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In the project brief I was asked to choose a designer that had been interviewed on type radio. The task was then to use any ideas I got from the radio interview to create an illustrated magazine article featuring what was said during a second interview conducted by John L. Waters. The magazine could not feature or pastiche any of Marian’s work, and had to consist of a minimum of 3 double spreads and one front cover. Marian Bantjes was my chosen artist. I chose her because her work has always been of great interest to me and I decided to look more into her life and thoughts. The Radio interview was based mainly upon her art pieces, but also featured questions that looked into her life a bit more. Once I had listened to the Type Radio interview with her, my original thoughts were that she frequently repeats a few parts of her speech. This gave me the idea to create a layering effect or repeat the typography in the quote. After a critique where I gave a rough explanation of a few of my ideas, the feedback I was given was to look into and develop the process of inexperience in the design industry. This made me do a little more research into the contemporary art ideas, because when she was teaching her typography students she wished they could teach her more contemporary art, but the research didn’t give rise to any inspiration. Returning to the drawing board, I listened to the interview again. This time I decided to develop ideas relating to her interest in learning new things. Ideas evolved into photography of objects that was linked to her relationship with the students and the materials they used. I then experimented with layouts using some of the items that the students used like; pens, rubbers, pencils, and paints. Thinking that the photos could progress as the student’s progressed in the industry and changing from new student objects to new employee objects. I also did research into a few magazine layouts, analysing their themes, images and setups. A few of them stood out to me and related to my ideas of using paint. After another discussion in a critique session, I thought it best to stick to a consistent theme of paint.

Feedback from a peer encouraged me to use my own handmade typography as opposed to computer generated ones and scan them into InDesign. I pencilled out a variety of layouts for text and some paints for the title of the interview and came up with some good outcomes. I showed my drawings to our teachers during a tutorial lesson and their feedback was resoundingly positive, though it showed that I needed to start being more focused on the magazine size and column layout, the font style and size, and the leading of the baseline grid. I had decided that the size of the magazine would be less than A4, at a size of 8’’ by 10.5’’ it resembled an already popular magazine in stores and was easier to carry about and nicer to hold. To allow for the size I knew that the margins had to allow for not too much text to be covered when the magazine was in-hand.

Following this I began my work with Adobe InDesign. I used the programme to produce more precise layouts and give me an idea of what some of my initial ideas would look like when they had been laid out properly. The initial works included none of my own typography scans, or any of the paint marks, and functioned purely as a means to find out which layout I preferred, and which I thought would have a better impact on the visual prowess of the magazine. A critique advised me to include more of the interview text, and that I had too much mass on a few of my page layouts. Acting upon the advice I received, I changed my layouts to include only one big column of text per spread which enabled me to spread the overall mass of text more evenly over the magazine. Overall I feel this made the pages look far more visually pleasing. Now that I had a better grasp of the layout the text would take, I focused my attention on paragraph styles of the text. I chose to make the body text regular Baskerville, size 10, leading 12. This came about as the result of experimenting with many different fonts to look best along-side my own scanned typography, and discovered that I preferred simplicity to go next to the very ornate typography I had drawn. I chose a justification of min. 80% and max 133% which gave an evenly spread out text and no rivers. The question text was semi-bold without any other emphasis separating it from the body text. This causes a modern and sophisticated look that is visually pleasing and makes it easier to follow and read. The question text is not justified like the body, creating another subtle difference that would help differentiate from the rest of the text. Upon production of a semi-finalised layout in InDesign, I added my typography. I placed them into the boxes I had pre-assigned for them, and printed out a tester to check the quality of the image import and sizing. I had focused on the text and layout of the design so much I had left little thought to the paint images I had planned to include. I consulted with a peer and an idea was suggested to use a random assortment of colours instead of black and white, which had a subtle connection to Marian’s own work.

I added the paint graphics by scanning the multi coloured stripes I had made and then imported them into Photoshop, then into InDesign. I experimented with a multitude of lengths, widths, and colours and decided upon ones which accentuated my work and created a more visually pleasing piece while not being overly distracting for readers of the interview. Finalising my magazine I chose to bind it by using the conventional method of stapling along the centre of each spread similar to how most usual magazines are produced.