LA Forum spoke with graphic designer Jessica Fleischmann, the founder and creative director of Still Room Co. Her work has been recognized by the AIGA 365 and AIGA 50 Books/50 Covers, and British Book Design and Production Awards. She has held teaching positions at UCLA, Otis College of Art and SCI-Arc and is co-founder of X Artists’ Books – a publisher of high-quality artist-centered books. Fleischmann is the designer of the recently-published LA Forum Reader, and she will be in conversation with other contributors this Saturday evening at Hennessy & Ingalls bookstore.
Tell us about the design process you went through pulling together the elements that make up the LA Forum Reader? With all the archival materials including old newsletters and pamphlets, how did it graphically come together?
The main goals for the design of the Reader were that it would be coherent, easy to read, interesting to look at in relationship to the evolution of Los Angeles and the LA Forum over the past 30 years. Initially I intended to take design cues from some of the previous publications included as source material—there have been some other great graphic designers throughout the history of the LA Forum, but these varied so widely that I decided they were giving me permission to approach this publication with full freedom, rather than responding to any specific design tactic or element.
Structurally, there are two types of contents — Main Sections and Interludes, each with its own typography and image and color treatment. Within the main sections, there are introductory essays, written by the core editorial team, and reprints of other LA Forum publications, always shown as complete objects. The section dividers and the reprints are clearly visible along the edge of the book, helping to orient the reader and allowing them to choose a spot to dive in. The titles of the Interlude’s divider pages are turned on an angle. One of the Interludes is a set of cropped newsletter images which extend off the page. While the design is balanced overall, there is a lot of zooming in and out going on, which for me reflects the experience of living in L.A. and the work of the LA Forum over the years. I also developed a typographic system with a set of behaviors that play with each other: for example the main section introductory text and the interlude text are the same typeface, but introductions are typeset bigger, and the titles are treated differently (flush left vs centered) so while it is the same typeface as the Interlude text, it behaves differently. Also, the page numbers on chapter openers are super big, and all numbers are outlined and bleed off the edge of the page, as do the newsletter examples. These elements are pointers, indicating that there’s more beyond the edge of the map of the page, more beyond the expected stereotypes of L.A.— the idea with the newsletter samples is that they’re tastes and if the reader finds them interesting, the full essay or issue can be read on the LA Forum website archive.
We needed to maximize our print budget, and I wanted a cohesiveness overall, so I chose to use two spot colors. The color palate is based on the colors of L.A., but not the usual suspects. There is no blue sky, swimming pools or palm trees here, just dusty, slightly smoggy, skies at sunset and the haze of the hills in the distance, dry summer brush & asphalt.
You’ve designed many anthologies and books of this nature, but what was the most surprising or unexpected thing about the design process of the Reader?
How seamlessly it all came together, design-wise! As with many of my favorite projects, both the contents of the Reader and the core editorial team of Rob Berry, Victor Jones, Mike Sweeny, and Mimi Zeiger were key in developing the design. Conversations with the core team and their unwavering, enthusiastic (if, at times, appropriately critical) support permitted me to use a slightly unusual font, Stratos, for the main sans serif typeface (it’s capital letters are rather narrow in proportion to the lower-case letters, so it has a heterogeneity that reflects the city). The contrasting serif for section introductions and interludes, FB Californian, is one whose craftsman touches reference the early part of the 20th century in California and Los Angeles. It’s a typeface that I’ve always wanted to use, and this was the perfect opportunity.
Click here to purchase a copy of the LA Forum Reader.