Research
Columns
Layout Margins No text in margins
Bleed
Using InDesgin p a g e l ay o u t s w i t h different amount of columns,
I’ v e
tried out some l ay o u t s a n d h o w
Gutters
they could be used.
Full Page image
3 Columns
2 Columns
Ty P e
Ty Pe
Different type placement and sizing
Different placements for text, images and typography
Wrap around bounding box, so text goes around image
type
type
4 Columns of text
White Space
“ Design is more than just a few tricks to the
Fig. 1 Ocean’s Eleven (2001)
“
eye. It’s a few tricks to the brain.
Fig. 1 Ocean’s Twelve (2004)
“ I want to make beautiful things, even if
nobody cares, as opposed to ugly things. That’s my intent.
“
Fig. 3 The Man with the Golden Arm (1955)
Fig. 4 Bunny Lake is Missing (1965)
“ The work needs to get out of your head and on to the table, and it needs to be done from the heart.
“
Fig. 5 New York Shakespeare Festival/ Public Theater (1995)
Fig. 6 New York Shakespeare Festival/ Public Theater (1995)
Neville Brody
http://www.rca.ac.uk/ more/staff/professor-neville-brody/
Saul Bass
http://www.artofthetitle.com/designer/ saul-bass/
Paula Scher
https://thegreatdiscontent.com/interview/paula-scher
One of the most celebrated graphic designers of his generation – a leading typographer and internationally recognised art director and brand strategist. The founder of design agency Research Studios, Brody established his reputation working with record labels, magazines and a range of international clients from Apple to Dom Pérignon. His hugely influential work has been the subject of numerous exhibitions and publications. Graphic designer and filmmaker, perhaps best known for his design of film posters and title sequences. During his 40-year career Bass worked for some of Hollywood’s greatest filmmakers, including Hitchcock, Stanley Kubrick, Otto Preminger. He became well-known in the film industry after creating the title sequence for Otto Preminger’s The Man with the Golden Arm in 1955. For Alfred Hitchcock, Bass designed effective and memorable title sequences, inventing a new type of kinetic typography, for North by Northwest, Vertigo and Psycho. Paula Scher has been at the forefront of graphic design for four decades. She began her career as an art director in the 1970s and has been a principal at Pentagram’s New York office since 1991. Paula has taught at the School of Visual Arts for over two decades. She is a recipient of the National Design Award, AIGA Medal, Type Directors Club Medal, and is a member of the Art Directors Club Hall of Fame.
“ Design for design’s sake does not concern
us. Making a difference does. Solving problems is what we do best - listening, getting to the heart of a problem and developing effective solutions that surprise and excite in equal measure
“
Fig. 7 Zembla Mag: Tilda Swinton
Fig. 8 Zembla Mag: Tom Waits
Fig. 9 Big Magazine (1994)
“ Unlike many designers I do think the world
would be a really boring place if everything was perfectly designed. We need a clashing of visual styles, naivety, alien influences to keep design alive and what is often bad can become what we regard as rather good.
“
Fig. 10 David Bowie: Heathen (2002)
Vince Frost
A member of D&AD (Design and Art Directors, London) and the AGI (Alliance Graphique Internationale, Switzerland), Vince plays an active role in the global design community, regularly sitting on international judging panels and lecturing at colleges and conferences around the world. http://www.frostcollective.com.au
JONATHAN Barnbrook
http://designmuseum. org/designers/jonathan-barnbrook
One of the UK’s most active graphic designers. Pioneering the notion of graphic design with a social conscience, Barnbrook makes strong statements about corporate culture, consumerism, war and international politics. Working in both commercial and non-commercial spheres, Barnbrook combines originality, wit, political savvy and bitter irony in equal measures.
“ We apply the principles of typography to
what we do. It has to do with space, positioning and composition. That’s how we learned - from type.
“
Fig. 11 Pigeons and Peacocks 6th Editon
Fig. 12 Pigeons and Peacocks 6th Edition
Fig. 13 Funny Ha Ha 20th Anniversary
Why Not Associates
Why Not Associates is a British graphic design company with a global reach. We turn our appetite for design into commercial success for clients large and small in the arts, business, government and public sector. For over 25 years, we’ve been creating innovative work in many different media, including corporate identity, digital design, motion graphics and television commercials direction, editorial design, environmental design, publishing, and public art.
http://www.whynotassociates.com/ about-us
Typography Cap Height X Height Baseline
Ascender Line X Height Descender Line
ABC Stem
abcd Bowl
Counter
T y pe S i ze Type
is
measured in points(Pt)
12 14 18 24 30
pt
Videratur? Voloren daerspera doluptae et occus
pt
in rerspit emporposam rerferit repel et
pt
gendant vendite mperitatusae
pt
acerci atium, te dolest
pt
Elessequis sitam
Se ri f & Sans -S erif
Serif Leg
Some
of the
areas of type
I
will consider
when making my cover and double pages
Sans Shoulder
L e adi ng Videratur? Voloren daerspera doluptae et occus
Leading
in rerspit emporposam rerferit repel et gendant
space between
vendite
lines of text,
mperitatusae
acerci
atium,
te
dolest
Elessequis sitam. Videratur? Voloren daerspera doluptae et occus in rerspit emporposam rerferit repel et gendant vendite mperitatusae acerci atium, te dolest
is the
the one on the left is
35
pt
Typographers
a bcdefg h ijklmn o pq r stu vw xyz
abcdefghijkl mnopq r stuvwxyz
abcdefghijklmnopq
abcdefghijklmnopq
rstuvwxyz
rstuvwxyz
1234567890
1234567890
I’ve chose one of sans-serif and one serif. Once I choose my desginer I will chose which type I will use. Which will be Baskerville for Why N o t A s s o c i at e s a n d A v e n i r f o r V i n c e F r o s t
John Baskerville
Adrian Frutiger
John Baskerville was born in 1706 at Wolverley in Worcestershire. He was a man with a lifelong passion for beautiful lettering and books. By 1723 he had become a skilled engraver of tombstones and was teaching writing. He moved to Birmingham in about 1726 and set up a school in the Bull Ring where he taught writing and book-keeping, whilst still maintaining his work as an engraver.
Adrian Frutiger is best known as a type-designer. He has produced some of the most well known and widely used typefaces. He was born in 1928 in Interlaken, Switzerland, and by the age of 16 was working as a printer’s apprentice near his home town. Following this he moved to Zurich where he studied at the Zurich School of Arts and Crafts, under Professor Walter Kach.
http://www.jquarter.org.uk/webdisk/morejbask. htm
http://typophile.com/node/12118
why not associates Pi g e o n s & Pe ac o c ks
@whynotassoc S pac e
I love the spacing on the first double page spread of the magazine it has lovely contrast and isn’t to dark. I also really like the spacing around the girl and how it has carried over to the opposite page. The Why Not Associates are very consist in the layouts through out the magazine
C o lu mns
Through out this magazine they either us 3 columns with a black wrap around bounding box and text inside or they use just a single column that’s just placed in the centre with white space. All the writing I’ve seen is Left Align.
Images
In the Pigeons & Peacocks mag the use full bleed photography on most of the pages or they will have the same style of the single column and centre the image leaving white space around it.
Vince Frost layout D E S I G N YO UR LI FE
Is a new book by the Designer/typographer Vince Frost, it hasn’t been released yet but I found some pages that’ll be inside the book that I got off of Frosts Twitter account. Here are 3 double page spreads that I like the look of and may take inspiration from for my final cover and double pages.
@vincefrost S t y le
I like the way Frost has thought of another way to display his contents and page numbers. He has used coloured circles and made a face using the page number, each of the pages will have one of the coloured faces on the page. 0 6 0
up don’t
Move me nt
This double page shows movement, on how you read it from left to right and then your eyes go up with the word ‘up’. Vince has used the same type of movement on the Zembla Magazine were he uses the ‘Z’ Pattern were you follow the z shape while you read something, this Pattern is used a lot.
M
Type
I like the layout of the type on this page, it has opposite alignments. The right text being right align and the left text being left align. Different alignments don’t always work but when used like this page I think it works really well, he hasn’t gone over the top with the alignments.
give
Vince Frost & Me
I’ v e
gained
feedback from
Vince Frost, through the use of
I n s ta g r a m
V i n c e F r o s t ’ s I n s ta g r a m
When I decided to do Vince Frost I started off by doing some letterpress for the cover page of my final piece. I was videoed do the actual letter-pressing but speeded up, which I then posted on to my own Instagram and I tagged in Vince Frost. Surprisingly Frost commented and liked my picture and video, saying he loved it and was flattered of course I was so happy that he noticed my work and really appreciate him taking the time to comment on my work that was inspired by him
Designer & Typography V i n c e Fr o s t * I have chosen to do Vince Frost for my cover and two double page spread because I found out that I really like his style of work, I’ve also found that he is largely typography based. I’ve looked at the books he has published and the ones he has yet to publishes here some I’ve looked at and think they will help me a lot when it comes to my work; Design Your Life Urban Oz Harvest BIG Magazine Zembla Magazine I’ve also found that his Twitter and Instagram accounts helped with finding his style as he had post some recently made, thtas how I found out about his new book ‘Design Your Life’.
A dr i an F rutiger Since I’m doing my magazine on Vince Frost I’ve chose Adrian Frutiger’s font Avenir which I will be using for all the text.
I’ v e d e c i d e d t o a dd ‘ T h i n k Frost’ to the cover of my magazine it will go along side the
‘Thinking Types’
headin g.
Some
sketches of
l ay o u t i d e a s f o r m y magazine pages