Out of all things graphic design related, book layout is my favorite. I can’t really put my finger on why, I just do. Maybe it’s due to my love of books; the feel of the paper, the smell, the fluidity of content. Maybe because I feel like the final outcome produces a greater satisfaction than what creating a mere component produces, such as a font(not that fonts aren’t important – I adore font). Or maybe because it involves so much problem solving.
Book layout, as I have especially found during this project, makes the wheels in the attic turn. From finding out what pages go next to each other and what the page numbers are and how to correctly align them and how to copy them so the reverse is correct, layout requires much attention. I have learned how much precision matters and I have adopted a great appreciation for adobe by having to paste content on by hand.
(Project 4: Part 1 continued)
I noticed when expressing connotations of “enigmatic” –“mysterious” — “hard to understand/explain,” most font designs or most fonts that were chosen for a design were slanted and a bit messy even. The PDF I posted includes some fonts and images that inspired my own creation.
Our book,(Thinking with Type) on the page discussing type as a program, talks about designers Rudy VanderLans and Zuzana Licko. Zuzana created a series of lo-res fonts for desktop screens and printers in 1985. Her and her husband are cofounders of Emigre Fonts and Emigre magazine. Their designs are really inspiring.
Also, I found this interview with the two of them from Print. I find interviews with artists or discussions given by artists are important for aspiring artists.
These are some really great fonts on this site and they’re free! Some of the artists even give you permission for commercial use too. I really like #26, Nougatine. My aunt and I make french macarons and it’d be great to use on a package design for them.
I’m a fan of this font, and many modular fonts actually. They’re simple, yet still visually satisfying.