As stated before, I changed the grid back to a 4 x 13. I felt that this made the inherent contrasts of the type even more dramatic. I chose to not use a grid this time, as there were not enough elements to justify the use of a grid.įor my final first iteration, I decided to reverse black and white. The lines also create a nice separation between the title and the rest of the poster.Īt this point, I also added the numeric and special characters. This significant contrast was made in order to exemplify the contrast between thick and thin in the typeface itself. The thin line was a mere 0.5 pt while the thick line was 3.o pt. On each side of the title, I added two lines-one thick and one thin.
DRAMATIC DIDOT TYPEFACE SERIES
In addition, I added a series of lines that flank the title. I thought that aligning each group with “Paris”, “Firmin Didot,” and “1783” would increase the sense of order even more. Furthermore, I divided the 13 columns into 3 groups. The arrangement was still able to preserve distinction between uppercase and lowercase-there was no case-mixing as a result of a strict grid layout.
Instead of two unstructured lines of 26, I switched to a grid consisting of 4 rows of 13 columns. I realized that a strict grid system would be more suitable. This prompted me to radically alter the way I presented the character set. The differences were drastic, and I realized that Didot is a typeface that shines when it’s given generous amounts of whitespace.
I significantly decreased the character size in the title, changed the weight to bold, and adjusted the kerning to give each letter ample room to breathe. I thought my early versions of the title looked too cramped and disproportionate. Below the character set, I was just playing around with some of the letter forms.Ībove is a screenshot of the top half of one of my iterations, mid-way through the process. This sort of unembellished layout exemplifies the clean and crisp nature of Didot. Above, I did the simplest configuration I could think of: one line with all uppercase alphabetical characters, and another line with the lowercase ones.
DRAMATIC DIDOT TYPEFACE HOW TO
Next, I began to explore how to incorporate the character set. The “Paris” subtitle was used as an acknowledgement to popular fashion as well-many brands include their birth-city on their designs. I included the tagline, “Fashionable for over 200 years” because Didot is used by fashion giants such as Vogue and Harper’s Bazaar in their logos. I had a blown-up, low-opacity ampersand in the background that would later be removed to enhance simplicity. The ideas within it, however, significantly influenced my final iteration.Ībove is a very early iteration for the title. In the following few sections, I outline the process behind an iteration that I did not chose for my final piece. It’s used extensively in the world of fashion and its dramatic weight contrasts command attention.
It exudes a luxurious elegance that few typefaces can content with. Didot is one of the most recognizable modern types ever created. I began by taking a more traditional and conservative approach to the typeface. Overall, I enjoyed experimenting with various iterations of my designs, and chose the poster above as my final composition.
DRAMATIC DIDOT TYPEFACE FULL
Each poster was required to have content such as the name of the typeface, designer, year founded, a full character set, and a brief overview of the typeface’s design, history, and context. Our aim was to showcase a particular typeface through extension of gestalt concepts, document hierarchy, typography, and color.
Print / Adobe Illustrator / 2015 / Individual Project
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