#weaponsofreason

Weapons of Reason No.3 “The New Old”

Weapons of Reason (Issue 3)

Our creative director Paul Willoughby discusses the team’s process for creating a bespoke typeface for our magazine project Weapons of Reason...

What is the voice of reason? What is the tone and timbre of this voice? What does reason even look like? These were some of the questions we asked ourselves as we embarked upon the creation of a bespoke typeface for second issue for Weapons of Reason, our magazine project which uses creativity as a force for good.

Our first consideration: if the magazine were to talk, who would it sound like? We searched for figures with iconic vocal tones, a voice that embodied the characteristics we needed. Our choice was (quite literally) a natural one: Attenborough.

One of the most recognisable, soothing voices in sonically recorded history, Sir David Attenborough’s is absolutely authoritative, yet friendly and articulate, well-rounded through maturity and understanding of the human condition. Perfect, then, for the pages of a magazine designed to connect people with the complexities of the biggest challenges facing our planet.

As a typeface, this how our voice of Reason needs to speak:

It’s clear and can be heard easily

It’s not sharp, excitable or undulating

It talks straight

It doesn’t wrestle with your emotions

It doesn’t shout (we never use all caps, we value the shape of the word)

It simply presents to you, reasoning on matters of global importance

We needed letterforms that could present a firm structure yet reflect a warm humanity. The starting point for these letterforms was the golden section - this divine proportion is woven throughout the structure of the universe, so we imbued our typeface with it. But there are some strange characters and idiosyncrasies in there, too. After all, we humans have our quirks, our imperfections, and perfection is a flaw.

We see clear, illuminating visual communication as an important vantage point from which to see the future. Expressed in this typeface, the Weapons of Reason voice hopes to be approachable and clear, but deliver an incendiary message. It reminded us very much of Einstein’s famous quip that "Everything should be made as simple as possible, but not simpler."

Yet we also continue to be guided by a sentiment from The Royal Society, London, a fellowship behind some of the most life-changing discoveries in scientific history (and of which our hero, Sir Attenborough, is an honorary fellow). Their motto is 'Nullius in verba’ (see for yourself). In other words? Use your Reason.

Willo x

Weapons of Reason: Issue 2 is due for publication later this year.

Our production manager Hannah El-Boghdady explores how, even in the digital age, an ancient medium keeps offering dazzling new possibilities to us and our clients...

There’s always a mix of nervous anticipation and pure excitement when we’re waiting for a job to come back from the printers. Like unwrapping a present, the team gather round to unveil the new printed creation.

It’s a simple combination of paper and ink that creates this thrill and suspense. It’s that same combination of paper and ink that comes together to make something that connects on so many different levels with the person holding it, offering something more than just a message. It’s an intimate exchange, even if it’s just a sheet of paper and an envelope.

As a forward-thinking design agency, it’s crucial that Human After All continues to experiment with new innovations. This is exactly how we approach print, striving to create printed products that will capture our clients’ imagination as well as our own.

Human After All produces a whole range of printed collateral, from tickets and books to our own in-house magazine Weapons of Reason.

As with many magazines, it’s important to us that Weapons of Reason is printed rather than simply existing in digital form. Being able to design and articulate the message of the magazine through a physical object emphasises its voice and builds a stronger bond between the audience and the brand. Giving our audience a physical publication provides an intimacy that only the right paper, ink and binding will create.

This kind of publishing won’t be thrown away, but cherished and kept. This is what we want to achieve with everything we create and print: something so beautiful it becomes part of someone’s own personal belongings.

BAFTA’s golden tickets

One of our most rewarding projects has been the BAFTA Film and TV Campaign. BAFTA wanted a campaign that captured the timeless glamour and anticipation of its prestigious annual awards, and both the tickets and brochure had to express this.

To begin with, the design team created the layout of the ticket wallets. These were comprised of twin folds, opening to both the left and right, and die-cut pockets to house the ceremony ticket and menu. These pockets may seem like a small detail, but they were key to bringing the whole package together: it literally represented the night unfolding, from parking and canapes, to awards and dinner, to the after-party.

We wanted the tickets to echo the guests’ journey of the evening and contribute to the magic of the event. To do this and ensure the design team’s vision was executed to the highest standard, it was also very important to keep a strong relationship with our printers. This freed us to be experimental. The best piece of advice when printing your own material? Test what you’re doing, whether it’s special ink and paper combinations, finishes or production mock-ups.

Numerous tests were conducted to analyse how our chosen ink would work on the coloured papers we wanted to use - and they proved the importance of testing. Even though we were using gold ink, the coloured paper diluted the colour, making it really murky on the darker paper.

If we hadn’t tested this before the final print run, we’d have been in big trouble - and probably too traumatised to ever go near that ink again! Instead, we had time to experiment further and tweak the ink. The second batch of tests came back and worked perfectly. We were back in the game.

An element that added big impact to the tickets was the foiling. This is a perfect example of how a print finish can complement the design and how design can enrich the effectiveness of the print finish. The mixture of gold foil and contrasting design complemented and balanced each other, elevating the tickets and making them feel extra special.  

Passion for paper

Paper is an extremely important factor for all of our jobs. The paper can have a huge impact on the design and can change the entire feel of a piece, which makes finding the right paper both a top priority and a passion for us.

Many techniques can also be used to take paper to the next level and create a whole range of textures, something we experimented with on the First Shot booklet we created for Jameson. This is one of my favourite projects.

We used a twill embossing and included gatefolds on the cover, giving the book an intricate texture and making it feel very high-end. Most of the time, these small details are what create the greatest effect on a publication, adding a subtle but unmissable sophistication to its look and feel .

Another great printed project that Human After All created was the Facebook wooden phones. Housing a Facebook infographic which unfolded like a concertina, the two covers were made out of wood etched with a smartphone design. I love this job because it demonstrates how different materials can be incorporated and merged to make something new.

Pushing the envelope

We’re currently trying to create the same excitement with the new job I’m working on. The challenge is to push the boundaries a little bit more. We’re experimenting with a range of finishes, such as scratch-and-sniff ink, pop-ups, die-cutting and roll-folds.

We always consider why we’re including these finishes. There’s a danger of going overboard and using a finish just for the sake of it, so it has complement the design and add something to the publication rather than simply being a novelty.

The most important factor, always, is that the needs of the client are met. It’s our job to make sure that whatever we print gives off the right personality and impression. It’s equally as important that the printed product shows off our designs to look the best they can on the printed page.

Even as technology evolves in the 21st century, print continues to offer unique possibilities to affect us and achieve wonders that are hard to match digitally. It’s for this reason that we champion print - and always will.

Hannah

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