Even though Mennonite Church Canada already had a fleshed out brand with principle type - Frutiger Condensed and Garamond - this project was proceeding with an uncertainty about Mennonite Church Canada and the future of Intotemak. We decided for that reason to pursue an independent aesthetic.
In design, embellishment is to be undertaken with an appropriate caution, and the risk of getting the balance off is particularly potent when dealing with conversations on Indigenous culture, philosophies, lifeways, and aesthetics. To avoid exotifying the material innappropriately, I chose to move forward with a type-driven aesthetic.
After much deliberation, I landed on three typefaces for very specific reasons.
Leading the aesthetic single-handedly is Inknut Antiqua
, a chunky slab serif that evokes the appearance of Icelandic runes, Venetian stone-hewn type, and somehow the bold cheekyness of Cooper Black. It is used for the cover titles, article titles and subtitles, author names, poetry, and the massive full page quotes at the beginning and ending of the each book.
Handling secondary type characteristics is Source Sans Pro
by Adobe. Elements like author bios, detail titles, photo captions, and quote sources, and page numbers all go in source. Source is a warm and open sans serif with very little secondary emotional qualities. Source Sans is also increasingly being used by other Anabaptist inter-mennonite organizations, like Anabaptist Witness
, for whom I also currently serve as a layout designer.
Adobe Caslon Pro
was chosen for body type. Caslon's terminals manage to be round and volupuous while staying subdued, constrasting inknut's exaggerated and unmistakably harsh angular terminals and serifs.