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a.t. a.t. a.t. a.t. November 2005 Volume 1, Issue 1



Discussions on the revelations and rebellions of the arts

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typography as design 1 : artalk

“Fathomless your endless Weight I could not lift

Where do I fit in this puzzle?


What good are these gifts?

Not a martyr or a saint

Scarcely can I struggle through All that I have ever wanted

Was to give my best to you.

He sees


where anyone else would see


All hope is found

Here is everything He needs.

Gently lifting hands to heaven

Softened by the sweetest hush

Loving t hem so very much. A Father sings over His children

More than words could warrant

Deeper than the darkest blue

More than sacrifice could merit

Lord, I give my heart to you.” - Five Iron Frenzy

Typography is the microphone for visual art. It forces a piece to speak more loudly & clearly than it would alone. Through typography, design can speak not only with volume, but with emotion. The typographical elements working together begin with color. Color is emphasized in a subtle, complimentary fashion through the use of red & fuchsia in the words “love”, “weeds”, & “heart”. I intended for this specific placement of color to visually illustrate the word it is coloring. Placement of the lines of text is variated to break up monotony & reveal the unpredictable emotional tones sprinkled throughout.

Typographic design is demonstrated by different fonts placed on key emotional sentences & words. Where there is struggle or depth of emotion, a large bold or linear font was chosen. Where there is softness or tender emotion present, smaller, lighter, curvier fonts were chosen. These font selections paint the mental & emotional picture of the line in a way that simple text could never achieve. Finally, an original graphic visually representing the subject of the song (a weed) has been lightly colored with the logo colors to give a modern, subtle flair.


last thought

- Robert Motherwell

6 : artalk

“Art is much less important than life, but what a poor life without it.�

the critic’s corner 3 : artalk

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- “Relevant”, Issue 16, Sept-Oct 2005


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the critic’s corner “Forte”. Captured in the fill of the letter is a cloudscape with

4 : artalk

The versal for this piece is the capital letter “W” in the font the sun breaking its beams through the parting clouds. The gentle curves of the font type help to illustrate the floaty, fluffy texture of the clouds. The cloudscape of the versal pairs itself with the illustration of the world in the lower left corner while also lending supportive illustration for the mention of the text “world” in the excerpt. The versal has been colored in one of the magazine’s logo colors, fuchsia, to help unify the overall


elements throughout the magazine.


This excerpt is from a magazine that targets the 20-somethings of this world and challenges them to take advantage of their age, ambition, and influence to change their world while in turn

bine pass i o n

n dditio to si

co m

shaping their own character through the sacrifice of self. This excerpt states the loss of the “richness” of life by neglecting this privilege of spending one’s self to move and act rather than to talk and observe from the comfort of their own “seat”. The font used to depict this excerpt is “Trajan Pro”. This font uses its linear strength & all caps lettering to depict strength & thought.

The graphic in this work depicts ordinary, human hands holding the world, colored in the magazine’s signature hues of red and fuschia. As a potter shapes the clay he holds in his hands, so can one person shape the world he holds in his hands everyday. This is passion, and this is action.

designers at a glance

Michael Osborne Design


designers at a glance

designers at a gla

designers at a glance rs at a glance designers at a glance

designers a



Chase Design Group


Yes, generally all works demonstrate alignment to the traditional rules of typography.

How would you characterize the designer’s typographic style?

Modern with a punk/ warehouse/ grunge edge.

Streamlined and modern with an Asian flair.

Very classic, subtly modern, and simple

Sporatic, ranging from simple and classic to thick and artsy

Balance of both, using classic style letters with little “fuss”

Non-serif with lots of caps and bold letters

designers at a glance

esigners at a glance

5 out of 5 for professional presentation and appropriate design for the given product

Yes, generally all works demonstrate alignment to the traditional rules of typography.

s at a glance

5 out of 5 for variety and ability to match a message’s mood for any given client

Serif using lots of caps and paired combinations of simple and decorative type.


designers at a glance

How would you rate the designer’s work?

Non-serif with lots of caps and bold letters


rs at a glance

Does the designer seem to prefer serif or non-serif type?

at a glance

Yes and no. Some works fall right in step with the traditional rules and are classic examples; other break the rules completely.

designers at a glance

No. Some things are illegible at first glance, but they evoke such attention that the viewer is attracted to deciphering the message.

designers at a glance

Does the designer embrace the traditional rules of typography?

designers at a glance

designers at a glan

5 : artalk

ers at adesigners glance at a glance

designers at a glance

designers at a g

4 out of 5 for professionalism and good design, but not many “out of the box” works

3 out of 5 for a great effort to unify design and typography, but some works are just not impressive


focus on typographs 2 : artalk

A typograph is defined as the art of designing a graphic by using and manipulating typset letters and words. The typograph I chose to create is of the French city of “Paris”. I began by choosing a font appropriate for the mood and reputation of the city - modern, sleek, and sophisticated. The name of the font is appropriately called “Parisian”.

P RI S To create the Eiffel Tower formed by the letter “A”, I used the pen tool in Adobe Illustrator to re-create the attributes of line thickness and shape. I manipulated the right and left sides by stretching them to a desired height, while also forming the lowest line crossing the “A” into a slight upward curve. I added two additional lines to resemble the structure of the tower and colored them with fuchsia and red. I imagined that the Eiffel Tower here was being depicted during the evening, so I added several straight lines of “light” bursting behind the tower, colored in fuchsia and red to emulate the light given off during the night just like the real Eiffel Tower.

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at “artalk” is an independently published and designed magazine “artalk” logo and name are copyrighted and restricted from public use without permission

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ArTalk Magazine