Type Spec Proj Display-Pages-3a.jpg


Futura w photography

In the mass of fonts available today, it's hard for anyone to filter through all of that and definitively say that this one font is the best. It would be easy to go on with one’s life only using 12 Point, Double-spaced, Regular, Times New Roman but that’s not me, that’s not us. Fonts like Futura and Helvetica however, have stood out in today's advertising landscape.

As a creative dealing with bodies of text, Futura, in particular, has stood out to me. Firstly due to the backing she receives from generations of brands like FedEx, Google, Linked in, Calvin Klein and Volkswagen–We already knew of Futura before the name. But personally, I enjoy her accessibility, especially when used big as a display font. I enjoy the geometrical properties that allow for a visual balance that is inviting and not overbearing.

In this project, I wanted to channel my appreciation for Futura toward non-creatives, to give them a glimpse into the thought process and ideas that arise when working with type. Like how no two fonts are the same, a parallel that could translate this idea was the concept that no two persons have the same fingerprints. I concluded that the human form was a common denominator that I could utilize to translate this message.

I paired photographs from my photo series, Church of Hardcore, with large single alphabets set in Futura. The chosen images were paired with alphabets that emulates the physical posture of the artist in the photos. My goal was to break down and settle on a base unit for typography, the alphabet, and showcase it on center stage.

Futura with Photography was originally designed for Typography class, taught by Nick Weltyk at Parsons The New School. The assignment was editorial design, and the task was to create a multi-page type specimen.