In trying to create a visual title representative of the publication and its context and content, notably Bond Street, I took to the exploration of London's street signage.
The most iconic of London street signs and those that spring the the forefront of mind for the vast majority of people are those designed by the late Sir Misha Black - the architect and designer behind the famed red and black Westminster street name signs. These signs were designed by Black in the 1960s, and today stand as evidence of the power of design in their transcendence from mere street sign to acclaimed motif for London as a city and beyond.
Whilst Sir Misha Black's street signs undoubtedly represent Britain's capital and home to Bond Street, visually, they don't attain the characteristics appropriate in reflecting the high-end, luxury intentions of the street (and therefore the publication content) or the sophistication desired by the target. Despite being designed in the 1960's, the signs have a modern, minimalist aesthetic that would fail to portray the publication's celebration of Bond Street's history.
Following this, I made a specific search for Bond Street signage and discovered a more ornately shaped sign, immediately providing a more luxury, high-end feel via the decorative edges and an older, more archaic aesthetic relevant to the publications information regarding Bond Street's establishment in the 1700s.
Using this discovery, I created a visual title for the Bond Street Brand Directory publication authentic to the book's content and contextual engagements. The design feature's the publications selected typeface, Baskerville, within an decoratively edged box inspired by the street sign. Using optical kerning and subtly increased tracking for enhanced perception of character clarity and dignity, the upper-case title set at a point size of 42 exudes importance and strength - appropriate in reflecting and referencing the demeanour of the stores featured within the book.
In addition to the street name title is the tagline 'Brand Directory,' necessary in clearly communicating the publication content to the target. This type is set instead in upper-case Gill Sans to establish contrast and clear distinction between the typographic information on the cover. Further distinction is made via the ordered visual hierarchy created by setting this type at half the point size, 21pt, of the main title - a practice recommend by Massimo Vignelli in his book The Vignelli Canon. The combination of Baskerville and Gill Sans on the publication cover also aptly represent the diversity of the featured stores and typestyles they use. Tracking has also been increased here to mimic the width of the main title for purposes of harmony, balance and visual luxury through expansive distinction.
It is my intention for this visual information on the cover to be golf foiled in an attempt to enhance luxury connotation, amplify desirability to the target and visually reinforce the publication's content/contexts.
