Chu – Final Post

Graphics 217 was an extremely enjoyable and fun class for me. I believe that the knowledge I have gained from this class will definitely be useful for me in the long run. Before taking this class, I had no exposure to InDesign, Illustrator and Photoshop. Through hours of practice and use of the applications, I have become comfortable and familiar with using these advanced programs. It certainly feels good to know that I can now put all these programs into my resume and to teach people how to use these programs. I really like learning about all the different aspects of graphic design. I believe that it is extremely important for anyone in my generation to know how to use these programs because it is a technological tool that is very powerful and useful. Although the class required a lot of time to complete a project, the end result was satisfying and I am proud of the work I have produced.

My favorite project is the magazine project. I liked doing this project because I felt that I had the knowledge of using the programs to do the project well. I was able to take and transform an image in photoshop, create illustrations on Illustrator and organize content in InDesign. The project required me to use all the skills I have learned from the class and incorporate them into the design of my magazine. It was fun playing with a story on Lebron James and creating a magazine that was reflective of a sports magazine.

One thing that I would change for future students is to have the powerpoint presentations from class to be posted on BlackBoard for reference. I feel that there is so much information to learn about graphic design that there is not enough time for me to remember everything from one class. I would like to be able to go back and look at the slides to be able to digest everything from class.

This class has changed the way I look at print and online media. It has made me become more interested in learning about graphic design in the future.  We all live in a digital and visual world. Graphics 217 has given me a lens to look at the world differently. I can now intelligently interpret and critique designs that are seen in posters, logos, magazines, signs, etc.

Zaki – Final Post

Since final projects are due on Tuesday, it is only fitting to reflect on the semester.

I have to say that I have a whole new appreciation for the graphic arts.  I think the most valuable thing I learned was how to communicate with a graphic designer.  As an advertising major, I’ve never had to fully execute my ideas before until this class.  It was frustrating to have such a interesting and exciting concept but not be able express it visually.  Learning to work around the limits of my knowledge of the computer programs, my own skill, and of course, a deadline was challenging.  At least now I can explain my ideas clearly to a graphic or communication designer.

I think my favorite project was the poster project.  I really enjoyed that project because by that time I had a better handle on the computer software and it related to my major.  I also think that I really like my topic.  Working with “princesses” and the zoo was awesome and fun.

I think the one thing I wish you could change would be to keep the labs open 24/7 all year round.  I know I sound crazy, but I usually would get kicked and need more time.

Overall, I enjoyed the class.

Searls – Magazine Project – Post 10

Reid Searls
Rationale
Project 4: Magazine Design
19 April 2011

Design Strategy:
In choosing an article for this project, I had to keep in mind the limitations of image sources. I knew I probably wouldn’t be able to take my own photographs or create all of my own graphics, so I had to think of an article that would lend itself to a design created using mostly found images. My next struggle, after finding an adequate article, was coming up with a cover story. The article I chose was not about a person, rather it was about objects – records and cassettes. This made it both easier and more difficult in various ways. It was easier in that I had many more options to choose from and wasn’t limited by finding the perfect portrait of a person. On the other hand, I had a myriad of cover choices and I needed to find one that was relatable and relevant. In the end, I chose a still from 2001: A Space Odyssey because I felt it represented the feel of my magazine – a sort of pop culture magazine that drew from the past, but still talked about current issues and themes. The magazine ended up with a retro feel to it (largely due to the article I chose) with a tinge of indie spirit per se.

Style Sheet:
Magazine title: Adobe Garamond Pro Bold, 185 pt./222; no kerning
“10” (Headline): Avenir 95 Black, 54 pt./26; kerned
“Tips” (Headline): Avenir 95 Black, 40.5 pt./26; no kerning
“for” (Headline): Avenir 95 Black, 26.1 pt./26.1; no kerning
“Record” (Headline): Avenir 95 Black, 40.5 pt./35.1; no kerning
“Store Day” (Headline): Avenir 95 Black, 40.5 pt./49.5; no kerning
“Grammys” (Headline): Adobe Garamond Pro Bold, 55 pt./25; no kerning
“make” (Headline):  Adobe Garamond Pro Bold, 31 pt./30; no kerning
“Drastic” “uts” (Cuts) (Headline):  Adobe Garamond Pro Bold, 48 pt./30; no kerning
“C” (Cuts) (Headline):  Adobe Garamond Pro Bold, 54 pt./30; no kerning
“to” (Headline):  Adobe Garamond Pro Bold, 33 pt./0; no kerning
“C” (Categories) (Headline):  Adobe Garamond Pro Bold, 56 pt./25; no kerning
“ategories” (Categories) (Headline):  Adobe Garamond Pro Bold, 52 pt./25; no kerning
“The Return” (Headline):  Adobe Garamond Pro Bold, 79 pt./40; no kerning
“of” (Headline):  Adobe Garamond Pro Bold, 44 pt./74; no kerning
“Retro” (Headline):  Adobe Garamond Pro Bold, 79 pt./13; no kerning
Issue # and date: Adobe Garamond Pro Bold, 14 pt./16.8; no kerning

“They’re” (Article title):  Adobe Garamond Pro Bold, 120.7 pt./73.1; no kerning
“makin’ a” (Article title):  Adobe Garamond Pro Bold, 120.7 pt./79.1; no kerning
“comeback”  (Article title):  Adobe Garamond Pro Bold, 120.7 pt./56.1; no kerning

“The” (Deck head):  Adobe Garamond Pro Bold, 79 pt./63; no kerning
“Return” (Deck head):  Adobe Garamond Pro Bold, 98 pt./29; no kerning
“of” (Deck head):  Adobe Garamond Pro Bold, 65 pt./29; no kerning
“V” (Vinyl) (Deck head):  Adobe Garamond Pro Bold, 97 pt./42; kerned
“inyl” (Vinyl) (Deck head):  Adobe Garamond Pro Bold, 88 pt./42; kerned
“&” (Deck head):  Adobe Garamond Pro Bold, 139 pt./42; kerned
“C” (Cassettes) (Deck head):  Adobe Garamond Pro Bold, 128 pt./58; kerned
“assettes” (Cassettes) (Deck head):  Adobe Garamond Pro Bold, 79 pt./58; kerned
Byline: Adobe Garamond Pro Bold, 22 pt./26.4; no kerning
First paragraph body copy: Avenir 55 Roman, 13.5 pt./16.2; no kerning
Jump spread body copy: Avenir 55 Roman, 10.65 pt./12.78; no kerning

Sidebar (right) title: Adobe Garamond Pro Bold, 22.38 pt./12.78; no kerning
Sidebar (right) subtitles: Adobe Garamond Pro Bold, 14 pt./16.8; no kerning
Sidebar (right) body copy: Adobe Garamond Pro Regular, 9 pt./10.8; no kerning

Pull quote: Adobe Garamond Pro Bold, 19.1 pt./23; no kerning

“Top” and “inyls” (Vinyls) (sidebar bottom): Adobe Garamond Pro Bold, 42.3 pt./25.9; no kerning
“5” and “V” (Vinyls) (sidebar bottom): Adobe Garamond Pro Bold, 51.7 pt./25.9; no kerning
“inyls” (Vinyls) (sidebar bottom): Adobe Garamond Pro Bold, 42.3 pt/25.9; kerned
“of” (sidebar bottom): Adobe Garamond Pro Bold, 34.1 pt./32.9; kerned
“2010” (sidebar bottom, left): Adobe Garamond Pro Bold, 48.2 pt./32.9; kerned
Numbers (sidebar bottom): Adobe Garamond Pro Bold, 51.7 pt./25.9; no kerning
“2.8” (sidebar bottom): Adobe Garamond Pro Bold, 36.6 pt./32.6; kerned
“million” (sidebar bottom): Adobe Garamond Pro Bold, 33.1 pt./16.5; kerned
“V” (Vinyls) (sidebar bottom): Adobe Garamond Pro Bold, 40.2 pt./21.3; no kerning
“inyls” (Vinyls) (sidebar bottom): Adobe Garamond Pro Bold, 33.1 pt./21.3; kerned
“sold” (sidebar bottom): Adobe Garamond Pro Bold, 30.9 pt./22.4; no kerning
“in” (sidebar bottom): Adobe Garamond Pro Bold, 29.3 pt./22.4; no kerning
“2010” (sidebar bottom, right): Adobe Garamond Pro Bold, 33.7 pt./23; kerned
Band names and album titles (sidebar bottom): Adobe Garamond Pro Bold, 13.7 pt./16.4; no kerning

“Records” (folio): Adobe Garamond Pro Bold, 10 pt./12; no kerning
“•” (folio): Adobe Garamond Pro Bold, 13 pt./15.6; no kerning
Page number (folio): Adobe Garamond Pro Bold, 12 pt./14.4; no kerning

Choice of typefaces: I only use two typefaces in the entire magazine design because I wanted to keep a consistent feel. Adobe Garamond Pro had that retro, older feeling that goes along with the magazine image. Also, its relatively low contrast in stroke widths gives it some versatility when creating headlines and titles. For the body copy I used Avenir because it’s easy to read and gives the magazine that sense of modernity in what its saying, while still tying in the past/retro with the Adobe Garamond Titles and pull quote.

Margins:
Top: 2p6            Inside: 2p6
Bottom: 4p0        Outside: 2p5

Visuals:
Cover: The main image for the cover is a screenshot of 2001: A Space Odyssey. It was 1920 x 1080 pixels at 96 dpi. The image was cropped and resized to 8.5 x 11 inches at 150 dpi. This posed some difficulties, because it was a lower quality image. To get around this issue, lines were added on top of the image to make it look like a TV monitor rather than a photograph. An image of a cassette which was taken at 2848 x 4288 pixels at 240 dpi.this image was cropped and resized to fit in the screenshot. I used this combination of images because 2001 conjures images of both past and future – prehistoric and futuristic space travel. And, while this magazine may not be reaching back so far into the past or so far into the future, it draws from a more recent past and a much sooner future with its image and its voice.

Jump spread: The major graphic on the jump spread, an album by The Defnics, was found on the internet at http://www.realmagick.com/the-fragile-vinyl-version/. It was 39.9 x 40.9 inches at 72 dpi and was resized to 19.2 x 19.6 at 150 dpi. I felt this graphic was better suited for the left page of the opening spread than say a large cassette because it provided a nice balance for the right page, which has the title, deck, first paragraph of body, and smaller cassette images. It also keeps the readers’ eyes moving with its circular shape and edge that runs along the side of the title, deck, and first paragraph.

The three cassettes were found at http://www.hyperbate.com/dernier/wp-content/uploads/2008/06/cassette_audio.jpg (left), http://theeniqma.files.wordpress.com/2010/07/basf-cassette-tape.jpg (center), http://www.rajalakshmi.org/stucontrib.html (right). They were found at 7.4 x 4.7 inches at 72 dpi, 11.1 x 7.1 in at 72 dpi, and 35.7 x 23.4 in at 72 dpi respectively. I felt these cassettes helped tie in the cover with the opening spread, since the cover predominatly features a cassette and the opening spread predominatly featured a vinyl record. The article talks about both cassettes and vinyls so I felt that the opening spread needed to show both.

Opening spread: The Beatles’ Abbey Road album cover was found at http://stommel.tamu.edu/~baum/boots/MISC/BEATLES/MFSL/ABBEY_ROAD_MFSL_BOOT/Cover.jpg. It was 13.9 x 13.7 inches at 72 dpi and was resized to 3.34 x 3.30 inches approximately 300 dpi. I included the Beatles’ album cover because it is the best selling LP of all time and continued the image of the magazine as an image of the past. The album covers at the bottom are representative of the present and future of the industry as they are the top selling records of the past year. They were found at (left to right) http://kickinthepeanuts.com/wp-content/uploads/2010/01/beach_house-teen_dream.jpg, http://www.newdust.com/images/innerspeaker.jpg, http://www.thecitrusreport.com/wp-content/uploads/2010/08/385_arcadefire_thesuburbs.jpg, http://www.thecitrusreport.com/wp-content/uploads/2010/05/The-National-High-Violet1.jpg, and http://www.joelambertmastering.com/halcyon.jpg respectively. They were 12.5 x 12. 5 inches at 72 dpi, 20.8 x 20.8 in at 72 dpi, 12.5 x 12.5 in at 72 dpi, 20.8 x 20.8 at 72 dpi, and  21 x 20.8 in at 72 dpi respectively. They were resized to approximately 1.13 x 1.13 inches.

The 3 vinyls in the sidebar were taken from one image at 17.2 x 7.9 in at 72 dpi found at http://www.celinedionforum.com/index.php?showtopic=3585&st=1140. The image was cut into three smaller images and then cropped and resized.

Extras: There is a consisten color scheme throughout the magazine. Starting with the title of the magazine, the muted orange (C=0 M=54 Y=74 K=0) is seen in various places including the opening spread title, a swatch behind the drop cap on the jump spread and the titles in the bottom sidebar. Next is the light blue (C=25 M=1 Y=8 K=0) that is seen in the headline, the deck, and the swatches behind the pull quote and the right sidebar. The third main color is a deep maroon (C=36 M=80 Y=61 K=28). This color is again seen in the headlines as well as being the predominant color in the opening spread and the color of the drop cap, the jump quote, the title of the right sidebar, and the swatch behind the bottom sidebar. These three main colors tie together the magazine and the design. They play off each other and sometimes they are reversed – maroon on orange or orange on maroon or maroon on blue. There is also a hint of yellow that is brought through design primarily through the graphics on the opening and jump spreads and the third headline on the cover. This accent color further enforces the feel of the magazine and unites the cover, the opening spread, and the jump spread.

Wagner- Post 10

Design Strategy:

My magazine, entitled “Glow”, was designed to be a self-help guide for college students and young professionals. I meant it to be a glued magazine because it will have a lot of content including the following: easy recipe guides, ways to save money, a guide to cleaning and fashion advice. My feature story is a “how-to” on being productive and not procrastinating. The biggest challenge I encountered was choosing photos and designing a cover because my article is not about something concrete such as a celebrity. I used at 12 column grid with 1p3 gutters.

Style Sheet:

Cover

Title: American Typewriter Condensed Light, 200 pt, Black

Edition Date: Caecilia LT Std, 75 Bold, 11 pt., Black

Headline: Caecilila LT Std 55 Roman, 30 pt. Black

Deck: Caecilila LT Std 85 Heavy, 30 pt. Black

Secondary Story Line 1: Caecilila LT Std 18 pt.

Secondary Story Line 2: Caecilila LT Std 18 pt.

Secondary Story Line 3: Caecilila LT Std 18 pt.

Opening Spread:

Headline: Caecilila LT Std  85 Heavy, 100 pt, Black

Deck: Lines 1-2: Folio Std. Light, 50 pt, Grey

Deck Line 3: Caecilila LT Std 75 Bold, 32 pt, kearned, C: 14.68, M: 56.04, Y: 45.41, K: .17

By Line: Folio Std. Light, 9 pt., grey

Jump Spread:

Body Copy Titles: Folio Std. Light, 14 pt., C: 14.68, M: 56.04, Y: 45.41, K: .17

Body Copy: Times New Roman Regular, 9.9 pt, 11pt leading, Black

Sidebar:

“5”: Folio Std. Medium, 80 pt. C: 53.98, M: 11.49, Y:100, K:.23

Sidebar Headline: Folio Std. Medium, 24 pt., C: 19.36, M: 92.04, Y: 100, K: 9.76

Sidebar body copy: Folio Std. Light, 9 pt., Black

All Folios: Caecilia LT Std Medium, 8 pt.

I chose American Typewriter for the title of my magazine and Caecilia for the main headline and secondary story headlines because they are similar, but I felt that American Typewriter was more eye-catching for the title. Caeciila incliudes a very expansive typeface family so I thought it was a more practical typeface for other components of my design. I used Folio as a contrasting sans serif because it fit with American Typewriter and Caecilia in terms of modern style. I used Times New Roman for my body copy because I thought it was easy to read and wouldn’t distract the reader from the rest of my design.

Margins:

Cover:

Top Margin: 2p6

Left Margin: 8p4

Right Margin: 7p9

Bottom Margin: 7p7

Opening Spread:

Top Margin: 3p9

Left Margin: 3p2

Right Margin: 1p5

Bottom Margin: 15p2

Jump Spread:

Top Margin: 2p7

Outside Margins: 4p

Inside Margins: 4p

Bottom Margin: 4p5

Visuals:

Stacks of papers:

http://rm.awarenessnetworks.com/7624487492606600256.jpg     1500×1654

Girl at Computer:

http://1.bp.blogspot.com/_l0bkUOvkEKo/TBcRH5TApZI/AAAAAAAAATQ/lxUEeaeAmAI/s1600/Girl+at+Computer.jpg     1600×1063

Alarm Clock:

http://www.thetechscoop.net/wp-content/uploads/2010/11/alarm-clock.jpg     1500×2000

Apple:

http://www.3dvalley.com/tutorialsdata/tut3_apple.jpg     1976×1536

Eggplant:

http://www.pachd.com/free-images/food-images/eggplant-01.jpg     1024×768

Egg:

http://thedamnsel.com/journal/tag/16-and-pregnant                     1624×2301

Fish:

http://dnr.wi.gov/fish/images/cohosalmon.jpg     2893×1266

Carrot:

http://thedreamstudy.files.wordpress.com/2010/01/carrot.jpg     1565×962

Sidebar background:

C:9.13 M:11.54 Y:21.74 K:0

Jones – Magazine – Post 10

JonesMagazine02

Rebekah Jones

Magazine Project

Rationale

19 April 2011

Design Strategy:

My magazine aims to merge science and communications through visuals and cataloguing new peer-reviewed work. The magazine is simply called “Earth” because it is about all thing Earth – I strayed away from being overly specify about content or excluding any sort of environmental news or features that may be included. This would be a saddle-stitched magazine as it would be relatively small – a periodical to be released monthly or bimonthly. The article I chose to design is a short scholarly piece about how the Gulf Coast barrier islands, because of so many environmental hazards, are disappearing into the ocean. I wanted to show how the Earth is literally slipping into the ocean – and stress how it is all man’s fault and the natural beings of the world are merely the victims. So juxtaposing the natural with the unnatural became my theme throughout the design.

Choice of typefaces:

I chose Aachen STD for my magazine name and carried the font throughout the design in folios and other subheads. Aachen is a strong, simple font that to me looks both organic and somewhat mechanical – representing the intersection of science and nature which the magazine represents.

I used Cooperplate STD for the headline on the opening spread because it has a very final look to it; the ends of each letters look like edges, which plays on the headline “Ends of the Earth.” I also used this font as the drop cap to begin the story on the jump page. The colors for all of the fonts are pulled from the main image on the opening spread – the blue of the umbrellas to captions and the deckheads, the brown of the oil to the sidebar, headline, drop cap.

I used Trade Gothic STD as the sidebar text to further distinguish the sidebar from the rest of the article. Trade Gothic is easily readable against the red/brown background and doesn’t lose legibility when I lighten it to stand out against the brown I pulled from the oil photograph on the opening spread.

Photo sources:

All of my sources either came from National Geographic photographer Tyrone Turner or the USGS (United States Geological Survey) and are marked as such.  The cover photo came from a GIS image via Earthnow.USGS.gov, which I changed visible bands to make green and blue and give a metallic-looking feel. Since this is an environmental magazine, maps are important and I used them several times throughout my design, all of which came from the USGS.

Extras:

I turned the sidebar into a timeline which would, if I could change the text, highlight the major disasters to strike the gulf in the last 5 years. It worked out well that it counted 5,6,7,8,9,10, too. I wanted to change the arrangement of the years so that the reader’s eye follow easily along the timeline.

 

 

 

 

 

 

 

 

 

 

 

 

 

Margins:

Top: 2 p

Bottom: 5 p

Left: 2 p

Right: 3 p

Gutter: 1.2 picas

Style Sheet:

Cover:

Title: Aachen STD 160 pt

Headlines:

Cooperplate STD 30/70/100 pt

Aachen STD: 16 pt/ 20 pt

Opening Spread:

Headline: Cooperplate STD 50 pt/150 pt

Deckhead: Meridian LD STD: 12 pt

Byline: Cooperplate STD: 12 pt

Jump Spread:

Body Copy: Meridian LD STD: 11 pt/kerned from 0 to 70

Captions: Cooperplate Gothic STD: 9.5 pt/no kerning

Sidebar text: Trade Gothic LT STD: 12 pt/no kerning

Komanecky – Magazine – Post 10

KomaneckyMagazine01

 Design Strategy:

I created a youth triathlon magazine called Kids TRI Harder, and the target audience is youth triathletes ages 6–14. The strategy behind the design of the magazine was to create a fun and up-beat kid friendly magazine that is visually appealing to kids at a young age, as well as those in their early teens. To meet this criteria I created a colorful design for the cover, and continued use of bold colors, throughout the featured article in the magazine. An important aspect of my design was to create a clean, fresh look to the magazine, as well as tying together all the different visual parts of the magazine, such as the folio to the nameplate of the magazine, and colors in the opening spread of the article being used in the jump spread. I used different typefaces, size and color to create informational hierarchy throughout the magazine. Lastly, effective use of visuals and images, color and typeface to work with the grid was key to creating a consistent, clean magazine.

Style Sheet:

Nameplate: Showcard Gothic, 64 pt./76.8, 120 pt./144 black; tracking, vertical scale

Cover headline: Gill Sans Ultra Bold Condensed, 33 pt./33, 28 pt./33, 43 pt./ 43

Cover deck: Gill Sans MT, 14 pt./ 16, baseline shift

Cover headline 2: Gill Sans Ultra Bold Condensed, 29 pt./ 34.8

Header: Gill Sans Ultra Bold Condensed, 76 pt./91.2, 43 pt./ 51.6, 96 pt./115.2; tracking, baseline shift

Deck: Gill Sans MT, bold, 24 pt./26

Byline: Gill Sans MT, bold, 24 pt./26

Body text: Gill Sans MT, 10.5 pt./12.5

Subheaders: Gill Sans Ultra Bold Condensed 18 pt./ 21.6

Captions: Gill Sans MT, 8.5 pt./10

Sidebar: Gill Sans MT, 9.5 pt./11.5

Sidebar header: Gill Sans Ultra Bold Condensed, 24 pt./26

Sidebar deck: Gill Sans MT, bold, 20 pt./24

Pull quote: Gill Sans MT Condensed, 10 pt./12

Folio: Gill Sans MT Condensed, 10 pt./12

Choice of Typefaces:

I used the typeface Showcard Gothic for the nameplate (magazine title) of the magazine because it has a big, bold and fun visual appearance. The other typefaces I used throughout the magazine are san serif, legible, and readable—very suitable for magazine reading. These typefaces include Gills Sans MT (regular and bold), Gill Sans MT Condensed, and Gill Sans Ultra Bold Condensed. I liked using this group of typefaces because of their similar traits, yet strong variations in vertical scale in the Gill Sans MT regular and Gill Sans MT Condensed or Gill Sans Ultra Bold Condensed. These typefaces work with my magazine design to create a fresh, clean look, and visually making it easy for kids to read.

Margins:

Cover:                                                                   Spreads:

Top margin: 2p7                                                Top margin: 3p6

Left margin: 1p6                                               Inner margin: 4p0

Right margin: 1p6                                             Outside margin: 3p6

Bottom margin: 1p9                                        Bottom margin: 5p0

Grid:

Columns: 20p10

Gutter: 1p4

Visuals:

Cover image: size: 57p6.628 x 71p5.861, 150 pixels per inch, source: triathlon.competitor.com

Opening spread image: size: 120p0 x 85p7.68, 150 pixels per inch, source: triathlon.org

Jump spread image (page 4): size: 27p10.033 x 14p5.891, 150 pixels per inch, source: tampabay.com

Jump spread image (page 5): size: 27p8.384 x 26p4.816, 150 pixels per inch, source: flickr.com

Quote image: Made in Photoshop, size: 22p1.2 x 18p3.6, color: C=100, M=80, Y=20, K=0

Sidebar background: Made in InDesign, color: C=100, M=80, Y=20, K=0

Line of dots: Made in InDesign, color: C=100, M=80, Y=20, K=0 and C=0, M=90, Y=77, K=0

Drop cap and sub headers: C=0, M=90, Y=77, K=0

Cover color: C=75, M=60, Y=24, K=5

Caption color: 80% tint of black

Folio color: 80% tint of black, C=53, M=0, Y=100, K=0

UPC: size: 10p0 x 6p9.36, 150 dpi, source: Darren

wang-magazine-post 10