MICHELLE
HOSOGAI|DES115
PROCESS MANUAL
OBJECTIVE
1
PRE-THINK
3
SET 1A + B
5
SET 2A + B
7
SET 3A + B
9
GLOSSARY
11
TA B L E O F
CONTENTS
PRE-THINK: A
OBJECTIVE
The purpose of the project was to use a provided set of information and explore different arrangements of the text, while creating a type hierarchy and learning counter and counterform. We started with one size and weight of Univers in Set 1, and were given additional elements and variations of type to make the problem more complex for Set 2 and 3. The next set of pages will show examples of the work in progress and elaborate explanations of the smaller components, such as contrast, similarity, and proximity that I had learned in order to create a successful hierarchy system and exercise counter and counterform.
One of the first difficulties I had hit upon was how to organize information while only using the font type Univers without using different font sizes or styles to distinguish the importance of one set of information from another. This encouraged me to explore the first concept, proximity. I had learned that grouping certain things and isolating others was the first step in achieving hierarchy. Essentially this meant placing similar information closer to one another, and information that related less further apart. I had also experimented in creating guidelines to space my information out in a systematic way. However, placing things farther or closer was not enough to create a successful hierarchy. I learned this when I discovered how difficult it was to set the title “Visible Language” apart from the rest of the information. In order to set the title apart from the rest, I learned to use the second concept, similarity. By using methods such as repetition, or organizing the three lectures in a way that was similar to one another, I realized that the title, which did not follow the pattern
However, the “Visible Language” title and the small text underneath interrupts
with the rest, would naturally be set apart.
the entire piece. The different layout had set it apart but the proximity and contrast to the rest of the informaiton were weak. It did not follow the grid structure
This method of keeping repetition or pattern and then creating an interruption
and simply became a distraction.
with the title also introduced me to the concept of contrast. Contrast is one of the key ideas when dealing with counter and counterform. In the tracing on the left, you will see black shading of where I had placed my text. When I first started this project, I was not paying attention to the ratio between my black space (text) to the white space (background). In order to help me understand whether I had used my space effectively to create a strong counter and counterform, I had created tracings, similar to this one for many of my pre-computer drafts. In this particular draft, you c see how the title of the events, time and place were kept relatively clear because I grouped it similarly to one another and perpendicular to the names.
2
The following images are scans of other pre-computer drafts that I had made. I cut out strips of each line of text in its required size and style for Set 1 and 2 and arranged them on a 10x10 inch bristol paper. After making several of these drafts, I had taken my strongest ones for further development and editing on InDesign.
SET 1 1A: 15 pt, Universe 45 1B: 15pt, Universe 45 + 65 SET 2 2A: 15pt + 9pt, Universe 45 + 65 2B: 15pt + 9pt, Universe 45/46 + 65/66 SET 3 3A: SET 2B + Ruler 3B: Universe any Size, Weight, and Ruler
PRE-THINK: B
PRE-THINK: C
PRE-THINK: D
PRE-THINK: E
PRE-THINK PRE-THINK: F
PRE-THINK: G
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Lectures are free and open to the public VISIBLE LANGUAGE A lecture series exploring the relationship between form and content
SET 1B FINAL
Ruedi Baur Nicholas Felton Richard Saul Wurman O R I E N T AT I O N A N D D I S O R I E N T AT I O N Thursday, December 3 135 Walker Hall UC Davis 6 pm Zuzana Licko Jonathan Hoefler Tobias Frere-Jones M O R E T H A N J U S T A LOV E O F L E T T E RS Thursday, December 10 135 Walker Hall UC Davis 6 pm
SET1A+1B
Marian Bantjes Andrew Blauvelt Stefan Sagmeister MATT E R / AN T I - MATT E R /D OES I T M ATT E R ? Thursday, December 17 Design Museum UC Davis 7 pm
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Displayed on the left imy rough drafts and final drafts of Set 1.
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For Set 1A, I had originally started with my Pre-think A concept (shown on page 2). This set was challenging because of the lack of sizes or variations such as r1 7
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Th 13 ur UC 5 Wsday 6 D alk , D pm av e e is r H cem all b e
structure on a diagonal grid structure, but made adjustments to the direction of
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each events and the title. One subtle difference I had added on the computer
/A
draft, was the leading and kearning spaces. Professor Amos had explained to
AT T
ER
SET 1A FINAL
bold or italic type to differentiate the information. I strived to keep the angular
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us how “text is like shading”, and could appear darker or lighter depending on the leading or kearning. I had used these two concepts to group certain information such as time and place to be closer to one another by decreasing Lectures are free and open to the public V I S I B L E L A N G UAG E A lecture series exploring the relationship between form and content Ruedi Baur Nicholas Felton Richard Saul Wurman
between the letters on the event titles. This kept the relative shapes of each event similar to one another and easier to read as well. Because Set 1B had the Bolded variation of Univers, I had decided to keep it more simple compared to Set 1A. My original version for Set 1B was based off
This particular set allowed me to explore the different effects that spacing within
Thursday, December 3 135 Walker Hall UC Davis 6 pm
the Pre-think G concept. However, I ended up completely changing it to the Set
text could have created. I learned to not only pay attention to the black space
1B draft design. In order to contrast the angular and square structured design of
that I was creating with the text, but how the white space/ background interacts
Zuzana Licko Jonathan Hoefler Tobias Frere-Jones
Set 1A, I decided to go with a more fluid design for 1B. I increased the kearning
with the text. I learned to avoid trapped spaces between texts and how to make
of the event titles and capitalized to make the line longer to help emphasize the
use of them to help create a flow line or line of direction for the eyes.
O R I E N TAT I O N A N D D I S O R I E N TAT I O N
M O R E T H A N J U S T A LOV E O F L E T T E R S Thursday, December 10 135 Walker Hall UC Davis 6 pm
wave concept. I realized that this became problematic because of the “Visible
Marian Bantjes Andrew Blauvelt Stefan Sagmeister
tion to the overall flow of the design. I decided to make adjustments to the final
Matter/anti-matter/does it matter? Thursday, December 17 Design Museum UC Davis 7 pm
SET 1B DRAFT
the leading space, and create a longer line of text by increasing the kearning
Language” being too short compared to the other lines and creating an interrupdesign by moving the name of the lecturers to the left to draw attention away from the shorter length text. Previous to this adjustment only the counter (the text) had a wave-like motion. However after the adjustment, this helped created a wave-shaped counterform between each section on top of keeping the wave-like motion in the black space.
6
spacing to act as a ruler. This helped to create more unity between “Vsible Language” and the rest of the thre events. I had also increased the leading space Visible Language
on the lecturer’s names to stregnthen the alignment between the left side to the
A lecture series exploring the relationship between form and content
right side.
Lectures are free and open to the public
For Set 2B, I had decided to start of the Pre-think F concept. I wanted this angular theme to be a continuation of the first set. The only major change I had
Orientation and disorientation
made to the Pre-think concept to the final draft was creating the same alignment
Thursday, December 3 6 pm 135 Walker Hall UC Davis
of “Visible Language” to the rest of the three events. In this particular piece, I had learned to explore flow line better as well, since the corners created from the perpendicular lines of text had formed a direction for the eyes to read. The
Ruedi Baur Nicholas Felton Richard Saul Wurman
More than just a love of letters
arrow would lead the eyes to read the title “Visible Language” first, then go
Thursday, December 10 6 pm 135 Walker Hall UC Davis
down one by one to read each event.
Matter/anti-matter/does it matter? Thursday, December 17 7 pm Design Museum UC Davis
Zuzana Licko Jonathan Hoefler Tobias Frere-Jones
Marian Bantjes Andrew Blauvelt Stefan Sagmeister
SET 2A FINAL
Visible Language
Lectures are free and open to the public
The following are the rough drafts and final draft of Set 2A and B.
Orientation and disorientation Ruedi Baur
For Set 2A, size 9 pt. font was introduced. I explored using the smaller size font
Nicholas Felton Richard Saul Wurman
on different texts, and decided that the names of the lecturers were the least important out of all the information. I decided to make those texts smaller for this
Zuzana Licko Jonathan Hoefler
therefore I kept the similar grouping structure that I had used on Set 1B. One of
Tobias Frere-Jones
the biggest problems with the 2A draft was the inconsistent trapped space between the text. The three events on Set 2A would have the same parallelogram shaped white space in between the names and location. But the the top section
Marian Bantjes
with the title “Visible Language” would again, cause an interruption to this pat-
Stefan Sagmeister
moved all the names to the right side of the page and keep an empty vertical
Thursday, December 3 6 pm 135 Walker Hall UC Davis More than just a love of letters
reason. I wanted my Set 2A to have some type of relation to the previous sets,
tern. In order to create more order and and flow throughout the piece, I had
A lecture series exploring the relationship between form and content
Andrew Blauvelt
SET 2A DRAFT
Thursday, December 10 6 pm 135 Walker Hall UC Davis
Matter/anti-matter/does it matter? Thursday, December 17 7 pm Design Museum UC Davis
Lectures are free and open to the public
SET 2B FINAL 6PM Thursday, December 3 135 Walker Hall UC Davis Ruedi Baur Nicholas Felton Richard Saul Wurman
6PM Thursday, December 10 135 Walker Hall UC Davis Zuzana Licko Jonathan Hoefler Tobias Frere-Jones
Matter/anti-matter/does it matter?
More than just a love of letters
Orientation and disorientation
Visible Language
A lecture series exploring the relationship between form and content
7PM Thursday, December 17 Design Museum UC Davis Marian Bantjes Andrew Blauvelt Stefan Sagmeister
SET2A+2B 8
VISIBLE SET 3B FINAL
ORIENTATION AND DISORIENTATION 6PM Thursday, December 3 135 Walker Hall UC Davis
L A N G UAG E
Ruedi Baur Nicholas Felton
Richard Saul Wurman
MORE THAN JUST A LOVE OF LETTER 6PM Thursday, December 10 135 Walker Hall UC Davis
Zuzana Licko
Jonathon Hoefler Tobias Frere-Jones
MATTER/ANTI-MATTER/DOES IT MATTER? 7PM Thursday, December 17 Design Museum UC Davis
Marian Bantjes
Andrew Blauvelt
SET3A+3B
Stefan Sagmeister
A lecture series exploring the relationship between form and content Lectures are free and open to the public
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Richard Saul Wurman
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Nicholas Felton
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Ruedi Baur
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6PM Thursday, December 10 135 Walker Hall UC Davis Tobias Frere-Jones
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Orientation and disorientation
More than just a love of letters
Matter/anti-matter/does it matter?
6PM Thursday, December 3 135 Walker Hall UC Davis
Zuzana Licko
7PM Thursday, December 17 Design Museum UC Davis Stefan Sagmeister Andrew Blauvelt Marian Bantjes
Visible Language A lecture series exploring the relationship between form and content Lectures are free and open to the public
SET 3A FINAL
SET 3A DRAFT
These were the rough drafts and final drafts to SET 3A and B. For this set, I felt that a Pre-think concept could be difficult to make because of the excessive VISIBLE LANGUAGE A lecture series exploring the relationship between form and content
Lectures are free and open to the public
amounts of constraints there were. Cutting each line of text and drawing a ruler in where I felt fit best would have been very difficult, so I started my drafts directly on InDesign for this set. Even though Set 3 allowed more flexibility with the size and variation to the font,
Orientation and disorientation 6PM Thursday, December 3 135 Walker Hall UC Davis
Ruedi Baur Nicholas Felton Richard Saul Wurman
More than just a love of letters 6PM Thursday, December 10 135 Walker Hall UC Davis
I felt that my previous arrangements of leading and kearning for the font was
between the events ad the title.
strong enough to continue using throughout Set 3. I also felt that it was important to keep some type of consistency or relation with the previous 2 sets so I did not
For Set 3B, I again used the rulers to create an interesting counter/ counterform.
want to make it completely different.
I added the rulers both on the left side and ending at the diagonal wihte space
Zuzana Licko
created between the two sets of information. This helped to create an illusion of
Jonathan Hoefler Tobias Frere-Jones
Originally when I started Set 3, I decided I wanted to go with a box frame
two plains.
concept. However for both Set 3A and B, I had eventually gotten rid of it, since Matter/anti-matter/does it matter? 7PM Thursday, December 17 Design Museum UC Davis
Marian Bantjes Andrew Blauvelt Stefan Sagmeister
the rulers were not interacting and creating stronger type hierarchy. For 3A, I had decided to use the rulers as method of creating a diagonal flowline/ triangle counter form. In order to hold the entire shape together, I had added
SET 3B DRAFT
a perpendicular ruler for “Visible Language� that aligns to the end of the ruler of the middle event. This helped to create the balance between the top triangle created by the text, and the bottom triangle created from the white space formed
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COUNTER: area of a letter that is entirely or partially enclosed by a letter form or a symbol COUNTERFORM: “Negative” spatial areas defined and shaped by letterforms. HIERARCHY: expresses the organiztion of content, emphasizing some elements and subordinating others. KERNING: adjustment of space between two letters LEADING: adjustment of space between each line of text TRACKING: adjustment of overall spacing of a group of letters
GLOSSARY 12