Great resource for typography. Check out the pages on Letter and Text. Review these for our class this Saturday.
After contacting Irene earlier in the week, she let me know my email account should be back up later this week. For now send any questions to email@example.com
Go over this page on understanding and improving your typography skills.
LAYOUT DESIGN 1
TYPE SPECIMEN POSTER
PDF version of assignment – type specimen poster
Pencil or Pen
Sketchbook, paper for mechanicals, roughs, comps
Begin Sat Jan 26
Due/Critique Sat Feb 9
Your assignment is to design a poster that introduces your typeface to the world. You should already have started collecting information regarding the designer, when it was designed, where it was designed, and perhaps why it was designed. You will use that information to describe your typeface on the poster in an effort to promote it to the masses. Your poster will be full-color and 11”x17”. You will use Adobe InDesign to create your final lay-out, and perhaps Photoshop and/or Illustrator along the way. Print this out here in the lab on EPSON or other color printer.
Your poster should show all twenty-six alphabetic characters in upper- and lower-case, plus numerals 0-9. It is up to you how they are shown, but they must be on the poster somewhere (remember: the idea is to showcase your font the best way possible).
Your poster should utilize hierarchy as a means of organizing information, and helping the viewer interpret the information on the poster. You can do this with scale, color, balance, and other compositional tools. Look over the class site and .pdf on using the elements and principles of design. Remember some rules of typography on this poster. Pay careful attention to your margins, line-height (or leading), tracking, kerning, and other details.
Finally, you poster should reflect the individuality of your typeface. Use pictures, illustrations, and other visual identifiers that are complementary to the visual characteristics, history, and “personality traits” of your typeface.
Milton Glaser is the great-granddad of graphic design. He’s been making ground-breaking illustrations and design for over 50 years. That is a very long time to be consistently good.
Watch this video featuring Paul Rand discussing these elements and principles…
Elements: basic visual components to a composition
Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. The edges of shapes and forms also create lines. It is the basic component of a shape drawn on paper. Lines and curves are the basic building blocks of two dimensional shapes like a house’s plan. Every line has length, thickness, and direction. There are curves, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines.
A shape is defined as an area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. Shapes can also show perspective by overlapping. They can be geometric or organic. Shapes in house decor and interior design can be used to add interest, style, theme to a design like a door. Shape in interior design depends on the function of the object like a kitchen cabinet door. Natural shapes forming patterns on wood or stone may help increase visual appeal in interior design. In a landscape, natural shapes, such as trees contrast with geometric such as houses.
Texture is perceived surface quality. In art, there are two types of texture: tactileand implied. Tactile texture (real texture) is the way the surface of an object actual feels. Examples of this include sandpaper, cotton balls, tree bark, fur, etc. Impliedtexture is the way the surface on an object looks like it feels. The texture may look rough, fizzy, gritty, but cannot actually be felt. This type of texture is used by artist when drawing or painting.
Positive and Negative Space
Space is the area provided for a particular purpose. It may have two dimensions (length and width), such as a floor, or it may have three dimensions (length, width, and height). Space includes the background, foreground and middle ground. Space refers to the distances or areas around, between or within components of a piece. There are two type of space: positive and negative space. Positive space refers to the space of a shape representing the subject matter. Negative space refers to the space around and between the subject matter.
Scale is how big or small something is in relation t o other objects. Scale refers to the process of making size relationships. Unless there is a scale of reference within a design, it is impossible to discern the relative size of objects and the meaning they represent.
Principles: general rules on how to use the elements
Balance occurs when all the design elements are equally distributed through the design. Symmetrical elements are arranged equally on both sides of a composition to suggest a stable or static motion. Asymmetrical elements create a deliberate imbalance to suggest variety or dynamic movement.
Emphasis refers to areas of interest that guides the eye into and out of the image through the use of sequence of various levels of focal points, primary focal point, secondary, tertiary, etc. Emphasis/hierarchy may give direction and organization to a design, and avoid subconscious confusion to sometimes improve the design’s visual appeal and style. Emphasis hierarchy or focus is not giving each object in a project equal dominance within a piece of work. Emphasis or dominance of an object can be increased by making the object larger, more sophisticated, more ornate, by placing it in the foreground, or standout visually more than other objects in a project.
So… what does all this mean for you?
Of course, I want you to ingest these ideas, and keep them in mind when you are making things. In the future, you will create posters, brochures, magazine layouts, etc… and I want you to use these elements and principles to make them look great.
The full syllabus has been added to our site under the Digital Layout page.
This was the book I sent to Paula for our Layout Class. Try and have it with you Saturday. The book is in.
Adobe InDesign CS6 Classroom in a Book
Adobe Creative Team (Author)
Publication Date: June 14, 2012
ISBN-10: 0321822498 | ISBN-13: 978-0321822499
Understanding what you see
Design is everywhere. We are bombarded daily by type, color, images and layers upon layers of both established and created meaning– we see messages even if we don’t read or fully process them. The ability to visually solve problems is what defines graphic design, and its effectiveness is measured by a designer’s ability to convey the message they seek to send through a variety of channels including logos, posters, advertisements, brochures, etc. In this class we will examine how to think and create digital layout as a graphic designer.
- Introduction, course overview/expectations, procedures/policies.
Layout discussion and examples
To solve any graphic design problem, a designer must conceive an idea and realize it visually. The designer must create, select, and organize visual elements in order to create effective communication. A layout is the arrangement of type and visuals on a printed page or digital page, and concerns the organization and arrangement of type and visuals on two-dimensional surfaces to create effective communication.
- Creative Print Typography Layouts
- Graphic Design Theory: 50 Resources and Articles
- Magazine Design – Layout
- 32 Inspiring Examples of Amazing Layout and Typography
- 50 Amazing Brochure Layout Ideas
- 25 great InDesign tutorials for graphic designers
- Tutorial – Review of Adobe InDesign: interface, tools, menus, importing images, type tool