Expressive Type and Format

Tues 29th Nov

Expressive Typography

  • scale: pitch – conveying how its said
  • repetition

Typographic conversations

  • addding
  • subtrcting
  • mulitmulitplying
  • div ¬† id ¬† ing
  • visually displaying language

Pace and tone

  • show conversation

Overlaying information

Illustrative typography – playful system

How is that person speaking?

The following images are work that was shown within the lecture. I really like the different combinations of how text was displayed on the page and thought it would be a good source of imagery to help with inspiration for my ephemera. My favourite is the work of the overlaying text, in previous work I’ve done I’ve overlayed words which I really like doing because I like the overall aesthetic of it and I like how it can show some interesting shapes. Seeing an example of this on what looks like an leaflet, has made me think of the possibility of doing this in my printed ephemera – it’s definitely something I will experiment with.


– Listen to 3x voice recordings of Stephen Fry

– Using A1 paper, paintbrush and ink

– Visually displaying how the phrases were spoken

Group paintings:


My paintings:

The workshop was really interesting as you had to really listen to what was being said to know how to paint the letters. I did mine quite bit and used a combination of ways to write it to show the deepness in his voice. He said some words quite long so I used repetition.

The next task was using one of the phrases, make a zine and write the phrase in there in the same way as the big paintings; expressing how the words are said. I chose to have a folding zine and focused on the composition of each word on the zine to express the way it’s said.


Research Into Designers

Tues 29th Nov

I had looked at the designers work briefly but I wanted to research the designers properly to help develop my designs further.

Eike Koenig

  • Berlin-based; founder and director of design studio Hort – est. 1994
  • “Conceptual, emotional, visual” approach to design.


  • Strong, bold letterforms
  • Expressive typography
    • repetition of words
    • follows different paths on the page
    • different scales
    • backward/upside down/etc letters
    • really experimental
    • a lot of b&w
  • political work
  • I like that you really have to read his work to know what it says – rather than just looking at it
  • looks like graffiti – uses spray paint in a lot of his work
  • smiley face emoji with spray paint
    • seems to be signature thing?
  • Example of previous lecture poster he gave:
    • standard b&w body text; spray painted over it – looses part of the information underneath


  • Include spray painted writing to link to artists work
    • Find something/an aesthetic the designer uses within their work
      • use this design element on their information page within the booklet

Instagram/twitter: @eikekoeing

Morag Myescough

  • UK designer
  • produces huge design work – cafes; bars; chairs; pillows; typography on objects


  • bright colours
  • shapes:
    • patterns
    • uses objects to makes shapes, e.g. tape around scaffolding
    • happy
  • ¬†illustrative type
    • 3D letters
    • shapes inside letters
    • uses patterns to make letterforms
    • heavy weight and large scale of letters
      • words feel like they’re shouting
  • really expressive in colour and dimension
  • doesn’t let space limit her work
  • more installation pieces but working within a space
  • love the colours
  • really like the illustrative text
  • space isn’t an issue for her
  • pattern is important in her work

Design element on her page:

  • patterns over it
    • over image or text or both?
  • 3D text for her name title

Instagram/twitter: @moragmyerscough

Oded Ezer

  • Graphic artist and typographer based in Tel Aviv, Israel


  • weird
  • repetition of images and type
  • more imagery than type?
  • his typography work is a lot more interesting than his images
  • his piece: TIPOCRIATURAS EXHIBITION (2011)
    • science with typography
    • really illustrative
    • experimental
    • calligraphy
    • 3D
  • images within typography
  • (not a massive fan of his work)

Design element on his page:

  • repeat the image of himself
  • OR calligraphy/illustrated name title

Twitter: @odedezer

Jessica Walsh

  • Designer, director, teacher and partner at NYC-based design firm Sagmeister & Walsh


  • bright colour
  • strong shapes
  • composition is really important
  • pattern
  • querky, abstract, pushes boundaries with imagery
  • more photography than type
  • a different light on politics
    • strong concept and ideas but shown in a comical way
  • bold contrast in colours
  • strong dynamics in colours
  • out-of-the box
  • makes you question whats going on
  • I found her interview really motivational and helpful in advice for the future

Design element on her page:

  • would have liked to use colour but since I can’t, could use bold shapes and grey-scale instead
  • may struggle to have her on just 2 pages as a lot of text
  • could edit her image in bold, contrast, print-effect (like her work)

Instragram/twitter: @jessicawalsh


  • Rob Gonzales and Jonathan Quainton
  • Founders of London-based studio Sawdust


  • modern
  • primarily typography
    • expressive
    • incredible shapes to make letterforms
  • combination of 3D and 2D letters/work
  • slik/clean look
  • done work for a huge variety of brands
  • pattern
    • for the background or as part of the typography
  • photography – strong form of shapes
  • huge variety of how letterforms etc. are placed on the page or created
    • different depending on each client
  • I like how all their work is different for each client they’ve done work for
  • They have a combination of different styles which I like because all their work is different and completely individual

Design element on their page:

  • I wouldn’t say their work follows a particular theme so its hard to pick a graphic strategy for their page
  • I would definitely describe their work as slik and individual though, so I’m going to focus on creating a dynamic, perhaps minimalist, approach to the design

Instagram/twitter: @sawduststudio

Veronica Fuerte

  • Hey Studio, Barcelona
  • Specialises in brand identity, editorial design and illustration


  • mostly brand identity and posters
  • dynamic shapes
  • combination of colours
  • illustrations as well as brands: combination of that and typography
  • bold, strong letterforms
  • a lot of pattern
  • so many aspect to look at in the design
    • often busy designs but uses white space well
  • worked for so many different kinds of clients
  • theme of using a pattern or shape in each piece
  • I like all the different kinds of designs: billboards, infographics, magazines
  • They have a clear style but its been adapted differently for each client

Design element on her page:

  • theme of using a pattern or shape in each piece, e.g. lines along the page

Instagram/twitter: @heystudio

Felix Pfaeffli

  • Swiss Graphic Designer and illustrator
  • works under the name “Feixen”


  • combination of: black and colours; typography; pattern; imagery
  • a lot of overlaying of text
  • bold text
  • expressive and illustrative
  • uses a lot of different weights of text in the same poster; makes you read it differently
  • on his companies instagram you can see a really experimental approach to making his work
    • mark-making
    • painting
    • 3D spaces
  • his posters can be quite abstract
    • text morphing together
    • one continuous line
    • writing out the word; spanning all around the page
  • theres a pop art style to his work too with the bright colours and shapes and abstract photography

Design element on his page:

  • one thing about his work is his abstract approach to composing his text and images on the poster
  • I don’t want to make his page look too abstract but I will definitely think about a more individual approach when designing his page

Instagram/twitter: @studiofeixen

New Design

Mon 28th Nov

Looking back through my research and taking advice from the tutorial, I began re-designing Eike Koenig’s pages. Using more columns was definitely something I wanted to try; one of the things that stood out to me from what was said is that 3 columns can give the impression of a newspaper so I was conscious to leave blank space.

After trying out different compositions, I liked having the diagonal lines across the pages and fitting the text around it. I found that it made the page a lot more pleasing to look at. I edited the image in Photoshop and just made it standard black and white.


I printed the pages out and I decided after seeing it off the screen that I wanted the white space in the triangles between the text, coloured in black or to have lines going through it. I thought it looked too blank; I drew lines in these spaces I found that just by doing that it looked a lot better already.

Screen Shot 2016-11-30 at 21.50.56.png

Tutorial feedback

Mon 28th Nov

Advice from tutor:

  • Always begin at the end
  • communication: designing for somebody, communicating to somebody, for a specific purpose
  • whats the purpose? – BRIEF HAS ANSWERS
  • always keep the brief close
  • this project: nailing graphic design skills
    • using to communicate to a specific purpose
  • use grid systems
  • point size for body text: 9-12pt
  • understand the client


  • too much text for Jessica Walsh
    • use a page from a designer who doesn’t have much text to add a page to JW
  • point size might be too small
    • I used a mixture of 8 & 9pt and 9 & 10pt



Design Ideas

Sun 27th Nov

After researching into some previous examples of ephemera, I began sketching ideas for my ephemera and designing the page. First of all I focused on designing the front cover because I struggle to think how I could design the designers pages without seeing how the text fits on the page first (there is a lot of text for some of the designers).


The next point for me was to start getting the information onto the page on InDesign, I started with Eike Koenig, the first designer on the list. He doesn’t have a huge amount of text compared to the other designers so it was good to start playing around with composition on the page.


After printing out examples for Eike Koenig, I wanted to begin added design elements to make the page a lot more interesting but instead I decided to complete a draft of the entire booklet. When on InDesign, I found it difficult to think what to do with the text in terms of a design element when I didn’t actually know how the text looked on the page. The design throughout the ephemera should flow so I thought it best to make the entire booklet and print it out just to see how it looked on the page, then I could focus on the design of it.

Click link to see: designboom

This was a lot easier said than done. I found it really difficult placing all on the information on the 16 pages we have been allocated. Especially, with Jessica Walsh’s page; she has a lot of writing in her interview and the pages work out at 2 pages per artist but for Walsh I will need to use at least one more page to place the text on the page nicely. At the moment, it’s not pleasing on the eye and puts me off reading it.

  • I chose a typeface that was clear, square, easy-to-read
    • used a variety of fonts
    • bold and looks good on the page
  • had to keep the images small
  • I want to include quotes

My next point is to read through the draft and correct any spelling mistakes – I had noticed there were a few – and then begin designing the pages. I want to research all the designers to get an understanding of their practice and it could also help me with ideas for the design of their pages in the ephemera.


Sat 26th Nov

Printed Ephemera

Inspiration for design of my ephemera


  • the page
    • fill the space?
    • use white space well
  • shapes
    • cover parts of the words
    • use dynamic shapes
      • to shape text
    • lines in the page
      • break up text
  • overlaying text
    • tracing paper
    • on same page
      • greyscale to break it up
  • editing the image
    • text overlay?
    • keep the same? (just b&w)
  • hierarchy
    • big numbers
    • emphasis words
    • big quotes

Layout and Editorial

Fri 25th Nov

Workshop/lecture recapping our knowledge on format and layout.

Task 1:

For the first task we had to deconstruct a piece of text into a correct line length, making sure everything else was in place too, e.g. kerning, tracking, etc

Task 2:

We then had to take parts from newspaper and produce a new layout – not focused on content – which must include text, heading and an image

Task 3:

Finally, we had to choose one design and rework it focusing on: form, size, colour, texture and maximising white space.

Final image:

(works a lot better landscape and is a lot easier to read in this layout)