Brief 01 - Yearbook - Student Pages Layouts

After combining the layouts together, I checked to ensure constancy across them all.

This included:
- Student name titles in Latin Modern Roman Bold 16pt
- Body copy at contact info in Helvetica Neue 1pt, with 15pt leading
- 3mm bleed on images
- Image positioning
- 132 pages structure:
   - pg 1 - Welcome - ethos
   - pg 2-3 - Contents
   - pg 4-5  - Essay - andy
   - pg 6-121 - 58 x Student double page spreads
   - pg- 122-129 - 4 x Special Projects double page spreads
   - pg 130-131 - Thanks
   - pg 132 - Touring to: (Exhibition Info.)

The special projects can be allocated to different places within the yearbook, but for now I have just put them at them after the student pages. The rest of the pages will stay in this order.

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Pam & Jenny

Pam&Jenny

Brief 01 - Student Layout - Amendments

After receiving feedback from the FA team regarding the various layouts for each student spread, they printed them out and gave us a selection of what they felt worked best and gave us some amendments to make.

Here is the feedback and comments I received for the chosen layouts for each student:

Adam Jenkins -
(text as other instructions)

Anamaria Marzec-Smith -
(text as others)

Alice De Courcey Wheeler -
(move paintings together towards the right - as mocked up)

Annie Driver -

Elizabeth Trainer -

Christiana Bell -

Calum Paterson -

Emma Mort -

Alison Button -

Jenna Watt -

Joe Lang -

Khadija Akhtar -

Bronwen Baynes -

Christopher Frietag -
(new image to be supplied - layout same as Tristan Mills)

I selected these layouts in InDesign, into a new document, made the above amendments and exchanged the dummy text to their actual statements and contact details. There are a few widows within some of the statements, however we will address this once the rest of my team have changed their layouts. I also need to change the images form RGB to CMYK and address any problems that this may cause. If so, I will need to let Fine Art know.

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I am still waiting on:
- Sameena Azaam's photos, statement and contact details
- Khadijia Akhtar's statement and contact details
- Christopher Frietag - new image

Alexey Brodovitch

Alexey Brodovitch was an influential editorial designer in the 50's, I particularly like the way in which he manipulates the form and shape between the image and text.

Alexey brodovitch was an artist, graphic designer and photographer. However, he was most famous for his art direction, primarily for the magazine Harpers Bazaar. He was a aesthetic entity whose permanent influence was perceived along the entire visual arts. His style of combining elegantly set typography with new and experimental trends in photography became widely popular in the 1940's and 50's, helping to keep the magazine at the forefront of its field in a swiftly changing world.


''Brodovitch was the first art director to integrate image and text. Most american magazines at that time used 
text and illustration seperately, dividing them by wide white margins. Brodovitch cropped his photograhps, often off-center, brought them to the edge of the page, integrated them in the whole. He used his images as a frozen moment in time and often worked with succeeding pages to create a nice flow trough the entire magazine. This brought a new dynamism in fashion layouts.


The typeface he preferred was Bodoni, but when needed he switched to Stencil, Typewriter or a script. He matched the typeface with the feeling or with the need for an appropiate effect. Legibility was not his primary concern.

His layouts are easily recognized by his generous use of white space. Colleagues at other magazines saw his sparse designs as truly elegant, but a waste of valuable space.''


AlexeyBrodovitch

This spread from 1935 shows the integration of all graphic elements. Brodovitch accentuates the fluidity and movement of the images by using repetition and diagonal and horizontal stress. He uses the contacts like frames from a film and creates the illusion of movement and spontaneity across the left-hand page. The strips of film overflow onto the opposing page, as if the dancers have twirled across the spine of the magazine. The enlargement on the right-hand page depicts the grand finale of this dance numer.

Following the idea I had about using the fitting technique of the garments and the facts that they accentuate the female figure could be adapt to the style of the cookbook e.g with the curve of the text:

 This idea could also work across typeface,  I used the hourglass curves of the female figure to came up with this typeface idea, this could be developed through changing weights.

Brief 01 - Student Layout - Changes and additions

Students Emma Mort and Joe Lang submitted alternative images after re-photographing their work.
There is also the addition of Khadija Akhtar.

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Brief 01 - Student Pages Layout Changes

To make the pages more consistent, the FA team liked the use of the line (separating the name and statement) but to use it at the same level on each page, however still allowing for the text to be slid across to where it bets sit sin the composition. The layout they were most happy with was the Annie Driver one as the line really seemed to add to and work well with the composition. This gave us a basis to work from for the rest of the layouts:

Here are the specifications that we are working to:

Grid:

- 210 x 210 mm format

- 12 collumn 3mm gutters

- 12 row 3mm gutters

- Margins: top-5mm, bottom-5mm, inside-10mm, outside-5mm

Name/Head:

- Latin Modern Roman Bold 14pt

- third row down

Body:

- Helvetica Neue Light 10pt with 14pt leading

- left aligned to same collumn point as Name

- 4 collumn width

Stroke/Line:

- same place on each layout page

- directly between title and body text

- 0.25pt

Contact Info:

- Latin Modern Roman Regular 12pt with 16pt leading

- bottom row

-left aligned to same collumn point as name and body text

 I made the following changes to each layout, consider the FA feedback:

Adam Jenkins -

They thought this layout worked well but they also wanted to see the largest image on the right hand side on it's own, as they felt it was enough to showed who he is as an artist. The contact info move to the bottom

Alice Wheeler -

They were really happy with this layout. The name and statement need to be adjusted to the same level as the Annie Driver layout, also move the contact info to the bottom.

Alison Button -

Works really well with the close up image as the large one (detail), but seems too busy with 3 images, just use the close up and then one of the structure forms (keep the top right) and then adjust the info to the right level with the line.

Anamaria Mazec-Smith -

This was the longest name, but to get it to sit right within the four columns it had to be brought down from 16pt to 14pt, therefore I have changed the rest of the name heading to 14pt too. This also needs to be brought up to the right line level. They didn't like the 3 images as they felt they were all very different and where fighting for attention. They suggested using the centre image as a large one on its own as it was the most striking.

Annie Driver - 

Change head/name point size to 14pt

Calum Paterson - 

Again they said the image were too busy and suggested using the centre, grey image alone would portray the artist well.

Christiana Bell -

They were happy with this layout. Contact info needs moving down to bottom of grid.

Christopher Frietag -
They weren't sure about this grid as they were;t happy with the large image and felt it was strong enough to portray him, they said they would speak to the student and get him to send more photographs. But in the mean time said to get rid of the large image and use the lego block image as the large image, and the sourcing image as a small supporting image. The info needs moving down to line level.

Elizabeth Trainer -
Get rid of sketch, just use photograph of clay alone and large. Move info to line level and contact details to bottom.

Emma Mort -
Use grey, pin image alone as a large image over one page to the other. The brightness may need adjusting as it is quite dark, or another photograph may need to be taken. The info needs moving to line level and the contact info to the bottom of the info collum.

Jenna Watt -
Use two images rather than the three (more effective) large scale touching the edges of the page and no gap between the two image. Move info to line level and contact details to bottom of grid.

Joe Lang -
They said the 3 images he had supplied us with were not adequate as they were photographs of old work, and they are all very different pieces of work. However they said they would speak to him about this and ask what he would prefer to use. For the mean time they said to use the large image on its own. Also the info needs moving to line level and the contact details to the bottom of the grid.


Here are the various layouts for each student with the above changes, which we will show to FA and ask which they think work best:

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Brief 01 - Yearbook - Student Pages Layouts

Here is one about for each student that I felt worked the best in terms of composition and effectiveness.
I will be showing these layouts at the Fine Art meeting on monday to get some feedback.

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Thumbnails of the layouts so they can be seen as a whole:

Brief 01 - Yearbook - Student Pages Layouts

Layout ideas for the following 12 students - playing around with composition and scale:

Grid Specifications:

210 x 210 mm format
12 collumns, 3mm gutter
12 rows, 3mm gutter
Margins: top-5mm, bottom-5mm, inside-10mm, outside-5mm


Adam Jenkins

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Alice Wheeler

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Alison Button

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Anamaria Marzec Smith

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Annie Driver

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Calum Paterson

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Christiana Bell

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Christopher Frietag

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Elizabeth Trainer

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Emma Mort

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Jenna Watt

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Joe Lang

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Information Graphics

 Anatomy of a Cupcake by Small Batch

14 Surprising Facts About Beer by Belancio

Taxonomy of Teas by Wendy Chan

Jorge León

www.leonjorge.com

Cycling posters - 

These work really well as a set. They use black and white photography and a different spot colour in various shapes for each one, to represent the cyclist, and the order of which they came. The layout has also been kept consistent.