'Graffico' was an answer to a multifaceted project brief. Initially focused on typography as a wayfinding device through urban environments, it evolved into experimentations of specific typographic elements illustrated in magazine format. The identified target audience of the publication were visual communication designers and design enthusiasts, resulting in an execution that required high levels of typographic detailing to invoke strong feelings of engagement.
The brief included written articles in two styles; one author adopting a traditional approach and the other more progressive, reflecting on typography as a method to navigate city landscapes.
The typographic element I chose to highlight within this publication was graffiti tags and their implicit suggestion of territorial ownership through complex, often hidden, layers of meaning. Notions of vandalism and defiance dominate the publication through typographic detailing and experimental explorations of hand-generated type and image. Specific examples include contrasting traditional serif and contemporary sans serif typefaces, text that appears to disobey conventional page margins and gutters, and concealed elements of vandalism on inserts and fold-outs. These inclusions contravene traditional publishing formats imparting the lawless turbulence of graffiti.
Description:
'Graffico' was an answer to a multifaceted project brief. Initially focused on typography as a wayfinding device through urban environments, it evolved into experimentations of specific typographic elements illustrated in magazine format. The identified target audience of the publication were visual communication designers and design enthusiasts, resulting in an execution that required high levels of typographic detailing to invoke strong feelings of engagement.
The brief included written articles in two styles; one author adopting a traditional approach and the other more progressive, reflecting on typography as a method to navigate city landscapes.
The typographic element I chose to highlight within this publication was graffiti tags and their implicit suggestion of territorial ownership through complex, often hidden, layers of meaning. Notions of vandalism and defiance dominate the publication through typographic detailing and experimental explorations of hand-generated type and image. Specific examples include contrasting traditional serif and contemporary sans serif typefaces, text that appears to disobey conventional page margins and gutters, and concealed elements of vandalism on inserts and fold-outs. These inclusions contravene traditional publishing formats imparting the lawless turbulence of graffiti.