AD110 Introduction to Graphic Design Spring 2013 Jill Preston, Instructor
Carlos Cuevas
Building a Structural Framework
Exercise 1 Building a structural framework format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 1
The InDesign program within Adobe Creative Suite should be used to execute this project and all subsequent projects. In this exercise, construct a 9x9 inch square inside an 11x17 inch format as indicated by the diagram below. The margins at the top, bottom and right side are one inch. Divide the square into four sections vertically and horizontally at 2.25 inch increments. All lines should have a stroke weight of 0.25 points.
Creating Shapes
Exercise 2 Creating Shapes format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 3
Using Indesign, construct all three basic shapes: equilateral triangle dot square The dot should be .5 inch and the equilateral triangle or square should be approximately the same size as the dot. Duplicate the grid you created in exercise 1 on 3 separate pages. Place each shape on its own grid. Center one shape over each intersection of two lines within the larger square. This should give you 9 of the same shape per grid composition. Create 3 of these grid compositions, one for each of the three shapes.
Gradation
Exercise 3 Gradation format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
For this exercise, think of the center point of each shape as being permanently fixed to the central point of a grid intersection. Do not rotate any of the shapes. By adjusting only the size of each shape, see if you can create the effect of a light to dark gradation. It can gradate in any direction. Avoid repeating the same gradation pattern. Create at least five compositions using each shape, for a total of 18 unique compositions. (6 dots, 6 triangles, 6 squares).
Asymmetry
Exercise 4 Asymmetry format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
Continue to re-size and, when possible, reposition the shapes from one of the previous compositions. Do not rotate any of the shapes. Utilize all 3 of the following methods as directed below: a) intersections keep the shapes fixed by their central points to the intersection of two grid lines. Create 6 compositions, 2 for each shape b) grid lines the center position of the shapes are fixed to either the vertical or horizontal rules, allowing for the elements to be in a new location. Create 6 compositions, 2 for each shape c) off the grid the shapes can be placed anywhere within the 9”x9” frame. Create 6 compositions, 2 for each shape This means there will be a total of 18 unique compositions. Consider how you can use relationships of rhythm, tension, and/or balance (of the shapes) to create a coherent composition.
Negative Space
Exercise 5 Negative Space format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
The background space around compositional elements can be as important, sometimes even more important than the elements themselves. In this exercise, continue to consider the size and position of the compositional elements so that the focus is on the negative space. Do not rotate any of the shapes. Utilize all 3 of the following methods as directed below: a) intersections keep the shapes fixed by their central points to the intersection of two grid lines. Create 6 compositions, 2 for each shape. b) grid lines the center position of the shapes are fixed to either the vertical or horizontal rules, allowing for the elements to be in a new location. Create 6 compositions, 2 for each shape. c) off the grid the shapes can be placed anywhere within the 9”x9” frame. Create 6 compositions, 2 for each shape Create at least 6 compositions for each shape, for a total of 18 unique compositions.
Orientation
Exercise 6 Orientation format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
Consider direction as a design strategy in the next moves you make. Using the best compositions from exercises #4 and #5, start tilting individual compositional elements or groups of elements to see what happens. Utilize all 3 of the following methods as directed below: a) intersections keep the shapes fixed by their central points to the intersection of two grid lines. Create 6 compositions, 2 for each shape. b) grid lines the center position of the shapes are fixed to either the vertical or horizontal rules, allowing for the elements to be in a new location. Create 6 compositions, 2 for each shape. c) off the grid the shapes can be placed anywhere within the 9”x9” frame. Create 6 compositions, 2 for each shape Create at least 6 compositions for each shape, for a total of 18 unique compositions.
Cropping
Exercise 7 Cropping format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
Select and print compositions you have already created from previous exercises, consider how sections of it, when enlarged, would provide an even more dramatic composition. This should be done with several different areas of each composition you choose, and several different compositions. Utilize a cropping tool to determine the best solution. Create at least 6 compositions for each shape for a total of 18 unique compositions.
Typographic Application
Exercise 8 Typographic Application format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
Text in different styles will be provided for the next phase of this project series. It is up to you, the designer to determine the hierarchy of the information and how that influences the size, weight and position of the text in the composition. Compositions will be first designed by hand with actual cutout paper, and the final product will then be rebuilt in InDesign. Select and print the best compositions from previous exercises, using only 12pt, 24pt, 36pt Helvetica Neue Lt Std, in either 45 Light or 95 Black. Design a layout with the following text: The Modern Building Jeanne Gang University of Illinois Press Create at least 6 compositions for each shape for a total of 18 unique compositions.
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University of Illinois Press
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Texture
Exercise 9 Texture format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 12
Choose a photo of a textured surface that is appropriate to the subject matter of the composition you just designed. Select a single composition from exercise #8 and duplicate the page 4 times. Next, place the photo into a single shape within the composition on the first page. (To place the photo into your composition, select a shape, click File > Place, choose the photo.) Consider how you can create balance without moving the text or shapes. Then for the remaining duplicate pages, experiment with the placement of the photo and the layout the typographic elements. Repeat this process with the remaining 2 shapes for a total of 12 compositions.
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Type and Form
Exercise 10 Type and Form format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
A new aspect of this series of studies requires that you choose from your previous compositions from exercise #4, #5, or #6 for further manipulation. Choose compositions that have mostly non-overlapping elements. Insert 9 different letters into the 9 forms in your composition, one letter in each form. Use Helvetica Neue LT Std 95 Black and reverse it out of the elements. Use the same size letter in each element of a given composition. To determine the point size to be used, measure the height (or diameter) of the largest shape in the composition. Use this measurement as the ‘x-height’ if you are using lower case letters, or the ‘cap height’ if you are using upper case letters. Each composition should utilize either all upper case or all lowercase letterforms. Use only letters, no numbers or symbols. Experimentation of form should be emphasized over the legibility of the letters. Create at least 6 compositions for each shape for a total of 18 unique compositions.
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Color
Exercise 11 Color format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 18
Investigate the qualities of gradation in color. Select 6 compositions from exercise 3 as a starting point (the gradation series), then utilize all 3 of the following methods for each composition: a) background 50% gray, shapes at varied tint percentages of either cyan, magenta or yellow (CMY) b) background 50% gray, shapes with mixtures of cyan, yellow, and /or magenta c) background: black is the same value as the median tone of the color range within each composition. In most cases this will be determined visually through trial and error. Record the tint and color explorations on the left side of the page. Use the provided template.
The image to the right is an example of color gradation. Create at least 6 color explorations for each method. Within the 6 compositions, choose 2 of each shape (2 circles, 2 triangles, 2 squares) for a total of 18 unique compositions.
Poster
Exercise 12 Poster format: 9” x 9” square on an 11” x 17” sheet of paper number of solutions: 12
Bring everything together that has been done and learned from the previous investigations to create a poster using image, color, and typography. The new document size for the posters will be 18x18 inches. Poster Contents Image: Select one dot, one triangle, and one square composition from exercise #10 and duplicate each composition 4 times. (4 dot, 4 triangle, 4 square) Color: Choose 3 color palettes from exercise #11, one for each shape. The background gray should be of an equivalent value to the middle tone in your color gradation. Consider the gradation as a tool for movement within the composition. Typography: Use only Helvetica Neue Lt Std, in either 45 Light or 95 Black, in 24pt, 36pt, 48pt. Design a layout with the following text: New Art Out Typographic Work of Philip Burton May 16–30, 2013 UIC Gallery 400 500 Peoria Street Chicago
Consider hierarchy, asymmetrical balance, movement, rhythm, tension, negative space, alignment, and structure, in your overall composition. Experiment with the color palette placed into the elements and placement of the typographic elements, making each composition unique. A minimum of 12 compositions (4 of each shape) will be completed and uploaded into dropbox. For the first round of crits, compositions will be scaled to fit an 11x17inch (tabloid)page. The final poster will be printed actual size on the large format printers during class.
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May 16–30, 2013
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May 16–30, 2013 500 Peoria Street Chicago
500 Peoria Street Chicago
May 16–30, 2013
Typographic Work of Philip Burton
New Art Out
May 16–30, 2013
UIC
Gallery 400 500 Peoria Street Chicago
Typographic Work of Philip Burton 500 Peoria Street Chicago
UIC
Gallery 400 May 16–30, 2013
New Art Out
Typographic Work of Philip Burton May 16–30, 2013
UIC
New Art Out
Gallery 400 500 Peoria Street Chicago