![]() ![]() Much of the book is a display and discussion of this work in some cases he displays the set of design comps for a logotype, as well as a discussion of the thinking that went into them. He studied under Hermann Zapf, whose work has clearly influenced him profoundly, and due to his location has done much work designing logotypes and bespoke alphabets for clients in the entertainment, cosmetics, and hotel fields. Young has been based in Los Angeles for his entire career, and has spent much of that time closely associated with the Art Center College of Design. This large, expensive, thick book is less a manual or a reference as a catalog of Young’s own design work that just so happens to be very informative and educational. The entry itself works as a standalone review, though, so I thought I’d include it here.īy Doyald Young, published by his own Delphi Press. ![]() I wrote this as an entry for the Typophile Wiki, which I think has the opportunity to be a uniquely useful resource for the online typographic community. Posted in Graphic design, Typeface design | 3 Comments » However, his examples are all real examples developed for real clients, and there are many of them, so unlike just about every other book on logo design, this one leaves you with a solid idea of how the play of give and take works in real-world design. Here, too, though, some fussiness and camp begins to creep in, and so devotees of cutting-edge European minimalism will probably be somewhat put off by his rococo American style. Also, being in Los Angeles has given Young many opportunities to work in television, and it’s striking how much his work defined the look of television in the 70s and 80s. ![]() His West Coast location has given him many opportunities to work throughout the Pacific Rim, and it’s interesting to see how his conservative, wealthy Japanese clients have ended up using Western design idioms to signify elegance, wealth, and class. For a visual analysis of typeface construction and the process of logotype design, it is unequalled, and Young’s voice is a friendly, inviting one, sharing rather than lecturing, descriptive rather than prescriptive. His design work can get a little fusty, although the many tight pencil and pen comps he includes as examples are marvelous to see. Like the earlier book, Fonts & Logos is clearly a product of Young’s own preferences: Hermann Zapf (under whom Young studied) and Morris Fuller Benton (and ATC) are benevolent sprits present in most of Young’s work, and Young’s joyous love of baroque scripts gets the better of him on more than one occasion. It contains general typographic reference material, in-depth analyses of the special features of several classes of typeface, and an in-depth explanation of the creative process he used in revising the logo, logotype, and corporate identity of the Prudential Corporation. This lengthy, expensive, and oversized analysis of commercial lettering and typeface design can be seen as both a sequel and a replacement for Young’s earlier manual on the subject, Logotypes and Letterforms. This was also originally an entry on the Typophile Wiki.īy Doyald Young, published by his own Delphi Press. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |