This first design uses the Serifa family as its typeface. The proposed hierarchy suggests Jan Tschichold as the most important piece of this design. The placement of each name in this design is precise and intentional, allowing the serifs of the font to interact and play with each other. The triangle block color is meant to divide the book in a fashion reflective of Tschichold's own work. I chose this specific orange as an easter egg to his work with Penguin Books. 

The original intent of the hierarchy of this second design was initially highlighting "master typographer". Initially, this piece was meant to create contrast using the Univers font family but I later chose to use Garamound. This allowed me the opportunity to play into the flags of both the J and T, creating the intended contrast with the smaller font nestled into it. 

In this design, I intended for the main focus to be "master typographer" although in this design I wanted to play more with the space and although "master typographer" is the largest text and should draw your eye first, the cover clearly highlights the intention of the book; an overview of Tschichold's work and legacy. In this design, I had a lot of fun playing with the fonts DIN and Garamound together, their differences creating a nice and subtle contrast. I chose these colors together in an attempt to create a vintage or retro look and feel. 

As a personal fan of Penguin Books, being both a lover of books and penguins, I really wanted to celebrate that such an influential person to typography and graphic design has also greatly contributed to a brand I hold close. I used my first design, slightly changing the orange and pulling an image from Penguin books. The penguins movement across the cover is reflective of Tschichold's own intended movement through his design as well as his involvement in the evolution of the logo itself. The logo he designed in 1949 continues to represent Penguin Books, slightly updated with and orange oval.