Book/Artpiece/Midterm
CORRECTIONS are a natural part of any designer's work. No
matter how perfect you think you made it, two more sets of eyes will prove you
wrong--and thank goodness--you don't want anything escaping on to the streets
that has a technical error (spelling, grammar, obvious content gaffe...).
LAB ETUIQUITTE DO NOT go to the FAB lab and ask
the lab monitor questions about the software! Instead, arrange to go there with
a buddy from class. Take your notes. Work through your problems or find a way
around them. Take a walk if you can't figure it out.(Cursing just makes everyone
around you anxious.) Don't forget to save often!
"Alone" is how you finesse your software knowledge.
It is a slightly painful process, but it will go quickly if you follow the suggestions
above.
LAYOUT
| Use this scheme for sketching
of organizational thumbnails:
|
The following list is a traditional
breakdown of a book. Look in interesting books for more, possibly better
ideas. You may want to a visit to the special collections room at Strozier
(ask at the desk.) Pay attention to how pages are numbered, how art
books are bound, how illustrations are included, weight of the cover
versus the pages, etc.
fc = front cover
title of the book, and/or an illustration
ifc = inside front cover
p1 - p4 = page one through page four
first pages: credits: publication date, author, preamble,
introduction
middle: content
back pages: index, content, bibliography, art credits,
indexes
ibc = inside back cover
bc = back cover
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CONTENT - As an artist, you are an observer of
culture. What would you say if you could say it anonymously?
If your content is something specific, like a collection of images made by
other people, how do your selections reinforce your reason for gathering them
together? Do you expect that your viewer will understand your reason?
If your book has no point, if it is a series of free thoughts, what is it
about your content that could hold a viewer's attention.
If your book contains an age old truth, how is your take on it obviously
connected to your time in history, or your life experience?
If your content is a narrative, does it take advantage of the linear nature
of the book format? Of people's expectations of the format (the title page
is, and the story starts on the right hand side page? Or does it subvert it
without altogether losing the viewer?
If your book is a parody, how important is it that you follow the industry
standard when it comes to packaging, printing, and composing the imagery (think
Cookbook, "How To" manuals, Childrens books, travel guide--each
has a different "look" to them.)
DESIGN - Legibility, or purposeful lack of it? How did you
arrange your content to ensure the viewer "hears" you.
CREDITS - If you use someone's art, or text, or philosophical
idea... credit them. History is a big connection of dots. How did we get from
here to there?
SIZE Book can be any size, any number of pages--however
the format has to be connected to your idea. Keep to the spirit of the size
of the assignment (meaning no 2 page books.)
TECHNICAL Try to use every concept that we have
covered so far:
Text wrap, Inspired font selection and manipulation, Proper d.p.i.
for your images, A symbol, icon, or logo drawn in Illustrator with the minimum
amount of points (do not use the trace, or other similar functions.)
Your work should be saved on 2CD's: One should have all of your resource material,
and the second one should contain only the book and the finished .tiffs (this
one should be on a MAC zip)
Things to think about...
1. Margins, particularly as they relate to your choice of
binding and book size.
2. Check out your binding options at Kinkos or other service providers.
Spiral binding seems to work well for because the book will lay flat when
open. However, check out your options and feel free to make your own binding.
3. Every book should have a byline (ex. By: Gillian
Canning) and a publication date in your design.
4. How does a book differ from a movie? From a play? From a painting? From
a website? Could you articulate this?
5. A technique to circumvent artists' block: If you're drawing a big blank
about what to do, go to the library, and look for something, anything, that
interests to you. Then continue reading until your juices are moving. If
you like science go to Dirac, If you like art go to the 4th floor of Strozier.
If you like music head to the misic library (you can check out music as
well as books on it.)
I do not require that your "cultural observations" be based on
fact (scientific data,) some very interesting things come from imagination
(empirical knowledge)--which is known to be at odds with reality (whatever
that is.) All of the above is found printed in books.
When your juice is flowing, pick up your sketchbook and put some stuff
in it. Now here's the super important part--go do some more research based
on your new ideas.
6. Check back, I'll post more as it occurs to me and/or is suggested by
you...