Choose one design from each list and to update it for class next week. In some cases, you’ll want to make bigger changes, in others, more detail-oriented changes.
Consider these factors:
As defined by Ellen Lupton, typographic hierarchy “expresses the organization of content, emphasizing some elements and subordinating others.” Hierarchy as defined more generally is an ordered arrangement. Typographic hierarchy does not correlate to size, but to visible prominence. In other words, what the viewer sees first, and leaves remembering. Formal choices like color, weight, contrast, position and repetitiveness are all factors in making visible what’s important.
Critical when designing larger works, hierarchy is also important in smaller works. This exercise asks you to list in order of importance the elements of something very small — the Rhode Island driver’s license. A license should have clear hierarchy, but the current R.I. driver’s license is a fine example of a design lacking hierarchy.
Your first task is to make three separate lists, prioritizing different information for each list. For example, one list may prioritize the name of the individual, another the state, another the date of birth. Identify all unique bits of information on the license and order them. Currently, the Rhode Island license prioritizes the license number. If you find value in this choice, then one of your lists should place that at top.
Create two designs for each list. One should be limited to two fonts (two sizes or two weights) and one spot color. The second design may use any combination of size and color. Use your Village typeface only. Design the front only. You may suggest that certain elements be moved to the back.
Printouts due next week. Also post the six to the website under Assignment 4 with your three lists.
Printable area of license is 3 1/8″ x 1 7/8″ with 1/8″ border all around.
I have brought eight examples of recently published books for you to study. I am asking you to spend part of today’s class scrutinizing a single book in order to discover its grid. How many different grids exist and how do they interrelate? How do those grids connect to form a cohesive book design.
Note page size(s), text block size(s), running heads, folios, and other spatially relevant matter. Do pictures follow the same grid as text? What reasons might the designer have had for arriving at these choices?
Make measurements of all the grid-matter on a spread with a Schaedler Ruler (or similar). Make all the necessary notes and recordings in class today. For next week, construct a single diagram that shows all the systems either actual size and overlayed, or as thumbnails tiled on a larger sheet — whichever is most appropriate or helpful for the class to understand. You are reconstructing what the InDesign guides and edges must have looked like in the designer’s file. Use different colors for different types of content if that is helpful. Consider which boxes are filled and which are only stroked.
You will post your work as a pdf or image to the website under Assignment 3. There is no need to print the document unless it is helpful for you in the design process.
The books I have chosen should be in the library if you need to review any of your measurements after class.
You may also choose another book (from the start or after class) if there is one that interests you more.