- KA&D typographic magazine
NKF project for typography and layout
- Brief: Create a typographic magazine without using graphicalelements or pictures.
Colors: Black +1
Fonts: max. 3
Articles in the magazine should present artists, architectsand designers. All articles should fitvisually expressions: classical setup, experimental typography, typography asshape or in a shape.
- CoverI wanted to make a cover that strikes and therefore usedstrong contrasting colors (black and magenta). The name of the magazine ispresented as a visual effect that is easy to see from the distance but whencome closer the focus drops into titles.
- Pushwagner & Salvador DaliThe second article describes Pushwagner and Salvador Dali.They are artists from different eras. To show these differences, I chose 2typefaces: Garamond for Dali since the font represents the past and the modernFutura font for Pushwagner. Although they are different artists and have neverworked together, they have much in common: both are extravagant, arrogant and"crazy". To show this similarity and difference I played withillusion using grid. Texts about 2 artists layered on each other as a symbol ofsimilarity. In order to read each text you need to separate it by moving thegrid.
- Michael Elmgren & Ingar DragsetThe first article is devoted to Michael Elmgren and IngarDragset. They are two artists who are collaborating to create installationsthat have become popular worldwide. As they are two different individuals Idecided to separate them by using 5- and 6-columns system for the text. As asymbol of their cooperation I combined 5- and 6-column systems into one.
- Jonathan IveThe next article is about Jonathan Ive, the world's smartestdesigner. He made the most popular products of Apple with a clean and simplestyle in common. So I thought that a “traditional” layout is best suited forthe article about him.
- Frank GehryThe third article is dedicated to Frank Gehry, a greatarchitect who designed many famous buildings. We needed to use "text inthe form" in one of the articles, and I thought it was best suited for anarchitect. So for the text I chose the shape of one of his buildings. Bycrossing the rest of the text I wanted to show how form is important.
- Tarald LundevallIn the fifth article describes Tarald Lundevall, who designedthe Opera House in Oslo. Invisible lines splitting text are inspired by the “line”design of the Opera House.
- Giambattista BodoniIn the last article, I chose one of the great designers ofthe past: Giambattista Bodoni, the creator of the font family Bodoni. SinceBodoni is beautiful in itself, I decided to make it easy and use Bodoni fontwithout any interference.