the typeface. specimen final.

final pdf specimen for para-

para- was inspired by the distorted+refracted+altered images that most of us carry about ourselves+our work. para- is but a visual of how the mind often works, filled with emotions that we often try to ignore or push away. para- is defined as faulty : abnormal : paresthesia(a sensation of pricking, tingling, or creeping on the skin that has no objective cause). The key descriptive words for this typeface is distorted (as in "to twist out of a natural, normal, or original shape or condition <a face distorted by pain>; also : to cause to be perceived unnaturally <the new lights distorted colors>"), refracted (as in "to alter or distort as if by refraction) and altered (as in to make different without changing into something else).

the typeface. specimen3s.

option1.

option2.

post critique with Assistant Professor Michael E. Kidwell.
The story/poem was a nice addition to the creepy imagery. But with the imagery and no poetry, maybe less is more. hmm? hmm?! Get rid of name on first panel; have another character word or just the picture? Simpler can be better. No screaming. Not emotional.

the typeface. specimen2.

take 2...from some edits based on Assistant Professor Michael E. Kidwell's extremely quick initial thoughts.

the typeface. specimen1.

post tiny discussion with Assistant Professor Michael E. Kidwell.
keep parenthesis/brackets on the same baseline/orientation; don't keep changing it.
nice story, created typeface, images + image treatment.
don't end with explanation? End with letters/figures + explanation OR just letters/figures?
create more space between word+definition? change the size of word or definition?
change the typeface that the story is in?
don't always have the parenthesis/brackets in full view; make it appear, disappear and reappear later?

the typeface. update.

Based on the feedback that I received last class I worked more with the second half of the lettings going back and forth between going up or down. I also added some more figures. I kept the numbers and figures pretty normal, without splitting them as I did the letters. I wanted to create some stability in the set...but maybe there is too much of a disconnect between the two parts now? As for the specimen PDF, I need to put more ideas together for how to exactly promote this typeface.

the typeface. initial work take 2.

Post critique with Assistant Professor Michael E. Kidwell, I was told to push more from rational, which meant a reselecting of descriptive words. All words are defined by Merriam-Webster's Dictionary; feel free to verify with the links.

new 3 words defined.

distorted defined as "to twist out of a natural, normal, or original shape or condition <a face distorted by pain>; also : to cause to be perceived unnaturally <the new lights distorted colors>"

emotional defined as "dominated by or prone to emotion <an emotional person>"

refracted defined as "to alter or distort as if by refraction <to refract that familiar world through the mind and heart of a romantic … woman — Anton Myrer>"

the upper case.

DE SANDO refracted+distorted+emotional. pages may look something like this.

the pages in the PDF may look something like this. use of poetry + imagery.

new page w letters+numbers.

feedback from class+Assistant Professor Michael E. Kidwell.

think about some of the halves of the letters going up...since they're all currently going down.

the black+white of the home was nice & added a dark tone=good thing.

an overall story about suburbia or America or a trip that someone is taking might be useful for the specimen.

House Gothic does not work here, use something different...something more similar to my typeface or something that allows my typeface to take more focus.

the typeface. initial work.

3 words+defined.

words are defined by Merriam–Webster’s Dictionary.

rational

“having reason or understanding”

traditional

“an inherited, established, or customary pattern of thought, action, or behavior”

disciplined

“a : control gained by enforcing obedience or order

 b : orderly or prescribed conduct or pattern of behavior

 c : self-control”

the type examples.

koenig layouts. 15+ spreads. final.

cover + end flaps.

book without cropped out side  columns.

The objective of my design revolved around the idea of a coffee table book mixed with a history book. My book structure was based around the style of books during the renaissance; they had set structure with specific areas to never cross with image and text. Balance was very important in those books, and also with Koenig’s work. My thoughts were to create a book whose structure and physical design referenced Koenig’s architecture. Just like Koenig’s houses were meant to last and for one to enjoy the view and not necessarily the house; I wanted to replicate that with my book. I wanted the viewer to have easy access to the information via a fairly standard layout of information and images. My hope for this was to make the text almost invisible, for the viewer to be so engaged with the images and story itself that the typefaces used did not emote anything but older, well-loved information. With the idea of a renaissance stylebook, I only used color if already in the images that were found, I did not use color in the text, only black or white. 

Sans serifs were created to help children read easier, so I figured a good place to use a sans serif then would be in the footnotes and captions, where it is just in small bits of information. The main body text and section titles are in ITC New Baskerville, to not only reference the old renaissance books, but also older books in general with their large use of serifs.

koenig layouts. near complete the first 15.

cover+endflaps.

Open publication - Free publishing - More book

koenig. the cover options.

Below are some of the different cover images that I was working with. I was trying to find the best image to continue the portrayal of the beautiful California outside/nature and fuse that with the layout that I've been creating. All images were taken in California. I still have more text to add, but I was trying to see which image clicked the most.

koenig layouts. advanced.

In class due today was the current layouts of the main 15 spreads that we are creating for our redesign of Neil Jackson's Pierre Koenig: Living With Steel.

Specifically these pages/spreads were:
bastard (1 page)
full title(2 page spread)
contents (2 page spread)
copyright (2 page spread)
an introduction: (2, 2 page spreads)
the projects: koenig’s work, (more than 3, 2 page spreads)
life and work (2 page spread)
project map (2 page spread)
bibliography and credits (2 page spread)

Open publication - Free publishing - More class

koenig. the layouts restructure.

I've been trying to figure out a restructure of the layout of my book pages. 

working with 1/9 of page diagonal.

working with 1/9 of page width.

first applied new layout, smaller text pt. size, larger margins + smaller number of girded columns.

koenig. the layouts take 3 + new spreads.

spreads take 3 work.

post crit with Assistant Professor Michael E. Kidwell
the main thing that I walked away with was the idea that I need to look a lot more in depth at classical layout/books. most specifically I need to look at the relation between images, text and spacing on the pages. so off to more research and changing the hierarchy in the pages so that the text becomes so beautiful the reader don't even question it. He said to look into Stanley Morrison, Eric Gill and Beatrice Warde.

koenig. the layouts take 2.

edited spread from last class.

decision section cover for in class.

Open publication - Free publishing - More cover

other section cover work.

text only spread.

image only spread.

crit with Assistant Professor Michael E. Kidwell.

Assistant Professor Michael E. Kidwell told me that I need to bring further away from my need for constant consistency. He stated that I would "get sick fast" of all the spreads being the same height. He suggested playing with the height of some elements within the spreads. He also suggested that I accept now that the text columns will not all line up, so I should change that now.

koenig type + first attempt layout.

layout.

layout + grids.

layout2.

type choices.

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