Parallax-Type Spec

lax

ral a P e sp e p ty

n tio a fic ci

C on te nt s

strategy margins grid system grid variety colour typography hierarchy of information expressive typography indicators front cover dust jacket paper stock printing and finishing oversights

4 10 12 20 26 32 42 44 52 54 56 58 60 62

y g e at r t S

Nobel Prizes in Chemistry, Physics and Medicine are awarded to scientists who “have conferred the greatest benefit to mankind”. the third and final will of alfred B. nobel, 1895

However, there is an irrefutable disconnection between science and mankind. Only few understand these ground-breaking discoveries.

Scientists pay little efforts in trying to communicate with society, while society appears to be disinterested in the topic.

Looking beyond this obvious fracture, one can’t help noticing that today’s society is shaped and completely reliant on technology derived from scientific discoveries (many of which awarded with Nobel Prizes).

This publication is a critical reflection on the role of science in society. However, instead of exposing the editor’s point of view, different storylines are presented and the overall message is left to the reader to be interpreted. The reader will piece all the elements together only by adopting an inquisitive attitude (a scientific method). By doing so this publication will bring society and science a step closer to each other by highlighting what is at the core of

Similarly, to James Joyce’s Ulysses, this publication relies on the concept of literary parallax, i.e. it uses the point of view of different “characters” to describe a concept from different perspectives.

Science is “voiced” by Albert Einstein’s 1905 scientific paper, concerning an heuristic point of view toward the emission and transformation of light, describing the photoelectric effect, whose discovery was awarded the Nobel Prize in Physics in 1921.

4s5

scientific research, i.e. cupiditas sciendi (desire to understand).

James Joyce’s short story, the boarding house, was written in the same years as Einstein’s publication and vividly describes the everyday life of common people, “voicing” 1905 society.

A third view point is offered by Josh Gross’ 2012 newspaper article, I auditioned for the Big Brother and all I got was a vague threat of a $5 Million lawsuit. This storyline represents today’s society.

For the purpose of this section, it has to be noted that Einstein’s 1905 discoveries have been transformed into technology used by today society on a daily basis, such as television and digital cameras, objects that helped to shape today’s celebrity-obsessed society.

Each voice is equally important for the overall message of the publication.

Three distinctive typefaces and colours have been attributed to each storyline. Furthermore, to evoke the physical motion of changing “viewing station”, the storylines use different page orientations.

A constrained colour palette (comprised of gray, blue and orange) has been used throughout the book. The colour scheme makes use of cold tones of blue and gray, with orange bringing vitality and dynamism to the palette.

A complex grid system has been devised to represent the three storylines in an integrated but individual fashion. In particular, a modular grid system with superimposed tetrahedrical flowlines has been generated. The apex of the tetrahedron symbolizes the reader’s view point, while the three base points of the tetrahedron represent science, 1905’s and today’s society. The connecting lines, that create

the tetrahedrical shape, visually reinforce the concept of parallax.

Further experimentation with the grid system allowed for the development of architectural layouts evoking the wave-particle duality of photons (as described in Einstein’s paper).

The difficult-to-see interconnection between the storylines is achieved by the use of tracing paper for James Joyce’s and Josh Gross’ storylines. The layering of two spreads of tracing paper on the heavy stock used for Einstein’s paper creates a complex typographic mesh. It’s like a code that the reader needs to decrypt. By analyzing each layer separately (like a scientist) the reader will be able to make sense of what originally may have looked like a nonsensical mess.

An additional element used to connect the different storylines is the ‘infiltration” of some words from one layer into the next one, distracting the reader from the one content

Throughout the publication, a series of quotes have been used to help the reader understand the main message. These are external opinions, different to the ones offered by the main storylines.

Some of the grids designed for the publication have been used as illustrations. The angular design reinforces the overall aesthetics of the publication but also the theme of discovery and cupiditas sciendi.

6s7

and diverting his/her attention towards the other.

This book is intended for both scientists and non-scientists. However, being it a philosophical consideration on the role of science in society, it was designed to be accessible to non-scientists first. Due to its highly conceptual message and structure, it is expected to resonate with inquisitive subjects, either drawn to the book for its design or for the unusual juxtaposition of its literary contents.

In order not to alienate the non-scientist reader, the scientific paper can be viewed as an illustrative backdrop to the other two (more accessible) storylines. Furthermore, the high visual impact of Einstein’s paper design communicates also an underlying message about the beauty of science.

Finally, this publication aims at stimulating the reader to critically reflect on the role of science in society. It strives to induce the readers to ask questions and hopefully change their attitude towards science or society.

It is hoped that a scientist reader will reflect on the disconnection between science and society and act upon it by engaging in science outreach activities. Furthermore, by observing the deep impact of the application of science (technology) on society, it is hoped that the scientist would reassess the role played by his/her work towards shaping the society of tomorrow and therefore committing to scientific projects with a clear vision towards shaping a better tomorrow.

Whereas the non-scientist reader may discover the hidden connection between science and society and the strong impact that one has onto the other. Being interested in science

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means being interested in how we shape our tomorrow.

Marg ins

page size: horizontal margin: vertical margin:

140 x 220 mm

head: bottom: inside: outside:

16.4 mm

23.4 mm

35.9 mm 11.3 mm 16.4 mm

10 s 11

36.4 mm

G

ri d

Sy st em

The grid system used in this book is heavily reliant on the concept of parallax. Three main storylines offer different points of view that will stimulate the reader to reflect on the impact of science on society. To emphasize the physical motion of changing “observation point”, the storylines use different page orientation.

James Joyce’s short story, The boarding house, is set with a taditional head-to-tail, verso-to-recto orientation. Whereas, Josh Gross’ article, I auditioned for the Big Brother and all I got was a vague threat of a $5 Million lawsuit, requires the physical action of rotating the book (or inclining the reader’s head) by 90° clockwise. Two different grids have been designed for these storylines, GRID 1 and GRID 2, respectively.

Both grids have been initially designed to generate 4 horizontal rectangular fields. By overlapping these 4 grid with 16 fields was generated namely, GRID 3.

12 s 13

two disconnected grid systems, a unified modular 4 x

grid 1 row grid: baseline: gutter: row height:

4 15.5pt 7.3 mm 36.4 mm

Her house had a floating population made up from Liverpool and the Isle of Man and, occa artistes from the music halls. Its resident popu made up of clerks from the city. She governed cunningly and firmly, knew when to give cre to be stern and when to let things pass. All the young men spoke of her as The Madam.

Mrs. Mooney’s young men paid fifteen shillin for board and lodgings (beer or stout at dinne They shared in common tastes and occupatio for this reason they were very chummy with o another. They discussed with one another the of favourites and outsiders. Jack Mooney, the

row grid: baseline: gutter: row height:

4

14pt

6.3 mm

23.4 mm

Though I was 15 minutes early, there were already at least 30 people ahead of me in line when I arrived at Liquid on May 4 to participate in an open casting call for reality television show Big Brother.

The woman in front of me was telling several other women that she got there an hour early.

“Whatever it takes to get the producer to see me,” she said.

Though it was pouring rain outside, she was wearing rainbow toe-socks with flip flops. Her companions opted for muffin14tops s 15dressed up in sparkle shirts. Eyeshadow was copious.

“I live in Meridian,” one said. “I live at the liquor

grid 2

grid 3 row grid: column grid:

4

field height: field width:

36.4 mm

4

23.4 mm

gutters Horizontal: Vertical:

7.3 mm 6.3 mm

The grid system and layout of Albert Einstein’s scientific paper, Concerning an heuristic point of view toward the emission and transformation of light, uses GRID 3 as starting point. However, additional flow lines have been added, generating the main grid system of the book, namely, GRID 4. In particular, a tetrahedron has been designed, using key points of GRID 3. The apex of the tetrahedron symbolizes the reader’s view point, while the three base points of the tetrahedron represent science, 1905’s and today’s society. The connecting lines, that create the tetrahedrical shape, visually reinforce the concept of parallax. Every “viewing station” is observed by the other three. This is intendend to evoke that this book is not only a critique to a disinterested society but also to a disconnected scientific community. The addition of flowlines from a new perspective, a new inquisitive citizen and/ or scientist that critically observes the past and the present and takes action to shape a better future.

16 s 17

and to the reader’s viewing point aims at generating

grid 4 row grid: column grid:

4

field height: field width:

36.4 mm

4

23.4 mm

gutters Horizontal: Vertical: Tetrahedron:

7.3 mm 6.3 mm 2.5 mm

Gutters have been added to the tetrahedron flowlines and have been used discretionarily in the layout of the book. The value of the gutter has been derived from elements of GRID 2. In particular, the vertical flowline of the tetrahedron coincides with a descender line of GRID 2 (that in turn is the vertical flowline of the third vertical gutter of GRID 3). The distance between GRID 2 descender and ascender lines (3.6 pt) has been taken as a gutter midpoint for the tetrahedron, thus generating a

18 s 19

gutter of 7.2 pt which is approximately 2.5 mm.

y t e i ar V d Gri

e

fac

Pre

e

fac

Pre

book sections

shift between different parts of the book has been made obvious by the use of a dedicated page for the section title. This is always on the verso and on alternating solid colour backgrounds. The heading is set in white (only exceptions are the titles of James Joyce’s short story and Josh Gross’ article due to the use of a light tracing stock). Headings are alligned to the tetrahedron flowlines of GRID 4 and to reinforce the use of this grid, a solid line in a contrasting colour is added.

20 s 21

Due to the complex interaction between the three main storylines, the

But delirium passes. He echoed her phrase, applying it to himself: “What am I to do?” The instinct of the celibate warned him to hold back. But the sin was there; even his sense of honour told him that reparation must be made for such a sin.

While he was sitting with her on the side of the bed Mary came to the door and said that the missus wanted to see him in the parlour. He stood up to put on his coat and waistcoat, more helpless than ever. When he was dressed he went over to her to comfort her.

It would be all right, never fear. He left her crying on the bed and moaning softly: “O my God!” Going down the stairs his glasses became so dimmed with moisture that he had to take them off and polish them. He longed to ascend through the roof and fly away to another country where he would never hear again of his trouble, and yet a force pushed him downstairs step by step. The implacable faces of his employer and of the Madam stared upon his discomfiture. On the last flight of stairs he passed Jack Mooney who was coming up from the pantry nursing two bottles of Bass. They saluted coldly; and the lover’s eyes rested for a second or two on a thick bulldog face and a pair of thick short arms. When

I don’t sign any of that

It was not altogether his fault that it had happened. He remembered well, with the curious patient memory of the celibate, the first casual caresses her dress, her breath, her fingers had given him. Then late one night as he was undressing for she had tapped at his door, timidly. She wanted to relight her candle at his for hers had been blown out by a gust. It was her bath night.

She wore a loose open combing- jacket of printed flannel. Her white instep shone in the opening of her furry slippers and the blood glowed warmly behind her perfumed skin. From her hands and wrists too as she lit and steadied her candle a faint perfume arose.

On nights when he came in very late it was she who warmed up his dinner. He scarcely knew what he was eating feeling her beside him alone, at night, in the sleeping house. And her thoughtfulness! If the night was anyway cold or wet or windy there was sure to be a little tumbler of punch ready for him. Perhaps they could be happy together....

They used to go upstairs together on tiptoe, each with a candle, and on the third landing exchange reluctant goodnights. They used to kiss. He remembered well her eyes, the touch of her hand and his delirium....

james joyce’s short story The layout of The boarding house has been kept constant throughout the publication and makes use only of the inner three columns of GRID 3. By doing so, more generous outside margins are created. Due to this layout and the choice of typeface, this storyline achieves a sense of tradition.

It creates the illusion of reading a book within a book, emphasizing the disconnection between storylines. Furthermore, the new generous ouside margins achieve better proportions when the spread is rotated 90°.

Moreover, the continous and regular stream of text achieved in this layout is intended to evoke the wave behaviour of light. Traditionally, light was believed to be a continous wave with energy spread over the entire beam.

layouts. As in the case of James Joyce’s short story, this layout is kept

constant throughout the publication. However, contrarily to the latter,

it appears compact and discontinous. This is intentionally designed

to evoke the packets of energy or particles of light (photons), as per

Alber Einstein’s photoelectric effect. Taken together the two layouts

represent the wave-particle duality at the base of Einstein’s discovery,

discussed in the paper, concerning an heuristic point of view toward

the emission and transformation of light, presented in this publication.

22 s 23

josh gross’ article

Josh Gross’ article is set in narrow columns reminiscent of newspaper the table by her sister, “the good sister,” she said.

“We’re trying to pitch them on a sister thing,” said the evil one.

They began discussing their answers to the survey questions, including the brief essay question about why an applicant thinks they would be good on the show.

“I put down because I am divorced,” said the good sister. The evil sister laughed. “I put down that I am married and dating,” she said.

All I wrote on mine was: “ .”

“I just keep looking around the room and asking myself, who I would want to watch on TV,” the good sister said.

Her gaze lingered on a grizzled overweight man in a NASCAR jacket and a tattered pair of work boots.

gave me a brief survey to fill out. I took a seat in the bar to fill out the card and wait for my number to be called.

A girl in a sleeveless dress that showed off a large skull tattoo on her shoulder asked to share my table. She had a set of brass knuckles on a chain around her neck.

I said, “Sure,” and asked her what brought her down to audition.

“I have just had a really hard life, and I think I deserve something good in it,” she said.

I asked her if the show isn’t more of a contest about who can suffer the longest.

“That is why the show is good for me,” she said. “I know how to suffer. I am a good sufferer.”

Then she asked me to stroke her hours-old tattoo to feel the ridges it left in her arm. We were joined at

1

We

are

start first

bound to

with the point

widely separated

of view taken in

points by forces

the Maxwellian and

Concerning a Difficulty with Regard to the Theory of Blackbody Radiation

proportional to their

Polly was a slim girl of nineteen nineteen; distances from these points.

the electron theories and consider the following

The bound electrons are also

case. In a space enclosed by completely reflecting walls, let there be a number of gas molecules and electrons which are free to move and which exert conservative forces on each other on close approach: i.e. they can collide with each other like

to participate in conservative interactions with the free molecules and electrons when the latter come very close.

We call the bound electrons “oscillators”: they emit and absorb electromagnetic waves of definite periods.

According to the present view regarding

molecules in the kinetic theory of gases gases.

the origin of light, the radiation

iss eq uivale gas mo nt to th e lecu les an suppositi Itt is on th d elec well a h at expr known th trons ar t tth e essio e equa average at, wi n fo kinetic all to th th qu r the ener ratio e help of each ot gi he of th r h ther at th es of mal an is aassssu er u d elec mption, He mal equi libriu ttrric rr Dr ical m.. m ude cco on nd deriv du uccttiv iviiti eed d tieess of me a theeo tals orreettic ta iccaal

in the space we

This assumption ption

Furthermore, let there be a number of electrons which

spread:

pp. 20-21

albert einstein’s paper The design of Albert Einstein’s scientific paper offers the greatest layout variety. As previously discussed, body copy is set on the baseline of GRID 1. This creates a connection with James’ Joyce’s short story.

However the use of GRID 4 flowlines, creates a strong departure from the traditional layout of the latter. The use of angular layouts and the specular orientation of tetrahedra across the spread evoke the impact of light photons on metal causing the emission of electrons (as per photoelectric effect theory). This dynamic physical event has been the constant visual reference of all layouts designed for Einstein’s paper. In order not to alienate the non-scientist reader, the typographic rendition of this

1 δ = δρ T

Since

Asymptotic from for the Entropy of Monochromatic Radiation at Low Radiation Density

dE

From existing

is equal

observations

to the heat

of the blackbody

since the process is

the law originally postulated

by Herr W. Wien, is not exactly

dS =

reversible, the following statement

4

radiation, it is clear that

1 dE T

added and

valid. It is, however, well confirmed experimentally for large values of ν/T. T. We shall

also applies By comparison one obtains This is the law of blackbody radiation.

base our analysis on this formula, keeping in mind that our results are only valid within certain limits. This

Therefore one can derive the law of

formula gives immediately

blackbody radiation from the function ϕ ϕ,, and,

and then, by using the relation obtained

inversely, one can derive the function ϕ by integration, keeping in mind the

in the preceeding section, Suppose that we have radiation of energy E, with frequency between

fact that ϕ vanishes

ν and ν+dν,, enclosed in volume υ.

when ρ=0.

The entropy of this radiation is: If we confine ourselves to investigating the dependence of the entropy

ρ = αν e 3

−β

on the volume occupied by the radiation, and if we denote by S0 the

ν T

entropy of the radiation at volume υ0, we obtain This equation shows that the entropy of a monochromatic radiation of sufficiently low density varies with the volume in the same manner

1 1 ρ ln =− T βν αν 3

as the entropy of an ideal gas or a dilute solution. In the following, this equation will be interpreted in accordance with the principle introduced into physics by Herr Boltzmann, namely that the entropy of a system is a function of the probability its state.

S =v

( ρ,ν ) = − βνρ

ln n

E E ρ ,ν dν = − lln n −1 βν υαν 3dν

( )

ρ −1 αν 3

S − S0 =

spread:

υ E ln βν υ0

pp. 32-33

have been used as additional focal points, mostly alligned to flowlines of GRID 3, far from the relative text. Orange line connectors have been used to create dynamism, reinforce the geometric grid and to create conceptual metaphors, as fully described in Colour section below.

The impactful aestetics of the layouts designed for this storyline offer an underlying message about the beauty of science and the dynamism of not only the physical world investigated by Einstein but also of the mental process required to make scientific discoveries.

More layouts are discussed in the Expressive Typography chapter below.

24 s 25

storyline has the most illustrative properties. Mathematical formulas

Colo ur

A constrained colour palette (comprised of gray, blue and orange) has been used throughout the book. White has also been used as contrast color in pages and spreads with solid color backgrounds.

The colour scheme makes use of cold tones of blue and gray, with orange bringing vitality and dynamism to the palette. This colour scheme is loosely inspired by the front and outside area of one of Dublin’s literary pubs with connections to James Joyce, The Bailey. It is intended as a nod to acknowledge the role played by the figure of Ulysses and its Joycean rendition for the

gray c: m: y: k:

11 0 0 70

blue c: m: y: k:

82 65 36 18

orange c: 11 m: 72 y: 100 k: 1

26 s 27

development of the concepts at the base of this book.

body copy Gray has been used for body copy of the scientific paper. It represents the cold and detached voice of science. Blue has been used for body copy of James Joyce’s short story. In this case, a traditional feel was achieved by the combination of colour, typeface and layout. Orange was used for body copy of Josh Gross’ article. This colour was chosen to reinforce the sense of modernity and frivolousness of the topic.

The tonality difference between the storylines set in 1905, i.e. Einstein’s paper and James Joyce’s short story, and the one set in modern times is intentional.

The dark and cold tones of blue and gray create a connection between the two storylines of 1905; while a clear discontinuity is achieved by introducing orange for the third storyline. According to the principle of parallax, the apparent displacement in the position of far away objects is smaller than the one of objects closer to the viewing station. Therefore, applying the concept of parallax to time rather than space, the two storylines written in a distant time are represented by relatively similar colours; while Josh Gross’ article, written in 2012, is represented by the use of a contrasting colour, i.e. orange.

einstein’s paper The design of Einstain’s paper is reminescent of school books layouts, with clear headings. Furthermore, due to the academic nature of this storyline, references and mathematical formulas are also present.

To create dynamism and visual interest in this otherwise difficult read and to reinforce the connection to the other two storylines, colours from these (i.e. blue and orange) have been introduced in the design of Einstein’s scientific paper. In particular, section numbers and references are set in blue, while section headings and line connections to formulas are set in orange. This last element is particularely important for the design, as these orange lines not only connect text to formulas (words to maths, intuition to facts), but symbolize the 28 s 29

connection between science and today’s society.

front and back matter Haedings of all book sections have been set in white on a solid color background. The three colours of the palette have been alternated. Each colour represents a voice and they all have the same weight, they are all equally important for the concept at the base of the book. Lines in contrasting colours have been added to each heading section to reinforce the colour palette interplay.

Furthermore, body copy in front and back matter has been treated in the same fashion as for the body copy of the main storylines, therefore the color palette has been used accordingly to the content.

In the Content section, to create a detachment from the design of Einstein’s paper, headings have been set in blue while numbers in orange.

quotes Quotes used throughout the book are intended as clues for the reader to better understand the message of the book. Due to their importance for the understanding of the concept, they are set on solid colour backgrounds.

The colours of the palette used in the background have been alternated creating a continuous thread connecting front and back matter. Body copy here has been set in white and specific words have been highlighted by using contrasting palette colours.

illustrative grids Some of the grids created for the book have been used as illustrations. In particular, the horizontal lines represent the grid used for James Joyce’s short Accordingly, vertical lines represent elements of GRID 2 and, like Josh Gross’ article, have been set in orange.

The diagonal lines are from variations of GRID 4 used for Einstein’s paper, threfore they are set in gray.

30 s 31

story (i.e. GRID 1), therefore have been set in blue.

Ty po gr ap hy

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Glypha LT 55 Roman 9pt – Body copy (15.5pt leading; gray) 9pt – Mathematical formulas (gray)

designer: date:

Adrian Frutiger

property:

Clear and practical typeface representing the exactness of science. However the slab serifs hint to a time when scientific publications were written on typewriters, adding a human element to the story, i.e. the scientist’s point of view.

Notably, a wide leading has been used to allow for discretional interlinear placment of references.

context:

Albert Einstein’s scientific paper.

32 s 33

1977

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Glypha LT 45 Light Oblique

designer: date:

Adrian Frutiger

property:

This typeface is used to create dynamism in the

9pt – Selected body copy (15.5pt leading; gray)

1977

scientific report. In contrast to the other storylines, where bold typefaces are used to enhance the impact of some sentences, here a lighter weight is used as it reinforces the clinical, white space-rich layouts of the design of this particular storyline.

context:

Albert Einstein’s scientific paper.

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Glypha LT 65 Bold

designer: date:

Adrian Frutiger

property:

The slab serif characteristic of this typeface,

26pt – Heading 1 (31pt leading; white)

combined with the bold wieght, work very well when set in white on a solid colour background.

Furthermore the matter-of-fact style of the typeface is well suited for headings.

context:

Book sections heading.

34 s 35

1977

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Granjon LT Roman

designer: date:

George W. Jones

property:

This typeface is classic and very well suited for

11pt – Body copy (15.5pt leading; blue)

1928

body copy of traditional books. Here it has been used to instantly evoke the era in which The boarding house was written. Furthermore, used in combination with the chosen layout, it suggests the sense of reading a book within a book.

context:

James Joyce’s short story.

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Granjon LT Bold

designer: date:

Chauncey H. Griffith

property:

This typeface is used to create dynamism in the short

11pt– Selected body copy (15.5pt leading; blue)

story by highlighting important words. Furthermore the ‘infiltration” of some of these words into the scientific paper creates a strong contrast in type colour, distracting the reader from the scientific content and diverting his/her attention towards the everyday life problems that society was facing at the same time as Einstein wrote his paper.

context:

James Joyce’s short story.

36 s 37

1930

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Charlotte Sans Book 10.5pt – body copy (14pt leading; orange); 103pt – Heading 2 (124pt leading; blue)

designer: date:

Michael Gills 1992

property:

This modern typeface gives a voice to to today’s society. Its authoritative unmannered tone, combined with the orange colour make this voice loud and obnoxious, like the television generation that is portrayed in the newspaper article.

context:

Josh Gross’ article (10.5pt) and section numbers in Einstein’s paper (103pt).

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Charlotte Sans Medium

designer: date:

Michael Gills

property:

This typeface is used to create dynamism in the

13pt – body copy (14pt leading; orange)

short story by highlighting important words. Due to the loudness of this voice, not only a heavier weight was used, but also a bigger size. The ‘infiltration” of some of these words into The boarding house doesn’t disrupt the readability of the latter, because of the use of the orange colour.

context:

Josh Gross’article.

38 s 39

1992

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Charlotte Sans Small Caps 29pt – TOC page numbers (31pt leading; orange) 15pt – Heading 3 (15.5pt leading; orange) 6pt – References (7.75pt leading; blue)

designer: date:

Michael Gills

property:

Small caps have been used as a neutral/impersonal

1992

voice tone for heading and references. The formal aspect of this typeface is used to evoke a typographic hierarchy typical of schoolbooks.

context:

Heading 3 and references in Einstein’s paper (13 and 6pt, respectively).

TOC page numbers (29pt).

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 name: size:

Charlotte Sans Book Italic 9pt – Folio (14pt leading; gray) 10.5pt – Body copy (15.5pt leading; blue or white)

designer: date:

Michael Gills

property:

This italic typeface was used to voice opinions that may help the reader to navigate through the book.

As these opinions are not meant to fully dictate the reader’s interpretation of the message, this voice has personal but yet authoritative attributes.

context:

Folio (9pt); external voice used in preface and resources sections (10.5pt) and in quotes (size at the designer discretion).

40 s 41

1992

Heading 1

y h c r a r e Hi

n o i t a m r o f n of I

Heading 2 The usual conception that the energy of light

8

is continuously distributed over the space

Heading 3

through which it propagates, encounters very serious difficulties when one attempts to explain the photoelectric phenomena, as has been

Einstein:

bodypointed copy out in Herr Lenard’s pioneering paper.According to the concept that the incident

body copy-emphasis

P. Lenard, Ann. Phys., 8, 169, 170 (1902)

references of energy quanta of magnitude Rβν/N, light consists

however, one can conceive of the ejection of

concerning the emission of cathode rays through illumination of solid bodies

electrons by light in the following way.

Joyce:

Energy quanta penetrate into the surface

body copy layer of the body, and their energy is transformed, at least in part, into body copy-emphasis

Opinion:

body copy

this is that a light quantum delivers its entire energy to a single electron:

42 s 43

Gross:

body copy

body copy-emphasis

simplest way to imagine

50 s 51

kinetic energy of electrons. The

Expr essiv e Typ ogra phy

ral a P

dust jacket front cover & full title In both designs, the tile of the publication has been broken down into its three syllables. Each syllable has been associated with one “voice”and set with different typefaces, in different colours. “Pa” represents the voice of science, a diagonal orientation (parallel to one of the tetrahedron flowlines) has been used, like in many layouts used for this voice.

Similarely, “ral” has been set horizontally and “lax” vertically.

The unusual reading orientation (from tail to head), requires the reader to make sense of apparently disjointed elements, as for the rest of the book.

On the dust jackets, gridlines have been added to confer dynamism to the design and to provide the reader with clues regarding the decorative use of gridlines throughout the publication.

44 s 45

Alessandra Ravidá

a P

lax

lax

Parallax

ral

spread:

pp. 6-7

illustrative grids Some of the grids designed for the publication have been used as illustrations. The angular design reinforces the overall aestetics of the publicaiton. However, the use of colour (previously discussed) should provide the reader with clues and entice him/her to discover the connection between these illustrations and the overall publication. By applying an inquisitive attitude (typical of scientific thinking), the reader will discover the backbone of the publication, i.e. its grids. The illustrative grids used in the publications gradually become more complex and less familiar, as happens when basic science is translated into technology and merges with society.

ew .

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pp. 16-17

quotes

help the reader understand the main message. These are external opinions, different to the ones offered by the main storylines. In order to emphasize this break, an obvious difference in tone and colour has been achieved. Quotes are always set on a solid colour background, with main body copy set in white. These additional view points have been represented by angular layouts, with main text alligned with tetrahedra flow lines of GRID 4. Charlotte Sans Italic is the typeface of choice to represent these new voices, however a free approach to the use of other typefaces to create dynamism and emphasis has been taken.

46 s 47

Throughout the publication, a series of quotes have been used to

can n sub ot be div ide into d arb ma it ny or a rarily sma rbit ll pa raril rts, y energ whil e th y of e a be am o from a f ligh point so t urce (a ccordi ng to the Maxwe llian theory of light

of er mb s nu ter ed me ard a r reg pa be e not for th can t n ie on uffic inati as s eterm d plete to com cording ate. Ac st a of such is to theory, energy llian xwe Ma the be considered a continuous spatial function in the case of all purel

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phenomena

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or, more generally, according to any wave

ever increasing usly spread an ates ich oper light, wh as theory of ve wa ns, h The nctio fu volume. l ia on s spat tati nuou sen conti pre h it re w a the en ll in om we n d e h rke r al p wo ve ptic ne o bly rely ba pu by of pro d ll e i lac dw . rep an ory be he rt the o an

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spread:

pp. 14-15

architectural grid deconstruction As previously described, Albert Einstein’s scientific paper has been intentionally designed to have the most impactful aestethics.

Experimentation with grid-deconstruction have been conducted and architectural effects have been achieved for the narration of the scientist’s discovery. In particular, The impact of light waves on metal surface are evoked in spread of pp. 14-15.

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case of dynamic on which is found for the are considering (radiati must be identical with the Maxwellian theory) equilibrium in accordance t oscillators of all the relevan if least at – n radiatio with the blackbody red to be present. frequencies are conside absorbed by radiation emitted and the rd disrega we For the time being, ical equilibrium into the condition of dynam the oscillators and inquire les and electrons. tion (or collision) of molecu associated with the interac energy of kinetic e averag the asserts that The kinetic theory of gases kinetic energy of be equal to the average an oscillator electron must of an oscillator motion the te separa le. If we a translating gas molecu we find for the ents at angles to each other, electron into three compon the expression of these linear components average energy E of one the number of s al gas constant. N denote where R denotes the univers absolute temperature. equivalent, and T the “real molecules” in a gram of energy a free to two-thirds the kinetic The energy E is equal the time average values because of the equality monatomic gas particle or. If through any oscillat al energies of the of the kinetic and potenti it should occur that h radiation processes – cause – in our case throug value greater or less erage or takes on a time-av the energy of an oscillat ns and molecules would ns with the free electro than E , then the collisio t on the average from differen gas, the energy by lead to a gain or loss of dynamic equilibrium is case we are considering, zero. Therefore, in the energy E . e averag the has oscillator possible only when each nt regarding the to present a similar argume We shall now proceed n present in the cavity. radiatio the and ors oscillat interaction between the ics equilibrium in M. Plank, the condition for the dynam Herr Planck has derived can be considered a ition that the radiation this case under the suppos iods of os

case of dynamic on which is found for the are considering (radiati must be identical with the Maxwellian theory) equilibrium in accordance ors of all the relevant oscillat if least at – n with the blackbody radiatio red to be present. frequencies are conside by emitted and absorbed disregard the radiation For the time being, we ical equilibrium into the condition of dynam the oscillators and inquire ns. of molecules and electro n) collisio (or tion associated with the interac e kinetic energy of asserts that the averag The kinetic theory of gases kinetic energy of be equal to the average an oscillator electron must of an oscillator motion the le. If we separate a translating gas molecu the to each other, we find for angles at ents compon electron into three expression the nents compo of these linear average energy E of one r s the numbe of al gas constant. N denote where R denotes the univers absolute temperature. equivalent, and T the “real molecules” in a gram energy of a free to two-thirds the kinetic The energy E is equal the time average values because of the equality monatomic gas particle If through any energies of the oscillator. al potenti and kinetic of the it should occur that h radiation processes – cause – in our case throug value greater or less or takes on a time-average the energy of an oscillat ns and molecules would ns with the free electro than E , then the collisio t on the average from energy by the gas, differen lead to a gain or loss of dynamic equilibrium is case we are considering, zero. Therefore, in the e energy E . oscillator has the averag possible only when each nt regarding the to present a similar argume We shall now proceed n present in the cavity. oscillators and the radiatio interaction between the in the dynamics equilibrium for M. Plank, on conditi the Herr Planck has derived be considered a can on ition that the radiati this case under the suppos . process completely random

E=

R N

T

pp. 22

of views offered by the references present in the original Einstein’s paper. The association between additional view points and the tetrahedron flow lines has been used throughout the publication for the “additional quotes”. A similar treatment has been given here to the references, although a different voice has been given to them (Charlotte Sans Samll Caps). The main body copy of Einstein’s paper has been set diagonally (alligning the baseline to consecutive ascender lines of GRID 4), adding additional texture and tension to the page.

48 s 49

Whereas, in pp.22 emphasis has been put on the additional points

0

∫

∞ 3

e

− T

d

ν

αν βν 3

− T

βν

e

=

d

ν

3 R N T

e lum the a re m gh ou we diu n e io m a at us di o ra u tin on sc di

pe

m ag co ni ns tu is de tin at Rβ ew g ν/ of N he tra en ,t th ns he for e er ma t ne rgy h tio el xt q no a ob uan w f li so gh vi ta ou ta o fe re m als iss s st f that o ep io of they n su can an ch be in d an terp atu rete re d or exp lain ed by considering light to consist of such nv es tig

h st

to i

erg c en ineti

ra

ation blackbody radi

vo

is

with the average ule olec am N) y of (R/ 3 /2 s k in is l ta f er ona t ti b t la s o o e la tran e ne Th ud m ,o e. t r a i l u n ntu u rat ag a rm pe m qu fo em t e n e ie gy ag sam er ner eW the av e th at to he an rt ng fo di r co ac le, hi w T,

de

the ra rm for di od a mu con yn la) tion am sis be ted ica ha of a lly ve as nu s ene m t h ber rgy qua of in ough nta d it e o p f ma We st end gnit ill w ent ish to ude Rβν com pare /N. the a vera ge magnitude of the energy quanta of the

on

spread:

energy quanta. We shall examine this ing. e follow n in th questio

N

If th m e on en o c hr trop o di ma y o at io tic f nd n s

∞

R

βν

∫

αν

0

pp. 42-43

Similarly to spread of pp.14-15, the concept of photons impacting on metal has been portayed in the spread depicted above. However, in this case the texture of the metal surface has been portrayed. The particular perspective lines created by the body copy, suggest that the reader is looking at the surface layer of a metal sheet at a microscopic level, with the individual letters representing the small ridges observed on the surface of materials under electron microscopes. This microscopic scale is further reinforced by the complex mathematical formula (evocative of a single paket of energy) on its way to impact the surface.

Resources

Concerning an heuristic point of view toward the emission and transformation of light by Albert Einstein was first published in German in the Annalen der Physik (Volume 17, pp. 132-148) in 1905 and subsequently translated in English for the American Journal of

I auditioned for the Big Brother and all I got was a vague threat of a $5 Million lawsuit by Josh Gross was posted on the Idahobased weekly newspaper, Boise Weekly,

Physics (Volume 33, Issue 5, pp. 367-374) in 1965.

on Thursday, May 10, 2012 at 11:08 am. http://www.boiseweekly.com/Cobweb/ achives/2012/05/10/i-auditioned-for-big-brotherThe boarding house is a short story from and-all-i-got-was-a-vague-threat-of-a-5-million-lawsuit the collection, Dubliners, by James Joyce. It was first submitted for publication on 1905 and eventually published in June 1914.

spread:

pp. 62-63

resource section

relative content. The use of different typefaces and colours creates dynamism. At this stage the reader would have fully understood the message of the publication and this spread confirms his/her intuitions.

Differently from the order used for the stroylines in the main part of the book, the placement of Josh Gross’ article between the other two storylines makes the connection between 1905 science and today’s society more obvious. The interconnection between the three is further emphasized by offsetting the body copy related to the article from the baseline and alligning it to the ascender lines of GRID 1.

50 s 51

Each resource is described with the voice used to represent its

In di ca to rs

30 s 31

folios A unified orientation for the folios has been used. on rectos only, following the oriantation of GRID 2. Their placement and orientation makes use of the spread as a single vertical page, reinforcing the presence of different viewing stations also on pages with traditional oriantation. A blue lozange (Wingdings Regular, 12pt) separates the two folios (set in gray). The fleuron is reminiscent of the angular flowlines of GRID 4, and is alligned to one of the base points of the tetrahedron.

52 s 53

Folios (for both verso and recto) have been set

r e v o C t n o Fr

Hard back Covered in book cloth Orange

54 s 55

material: treatment: colour:

Dust Jack et

(Hons.) in Graphic Communications.

Despite a passion for art and design has been a constant element of Alessandra’s life, her professional profile, to date, cannot be further away from the art fields. She studied Chemistry in Italy (University of Naples) and was conferred a PhD in Organic Chemistry in 2006. She has been working as research scientist in several academic laboratories ever since.

Over the past few years she has embarked on a new journey with the aim to merge her passions hoping to become a designer in the field of science communication.

treatment: context:

lax

ral

a P

Light matte lamination on one side.

A dust jacket was designed for the book to further emphasize the interplay of colours (i.e. view points).

In order not to make any of the view points prevail, the background of the dust jacket has been set in white.

This achieves a impactful contrast with the orange cover undeneath. The design of the front has been already discussed in Expressive Typography section.

On the the back, the grid underlying the design of the front has been used to reinforce the geometric design of the publication and the use of architectural grids.

On the spine, the design of the half title has been used. The flaps have been designed with solid colour background to enhance the interplay of the colours of the palette with the end paper design.

56 s 57

she is currently studying towards a BA

Parallax

Alessandra is a final year student at the Dublin Institute of Design, where

Pa pe r

St oc k

stock: context:

170 gsm uncoated.

This heavy stock represents the hard science, its coldness, its solidity, especially when compared to the rest of society (represented by a lighter, softer stock). The rigidity of science (logical, exact thinking) is necessary for the progress of modern society. When turning the pages, the reader may notice the weight of the stock and associate it to the hard work required from scientists to achieve their discoveries.

112 gsm translucent.

Tracing paper has been used for James Joyce’s story and Josh Gross’ article. These two storylines represent society (of 1905 and of today). The use of tracing paper for these storylines allows to create a complex typographic mesh. It’s like a code that the reader needs to uncrypt. By analyzing each layer separately (like a scientist) the reader will be able to make sense of what originally may have looked like a nonsensical mess. Once decoded, the reader won’t be able to unsee the order, the individual structures.

By repeating this process throughout the publication, the reader will hopefully use the same inquisitive (scientific) approach to decode the message of the publication.

This stock is also reminiscent of technical drawing and reinforces the cold, geometric look of the publication.

58 s 59

stock: context:

nd a g n i t Prin

g n i h s i Fin

printing:

Hacketts digital, 17 Lower Baggot Street, Dublin 2.

machine:

HP Indigo Printer

binding:

Duffy Bookbinders, Seville Terrace,

60 s 61

Dublin 1.

Over sight s

page number:

16 s 17

transformation of light are more readily understoo d if one assumes that the ener gy of light is discontinuous distributed ly in space. In accordan to be co ce with th nsidere e as sumption d here, the ene spread rgy of a ing ou light ra t from y a point distrib source uted o is not c ver an ontinu a finit increa ously e num sing s ber o pace at po f ene b u t c onsist rgy q ints in uanta s of spac and which e, wh whic are lo ich m h ca calize ove w n on com d ithou ly be plet t div e un prod iding its. I the uced , line n th and e fol of th abso lowi to t oug rbed his ng I ht a as poin wish n d th be t to p of v e fa use rese iew cts ful n w , ho t to s hich pin om hav g th e in e le at t ves d h m is a tiga e ppr tors oac in t hm hei a y r re sea rch .

17

heavy stock

“transformation” and “of”) requires to be removed.

62 s 63

The extra space highlighted in the framing box (between

∫ρ

Spacing between the formula and the word “the”,

in the framing box, requires optimization. ρν

ρν 3

2

2

L

3

L

8πν

8πν

T = E = Eν =

R 8πν 2 T N L3

Eν =

R

N

ρν =

heavy stock ν

dν = R 8π ∞ N 3T 2 L ∫ν dν 0

He found,

definite energy distribution between ether and matter.

but also state that in our model there can be not talk of a

equilibrium, not only fail to coincide with experiment,

These relations, found to be the conditions of dynamic

increasing or decreasing, the following relations must obtain:

If the radiation energy of frequency is not continually

part of the radiation with frequency between ν and ν + dν .

frequency, and ρνd ν the energy per unit volume of that

oscillation component), L the velocity of light, ν the

freedom) of an oscillator with eigenfrequency (per

where Eν is the average energy (per degree of

will be the radiation energy of the space, and in the limit we obtain

The wider the range of wave numbers of the oscillators, the greater

∞

∞ page number: =

22 s 23

0

23

3

The following tre

atment is to be fou

nd in a famous Wien and is introd uced here only for the sake of comple teness.

Suppose we have radiation occupyin g a volume υ. We assume tha t the observable properties of the radiation are completely deter mined when the radiation density This assumption is an arb ρ(ν) is given for itrary one. all frequencies. Sin ce radiation of differ ent frequencies are to be consid ered independent of each other when there is no trans fer of heat or work, the entropy of the radiation can be represented by where ϕ is a fun ction of the variab les ρ and ν. ϕ can be reduc ed to a function of a single variable through formulation of the condition that the entropy of the radiation is unaltered during adiabatic compression be tween reflecting walls. We shall not enter into this pro blem, however, but shall directly inv estigate the deriva tion of the function ϕ from the blackbody radiation law.

In the case of bla ckbody radiation ρ, is such a functi on of ν that the entro py is maximum for a fixed value of energy; i.e., 28 From this it follow s that for every cho ice of δρ as a function of ν where λ is indep endent of ν. In the case of blackbod y radiation, theref ore, δϕ/δρ is indep endent of ν.

The following eq uation applies wh the temperature allignment the first line requiresenoptimization. of a of unit volume of bla ckbody radiation increases by dT or, since δϕ/δρ is independent of ν. work by Herr W.

One will n aturally cling to

this simplest assumpt

concerning the entropy of radiation

page number:

The left

64 s 65

heavy stock

01/12/2015 16:24

page number: 37

tracing paper mid-section

The letter “t” in the framing box requires heavier weight and size.

Then eyes turned to me, so I told them the truth:

been anyone on reality TV with a stutter yet,” he said. “So that would be neat.”

Two women sat at a bar table and introduced themselves as the casting directors. They asked each of us to explain why we wanted to be on the show.

The murderphile insisted on going first and made a point of his being —basically a douchebag with a heart of gold.

Next up was the man with the kind face and the taste for paranoia who started by revealing that he used to be an army sniper.

“Also, I have a bit of a stutter and there hasn’t

we were led behind the curtain for our audition.

If it is reas

onable to speak of the probab ility of the state of a system, an d futhermor e if every entropy incr ease can be understood as a transiti on to a state of higher probability, then the en tropy S1 of a syst em is a func tion of W , the pr 1 obability of its instantane ous state. If we have two nonint eracting sy stems S1 = 1 W1 S1 and S , w e can write 2 S 2 = 2 W2 If one cons iders these two system s as a single system of en tropy S and probab ility W, it fo llows that S = S1 + S 2 = W The la st equation says that th e and states of the two sy stems are W = W1 + W2 indepe ndent of ea ch other.

From these equation it follows that W1 â‹…W = 2 1 W1 + 2 W2 The quantit y C is theref ore a universal co and finally nstant; the kinetic W1 = C ln W1 + const theory of ga 1 37 ses shows its value to be R/N, where the W2 = C ln W2 + const 2 constants R and N have been defin ed above.

W = C ln W + const If S0 denote s the entrop y of a system in so me initial st ate and W deno s th e relativ Left allignment of theteframed line e prrequires obability of optimization. a state of en tropy S, we obtain in ge neral First we tr eat the follo R wing S − S 0 = lnW N

( ) ( )

( )

(

)

( )

( )

( ) ( ) page number:

heavy stock

( )

( )

( )

66 s 67

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6

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heavy stock

N E R βν

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interpretation of the expression for the volume dependence of the entropy of monochromatic radiation in accordance . 4, In Sec with boltzmann’s the ound we f principle ion ress

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illustrative grid

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Lines in framing boxes require allignment.

he reached the foot of the staircase he glanced up and saw Jack regarding him from the door of the return-room.

Suddenly he remembered the night when one of the musichall artistes, a little blond Londoner, had made a rather free allusion to Polly. The reunion had been almost broken up on account of Jack’s violence. Everyone tried to quiet him. The music-hall artiste, a little paler than usual, kept smiling and saying that there was no harm meant: but Jack kept shouting at him that if any fellow tried that sort of a game on with his sister he’d bloody well put his teeth down his throat, so he would.

Polly sat for a little time on the side of the bed, crying.

Then she dried her eyes and went over to the lookingglass. She dipped the end of the towel in the water-jug and refreshed her eyes with the cool water. She looked at herself in profile and readjusted a hairpin above her ear. Then she went back to the bed again and sat at the foot. She regarded the pillows for a long time and the sight of them awakened in her mind secret, amiable memories. She rested the nape of her neck against the cool iron bed-rail and fell into a reverie. There was no longer any perturbation visible on her face.page number: , almost cheerfully, without

tracing paper mid-section The word “musichall” in the framing box requires to be substituted with “music-hall”.

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