THEORY INTO PRACTICE// Final Indesign Stuff

 This post basically outlines how all of the content I have collected for this project has been fitted together in the publication. The publication in question will be a puzzle book printed on newsprint with the dimensions 289x380mm.

 The front cover was an easy import from the cover that I documented earlier.I made no changes and simply placed the illustrator file into indesign.

 The contents page is new to this blog. It is a simple page with a simplar style to the front cover. There is a reflected ghost image on the left which is in red, easing the transition between the magenta cover to the red themed interior.
 

 I have laid out the page numbers on top of the title in a similar, but not identical, way to the front cover.

 The constructivism page required a few tweaks to fit. I draged the grey box to invade half of the left page, so its didn't drown out the right, cuaseing too much contrast. I aslo added some extra decoration to the design of the puzzle.

Most importantly I added page numbers to cover the page title. This links back to the front cover design again and also allows me to have a layout which flows throughout the publication and doesn't infringe on any of the puzzles. 

 I chose to use Rockwell for the body copy, which fits only one of the 6 columns on the page. I chose to make the copy so slim so that every page would look the same no matter how big the puzzle was. Also I wanted the publication to have more strange design features to set it apart.

The text on the Constructivism page:
 Welcome to the revolution comrade. This may just look like a maze but the red triangle penetrates the white circle with the same fury that the Red Army had when it stormed the Winter Palace in 1917.
Seriously though, the imagery of red triangle intersecting the white circle  is a common theme in constructivist art and design, and the red did represent the rebellious  Bolshevik army, while the white symbolised the ruling Monarchy. Constructivism was a result of a rejection of autonomous art, born on the principles of the newly found socialist Soviet state after the monarchy was crushed. 

 The film theory page demonstrates why I chose to push the body copy right to the corner. This puzzle takes up way more room, and I wanted the book to have some consistent entity, when each puzzle would be so different.
Again this design needed a small amount of shuffling to fit on the page perfectly.

 I also added this giant image of Hitchcock to the back of this page to fill the large amount of white space. I am slightly worried that he makes the smaller illustrations less visible...
This is something I will have to see when the publication is printed. 

The text on the film theory page reads:
Hitchcock is the bossman of modern cinema. On this spread he explains the Kuleshov effect  for your own amusement. Fill in the dotted lines at the foot of each column. Is he a CRAZY, DIRTY or KIND old man? The central image of each is altered, in cinema this would be rolling film, resulting in the viewer feeling differently about the old man depending on the subject he is looking at.

 The Modernism vs Post-Modernism dps takes on a slightly different approach as each page has its own title. I knew that the whole title 'Modernism vs Post-Modernism' wouldn't fit just one page, I also wanted to make the distinction between the two more noticeable. I did, however, only add one page number.

The text on the Modernism side reads:
Modernism; sleek, simple, often beautiful,  sometimes pretty boring. The Modernist style of graphic design was born out of industrial advancement in mass printing in the late 19th and early 20th centuries. Modernists rejected traditional methods and embraced cutting edge technology and social principles. As a result they would create work which suited the print press; clean lines, too the point design with no decoration. Decoration would be unnecessary. The key modernist principle is that form will follow function.

And on the post-modern:
Post-Modernism; out of control design, with an emphasis on the experimental. Post-modernists will use new and old technology and mix various styles to create design with more personality, often neglecting legibility for aesthetics. Here form and function work together to produce decorative work. Post-Modernism is notoriously hard to define becuase it approaches all traditional attitudes and uses them in non-traditional ways.
Some would say that everything created today is post-modern.

The ninth page features a new puzzle, the typeclass game. here the reader will have to link the name of the type class to the example of the typeclass in much the same way that the semiotic puzzle works. This was all worked out and designed in Indesign itself directly into the publication. This is a simple puzzle with a very hard concept behind it.

The text on this page reads:
If you can master this you’re a better man than me. There are literally hundreds of thousands of typefaces for you to choose from and these are only some of the classifications that exist for them. This is the hardest puzzle yet dude, take it easy and cheat with the internet is my advice. You have to link the classification on the left with the name of the typeface on the right, it looks easy and if you did your homework it should be. Otherwise...

 The designers word puzzles were simple to import into the publication, they fit into the grid neatly and I could fit one per page. I also added the question and theory text to the designs. I chose to use clarendon type for the header to add a more scholarly edge. This is the first time I have used this font in the whole publication but I think that the variation in type has already been quite wide.

The body copy on this page reads:
Graphic Design is never about getting rich and famous. However rarely this does actually happen. For some reason or another these following designers have stood out above the rest and become design legends. I don’t know why but you have to learn them, its probably best if you want to avoid awkwardness in the future. 

The names to find in the word search are:
 BRODY
WHITEHURST
BURGERMAN
DAVIS
SAGMEISTER
MOROSS
CARSON
SPIEKERMANN
JACKSON

 The questions for the crossword fit into the grid underneath the image neatly. They ask:
1 DOWN : Designed the AT&T Logo in ‘69 and again in ‘83.
2 ACROSS: Author of How to Be a Graphic Designer, Without Losing Your Soul.
3 DOWN: Major contributor to Adbusters. Designer of Friendly Fire.
4 DOWN: Served as the national president of the American Institute of Graphic Arts from ‘98 to ‘01.
5 ACROSS: Did logos for IBM, UPS, ABC. Was one of the originators of the Swiss Style of graphic design.
6 ACROSS: He left Wolff Olins in 1983 to lead the Addison design company.
7 DOWN: Most famous for working with Joy Division, New Order and Pulp.

 The semiotics puzzle is the final puzzle in the publication. I wanted to place it in the centre of the paper so that if the pages are shifted the lines drawn between the signs and their meanings are not mixed up. In the end I chose to locate it here because I didn't want it too close to the type class puzzle, which has a similar goal.

The text on the Semitics page reads:
Dude, semiotics is easy. Becuase we see it every day we don’t appreciate the study; semiotics blends into our subconscious minds.
Our culture has created meaning for the collection of colours and shapes on the opposite page, all you have to do here is link the words to the signs and symbols. Some are harder than others but you will know them all, this knowledge is embedded in our society.

 The back cover of the paper makes a simple statement and thanks the reader. I thought it would be nice to sum things up like this.

The theory text written in the publication all takes on a personal, friendly voice. I am self aware that some of the language is not my own, and some of it is. I just wanted to set the reader at ease but also provide him/her with solid information. I did write all of the text myself, its based on things I have learnt in the lectures and seminars provided by this module.