Great. Let me know when it is up there and I will check it out.

> photocopy effect

I can appreciate you doing this much more than I can simply putting type on a path. (In this instance) But, it seems there is too much separation. Between the horizontal and the curved. The visual play with scale and type is much more interesting, although with more of a mixture or transition (segue) from the one to the other it could also still work. Perhaps you transition from the well-set type to the spastic too?

The large square skeleton is too heavy and seems to weigh [edit] that side down without purpose.

I was reading into the images. The whole, "beauty is only skin deep, but ugly goes to the bone" thought came to me.

the starkness of your type, black and white, matches (for me) the starkness of the line drawing. But, it doesn't seem to work (for me) with the photo.

Granted. A lot depends on what precedes and what follows. It could be that those spreads set the pace and follow the lead of this spread.

Great. Let me know and i will check it out again.

Some gararmond? some not caslon?

how about more of a woven look? picture a braid (plaited hair) at the top it is perfect still, but as you undo the ribbon at the end it start to fall, blend, mix...chaos.

i'm still thinking you don't need the extra. i would focus on the type. i do like the skeletal drawing though. but i think that is because the line quality seems to work with the type, as if you are mimicking the pattern made by the blood veins with the type.

that's not itc garamond, is it?? =P

I must say I'm not entirely sure about the bottom
type treatment: that's where he starts to get
feverish, so I wanted to invoke an atmosphere of
halucination. It's not a path treatment though (I
hate those too), it's all done by hand with a
photocopy machine. The ole' Terry Jones routine.

With this piece I pay tribute to my influences from
my Art Academy days: 90s deconstructivism and
neo-goth. So it could be slightly dated looking,
but I hope to add a contemporary twist.

I'll try to whup up a rough translation. It won't
be easy because there's a lot of word play and
poetic license, but I agree it would help to make
sense of the piece. Gimme till tomorrow.

BTW There's no 'beautiful' in my spreads: it got
lost in the previous double page. ;) The images
are not meant to be taken literally.

I agree the transition is too abrupt as it is now,
but I wanted some extra input before deciding which
way to go.
Actually I was going to segue the large compositions
into the curved/distorted type by slightly distorting
the former, but I couldn't bring myself to do it
because for the moment I quite like the crispness of
the clusters.

BTW Which type families did I use? ;) Let me have it,
Tiff!

I thought I had the pictorial elements balanced out,
but I'll reconsider the square x-ray pic.

A lot depends on what precedes and what follows.

The spreads are meant to function as independent
units: there's no connection in terms of graphic
design nor typography between the spreads of the
different designers. That's why we introduced the
'transfer pages' to unify the whole. We all have
quite different styles, and this book is meant to
show off the diversity of our studio.

Hey there.

Unfortunately I can't read the words, which would help in my understanding.

First off, my initial reaction to the type was enjoyment and interest, except for the type at the bottom, which is wavy and slightly dated looking. I just don't like the wavy vector path type elements. The type up top and before this is fine. Your use of the letterforms of the different fonts is engaging.

Now, in terms of concept. I am not seeing it that much. What/where is beautiful in this piece? The "nervous" man? The brain ties into your concept I will say, it looks like it is ill...hungover

But I am not seeing the beauty here.

Ciao!