comparing angles in early 20th century typography.
From an extensive list of font families, I had to select two nearly opposite typefaces and create a poset series for them–showcasing each font individually while also maintaining consistency in the overall design of the posters.
all about angles
I chose to feature Avant Garde, a geometric, sans serif, and Bodoni, a Didone, serif as my font pairing. These two options made sense as they maintain a stark contrast in style, but hold a similarity in their versatility. Avant Garde lives as a bold, modern typeface, mainly utilized in magazines or for headlines while Bodoni serves as a more high-end, traditional typeface primarily seen in the fashion industry. I would bridge the two through the use of angles–an element that could differ and represent the fonts individually while also uniting the posters.
I began by formatting layouts around colors and angles that reflected each font’s character best; Avant Garde using black, white, and red with dramatic angles to reflect its geometry while Bodoni uses blues and cream colors with softer angles to reflect its classier, more traditional feel. These made for layouts where the negative space could be filled with content and other spatial relationships could be easily manipulated. After finalizing the content, I decided to layer elements, such as dates, names, and type textures, in the middle ground and background to add depth. This aids in creating a more visually dynamic piece, helping to take the project from a “glorified research paper” to a true poster design.
a unified series
These typographic posters would live as a compound print series uniting two unlikely families. Featuring their historical backgrounds, character libraries, and individual anatomies, this collection of paired typefaces serves as both an informative and visually compelling arrangement.