This is the way I was working. I used squares, rectangles, lines, to help me align properly. The start was slow and this whole process seemed harder, but it helped a lot to get an idea of what I was supposed to do. I aligned my text with the boxes, then I pasted it without the grids, for the print version.
I tried to look at some Mondrian painting’s and imitate the composition. But it wasn’t really successful, just because a sentence was too small to act as whole blocks of paint:
My main focuses while working were were:
- At first, I simply played around with alignment, where I also tried to make sure to continue sentences (at parts the sentence was separated, below each other) in alignment to each other.
- I made the font sizes much smaller, to fit usually seen type sizes.
- I was also trying to create consistency or multiples for the spacing and font size.
On this day, we talked about, mainly:
- How words that are bolded, or enlarged in scale, help catch people’s attention – hook
- Position of text
- Appropriate size of text
- Designer as author
This was the one selected:
My intention in this work was:
- Keeping all alignments good: using similar shapes of words, or the same word in the rightmost example, therefore keeping rhythm. I also used the height of the text, to determine, the alignment in this case.
- Making the readers eye move around, as according to the content of the text
- Making composition about one third a way down and right, to make it more interesting
- Keeping type sizes, reflective of commonly used sizes
- Using quiet typeface for a quiet composition kept good consistency
- The composition is nice where it is down
- The movement of words is interesting
I really liked how the quietness worked out, because I felt it helped with this mood of mysteriousness (one of the words in the sentence). So I was glad.