — as it would be applied to everything from save the dates to name tags, invitations to menus — and needed to be flexible enough to work across mediums and scales. I decided we could allow design system to slowly reveal itself — using the incremental mailings, save the dates, invites, and RSVPs, to allow the entire aesthetic to unfold, each piece to increase in complexity and vibrancy as we got closer to the wedding day. The Save the Date cards that went out to our guests six months before the wedding were a simple black and white card, printed on a crisp white 130lb paper. A small vector bird perched atop an 'r' in Eurry's name hinted at the larger theme, the forest green envelopes previewed the color palette.

We directed guests to visit our website — eurryandjarrett.com — for travel and hotel details, links to our gift registry, and more information about the day itself. We used the website to introduce the venue and Audubon's paintings. The colors — forest green, a silvery-blue, and light pink — were pulled from a few of our favorite birds.

Three months later, the official invitations went out. Packaged in light blue envelopes, the invitations first appear to be black and white: the nameplate we introduced on the Save the Dates is on the front and opens for more information and RSVP details. But the invitation folds out one more time to reveal a large poster featuring a collage of Audubon's paintings, including the birds from which we pulled our colors as well as the state birds of California (where Eurry was born and where we met), Indiana (where I was born), New York (where we live now), and Pennsylvania (where I grew up and where we were getting married). We wanted something memorable — something that might not just be hung up on the refrigerator or thrown away after the wedding, but a piece of art our guests could remember our wedding by.

Part 4: The Day The design came together in a 20-page booklet I designed in place of a traditional program that included not only details about the day but also family photographs, a few of our favorite recipes, fun facts, and thank yous. Again, we wanted something people would want to keep — a scrapbook of sorts that our guests would feel invested in as they found photos of themselves and learn more about us and our story. The cover of the book expanded the collage from the invitation to include images of some of our favorite things and memorable moments in our relationship: the flowers from Eurry's bouquet, Twin Peaks and Portlandia, doughnuts, succulents, the Facebook sign, gummy bears, and ice cream.

Collage has become a go-to visual style of mine and is central to my own design process. For our wedding, I realized it could once again allow me to include everything we love instead of trying to find a color or style that somehow represented all of us. A key in the back of the book gave descriptions of everything hidden in the collage. This gave us variety in the design system while retaining a clear, distinct style; at once simple and diverse.

The venue offered their own signage, menus, and table numbers but we swapped them out for custom designs to match our design system. For dinner, three dishes were offered — chicken, fish, and vegetarian — and we asked our guests to select their preference on the RSVP cards. Their selections were noted on the name tags with small iconography to help the servers. (One of my favorite details: one couple brought their young child, who was served chicken fingers, and we noted his selection with a baby chick!). The florist decorated the tables forest green table clothes, navy napkins, and natural arrangements of ferns, succulents, and monstera. I designed table numbers that had Audubon's birds wrapped around each number, set in Serif Gothic that were placed in each arrangement. A small box with custom labels of black cherry gummy bears were set at each guest's plate as a small gift of thanks.

Beverages were offered before the ceremony started and were labeled with matching signage and drinks menus were displayed at the bar giving details on the wine and beer offerings. For the visitors who came in from out of town, a small gift bag was left in their hotel room with a few of our favorite things and a small postcard detailing the event (including the school bus that brought guests from the hotel to the venue!) and thanking them for coming into town. As if designing a brand system, every interaction our guests had at the wedding had been customized to match our design, from arriving at the hotel to the thank you notes sent out after. Each piece was fully branded and could stay on its own yet when brought together, created a narrative of our relationship.

It was fun to see it all come together and I enjoyed watching people read the booklets before the ceremony began. We couldn't have done it without the amazing team at Audubon and Jeffrey Miller Catering, who put it all together exactly like we wanted it. You can see more images of the design here.

Epilogue At the beginning of the summer, we got married in a barn in front of the people we love the most just as it began to rain. As we were pronounced husband and wife, Carly Rae Jepson's I Really Like You started playing. We moved to the pavilion where speeches brought us to tears; we ate and drank and thanked every guest for being there and being a part of our lives; we danced into the night as the rain poured outside.

The entire day feels like a blur to me. It was hard to take it all in. All the planning, all the designing, all the celebrating felt like a whirlwind. You know you've been to a good party, I think, when you have no pictures to remember it by. You were so in the moment you forgot to stop and document it. When we talked to our families the next day, none of us had any photos. So when we got our wedding photos back last week, we poured through every single one, reliving the day as spectators, piecing together the memories we had made. The same is true of the design. Designing for my own wedding was easily the hardest design project of my life because this wasn't another design or branding project but a scrapbook of our lives so far and a commemoration of our new life together. This was how we'd remember the day. Working on these pieces consumed our lives for the few months leading up the wedding and though it was just a small part of a day filled with friends and family and laughing and dancing and eating and drinking and birds and love. They serve as markers in time, totems for ourselves and our family and friends. Another way to remember a perfect day. It was the best day of my life. The next day, my face hurt from smiling so much.

#wedding #portlandia #branding #graphic design #twin peaks #audubon #process #life #love

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bryrebranding · 3 years

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Visited a book shop specifically looking at series of books and the things that make up their design decisions

These how to guides have the same border, an outlined illustration style, the layout of the entered title within a circle, colours appropriate to each book - all quite bright and bold. The copywriting is energetic and the content aimed at kids, teaching them the sorts of things they like to do. The Publishers logo is in the back bottom left corner ‘odd dot’, a quirky personality to match in with the child friendly branding.

This series works in a deign system with the same placement and hierarchy of title and subtitle. Colours are used in the same way - photographs being one main colour which becomes the theme colour of the book with coloured text the same. Each photo shows a person, but not their face. The back cover treats the pull quote of reviewers the same way - larger, at the top. Even the amount of paragraphs in the information following is the same. The publishers logo and info is placed discretely at the bottom. All quite simple.

penguin books, modern classics - very distinctive in the washed light blue (or older, orange) and white. The same typeface has always been used and has become very distinctive. Same grid structure and placement of authors photograph... logo placement. The branding is very simple - never really attempting to tell the story as these books are classics, they speak for themselves. But very distinctive with the same closed system that has existed and remained so similar for so long

This funky set of star sign books is bold, bright, sassy and extravagant. Very relevant to its hip, new age, carefree target audience - people who are into star signs. It’s interesting to see a strong branding system at work while there is variation which is relevant to each star sign. All the titles on the front are large, fun typefaces in gold foil, but each in a typeface which speaks to the character of the star sign. The illustrations are all active and bright vector illustrations of a variation of symbols. Inside the book, the same sections are used, the same margins, hierarchy etc. There is the presence of the publishers logo and Worldmark on the spine and back cover

The branding of these books has a lot of attitude and is really relevant to its target market.

Looking at the branding of Hardie Grant publishing after seeing these funky books. In the same way it is bold, funky and quirky. It chooses to represent quite modern ideas, feminist books, a ‘power to the people’ attitude of sass.

The bold colours align with this outspoken, bold and funky identity. As do the choice of material 0 especially thunking about the rich paper covers and gold foil. This brand ‘character’ is a city dweller who drinks coffee on their own in cafes, is a feminist, outspoken, wears funky, expensive clothes.

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tomrogers-viscom · 3 years

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Case Study Presentation - Script

Slide 1

So, who are Lane and associates? Lane and associates are a creative agency based in east London run primarily by the creative director David Lane. The agency is his creative vision, and the associates label within the company title simply refers to the collaborations he has with other artists and creatives for his projects. The award-winning work of Lane and Associates spans creative direction, film, design and content curation.

Slide 2

To start off, I’ll tell you a little more about David Lane. Lane is primarily an art director which he describes as a pretty broad term. He has produced and directed films, he's also a sculptural space designer, he is a curator and is the founder of the gourmand magazine.

Slide 3

And now to move onto the associates. As I mentioned, Lane and associates is an umbrella term for the artists that David Lane collaborates with for his various projects. These artists range from set designers, typography designers, photographers and makeup artists. Notable artists he has collaborated with include, writer and curator Francesca Gavin, photographer and filmmaker Agnes Lloyd Platt, set designer Rachel Thomas and graphic designer Laura Jouan to name a few.

David Lane expresses in a Nicer Tuesday’s interview, which is a monthly event run by It's Nice That, how important and essential he believes collaboration to be. He explains that whilst he comes up with the ideas and plays a large role in the overall outcome of a project, he would be nowhere without the freelance creatives he collaborates with.

Slide 4

So why did I choose to look at Lane and Associates for this case-study? First and foremost, what drew me to Lane and Associates was The Gourmand magazine they design, which is featured in the recent 2020 D&AD Annual. I have always had an interest in print design, ranging from zines, magazines and books, my ever-growing collection of magazines speaks for itself. The printed medium is an avenue I am looking forward to exploring further throughout the course as well as hopefully in my future creative career.

Lane and Associates have a strong background in print, designing various work for the Frieze organisation including Frieze Magazine, Frieze Times and the Frieze Masters annual. Along with Frieze, Lane and Associates have designed covers for Limbo Magazine, various biographies, and have created short zines for Selfridges and Hermes. Lane’s playful approach towards all of his projects and campaigns has become a signature to his agency and inspires me as I feel like classic humour and fun can win over almost anyone. Lane's work is timeless yet experimental and contemporary and as he explains in various interviews, his campaigns always have multiple different layers that intentionally create an awkward feeling within his work.

Like Lane, I also believe collaboration within the creative industry is incredibly important and I admire the way that he sometimes takes a step back from his work to allow another creative to direct, photograph or design his vision to it its full potential.

Slide 5

As I mentioned, The Gourmand which recently featured in the DNAD Annual, is an award winning bi-annual food and culture magazine. The magazine is not only a meal recipe magazine but instead also features specially commissioned words and images by talented creatives through the vision of art director David Lane.

The magazine, in my opinion, is timeless and contemporary whilst still breaking the boundaries of a conventional food magazine. The magazine features intelligent articles, interviews and essays. This is all crafted in a well-considered approach while still featuring Lanes iconic experimental and playful style. The Gourmand was founded in 2011 by David Lane and his business partner Marianna Tweed.

Slide 6

Each issue of The Gourmand contains 120 pages, and here is one of the spreads from the recent copy featured on the DNAD website. I like how The Gourmand adapts a traditional food publication to fit Lane and Associates iconic style, with each issue being full of energy, including cultural references and applying Lane’s signature deadpan sense of humour. Lane discusses how he appreciates the time he has to craft each issue of the magazine, and the careful considerations taken for the layout of each spread creates, in my opinion, a beautiful magazine that allows the reader to appreciate its printed format in an otherwise digitally focused world.

Slide 7

In a recent interview with the design studio MagCulture, Lane discusses his experimental and liberal approach to publication curation and design, quoting “mostly we read about seasonal ideas from smiley celebrity chefs who once worked the River café.” He continues with “The Gourmand on the other hand is about ideas and creativity. It's about food as inspiration for talented writers photographers illustrators and set designers to create something genuinely new and original” Interestingly as well, the work commissioned for the magazine can be found on The Gourmand website and is sold as merchandise including, posters, t-shirts and tote bags, which reconfirms the idea that The Gourmand is more than just a food magazine but instead acts as a space for various creatives from all areas of the industry to collaborate.

Slide 8

Here can be some of the art featured from the recent Gourmand magazine also for sale as artwork on the website. David discuss is that like his love for directing films, producing a magazine also brings him immense joy as he directs a large group of talented people towards a shared goal.

Slide 9

And here are some past issues of The Gourmand, and I actually was lucky enough to purchase a few back issues which I’ve enjoyed flicking through and reading whilst putting together this presentation.

Slide 10

To summarise, the key elements and reasons The Gourmand inspires me are: Bravery

Slide 11

Playfulness.

Slide 12

And Attention to detail.

Slide 13

Alongside being the Co-founder and creative director of The Gourmand, Lane also spends two days out of his working week as the art director at freeze which is a leading fashion art and culture magazine. Whilst Frieze magazine has a very different visual aesthetic to The Gourmand, Lane applies the same approach towards the design, implementing playfulness and character. I much prefer the visual aesthetic of The Gourmand and Lane and Associates other work, however I can still appreciate the contemporary and colourful style of Frieze.

Slide 14

Back in 2017, when Lane first began his new role at Freeze, he conducted a complete redesign of the original branding and visual aesthetic of the magazine. This mainly included but was not limited to rework of the freeze typeface and headings in which he collaborated with Artist Redeem Pesco for. Here can be seen the first edition of Frieze Magazine that David Lane designed back in 2017.

Slide 15

Alongside the multiple publications Lane and Associates have worked on for the past five years, they have also created numerous campaigns for the luxury fashion accessory brand Ally Cappelino.

Slide 16

The SS17 campaign has particularly taken my interest due to its creative nature. Ally has an Instagram account named Ally Cappellino plastic chairs and this became the starting point for the campaign. David Lane explains naturally the school became the setting for the shoot as they're always full of plastic chairs and everyone turns up with a bag.

Slide 17

To honour the fact that the shoot was in school the caretaker was asked if he would participate and be a model in the campaign and an featuring him can be seen here. I like how even through a posed shoot, the candidness of the caretaker shines through to create a thought-provoking homage to the school, which was in fact was designed by famous brutalist architect Ernö Goldfinger in 1962.

Slide 18

Again, the AW18 Ally Capellino campaign is just as interesting. Photographed by photographer Agnes Lloyd Platt who is the daughter of Ally Cappellino and directed of course by David Lane the shoot is based in an artist studio. Ally Cappelino explains that each location and theme for the shoot is made by her decision only, previous locations have included a garden, kitchen and park. As Lane explains when the idea comes from an honest place it makes it so much easier to work with and Lane always discusses the importance of listening to clients when producing work. Ally Cappelino also finds it important to be part of the creative process and she herself came up with detailed and inventive descriptions for each character modelling in the campaign. For example Simone, the girl with the bold makeup on the right, is in Ally’s words “a warm rebellious Madam whose drawings are all a little bit on the dark side” and the model seen in pink has, in her words again, a “rucksack filled with records, a laptop and a pair of old curtains to make into a dress for his best friend”. I admire this level of detail in the campaign and again it links back to the feeling of intentionally showing awkwardness by revealing different layers within a campaign. Not only is the level of care to detail impressive in this campaign, but I also love the neutral colour palette and timeless aesthetic to the shoot. Whilst I appreciate current design trends, especially the primary colour aesthetic currently trending on Instagram and behance, I sometimes feel they are overused and can quickly look dated within a year or so, whereas all the Ally Capellino campaigns look contemporary yet timeless which is something I’ve realised I would like to begin to implement into my own creative work.

Slide 19

In conclusion, the work of Lane and Associates not only inspires me but has also taught me a greater understanding of the fundamentals to great design through the research I have conducted. I could ramble on for ages about the agency’s many other projects, including the numerous short films and moving image advertisements, and fascinating set designs for companies such as Hermes. Overall, the work of the agency, and its unconventional, unique approach to design has given me an important insight into the creative industry and I look forward to applying this newfound information on future internships once the chance becomes available.

Thank you for listening.

#casestudy

0 notes

pickupthepen · 5 years

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Little Demon

Hi there.

I want to tell you a story. A few years ago, back when I was consulting for 21st Century Fox, I found myself wandering in an airport market at LaGuardia, in search of my usual Diet Coke and, as always, perusing the book selection. As my eyes glazed over the occasional best sellers that were faced forward so shoppers could see the covers and make impulse choices on pretty colors and a couple of words printed in script typeface, my eyes locked on the name “Anne Lamott” on a little orange paperback. My mind clapped- “ha!” Not long before that, I was floating in her pool in Marin as she asked me how my relationship was going. She always had a handful of wonderfully eloquent words of wisdom to offer in moments like those, and I let her in on my heartache. I always forget what she does to afford a mission-style mansion and a gorgeous pool like that, and I’m always still a little surprised to see her name in bookstores. I wouldn’t say I’m a loyal fan of her work, but I bought the book- “Hallelujah Anyway”- and left it under a pillow in my NY boutique hotel room. That relationship ended, and I haven’t seen Anne in longer than I would like to admit.

Years later, this past weekend in particular, I sat in my neighborhood bookstore in a chair, staring down the Religion/Spirituality section. I may have been there for hours- I’m not sure. I read every book title, every back. I imprinted every cover into my mind’s eye. If you want to know the truth, I was hoping there’d be something there, something to take my mind off of what I was feeling, something that’d give me the secret to figuring out what I’m supposed to be doing with my hands and my heart, or some place to travel far away from this seat. Maybe my name would be up there one day after I find what is that I think I need. I’m always hoping that something as simple as a book can fix what feels broken, or maybe to find some way to keep what I fear losing. That’s why there are so many of these books to read, right?

But a question really worth asking myself, which I did, in fact, come around to asking- how many books would it take for me to get there? Could I find the right one, the key? How many “Hallelujahs Anyway” or hours floating in a pool with Anne is it going to take for me to figure it all out? What is “it”? How many books about travel, food and adventure will it take for me to have the courage to leave corporate life? How many tarot readings, meditation sessions, long conversations with friends, buddhist teachers, Tolle and Watts tapes, or “spiritual” instagram posts do I have to scroll through before I can be my authentic self, whatever the hell that means? How much studying will I have to do in order to feel the freedom of the wind blowing through my hair? Do you see what I mean?

Okay, take a step back.

I want to paint a picture of my morning. Let me tell you about a girl named Sally. We have a unique friendship- our circles never really overlap, but every once in a while, we stay up late together. We cook, we talk about who we’ve loved and what we’ve lost, the things we battle in our hearts, what it means to be women of dignity and grace in the workplace, and that not all is as it seems. On occasion, we play a game where we ask questions in rapid succession to see if we can tap into what our intuition knows to be true, and we laugh at our answers. This weekend I asked her, “Do you think I’m psychic?”, and she quickly replied, “Yes!” Sally and I have built our friendship upon the foundation of honesty, and no one really knows how deep our commitment to one another goes. I kind of like that you don’t get to see everything about who we are as two people whose paths have crossed- it’s for us. I will say that she is an irreplaceable part of my life, that I’ve walked the beach in her hometown under a moonlit sky, and that I adore her mother. I’ve looked out at the stars above the San Francisco skyline from the windows of her Castro lair. I’ve heard her cry. She’s heard me cry. She’s my friend- a very important one.

This morning, after having cursed Anne for writing books that never fixed me, and that I never even gave a chance, I opened Instagram and one of her posts was at the top.

“What if you wake up some day, and you’re 65, or 75, and you never got your memoir or novel written, or you didn’t go swimming in those warm pools and oceans all those years because your thighs were jiggly and you have a nice big comfortable tummy; or you were just so strung out on perfectionism and people-pleasing that you forgot to have a big juicy creative life, of imagination and radical silliness and staring off into space like when you were a kid? It’s going to break your heart. Don’t let this happen.” -Anne Lamott

Trust me, I immediately realized the irony of having condemned Instagram to be a worthless wasteland with no real influence or value and to have my morning turned around by Anne’s post of text on a purple background (she’s a writer, not a designer). I thought about how Anne, although so far from me in this moment, was so close. She whispered to me, not knowing that I’d read what she had written, another one of her eloquent words of wisdom. What I would give to go back to her pool that sunny afternoon and listen once more to her words. What did she tell me way back then? What was she trying to tell me? I remember her seeming a bit ambivalent, as if my relationship wasn’t what I really needed to examine. I can almost see her watch me miss the point, thinking “this girl will understand one day, but not today.”

I thought, “I should tell Sally about this.” I thought of all those daydreams that I carry with me when I walk around the city, and I wrote them to her in a list. I told her about how I did want to learn how to land that big jump at Breckinridge, even though I never have. I told her about my daydreams of sitting on Edmond’s sailboat with him in the Aegean Sea, eating and singing together. I mentioned learning a new language, not to be a pretty girl who speaks in pretty tongues, but because I love learning, I find language fascinating (obviously), and fuck y’all, I want to! I told her about how I want to write a book, but every time the thought of what you might think of me crosses my mind, I stop. I told her about my imaginations of a blues band with my father- he’d play guitar, and I'd sing. I think about that a lot, but perhaps that’s the only daydream that can never come to life. I want to drive around the vast wastelands of Alaska, and sit under the stars. I want to climb mountains. I want to dance until I can’t walk with Allison in Berlin. I want to redesign a kitchen and prepare recipes in a workshop of my making. I want all of it.

Amidst my daydreams, pontifications over Anne’s words, and texts to Sally, I received a message from my best friend. She had slept through her final exam for an important class. Minutes later, another came through- she talked to her professor, she’s going to take the test tomorrow, so now she has more time to study and to sleep. Hah, opportunity. Her dad always says, “when the garbage truck comes by, fill it up!” Then, suddenly, it popped in my mind that I hadn’t checked my mail in weeks, and my heart sank. I jetted up, set the pile on my desk, and sorted through each envelope. I always fear having missed something- I normally keep a watchful eye over my finances and commitments, but sometimes things slip through. I thought about my best friend and how I could channel her experience from this morning in embracing failure, and if there were some error that I had fallen blind to, I could fix it. But, I found no such ominous piece of mail in that pile, only a couple fliers, a beautifully designed AirBnB magazine, and a postcard with an image of ice and a man in a red jacket that read-

“Hello from afar, you little demon. It’s cold and absolutely beautiful here, may it give you some inspiration, because all I can say to you is to live your life for you, to the fullest, and joyously each and every day. Until March, from Antarctica.

-Edmond”

Life’s gorgeous gems always have a magical way of landing where they began, don’t they? I seem to have a magical way of finding great joy in being wrong. Maybe the universe wants me to see that not every moment is a triumph over an obstacle- sometimes I’m allowed to simply relish in happiness. What might I miss when I’m strung out on perfectionism and people-pleasing? What might I miss when I obsess over answers, and perhaps more accurately, a way to change how I feel?

I began writing you this letter in a moment of fear. I was hoping to convey some sort of message that there aren’t any real answers to feeling better, to being better, to having better. I was hoping I could find melancholic and meaningful wisdom within my soul about the realities of life- I wanted to say that there are no secrets messages in books, that the words that I choose don’t really matter, that we have so very little in life that we can control, and only a bit that we really know. I thought I had a really good idea about there not being a way to untangle yourself from confusion and uncertainty, so you might as well give up and stop buying those god damned books. But Anne’s words have changed the way I look through my lens out at the world in a number of ways. My best friend’s words change my perspective (and make me laugh) every single day. Sally’s words inspire me, and bring me home. This morning, Edmond’s words reminded me of who I am, what I believe in, and where I want to go. There still isn’t much I have control over, but I have more choices in this life than I sometimes admit, and I often pretend that I am completely powerless for fear that if my life were in my own hands in any way, I’d fuck it up. That being said, I know that I always choose my words methodically and with intention, and with that, I have the power to be radically honest. I can tell you what I desire, what has broken me, and stories of my past that have shaped the woman that I am growing into. When I release these words, out unto the stars, the earth begins to shift.

So, as always in my letters for you, my dear friend, I will say something honest: Sometimes I’m fucking terrified of life. Uh, redact that- I am often terrified of life. I want every item on that list of daydreams that I sent Sally, but I fear what I might lose when I walk away from certainty and the things that I rely upon. I fear deeply that I will never be loved or understood- that is a fear that I know very well, and that I’m not alone in carrying with me. I’m scared that I might lose my whole life to complacency, to playing it safe. I’m terrified that I am going to wake up at 75 and I will never have told anyone that I was deeply, madly in love with them because I was so fearful that I didn’t deserve to hear it back. I’m scared that I will have forgotten how to dance with freedom and power, that I'll have never left the safety of carefully curated sentences, paid bills, aced exams, tennis opponents that I can easily beat, jobs that I know how to do without flexing my mind, practical homes, acceptable relationships, inexpensive sheets, reasonable methods of transportation, and a blog that no one fucking reads because I refuse to be vulnerable (ok I'm getting a little dramatic). I’m just saying- I’m scared of settling, whatever that means, and not having at least tried to leap for something higher.

I think about climbing- I’m scared of what will happen when I jump for the next hold on a bouldering problem that is just out of reach. I think, “when I hit the ground, will I be ok?” But what if I never leapt? Would I be able tell you about that second when I jump, how my stomach drops, my hand slaps the rock, and to my surprise I find myself hanging on, lifting myself to stand on top of that boulder? I wouldn’t even know how to begin to describe a moment like that, had I never experienced it, and that’s mine to keep. I also wouldn’t be able to tell you that I have missed those holds more often than I have landed them, and I’ve always been okay. That’s really worth saying.

If I never finished anything I started writing, would these words sit inside of me for the rest of eternity, would I lay to rest wishing someone had come here and finally felt as though they had a companion in grief, joy and downright lunacy? What if I played by the rules, and never wrote in a fucking curse word? What if I played by the rules? If I were never honest about what’s really inside of my heart, I wouldn’t have the friendships with Sally and Edmond that I do. If were never candid about having made friends with dishonesty, I wouldn’t have Caroline Godfrey. If I never told anyone about my love for women, I wouldn’t be able to tell my mother about how my heart sometimes hurts in romance, and to be held by her words of encouragement and love. I might have missed out on sharing myself with my own mother, and I might have missed out on hearing the hilarious words “that lesbian conference that you go to” come out of her mouth. If I hadn’t admitted to myself that I had become a prisoner of alcohol, I might not even have my life. Actually, I know for certain that I wouldn’t have my life, because every moment worth remembering came after the first time I muttered the words, “I’m Casey, and I'm an alcoholic.” I have a list of a million beautiful things which I have earned from honesty and trust in myself and others, but I will save them for another rainy day (it didn’t rain today but you know what I mean). To make this list complete: If I didn't know any of these lovely human beings, I wouldn’t have mornings like this morning, where everything seemed to make sense again, and I finally felt woven right back into our web of diamonds and silk.

I know I need to end somewhere, and I feel compelled to leave you with an idea. What if you did have some sort of control over how your life unfolds? What if Tolle isn’t exactly right when he says that you’re just being thrashed around by circumstance as the universe reveals itself as you, and that the only choice you have is to either wake up or stay asleep? I challenge you to consider that every move you make pushes your needle toward either courage or fear, freedom or complacency, love or isolation, inspiration or apathy. Every choice and every word matters, and you can choose. You can choose. And if you need a place to begin, you can start by taking a moment to ask yourself what is true for you, finding wonder in those with whom you share your life, and by going out into the world, because all of it is yours. If you don’t, like Anne said, it might break your heart. Leap, my darling friend, courageous human, and say something honest.

Best wishes.

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hegrade · 5 years

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The Comeback of Victorian Typography

[How Design] This month’s type discussion is on the resurgence of the Victorian Look. I’m seeing more and more typography and graphic design from this era, the second half of the 1800s. It’s often perceived as ‘over the top’, but I find it charming and recent applications are quite interesting. Join Tiffany Wardle deSousa and I in our conversation about the Victorian look in typography.

Tiffany Wardle deSousa: I think the resurgence could very well be a reaction to the world of white space and simplification.

Dr. Shelley Gruendler: Is the pendulum now swinging the other way?

TWD: At least some people’s pendulums …

SG: It’s the opposite of Helvetica!

TWD: Maybe people can see that not every problem can be solved with the same solution.

SG: We all need constant reminding that it’s easy to get lazy with one’s ‘bag of tricks’ —we all need new tools and new tricks.

TWD: Kevin Cantrell’s work is a great example of this style.

SG: Wow! He uses letterforms and bifurcated serifs and borders and corners and size differentiation and shadows — you name it, he utilizes it! He did his research and tweaked it so that it feels modern and up to date.

TWD: This style is meant to be visually stimulating. You are supposed to get lost in the minutiae and the details. In many ways it is the polar opposite of the International Style.

SG: I wonder how do you know when to stop, when applying this style?

TWD: There is nothing heavy-handed about it. You can’t be with the Victorian look. Each detail counts.

SG: Great articulation of space even though there are loads of elements.

TWD: Right! Very little white space, but at the same time it is ethereal.

SG: It seems to have depth to it, those drop shadows really bring visual interest. (I can’t believe that I’m actually liking a drop-shadow! It takes me back to my commercial art classes in the mid-1980s.)

TWD: His use of filigree to fill the gaps in the word ‘Luminares’ is pure decoration, but it is being used in a specific and thoughtful way.

SG: You’re right — that filigree is great. All is very carefully planned, which speaks a lot for the designer.

TWD: Perhaps, the lightness of the sun-ray is sort of a visual response to the words.

SG: When one compares this to the book cover we discussed previously, one can see that it’s the articulation of the negative space, not the positive, that contributes to a successful design. The appropriation of space on this one does feel considered and not rushed.

TWD: Positive or negative. Victorian or International Style. One always has to consider the special relationships. It isn’t every only about the negative space or the positive space but how the two interact with one another.

SG: These aren’t actual letterforms, but they are typographic applications from the Victorian era and I think they’re absolutely charming.

TWD: These were stock illustrations. Printer kept them on hand for anyone needing marketing ephemera. They had to appeal to as many people as who might use them.

SG: As well as appear as if they were worth the price.

TWD: It’s the same old story: we have to show that what we are creating for the client will actually improve what it is that they are creating. Give reason for useful design. Design is utility, not decoration.

SG: Do you see the Victorian approach (filigree, type on arcs, drop shadows, etc.) growing more as a trend? Or maybe we should define it as more of an illustrated type approach?

TWD: I think you could definitely call it a growing trend. But it didn’t skip the 20th century. We might have considered it historical pastiche at one time. People simply mining the past in order to give their work — restaurant, wedding invitation, book cover— a sense of time travel. But now I think people are escaping pastiche and are doing some very interesting and modern work albeit in a style that is well worn. Perhaps using it as a way to create a more artisanal vibe.

SG: First food, now type.

TWD: Yes exactly. You wouldn’t see Helvetica at a farmer’s market, but you might see something like this.

SG: It’s a move away from the computer type-set look, and back to the humanist forms. Farmers markets sure are trendy now. I wonder if Helvetica has fallen out of favor since the movie? (I always hated it as a typeface because it’s just too difficult to set well in text.)

TWD: I feel as if I’m seeing less Helvetica.

SG: Maybe it met it’s saturation point? I hope so. I guess once a movie is made about a typeface, it’s unavoidably ubiquitous.

TWD: Ubiquitous doesn’t separate you from the pack nor does it differentiate you in the marketplace.

SG: I will always proclaim that a knowledge of type history or just good type can really help you to stand out — even if your clients will neither notice nor appreciate it (as Beatrice Warde stated in her ‘Crystal Goblet’ essay).

TWD: Absolutely agree. It is tantamount to being a good designer, I think.

SG: Not that we’re biased or anything … Me? Never!

Additional Type Resources by “Mastering Type” Author Denise Bosler

Join Bosler for an interactive learning experience: Basic Typography Bootcamp.

Download the “Typography Crash Course” article from HOW magazine.

Order “Mastering Type” now!

#Typography #design resources

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maacwanowrie · 2 years

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There are 6 abilities a graphic designer must possess to have a successful career

Graphic Designer course in Pune will help you build a solid design foundation. It includes hands-on exercises in Adobe Photoshop, InDesign, and Illustrator. It's perfect if you also want to become a digital illustrator and learn to use some of the most popular design software.

In your daily life, you may have seen a lot of imaginative book covers, motivational images, and interactive posters. Collectively, these are graphic designs. In other words, graphic design refers to any type of communication that makes use of images or drawings and can be produced by a graphic designer. Graphic designers experiment with letters, colour, patterns, images, photos, and information to produce appealing and cutting-edge visual designs.

To produce business logos, product packaging, computer interfaces, and other visual communication pieces, every sector today needs a graphic designer. There is a need for graphic designers in the advertising business as well as in print and digital media corporations, IT firms, FMCG companies, the financial sector, and numerous other overlapping industries.

For those who want to join this rapidly expanding business and satisfy the rising demand for qualified workers, graphic design courses are offered. However, it would be beneficial to learn a little more about the numerous essential abilities of graphic design before enrolling in a training programme.

1. Originality

It may seem obvious: be creative. Every field where you have to come up with something fresh calls for some kind of originality. However, creativity is sometimes misconstrued and even mistaken for the capacity to paint, draw, or sculpt. You need a creative attitude if you want to work as a graphic designer. By doing so, you'll be able to master practically all phases of the design process, from coming up with original concepts to creating fresh designs.

2. Knowledge of typography

Making different typefaces entails having a thorough understanding of point size, tracking (the distance between all characters used), kerning (the distance between two particular characters), and leading (line spacing). A crucial component of any graphic designer's skill set is their knowledge of typography.

3. Understanding of Page Layout Creation

The look and feel of a printed page are the main concerns of page layout. This covers the agreeable style-sheet, pictures, and text alignment on a page.

4. Understanding of interface design

A graphic designer today must also consider website layouts and user-interface designs to improve the interactive experience given the growing use of the internet, mobile devices, and social media.

5. Software Knowledge

Without having a solid understanding of at least Photoshop, Illustrator, and InDesign, it is doubtful that you will become a graphic designer. Therefore, it's crucial to enrol in a school that not only imparts knowledge of the fundamentals of graphic design but also equips you with a solid understanding of the tools used in the field.

In order to become a graphic designer, you must understand how to use each tool properly. A graphic design education can help you develop the necessary skill set and advance your profession.

6. Effective Communication

An essential talent for a graphic designer is communication. The "effective visual conveyance of an idea or concept" is what graphic design is, to put it simply. Consequently, the primary function of a graphic designer is to facilitate communication. Even before you begin developing, you will need to work closely with your clients to better understand their needs. Additionally, you will regularly work with your team, account managers, and a huge number of other people.

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alleeming · 7 years

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Negotiated Study - Evaluation

Across the board, I’m happy with my outcomes for each of the briefs I’ve undertaken.

The Noise brief was somewhat of a new venture, a different style of brief with no specific end goal, which at first is a little daunting. But as I immersed myself in the brief it became quite exhilarating, exciting. Having no restrictions on your output really does open possibilities. I found my initial development ideas were quite limited – I’d got it in my head I was going to produce a poster, something that emulated designers that I hold in high regard. It didn’t take long to realise that this really wasn’t me – didn’t look like something that was what I’d normally produce. Once I’d rid myself of the constraints of making a poster and let the experience of the journey, the visuals, the sounds, guide me, then the visuals began to take form and I became happy with what I was developing. The outcome I feel is an accurate representation of my interpretation of the journey.

The Noise brief is very much an abstract brief with the intention of triggering some lateral and creative thinking and it really achieved that. I do now look at things differently as a result. I wish I’d done this years ago!

The To Kill a Mockingbird Brief was, to begin with quite challenging. I of course began by reading the book and making a thumbnail image every time an appropriate image was formed. With this book it is very difficult to disassociate these images with that of a Mockingbird – a symbol that appears in nearly all iterations of the cover for the book. But, sometimes the titles of the novels are connected in a symbolic way with the meaning, so you can’t ignore them. So where initially I tried to avoid any bird reference, in the end I felt it was more appropriate to just embrace it.

My initial concept that I began to mock up, turned out to be untenable. I was set on taking a very powerful scene from the book and translating it to a single image. The concept I had in my head just wouldn’t translate – it just didn’t have the gravitas, the impact that the scene has in the book. As a result, I was very unhappy with how it was developing, so I left it, moved on.

Going back to my thumbnail ideas with a more open mind was when the final concept idea really did start to take form in my mind. I was able to visualise what I want to achieve, so I ran with it. I opted for screen-printing, as this felt appropriate for the story. Digital would be too hard, too clean. I’m in no way an illustrator, so that wasn’t an option. Screen-printing just seemed to be the right move. What was a challenge was the level of detail I wanted to put into the image of the trees, so that took some practice getting right, but was worth it in the end. It also took a bit of experimentation to get the colour palette right – but in the end, I feel the colours are a good representation of a post depression, southern state, American dustbowl town.

Although I have opted for retaining a Mockingbird image, I feel I’ve left it open to interpretation, arousing curiosity about what the text is about and evokes the same feelings when reading the book as when looking at it. As for the main typeface, although I was advised against using art deco inspired type, I feel the outcome justifies it’s use, it works when in theory it probably shouldn’t. Much of my decision was based around the sequel cover design that carries the same typeface – I felt it important that there is a visual continuity between the two books – something that was done with the American releases.

The In Cold Blood brief I found very accessible. I went through the process of reading the book, making thumbnail sketches, but I had two very clear ideas from very early on. My initial idea, as it turned out following my research, had already been done – frustrating, Yes. But it’s good to know I was on the right track. The second idea, and what became the idea I ran with was very different to anything that had been designed for the book previously. It’s a very dark, a little disturbing, and my interpretation of the final moments of the members of the murdered family.

This all came together very easily. Rather than trying various styles, ideas and concepts, I went with my gut – probably not a commonly promoted design method – and, to my mind, it all came together really well. I didn’t want any crisp, bold type on the cover. It needed something with a lack of clarity, so the concept I’ve been developing of projecting type though stencils worked perfectly. I even tried projecting image through stencil for the first time and that was equally successful – so much so that it’s used on the back cover. The overall result is a very dark, ominous cover that will draw in those who favour real crime, murder mystery stories.

During the last few months, I’ve actively sought commercial pieces that could be used for a submission. I have secured one piece, the cover design for the upcoming book by Jonny Fox. Although some initial development had been undertaken, the book is currently on hold while he is on tour. As a result, I pursued other opportunities and have secured the opportunity to work on a number of album cover designs during 2017, working alongside a small agency that works with Warner Bros and EMI Music. I have additionally picked up some work for an education charity who are undergoing massive restructure. I’ve been asked to make the restructure documents, charts and diagrams a lot less corporate (less Microsoft clipart) and accessible to all staff involved.

Overall, although there have been some frustrating elements to these briefs, I’m very happy with the outcomes, with what I have learnt and how I have developed new skills and further developed existing skills. The biggest thing for me though is how the Noise brief has changed my outlook. No more walking reading my phone – I’m paying closer attention to everything around me – it’s like a whole new world!

#Mockingbird #Cold Blood #Noise

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communityglobalbuzrush-blog · 4 years

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WordPress Plugins

WordPress Plugins are to your web page what parmesan cheese, bitter solution, and bacon bits are to a cooked

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Join: - Question & Answer Platform ________________________________________

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klootzbooks · 5 years

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A Quick Reflection

At long last, we’re at the end of the road for this project, and looking back on it, it’s been an interesting journey.

Back at the beginning, I remember being so excited about this project; of taking on a book-writing and -designing endeavour and creating something that’s entirely my own. The first step in that process was of course to write the book. I am of the belief that you really shouldn’t design something if you don’t have the content yet. More often than not, it just means you’ll be doing the work twice. So I needed to crank out a manuscript as soon as possible.

As someone who loves writing and used to aspire to become a writer as a child, this was relatively easy. It required very little research as I was drawing from a bank of knowledge I already possessed. Most of the book is also very explanatory, so it’s just a matter of breaking down concepts. In the final manuscript, I did cover everything that needed to be addressed, at least in passing, but if I had more time to develop the project, my manuscript likely would have been longer. The time constraints did force me to keep it to the essentials. Ideally, I’d have delved deeper into my personal stories within the sport to make it a more even balance between the explanatory and the personal content. Curling also involves a lot of quirky technicalities that could have been expanded upon.

When it came to the design, I knew that was where the main challenge would lie. At first I had this very clear image in my mind of what this thing would look like, but it became quickly apparent that I was lacking in the photography department. Having the book rely entirely on illustration would have been awfully risky because 1) my illustration skills are not quite up to par yet, and 2) because of the latter, I’m kind of slow at illustrating; my process isn’t the most efficient. Knowing the length of the book, this idea was almost insurmountable.

When I went home for Thanksgiving is when the project really took a substantial turn in terms of its design direction. I thought to myself, “You know what? Why not ask for the curling club photo albums? You never know.” This is probably one of the advantages of living in a very small, close-knit community. After calling up the woman who oversees the town’s curling club, for whom I’d worked three summers ago, I then found myself struggling to carry a big cardboard box loaded with twenty-some photo albums.

Browsing through those albums was like getting sucked into the past. Each photograph would contain people I knew, and some people I didn’t, experiencing a livelier version of the town I grew up in. A version that I’d always heard about, almost to the point of being mythologized, from the older adults in town, my parents included.

To give some context... My hometown is small, but prior to the 2000s, the place was thriving. There was a plethora of restaurants and stores, lots of community programs, and even a healthy nightlife. By the time I was born, things were on the decline, due to struggles concerning the pulp mill in town, which was the primary employer in town. In 2005, that mill shut down, and I can say without a shadow of a doubt that that’s when the town effectively died. In my class, there were 25 students, but once the mill closed, we suddenly dropped to 10. A vast number of people were forced to move away in pursuit of a new job.

In essence, the photos captured a time that I didn’t have the privilege of experiencing, yet they were incredibly vivid. Having this resource at my disposal, I had to scan a bunch of the photos, though I had no idea how I would include them.

It almost seemed a waste not to use the photographs, so I now faced the challenge of blending those old, pixelated images with my simple and sleek illustration style. This was probably the exercise from which I learned the most; it added a diversity to the visual aesthetic of the project in a way that most of my past projects haven’t been able to achieve. I think the solid expanses of colour and the quirkier, blocky typeface helped bridge the two aesthetic styles, but also the fact that the book was kept simple. Nothing crazy was going on with the layout, which gave a wider playing field for these two elements to interact harmoniously.

In retrospect, I’m very grateful for my past self for setting deadlines for myself. I’m not someone who can leave something to the last minute because it gives me paralyzing anxiety. Even a week before something is due is often cutting it too close for me. More than two weeks is ideal. Thanks to this steady progress I had established early on, the printing issues I encountered were able to be resolved with ample time before the hand-in date. I can just imagine my chest pains if I’d waltzed into The Printing House on the week of the due date, and wound up having to quickly come up with a plan B within a matter of days.

That complication did lead me to find this other nifty printing service downtown; something that I can definitely use again in the future, now that I know their rates and turnaround times.

All in all, I’m quite proud of the final product, though as previously mentioned, if I had more time, I would have loved to expand upon it even further. Life, however, works in strange ways, and due to some recent developments, I may end up getting the opportunity to do exactly that.

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jamiekturner · 5 years

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Download these futuristic fonts and create awesome typography designs

When you are working on a modern design project, futuristic fonts will help you to get your message across.

This means understanding the design you are working on as well as the audience you will be appealing to.

This article has put together a range of different tech fonts, space fonts and even sci-fi fonts for you to choose from.

Neuron

Neuron is a very soft and approachable sacred geometry font which will draw your viewers into your site.

This is one of the best futuristic fonts for achieving a celestial aesthetic for your designs. You can download this font free with extended characters, italics, and ligatures.

It definitely makes one of the best futuristic fonts for your modern design projects.

Nidus Sans

Nidus Sans is one of the more conservative futuristic fonts, making it a great choice for professional designs.This font reads well for both headers and small amounts of copy text.

If you want to create a futuristic aesthetic yet want to keep your designs professional and understated, this is a great choice for you.

Electro

Electro is a beautiful and very expressive futuristic font which has both an elegant and an edgy appeal. This font will create a bold aesthetic.

You can download a free version (without punctuation or language support) to use in your futuristic poster, logo or website designs.

Aqua Grotesque

Aqua Grotesque is an angular style retro futuristic font influenced by 1940’s style lettering and design. Use this font to create an elegant futuristic style.

It is highly legible and can be used for both display and medium chunks of copy text.

Jura

Jura is a square shaped font inspired by Kayah Li glyphs. Although it is a great font for futuristic designs, it also has a vintage appeal. It includes Greek and Cyrillic letters.

If you want to add an element of history to your futuristic designs, Jura will be one of the best futuristic fonts for your designs.

Voltaire

Voltaire is inspired by 20th century Swedish poster designs and is a retro futuristic font which will make great headers.

Use it for your futuristic poster designs.

Raptor Sans

I really dig Raptor Sans is simple yet strong retro futuristic font which will add a bold statement to your futuristic designs.

As one of the best futuristic fonts to add a touch of retro to your futuristic designs, you can use this font for book covers, posters and modern websites.

Panos Voulgaris, the font’s creator used it to redesign book covers from the 70s. This is certainly one of the ultra fonts when it comes to visual appeal.

Controller

Are you looking for a geometric yet rounded futuristic font?

If so, Controller will give you an organic yet high tech appearance. This font comes in five different weights and alternate letter forms.

Concord

Futuristic fonts have simplicity at their core. This is very true for Concord, which is a part of an already successful font family called ‘Accord Alternate’. This font is geometric yet elegant in design.

Concord is easy to read and comes in 7 different weights to add emphasis to your modern and futuristic designs.

Aguda

Aguda is a geometric future font which was designed by Pablo Balcells during 2014. This font was designed as a display style font to give a high tech appearance to modern designs.

However, it is very easy to read and therefore suitable for short or medium length copy.

Solaris

Solaris is one of the more popular futuristic fonts. It is strong and bold in appearance and gives a high tech appearance which would suit the latest technological developments.

It comes with alternate letter options, numbers and punctuation.

Fuerte

Fuerte is a great sci fi font which comes with both plain and patterned letter forms.

Borg

Borg is a free futuristic font which has a high tech appeal.

The letters are clean and simple, and can be used to create a futuristic logo, a heading or even a t-shirt design.

Elianto

Elianto is one of the most beautiful futuristic fonts available. It has a geometric style with a gorgeous triangle.

You can use this font in both upper and lowercase lettering to create modern designs with high impact appeal.

Technical Forest

Futuristic fonts look great in headlines, quotes, science fiction sites and modern website designs.

This font has a simple and very minimalist feel which will give it a clean lined and simple appeal. It is both sharp but organic in style, creating a simple yet warm and friendly design.

Industry

Scifi fonts look great when it comes to technical designs. They appear to be very strong and appealing. Industry has a vintage industrial appeal.

It makes a great choice for headlines and logos. However, because it is legible, it is also great for short paragraphs too.

You can choose from eight different weights in this font family. You can also use Italics to create an interesting element to your designs. You can use a stylized companion when working with this great text.

Armadura

Armadura is one of the cutting- edge geometric typefaces which provide an angular expression to your futuristic designs.

Use this technology font for all your modern or high tech graphics.

Robodron

If you love the cyborg world and the impact a great font will make to your world, Robodron will make a great choice. With its edgy yet smooth look, this futurist font will create a high tech appeal.

This is a cool font alphabet for a modern site. Create outstanding headings or bold texts to add to your high tech designs.

Eund

If you are looking for sci-fi fonts with great geometric lines, you will love Eund. This font has gentle curves and bold rectangles which combine to create a highly legible font.

Eund can be used for sites with a large amount of information, and it is a futurist font which comes with a great many options too.

With 500 characters and 5 number variations, you will be able to create stunning futuristic designs to wow your viewers.

Tokyo Typeface

Tokyo is a Japonism futuristic font which enables you to create designs which have a Japanese appearance.

You can also use Inkan – Seals in paperwork, art, contracts or any other items which would normally require a personal signature. Inkan – Seals replace the need for a signature as a sign of agreement or authorship.

You can use both upper and lowercase letters while working within this typeface. While the uppercase letters may appear slightly wider than those in the lowercase, they will still work well together as futuristic fonts for your modern design projects.

So if you have wanted to create a modern project using eastern lettering, but haven’t known how to write it, the option is now open to you. And it appears as fresh and beautiful as the original design.

Luengo

Luengo is one of the most popular technology fonts to use in futuristic design projects. It has rounded corners for a soft and approachable feel, and an elegant sophistication which helps it to stand out from the crowd.

You can use this cool font alphabet for both headings and copy. It also makes a great choice for a futuristic logo, packaging designs and editorial content.

You will be able to download a full European set of characters with alternatives when you choose this royalty free font.

Ultra

Ultra is a technology font inspired by bright lights. You can use it in your commercial designs to show movement.

Fully editable, it is one of the fast looking fonts which will give your designs a dynamic impact.

For top results, follow the suggestion of designer Fabien Korn, who explains that when used in multiple colours, Ultra will create that cool neon glow which will take your designs straight into outer space.

Expect awesome results with this cool font alphabet.

Geometric Hurricane

Are you looking for an elegant outer space font which will make a great choice for your displays?

Geometric Hurricane makes an excellent technology font.

Design System

Design System is a great collection of 70’s fonts which range from simple square designs to wide high tech fonts.

You’ll love the simplicity of this font set, as well as the way these future fonts add creative impact to your designs.

You will also be able to combine these high tech fonts as they combine well when mixed together.

Polly – Rounded

Polly is a clean looking technology font which is strong enough to hold its own, while other elements in your design move into the forefront.

Use Polly to show off your great designs, striking images or awesome videos. This futuristic style font will set the scene for a great site.

Etheriq

Etheriq is a great sci fi font which will stand out amongst the alien fonts in your collection. Each character is both minimalist and highly sophisticated.

If you’re working on site for high tech designs, fashion or architecture, this is an excellent font to use.

Abrade

Futuristic fonts make great choices for contemporary designs and Abrade is no different. This future font is geometric and has a medium height, which makes it very easy to read.

Many high tech fonts are great for onscreen designs, but Abrade is a great print choice as well.

You can use this great font for branding and logo designs, digital websites, print designs and advertising.

Ailerons

Ailerons is a future font which will give your designs a clean and elegant aesthetic.

Letters are tall and graceful and each glyph in this technology font is made up of strikingly beautiful details. Let the Ailerons font add style to your modern websites or designs.

Beyno

Are you working on a modern styled posters or designs? If so, you will love high tech fonts like Beyno.

This quirky future font will add instant style to your posters and graphic design projects. You can use it in headers and its high legibility means it makes a great copy font too.

Beyno font has such quirky glyphs that it will make an outstanding contribution to your website. This cool font alphabet can stand alone, creating a strong presence which will enhance your designs.

Morebi Rounded

Morebi Rounded is a great electronic font with a neutral appearance, making it a highly flexible font for all modern websites and designs.

This is one of the best futuristic fonts for websites, print and packaging. You can also use it in copy as it is highly legible. From technology to the food industry, this is a font which will add a dynamic appeal to your projects.

This futuristic body font comes in six different weights, each with italics. You can use both upright and italics to add to your futuristic style designs.

Stellar

Stella is an endearing hi tech font which is extremely versatile.

It is one of the most popular of the space themed fonts because it can be both space aged and extremely grounded, depending on how you work with it.

Neptune

Neptune is a funky set of futuristic letters which are both eye catching and expressive.

You can also use these futuristic poster style letters for logo designs as well as for copy on a modern site design.

UFO Nest

UFO nest is one of the most playful space themed fonts. Inspired by the mysterious formation of crop circles, UFO nest is a very busy font.

You can use this font for headings to grab your users’ attention. However, it won’t make a great copy font because it isn’t as legible as some of the more simple futuristic fonts.

MTT Milano

MTT Milano is a futuristic text which has been created from scratch. It has elegantly long ascendants and descendants, which add to its sophisticated appeal.

This font offers a great futuristic look and can be used as a copy text as it is highly legible. However, it is even better when used in larger sizes as a display font.

You will be able to choose from five different font weights with matching italics. The result you’ll have the choice of ten different fonts.

This will give you create flexibility when working with futuristic styles and designs.

FF Max

FF Max is an outstanding hi – tech font which is also highly flexible. It has 18 different weights, and makes a great choice for futuristic logo design, branding and futuristic poster designs.

You can also use it as a retro gaming font. You’ll get a range of capitals, alternate characters, fractions and subscript characters to add variety to all of your futuristic styles.

Raleigh

Futuristic fonts were once highly popular when stenciled. Raleigh brings back this retro look for futuristic styles.

You will still get a cool astro font with a future forward appeal. However, the quirky stenciled design will add extra appeal to your futuristic look.

Cintra

Cintra is one of the most flexible futuristic fonts you can use if you’d like to create a modern project design.

It will work well with every element of your site, while still managing to stand out from the crowd.

Gunar

Gunnar is a geometry font which has a squared off appearance.

This spaced themed font has a precise appearance, where straight lines, exact curves and angles join together to create a highly original astro font.

This is one of those futuristic fonts which are highly flexible. Highly legible in a range of different sizes, it can be used as a futuristic text in a range of different design contexts.

Reso

Reso will give a futuristic look to all of your logo designs and headers.

You can even use it in as a short copy text as it is clean and easy to read. Simple and sophisticated, these futuristic letters will add elegance to your designs.

Clio Condensed

Gabriel de Souza designed these futuristic fonts in 2012.

Simple and very stylish, this futuristic text will enhance the appearance of your modern designs.It is a highly flexible font which comes with italics and obliques.

You can use it to give a luxurious appearance to your futuristic designs, logos and trade mark creations.

It will work particularly well as one of your bank fonts, or in the field of computers, technology, security, and networking and communication design.

Metros

‘Metros’ is a minimalist astro font which will give life to your modern website designs.

You’ll get an entire family of futuristic fonts, providing you with an entire font family, giving you 6 different weights to create a flexible set of futuristic letters which you can use for all of your design goals.

Prospective

Prospective implies exploration, and this futuristic font will bring you a peek into the future. This is a geometric typeface with an edgy appeal.

If you want your audience to probe into the future and you are searching for techy fonts for your graphic design projects, Prospective is for you!

Anurati

Anurati is a cool font alphabet which will add interest to all of your futuristic designs.

Add this cool futuristic lettering to your modern site designs or use in colour blocks to create a space typeface with an eye on the future.

Luciana

Luciana is a very light form of futuristic lettering which gives an elegant, feminine and very dynamic appeal to your futuristic designs.

You can download this free futuristic font and edit it to suit your needs. It makes a nice font alphabet for posters, displays or monograms.

You can also use this futuristic font to create great logo designs.

Blanka

Blanka is a simple and very elegant cutting edge font which will present you with a gaze into the future. The letters are missing some of their futuristic lines, which give a playful yet striking effect.

Use this stunning font for stunning headings and mix with other futuristic fonts to create designs which will thrill your viewers for years to come.

Atlantico

What could be more intriguing than a music festival font inspired by the great Atlantic Ocean?

Atlantico is a futuristic type font which appears to belong on music posters. This font has strong and very bold futuristic lettering which have a geometric feel.

If you are creating music posters with a futuristic theme, Atlantico is for you!

AlexanaNeue

AlexanaNeue is a set of geometric lettering which entices the user to participate in connecting the dots and shaping the lettering.

Alexana is one of the futuristic fonts most suitable for bold headings. It may be difficult to read in smaller sizes, so is not suitable for small copy text.

Elixia

Elixia is a great choice to make out of cool mystical fonts when you want to create a futuristic design.

It uses hexagons to create a dynamic aesthetic and has lower and upper case letters. Use it to create an awesome display text.

LazerzAdditkz

If you’d like to look at LazerzAdditkz as a cool futuristic style, you can check it out on Behance. You’ll also see it scatted throughout the internet in gifs and other cool images.

After you’ve explored how LazerzAdditkz has been used as one of the coolest futuristic fonts around, it will be time to decide how to use it in your own graphic design projects

Beams

Beams is a stunning futuristic font which combines rounded corners and edgy angles to create a bold, unique and eye-catching appeal.

Draw your audience in with this excellent futuristic graphic design font.

Exan-3

Do you absolutely adore futuristic fonts? If so, you will fall in love with Exan-3. This font has a futuristic style but a retro feel.

You can use it on poster designs, cards, websites and all of your futuristic graphic design projects.

Azedo

Azedo is futuristic font with a unique and very interesting appeal. It has rounded crossbars and an exciting uppercase A.

The font has an elegant style with a creative touch. This is a great futuristic logo font.

Moon

This rounded astro font created by Jack Harvatt has a moon surface appeal and a circular design.

Combine space style images with this great astro font for designs which will appeal to the space explorer in all of us.

Arkhip

Arkhip has wavy letters and strong movements which make it one of the best technology fonts for dynamic futuristic designs.

You can use this great font in a futuristic logo. It also makes a great body font as it is easy to read in all sizes.

Dual

Dual is a set of futuristic fonts which is highly flexible. With more than 250 stylistic alternates you will be able to let your imagination run free to create astounding futuristic designs.

Have a look at Behance to see how these future fonts have been used with alternate glyphs. Create a range of futuristic fonts for all of your logos, digital designs and posters.

Astro

Astro has a scifi font appeal inspired by the stars and planets.

It is one of the most beautiful choices amongst the space fonts and you can use it in both upper and lowercase to great gorgeous designs.

Halogen

If you are looking for a strong and sturdy future font, you will love Halogen. It has a range of style alternatives to add a unique element to your logo.

You will also be able to use this technology font for great poster or header designs.

Marske

Marske draws on a retro style appeal as it is inspired by stencil designs. The effect is strong and bold as this futuristic font links together to form distinct letters.

Marske is definitely one of the most creative futuristic fonts to use in your graphic designs.

Vindemia

Vindemia is a clean and very simple sci fi font. Use it in all of your modern or futuristic design projects to create attractive and eye catching results.

Although Vindemia is one of the stronger futuristic fonts, it is simple enough to pair with strong visuals and exciting illustrations. Use this high tech font for excellent results.

The Missing Link

The Missing Link is a stunning futuristic font which will make a great impact on all of your futuristic design projects. Create a futuristic aesthetic which will enchant your audience.

As an additional bonus, this is one of those rare futuristic fonts which is highly legible, and can be used not only as a header, but in body text as well.

Primus

Primus is a clean, simple and easy to read futuristic font. It is curvy, friendly and highly legible.

This makes it a great choice for every element of your designs, from headlines to copy. Primus is certainly one of the most attractive and friendly futuristic fonts available.

Dosis

Dosis is a rounded technology font which will add a sophisticated and very clean look to your designs.

Letters are elongated and available in various weights, adding a flexible touch to your designs.

As one of the more playful futuristic fonts, the lighter weight will add a touch of fun to your designs. Alternatively, you can use a heavier weight to add strength and substance.

Ending thoughts on futuristic fonts

Futuristic fonts will keep your designs high tech and modern. We hope you find a unique and creative choice in this gallery. Explore the range of high tech fonts until you find just the look you need. Download and experiment with your favorites. Good luck with your futuristic designs!

If you enjoyed reading this article about futuristic fonts, you should read these as well:

Resume fonts to consider using on your CV before applying for a job

Free Cute Fonts to Use in Your Thematic Designs

Google font pairings: Font combinations that look good

Retro Fonts: 90 Free Vintage Fonts To Download

Best Thin Fonts: Free Light Fonts To Download

The Best Free Smoke Font examples for Creative Designs

Stencil font examples that you can download

The post Download these futuristic fonts and create awesome typography designs appeared first on Design your way.

from Web Development & Designing https://www.designyourway.net/blog/typography/futuristic-fonts/

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yazmaeylemi · 6 years

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How To Write A Resume? We Have the very best Step By Step Overview to Folloq For Yow

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