GD I // SPRING

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1 GD I // SPRING PROJECT I : TYPOGRAPHIC COLOR Timothy Samara, author of Typography Workbook, defines typographic color as the visual texture of language. It is similar to chromatic color (like green, purple, or orange), but deals only with altering type s scale, weight, or value. Typographic color does not involve changes in hue. Letters (or words) may be large or small, dark or light, closed or open, thin or heavy. These are the variables that a designer can change to allow the eye to perceive type as occupying different locations in a given space. Our first project will be an exploration with typographic color. Each of you will have the opportunity to choose a passage of text, then use it experiment with the variables mentioned above (weight, scale, proportion, and value) in your own method. PHASE I : RESEARCH 1) TYPED PASSAGE // DUE FEBRUARY 2 Find a passage of text that contains words. This can come out of a magazine, textbook, novel, journal, a quote, audio snippet, song lyrics, poem, or even from your own creative writing. Once your passage has been found, use Microsoft Word to type in your text and perform a word count in order to ensure that your passage is within the required minimum (and maximum) number of words. Save your Word document as a PDF and send it via by 2/2. 2) KEYWORDS & TYPEFACE SELECTION // DUE FEBRUARY 6 Read over your chosen copy (passage) several times. What words can you use to describe the feeling that you get from reading (or hearing) the text? Type out a list of up to three (3) keywords that describe the tone/mood of the text. In addition, choose up to two (2) typefaces from the list below that best communicate the keywords you listed and explain why they best communicate the passage. Save this document as a PDF and send via by 2/6: Avenir Helvetica Univers Clarendon Futura Gill Sans Gotham Akzidenz Grotesque ITC Avant Garde Adobe Garamond Pro Sabon Optima Didot Bodoni 72 Baskerville Archer Rockwell PHASE II : CONCEPT 1) SKETCHES // DUE FEBRUARY 8 - Use the template on pages 3-6 of this document to perform at least 16 thumbnail sketches. You may use your sketchbook or tracing paper if you wish, just make sure that the thumbnails are of similar size to the boxes shown on pages When sketching, do not simply write out the text. You must replicate/trace the typeface(s) that you chose in Phase I. You can write out type/copy in areas where you plan for it to be very small, but medium to larger areas of text must be drawn in the likeness of the intended typeface. - Explore freely and widely with typographic color. Remember, you are experimenting with type size, weight, and value. The words or phrases in your passage that are most important should be the large (or even bold), while words that are less important should be smaller and/or lighter. Remember that can also communicate emphasis with italics. Don t forget to think through the other art and design principles as well: unity, perspective, pattern, contrast, movement, proportion, harmony, scale, rhythm, depth, etc. - Use only one typeface in each thumbnail. However, you are permitted to use the different styles of that typeface (bold, italic, condensed, light, roman, small caps, etc.) - Only work in black, white, and grayscale. Color will not be permitted for this project. - For each sketch, you will need to consider the use of a grid. We will discuss grids further in an upcoming lecture. - You must draw a different design layout/composition for each thumbnail.

2 GD I // SPRING PHASE III : DEVELOPMENT TYPOGRAPHIC COLOR POSTER (IN-PROGRESS) // DUE FEBRUARY 15 Once the thumbnail sketches are completed, your classmates and I will review them and help you decide on your best design solution. The next step will be to apply your best sketch concept into digital form using Adobe InDesign. Create a 12 x 18 inch (w x h) document and begin designing your final poster on screen. We will have a work-in-progress critique on 2/15. Each student must come to class with their prepared and ready to discuss your design, as well as the work of the other students. 1) All works in progress must be printed on 13 x 19 inch premium presentation paper and cut down to the intended 12 x 18 inch poster size. This will require you to set up crop marks in the print settings. PHASE IV : FINAL PRESENTATION FINAL TYPOGRAPHIC COLOR POSTER // DUE FEBRUARY 22 Print and mount your completed poster design for final critique on 2/22. All final projects must meet the following requirements: 1) Print the final design on 13 x 19 premium presentation paper, then cut down to 12 x 18 inches. 2) Prints must be flush mounted on mat board. Here is a tutorial on flush mounting your work IMPORTANT NOTES: PLEASE READ THOROUGHLY AND CAREFULLY PRESENTATION BOARDS Good craftsmanship is key to the ideal display of your design work, and it is part of the evaluation that determines your project grade. Pristine presentation is of utmost importance to your success in the class and in your career. When crafting your presentation boards, be sure that you do the following: 1) After cutting, check the size dimensions to ensure that they are correct (12 in. wide x 18 in. tall) 2) Cut your paper and board with clean, crisp lines. Use a ruler with a cork back for a better cutting performance. 3) Avoid any unintended print marks, blemishes and stains on the board. Protect your work by any means necessary. 4) If using a liquid adhesive, use the right amount. Too little adhesive will cause your paper to lift off of the board, and too much adhesive will show through the paper. If this is your first time printing and mounting, expect to make mistakes and plan accordingly. Reprinting more than once is common practice amongst designers. With that said, you should plan to start printing and mounting at least 2-3 days prior to the deadline to account for any unexpected issues. MEETING DEADLINES Failure to have work completed and ready to show by the deadlines will result in a grade of 0 for your daily participation grade. In addition, you may lose points in your overall project grade. The deadlines are strategically scheduled to provide each of you with opportunities to formally receive (and give) feedback about your work at multiple points throughout the design process. Coming to class without anything to show is valuable time wasted. Even if you feel that your work does not fully meet what was required or expected, it is better to bring something by the deadline than nothing at all.

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