This visual communicator drew the first character of the month in a new way every day through April. Definitely a useful source for producing any typographic ideas! 

MAL.

Gestalt Editorial Design Example: 3

Examples here from German design magazine, Designmonatgraz. The really important aspect of these layouts that I see is the uniform of three text columns a page, in one spread some columns are left blank but there’s still a three column rule. Pictures and details stay inside these grids, but vary greatly in size, ratio and positioning.

Ref.

MAL.

Gestalt Editorial Design Example: 2

Cool examples above from publication Lados, a Spanish lifestyle/ Art & Culture magazine. A design I’m particularly taken by here. The column width works excellently as a unifier across all three pages. But it’s the use of 45o angles that really cement the first two pages for me, echoing the title typeface. Colour schemes are individual to the separate spreads.

Ref.

MAL.

Gestalt in Editorial Design Example: 1

There are many properties and rules in gestalt psychology that should be used as key principles in graphic design, though opinions vary on how to list them, I’ve found a rather simplified explanation. The three key principles are: Alignment, Grouping and Ambiguity.

Alignment is concerned with coordinating different elements to arrange forms and shapes. The grouping principle is important to creating different clusters of in the layout design, so that we may process elements more quickly. And ambiguity is the rule, that a designer should never create a monotonous layout design. Pages should always feature a noticeable variation of typeface, font, white-space, detailing and hierarchy.

These are layouts of Le Fourquet Magazine. I recognise on each page four elements; Title, Body Text, Photo and Detail. On all of the individual pages the body text is in one column and the title typeface and body typeface are the same; this creates uniform through the publication. The detail is a small shape or element which lends a new shape or form to the layout as a whole; on page one it is the TOUS in the bottom right corner, the second the detail is the illustration which spills across both pages, and on the final spread the single green asset gives the page a eye-catching feature, it also acts well to emphasise the break between the text and photo.

These four elements can be seen on all the pages and I think it’s the recycling of these assets that creates a uniform in the publication, but the diversity in how we use them keeps the viewer excited/interested.

MAL.

Ref.

Vince Low

An artist who’s been gaining some good coverage in the art world recently.

In my current editorial project on Bruno Monguzzi, I’d hoped to find a manner of illustration that somehow embodied some of Monguzzi’s notions of universal language and gestalt psychology. 

Gestalt brought to mind these ideas of images made up of smaller consecutive parts, outlines created by text and illusory contours. I think I see potential in the work I see here; not only does the line making up the image correspond fantastically with gestalt theories, but the style also offers the opportunity to illustrate emotion and expression on a different level, in a way that could communicate universally in keeping with Moguzzi’s quest for a universal language. 

I’m not proposing that I shall use this style of illustration or infact illustrate my work in this manner at all, but I’ll definitely keep it on record.

MAL.

Esperanto was mentioned several times by Bruno Monguzzi in his interview with Typeradio, at first I thought it some biblical passage with the context of the conversation, but then after a quick google I discovered otherwise. 

Esperanto is the most widely spoken constructed international auxiliary language. Created in the 1880’s the purpose of which was to be an an easy-to-learn, politically neutral language that transcended nationality and would hopefully unify people through a similar tongue. The estimated number of Esperanto speakers ranges of from 100,000 to 2,000,000 world-wide.

Perhaps Esperanto has a place in my project reflecting Monguzzi’s talk of a “universal language”. But I’ll have to see to what extent the brief has an interest in the written content of the work.

MAL.

Lino Print Workshop

I have done lino-print ever since primary school, and I shall admit until today I have despised it with all my being, almost as much as monoprint! 

Today however I really enjoyed this task, our job was to create and maquette that represented our given quote, mine was “Rationality and Emotion can live together” by Marian Bantjes. My immediately looked to generate something with emotional/expressive value, which is a favourite drawing subject of mine. So the female figure seemed a good start, then I tried looking at the quote as a whole and tried to give an example of this. A piece of Anti-Nazi Disney propaganda came to mind. So what I tried to illustrate was not only the contrasting nature of Rationality and Emotion with the use of form and shape, but also that the balance of these can only exist in the mind.

I preferred my first print to my second; though with neither did I quite get the anatomical detail or the lighting quite right, I think the second somewhat messy. 

I’ve been opposed to lino-cut in the past, but I was actually quite pleasantly surprised by the crisp outcome the process offered. Especially on some of the other works where people had done type forms or patterns. I’ll definitely consider the technique for use in the future. 

MAL.

Fantastic illusory design sent to me by ralfmaniego, thanks Ralf! Link Here.

The illusion itself is fantastic, a clever use of paper shading and cropping to give the effect of folds. Definitely a technique I’ll put a pin in for future reference. Elements of this work are relevant in my current editorial project, the parts I am most interested by are actually the type, both the positioning-of the body text and the “missing nature” of the titles, this relates very well to my “psychology over aesthetic” theme of work.

Thanks Ralf! 

MAL.

Quick Workshop in Paper Format

A short and surprisingly tasking exercise. We were asked to produce a mock; with the way it was unfolded/read reflected our quote.  

Though there was an extensive amount of making it up as I went along involved, what I was hoping to try and do was keep the words Rationality and Emotion separate and then somehow make it so that they may end up together or read as part of a whole. With some experimentation to my delight I managed to end up with exactly this, moreover Rationality and Emotion had to be held in separate hands exaggerating my intension, then with some glue related engineering I managed to make it so that you had to use both your thumbs to lift the next page; (an connotation of working together). Followed by Together acting as a join across both halves of the publication.

I was overly impressed by my own work and even more impressed by the work of others, I was amazed to see that everyone had somehow created a completely different format of work. On feedback tutor said that though the design was overly complicated for the task at hand, the layout and design was very intuitive and definitely “had potential”.

MAL.