I’m a bad designer. Which isn’t to say I make bad design, I like to believe I’m at least competent at that. But, in keeping with my distaste for elitest discourses on painting techniques, I am not an incredible font snob. I trie of Helvetica’s popularity, but I am not among the myriad of frothing-at-the-mouth designers shouting for blood if someone should suggest Arial. There are dozens of nearly indistinguishable Helvetica clones, and you know what? Only designers care. Seriously.
But! That said, this article from a typeface designer with a deep-seated hatred of Helvetica pleases me, if only because those previously mentioned frothy designers have set-up something of a temple around that font, and I find that more than a bit silly. Plus, I have to admit, his Aktiv Grotesque font does look clean, and if I had a couple hundred to buy the common styles and weights for my own work I would. So there.
Categories: design and principle Tags: aktiv grotesque,bruno maag,dalton maag,helvetica
Hey! Woah! Man.
This might come as a surprise to some of you (I know it did for me), but, I have a blog! Ker-azy! I really need to get back into updating this.
Anyway, I’m off to a shoot later this evening. It’s contract work, for another site, so I won’t get to post anything up here, really. You’ll just have to trust me that it’s awesome. Because it will be.
This is also a good time to mention that if you don’t follow me on Twitter, it’s a ridiculously better way to keep up on what I’m up to, just because it’s easier for me to send updates to El Twit. Plus, it’s been getting a bit stuffy on Facebook, you know? So, I’m off for now, I’ll try and slam some stuff up on here tonight or tomorrow. I’ve got a painting I need to whine about, at any rate.
So, this is part of an identity system Nick and I have been working up for the Indianapolis-based Garfield Park Shakespeare Company’s next production: Macbeth. We’re still waiting for some details and such to complete the lead-up materials, and there will be some nice playbills and posters later, but for now, check out these early promos.
We decided do go with a bold, modern stance, with a largely typographic approach, and only two colors, decisions largely made based on our lack of awareness at the design stage as to what kind of printing and resources the troupe would have. We knew the take would be colonial American, though, so we offset the brutal modern design with some nods to the period. The ‘dagger’ is actually rendered from a colonial bayonet, which at the time were admittedly little more than daggers designed to be shoved into a barrel. The type face is Caslon, which is descended from a type the interwebs assure me was commonly used in colonial America. So there.
These are the fronts for the two postcards that’ll be run, and the social media image.
I don’t normally pull much monkey business around here, but I have today deleted my previous post about the merit of artist statements. Not because it’s any less true and I’m shamefully trying to hide something. Rather, it’s just because I’ve been made of fail and it’s a bit past its ‘follow up by’ date, so, I’ll try it again this week so it can mean something.