The focus of this project was about creating work that is informed by an understanding of content. We were instructed to research to research the typographer Jan Tschichold and then reflect his values, attitude, and craft befitting a "master typographer." Our designs also had to incorporate the use of a modular grid to create some form of structure. The book covers were also limited to the required text Kidwell provided along with a maximum of two colors. Hierarchy had tone demonstrated when placing the text on the layout. You can see my process and how I came to my final designs in my dropmark.
Required text:
Jan Tschichold, Master Typographer: His Life, Work and Legacy, Cees W. de Jong, Alston W. Purvis, Martijn F. Le Coultre, Richard B. Doubleday, Hans Reichardt, Cees W. de Jong-editor, Thames & Hudson, London, 2008
Typefaces used in my final designs: DIN & Futura
The three book cover designs are shown in this order:
Title dominant
Sub-title dominant
Name dominant
This cover design emulates Tschichold's precision, contrast, and angularness. The design is predominantly blue tones because it is associated with open spaces and intuition—two things Tschichold utilized. It also aids in regressing but still coming forward, which speaks to its multi-dimensionality in terms of the past and future, and Tschichold's legacy. The building is both rigid but creates movement and dynamics. Skyscrapers are already made from a blueprint or grid so I created a grid which mimics the linear structure and the angle it was captured at.
My second design is very linear and clean-cut. Tschichold incorporated very geometric shapes in his designs. This design feels very corporate and utilitarian. The simpleness is what also relates back to Tschichold. The blue seems fitting for this design because of its calamity and formality.
This third cover design utilizes spatiality and the purist mindset. The design is set up very vertical and the focus is on Tschichold's eye. Blue was used in this design as well because it gives more of a cool, muted tone rather than something that's in your face.
These paper version mockups, along with the tabloid, allow the audience to visualize how the book would actually be viewed in various angles and/or setting. The cover is very captivating because its as if Tschichold is staring right at you, even from the spine's angle.
The contest between the B&W image and the blue overlay adds emphasis to the design's focus.
