![]() I changed the orientation of some of the type and gave the page more whitespace which added to the contrast of typefaces, sizes and colours. I took several attempts to find a suitable layout. I then added the elements from the previous layout and tried arranging them in a way that was pleasing to the eye. Experimentalįor this part of the exercise I set up another spread in InDesign and added a Golden Section grid. Once I’d got the basic grid it was fairly straightforward to replicate the layout of the double-page spread. There were different type sizes and styles dotted lines colour blocks and text wrapping. It was fun trying to work this out in InDesign. I then jumped into InDesign to try and recreate the layout digitally. I managed to work out that the right-hand page was a 7 column grid where as the left-hand page grid varied depending on the imagery used. Once I had taken this into account things made more sense. I was getting some random measurements which made me realise that this was an American publication and was laid out in inches. ![]() Once I’d measured the size of the layout I measured to borders and proceeded to measure the columns and gutters. I set out measuring the spread and trying to work out the grid that had been used. An average double-page spread in the book is made up of the right-hand page describing the function of the type with the left-hand page showing an example of it in use. ![]() This is one of my go-to books when it comes to typography and is well-thumbed. The book I have chosen for this exercise is ‘Stop Stealing Sheep & find out how type works’ by Erik Spiekermann and E.M. Reflect on the process in your learning log. This process might challenge any preconceived rules about how a layout should normally work. Use this as an opportunity to take creative risks, and find radically different ways to layout the existing content. Develop a range of ideas through thumbnail drawings and DTP layouts, in a similar way to the first part of the exercise. Hove: Rotovision.Įxtend the project by thinking about how you might radically change these layouts – what creative decisions around the grid would you make to improve these designs? Develop layout ideas that ignore the grid structure, challenge it, or offer radical alternatives to the existing layouts. Russ Bestley & Ian Noble, Experimental Layout, 2001. This, then, is the starting point for the designer, who is able to build upon this familiarity within the layout and format of a project, often utilising the element of surprise or difference to confound the reader or user’s expectations.” “These conditioned patterns of reading, from left to right or top to bottom for example, allow us to approach any form of printed material with some expectation of how we will navigate through it. Use a sans-serif font if the original is sans-serif. It doesn’t need to be exactly the same, but try to retain something of the original – for example, make sure you Try to match the typeface as closely as possible. Similarly, there is no need to recreate the images – indicate images by a 10% shaded area, whether these are cut-out, full-bleed or within a box. You can download some from and incorporate it into your layout. Lorem ipsum is Latin text which has a distribution of letters that make it look like readable English. There is no need to copy out all the text – you can use ‘dummy’ text or ‘blurb’ such as lorem ipsum. Use your traced drawing measurements as a guide. Now recreate the same double-page spread using DTP software. Identify the similarities and differences – is there an underlying grid system and how does it adapt to deal with different content? Compare your drawings to other double-page spreads within the same publication. Transcribe the tracing onto a clean sheet of paper, drawing on the measurements. ![]() Measure the margins, column width and depth, plus spaces between the columns. Trace the grid structure of your chosen double-page spread using tracing paper and a sharp pencil. These could be art or design books, or others that have more complex layouts that balance images, typography and other content across multiple columns. Research into book layouts that you find interesting. Both of these activities will feed into assignment three. This two part exercise aims to understand the relationship between typography, the grid, and the page in more depth by analysing existing layouts and creatively developing alternative ones.
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