Deconstructing the book / Adding the Secret Agent

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.

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.

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.

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.

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.

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.

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.

Due Tuesday March 9th / Refine and Flow & next Thursday March 11th

For next tuesday, march 9 / refine and flow
Following our in-class critique, please choose the grid structure which you will use as the base structure of your book. Refine both your grid as well as your hierarchy if need be.

Flow in your text for chapter 5. At this point, you should be using your Master Pages, as well as your Style Sheets (both Paragraph and Character Style Sheets). This is very important in the set-up of your book; it will be easier for you, as well as make your book more consistent—so make sure that your Styles are set-up correctly, and that they are being utilized fully.

For next Tuesday, you should have flowed in the text from chapter 5. You may still have to work on the tables, but the content should be flowed in. We will have one-on-ones next Tuesday.

For next Thursday, March 11 / chapter review
Following our one-on-one meetings, please continue to refine Chapter 5. Bring full-size printouts of Chapter 5 for class critique. Please bring in printouts of your Contents page and Intro page as well to show consistency of design styles throughout your book.

Constructing and Deconstructing the Book

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
Use the following guidelines in your studies:
Type: You may use only one family of type for the time being.
Text: You must use all of the text supplied. The text will be provided as a downloadable word doc from the course blog.
Hierarchy: Use style sheets to define the following: Headline, caption, pullquote, body copy.
You must use style sheets.
Page Size: The size of the document is up to you, but you should base it on some established printable document size, whether from the ISO European sizes, the American system, or some other standard size (square).
Color: Use only one color for now. Black is considered a color.
Spreads: You are designing spreads, not single pages (the contents can face a blank page).
Folios: You must include folios (and running headers/footers) in your introduction spread.
Photography: No photography (but you can use graphic elements like rules)

For next tuesday, march 2
Step 1: Choose a typeface and page size.
Step 2: Layout 3 different options using 3 different column options.

For next Tuesday, you need to create three different layout options for the contents and introduction sections of your book. Begin experimenting with placing text on the page. The elements you should vary are as follows: column width (measure), number of columns, type size, leading, type face, placement on page, and alignment. Create three different books spread designs, each using a different grid for layout. Keep in mind the concept of the horizontal flowlines as well as the number and width of columns.

For next thursday, March 4
Following our one-on-one meetings, please refine your 3 grid design options for class critique on Thursday. Bring full-size printouts of your 3 design options for class critique. The designs should include contents page and intro section.

No less than three layouts, as spreads, using the following:
+ one layout designed using a 1 or 2 column grid
+ second layout designed using a 3 column grid
+ third layout designed using a grid of your choice (can be a hybrid of different column grids).

One, two and three column grids are provided on the following pages for sketching purposes. Additionally, four and five column grids are provided for you to play with for the third layout. Please
print out several of the provided grids to work with as a guide for your sketches.

Advice:
+ pay attention to white space
+ make sure your contents spread relates visually to your introduction spread
+ compare the “color” of your texts blocks
+ ask yourself which layouts scan better
+ ask yourself which layouts and designs allude to the content of the book?

Format a bulleted or numbered list

Here is the InDesign settings to establish a bulleted list. In the paragraph window, go up to the carrot in the right-hand corner, open that drop-down list, and go to Bullets and Numbering.

1. Using the Type tool , select the bulleted or numbered paragraphs you want to reformat.
   


2. Choose Bullets And Numbering from the Control panel menu (in Paragraph mode) or the Paragraph panel menu.
   


3. In the Bullets And Numbering dialog box, do any of the following:
   *Change the bullet character.
   *Change the numbered list options.
   *Choose a style for the numbers or bullets from the Character Style list.
   


4. To change the position of the bullet or number, specify any of the following:
   Alignment
   Left-aligns, centers, or right-aligns the bullets or numbers within the horizontal space allotted for numbers. (If this space is narrow, the difference between the three options is negligible.)
   

Left Indent: Specifies how far the lines after the first line are indented.
First Line Indent: Controls where the bullet or number is positioned.
Tab Position: Activates the tab position to create space between the bullet or number and the start of the list item.

To set your bulleted list in:
Left indent your paragraph, and then 'minus' the same amount from your 'First Line Indent,' so if you indent your paragraph p9, you should set your 'First Line Indent' to -p9.
You can also set the indent of your paragraph, and minus the first line in your paragraph window as well.


Position settings
A. Hanging indent
B. Left-aligned list (incorrect)
Note: The Left Indent, First Line Indent, and Tab Position settings in the Bullets And Numbering dialog box are paragraph attributes. For that reason, changing these settings in the Paragraph panel also changes bulleted and numbered list formats.

By default, bullets and numbers inherit some of their text formatting from the first character in the paragraph to which they’re attached. If the first character in one paragraph is different from the first characters in other paragraphs, the numbering or bullet character may appear inconsistent with the other list items. If this is not the formatting you desire, create a character style for numbers or bullets and apply it to your list by using the Bullets And Numbering dialog box.

Due next Thursday (we don't meet next Tuesday because of President's Day)

Please make sure to complete the following:
+ Please bring to class your 3 recipe designs (1 for each recipe). Crop to size. By next Thursday, your projects should be refined and near completion.

+ Bring in your process work to date to class. Consider how you will collect your work and bind it in some way, and be prepared to discuss your ideas.

+ Read the two sections from Kane’s Type Primer, pages 97 – 113, and 133 – 142. They can be found under the Reading list.

While working on your designs, ask yourself the following questions:
1 Is the hierarchy you’ve established working? Does it quickly allow the reader to understand
and move through the recipe?

2 Is the grid that you’ve established working? Are elements in the grid ‘floating,’ and if so, can you ground the type to the grid in some way?

3 Are there any abbreviations or other character symbols you might incorporate into your design which would simplify the information?

4 Is the typeface(s) you’ve chosen working? This should be asked in conjunction with the hierarchy. If you are using 2 typefaces (a serif and a sans serif), have you incorporated
both typefaces into your hierarchy thoroughly?

5 Is the ‘purpose’ of your recipe, which is to convey the information quickly and clearly, working in your design.

FINAL PROJECT DUE THURSDAY, FEBRUARY 23RD.

Finding the measurements

If you are looking for 1/2, 1/3, 2/3, 1/4 or 3/4 symbols,
here are a few options:

A. you can find them in character palette in the finder window.
+ click on your desktop (so you are in the Finder)
+ once you have the 'finder' drop down window selected point your mouse over to 'Edit' in the menu bar
+ at the bottom there is the 'Special Character...' option
+ when that loads, make sure the top left drop down is 'Roman, then select 'Digits'.

B. As an alternative, often you can edit the measurements yourself by using a combination of kerning, baseline shift and reducing the point size.

C. The character palette includes all other punctuation which you might need as well, like degree symbols, etc.

Type 2 Syllabus

TYPE AS INFORMATION
This course is an in-depth examination of the principles and potential of typography with an emphasis on typographic composition, and the utilization of typography as information. The purpose of this course is to learn how to work with large amounts of text, respecting both the content and the structure of the page, while refining the art of “setting” type. Lectures and demonstrations will build from Typography I lectures and expand the student’s knowledge of history, theory, and practical uses of typography.

This course emphasizes the use of typography as information, applying the principals of hierarchy, organization, contrast and how to use grids effectively. Students work extensively and methodically on the production of various typographic projects in order to refine typographic techniques and build an understanding of legibility and readability. Page layout software will be emphasized in this course.

OBJECTIVES
+ Learn the “rules” of typography
+ Grid systems / typographic systems
+ Understand the semantics (i.e. meaning) of typographic messages
+ Utilize comprehensive typographic vocabulary
+ Investigate analog & digital design methods and the connection between
+ Learn to control complex composition and hierarchy
+ Appreciate the rich history of typography
+ Utilize historical & contemporary design to inspire your own work
+ Relationship of type and image
+ Type as meaning and as image
+ Organization of tabular data
+ Creation and use of experimental type

A pdf of the syllabus can be found here.