Masterhead Design Contest Entry.
This approach explores the use of a neo-Roman Renaissance serif as a way of interpreting the publication’s existing visual language.
Historically, blackletter and roman type coexisted as different approaches to the printed word. Over time, roman type became a common foundation for newspaper mastheads — not as a break from tradition, but as its continuation in a more open and structured form.
In a masthead context, this results in a different visual behavior. Blackletter separates itself through density, while a roman-based solution relies more on proportion, rhythm, and spacing.
The pictorial mark is treated in the same spirit — simplified and aligned with the typographic structure, so it supports the overall silhouette without competing for attention.
This approach explores the use of a neo-Roman Renaissance serif as a way of interpreting the publication’s existing visual language.
Historically, blackletter and roman type coexisted as different approaches to the printed word. Over time, roman type became a common foundation for newspaper mastheads — not as a break from tradition, but as its continuation in a more open and structured form.
In a masthead context, this results in a different visual behavior. Blackletter separates itself through density, while a roman-based solution relies more on proportion, rhythm, and spacing.
The pictorial mark is treated in the same spirit — simplified and aligned with the typographic structure, so it supports the overall silhouette without competing for attention.