“I think our choices have been vindicated, as the book is an amazing collection of typography and design – and we owe our deepest thanks to each and every contributor,” says Sodha.




Top to bottom Spreads from the booklets by Paul Skerm, Un.titled, and Paul Abbott of Pentagram, illustrating the very different ways that various creatives approached the project.


THINKDUST

For Alex Haigh’s booklet, he aimed for maximum impact: “I read through and listened to the interview I was given, and from there it was purely about absorbing and pulling out the specific pieces of dialogue that captured my attention.

“It’s all about catching an individual’s thoughts — everything is visual: I aimed for strong, bold statements, represented through manipulated typography.”

He balanced these with detailed, finely treated typography that aims to make the viewer look more closely.

“I took a handful of typefaces I felt conveyed my messages. From here, I manipulated every piece of typography to achieve the feel and voice I was looking for,” Haigh explains.

At times this was painstaking — he recalls spending three hours slicing off type aliases for one spread.

However, he feels that it was worth it: “No matter how big or small a project is, if it has the elements to make a difference to people’s lives, it’s a brief I’m interested in.”

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