Adobe Indesign 2 - Workshop 3
In this workshop, I learned how to set up Multiple Master Sheets, Starting page numbers on specific pages, Drop Caps, Dynamic spelling and the difference between Font and Typeface. Although I was already familiar with how to set up multiple master sheets, drop caps and dynamic spelling, surprisingly I did not know how to set page numbers from specific pages. Quite embarrassingly enough, I did not know the difference between Font and Typeface.
Easy way to remember this is, type*face* - the face of the whole range of fonts. All the fonts in that typeface have the same name, just different weights. And then obviously that leaves fonts to be the individual cuts of the typeface.
Now the difference between font and typeface is:
A really good reason for setting up multiple master pages in InDesign is when a designer wants to create a different layout design for every page/double-page spread. This enables the overall design to interest the consumer into continuing through the said book or magazine.
Here is how you set-up the page numbers to start from a specific page:
Right-click on the pages and click on 'Numbering & Section Options...' and then choose the page number you wish to start the 1st marker at under 'Start Page Numbering at:'.
Since the University of Huddersfield has a new Creative Art's building named after the legendary sculpture Barbara Hepworth, I was assigned two mini briefs. The first one was to create a swiss-style poster for an event (which is not real).
The development of my poster:
I started off with the intention of using 1-2 of Barbara Hepworth's sculptures to recreate a vector shape because of how natural and organic the shapes of her sculptures are. Unfortunately, it did not work as well as I had anticipated it would and so I continued to develop my ideas.
For all of these posters, I used a 3 column grid. The reason I used a 3 column grid was that I wanted to have the heading, subheading and body text in two of the columns using the third column primarily for negative space due to the fact that the swiss style is really great at using negative space. My final outcome, therefore, showed the arches, which represented open doors to this event as well as symbolising the beautiful work that Hepworth has created. If you look closely, the letter B and the letter H are in there as well, unintentionally created of course, but when I noticed I quite shook myself. Try to spot it! I ended up using a two-column grid for this design because I knew that I was trying to do too much and fit too much information in a small space when I had the whole poster to play with. The red highlights were used with the intention to grab the attention of a viewer at the key pieces of information. The hierarchy of the font was extremely important and in this case, I went for Helvetica Bold 63pt for the heading, Helvetica Oblique 18pt for the quote and for the introduction I used Helvetica Bold 18pt. For the contact information at the bottom, I used Helvetica Oblique, Regular and Bold Oblique 14pt for highlighting the key information. The date in the middle is in Helvetica Bold 20pt. The combination of yellow and red were used because they compliment each other but also reflect Hepworth's passion for her work and her intelligence.
This was the final outcome:
In this mini brief, I was asked to create a magazine spread using photography and text - inspired by Barbra Hepworth's sculptures.
I started off by looking at some references to gain a good understanding of how typography and photography interact on a page. I started to draw some quick scamps which I would then recreate onto InDesign. A lot of the scamps that I tried just did not justify my vision for the page however, I tried doing something that I did not scamp originally which worked far better.
The spontaneity of this is extremely important as a designer because sometimes pen to paper ideas might not work and it requires playing around with different images to stumble upon a design that really does work. The use of black and white in the magazine sets it apart completely from the poster design which I love. The magazine has been designed in black and white because less is more and the simplicity in Hepworth's work is beautiful and mesmerizing.
This was the final outcome: