Saturday, November 16
This is the second spread in the book. It's informational in which it tells the history of the typeface and shows a little diagramming. I felt it was fitting for the trademark letterform to go with the history. So as the viewer reads how Baskerville was influenced by calligraphy, the imagery is also showing that. Also in the second version, I pulled the date out of the body text to add another element to that layout. (a response to the analog critique). I'm more attracted the the first version because of it's minimalism and emphasis on the tail. I hope to use this layout style throughout the book.
In response to our critique, we suspended the panels in a more energetic, dynamic and unpredictable way through varying the shapes of the floating rectangular forms. We were inspired by the aesthetic of a tent, which connotes adventure, and also liked the way a tent marks a specific location of livable space in the wild. The panel shapes will now vary in shape and size and will be suspended by wire in varying directions. These dynamic shapes will take over the walkway, providing a more adventurous experience as the viewer must walk round, under, or between them. Similar to our previous ideas, the tent like structure conveys energy, dynamic movement, and adventure; we’ve just enhanced the experience.
A T T R I B U T E S
Energy, dynamic movement, adventure, and journey
M A T E R I A L S
White thick fabric possibly with some texture, suspended by wire in various directions.
N I G H T / D A Y
By using a white fabric, the sunlight will naturally shine through and cast interesting shadows during the day. At night, high beam multicolored lights being lit from below will project color onto the panels and also cast interesting shadows, giving the same effect as during the day but adding a surprising element of color.
<collaboration with Mary Lim and Drew Leider>
Before making the analog mock up showing how the layout will be throughout the book, I made thumbnail sketches to figure out the order that would make the most sense. While doing this I was considering overall composition. For example I didn't want two diagrams to be one page after another. I also really like when the beginning of a book is just visual and not informational to sort of invite the viewer in before loading it with body info. I ended up adding a few spreads because I wanted that inviting first spread as well as having a nice ending so it doesn't just feel cut off and I didn't want to cram all the content, white space is beautiful. Another thing I was thinking about while laying out the book was elegance- speaking to Baskerville. So I'll only be using white, black, and a soft teal. I'm integrating the requirement that we provide all the numbers by using page numbers.
Tuesday, November 12
Here are six iterations of a spread with Baskerville's trademark upper case Q. (working as a diagram, although there will be more done on other letterforms. I feel that the strongest layout designs are the three on the right side. I know I want the letterform to be large and advert your attention to it immediately, making the body text a secondary element. Also I want the verso and recto sides working together on this spread. One thing I wasn't sure about when working on the spreadsheet grid was the center "gutter" section between the two separate pages. Note that in my sketches I acted as though the spread was already open and this is how it would be viewed & I didn't account for the binding.
Side view of presentation, four developed ideas
organized into four panels.
Rough sketches along with our study of location
in both day and night.
First four developed ideas.
Including: Realistic Analog sketches in orthogonal views,
written description and attributes, and inspiration of each piece
(images and explanation)
Collaboration with Mary Lim and Drew Leider