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Flickr (student work)

Fourth critique for Progressive Variables—Show me your 2 printouts by 10:00 am!

Progressive Variable Notes

Next Week: You may use a a dot as a wildcard element. See Progressive Variable Notes above. Use a GRID to lay out Progressive Variables #5 (grid example)


http://www.identifont.com/ (resource for font identification)




Lupton—Type_Basics.pdf (lecture material)
RasterVsVector (keep your text crisp!)


Mix Typestyles Responsibly!

Visual Hierarchy

Visual Hierarchy



Hierarchy Progression.pdf —Go to Cougar Courses Week 5

Notes on Facts At Hand

1. Use only one typestyle. I recommend a Pro font that has a large family of weights to choose from. Choose a Pro font like Myriad Pro, Minion Pro, Adobe Gramond Pro, Garamond Premium Pro, Adobe Jensen Pro, Lithos Pro, Warnock Pro. Most of these are open format fonts that cross platform seamlessly from Mac to PC. Pro fonts with lots of available weights enable easier hierarchical separation—the goal of this project. Futura and Univers are also good choices.

2. All the text needs to read at right angles to all the other text, like this.

3. The assembled, right-angled text needs to be rotated to 30 or 45 degrees.

4. We should be able to recognize that the photo beneath the text as being part of a hand.

5. No stroked type or effects (especially drop shadows). No images except the photo of your palm.
It is okay to have some of the text fade away like in author's example!)

6. Work only in straight lines, no curved type paths. Consider word and line breaks, dramatic use of bleed, upsidedown positioning. Use scale, position, tone and transparency to organize the information and create visual interest.Not all the text on the page needs to be legible.

7. Work in a square format, as large as your photo will permit before it degrades in image quality, 150 to 300 ppi. This will be demonstarted in class. Photography is resolution dependent.

8. Commit no type crimes in the designing of this piece!

Tip: You might begin by ranking the information you have listed in order of visual importance, from the information you will emphasize the most to the information you will emphasize the least.



Long Lists—scroll to find it!


—from Thinking With Type, pages 146-147

—be sure to number each item!


—Do PV#5 and have it ready by 10:00 am next week for critique. Use a grid for layout; plus, you may add a dot as a 'wildcard' element.

—Facts At Hand is due. We will look at these on the big screen!

International Fair Posters are due next week (3-3-17) for final Critique! You will bring your final comps to class for critique on the big screen by myself and your classmates! Read definition of 'comp' below.

In graphic design and advertising, a comprehensive layout or comprehensive, usually shortened to comp, is the page layout of a proposed design as initially presented by the designer to a client, showing the relative positions of text and illustrations before the final content of those elements has been decided upon. The comp thus serves as a draft of the final layout, and (if approved) is used as guide for further design changes and, ultimately, production.

—Choose a typeface for your Typeface Poster from the given list.