2022 submission for the International Society of Typographic Designers (ISTD).

︎︎︎ Paradise Lost is all about a unity of opposites: good and evil, obedience and rebellion, Heaven and Hell, light and dark, even. Light and dark is a beautiful tool that is in constant flux throughout the poem; it further enables us to understand a complex story, like Paradise Lost, in its most organic state. Light and dark, whether they exist in harmony or juxtapose, are the cores to the fabric of our universe, we therefore all understand the differences between these two states.

And so, with light and dark as my drive, I use this as a tool to explore the emotional highs and lows of primary character Satan and supporting character Adam. I am personally drawn to their relationship, their harmony, and similarity in personalities.

Satan’s self-establishment is further shown through his often concentrated and traditional typographic layout where he controls the page. Apart from his self-reflective soliloquy, Satan does not quiver or undermine his rebellion. The two states of light and dark are explored typographically through size, weight, opacity, and density. Increased font sizes and weight variation establish power, certainty, and awareness. 

Satan’s book ︎︎︎


Adam’s book ︎︎︎



Index: 

G.F Smith Takeo Tela — Black; Grey; White; Ivory
Grammage: 80gsm 

G.F Smith Transclear Radiant White 
Grammage: 105gsm

Paradise Lost v.2, 2022