How too by Lee Stadler

how too a hindsight brief on publication design for Ottawa Spirit Magazine

how too

Table of Contents

History

1-6

Targets

7-14

Concepts

15-50

Application

51-66

1 History

then Ottawa Spirit Magazine began as an Ottawa, Kansas campus centric publication entitled, â&#x20AC;&#x153;Tauy Talk.â&#x20AC;? Each issue focused on local happenings and stories specific only to the Universityâ&#x20AC;&#x2122;s original campus or on events broad enough in scope to merit campus-wide attention. The original campus centered content and focus was (as far as input has been given) widely enjoyed by older alumni who were most familiar with the traditional college setting. As the adult campuses grew, so did the need and desire to include content relevant to their campuses. This was a bold initiative, one that bred opportunity to wake the giant that was APS in terms of readership and financial support. As the masthead of communication for a university with an expanding and increasingly complex root system, Ottawa Spirit found itself in a position to either give aid or remain an isolated collection of thoughts. The latter was chosen, and with the inclusion of APS readership came a slide away from a simple one or two color publication on uncoated stock to a more thought out and appealing presentation in four color on glossy paper.

now What began as a local publication with a narrow focus and inclusion of readership has now become a work that encompasses each campus on level ground. Ottawa Spirit is a publication that is informative both in text and image - utilizing internationally awarded direction in graphic design and photography, and more focused and professional writing. Editorial relevance is found in a more complete marriage of design and copy, a union that is always expanding and evaluating effectiveness for the best possible presentation of message. Professional photography has also taken a larger role helping to convey story and meaning. All have been coupled with custom, full color illustrations and the use of broad design theory in the worlds of layout and typography to enable a fully functional publication grounded in sound expertise. Printing has gone from two and four color print on marginal quality stock to exceptional off-set stochastic reproduction on a bright white, satin finish paper. Print techniques now include custom varnish finishes and custom color calibration to ensure accuracy from design to production. Understanding where Ottawa Spirit was and where it is requires a brief look at why the changes listed above were made.

and it came to pass... When a rework is issued, no matter the project, it’s generally to either stem rising cost or bolster lowering quality. In the case of Ottawa Spirit the option arose to both eliminate the cost of using an outside designer, and to up the quality of the publication in one fell swoop. This was done using in-house expertise. Re-works do not happen over night. It takes careful thought and planning and plenty of understanding to successfully unite hundreds and possibly thousands of random elements to make a reader see nothing but one magazine. First came an analyzation of what existed. This took into account reader feedback (limited as it was) and historical consideration, as well as thoughts about where the magazine could be taken and what it could become. Whenever these contexts were considered, they were treated within a framework that allowed for an explanation of their meaning. Basic feedback stated that readers like to see “pictures” - pictures being inferred as photographs. In response to the feedback were the necessary questions, “What do the pictures say? Do they help tell the story? What is their quality? What about the inclusion of pictures helps provide a flexible, consistent and top-notch publication?” It was determined that those who gave the most feedback were those who had been a part of the Ottawa, Kansas campus. The feedback appeared

constrained and skewed by the original scope of “Tauy Talk.” This is not to say that their feedback didn’t matter, it was simply put into an objective container. If photography was to be an integral part of the publication, topics such as image quality and relevance would have to be addressed over the course of several issues. The solution was to continue including photography, but on a more relevant scale. Where image quality was questionable, the images were treated more as decorative accents as opposed to integral storytelling elements. The justification was not to exclude or belittle. It was to provide for the best reproduction within a framework that demanded quality over quantity. Most issues regarding photography have been addressed. See pages 13 and 14 for further details on its inclusion. “I like seeing stories about alumni” was also voiced. Questions were then asked, “What is the content and quality of the story? What alumni are being mentioned? How does it relate to every constituent? If it doesn’t, can it be made to? How?” Once again, this feedback was given by constituents mainly involved with the Ottawa, Kansas campus. In fact, this one campus is where the majority of the feedback came from. It begged deeper questions. “Why is it that only one group of alumni are interested in the publication? What is it that draws a minority and pushes the majority?” The conclusion is that the focus of the publication had become muddied in execution and message. Ottawa Spirit was no longer a campus centric document, it was a University-wide

“...the

focus of the publication had become

muddied” 4

tool of communication that served to unite and define a spectrum of over 20,000 readers. It was no longer meant only for alumni. It became a means of communicating with other higher-ed institutions, businesses, prospective students and board members. In short, the scope had expanded beyond the desires of a select few and without eliminating the muddy waters of execution and message it would remain an unfocused mass that failed the purpose it was intended for. Lack of clarity became the primary target of elimination. To eliminate muddiness, everything was stripped down to the foundation. Indeed, a new foundation was poured. If the rework for Ottawa Spirit was to succeed it would be because of solid writing, solid information design and hierarchical understanding. It would succeed because of an objective look at the necessary and exclusion of the dross. It would succeed because it was proofed for errors in text and image. It would succeed because it was treated as the vehicle it could be instead of existing predetermined and defined by a set of constraints that were meant to frame a publication far limited in scope and purpose. Reconstruction involved defining the target â&#x20AC;&#x153;clarityâ&#x20AC;? by its identifying its sub-targets - base elements utilized and evaluated in any publication.

main target clarity

sub-targets layout illustration typography photography

2 Targets

main target clarity

sub-targets layout illustration typography photography

Layout is the broad concept of how things are arranged. It is not limited to print or web and therefore can drink from a number of disciplines to find the best result. It was decided that the utilization of a modular framework would best fit Ottawa Spirit. This enabled the publication to be divided into sections that were transposable on micro and macro levels. It would allow and account for the constantly changing page count, section length, article length and quality of content while maintaining a level of flexibility in page design that encouraged creativity and motion across not just one or two pages, but the entire magazine.

Modular concepts also meant that all content had to be viewed in a modular mind set. Everything had to be able to shift if needed. This required a deep look at how page elements were presented, including: display

type, sub-headers, captions, body text, illustrations, color palettes, photographs and any other element that would interact with the page. Those elements and the practice of modular layout will be detailed in full in later sections. It is important to keep in mind that although modularity is a sound principle, it does not always work. It is meant to be adaptive, evolutional and, most importantly, a tool of learning. Good layout is hard to find - especially when dealing with supposed boundaries. By using a concrete set of constraints defined in elasticity, problems in speed and effectiveness in accomplishing good layout were lessened. This is not to say though that difficulties simply vanished. Certainly, the truest way to conquer complicated design problems is a mind that can identify the problem and find the solution using years of intuitive experience. Without a knowledge of how and why problems arise in layout, one only flounders. These issues are not restrained to just the computer. They extend to every corner of the publication - initial input to in-hands. If points are skipped or consideration is lacking, it wonâ&#x20AC;&#x2122;t matter what concepts or theories were used. The point is to understand what it is that you are doing. Understand how you do it. Understand why you do it.

sub-targets layout illustration typography photography

Each issue has a theme, generic as it may be. Illustrations are used to unite the theme to the stories and to all content contained therein. Each theme is then considered as a conceptual piece. These are broad strokes. History is considered. Style is considered. Appropriateness is considered. Sub-texts and stories within the illustrations are considered. Time frame and budget are considered. Audience is considered. Ability and feasibility are considered. Frankly, everything is considered. Nothing takes more consideration or care though than the message of what the concept and each illustration says separately and as a whole. And, they take time. They take lots of time. One could ask. â&#x20AC;&#x153;Why use illustrations at all?â&#x20AC;? The reason illustrations are used is because they are successful at considering the very points that define them. They take what would be a fairly plain, twodimensional collection of paper and transform it into a complete work that informs readers on levels that, for them, may have never existed before - levels they may not have thought were possible.

How do illustrations relate directly? They should adhere to the following bullets, some of which will be identified in later sections.

• • • • •

quality appropriateness uniqueness application to the theme application to the section

Illustrations should be conceptualized after a thorough reading and analysis of all copy for the publication has been made. If done otherwise, they are nothing more than little bits of supposition and ego slopped onto a page. This is not to say that every illustration will be understood in full by every person. Often, the best illustrations are the ones that require thought to understand; yet another principle that engages the reader beyond the typical expectation of word and image. There exists a message that is considerate and informative.

sub-targets layout illustration typography photography

Typography is the design and utilization of alphabetic characters and glyphs to convey a clear message. Understanding proper type is monumental. It is a foundational block in graphic design and goes far beyond simple typeface selection. As a side note, only recently have graphic designers become typesetters and pseudo-typographers. The art of typography, even within the past 50 years, was a specialized skill set. Now that type is more present in the arsenal of the designer, it requires an even more in-depth look than ever in order that its intent remains viable. For Ottawa Spirit, the primary considerations of “readability” and “legibility” were addressed first. If a header fails to capture readers’ attention (readability), any subsequent text fails because nobody wants to read it. If the body copy fails or is not easily read (legibility) you’ve set the reader up for a good bit of false advertising. To clear up matters of poor readability and legibility, a single type family was chosen: Adobe Garamond Pro. AGP is a very readable and legible old style family with a variety of typefaces, glyphs and ligature sets that prove versatile and long lasting.

When choosing type, it is most important to consider its relevance to the medium. This was another reason for choosing Adobe Garamond Pro. It provides for clear display, sub-header, caption, and body text, quickly and without need for much adjustment. It reflects well the history of the University without having to try to do so. The type family is also clearly “old style”, so there isn’t an odd sort of in between feel that many modern serif typefaces embody. Succinctly, it works really well. Most type in Ottawa Spirit is standardized in that it abides by three main functions:

• display • sub-headers • body

Each of these functions are detailed on pages 21-24. It is important to know that each function has been tested and proven for its purpose. They are also meant as a starting point and are not intended to set the rule of type for Ottawa Spirit forever. As the publication grows and matures, so should the exploration for more advanced and effective type solutions. This stretches to the inclusion of a variety of typefaces beyond Adobe Garamond. Akin to points mentioned in the other three subtargets are evaluation and objectivity - two crucial vectors in understanding where to go and what to do. Decisions should not be made “just because.” Nor should they be made because of mere opinion. Sound principles of typography must remain intact.

sub-targets layout illustration typography photography

Noted among the features of Ottawa Spirit that readers enjoyed and longed for the most was “pictures.” For reasons of professionalism and accuracy, “pictures” should be thought of as photography as pictures and photography are two different mediums. Photography for the publication does not always have the luxury of being in the moment for each story. There are occasions when the use of photography from sources other than internal must be used; i.e. events at APS campuses. What must be kept clear is the quality of photography used. Multiple sources that go without a quality check can result in poor, if not entirely unusable, photos. Rarely is the excuse of budget or foresight relevant as a substitute for poor quality. Unfortunately, this obstacle may be too high to overcome. Responsible photographic inclusion must then be considered.

• is the photography professional grade?

• does the photography apply to the section?

• does the photography apply to the story?

(professional does not mean that someone was simply paid to do it)

What makes a quality photograph? This is a subjective question. In regards to Ottawa Spirit, two determinants rise to the fore.

• photography that is in focus

• photography that is of reproducible quality

Secondary descriptors for quality photography are:

• photography that applies to the section

• photography that helps tell the story

Telling the story does not always mean that the photos must always be event or story related. To clarify, imagine that a story is written about an alumnus who works with children.

• it is better to have a quality photo of the person who is the focus of the article rather than have a poor photo of children.

• it is better to have a quality photo of the children that the person works with rather than have a poorly shot and poorly reproduced photo of the person the story is about.

Photography is an entirely complimentary element. Where it can be used well and within the boundaries of quality and context, it should be. If quality and context are not available, photography should not be used. Just because a few individuals like “pictures” does not mean that the message and purpose of the publication can be sacrificed to please the minority.

3 Concepts

Where chapter 2 served to illuminate the target of clarity by identifying 4 sub-targets, - a macro examination, it is the purpose of this chapter to distill and describe the sub-targets on a micro level. Each element, from two-page illustrations down to the placement of page numbers and margin thresholds for body copy are described. Not only are these elements outlined as “what goes where”, they are given context from the foundations and theories already mentioned. It’s not enough to know “how.” One must also know “why.”

modular axis design modular means that something is constructed with standardized units or elements for flexibility and variety in use. axis is defined in part as a main line of direction, motion, growth, or extension. Considering the aforementioned issues regarding section length, article length, and visual ornamentation, it would seem that neither “modular” or “axis” would apply; things are too shifty. This is exactly why modular axis design is needed. Not only are the elements considered modular, the axes they gain their direction and motion from are modular as well. By incorporating modularity in two different worlds, amazing flexibility is attained. M.A. holds an innate ability to provide numerous solutions to typical problems in layout while giving motion and direction to hundreds and thousands of individual elements. There are exceptions as to how far modular axis can be pushed. The concept, like most everything, has boundaries. It cannot account for constraints such as too much information in too little space - whether on one page or throughout the publication. Most importantly, modular axis cannot account for lack of ability. It is a tool. Without knowing basic foundations of graphic design, the tool is worthless.

the plan Shown here is a Ottawa Spiritâ&#x20AC;&#x2122;s macro publication map, similar in application to a site map for web use. Instead of immediately listing elements in minutiae, broad containers are given. Inside those containers are goals, boundaries and concepts each container adheres to. M.A. is distinctly hierarchical. Though elements and axis may be modular, the macro design information is not.

publication

issue / theme

section

content

layout illustration typography photography

extras anything that transcends the issue but maintains the identity of the publication - message - content focus - color palette

- issue/theme - color - content

text color focus motion (axis or not) clarity relevance illustrations photography ads unknowns politics

Many hierarchies are ranked top to bottom according to importance. The tiers shown here are ranked according to consideration as â&#x20AC;&#x153;importanceâ&#x20AC;? is a relatively subjective term in large, amorphous organizations. Considering from top to bottom serves to align any given point with respect to its prerequisite. What appears to be a rigid structure becomes more and more organically cellular.

publication

layout

Internal layout is modular in concept. Layout elements falling outside of a need for modularity or that stay in place as is are listed here.

• • • • •

cover inside cover table of contents inside back cover back cover

Certainly, elements inside of these areas will change, but their placement and purpose should not. Transcendent elements are detailed in full on pages 25-38.

illustration

Most information regarding illustrations is conceptual. Ability differs from person to person. Advice on how to physically illustrate for the publication will not be given.

That said, there are several type elements that are more often than not laid over illustration pages when those pages serve as section dividers.

• section title • section page numbers • section creative credits

typography

Readable and legible are type are dominant guides for Ottawa Spirit. Listed below are prevailing type functions and the typefaces used therein.

display type Display type is any type that is used as a header. • adobe garamond pro: regular • exceeds 18 pt. • upper and lower caps as determined by the length of the line to be set • sized to be consistent with other display type used for articles • size as determined by length of line to be set or by allowed space

Typeface: Regular

Better with 102 pt.

example display text

Family: Adobe Garamond Pro

Size: 48 pt

• modular element

48 pt.

age

publication

typography

(cont)

sub-headers If the display type has done it’s job, the readers’ attention has been nabbed. Now, it’s up to the subheader to give them a few details to help them decide if they’d like to keep reading. • adobe garamond pro: regular

• 14 pt. • set in upper and lower caps

Family: Adobe Garamond Pro

• should not exceed two lines • left justified - generally grouped with .5 pt. vertical rule

Typeface: Regular

• modular element - not to appear after body copy

Alumna Champions Cause of Seniors

example sub-header text

Size: 14 pt

14 pt.

body text The display and sub-header have done their jobs. The reader wants in. All body copy should be as legible as possible. • adobe garamond pro: regular • 10 pt. • 36 pt. drop cap for first character • set in white or spot black • left justified - ragged right • paragraph set to no hyphenation • columns not to exceed 3.75in. in width • no more than 2 columns per page

Aa Family: Adobe Garamond Pro Typeface: Regular Size: 10 pt

• modular element

36 pt.

10 pt.

ith more and more people living farther away from extended family, fewer and fewer children have the chance to sit on grandfather’s knee to hear a story of yesteryear or make a pie with grandma. Few learn the lessons that come from decades of experience, the skills passed down from prior generations, or the wisdom so often garnered with age. Linda Wright ‘88, retired director of the Johnson County (Kansas) Area Agency on Aging (JCAAA), knows what a shame that is.

example body text

publication

typography

(cont)

captions Captions are lines of text that appear below or adjacent to any illustrations or photos where clarification is needed. • gill sans mt: regular • 8 pt.

• upper and lower caps • should not exceed two lines

Family: Adobe Garamond Pro

• justified relative to item • non-modular element

Typeface: Regular Size: 14 pt

Fictitious Item on Conveyor Belt

example caption text

8 pt.

example layout display

Display sub-header

caption

type Sub-Header

W Item on Fictitious Item on Fictitious Conveyor Belt Conveyor Belt

ith more and more people living farther away from extended family, fewer and fewer children have the chance to sit on grandfatherâ&#x20AC;&#x2122;s knee to hear a story of yesteryear or make a pie with grandma. Few learn the lessons that come from decades of experience, the skills passed down from prior generations, or the wisdom so often garnered with age. Linda Wright â&#x20AC;&#x2DC;88, retired director of the Johnson County (Kansas) Area Agency on Aging (JCAAA), knows what a shame that is. (JCAAA), knows what a shame that is.adlnadf

body text

publication

extras

Elements that transcend issue/theme are vital to the identity of Ottawa Spirit. They are bits and pieces that are constant yet invisible, often taken for granted and are of the utmost importance in their function.

cover

• logotype

• frame footer 3 pt. top

rule - black

bottom 8 pt. rule 60% tint of first color in issue’s color palette (tint % adjusted on per color basis - not to drop below 60%)

• cover footer

adobe garamond pro: regular 12 pt. PMS cool gray 8C at 40% tint

an Ottawa University publication | Spring 08

example cover logotype and image frame

Spirit Ottawa

frame footer

an Ottawa University publication | Spring 08

cover footer

publication

inside cover and t.o.c.

• president’s letter

adobe garamond pro: 10 pt. w/36 pt. drop cap PMS cool gray 8C at

regular 80% tint

• background text

“ottawa spirit” adobe garamond pro: 17.5”x 3.5” PMS cool gray 8C at

regular 20% tint

• section listings

“in this issue” adobe garamond pro: 24 pt. PMS cool gray 8C at

section titles adobe garamond pro: 12 pt. spot black at 80%

section page numbers adobe garamond pro: semi-bold 12 pt. 40% of section color as defined by issue color palette

section thumbnails 1”x1” image frame 2 pt. stroke at 40% of section color as defined by issue color palette

regular 100% tint semi-bold tint

reetings from your new president! Marylin and I are thrilled and humbled to be joining the Ottawa University family on a full-time basis...

• staff credits

adobe garamond pro: regular italic semi-bold semi-bold italic 8 pt. PMS cool gray 8 at 40% tint 60% tint 80% tint

• issue color palette iteration .20”x.20” for each square .08” space in between displays first order of color palette

• issue footer

adobe garamond pro: semi-bold 12 pt. season and year PMS cool gray 8 at 100% tint

Spring 2008

Volume 7 | Issue 4

10 pt. volume and issue PMS cool gray 8 at 60% tint

publication

reetings from your new president! Marylin and I are thrilled and humbled to be joining the Ottawa University family on a full-time basis and very excited about defi ning and meeting the challenges and opportunities that lie before us. Many have asked what caused us to uproot from our lives and careers of the past thirty-one years to do this work. The answer is quite simple. We felt called to it. We accept our role with a deep appreciation for the mission and purposes of this institution and also with tremendous optimism about its potential. These possibilities make it apparent to us that there is no better way for us to be serving Godâ&#x20AC;&#x2122;s will at this stage of our lives. You will be hearing more about what is in store for the University in the months ahead. In fact, by the time you receive this issue of Ottawa Spirit, our leadership will have been hard at work developing a compelling vision, outlining the strategic plan to achieve it, and articulating the guiding principles and priority initiatives to implement that plan. The theme for this edition of Ottawa Spirit is â&#x20AC;&#x153;commencement.â&#x20AC;? I was honored in May to have been invited to deliver the commencement address at The College in Ottawa. Standing in front of a packed chapel brought a flood of memories of my own trip across that stage in 1973 to receive my diploma, and later in 2000, of actually handing Marylin her diploma as a graduate of OU-Greater Kansas City when I was serving as chair of the OU Board of Trustees. Over 17,000 of us have now had the experience of an Ottawa University commencement and now serve the world in countless and important ways. As I commence my tenure as president of an institution which is in my blood and whose mission is in my heart, I am reminded of the enormous contributions that 17,000 well-educated Ottawans are making on this planet. I am secure in the knowledge that all of us have been taught to think and act holistically and to understand that there is a greater calling for each of us in life. This is precisely why the Ottawa Universities of this world must continue to prosper and grow, and why they need the continued support of each of us. This is a most worthy cause. Marylin and I are grateful for the opportunity to join with you in its passionate pursuit. Sincerely,

Kevin C. Eichner

example inside cover and table of contents

In this issue: Commencement

pgs.

1-8

Alumni News

pgs. 9-16

Faculty News

pgs. 17-24

Reunion

pgs. 25-32

Other News

pgs. 33-39

The University Calendar

back cover

Ottawa Spirit is published quarterly by Ottawa University, 1001 South Cedar Street, #81, Ottawa, Kansas 66067 (ouspirit@ottawa.edu) and is distributed at no cost to alumni, parents, friends, and donors of the University. Staff: Susan Backofen Vice President for Communications and Special Projects

Lara (Rich) Boyd â&#x20AC;&#x2122;01 Marketing Manager

Julie McAdoo Administrative Assistant

Scott C. Miller Manager of University Communications

Paula Paine Communications Specialist

Lee Stadler Marketing Coordinator

Spring 2008

Volume 7 | Issue 4

publication

inside back cover • background logotype

adobe garamond pro: regular PMS cool gray 8C at

40% 60%

• color palette iteration

.11”x.11” for each square .055” space in between displays first order of color palette

• mission statement

adobe garamond pro: regular italic semi-bold semi-bold italic 28 & 40 pt. (header) 10 pt. (body text) PMS cool gray 8 at

• trustees list

adobe garamond pro: 8 pt. spot black at

20% 60% 100%

regular italic semi-bold 20% 40% 60% 100%

example inside back cover

(cont) • advancement contact info adobe garamond pro: regular semi-bold 14 pt. (header) 10 pt. (body text) pms cool gray 8 100% tint spot black 100% tint

Board of Trustees Chair Ms. Patricia Wolf ’85 ’89 AZ

Mission

Statement

The mission of Ottawa University is to provide the highest quality liberal arts and professional education in a caring, Christ-centered community of grace which integrates faith, learning and life. The University serves students of traditional age, adult learners and organizations through undergraduate and graduate programs. For more information about the Ottawa Spirit magazine please contact: Ottawa Spirit Ottawa University 1001 South Cedar Street, #81 Ottawa, KS 66067-3399 866.324.8788 | 785.229.1057 ouspirit@ottawa.edu all rights reserved

Vice Chair Mr. Jeff Hull ’89 Secretary Mrs. Karla Dye ’79 Treasurer Mr. James O’Dell ’57 Term Trustees Mrs. Carol Allen ’56 The Rev. James Autrey Dr. Stanley L. Bettin ’61 Mr. John H. (Jack) Cassidy ’66 Mr. Lucky DeFries ’75 Mr. Larry Felix ’86 KS Mrs. Beverly Fink ’56 Dr. Vera Goodman ’52 Dr. David M. Greenhaw Mr David J. Grummon ’99 Mr. Gary Hailes ’80 Dr. E. Earl “Sonny” Hays ’93 AZ Mr. Richard Jackson ’68 The Rev. Steve Kawiecki Mr. Robert N. King Dr. Mercile J. Lee Ms. Wynndee S. Lee ’89 Mr. Joel K. Ma ’88 Mrs. Anne J. Mills Mr. Armon Mills Dr. Wayne M. Paulsen Mr. John Poland ’69 Mr. L. Blaine Rush ’49 Dr. Henry H. “Hank” Scherich ’60

Mrs. Glenda Schmidt Dr. Ramon Schmidt ’61 Dr. Warren R. Smith ’66 Mr. Daren Williams ’86 Dr. Marvin H. Wilson ’60 Dr. Janice R. Wissman Ex-Officio Dr. Fred Ansell Retired Executive Minister, ABCCR Mr. Richard Maack ’60 OUAA Board Mr. Kevin C. Eichner ’73 President Life Trustees Mr. Eldon Addy ’37 Mrs. Kay Arvin ’43 Dr. Roy W. Browning, Jr. ’50 Dr. Roger L. Fredrikson ’42 Dr. Robert Froning ’43 Mr. Leland Gangwish ’44 Mr. Kenton Granger ’59 Mr. Robert S. Hill ’42 Mrs. Dorothy Matthew ’52 Mr. Justus O’Reilly Mr. Ross L. Talbott ’58 Mrs. Evelyn Wall ’79 KS Mr. Gary Wall Honorary Trustees Dr. Earl Schlick ’42 Chief Charles Todd Presidents Emeriti Dr. Harold D. Germer Dr. Wilbur D. Wheaton ’54

Office of University Advancement 1001 South Cedar Street, #16 Ottawa, KS 66067-3399 866-324-8788 | 785-242-5200

Vice President for University Advancement, Roseanne B. Becker MA ’98 roseanne.becker@ottawa.edu | 785-229-1035

Director of Alumni Relations, Galen Bunning ’97 galen.bunning@ottawa.edu | extension 5516

Executive Director of Development, Amy J. Piersol ’93, MA ’01 amy.piersol@ottawa.edu | 785-229-1031

Advancement Services Coordinator, Virginia Pine virginia.pine@ottawa.edu | extension 5522

Director of Advancement, Lanette Stineman lanette.stineman@ottawa.edu | extension 5523

Development Resources Coordinator, Rachel Smith ’97 rachel.smith@ottawa.edu | extension 5569

Director of Annual Giving and Dome Society, Brooke Riffel MBA ’07 brooke.riffel@ottawa.edu | 785-229-1033

Events Coordinator, Annette Ferguson annette.ferguson@ottawa.edu | extension 5520

Director of Planned Giving, Janet Peters janet.peters@ottawa.edu | 785-229-1034

Assistant to the VP for University Advancement, Susan Trendel susan.trendel@ottawa.edu | extension 5510

publication

back cover • calendar of events

adobe garamond pro: semi-bold semi-bold italic

24 pt. and 44 pt. (header) pms cool gray 8C at

40% 60%

12 pt. (month) 9 pt. (date, event, location, description) spot black at 60% 100%

• logotype

pms cool gray 8C at

40% 60%

• issue header

adobe garamond pro: semi-bold 12 pt. season and year pms cool gray 8 at 100%

10 pt. volume and issue pms cool gray 8 at 60%

Summer 2008

Volume 7 Issue 4

• campus information and legend adobe garamond pro: regular italic semi-bold semi-bold italic

7 pt. (campus contact info) 8 and 10 pt. (legend) spot black at

60% 80%

• issue color palette iteration .15”x.15” for each square .06” space in between displays first order of color palette

• return address university logo 2”x.4” spot black

adobe garamond pro: 10 pt. spot black at

60% 100% regular 40% 100%

1001 South Cedar Street, #81 Ottawa, KS 66067-3399 Address Service Requested

publication

example back cover

Ottawa University

Calendar of Events August 16

New Student Move-in Day Come meet and assist new students as they move in to the residence halls.

Fusion Business Expo

Fall Undergraduate Term Begins

APS

September 5-7

Braves Days: Athletic Alumni Weekend See page 38.

20-28 Enchanting Ireland Alumni Trip

APS

Fall Graduate Term Begins

October

Ottawa University – The College 1001 South Cedar Street Ottawa, KS 66067-3399 800-755-5200 | 785-242-5200 Ottawa University – Arizona Phoenix and Tempe 10020 North 25th Avenue Phoenix, AZ 85021 800-235-9586 | 602-371-1188 Ottawa University – Indiana 287 Quarter Master Court Jeffersonville, IN 47130 812-280-7271 Ottawa University – Greater Kansas City 4370 West 109th Street Suite 200 Overland Park, KS 66211 888-404-6852 | 913-266-8660

Summer 2008

Volume 7 Issue 4

Ottawa University – Wisconsin Brookfield and Oak Creek 245 South Executive Drive Suite 110 Brookfield, WI 53005 866-228-4262 | 262-879-0200 Ottawa University – International 4370 West 109th Street Suite 200 Overland Park, KS 66211 888-404-6852 | 913-266-8602 Ottawa University – Online 1001 South Cedar Street, #83 Ottawa, KS 66067-3399 888-710-0014

12-19 Inauguration Festival See page 34.

Installation of Kevin C. Eichner as 21st President

For the most up-to-date calendar, please visit www.ottawa.edu.

Fall II Undergraduate Term Begins

APS

Legend: APS – Adult and Professional Studies campuses (Arizona, Greater Kansas City, Indiana, Wisconsin)

TC – The College campus (Ottawa, Kansas) UW – University-wide For the latest in Ottawa University Athletics news, please visit:

www.ottawabraves.com

1001 South Cedar Street, #81 Ottawa, KS 66067-3399 Address Service Requested

NOTE: Not all campuses offer all programs. Please contact your campus for more details.

remainders As shown, the bulk of transcendent elements exist on pages that are themselves transcendent. Remaining elements are detailed on the following two pages.

publication

remainders • page numbers

adobe garamond pro: 18 pt color determined by color palette positioned at bottom left or bottom right

• logotype

adobe garamond pro: .78”x.35” color determined by color palette

regular 100%

regular 20% 40%

positioned at bottom right of right facing page, left of page number

• issue color palette iteration

.11”x.11” for each square .055” space in between displays color in rotation depending on section displays only first or second page of section only

• dividers

.5 pt rule pms cool gray 8 at unless different color or percentage is needed should always be used to separate parallel columns

60%

• icons

in-line elements used to denote contact information color determined by color palette

60%

example page with remaining elements rules and dividers

Another

paige

Another Sub-Header

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icons

color palette 27 logotype and page number

issue / theme

issue / theme Even though theyâ&#x20AC;&#x2122;re grouped under the same heading, issue and theme are not entirely synonymous. Issue may state the specific quarter or volume. Theme better denotes the overall directional voice of that specific issue. Why they have been considered in kind is that, in the case of Ottawa Spirit, the theme is determined mostly by the issue. To clarify, the summer issue has to encompass commencement and the completion of other various spring events. Therefore, the theme should be commencement. The fall issue has the same concerns. Events such as homecoming and the annual report dominate content. The likely slant is to cover accordingly. Several challenges arise though. Each campus has a commencement, but not at the same time or in the same month. Not all campuses have reunions. APS campuses have no reason to celebrate homecoming. The annual report is generally nothing more than a very long list of names. How, then, can entirely new textual and visual concepts be derived from seemingly repetitive content again and again? Quite simply, by understanding the message. Theme is a fancy way of stating what the content of the issue is supposed to say.

message Many would establish message as the zenith of each issue. In part, this is true; but the message of each issue should abide by the message of the publication as a whole - quality over quantity, cover to cover. Itâ&#x20AC;&#x2122;s easy to get entangled in the moment and incorporate articles and imagery that serve just one issue. This is a lack of both foresight and hindsight. Again, there must always exist an understanding of why, not just how. Clarity now returns as a standard for all message. If it has no relational focus, poor layout, poor content, and poor relevance, the message is unclear or lost altogether. This is why understanding the aforementioned foundations is paramount to developing clear message. Its purpose is to help readers gain understanding. When messengers, (writers, designers) do their jobs correctly, understanding most likely occurs. The topic of relevance must now be considered. More distinctly, what and how does relevance serve the publication and its purpose?

issue / theme

message relevance What Ottawa Spirit was and now is has been established. It is clear that the direction of all message should be clarity at all points. Then comes the task of deciding what is relevant to the publication and the issue. Initially, relevance concerned with the entirety of the publication, then the issue/theme, then the concepts regarding content, then the actual content, and so on - all points that render thoughts to the reader that are accurate and representative of message. Imagine relevance as pieces of a jigsaw puzzle. There are a set amount of pieces that are meant to fit in a specific place. Even though others may look similar or might fit into place when pounded in with a hammer; when viewed as a whole, the puzzle has problems. The message has not been clearly conveyed. Obvious questions arise. Chief amongst them is, “Who decides what piece goes where?”, or “Who decides relevance?” The answer is found in message. Content might be good. It may very well be a nicely thought out piece of a puzzle, but if it doesn’t fit the right puzzle, it doesn’t apply. The message of the publication should be the checkpoint for relevance. Ideally, message and relevance are driven by evaluation of reader input and the expertise of true professionals in their fields. It cannot stand if moved by politics and personal agendas. The message will be lost and it’s back to square one in establishing clarity.

content focus Under the umbrella of each issue lies reasonable constraints for the execution of content - all content. Every piece has a place and a purpose. They must show motion and be a vehicle for message. Knowing the ins and outs of focus requires a collective understanding of duty and input from all parties involved. Focus should be a collective effort taken by each individual in their role. Again, clarity is key and it starts with messengers who are apt in accomplishing their tasks. No reasonable excuses exist for including extraneous input just to include input. And all input should be purified by relevance, message and the publication as a whole. There could be plenty of good input that may not apply to one issue where it does another.

color palette Technical guidelines have been given for many transcendent elements. Why color palette does not appear amongst them is because each color palette should change in regards to the message of the issue and the publication. Color palettes are a viable means of cementing and unifying the bits and pieces that make up any message. Where many fail is in that they try to do too much with too little. Utilizing a set palette not only defines content, it gives weight to modular axis design and serves as a visual bridge from page to page and issue to issue. Elements that adhere to the color palette are listed on the next four pages.

issue / theme

color palette (cont.)

“What, in Ottawa Spirit, is not influenced or defined by the color palette?” The answer has already been shown, general transcendent elements. Some indeed do and must be defined by the palette, but it is their basic function that is transcendent whereas most other elements are not. Following are elements defined in part or whole by the color palette. Most have already been mentioned, ergo no additional data as to their function will be given. cover • frame footer table of contents • section page numbers • image thumbnails • issue color palette iteration

section divider page • section title • page numbers • creative credits • illustration

Alumni News pages 1-6

writers: Scott Miller Paula Paine Brooke Riffel photographer: Lee Stadler

issue / theme

section pages • display type • sub-header • page numbers • logo type • icons • secondary illustrations • background text • section color palette iteration

stones & Sticks

Woo Hoo! Another Sub-Header

hether you gasp or say “What’s the big deal?” alumna and author Dr. Lyn Mikel Brown ’81, in her most recent co-authored book “Packaging Girlhood: Rescuing Our Daughters from Marketers’ Schemes,” exposes how the media and marketers alike are wrapping our elementary and adolescent girls in pink, sexy packages, and giving them virtually nowhere to go except the mall, where they design their latest outfit, get a makeover, or flirt with boys. Brown put legs to her work in 2000 with colleagues Karen Heck and Lynn Cole when they co-created the non-profit Hardy Girls, Healthy Women (www. hghw.org). “Our research has always had a very practical side to it,” said Brown. “I wanted to start an organization where I could put this theory about voice, about giving girls more power and control in their lives, into action.”

section

Third in Ottawa Spirit’s map hierarchy is the topic of “section.” The magazine has been divided into four common sections with structure allowing for many more. Up to seven individual sections have been produced in one issue alone. Each section considers the topics below before forward movements are made. • issue / theme • color • content To make things easy, the above points may be counted as thoroughly covered in previous text. They are listed again is because “section”, as a container, adheres to the guidelines and purposes already established. Part of the reasoning for dividing Ottawa Spirit into sections was for the purpose of modularity. Depending on the depth of story telling in some of the section elements such as illustrations, modularity becomes less feasible. But, the principle remains. Even more important than modularity is again the topic of clarity. Sections were established to provide definite beginnings and endings boundaries that enable readability and legibility. The same illustrations, photography and copy could be in the same publication in an entirely different order and make no sense at all. Think about how a house is arranged - well, a clutter-free house anyhow.

Anything inside that house; silverware, bed linens, pets, electronics; they all have a place and with good reason - logic. Toasters don’t belong in bathtubs. Dogs don’t belong in sugar bowls. Bed linens don’t belong in the toilet. Everything has an intent and a purpose. When a guest walks into an orderly house, they do not see the individual toasters and dogs, they see a home. Likewise, when a publication is laid out correctly, readers will not see a photograph or a story, they will see a message. Now, homes rarely have identical interior arrangements. In fact, humans strive to move away from cloned impressions in a quest for individuality. Most, though, would agree that a bathroom sink in the middle of the living room is, while possibly convenient on some level, overly detracting and lacking in aim. Where does modular axis design fit into all of this? While M.A. design certainly allows for creative freedom and a seemingly organic richness, it’s goal is a clean and logical house. It takes the bathroom sink out of the living room and puts in back into the bathroom. M.A. design may completely re-arrange both for more space and comfort. Yet it is clear that the end result is a home that makes sense. Listed are the most common sections, in order of appearance, in each Ottawa Spirit. • • • •

alumni news campus updates faculty news other news

content

text color focus motion (axis or not) clarity relevance illustrations photography ads unknowns politics

The fourth and final level in Ottawa Spiritâ&#x20AC;&#x2122;s hierarchy is the over-arching term â&#x20AC;&#x153;content.â&#x20AC;? Content has already been discussed on both macro and micro levels. Listed to the left are merely portions of content found within its respective container. Every jot and every bit has been noted and detailed to allow a firm understanding of what, how and, most importantly, why things go where they do. Now comes the task of being able to use that knowledge beyond the instruction found in this brief.

modular axis design M.A. Design has been examined as the one of the main solutions employed to enable clarity. The following pages will further explain and detail the theory using proven successes.

4 Application

modular axis vs. templates A quick and clear way to verbally define M.A. Design is to say, â&#x20AC;&#x153;transposable visual motion.â&#x20AC;? M.A. Design can be applied to any visual medium. As stated earlier, it enables creative freedom within set boundaries, providing clarity and ensuring cohesiveness. How does M.A. Design differ from template layouts? templates Template layouts are much like homes build to spec. They can be wonderfully made and their interiors (content) can be spectacular. How do they look from the outside though? The same as the rest of the housing development around them. Templates are reasoned to be used for speed and flexibility within set boundaries. What they fail to do though is allow creative freedom and visual stimulation beyond that pre-determined limit. Certainly content can be changed, the house could even be painted a different color, but it will always have been derived from an existing template. Possibility for individuality will eventually hit a brick wall.

Enter, M.A. Design.

the theory M.A. Design states that all feasible content on a page is modular and all content on a page has motion. Whatâ&#x20AC;&#x2122;s more is that all content and motion has the ability to shift and move at designerâ&#x20AC;&#x2122;s discretion and still retain its purpose. Dandy. How is that motion provided though? M.A. Design also states that each page or area the content is laid over has modular axes and therefore has relative guideposts for said content. To take the theory even further, M.A. Design states that not only do the elements of content and content area have modular axes, the space in between those axes can themselves be used as transposable and directional. In essence, M.A. Design couples broad foundational principles found in visual art and basics in design of all mediums to form a system that allows for thoughtfulness, logic, speed, and creativity. It accomplishes the same things that design by template aims for, but it does it bigger, smaller, slower and faster than templates have the capacity to do. Enough talk though. Theories are only theories until theyâ&#x20AC;&#x2122;re proven.

m.a. design

modular axis grid Shown below is a 3x3 grid of axis on a typical letterproportion page. Each axis can be used as a point of motion on which to place content.

For example, if content allowed for a center-page line of motion reading left to right , the weight of the content could be placed along the middle three axis. Any change in direction can be made as long as the changes retain weight and do not detract from the message being displayed.

11x17 spread

m.a. design

modular axis grids on steroids Now conceptualize each of these axis as a macro of their individual selves. Larger blocks of direction appear.

An even bigger macro (top right) provides for layouts that are extremely directional and weighted, but still flexible and entirely unique.

The paths of motion are nearly endless. And not only can the axes be considered modular, so can the space in between the axis (below). Normally considered â&#x20AC;&#x153;negative spaceâ&#x20AC;?, or space without content, these voids provide most useful in achieving layouts that are off the grid or asymmetric in appearance.

m.a. design

Here is a side by side comparison of a design made from template and a design made using M.A. Design.

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template

Both are clean. Both display the same tonal values. Watch what happens when both are continued over a series of panels.

m.a. design example of template design

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Notice anything? Some of the content was changed, but the basic form remained the same. Now imagine that same process repeated over and over and over again throughout 50 pages of print or web content. Youâ&#x20AC;&#x2122;d certainly be familiar with the format. Youâ&#x20AC;&#x2122;d certainly know exactly what to expect and where to expect it. Where is it going though? Would it keep your interest? How does it aid clarity?

What is the message?

m.a. design example of m.a. design

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Contrast the template with these modifications using M.A. Design. By condensing, expanding or even eliminating modular elements, the pages now have motion. Whatâ&#x20AC;&#x2122;s more is that they are unified. A defined line of motion can be traced through one panel and into the others. Again, this is accomplished by utilizing visual weight on an axis. The weight of the modular elements pushes the eye to the next frame or page. Clarity is augmented and interest is kept. Itâ&#x20AC;&#x2122;s an evident message now instead of bulk after bulk after bulk.

m.a. design

analysis Now that both templates and M.A. have been displayed in a cursory sort of glory, it’s time to show where, how and why they succeed and fail.

template As mentioned, templates provide good content boundaries. Examine the template to the right. How many areas of modification are there? Five, not counting the border around the entire group. • • • • •

header text image frame footer background

Remember that in a template, content can change, but position is fixed.

m.a. design

m.a. design Here we have both content and area modifiable. • header • text • image frame • footer • background Using M.A. as a basis for layout, you can take each of the five elements listed above and place them in any position as long as motion is retained. So not only do you have five basic modular elements, you have a grid of at least 13 axex on which to place them. Simple multiplication shows that the variety of layouts possible using M.A. design far exceeds five, ten - even 50 choices for the layout of one page.

downfall Where M.A. design fails is in its need for an understanding of good design principals. Foundational blocks that have been reiterated throughout this guide must be present in a designer’s understanding for the theory to be applicable. This is a probable cause of why templates are so favored in a variety of mediums; they tell you where to go and what to do. With modular axis, the designer has the responsibility. They have to take the whole of what they know and apply it to a structure meant to enable and inspire rather than bind.

finĂ&#x2030; finĂ&#x2030;

It would be easy to say that this is the definitive end-all for Ottawa Spirit magazine. It would also be presumptuous and ill-advised.

As shown, this brief is a hindsight look at the reasoning behind the Ottawa Spirit re-design and the theories and techniques used to accomplish that goal. Constant and vigilant evaluation beyond the scope of these pages is needed. They always will be. May the words found here serve as a guide to a better understanding of the intriguing and complex nature of publication design. May they find open ears.

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