4. Asymmetric Layout

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This assignment focuses on your ability to look at larger “chunks” of type (words, sentences, paragraphs, titles/headings, stories, etc.) as elements of composition while still retaining high levels of readability. In fact, your attention to the visual relationships between these “chunks” of type are a major influence on typographic grouping and hierarchy and therefore have a major influence on readability and comprehension as a result. Your decisions about typographic variables such as font, size, line length, alignment, tracking/kerning, leading will have the greatest impact in this direction.

A second major focus of this assignment is overall balance. In this assignment we are focusing on asymmetric balance.To accomplish this successfully, you will have to look at white space as an equal partner in creating a unified balance. You cannot simply put an equal amount of words/images on the right side as there are on the left. (that would be an example of symmetric balance). Asymmetry instead is a bit more illusive. The key is your attention to the size and shape of the white spaces in and around the words, sentences, paragraphs, etc. Refer back to our assignments about figure and ground to help you get started in the right direction.

The careful attention to white space will impact the typographic arrangements of words. These arrangements will in turn create groupings as well as imply hierarchy of information. In general, grouping is accomplished by creating some sort of or combinations of similarity. (the more things are similar, the stronger the perception of group). Hierarchy, is generally created by creating differences between groupings. (the greater the difference, the more that group or thing will stand out, and rise in the hierarchy).

Both Grouping and Hierarchy require comparisons and contrasts between elements (in this case the elements are words, or chunks of words.) This should sound a lot like repetition with variations to you. Pattern being repetition and variation being what is different within the repetition. Pattern is comparison and contrast.

ASSIGNMENT:

  • The Layout size is legal or 8 1/2 x 14 inches. Set this up using inDesign
  • Using the copy from Text, arrange using only the typographic variables, no image, no color.
  • You do not need to use all of this copy. Instead, read it first, then pick the parts that are most meaningful to you to use in your layout here.
  • You will need to add a title of your own.
  • Create hierarchy and grouping to achieve a visually interesting typographic color without sacrificing readability.
  • You do not have to use all of the supplied text but you do need to use enough to create at least five paragraphs. Add a title and any other forms of display text that you feel would be appropriate. Determine optimum line length, avoid typographic widows, adjust alignment. Utilize the minimum typographic management checklist.
  • Use baseline and document grids to strengthen internal relationships of relative placement and size. Use leading to determine grid size.(also Refer to the section on design grids.
  • You may add a single  black geometric shape (circle, square or rectangle) to emphasize alignment or Lines of Continuity

Your Design Solution to this assignment/problem should emphasize the following:

  • Compositional Unity between all parts/elements by using Alignment and/or Repetition with Variation
  • Use nesting as a form of alignment to “invisibly glue” groups together—fitting.
  • Create a dominant vertical and horizontal axis by aligning key letterforms, edges of graphics/images and paragraphs. These are forms of Continuity. Interrupt this implied line of Continuity with occasional elements that extend through it.
  • Shaped White Space, asymmetric balance where margins are the result of the golden section Fibonacci number series. (1,1,2,3,5,8,13, etc)
  • Attention to the use of Typographic Variables to create interesting and varied typographic color. Combine variables that, individually, would achieve opposite results. (ex. large size with lowercase letters, or bold with open tracking, etc.)
  • Attention to Minimum Typographic Treatment
  • Overall Grouping and Hierarchy between all elements
    • Diminuindo to help readers know where the story begins and as a visual transition into the main text. This is an extension of grouping and hierarchy.
  • Use of a Design Grid (baseline and document) based on the leading between lines of the smallest text size. That leading needs to be a whole even number.
  • A provocative and interesting title/heading of Display Type
  • Introduction of a contrasting element which serves as a counterpoint to the main and dominant compositional structure

Two main groups of opposing forces are at work in this design problem. You must find a way to control them in a way which results in a balance. If you find yourself with a design that appears too rigid, blocky, predictable or just plain “lined up” then you need to insert some degree of movement, unpredictability or “freshness” by consciously working with some of the concepts listed in the Dynamics group below. On the other hand, if your design appears too random, chaotic or a “mess” then you need to organize it more. Do so by consciously manipulating the items listed in the Organizational Concepts group below.

We have discussed three main ways or approaches to help you organize this typographic problem:

  • InDesign’s Baseline Grid
  • Lines of Continuity or simply lining up words/letters/paragraphs by baseline or strong vertical elements
  • Nesting

Organizational Concepts

  • Grid
  • Axis
  • Continuation
  • Repetition
  • Grouping
  • Hierarchy
  • Similarity
  • Focal Point
  • Postion

Dynamics:

  • Variation
  • Implied Edge
  • Shared Contour
  • Interruption
  • Visual Tension
  • Activated edge
  • Shaped White Space
  • Contrast
  • Juxtaposition/Context
  • Rhythm
  • Complexity vs. Simplicity
  • Density vs. Openness

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