Brief
Produce a set of 10 Double page layouts that explore the form, function and construction of a book. The starting point for this brief is the research that you will have gather in response to the studio session asking you to identify '10 things you need to know about design'.
Your ongoing visual investigation of content should demonstrate a growing understanding of the fundamental principles of type, grid, layout and format that will (and have) been introduced during studio sessions and workshops. Use these as a staring point to develop a set series or sequence of page layouts that effectively communicates your chosen content.
Your 10 layouts should include a contents page and introduction to the content.
Background / Considerations
As designers it is your job to help the reader read the words by positioning text and images in such a way as to be appropriate for the content but also navigable by the human eye. This is true for any layout whether it’s for a glossy fashion spread, reportage or an instruction booklet.
To be creative but effective with type it is essential that you have a clear grasp of the fundamental principles of type composition. It’s great to break the rules but learn them first, understand what you’re looking at and make informed design decisions
Start by producing mini thumbnail compositions to your chosen layout on layout paper with blocked-in positions of type and image giving consideration to the possible underlying grid. Using markers, felt pens etc, greek-in to render your layout so it has the weight and impact of an actual print. You are aiming to simulate in miniature how it would appear if actually printed.
You should produce work through drawing and specifying layouts and making blog entries that demonstrates that you understand the following:
Grid Sub-heads DPS Rules & Boxes
Columns Paragraphs Drop caps Folio Numbers
Gutters Images Headlines Pagination
Margins Captions Measures Imposition
How do you best demonstrate all that? First check what the words mean and design a layout that includes much of, but not necessarily all of the above.
As a body of work you will have a de-constructed mark-up of an original layout, New thumbnail layout ideas, and a drawn, full scale dimensioned new layout.
Your ongoing visual investigation of content should demonstrate a growing understanding of the fundamental principles of type, grid, layout and format that will (and have) been introduced during studio sessions and workshops. Use these as a staring point to develop a set series or sequence of page layouts that effectively communicates your chosen content.
Your 10 layouts should include a contents page and introduction to the content.
Background / Considerations
As designers it is your job to help the reader read the words by positioning text and images in such a way as to be appropriate for the content but also navigable by the human eye. This is true for any layout whether it’s for a glossy fashion spread, reportage or an instruction booklet.
To be creative but effective with type it is essential that you have a clear grasp of the fundamental principles of type composition. It’s great to break the rules but learn them first, understand what you’re looking at and make informed design decisions
Start by producing mini thumbnail compositions to your chosen layout on layout paper with blocked-in positions of type and image giving consideration to the possible underlying grid. Using markers, felt pens etc, greek-in to render your layout so it has the weight and impact of an actual print. You are aiming to simulate in miniature how it would appear if actually printed.
You should produce work through drawing and specifying layouts and making blog entries that demonstrates that you understand the following:
Grid Sub-heads DPS Rules & Boxes
Columns Paragraphs Drop caps Folio Numbers
Gutters Images Headlines Pagination
Margins Captions Measures Imposition
How do you best demonstrate all that? First check what the words mean and design a layout that includes much of, but not necessarily all of the above.
As a body of work you will have a de-constructed mark-up of an original layout, New thumbnail layout ideas, and a drawn, full scale dimensioned new layout.
10 Questions
- How does kerning/leading/tracking affect readability?
-What makes a letter form legible?
-What are the main uses of these font categories?
-Are italics designed separately from regular typefaces?
-Form over function in type design
-What are the advantages of traditional printing methods?
-What is the process behind foil printing?
-How can type and layout be used to effect read order?Readability
Readability refers to the ease with which a reader can scan over paragraphs of type. In other words, how easy it is to read! While legibility is basically dependent on the typeface design, readability is dependent on the manipulation or handling of the type. A highly legible typeface can be made unreadable by poor typographic design. Factors which affect readability include: line lengths, point size, leading, typeface selection, spacing, type alignment, and background.
Avoid Capitals
Ninety-five percent of what we read is in lowercase letters. Not only are we much more used to reading them, but they also assist us because they create a recognizable shape (coastline). Words in capital letters have no distinctive shape (or coastline).
Line Length
Very short or long lines disrupt the reader’s rhythm, making it harder to read. Very short lines run the risk of creating rivers if justified alignments used. If long lines are unavoidable, extra leading can help offset the problem.
Very long lines disrupt reading. When the eyes get tired, they are no longer able to find the beginning of the next line of type. An ideal line length can be estimated by doubling the point size. For instance, 12 point type should have a line length of 24 picas (or four inches). Generally, shorter lines should be used for typefaces with small x-heights and thick/thin designs, and also bold and italic fonts. Usually a serif typeface can tolerate a longer line than a sans serif.
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