I Hate ITC Garamond
An editorial design exploration translating bold opinions into expressive typography, structured layouts, and intentional negative space.
Time Frame:
4 Weeks
Category:
Publication Design & Typography
My Role:
Graphic Designer
Designing an Opinion
For this project, I was tasked with designing a chapter from Michael Bierut's Seventy-nine Short Essays on Design, along with a corresponding table of contents. The assignment explored the relationship between typeface, point size, leading, column width, legibility, and grid systems.
I selected the chapter I Hate ITC Garamond, drawn to Bierut's opinionated writing and expressive tone. My goal was to translate the personality of his words into a publication that balanced dramatic typography with thoughtful editorial structure.
Finding the Visual Language
Establishing a design direction inspired by the text.
After reading the chapter several times, I identified four visual elements that could communicate the author's bold and occasionally contradictory statements: black pages, oversized typography, rotated text, and negative space.
These elements became the foundation of the design, allowing individual statements to take center stage while maintaining consistency throughout the chapter.
Building the Grid
Creating structure within expressive compositions.
Working within a selection of five permitted typefaces, I chose Plantin MT Pro for its ability to complement the editorial direction.
I developed a 12-column grid with a hanging line positioned 1.5 inches from the top of each page. Text blocks varied between five and seven columns in width, allowing the composition to shift while maintaining an underlying structure.
The grid provided a consistent framework for balancing dense paragraphs, oversized statements, and open space across the chapter.
Refining the Composition
Exploring hierarchy, pacing, and readability through iteration.
Early layouts established the relationship between text, scale, and negative space. I experimented with alternating dark and light pages, shifting text orientation, and isolating key phrases to create visual emphasis.
The table of contents presented a particular challenge. My initial attempt condensed the information into a single spread, but the result felt crowded and conflicted with the spacious visual language of the chapter.
Following critique, I expanded the table of contents across two spreads, creating more room for the typography and improving the overall balance. I also refined the typesetting and incorporated italicized text more intentionally throughout the publication.
The Final Chapter
Balancing typographic expression with editorial clarity.
The final design uses contrast, scale, and negative space to guide the reader through Bierut's writing. Dramatic statements become visual focal points, while carefully structured body text maintains legibility.
Alternating black and white compositions establish rhythm across the pages, allowing the typography to reflect both the humor and conviction of the original essay.
The result is a publication that treats typography as both a functional system and an expressive storytelling tool.
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