for next week (9)

here's what's due for our next meeting: looks heavy, but i'm just being detailed

—CONTENT GATHERING & ALLOCATION

content is divided into 2 main buckets: gather these and divide them per section (see chapters below)
— TEXT: artist statement, research text, self-generated text, quotes from other thinkers, artists etc
— IMAGERY: model pics, artwork pics, documentation & video screen grabs, process images, referential images (from research)

CHAPTERS: STRUCTURE, RYTHM, FLOW, SEQUENCE: CREATE A TOC (table of contents)
— divide your book into 5 chapters (or more, no less than 3) based on the content gathering you did above, ALLOCATE content per chapter
— name each chapter and create a TOC (table of contents): this will create the framework for your narrative: how content flows from one section to another, how you 'map' storytelling to determine sequence and pace.
—you can include sub-chapters per each chapter
—for example: if chapter 1 speaks of a particular piece of artwork, gather all text & images that pertain to that artwork / section
same for the rest.

—bring all past work to class (printouts or pdf files IN CONTENT 'BUCKETS', for instance: all images & pdf's that can belong to chapter 1, chapter 2 etc.
use the nomenclature of your TOC to organize these.

FORMAT: we chose a format for al of you, stick to the chosen one and work off it.
GRIDS: based on this one format EXPLORE THE FULL POTENTIAL OF YOUR GRID. (keep in mind our grid demo as reference and your binding, as it will affcet how much space you leave in your center gutter. note: perfect binding is the easiest one for this and stitching, as they do not "chew up" the gutter like japanese binding does)
— I advise using at least 4 columns for more flexibility
— set type in: one column, two columns, 3 and 4: the idea here is to see how BODY COPY behaves in relation to column widths.
— You will notice some of it does not work on narrow columns and columns that are too wide, set it anyways,
— based on the above scale observations create 2 additional sizes that ACCOMPANY body copy: one smaller (eg: for captions) one bigger (for larger text or callouts)
— now you will find yourselves with 3 main type scales: add weight variations / explorations within the TYPEFACES WE SELECTED. aim here is to see how each face holds in accordance to scale, and what 'voice' can be assigned to each in relation to each typology (see attachment : book & content typologies
— explore the grid for image content as well: also, remember our demo / how diff image scales reflect different types of content

GRIDS / SPREADS / TYPOGRAPHY:
— use the faces we selected and add a new one if specified during your critique
— CREATE 3 VARIATIONS ONE ONE SAME GRID AND SET TYPE & IMAGE TO IT: so, for example: grid 1 is 4 columns with amargin of 1/2" all round,
use the same grid to create alternate versions of itself, so grid 2 could be: 4 columns, 1" margin top & bottom, /14" margin on sides, grid 3 could be: 4" top margin, 1/4 on all rest
— BRING 5 SPREADS FOR EACH GRID VARIATION, 15 total
(remember that each grid variation corresponds to a 'tone of voice' an dis directly related to the contents within that section, so be thoughtful when you come up with these.
—typography: use any point size combination within a spreaad but again, focusing on what these scales 'say' (3 shifts maximum within a spread)
— incorporate image fields

RECAP:
— content gathering & allocation
— TOC: chapter structure
— format: done
—grid: 3 grid variations (margins, gutters etc) within the format of choice
— typography: nail the body copy, add scale shifts for diff typologies (chapter heds, captions, louder / larger text etc). see how your faces work together, test them
— 15 spreads that showcase all of the studies performed above


any questions welcome
looking forward to your beautiful work!

c