Julia Chow's profile

WK 8 Editorial Design | Typographic Hierarchy

WK 7 Editorial Design 1 | Choosing & Combining Type
Task 1 | Much Ado About Nothing Type Hierarchy Challenge (from Ina Saltz Type Hierarchy Course)
DESIGN 1
For this design I have included a mask to reflect one of the prominent themes in this play – identity. The mask takes up most of the page, so I have chosen to make it a light grey colour so it doesn’t clash and take attention away from the title. Similarly, the text in the red box is also light grey. It has a smaller font size and is placed in the space between the title and the mask, as I often find this information is not very important.

‘Much Ado About Nothing’ is aligned to the right and placed in the bottom right corner to balance the mask, as well as create a ‘border’ to fit other information. I have used a serif font (Patua One) and a larger font size (77pt) to draw the audiences attention. I have used a sans-serif font (Varela Round) for the rest of the text to create a contrast and interesting design.
DESIGN 2
In the last design the placement of the text made it feel crowded and overwhelming, so for this design I have removed the mask and created a visible border to give the design some structure and stability. I have also kept the same typeface for the title (Patua One) and the body of texts (Varela Round) and focused on the placement of the text.

The title is aligned to the left and placed in the top left corner. I’ve placed a line between ‘William Shakespeare’ and ‘Much Ado About Nothing’ to make it easier to identify the author and title. I design the title to reflect the words, for example, ‘William Shakespeare’ and ‘Much Ado About’ are white against a black background to reflect the words ‘Much Ado’, whereas ‘Nothing’ is black against the white background to reflect ‘nothingness’.

I’ve placed the quote and contact information in the bottom corners to create some symmetry, and placed the rest of the information in the centre, as I believe it to be more important.
DESIGN 3
The second design still felt a little overcrowded and incomplete, so for this design I centre-aligned each section of the text to make it symmetrical and look more organised. I kept the border and the design to white text on a black background, with the black background representing ‘nothing’, making the white text stand out. I used a cursive typeface, Cherolina, for the title to make it stand and kept the rest of the text a sans-serif typeface.
REFERENCES
Pack P. (n.d.). Canva's ultimate guide to font pairing. Canva. https://www.canva.com/learn/the-ultimate-guide-to-font-pairing/

Brown E. (Jun 19, 2018). The Art of Alignment in Graphic Design. Design Mantic. https://www.designmantic.com/blog/art-of-alignment-graphic-design/

printwand staff. (Nov 21, 2012). Basic Alignment Principles in Graphic Design. printwand. https://www.printwand.com/blog/basic-alignment-principles-in-graphic-design-with-examples

Bringhurst R. (2004). The Elements of Typographic Style (3rd ed.). Hartley and Marks. https://content.talisaspire.com/qut/bundles/5eaf79140cb4c3564300ac14
WK 8 Editorial Design | Typographic Hierarchy
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WK 8 Editorial Design | Typographic Hierarchy

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