Senior Thesis Process Book

THE MAKING OF

IMPOSSIBLE A PROCESS BOOK BY CARRIE VANDER PAS

M I LW A U K E E I N S T I T U T E O F A R T & D E S I G N M AY 6 , 2 0 1 0

3

TABLE OF CONTENTS PROBLEM/STATEMENT

7

RESEARCH

13

PROCESS

19

EXECUTION

39

EVALUATION

45

SUMMARY

51

BIBLIOGRAPHY

55

5

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E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M /

B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T

S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B

E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M /

B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T

E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M /

B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T

S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B

E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / 7

B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T

E M E N T P R O B L E M / S TAT E M E N T P R O B L E M / S TAT E M E N T P R O B L E M /

INVESTIGATION

The concept for my thesis investigation was to explore a wide array of individuals who were initially discouraged in pursuing their dreams, but whose work has now catapulted to a level in which we cannot imagine our culture without it. For example, Vincent Van Gogh never sold a painting in his lifetime, but now you cannot pay less than $10 million for one of them. Hans Christian Andersen was deemed a neurotic mess who could never find the happiness he yearned for in life, but his fairy tales have been adapted to countless amounts of poems, artwork, and feature films worldwide.

In a great irony, his stories such as “The Ugl y Duckling” and “The Little Mermaid” continue to bring happiness and wonder to all who read them. Great talents like Elvis Presley, Maril yn Monroe, Jackson Pollock, and even The Beatles all experienced similar types of setbacks – but it is hard to imagine where American and global culture would be without these iconic figures.

P R O B L E M / S TAT E M E N T

9

MESSAGE

The message of my investigation was centered on the importance of pursuing your dreams, no matter how big or impossible they may seem.

Throughout life, people constantl y encounter different types of failures and setbacks, and no one is exempt. Many times, these failures serve as a turning point: either the discouragement is taken to heart and the dream is given up on, or it is channeled into a positive motivation that drives them to continue reaching for their dreams.

I thought that compiling the stories of some of these “famous failures” was the perfect opportunity to show people the kinds of things that can be achieved if you do not give up on yourself. Looking at all of his accomplishments, nobody would ever guess that Thomas Edison was told that he was “too stupid to learn” or that Walt Disney “lacked imagination and had no good ideas.” By choosing these historic icons, people reading the book could have a benchmark and frame of reference to know what these individuals brought to the world and

have the opportunity to imagine what life would be like without their contributions. In a world that focuses so much on the negative, it was important to offer something positive that could re-inspire the dorment dreams of the readers.

AUDIENCE The audience for this project was young adults, ages 13-25, and individuals embarking on a new path in life and looking to “find their way.�

This book was also created for people with careers in the various categories covered in the book (i.e. artists/designers, athletes, etc.) and those looking to pursue their dreams.

P R O B L E M / S TAT E M E N T

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RESEARCH MATERIALS

BOOKS Research was a critical aspect of the success of my project. It was very important to fully research each individual and make sure that their stories were correct — thus the requirement of crossreferencing. On top of that, I spent several weeks investigating how to design a book. Whenever I thought of publication design, I thought it had to be boring so I wanted to find “unboring” books and model my project after that. The following books were important in this aspect of research: •

Book Design by Andrew Hasalm

•

Book Design and Production by Pete Masterson

•

Front Cover: Great Book Jackets and Cover Design by Alan Powers

INSPIRATION/INFLUENCES Along with research, I found images of various books that I wanted to model my book after, or that at least had an element or two that I found appealing (see page 15).

RESEARCH

15

C O M P E T I T I O N A N A LY S I S

COMPETITION Because my project was a fairly unique concept, the main competition would be the biographies of each individual and various inspirational books.

RESEARCH

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INITIAL CONCEPTS

Initially, my plan for this project was to compile 125 different stories of “famous failures” and make five different books — one book per profession (i.e. music, art, sports, etc.) with each book containing 25 different stories at approximately four pages per person. Do the math; I was insane, and my classmates knew it. After the very first critique of my ideas, I realized that I had greatly underestimated the amount of time and effort a project that extensive would take. So, it was decided that I would do one book consisting of 25 different stories and create different book jackets that were themed to each profession within the book.

FAMOUS VS. NON-FAMOUS The next step toward creating this book was to determine what, or rather who, was going to be included in it. Initially I had decided that I wanted to use stories of “famous failures,” but it was brought to my attention that the stories of the everyday individual can be a powerful tool of inspiration too.

I felt that these stories were just as important as

“famous” ones, but ultimately decided that people would be more likely to take the time to read about someone that they would have a frame of reference regarding their accomplishments.

ILLUSTRATION VS. PHOTOGRAPHY After deciding what the contents of the book would be, the next step was to resolve the way in which these individuals would be depicted. Initially, I had imagined large bold illustrations almost exploding off the page, but after experimenting with this style in my book, I felt that they were too overpowering and would represent me as an illustrator (which I am not) rather than a designer. I decided that my only alternative was to use photography, but early on in the concepting of this book I had decided that I did not want to use generic photographs that were readily available to anyone who knows a thing or two about an online search engine. Unfortunately, all of the subjects in my book were deceased or far too famous to have time to cater to an art students’ project so I wasn’t able to take the photos myself.

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That left me with very little options until I decided that I could utilize a hybrid of both photo and illustration and create an image that resembled a screenprint.

ORIGINAL PHOTO

DIGITAL ALTERATION

ILLUSTRATION USE The content of the book was far more important than the visual representation of each individual, illustrations were used very subtly. A black and white appearance was maintained throughout the entire book until the final spread of each individual, where they became surrounded with color to visually communicate their dreams finally becoming realized.

BOOK LAYOUT The layout of the book went through many, many different phases. Initiall y, each spread was to fold outward — the quote of discouagement on the outside and the story of their success on the inside. This layout proved to be problematic for a few reasons. First, if someone was holding the book and turning through the pages, it would be hard to constantly open and close these panels.

Secondly, this transition would become very static if consistently used throughout the book, so several different methods of opening and closing or popping up would have to be utilized. Lastly, it was highly unlikely that the contents for each story would be able to fit within two pages. This format was quickly abandoned and several other layouts were explored, until the final version was ultimately decided on.

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INITIAL SKETCHES

To the left and right are the various phases of layout design. Several sketches explore the use of the double gate fold discussed earlier and further examine the reason this technique would not work for this book project.

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DESIGN EVOLUTION AND REFINEMENT

After the initial layout was abandoned, a much simpler system was developed. Each individual’s story would consist of at least 3 spreads: the first would list the individual/group’s name and a descriptive quote or paragraph explaining their discouragement, the second would show highlights and accomplishments from their career and the last would showcase what they ultimately became (i.e. rock star, greatest painter, etc.). The amount of content supported a layout with plenty of space for body copy, so I established a 4-column grid system that would be utlized throughout the book.

Imagery and large pullout quotes were then used to “break” this grid and create visual interest while maintaining consistency, which is demonstrated on the examples found on pages 29-39.

BASIC GRID SYSTEM:

ORGANIZATION SYSTEM: Even though each story begins with a

MUSICIANS

general indication of the time period in

ATHLETES

which each individual’s journey began, it

ARTISTS

was far less complicated and confusing to arrange the book categorically.

WRITERS WORLD FIGURES ENTERTAINERS

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INITIAL

The story of The Beatles was among one of the first completed and helped to set the pace for the entire theme of the book. The major changes that were encountered early on in the development process of the book was how the second spread of each individual would look.

Initially, there was too much focus on the negative quote and the positive quote on the second spread had too much visual weight that made it appear as if it were a new story entirely.

This was resolved by creating slightly less visual emphasis with a different type treatment.

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FINAL

REVISION

REVISION

INITIAL

FINAL

Another addition to each spread was the use of the phrase “Everyone said� as a background element on the first page of each story. This was used to alert the user that they were at a new story in the book and eliminated the problem of figuring out if the second spread was a continuation of a story or a new one entirely.

Another major change to the Michael Jordan spreads were in his timeline of career highlights. Initially, each success was listed as a bullet point that framed an illustration of him driving the baskeball.

This changed to better fit the look and feel of the book as well as become more visually interested and easier to read.

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was used to create a continuation though each individual’s story was the use of opacity within the imagery (best seen on the revision and final versions). This made it seem as if the reader could see through to the next page and helped to eliminate confusion of whether the story was continuing or ending.

Walt Disney’s story is one that went through many revisions, mainly because of working around the beautiful type treatment that created a silhoutte of Mickey Mouse.

Ultimately, the initial vision I had for this story was slightly sacrificed in order to create an overall successful spread, verses the success of just one element.

INITIAL

Another element that

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FINAL

REVISION

REVISION

INITIAL

FINAL

The Dr. Seuss spreads were also a turning point in the design of the book. Intially, the pullout quotes throughout each individual’s story were flat, but the playfullness of Dr. Seuss helped to bring a personality to the typography which was ultimately used in several other places in the book.

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INITIAL

By the time the second half of the book started to be developed, nearly all the design elements and system had been executed in over 12 different spreads. For a very long time, this half of the book was neglected from the development phases (as shown here in the initial phase), but by the time it was designed and revised only minimal changes had to be made.

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INSTALLATION

The proposed space/exhibit design consisted of 5 posters, 5 shelves and a small set of table and chairs for the reader to sit down and look at the book. The idea of providing a seating area was ultimately abandoned and the poster/shelving display was simplified for the final installation.

Proposed space design sketch (left) and 3D rendering (top).

Exhibit installation in progress — poster installation completed.

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THE COMPLETED PROJECT

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45

E VA L

E VA L U AT I O N

MEETING OBJECTIVES

I was very pleased with the public reception of this book. When it came time to choose what I was going to do for my senior thesis, I wanted to challenge myself. I felt that my weakest area of graphic design was in my publication design skills, so embarking on this project was a very big risk, especially considering the scale in which the project grew to be. All of the hard work, constant revisions and continuous pushing from myself, my classmates and from my instructors made this book a success. I could never have predicted that a project that meant so much to me would resonate with so many people, and I felt truly rewarded to meet and greet Milwaukee’s art community as we discussed their personal stories of overcoming obstacles and achieving their dreams.

The objective I set for myself was not just to create a really cool book, but it was to challenge myself and prove that I could truly accomplish anything I set my mind to. Though it was not always easy and it was not always fun, I have grown into a far better

designer after facing the realities of sometimes having things not work out as planned, meeting extremely tight and realistic deadlines and there will always be at least one person (and only one if it were an ideal world) who dislikes your work no matter how much heart and soul you poured into it. That is the reality of life as a designer — but I learned that for every one person that hates your work, there will be 10 who love it and being able to see your work excite and inspire that group of people is worth every minute of discouragement faced in the development phases.

STATISTICS Through an initial critique of my book by nearly 40 creative professionals, I was able to gather raw data on the impression of my book: • Exemplary

50%

• Proficient

40%

• Marginal

8%

• Unacceptable

2%

E VA L U AT I O N

47

QUALITY OF DESIGN

The quality of design was much greater than I could have ever anticipated during the research phase of this project. At the time, it was difficult to spend nearly a month doing nothing but research and allowing no consideration for design executions, but looking back I realize that the design grew from the reseach, content and concept behind it. After I had decided on the content and layout, everything else just seemed to fall into place. The font choices and use of typography were many people’s favorite element of my book, so I am quite pleased at the different weights, colors and sizes I decided to use throughout. During my first critique from outside professionals, I received some negative comments about the use of the photo-illustration technique I decided to use throughout my book which made me nervous on how the public would perceive it. I was overjoyed when I had many people tell me that they really loved the style I decided to use, and that photography would have made the book less

exciting because, for the large part, the photos would be ones that have been seen many times before. Even though it caused me some uncertainty, if the illustration usage was the only thing that people felt was weak in the design of my book, I was happy.

E VA L U AT I O N

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SUMMARY

Overall, I am very happy that I chose to embark on this project as my senior thesis. Though I knew it would be a lot of work, I believe that the final product is exactly as I had envisioned it to be when I decided to do this as my project.

I believe that I conquered many obstacles through the design and execution of this project: 1.

Proving to myself that I could do publication design, and that it doesn’t have to be “boring.”

2. Successfull y finding a local printer to print my books — you’d be surprised at how hard it is to find someone who will print small quantities of hardcover books.

3. Learning to measure, mark, tape off, level and hang posters in the middle of the night.

4. Learning to work as a team and learning to give and take constructive feedback from eachother.

5. Learning how to manage 30 different opinions of your work and exploring each one.

6. Most importantl y, I trul y learned what the message of my book is:

NOTHING

is impossible

if you put your

MIND to it.

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