Fox's

Category: Roman

Production: Stone

Classification: Serif

Character: Dark, Bevelled, Curved Inconsistencies

Heroes

Category: Gothic

Production: Lead Block/Silicone

Classification: Sans Serif

Character: Fun, Bordered, Bright

Tin of Something

Category: Gothic

Production: Wood Block

Classification: Serif

Character: Bold, Wide, Bright

Sardines

Category: Roman

Production: Stone

Classification: Serif

Character:  Curved, Narrow, Tight

Cup a Soup

Category: Gothic

Production: Lead Block

Classification: Sans Serif

Character: Clear, Tight, Shadowed

Ambrosia

Category: Gothic

Production: Lead Block/Silicone

Classification: Sans Serif

Character: Rounded, Bright, Bevelled

Sweetener

Category: Roman

Production: Stone

Classification: Serif

Character: Bright, Thin, Innocent

Philips

Category: Gothic

Production: Lead Block

Classification: Sans Serif

Character: Strong, Clean, Bold

Lemonade

Category: Blackletter/Script

Production: Silicone

Classification: Semi-Serif

Character: Fun, Psychedelic, 

Duracell

Category: Gothic

Production: Wood/Lead Block

Classification: Sans-Serif

Character: Strong, Bold, Tight

Toilet Roll

Category: Roman

Production: Stone

Classification: Serif

Character: Shadowed, Bevelled, Soft

Studio Task 2 - What Is A Book - Final Spreads

Studio Brief 2 - Spreads 9 and 10 (Contents Page and Introduction)

Before I started on my contents page I re-ordered

my spreads so that they followed on from each

other in a somewhat logical order as opposed to

the order I produced them in, which was just the

order I decided I'd include that subject in.

By using the 3 column grid I hoped that the page titles

would all fit on one line which would allow for more

consistency on throughout the spread. For reasons of

consistency I used 18 point size text as were all the

headings in my spreads. The description of each page

was done in 10pt for this reason also. Continuing on the

theme of consistency, I used images that had already

been used in my spreads, but smaller and cropped versions

of them to match the idea of the text, which was that the

contents page gives you a very limited idea of the pages.

When looking at the original spread, something looked

wrong. After a considerable while thinking about it, I

decided that the problem was the second page on each

side. The description for the Hue, Tone and Saturation

page was 3 lines long, whereas everything else was 2 lines

long. I fixed this by simply shortening the description slightly.

Then on the right page, the heading for Alignment,Rivers and 

Hyphenation took up  two lines rather than the one that all the

other headings took up. I fixed this by replacing the word "and"

with the ampersand, as this made it fit on one line, I then did it

with the other titles as well so they were consistent. I then

realised that having the page number aligned to the right of

the text box was similar to the format I used for showing quotes

in some of the spreads, so to match this hierarchy I made the

page number size 14 text, which I think was a good decision

in terms of the hierarchy. The result of these changes is shown

below. While the differences are only slight I'm a lot happier with it.

I wasn't really sure what to put in my introduction, but after looking

in various books of my own I noticed that there's not much information

on introduction pages anyway other than a short paragraph about the

book and the the author. I didn't fancy writing an "about the author"

paragraph, so I stuck to a fairly minimal layout. I left the top quarter of

the right page blank so it's consistent with the contents page. I used

images from the colour pages to brighten the spread up, as I think it

needs to be quite a bright spread due to it being the first one. The

majority of the text is on the left page as the text is far more important

than the images on this page, and so I placed it directly under the title,

next to the brighter image. I'm not overly pleased with this spread due

to the lack of content, but I think that was always going to be the case

compared to the rest of the spreads. If this had have been the first spread

I did I'd probably have been happy with it at the time, but I feel that it's

no-where near as good as the others that I've produced.

I then spell checked the whole document and converted it to a PDF

to burn onto a DVD for submission.

Studio Brief 2 - Spreads 6, 7 and 8

The first thing I did today was change the images

on spread 6 so the font examples weren't annotated

as I felt that the annotations were a bit messy and

somewhat cluttered the page. I think the spread looks

a lot better without them. I also added a title, which I'll

go into more detail about later.

I then started working on spread 7. I had previously

decided that RGB and CMYK should share a spread

with Chromatic Value and Pantone because they're

all fundamentally about colour. I distinctly separated

the two by the arrangement of the text. The RGB and

CMKY page has text in two columns, which is meant

to show opposition between the two, because you can

only use one mode at a time. Chromatic Value and

Pantone don't work like this however, so I placed the

text on that page in a singular column which shows how

  they work together in comparison to RGB and CMYK.

I'd also decided that Alignment, Rivers and Hyphenation

would be on the same spread as Hierarchy of Type, as

both topics are about type and how to make the most of it.

I used various different types of alignment to highlight the

points made in the text about alignment, and this also

allowed me to use hyphenation in the text about hyphenation.

Unfortunately there wasn't much scope for me to actually

use a typographic hierarchy in the Hierarchy of Type page

because of how the rest of my spreads had already had

a hierarchy built into them, which is why it was important

that the images clearly demonstrated the concept of hierarchy

of type, which is why I picked the images I did. They are placed

where they are to create a sub-section for colour, as colour

is a part of typographical hierarchy, but isn't the first thing that

springs to mind when you think about it. 

When I choosing how to do my titles, I created a document

the width of the grid space that my title was going to fill, and

one by one typed in all the titles of the pages in order to find

the longest one (Alignment, Rivers, and Hyphenation). I then

changed the document size so that it was the same height

and width of the grid space so I could re-size the text to be as

big as possible so that the title fitted on two lines. I then rounded

this down to the nearest conventionally used point size, which

was 48pt. I used this point size for the titles, and chose to stick

to Helvetica regular as that was the font I'd used for the rest of

my hierarchy and I felt it'd been successful to this point. I also

made sure that every title took up two lines and that the first line

was longer than the second line to show consistency.

Genesis

Category: Script

Production: Sable

Classification: Sans Serif

Character: Scrawny, Inconsistent, Child-like

Asia

Category: Blackletter?

Production: Lead Block/Silicone

Classification: Semi Serif

Character: Pointy, Textured, Bevelled

R.E.M

Category: Gothic

Production: Lead Block

Classification: Sans Serif

Character: Bold, Simple, Generic

Def Leppard

Category: Blackletter

Production: Lead Block 

Classification: Sans Serif

Character: Pointy, Thin, Garish

Aero

Category: Script

Production: Sable

Classification: Sans Serif

Character: Shadowed, Bevelled, Textured

Clover

Category: Roman

Production: Stone

Classification: Serif

Character: Beveled, Bright, Positive