Paragraph: Final feedback and indents notes

So we experimented with the other page sizes too. After working with just A4 the whole time, this was a bit more challenging than it should have been. I’ve included photos of what I showed of each size to get feedback.


^ For A5. First let me complain about the printer messing up the print  so many times, on the left. Ok. So this was the first time that I properly experimented with kashida. And this was mostly because I really wanted to justify my text. I didn’t see any problems with this, unless there are rivers. So kashidas saved my life when it came to arabic text. For english, it was a lot of adjustments to avoid rivers.

Apparently the one on the right was the most promising. Adjustments like fixing the ‘intervals’. Intervals. Always intervals.


^ A4, again, the way the one on the right was fitting worked well, but again, the way the ‘intervals were, wasn’t working.

***photo of A3 w/feedback

The basic feedback that I got for most of my work was how I STILL wasn’t using intervals and grids properly. So the professor set up a grid for me and showed me one to one. I think I get it. Maybe. What I get is that I can’t go halving my gridlines, because even though I’m still following the grid, if it’s too tight, then the viewer won’t be able to detect ANY system. So I need to work on my intervals. And even the slightest thing being off from the grid can be detectable, so I need to cheat wisely.

Apart from getting feedback (before the due date) we also were shown how to indent, outdent and got refreshers on invisibles, returns , hanging indents etc.

Image of notes on indents and outdents***.

IMG_6983 copy

You can cancel hyphenation on paragraphs. I never knew. I wish I’d learned this earlier. I also finally learned the difference between hard return and soft return: Hard is when it creates a paragraph (adding space before it will put some space. Soft doesn’t turn the what has been returned into a paragraph. It’s easy to see the difference when the invisibles are on, the shape (pilcrow) is visible.


Paragraph: 3rd round of experimentations and talking about final poster

Work day, where we started off by discussing the final project (combining everything done so far into one final poster). We would be working on InDesign.

Important points:

Importing pdf or jpeg into indesign instead of directly from photoshop reduces quality

Don’t drop from window to indesign. this overrides ‘link’ function. Place instead

To see the clear resolution of the image quickly, View, overprint preview

cmd+shift hold to resize both image and frame at the same time

Links panel – don’t move images (from their sources), to avoid link being lost

To edit any placed images > right click on placed image – edit original. (thankfully we’d done a lot of this in Imaging).

I started experimenting a bit, simply pasting text on the image. Which I know is probably not what we’re going for. Decided to go with White text on euphoric because black wasn’t showing up. Again, not very amazing discoveries. I went back to working on the paragraphs, because, more urgency for that.

Experimented with more english typefaces, trying to match my type better, while being more experimental. I tried ones that I hadn’t yet, like Bembo and Baskerville. Realised that Palatino was one of the best for high vernacular, flowy type. Worked with Avenir initially though. Again, trying to get the line break to make sense and sound poetic as well as visually fitting. Right now the 3 tierdness of the paragraph on the top left doesn’t fit the composition (even though the line breaks are so perfect…).



Squinted my eyes and realised that the leading for english was also too thin (and the type was dark).

Not sure whether this part is a good tension or not…what is good tension, and what is annoying.


Ended up showing these for feedback:



The separation of the dialogues (arabic) works. But it should be a bit more free flow if I want that to work. It looks too restrained. note: so maybe I could have the dialogue in a separate text from the last line.

The right works better in terms of the crispness (edges that create the white space). The one on the left had the ragged sides forming the ‘negative space shapes’. The one on the right had the straight edges forming the shapes (the edges that the texts were aligned to).

I had thought it looked artificial with the too crisp edges. Very forced, but apparently it was artificial in a way, since I restricted the text in the box. Either way, the block was too central in the right composition, so the composition in the one on the left looked better. I could work with this.

Bean Bag: Week 1

We decided on using magnetic strips because we figured that using actual magnets would hurt when someone sat on the beanbag.

Researching where to get materials needed:

materialshoppingblob00002 materialshoppingblob00003  materialshoppingblob00005

And then, since I barely know the basics of sowing, researching templates and techniques:

Screen Shot 2015-11-16 at 6.03.49 PM Screen Shot 2015-11-16 at 8.13.57 PM materialshoppingblob00001 Screen Shot 2015-11-16 at 8.18.04 PM

^ Round for the eyes.

Consulting with professionals…:

We went around asking Richard (materials library), professors and Johana from the Design shop if they knew where to buy bean bag filling (and the fabric).


Decided on a bean bag shape. We could do a blob, popcorn, donut. If we made a blob it could be stacked, connected with velcro or it could be like a steak…We settled on the steak.IMG_6637

Next came deciding on the size we wanted it to be, so that we could figure out how much fabric we needed. Used the tiles on the floor as a reference (they’re 40x40cm) and figured that we wanted the blob to be about 160x160cm. But since we wanted a blobby shaped bag, only the widest part would be that length, so we planned to go bigger, 2x2m. Multiple people can chill on it at once.

Translating the scale on illustrator to experiment with the shapes:

We both agreed on the one on the far left^

We took it to the tailor in Fashion Design who helped us calculate how much fabric we’d be needing. He explained that if we didn’t want to have a ‘joining’ area then we’d need to find fabric that had a wide width.

Fabric searching (later buying):

So I spent this weekend searching around for good places for fabric. We still hadn’t decided on what fabric to buy. It had to be thick for strength (so that it holds all the beads and bodyweight without bursting/beads showing through). But it should also be soft for comfort.  And then we also had a colour preference. Preferably we wanted 2 shades of blue, or red. Or colours that complemented.

I found these, a thin kind (nope because it’s too thin), velvets and a stretchy kind of fabric (Amreen later enlightened me by telling me it’s ‘lycra’…).


I didn’t buy there and then, because I wanted to confirm the decision of the fabric with Amreen (she wasn’t in the country at this point).

Mind Your En And Em Dashes: Typographic Etiquette – Smashing Magazine

Found this useful.

An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty. Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.

Source: Mind Your En And Em Dashes: Typographic Etiquette – Smashing Magazine

Bean Bag: Last project

So the last project had to be about anything we wanted, to put it simply. We had to be able to relate it to design technology and Graphic Design. It could either be a continuation of one of the projects we’d done, or something else that we have in mind (that we can relate).

Ideas I had:

  • Stop motion, using clay?
  • 3D printed blob – eyes pop out
  • Plushie

Initially decided on a plushie. Later I got together with a friend and we planned to do a collaborative project where we made a beanbag.

Things we need to keep in mind:

Materials: Fabric, eps beads, magnetic strip, sewing machine

Idea: Making a beanbag based on a blob character. It will have magnetic eyes that can be attached to certain parts of the bean bag.

Why I’m doing this?

Will be learning something completely new. Never finished proper.  Never really used a sewing machine. Stop motion with clay, I find it annoying (I don’t think that clay will sculpt into blob shapes easily). 3D printing, I already have a prototype, know exactly what I want to do. Normally I’d prefer this (knowing exactly what I want to do), but since this is the only class where I feel like I can actually do anything without messing up, I’m going to go for the idea that I know the least about. So beanbag it is. We both had our different reasons for this project (she already seemed to know how to work with the medium).

Amreen’s plan:

Week 1: creating the blueprint+ buying materials+ process

Week 2: Assembling the outer structure of the bean bag+ learning how to stitch+ making the eyes+ process

Week 3: placing magnetic strips in the lining of the bean bag+ attaching magnets on the back of the eyes.

Week 3 and a half: Done!! (hopefully)

The one I made:

W1: buy materials (fabric ,beads, magnet) get used to sewing machine – talk to someone in fashion??

W2: experiment

W3: experimenting with final

W4 (finals deadline): finalising < try to finish in w3

^ Clearly she had made a better plan. This is probably why I never end up following my schedules. They’re never made well. If I hadn’t seen her plan I wouldn’t have even realised how vague mine was.

Why I’m interested in it:

Will be learning something completely new.  Never really used sewing machine. Stop motion with clay, I find it annoying (I don’t think that clay will sculpt into blob shapes easily). 3D printing, I already have a prototype, know exactly what I want to do. Normally I’d prefer this, but since this is the only class where I feel like I can actually do anything without messing up, I’m going to go for the idea that I know the least about. Because…I like plushies.

Links I’ve found for reference:

BETTER reference for ladder stitch:

We decided on magnetic strips because Amreen mentioned how using actual magnets would hurt when someone sat on the beanbag

3D – Reflection

The group is crowded around the display box:


Setting it up:

IMG_6623 IMG_6628

As a whole we produced many different styles of characters. We had hanging ones, plant pots, heels, lipsticks, groups, keychains. Ones with exchangeable features:

IMG_6631 IMG_6632

We had to name them at a last minute notice. I rushed through a bunch of name: bloop, gloop, blobby, blobster, wob, wobble.

And here it is:



Simplifying my idea. Kept trying to do too complicated things, had to simplify. Figuring out how to get the glossy finish was challenging (experimenting with different types of nail polish remover, how to apply the remover, how to use varnish, how to paint, which paint). There were a lot of tests I had to go through. And even though I went through all these tests, I faced problems that I may have anticipated (the spray paint enlarging the eyeballs), but had hoped wouldn’t become a big issue (unfortunately, they did).

The whole eyeball rolling thing worked…but not as cleanly as I had wanted it to. I wanted the eyeballs to roll smoothly, instead (especially after the whole spray paint, 480 thing, varnish scenario) they hiccup a bit (get stuck). I had tried to make sure that the eyeball won’t pop out (by making the sphere inset far enough that the thickest part of the sphere was below the surface), but then the physical prints had ridges. After sanding those ridges, of course, it began popping out (the larger eye) since I hadn’t embedded the larger eye far enough).

I sliced the blob cleanly in the software, but again, after printing, it just didn’t fit as cleanly. This was one problem that I hadn’t anticipated and planned for. If I get the chance, I’ll probably try filling the ridges with melted wax or glue and spray paint over it. Except it’s going to be displayed soon so I probably won’t get the chance. But I will. Whenever I get the chance.

Difference between 2D and 3D:

Honestly, even though it was more complicated and a bit frustrating at times, it felt really cool, creating something that I knew would be a physical thing. I didn’t struggle that much. It took a bit of time to get used to how scaling and everything worked, but most of my problems came post printing.

How did the process inspire you to develop the concept + story. How did the process inspire a concept. What is the internal logic?:

So I didn’t really think I have a concept. Since there is no story. But the internal logic is probably something close to how different blobs would look and behave. A blob started off as a gumdrop. But then a blob can also drip slowly. And if it were alive, it would most likely panic before dropping on the ground from a height. It can make a sloshy sound. And of course, the eyes of a blob are unlikely to be fixed in place. They roll around in the slime that is the blob. Or drop out (I never did make the eyes drop out, but I wanted to, might do it for the last project).

Next step?

I will probably try filling the gaps with some wax or thick paint, and spray paint over it again to reduce the ridges. Or maybe not. The look that it’s been in some accident has kind of grown on me…

Paragraph: 2nd round of experimentations and feedback

I used ‘intervals’ and grids more in my second round of experiments. Tried creating ‘contrasts’ between the way the type was arranged on the page (long and thin areas vs wide and short). I  broke up my space more, experimenting with ‘locking’ texts together. Trying to get areas where the white space was used and dynamic, based on the feedback from last time.

I made the one on the left page first, to create a long line for contrast. Then I felt like it wasn’t working so I moved those lines of type to the the left edge of the page, making its width half of the width of the latin texts, to this time have it long and thin vertically. To avoid the empty area I moved the text from the bottom right to the top and adjusted the where the lines broke as well (thinking about at what words the lines ended) on the right page:


Working with intervals mixed with a grid. I wasn’t sure how this whole interval thing worked. But according to my understanding this is what I did. I set up a grid layout, where the page was split into 9 quadrants which were also split into 9 (like I did with my sentences). Then I started placing my boxes of type into the grid. After I placed one. I added more grid lines (red), to see exactly where the paragraphs intervals were and used those to help me place the other boxes (using the initial grid as a guide at the same time). And when it got too confusing (which lines to follow) I based my decision on what looked the best visually. I might be getting too mathematical again. But really, I don’t think I’ve gotten the hang of grids and intervals yet.


Feedback and class discussions:


We covered quite a few things as we looked at each other’s works. Technical things like using the baseline grid, kashida (using key) to space out arabic type length, hanging punctuations, spacial depth using type. An important point was how some layouts can be  non-replicable. So depending on what the type is for, the typesetting may or may not work.

The ones I liked the least:


^ I  know their spacing isn’t interesting. I used a grid (incorrectly maybe)  but the composition seemed too ‘stuck on’ or static, despite me using the space? Not sure how I feel about them. I didn’t even show these for feedback, didn’t think they were worth it.

I showed one of these to get critiqued. It was okay, but some of the rags were weird and the line length got too long at some points. When I mentioned how I broke the lines using returns, for the flow of the content it made more sense. But even then, the way the type looks visually is the priority. 


A couple of these ones were the ones we talked about in class:IMG_6712

^ What I was trying to do with the ‘contrast’ with the long line length wasn’t working. It was too long, it made readability difficult. Then, a place where I broke the box in a way where the last line was longer than the rest, it looked annoying, instead of effective (I was trying to create a corner of a square in the bottom row middle one). A recurring problem I had was how, because I had split my paragraphs into so many small parts, it was difficult to follow the words. People didn’t know the order in which to read the chunks of text, so there was a competition between sections of paragraphs that were too close to each other to see the order. bottom row left was one of the cases where this happened. And while it apparently works as a magazine layout or something like that (something that would have images accompanied with text), as a body text, or a paragraph that’s just meant to be read, it doesn’t work.

Now this was something I did last minute, which I didn’t show in class. I must have gotten inspired by the fact that I was trying to create, box like white spaces with hard edges, that I felt like making something boxlike, it emphasised the look. Another inspiration must have come from the extrusion tool we used in Design Tech when working with 3D software. I wanted it to look like that chunk of paragraph had been pulled upwards.

IMG_6717 IMG_6725

^ I was surprised by the success of how cool it looked in light…there was shadow, and then a bright light where the light hit the 90degrees area where the page met the wall of the box.

I don’t know what to think of this. I really like it (the box effect not the layout of text since the critique made me see it’s flaws). But then again I also really like extreme rivers… and extremely tracked out words.