For the headers and main detailing of the designs for this project, I chose to use ITC Avant Garde Gothic, the typeface designed by Herb Lubalin (see previous post).
Four different weights of the ITC Avant Garde Gothic Standard family
I chose this typeface because as a group, we wanted a clean, legible typeface that would reflect upon the futuristic yet simplistic nature of our game, a typeface that would be easy to read on screen and in physical form when printed. Avant Garde is a crisp, modern sans serif font developed during the 1970s by the International Typeface Corporation, and is still widely used to this day. It is a font that has stood the test of time, and during my initial experiments I decided it fit into the game perfectly – a clean typeface offset by the rough, unrefined nature of the game.
You can do a good ad without good typography, but you can’t do a great ad without good typography”
Herb Lubalin was an American graphic designer and typographer. He collaborated with Ralph Ginzburg on three magazines: Eros, Fact, and Avant Garde, and was responsible for the creative visual beauty of the publications. For the last of these, he designed a typeface, one of my personal favourites, ITC Avant Garde – a font which could be described as a nod to the art-deco style of the 1920s. It was used heavily in the 1980s, 90s and the early years of the 21st century, and is even still used in moderation today.
Lubalin’s interest in typography as a communicative implement manifested at an early age, and he was particularly interested in the differences in the interpretation one could impose by changing from one typeface to another. He was very fascinated by the look and sound of words as he expanded their messages with typographic impact. As such, the vast majority of Lubalin’s work was based heavily on typographic experimentation and manipulation. In my personal opinion, his clever use of type allowed him to communicate incredibly efficiently and effectively.
For this project, I have been assigned the role of Graphic Designer for my team. I’m fairly pleased with this as Graphic Design is the pathway I wish to go down later in the course. As the graphic designer, I have the job of creating the branding and styling for the game, including a logo and promotional material, as well as a style guide – the set of rules I must follow whilst designing aspects of the branding. As well as this, I will also create social media accounts for the game, a very modern and effective way of promoting new content. During the process of producing all of these things, I will maintain constant communication with my teammates, taking their opinions and ideas into consideration before finalising any work.
The sleeve design for Chasing Yesterday by Noel Gallagher’s High Flying Birds, designed by Matthew Cooper
Matthew Cooper studied Illustration at Harrow College of Higher Education in London, and works as a freelance designer. He is particularly interested in the use of typographic and strong graphic elements in his work. He works primarily for the independent music sector.Projects he works on range from sleeve design, through to the design of adverts and promotional material.
Among his more well known clients are Franz Ferdinand, Arctic Monkeys, Noel Gallagher and Paul McCartney, to name but a few. Inspirations of Cooper’s include CY Twombly, Robert Rauschenburg, Kurt Schwitters and Constructivist/Suprematist artists such as Kazimir Malevich and EL Lissitzky.
The above images are sleeve designs for three of Gallagher’s singles from the Chasing Yesterday album – Riverman, In The Heat Of The Moment, and Ballad Of The Mighty I. The thing that I like most about these is that it is pretty much the same image of Noel Gallagher used in all three singles – and the original album sleeve – keeping the identity of the music and the band as being Noel’s.