visual communication
Typography 1

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:- leading grid examples

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Project Four: TYPOGRAPHER PAPER

Using a leading grid you will be designing the first page of a magazine article called “___” (title comes from you. You need to have a title for your paper – preferably NOT the designer’s name, name can be part of the subtitle. You will not need to use all the text but you will need use most of it.

You are going to be using your paper for the next project, if you are really not interested in designing a spread for your designer you MAY choose a different desinger from one of your classmates. All the papers are on the blogs, read them and KNOW which one you are going to use by next class.

The article would be published in a design magazine. Typographic grids control the visual organization of the page space by supplying a particular kind of structure developed for typographic organization. This structure consists of margins, alleys, grid fields, and intersection points. Grids allow the designer to codify groups of typographic information. This process of codification allows the viewer to proceed through a complex page environment, tracking information in a seamless, linear manner.

A good grid forces order onto the layout and so acts as an orienting device enabling the reader to knows where to look for information and to understand its relative importance. Just as importantly the grid works on an aesthetic level. The readers might not consciously be aware of it, but subliminally they pick up on the fact that everything is well ordered and in its place. If a picture juts fractionally into the column next to it something seems to be slightly amiss, but if the lines of text align neatly across the columns on a page some fundamental and reassuring logic seems to be at work.

Your design should be typographically beautiful, simple without being simplistic, have a clear hierarchy, an attention to detail. It needs to be interesting, inviting, dynamic. Only the finest typography will be accepted. There are typographic standards we will cover in class lectures and readings and they will need to be practiced: column width, text size, word spacing, hyphenation...

Traditionally we read left to right, top to bottom. Elements that look alike are associated – same font, same point size, same leading and line length will visually link information into groups.

There are several goals for this project: Learning InDesign, understanding and constructing a leading grid, a clear hierarchy, terminology, typographic rules, typographic details, and of course a dynamic composition.

elements on the spreads: title, subtitle, by line, intro text, body text, at least 1 call out, 1 to 3 letters and the characteristics, historical event (optional), page number (odd numbers are on the left). NO images with the EXCEPTION you may use a photo of the designer.

goals of the spread/questions to think about.
-- is the hierarchy clear: the reader should know what to read 1st, 2nd, 3rd
-- clearly headline, subhead, byline, intro text, body copy and callout...
-- where is the hangline(s) or clothesline that runs horizontal through the spread?
-- how are you inviting the reader into the page?
-- how is the reader navigating through the page?
-- how can you make the page more dynamic (or in some cases less)
-- how are you aligning elements to make a vertical pull down the page
-- how are you making a vertical pull across the page
-- are elements grouped together
-- how are you establishing contrast (size, column width, placement)
-- how are you establishing rhythm (column width, leading, tracking...)
-- how are the negative and white spaces working to help your spread

Technical Goals
-- are you using leading grid correctly (margins, alleys. modules)
-- everything is locked to the baseline AND aligned on a common baseline)
-- appropriate type size, type color, line length (column width), leading
-- use paragraph breaks (tabs, returns, exdent...)
-- word and letterspacing (justification or rags)
-- letter and word spacing, hyphenation
-- no widows or orphans
-- proper use of dashes (hyphen en or em)
-- proper use of quote marks and apostrophes

process book: NO spiral binding
-- at the end of the project you will hand all your process in one pdf.
-- title page, project brief, project overview, all your process
-- you will need to have scaned in images of your cut and paste sketches.

A large format scanner is in the print lab if you scan in as you go you will not be in a panic at the end trying to get onto one scanner.

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Always bring your files and sketches to class with you. If we are working in class bring the materials you will need do not waste your time by just sitting around. .

When designing/exploring/refining remember the design principles of SCALE, CONTRAST, RHYTHM.

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Monday Nov 10
Project 3 due. Personal webpage up to date and live.
Paper Due

Intro to Project 4: final project.
Introduction: leading grid
Working in class: Building the grid, building type pages to print out.

homework:
find at least 3 magazines that you can cut apart. do not bring in 3 copies of the same mag or 3 copies of magazines of the same topic (hint: find mags with "nice" type, large type...)

Print 16 copies of the the grid b/w 11 x 17
Print 3 copies of "type pages" b/w 11 x 17
Bring magazines to cut a part
Bring colored paper to class
Bring paper portfolio that is at least 11 x 17 (if you have one don't buy one)

Buy 3 sheets black paper, 3 sheets grey, 3 sheets any color
Purchase a paper portfolio that is at least 11 x 17 (if you have one don't buy one)

Bring materials to work cut and paste in class: tape (no glue sticks), x-acto, scissors, something to cut on and a couple of magazines to cut up.

Have everything when class starts, if you are not prepared (no going to the print lab to get prints)

When designing/exploring/refining remember the design principles of SCALE, CONTRAST, RHYTHM.

If you did not purchase Mac is not a Typewriter make a copy of it. There is a copy in the print lab for you to make copies from it. Please return it so your classmates can make copies.

LASTLY: You are going to be using your paper for the next project, if you are really not interested in designing a spread for your designer you MAY choose a different desinger from one of your classmates. All the papers are on the blogs, read them and KNOW which one you are going to use by next class.

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wed November 12
Working in class creating spreads from your parts. How can you use the grid and make a compositions that lock to the grid but range from very clear and organized to more and more dynamic and hard to read. You may use the xerox machine to make type larger and smaller. NO COMPUTER.

Create at least
3 legible, clear compositions
3 a dynamic compositions
3 "harder to read" compositions

When designing/exploring/refining remember the design principles of SCALE, CONTRAST, RHYTHM.

elements on the spreads: title, subtitle, by line, intro text, body text, at least 1 call out, 1 to 3 letters and the characteristics, historical event (optional), page number (odd numbers are on the left). NO images with the EXCEPTION you may use a photo of the designer.)

All elements must be locked to the grid. You may use magazine type for the sizes you don't have, you may use magazine large type to supplement your type you printed out, *it is ok if it isn't in the right words.

Homework
Continue working on your cut and paste compositions (this will take a lot of time) you will need 9 for Wed's crit. Everything should be considered, they should look "real", white space outside the pages, minumn white space between text, use the grid....

Also come up with at least 3 possible titles for your article. Besides the persons name.

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mon November 17
class crit: be prepared to discuss spreads you 9 spreads

Homework
Based on class feedback develop 6+ NEW spreads CUT AND PASTE no computer. You may use your previous 9 as parts, xerox them larger and smaller and start again on new compositions. ALL 6 must have all elements locked to the grid, must be legible, can have parts that are difficult to read.

elements on the spreads: title, subtitle, by line, intro text, body text, at least 1 call out, 1 to 3 letters and the characteristics, historical event (optional), page number (odd numbers are on the left). NO images with the EXCEPTION you may use a photo of the designer.

*Process Book: NO spiral binding you will hand in your process as a pdf
As part of your process book you will need to have scaned in images of your cut and paste sketches. A large format scanner is in the print lab if you scan in as you go you will not be in a panic at the end trying to get onto one scanner.

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wed November 19
class crit: be prepared to discuss spreads
InDesign Tutorial: building the grid on the master page and how to manipulate the box...
:- leading grid examples

Working in class in the lab. Bring your layouts. (if you do not have 6 cut and paste spreads that are working “well” then you can not go onto the computer.

Baseline Grid: defined and examples in your text book

Lab: turn on your fonts, set up columns, on master page set up horizon line, go to the paper and copy the text, past into a box in InDesign, change all the body text to your chosen font (you can change this later) and to 8/12 pt, turn on baseline grid, lock to baseline grid, change leadings (watch what happend), change baseline grid to 4 pt not 12pt (that will allow you to have leading in multiples of 4 (12, 16, 20, 24, 28, 32, 36... opposed to 12, 24, 36). Change Baseline grid under InDesign -> Preferences -> Grid -> Increment every 4pt. Look at the baseline grid now, change leadings. Flow rest of text onto the spread. Manipulate the box by adding points.

Fonts you may use: you may use a font by your typographer if you can find it (not necessary) for the Headline, Sub, Intro, Call out, but NOT for the body text (unless it happens to be on the list below)

You must use one of these fonts listed for the body text: * there is a rule that you should not mix serifs fonts on a page or sans on a page (for example no mixing interstate and helvetica on a page). Always have one serif and one sans so if your are planing to use a serif font for you header etc, consider using a sans for text or VISE VERSA. You may just use one font and all of its styles or one sans and one serif from the list.

Adobe Caslon
Adobe Garamond
Bembo
Bookman
Clarendon
Frutiger (sans)
HelveticaNeue (sans)
Interstate (sans)
Melior
Memphis
Meta (sans)
New Baskerville
Sabon
Univers (sans)

Homework
build 3 successful spreads into InDesign. Print them out full size, black and white is ok. If you do not have the 6 cut and paste working you are doing more cut and paste for homework. Also begin to answer the questions below: Typographic Rules and Terms, post your answers on your blog you can add to it. Answers are in you text books and Mac is Not a Typewriter.

elements on the spreads: title, subtitle, by line, intro text, body text, at least 1 call out, 1 to 3 letters and the characteristics, historical event (optional), page number (odd numbers are on the left). NO images with the EXCEPTION you may use a photo of the designer.

*Process Book: NO spiral binding you will hand in your process as a pdf
As part of your process book you will need to have scaned in images of your cut and paste sketches. A large format scanner is in the print lab if you scan in as you go you will not be in a panic at the end trying to get onto one scanner.

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Typographic Rules and Terms

-- Parts of the grid: what are the following: margin, column, alley, module, gutter, folio.

-- What are the advantages of a multiple column grid.?

-- Why is there only one space after a period?

-- What is a character (in typography)?

-- How many characters is optimal for a line length? words per line?

-- Why is the baseline grid used in design?

-- What is a typographic river?

-- What does clotheslining or flow line or hangline mean?

-- How can you incorporate white space into your designs?

-- What is type color/texture mean?

-- What is x-height, how does it effect type color?

-- Define Tracking.

-- Define Kerning. Why doe characters need to be kerned? What are the most common characters that need to be kerned (kerning pairs)?

-- In justification or H&J terms what do the numbers: minimum, optimum, maximum mean?

-- What is the optimum space between words?

-- What are some ways to indicate a new paragraph. Are there any rules?

-- What are the rules associated with hyphenation?

-- What is a ligurature?

-- What does CMYK and RGB mean?

-- What does hanging punctuation mean?

-- What is the difference between a foot mark and an apostrophe? What is the difference between
an inch mark and a quote mark (smart quote)?

-- What is a hyphen, en dash and em dashes, what are the differences and when are they used.

-- What is a widow and an orphan?

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mon November 24
class crit
we will be talking about Mac is not a Typewriter. Please have it with you.

Homework
Bring Mac is not a Typewriter to class.

below is due wed Dec 3 becuase the lab will be closed most of Thanksgiving. START now but finish when you get back. Monday Dec 1 will be a workday.

Refine/Explore computer layouts. Taking your 2 most successful spreads evolve them. At least 5 variations for each. (at least 10 total). The lab will be closed Wed, Thurs, Friday and Saturday. SUNDAY it will be open. If you are in town take advantage of using the lab.

Variations/EXPLORATIONS on the design (that means you are MAKING BIG changes to your designs. Bring everything to next class for crit. Be prepared. Full size, full color, print on the laser printer.

goals of the spread/questions to think about
*all questions you should be able to answer.
-- is the hierarchy clear: the reader should know what to read 1st, 2nd, 3rd
-- clearly headline, subhead, byline, intro text, body copy and callout...
-- where is the hangline(s) or clothesline that runs horizontal through the spread?
-- how are you inviting the reader into the page?
-- how is the reader navigating through the page?
-- how can you make the page more dynamic (or in some cases less)
-- how are you aligning elements to make a vertical pull down the page
-- how are you making a vertical pull across the page
-- are elements grouped together
-- how are you establishing contrast (size, column width, placement)
-- how are you establishing rhythm (column width, leading, tracking...)
-- how are the negative and white spaces working to help your spread

Have prints when class begins do not leave to go get them in the lab.

*IF you haven't scanned in your cut and paste get it done.

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THANKSGIVING

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mon Dec 1
WORKDAY

turn on all Adobe Garamond, Sabon and the fonts you are using.

the fundatmentals of typography:
pg 66: Baseline Grid, Opitical amendments, Baseline Shift, Cross Alignment
pg 69: Fibonacci sequence: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233...
pg 90: Numerals, Figures, (Lining Figures or Titleing) (Non-aligning, Old Style numerals, Text)
pg 94: Dashes (again)
pg 98: Ligatures (fi)
pg 100: Small Caps, do not use the small cap button,
if you want to use small caps find a font with small caps or something call old style or alternate.
pg 114: Line Length 40 characters (25 to 70)
pg 116: Kerning
pg 122: Word Spacing, Rivers, Widows, Orphans

Refine/Explore computer layouts. Taking your 2 most successful spreads evolve them. At least 5 variations for each. (at least 10 total).

Variations/EXPLORATIONS on the design (that means you are MAKING BIG changes to your designs. Bring everything to next class for crit. Be prepared. Full size, full color, print on the laser printer.

goals of the spread/questions to think about
*all questions you should be able to answer.
-- is the hierarchy clear: the reader should know what to read 1st, 2nd, 3rd
-- clearly headline, subhead, byline, intro text, body copy and callout...
-- where is the hangline(s) or clothesline that runs horizontal through the spread?
-- how are you inviting the reader into the page?
-- how is the reader navigating through the page?
-- how can you make the page more dynamic (or in some cases less)
-- how are you aligning elements to make a vertical pull down the page
-- how are you making a vertical pull across the page
-- are elements grouped together
-- how are you establishing contrast (size, column width, placement)
-- how are you establishing rhythm (column width, leading, tracking...)
-- how are the negative and white spaces working to help your spread

Have prints when class begins do not leave to go get them in the lab.

*IF you haven't scanned in your cut and paste get it done.

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wed Dec 3
class crit: at least 5 variations of 2 spreads. (10 total)
we will be talking about Mac is not a Typewriter. Please have it with you.

Homework:
BLOG: post on your personal blog the answers to the "readings overview" handout.

Refine/Explore computer layouts. Taking your 2 most successful spreads evolve them. At least 4 - 6 variations for each. Use the computer. Variations/EXPLORATIONS on the design (that means you are MAKING changes both big and small to your designs.) Bring everything to next class for crit. Be prepared. Full size, full color, print on the laser printer.

elements on the spreads: title, subtitle, by line, intro text, body text, at least 1 call out, 1 or 2 or 3 letters and the characteristics, historical event (optional), page number (odd left side align with text)

goals of the spread/questions to think about
*all questions you should be able to answer.
-- is the hierarchy clear: the reader should know what to read 1st, 2nd, 3rd
-- clearly headline, subhead, byline, intro text, body copy and callout...
-- where is the hangline(s) or clothesline that runs horizontal through the spread?
-- how are you inviting the reader into the page?
-- how is the reader navigating through the page?
-- how can you make the page more dynamic (or in some cases less)
-- how are you aligning elements to make a vertical pull down the page
-- how are you making a vertical pull across the page
-- are elements grouped together
-- how are you establishing contrast (size, column width, placement)
-- how are you establishing rhythm (column width, leading, tracking...)
-- how are the negative and white spaces working to help your spread

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mon Dec 8
Class Crit. at least 4 - 6 variations of 2 spreads, please have last classes spreads with you also.
Review Typographic Rules

Homework:
Making 2 spreads perfect. Based on class crit refine your final 2 spreads.
First both must have the goals listed above THEN you need to refine them to have the technical goals listed below. Refining typographic rules: hyphenation, hierarchy, dashes, quotes... Making sure everything is locked to the grid, a dynamic composition that is inviting to the reader, that is appropriate to the content and the audience.

Technical Goals
-- are you using leading grid correctly (margins, alleys. modules)
-- everything is locked to the baseline AND aligned on a common baseline)
-- appropriate type size, type color, line length (column width), leading
-- use paragraph breaks (tabs, returns, exdent...)
-- word and letterspacing (justification or rags)
-- letter and word spacing, hyphenation
-- no widows or orphans
-- proper use of dashes (hyphen en or em)
-- proper use of quote marks and apostrophes

Print out full size, full color for wed: both printed out on the Epson printer. You need to print them on the Epson to check your final colors, etc. Print on Epson or Janus paper (those 2 choices: only). You can get the paper by the sheet at the Jayhawk Bookstore.

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wed Dec 10
individual meetings: bring your prints out of your refined spreads AND all your process up to now.

FOR THE FINAL
Mount 2 successful compositions on black board with 2 inch boarders (15 x 21 inches).
Tissue overlay and name on back of board.

The compositions should be completely different from each other, both legible, clear hierarchy, using the grid but visually different.

Along with your compositions have a black and white version of each printed out with the grid turned on. Keep the b/w copies loose and put with your boards.

Process Book: NO spiral binding you will hand in your process as a pdf
title page, project brief, project overview, all your process. (scan in your cut and paste sketches (large format scanner in the lab), put your sketches in order with your final 2 composistions LAST in the pdf. For each of your final compositions have it with the grid on and grid off.

* you will pick up your final compositions and process books next semester (first day of class) i will email you your project grade.

PRINTING: The print lab will be very busy the 2 type 01 classes and the type 3 class all have finals on monday. Stop Day (afternoon the lab will be open, Saturday normal hours, Sunday normal hours, get there early, and be prepared to wait. You must print on the Epson Printers for the final. NOT the laser.

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FINAL: monday december 15

11:30 class your final is MONDAY DECEMBER 15 at 11:30
2:30 class your final is MONDAY DECEMBER 15 at 2:30

2 successful compositions on black board with 2 inch boarders (15 x 21 inches).
Tissue overlay and name on back of board.

The compositions should be completely different from each other, both legible, clear hierarchy, using the grid but visually different.

Along with your compositions have a black and white version of each printed out with the grid turned on. Keep the b/w copies loose and put with your boards.

Process Book: NO spiral binding you will hand in your process as a pdf
title page, project brief, project overview, all your process. (scan in your cut and paste sketches (large format scanner in the lab), put your sketches in order with your final 2 composistions LAST in the pdf. For each of your final compositions have it with the grid on and grid off.

* you will pick up your final compositions and process books next semester (first day of class) i will email you your project grade and any comments on how you did this semster.