Project 4 InClass Book Cover Options

closest similarity layout to the transition pages between each section in book.

playing off the use of white throughout the book as well as the color in the section pages.

same as above but playing off the black sections with the color.

minimalist cover with section color subjects.

minimalist cover on black background.

Lithuanian Hello with a welcoming to my Guide with a split background of black and white, just like my spreads throughout the layout.

opposite of the above with white and black.

last color option with a big hello in Lithuanian.

In Class Everyday Communication Model

Below are the in class iterations that I put together for depicting this communication model.

These were the 8 steps/images that I currently narrowed it down to in comparison to what I had printed/brought to class, as well as what was taken while at Starbucks.

I was looking at the layout of a simple linear mode with emphasis a bit split between photograph and  description text for the steps.

My attempt was to focus on a slightly vectored image that brought more emphasis to the main communicator and simplified the background noise.

This attempt is based off the possibility of cutting out some of the more important and singular aspects, while keeping the whole scene in form when the whole scene is important.

This attempt was based on a very basic overview/bird's eye view of the scene.

POV Phase B - In Class Transparencies

Part of what was due in class was to choose our top 5 of our composition principles that were due on Friday.  With those 5, we were to print them on transparencies.  In class we were told to layer the transparencies and look for combinations that we might not normally think of.  We were also told to crop and look at various angles of the compositions.  Below are a few of what I created. 

Kern Type, the kerning games

In class we went to play Kern Type, a game that tests your skills with kerning.  You can play it here.  http://type.method.ac/#

Find+Share: Composition Principles

The assignment was to find three contemporary or historic graphic designers.  I went with two that I was familiar with right off the bat and are currently my two favorite designers; they are Aidan Hughes and El Lissitzky.  I thought by looking at artists that I already knew that I liked I would be able to figure out what stylistically intrigues me.

Aidan Hughes, Graphic Designer (1986-Present)

http://www.bruteprop.co.uk/gallery.htm

http://www.booku.com/At-War-with-Metaphor/Erin-Steuter/ebook_533045.htm

Within this composition, the most significant principles used are alignment, anomaly, correspondence, and scale.  Alignment is the first thing that I noticed with his design.  There a rectangular block of red on the top, the text is set in straight lines, and the image is mostly a rectangle.  Hughes uses anomaly within the image.  Although the image at first glance appears to be a rectangle, the image black blends in with the book cover black, creating a jagged bottom, as well as the man's hand slightly extending past the top of the rectangular image shape.  Correspondence is used within the rectangular shaped objects of text and image, as well as the use of an analogous color scheme that creates unity within the piece.  Scale is used within this piece to create hierarchy within the text, showing the title as most important with the largest point size.  Scale of the image was used with the image to draw emphasis to the title of the book.

 El Lissitzky, Architect/Graphic Designer (1909-1941)

http://webposters.adm.ntu.edu.sg/posters/g/1926.png

The most significant principles in this design are correspondence, anomaly, continuation, and asymmetry.  Correspondence is seen in the use of mainly black and white within the composition.  Red is used an anomaly with the use of the circular shape cut out of the giant triangular shape to create contrast within the image with one dominant image different than the rest.  There is definitely a feeling of continuation as the major black shape extends off of the composition, as well as the clusters of rectangular objects on the top of the shape gives a feeling of movement off the page.  I would definitely state that there is an asymmetry within this piece, because even though there is not a direct symmetry within this piece, there is balance.  The giant triangular shape is directly perfectly into the circular cut out of the giant black triangular shape, creating a balance in the collected chaos of shapes in the piece.

McSweeney's Publishing, San Francisco, California

http://designarchives.aiga.org/#/entries/%2Bcollections%3A%2250%20Books%2F50%20Covers%20of%202010%22/_/detail/relevance/asc/0/7/21561/art-of-mcsweeneys/2

I chose this one from the AIGA design archive and chose it based off of what first caught my eye on the page.  There was no direct artist associated with it, but a company.  The color scheme is what really caught me, was the color and shape.  This is an example of continuation, correspondence, comparison, and alignment.  Continuation is seen in the circular shape that continues with information and images even though the circle goes off of the edges of the book.  Correspondence is seen in the circular shape and use of white throughout the piece.  Comparison is seen within the giant red circle and the white text on the red in comparison to the white background of the rest of the design.  Alignment is seen as the information spirals out from the center red circle. 

In Class Competition

During class we had a design competition between all of the sophomore graphic designers.  We were given one hour and all of the quotes and names.  With this information we had to create a 5 x 7 inch postcard that had all of the quotes on it and who stated them from both sections previous project.  We will then vote on the postcards and the winning one will be printed at the SkyLab, which we are visiting soon.

I focused on one center quote that I felt really spoke to the age of graphic designers that we are.  I kept all quotes in Garamond.  The rest of the quotes I tried to give each its individuality through use of size and/or stroke.  I also tried to pull out what I thought should be the focus of the quote. 

For this one, I still focused on what I thought was the best quote, but used the rest of the quotes to make a border around the postcard.

Hierarchy Excercise

The in-class assignment was to create 20 variations of using leading, indent, weight/style, and scale. This was a bit of a challenging assignment for me because I am still trying to get used to the Tabs menu in InDesign, plus in the past I just used multiple text boxes when I wanted a different location or style of text. But I forced myself to only use one text box per variation; so it took longer than expected. Also, I did not realize how difficult designing of text can be when one is limited to how the text may be manipulated. It helped to show me that emphasis can be put on design with minor changes such as leading, indent, weight/style and scale. Shown below were my four favorite, below each prompt is my favorite variation of what I designed. I was not a huge fan of what I designed due to time restraints, but I feel that I learned enough during that time that I can accept not having created the best designs.

1. Leading (vertical relationships): Using one text size with a right reading, flush left, ragged right alignment, explore hierarchy through adjustment of the vertical space between lines of text (leading). Choose the left edge where the text begins and keep that same placement through all 5 compositions.


2. Indent (horizontal relationships): Using one text size and leading with a right reading, flush left, ragged right alignment, explore hierarchy only through indentation of text using “tabs”. Choose the top edge (y-axis) where the text begins and keep that same placement through all 5 compositions.


3. Weight/Style Using one text size, explore hierarchy through the use of bold, italic (oblique) or roman (normal) styling. You can freely apply leading and indent throughout the compositions.


4. Scale Use three type sizes to explore hierarchy. You can freely apply leading and indent throughout the compositions.