Click here to read notes on Whitespace, Contrast + Balance.
Click here to see examples of print ads that employ white space techniques.
Saturday, November 6, 2010
Room to Breathe: Whitespace, Contrast + Balance
Click here to read notes on Whitespace, Contrast + Balance.
Click here to see examples of print ads that employ white space techniques.
Friday, November 5, 2010
Banksy Was Here
The invisible man of graffiti art.
by Lauren Collins, New Yorker Magazine, May 2007
Visit Banky's website at: www.banksy.co.uk
“Show Me the Monet,” spray-paint and oil on canvas. Denise James, a project officer with the anti-graffiti organization Bristol Clean & Green, calls Bristol “the graffiti capital of England,” but admits a grudging affection for Banksy. “I like the one where he’s got a picture of a stream and a bridge and he’s just dumped a shopping trolley in there,” she told Lauren Collins, referring to this image in the style of Monet. “I can relate to that, because we’ve got a problem with shopping trolleys.”
Whoever he is, Banksy revels in the incongruities of his persona. “The art world is the biggest joke going,” he has said. “It’s a rest home for the overprivileged, the pretentious, and the weak.” Although he once declared that “every other type of art compared to graffiti is a step down,” in recent years he has produced his share of traditional works on canvas and on paper, suitable for hanging indoors, above a couch. His gallerist in London, Steve Lazarides, maintains a warm relationship with Sotheby’s, authenticating Banksy pieces that the house offers for auction, and thereby giving Banksy’s tacit endorsement of their sale on the secondary market. In February, Sotheby’s presented seven works by Banksy in a sale of contemporary art. “Bombing Middle England” (2001), an acrylic-and-spray-paint stencil on canvas, featuring a trio of retirees playing boules with live shells, was estimated to bring between sixty and a hundred thousand dollars. It sold for two hundred thousand. (“Bombing” is slang for writing graffiti.) Last month, a painting titled “Space Girl and Bird” sold at Bonham’s for five hundred and seventy-five thousand, a Banksy record. Ralph Taylor, a specialist in the Sotheby’s contemporary-art department, said of Banksy, “He is the quickest-growing artist anyone has ever seen of all time.” Banksy responded to the Sotheby’s sale by posting a painting on his Web site. It featured an auctioneer presiding over a crowd of rapt bidders, with the caption “I can’t believe you morons actually buy this shit.”
Read the full article by clicking here.
by Lauren Collins, New Yorker Magazine, May 2007
Visit Banky's website at: www.banksy.co.uk
“Show Me the Monet,” spray-paint and oil on canvas. Denise James, a project officer with the anti-graffiti organization Bristol Clean & Green, calls Bristol “the graffiti capital of England,” but admits a grudging affection for Banksy. “I like the one where he’s got a picture of a stream and a bridge and he’s just dumped a shopping trolley in there,” she told Lauren Collins, referring to this image in the style of Monet. “I can relate to that, because we’ve got a problem with shopping trolleys.”
Whoever he is, Banksy revels in the incongruities of his persona. “The art world is the biggest joke going,” he has said. “It’s a rest home for the overprivileged, the pretentious, and the weak.” Although he once declared that “every other type of art compared to graffiti is a step down,” in recent years he has produced his share of traditional works on canvas and on paper, suitable for hanging indoors, above a couch. His gallerist in London, Steve Lazarides, maintains a warm relationship with Sotheby’s, authenticating Banksy pieces that the house offers for auction, and thereby giving Banksy’s tacit endorsement of their sale on the secondary market. In February, Sotheby’s presented seven works by Banksy in a sale of contemporary art. “Bombing Middle England” (2001), an acrylic-and-spray-paint stencil on canvas, featuring a trio of retirees playing boules with live shells, was estimated to bring between sixty and a hundred thousand dollars. It sold for two hundred thousand. (“Bombing” is slang for writing graffiti.) Last month, a painting titled “Space Girl and Bird” sold at Bonham’s for five hundred and seventy-five thousand, a Banksy record. Ralph Taylor, a specialist in the Sotheby’s contemporary-art department, said of Banksy, “He is the quickest-growing artist anyone has ever seen of all time.” Banksy responded to the Sotheby’s sale by posting a painting on his Web site. It featured an auctioneer presiding over a crowd of rapt bidders, with the caption “I can’t believe you morons actually buy this shit.”
Read the full article by clicking here.
Tuesday, November 2, 2010
About MDIA 1069 - Layout & Adobe InDesign
With Adobe InDesign students will create designs using tools that enable free-flowing expression with fine control over graphics, typography, color, transparency, effects and placed images. The course will concentrate on InDesign’s graphic user interface, page layout and design and InDesign’s typographic features. The course will cover the anatomy of type, serif and sans serif fonts, OpenType and Glyph characters and design and layout principles including; InDesign grids, columns, balanced ragged settings, image placement, white space and overall page design. Students will also learn how to catch production errors as they design with real-time pre-flighting instead of flagging them at the endjavascript:void(0) of the design process.
Helvetica turns 50!
The ubiquitous sans serif font celebrates it's 50th birthday in 2006. To honor the great typeface director and producer Gary Hustwit created Helvetica, A Documentary Film. It opened to a packed house this week (March 17) at the South by Southwest Film Festival in Austin and will tour around the world. Hustwit brings together renowned designers to talk about their work, the creative process, and the choices behind their use of type. In doing this he delves into the history of graphic design.
Click here to visit the web site of Helvetica: A Documentary Film, by Gary Hustwit. Make sure you look at the clips.
Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which is celebrating its 50th birthday this year) as part of a larger conversation about the way type affects our lives. Helvetica will screen at film festivals, museums, design conferences, and cinemas worldwide, followed by the DVD release this fall.
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Helvetica (shown in red) was developed by Max Miedinger for the Haas Type Foundry in 1957 and by the early 1960s became part of the worldwide craze for Swiss design and the International Style. Arial (shown in blue) came into being as desktop computers were developed by designers at Microsoft in 1982. Is one of these fonts more attractive and more legible than the other? Although designers certainly get passionate about the topic (almost always siding with Helvetica) Arial is now a common system font and is often the default for web pages. Perhaps the better choice for on screen viewing is Tahoma (shown in violet) which was designed by Matthew Carter for Microsoft in 1996. It has a larger x-height, more narrow shape and tighter letter spacing making it an attractive on screen font.
Saturday, October 30, 2010
Project 1 Instructions, version 2 - MDIA 1069
Please do the following:
- Read Chapters 1 & 4 in textbook
This project is due no later than Tuesday, November 9.
Create the page to these dimensions:
- 9.75 x 12.5 bleed (put the bleed measurements at the end in “More Options” - bleed)
- 9.25 x 12 trim (overall final page size)
- 8.5 X 11 live area (this is the area that you keep text and images within the margins, the top and bottom margin area will different from originals)
Choose a new image for the document, and have it fit the theme “Beyond Imagination.”
Change the document colours, use 2 colours maximum, and make them work harmoniously with your photograph.
Choose your own font(s). Never use more than two fonts within one document.
Maintain the same layout and size dimensions of all text and photos.
In order to make your pull-out quote push the text outside of it, use the “Wraparound bounding box.”
Wrap text around objects
You can wrap text around any object, including text frames, imported images, and objects you draw in InDesign. When you apply a text wrap to an object, InDesign creates a boundary around the object that repels text. The object that text wraps around is called the wrap object. Text wrap is also referred to as runaround text.
Keep in mind that text wrap options apply to the object being wrapped, not the text itself. Any change to the wrap boundary will remain if you move the wrap object near a different text frame.
For a video tutorial on using text wrap, see www.adobe.com/go/lrvid4280_id.
InDesign Magazine provides an article about text wrap at Take Control of Text Wrap.
Use InDesign help to find out how this works. You may also need to use InDesign Help (or textbook) to find out how to use “Arrange.”
Arrange objects in a stack
Overlapping objects are stacked in the order in which they are created or imported. You can use the Arrange submenu to change the stacking order of objects.
The Layers panel also helps determine the stacking order of objects. The order of each layer in the Layers panel determines whether objects in a layer appear in front of or behind objects on other layers. The order of objects within each layer determines the stacking order of those objects within that layer. You can drag the objects within a layer or use the Object > Arrange menu commands to control stacking within each layer. If you haven’t created any layers, your document contains just one stack of objects on the single default layer. Objects on masters exist at the back of each named layer.
Note: Grouping objects might change their stacking order (in relation to ungrouped objects).
Select the object you want to move forwards or backwards in a stack.
Do any of the following:
To move a selected object to the front or back of a stack, choose either Object > Arrange > Bring to Front or Object > Arrange > Send to Back.
To move a selected object forward or backward past the next object in a stack, choose either Object > Arrange > Bring Forward or Object > Arrange > Send Backward.
In the Layers panel, click the disclosure triangle next to a layer, and then drag objects within the layer to change their stacking order.
Please save to your home folder so you have access to all files at the beginning of next class. Refer to
