Bookforms I This is a process journal for Bookforms I class, taken Fall Semester 2016 at the University of Louisville & taught by Meena Khalili. This journal will take you through my process & responses as well as showcase my final designs for each project. You will explore how I get from point A to B as well as how I respond to the current state of design.
Created by:
E M I LY H O U Z E
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There are six chapters for this process journal. They include blog entry responses to podcasts and readings, process images, and project info. The numbers indicate which page the chapter starts on. Each chapter also has it’s own color to help guide you through.
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4 Design Matters
58 Process Images
Jessica Hische
“I’m Gonna Be (500 Miles)” - The Proclaimers
Chris Ware
“These Walls” - Kendrick Lamar
Massimo Vignelli
“Slow Cheetah” - Red Hot Chili Peppers
Maria Popova
“Warm on a Cold Night” - Honne
Marian Bantjes
“Things Are Changin’” - Gary Clark Jr.
Stefan Sagmeister
“Out of My Mind (Live)” - John Mayer
Tina Roth Eisenberg
“Pink & White” - Frank Ocean
20 99% Invisible Hold Out Structural Integrity The Broadcast Clock
“Your Touch” - The Black Keys “I Wonder” - Kanye West “Am I Wrong” - Anderson Paak
80 $5 Toy
Revolving Doors
Toy
Guerilla Public Service
Packaging
Awareness
Spreads
Ten Thousand Years
Poster
36 Layout Essentials 90 Dutch Folio Chapters 1-8
Spreads
Chapters 9-12
Pull-outs
Chapters 19-27
Physical
Chapters 28-36 Chapters 37-45 Chapters 46-54 Chapters 55-64 Chapters 65-73 Chapters 74-82 Chapters 83-91
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Desig Ma 4
gn atters This chapter focuses on responses to the podcast Design Matters with Debbie Millman. The podcast features designers and creatives from all around the world. Through these podcasts, I learned more about the most successful designers of my time and how their process works, where they started, and how they became so affluent.
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The photos above showcase Jessica’s typography designed on book covers. The middle photo is of Jessica herself, in her design studio. Lastly, the bottom photo is some typography Jessica designed for the San Francisco Magazine.
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Design Matters: Jessica Hische The work you do while you procrastinate is probably the work you should be doing for the rest of your life. JESSICA HISCHE resources. I also use the internet as an amazing tool to inspire my work and to also gain free resources while I am in college and can’t afford many of the things I might need for a project. For my UFGlow project, I had to find a font that I could use that would make the viewer think “space” and “galaxy”. Fortunately, I found a free font and I would not have been able to do that without the power of the internet. I also enjoyed Jessica’s comment about how graphic design students don’t necessarily pay enough attention to researching the “greats”. We are all so focused on our own work and our portfolios that we don’t research the people that have made graphic design what it is now. Thanks to Steve Skaggs, I was able to learn more about graphic design leaders because of the History of Graphic Design class.
The Design Matters podcast with Jessica Hische was one of my favorites to listen to so far. Jessica is still very young and offers a unique, modern perspective on graphic design as it exists today. She didn’t even know she wanted to do graphic design until she got to college. She switched from a private school to a public school in high school just so she could take more art classes. I was lucky enough to take two graphic design classes in high school (which influenced my decision to make this into a career greatly). Jessica is an amazing hand letterer and she didn’t even realize it until one day when she couldn’t find a good font for a project. She just created the hand-lettering herself and realized how good at it she was. Jessica also talks about how active she is on the internet. She uses the internet as inspiration, for material, and for
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The two comics at the top are examples of Chris Ware’s careful, detailed work. Chris Ware himself is shown on the bottom left. He does comics for many famous publications, most notably, the New Yorker, shown on the bottom right.
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Design Matters: Chris Ware Comics, at least in periodical form, exist almost entirely free of any pretense; the critical world of art hardly touches them, and they’re 100% personal. CHRIS WARE sketch and write ANYTHING down until I came up with an idea or multiple ideas. I think it’s ok for more than half of them to be really stupid ideas too. Eventually, going into the hardware store, I actually had several ideas to work with after all my “brain vomit”. I came out with supplies to make a spinning top and while working on building it, it just came to me that it kind of resembled a UFO. Sometimes ideas just come to you and sometimes you have to really work at it. It can be frustrating but in the end when all that brainstorming, sketching, and research comes together to make something you’re proud of, well, there isn’t really any better feeling than that. In Chris Ware’s case, he became one of the most successful “cartoon artists” (he prefers to be called this as opposed to a graphic novelist) in the world. It gives me peace of mind that successful graphic designers struggle to start their projects just like me.
Chris Ware talks about his creative process in Design Matters podcast with Debbie Millman. He says he just gets everything from his mind out on paper and then hopes that some of it is publishable. This seems to be a common practice in most graphic designers. All of my professors have told to do this, especially when I felt creatively blocked. Its refreshing to hear someone who is so creative and has had multiple cartoons published in the New York Times also throws out 80% of his work. Sometimes it is disheartening in this field to be unhappy with a lot of ideas that come out in the beginning of the process. Sometimes I just want the idea to come to me right away. With our first Bookforms project, I felt disheartened at first. Much like me, Chris Ware mentions he often doesn’t know exactly what to do when he sits down to start a comic. Going back to what all my professors have taught me, I realized I just had to research and
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Massimo Vignelli is a timeless artist who has worked on every aspect of design from packaging, typography, branding, magazines, and more. On the left is his Manhattan subway map design. Under that is branding for Bloomingdale’s. Next is an example of his layout and magazine design. The bottom-most picture is of Massimo himself.
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Design Matters: Massimo Vignelli The life of a designer is a life of fight: fight against the ugliness. MASSIMO VIGNELLI
today with only 4 typefaces. I know for this $5 toy project, I would not be able to make the logo look the way I want it to look with just those 4 fonts. I need it to look futuristic and the viewer must think “galaxy”, “space”, and “sci-fi”. While it obviously worked for Massimo, I think his views are slightly outdated. Type evokes such a feeling (nostalgia, disgust, happiness, etc) for the viewer right off that bat that I think its important to have many fonts to choose from.
When Massimo Vignelli talks about only using 4 fonts, he says the rest of the fonts made are usually too trendy and trashy. He sticks to the tried-and-true fonts that have been around for hundreds of years. He makes a good point that some fonts that are made recently are not good enough to compete with the greats. However, I disagree that anything trendy has to be trash. There are many great type designers out there today. I don’t think design could be where it is
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Above are photos of Maria’s workspace. In the middle is Maria Popova herself. She is the mastermind behind the creative website: brainpickings.org
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Design Matters: Maria Popova Greatness is consistency driven by a deep love of the work. MARIA POPOVA
requires full attention and takes a lot of time to get right. It takes so many iterations and research just to get started. Balancing all of that in my life is hard but it is nice to know that the hard work now can lead to a very successful life. This is also relates to my upcoming project for Bookforms. I will be researching many different Dutch artists and trying to create spreads that go along with the “feel” of the artist. Maria talks about how her brainpickings.org website is about creativity - which is a broad pool of EVERYTHING we see, hear, think, and feel in the world. Creativity can come from a multitude of things! I will have to take everything I can from the 3 artists I choose and pour that into my spreads.
The Design Matters podcast with Maria Popova was very interesting. I think Maria is more of a writer than a designer so it was interesting to get that different perspective. Her website is awesome, creative, and inspiring. What inspired me most from the podcast was that Maria came all the way from Bulgaria to go to college in the US (she says it was to get away from her mother!). She worked four jobs throughout college to get by. She talks about how it was a struggle and it helped her realize that she wanted a better relationship with money. She wondered if there was a way to make money and do what you want in the world. This struck a chord with me because I’m currently in college, working two jobs, with a full course load. Doing that is hard. Design work
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Each photo exemplifies Marian’s detailed pattern work. She also works with typography. Below is a photo of Marian posing in front of her pattern pieces.
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Design Matters: Marian Bantjes But I find that for myself, without exception, the more I deal with the work as something that is my own, as something that is personal, the more successful it is. M A R I A N B A N TJ E S time line so I had to also make sure the time line integrated nicely with the whole feeling of the spread. I had to think about it and do many variations to solve that problem. For the Dutch folio project, I’m also having a hard time solving the problem of how to incorporate all these necessary things like the die-cut, abstract imagery, and expressive typography. I want to be creative and thoughtful when creating my folio and it’s hard to get started when there’s so many elements. Unlike Marian, I am not a perfectionist. Sometimes I don’t go back and make sure every little thing is exactly right. That works in art sometimes and other times it doesn’t. With this project, it will be important to nail the details, measurements, and other elements. I will have to put my Marian vibes into this project to make sure it comes out clean and conveys Tom’s essence.
Marian Bantjes is known for her handcrafting, typography, detailed vector art, and ornamental drawings. Originally, Marian was a typesetter but she got bored of it and wanted to move on to bigger things. As I was listening to the podcast, I went through Marian’s website and took a look at her work. Her work is really awesome and super detailed. You can tell how much work goes into each piece. Marian even talks about how much time she spends getting it perfect. She also says she “likes using her brain” to figure things out. I think this is true of a lot of designers. Design isn’t just about making things look good but solving a problem and figuring out the best way to go about something. For the Tom Frencken spread above, I struggled with how to do the time line. Tom’s work is clean, simple, and minimal. I conveyed that in the spread before I made the
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Stefan often uses his own body to display his art. The middle two photos show Sagmeister in the midst of his design. The left and bottom photo shows his typography. Sagmeister is always thinking out of the box for his design pieces.
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Design Matters: Stefan Sagmeister Ensure it feels like it’s made by humans, for humans. S T E FA N S A G M E I S T E R in terms of how our folio functions. In my case, my folio actually had too many spreads on it when I presented my 50% scale model. I had to rethink my design while still keeping the work that I had already done. Stefan Sagmeister talks about having “guts” in his work. Taking risks for him has always worked out into stunning conceptual pieces. I think this is important to remember as a designer, especially in this folio project. Taking risks may not always work out like it does for Sagmeister but when it does, it can be really beautiful and interesting as opposed to a safer idea. I’m taking risks in my folio project by pushing the angles. I have to know when to reign back but I always need to know when it’s ok to go a little crazy with it. As I’m revising and refining my folio project for next week, I need to keep in mind Sagmeister’s ability to let loose and create without being reserved or safe about it.
Stefan Sagmeister is so dedicated to design that he carved words onto his body with an exacto knife. That’s intense! In Design Matters with Mr. Sagmeister, I learned a lot about design that is simple but effective. First he talked about how he works better first thing in the morning. I am the exact opposite in that I work better late at night. I think it is important to find the time when you feel most creative and utilize that! As I listened to Sagmeister talk with Debbie Millman, I looked at his website and all the work he has done. His work is so innovative and creative. It is clear that he strives to evoke emotion in his design. He is also very experimental, using different materials and mediums to create. This relates to the Dutch folio project because we were required to create experimental/expressive type. I’m still experimenting with what I want my expressive type to look like and Sagmeister’s work inspired some ideas. We also had to think out of the box
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Eisenberg, creator of design inspiration website: swiss-miss.com, is the master of all things creative. She also created Tattly, a temporary tattoo e-shop, pictured above. Pictured to the left is a design studio in Brooklyn that Tina owns called “FRIENDS� where many successful designers work and create.
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Design Matters: Tina Roth Eisenberg Don’t be a complainer; make things better, let it go, or take action to make it better. T I N A R OT H E I S E N B E R G thing. Don’t get me wrong, not all design should be bright and cheery. However, I think that some projects call for it and making a connection in design can carry it so much further. In my Dutch folio design, I wanted to make a connection in that the viewer could understand more about Tom other than just reading about him. I used saturated and bright colors as well as fun shapes and imagery to convey his “essence”. I hope that the pull-out element can also make people smile because it is unexpected and interactive. Tina also says asking questions is important to her success. As graphic designers, we aren’t going to be experts in everything. This was something that came to light in my packaging class. I had to create horse deworming packaging, which I knew nothing about. Asking questions to the expert, Dan Stewart, was an integral part of the final design. To conclude, I definitely understand why Tina is so successful because creativity just oozes out of her. Everything she touches is gold. I’m very happy I was introduced to her blog and I will be using it for inspiration in the future.
First I listened to the Design Matters podcast with Tina Roth Eisenberg. Tina completed school in Switzerland for design/creativity. It is evident that graphic design is not her only strong suite. She’s very creative and business-minded. She created a website called Tattly that I have used before! I had no idea that she was behind it. It’s a website where you can buy awesome temporary tattoos. I’ve used it when going to concerts/festivals. She also created swiss-miss.com which is a website where Tina posts all the cool things/resources she finds on the internet. Going through it, I learned a lot and saw tons of unique design, art, and products. I think this was an excellent idea. I’m constantly finding cool stuff all over the internet and I wish I had a place to store it all. When Tina talks about her blog, she says an important element is to keep it personal. That’s why she thinks it is so successful. People want to connect with someone. She also wants to keep her blog happy and light. I think these are two important factors to consider in design. Design that can connect and make someone happy is a powerful
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99% Invi 20
isible This chapter focuses on responses to the podcast 99% Invisible. This podcast explores things in life that often don’t get thought about that often and the work that went into those things. It focuses on design, architecture, and inventions that go unnoticed in daily life. Through these podcasts, I became knowledgeable on little known facts and how it relates to my design work.
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Pictured above is Edith Macefield’s house standing in between two concrete developments, after her death in 2008. On the bottom left is another photo of her house in between the construction sites. The bottom right photo is of Edith Macefield herself, who was widely considered a mysterious,stubborn, and steadfast woman.
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99% Invisible: Hold Out The press loved Edith Macefield’s “David and Goliath” story of a single old woman pitted against some of the big, bad developers. KATIE MINGLE bills. While sometimes this is necessary, it is more important to try and pick projects I am passionate about and will fulfill me, no matter what other people say. Just like Edith, it’s important to stand your ground on what matters when it comes to what you want.
The 99% Invisible podcast was very interesting to hear. Edith Macefield didn’t care about money, she only cared about her house and staying in it. I think that is an important lesson to take with me throughout my design career because it is easy to get lost in doing jobs simply to pay the
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Pictured here is the Citicorp building that had a fatal flaw. Some serious things were overlooked when designing this building, which could’ve blown over in a bad storm.
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99% Invisible: Structural Integrity This thing does not look sturdy. But it has to be sturdy. Otherwise they wouldn’t have built it this way. Right? JOEL WERNER similar fashion. Now, our mistakes are usually not fatal but we still have to try and think about all the solutions to come up with the best one. The structural engineer here did not come up with the best solution. For designers of every kind, it is important for us to consider more than just “how it looks” and account for also how it works and acts in life. With our project, we must consider not only how the packaging looks from the outside but how the toy will fit inside. Although its not within the scope of the project, we should also consider how it would act on a store shelf and how it will be shipped. And although we generally avoid catastrophic mistakes like the Citicorp building, we still need to design as best we can for every aspect.
In the 99 Percent Invisible Podcast, “Structural Integrity”, the narrator talks about the CitiCorp building and how well its built, which is not very well. The builders had a problem when building in that spot, a Lutheran church was on part of their land and could not be torn down. The structural engineer decided to put columns on the bottom for the rest of the building to stand on. He accounted for perpendicular winds but not for quarter winds. This “small” flaw could have killed 10,000 people during any storm. This is pretty scary to hear about! One small oversight could’ve been a grave mistake. The fact that it was kept a secret for so long is also pretty alarming. This podcast relates to graphic design in that designers also have to overcome problems in a
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Pictured above is the complex broadcast clock used by NPR and many other successful radio stations.
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99% Invisible: The Broadcast Clock Broadcasting is really too important to be left to the broadcasters. TONY BENN
on time in order to start working on our booklet/ poster. It was important to take it in steps but it needed to be done in order to keep the project going. In my head, there is also no “time scarcity” when it comes to design. Before I complete a part of a project, there are non-stop ideas going through my head and there’s a timer constantly telling me I need to work, work, work, and finish. It may not be as intricate as the broadcast clock, but it is important for me to follow in order to succeed in this profession.
What I learned from the broadcast clock is that it is crucial for radio broadcasters to keep to this clock in order for the show to run smoothly. Broadcasters don’t want any dead space or silent moments at all because people could easily change the channel if they weren’t hearing anything. There is no “time scarcity” in radio. This applies to design work in that we are often on deadlines. We can’t procrastinate, slow down, or go to fast. We don’t have a specific clock but it is important for us to keep to the deadlines. For this $5 toy project, we had to finish all the content
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Revolving doors conserve much more energy than a classic push & pull door. The chart below explains how this works. There are some flaws with the design of the revolving door, however, which is why people are hesitant to use them.
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99% Invisible: Revolving Doors All things are possible, except skiing through a revolving door. WOODY ALLEN
For example, in my UFGlow booklet, I needed to make sure my design appealed to younger kids. Too much of a corporate feel would not match my toy design. Even if I designed the most beautiful corporate design ever for UFGlow, it would not work with the rest of the concept. I have to consider that kids don’t necessarily want to read a lot of words and they are more attracted to colors and big pictures that demonstrate the toy better than the words do. This is similar to the revolving door in that the designer failed to create something his audience (which is almost everybody) would enjoy, even if it does conserve energy and save the environment.
In the 99th Percentile podcast 4: Revolving Doors, I learned about the invention of the revolving door and some advantages and disadvantages of them. The major advantage of revolving doors is that it is more sustainable and environmentally friendly than a typical swinging door. Eight times less air is released from a revolving door. They save energy because they never open and air doesn’t leak through. The major problem that the designer didn’t take into account is that people don’t actually like to be in a confined space like that. The revolving doors are also heavy and people fear for their limbs and bags when they go through them. This relates to graphic design work because we have to consider our audience.
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Above is a photo of Richard Ankrom dangling above the highway, fixing the road sign illegally so that it would be easier to understand. To the left is Richard himself with photos of the act.
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99% Invisible: Guerilla Public Service If you decide to undertake an act of “guerilla public service,” just know that it may not be received as such, so proceed with caution and avoid getting caught. DAVID WEINBERG some paint, and fix the tiny mistakes I see myself as well. This podcast didn’t directly correlate with the inception of project 2 for Bookforms. However, I realized how important it is to get the tiny AND the large details right in every design I make after listening to this. In this case, I am emulating a real artist and I want to create something the artists themselves would be proud of. I’m not creating something that will be seen by millions as they drive to work everyday, but I should act like I am. The pressure of that would be enough to make me check every millimeter of my spread!
From the very beginning of this podcast, the 99 Percent Invisible: Guerrilla Public Service, this quote stuck out to me “Have you ever come across something that was poorly designed but the fix was obvious to you?”. As a designer, I notice these things constantly. While I’m driving, I often get sidetracked by noticing tiny little mistakes on ads from billboards or on the sides of trucks (I’m not a very good driver). In this case, a driver completely mixed his exit and got lost because a traffic exit sign wasn’t adequately marked. Richard Ankrom was so annoyed by this mistake that he decided to fix it himself! Sometimes I wish I could stop my car, take out
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To the left is an AIDS awareness ribbon. Below that is a group of visual AIDS members working on making the ribbons. Below is an AIDS awareness ribbon handout from the MoMa collection.
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99% Invisible: Awareness The first step toward change is awareness. NATHANIAL BRANDON
symbol for many different causes based on the color. The pink ribbon raises awareness for breast cancer and you can see it everywhere in October. I may not need to create a “symbol” for my folio project but it relates because I will need to use certain visual aids to make my folio memorable. Essentially, I am raising awareness for my artist and trying to make him stand out against the rest of the Dutch artists. I have to use color, shapes/ vectors, expressive typography, and vivid imagery to make the spreads memorable.
What I learned from the 99% Invisible Podcast: Awareness is that some of the best art happens in response to a “movement”. In this case, the AIDs crisis caused a visual arts project. It was just little red ribbon that garnered the most attention. It wasn’t the most complicated thing but it raised a lot of awareness. Even a lot of celebrities wore the AIDs awareness ribbon to the Tony Awards. They weren’t allowed to say on air what the ribbon was for, but the media took hold of it and it exploded. I also learned the importance of creating a wellknown symbol. The ‘pinned ribbon’ is now a
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The above pictures are of the Waste Isolation Pilot Plant in New Mexico. The photo to the right depicts a possible idea for labeling the WIPP as dangerous for future generations.
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99% Invisible: Ten Thousand Years The best way to predict the future is to create it. PETER DRUCKER to the WIPP, is making our designs relevant, understandable, and aesthetically pleasing long after we design it. Graphic design comes with a lot of trends. However, if we want our designs to last longer than a trend, we have to put more depth into it. With the Dutch folio project, I didn’t try to follow any type of trend and just emulate Tom’s work through the layout, typography, and color. Will anyone see or care about the folio thousands of years from now? Probably not. But if I design with the idea that they will, I might get a better result. Keeping in mind the lasting power of my designs is important and something I never really thought about before. I’ve never had the thought “Will someone 10,000 years from now understand or like this?”. By that time, print design might be an ancient practice! That’s pretty baffling to think about.
First I listened to the 99 Percent Invisible podcast, “Ten Thousand Years”. It was about an underground nuclear waste plant where all nuclear waste goes to keep us safe from it. The WIPP, in New Mexico, is a cave covered in salt that will eventually “swallow” up all the waste (this would take thousands of years). Designing a place like this was a huge challenge because it cannot leak or risk the safety of others. The challenge designers also faced was how to explain what this thing was 10,000 year from now. The world can change SO much in that time. New technology will certainly be invented. By then, nuclear energy could be outdated and unheard of. It will be hard to communicate just how dangerous it is. This relates to design in that the stuff we design today could be seen thousands of years from now. Especially with the internet, our design could exist for a very long time. A challenge we face, similar
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Layou Essen 36
ut ntials This chapter focuses on the book Layout Essentials. The book features a bunch of guidelines to follow when making spreads. It was very helpful since every project assigned involved making spreads. Reading these “rules� every week guided me along in my design process.
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Above is a spread that shows the grid and how to use it. The grid is really important in creating well-designed spreads. To the left if an example spread with a lot of white space and wide margins, which is what I read about in Layout Essentials this week.
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Layout Essentials: Chapter 1-8 There is no such thing as a boring project. There are only boring executions. IREN E ETZKORN across so that people want to buy my toy. There is going to be a lot going on in my poster and booklet because I want to show off the toy first and foremost, but also write in a compelling manner, and include movement that resembles the spinning nature of the UFO. I have to consider how much type is on a page, how many pictures, and how much other “stuff” is going on so that the page doesn’t get too busy. It’s important to emphasize both things in a cohesive and aesthetically pleasing manner.
From chapters 1-8 of the Layout Essentials book, I learned basic “rules” for starting to lay out a grid. The first thing the book mentions is to know the components of a layout such as the margins and spatial zones. Then you must learn the basic structures. Steve Skaggs made us research grids for days on end in our intro class so that we would be familiar with how a lot of designers use the grid. I think another rule from the chapters that was the most important is to consider all elements. This applies to the $5 toy project in that I will have to make sure I get enough information
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These two spreads show how to balance a ton of information in one spread. To the left, the designer used a full bleed image to contrast with all the text. In the bottom picture, the designer uses contrasting color, large typography, and lines to separate bits of information.
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Layout Essentials: Chapter 9-18 Design and art are independent coordinates that provide their greatest satisfactions when experienced simultaneously. MILTON GLASER make the text work with it while not competing for attention. Chapter 17, “Use the Entire Area”, also inspired me to not use too much white space and to fill the page up. My toy is fun and made for children, so I am able to make the spreads more fun, not too corporate, and exploding with color, large imagery, and fun graphics.
From the layout essentials book, I am learning more about how to create space and use proportion in my UFGlow spreads for the booklet. Chapter 13, “Work in Proportion”, was helpful for me when laying out my type versus my pictures. For UFGlow, I wanted the pictures to be dominant, large, and communicate movement. In order to make the pictures large and dominating, I had to
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These spreads are examples of having fun with a layout and thinking outside of the box. The spread above uses lots of color, big imagery, and fun typography to create interest. The spreads on the right also use these characteristics to make the design pop.
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Layout Essentials: Chapter 19-27 Get in over your head as often and as joyfully as possible. ALEXANDER ISLEY
so many elements in design that are able to be manipulated with color, space, size, texture, etc. It’s fun to experiment and try different things even if it doesn’t make the final design. For example, in my first version of the spreads I had my text in the shape of a circle. Although it didn’t work for this design, it was nice to play around and experiment with that shape.
From the Layout Essentials book, the chapters that stood out to me were the “Get Off the Straight and Narrow” and “Mix It Up”. Sometimes as I am designing, I forget to have a little fun with my design. This toy project helped me break that habit because the subject matter is playful and easy to make light of. I kept my text simple on the spreads but went for it with the photos and the pattern with cute little space icons. There’s
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The spreads to the left are only using three colors (two of them being black and white). However, there is still so much energy and movement going on. Different fonts and their sizing are a huge part of this. The full bleed black and white image contrasts with the blue overlaid images. The system of these spreads is clear but not overly consistent. The spread above give the huge typography room to breath by placing the type and infographic at the very bottom with a lot of white space above.
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Layout Essentials: Chapter 28-36 If you’re not prepared to be wrong, you’ll never come up with anything original. SIR KEN ROBINSON
class on Thursday, we looked at spreads as a class. The margins on certain spreads we looked at definitely conveyed different emotions. Those with more breathing room had a calmness about them while those with less breathing room felt more busy and loud. Overall, I think The Layout Essentials book will be an excellent tool in guiding me through creating these Dutch artist spreads.
The Layout Essentials book chapters 28-36 was also helpful in the beginning stages of starting my next project. “Control a Variety of Elements” is the first chapter I read, and I think the most important. With the upcoming project, we have several thing to juggle that can only be on one spread. The book mentions using multi-column grids for a lot of information and that could be helpful when laying out my spreads. “Leave Some Breathing Room” was also a helpful chapter. In
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These spreads show what designing beyond what is expected is. For the spread to the left, using two different fonts for the title is unexpected. Also, making the type go into the body copy is a surprise. In the spread below, the text on the left follows the shape of the photo on the right. It creates a nice harmony and it pushing the boundaries. Experimenting with body text shape is difficult and a lot of designers won’t even try that.
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Layout Essentials: Chapter 37-45 Nail the basics first, detail the details later. CHRIS ANDERSON
furniture seems normal-looking at first but then you start to notice the weird angles of the legs or how one element is bent the opposite way. As I was sketching my spread ideas, pictured above, I realized I wanted to possibly slant the body text to match his art. This might be pushing the boundaries of what is possible for body text but I’m willing to give it a try. The chapters about color and how to use it are also going to be important to me as a match a color palette with the artist’s work so that it all blends well. Each chapter of the Layout Essentials book helped me as I was doing initial sketches and helped me think of more creative ways to lay out my spreads.
From the Layout Essentials books Chapters 3745, the first chapter that stuck out to me was “Design beyond the Expected”. I think this is important to remember for our second project because the Dutch artists we are studying design this way. A lot of the works I looked at were striking and unique. Our spreads must emulate this. This advice should be taken into account when designing the time line. A time line has a specific look to it but I think I should try to take that past what is expected and get creative with how that part looks on each different artist spread. The next chapter that I was fond of is “Go Beyond Boundaries”. One of the artist I chose to make a spread for is Tom Frencken. His
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These spreads are a great example of using color and imagery to make your design stand out. The purple spread is hard to take your eyes off of and has so many things to look at. The spread below that has a really interesting image to draw you in. The post it notes also add depth and movement.
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Layout Essentials: Chapter 46-54 Design is thinking made visual. SAUL BASS
columns and rows better than pictures or text can. Chapter 54, “Illustrate Timelines”, really goes along with the Dutch folio project because we are required to include a time line and I think supplemental information is always more interesting when it’s done in an illustrative way. It gives the viewer something new to look at it and can help bring the piece together since it has text and illustrations. The book says to think of a time line as a “functional piece of information”, not just something you slap in there. I could not agree more! That’s why for the spread pictured above for Tom Frencken, I spent a lot of time making the time line an interesting visual elements while also being readable as a time line.
I read chapters 46-54 in the Layout Essentials book. As always, these chapters are really good reminders for me as a start laying out a spread. The first chapter that struck me was “Put the Information in the Color”. Sometimes I struggle with where to put text because I always want it to be in the white space to make sure its readable. I think with my Dutch folio I will have to figure out ways of incorporating the information into spaces of color because there is so much imagery. Chapter 53, “Let Space Define Your Horizons” is also important when dealing with a grid and flow lines. Sometimes I want to use the whole grid and put things in every section but space is important for the flow of the page. Space can also define
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These two spreads are good examples of the chapters I read about avoiding crowding and using space. The bottom spread even creates space with type on top of the photo. There are wide margins and lots of space for the type and imagery to breathe.
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Layout Essentials: Chapter 55-64 The details are not the details. They make the design. CHARLES EAMES and typography to create interesting angles which will reiterate Tom’s angles that he uses in his furniture designs. “63. Avoid Crowding” is an important reminder to not make my spreads to busy. There is a lot of information and imagery I need to include but I have to be mindful of space. And lastly, to go along with that, “64. Make Space Count” is important to remember. Again, I have a lot of information to include so I have to use my grid to balance out the information and the space in an aesthetically pleasing way. Pictured above is my di-cut that I’m going to use (made into a gif so that it is easier to understand). Since it takes up a lot of the page, my text-heavy information will have to be spread out among other pages.
Next I read chapters 55-64 in the Layout Essentials book. The first chapter that caught my attention and related heavily to the Dutch folio project was “56. Get Noisy”. In this chapter the book states that “the message doesn’t need to be absolutely clear”. This is true of our abstract imagery that we have to include. The viewer doesn’t need to know exactly what they’re looking at. In my case, I am zooming in a lot to my image so much that you don’t know what the picture is, but you can still see how it relates to the spread as a whole. Chapter “59. Play With the Grid” also grabbed my attention. I think having a visible grid where certain elements break that grid is always visually interesting. In my case, I am going to break the grid by tilting my images
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The spread above does an excellent job os guiding the reader. You read the title then the eye is guided to the text on the right. The spread to the right is a good example of creating an oasis. The first page is so busy because of the imagery to the next page is kept simple and calm.
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Layout Essentials: Chapter 65-73 Simplicity, wit, and good typography. MICHAEL BIERUT to show from these Dutch artists. “69. Let the Images Shine” is a good reminder for this project as well. Our goal is to create a portfolio of the artist’s work and since my artist, Tom Frencken, has so much amazing imagery and wonderful work to display, I need to make sure the images are placed on the page well and stand out dominantly against the rest of the information. Lastly I read “71. Imply a Hierarchy”. This is something that is emphasized in every graphic design class I have had. The reader/viewer needs to know what is most important and go down from there. It helps to not overwhelm the viewer as well as gets the most important info out there first. All the chapters 65-73 from the Layout Essentials book are going to help me in making adjustments for my folio.
Next I read chapters 65-73 in the Layout Essentials book. The first chapter that stuck out to be was “66. Guide Your Reader”. For my folio project, it is important for the reader to know where to go when they open the folio. Using angles and color, I have to guide the eye in a certain way in order for the flow to be right. “67. Pace Yourself” is also really good advice. Every page cannot scream out at the reader. It is pertinent to allow the reader to breathe before throwing more photos, shapes, and colors. I think I balanced white space well in my folio in a way that allows the reader to pace themselves throughout. The next chapter, “68. Create and Oasis” goes along with that. Space allows the reader to stop and concentrate on what’s happening so it’s important not to fill the page completely, even when there is so much imagery
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The spread on the top left allows for drama. It has a texture, large colored typography, and thick colored lines. Somehow, though, it is still balanced. The spread above also uses large typography and matches the imagery to it. The spread to the left has imagery in the middle of the text and has an interesting text wrap to it that guides the viewer’s eye.
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Layout Essentials: Chapter 74-82 Design is an opportunity to continue telling the story, not just to sum everything up. TATE LINDEN do find myself using it often when I need a basic sans serif font that will always look good. I’m sure other designers do this too with helvetica or other popular, well-made fonts. “83. Build in a Surprise” pertains to my dicut. I added the surprise element of multiple pull-tabs to see variations of Tom’s work. There is also color and imagery on the back of the tabbed pages which adds another pleasant surprise. Layout Essentials is awesome to read before starting to work because is has important reminders to keep in mind that can tighten up my designs.
Next I read chapters 74-82 in the Layout Essentials book. Chapter “73. Support Fluidity” is a concept I kept in mind while layout out my folio. Although I do break the grid in several places, it was there to help create the flow of the design. “75. Allow for Drama” was an important piece of my design. With the abstracted piece, it requires cropping and zooming so that you almost don’t know what you’re looking at it. In my piece, I used colored wood panels. It was the perfect piece to match Tom’s work in color and texture. “80. Use Helvetica” was amusing to me! It doesn’t relate to my project since I didn’t use helvetica but I
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The spread to the left uses slanted text which makes an interesting shape for the end result. As we see repeated through all of these examples, there is a full bleed image to contrast with the typography. The spread below uses duo-tone photos with white text on time. The pull-out quote mimics the coloring of the image.
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Layout Essentials: Chapter 83-91 The desire to create is one of the deepest yearnings of the human soul. D I E T E R F. U C H T D O R F
hierarchy. “88. Blow it Up” is always an exciting thing to do with a page. I’m thinking of making my chapter intro pages huge blown up pictures or blown up text to create interest in turning the page to begin reading. The other chapters were helpful in some ways and I liked looking at all the different layouts. Seeing other designers layout work is always inspirational for me in getting started.
Next I read chapters 83-91 in Layout Essentials. As we move into the next project, which is to create a blurb book, these chapters will help me get started in how I want my layout to look. “83. Build in a Surprise” goes with the Dutch folio project because of my interactive, pull-out element. “84. Vary Sizes” will be important in Project 3 since I will be juggling photos, text, and other elements. Varying the sizes based on importance may help me create a nice flow and
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Proce Ima 58
ess ages This chapter showcases my process images. These are glimpses into how I work, what inspires me, sketches, what I listen to and more. This music note denotes a song I would be listening to while working and designing.
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Pictured above is my initial toy idea. It’s just plain cardboard so that I could work out the mechanics before decorating it. You can also see a list of possible toy name ideas. To the right is a closer look at initial sketches of the toy and how it will look when I put it together.
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The Beginning I’m Gonna Be (500 Miles) THE PROCLAIMERS
ground. That’s when I had my “AHA” moment. I practically ran to get some cardboard, pain swatches, and tape. Overall, I only spend about $3. I decided I was going to make a spinning top and upon further research of circular toys, I decided to make a spinning UFO. I began my process by sketching the toy, assembling a “mockup” spinning toy (without any of the UFO stuff) and sketching how I wanted it to look in the end.
The $5 toy project entailed going to a hardware store with $5 and finding random objects to put together to make a toy. At first, I was very terrified. I had no ideas on how to make this work. I scoured Pinterest and google to find ideas. The best thing that helped me in the end, though, was just going to the store and looking around. I found these really cheap “circle thingies” near the nails (they were less than $1 each). I thought these would be cool to use. I accidentally dropped one in the store and it started briefly spinning on the
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I started off with some sketches of logo ideas and my peers helped me narrow it down. From there I went digital and kept refining my logo until I was happy with it. I was pretty set on the color scheme so refining was just about making it have the best font, placement, size, and shape. The final logo is pictured at the bottom.
UF G L o UF
UF G L o
UF uf g L o
UF
G uf l ow 62
The Logo These Walls KENDRICK LAMAR
I asked my peers to help narrow it down. The tractor-beam logo was the most popular so I went from that. I digitized my sketch and then started making a vector logo. After I was happy with the UFO icon, I made several different iterations. I probably have at least 5 Illustrator files with just the logo over and over again with tiny refinements. After getting some feedback, I finally came to a final logo.
Since all the content of the $5 Toy Project was self-generated, I had to come up with a logo for the toy. First, I had to come up with the name. I wrote all the “space” words I could think of down as well as aspects of the toy that I thought were important and kind of just wrote out every idea I had. “UFGlow” came to me after Meena suggested I add glow in the dark paint to my toy. From there I sketched out at least 20 different logo ideas. We had a critique in class where
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I sketched a couple concepts for the packaging and landed on two different ideas. I was either going to put it in a plastic box or a circular package. In the plastic box, I would make it look like a “crash landing� for the toy. For the circular box, it would be viewed from the top angle.
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The Packaging Slow Cheetah R E D H OT C H I L I P E P P E R S
I was most satisfied with. It was also the easiest to find at WalMart. I did have to buy $6 Hello Kitty headphones, but they were easy to take out and there was very little adhesive to remove. I then added my own graphics, logo, and a desert background to fit my toy “crash landing” idea. The circular packaging sketch didn’t work out but it did help me explore other options if the box didn’t work out. The plastic box was very easy to work with and I was really happy with how the packaging of my toy ended up.
I also had to come up with how the toy would be packaged. I didn’t really know where to start at first because I had never packaged anything. I started googling packages and everything I looked at had to be bought in bulk. I sketched out packaging ideas with no monetary constraints, just trying to get a feel for a wanted it to look like. Then I had the idea to go to WalMart and try to find a cheap toy that was already packaged in something I could deconstruct and use. The box packaging sketch that I came up with was the one
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These are my initial spreads for the $5 Toy booklet. I wanted to use a lot of the high-quality photos and not have too much text. I also had some of my text in a circle shape. I wad advised not to do that, so I ended up nixing that idea. I also got some good feedback on these to refine, which you’ll see in the final product.
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The Spreads Warm on a Cold Night HONNE
of the toy spinning as well as diagonal lined shapes to convey this. I also created a pattern of space icons to use in the background which I ended up using on my poster too. I thought the pattern conveyed the age group that this toy was geared to. Looking at these spreads now, I realize how busy they are and I got some good feedback on how to tone that down. You will see what I changed in my final product later on in this book.
A booklet with 4 spreads was the next step to the $5 toy project. I had a minimum amount of words I had to use but other than that, I was pretty free to do whatever I wanted. I really wanted to have the “galaxy” feel since my toy was a UFO. Deep, dark, cool colors are what I used and then I searched for the perfect font. I also thought the toy called for a lot of movement. Since the toy’s function is to spin, I wanted that to come across. I used pictures
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Pictured here are different poster ideas. For the poster, I sketched digitally. You can see a lot of these are similar, just with things moved around. I experimented with color, size, text, etc. to find the right way to do my poster.
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The Poster Things Are Changin’ GARY CLARK JR.
that is the most important part. I liked using the pattern that I made so I decided to incorporate that as the background of the poster in some of these digital sketches. I also wanted to include the tag line: “Spin out of this world”. The poster was the hardest part of this project for me because I had many ideas but wasn’t fully satisfied with any of them. You will see my final poster later on in this magazine in the “$5 Toy Project” chapter.
The next step to this project was a poster to go on the other side of the booklet. My toy was made for kids so I didn’t want to get too complicated with it. I needed it to stand out so I experimented with color. I had trouble incorporating the logo. I had so many refinements where I would just move the logo around. The black background also wasn’t working for me. I definitely wanted to include the high-res, raw photo of the toy since
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Pictured here are research spreads for the 3 dutch designers I chose. I also sketched out some ideas for spreads. The research spreads aren’t welldesigned, rather, they are just spreads where I dumped information that I thought was important and pictures of the artists’ work.
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The Beginning (Again) Out of My Mind (Live) JOHN MAYER
In the end, I chose Barbara Nanning, Rens, and Tom Frencken. I dropped important photos and information into spreads so that I could reference those as I started designing. I sketched out some ideas for spreads just to get into the right headspace, too. Later down the road, I would find out that I had to narrow the three down to one.
For the next project, the first step was to research a list of Dutch designers, pick three, and then make spreads showcasing those three designers. To begin, I looked at every Dutch designers and wrote down specific ones that were appealing to me. Part of this project also entailed getting in touch with the designers through email so I made sure to pick artists that had contact information.
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Pictured here are the three spreads I created for the three designers I chose. I tried to emulate each artist’s unique work through the spreads.
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The Three Spreads Pink & White FRANK OCEAN
spread, I wanted to show movement because her art does that. In the end, I think the Barbara Nanning spread was the least successful. I think I just got tired and ran out of ideas for that one. I chose Tom Frencken to do my dutch folio project on because I was most satisfied with the spread I created for him and he was also very helpful through email! I was interested in his work and he also had a lot of pieces to work with.
The three spreads I created for each artist were made with the artist in mind. I wanted the fonts, the imagery, and the colors to fit with the artist. While I still incorporated a little bit of my style, I thought the most important thing was to showcase the designer and their work. For the rENs spread, I used red coloring and sans serif type to emulate their work. For Tom Frencken, I wanted to showcase angled lines, striking colors, and vivid imagery. For the Barbara Nanning
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Above are sketches of what I wanted the spreads to look like. They might not have ended looking anything like that but it was a good starting point. To the left is a quick dummy book of the folio. I made at least 15 dummy books before making the spreads so I knew what I wanted the flow of the folio to be like.
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Tom Frencken Your Touch THE BLACK KEYS
first. I wanted to be creative but also didn’t want to make my life too hard. The first idea I came up with ended up not working so it was back to the drawing board - or the dummy making board. The hardest part of this project was getting started and figuring out how the folio would work. After that, it was (mostly) smooth sailing.
Up next for this project, I had to choose one artist out of the three. I chose Tom Frencken. For the project, I had to make a folio with three spreads. Essentially, it is a small booklet showcasing Tom’s portfolio. I started off by just making small dummy books of how I wanted the booklet to feel and interact. Since I had to add in a page somewhere in the booklet, this was a struggle as
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The first photo is a dummy book I made just to test the mechanics of the folio. The rest of the photos are of my 50% dummy scale book with the spreads I designed.
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The Folio I Wonder KANYE WEST
figuring out what was working and what was not working. It also helped me figure out any printing issues I might have at a larger scale. I realized some of my text is too big so I fixed that. I also worked out some issues that I had with binding the extra page in. I noticed that I had to really tighten up the pullout as well.
Next up, I made the actual spreads for the folio. I started with the cover which is not pictured. From there, I moved through the book and made the spreads in order. I had to work out the mechanics of the extra page as well as the interactive pullout element. A way to make sure everything was working is to printout a 50% scale dummy book with the spreads. This was extremely helpful in
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The first photo is a dummy book I made just to test the mechanics of the folio. The rest of the photos are of my 50% dummy scale book with the spreads I designed.
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The Extra Elements Am I Wrong A N D E R S O N PA A K
idea but it turned into being able to pull out tabs that would reveal different artwork within the frames. I was satisfied with how this worked out in terms of the project as well as just being a fun element to bring to the folio since I wasn’t that creative with my extra page.
The extra element consisted of an interactive pull out element. I was inspired by Tom’s frames and I wanted to show those. However, with three spreads that proved difficult. Since they are all rectangular shapes, I had the idea to showcase them all behind “windows”. That was the initial
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$5 To Pro 80
oy oject For this project, I had to buy $5 worth of hardware supplies to create a toy. Along with the toy, I had to create the packaging and an accompanying poster and booklet.
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The Toy Patience you must have, my young Padawan. YODA
well. The toy makes really cool patterns when spun (in the light AND in the dark!). I am very satisfied with this final product.
This is the final toy for the $5 toy project. All I used was cardboard, a round metal grommet, paint chips, and glue. I added glow in the dark paint and aluminum foil later down the road as
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Packaging Remember, concentrate on the moment. Feel, don’t think, use your instincts. QUI-GON JINN
with the logo and other info on it. I tied the toy in so it would be secure as well. The packaging ended up looking pretty legitimate and I’m happy with how it turned out.
This is the final packaging for the $5 Toy Project. I used a plastic box found at WalMart (previously housing pink bedazzled Hello Kitty headphones). I added the galaxy background, the desert and cactus imagery, and the white wrapped paper top
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sunlight for a bit everyday.
don’t forget to leave it out under bright lights or
energy to make it glow in complete darkness so
glow in the darkness. UFGlow captures the sun’s
Turn the lights off and watch your space traveler
in the light to see different patterns and colors.
It works in the daytime and nighttime. Spin it
and thumb to spin the metal notch at the top.
spins and spins around. Use your pointer finger
back
UFGlow
glimmering toy.. Kids would most appreciate its wonderful wonder Children from ages to 104 have with Children from ages 4 to4 104 cancan have funfun with thisthis gleaming, however, however adults can absentmindedly spin this glimmering Kids would most appreciate its wonderful glimmering toy.toy. Kids would most appreciate its wonderful around to get away from this world for a minute or two. gleaming, however, adults absentmindedly spin gleaming, however, adults cancan absentmindedly spin thisthis Turn it into a game with friends and see who can spin around to get away from world a minute or two. around to get away from thisthis world for for a minute or two. theirs the longest without it toppling down, sending it Turn it into a game with friends who spin Turn it into a game with friends andand seesee who cancan spin
luminescence of your UFGlow.. Reveal new spin patterns Mystify your friends lights to reveal Mystify your friends as as youyou turnturn off off thethe lights to reveal thethe in the darkness. Lay it on it’ss side and house it next to luminescence of your UFGlow. Reveal new spin patterns luminescence of your UFGlow. Reveal new spin patterns your bed as a night light or just a decoration. Discover in the darkness. it on side house it next in the darkness. LayLay it on it’s it’s side andand house it next to to new galaxies - or new surfaces - in your house to spin out your a night light or just a decoration. Discover your bedbed as as a night light or just a decoration. Discover of this world. new galaxies or new surfaces in your house to spin new galaxies - or- new surfaces - in- your house to spin outout of this world. of this world.
crashing down to Earth. theirs longest without it toppling down, sending theirs thethe longest without it toppling down, sending it it crashing down to Earth. crashing down to Earth.
Children from ages 4 to 104 can have fun with this
Mystify your friends as you turn off the lights to reveal the
How to play
Just use your pointer fi finger nger and thumb to twist the metal half
circle at the top of the toy. toy. Because it is so lightweight, this toy
can travel across every ever galaxy, galaxy lighting up its path with gleamDazzle your friends and family as your UFGlow
the moon, or any other far out rocky planet in space. flat, hard surface which includes a table, a hard wood floor, ing lights and sparkling exterior. exterior. You You can spin UFGlow on any
D OUT OF THIS WORL front
uf Gl ow
SPIN
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The Booklet Many of the truths that we cling to depend on our point of view. OBI-WAN KENOBI
There are large scale images of the toy as well as the logo on the front page. I also featured the space pattern I made that is on the poster.
Pictured to the left is the final booklet with four spreads for the $5 Toy Project. It becomes a booklet when folded down. It features a summary about the toy, how it works, and who can play.
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Poster Who’s the more foolish; the fool, or the fool who follows him? OBI-WAN KENOBI
of the poster. I wasn’t 100% satisfied with the poster but I kind of ran out of time and ideas. If I could do it over, I would put more thought into the poster and maybe do more than just plop the images down.
Here is the final poster for the $5 Toy Project. It has two high quality images of the toy, one static and one spinning. The logo is in the bottom right corner. The tag line is featured above the toys. The pattern I made makes up the background
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Dutch 90
h Folio The Dutch folio project focused on the Dutch designer Tom Frencken. The folio needed to be three spreads, have an interactive element, expressive typography, and an abstracted image.
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Spreads Great things are done by a series of small things brought together. VINCENT VAN GOGH
oblique lines and used Tom’s color scheme. I used these shapes for the timeline as well for consistency. I used a lot of Tom’s imagery as well which I think show off his style. The picture of Tom also shows him in his workspace with a piece of his furniture. I also used an abstracted image of wood with Tom’s color scheme to match the couch imagery. The front and back cover show a full bleed image of Tom’s work with a title, colophon, and Tom’s personal logo.
Here are the finished spreads for the Dutch Folio project. The two inside spreads are pictured to the left while the front cover is pictured on the next two pages. I was very satisfied with how these turned out. I think the color, angles, lines, shapes, and timeline emulated Tom and his work very well. For experimental type, I messed around with different tools in Illustrator to make the “Tom Frencken” blown up text title. For the required vector, I made a pattern out of shapes that had
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Pull-outs Art is not what you see, but what you make others see. EDGAR DEGAS
extra spreads. The back of the pull out tabs were the vector pattern I made, a blown up image of Tom’s cabinet work, and a vectored sketch that Tom did. The pull-outs had colored angled tabs at the top so the viewer would know what to do.
The interactive element for my folio was three pull-out tabs. The front showcased variations of Tom’s frames with different sketches and photos made by Tom inside. This was a good way to showcase more of Tom’s work without making
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Physical Version There are three responses to a piece of design – yes, no, and WOW! Wow is the one to aim for. MILTON GLASER
my final physical piece. My craft could’ve been a tiny bit better but I ran out of paper to use so I had to just choose the best out of the four that I made. I think the colors really popped. I also think the movement of the folio is successful. This was probably my favorite project of Bookforms I.
Here are photos of the physical version of the folio to help the viewer visualize what this looks like in person. There are three spreads as well as an interactive pull out element. There are three pullouts with tabs that have a front and a back. They feature more of Tom’s work and can be interchanged. Overall, I was very satisfied with
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The End This is the end of the Bookforms I class blog posts, process, and final products.
Index: Design Matters photos procured at these websites: Page 6: http://jessicahische.is/ Page 8: https://www.drawnandquarterly.com/ Page 10: http://vignelli.com/ Page 12: https://www.brainpickings.org/ http://www.oneyoufeed.net/brain-pickings/ Page 14: http://bantjes.com/ Page 16: http://sagmeisterwalsh.com/ Page 18: http://www.swiss-miss.com/ 99% Invisible photos procured at these websites: Pages 22,24,26,28,30,32,34: http://99percentinvisible.org/ Photos from 99 Percent Invisible website correspond with the podcast title Page22: http://www.seattletimes.com/pacific-nw-magazine/searching-for-edith-macefield/ Page 28: http://www.dorma.com/ae/en/products/opening_closing/revolving_doors/index-142-3888.htm Page 32: http://www.istockphoto.com/photos/aids-awareness-ribbon Layout Essentials photos procured at these websites: https://www.pinterest.com/ (Search term: Layouts, Spread Design, Graphic Design) http://designspiration.net/ (Search term: Spread design) $5 Toy Project: Page 82, 84: Photo credit to Meena Khalili Dutch Folio project: Page 98: Photo credit to Meena Khalili Quotes: https://99designs.com/blog/creative-inspiration/10-famous-design-quotes/ https://designschool.canva.com/blog/design-quotes/ http://blog.invisionapp.com/design-and-creativity-quotes/ http://www.designpromotivate.com/2013/07/70-famous-creativity-and-design-quotes.html http://www.shortlist.com/entertainment/50-star-wars-quotes
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