letskjal

I've been waiting for an opportunity to brutalise some reverse-stress typography. But funnily enough, I can't. I quite enjoy the interest it creates in the form of a sans-serif typeface. I'm more used to seeing the reverse-stress serif; which truly is a western abomination.

Something I consistently find myself attracted to is the contrast between digital and hand typography. It's almost as if the presence of both in a single piece of design material brings out detail in its counterpart. The roughness of the hand-drawn elements emphasises the construction of in the digitally produced type.

Alright. In defence of colour. I've noticed I tend to avoid the use of colour in my design work. I am of the firm belief that you should be able to convey your design concept with anything but colour. Colour in my mind has always been a last resort or a finishing touch. Can any colour be made to mean anything? Depending on how you present it, a bloody red might indicate anger or urgency; on the other hand, it might indicate passion and liberation. It is worth noting, however, that combinations of these colours used in design do, in some abstract way, manage to convey a sort of narrative or mood. I guess I believe now that colour should be used either sparingly, or liberally.

I can appreciate this kind of ugly design; There is an incredible 'onomatopoeia' quality to it. Like it's trotting up to you and blasting you with abstract, horrifying language. You can see how the dynamics of this voice are conveyed through the type.

This design by Michael Beirut draws on some of the elements and principles, seen in the Bauhaus design movement; how it relates to Beethoven requires a bit of untangling. It is likely a nod to the dynamics of his music. The concentric design manages to convey something cyclical in nature; like a spinning record.