*Make sure to stay within the grid, NO putting elements in the gutters or between the columns.
*Be expressive and mind your typography.
*Please use Helvetica or Univers. Body copy must only be 7-10 pts only.
You can use 1 larger size (14–18 pts only) when instructed.
*Remember to think about hirarchy (which element is the first thing we see (the hook) and then what comes after that), composition, typographic skills, and contrast.
* Print your drafts in 11x17 paper @ 100%

KEY WORDS:compression
transition
contraction
addition
subtraction
disruption
repetition
elimination
migration
expansion

TEXT:
The book typographer has the job of erecting a window between the
reader inside the room and that landscape which is the author’s words.
He may put up a stained-glass window of marvellous beauty, but a
failure as a window; that is, he may use some rich superb type like
text gothic that is something to be looked at, not through. Or he may
work in what I call transparent or invisible typography. I have a book
at home, of which I have no visual recollection whatever as far as its
typography goes; when I think of it, all I see is the Three Musketeers
and their comrades swaggering up and down the streets of Paris.
The third type of window is one in which the glass is broken into
relatively small leaded panes; and this corresponds to what is called
“fine printing” today, in that you are at least conscious that there
is a window there, and that someone has enjoyed building it. That is
not objectionable, because of a very important fact which has to do
with the psychology of the subconscious mind. That is that the mental
eye focuses through type and not upon it. The type which, through any
arbitrary warping of design or excess of “colour,” gets in the way of
the mental picture to be conveyed, is a bad type. Our subconsciousness
is always afraid of blunders (which illogical setting, tight spacing
and too-wide unleaded lines can trick us into), of boredom, and of
officiousness. The running headline that keeps shouting at us, the
line that looks like one long word, the capitals jammed together
without hair-spaces — these mean subconscious squinting and loss of
mental focus.

VIEWPOINTS COMPOSITION EXERCISE
Originally a system for dance composition designed by Mary Overlie at NYU, adapted in this form by Anne Bogart.

SPACE
Architecture - The physical environment, the space, and whatever belongs to it or constitutes it, including permanent and non-permanent features.
Spatial Relationship - Distance between objects on stage; one body in relation to another, to a group, or to the architecture.
Topography - The movement over landscape, floor pattern, design and colours.
Shape - The contour or outline of bodies in space; the shape of the body by itself, in relation to other bodies, or in relation to architecture; think of lines, curves, angles, arches all stationary or in motion.
Gesture - a) Behavioral gesture: realistic gesture belonging to the physical world as we observe it every day. b) Expressive gesture: abstract or symbolic gesture expressing an inner state or emotion; it is not intended as a public or "realistic" gesture.

TIME
Tempo - How fast or slow something happens on stage.
Duration - How long an event occurs over time; how long a person or a group maintains a particular movement, tempo, gesture, etc. before it changes.
Kinesthetic Response - A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external stimulus.
Repetition - a) Internal: repeating a movement done with one's own body, and b) External: repeating a movement occurring outside one's body.