Invoke Emotion through Typography

I felt that by researching into a bit of the science behind Typography it would inform the design of my editorial project. Typography plays an essential part in graphic design and communication, used to convey information to an audience, so it is key to have characteristics such as high legibility and readability, scale and appropriateness. However typography can play a larger role in design by invoking and triggering emotions.

Emotions are well known in the role of product design and advertising as they influence the way that we interact with the world from making decisions, evaluate risks and categorise information. Emotional design triggers emotional responses from the audience, provoking them to perceive a personally, making them emotionally involved, which can then create a feeling towards the design. By using emotion in design it helps information to become memorable thus creating an experience and link with the design itself.

Consider Typography fundaments 

To keep the reader motivated throughout your design is to keep in mind  the following; that different typefaces communicates a different personality and feeling. Picking a typeface is highly important as to what message you want to convey. For my own piece of editorial the use of classic serif or san serif fonts should be used with no more than two fonts types to create seriousness and credibility.

Readability and legibility will need to be focused on closely. Looking at the Kerning and tracking especially for the heading and larger text.

Having high contrast text can stop the reader from feeling any discomfort when reading as low contrast text can cause eye strain – doesn’t make for good reading.

A clear understanding of hierarchy in the design enables the reader to have a more effective and meaningful path for the eye throughout the piece. Headings need to be organised well and separate information in manageable chunks incorporating white space so that the different elements can be easily identified.

Invoking emotions can be achieved in different ways after considering the points above. Make the piece eye catching, draw attention with the typography, readers tend to scan pages and I do it myself, I want my piece to stand out from the rest. I need to chose my main typeface carefully to give the editorial a personality of some seriousness but also credibility for the writer. It needs to fit in with the context of the text about the “Girl in the Dark” as well as being creative and unique, so that the reader engages with the piece. Keep in mind that by giving typography the right consideration I will be able to communicate in a way that will appeal to the audience.

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Typographic Detailing and Layout

Our workshop today was to typographic detailing and layout. We were given the text from the first page of Great Expectations to recreate our own layout for the page. We looked at the fundamentals page layouts and type detailing first to help to design our own piece. Things that need to be considered when thinking about layout: The grid system, page margins, columns, hierarchy, pace and path for the eye. The type detailing would that would need to be looked at; headlines\headings, subheading, stand first, callout, crossheads, font, Em & En’s, indentations, ligatures, fonts and font size. 

Here are the two that we did in class. After a our lecturer crit I made better the spacing of the text  boxes and upped a point size on the font to give a more clear layout, which can be seen in the second layout.


The image below is one that I worked on at home.  I wanted to get a clearer hierarchy, which I achieved with making Great Expectations larger and used a grey colour to link it with Charles Dickens. Here is a link to a book which full of different layout designs of the same text by different designers. . Its amazing the amount of different variations and interpretations which have been created from the same text.


Great Expectation3

The workshop has been a good start to getting the creative juices flowing for my our editorial project. It will be a chance for me to utilise and showcase all the skills that I have gained so far.


Editorial design – Changing Faces

Our brief for this term is editorial design. As a profession, editorial design is one of the largest employers of graphic designers. From book design, newspaper publication, magazine design more recently online publications. The success of the publications depends on clear communication and consist story telling, with the use of grid layouts, typography and visual hierarchies in order to keep the readers entertained while they read the content. Varying page layouts with photograph presentation next to bold typographic treatments are ways that these can be achieved. Im really looking forward to getting stuck into this assignment, it will be a chance to get creative with typography and images, as well as utilising the skills that I have learnt and developed over the past year.

From looking at existing editorial designs, I am able to get an idea of all the different layouts and visual properties such as images used, font, composition and path for the eye. The six page spreads below show the ones that stood out to myself while researching different online magazines.


Typography magazine layout by G Martin Graphics – The contrast and the colour scheme in this spread, along with the use of different font in the college on the left hand side which makes this piece stand out to myself. With the yellow linking the two pages together, giving it a good pace and path for the viewer to follow. lados

Lados Magazine –  Within this piece you can see that the use of left justify text, which in most cases would look a bit odd, but it seems to work well. The high contract black and white photograph with colour overlay has a clean and modern feel to it. It all flows well, with a clear path for the eye and hierarchy.

The design of this book was created by Broothaers Elke for a school assignment.  I was drawn into the presentation of this, with the clever rip off design to open up the magazine up, giving it an interactive ascept to the viewers experience. From look at the whole piece on the link below, you can see that Broothaers has kept the layout simple with a strong heirachy and path for the eye on each page. Each of the images are interesting to look at and all link with the calm colour pallet used throughout.  Even though this is a book, it has a feel of a magazine with the layout and pictures working together to bring the piece all together. 

modern design

This double page spread taken from Modern Design Magazine issue 13, which covers Art and Architecture. Designed by Rolando Bouza who has used a grid system throughout the magazine possibly a 12 grid column system giving the pages a variety of ways to display the text. The font is very modern and goes well with the layout and imagery created on the left side of the spread. For myself the path for the eye is taken in by the use of lime green in the collage and the colour in the images which links the two pages together helping to guide you though the article. I like the use of the horizontal line to help with the heirachy of the quote taken out of the text.

Link to the full magazine:

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This layout is a typographic interpretation of obama’s inauguration speech, made for dutch magazine Creatie the only rule was that there were to be no images. The creator has then analysed the intonation of Obama speech and then has broken it down in terms of recurring words with more prominence. I really like the fact the there are no images in this piece, the words have created a visual interest for the viewer. The clever use of different weighs in the text has made the piece come alive. It can be looked over and you get a sense of what is being said without reading the whole piece. 

There are so many magazine layout that I looked at, this part of the research has been a great help to emphasis how many different ways there are to get creative with my own piece of editorial. I really need to have a good eye for detail in this project, as well as creating something that is going to be appealing for the viewer to read.








What lies Beneath – A Typography talk by Dalton Maag


This event was organised by our course programme director David Wrenne and was one of the best talks that I have been to in recent months. The talk was given by Bruno Maag, Dalton Maag founder and their creative director Tom Foley. They gave an sharp and really interesting insight into the way that they create their fonts. From history of typography to the science behind us reading it, all of which has given myself a whole new outlook on typography and the extensive process behind the scenes of the finished fonts that we see around us today.

It was interesting to learn that a bespoke typeface can take upto an incredible 4 years to perfect. There was me thinking that it was a fairly simple process! But when they stated talking about looking at the Chinese language which has 27500 different character types you start to understand the time scale and I hadn’t even considered the different variations and then more language options thats needed to be designed when developing. Let alone then having to take into account how to over come the issue of massive data amounts that would be needed. There is a clever development of open type code, that helps cut a bit of time, which allows the font files to behave smartly by controlling and making up the placement of the pixels – cutting down on the amount of megabytes needed to be processed. Clever stuff.

The whole talk was full of positive energy and I don’t think that I have ever witnessed someone as passionate about typography before seeing Bruno and Tom, it was admirable,  and you could see that they both immensely took much delight from what they do, and rightly so. They have completed some amazing work with the likes of Lush and Nokia, taking us through to the final release of their typeface and the hurdles that they had to overcome, such as appealability on a global basis and how it reacts to different interfaces. It is mind blowing the amount of work that goes into font design.

We were given little typography goodie packs at the end of the talk which enclosed four typefaces that they have developed. Funny enough we had started using the Objectiv font for our animation project prior to going to this talk. All the fonts  can be downloaded from their website

I left the talk with a lot more knowledge and understanding  of developing a typeface, aswell as smile on my face with the vision of Bruno Maag shouting BOOM across the auditorium.



Afterlife – India Clausen

This weeks afterlife was a former student of our lecturer from Bournemouth University. India having only graduated a couple of years ago, gave us a lovely insight to her studio life at Uni and then her first job.

When talking about her life at university she compared the studio to the working in the industry, and how we are gaining great experience ready for the creative world. From working in the studio we are working on;

  • Our team building skills, being able to bounce ideas off our peers
  • Getting used to taking other peoples opinions whether they be positive and negative. Don’t take them personally.
  • getting work done within a noisy environment.

“Industry is highly competitive, use the studio, support each other.” “To make the most of our lecturers and take advantage of the resources available to us.” One of the main points that she made was to learn off each other, along with having a competitive mindset, to aspire to do the best we can.

India went on to talk about her first job interview, for which she got at Weclick Media. She gave us points to prepare for before an interview;

  • Research the company
  • Customise your portfolio to suit the company
  • Sell yourself.

Once you get your foot in the door, India went on to say that its ok to not know everything, we are all still learning and are not expected to know it all. She told us to have confidence in our own ability, it enables us to produce work that we feel happy with. Its also ok to make mistakes, as its all part of the learning process. Make sure that you laugh about.

One point stood out to myself was to be able to justify our own work, not to have something there just because it looks nice, but to actually have reasoning behind our own process.

4 Designers conference London

4 Designers was a fantastic full day event held in London on the 20th February 2017. It was split into four sessions which was chaired by Patrick Baglee. The speakers who were each experts in their field  and gave accounts of their influence and experience within the design industry. It was great exposure to the work and process of some of the leading designers in the country.

Matthew Shannon 

Currently working for Brash Brands as a Group Executive, Creative director and Group content director, perviously working for some of the highly respectable design studios within the UK, such as Metadesign and SAS first. His talk was very informative and he gave some sound advise. One of which was the process triangle (which I sketched out). To start at the bottom of the triangle when receiving a brief, to think = research, research is the key to ignite the brief. Rethink = interrogate your research, finally Do = design. By working this way he states that you make the creative process a whole lot easier. Giving substance to your final designs. He proceed to talk about 6 ways that he believes is an effective process to being a graphic communicator.

Approach To take a different view point from your brief, not thinking about your own personal preferences. To always be Agile, as you never know what is going to happen next, especially when it comes to technology, making sure that you are aware of trends to better your own work. Being able to Adapt, constantly learning to enable communication, work in different ways. Affects, to make a difference. To create content in a different way, to Alternate your delivery. Working Altogether to have the ambition to effect change.

His overall talk was quite inspiring, to effect change to be the change. Creativity is endless and we are the future. 

Joanne Davies


Founder of ZAK and is an audience focused design agency creating big brand ideas for under 30’s. Their claim is to be “Makers, Creators, and Innovators.” Jo not coming from a creative background when she initially set up ZAK but previously worked in Marketing and as a PA, so she had a lot of experience working with people, which gave her a good insight in to the type of people she wanted to build her agency up with. Her advice was more focused on us as a person and what we can do to stand out from the crowd. “Find your personal brand,” what make us different. Be Creative – get into cultural things, have a passion and interest for innovation. Be Smart – Make things happen, communicate your  work effectively. Have Agility – be flexible and adaptable. Be Brave – Speak up, challenge status quo, think laterally. Be Ambitious – Have a drive for competitiveness to produce your best work. Be hungry for more. Be Grounded – Be down to earth, no divas or dramas.

When going for interview she gave three pieces of guidance;

  1. Make a strong first impression
  2. Live the company values – research the company beforehand
  3. Deliver excellence

If we considered going freelance or setting up your own agency, she advised not to head straight into it after university, advising that its worth gaining experience working in a studio environment, to work with real clients and briefs. Make connections and contacts.


Matthew Baxter 

Currently working as creative director at Baxter and Bailey in Brighton. Having worked for many UK and international agencies prior, of which included 3Deep, 300million, Tricket & Webb. Baxter and Bailey work for many non-profit charities, and promote arts and culture. One which I found most interesting was that he writes and produces a comic, aswell running comic workshops for children.


Matts talks was probably my favourite talk out of the four,  as I related to his ethics and practices. He started off with giving us his stone cold pieces of advice, which he later went on to contradict.

  1. Know where your going  don’t know where your going, keeps you aware of what is going on around you
  2. Say yes to everything  Don’t say yes to everything, be selective, live buy your principles that guide the studio, design for good, make it count.
  3. Fake it till you make it Keep faking it, helps to you learn new skills
  4. Go places Stay local
  5. Dont do free work Sometime do free work, you never know where it could lead.

His advice initially was related to when you just starting out in the creative industry. The contradiction was therefore when you become more established in your practices. However he recommended that we should try and live by the following;

  • Always read the words – within the brief
  • Spell check
  • Spell check again
  • Be nice
  • Keep in touch

He had then put together a short video from designers that he had perviously worked with and what advice that they had that we might find useful. In summary;

  • Never talk yourself down
  • Over deliver, do something unexpected.
  • Do hard work and have a good attitude
  • Focus on what you want
  • Know it, research it, live it
  • Ask questions – even if they sound silly to yourself
  • Take advice – you can choose the advice that works best for you
  • Nurture your curiosity


Brian and James Webb

Our final speakers where a father and son duo, they were probably the most entertaining to observe, the banter between was comical at times. Unfortunately, my camera had run out of battery at this point, so was unable to capture the moment. They founded Webb & Webb together in 2003 and have many projects for the Royal Mail aswell as some really impressive book designs for the Harry Potter series. Most of their talk consisted of past work that produced, however the inspiration that I took from them was;

  • Adapting to change, be up with technology as it is developing so quickly
  • Enter every competition going – might take you somewhere unexpected
  • Avoid the obvious, do different from others in the market
  • Live the brief, know more then the client, become that expert

What I found interesting that even with all the technology around for design these days, that they were still using letter press in some of their book designs. Such a nice thing to see, giving the books an individual look which makes them more unique. Giving an insight to the importance of traditional practices.


The conference and the talkers were able to give us great exposure to the creative work and processes of the leading designers around at the moment. I have gained a wealth of knowledge and an insight into first hand experience into breaking the creative world. The advice given is something that I will be taking forward with my own pursuit to becoming an established Graphic Communicator.

This was above the stage that I thought was quite apt for the talks that we had just observed. 



Afterlife – Matt Bonaccorsi


This weeks talk was given by Matt Bonaccorsi, he gave a almost romantic account of his career as a graphic designer, talking about the serendipity of life, by making decisions to say  yes to opportunities that may take you somewhere that you never even thought about before you set out on your journey.

His journey to becoming a coin designers started at Grimsby college studying art, which had a fully equiped Jewellery studio which is were his interest in working with metal started  then Loughborough college taking a Jewellery degree. He has a passion for drawing, saying that he used to sketch anything from ideas, life to something in the street. Going through mountains of paper in the process. “All of my work is digitally produced now – although you wouldn’t know it to look at my designs. I use a ‘natural media simulator’ to draw out sketches, so they look and feel like genuine pencil or charcoal drawings. “Why not just use a pencil” is something that I get asked a lot, but I just find that the speed and flexibility of the computer works for me. I can layer up multiple variations of a design in a single file, keep track of every change, and send finished work anywhere in just a few minutes.” There are plenty of really authentic drawing simulators on computers these day, many artist have utilised these more and more over the years.

After winning a competition for British Art Medal Society, Matt found his niche designing medals which led on nicely for him to acquire a position at the Royal Mint. He went on to work for them for 15 years, learning many skills along the way. He talked about having empathy and understanding towards his clients. Trying to get inside their heads aswell as understanding the brief. During his time at the royal mint he worked for clients around the world designing coins and coming out with plenty of managing skills.

This is one of the designs that he did for the Australia, based on the film lord of the rings. “I always liked the way that The Lord of the Rings ‘One Ring’ coin came out. It was a very simple layout, but just seemed to fit together nicely, and the gold plating did wonders for it!” It was the largest series that the Royal Mint produced.  This link takes you to the coin designs for lord of the rings. Showing the sketches that were made before they were cast in metal.

After the Royal Mint, he started working freelance. He now has over 25 clients worldwide. He enjoys researching in the biographical information for his briefs, this then drives his design. Over the years he has managed to hone in on his work ethic thinking about how he is spending his time and money. To speed up his work process he looked at different industry shortcuts / machines which have allowed him to chip bits off the process time. He uses a gaming programme called marmoset tool bag.

I was quite inspired by Matt’s talk. Talking about his career which has been a series I think of fortunate events. Not to say that he is not a talented designer, far from it, his outlook and aspirations in life have given him a varied and exciting career. One that I myself look forward to in the future. – some more of his work.