http://pinterest.com/pin/157555686933834317/

This designs works perfectly because the butterfly outline is nicely scaled in the middle using negative space to show the image inside the butterfly outline. I also like like how the type falls nicely in the bottom of the poster, still complimenting the image inside. This design was created by a French paper company.

The most common way this was approached was displaying a high def image and using big type to get the idea across. However I do not like how the “e” in meatless (specifically after the “m”, was cut off. I believe the designer could’ve done more with the type so it wouldn’t look “squished” together. I like the way the cover is simple but I feel that the cover designer could’ve gone further with this. The color choice is perfect because it compliments the picture as a whole.

I am more of a fan of this cover, only because the pictures were placed nicely on the edges; portraying a border around the type and Martha Stewart’s picture. Once again I think the color choice for the type works very well and the choice of plates worked well with the color schemes of this cover.

The main idea to take from this is using soft colors; there is this constant pattern that her cookbooks are always in mellow toned colors and nothing more. Simple, mellow toned covers

Typeface Mixing. (mostly used in logos)

Kerning. adjusting the space in between the characters

Line Spacing (Leading), the space adjustment between two words

Marking Paragraphs

You can use indents and play with the heading, for example,  to make your paragraphs more stylish.

During the era of “reform and revolution”, awakened a new group of artist that went against historical forms to adopt new typeface designs that used alphabets with shapes and sizes. These avant-garde artists wanted to develop a new design that represented a vision seen by the world as one. Artists like Herbert Bayer , designer of Bauhaus type, focused on constructing letters from basic geometric shapes. This approach created the alphabet in an abstract way that became part of the revolution of modern type.

In 1925 Bayer undertook a task given by Gropius  to design a “universal  typeface”. This typeface was, in his eyes, idealistic, and captured the essences of geometric shapes and curves. This sans-serif font can also be called the Victory Type. Bayer then incorporated this type into Bauhaus printing and further on to their product catalogue.