The five projects for this semester include:
1. Recipe Cards
2. Onomatopoeia Motion and Print Piece
3. Travel Poster
4. Time Schedule
5. Booklet
Tuesday, May 3, 2011
Friday, April 29, 2011
sections for Process Books
As you are developing the system for your process books, consider dividing your work up into the different phases of the design process including, but not limited to: Research, Concept, Development, Refinement, Final Solution.
Sample Colophon
Photographs scanned from books courtesy the Morton R. Godine Library at the Massachusetts College of Art & Design in Boston, MA. This booklet was designed using Adobe Creative Suite 5. It is typeset in Mercury and Bureau Grotesque. Thanks to Karen Stein and my classmates in Typography II. Special thanks to xxxx xxxx for input on the cover. Printed with Canon inject on Red River paper.
Monday, April 25, 2011
Sketchbook assignment due this Thursday April 28th
Choose a word from the list below, and fill three spreads exploring that word through letterforms.
+ juxtapose
+ rebuild
+ reconfigure
+ trace
+ abstract
+ collage
+ paint
+ juxtapose
+ rebuild
+ reconfigure
+ trace
+ abstract
+ collage
+ paint
Thursday, April 21, 2011
Sunday, April 17, 2011
Sketchbook assignment for the week / due 4/21
Create a tool to apply ink or paint onto paper with (You are basically making a brush/pen/etc using found materials). It can be a ball of rubber bands on a stick, a lock of your dog’s hair, toothbrush, whatever you choose. Get as creative as you can. Hint: natural materials tend to work better than plastics. Then, create an alphabet (lower, upper or both). You can base your forms off of already existing letterforms (like Din) or create something entirely new. It's up to you!
For Thursday, April 21st
For Thursday, please bring in full-size full-color printouts of your content and front matter spreads (at least 6 spreads), your sketchbook, and please read through the handouts I gave out last and this past week...I won't be giving a pop-quiz, but we'll be talking about the rules, so be prepared for review and discussion.
Sunday, April 10, 2011
Sketchbook assignment for the week
I skipped last week, but I'd like to get back to checking sketchbooks this Thursday.
We'll be checking the last few weeks of sketchbook assignments (including this week) on Thursday, April 14th. For this week, explore the typography at Massart. There's lots of new and old typography around, so take a typography journey around the school and document what you find, both in photography and sketches.
We'll be checking the last few weeks of sketchbook assignments (including this week) on Thursday, April 14th. For this week, explore the typography at Massart. There's lots of new and old typography around, so take a typography journey around the school and document what you find, both in photography and sketches.
Saturday, April 2, 2011
Research for Booklet project
Choose a person and collect images + copy
In preparation for our next project, please choose a person that you admire. The only comment is that they can not be a designer, but they can be an artist, musician, sports person, writer, maker, or any one else that has really inspired you, and that you can find inspiration from.
Choose one person, and collect:
+ copy
+ images
+ quotes
that you will be able to incorporate into your booklet.
Bring your research in on Tuesday.
The copy you collect should include text regarding these three sections:
personal life,
career accomplishments, and
why this person is inspiring to you.
You will then bring this copy together into a short 750 word essay to bring into your booklet.
In preparation for our next project, please choose a person that you admire. The only comment is that they can not be a designer, but they can be an artist, musician, sports person, writer, maker, or any one else that has really inspired you, and that you can find inspiration from.
Choose one person, and collect:
+ copy
+ images
+ quotes
that you will be able to incorporate into your booklet.
Bring your research in on Tuesday.
The copy you collect should include text regarding these three sections:
personal life,
career accomplishments, and
why this person is inspiring to you.
You will then bring this copy together into a short 750 word essay to bring into your booklet.
Gallery Submission
If you are interested in submitting your poster to the Gallery, please let me know.
A couple submission requirements:
1. You'll have to add the name of the tour onto your poster if you'd like to submit it to the exhibition. The list of tours are listed on the gallery submission found here.
2. On Tuesday, email me your digital file with the following information:
Name:
School:
E-mail:
Poster Title:
3. Your digital file should be set up as a jpg or a pdf at 300dpi and 11x17.
Email me your files, and I'll submit everything together. Let me know if you have any questions.
A couple submission requirements:
1. You'll have to add the name of the tour onto your poster if you'd like to submit it to the exhibition. The list of tours are listed on the gallery submission found here.
2. On Tuesday, email me your digital file with the following information:
Name:
School:
E-mail:
Poster Title:
3. Your digital file should be set up as a jpg or a pdf at 300dpi and 11x17.
Email me your files, and I'll submit everything together. Let me know if you have any questions.
Wednesday, March 30, 2011
April 5 / Final Review // April 7 / Final Poster and Time Schedule due
I am pushing the due date back 2 days. We will have 1 final review (although your work should be near final at that time) on Tuesday April 5.
Please have all work ready for 8.30am on Tuesday. Please bring in:
1. 1 full-size full color 2-sided mockup of your folded train schedule (with poster on the backside).
2. 22 x 34" black + white print of your poster mocked up. This can be tiled together if need be.
The final will be due on Thursday April 7. Please bring with you on Thursday:
1. Your final poster printed full-size in color at 22 x 34", mounted on black board (flush on the board)
2. Your time table printed full-size in color at 11 x 17" mounted on black board (flush on the board).
3. The pocket time-table (including time-table and poster) printed and folded.
If you are interested in submitting your poster to the Gallery Exhibit competition, let me know. I'm going to post the submission requirements this weekend.
Please have all work ready for 8.30am on Tuesday. Please bring in:
1. 1 full-size full color 2-sided mockup of your folded train schedule (with poster on the backside).
2. 22 x 34" black + white print of your poster mocked up. This can be tiled together if need be.
The final will be due on Thursday April 7. Please bring with you on Thursday:
1. Your final poster printed full-size in color at 22 x 34", mounted on black board (flush on the board)
2. Your time table printed full-size in color at 11 x 17" mounted on black board (flush on the board).
3. The pocket time-table (including time-table and poster) printed and folded.
If you are interested in submitting your poster to the Gallery Exhibit competition, let me know. I'm going to post the submission requirements this weekend.
Sunday, March 27, 2011
Information is Beautiful
Here's a great website to checkout regarding Information Graphics. You're dealing with typographic information, but this can help to inspire as you work on your project. Notice how color and simple graphic elements help to organize the information.
Wednesday, March 23, 2011
Due Next Thursday, March 31
For next Thursday, bring in the following:
1. 2 full-color 11 x 17"print-outs of your train schedule. You must have one mock-up that is 2-sided (with the poster on the other side) and folded, and one that is 1-sided printed flat.
Regarding your train schedule, it is important that you figure out the following things at this stage:
A. How is your train schedule going to fold? This will prove very important as you tweak your text. You'll want to note where the folds occur in relation to the type. The text, ideally, should cross the folds. There may be some cases, especially with larger headlines, where this is more difficult, but in general, be conscious of the folds in relation to the text.
B. What is going to be your cover and back cover? This should be full integrated into your page design by this point.
C. Finally, keep in mind page composition. You don't necessarily need to have the table in the upper left-hand corner. How could the title, key and other additional information be incorporated into the composition in an interesting way.
2. 11 x 17" full-color print of your poster mocked up along with your train schedule.
3. 22 x 34" black + white print of your poster mocked up. This can be tiled together if need be.
1. 2 full-color 11 x 17"print-outs of your train schedule. You must have one mock-up that is 2-sided (with the poster on the other side) and folded, and one that is 1-sided printed flat.
Regarding your train schedule, it is important that you figure out the following things at this stage:
A. How is your train schedule going to fold? This will prove very important as you tweak your text. You'll want to note where the folds occur in relation to the type. The text, ideally, should cross the folds. There may be some cases, especially with larger headlines, where this is more difficult, but in general, be conscious of the folds in relation to the text.
B. What is going to be your cover and back cover? This should be full integrated into your page design by this point.
C. Finally, keep in mind page composition. You don't necessarily need to have the table in the upper left-hand corner. How could the title, key and other additional information be incorporated into the composition in an interesting way.
2. 11 x 17" full-color print of your poster mocked up along with your train schedule.
3. 22 x 34" black + white print of your poster mocked up. This can be tiled together if need be.
Sketchbook assignment for the week
Find a haiku of your liking. Haikus tend to take aspects of the natural world as their subject matter. Explore creating hand-lettering—playing with the words phrases, and entire haiku over your three spreads. Feel free to incorporate graphic form and type within your sketches. Feel free to pull certain words or phrases out of the haiku to focus and develop.
Sunday, March 20, 2011
Saturday, March 19, 2011
Obsessive Collection of Train Schedules
Go to this link to find an extensive collection of Amtrak train schedules dating back to the 1970s. Consider what is working and what might not be working so well.
Well-designed Amtrak train schedule
Here's the image of the train schedule that Shanleigh showed in class. There's an elegant simplicity, good hierarchy and nice use of rules to separate the space in this design.
Friday, March 18, 2011
Sketchbook assignment for the week
Designers often communicate political or social messages about events going on in the world (remember the site: design for haiti). This is a small way we can help, and maybe visualize what people are feeling. React to what's going on in Japan right now. Consider message and metaphor.
Wednesday, March 16, 2011
Lance Wyman
http://www.lancewyman.com/
Check out Lance Wyman's site, for this class, and for general inspirations for your other classes. Notice for the 1968 olympic logo how he combined the sybolic nature of the aztec ruins and the graphic nature of pop art he had come across in nyc into one.
Tuesday, March 1, 2011
Visit to the Gallery at 10am on Thursday
This Thursday, March 3rd, we'll meet at 10am at the Grand Circle Gallery.
We will not be meeting at MassArt beforehand, but I would be there on time at 10am.
If you'd like to grab a bite to eat beforehand, Flour Bakery is across the street, at 12 Farnsworth; it's just a nice place to visit if you like pastries, and if you get to the area a bit early.
Plan on it taking 40–45 minutes to travel from MassArt to the Gallery on the subway.
The directions below show you how to get there from the South Station stop off the Red Line.
Please meet at
Grand Circle Gallery
347 Congress St, Boston MA 02210
DIRECTIONS
Subway
Take the Red Line to South Station. You'll come out next to the Federal Reserve building. Take a right and walk along Summer Street to the water. At the bridge, take a left onto Dorchester Avenue and walk down til you hit Congress Street. Take a right onto Congress Street, crossing the bridge (passing the Children's Museum). Continue two more blocks. 347 Congress Street will be on your right.
Driving Directions from MassArt by Car
1. Head southwest on Huntington Ave toward Francis St
go 0.3 mi / total 0.3 mi
2. Turn left at Tremont St
go 0.6 mi / total 0.8 mi
3. Turn left to stay on Tremont St
go 0.5 mi / total 1.3 mi
4. Slight right at Melnea Cass Blvd
go 0.9 mi / total 2.2 mi
5. Continue onto Mass Ave Connector
go 0.4 mi / total 2.6 mi
6. Turn left at I-93 Frontage Rd
go 0.3 mi / total 3.0 mi
7. Take the ramp onto I-90 E
go 1.0 mi / total 4.0 mi
8. Take the Congress Street exit toward Summer Street
go 0.2 mi / total 4.2 mi
9. Turn left at Congress St
Destination will be on the left
go 0.2 mi / total 4.4 mi
10. There is hourly garage parking located at 17 Farnsorth St. as well as meter parking available on Congress St.
347 Congress St, Boston, MA 02210
We will not be meeting at MassArt beforehand, but I would be there on time at 10am.
If you'd like to grab a bite to eat beforehand, Flour Bakery is across the street, at 12 Farnsworth; it's just a nice place to visit if you like pastries, and if you get to the area a bit early.
Plan on it taking 40–45 minutes to travel from MassArt to the Gallery on the subway.
The directions below show you how to get there from the South Station stop off the Red Line.
Please meet at
Grand Circle Gallery
347 Congress St, Boston MA 02210
DIRECTIONS
Subway
Take the Red Line to South Station. You'll come out next to the Federal Reserve building. Take a right and walk along Summer Street to the water. At the bridge, take a left onto Dorchester Avenue and walk down til you hit Congress Street. Take a right onto Congress Street, crossing the bridge (passing the Children's Museum). Continue two more blocks. 347 Congress Street will be on your right.
Driving Directions from MassArt by Car
1. Head southwest on Huntington Ave toward Francis St
go 0.3 mi / total 0.3 mi
2. Turn left at Tremont St
go 0.6 mi / total 0.8 mi
3. Turn left to stay on Tremont St
go 0.5 mi / total 1.3 mi
4. Slight right at Melnea Cass Blvd
go 0.9 mi / total 2.2 mi
5. Continue onto Mass Ave Connector
go 0.4 mi / total 2.6 mi
6. Turn left at I-93 Frontage Rd
go 0.3 mi / total 3.0 mi
7. Take the ramp onto I-90 E
go 1.0 mi / total 4.0 mi
8. Take the Congress Street exit toward Summer Street
go 0.2 mi / total 4.2 mi
9. Turn left at Congress St
Destination will be on the left
go 0.2 mi / total 4.4 mi
10. There is hourly garage parking located at 17 Farnsorth St. as well as meter parking available on Congress St.
347 Congress St, Boston, MA 02210
Wednesday, February 23, 2011
Sketchbook assignment for the week
Interpret the word Revolution through type; perhaps consider using quotes, combining image + type, or interpreting and combining more than one definition for the word.
REVOLUTION
1
a: the action by a celestial body of going round in an orbit or elliptical course; also : apparent movement of such a body round the earth
b: the time taken by a celestial body to make a complete round in its orbit
c: the rotation of a celestial body on its axis
d: completion of a course (as of years); also : the period made by the regular succession of a measure of time or by a succession of similar events
e: a progressive motion of a body around an axis so that any line of the body parallel to the axis returns to its initial position while remaining parallel to the axis in transit and usually at a constant distance from it
f: motion of any figure about a center or axis
g: rotation
2
a: a sudden, radical, or complete change
b: a fundamental change in political organization; especially : the overthrow or renunciation of one government or ruler and the substitution of another by the governed
c: activity or movement designed to effect fundamental changes in the socioeconomic situation d: a fundamental change in the way of thinking about or visualizing something : a change of paradigm
e: a changeover in use or preference especially in technology
REVOLUTION
1
a: the action by a celestial body of going round in an orbit or elliptical course; also : apparent movement of such a body round the earth
b: the time taken by a celestial body to make a complete round in its orbit
c: the rotation of a celestial body on its axis
d: completion of a course (as of years); also : the period made by the regular succession of a measure of time or by a succession of similar events
e: a progressive motion of a body around an axis so that any line of the body parallel to the axis returns to its initial position while remaining parallel to the axis in transit and usually at a constant distance from it
f: motion of any figure about a center or axis
g: rotation
2
a: a sudden, radical, or complete change
b: a fundamental change in political organization; especially : the overthrow or renunciation of one government or ruler and the substitution of another by the governed
c: activity or movement designed to effect fundamental changes in the socioeconomic situation d: a fundamental change in the way of thinking about or visualizing something : a change of paradigm
e: a changeover in use or preference especially in technology
For Tuesday, March 1st
+ Create a full length version of your motion score. Continue to develop your motion piece, keeping in mind the narrative you're creating, timing, and overall relationship between image and sound. Bring a quick-time movie in for discussion on Tuesday.
+ Bring in a printout of your typographic score for reference.
+ Bring in a printout of your typographic score for reference.
Title Sequences and other Kinetic Typography
The Man With The Golden Arm
Monsters Inc
Catch Me if You Can Opening Title Sequence
Dr. No
SE7EN
Fight Club
Ratatouille End Credits
Thank You for Smoking
Norman McLaren - Hen Hop (1942)
Norman McLaren - NYC Lightboard
Norman McLaren - Opening Speech
The Thing from Another World (1951)
North by Northwest (1959)
Saul Bass - Shower Scene / "Psycho" (1960)
Robert Brownjohn - From Russia With Love (1963)
Robert Brownjohn - Fragment of Money Walks (1965-70)
Monsters Inc
Catch Me if You Can Opening Title Sequence
Dr. No
SE7EN
Fight Club
Fight Club Title Sequence from Mauroof Ibrahim on Vimeo.
Ratatouille End Credits
Thank You for Smoking
Norman McLaren - Hen Hop (1942)
Norman McLaren - NYC Lightboard
Norman McLaren - Opening Speech
The Thing from Another World (1951)
North by Northwest (1959)
Saul Bass - Shower Scene / "Psycho" (1960)
Robert Brownjohn - From Russia With Love (1963)
Robert Brownjohn - Fragment of Money Walks (1965-70)
Wednesday, February 16, 2011
For Tuesday, February 22nd
+ Download the AfterEffects Trial off of Adobe.com, if possible. You'll have 30 days to try it, and work on your project in the meantime.
+ Continually reference Lynda.com. This will be an incredibly useful tool to resource as you move forward.
Watch as needed:
—AfterEffects CS4: Apprentice’s Guide to Key Features
—AfterEffects CS4 or CS5: Essential Training through “Chapter 9: Creating and Animating Text”
There are other tutorials as well, depending upon what you are looking to do.
+ Create a Rough cut of your motion score due. Translate your storyboards (see below) into motion. Since this is your first foray into using AfterEffects, you may want to focus on some key parts of your animation, so please feel free to have several smaller comps, as opposed to having the entire score. This will be a rough cut. Bring in a quick-time movie for discussion on Tuesday.
+ Bring in a full-size printout of your typographic score. You may want to consider how you will present your score in it's final form, due the following week. Will this be printed on a single sheet of paper, or is it something which could be made more substantial, either through materials, scale, or something else of your choosing? Come prepared to discuss. (The final version of your printed score will be due alongside your motion piece on March 1st.)
+ Storyboard your motion version. Create a series of thumbnails that illustrate each of transition that you are planning on. Consider how the type will move through the frame. This can be in sketch form, or it can be done on the computer, but it's important to make notes underneath the storyboards which describe and outline exactly what you intend. This will help you greatly when creating it in AfterEffects. Consider how you will move the type in to the frame, fade it or move it out, and how the different elements will work together, as one sound fades out into the other.
+ Continually reference Lynda.com. This will be an incredibly useful tool to resource as you move forward.
Watch as needed:
—AfterEffects CS4: Apprentice’s Guide to Key Features
—AfterEffects CS4 or CS5: Essential Training through “Chapter 9: Creating and Animating Text”
There are other tutorials as well, depending upon what you are looking to do.
+ Create a Rough cut of your motion score due. Translate your storyboards (see below) into motion. Since this is your first foray into using AfterEffects, you may want to focus on some key parts of your animation, so please feel free to have several smaller comps, as opposed to having the entire score. This will be a rough cut. Bring in a quick-time movie for discussion on Tuesday.
+ Bring in a full-size printout of your typographic score. You may want to consider how you will present your score in it's final form, due the following week. Will this be printed on a single sheet of paper, or is it something which could be made more substantial, either through materials, scale, or something else of your choosing? Come prepared to discuss. (The final version of your printed score will be due alongside your motion piece on March 1st.)
+ Storyboard your motion version. Create a series of thumbnails that illustrate each of transition that you are planning on. Consider how the type will move through the frame. This can be in sketch form, or it can be done on the computer, but it's important to make notes underneath the storyboards which describe and outline exactly what you intend. This will help you greatly when creating it in AfterEffects. Consider how you will move the type in to the frame, fade it or move it out, and how the different elements will work together, as one sound fades out into the other.
Sketchbook assignment for the week
Signage
Go for a walk (now that the weather is turning.) Document the signage that you come across, both through photography and sketching. Observe what you find to be successful and unsuccessful. Fill your 3 (or more) spreads with this documentation and sketching.
Go for a walk (now that the weather is turning.) Document the signage that you come across, both through photography and sketching. Observe what you find to be successful and unsuccessful. Fill your 3 (or more) spreads with this documentation and sketching.
Tuesday, February 15, 2011
Brian's Student's projects
Monday, February 14, 2011
For Thursday, February 17th
- Create a typographic translation of the sounds in your piece—translating your favorite rough marker sketch into InDesign. You may want to try a couple different typographic variations to see which fits your piece best. Bring printouts of your score to class for discussion. Start at 17” wide x 11” tall, but feel free to make it wider or taller as necessary.
Some things to keep in mind as you are working:
Does the music have a strong beat?
Is the selection smoothly flowing, or is it choppy or syncopated?
Is it harmonious or dissonant?
How many different instruments can you hear distinctly?
Does a shift or major change occur within your selection?
Contemporary Type in Motion
A Lesson on Typography
Underworld—Cowgirl
Who's on First? Typography
Pulp Fiction in Typography Design
Stephen Fry Kinetic Typography—Language
Burnt Norton
Hunger
http://www.youtube.com/watch?v=n_ATQ_hliKk&feature=player_embedded
In Passing
Telling Lies
Alex Gopher—The Child
Brooklyn (Go Hard)
Justice—D.A.N.C.E. (Justice remix)
TED 2009 Conference Titles
Underworld—Cowgirl
Who's on First? Typography
Pulp Fiction in Typography Design
Stephen Fry Kinetic Typography—Language
Burnt Norton
Time #01 from Jessika Strataki on Vimeo.
Hunger
http://www.youtube.com/watch?v=n_ATQ_hliKk&feature=player_embedded
In Passing
Telling Lies
Alex Gopher—The Child
Brooklyn (Go Hard)
Justice—D.A.N.C.E. (Justice remix)
TED 2009 Conference Titles
Tuesday, February 8, 2011
Ella Scatting—Translating sound into text
Ella Fitzgerald verbalizes sound. She's generally considered to be one of the greatest scat singers. A little inspiration on how to interpret your music into text.
Friday, February 4, 2011
For Tuesday, February 8th
Next week, we will be starting the Onomatopoeia Project, and finishing the Recipe Project.
For Tuesday, your Recipe Project should be near completion, so that there is only fine-tuning to do over the next week. We'll be working on the Onomatopoeia project as well, so make sure that for this Tuesday, your recipe projects are near complete, including your packaging. Bring a mock-up of both the 10 recipe cards as well as the packaging.
Additionally, for Tuesday, choose a recording of instrumental music (no vocals) and select approximately 20 seconds of the piece to work with as “source material”. You can select any type of music you like, as long as it has a recognizable internal structure—examples include much classical, jazz and electronic music. Consider that your short musical selection should give you an interesting palette of tones and dynamics to work with, and should have a clearly definable beginning, middle and end. While your music choice does not have to be strictly instrumental performances, the segment of audio you choose to work with should be devoid of any lyrics or spoken content. Bring a recording of your musical choice to class.
For Tuesday, your Recipe Project should be near completion, so that there is only fine-tuning to do over the next week. We'll be working on the Onomatopoeia project as well, so make sure that for this Tuesday, your recipe projects are near complete, including your packaging. Bring a mock-up of both the 10 recipe cards as well as the packaging.
Additionally, for Tuesday, choose a recording of instrumental music (no vocals) and select approximately 20 seconds of the piece to work with as “source material”. You can select any type of music you like, as long as it has a recognizable internal structure—examples include much classical, jazz and electronic music. Consider that your short musical selection should give you an interesting palette of tones and dynamics to work with, and should have a clearly definable beginning, middle and end. While your music choice does not have to be strictly instrumental performances, the segment of audio you choose to work with should be devoid of any lyrics or spoken content. Bring a recording of your musical choice to class.
Wednesday, February 2, 2011
Word of the week
TEXTURE
Texture refers to the surface quality or “feel” of an object—smooth, rough, soft, etc.
Textures may be actual (felt with touch / tactile) or implied (suggested by the way the work has been created).
Texture refers to the surface quality or “feel” of an object—smooth, rough, soft, etc.
Textures may be actual (felt with touch / tactile) or implied (suggested by the way the work has been created).
Tuesday, February 1, 2011
Recipe Cards, Part III / Developing a System
FOR THIS THURSDAY, FEB 3RD:
- From your 48 layouts, choose the 3 strongest layouts and refine those to a point where all aspects of the design works together as a system (including layout, hierarchy, spacing, use of white space, line length (measure), sequential flow, etc.) following our class critique.
- After refining these layouts, choose the strongest layout. Your chosen layout will serve as a template for your set of 10 recipe cards, each of which will present a different recipe. We'll start to flow the 10 recipes into your template during class on Thursday, although you can start to experiment with the recipes that can be found here.
- As discussed, this is also a packaging assignment. For Thursday, bring in 4 developed concepts. For today, you were to have 3 concepts mocked-up. For Thursday, develop at least one more based on your chosen design. You may find, once you choose your template, that you may want to revise more than one concept that you started to develop last week. Bring in your original concepts, plus at least one package that has been pushed further.
Monday, January 31, 2011
Recipe Cards, Parts I + II
In light of canceled class, I wanted to revise the assignment.
(Originally, following critique, we were going to refine 8 of your 'best' layouts in class. At the end of class, you were going to choose one as your template and then flow the other 9 recipes into this template over the weekend; and additionally develop 3 packaging concepts for your recipes. I'm revising this.)
There are two parts of the revised assignment:
PART I: 8 REFINED CARDS
Out of your 40 layouts, choose 8 recipe cards which you believe are working best, and refine those layouts. For next Tuesday we will be look at all 48 layouts (printed and cropped), and then you will have time in class on Tuesday to continue to tweak those layouts, based on feedback in critique.
Feel free to send me a pdf for feedback if you like.
Also for next Tuesday.
PART II: PACKAGING
Develop 3 concepts for the packaging of your recipe cards.
++++++++++++++++++++++++++++++++++++++
PART II: PACKAGING
As discussed, this is also a packaging assignment. Along with developing your 10 recipe cards (which we will do next week), you will also package the final recipe cards so that they appear as a set. For Tuesday, develop and bring to class 3 mock-ups reflecting 3 concepts for packaging your recipe cards.
The packaging may be as simple as a belly band or fitted box, or it can be some other form of container or holder. Can you further develop a concept around the packaging and design? What materials might you use to enhance your concept? How can the recipe cards and the packaging work together to further develop your system?
Here is some great inspiration for this part of the project: http://lovelypackage.com/
Another reference that is way more conceptual is droog design. Their work is highly conceptual but always fun! http://www.droog.com/
You can take this part of the assignment and make it as useful and as fun as you like (as long as it's done with purpose).
You may want to develop some ideas based on specific layouts (what would a constructivist set of cards look like?), or else the concepts might be based on some utilitarian concept.
You can definitely use color in your designs, and any materials which relate to the concept.
Again, for next Tuesday, bring all 48 layouts of your recipe cards, as well as 3 concepts for the packaging of your recipe cards.
(Originally, following critique, we were going to refine 8 of your 'best' layouts in class. At the end of class, you were going to choose one as your template and then flow the other 9 recipes into this template over the weekend; and additionally develop 3 packaging concepts for your recipes. I'm revising this.)
There are two parts of the revised assignment:
PART I: 8 REFINED CARDS
Out of your 40 layouts, choose 8 recipe cards which you believe are working best, and refine those layouts. For next Tuesday we will be look at all 48 layouts (printed and cropped), and then you will have time in class on Tuesday to continue to tweak those layouts, based on feedback in critique.
Feel free to send me a pdf for feedback if you like.
Also for next Tuesday.
PART II: PACKAGING
Develop 3 concepts for the packaging of your recipe cards.
++++++++++++++++++++++++++++++++++++++
PART II: PACKAGING
As discussed, this is also a packaging assignment. Along with developing your 10 recipe cards (which we will do next week), you will also package the final recipe cards so that they appear as a set. For Tuesday, develop and bring to class 3 mock-ups reflecting 3 concepts for packaging your recipe cards.
The packaging may be as simple as a belly band or fitted box, or it can be some other form of container or holder. Can you further develop a concept around the packaging and design? What materials might you use to enhance your concept? How can the recipe cards and the packaging work together to further develop your system?
Here is some great inspiration for this part of the project: http://lovelypackage.com/
Another reference that is way more conceptual is droog design. Their work is highly conceptual but always fun! http://www.droog.com/
You can take this part of the assignment and make it as useful and as fun as you like (as long as it's done with purpose).
You may want to develop some ideas based on specific layouts (what would a constructivist set of cards look like?), or else the concepts might be based on some utilitarian concept.
You can definitely use color in your designs, and any materials which relate to the concept.
Again, for next Tuesday, bring all 48 layouts of your recipe cards, as well as 3 concepts for the packaging of your recipe cards.
Tuesday, January 25, 2011
Wednesday, January 19, 2011
A few good typefaces
Here are some good typefaces to take a look at for projects this semester:
Adobe Caslon
Adobe Garamond
Adobe Jenson
Akzidenz Grotesk
Arno
Baskerville
Bickham Script
Bodoni
Centaur
Chapparal Pro
Clarendon
Didot
Din
Eureka / Eureka Sans
Filosofia
Frutiger
Futura
Gill Sans
Gotham / Gotham Rounded
Helvetica / Helvetia Neue
ITC Officina Sans
ITC Officina Serif
Joanna
Minion
Mrs. Eaves
Rotis Sans
Rotis Serif
Scala Sans
Serifa Roman
Thesis (The Sans / The Serif / The Mix)
Trade Gothic
Unit
Univers
Vag Rounded
Adobe Caslon
Adobe Garamond
Adobe Jenson
Akzidenz Grotesk
Arno
Baskerville
Bickham Script
Bodoni
Centaur
Chapparal Pro
Clarendon
Didot
Din
Eureka / Eureka Sans
Filosofia
Frutiger
Futura
Gill Sans
Gotham / Gotham Rounded
Helvetica / Helvetia Neue
ITC Officina Sans
ITC Officina Serif
Joanna
Minion
Mrs. Eaves
Rotis Sans
Rotis Serif
Scala Sans
Serifa Roman
Thesis (The Sans / The Serif / The Mix)
Trade Gothic
Unit
Univers
Vag Rounded
Welcome!
Welcome to Typography II! During the course of the semester, I'll be listing lots of good links, events, and other interesting tidbits that you can discover. I will also be uploading class information, so it's important to check the site often, to see what might have been added. All assignments can be found here as well.
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