Assignment
You have been designing a ‘traditional’ book, considering fine typography and grid structure. In this next part of the project, you have the opportunity to subvert Howse’s text—and experiment with expressive typography and book design—by introducing a second text into your book: Joseph Conrad’s novel The Secret Agent. In Conrad’s tale, a band of anarchists plot to destroy Greenwich England’s Royal Observatory, which is the location of the Prime Meridian and standardized time. The new text will likewise destroy chapter 7 of Howse’s book.
For Tuesday, April 6
Design a Cover (Front and Back) for your book, incorporating the following text:
Title: Greenwich Time and the Longitude / The Secret Agent
Subtitle: Constructing & Deconstructing the Book
Author: Derek Howse / Joseph Conrad (respectively)
The Cover (Front and Back) should reflect the overall concept and design of the interior of the book. Consider how you want to convey the intersection of the two books. Make sure that you consider the Front and the Back cover. Also consider how you want to connect the writer with his work, as well as the subtitle. For Tuesday, we will review your cover design, along with all 4 interior sections of your book (Contents / Introduction / Chapter 5 / Chapter 7.
For next Thursday, April 8
Bring in a full printout of your entire book, folded, full-size so that we can discuss the entire book. This full printout includes: Cover, Contents, Introduction, Chapter 5 and Chapter 7. Bring in your final plan for constructing the book as well.
I will be handing out the final project assignment next Thursday. You will have two weeks to construct the final version of the book (Due April 22nd), but we will be working on the new project as well.
Monday, April 5, 2010
Tuesday, March 30, 2010
Update on schedule for the book project!
For this Thursday, April 1st, only bring in a printout of Chapter 7 to class! We will have a critique of Ch.7 and review a few other items regarding finishing up this project.
We will have a final critique next week Thursday (including Cover design + planning for final fabrication) along with full printout of Contents / Intro / Chapter 5 and Chapter 7.
I'll be handing out an assignment for the final project next Thursday, April 8th.
Because we are having Sophomore Reviews on April 15th, we will not be meeting as a class. We will be working on the final project starting next Thursday, but I will have the final version of the book due the following week (April 22).
Your design should be complete next week, but you will have a couple weeks to fabricate your book, while working on the final project for the class.
We will have a final critique next week Thursday (including Cover design + planning for final fabrication) along with full printout of Contents / Intro / Chapter 5 and Chapter 7.
I'll be handing out an assignment for the final project next Thursday, April 8th.
Because we are having Sophomore Reviews on April 15th, we will not be meeting as a class. We will be working on the final project starting next Thursday, but I will have the final version of the book due the following week (April 22).
Your design should be complete next week, but you will have a couple weeks to fabricate your book, while working on the final project for the class.
Printing houses
Locally, Metcalfe up at Brown is a very reliable printer that is willing to work with you to get you what you need.
There info is:
Metcalf Copy Center
Box 1851
188 Thayer Street
Providence, RI 02912
(401) 863-3653
Another local printshop you could try is:
Staples
www.staples.com
17 Plaza Way
Fairhaven, MA 02719-4601
(508) 997-5103
They accept supplied paper, and it sounds like they are also very accommodating.
There info is:
Metcalf Copy Center
Box 1851
188 Thayer Street
Providence, RI 02912
(401) 863-3653
Another local printshop you could try is:
Staples
www.staples.com
17 Plaza Way
Fairhaven, MA 02719-4601
(508) 997-5103
They accept supplied paper, and it sounds like they are also very accommodating.
Paper options
Although you can use the paper supplied to you by the print shops, there are also other options, particularly through French Paper company. They have several lines of paper which comes in reams of 500 or 250 (depending upon thickness) that can be printed through your inkjet or laserjet computer.
The two best lines to look at are Durotone or Construction. I will bring in these paper sample books for you to look at. Make sure that where ever you print your book takes supplied paper.
The two best lines to look at are Durotone or Construction. I will bring in these paper sample books for you to look at. Make sure that where ever you print your book takes supplied paper.
Tuesday, March 23, 2010
Greenwich Time—constructing and deconstructing the book
Objective
To explore how typography creates and manipulates meaning; to examine how typeface choice,composition, scale, and visual hierarchy play in the communication of meaning; to experiment with structuring the content as it relates to an underlying grid; to understand hierarchy in typography, as it relates to a system.
Specifications
Please keep in mind the following when you are refining your layouts:
Type: You may add 2 to 3 typefaces if you want (or you can use the typefaces you’ve been using).
Text: You must use all of the text supplied. The text will be provided as a downloadable word doc from the course blog. I will upload chapter 7 and ‘the Secret Agent’ copy on Friday.
Color: You can add 1 to 3 colors to your design in addition to the color you are already using
(probably black from what I’ve seen).
Spreads: You are designing spreads, not single pages (the contents faces a blank page).
Folios: You must include folios (and running headers/footers) in your introduction spread.
Graphic images: No photography, but you can use graphic elements like rules.
For Thursday, March 25
1. Continue to refine Contents, Introduction and Chapter 5
Continue to refine the front matter and first chapter in your book reflecting the in-class critique. If you make changes in the chapter, keep in mind that you may want to implement similar
changes to the intro and contents sections to remain consistent. Bring in full-size printouts of the first 12 pages of your Contents, Introduction and Chapter 5.
2. D evelop 2 concepts for intersecting and deconstructing Chapter 7 with The Secret Agent. At this point, you’ve created a sequential linear narrative—if you can envision, so far, your design rests on a timeline, moving forward. In chapter 7, the time line starts to be destroyed as the copy for the ‘Secret Agent’ is intersected with the new text.
For Thursday, bring in 2 concepts for deconstrProxy-Connection: keep-alive
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ting Chapter 7. Develop your ideas through pencil sketches. Consider your new narrative. How do you wish to tell your story? What do you want to communicate? How do you want to do that? How might you make the text communicate this new story? Do you want to add color, or another typeface(s)? Do you want to deconstruct the letterforms in some way? Do you want to collage your type? Come up with two different ideas, and bring in at least pencil sketches for discussion. If you can begin to develop your concepts on the computer, all the better.
Keep in mind that you will enter Chapter 7 and then begin to intersect The Secret Agent.
You may want to show hints of the deconstruction on the first few pages, and then gradually, the ‘Secret Agent’ destroys the copy for chapter 7. You can consider different ways to interact with and destroy the text and/or type.
Consider the texture of the type. Scale, addition of colors (1 to 3 at the most), new typefaces, can all be added into the design. If you want to push the materiality of the book further, you can as well; what new materials could you include to communicate the concept further.
For Thursday, March 25
Bring in your sketches (either pencil or computer printouts) of 2 concepts for how you plan on deconstructing your type. Bring in printouts of 12 pages from your Contents, Introduction, and Chapter 5. Also, bring in your cutting board, xacto knife and glue stick.
To explore how typography creates and manipulates meaning; to examine how typeface choice,composition, scale, and visual hierarchy play in the communication of meaning; to experiment with structuring the content as it relates to an underlying grid; to understand hierarchy in typography, as it relates to a system.
Specifications
Please keep in mind the following when you are refining your layouts:
Type: You may add 2 to 3 typefaces if you want (or you can use the typefaces you’ve been using).
Text: You must use all of the text supplied. The text will be provided as a downloadable word doc from the course blog. I will upload chapter 7 and ‘the Secret Agent’ copy on Friday.
Color: You can add 1 to 3 colors to your design in addition to the color you are already using
(probably black from what I’ve seen).
Spreads: You are designing spreads, not single pages (the contents faces a blank page).
Folios: You must include folios (and running headers/footers) in your introduction spread.
Graphic images: No photography, but you can use graphic elements like rules.
For Thursday, March 25
1. Continue to refine Contents, Introduction and Chapter 5
Continue to refine the front matter and first chapter in your book reflecting the in-class critique. If you make changes in the chapter, keep in mind that you may want to implement similar
changes to the intro and contents sections to remain consistent. Bring in full-size printouts of the first 12 pages of your Contents, Introduction and Chapter 5.
2. D evelop 2 concepts for intersecting and deconstructing Chapter 7 with The Secret Agent. At this point, you’ve created a sequential linear narrative—if you can envision, so far, your design rests on a timeline, moving forward. In chapter 7, the time line starts to be destroyed as the copy for the ‘Secret Agent’ is intersected with the new text.
For Thursday, bring in 2 concepts for deconstrProxy-Connection: keep-alive
Cache-Control: max-age=0
ting Chapter 7. Develop your ideas through pencil sketches. Consider your new narrative. How do you wish to tell your story? What do you want to communicate? How do you want to do that? How might you make the text communicate this new story? Do you want to add color, or another typeface(s)? Do you want to deconstruct the letterforms in some way? Do you want to collage your type? Come up with two different ideas, and bring in at least pencil sketches for discussion. If you can begin to develop your concepts on the computer, all the better.
Keep in mind that you will enter Chapter 7 and then begin to intersect The Secret Agent.
You may want to show hints of the deconstruction on the first few pages, and then gradually, the ‘Secret Agent’ destroys the copy for chapter 7. You can consider different ways to interact with and destroy the text and/or type.
Consider the texture of the type. Scale, addition of colors (1 to 3 at the most), new typefaces, can all be added into the design. If you want to push the materiality of the book further, you can as well; what new materials could you include to communicate the concept further.
For Thursday, March 25
Bring in your sketches (either pencil or computer printouts) of 2 concepts for how you plan on deconstructing your type. Bring in printouts of 12 pages from your Contents, Introduction, and Chapter 5. Also, bring in your cutting board, xacto knife and glue stick.
Monday, March 22, 2010
Add Automatic Page Numbering
By default, the first page is a recto (right) page numbered 1. Odd-numbered pages always appear on the right; if you use the Section Options command to change the first page number to an even number, the first page becomes a verso (left) page.
If the automatic page number is on a master page, it displays the master page prefix. On a document page, the automatic page number displays the page number. On a pasteboard, it displays PB.
1. Go to your Master page. You may have to repeat this process if you have more than one master page.
2. Create a new text frame large enough to hold the longest page number and any text you want to appear next to it (such as the document name). Position the text frame where you want the page number to appear.
(If you want a page number to appear on all pages based on a master, create the page number text frame on a master page as noted above. In addition to the page number, you can add other header and footer variables, such as the creation date or file name.)
3. In the page number text frame, add any text or variables that will come before or after the page number.
4. Position the insertion point where you want the page number to appear, and then choose Type > Insert Special Character > Markers > Current Page Number.
The Current Page Number marker is also available in a context menu. To see the context menu, position the text insertion point in the page number text frame, right-click (Windows) or Control-click (Mac OS), and choose Insert Special Character > Markers > Current Page Number.
By default, pages are numbered using Arabic numerals (1, 2, 3...); however, you can number pages using upper or lowercase Roman (i, ii, iii...) or alphanumeric (a, b, c...) numbering.
And that's it.
If the automatic page number is on a master page, it displays the master page prefix. On a document page, the automatic page number displays the page number. On a pasteboard, it displays PB.
1. Go to your Master page. You may have to repeat this process if you have more than one master page.
2. Create a new text frame large enough to hold the longest page number and any text you want to appear next to it (such as the document name). Position the text frame where you want the page number to appear.
(If you want a page number to appear on all pages based on a master, create the page number text frame on a master page as noted above. In addition to the page number, you can add other header and footer variables, such as the creation date or file name.)
3. In the page number text frame, add any text or variables that will come before or after the page number.
4. Position the insertion point where you want the page number to appear, and then choose Type > Insert Special Character > Markers > Current Page Number.
The Current Page Number marker is also available in a context menu. To see the context menu, position the text insertion point in the page number text frame, right-click (Windows) or Control-click (Mac OS), and choose Insert Special Character > Markers > Current Page Number.
By default, pages are numbered using Arabic numerals (1, 2, 3...); however, you can number pages using upper or lowercase Roman (i, ii, iii...) or alphanumeric (a, b, c...) numbering.
And that's it.
For Tuesday, March 23
Continue to refine Contents, Introduction and Chapter 5
Continue to refine the front matter and first chapter in your book reflecting the in-class critique. If you make changes in the chapter, keep in mind that you may want to implement similar changes to the Intro and Contents sections to remain consistent.
Ask yourself:
1. Is there enough contrast in your hierarchy? Does your design lead you through the copy easily?
2. Are you using your grid? Make sure you have enough opportunity for variation in your grid structure, so that you have consistency with variation.
3. Are the elements (like italicized words, footnotes, and captions) all called out clearly?
4. Are your headers or footers included in your design along with the folio?
We'll have time to review and discuss Tuesday.
Continue to refine the front matter and first chapter in your book reflecting the in-class critique. If you make changes in the chapter, keep in mind that you may want to implement similar changes to the Intro and Contents sections to remain consistent.
Ask yourself:
1. Is there enough contrast in your hierarchy? Does your design lead you through the copy easily?
2. Are you using your grid? Make sure you have enough opportunity for variation in your grid structure, so that you have consistency with variation.
3. Are the elements (like italicized words, footnotes, and captions) all called out clearly?
4. Are your headers or footers included in your design along with the folio?
We'll have time to review and discuss Tuesday.
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