An imaginative spread meant to convey the feeling and personality of the typeface, Filosofia, as well as conveying educational information.
The end goal of our next project is to produce a two page spread to introduce a broad audience to a typeface assigned to us. I was assigned Filosofia, the modern serif designed in 1996 by Zuzana Licko. One of our initial exercises for this project was to play with size of the font and with leading by going through a variety of settings to begin to see what type settings we prefer. We then started to play with layouts for our spread. I, and a few of my classmates played with magazine clippings for rough thumbnail sketches.
I then went on to start on some rough versions on the computer, bouncing off of some of the layouts I found in the magazines.
When looking for images I was trying to go for an Italian vibe, to riff off the origin of Filosofia’s mother typeface, as well as it’s name’s origin. I also thought it would be interesting to bring in the persona of a woman who encompasses the kind of typeface Filosofia is, as I allude to in my writing.
This became a little too confusing though, and made it seem like Filosofia is a real person. I decided to stick with my bike image as seen in the bottom two and play more with the shape of the letterform as added imagery. After seeing these options printed out I also realized that my type size could also shrink significantly because as is they felt rather chunky and oddly large.
In this initial work with the spreads I also didn’t realize that we had a specific grid to work with so I at first went back and put the work I had into the assigned grid structure.
From here I still continued on with the bicycle imagery and played more with the use of letterforms to tie in the color from the image and create more interest on the page with the bulk of the writing.
In addition to playing more with the letterforms I began to look more at the callout I made over the image and how to make that less obstructive of the image and more cohesive with the spread as a whole.
From playing with these I couldn’t find much satisfaction with the format of the three letters, but started to feel more confident about my callout in its color feeling more like the background. From here I went back to using only two letterforms which I liked conceptually book-ending the page as well as being the first and last letter of Filosofia.
With these I started to look at adding elements of the imagery from the opposite side to tie the two better together. At this point though I got the feedback that the callout felt more important than the title due to its size and placement. I also was not 100% satisfied with the image inside the ‘F’ at this point so I continued to play with what fit in there. I really liked that with the ‘A’ I had found a shape which accentuated that inner curve, so I focused on finding a shape that could do the same for the ‘F.’
At this point I had settled on the callout now falling below the title, as well as the title sitting back at the plane of the bicycle. I still was going between the images for the ‘F.’ Somewhat going with the mindset from before about creating bookends I decided on using the very blue image which related well to the blue in the ‘A’ as well as the large blue shapes in the main image. After tracing the image in Illustrator to make the letter images more crisp I also considered putting the traced image in for the final spread, but in the end felt it was too cartoon-ish or drawn looking for the somewhat sophisticated vide I was going for.