I was tasked with crafting a dynamic design for an article about design and how it’s good for business. Part of the assignment was to use images that focused heavily on architecture. So, I set out to find some buildings with great perspective angles for the theme of my design.
Starting with the art, I wanted nice, angular architecture that in many ways resembles a grid. I found a really good photo for the opening spread. Originally, I was going to use a more typical text treatment for the cover, but upon noticing the angles and perspectives of the photo, I decided to use a 3-D grid of sorts by mimicking the flow lines of the building. In reading from left to right, I felt it best to use the subhead as sort of a lede-in, introductory block, which guides the eye diagonally downward to the much larger headline. This arrangement, along with the angle of the buildings, the color contrasts, and overall composition, creates a dynamic layout and moves the reader into the story. (Incidentally, I included the original photo so you could see the extra Photoshop work I did to get the drama and composition I was looking for, including a couple little extra details that I’ll see if you can spot.)
On the inside spread, I used a version of the Tschihold canon for my grid structure (basically, a 3:2 module ratio, which actually is the same ratio as the page itself). The layout, while adhering to this 3:2 grid, is based loosely on the Golden Ratio and Fibonacci Series—swirling outward from the Paul Rand quote to the large photo (or vice versa). The opacity of the question head was toned down somewhat to offer better contrast with the first sentence and to also work better as a visual bridge between photo and text. The text blocks were kept in upright, modular form. I felt it best to let the angles in the photos offer contrast to the text blocks while also mimicking the design on the cover spread. The folio sits quietly in the corner of each page.
The cohesion between the two spreads is found in the color scheme, the angular photos, and the tension created by slightly truncating the headline text as it runs off the edge of the page.