Assignments

Designer Research

Each week at the start of class, 1 to 2 people will give a presentation on a chosen designer or design studio. Link your presentation to the Signups doc before the start of class. (Make sure sharing preferences allow for anyone to view your presentation.)

Choose a designer or design studio from the list below to research extensively. Share your findings with the class.

Presentations should include:

• Brief biography of the designer or design studio, in your own words
• Historical context of their work (What was going on at that time? Where were they? Etc.)
• Close readings of 3 work examples (What are the design gestures present? Who was the commissioner? How was it produced? What do you find interesting? Etc.)

Requirements:

• Presentations will be 10 minutes (plan carefully not to go over time)
• Use Google Slides and link your presentation to the Signups doc
• Look for good quality images
• Do not simply copy/paste info from websites or Wikipedia
• Only 2 slides may contain text while most of the presentation should focus on images
• Do not show too many images per slide (max. 3 images if you must include more than 1)
• Images may have captions in small type positioned near the bottom left edge
• Please conclude with a bibliography slide with citations from at least 4 sources, 1 of which must be from a print publication

Designers: 2x4, Alex Steinweiss, April Greiman, Armin Hoffmann, Bart de Baets, Charles and Rae Eames, Cipe Pineles, Corita Kent, David Carson, David Reinfurt, Ed Ruscha, El Lissitzky, Emil Ruder, Experimental Jetset, Franco Grigani, Fraser Muggeridge, George Lois, Graphic Thought Facility, Grapus, Harsh Patel, Henryk Tomaszewski, Herb Lubalin, Herbert Bayer, Herbert Matter, Ikko Tanaka, Irma Boom, James Goggin, Jan Tschichold, Jan Van Toorn, Josef Müller-Brockman, Julia Born, Julie Peeters, Karel Martens, Katherine McCoy, Kelsey Elder, Laszlo Moholy-Nagy, Laurel Schwulst, Lee Conklin, Lucian Bernhard, Maureen Mooren, Max Bill, Mevis & Van Deursen, Mindy Seu, Muriel Cooper, Neville Brody, nicole killian, Nontsikelelo Mutiti, Nora Turato, Other Means, Paul Rand, Paul Soulellis, Peter Mendelsund, Peter Saville, Piet Zwart, Ramon Tejada, Rebecca Mendez, Rogério Duarte, Rosmarie Tissi, Ruben Pater, Ryuichi Yamashiro, Saul Bass, Stefan Sagmeister, Storm Thorgerson, Susan Kare, Sylvia Harris, Tibor Kalman, Wim Crouwel, Wolfgang Weingart.

Abstract Compositions

Part 1

Using the provided exercise sheets with big squares made of small unit squares, fill in the unit squares using pencil to make expressive compositions that interpret the words provided.

Words: structure, chaos, motion, solitude

Part 2

Create 3 new compositions using the six black stickers provided onto letter-size paper sheets, and the first 3 words from Part 1 (structure, chaos, motion) except this time with added modifiers of your choice. Examples: bold motion, random structure.

All 3 compositions should be vertical-oriented. You must use all six stickers per composition. Stickers can be placed anywhere on the page either horizontally or vertically, but not diagonally. They cannot overlap or bleed (extend beyond the edge of the page).

Please avoid figuration or representation and remember to keep working abstractly. As you work, reference this one-sheet.

Note: Pay attention to your craft! It is important as it impacts the meaning of your compositions.

Graphic Design Show and Tell

Find something you consider to be an exciting example of typography and bring it to class. This can be a book, a catalog, a brochure, a tag, packaging, labels, stickers, etc. Look for things that include typography and images.

Be prepared to, to the best of your ability, describe what it is, where you found it, who designed it and when, who it's for, how it works, how it's made, and what it looks like formally.

Note: screen-based examples are discouraged but if you would like to make a case, please check with the instructor in advance.

Typographic Hierarchy

Typeset the copy linked here to create 4 letter-size, vertical, black and white flyer variations that promote a hypothetical exhibition. As you design, consider different hierarchy strategies.

Use Google Docs and follow the instructions below.

• Composition 1: Use Times New Roman, any 1 size and weight. Focus on alignment through tabbing, paragraph breaks, and placement.
• Composition 2: Use Times New Roman, any 2 sizes and 1 weight. Focus on spacing by adjusting leading and tracking and placement.
• Composition 3: Use Arial, any 2 sizes and 1 weights. Focus on alignment through tabbing, paragraph breaks, and placement.
• Composition 4: Use Arial, any 2 sizes and 2 weights. Focus on spacing by adjusting leading and tracking and placement.

Project 1: Poster

Design a typographic poster for an event. The poster should communicate your desired tone as well as deliver practical information (location, schedule, date, time, etc.).

Format: 18 x 24 in., black and white or color, vertical orientation. Must use type only (no images or graphic devices!).

Part 1

Open a new Google doc and write the project brief for your poster. Start with the details of an event you recently attended or a fictional event you'd like to attend in the future. Your copy should include the following information:

• What (event title)
• When (event date: day, month, year, and time or any combination of these elements)
• Where (location: a complete address)
• How (a call to action such as “sign up at url.com,” just a URL, a QR code, or similar)

Part 2

On paper (loose sheets or your notebook), sketch out 10 ideas for your poster. Think about how to represent your event using type only. Should the type be legible? Illegible? At an angle? Should the poster feel traditional? Futuristic? Etc.

Part 3

Incorporating class feedback, pick 2 poster directions to move forward with and translate them digitally. Create 5 iterations of each direction, playing with typeface, scale, color, white space, and other gestures. Explore widely. Export the 10 iterations as JPGs and upload them to this collective class presentation for review.

Note: The first slides are template slides, do not override them. Copy them (11 slides total) and input your information (name for cover slide + images for poster slides) below.

Part 4

Choose your favorite 2 iterations and continue to make adjustments, taking into consideration class feedback. Make sure these feel different enough. Print the 2 posters out at full scale and come to class ready to pin them up on the wall during review.

Part 5

Finalize your chosen poster, print it out, and bring it to class for pinup and review.

Type Persona

Part 1

Using this collective document, typeset your full name in 5 different ways. Manipulate type only, no other graphics should appear. Focus on the details (typeface, weight, size, tracking, letter spacing, line spacing, etc.).

You can typeset your name in one line or break it into two lines, first and last, but don’t break any single word.
Playing with color (type and background) is okay but do it selectively!

Look into your typeface choices and be ready to speak to the class about how you made your design decisions. You must know what typeface you’re working with and the conventions of your designs. What happens to your name in each slide? What is the tone? How do we know that?

Part 2

In pairs, discuss your designs and help each other choose one to refine from Part 1. Incorporate feedback and refine. Place the final page into the collective class presentation for review.

Helvetica Flyers

Following the in-class directions, create a flyer that promotes the movie Helvetica. Instructions in Schedule, W5: Fri 10/6.

Moving Type

Following the in-class directions, create a GIF that makes words move. Instructions in Schedule, W6: Fri 10/13.

Project 2: Booklet

Create a typographic publication using a text from this list.

Requirements


• Must use InDesign
• Front cover with the title and author
• Title page with title and author
• All of the text from the essay
• Footnotes (if relevant)
• Running heads
• Page numbers
• 2+ pull quotes (dividers)
• Colophon with designer credit and year, typeface(s) used, text author and year text originally published, plus ”Printed as part of Design 1A: Typography, Fall 2023. Rutgers MGSA."
• Page count: at least 6 spreads (including the first and last page, not including cover)
  Note: your booklet must have a page count in multiples of 4!
• Use only one typeface for body text, and you are allowed a secondary typeface for running heads/page numbers, and pull quotes as needed.
• Use only type. No images or illustrations, and no drawing images with type!
• Color is allowed, if necessary
• No bleeds

Format options


• (1) 8.5 x 5.5 in. (letter, folded in half), saddle stitched (2 staples). Paper type is up to you.
• (2) 8.5 x 11 in. (letter), side stapled (2 staples). Paper type is up to you.

Typefaces


• Arial
• Adobe Garamond
• Clarendon URW
• Courier
• King’s Caslon
• Times New Roman*
• Century Old Style
• DTL Fleischmann*
• Futura PT
• Akzidenz Grotesk*
• Helvetica Neue*
• Neue Haas Unica
• Univers*
• Franklin Gothic URW

* You can activate all but the ones with stars in Adobe Typekit. The other three can be downloaded here.
Note: If you’d like to use a different typeface, please speak to the instructor to get it considered and potentially approved.

Part 1

• Choose a text from the list and read it thoroughly.
  
  Consider: What is the subject matter? What is the tone of the text? What images or associations does the text bring up? Is the text sparse, dense or in between? When was this piece written and how does it relate to the present moment?


• Record your observations and look for inspiration for your booklet by following the prompts in this presentation.


• Prep work for the near future:
  • Copy and paste your selected text into a new google doc. Have it handy.
  • Download/Activate the typefaces listed above.
  • Make a folder for this project on your computer or Drive.

Part 2

• Watch these recorded demos: Making spread iterations in InDesign + Printing out your work
• Select a format for your booklet (think about this!) and start a new InDesign document.
• Create 10 iterations of a spread using any section of your text. Print these out. With pencil and small, write on the top right of every spread: typeface, point size, and leading (see reference images for this here). Bring the printouts to class and be ready to present your work and speak to your decisions regarding chosen format, grids, margins, typefaces, size, leading, headers and footers, page numbers, etc.
  

Part 3

Considering class feedback, select one design system from last week to use and push further. Make adjustments as needed and layout your entire text. This will take up multiple spreads. Start on a right hand-side page and see where things end (will depend on the length of your text and your design system). Come to class with a packaged InDesign file: we will continue this work in class and check in 1-on-1 on your progress. (No printing needed.)

Part 4

• Continue to work on your text spreads, incorporating feeback. Keep packaging and bringing your files to class as you go. Print 1 spread of your booklet to bring to class (Just one, as a sample! So we can pin it up with the pull quote spreads below and see how they go together!).


• Design 2 to 4 pull quote spreads (this is a chance for your publication to feel more expressive!) Print these out and bring to class. Be ready to speak to your designs.
  • You do not need page numbers or running heads in these spreads but they should still feel in the same world as your book
  • Play with type here however you see fit, using Illustrator, InDesign, and/or Photoshop but avoid making illustrations with type (remember, that is not allowed in this assignment!)
  • See references for inspiration here (credit: Sasha Portis)

Part 5

• Incorporating feedback from last class, continue to refine your text and pull quote spreads. Combine everything together and decide on the sequencing of the booklet (where should the pull quote spreads go?).
• Design the title and colophon pages
• Review this Typesetting checklist and make sure you're covering everything there
• Make sure your page count is a multiple of 4 (learn why here)
• Print all spreads as a booklet, order the pages, and bring them to class (no binding!)

Part 6

• Continue to finesse your booklet and have your latest InDesign file handy for class as usual.
• Design 3 directions for a cover (remember, using just type, no images). Export as JPGs and upload to this collective class presentation for review.
  Note: you are not required to design a back cover, but if you can if you want to! Print and bring to class with your covers, if this applies.
• Start thinking about paper stock for your booklet... do you want it to be other than the default? This isn’t required, but if you’d like to do it, this is the time to start looking for paper and testing things out. Note: you must check and confirm that the paper you choose is laser jet safe!

Part 7

• Continue to finesse your inside pages.
• Commit to a final cover direction and finalize it.
• Export a PDF of your entire booklet (cover + inside pages) as spreads, and save to your class Drive (W13 folder) by Fri 12/1 at 10:20 am. Luiza will send feedback notes via email.

Part 8

• The final step! Print your entire booklet, put it together, and staple. Bring it to class.
  Note: if you’re going with format (1), here are instructions on how to staple your booklet. If you’re going with format (2), use 2 staples on the left side of your pages to bind, like this.
• In addition, export a PDF of your booklet (cover + inside pages) and upload it to the class Drive (W14 folder).

Project resources and links

• InDesign tips: here and here
• Booklet setup before printing, format (1)
• Print booklet video tutorial
• Override parent page items

Copying

Find a physical book or periodical that is at least 10 years old and interests you. Research to understand as much as you can about it including who designed it, when it was made, how it was produced, what you find special about it, and more.

Choose a complex spread that contains many type elements (header, subhead, body copy, captions, page numbers, etc.). Using InDesign, create an exact replica of it. Use a ruler or measuring tape to find the publication's trim size and make your pages match in size. Research to find the typeface used or one that resembles it closely. Pay attention to leading, tracking, alignment, and margins. Print your work out as you go to see if things look the same. When done, print out your, trim, and fold.

Bring to class your publication (or a picture of it) and the designed spread. Be prepared to talk about your research and process for the project.

Project 3: Bookmark

It's hard to read books in one sitting. Bookmarks allow us to hold our place so we can come back to read again. Yet bookmarks aren't only functional…they can be publications within themselves, with images, drawings, instructions, information, poetry, and more.

For this assignment, create a bookmark that is specific to (or inspired by) a class peer’s Project 2: Booklet. Produce an edition of multiple copies (1 for everyone in the class + 1 for yourself = 18 copies).

Format: Size and materials are up to you!

Part 1

Connect with your commissioner (your class peer) to learn about their booklet. Take note of what the booklet addresses and how it addresses its theme. How is the booklet designed? What are its formal gestures? What kind of content does it contain? Who are the authors? Find out as much information as you can as it will inform your bookmark design.

Part 2

Come up with 2–3 bookmark ideas and sketch out your thoughts. Print things out! Consider format and materiality. Bring your explorations to class.

Part 3

Produce your edition of bookmarks and bring them to class.