Graphic Design That Works

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One Step Beyond

In design, type can be more than mere words on a page. Used properly, it can be

an effective tool to enhance a communications message. When designer Matt Ralph

envisioned an educational brochure for Antioch College, he wanted to use type as a

way to reinforce the feeling of experiencing the college and its students firsthand.

“The college is an interesting place. They have different kinds of programs and

courses that support the students’ interest and commitment to social and environ-

mental issues,” says Ralph. “Rather than design a book that is organized by

departments, I decided to design it as a random walk-through. I wanted the type

to reinforce that by changing quite a bit as you go through the book. In some places

the type would be simple and quiet and a little more reflective, while in other places

it would become a more playful and exuberant, and in others it would get big, bold,

and loud.” Ralph chose to use type as a way to bring out the variety and diversity

of the small town college. As you look at each spread, you are introduced to a

new aspect of the school and its unique student body.

Type can also be an expressive, almost pictorial, element used to give visual impact

to a page. In a promotional brochure for illustrator Rick Sealock, designer Ken Bessie

used type in a highly visual way. “I thought a lot about how I wanted the reader to

perceive the type,” recalls Bessie. “I went with an asymmetrical type layout because

Rick’s illustrations are so colorful and aggressive.” Bessie’s painterly use of type

brought variety and spontaneity to each spread. “I wanted to do something a little

bit different on every page. I’d put a lowercase letter in a full cap word, change the

color for one letter, jump the baseline, and use different point sizes and leading in

the same text block,” details Bessie. “When words repeated or when punctuation

was used, I really wanted the reader to get a sense of the emphasis on these words.

I wanted the piece to be typographically fun to read.” Through his inventive and

playful use of type, Bessie was able to tell a visual story while also highlighting

the illustrator’s whimsical work.

By far, the most important aspect of type is that it be legible to ensure that the

communications is clearly disseminated. “You have to think about your audience,”

concludes Ralph. “Once the information is readable and understandable, you can

go off and be more expressive and playful. I like work that blends the two.”

The Graphic Use of Typography

Graphic Design That Works

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CLIENT:

Rick Sealock is a whimsical

illustrator working in Alberta,

Canada.

FIRM:

Blackletter Design

ART DIRECTOR:

Rick Sealock

DESIGNER:

Ken Bessie

ILLUSTRATOR/COPYWRITER:

Rick Sealock

ABOVE: Taking a children’s story-

book approach, the 14-page

promotional piece was created to

attract the attention of a variety

of clients—editorial, publishing,

and advertising. The asymmetrical

layout and whimsical use of

type reflects the story and the

imagery—colorful, energetic,

and fun.

ABOVE: Two typefaces,

Clarendon and ITC New

Baskerville, are used

throughout the illustrative

promotional book.

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CLIENT:

Antioch College is a liberal arts

college in Ohio where individuality

and independence are nurtured.

FIRM:

Plainspoke

ART DIRECTOR:

Matt Ralph

DESIGNERS:

Matt Ralph and Stephanie Brazeal

PHOTOGRAPHERS:

Brian Wilder and Dennie Eagleson

COPYWRITER:

David Treadwell

RIGHT: The educational brochure is

designed to convey the feeling of

walking through the Antioch

College campus—experiencing the

culture, people, and unique pro-

grams. The brochure was mailed to

prospective students in a custom-

designed envelope.

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One Step Beyond

ABOVE AND CENTER RIGHT: The profile

pages help to reinforce the cultural

diversity and interests of the student

body. By varying the posture, height,

and weight and repositioning the kern-

ing, leading, and column structure,

Ralph was able to portray Antioch

College with clarity and impact. The

typefaces vary from Garage Gothic

to Trade Gothic with Mrs. Eaves as

an accent.

BELOW RIGHT: Within the brochure,

actual postcards are reproduced to

highlight the study abroad program

in a fun and personal way.

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