Rythmn & Pacing

Materials
X-acto knife, glue, ruler, scissors, Xerox machine, text from Wikipedia, 2.5” x 2.5” squares from a magazine. This book is black & white only.

Book Assignment

directions
1. Cut a 2.5” x 2.5” square clean through a magazine. This will yield dozens of unexpected compositions for your book. 2. Choose ten of the squares that seem interesting to you. These will be used as the imagery for your book. 3. Blow up the chosen ten squares by 200%, making the images 5”x5”. You can use a scanner or a photocopier to do this. 4. Use the provided text as your copy. Remember that the way you handle type is just as important as the way you handle imagery. Use the text as body copy (small) and use it as a design element (big). 5. Your final book will consist of 6 spreads, each spread measuring 5”x10” at its final size. That means that each spreads consists of two pages which are 5”x5” each. You will have 12 pages total. 6. To create the structure of your book: Because this is a long book (final size 5”x60”) we are going to have to “collage” the pages together. This means that you will need to add a 1/2” to your spreads so you will have room to attach the spreads to each other. Whether you are laying your book out by hand or on the computer, you working spread size will be 5”x10.5”, leaving the 1/2” on the right side of each spread blank. This is where you will put the glue and attach the spread to the following one. See attached diagram. 7. Create a visual “story” with the copy given and your found imagery. Also think about using rules, blocks of color (black, white or grey only) and overlapping in your compositions. Remember that variation and changes in scale add an element of surprise as your viewer turns the page which creates nice rhythm and pacing. 8. If you choose to design your book by hand, please photocopy the final spreads and use those for your final piece so the book lies nice and flat. 9. You will turn in two copies of your book, one for me an for your portfolio. Please put your name on the back with pencil

Work Schedule
March 2nd:
Accordion Book mock-ups due. Size and construction must be exact.

March 9th:

Images blown up and ready to go. Three life size sketches for you book due. We will be working in class, so bring any and all supplies you will need. I will be talking with everyone individually about your book.

March 16th:

Final book due and final class! One copy for me and one copy for you.

2010

wint

er

rhythM & Pacing assignMent

Designers often work with content distributed across many pages. As in a single-page composition, a sequential design must possess an overall coherence. Imagery, typography, rules, color fields, and so on are placed with mindful intention to create focal points and to carry the viewer’s eye through the piece. The repetition of elements such as circles, lines, and texture creates visual rhythm, while varying size and intensity generates surprise. An underlying grid helps to bring order to a progression of pages. Keeping an element of surprise and variation is key to sustaining interest from spread to spread. In this assignment, you with be creating a “visual story” by considering the pacing and scale of the images and text within each spread and across the entire sequence. Working with found or accidental content frees designers to think abstractly and embrace experimentation. The success of this assignment depends on two things; experimentation and making wise use of your time line. Begin by defining your content (images and text) then start to experiment with the layout of your spreads. Will you use a grid? If so, define it, stick to it, and figure out where to break it. If not, start laying down elements and see what works. How can you draw attention to certain images or words? Can the text become a texture? Overlap! How can you use rules and color fields to add interest? Play, play, play play and play some more. Use your time line. Do not wait to the last minute to begin your project because it will not be successful. you have three weeks, do something brilliant!

Terms & Definitions
Interior two pages of a book with the spine in the middle

spread

accordion book

Having folds or bends like the bellows of an accordion

rhythM

A patterned repetition of a motif, formal element, etc., at regular or irregular intervals in the same or a modified form.

rules

Lines used in graphic design to create movement, direction, interest or to give an object more weight or significance.

pace

A rate of activity, progress, growth, performance, etc.

typography

Typography is writing with prefabricated letters

grid

A two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content.

variation

Creating different instances, forms and shapes from a theme or element.

My new york (Book Text)
The wealth of the world has a New York address. It piles up in buildings on land that is laced with gold. And perhaps nowhere is the essence of New York more evident than in Greenwich Village—for it is a microcosm of all that New York has become, and in its story is the story of a great city. The village that became famous to America was formed by migrations from Italy, the west of Ireland, and by Americans calling themselves Bohemians—for into the narrow, crooked streets of Greenwich Village came legions of artists, philosophers, poets, writers, attempted artists and writers, and their followers. It is one of the few places in the city where the sky has not been stolen by high and indescribably ugly buildings. You can stand on a Greenwich Village street in the early Manhattan morning and watch the night sky lighten and break into streaks of rose that suddenly saturate the heavens, then burst with sunlight that ignites sidewalk and street. The sun glistens on Washington Square Park’s white marble arch. Eighty-six feet (26 meters) high and 30 feet (9 meters) wide, it was built in 1895 for $128,000—then enough to buy Ukraine. The park’s glory is tarnished by the fact that its pin oaks, oriental planes, yellow locusts, ashes, and American elms once were used as gallows trees from which men swung for such crimes as burglary, pickpocketing, and having the wrong skin color. History is alive on every corner and in every alley. At Number 61 Washington Square South, Madame Blanchard’s Rooming House was home to Theodore Dreiser, Adelina Patti, Frank Norris, Stephen Crane, Willa Cather, John Dos Passos, James Oppenheim, Pierre Matisse, René duBois, and Alan Steeger. Eugene O’Neill and Edna St. Vincent Millay worked at 133 MacDougal Street. John Masefield scrubbed floors in Luke O’Connor’s bar on Greenwich Avenue. Humorist O. Henry supposedly gained inspiration for his story “The Last Leaf” from the gate at 59 Grove Street. And Edgar Allan Poe, a reporter for the Broadway Journal, probably wrote some of “The Raven” in the Village. Most Village residents back then crowded into tenement buildings. They lived with a furious energy—amid clamoring noise and children in doorways. Invariably, in a tiny room, a sick old aunt languished in bed (it was hideous to think of putting her in a nursing home). Now these buildings are filled with the young and the successful who can pay rents of $3,000 a month. “The woman across the street was 74 and paying $50 a month in rent,” says a woman called Big Millie, who lives in the area and has to climb 66 steps to her apartment at 225 Sullivan Street. “She dies. I come back from the funeral and a single woman is moving in. She ends up paying $1,500 for the same matchbox. A few more of these people and we won’t have nothin’ left in the neighborhood.” It is these rents that affected the Genovese crime family, once the nation’s biggest and most lethal Mafia outfit. For it was in the Village, famed for palette and pen, that the mob missed its first heartbeat. The organization flourishes in places where the poor live. In a sense, real estate prices more than the law did in the Mafia—and helped change the character of this part of New York. Consider the story of mobster Benny Eggs. He was paying $200 a month for his ground-floor clubhouse at 101 Thompson Street. He assumed the landlord was satisfied. The landlord was satisfied—satisfied that one day the cops would catch up with Benny Eggs and the clubhouse would be ready to rent to some scarecrow woman designer from Milan for thousands. Each morning, the landlord thrilled at the headlines in the New York Daily News about Mafia arrests—delight that turned to despair when Benny Eggs was not among them. Then came the headline he had been dreaming of: BENNY EGGS BUSTED. Soon there was a store on the ground floor of Number 101 that paid $3,500 and sold expensive Italian fashions. The city is advertised as changing, but in some ways it really has not. One of its greatest addresses—Greenwich Village—is driven by the same fierce energy that coursed through those tenement hallways of old. There are all those people crowded together, brushing against each other, causing the blood to run so fast. Those people are the most powerful people on Earth—in its most powerful city.
JIMMY BRESLIN, a Pulitzer Prize-winning newspaperman, has covered New York City for more than 40 years.

PAge 5”X5”

PAge 5”X5”

glUe 1/2”

sPReAD 5”X10”

TOTAl sPReAD lengTH 10.5”