Process Book - Adam Carey by Michael LeBlanc

Process Book for the course DSGN 2010 Fall Semester, 2010

Design Studio 1: Principles, Theories and Practices of 2D and 3D Design Prof. Michael B. LeBlanc Division of Design NSCAD University

by Adam J. Carey # 101357

Adam Carey

Table of Contents Type Specimen . . . . . . . . . . . 5 Design Permutations . . . . . . 7 Grid . . . . . . . . . . . . . . . . . . . 9 Hierarchy . . . . . . . . . . . . . . .13 Font Flag . . . . . . . . . . . . . . . 15 Word Play . . . . . . . . . . . . . . 17 Ugly Website Regrooval . . . . 21 Mafquack . . . . . . . . . . . . . . . 25 Product/Package . . . . . . . . . .27 Home . . . . . . . . . . . . . . . . . . 33

This Photo: Charcoal Drawing 18"x24" - Febuary 2007 - ACAD Title Page Photo: Beach Pavilion Model - January 2010 - NSCAD 2

Adam Carey

Font Specimen

"Design is easy. All you do is stare at the screen until drops of blood form on your forehead." â&#x20AC;&#x201D; Marty Neumeier

Fig. 1.1:

Fig. 1.2 & 1.3 :

September 16th 2010

September 14th 2010

Final Submission

Sketches

Adam Carey

Design Permuations (Monogram Design)

1.2

1.3

Final 10 Submission Plus Original Design September 23rd 2010

Adam Carey

Grid

2.1

2.3

2.2

Fig 2.1 & 2.2: Breeding Set Fig 2.3: Sketchbook Traces September 23rd 2010

Cover Page

National Geographic has been around for many decades, but has always kept one thing the same on each issue; the bold yellow boarder that measures exactly 0.5” wide around the edge of the cover. It’s the most significant feature on the cover page, since it stands out so much (more so than the title itself) and helps to easily distinguish the magazine, though is not used at all inside the magazine. Inside the left and right sides of the boarder is 0.25” of space between the title text “National Geographic” and the subtitle below, “Bahamas Blue”. The text centered at the top of the page “Restoring Tribal lands | Egypt’s Ancient Whales” and the red text above in the yellow boarder both have 3/8” of space from the boarders inside-edge on both left and right sides. The green text “Dive into Beauty, Danger, and Discovery” below the issue title is once again centered, but this time with 5/8” of gap from the boarder. Although these texts do not line up with one another, they are all centered on the page. The only text that is not centered is “Pullout Poster” in distinguishing red text, unlike the blues and greens that go with the background photo. The text is offset to the right, and lines up with the right side of the green text. The red text seems to be used for matters unrelated to the articles, like advertising the NatGeo TV channel or a free poster inside. It looks as though the background photo was placed first and then text was placed afterwards to work with the photo. Its also clear that the designer uses Inches (and fractions of inches) as units of measurement in this magazine.

Adam Carey

Contents Page The contents page consists of centered text on the upper half of the page and a large photograph centered below. This page contains a grid that is somewhat comparable to the cover page. Nothing on the page lines up with cover’s yellow boarder, other than the Cap height of the small text “Official Journal of National Geographic Society” which aligns with the top of the yellow boarder. Although the yellow boarder discontinues throughout after the cover page, it is still there in a sense, since most of the main content tends to sit within the boarder area (except page numbers and credits). It’s also noticeable that the left side of the photo shares a vertical alignment where the cover’s title starts. The contents text also shares baselines with the cover page. “Deep Dark Secrets” aligns with the cover’s “National”, and “Reviving Native Lands” aligns with “Geographic on the cover. Other than that, the contents page takes on a grid of its own, though still considers negative space that makes it easier for the viewer to navigate through the page; There is always at least ¼” of space between groups of text. There is 5/8” of space from the top and both sides, and 1.25” from the bottom, making the page considerably condensed and centered. A 5/8” gap sits between the photo and bottom of the contents text.

Adam Carey

Spread #1 Here we have a column of text on the left and a large photograph (9.25” x 6.5”) to the left of it. The name of the author and photographer are at the top left and line up with the photo. There is exactly 1.5” of space between the top of the text/photo and the edge of the page. On the left side of the page, there is a gap of 5/8 between the text and edge, and on the right side a gap of ¼” between the edge and the photo. The text of the article starts off in a larger capitalized Sans font with heavier line spacing to grab the readers attention. The text column includes horizontal spaces to separate the main body of text from the author and photographer, but altogether it lines of vertically perfect on the left and right sides, with a 7/8” gap between the right side and the photographs edge. A 7/8” gap is also used between the top edge of the main text and the bottom of “photography by Alex Webb”. At the bottom of the page we have page numbers, name of the magazine and month on the left side, and title of the article on the right, which share a baseline 3/8” from the bottom of the page. What’s odd is the photo caption, which doesn’t really align with anything else. It would look much nicer being moved over to the right to line up either with the photo above it, or the page number at the bottom corner (offset by 1/8”). However, we do see the 7/8” gap again from the bottom of the image to the bottom of its caption.

Adam Carey

Spread #2

Adam Carey

Hierarchy

This spread is similar to the first spread, in that it includes large photo and a column of text, this time of the photo being on the left. With that said, much of the first shares a similar layout to this second spread. The 7/8” gap between the photograph and left side of the text is seen again, as well as another 7/8” gap between the bottom of the photo and bottom of its caption. The images are the exact same size also (9.25” x 6.5”). The page numbers/title etc at the bottom also stays the same as before. Even the text on the right side has a 1/5” gap from the top of the page and top of the text (which once again, lines up with the top of the photograph). What’s different in this spread, is new information at the top of the page, “Baku no longer supplies…” in black bold sans font with uppercase letters, followed by “…half the world’s petroleum as it did at the opening of the 20th century, but it feels like it does.” In red, oblique, lower case letters in a serif font. Much like the beginning of the article text in the last spread, this could be a method the designer uses to attract attention. This text is split in 2 parts across the 2 pages, and there exists a ½” gap between the binding down the middle of the page and the inner edge of the text for both sides, most likely for easier reading, rather than having to stretch the magazine apart to read it. This line of text has a baseline that hangs ¾” from the top of the page, but oddly does not align with anything vertically on left or right side. If it was shifted exactly 1/8” to the left, it would align perfectly with the bottom left page number and the left side of the photo caption. Also, the bottom of the text column has a space of ¾” from the bottom of the page.

4.3 12

Adam Carey

Font Flag

4.1

4.2 Fig 4.1: Initial Thumbnails - October 8th 2010 Fig 4.2: 6 Best choices - Ocober 12th 2010 Fig 4.3: Final Poster - October 14th 2010

Final Submission - October 21st 2010

Adam Carey

Word Play

Thumnails & Sketches/Research - Oct. 17th 2010 16

Final Submission - Nov. 4th 2010` 17

Adam Carey

6.2

6.5

6.6

6.7 6.1

6.3

6.4

Fig 6.1 : Second Choice for Final Submission - Nov. 2nd 2010 Fig 6.2, 6.3 & 6.4: Sketches/Research - Oct. 30th 2010

Fig 6.5, 6.6 & 6.7: Sketches/Research - Oct. 29th - Nov. 2nd 2010

Adam Carey

Ugly Website Regrooval Register Here Donate Today Search Website

Home

About RFS

Central Ontario

About FFB

Online Store

Media Center

) Contact Us

Ride for Sight is Canadaâ&#x20AC;&#x2122;s largest motorcycle charity fundraiser in support of the Foundation Fighting Blindness.

Alberta Newfoundland & Labrador Manitoba Maritimes

6.8

6.9

Northwestern Ontario Saskatchewan

Exciting News! Canadian Trial to Enrol Retinis Pigmentosa Patients. click here for details

Toronto Motorcycle Show

December 10-12 - Metro Convention Center

Friday December 10:

10:00 am - 10:00 pm

Sunday December 12:

10:00 am - 5:00 pm

Saturday December 11: 10:00 am - 8:00 pm

Congratulations 2010 Ride For Sight High Millers! High Millers are a special group of fundraisers who have collected $1000+ in donations! To get your name on the list, get fundraising!

Enter to

WIN

a VIP Weekend to Central Ontario Ride for Sight 2011!

This list is not complete as we are still processing all the rider information from all the Ride for Sight events. [Keith Andison, Alberta], [Derrick & Sharon Anderson, Newfound

Thank you to our national sponsors for their generous support and dedication to Ride for Sight!

6.10

6.11 Figures 6.8, 6.9, 6.10 & 6.11: Sketches/Research

Final Submission

Adam Carey

Home

About RFS

Central Ontario Alberta Newfoundland & Labrador Manitoba Maritimes Northwestern Ontario Saskatchewan

About FFB

Online Store

Media Center

) Contact Us

Ride for Sight is Canadaâ&#x20AC;&#x2122;s largest motorcycle charity fundraiser in support of the Foundation Fighting Blindness.

Exciting News! Canadian Trial to Enrol Retinis Pigmentosa Patients. click here for details

Toronto Motorcycle Show

December 10-12 - Metro Convention Center Friday December 10: 10:00 am - 10:00 pm Saturday December 11: 10:00 am - 8:00 pm Sunday December 12: 10:00 am - 5:00 pm

Congratulations 2010 Ride For Sight High Millers! High Millers are a special group of fundraisers who have collected $1000+ in donations! To get your name on the list, get fundraising!

WIN

This list is not complete as we are still processing all the rider information from all the Ride for Sight events.

a VIP Weekend to Central Ontario Ride for Sight 2011! Sign up for eblast!

[Keith Andison, Alberta], [Derrick & Sharon Anderson, Newfound

Thank you to our national sponsors for their generous support and dedication to Ride for Sight!

7.3

7.1

7.4

7.2

7.5 Figure 7.1: Second Choice Figure 7.2: Early Dx-esign Concept

Figure 7.3, 7.4 & 7.5: Design Sketches and Research

Adam Carey

7.6 At first glance, the “Ride For Sight” (fig. 1) website doesnt seem so badly designed, but after gridding the page there are obvious flaws. First of all, the main title at the top is uneven; the “R” hangs lower than the “t” and nothing else around it lines up. It is centered in the middle of the page, along with the links “Register here”, “Donate Today”, “Motorcyclists Fighting Blindness”, as well as that gray toolbar (Home, About RFS, etc)(see fig. 2). Directly below that sits some red text (fig. 3) that is now alligned to the left, but it does line up with more red text below the provincial photos (fig. 4). The little white “motorcycle show” logo (fig. 5) alligns itself right underneath the blue one above it, and looks awkward compared to the photos below it. The content below (provincial photos a however is not quite centered, but shifted to the left. The “Alberta” photo (in fig. 4) seems to take on the midpoints, and the red and white text underneath (fig. 6) seems centered also but alligns with the red text way at the top (fig.3). The white box at the bottom filled with sponsor logos, oddly enough,shares a centered allignment with the top information (in fig. 1 and 2), with the left and right edges lining up with the gray toolbar’s edges. The far right side of the page has a small advertisement at the top (fig. 7), lining up with the height of the red text (in fig.3), but then there is a massive negative space that makes the page very unbalanced. The website is a mess because the designer centered certain parts of the page in different midpoints, while other parts are alligned to the left or right. The grid is not well used in this website’s design.

afquack

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Figure 7.6: Original Website Homepage and Analysis

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Mafquack assignment

Adam Carey

Product/Package (Butane Honey Oil)

Final Product Packaging - Front View

Adam Carey

8.1

8.4

8.2

8.3

8.5

Figure 8.1: Package Front View Figure 8.2: Package Back & Side View Figure 8.3: Early Prototype Designs 28

Figures 8.4 & 8.5: Notes from Research Phase 29

Adam Carey

Pharmaceutical Design vs. Casino Gaming Design Pharmaceutical products must be very communicative, and therefore tend to use very simple design. I noticed that most pharmaceutical packaging uses sans serif text (with the name of the drug usually in bold) in order for the product to be read easily. Not very much color is used, and the colors that are used are quite soft and subtle, and most of the time use white backgrounds. Blue is a popular color pharmaceutical design, probably because it resembles purity and cleanliness to many. I could see color psychology being a major element of pharmaceutical design. Not very much imagery is used either. Images are also very soft and gentle, such as plant leaves and doves, and are never more overpowering than the text. Pharmaceutical design seems plain and boring, but is meant for important products, and therefore must be clear, informative, simple and trustworthy. 8.6 8.7

Gaming Design can be seen in various forms such as scratch tickets and slot machines, and contrasts deeply with pharmaceutical design. Gaming design commonly uses very bold type to grab the attention of people. Though usually sans serif, there are many examples of serif types on scratch tickets and slots that are still big, bold and in-your-face. Unlike pharmaceutical design, gaming design uses bright, solid flamboyant colors, and plenty of them. The colors are often â&#x20AC;&#x153;fruityâ&#x20AC;? and also include lots of golds. Themes are often incorporated into the design, (such as old west, holidays, etc) but usually have to do with good luck (ie: pots of gold, rainbows, horse shoes, etc). Other common elements of casino/gaming design are bright lights, annoying sounds coming from slot machines, and very tacky cartoon imagery. Generally, gaming design compares to nuisance Internet ads, and may appear untrustworthy to many, but is meant to appear fun and appealing to people that feel lucky.

Figures 8.6 & 8.7: Sketches

Adam Carey

8.8

"Home"

8.9

"Home is no longer a location, home is a concept. I want the feelings of home wherever I am." -Watts Wacker

8.10

Figure 8.8, 8.9, 8.10: Sketches

Fig. 9.1: Class Brainstorm

Adam Carey

Mp3 Input and built in stereo

Customizable lamp tones on the touch-screen that compliment home.

Programmable Aroma dispenser.

skin

nose

A multi-functional lamp that feels like home in any room. Controlled with a 5" touch-screen, the Stimulamp is designed to stimulate your senses to give you the feeling of home when your away at school, stressed at work, or just feeling a little homesick. Every aspect is customizable to make it feel just like Home!

ears

The Stimulamp

eyes

Adam Carey

Adjustable room temperature and humidity 34

Adam Carey

Detail Page: Product Dimensions and Touch-Screen Layouts.

Fig. 9.2 & 9.3: Product Sketches

Adam Carey