The final submission in the modern versals series. Well, maybe. Like I said the other day I have considered doing some hand lettering so if I do then Versal-tility will return for another round. For now though it is going to catch some Z’s. See you all tomorrow.
Getting close to the end of the Modern Versals series, but I am considering doing some hand lettered versals in a future incarnation of the Versal-tility series so if you enjoyed this series I may have some more lettering fun in store for you.
Today I spent most of my time working on the final stages of a website for the Adlai Grace Foundation. So I had to knock out a quick daily design and was inspired by the color palette of the AGF as well as the type face that I used when I designed their logo several months ago, Charme Standard. For more information on the Adlai Grace Foundation visit and like their facebook page here. To learn more about the design work I have done for them you will have to wait. I will feature them on my main website in a few weeks after we get their website launched.
Happy Saturday night All. Today’s modern versal is the letter ‘V’. Nothing too exiting in the design here, but I wanted to take it easy on everyone since we lose an hour of weekend this weekend. Hang in there everybody and by next weekend we will be back to normal. 😉
After doing such a good job providing commentary on yesterday’s design I am once again at a loss for words. It’s been a long week and I’m a bit zapped. Perhaps you can provide some commentary in the comments area below?
Sorry I haven’t been very talkative the past couple posts. So, what can I say about this one. The typeface I used today is called Modern No. 20. This face was created in 1905 but became largely popular in the mid 20th century after it’s redesign in the 1950’s. I love that time period and that is basis for my attraction to Modern No. 20. I don’t use it much but truly appreciate seeing it around, whether it be in a contemporary layout or vintage piece.
Modern No. 20 is classified as a Modern face and shares this distinction with similar faces like Bodoni and Didot. These faces evoke a sense of elegance, sophistication and perhaps romance. They are very mathematically precise in form compared to earlier Transitional and Classical typefaces. What I like about Modern No. 20 is that it retains the same high brow feeling as it’s Modern relatives while disregarding some of the mathematical precision. I think of it this way, Bodoni is dressed up in a tuxedo, sipping a martini at a classy evening party. Modern No. 20 is casual, relaxing in dockers and a polo shirt drinking a nice imported beer, perhaps at the country club or on a sail boat. That’s my kind of typeface!