T Y P E
O F
M U S I C
READING AND REFERENCE MATERIALS REQUIRED: Thinking with Type:​www.thinkingwithtype.com RECOMMENDED: River of Shadows by Rebecca Solna The Elements of Typographic Style by Robert Bringhurst Artists working with Typography: ​classes.dma.ucla.edu/Spring05/25/artists.php Eye Magazine Blog: ​blog.eyemagazine.com Design Observer website:​www.designobserver.com UnderConsideration website:​www.underconsideration.com Design Writing Research:​www.designwritingresearch.org American Institute of Graphic Artists:​www.aiga.org Stop Stealing Sheep & Find Out How Type Works ​by Erik Spiekermann Designing with Type: An Essential Guide to Typography by James Craig Type & Typography by Phil Baines and Andrew Haslam The Designer and The Grid by Julia Thrift and Lucienne Roberts Grid Systems in Graphic Design by Joseph Muller­Brockmann Making and Breaking The Grid: A Graphic Design Layout Workshop by Timothy Samara TYPOGRAPHY AND DESIGN BLOGS & TYPE FOUNDRIES: Ellen Lupton: ​http://elupton.com/2009/10/fluid­mechanics­typography­now/ The Institute of The Future of The Book website and Blog: http://www.futureofthebook.org http://www.futureofthebook.org/blog/ http://imprint.printmag.com/ http://www.doorsofperception.com/ Andrea Tinnes: ​http://typecuts.com/ Niels “shoe” Meulman: ​http://www.nielsshoemeulman.com​ and ​http://www.calligraffiti.nl/ Emigre Magazine & Type Foundry: ​http://www.emigre.com/ Hoefler & Frere­Jones: ​http://www.typography.com/ Fontshop: ​http://ww.fontshop.com/ FontFont: ​http://www.fontfont.com/ House Industries: ​http://www.houseind.com/ OurType: ​http://www.ourtype.com/ TypoFonderie: ​http://www.typofonderie.com/ T.26: ​http://www.t26.com/ DESMA 25 | T Y P O G R A P H Y – DMA winter ‘17 - m/w 2:00-4:50 pm BROAD 4250
DESMA 25 | T Y P O G R A P H Y – DMA winter ‘17 - m/w 2:00-4:50 pm BROAD 4250
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willem
henri
lucas
pr.
/
kate
hollenbach
t.a.------------------------------------------------------------
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PROJECT TITLE:
AIMS:
TYPE OF MUSIC ------------------------------------------------- - - - - - - - - - - - - -
Discovering typography and exploring it, by following a step-by-step process of complexities. Be-
ing able to make clear choices and visualizing the process as a final presentation in a publication. Understanding typography, it’s legibility and meaning of form, from a FORMAL approach to an EXPRESSIVE approach.
Learning to work with InDesign primarily (in combination with other Adobe software programs Photoshop and Illustrator). At the end of the course the student should be able to work with the software and has gained
basic knowledge about (the use of) typo-graphy; being able to set up a grid, make perfect column setting,
understand visual editing and the esthetics of typography. And the ability to create meaningful relations between content and form. -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------CLASS
DESCRIPTION:
several assigments will be handed out (and many typographic exercises), from sim-
ple to more complex levels. Mondays are used for class reviews, practical exercises on soft-ware and information on book typography and design. Sessions on ‘book-binding’ will be included in this class, with
demonstrations of binding techniques. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------FINAL
PROJECT:
The
student
will
present
a
selection
of
all
the
work
created;
a
compiled
and
hand-
bound publication with 40 SINGLE COVERS, a ALPHABET based on the music, a 24” x 36” POSTER and a DOUBLE
ALBUM COVER. The student will also present a collection of topic research and typography related items.
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e-mail / henri = [email protected] / amanda = [email protected]
TYPE OF MUSIC
Music and typography have always been strongly
c o n n e c t e d e s p e c i a l l y d u r i n g t h e p e ri o d o f v i n y l
records. Think of logos for band na m e s , b u t a l s o t h e c o v e r a r t m a d e f o r s i n g l e s ( 7 ” / 1 7 . 5 c m ) a n d
LP’s (12”/30 cm) where the role of ty p o g r a p h y w a s t o c o m m u n i c a t e t h e n a m e o f t h e s o n g , o r i t ’ s a l b u m
title and the performing artist, but m o r e i m p o r t a n t l y ( b y u s e o f s h a p e , f o r m a n d c o l o r ) w o u l d i n f o r m
about the type of music, it’s genre, a n d u n d e r l i n e t h e b a n d ’ s “ i m a g e . ” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Cover art, with its heydays during the t i m e o f B l u e N o t e s R e c o r d s 1 ( 1 9 3 9 ) w i t h t y p o g r a p h y v i s u a l i z i n g
Jazz, the early 80’s of British desi g n g r o u p H i p g n o s i s 2 ( 1 9 6 8 ) a n d a r o u n d t h e s a m e t i me F a c t o r y R e cords’ designer Peter Saville, 3 was o n e o f t h e m o s t c o v e t e d j o b s a d e s i g n e r c o u l d g e t . T h i s a l l l o s t
its appeal when the CD was introduc e d ( 1 9 8 2 ) a n d t h e f o r m a t o f t h e a r t w o r k s h r a n k t o a f o r m a t o f
the Jewel CD case ( 4.72”/ 12 cm). -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - In this class we explore how specifi c m u s i c a n d i t s p r o p e r t i e s l i k e a m p l i t u d e , d u r a t i o n , p i t c h a n d
timbre, but also music composition a s p e c t s l i k e r h y t h m , m e l o d y a n d h a r m o n y c a n i n f l u e n c e t h e f o r m ,
space and structure of typography. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Every student is asked to choose her / h i s f a v o r i t e P E R F O R M I N G A R T I S T/ B A N D , t h e m o s t p r e f e r r e d A L B U M /
CD of that artist/band, and the BEST S O N G f r o m t h a t p r e f e r r e d a l b u m / C D . - - - - - - - - - - - - - - - - - - - - - - - - - - The lyrics, the song titles, the ban d n a m e a n d a l l o t h e r f o u n d a n d w r i t t e n t e x t a n d r e f e r e n c e s a r e
used for the typography exercises. In t h i s c l a s s t y p o g r a p h y i s p u s h e d t o t h e f o r e g r o u n d a n d w i l l p a r t ly become IMAGE. In the last assignm e n t i m a g e r y i s i n t r o d u c e d b u t w i l l r e m a i n o f l e s s e r i m p o r t a n c e .
1
B L U E N O T E R E C O R D S i s a n A m e r i c a n j a z z r e c o rd label, estab-
Yes, Def Leppard, Paul McCartney & Wings, The Alan Parsons Pro-
l i s h e d i n 1 9 3 9 b y A l f r e d L i o n a n d M a x M a r g u l is. Francis Wolff
ject, Genesis, Peter Gabriel, Electric Light Orchestra, The Po -
b e c a m e i n v o l v e d s h o r t l y a f t e r w a r d s . I t d e r i v e s its name from the
lice, Rainbow, Styx, XTC and Al Stewart. Hipgnosis consisted pri -
c h a r a c t e r i s t i c “ b l u e n o t e s ” o f j a z z a n d t h e blues. Originally
marily of Cambridge natives STORM THORGERSON and AUBREY POWELL,
d e d i c a t e d t o r e c o r d i n g t r a d i t i o n a l j a z z a n d s mall group swing,
and later Peter Christopherson. The group dissolved in 1983,
f r o m 1 9 4 7 t h e la b e l b e g a n t o s w i t c h i t s a t t e n t i o n to modern jazz.
though Thorgerson worked on album designs until his death on 18
H i s t o r i c a l l y , B l u e N o t e h a s p r i n c i p a l l y b e e n a s s ociated with the
April 2013, and Powell works in video, most notably with The Who.
“ h a r d b o p ” s t y l e o f j a z z ( m i x i n g b e b o p w i t h o t h er forms of music
i n c l u d i n g s o u l , b l u e s , r h y t h m a n d b l u e s a n d g ospel), but also
3
r e c o r d e d e s s e n t i a l a l b u m s i n t h e a v a n t - g a r d e a nd free styles of
artists, like Joy Division and New Order. Inf luenced by fellow
j a z z . D u r i n g i t s h e y d a y , t h e 1 9 5 0 s a n d 6 0 s , t h e photography and
student MALCOLM GARRETT, who had begun designing for the Man-
g r a p h i c a r t o f R E I D M I L E S c r e a t e d a s e r i e s o f iconic album cov -
chester punk group, the Buzzcocks, and by HERBERT SPENCER’s
e r s , o f t e n i n co r p o r a t i n g s e s s i o n p h o t o s b y W o l f f , which added to
Pioneers of Modern Typography, Saville was i nspired by chief
B l u e N o t e ’ s a rt i s t i c r e p u t a t i o n .
propagandist for the New Typography, JAN TSC HICHOLD. Saville:
PETER SAVILLE designed many record sleeves for FACTORY RECORDS
“Malcolm had a copy of Herbert Spencer’s Pioneer s of Modern Typo2
H I P G N O S I S w a s a n E n g l i s h a r t d e s i g n g r o u p b a s ed in London that
graphy. The one chapter that he hadn’t reinter preted in his own
s p e c i a l i s e d i n c r e a t i n g c o v e r a r t f o r t h e a l b ums of rock musi -
work was the cool, disciplined “New Typograph y” of Tschichold
c i a n s a n d b a n d s , m o s t n o t a b l y P i n k F l o y d , T . Rex, The Pretty
and its subtlety appealed to me. I found a parallel in it for
T h i n g s , U F O , 1 0 c c , B a d C o m p a n y , L e d Z e p p e l i n , AC/DC, Scorpions,
the New Wave that was evolving out of Punk.”
[ footnotes taken from Wikipedia ]
assignment_01:
4 0 S I N G L E C O V ERS (FOR YOUR FAVORITE SONG)
text used: s o n g t i t l e / p e r f o r m i n g a r t i st/band name
f o r m a t : 7” x 7”
-----------------
-------------------------------------------------------------
------------------------------------------------------------------------------------------
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This exerci se has many learning curve s . I t w i l l e x p l o r e a m e t h o d o l o g y o f w o r k i n g ( t h e d es i g n p r o c e s s )
by giving the students a selection o f e x e r c i s e s f r o m “ v e r y r e s t r i c t e d a n d s i m p l e ” t o m o r e “ f r e e a n d
complex” at the end. Through these e x e r c i s e s t h e s o f t w a r e p r o g r a m I n D e s i g n w i l l b e d e m o n s t r a t e d ,
rules of formal typography, that eve n t u a l l y w i l l l e a d t o c o n c e p t - b a s e d e x p r e s s i v e t y p o g r a p h y , w i l l
be explored. In total the student w i l l d e s i g n 4 0 ( 5 x 8 ) c o v e r s w i t h 8 d i f f e r e n t p a r a m e t e r s , a n d
bookbind the results in a publication . ----------------------------------------------------------------------
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assignment_02:
A CUSTOMIZED ALPHABET ----------------------------------------------------------------
text used: performing
f o r m a t : 11” x 17”
artist/band
n a m e,
lyrics
favorite
song,
song
title
etc.
----------------------------------
----------------------------------------------------------------------------------------
--------------------------------------------------------------------------------------------------------------This exercise is about typography a n d p h o t o g r a p h i c t r e a t m e n t , a d d i n g a 3 - D f e e l t o t h e t y p e , e t c .
The purpose is to focus on the song’ s C O N T E N T a n d e n h a n c i n g i t s M E A N I N G . I f t h e s o n g i s m e l a n c h o l i c
and dreamy the visual treatment of t y p e c o u l d f o l l o w t h i s c o n c e p t . I f t h e s o n g i s l o u d a n d a p r o t e s t
song the choices of what to do with t y p o g r a p h y f o l l o w s a l o n g t h a t i d e a . - - - - - - - - - - - - - - - - - - - - - - - - - - -
------------------------------------------------------------------------------------------------------------------
POSTER
( FOR
YOUR
FAVORITE
assignment_03:
A
text used: p e r f o r m i n g a r t i s t / b a n d n a m e , venue, date + time etc.
f o r m a t : 24” x 36”
BAND/ARTIST)
--------
---------------------------------------------------
----------------------------------------------------------------------------------------
-----------------------------------------------------------------------------------------------------------------This exercise focuses on the visual p o w e r o f t y p o g r a p h y . D e a l i n g w i t h h i e r a r c h y o f i n f o r m a t i o n a n d
the specifics of POSTER DESIGN . Text c a n b e t a k e n f r o m t h e b a n d / a r t i s t ’ s m o s t m e m o r a b l e c o n c e r t , o r
a future co ncert with chosen venue i n L o s A n g e l e s . T y p o g r a p h i c t r e a t m e n t c a n b e a f o l l o w - u p f r o m t h e
(last) findings designing the single c o v e r s . ---------------------------------------------------------------
------------------------------------------------------------------------------------------------------------------
assignment_04:
THE ALBUM COVER (FOR YOUR FAVORITE BAND/ARTIST) --------------------------------
text used: p e r f o r m i n g a r t i s t / b a n d n a m e , song titles, song lyrics, added written and found text from research etc.
f o r m a t : 1 2 . 3 7 5 ” s q u a r e ( w i t h f r o n t cover, inside spread and back cover)
------
-----------------------------------------
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This exercise focusses on “story-tel l i n g ” a n d t e x t e d i t i n g , u s i n g t h e g r i d t o d e s i g n l a y - o u t s w i t h
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a large amount of text. Exercises on c o l u m n - s e t t i n g a n d i t s k n o w l e d g e s h o u l d b e u s e d p r o f e s s i o n a l l y ,
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as well as all the knowledge gained i n f o r m e r e x e r c i s e s . T h e f i n a l r e s u l t i s a D O U B L E A L B U M C O V E R
------------------------------------------------------------------------------------------------------------------
dedicated to your favorite band/arti s t w i t h a n i n t e r e s t i n g a n d p e r s o n a l s t o r y . T h e s tu d e n t i s t h e
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RESEARCHER, the DESIGNER, as well as t h e ( c o - )A U T H O R a n d E D I T O R , a n d w i l l u s e a l l l e a r n e d s k i l l s o n
------------------------------------------------------------------------------------------------------------------
typography and design to communicate t h e s t o r y f o r m a l l y , a s w e l l a s , v i s u a l l y e x p r e s s i v e . - - - - - - - - -
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All 4 assignments and the presentati o n o f t h e w o r k w i l l a d d u p t o a f i n a l g r a d e !
-----------------------------------------------------------------------------------------------------------------GENERAL CLASS RULES ------------------------------------------------------------------------------------------A T T E N D E N C E : ---------------------------------------------------------------------------------------------------Classes will start at 2 pm SHARP. If you are 15 minutes late without any anouncement at forehand to professor you
get a tardy. Every tardy is a half grade down on your final grade. If you are later then 15 minutes don’t interrupt
class, you’ll be marked absent. Every (unexcused) absense 1 full grade down, 3 unexcused absenses result in FAILED
CLASS. If you know you are going to miss class please send a notice to t.a. and/or professor. ------------------------------------------------------------------------------------------------------------------------------------GRADES: ---------------------------------------------------------------------------------------------------------Each class you will be evaluated on the following: class parti-cipation / presentation / organization- and design
skills, your final grade is the average of all grades in combination with your attendance record. ---------------------------------------------------------------------------------------------------------------------------------OTHER: ----------------------------------------------------------------------------------------------------------Turn off your cellphones during introductions / lectures / guest speakers / class meetings. No food in class, drinks
are o.k. --------------------------------------------------------------------------------------------------------No checking personal e-mails or Skype or iChats during class. Ask questions, make comments, contribute to reviews!
Learn from your peers, this is team-effort! Presentations need clean and precise print-outs and a good and loud
verbal presentation. --------------------------------------------------------------------------------------------IF YOU FEEL THE COURSE IS NOT GOING WELL OR YOU COME ACROSS OTHER PROBLEMS PLEASE COMMUNICATE THIS WITH YOUR PROFESSOR and T.A. a.s.a.p. ----------------------------------------------------------------------------------------whlucas@g. ucla.edu / 310-430-2241 ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - t.a. Amanda S tojanov / [email protected] - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - ------------------------------------- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - ------------------------------------------------------------------------------------------------COMMITMENT TO DIVERSITY AND SAFER SP A C E S ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------We understand the classroom as a space for practicing freedom; where one may challenge psychic, social, and cultural
borders and create meaningful artistic expressions. To do so we must acknowledge and embrace the different identities and backgrounds we inhabit. This means that we will use preferred pronouns, respect self-identifications, and
be mindful of special needs. Disagreement is encouraged and supported, however our differences affect our conceptualization and experience of reality, and it is extremely important to remember that certain gender, race, sex,
and class identities are more privileged while others are undermined and marginalized. Consequently, this makes
some people feel more protected or vulnerable during debates and discussions. A collaborative effort between the
students, TA, and instructor is needed to create a supportive learning environment. While everyone should feel free
to experiment creatively and conceptually, if a class member points out that something you have said or shared with
the group is offensive, avoid being defensive; instead approach the discussion as a valuable opportunity for us to
grow and learn from one another. Alternatively if you feel that something said in discussion or included in a piece
of work is harmful, you are encouraged to speak with the instructor or TA.
FONTS OF CHOICE:
BASK E RVI LLE
Baskerville is a serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England and cut by
John Handy. Baskerville is classified as a transitional typeface, a refinement of old style typefaces of the period,
such as those of William Caslon. Compared to earlier designs, Baskerville increased the contrast between thick and
thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes
created a greater consistency in size and form. Baskerville’s typefaces remain very popular in book design.
BOD ON I
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni’s typefaces are classified as Didone or modern. Bodoni followed
the ideas of John Baskerville, as found in the printing type Baskerville: increased stroke contrast reflecting developing printing technology and a more vertical axis, but took them to a more extreme conclusion. Bodoni had a long
career and his designs evolved and varied, ending with a typeface of a slightly condensed underlying structure with
flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
C LARE N DON
Clarendon is a slab-serif typeface that was created by Robert Besley for Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. It was apparently named after the Clarendon
Press in Oxford. The typeface was published in 1845 after Besley, an employee of the foundry since 1826, was made
a partner in the firm. Due to its popularity, Besley registered the typeface under Britain’s Ornamental Designs Act
of 1842. The patent expired three years later, and other foundries were quick to copy it. Besley was nonetheless
successful in business, and became the Lord Mayor of London in 1869. Clarendon is considered the first registered
typeface. Clarendon types proved extremely popular in many parts of the world, in particular for display applications such as posters printed with wood type. They are therefore often associated with wanted posters of the American
Old West.
GI L L SA N S
Gill Sans is a sans-serif typeface designed by Eric Gill. The original design appeared in 1926 when Douglas Cleverdon
opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals.
In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to use for notices and announcements. Gill further developed it into a complete font family after Stanley Morison of Monotype commissioned the
development of Gill Sans to compete with the sans-serif Erbar, Futura and Kabel families, which were being launched
in Germany during the latter 1920s. Gill Sans was released in 1928 by Monotype, initially as a set of capitals that
was quickly followed by a lower-case.
HELV E T I C A
Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input
from Eduard Hoffmann. It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface
Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic
Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces
of the 20th century. Over the years, a wide range of variants have been released in different weights, widths and
sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally
designed include the termination of all strokes on exactly horizontal or vertical lines and unusually tight letter
spacing, which give it a dense, compact appearance.
FU TUR A
Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the
New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus
design style of 1919–33. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of
1922, Futura was commercially released in 1936. Futura has an appearance of efficiency and forwardness. Although
Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should
express modern models, rather than be a revival of a previous design.
SINGLE COVER ASSIGNMENTS DESCRIPTIONS AND PARAMETERS wed. SEPT 30 :
#1:
COMPOSITION + SPACE:
---------------------------------------------------------------------------------------------------Design 5 different SINGLE COVERS for your song with the following parameters:
using * The Regular or Roman of the typeface by choice
* 12 point size only
* [ type in black on white ]
Typeface and size are set, make sure you bring order in song title, name performing artist/band, album where song
is taken from, year of release.
Things to play with are COMPOSITION / LEADING / LETTER SPACING / UPPER OR LOWER CASE / etc.
#2:
COMPOSITION + SPACE + LETTER SIZES:
---------------------------------------------------------------------------------------------------Design 5 different SINGLE COVERS for your song with the following parameters:
using * The Regular or Roman of the typeface by choice
* any single point size per design f.e. one design
* uses 14pt. another 18pt, 24 / 30 / 36 / 48 / 60 / 72 etc.
* [ type in black on white ]
Size of the typeface per design is by choice, make sure you bring order in song title, name performing artist/band,
album where song is taken from, year of release.
Things to play with are COMPOSITION / LEADING / LETTER SPACING / UPPER OR LOWER CASE / etc. You will need to explore
the total space of your single cover. At what point will all your copy still fit? How large can you go and still make
“legible type?” Start with 14pt, use type sizes mentioned in your Indesign window under TYPE > SIZE.
SINGLE COVER ASSIGNMENTS DESCRIPTIONS AND PARAMETERS mon. OCT 05 :
#3:
DIFFERENCES IN LIGHT + BOLD TYPE:
---------------------------------------------------------------------------------------------------Design 5 different front covers for your story with the following parameters:
using * The Regular/Roman/book of the typeface by choice,
uin combination with BOLD and if available LIGHT
* any single point size per design f.e. one design
uuses 14pt. another 18pt etc.
* [ type in black on white ]
Typeface and size per design are set, make sure you bring order in song title, name performing artist/band, album
where song is taken from, year of release. Things to play with are COMPOSITION / LEADING / LETTER / upper or lower
case / LETTER SPACING / BOLD + LIGHT TYPE etc. You can look at some exercises done at #2 and enhance those by adding the BOLD or LIGHT type somewhere.
#4:
REGULAR, BOLD + ITALICS:
---------------------------------------------------------------------------------------------------Design 5 different front covers for your story with the following parameters:
using * The Regular/Roman/book of the typeface by choice,
uin combination with BOLD, LIGHT and ITALIC and BOLD ITALIC if available
* any single point size per design f.e. one design
* uses 14pt. another 18pt
* [ type in black on white ]
Typeface and size per design are set, make sure you bring order in song title, name performing artist/band, album
where song is taken from, year of release. Things to play with are composition / LEADING / LETTER SPACING / UPPER
AND LOWER CASE / BOLD + LIGHT + ITALIC TYPE etc. Look at some of the exercises done at #3 and you can enhance those
by using combinations of font family.
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SINGLE COVER ASSIGNMENTS DESCRIPTIONS AND PARAMETERS wed. OCT 07 :
#5:
TYPE SIZE COMBINATIONS:
---------------------------------------------------------------------------------------------------------------------Design 5 different front covers for your story with the following parameters:
using * All possible versions of the font you are using regular/bold/light and italics by choice
* any POINT SIZE COMBINATION
* [ type in black on white ]
Typeface and size per design are set, make sure you bring order in song title, name performing artist/band, album
where song is taken from, year of release. Things to play with are COMPOSITION / LEADING / LETTER SPACING / UPPER AND
LOWER CASE / BOLD + LIGHT + ITALIC TYPE etc. Look at the exercises done earlier and enhance those by using SIZE COMBINATIONS.
#6:
RULES + BLOCKS:
---------------------------------------------------------------------------------------------------------------------Design 5 different front covers for your story with the following parameters:
using * All possible versions of the font you are using regular/bold/light and italics by choice
* any POINT SIZE COMBINATION
* [ type in black on white ]
* introduce the following elements: rules and solid blocks of black
* 2 designs with rules only
* 2 designs with blocks of black and reversed type
* 1 designs with both rules and blocks
Look at the exercises done in earlier assignments and play with RULES and BLOCKS and REVERSED TYPE.
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SINGLE COVER ASSIGNMENTS DESCRIPTIONS AND PARAMETERS wed. OCT 08 :
#7:
USING 2 SPOT COLORS in PMS + PUNCTUATION for MUSIC PATTERNS
[ Pantone Matching System ]:
---------------------------------------------------------------------------------------------------Design 5 different PATTERNS / SOUND NOTATIONS for the covers of your SINGLE with the following parameters:
using * All available punctuation signs of the typeface by choice, combinations of ROMAN, BOLD, LIGHT and
ITALIC and BOLD ITALIC if available
* any point size combination
* replace black by 2 colors that you can mix, look at the color palette and the “MULTIPLY” option in EFFECTS
to simulate printing inks, you can use all values of the 2 colors
These SOUND NOTATIONS with use of periods, dashes, commas, slashes, etc. are based on repeating melodies, or rhytms,
base-lines, and or drum sequences and your TASK is to visualize parts of the music score. If you can read music notes it
might help to use that as an inspiration, but just using your intuition will work too. If you want to add song lyrics
you can do that too (just make sure the patterns are the main part of your design, using the song lyrics as captions).
ADVICE: Assign certain punctuation signs to sounds; f.e. a DOT could be used for a drum sound - the size of the DOT
could indicate a soft (small dot) and a louder sound (bigger dot). DASHES could signify a longer lasting sound etc.
Don’t use more than 2 punctuation signs per SOUND NOTATION.
#8:
TYPOGRAPHY + PUNCTUATION PATTERNS:
---------------------------------------------------------------------------------------------------Design 5 different front covers for your SINGLE COVER with the following parameters:
using * Combine your best typographic covers from assignment #6 with the patterns you created in assignment #7
or create new designs inspired by those exercises.
* any point size combination
* design in CMYK [ full color ], you can use all values of colors and black
Keep in mind that these 5 covers should represent your song in all aspects, color, shape and form should be used in
combination of typography to enhance all meaning. Aim to make these last five designs the best of the whole collection.
Look at the exercises done in earlier assignments and play with all elements.
THE SELFIE ASSIGNMENT DESCRIPTIONS AND PARAMETERS wed. OCT 08 :
USING YOUR CAMERA PHONE
[ turn into black/white image ]:
---------------------------------------------------------------------------------------------------Take a “selfie” that communicates the relation you have with your favorite song. For example do you DANCE wildly in your
living room when you hear the song, or do you crawl into a dark corner with headphones on, do you belt the lyrics out
loud when the song is playing? Are you in the dark in your bed with the covers over your head, or do you listen to it on
Public Transport, etc. Does the song make you happy, sad, melancholic, wild, quiet, mad etc.
Make sure you make a high res image. You can’t manipulate in Photoshop, other than turning it into grey scale mode and
adjusting the dark or light image levels. Make sure the image informs about the questions asked above, make sure the mood
of the image reflects the mood of the song, make sure the image has a high esthetic quality.
[ You can use a tripod and really take a selfie, or ask someone to take the image for you after you art directed it. ]
C O L U M N - S ETTING ASSIGNMENT DE S C R I P T I O N S A N D P A R A M E T E R S ----------------------FORMAL T Y P O G R A P H Y / L E G I B I LITY: -------------------------------------------------------------------------------------------------------------------------------C O L U M N - S ETTING
FLUSHED
RIG H T
+
JUSTIFIED:
----------------------------------
---------------------------------------------------------------------------------Set up a grid in Indesign using a letter format page, with border white by choice — top,
bottom, left (inside/spine) and right (outside). Using a column-setting (6-column grid)
that allows for several column-widths and a chosen baseline-grid.
F L U S H E D RIGHT
a. ) S e t a TITLE and SUBTITLE s i z e / 3 versions*
b.) Set a 1-column INTRODUCTI O N text / 3 versions*
c.) Set a 2-column BODY text etc. / 3 versions*
d.) set a 3-column F O O T N O T E or CAPTION text etc. / 3 versions*
e.) combine the best combinations of a.) / b.) / c.) / d.)
on one page
R E P E A T E XERCISE WITH JUSTIFI E D C O L U M N S
* Different versions of a.) can be created by setting it ALL CAPS or all lower case or
a combination of it etc. and by playing with letter-spacing, leading-size and typeface
size.
* Different versions of / b.) / c.) / d.) can be created by playing with letter-spacing,
leading-size and typeface size.
Show in these exercises that you understand the hierarchy of text, contrast in typesize combinations, how different leading settings and type-sizes relate to each other,
how letter-spacing can create a more open look, and how everything alligns on the same
baseline-grid.
TYPE OF MUSIC FINAL ASSIGNMENT DESCRIPTIONS AND PARAMETERS mon. OCT 23 :
THE ALBUM COVER
---------------------------------------------------------------------------------------------------------------------Design an album cover and give information on your performer(s) and the album with the following parameters:
using * the album_grid.ind that you got send.
* the baseline grid is set on 11 pt. Meaning different LEADINGS for text can be used like 22, 33, 44, 66 etc.
* (referential) images can be used
* in full color (cmyk)
I asked you to do research and find related articles about your performing artist(s) and the particular album and
song. Use this research to tell a complete (personal) story. Please add references of where text comes from (url)
or any credits like photography or cover design by others.
Your album has a cover + a 0.25 inch spine / a spread / and a back cover
There is specific INFO that needs to be placed
----------------------------------------------------------------------------------------------------------------------
COVER page 1
[ student name ] on [ band name ] [ album title ] optional [ song title ]
as in: willem henri lucas on THE WHITE ALBUM by THE BEATLES
or: willem henri lucas on DEAR PRUDENCE by THE BEATLES from THE WHITE ALBUM
image: selfie
get inspired by your best single covers collection* / focus on typography, image(s) of second importance
----------------------------------------------------------------------------------------------------------------------
SPREAD page 2/3 (4)
required information:
PERFORMING ARTIST(S) BIO / RECORDING HISTORY / ALBUM TRACKS / optional LYRICS
other text added could ALBUM REVIEW(S) / PERSONAL WRITING f.e when did you hear from the band first, why do you personally have an attachment to the performer(s) and/or their music etc.
image: by choice, if you use other peoples images, how can you make them your own in your design? If you use images
from different series, how can you turn them into a series belonging in one design?
keep in mind that this is an editing exercise, how do you tell a story and in what order, using other people’s writing, as well as your own... the more PERSONAL the better!
----------------------------------------------------------------------------------------------------------------------
BACKCOVER page 4
image: by choice
required information:
design: [ student name ] + all other credits and sources
for TYPE IN MUSIC, DESMA 25, winter 2017 - instructors Willem Henri Lucas & Amanda Stojanov (ta)
UCLA Design Media Arts department
e-mail / henri = [email protected] / amanda = [email protected]