Modern Resumé Makeover

Carl Shank • May 2, 2023

A Modern Resumé Makeover. With companies laying off workers and hundreds, even thousands, of qualified and eager workers looking for jobs, a resumé is a must. But what kind of resumé? Obviously, Indeed.com and other sites offer digitally made resumés, and that may seem adequate for many job seekers. However, some companies and hiring managers, especially in the design arts, are looking for comps, for well-crafted designs, for portfolios of what the would-be worker is offering.


In the first diagram below, a standard (older style) resumé is offered. It has the necessary information, perhaps lacking an "objective" or "goal," but contains the relevant information employers and recruitment managers are searching for. It is sufficient, but tired, boring, unattractive and usually gets in the scrap heap with perhaps a passing glance. Those recruiters who do a six-second scan (the standard time) usually do what is called a "F-Scan" of the resumé. If something strikes his or her attention then the resumé is placed on a smaller pile for consideration.


However, to assure a more than six-second look, a well-crafted, personable styled, typologically interesting resumé can command some extra attention from job recruiters,, especially in the design and typesetting or printing business. This is offered in the second diagram and then "How We Did It" is in the Third. Take a look. CARE Typography can design a noteworthy resumé for you. Give us a call or send an email with your old resumé and watch the magic happen.

Successful Layout & Design

Theology of Type (3): The Twentieth Century (Part 2)

By Carl Shank • November 1, 2025
SWISS TYPE BEAUTY DESIGNERS LIKE JAN TSCHICHOLD were foundational to many of the Swiss design principles. This style evolved from Constructivist, De Stijl and Bauhaus design principles, particularly the ideas of grid systems, sans-serif type and minimalism. Emerging in Switzerland during the 1940s and 1950s, this typography, also known as the International Typographic Style, directly responded to the type chaos of Dada and the stylization of Art Deco. The Swiss style emphasized readability, visual harmony and universality. Clarity, objectivity and functionality were key components. Contributors included Max Miedinger, creator of the Helvetica typeface and Adrian Frutiger, creator of the Univers typeface, both in 1957. The Journey of Helvetica We all use Helvetica. In fact, some say it has been overused through modern years. Helvetica derives its powerful simplicity and display qualities from the 1896 typeface Akzidenz-Grotesk. “The design originates from Royal Grotesk light by Ferdinand Theinhardt who also supplied the regular, medium and bold weights. Throughout the years, Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Günter Gerhard Lange and is an excellent choice for headlines. In 2001, Günter Gerhard Lange added more weights for Berthold including Super Italic and Extra Bold italic.”[1] “Helvetica is a twentieth-century Swiss revision of a late nineteenth­ century German Realist face. The first weights were drawn in 1956 by Max Miedinger, based on the Berthold Foundry’s old Odd-job Sans-serif, or Akzidenz Grotesk, as it is called in German. The heavy, unmodulated line and tiny aperture evoke an image of uncultivated strength, force and persistence. The very light weights issued in recent years have done much to reduce Helvetica’s coarseness but little to increase its readability.”[2]

Theology of Type (3): The Twentieth Century (Part 1)

By Carl Shank • November 1, 2025
CONSTRUCTIVISM (1915-1934) Typography in Constructivism was a rational, disciplined and ideologically charged tool. It served society, especially early Russian forces, and reflected the spirit of the machine age. Constructivism redefined the role of art, design, and typography. Unlike Dadaism’s chaos and anti-art stance, constructivism type, favoring horizontal and vertical axes, creating a clean, mathematical visual language, was highly rational, utilitarian, and politically driven. ChatGPT notes that the movement’s legacy endures in its clarity, structure and purpose-driven design that define much of modern typographic practice. Constructivist movement produced strong, sans-serif (without feet) fonts like the typeface molot . Like Dadaism in some aspect, typography was bold, in-your-face, promoting Suprematism’s geometric abstraction and Futurism’s emphasis on dynamism.[1]
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