dyan gulovsen . grds 709 typography 1 . professor henry . winter 2011
project c: experimental type booklet DESIGN NARRATIVE Assignment Brief / Tiananmen Square Booklet Analysis Research Type Studies Roughs Tight Roughs Computer Comps Feedback Grid and Templates Booklet Solution Feedback Booklet Construction Folding Instructions Final Analysis and Feedback
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PROJECT C assignment
EXPERIMENTAL TYPE BOOKLET Part 1 (Unit 5) You will select an article, story, or other form of literature to use for the content of this booklet. The text you choose must clearly state a point of view. You MUST request written permission from the author to use his or her work for this project. The only way around this is to write your own literature. Read and analyze the text, making sure that you really understand it. Outline it and think about its hierarchy of ideas. Before sketching the thumbnails, research experimental design. Look for inspiration and for ideas. Do not look for styles to copy. You can choose the size and format, but consider several formats before you decide. This piece should have at least four panels. Imagery can be used as long as it is original work. Do not base your design on the imagery. The message is the most important element. Part 2 (Unit 6) You will post thumbnails of at least three concepts for this project. Include grid developments and a list of the key elements you have chosen to emphasize (hierarchy). You will provide comments and feedback for three other postings. Thumbnails need to be to scale. Part 3 (Unit 7) Based on feedback provided in the previous discussion, select one concept and proceed to rough stages. Post the roughs for all the pages. Your postings should include a clear description of the proposed design. Discuss the final format, materials, special papers, and/ or type of binding techniques. Explain your choices. Provide comments and feedback for three other postings. Part 4 (Unit 8) Finalize your design. Post the final piece to the unit discussion. Comment on three other designs.
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5 My text for the inside of the booklet
The article I have chosen to make into an experimental booklet is on the 1989 massacre in Tiananmen Square in Beijing China. It is based on a number of articles and was written by me. The event itself was a tragedy and echoed the very sentiment for which it was voicing its opposition. What began as a peaceful student lead demonstration, ended in violence, bloodshed and death.
The Gates of Heavenly Peace also know as Tiananmen Square is a large public gathering place located in the center of Beijing. It has been an important part of the landscape of China for centuries. It is used for events by both the public and government.
What I would like to reflect through experimental type, is to illustrate the tension, drama and horror of this event. But instead of it being messy and out of control I would like to handle it with a clean calculated look and feel. Much of what happened during those weeks preceding the massacre were very well planned and peaceful. Just as the counter reaction was planned. The end result was a mess but the manner in which it was performed was cool and calculated and unapologetic. I don’t want to make the text completely unreadable, that would defeat the purpose of the article. But it should read as a hierarchy of fragmented articles and headlines. I want certain pieces of information to overlap one another. And if a article is only partially readable, that is fine as long as the message is clear. I plan to have some text read horizontal, while others reads vertical. This way the eye jumps from headline to headline to subheads to text. Although the booklet is about Tiananmen Square, it is entitled Blood White. There is an underlying reason for this. As time goes by, the event has been almost erased as if it never happened. Even the leaders of the protest have rewritten their stance and no longer support the demonstrations. The twenty year anniversary came and went without much mention. So not only do I want to illustrate the demonstration and massacre but also the time frame and the change of attitude.
In the spring of 1989, students from the local universities staged pro-democracy demonstrations on the square. The demonstrations became increasingly larger and by June the number of protesters had risen to over a million. Although the demonstrations were peaceful they were approaching riotous proportions. Hunger strikes brought international attention and worldwide media. The government declared martial law and troops were ordered to clear the square. On the evening of June 3rd, the army incurred opposition on the outskirts of Beijing and an accident involving an army van enraged the protestors. Violence broke out and protestors forcibly attempted to stop the advancement of the troops. The troops fired upon the protestors and mayhem ensued. By the following morning, it was all over. It is not known how many protestors were killed, but the numbers range from hundreds to a thousand. Although the horrific event has been labeled the Tiananmen Square Massacre, it is misleading since the violence and bloodshed did not occur within the square. At the time of the demonstrations, the student led opposition believed they would have influence over the government. Their voice and hopes were dashed on that fateful morning. In time the event took on new meaning and many of the initiators of the demonstrations now feel that the demonstrations were wrong. By the twenty year anniversary, the event is hardly spoken of as if it never happened. But for the millions who watched the event unfold and witnessed one man standing fearlessly in front of a line of tanks, it was very real. There is blame to be laid on both sides as to how the violence began, but it in the end the mass bloodshed was at the hands of the government.
DYAN GULOVSEN typography studio 1
BLOOD WHITE tiananmen square
EXPERIMENTAL TYPE BOOKLET research Mainly I looked at typography that dealt with negative space. I had worked a lot with negative space in my last studio and have wanted to continue with it. And I thought it might go well with the concept of Blood White. But honestly, I don’t like to look too much at other peoples work as I like to create and not feel like I am imitating another persons style. The concept needs to be original and be my own.
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The typeface I am looking at will be a combination of crisp sharp sans serifs for the headlines and title. The subheads, captions and body text will be in a serif font. I want to mix them up and use probably two fonts with variations in size, spacing and thicknesses along with multiple orientations.
BLOOD BLOOD BLOOD Caption
Caption Subhead Subhead Body text Body text
Gotham Bold/48pt Lot/48pt Univers 75/48pt.
Filosofia/48pt
Slab Serif HPLHS/48pt
Neutra/48pt Old Style HPLHS/48pt Filosofia/18pt Mrs. Eaves/18pt
DYAN GULOVSEN typography studio 1
TYPE STUDIES display and caption
EXPERIMENTAL TYPE BOOKLET roughs
I like the idea of the BLOODWHITE text disappearing into the cover and the O’s being either puddles of blood or fans. The text on the top and bottom feels like it is dripping. I haven’t decided if I will make it white on a red background or reverse it. But I think it pushes the text to
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the point of abstraction, yet there is just enough text to make the eye connect the words. I think gestalt is an interesting way to approach this piece. I am looking for drama but through minimalism. I want it to be clean and stark in feel.
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This is the inside of the booklet. It will have the article spread through out the 6 pages. I want the center to be a large red square with either words that are made into squares or an image that I have drawn. I want the text to bleed off the top and bottom with captions that break into the columns. I am thinking about overlapping captions and bleeding off the numbers 1989. I am also experimenting with a vertical headline at the end. I want it to read in fragments according to the hierarchy of information. I want
1989 and white blood (I reversed it here) to be the main focus. The the caption, In the spring of 1989, to be next and It never happened to be the last headline before the body text is read. The body text will also be somewhat fragmented so that the important information can be read through the pages of less interesting historical details of the event. I am thinking about a black background with red square and both white and red lettering. I want the overall piece to be strong and dramatic.
EXPERIMENTAL TYPE BOOKLET tight roughs
In this top option, I have played with a vertical look. I am not happy with this it just doesn’t seem to evoke any feeling. In the bottom option which is for the outside of the booklet. I have worked with negative space to give the piece a
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feeling intimidation. I like the fact that it is a bit difficult to read and blends into the background. It goes along with the concept of the piece which in the end became something very different from its original intentions.
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In the spring of 1989 and finally into the body text. It is then broken up by a red square with a man kneeling and the text is picked up again on the other side. A caption runs through the body text and the words fall off the end. This is because by 2009 the entire perspective of the demonstration had changed completely and is nearly wiped out by the very people who were the leaders of the 1989 demonstration. In the end it was like it never happened.
I am thinking about making the booklet so it folds out into a square-representing Tiananmen Square. But I am not sure if this will work or not.
DYAN GULOVSEN typography studio 1
This is the inside option that I am thinking of going with. Although it looks messy as a sketch, I think it will work once I bring it to the computer and clean up the type. I like the word blood (although I may move the inside of the letter B down) I think the negative space is interesting next to the vertical white and then the contrast of horizontal subhead. It still reads left to right, Blood White at the gates of heavenly peace and then goes into the diagonal subhead,
EXPERIMENTAL TYPE BOOKLET computer roughs In the spring of 1989,
in the 20th c e n t u r y .
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of the largest pro-democracy movement in China in the 20th c e n t u r y .
DWHITE DWHITE DWHITE
In this top comp I have made the letters almost disappear into the background. The O’s are supposed to look like pools of blood and the writing is like drips. In this top comp I have reversed the color so that white dominates. It is ok, but perhaps a bit too white.
ITEWHITE
largest
in China
BLOOD
the pro-democracy movement
BLOOD
site of
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of the largest pro-democracy movement in China in the 20th c e n t u r y .
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became the
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of the largest pro-democracy movement in China in the 20th c e n t u r y .
BL
set in the center of Beijing,
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of the largest pro-democracy movement in China in the 20th c e n t u r y .
BL BL
Tiananmen Square,
In the spring
of 1989,
Tiananmen Square,
set in the center of Beijing, became the site
of
the
largest
pro-democracy
movement
in China
in the
20th c
e
n t
u
r
y .
In the bottom comp I have replaced the O’s with fans. But I don’t think I like this it doesn’t make sense.
Hu's seizure was a prelude to China's. His death triggered weeks of massive protests, giddy days in April and May 1989 when throngs of more than a million filled the streets of Beijing, criticizing the growing corruption, and in general demanding more of the democracy that Hu had come to symbolize. And then, after seven exhilarating weeks, it all came to a sudden end. In the early hours of June 4, as the world watched in horror, the tanks of the People's Liberation Army rolled toward Tiananmen Square and troops fired on the crowds, killing hundreds and wounding thousands.
In the spring BLOOD of 1989, on the gates of heavenly peace on e gates of heavenly PEACE Tion the gates of heavenly peace
Behind this highly public drama lay another one, less visual and far less understood, yet just as significant. It was enacted not on the streets but in Zhongnanhai -- the park-like compound a few hundred yards from Tiananmen where most of China's top leaders have their villas -- and in Deng Xiaoping's own large estate a mile north of there. This was the battle within the leadership, a struggle among ambitious men and their competing visions of China.
In the top comp I have broken the words up and changed the direction. I am not sure what I think of this. In the middle comp I have worked with the negative space so that words sort of disappear. I think this is an interesting look but am still not certain.
WHI WHITE WHITE
The following account is pieced together from conversations with dozens of people, including many party officials, as well as a reading of various documents -- reports and speeches -- some released to the public, others ''internal'' and closely h
WHITE
BLOOD
BLOOD
BL
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of the largest pro-democracy movement in China in the 20th c e n t u r y .
98 WHITE 9
It began with the death of Hu Yaobang, a party leader who had always tried to do things his own way. In 1986, Hu had suggested that it might be time for Deng Xiaoping to retire as paramount leader. In April 1989, recuperating from a heart attack, he suffered a seizure and died.
FUCK IT IT Only when the Square is awash with blood will the people of China open their eyes. NEV2 ER HAPPEN ED In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of largest pro-democracy movement in China in the 20th century. It began with the death of Hu Yaobang, a party leader who had always tried to do things his own way. In 1986, Hu had suggested that it might be time for Deng Xiaoping to retire as paramount leader. In April 1989, recuperating from a heart attack, he suffered a seizure and died. Hu's seizure was a prelude to China's. His death triggered weeks of massive protests, giddy days in April and May 1989 when throngs of more than a million filled the
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of largest pro-democracy movement in China in the 20th century.
on the gates of heavenly peace
It began with the death of Hu Yaobang, a party leader who had always tried to do things his own way. In 1986, Hu had suggested that it might be time for Deng Xiaoping to retire as paramount leader. In April 1989, recuperating from a heart attack, he suffered a seizure and died. Hu's seizure was a prelude to China's. His death triggered weeks of massive protests, giddy days in April and May 1989 when throngs of more than a million filled the
0 0 SQ 9 UA RE
In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of largest pro-democracy movement in China in the 20th century. It began with the death of Hu Yaobang, a party leader who had always tried to do things his own way. In 1986, Hu had suggested that it might be time for Deng Xiaoping to retire as paramount leader. In April 1989, recuperating from a heart attack, he suffered a seizure and died.
Hu's seizure was a prelude to China's. His death triggered weeks of massive protests, giddy days in April and May 1989 when throngs of more than a million filled the
In the bottom comp I have started to put together a lot of ideas however it is still very much in the works as far as organizing the words. I plan to rearrange many of the elements. The caption “only when the Square is awash,� I plan on making the letters fall off the end as if they are no longer important and have been forgotten.
DYAN GULOVSEN typography studio 1
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In the spring of 1989, Tiananmen Square, set in the center of Beijing, became the site of largest prodemocracy movement in China in the 20th century.
2 0 0 9
on the gates of heaven ly peacE
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EXPERIMENTAL TYPE BOOKLET feedback I agree with much of the comments I received. I do feel that the inside portion needs to be organized. It is not reading well. I am not happy with any of the outside pieces either. I think I have good ideas and direction I just need to fine tune them. I am also going to add a more dynamic layout than my initial accordion style booklet that folds into a square. Many of the class had very dynamic creative booklets. I need to step mine up and see how far I can push the envelope and still make it readable and get across my point.
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Dyan, As you begin to investigate possible ideas and such for your booklet approach. I want you to challenge the conventional approaches within your compositions and the panels. Instead of having the design run horizontally, what would happen it ran vertically or diagonally across the page. The term experimental doesn’t have to be seen as type being ripped a overlay across the page but could become an interesting choice in typeface, placement, proximity etc... The gestalt ideas/principles might offer more insights for your typographic treatments. Professor Henry
the squares (in the red square part). It really adds.
dyan, for the sketches on the leftbold use of the knock out type. love the kneeling pose. very impactful. i would fill the column (width, whatever the end size) not to leave it ragged. also color; what do you plan? (i know you mentioned the blood), a mono theme, with accents or a straight forward use. would certain colors pop out as others may be trans or made dull to blend into the background. dont know if i am describing the correct, but something creating an out of focus to in focus. i am also digging the use of the year Dyan (version on top right), would I love love love that first Blood you trans this out and scale it White idea on pg 55. The one to cover the majority of the area with the fans is nice but the first bleeding into the year 2009?. one gives a more dramatic feel. I also think the drawings on the Dyan right side of pg 55 are strongest I like the computer comps on out of your ideas. It is so dramat- the very last page too. But what ic. There is something about the I like about the drawings on squiggly line that goes around pg 55 is that hand drawn feel. I
wonder if you could keep some of your hand drawings in this? Great job! Can’t wait to see more! Denise Gross Hey dyan, great comps. The fan idea really is a winner for me. Your computer illustration is really excellent, is it your own illustration, or from the original article? You’ve really managed a lot of variation in the last comp, the only thing I want to mention is that my eye doesn’t know where to go. May be you can have a hierarchical system in place. Best, Raazia
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The art of folding is much more than origami, it involves mathematical equations. It is a science entitled Algorithmic Mathematical Art. With that, I have decided to try and make a pentaminoe to a square for my booklet. It was very difficult and required a lot of watching videos but I think I can convert a pantaminoe to a square for a very interesting fold out booklet. I am sure this doesn’t make sense to anyone, and that is why I need to figure out how to embed a video into indesign and then convert to pdf so that you can see how this works, its actually fascinating how one shape converts to another through folding.
DYAN GULOVSEN typography studio 1
EXPERIMENTAL TYPE BOOKLET pentaminoes templates
PLACING THE INSIDE IMAGE ON THE TEMPLATES
This is the pentaminoe after it has been unfolded to create a rectangular for the inside information of the booklet.
This is the inside content of the booklet minus the text which will be place under the mask and folded. W hat be gan as a peaceful student On June 5th, a lone man stood courageously in front of a line of led pro- tanks advancing on the protestors. The identity of this man democracy has never been revealed, he would become known demonstration to the world only as Tank Man. On this day, quickly turned this one man with only shirt in hand to mass bloodshed halted the army of the Peoples on the morning Republic of China, for of June 4th when a brief moment the army was called halted the in to remove the blood demonstrators from
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This is how the inside of the booklet looks with the template as a mask to indicate where the folds will be.
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PLACING THE OUTSIDE IMAGE ON THE TEMPLATE
This is the outside content of the booklet minus the text which will be place under the mask and folded.
This is how the outside of the booklet looks with the template as a mask to indicate where the folds will be.
SQUAR
QUAR
SQUAR
SQUARE
TIANANMEN
QUARE
SQUARE
TIANANMEN QUARE
TIANANMEN QUAR
TIANANMEN
This image will only be seen when the book is being folded. It is inside when it is folded and unfolded.
BOOKLET FOLDED INTO A SQUARE
This is the front side of the folded booklet. Each panel flips and rotates into a square. I like the craziness of it. It is dynamic and shocking. When it is folded it not meant to be read, only as blips of information that grab the viewers attention so they will unfold it, which is also interesting, and then they can read the information.
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This is the back side of the folded booklet. The word blood is really attention grabbing.
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This side would be the cover. It is mainly concerned with the title of the piece and the subhead and caption.
This is the content portion of the booklet. It should read left to right. 1989 Blood White at the gates of heavenly peace, In the spring of 1989‌ and then the body copy and finally the end when it is all but forgotten in 2009.
DYAN GULOVSEN typography studio 1
BOOKLET UNFOLDED INTO A RECTANGLE
EXPERIMENTAL TYPE BOOKLET feedback After reading the positive class commentary, I got on my grid structure,I have decided to follow through with my ideas of creating my booklet based on the pentaminoe to square. It will be a matter of getting it absolutely perfect in order for it to fold and unfold. I need to also figure out a way to video tape the folding and unfolding so that it all makes sense. http://www.youtube.com/ watch?v=vpDP9SdePq8 This video shows the pentaminoe to square along with a whole bunch of complex shapes.
Dyan From what I know of the topic, your vision for this will really be enhanced by using the pentaminoe instead of the more traditional box fold. It has already allowed you to build a grid structure that is out of the expected and true to your topic. Is there a portion of the videos you were watching that we could see? Maybe a link with a timing that has the meat of how the project will become tangible? I’m looking forward to seeing this both folded and unfolded! Jeanine Cowen Wow Dyan, This is looking amazing. I am so impressed and inspired. I feel you have taken this truly to the next step. I love your type treatments and the different grids. It really fits your subject and is experimental and still gets the message across. Great to see! Denise Gross
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Hello Dyan, The folding of your book sounds really interesting. I look forward to seeing the final product! I really enjoy your grid structure and use of color. I like the busyness of it and the kneeling figure in the middle. Nice job! Dena Wallace Dyan!! You have a very engaging and unique grid on page 64-65. The layout looks very graphic, which goes great with your title. Also, I would really like to see more on the origami forms that you want to explore. Good luck! Looks great Raaiza Hussain dyan, great logo and icon for tiananemen sq. great use of the negative space and the space and object creation with “blood” and “white”. interesting… the progression from the serif 1989 face to the thin block face of 2009. great sense of time. I want to see the folds work. Chris Italiano
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EXPERIMENTAL TYPE BOOKLET construction The grid structure I have chosen for the shape of my booklet is extremely complicated and requires that I am within millimeters in order for it to work. With that in mind I am not going to attempt to make it out of materials that I cannot completely control. I will make the base structure out of 110lb cover stock so that it forms a rigid backing for the printed images which will be printed on photographic matte paper.
T I ANANMEN
Step 3: Print back image.
QUAR
Step 2: Print front image.
TIANANMEN
Step 1: Print base (top) and score folds.
SQUAR
SQUARE QUARE
Next I will need to cut the base out exactly, score the folds , fold it to see if it is exact and then glue the front and back images onto the base. After that I will need to score every fold and retape them back together.
BOOKLET CONSTRUCTION Step 4: Tape front images to base.
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Step 6: Retape to create flexible hinges.
DYAN GULOVSEN typography studio 1
Step 5: Score and fold the image.
BOOKLET CONSTRUCTION Step7: Tape image to the back side of the base.
I decide that the lettering is too small on the original of the front side and increase the letter sizing which reduces the amount of writing so I decide to put it on the back and replace out the artwork for Tiananmen Square
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Step8: Fold the booklet into a square. The front and revese side of the square.
BOOKLET FOLDING begins at top left proceeds to the right and continues onto the next row left to right
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DYAN GULOVSEN typography studio 1
EXPERIMENTAL TYPE BOOKLET final analysis I have to admit I am happy with the outcome of the booklet. I am thankful to the class for forcing me to step outside my comfort zone and do some very experimental work with folding techniques and complex grid work. All in all I think the dynamics of the multiple directions adds interest and supports my original concept of the explosiveness of the Tiananmen massacre. Visually, the booklet has blips of the events that encourage the viewer to open the piece and read the informational verbiage that breaks down the events and how differently it is viewed twenty years later. Which more than the event was the point I was trying to make-Blood White means the blood that was shed has disappeared.
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FEEDBACK Dyan, There’s strong visual control over the folds and the composition. The design seems loud but has a unique solution within the template of choice. The typographic control is exciting to see. Good job! Professor Henry
Love your work. I think all the elements in your booklet from the color scheme, typography and grid structure has a very nice balance. You really pushed the experimental process delivering an awesome hierarchy.
This looks really great! The folds look really great and the entire piece flows very well. All of the text is very readable as well. The colors and typeface choice are all very harmonious and come across very appealing to the reader. Tiffany
Marvin
This is absolutely beautiful. Congratulations. You have great visual hierarchy, perfect grid structure and excellent selection of typography! I am very impressed. Nicely done! Great job! jamie
Again, nice work!
Dyan this is fantastic. It really is so interesting. Your type treatments are really interesting and fits the form. Your form is so clever and fits the subject. It has a smooth flow and a nice rhythm to it. The folds alone will engage the viewer but the typograpy will also. Great job! Denise Dyan, amazing! from the form, to the folds, to the typography. you got it perfect to a T! Raazia
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DYAN GULOVSEN typography studio 1