As a tribute to the New York Times and the newspaper's infamous headlines, I was tasked with designing a cover for the New York Times which must contain a headline that reflects "Good News" - in the face of these unprecedented times and articles which reflect my own topics of interests. Concluding my first version, I was tasked with creating a more abstract and expressive typographic design which reinvents elements and themes from it's structured counterpart. This project allowed me to develop a more advanced understanding of type setting, typographic hierarchy, and the intricate yet creative task of newspaper design.
For this project I was tasked with creating 2 versions of a Specimen Sheet. The process included researching type foundries, looking at other spec sheets, selecting a typeface, collecting design inspiration, etc. My specimen sheets were required to have two sides as well as an overarching theme for one of the versions.
I chose to work with "Kensington" by Fort Foundry, designed by Jen Hood. This typeface showcases an elongated form and I initially found it to look very "retro". For my themed spec. sheet, I drew inspiration from 50's Diners, Las Vegas Signage, and Diner Menu's.
This next project I was washed to created a book based on any topic. For my books topic I chose Jazz in America. Prior to starting the design process I researched my topic heavily, and curated pieces from existing articles and essays to include within my book. I used elements and colors within the book from illustrations and photographs in which I took inspiration from. The total book contains 58 designed pages and it's safe to say this was my largest finalized project that I have designed. Chapters within my book are as followed:
1. Uniquely American Music
2. Origins of Jazz
3. When Jazz Ruled the World
4. Miles Davis: The man who changed Music
5: Cool Jazz: A Guide to the history and sound of Cool Jazz
For my last project I was tasked to design my Typeface. I drew inspiration from American Traditional Tattoo Lettering, as well as existing Art Deco Typefaces. This project process was very lengthy and took many critiques to finally showcase this final Typeface. I aimed to develop a good amount of contrast within my thickest thick, and thinest thin, and tastefully added serifs to my letterforms.
