From the course: Graphic Design Tips & Tricks

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Blue Note: Caddy Daddy, Part 2

Blue Note: Caddy Daddy, Part 2

From the course: Graphic Design Tips & Tricks

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Blue Note: Caddy Daddy, Part 2

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- Today is part three of four on our series looking at layout and sight lines using as examples two album covers from Blue Note Records. If you missed the first episodes, go back and watch. They'll set you up for this one. We left off last time on this photograph by designer Reed Miles, and today we're going to set the type. We saw the picture has three major forms: the sky, the car and the model, and we identified all of these sight lines. The model is the primary focal point. Her position, her crescent shape, her hand, all positioned above the vertical line of the headlights focuses on the energy right here. So this is where Miles put his copy, and it's interesting in a number of ways. The first thing that caught my eye is how close it is to her hand. I mean it's touching. This wouldn't have been my first instinct, but we saw it on the Donald Byrd album too, type crowding his face. That's deliberate. It just locks these two things together. Next is that the type is very structured…

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