The case behind
the typography
brochure project.
In creating the brochure, I carefully applied basic typographical principles throughout, laying the groundwork for the finished product. Intentional deviations from these principles in one or two instances added a distinctive flair to the overall design.
The case behind the typography brochure project.
In creating the brochure, I carefully applied basic typographical principles throughout, laying the groundwork for the finished product. Intentional deviations from these principles in one or two instances added a distinctive flair to the overall design.
WHITE SPACE AND LAWS.
SANS SERIF
DIN A5
5X3 GRID
I quickly figured out the style I wanted for the brochure, so I spent more time researching. My goal was to work with lots of white space and simplicity. I wanted to use sans-serif typography and create a sense of calm and simplicity by keeping the design elements to a minimum.
I tried out different font sizes and design grids until I settled on using a DIN-A5 size with a 5x3 grid.
WHITE SPACE AND LAWS.
SANS SERIF
DIN A5
5X3 GRID
I quickly figured out the style I wanted for the brochure, so I spent more time researching. My goal was to work with lots of white space and simplicity. I wanted to use sans-serif typography and create a sense of calm and simplicity by keeping the design elements to a minimum.
I tried out different font sizes and design grids until I settled on using a DIN-A5 size with a 5x3 grid.
TRADE GOTHIC
NEXT LT PRO
I used the "Trade Gothic Next LT Pro" font family for my brochure and established a hierarchy for my project. I explored white space to understand the balance between too much and too little whitespace in my design.
TRADE GOTHIC
NEXT LT PRO
I used the "Trade Gothic Next LT Pro" font family for my brochure and established a hierarchy for my project. I explored white space to understand the balance between too much and too little whitespace in my design.
TYPO-FACES
I used typographic elements to create faces, which I incorporated as design elements in my work, and placed them on the cover page. These faces typically appear at the beginning of chapters, following the concept of "Typography and its Faces”.
TYPO-FACES
I used typographic elements to create faces, which I incorporated as design elements in my work, and placed them on the cover page. These faces typically appear at the beginning of chapters, following the concept of "Typography and its Faces”.
THE FINAL REALIZATION
The brochure starts and ends with a quote from a designer, which complements the content. I opted for a color palette of black, white, and grey to maintain a light-dark contrast throughout the brochure. Each example is delineated and accentuated by thin lines, serving as a design element that aligns with the brochure's style. Additionally, I tailored all sample images to ensure consistency and minimalism.
