Making the most of inspiration when it strikes

Understanding why your gut tells you explore

€urobüng is an odd design and well outside my typical wheelhouse. I’m constantly trying to find new uses for it so I can push myself to see what it can do.
Feels a bit less remarkable in this more straight-forward shot, eh?
Frutiger’s cleaner lines are better suited for the typography on the L200 and the stylization of the film.
Examples of eccentric lettering on Mattel electronic games, circa 1978. Photos by Corey Holms https://www.flickr.com/photos/whinger/tags/mattelelectronics
These two designs use Antique Olive. They’re from the 70’s, but they reflect the aesthetic I wanted to mimic. Courtesy https://fontsinuse.com/typefaces/1140/antique-olive
Antique Olive’s (top) oddball charm is sharpened and refined in €urobüng (bottom)
HOLY. CRUMBNUGGETS.
Often when I’m trying to fit text over an image, I’ll wireframe out some options based on the text I already know I want to have and their relative hierarchy. Notice in most of these options the overlaying elements lack a connection to the image or cover interesting parts of the L200.
Setting the smaller type in €urobüng didn’t show off its unique features as well, and lessened the impact of the stunning details in the larger type.
Söhne (middle) neatly blends some characteristics of grotesque and humanist designs. It’s condensed and has fairly open counters while retaining some of the extra details that make grotesques compelling.
When Söhne is replaced for Frutiger, its rounder shapes stand out against the more upright €urobüng and more clearly separates primary from tertiary text while lettering you focus on the precise details of €urobüng’s display weight.
Overloaded composition (left) vs a balance composition (right).
My initial placement options for the date were too heavy and distracting, despite adding some layering and color.
Each option would have brought something unique, but I liked that the square reinforced the shape of the L200, and for the conceptual wink it brings in a design that’s recycling someone else’s artistic work.
A good start, but it feels a bit unbalanced.
Each of these rounded rectangle elements informed the final badgelet choice.
I found adding additional shapes past the square felt too overdone. The economy of the simple VCVA in a rounded rectangle felt like the right amount of subtlety to balance the top half of the composition.
A little blur goes a long way to making the type and image feel connected.
To read a really wonderful analysis of this trend check out this article by Richard McKenna https://wearethemutants.com/2017/02/16/vanishing-point-how-the-light-grid-defined-1980s-futurism/
yussssssssss

The wrap-up

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