This is me playing with rags, this is pretty much all I did in the beginning for about an hour or two:
I tried the one up, one down, rag, because the natural rag was very similar to this, so I made it more intentional, which was interesting, because it made the rag look very rigid and strict, even more so that the justified, I felt:
These were some type fonts that were too dark, in terms of grey. This was one thing I really tried to play with in achieving the grey area. I also began to realize why all texts I read had quite a lot of leading. I think more than the sentences, I began to appreciate type more here, because I felt paragraphs are things that really need to be easy and accessible for the reader. Therefore, I started to enjoy it a bit more.
This was one I tried to play with the next sentence, because the writer had this rhythmic “You fight for it, strive for it, insist upon it.” So I tried to reflect it in the type, not sure if it really worked, but I enjoyed looking at the content and figuring out patterns I could use to emphasize certain messages of the paragraph.
This is the way I played around with these three parts on a page. At this point I was playing with composition and I separated it into three bits, because of the rule of odd numbers. I kept playing with these, because I felt like something could come of it, so I tried about 10 different versions.
After the critique…
I understood after the critique that my understanding of rags was somewhat incorrect. I played with tracking, in order to somewhat equalize, but make sure each rag was somewhat different, which wasn’t wasn’t what we were meant to do…:
This was something we talked about, in terms of exceptions to the line length. It was interesting how the intention, as well as it’s placement plays a role to act as an exception:
During class, I discovered that this was a redundancy of message, and I don’t know why, but I didn’t realize it until we discussed it in class.
At first I asked Leland, for some advice. I first chose some and brought it up to Leland to ask about which of the two or three were working and why. Then, I thought about the things he said, and tried to think about composition more carefully.
For one reason or other, I was feeling like I was understanding the process and surprisingly liking what I was doing. Paragraphs looked pretty. It was nice that there were these crisp lines for the margins and then the more organic forms for the rags. I began to enjoy the shapes of paragraphs. It was weird.