Project 5– image

My Final Choice


I decided that since the title of the work by Robin Kinross was called ” Modern Typography”, I would choose a font that appears and was made in modern times. I therefore chose the font Century Gothic, which was made in 1993, and stuck with it throughout.





My designs were based on a lot of backtracking.  One of my favorite original ideas was based on a thumbnail where I had half of the photographs face filled with words.

But when I first attempted doing that, I was disappointed with how static it seemed. So I left it alone, and went on,  turning the face on its side.  I wanted words to go on top of the head so that the viewer would know that the words Lorem Ipsum text (the dummy latin text we’re supposed to use) would be representing something Kinross said. I really was pleased with it at first, especially since I began working with the white and black text, but after a while I decided it had been done too often. It also somehow struck me as looking like an album cover rather than an essay or a book. So I then tried bringing the head to the top like another thumbnail I made.

I very much liked the upward motion my early draft created and thought that the separated text worked nicely in contrasting the weight of the top with bottom. But sadly, I found that when printed the size of image was so  pixelated it ruined the effect.

Eventually I went back again to the text-on-the face idea.  This made me return once more to cutting the man’s face in half. And then once more, after I had the revelation that an unbalanced cut  on Kinross’s face (rather than straight down the middle) created an engaging imbalance. I came to the conclusion that I wanted part of Kinross’s face and body to be made of words (which was going back to what I had wanted to do all along).

Eventually I came to my final designs in which I tried to relate all texts and parts together. My focus point remained the large “typoGRAPHY”, whose size and shape related to both the diagonal “essay of” and  “modern”.  Originally I was going to keep “modern typoGRAPHY” and  “essay of typography” separated parts, but I concluded this was too redundant and grouped them together to avoid this repetition. I thought the title “modern typography” was merely introducing what was an essay, so I figured the very second item the viewer should see after the diagonal “typoGRAPHY” should be the sentence “essay on typography”.  I then wanted the question of what kind of typography to be answered by connecting “typo” with “modern”.  I decided I would keep “modern” all lowercase because historically all lowercase titles are a very modern design. I then addressed the “who wrote this?” question by  putting Robin Kinross underneath “modern”. I thought putting the name in white on top of the  photograph did a good job of explaining who this man was.

I then lastly made the text become Kinross’s missing pieces because he is a publisher and writer, therefore making words a big part of who he is! My final decision of keeping the  upper portion of text grey and the lower half dark was to match the photograph.  I experimented with making the edges of the shoulder sharper, but went back to a less finessed cut because I realized an organic form of letters was better for a body of a human.


The person I have chosen for the image project is Robin Kinross. I am to use his picture and a title of his essay in a design. I was not able to find that much information about him, but I was able to find out that he graduated from the Department of Typography & Graphic Communication at the University of Reading. He contributed to Jan Tschichold’s The New Typography and founded Hyphen Press in 1980. The summary of his book   Modern Typography: An Essay in Critical History, says it was  first written 1992, and apparently was a survey of North American and European typography going back to 1700. I’m assuming he would be relating  how influential typefaces developed, how they affected the other and how the modern types prevalent today on both continents was the evolving process of one typeface into another, or a reflection of changing needs. No doubt, Swiss International Style is somewhere in there.  His Hyphen Press is still an independent publisher today.

So keeping in mind that the title of the book is “Modern Typography”, I will be keeping my type a modern typeface. That means no serifs. And I have noticed that many modern typefaces seem to enjoy thin letters, and uppercase with lowercase, and compact spacing.



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