Digital Portfolio - Christina Rose

2015GRAPHIC DESIGN

CHRISTINA ROSE

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TABLE OF CONTENTS

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Project 1: Typography and Letter Spacing.........................................2

Project 2: Typography That Works – Business Card ...........................6

Project 3: Chapter Layout ...................................................................10

Project 4: Expressive Type Illustration ................................................18

Project 5: Graphic Translation ............................................................24

Project 6: Title Pages, Table of Contents, Colophons ........................30

Project 7: End Pages ..........................................................................38

Project 8: Book Covers .......................................................................48

Other Exercises ..................................................................................56

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1Typography and Letter Spacing

Part One : Research on designers who played a major role in modern typography

Part Two: Kerning exercise and expressive typeface exercise

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PAUL

REN

NER

b. August 9, 1878, Wernigerode, Germany

d. April 25, 1956, Hodingen, Germany

Paul Renner was a graphic designer, typographer, type designer, painter, and teacher. He was born in 1878. He chose to study art after secondary school, attending several academies, and fi nally completing his training in Munich in 1900.

Renner spent most of his life in applied art, trying to bring high cultural standards to material objects for use (i.e. typefaces and books). He was drawn to a fi eld of activity in which he could put his aesthetic skills to a utilitarian purpose. From 1908 to 1917 he designed books for a living for the Münich publishing trade. Renner insisted on being responsible for nearly all design-related aspects of a volume, both inside and out, including choice and arrangement of type. From 1908 onwards, he wrote extensively about typography and design. Throughout his time, he wrote a number of books, including Typographie als Kunst (Typography as Art), Die Kunst der Typographie(The Art of Typography) and Color Order And Harmony.

Renner was a prominent member of the Deutscher Werkbund—a coalition of artists, craftsmen, manufacturers, and industrialists who promoted both art and technology in the manufacture of everyday objects—and a key participant in the ideological and artistic debates of that time. At the time, there were tensions between tradition and modernity in German design, in typography style and in technology (“Streit um die Technik”). Renner and his fellow members of the Deutscher Werkbund sought to reform German design and were fully engaged in the Streit um die Technik.

The debate concerning the importance of gothic letterforms in German culture which had been present for centuries became a political issue in the early twen-tieth century. Renner’s position on this issue was progressive: he called for the abolition of fraktur (gothic) and revitalized grotesk (sanserif), to make some kind of elemental, universal form of roman. By doing so, Renner dismissed that goth-ic was essential to modern Germany and took on the international, contempo-rary style. The result was “Futura.” Futura is a sans serif face designed by Ren-ner between 1924 and 1926. It is based on geometric shapes which became representative visual elements of the Bauhaus design style (1919-1933). It was

Artist reports by: Christina RoseDeLange, Logan. “Paul Renner.” Accessed January 22, 2015.Fabian, Nicholas. “The Bauhaus Designer Paul Renner.” CreativePro. Accessed January 22, 2015.Kelley, Gregory. “Paul Renner.” Accessed January 22, 2015.PA

UL R

ENNE

R commercially released in 1927 in six eights, a condensed version in three weights, and an Inline. Renner’s typeface family provided the right typograph-ical tool for the professional designer and it became a popular choice for text and display composition. During this period, other designers were addressing the same issues and developing comparable Modernist fonts. Futura became a cornerstone of the “New Typography” classifi ed as “Geometrical Modernism,” in which form follows function became the key words and careful reasoning con-strained all the character shapes to their utmost functional simplicity. It stands as a landmark of modern graphic design and has become one of the most suc-cessful and most-used types of the twentieth century. Advertising typographers often use the combination of Futura Light/Book and Futura Extra Bold because of the design’s stylish elegance and commanding visual power.

Typographical design publication Poster design

PART ONE PART TWOtight kerning:

domitagermedium kerning:

domitageropen kerning:

domi t age rtight kerning:

HANOLAGESTmedium kerning:

HANOLAGESTopen kerning:

HANOLAGEST

ELE GAN CEelegance(bickham script std)

CHILDHOODchildhood(chalkduster regular)

HIPPIEShippies(cottonwood std med)

EGYPTIANegyptian(desdemona regular)

WHIMSICALwhimsical(giddyup web pro reg)

HEAVY METALheavy metal(ironwood std medium)

COMPUTER CODEcomputer code(OCR A std medium)

CIRCUS THEMEDcircus themed(pepperwood std fill)

THE LION KINGthe lion king(pompeia std inline italic)

GHOSTLYghostly(quake regular)

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2Typography That Works: Business Card

Documentation of the entire process of designing a business card, from preliminary sketches to the final design

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SKETCHES FINAL DESIGNS

Design Process

109

3Chapter Layout

Part One: Analysis of page layouts Part Two: Research on page construction and typefaces.

Part Three: Chapter design for “Coast of Characters,” a chapter in “The View from Lazy Point”

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PART ONE PART TWO“The Sorrows of Young Werther” by Johann Wolfgang Von Goethe

page dimensions: 7.75x5”margins: outer: 0.6875”, inner: 0.5625” (gutter: none), top: 0.5”, bottom: (to page #) 0.6875”, (to text) 1”column width: 3.8125”type sizes: text: 10pt, subtitle: 12pt, page #: 10ptleading: 0.15625”typefaces: Times New Roman - regular & italicmaster pages: footer, margins, column width, gutter, page #

what’s working:a distinct differentiation be-tween sections with the date subtitle, as if journal entries

what’s not working: both the page number and the subtitles shouldn’t be center-ized, especially when the new subtitle is close to the bottom of the page, like in this example

“I’m Only Here for the WiFi” by Chelsea Fagan

page dimensions: 7.25x5.125”margins: outer: 0.65625”, inner: varies because flush left (gutter: .125”), top: 0.96875”, bottom: (to footer) 0.71875”, (to text) 1.1875”column width: varies because flush left, about 3.75”type sizes: text: 9pt, footer: 6-7pt, page number: 9pt, drop cap: 54ptleading: 0.21875”typefaces: Caecilia LT Std Light? - regular & boldadditional elements: drop cap, flush left text, colored textmaster pages: footer, margins, column width

what’s working:-consistent font-spreads are simple and not overwhelming

what’s not working: looking through the rest of the book, there is a variety of type styles that could possibly be simplified down to just a few (though on each spread it is still not over-whelming)

“The Industrial Design Reader” by Carma Gorman

page dimensions: 9x6”margins: outer: 0.625”, inner: 0.625” (gutter: .125”), top: (to header) 0.625”, (to text) 1”, bottom: 1”column width: 4.5”type sizes: text: 11pt, header: 7pt, footnotes: 8pt, title: 30pt, subtitle: 16ptleading: 0.1875”typefaces: text: Times New Roman, headers/titles: different typeface, in condensed/blackadditional elements: kerningmaster pages: header, margins, column width, titles/subtitles, endnotes

what’s working:differentiation between the different sections and type of information with the use of different sizes/style of text is clear

what’s not working: the abstract in the begin-ning of each new section is a smaller leading, when a smaller sized font would do just fine

“Gray’s Anatomy”: The Classic Collector’s Edition

page dimensions: 9.125x5.75” margins: outer: 0.5”, inner: 0.46875” (gutter: .125”), top: (to header) 0.46875”, (to text) 0.75”, bottom: 0.65625”column width: 4.65625”type sizes: text: 9pt, page #: 9pt, header: 10pt, image captions: less than 8ptleading: 0.125”typefaces: Baskerville (regular, bold, italic, caps, small caps)additional elements: small capsmaster pages: header, page #, margins, column width, gutter, image alignment in text & caption

what’s working:the layout of images relative to the text

what’s not working: there are too many diferrent typefaces, sizes, etc used and are unnecessary

Methods of Page Construction

Golden Canon2The Golden Canon method of page construction was developed by Jan Tschichold, a typographer and book designer of the twentieth century. It is based on a simpler ratio design similar to that of Argentine typographer and designer Raul Rosarivo’s “typographical divine proportion.” According to Rosarivo, fifteenth century printers like Gutenberg used the ratio of 2:3, or “secret number,” to estab-lish the harmonic relationships between the different parts of the page. Here, the golden canon is illustrated by a set of two con-structions and rely on the 2:3 page ratio to give a type area height equal to page width as demonstrated by the circle, and result in margin proportions 2:3:4:6. The page is divided into nine equal spaces both horizontally and vertically. If not, the right-hand page would be exactly the same as that of the “golden section” (below). By using the Golden Canon, page layouts were much more uni-form and easily reproducible.

Muntyan, Danielle. “Canons and Grids.” Design Practice. February 19, 2013. Accessed February 8, 2015.


The Golden Section3This Golden Section or “golden ratio” is a mathematic proportion in which the ratio of two quantities is the same as the ratio of their sum to the larger of the two quantities. Page proportions based on this phenomenon are described through its convergents of 2:3, 5:8 and 21:34. This proportional system is created by drawing a diagonal line from the upper left corner to the lower right corner of the right-hand page, drawing a second diagonal from the upper right to the lower left of the entire spread, and drawing a text/image frame so that the upper and lower right corners are on the diagonals. The text area and margin proportions are determined by the starting page proportions and where the diagonals fall with that overall page proportions. Contemporary book designers such as Tschichold believe that the golden section has been used in manuscripts produced between 1550 and 1770. Richard Hendel states that since Gutenberg’s time, books have been printed in what conforms to the golden ratio. Some sources claim that the golden ratio is commonly used in everyday design, from postcards to wide-screen televisions.

“Golden Section Page Layout—Jan Tschichold.” Pacific Graphic Design. Accessed February 8, 2015.


Van de Graaf Method1The Van de Graaf method of page construction is also called the “secret canon.” Its originator was J. A. van de Graaf, a Dutch scholar of book design, and from which the method takes its name. Tradi-tionally it was used in medieval manuscripts and incunabula, and, more recently, has been used by Jan Tschichold and many other contemporary designers.

It is used in book design to divide a page in pleasing propor-tions, most commonly in a 2:3 ratio. A series of diagonals allows the top left corner of the text block being 1/9th from the top and the same from the inside margin. The text area and page size are of the same proportions, and the height of the text area equals the page width. This method can supposedly be used with a spread of any sized pages. It will always create consis-tency with balance and harmony.

“Van De Graaf.” This Page Intentionally Left Ugly. Accessed February 8, 2015.

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PART TWO (cont.) Typeface Research Helvetica

Helvetica is a sans serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Edouard Hoffman, the director of Haas Type Foundry in Manchenstein, Switzerland. The original typography was called “Neue Haas Grotesk,” being a contemporary version of nineteenth century German and Swiss designs, such as the typeface Akzidenz-Grotesk. This would allow the typeface to be featured in a variety of situations without ever seeming inappropriate. When Haas Type Foundry’s parent company of Mergenthaler Linotype decided to market the typeface in

Font Families:

foreign markets, it changed the name to Helvetica in an effort to make it more appealing and easier to pronounce for international customers. It was positively received due to its flexibility, crisp appearance, and its humanized characteristics. There is a second version, called “Neue Helvetica,” launched in 1983. It was a reworking of the typeface to have a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Helvetica’s s wide range of variants have different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica include the termination of all strokes on exactly horizontal or vertical lines and unusually tight letter spacing, which give it a dense, compact appearance. Helvetica was one of the most popular typefaces of the twentieth century. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designersin the 1950s and ‘60s. To date, Helvetica has steadily been one of the most popular typefaces, seen everywhere from in print to the web, and associated with companies including Staples, Motorola and Panasonic.

Strizver, Ilene. “Helvetica: Old and Neue.” Fonts. Accessed February 10, 2015.

Typeface Research Times New Roman

Times New Roman is a serif typeface that gets its name from the British newspaper “Times.” In 1929, the Times hired typographer Stanley Morison of Monotype, a British font foundry, to create a new text font. Morison led the project and supervised the advertising artist of Victor Lardent who drew the letterforms. He used an older font named Plantin as the basis for his design but revised it due to its issues of legibility and economy of space. Since it was designed for a newspaper, Times New Roman is narrower than most text fonts, as newspapers prefer narrow fonts because they fit more text per line. The new font made its debut in the October 3, 1932 issue of the Times newspaper and after one year, the design was released for commercial sale. Times New Roman has influenced designs for multiple serif typefaces, including Georgia which has very

Font Family:

similar stroke shapes but wider serifs. Times New Roman is used frequently in book typography, especially in mass-market paperbacks in the United States. It is of a legible style and ineffable sense of authority establishing it as the font designed for readers.

“A Brief History of Times New Roman.” Butterick’s Practical Typography. Accessed February 10, 2015.

The Times:

Typeface Research Baskerville

Baskerville is a transitional serif typeface designed in 1757 by businessman John Baskerville in England. The typeface was created as an improvement on the old style typefaces of William Caslon; he increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. The creation of this typeface was part of Baskerville’s effort to improve legibility as well as keeping in mind paper making and ink manufacturing. Some identifying characteristics include the non-closing tail on the lowercase g, the swash-like tail of Q, uppercase J that falls well below the baseline and its calligraphic style, the wide arms of the uppercase T, and the top and bottom serifs on C. The result reflected his ideas of perfection, choosing simplicity and quiet refinement.

Font Family:

“Family Classifications of Type.” Graphic Design. Accessed February 10, 2015.

Typeface Research PNM Caecilia

PNM Caecilia was the first font family created by Peter Matthias Noordzij. He developed his first drafts of the typeface in 1983, and the completed design was released to Linotype in 1991. The typeface’s name is a combination of his initials (PNM) and a version of his wife’s name (Cecile). Under Linotype, PNM Caecilia became one of the most successful slab-serif text typefaces, building on a long history of slab serifs that began in the early nineteenth century, when designers began to play with the proportions of letters and the shapes of serifs. Some of the major precursors to Caecilia that inspired its design include Rockwell, Egyptienne, Courier, and Clarendon. Slabs are divided into two categories—clarendon and neo-grotesque—the latter of which Caecilia falls into. A clarendon is defined as a typeface with minor bracketing (curved connections between the stem and serif) and a serif thickness that is different from the stem thickness. Caecilia takes the smoothness of a clarendon one step further by introducing humanist variety to the thickness of its strokes. Because of this, it has

Font Family:

“Font Study: PMN Caecilia.” Forrest Media. January 23, 2014. Accessed February 10, 2015.

been called the first-ever “neo-humanist slab.” Caecilia has been one of the most widely used slab typefaces since its release, and ushered in the public acceptance of slabs as text fonts. It has a friendly, open quality, with a large x-height and open counters. One of its most prominent uses is as the default font on Kindle e-readers. It is used in this context because its thick slab serifs make it easily legible on the pixelated screen.

Typeface Research Georgia

Georgia is a transitional serif typeface designed in 1993 by Matthew Carter for Microsoft Corporation, but wasn’t released until November 1, 1996. It was designed to go with one of Carter’s earlier typeface of Verdana, Microsoft’s first a sans serif typeface. It was inspired by Scotch Roman designs of the nineteenth century. Georgia was intended to appear elegant but legible when printed small or on low-resolution screens. As a transitional serif design, Georgia shows a number of traditional features of classic serif typefaces, such as alternating thick and thin strokes, ball terminals and an italic taking inspiration from calligraphy. Its numeral designs are text figures, designed to blend into continuous text. With closer inspection, however, one can see how the typeface is designed for clarity on a computer monitor even at small sizes: a large x-height and

Font Family:

“Brief History of the Typeface Design of Georgia.” DangDesigns. September 15, 2010. Accessed February 10, 2015.

thin strokes that are made thicker than usual. Georgia’s bold is also unusually bold, almost black in style; “Verdana and Georgia...were all about binary bitmaps: every pixel was on or off, black or white...The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.” The name of the typeface came not from the U.S. state but from a joke tabloid headline about alien heads found in Georgia, which was used to test the typeface. According to the New York Times in 2006, “Georgia is the most fashionable typeface on the Internet.”

Typeface Research Additional Thoughts

A font family is made up of the styles available within a single typeface. For example, many fonts include styles like normal, bold, italic/oblique, and sometimes more, as in the case of Helvetica that has “light”, “black” and others. The different styles within the family allow for different weights to be applied to the typeface without distorting its original design by maintaining the same point size. The different styles within each family are designed to work together.

The Purpose of a Font Family:

As I have researched and used fonts in all of the projects and assignments given to me thus far, I seem to always be drawn to the typeface of Helvetica, especially its “Light” style. I definitely prefer the sans serif style to its serif counterpart, just becuase of its minimalistic nature. As I looked at different book spreads in the first part of this project, however, I notice that many books use serif typefaces, particularly Times New Roman, as I have stated above. It is very legible and the most popular. Because of that, I am tempted to use Times New Roman for my book spread as this project progresses. However, I believe that it should also be circumstantial, i.e. based on the context of the matter one is designing, so I can’t make a final call as of yet. If I were to use a serif typeface such as Times New Roman for the body text, I would use it for the display type as well, just in a different weight to maintain uniformity. However, if I were to use the sans serif of Helvetica, I don’t think the same would apply, and I would instead use a serif font for it, just to add some softness to the page. I have a textbook that uses Helvetica for its display type and Times New Roman for its body text, and that specific combination doesn’t appeal to me. However, like I said, I do believe decisions such as this are circumstantial.

Typeface For My Book Design:

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PART THREE

We’ve had no ice on the Sound this winter, and this morning portends more warmth, well above freezing. By now, late

January, the days are already noticeably longer and the light has changed. It’s a little stronger, a little brighter.

Though the beach is lovely, the air remains raw, with a damp south wind. Kenzie’s dark shape is loping along far ahead, zigzagging the beach. The tide, already low, is still ebbing. Pebbles are mounded at the upper boundary of the wave wash; above them, near the swipe of highest tides, lies a line of slipper shells. Six decades ago, my neighbor J.P. tells me — and he’s got photos – this beach was all sand, no pebbly stretches. A generation ago, the beach was windrowed with jingle shells. Kids, hippies, and young mothers (some people seemed all three at once) liked to string them into little driftwood mobiles to hang in windows and breezeways. Now slipper shells reign. It never occurred to anyone that counting shells on a beach could be science, so there’s no data on how jingles have nearly vanished. Only the neighbors speak of it; only the neighbors know.

A large time-blackened oyster shell, newly uncovered by the collusion of wind and water, speaks of when they grew wild in

2Coast of Characters

the view of lazy point coast of characters2 3

abundance, and big. Every walk is a product of the present and a relic of the past. And on a very recent clamshell I recognize the perfect, tiny borehole of the predatory snail that was its assassin. Three round, translucent pebbles catch my eye; they fit snugly across my palm — not that I need more pebbles. Then again, Isaac Newton himself said, “I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, while the great ocean of truth lay all undiscovered before me.” Well, exactly. So I’ll grant myself the pretty stones.

The Sound reflects both the light of morning and the calls of sea ducks. I cup my ears and hear the Long-tailed Ducks’ ah-oh-da-leep. Their call means it’s winter — and it means I’m home. Among the gifts of the sea is a wonderfully portable sense of place. Portable because one ocean washes all shores. Like these migrants themselves, my sense of home goes where they go.

Scanning with binoculars, I locate those elegantly streamered Long-tails. The morning light is falling across their pied heads, putting a gleam on their whites and setting their pink bill tips aglow. I swivel my gaze across the water, past several Common Loons in their soft-gray winter pajamas. Red-breasted Mergansers, heads war-bonneted with ragged crests, sit scattered across the Sound. On the shore across the Cut, three Harbor Seals are resting with their bodies gracefully bowed, heads and rear flippers up off the sand, air-cooling themselves.

Their beauty alone is inspiring. But what in the journey of their ancient lineage led one kind to develop a black-and-white head, another a cap of ragged plumes? How does one’s DNA begin building a Bufflehead and another’s start assembling a seal — when cells are so similar? Each kind is an engraved invitation posted on an unlocked door that opens to a mansion bigger than human time. Step inside, and you can easily spend a lifetime.

Mysteries notwithstanding, this daily morning walk is how I take the pulse of the place, and my own. It’s a good spot in which to wake up.

The sun here comes out of the sea and returns to the sea — a trick that’s hard to pull off if you don’t live on an island or some narrow bit of land with its neck stuck out. As Earth revolves around that disk of sun, you can watch dawn and sunset migrate across the horizon a little each day.

On a coast ruled by a wandering sun and twelve moons that pull the tides like the reins on a horse, a year means something. Seasonality here isn’t just a four-season, common-time march. The rhythm of the year here beats to the pulse of a perpetual series of migrations, rivers of life along the leaning line of coast. Fishes and birds mainly, but also migrating butterflies, dragonflies, whales, sea turtles, even tree frogs and toads and salamanders, whose migrations take them merely from woodland to wetland and back. Each kind moves to its own drum. Getting tuned into the migrants’ urgent energies turns “four seasons” into a much more complex idea of what life does, what life is, of where life begins and goes.

Time has been called an arrow, but here time’s directionality assumes the circularity of the sky, the ocean’s horizon-in-the-round. Circular time. This is perhaps time as an animal perceives it, each day replayed with all the major elements the same and every detail different. It’s a pinwheel in which each petal creates the one behind it, goes once around and then falls, as all petals eventually do. Time and tide. Ebb and flow. Many a metaphor starts in water. As did life itself.

Life — Earth’s trademark enterprise-starts with plants and algae capturing energy from sunlight and using solar power to turn carbon dioxide and water into sugar. Then they use the sugar they’ve created as fuel for turning the nutrients in soil and water into cells, and for powering growth, reproduction, repair and defense. Whether at sea or on land, plants and countless trillions

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4Expressive Type Illustration

Part One: Research of expressive typography and ideas for a chosen sentence from “Coast of Characters”

Part Two: Developed sketches for the chosen sentence

Part Three: Finalized digital sketches for the chosen sentence

Part Four: Insertion of illustration into chapter

2019

PART ONE PART TWOPROJECT 4 Part 1: Research + Analysis

B Expressive Typography Research (cont.)

http://seaningsdesign.com/post/77620767856/audrey-hep-burn-typographic-design-buy-this

https://dylanlee59.wordpress.com/

http://www.dataisnature.com/?p=529

https://www.behance.net/gallery/illustra-tion/4539115

PROJECT 4 Part 1: Research + Analysis

C Chosen Sentence Interpretation Sketches

I was unable to narrow down my chosen sentences past these three, so I sketched ideas out for each one. Below are the images of which I will model my designs after.

Every walk is a product of the present and a relic of the past.

The solid grey sections of the footprint will be where the text is.

I like this angle of this so I would make the allusion of the impression with varied weight, size and spacing of text. I also like this because the background is the

shore line. I would treat this image

as I explained to the right, creating an impression with

the text.

I wanted to really capture the idea of the past and what is to come. Pieces of words and letters would trail off the back of a single footstep impression as well as something in front of the step as well. I was also thinking of having a foot stepping out of the

impression.

1. By now, late January, the days are already noticeably longer and the light has changed. It’s a little stronger, a little brighter.

2. Every walk is a product of the present and a relic of the past.

3. “I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, while the great ocean of truth lay all undiscovered before me.”

4. Their call means it’s winter — and it means I’m home. Among the gifts of the sea is a wonderfully portable sense of place. Portable because one ocean washes all shores. Like these migrants themselves, my sense of home goes where they go.

5. Each kind is an engraved invitation posted on an unlocked door that opens to a mansion bigger than human time. Step inside, and you can easily spend a lifetime.

6. The sun here comes out of the sea and returns to the sea.

7. On a coast ruled by a wandering sun and twelve moons that pull the tides like the reins on a horse, a year means something.

8. The rhythm of the year here beats to the pulse of a perpetual series of migrations, rivers of life along the leaning line of coast.

9. Time has been called an arrow, but here time’s directionality assumes the circularity of the sky, the ocean’s horizon-in-the-round. Circular time.

10. It’s a pinwheel in which each petal creates the one behind it, goes once around and then falls, as all petals eventually do.

11. Many a metaphor starts in water. As did life itself.

12. World history is not the story of politics, wars, ideologies, or religions. It’s the story of energy flow, beginning with a fraction of the sun’s radiance falling on a lifeless planet coated with water.

13. Animals eat plants, so, ultimately, we are all grass, pretty much. Now the astonishing thing is how much of the grass we are.

14. There are those for whom the dying of the world comes as unwelcome news.

15. I don’t mean day-to-day living; I mean Life, capital L;

16. I hope Life will find a way to hold on, keep its shape, persist, ride it out. And I also hope we will find our way toward quelling the storm we have become.

17. The modern study of life started, one might argue, with Charles Darwin.

18. ...that all life is related by lineage, by flows of energy, and by cycles of water, carbon, nitrogen, and such; that resources are finite, and creatures fragile. The institutions haven’t adjusted to new realizations about how we can push the planet’s systems into dysfunction.

19. Though we’re fearless about revolutionizing technologies, we cling to concepts that no longer reflect realities. We’re incredible at solving puzzles, poor at solving problems. And if the whole human enterprise has one fatal shortcoming, this is likely it.

PROJECT 4 Part 1: Research + Analysis

A Chosen Sentences from “Coast of Characters”

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PART THREE PART FOURPROJECT 4 Part 3: Sketched to Finished Illustrations

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in abundance, and big. Every walk is a product of the present and a relic of the past. And on a very recent clamshell I

recognize the perfect, tiny borehole of the predatory snail that was its assassin. Three round, translucent pebbles catch my eye;

they fit snugly across my palm — not that I need more pebbles. Then

again, Isaac Newton himself said, “I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing

on the seashore and diverting myself in now and then finding a

smoother pebble or a prettier shell than ordinary, while the great ocean of

truth lay all undiscovered before me.” Well, exactly. So I’ll grant myself the pretty stones.







Time has been called an arrow, but here time’s directionality assumes the circularity of the sky, the ocean’s horizon-in-the-round. Circular time. This is perhaps time as an animal perceives it, each day replayed with all the major elements the same and every detail different. It’s a pinwheel in which each petal creates the one behind it, goes once around and then falls, as all petals

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2423

5Graphic Translation

Part One: Rendering of a chosen object 4 ways: realistic, outline, highlights/shadows, midpoint ranges

Part Two: Digital illustration for chosen object

Part Three: Digital illustration of an animal from “Coast of Characters”

Part Four: Insertion of illustration into chapter

2625

PART ONE PART TWO

2827

PART THREE PART FOURthe view of lazy point coast of characters2 3

in abundance, and big. Every walk is a product of the present and a relic of the past. And on a very recent clamshell I

recognize the perfect, tiny borehole of the predatory snail that was its assassin. Three round, translucent pebbles catch my eye;

they fit snugly across my palm — not that I need more pebbles. Then

again, Isaac Newton himself said, “I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing

on the seashore and diverting myself in now and then finding a

smoother pebble or a prettier shell than ordinary, while the great ocean of

truth lay all undiscovered before me.” Well, exactly. So I’ll grant myself the pretty stones.







Time has been called an arrow, but here time’s directionality assumes the circularity of the sky, the ocean’s horizon-in- the-round. Circular time. This is perhaps time as an animal perceives it, each day replayed with all the major elements the same and every detail different. It’s a pinwheel

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3029

6Title Pages, Table of Contents, Colophons

Part One: Research on colophons

Part Two: Research on title pages

Part Three: Research of table of contents

Part Four: Creation of a colophon, a title page, and table of contents for “Coast of Characters”

3231

PART ONE PART TWOProject 6: Part 1 What is a Colophon?

A colophon is a brief description that states information about the publication of a book, including the place of plublication, the name of the printer and publisher, and the date of publication. It also might be pictorial or emblematic in nature, rather than in words. A colophon is placed after the explicit, i.e. the end of the text, often after an index. After 1500, this information was transferred over to be included on the title page instead.

With the development of the private press movement around 1890, colophons became conventional in private press books, including a good deal of additional information on the book: statements of limitation, paper/ink/type/binding information, and other technical details. Some such books include a separate “Note about the type”, which idenitified the names of the primary typefaces used, with a brief description of the type’s history and a brief statement about its most identifiable physical characteristics. Some commercial publishers took up the use of colophons, and began to include similar details in their books. These colophons identified the book’s designer, the software used, the printing method, the printing company, the typeface(s) used in the page design and the kind of ink, paper and its cotton content. Book publishers Alfred A. Knopf, the Folio Society and O’Reilly Media are notable for their substantial colophons.

I found it very interesting that 1) the term “colophon” is derived from the Latin and Greek word meaning “finishing touch” or “summit.” 2) Naturally, they appear at the end of the text, even though I would have though it would be at the beginning–which is where that information lies in its most common use on the title page. 3) The first application of the term was to clay tablet inscriptions appended by a scribe to Ancient Eastern texts such as books and manuscripts. Here, they contained information such as the scribe, owner, or commissioner of the tablet, literary contents (title, repeated phrases to help identify and organize the tablets, or number of lines), and occasion or purpose of writing.

Project 6: Part 1 Analysis

I really like that the emblem used at the bottom is placed as if to finish off the shape. The use of small caps throughout the entire text also lends an old-English feel to the book.

•type: Adobe Garamond (the history of typeface is included), unsure of size (depends on size of the paper)

•other text elements: small caps•spacing: justified to the edge of the trapezoid

shape •placement: bottom center, takes up bottom half

of page •additional elements: emblem at bottom,

completing the shape

This is from a yearbook, and I especially like the use of type overlayed by the photographs. The text is also very well placed, despite its unusuality.

•type: this information was not listed; sans serif typeface, unsure of size (probably large given the relativity to a large yearbook size), also differs in size

•other text elements: all lowercase, different colors

•spacing: flush left and flush right type, different leading

•placement: above image to the outer margin (i.e. left page of the spread)

Project 6: Part 2 Analysis

I like this because of its placement of text and white space. Though usually discouraged from it, I think centerized text is successful here. I also like the image and its chosen size, though I believe the symbol and publisher info could be smaller at the bottom (hierarchial reasons).

•elements: title, author, publisher/location•type: sans serif, different weights and sizes•spacing: centerized•placement: most of the info is at the top•additional elements: image between title and

author, publisher symbol at bottom

I like this, as the rest of the ones I have chosen, due to its use of white space and simple look. This one also uses grey text instead of black and a sans serif typeface, which I think is very visually appealing.

•elements: title, subtitle including author, publishing date/location

•type: sans serif, possibly Futura (due to the structure of the “a”), different weights and sizes

•spacing: flush left•placement: title (at top) and publisher info

lined up to grid, author info lined up to second grid

Project 6: Part 2 Analysis (cont.)

I like this obviously because of the childhood memories/nostalgia it recalls, however I think white space is used successfully. The unique typeface for the title is very nicely paired with the serif typeface used in the rest of the title page.

•elements: title, author/illustrator, publisher name and location

•type: drawn title, serif for author/illustrator and publisher

•spacing: centerized•placement: the title makes the page a little top

heavy•additional elements: spider coming off the

drawn title

I think the patterns in the opposite corners really make this example successful, especially in the grey color. I do think that the combination of typefaces that were chosen were not successful, however.

•elements: title, author, publisher/location•type: serif for title and publisher info, sans serif

for author•spacing: flush right for author and publisher

info, combination for title•placement: varies•additional elements: pattern in opposite

corners

3433

PART THREE PART FOUR

2 This style has the page numbers following the title on the right with a brief description of the article underneath the title. This, too, is clearly from a magazine. I think the descriptions under each title are successful; especially some titles you might not know what they are about. Also A+ for handmade typography.

•type: sans serif for the titles/page numbers/description, bold and regular styles; handmade sans serif font for title (“TOC”)

•spacing: flush right with page numbers on the right side, wide kerning/leading to be seen on top of background image

•placement: placement on the right side of the page assumably lead to the flush right choice; it is smart to place the TOC on the outer side of the page, but I don’t know how I feel about the flush right text.

THE View FROM LAZY POINTA Natural Year In An Unnatural World

A Novel By Carl SafinaAuthor of “Song for the Blue Ocean”

MACMILLIAN • 2011

1 This style has the page numbers on the left and includes author etc. underneath the article title. I think the setup is very clean and organized, and the reader can easily find what they are looking for. The layout is very much so that of a magazine, separating the contents into categories. I like this because it reminds me of the Chronogram.

•type: sans serif for the chapter/authors, possibly Helvetica in both bold and light styles, serif for category/page numbers

•spacing: flush left with page numbers on the left side, gutters between the columns could be wider

•placement: 3 columns, indicative of a large page size such as that of a magazine

4 This style of TOC is definitely fit for a book, giving emphasis to the numbering of the chapters, and least importance to the page it starts on, indicated by its lack of its own grid. I like the connecting line that extends from the “T” through the bottom of the page between the chapter numbers and the titles.

•type: same sans serif throughout; bolded for header and different sizes to indicate different types (chapter numbers, chapter titles, etc)

•spacing: chapter numbers flush right against vertical line and chapter titles flush left against line

•placement: assumably taking up the entire page of the book

5 This style of TOC gives more emphasis on the page number than the title in terms of size. Though the focus should be on the titles, by doing so it leaves room for more white space and in effect makes the titles more visible, especially in the different colors that they are.

•type: serif for the titles, in different colors; transitional serif(?) for the page numbers and header

•spacing: flush left; the larger type size of the numbers leaves for more spacing in between the titles, which gives more white space

•placement: 2 columns; presents the information in a clean manner

3635

PART FOUR (cont.)

Table of Contents

1 Prelude 5 The View from Lazy Point 9 Coast of Characters 23 February 30 March: In Like a Lion 43 March: Out Like a Lamb 61 Travels Solar: Coral Gardens of Good and Evil – Belize and Bonaire 81 Farewell, Whole New Time 95 April 111 May 142 June 155 Travels Polar: Bear Witness – Southeast Alaska 183 July 195 Travels Polar: Svalbard 220 August 231 Travels Polar: Baked Alaska 248 September 261 October 279 Travels Solar: Rainbow’s End – Palau 301 November 318 December 329 Travels Polar: Copa Cabana – Antarctica 347 January 359 References 379 Acknowledgments 383 Index

the view of lazy point9

uses the double-entry bookkeeping and accounting adopted in thirteenth-century Venice, first written down in the 1400’s by a friend of Leonardo Da Vinci’s, the Franciscan monk Luca Pacioli. His book Summa de Arithmetica established the concept that banks’ main assets are other people’s debts — and we know where that’s gotten us recently.

So our daily dealings are still heavily influenced by ideas that were firmly set before anyone knew the world was round. In many ways, they reflect how we understood the world when we didn’t understand the world at all.

Our economic, religious, and ethical institutions ride antique notions too narrow to freight what we’ve learned about how life works on our sparkle dot diamond dust in space. These institutions resist change; to discoveries about how life operates. So they haven’t assimilated the last century’s breakthroughs; that all life is related by lineage, by flows of energy, and by cycles of water, carbon, nitrogen, and such; that resources are finite, and creatures fragile. The institutions haven’t adjusted to new realizations about how we can push the planet’s systems into dysfunction.

In important ways, they poorly correspond or respond to a changing world. You wouldn’t treat an illness by calling a medical doctor from the Middle Ages, but we run the modern world with only pre-modern comprehension. Old thinking prevails. In the main, our philosophy of living, our religions, and our economics simply don’t have a way of saying, “As we learn, so will we adjust.”

Though we’re fearless about revolutionizing technologies, we cling to concepts that no longer reflect realities. We’re incredible at solving puzzles, poor at solving problems. And if the whole human enterprise has one fatal shortcoming, this is likely it.

the view from lazy

point is set in the classic Times New Roman. This

book was orginally published by Macmillian Publishers in 2011

and reprinted in 2012. Design and artwork included by Christina Rose,

ARS205.01 Graphic Design student at the State University of New

York at New Paltz in March of 2015.

3837

7End Pages

Part One: Photographs relating to the text and associating color palettes

Part Two: Creation of our own color palettes

Part Three: Creation of pattern sheets: organic, geometric, and our own patterns

Part Four: Final end pages for the book “A View From Lazy Point”

4039

PART ONE PART TWO

Every walk is a product of the present and a relic of the past.1

The sun here comes out of the sea and returns to the sea.2

On the shore across the Cut, three Harbor Seals are resting with their bodies gracefully bowed...3 ...the United Nations expects the population to grow to

over nine billion people by the middle of this century. 4

As a new force of nature, humans are changing the world at rates and scales previously matched mainly by geological and cosmic forces like volcanoes...5 The Sound reflects both the light of morning and the

calls of sea ducks.6 Roughly 40 percent of tropical coral reefs are rapidly deteriorating...7

Almost all of it comes streaming to the treasury in gold bars of sunlight...8 On a coast ruled by a wandering sun and twelve

moons that pull the tides like the reins on a horse...9 Portable because one ocean washes all shores. 10

Winter TimeThe opening paragraph of the text seemed to set the scene in a wintery, or end of winter, environment. I couldn’t imagine the lake sunny, despite the natural sunrise/sunset (as seen in the next palette). I think the combination of blues and browns achieve this, because if it was all shades of blue, it would envoke a sadder feeling and be more monochromatic, which I did not want. I don’t think I would use this color scheme for the end pages (though who knows) because of its otherwise lack-luster color selection, but if so, I’m not sure what the design would be as it doesn’t lend itself to extreme variety or inversion of colors.

Sunrise Over WaterI was trying to evoke the colors of a sunrise (and/or sunset??) with the warm colors of the sun contrasting against the color blues and midnight purples of the sky. In the text, Carl Safina discusses the sunset on at least one occassion, and given the chapter title and his frequent discussion of lake animals (ducks, etc) I imagine the sun setting over the lake. I’m not sure how I will approach the end pages, but I think I will utilize the complementary colors, using one side of the spectrum as that which stands out on the front, and vice versa.

Serene LakeFor my third color palette, I debated between beach colors and that of the water. However I feel with both of these options didn’t seem to connect to the text or bring much variety. I think the color palette of the lake gives a nice aesthetic, displaying both the colors of the water and the algae of the lake (despite it lying all on the same side of the color wheel - greens and blues). I think if I were to use this as a final, I would combine the sunrise and lake to provide a better use of complementary colors.

4241

PART THREE

I like this scalloped shape of the de-sign I found. I created the outline of the image and just set it in grey and white to give a nice pattern. I will prob-ably explore this in my create-your-own design.

1 OrganicI describe this design as organic because even though it can be made into a geometric shape, the painterly nature of the watercolor strokes and zig-zag striped design separate it from the aesthetic of rigid geometric lines.

2 OrganicI really liked the sketchiness to this design (as you can tell from example #2, I like the hand-made aspect to pat-terns). At first, I couldn’t tell which one I liked more when two layer came off of the image. But I think side-by-side works successfully as well.

3 OrganicI like the original design but I didn’t know how to play with it/there were too many options to settle on just one, so I left it in its most basic form.

4 OrganicI really like the original design and I like what happened to it with image trace. Though some sections of the pattern was deleted, it is still repetitive and leaves a nice aesthetic.

5 GeometricThe pattern is made so that if anoth-er row is added below what is shown above the dark to light to dark range remains. The color acts with its com-plementary.

6 Geometric

4443

PART THREE (cont.)

A pattern can be achieved just with straight lines, and I tried exploring that here. I envokes a barcode, however this is not necessarily a bad thing, es-pecially depending on your context.

7 GeometricThe pattern I found is beautiful; it is made up of hexagons and it seems almost as if the colors were chosen by “pixelating” an image. I used the general form of columns of hexagons above.

8 GeometricI think this design is very playful. A lot can be done with it in terms of col-ors and sizes, outlined or filled-in.

9 My DesignsI really wanted to make my own scalloped pattern. Using the monochro-matic color scheme of pattern #6, following an almost Pantone-type aes-thetic, I colored the scallops. I know it was said you shouldn’t go that light in value at the bottom, but I like that it fades into the background.

10 My DesignsI think making a paint splatter into a repeating pattern is interesting due to the uniqueness of splatters, etc. I thought about collaging together the one splatter, however there is a certain dialogue that they are being lined up in perfect columns and rows; it is bringing order to something that is meant to be a mess.

11 My DesignsI really love tribal/Aztec patterns, both for their combinations of color and geometric shapes. Though I did not design this pattern, I recreated it us-ing the pen tool and shapes (like the Pen Tool Exercise) with the original image on a different layer. The possible fill colors are also endless.

12 My Designs

4645

PART FOUR

4847

8Book Covers

Part One: Analysis of book covers

Part Two: Group project comparing two book covers

Part Three: Development of a book cover for “A View From Lazy Point”

Part Four: Digital sketches for the book cover

Part Five: Final book cover and spine

5049

PART ONE PART TWO

I like how simple this cover is while also relating to the book in its imagery. The cover is basically made up of two areas of color [one of white and one of a gradient of blue to brown to symbolize the ocean] and one word [“JAWS”]. However, the clever use of the cropped/stand-alone text of the top of the “A” describes the book without us-ing excessive imagery of a shark and ocean. It would be interesting to determine what element of Carl Safina’s story could be used in a clever way such as this.

I like the cut paper look to this cover. It is very different from the classic/other versions of this book. I am very drawn to this style and this pro-cess of making art as well. It goes well with the nature of the book, which deals with the human mind. The blue strips look like nerves of the brain. If I was able to do a collage/paper cutout for a book cover I would do something like this, as I have done projects resembling this design. Additionally, the color blue contrasts nicely with the orange present in the Penguin Books logo, as small as it is. The background calls to mind a paper bag, similar to the paper on top of it.

1 2

There is a lot of marine imagery used in the cover. The illustration uses ocean waves, curly lines, strokes, and heavy line work. It uses a minimal color palette. The white negative space is used well on the top and inside the body. The gold color compliments the blue nicely and makes her hair standout. The cover relates to the title because she is rising out of the water.

It is an illustration that reflects the struggle of the character. It represents where the character works and hints at the life she leads. This illustration relies on concentrated line work and negative space. They both create a diagonal across the page that brings your eye throughout the whole cover. The solid color of the ship ties in with the title to give the design some simplicity.

There are two different type faces used. Size is used to indicate the hierarchy of the title author and subtitle. The title is more illustrative and feels part of the design on the cover. The sub title and author have a simple text that does not interfere with the design.

The design is very effective. There is a lot of negative space on the top outlining the ship and figure which makes the illustration pop. The shape of the ship and the head brings your eye clockwise around the image.

The cover relates to the content of the book because it addresses the characters’ personal relationships with the ocean and deals with redefining ones self and overcoming personal struggles.

She Rises by Kate WorsleyBook Cover Designer: Holly MacDonald

Alice’s Adventures in Wonderland by Lewis CarrollBook Cover Designer: Joseph Pielichaty

The imagery used relates to the book because it represents the rabbit hole that Alice falls into. This cover is not an illustration. The cover uses a photograph of a wooden hole.

The cover uses one serif typeface with an illustrative A. The hierarchy is defined by the size of the type. The type is in all caps and is a shade of brown which is also in the photograph.

The layout is centered vertically but not horizontally. This design is very effective. The color palette is minimalist and uses different brown tones. The palette and simplicity of the layout brings your eye from the title down to the author’s name.

The design relates to the content of the book because it represents the pivotal point when Alice falls into the rabbit hole and her whole journey begins.

The center composition and simplicity works well. They could have used a more accurate representation of the book.

One cover is an illustration and the other uses a photograph. One has a centered composition and one does not. One has the title positioned on the top but one has the author listed first. The She Rises design gives information about the book without having read it. The imagery gives off various feelings. Alice’s Adventure in Wonderland uses imagery that would be hard to understand the meaning unless already knowing the story. One book uses a cool color palette and the other uses a warm.

Both covers use a serif font and both use size for hierarchy. They both use minimalist color palettes and use illustrative type to express movement. They both use negative space in a successful way.

Compare and Contrast

5251

PART THREE PART FOUR


THE View FROM LAZY POINTA Natural Year In

An Unnatural World

Carl Safina

In this intertwined story, Carl Safina shows us that nature and human dignity require each other. The View from Lazy Point follows the arc of the seasons from Carl Safina’s home waters of eastern Long Island to far horizons of the globe, from the Arctic to Antarctica and across the tropics. We encounter bears, Eskimos, salmon, penguins, corals, tropical fishes, local vil-lagers-. We see a world brimming with vitality, but changing, with much at stake.Why do our institutions fail to sense the dangers? Safi-na shows how philosophy, religion, and economics-all developed before we knew the world was round-are so out of sync with scientific realities that they’re essentially irrational.But in the cycle of seasons and the waves of migrating fishes and birds, Carl Safina still finds solace and de-light and the power and resilience of living things. As revealed by Safina, the world still sings. The challenge now: to keep the music alive, for those who’ll follow.

“You could call Safina a Thoreau for the twenty-first Century.” –The New York Post

THE Vi

ew FR

OM

LA

ZY P

OIN

T

Cover Design by:Christina Rose

MacMillian Publishing©2015 Safina

Concept #1: Ducks swimming across the bottom of the page, with the background of the page symbolic of the water. Ripples will be present around the ducks. At the top of the page to create balance, will be hint of overlanging leaves, etc. No text will be pres-ent on the cover, only the spine.

Collected Images:

ducks: ripples:

images for the top of the page (bled off):

Project 8: Part 3 Tactile Research Concept #2: I think birds (not ducks but maybe seagulls or ordinary birds) would also be good imagery to represent Safina’s book. Below is a rough interpretation of the cov-er with a single seagull.

Collected Images:

seagulls: groups of birds:

Single bird silhouette:

I was also inspired by “To Kill A Mockingbird” covers:

A View from Lazy Point

Concept #3: Taking from the last example for concept #2, I’m exploring just trees/leaves. I really like how the designer of this cover of “To Kill A Mockingbird” handled the leaves below. I think trees are a perfect aesthetic for this book.

Collected Images:

(I know these are wedding books):

other tree imagery:

5453

PART FOUR (cont.)


Carl Safina

In this intertwined story, Carl Safina shows us that nature and human dignity require each other. The View from Lazy Point follows the arc of the seasons from Carl Safina’s home waters of eastern Long Island to far horizons of the globe, from the Arctic to Antarctica and across the tropics. We encounter bears, Eskimos, salmon, penguins, corals, tropical fishes, local vil-lagers-. We see a world brimming with vitality, but changing, with much at stake.Why do our institutions fail to sense the dangers? Safi-na shows how philosophy, religion, and economics-all developed before we knew the world was round-are so out of sync with scientific realities that they’re essentially irrational.But in the cycle of seasons and the waves of migrating fishes and birds, Carl Safina still finds solace and de-light and the power and resilience of living things. As revealed by Safina, the world still sings. The challenge now: to keep the music alive, for those who’ll follow.

“You could call Safina a Thoreau for the twenty-first Century.” –The New York PostTH

E Vi

ew FR

OM

LA

ZY P

OIN

T

Cover Design by:Christina Rose

MacMillian Publishing©2015 Safina

PART FIVE


A Natural Year In An Unnatural World

Carl Safina

In this intertwined story, Carl Safina shows us that nature and human dignity require each other. The View from Lazy PoinT follows the arc of the seasons from Carl Safina’s home waters of eastern Long Island to far horizons of the globe, from the Arctic to Antarctica and across the tropics. We encounter bears, Eskimos, salmon, penguins, corals, tropical fishes, local villagers. We see a world brimming with vitality, but changing, with much at stake.

Why do our institutions fail to sense the dangers? Safina shows how philosophy, religion, and economics–all developed before we knew the world was round–are so out of sync with scientific realities that they’re essentially irrational.

But in the cycle of seasons and the waves of migrating fishes and birds, Carl Safina still finds solace and delight and the power and resilience of living things. As revealed by Safina, the world still sings. The challenge now: to keep the music alive, for those who’ll follow.

“You could call Safina a Thoreau for the twenty-first century.” –the new york post

THE View

FROM

LAZY

POIN

T

Cover Design by: Christina Rose

MacMillian Publishers Ltd.www.macmillan.comPrinted in the U.S.A. Safina

View FROM LAZY POINT

THE

US $14.99/CAN $19.99

5655

9Other Exercises

• Typeface Terminology Worksheet

• Kerning Exercise

• John McWade Assignment

• Golden Rectangle Exercise

• Helvetica the Movie Analysis

• Pen-Tool Exercise in Illustrator

• Exercises for Table of Contents and Colophons

• SkillShare Pattern Exercise

5857

TYPEFACE TERMINOLOGY

6059

KERNING EXERCISE JOHN MCWADEBefore & After: Things Every Designer Should Know

John McWade shares his theories on graphic design in his video set “Before and

After: Things Every Designer Should Know.” The first point I found interesting was in

his first section entitled “Know Your Story.” As an aspiring graphic designer, I will be

working with clients who all have their own preferences in color, layout, etc. To avoid

the nit-picking critiques of “could you make that a different shade of green” or “could

you move this thing over here,” McWade says to have a “creative brief,” asking in-

stead the question of “does this design fulfill the goal?” This then allows the graphic

designer to do his job and the client to be able to correctly communicate his vision in

his own workplace. I now know how to handle these situations that will be happening

very regularly in my future career.

Another point he made was in regard to business cards and logos. Using an exam-

ple of a local business using an acronym as a logo/on their card, McWade explained

that acronyms need explanation and thus creates distance with the client. This is not

a good idea for a local business. As someone wishing to go into package and logo

design, this is definitely something to keep in mind. An additional point, especially

beneficial to art students like us, is to put your own craft on your card if that’s the story

you want to tell. This is useful information for anyone starting up a business and trying

to define themselves. At this particular moment it is very helpful for me as I design a

business card and think about how I want to represent myself to my future clients.

McWade goes on to describe ways to get the most effective and visually pleasing

design. This includes having a focal point, utilizing white space, unblocking elements,

setting type bolding, and using color correctly. He shows each point he makes by

taking poorly designed advertisements, magazine covers, etc. and recreating them.

One particular thing that I never thought of before is the “blocking” effect caused by

capitalized or justified text or outlined photos. Being more organic with your typogra-

phy and removing the frame in which the image sits gives a more visually appealing

composition. As someone who is just learning the particulars of graphic design, his

video was very helpful and something I will definitely refer to when approaching future

projects in this class and in the real world.

Christina Rose

6261

GOLDEN RECTANGLE

Our satiny, fragrant pumpkin filling finds a perfect partner in this sweet shortbread crust, which is easy to make. Because the dough isn’t rolled out, you don’t need a rolling pin—just a mixing bowl and a spoon. Press the buttery crumbs evenly into a pie pan, and then bake the dough briefly before adding the custardly pumpkin filling. The finished crust is crisp, cookielike , and sophisticated.

PHOTOGRAPHS BY CHRISTOPHER BAKERTEXT BY MELISSA CLARK

PIE

THE FOUNDATION OF A STELLAR PIE is an excellent crust. At Thanksgiving, expectations run especially high. That’s why we’ve created this foolproof guide for every baker. If the thought of using a rolling pin makes you anxious, try our easy press-in pie crust. If you’re practiced but not a pro, try our intermediate version, made with wonderfully forgiving dough. And if you’d really like to impress, go for our advanced pie, topped with decorative pastry cutouts. There’s something here for all levels—and all appetites.

Our satiny, fragrant pumpkin filling finds a perfect partner in this sweet shortbread crust, which is easy to make. Because the dough isn’t rolled out, you don’t need a rolling pin—just a mixing bowl and a spoon. Press the buttery crumbs evenly into a pie pan, and then bake the dough briefly before adding the custardly pumpkin filling. The finished crust is crisp, cookielike , and sophisticated.

PHOTOGRAPHS BY CHRISTOPHER BAKERTEXT BY MELISSA CLARK

PIE

THE FOUNDATION OF A STELLAR PIE is an excellent crust. At Thanksgiving, expectations run especially high. That’s why we’ve created this foolproof guide for every baker. If the thought of using a rolling pin makes you anxious, try our easy press-in pie crust. If you’re practiced but not a pro, try our intermediate version, made with wonderfully forgiving dough. And if you’d really like to impress, go for our advanced pie, topped with decorative pastry cutouts. There’s something here for all levels—and all appetites.

6463

HELVETICA THE MOVIE PEN-TOOL EXERCISE

HE

LV

ET

ICA

“The life of a designer is a life of fight. Fight against the ugliness.”

-Massimo Vignelli

I appreciated learning about the history of the typeface Helvetica in the 2007 film by director Gary Hustwit. I had previously researched it when doing a section of our third project; however, I still found I learned quite a lot from this film. I was interesting to learn that Helvetica came out of a need to redesign in the spirit of idealism following the Sec-ond World War. Wim Crouwel described the process as “doing away with the manual details,” to create something that would be “neutral” so as to not contribute a meaning to the product, etc. that it was being associated with. This is very important when cre-ating your corporate identity and generating your company culture to your consumers, not just a typeface. Tobias Frere-Jones stated the following: “I think even if they’re not consciously aware of the typeface they’re reading, they’ll certainly be affected by it, the same way that an actor that’s miscast in a role will affect someone’s experience of a movie or play that they’re watching.”

As the film progressed and multiple examples were shown I was amazed in how many logos use the typeface of Helvetica—BMW, Target, Crate & Barrel, Sears, the list goes on. You don’t realize at first glance, however, because each company personalizes it a bit to make it their own; for example, Staples adds the staple-like extension on the letter “L” and Sears with the white stripe through the middle of the letter. It is interesting (as I looked up images of the logo) that Sears actually has modernized it a bit by switching to a light style of the typeface as opposed to its previously black style. The film actually states that American Airlines is the only company that has not updated their logo in forty years. There is no doubt that this class has made me more aware of logos and signs and their use of typefaces, and viewing this film has made me realize that most of them use Helvetica.

What I found the most interesting was the comment made when speaking of how the typeface was designed. It was explained that the Swiss paid more attention to the space that “holds” the letters in place and a successful typeface is that which creates successful interrelationships between the negative spaces. Vignelli described typog-raphy as the “space between the black, like music is the space between the notes.” I thought this was a very interesting way of looking at how type sits on a page. With this in mind, is how I went about designing the layout of this page, making the body text, set in Helvetica (of course) white on a black background, to emphasis the importance of the negative/white space—in this case “black space.”

The designer Matthew Carter also shared how to determine if a letter is sans serif or serif and how to analyze the letters to help determine typefaces. I found this particu-larly useful as a graphic design student; our magazine recreation exercise particularly stood out to me as being a good situation in which this information would be useful, as I didn’t know which letter to compare the different styles to when trying to determine which typeface was in the original spread. Not many people realize how much work goes into typography, and this movie fueled my appreciation. Unfortunately there will always be those who dislike something, and Helvetica is no different. As a fan of the typeface myself, I have to disagree with those who dislike Helvetica and their asser-tions against it. However whether you love it or hate it, Helvetica is unavoidable.

Everything I learned in this film will stay with me, as all of the points made and dis-cussed are important to keep in mind as I enter into the world of graphic design and advertising.

HE

LVE

TIC

AI appreciated learning about the history of the typeface Helvetica in the 2007 film by director Gary Hustwit. I had previously researched it when doing a section of our third project; however, I still found I learned quite a lot from this film. I was interesting to learn that Helvetica came out of a need to redesign in the spirit of idealism following the Sec-ond World War. Wim Crouwel described the process as “doing away with the manual details,” to create something that would be “neutral” so as to not contribute a meaning to the product, etc. that it was being associated with. This is very important when creating your corporate identity and generating your company culture to your consumers, not just a typeface. Tobias Frere-Jones stated the following: “I think even if they’re not conscious-ly aware of the typeface they’re reading, they’ll certainly be affected by it, the same way that an actor that’s miscast in a role will affect someone’s experience of a movie or play that they’re watching.”

As the film progressed and multiple examples were shown I was amazed in how many logos use the typeface of Helvetica—BMW, Target, Crate & Barrel, Sears, the list goes on. You don’t realize at first glance, however, because each company personalizes it a bit to make it their own; for example, Staples adds the staple-like extension on the letter “L” and Sears with the white stripe through the middle of the letter. It is interesting (as I looked up images of the logo) that Sears actually has modernized it a bit by switching to a light style of the typeface as opposed to its previously black style. The film actually states that American Airlines is the only company that has not updated their logo in forty years. There is no doubt that this class has made me more aware of logos and signs and their use of typefaces, and viewing this film has made me realize that most of them use Helvetica.

What I found the most interesting was the comment made when speaking of how the typeface was designed. It was explained that the Swiss paid more attention to the space that “holds” the letters in place and a successful typeface is that which creates success-ful interrelationships between the negative spaces. Vignelli described typography as the “space between the black, like music is the space between the notes.” I thought this was a very interesting way of looking at how type sits on a page. With this in mind, is how I went about designing the layout of this page, making the body text, set in Helvetica (of course) white on a black background, to emphasis the importance of the negative/white space—in this case “black space.”

The designer Matthew Carter also shared how to determine if a letter is sans serif or serif and how to analyze the letters to help determine typefaces. I found this particularly useful as a graphic design student; our magazine recreation exercise particularly stood out to me as being a good situation in which this information would be useful, as I didn’t know which letter to compare the different styles to when trying to determine which typeface was in the original spread. Not many people realize how much work goes into typogra-phy, and this movie fueled my appreciation. Unfortunately there will always be those who dislike something, and Helvetica is no different. As a fan of the typeface myself, I have to disagree with those who dislike Helvetica and their assertions against it. However wheth-er you love it or hate it, Helvetica is unavoidable.

Everything I learned in this film will stay with me, as all of the points made and discussed are important to keep in mind as I enter into the world of graphic design and advertising.

“The life of a designer is a life of fight. Fight against the ugliness.”

-Massimo Vignelli

6665

TABLE OF CONTENTS COLOPHONGershon’s Guide to Growing a Greener Garden

Household Plants ………………………………………………… 2

Edible Plants …………………………………………………… 3

Herbs ………………………………………………………… 4

Flowers ……………………………………………………… 5

Decorative Plants ……………………………………………… 7

Bonsai ……………………………………………………… 8

Cactus ………………………………………………………… 9

Trees ………………………………………………………… 9

Outdoor Plants …………………………………………………… 10

Growing in Pots ………………………………………………… 11

Drainage ……………………………………………………… 12

Soil …………………………………………………………… 12

Plant Food …………………………………………………… 13

Creating a Garden ……………………………………………… 14

Choosing a Bed ……………………………………………… 15

Edible Plants ………………………………………………… 16

Protection …………………………………………………… 17

Common Issues …………………………………………………… 19

Soil ………………………………………………………………… 20

Soil Chemistry ……………………………………………… 21

Plant Food …………………………………………………… 22

Pests ……………………………………………………………… 23

Birds ………………………………………………………… 24

Insects ………………………………………………………… 25

Deer …………………………………………………………… 26

Glossary …………………………………………………………… 27

Works Cited ………………………………………………………… 30

Index ………………………………………………………………… 35

Carl Safina takes us on a tour of the natural world in a view from lazy

point. Over the course of a year spent both at his home on the shore of eastern Long Island and on

his travels to the four points of the compass, he witnesses a natural year in an unnatural world. Safina shows how

the problems of the environment are linked to questions of social justice and the politics of greed, and in asking difficult questions about our finite world, his answers provide hope.

This book was published by Random House Publishing. The body copy is set in Times New Roman and is offset

by the unusual san serif typeface of Devanagari San-gam. Design and original artwork is by Christina

Rose. Printed on Glama Natural Opaline 40 lb by Hudson City Paper Company.

67

SKILLSHARE EXERCISE

I was very interested in learning, though only mentioned briefly, of how to create a pattern that looks randomly thrown on a page, but in an orderly fashion. I had trouble doing this (and every time I go to create a polka-dot pattern in fact) and the answer is actually simple! Jenna Frye showed the placement of an object in a Sudoku type form, where in every row and column, the object only appears once. With this knowledge, I used a part of a pattern from part 3 of project 7 that I was struggling to place within a square and make look good when the square was repeated, and placed it in a pattern using a 6x6 square.

SkillShare

Christina RoseDigital Portfolio

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