FMP – Setting Up A-Master & Baseline Grids Indesign

I re-capped on how to set up an A-Master page by watching an online tutorial. This will allow me to keep continuity on each page, whilst also working quickly and efficiently.

They also help the reader navigate, by displaying direction such as a menu bar, page number, or book title.

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I used a simple design, automating the page numbers as I progress into the book, whilst also adding a reminder of the book title placed in the center of each page. I created margins and columns to give structure to my pages, however, some pages may change, and I will adjust the layout and grid accordingly.

I also used a baseline grid, adjusting the grid to the leading value of my text, and then snapping the text to it.This will further enhance the structure of my design

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I’ve learnt from previous experience it’s good to start with a good structure, as this gives the foundation in which to layout text and images effectively. I want the reader to feel engaged, whilst also feeling comfortable and enjoy reading the book.

FMP – Disintegration Effect Photoshop

One effect I’ve always been fascinated with is disintegration of an isolated subject. My title for my book is “Food For Thought” and I feel this gives me scope to use my creativity on the front cover of the book. The idea I want to get across to my audience is thinking about the food we eat. I feel the disintegration effects signifies the digestion process of the food, whilst also being dynamic as a piece of art.

I selected an image of a strawberry, attempting to symbolise healthy eating.Screenshot 2017-05-08 15.41.57

I created a new layer, and made a selection around the whole strawberry, without the shadow. I saved the path but kept the selection, and cut the strawberry onto a new layer. I filled the selection with white. Using the paint brush tool I then painted everything other than the shadow pure white, then selected the image, copied it, and pasted it onto an alpha channel. I created a fresh new layer and loaded the selection, and finally filled it white black.

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I created a new layer with the cut strawberry, and used the used the liquify tool to stretch the colours out, giving me space to create the disintegration effect. I created a layer mask, filling it with black to hide it for the moment..

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On another cut strawberry layer, I started to use scatter brushes to “chop” into the strawberry, which will allow space for the effect to show.

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On the liquified layer, I used more scatter brushes to reveal more of the layer mask.Screenshot 2017-05-08 15.44.22

The Final Pieces..

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FMP Research – Analysing My Target Demographic

My target audience is students, which actually is quite useful as I have a lot of knowledge of the market as I am one myself. However I also intend to get opinions from my fellow students, which will be the basis of my research and content of my book.

What do Students Enjoy

  • Drinking
  • Partying
  • Bright engaging colours
  • Large Images
  • A sense of achievement

 

I also listed 100 words that might be associated with students. This will allow me to generate ideas and dismiss less relevant words. To engage my reader I intend to add small signifiers they can relate to as students.

Word Association – 100 Ideas

word association

 

Caligram: Design Process Design 2

I decided to pick a character from a cartoon for the shape to fit/warp my text into. The first cartoon that came to mind was The Simpsons, which featured prominently in my house growing up. Not only that, but the characters are made up of very easy geometric shapes that aren’t difficult to get correct, and also meaning the text would be easy to display as there wont be loads of detailed and textured elements. The obvious choice for me was Homer Simpson, who in my eyes, was the best and funniest character. I also was able to find loads of great quotes online for this particular character, and the shapes that make his body would hold the text well.

My Target Demographic

I watched The Simpsons from a very early age and it was a big part of my childhood. Although The Simpsons used to be a children’s cartoon, I think it has grown bigger than that, and more adults are enjoying the show. In terms of my design, I think this should be reflected in the choice of typeface I choose, making sure I appeal to a wide demographic. To achieve this, I looked at the typefaces used within The Simpsons, such as the logo, “duff beer”

 

 

 

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I started by listing all the quotes, catchphrases, names, places, and characters I could think of.Screen Shot 2016-05-25 at 15.34.03.png

I then went onto producing a thumbnail of ideas for the typography and layout of the type, explaining why they may or may not work well, and why I may choose different typefaces for different areas of the body.

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I feel this process has given me a great platform in which to experiment in illustrator. I now have a great understanding which typefaces I want to target in the design and where, though I am aware that these choices may change in the digital design process. I hope to use the warp with mesh function to achieve the shape of homer, and hopefully will stimulate the Simpson lovers out there in the design community!

Designing My Double Page Spread

In this blog post I want to demonstrate how I laid out my spreads, using grids and columns to balance my design.

On the title page, there wasn’t a lot to layout. Only the positioning of the title and the image. I didn’t want the title to be “floating” around the page, so i altered the margins of the spread to make sure the design was balanced with clean lines.

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I also dragged guides from the horizontal axis to align the text to the margin, which made it clear and easy to read.

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I wanted to do something a bit different with the second double page spread. Instead of using straight columns for the text, I wanted to use a different angle, to give the feeling that the image is exclusive and I am allowing them to see inside the beautiful landscape. I used the direct selection tool to alter the bounding box around the main image.Screen Shot 2016-05-09 at 12.37.32.png

I the locked the image, meaning It can’t be moved or altered in anyway. I then went on to draw an a text box at the same angle of the image. This gives a clean line in which the text can be segregated from the image, but grouping them together. I positioned the text on the right of the page so the audience is drawn to the image, and then is lead to the text. The eye naturally reads from right to left, so I feel this gives the design a natural flow. Screen Shot 2016-05-09 at 12.40.32.png

Typeface Choices – Group Poster

After conducting my research into other infographics, we collaborated as a group to decide which typefaces we could use to make out message clear and give the right connotations. As previously mentioned in my research blog, the figures are usually big and bold, using a sans serif typeface. This makes it easy for the reader to locate the important information. With this in mind, we looked at the following typefaces and their connotations:

Bebas Neue – A bold sans serif typeface, popular amongst typographers, and has been referred to as “the helvetica of the free fonts”. Different weights give clean lines and easy contrast. Elegant shapes and straight to the point look combined with gentle warmth, makes it perfect for web and print.

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Chunk Five – I looked at this font as when i researched the history of the typeface, it said it was reminiscent of old American Western woodcuts, broadsides, and newspaper headlines. This link to newspapers was interesting, however the UK audience may not understand the historical context of the typeface. Never the less, the ultra bold slab serif typeface looks great as a display font.

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All Over Again – A hand-written like typeface with scribbles around the text. I thought the scribbles might link into the idea of paper, however the scribbles actually distract from the information, and doesn’t look right on the page.

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We then looked at what typeface we would use for the lesser information. Bebas Neue is a simple but elegant typeface, so we wanted to match this with a light, balanced typeface. We looked at many different combinations:

Helvetica – designed to be “neutral” this sans serif Grotesque typeface balances well with the stylish, bold bebas. Most importantly, its easy for the reader to read, and therefore the understanding of the fact and design is increased.

 

 

 

Visual Communication

I used two signifiers along with the text. The first of these was a red coloured cross on the front cover of the book, which resembles blood. This is a key signifier as the main character murdered two innocent people at the beggining of the book. The cross is also significant as the Sonya, a female character featuring towards the end of  the book, hands Raskolnikov a cross when he goes to confess his crime. He wishes to own up to his mistakes and hopes religion will guide him back onto the road to redemption.

The other signifier I used was a hand drawn image of an iconic building from St Petersberg. This is symbolic of the area, as the signifier has a visual resemblance to the signified. I thought it was important to feature something old and historic, as the city has a lot of heritage and rich in history.