tender buttons. physical + digital.

The main concept behind my book revolved around the presentation of traditional, easy to explain objects to abstracted ideas. This is the breakdown of what we can accept as a physical item to what can only be spoken about and not always understood. One can explain and show what “a chair” is, but one cannot easily explain and show what “more” is. This same concept can be used when trying to understand the poems. At first they may appear to be simple, but there is more that goes into them than what first meets the eye. Thus, the layout of the poems will slowly transitioned from traditional poetry form into more abstract layouts where hierarchy was tampered with.

covers + binding thread.

notes from the reDesigner. this is the first spread with text that the viewer will encounter.

table of concents.

middle of book + you can see the binding thread bound.

final poem spread + last poems makes connecting back to first poem.

The digital version is a direct transfer from the physical version; so the emphasis is on the viewer being able to react more with the text. The main difference is in the first page of the magazine; the viewer is able to decide how they want to experience the text.  They can view the poems from traditional to abstract, abstract to traditional, or the descent down to abstract. The first two options allow the viewer to read the poems with minimal sounds or music clips to further experience the seriousness of the poems. The third option is the ability to scroll from the cover all the way down to the abstracted poems, moving the focus to the physical structure of the text, hierarchy and layout as it moves from traditional to abstract.

iPad opening screen shot with video still. the choosing begins.

still from video in background as the scroll text slides down to state the reDesigner note as well as give a third option to interact with the poems.

clickable table of contents if you choose the traditional viewing.

view 3, the descent down to abstract begins in traditional linear form.

view 3, towards the end, in abstract territory.

iPad experience. the sketches.

the first ideas. tiny physical mock-up of a digital app.

close up of the first "viewer" decision

second sketch idea for iPad experience.

The basis was to have the main pages of the book scrolling right to left + left to right. Then there was going to be a drop down into a different page where one could simply experience the poems in a descent down from traditional to abstract. The third way was to scroll up and experience the poems in all sound with abstract lines and shapes going from concrete shapes to abstract forms.

iPad experience. the concept.

the initial thoughts.
the first thing that is going to be seen when you open the book on the iPad is the front + back cover pieced together in one layout. The user will be able to scroll to the left to experience the book from the traditional perspective from traditional layout to abstract OR the viewer can choose to scroll from the left from abstract to traditional. Based off of the title of "articulate void" via more text within the layouts. My thoughts are for each page to have a drop down information page with word definitions on each page, for each poem. Or maybe I could make a more interactive use of words+definitions.

sound wise.
I still need to figure out something to have the viewer interact more with the text + design concept. Professor Kidwell suggests that I look up Igor Stravinsky, whom was a classical composer. For incorporation of music with imagery+text, Professor Kidwell suggests that I look more at Bug Bunny + their infusion of classical with images. My thoughts are still no to voiceover of the text.

possible songs.
Firebird (finale) by Igor Stravinsky
The Rites of Spring Part 2 by Igor Stravinsky
Nocturne in E Flat Major, Op.9 No.2 by Frederic Chopin

tender buttons. basically the final.

the concept.

The main concept behind this book revolves around the presentation of traditional, easy to explain objects to an abstracted idea. This is the breakdown of what we can accept as a physical item to what can only be spoken about and not always understood. One can explain and show what “a chair” is, but one cannot easily explain and show what “more” is. This same concept can be used when trying to understand the poems. At first they may appear to be simple, but there is more that goes into them than what meets the eye. Thus, the layout of each poem will slowly transition from traditional poetry form into more abstract layouts where hierarchy is tampered with.

This book was named an articulate void, in reference to the definitions of the two words. Articulate means having the ability to speak fluently and coherently as well as meaning to have combined segments. Void means the emptiness caused by the loss of something. Together, the words represent the segmented, yet fluently spoken loss of Gertrude Stein’s thoughts from Tender Buttons: objects, food, rooms.

digital layout of booklet.

Open publication - Free publishing - More book

the photographed basically final, final book.

front cover.

opened cover to reveal within book.

abstract spread.

last poem spread.

the colophon/last spread.

inside of back cover.

back of book

tender buttons. the mock ups.

Based off of the critiques I had last week, I focused my attention to the items that were mentioned. I tried three different binding methods, but still am unsure as to which I should use for sure; I may still continue to look for a better one. I still need to figure out if there is a better way to show the transition of the poems, or if it works well enough as is, that not only is engaging but also helpful.

the digital mock up of the book.

Open publication - Free publishing - More mockup

I know that the binding in the following images does not have the best craft, but it was my first attempt at binding a book. Below are three different ways to bind the book.

binding experiment 1.

outer spine close up

outer spine

cover

center of book

binding experiment 2.

cover

center of book

binding experiment 3.

outer binding

center of book

inside binding

tender buttons. layouts/spreads 1 in class crit.

my mock up thus far.

I worked more with the traditional to abstract layouts, and briefly attempted a iteration of the cover. I feel that most likely I can still push the abstract layouts more and I also think that I need to add a smoother transition between the traditional and abstract.

the current text to describe my structure for the book.

The main concept behind this book revolves around the trail of traditional and easy to explain to an abstract idea. The breakdown of what we can accept as a physical item to what can only be spoken about and not always understood. One can explain and show what “a chair” is, but one cannot easily explain and show what “more” is. This is the same concept that can be used to trying to understand the poems. At first the poems may appear to be simple, but there is more that goes into them than what meets the eye. Thus, the actual layout of each poem will slowly lose traditional poetry form into more abstract layouts where hierarchy is tampered with.


things to do, post crit with class, mK + seniors.
-rework TOC, make more traditional
-frame current TOC
-refine work on new cover design
-note page, make text smaller, not 10.5 but smaller
-look more at relationship of each layout + try to make them cousins
-a few refinements in kerning+word placement+overlap
-look more at final layout+add cross mingling
-look into other possible paper changes?
-look more into the actual binding

tender buttons. first layouts + type.

the first attempts with the abstract layouts.
starting with the last two poems, which will be the most abstract pages.

what changed.

I worked more with the layouts and figured out the best leading for the size of the poem body text. I think I found the best size for the first few page layouts for the traditional poem part of the book. All of the poems are currently broken up by the specific spacing of thoughts, based on fragmented phrases or breaths while speaking.

what is next.

I need to start working more with the abstract layouts and hierarchy. In general, I still need to add page numbers, as well as figure out whether the pages are going to be back to back. Binding is something to also figure out exactly. The cover will be the last thing to figure.

tender buttons. the iterations.

basis for traditional page, title + body copy style with Garamond Family.

title: bold

body: light display

basis for traditional page, size with Garamond Family.

title: 10pt

body: light display 10.5pt

 leading option1.

 leading option2.

 leading option3.

leading options4.

 leading option5.

leading option6.

"is there a bus?"

tender buttons. the initials.

the reading.

"typography at its best is a visual form of language linking timelessness and time"

"typography is just that: idealized writing"

"typography is to literature as musical performance is to composition: an essential ac of interpretation, full of endless opportunities for insight or obtuseness"

"can be used to manipulate behavior and emotions"

"typography at its best is a slow performing art, worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return"

the concept.
moving from an idea that is solid to more of an hypothetical or unknown. the breakdown of what we can accept as a physical item to what can only be spoken about and not always understood. one can explain and show what “a chair” is, but one cannot easily explain and show what “more” is. this is the same concept that can be used to trying to understand the poems. although, at first the poems may appear to be simple, there is more that goes into them than what meets the eye. thus, the actual form of the booklet/book/poem collection will slowly breakdown.

the poems.

“objects”

“a chair”

“a piano”

“a box”

“a cloth”

“a new cup and saucer”

“a carafe, that is a blind glass”

“a fire”

 “a method of a cloak”

“a time to eat”

“a frightful release”

 “in between”

“nothing elegant”

 “more”
“objects”

the typefaces.

main type: serif, or something close to typewriter, maybe Courier New.
titles of poems: san serif, maybe Helvetica LT Std, Helvetica Neue, or Akzidenz-Grotesk.













the layouts.

option1 for first poem.

option2 for first poem.

last poem option1.

last poem option2.

last poem option3.

last poem option4.

the moral.

Kidwell is right. I think too much.