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  • Visibility of women in business, politics, media, history, and culture. Each of these five fields are explained from different perspectives using two articles. The two articles run parallel at the top and bottom, creating a field of tension.
  • Not only do these articles communicate with each other, but so do all the texts throughout the booklet, thanks to the large keywords and the small page references. While designing the running text with clarity and legibility to support the arguments, I gave the keywords even more character of protest.
  • More specifically, I created large headlines from the body text font and distorted them against common typographic rules. I even added an effect on it to make it look rougher and more protesting. But then I noticed that the font didn’t work anymore. The result were black blocks and unbalanced white space.
  • That’s why I edited each letter in Glyphs and adjusted the spacing. For example, I made the N wider and added ink traps. All letters with large interior spaces had to become wider. Then I made the E narrower for optical balance. The S needed adjustment in the center and I lastly balanced all white spaces.
  • By distorting the font brutally—and then optimizing each letter—I created a new and powerful aesthetic.
  • Thank you to Jonas Vögeli, Romy Strasser and Lea Michel for the mentorship and Giliane Cachin for the type advice!
  • Visibility of women in business, politics, media, history, and culture. Each of these five fields are explained from different perspectives using two articles. The two articles run parallel at the top and bottom, creating a field of tension.
  • Not only do these articles communicate with each other, but so do all the texts throughout the booklet, thanks to the large keywords and the small page references. While designing the running text with clarity and legibility to support the arguments, I gave the keywords even more character of protest.
  • More specifically, I created large headlines from the body text font and distorted them against common typographic rules. I even added an effect on it to make it look rougher and more protesting. But then I noticed that the font didn’t work anymore. The result were black blocks and unbalanced white space.
  • That’s why I edited each letter in Glyphs and adjusted the spacing. For example, I made the N wider and added ink traps. All letters with large interior spaces had to become wider. Then I made the E narrower for optical balance. The S needed adjustment in the center and I lastly balanced all white spaces.
  • By distorting the font brutally—and then optimizing each letter—I created a new and powerful aesthetic.
  • Thank you to Jonas Vögeli, Romy Strasser and Lea Michel for the mentorship and Giliane Cachin for the type advice!
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