Publication Design Process Book by Michelle Niewald

d l a w e i n e l l e h mic

k o o b rocess

ign

Des n o i t a Public

Introduction

Publication design is information design. It represents the magazines we read, the apps we download, the websites we follow.

Publication design is Not art.

It is a science that allows information to get from point a to point b efficiently and effectively.

Publication design is

the information we get every day. Good design evokes the desired response. Itâ&#x20AC;&#x2122;s the story you stop to read in your favorite magazine because it is both thoughtfully designed and not intimidating to read.

s t n onte

C f o ble

1-6....................................... Inside Columbia 7-22 .....................................Stephens Life 23-26 ...................................ALS Map 27 ........................................Single Letter 28 .......................................Infographic 29-32 ..................................Create Your Own Business 33-36 ..................................Olive Oil 37-39 ...................................Read and Report

Projects

Project 1 Goal To create feature spreads using copy and photos provided by the creative director/client. The student will go through the creative process to create an intro feature and support feature spread for the story provided. The designs will be developed based on the visual identity of Inside Columbia magazine. The final product/design should be able to “slip” into the existing publication feature well.

Project 2 Goal Establish a visual identity (or look and feel) for the new Stephens Life lifestyle magazine. You will create a visual identity package for your publication using the content provided to create a professional, finish and targeted magazine. Students must established a visual identity that can translate between digital and print mediums. The creative process includes; intake, word palette, research and computer mood board or samples, uneducated and educated pencils and enlarged ideas. Your final grade will reflect how well you work through the creative process, conduct research, execute professional level print design work that can translate to electronic mediums and sell your work during your presentation.

Project 3 Goal To create a new magazine or informational product that will reach a specific target audience and fill a missing niche in the marketplace. Your final grade will reflect how well you work through the creative process, conduct research, execute professional level print and electronic design work and sell your work during your presentation. You will also write a justification statement that outlines why this new publication is needed. Your statement will include; a description of your closest competitors and why they do not reach your target market, what makes your publication different and why it will reach your chosen audience, your target market demographics (age, income, education level, etc), answer the question “why should I care” or what difference will this publication will make. Provide additional content/research as needed to support and strengthen your argument why this publication is needed.

Inside Columbia

1 Process Book GDE 310

GDE 310 Process Book 2

“His No. 1 rule, “make no mistakes,” had been shattered.”

32 October 2012 INSIDE COLUMBIA

LOST IN THE WILD

A Story of Survival in the Last Frontier

By Whitney Dreier Photos By L.G. Patterson

tuart Nelson Jr. paddled his kayak expertly down the Little Wind River. The late August weather was warm and sunny, despite Nelson’s proximity to the Arctic Circle. Eroding spruce trees dangled from steep riverbanks into the water, their limbs dancing with the current in a deep, fast rhythm. “The thought went through my mind to be really careful here,” 58-year-old Nelson says. “These were not simple annoyances; they were serious obstacles.” No sooner had Nelson reminded himself of the dangerous situation than he rounded a bend and plowed straight into a fortress of heaving branches. “I knew I was going to hit it,” he recalls. “There was no way I could miss it.” The boat hit the sweeper, flipped over and became tangled in spruce boughs. “Well, this could be it,” thought Nelson, who, even with his life jacket on, couldn’t tell up from down as he descended below the water’s surface.

The family traveled to Alaska in 1967, and it was there that Nelson had his first taste of the Last Frontier. “I went up to that big country, saw the land, the beautiful rivers, the mountains,” Nelson remembers. “It captured my imagination.” Nelson, a Hickman High School alumnus, later attended veterinary school at MU. In 1995, he became the chief veterinarian for the Iditarod Dog Sled Race — although because the 1,161mile race across Alaska is a once-a-year event (beginning the first Saturday in March), Nelson also practices in Sandpoint, Idaho. “The Iditarod is my full-time part-time job,” he jokes. Every August, Nelson takes a “river month” in the Canadian wilderness. He’s completed 18 solo kayak trips, which adds up to about 6,000 miles of paddling in the Yukon. All of those trips have ended successfully — except his 2010 expedition. “This year was the first time I didn’t come out on my own,” he says. “I had to be rescued.”

The Nelson family moved to Columbia from Kissimmee, Fla., when Nelson’s father accepted a position with the University of Missouri College of Veterinary Medicine. “Being a kid in Missouri, I loved the outdoors,” says Nelson, who spent much of his free time canoeing and camping around the state.

When Nelson crawled out of the river on the afternoon of Aug. 23, his boat was pinned under the branches of the dying spruce. He felt stunned, shocked from the collision and the icy water. His No. 1 rule, “make no mistakes,” had been shattered.

“I had to be rescued.”

e climbed onto the tree and tried to free his boat. He pushed and pulled without success. He held onto the on sweeper and jumped on the kayak, which caused the current to spit the craft into the raging current. Nelson plummeted under water once more and realized his No. 2 rule was now broken: Never get separated from your boat. He tried to swim after his kayak — and the items stowed inside, which included his passport, cash, credit cards, driver’s license and satellite phone — but more sweepers intervened. He felt himself growing heavier in the water and crawled to the shore. He walked along Little Wind for seven hours with no sign of the boat. Around 11 p.m., he lay down to rest. Nelson awoke at dawn and continued his search, eating wild currents and blueberries as he walked. By the time

he reached the larger Wind River, he’d accepted that his boat was gone. Suddenly, he heard an airplane flying down the Little Wind. Clad in neutral colors, he jumped wildly and ran sideways, hoping to move into the pilot’s line of sight. “My natural instinct was to yell,” he says, “which was totally stupid because he couldn’t hear me.” The plane passed, and Nelson began to assess his situation. A large gravel bar sprawled along the confluence of the Little Wind and Wind Rivers. “What do I need for survival?” he thought, reviewing the area for food, shelter and firewood potential. A small depression protected from the wind by thick bushes seemed like a good place to set up camp. His camp, of course, was limited to the supplies attached to his person at the time of the crash. Fortunately for Nelson,

“It’s not survival gear if it’s not on your body.” “His camp, of course, was limited to the supplies attached to his person...” 1. Life preserver with two large pockets 2. Flammable sterno 3. Space blanket 4. 30 feet of parachute cord 5. Three fishing lures 6. Fishing line 7. Water-resistant dry pants 8. Polypro shirt 9. Windbreaker 10. Flimsy fisherman shoes. 34 October 2012 INSIDE COLUMBIA

he’d been wearing a life preserver with two large pockets he’d sewn on years ago. Inside those pockets were two lighters, a signal mirror, a folding knife, a wire saw, flammable Sterno, a space blanket, tincture of iodine, 30 feet of parachute cord, three fishing lures and a fishing line. On his body, he wore water-resistant dry pants, a polypro shirt, a windbreaker and flimsy fisherman shoes. That was going to have to be enough. Nelson had never been in a survival situation before, although he’d always made an effort to learn about the wilderness by reading and talking to people. Common sense told him to pace himself, to establish a routine. He spent his mornings collecting berries and firewood. He started at the farthest reaches of the gravel bar so that if he grew weak later, he wouldn’t have far to travel far for nourishment and

“The whole world is looking for you!” supplies. He spent the bulk of his days watching the river and reflecting signals into the air with a mirror he wore on a cord around his neck. He tore his space blanket into flags in hopes the reflective material might catch the eyes of paddlers or pilots. One day, he tried unsuccessfully to light a tree on fire. On the riverbanks, he spelled “SOS” and “HELP” with rocks and sticks. His hands became blistered from hauling logs for the fire he kept going ‘round the clock. He gathered spruce boughs for a bed. He lay by the fire at night and wore his sunglasses to protect his eyes from the heat. He wasn’t afraid of being alone, but he did worry about hypothermia — the temperature might drop unexpectedly this time of year. One evening, “it just poured down rain like a good old Missouri thunderstorm,” Nelson recalls. He grew colder as his fire grew smaller. “That whole night, every time I woke up, it was like someone was there saying: ‘You’ve got to get up, you have to stoke the fire.’ ” He made it through the night alive. Nelson also worried about grizzly bear encounters and moose attacks, and about losing a fishing lure, which is why he rationed himself to one foot-long grayling trout a day. He worried that people wouldn’t start looking for him until Sept. 11, when he was scheduled to fly from Anchorage to Idaho. “If I don’t make it by then, someone will come look for me,” he thought. “This could easily be a two-week deal by the time people realize I’m substantially overdue.” On the 10th day, Nelson prayed. “Being a Christian, there’s a provision for heaven and salvation; if I die, that’s the way it is.” He was comforted by the notion that at least he was doing something he enjoyed. “As soon as I finished that prayer, the sky opened up,” he remembers. “This bright sunshine shone down on me for five or 10 minutes, then closed up; that’s pretty impressive.” Three days later, the sun came out for good. That afternoon, Nelson dried his socks by the fire and applied iodine to an infected toenail. He stood up, glanced down the river and saw three red canoes floating 100 yards downstream. “I ran down the gravel bar, jumping and yelling,” he recalls of his barefooted sprint. “They had seen all my markers, but I was in a hole, so they didn’t actually see me.” The travelers, a Swiss-Canadian, four Swiss and one German, set up camp across the river before visiting Nelson. The stranded veterinarian explained his situation, and the group invited Nelson to eat and camp with them. That evening, Nelson slept under the stars by the fire, preferring not to use his new companions’ spare tent because “a cold tent is a cold tent.” Initially, the group was wary of another person upsetting the balance of their canoes and planned to leave Nelson with enough food until he could be rescued. But the group had a

change of heart and decided Nelson should accompany them back to civilization. “Now I became a team member,” he says, and immediately began thinking of ways he could earn his keep on this new expedition. He decided to be the fire keeper; every morning, he collected wood, started a fire and heated water. The septet traveled five more days across various rapids; Nelson sat in the middle of a canoe, a dangerous spot that almost caused the boat to capsize. “Thank goodness we didn’t because I wasn’t into doing that again,” he says. Nelson’s sister, Kimberly, is the food services director for Columbia’s Women’s & Children’s Hospital. On Sept. 9, she received a call from Dr. John Moody, who hadn’t heard from his veterinary partner and thought Nelson might be missing. A searchand-rescue team was being assembled and wanted to speak to Kimberly. “Oh my gosh, Stuart’s lost,” she thought after the call. “Oh my gosh.” Kimberly and her 86-year-old mother had thought perhaps Nelson’s lack of communication was due to a dead satellite phone battery. Kimberly learned that Black Sheep Aviation was scheduled to pick up a group of six paddlers in Taco Bar on Sept. 10. Search and rescue wanted to talk to those people before launching a rescue mission — perhaps they knew something about Nelson’s situation. “I started to pray,” Kimberly says. “I said: ‘Dear Lord, let six turn into seven. Let Stuart come out with these people.’ ” On the afternoon of Sept. 10, the red canoe trio paddled into Taco Bar and waited for the plane that would fly them to Mayo. When the pilot arrived, Nelson introduced himself. “The whole world is looking for you!” the man exclaimed. When Nelson visited his mother and sister in Columbia during the holidays, he told his story to the congregation of the Evangelical Free Church. He wore his life preserver and pulled items out of the oversized pockets as he spoke. “I just saw a wonderful part of my brother,” Kimberly says. “I learned Stuart was sensible; he plans these trips so intelligently … it’s been wonderful to have him alive.” What has Nelson learned? “It’s not survival gear if it’s not on your body,” he says. “That’s what this whole story is about.” u

INSIDE COLUMBIA October 2012 35

Stephens Life

7 Process Book GDE 310

GDE 310 Process Book 8

CLASSIC MODERN CLEAN

LIFE LIFE LIFE

LIFE LIFE LIFE STEPHENS

STEPHENS

STEPHENS STEPHENS STEPHENS

ST E P H E N S

life

Moving forward since 1928

STEPHENS

LIFE LIFE LIFE

SL STEPHENS LIFE MOVING FORWARD SINCE 1928

INSIDE

NEW VPAA..............09 MEET OUR MODEL...11 FIGHTING TO WIN...13

SL TABLE OF CONTENTS

FRESHMAN ADVICE

MOROCCO IN MISSOURI

11 15

Here are a few tips to follow that will help calm those nerves

Inspired by getaway colors, camel caravans, & the nomadic lifestyle

NEW VPAA ON THE BLOCK

SAMPLE PLACEHOLDER STORY

New Vice President of Academic Affairs wows with southern charm

This is just a pretend caption for the purpose of filling up space

MEET MADISON

The story behind our first ever Stephens Life Magazine cover model

SMALL TEAM, BIG DREAMS Stephens soccer team off to a rocky start

LIFE ONLINE TWITTER @Stephens_Life FACEBOOK Stephens Life Newspaper INSTAGRAM @Stephens_Life EMAIL StephensLifeNews@gmail.com ONLINE NEWS stephens.edu/stephenslife

Lily Brodzinski Executive Editor Brittany Tutt Features Editor Paula Goldenberg Senior Editor Emily Park Sports Editor Lesta Newberry News Editor Josh Nichol-Caddy Faculty Advisor

OPINION

Four Years Later Being a freshman in college can be unsettling. I know it was for me. Here are a few tips to follow that will help calm those nerves. By Holly Cook

“

requested. Books are expensive, do what you can to save money. Stay in Touch. Call Mom and Dad. Even though it is important to build independence and learn to do things on your own, I highly suggest staying in touch with friends and family from back home. I am a senior and I usually call my mom multiple times a day. She is my support team and my happy place. Talking to family members and old friends keeps you sane and prevents homesickness. Don’t be too good for mom and dad. They are why you are here. Appreciate them and be grateful. Believe in Yourself. Don’t give up, stay driven and stay positive. There will be times in your four years of college that you want to give up, leave, and go home, and trust me I’ve been there. But just know if you stick it out, you can and will do great things. Don’t let anyone get you down, or ruin your confidence. Believe you are the best and you can go anywhere. Discover Yourself. Change your mind, try new things and get involved. College is the time in our lives to find out exactly who we are, so it is important that you take advantage of everything offered. For me, joining a sorority was one of the best decisions I made during college.

“

s a college freshman, there are many questions that run through your mind. What should I bring? How will I make friends? And what should my major be? However, there are far more important things to be concerned about during your four years of college. Networking. Do it well. Do it now. Do it often. Here at Stephens, the professors, advisers and staff want more than anything for their students to succeed. Get to know your professors and build a strong relationship with your adviser. I feel comfortable talking to my advisor about anything, which has helped me in numerous ways. Trust them, take advantage of their resources and respect them. Purchasing Textbooks. Wait. My freshman year I thought I was so prepared, arriving on campus with every textbook, brand new and in hand. But, I quickly learned I was the complete opposite of prepared. Not only were some of my textbooks not used in class , but I also changed my class schedule to such an extent that I had to re-order the correct books. It was a mess. All in all, I suggest waiting. Test out your classes and find out if the books are a necessity. Some professors even place the textbooks on reserve in the library if

However, I do regret not venturing out and joining more campus organizations. Get involved not only to build your résumé but to learn things about yourself and grow as a person. Have Fun. Being social does not make you a bad student. Yes, this is college, and we are here to learn, but it is important that you have fun as well. Some of my greatest memories are from college, and I couldn’t say that if I had lived in the library or behind my desk day after day. You have to give yourself breaks, and you have to unwind. Don’t take this time for granted and have fun. It will fly by. Enjoy every minute. It feels like yesterday that I was sitting in Survey of Fashion, completely intimidated by the course and in complete awe listening to internship presentations. It is hard to believe that it is three years later, and in less than a few days I will be giving my own internship presentation to our freshmen class. I want the class of 2016 to take it from me when I say: “You will be seniors in no time, so take my advice to heart, do your very best and enjoy yourselves. Good luck!”u

It will fly by. Enjoy every minute.

Stephens Life Winter 2012 4

MOROCCO IN MISSOURI The Wanderlust Senior Collection 2012 Inspired by getaway colors, camel caravans, & the nomadic lifestyle, fashion design major Brittany Wallace and fashion communication major Mandy Viar create a gypsy-inspired escape in Collegetown USA.

Stephens Life Winter 2012 6

Senior Madison Bock Fashion Marketing and Management

MOROCCAN

IS MARVELOUS

7 Winter 2012 Stephens Life

Junior Jessica Yuhouse Fashion Design

Senior Hannah Browne Fashion Marketing and Management

Stephens Life Winter 2012 8

V SL

STUDENT LIFE

NEW VPAA

ON THE

BLOCK obligation “ inYourlifeonly is to be true to

“

yourself.

New Vice President of Academic Affairs wows with southern charm By Michelle Niewald

9 Winter 2012 Stephens Life

half, working in administration. After several years of this, Digby found herself at a crossroads: stay in Arkansas or leave and become a dean. Digby chose the latter. She accepted an Associate Dean position at the City University of New York in the Bronx. After five years, Digby was promoted to the Dean of Education. She stayed at CUNY for a total of seven years, but because she wanted to be closer to her family in Arkansas, she began applying for Vice President positions to work more closely with central administration, overseeing other academic departments. This brought her to Stephens College. The first time she came to Stephens for her interview, Dr. Digby was sold on the entire atmosphere. Digby says, “It was the whole atmosphere at the college. Everyone

at Stephens knows why we’re committed and this comes out clearly…” Aside from professional strengths, Dr. Annette Digby is deeply rooted in her personal beliefs. First, she encourages students to have a work-life balance, inspired by a principal she worked with in Arkansas: “Work hard, play hard.” She believes that, “If we let one area dominate our lives, we miss out on the wide range of experiences.” To her, this statement is particular to not only herself, but to the Stephens community at large. u

“

ississippi native, Annette Digby, did not get her start in higher education, nor did she anticipate her career would take her where she has been, but her philosophy throughout her career transformation has remained intact: “Your only obligation in life is to be true to yourself.” After completing her undergraduate and graduate studies at Mississippi State with degrees in education, Digby taught high school English for 12 years in Lownes County, MS. Although she misses K-12 even to this day, she knew she wanted something more out of education. In 1989, Digby completed her doctorate education at the University of Alabama and accepted a position at the University of Arkansas-Fayetteville. Half of her time was spent as a faculty member; the other

Work Hard, Play Hard.

Stephens Life Winter 2012 10

Photos courtesy of Dani Kelley, junior Fashion Communication Major

Meet Madison The story behind our cover model

Our very first cover model Aliquiss imperor sin res de aut escipsant, omnienda vid esto modignatem aut eum eveliqu iantet dempor min reptatiis acim que niet, sequam, illaccum imporrorit dipsandae dolenist, audae nonsenditio invendae comnis parum quas nonsequi ium eaque nat quatiassitae inciatus. Mint in por sunt volest maximinum fugitaquae reroritio testo moloreicimi, quo idessitiunt occae corrund iorias aciente mquuntur sincte ommolor sequaestrum faceatque illabo. Sandis min por sa nusdae maio. Nequam ex eum lacerspid qui voluptatis rerum dene volupisti aut essedi apis dolum quide volorpo reprepra alia numquid eaturio. Aquia quuntur, ut et velibustis etus eum ut minusdamet dundi nonectur? Quiatem quisto expe consed etur, alignimusam et omnihillo molupta doluptam que sinctiur, corepta simagnis eliquia eperendisim aut fuga. Uci dio. Nem. Otatum amet lacepellecum sitatqu atempor estemporem re, conestiones d

Lit liaspic tem reriae elicium re ipsuntur apellorrum aut landebis impora id quas alia sa comnimus. Se esectestem quam laborep udictur, sam, omnis prae dellorum suntium untiur? Lest ernatur? Erat. Sant utem voluptaquam nis pa vollacipit, aute por autem. Ro corem ut quati vit que non restore labore, sumquid mi, quias nus eroriosa vellacc aectem iumet quatem iuntem cumquunt vellige ndiasperum animolorum quam eostia conserf eritas exerepe libusanit ilicil molori omnis vitiisi ntemodi oribus doles ditaspero te et u

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uda si to doluptam, officipsam ipist aut essitate commo cuptis veles aperibu sandiat. Tem int volupti tem quasit ipsam aut lam, qui quibus ea quam et quodigniati bererferes dem nulpa sit ped mi, cuptam vero doluptur si am nisquae pellique nis re enis as etur as volorepre plam lautasi nvendae corecto rporest voluptati dolor apiet ped ulpa alitae di aut estium quam aceatus volorios dolum quos quati dolut earum fugiae voluptur? Est, odiamenim rem fugiamus voloraese volum rem ad ullo ilia duci re consente porempor alisimusdae omnimus atempore prataqu idicid magniscia si odi voluptur? Quibus et venet eatio dem vollentis atemporiam et accuptaspe natur? Caturibus. Issimin custiostio maione quo quis autem rest, aut aut autempor asit aut odignim fugiam que el eos eaquam ium inim eatios nissequis quam rese quias asi consent, eate non conet omnient officte volupta ernatur?

Pull Quote from our model.

Stephens Life Winter 2012 12

SPORTS

“

...we took their best punch, and we’re going to keep fighting.

“

Small Team, Big Dreams By Rudi Petry

aking a good first impression can be daunting, and the soccer team, currently in its first year at Stephens, recently found themselves in that situation. The newly assembled Stephen’s Soccer recently found themselves as a part of that commonality. The team’s first formal appearance came during their first game at 1 p.m. on Saturday at Columbia Cosmopolitan Recreation Area. They played against Missouri Baptist University. Missouri Baptist is considered the best team in the NAIA, the conference in which Stephens sports teams compete. From Chesterfield, a suburb of St. Louis, Missouri Baptist is nine games into their season, making them both well practiced and wellprepared. Stephens lost with a final score of 0-14. “There’s every reason to believe that this is going to be our most difficult game of the season. Everything is working against us,” Xander Kennedy, Stephens’ soccer coach 13 Winter 2012 Stephens Life

said. “We’re playing the best team in the conference, we took their best punch, and we’re going to keep fighting.” The game was closer than the disparity its final score suggests. “The other team is fighting for their goals– they’re not just waltzing in,” Clayton Kennedy, the coach’s brother, said from the sidelines. Briannica Ponder, a freshman player and performance theatre major, came to similar conclusions. “Our goalie has made a lot of good saves and defense is working really hard. We’re still learning technique, but we’ve got a lot of spirit to make up for it,” Ponder said. “First year teams never really do well, but we’re fighting harder because we’re new.” Not all the players left the game feeling so optimistic. “I’m super proud of the team as a whole, it just gets difficult because I feel like as cocaptain and a senior it’s my job to carry the

team,” Elsie Vieira, senior MPA major, said. Vieira credits much of her pessimism to her lack of time with the team. While others get to grow with the team, she has only one month to win with the Stars before the season ends and she graduates. A good number of students, faculty and staff attended the game. President Dianne Lynch, Deb Duren, director of student services, and James Walter, the school’s reference librarian, were among those rooting for the Stars. “I still think this is a success. We’re learning a lot and discovering where our strengths are,” Ponder said. While it may be too soon to expect our Stars to have big wins anytime soon, numbers aren’t the only measure of success. u

V I S U A L

IDENTiTY G U I D E

FONTS

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BODY

Adobe Garamond Pro 10/12

CAPTION

Adobe Garamond Pro Italic 10/12

PULL QUOTES

Futura Bold Condensed 18/21

FLAG

Futura Condensed Medium Impact

GRID SIZE

COLORS

“You will be seniors in no time, so take my advice to heart, do your very best and enjoy yourselves. Good luck!”u u

ZAPF DINGBATS 6 PT

Lowercase Letter u

FOLIO ROWS

Stephens Life Winter 2012 10

COLUMNS

Futura Condensed Bold/ Medium size 8

C=16 M=100 Y=100 K=39 C=0 M=100 Y=0 K=0

TRANSITIONS

C=0 M=0 Y=0 K=100 C=41 M=3 Y=33 K=0 C=100 M=0 Y=0 K=0

FLAG

SL STEPHENS LIFE MOVING FORWARD SINCE 1928

OPINION

SPORTS

STUDENT LIFE

Aligned with margin; bleeding off page

SPORTS

EXTRA

ALS Map

23 Process Book GDE 310

GDE 310 Process Book 24

Colleqgues

In an actual labyrinth, there is one way in and one way out. It is the journey inside that counts. ALS patients face the same fate. At this moment, there is no cure for ALS and no effetive treatment. In fact, the causes are not entirely known either. Diagnosis is a death wish; it is not a question of “if,” but rather of “when.” This is a reality for too many.

Neighbors

Family

Start

People fighting ALS find themselves in a battle between giving up and having hope. For some, they are able to live up to 43 years. Others do not even survive the first year. ALS affects more than just the holder. It affects families, friends and communities. But we will not give up. We will not let those who have lost die in vain. We will keep on fighting until there’s a cure, because all we have is our hope in what the future holds.

Friends

The labyrinth is a symbol for the connection between conscious thought and unconscious intent.

ALS: The

The Journey 2.

1.Start

Brain

-Lou Gherig

Be on the lookout. 3.

nal

Sig

Most report not being able to lift their right arm as the

first symptom.

rv Ne

uide

te G mple

A Co

“You have to get knocked down to realize how people really feel about you. I’ve realized that more than ever lately. I might have had a tough break, but I have an awful lot to live for."

Other symptoms

include thickness of speech, twitching and cramping of muscles, difficulty breathing, impaired ability to swallow, difficulty projecting the voice, impaired use of arms and legs, and consistent muscle strain o r we a k n e s s t h ro u g h o u t certain areas of the body.

For 10-15% of diagnoses,

Too weak to complete

patients get a false positive. They are told they have ALS, but, in the end, another disease or condition is discovered to be the real problem.

Labyrinth Lou Gherig’s Diseae. Motor Neuron Disease. ALS. Slice it any way you want.

but what is it?

Amyothropic lateral sclerosis (ALS), often referred to as “Lou Gherig’s Disease,” is a progressive neurodegenerative disease that affects nerve cells in the brain and the spinal cord. Motor neurons reach from the brain to the spinal cord and from the spinal cord to the muscles throughout the body.

Types of Nerves Hearing

Vision

Motion

Sensation

The progressive degeneration of the motor neurons in ALS eventually leads to their death. When the motor neurons die, the ability of the brain to initiate and control muscle movement is lost. With voluntary muscle action progressively affected, patients in the later stages of the disease may become totally paralyzed.

k Quic s Stat

Median age of those diagnosed with ALS

-ALS Association

Two in every 100,000 people worldwide are diagnosed each year.

how does it happen? The nerves that are affected when you have ALS are the motor neurons that provide voluntary movements and muscle power. Examples of voluntary movements are your making the effort to reach for the phone or step off a curb; these actions are controlled by the muscles in the arms and legs.

me Ti uiz

a. Contagious. b. Predictable. c. Genetic. ALS is none of the above.

Because of the unique nature of the disease, there is no way to detect the progression or generational inheritance. It is not a communicable disease, so simply being in the same room as a victim will not infect you or anyone else.

50%

Healthy

For

vs.

Atrophied

instance,

What do The Creator of Sesame Street Stephen Hawking

Lou Gherig

all have in common?

ALS is a double edged sword. On one hand, it is a terrible thing that there is no definite information on the disease. We don’t know what causes it or any effective treatment. On the other hand, there is still much awareness to be raised for it. Each cause represents an individual case study. The costs are high, but are well worth it. As the disease progresses through the years, we don’t know what effects will come to light. There are still so many unanswered questions. But despite all these things,

You can help. Don’t let another life go unsaved. Make a contribution today. www.als.org/donate

ALS Fund

It can happen to anyone You can’t guess how or when it will strike. Some come quickly others are virtually undetectable, While not every case is terrible, every case will result in death. Studies show that there are some drugs that can slow the progression, but in the end, the same fate will meet every victim.

of patients die within the first two years of diagnosis.

Sesame St.

All had ALS.

Exercises

Love letter Goal Create a new doc indd 5.5x8.5, then select your favorite SINGLE letter out of all your fonts and tell me why in a paragraph. Place the single letter so it is centered and fills the page. Open word and write no more than one paragraph explaining why you selected this one letter and why it is your favorite. You must mention the name of the typeface in your copy. Your copy needs to be written, edited and spell checked in word. Once that is completed â&#x20AC;&#x153;pourâ&#x20AC;? your comments into the indd doc. at the bottom 2 inches of the page. Set the body copy in Helvetica 9/11.

infographic Goal Develop creative collaboration skills, learn new or reinforce software skills, brand development, concept development, printing and page layout skills, and introduce students to master pages. Since this is a content-driven design mini project, review all the materials. Look for similarities, unique aspects, underlying messages and main messages based on the content. Write your findings and observations down and analysis them for a strong concept or theme for the book. Establishing a theme will help you develop the look and feel plus the title of your publication.

Create a business Goal You have hired a graphic designer to help you. She is sitting on your left. She will conduct an intake session to better understand your design problem and how best to solve it. Remember to pay attention to everything. Once she is done, flip roles. (10 minutes each or 20 minutes total). Based on the intake info, work through the creative development worksheet provided. You must research other design ideas. For this project use Print Design Annual. Enlarge your best business card idea and create it on the computer. You may only use two typefaces and two colors. Bleeds are OK.

Love Letter

W The letter seen above is W in Didot Italic. Didot Italic has been featured in many ads this summer, including J Crew and Ann Taylor. It has been my favorite font since May. W is not particularly my favorite letter of the alphabet-that is the letter M, of course! However, this letter is my favorite for a few reasons. First, my favorite magazine is W Magazine and this is nearly the exact same. The weight also creates a very elegant, yet bold, feeling. Lastly, the contrast between the thin straight lines and thick slanted lines give the letter movement. Whatâ&#x20AC;&#x2122;s not to love here?

27 Process Book GDE 310

Infographic

GDE 310 Process Book 28

Business Id

29 Process Book GDE 310

Kaylyn Crane Crane’s Creative Designs 573-356-4406 PO Box 123 Columbia, MO 65203

Kaylyn Crane

Crane’s Creative Designs 573-356-4406 PO Box 123 Columbia, MO 65203

31 Process Book GDE 310

GDE 310 Process Book 32

Olive Oil

33 Process Book GDE 310

How good

is the olive oil in your pantry? Not good at all if you’re like the majority of Americans who settle for sub-par, grocery-store varieties. Find out what you’re missing in this informative guide. By Lindsey Howald Photos By L.G. Patterson

y r e t s y g the

Solvin

M Olive Oil of

There are only a few edibles in this world worthy of an inspired cult following of chefs and connoisseurs. Wine is the most obvious, drawing people to vineyards around the world for those high-quality distinctive, complex fruit and herb notes. Another revered cuisine is cheese, from wheels of salty, aged Reggianito to soft, blue-veined Cambozola. Smoked meats are another delicacy; caper-sprinkled salmon and dry-aged beef are the mark of a refined food lover. As with all gourmet cuisine, part of the appeal is hunting for perfection within a world full of producers who try, but don’t quite achieve, the potential of high quality. And every foodie can testify: Once you’ve had the good stuff, you’ll never go back. Those who hail from the Mediterranean region and grew up on a diet of fine, locally produced olive oil would have difficulty believing we Americans can stand — much less enjoy — the olive oil we regularly consume. Many of the common grocery-store varieties are refined, color-tinted, and blended with other types of oils before they make it onto the bread plate or into the pasta. Who knew? With olive oil, all of the rules change. Many claims on packaging labels can be misleading, and price is not a good indicator of quality. Hint: A list of ingredients on a bottle of olive oil is often a bad sign. The best oils, because they are not blended with other types of oils or flavorings, are not required to list ingredients. When it comes to flavor, olive oil is surprisingly more like wine than anything else. There are about 700 different olive varieties, each with its own hints of taste and aroma. As a result, regional olive oils that utilize different types of olives become distinctively individual, much in the same way regional grape varieties determine the personality of a fine wine.

but olives need special handling. The olive is also time-sensitive. “The minute you pick an olive, the acidity begins to rise,” says Salahodeen Abdul-Kafi, an olive oil aficionado at World Harvest in Columbia. The sooner an olive is crushed, he says, the higher the quality and the fuller the taste of the oil. Olive oils are classified according to a spectrum that indicates quality and method of making. The International Olive Oil Council dictates a rigid grading system for retail olive oils. Virgin olive oil is extracted by mechanical means that does not change the chemical makeup of the olive, thereby affecting the flavor (such as heat). Of the virgin oils, extra-virgin olive oil is the highestquality type: cold-pressed, less than 0.8 percent acidity and superior taste. The council categorizes other oils as refined or pomace. Refined oils are those that have been chemically treated to produce a certain taste or correct acidity. Pomace olive oil uses oil extracted from the seeds of the fruit, usually using heat. Those handy categories don’t make it any easier for American consumers, though. The United States is not a member of the International Olive Oil Council, so labeling here is more liberal and can get a bit tricky. However, even the clueless shopper can immediately clue in to marketing techniques by just getting familiar with some of the common terms that can trip people up. First, forget everything you know about the word “pure.” A bottle that claims to contain “100% Pure” oil is usually the lowest grade on the shelf; look for one that says “extra virgin” instead. And “light” olive oil has nothing to do with the fat content. Whether it’s a tablespoon of olive oil, vegetable oil, canola oil or butter, the nutritional profile is identical: 120 calories, 14 grams of fat. “Light” olive oil actually refers to a refined oil that is light on flavor. There is no such thing as a low-fat fat, unfortunately, so it is imperative to spring for flavor. It’s the type of fat that is most important, and olive oil is the best out there.

the best flavor. Most vegetable oils are extracted using heat and high pressure,

Once you’ve had the good stuff, you’ll never go back.

The olive is a delicate fruit, requiring cold pressing and often more traditional, low-tech methods of extraction for

SOLVING THE

Mystery

OF OLIVE OIL By Lindsey Howald Photos By L.G. Patterson

How good is the olive oil in your pantry? Not good at all if you’re like the majority of Americans who settle for sub-par, grocery-store varieties. Find out what you’re missing in this informative guide. There are only a few edibles in this world worthy of an inspired cult following of chefs and connoisseurs. Wine is the most obvious, drawing people to vineyards around the world for those high-quality distinctive, complex fruit and herb notes. Another revered cuisine is cheese, from wheels of salty, aged Reggianito to soft, blue-veined Cambozola. Smoked meats are another delicacy; caper-sprinkled salmon and dry-aged beef are the mark of a refined food lover. As with all gourmet cuisine, part of the appeal is hunting for perfection within a world full of producers who try, but don’t quite achieve, the potential of high quality. And every foodie can testify: Once you’ve had the good stuff, you’ll never go back. Those who hail from the Mediterranean region and grew up on a diet of fine, locally produced olive oil would have difficulty believing we Americans can stand — much less enjoy — the olive oil we regularly consume. Many of the common grocerystore varieties are refined, color-tinted, and blended with other types of oils before they make it onto the bread plate or into the pasta. Who knew? With olive oil, all of the rules change. Many claims on packaging labels can be misleading, and price is not a good indicator of quality. Hint: A list of ingredients on a bottle of olive oil is often a bad sign. The best oils, because they are not blended with other types of oils or flavorings, are not required to list ingredients. When it comes to flavor, olive oil is surprisingly more like wine than anything else. There are about 700 different olive

varieties, each with its own hints of taste and aroma. As a result, regional olive oils that utilize different types of olives become distinctively individual, much in the same way regional grape varieties determine the personality of a fine wine. The olive is a delicate fruit, requiring cold pressing and often more traditional, lowtech methods of extraction for the best flavor. Most vegetable oils are extracted using heat and high pressure, but olives need special handling. The olive is also time-sensitive. “The minute you pick an olive, the acidity begins to rise,” says Salahodeen AbdulKafi, an olive oil aficionado at World Harvest in Columbia. The sooner an olive is crushed, he says, the higher the quality and the fuller the taste of the oil. Olive oils are classified according to a spectrum that indicates quality and method of making. The International Olive Oil Council dictates a rigid grading system for retail olive oils. Virgin olive oil is extracted by mechanical means that does not change the chemical makeup of the olive, thereby affecting the flavor (such as heat). Of the virgin oils, extra-virgin olive oil is the highest-quality type: cold-pressed, less than 0.8 percent acidity and superior taste. The council categorizes other oils as refined or pomace. Refined oils are those that have been chemically treated to produce a certain taste or correct acidity. Pomace olive oil uses oil extracted from the seeds of the fruit, usually using heat. Those handy categories don’t make it any easier for American consumers, though. The United States is not a member of the International Olive Oil

Council, so labeling here is more liberal and can get a bit tricky. However, even the clueless shopper can immediately clue in to marketing techniques by just getting familiar with some of the common terms that can trip people up. First, forget everything you know about the word “pure.” A bottle that claims to contain “100% Pure” oil is usually the lowest grade on the shelf; look for one that says “extra virgin” instead. And “light” olive oil has nothing to do with the fat content. Whether it’s a tablespoon of olive oil, vegetable oil, canola oil or butter, the nutritional profile is identical: 120 calories, 14 grams of fat. “Light” olive oil actually refers to a refined oil that is light on flavor. There is no such thing as a lowfat fat, unfortunately, so it is imperative to spring for flavor. It’s the type of fat that is most important, and olive oil is the best out there.

GDE 310 Process Book 34

y r e t s y

e h t g Solvin

M Olive Oil of

By Lindsey Howald Photos By L.G. Patterson

here are only a few edibles in this world worthy of an inspired cult following of chefs and connoisseurs. Wine is the most obvious, drawing people to vineyards around the world for those high-quality distinctive, complex fruit and herb notes. Another revered cuisine is cheese, from wheels of salty, aged Reggianito to soft, blue-veined Cambozola. Smoked meats are another delicacy; caper-sprinkled salmon and dry-aged beef are the mark of a refined food lover. As with all gourmet cuisine, part of the appeal is hunting for perfection within a world full of producers who try, but don’t quite achieve, the potential of high quality. And every foodie can testify: Once you’ve had the good stuff, you’ll never go back. Those who hail from the Mediterranean region and grew up on a diet of fine, locally produced olive oil would have difficulty believing we Americans can stand — much less enjoy — the olive oil we regularly consume. Many of the common grocerystore varieties are refined, color-tinted, and blended with other types of oils before they make it onto the bread plate or into the pasta. Who knew? With olive oil, all of the rules change. Many claims on packaging labels can be misleading, and price is not a good indicator of quality. Hint: A list of ingredients on a bottle of olive oil is often a bad sign. The best oils, because they are not blended with other types of oils or flavorings, are not required to list ingredients. When it comes to flavor, olive oil is surprisingly more like wine than anything else. There are about 700 different olive varieties, each with its own hints of taste and aroma. As a result, regional olive oils that utilize different types of olives become distinctively individual, much in the same way regional grape varieties determine the personality of a fine wine.

The olive is a delicate fruit, requiring cold pressing and often more traditional, low-tech methods of extraction for the best flavor. Most vegetable oils are extracted using heat and high pressure, but olives need special handling. The olive is also timesensitive. “The minute you pick an olive, the acidity begins to rise,” says Salahodeen Abdul-Kafi, an olive oil aficionado at World Harvest in Columbia. The sooner an olive is crushed, he says, the higher the quality and the fuller the taste of the oil. Olive oils are classified according to a spectrum that indicates quality and method of making. The International Olive Oil Council dictates a rigid grading system for retail olive oils. Virgin olive oil is extracted by mechanical means that does not change the chemical makeup of the olive, thereby affecting the flavor (such as heat). Of the virgin oils, extra-virgin olive oil is the highest-quality type: cold-pressed, less than 0.8 percent acidity and superior taste. The council categorizes other oils as refined or pomace. Refined oils are those that have been chemically treated to produce a certain taste or correct acidity. Pomace olive oil uses oil extracted from the seeds of the fruit, usually using heat. Those handy categories don’t make it any easier for American consumers, though. The United States is not a member of the International Olive Oil Council, so labeling here is more liberal and can get a bit tricky. However, even the clueless shopper can immediately clue in to marketing techniques by just getting familiar with some of the common terms that can trip people up. First, forget everything you know about the word “pure.” A bottle that claims to contain “100% Pure” oil is usually the lowest grade on the shelf; look for one that says “extra virgin” instead. And “light” olive oil has nothing to do with the fat content.

Whether it’s a tablespoon of olive oil, vegetable oil, canola oil or butter, the nutritional profile is identical: 120 calories, 14 grams of fat. “Light” olive oil actually refers to a refined oil that is light on flavor. There is no such thing as a low-fat fat, unfortunately, so it is imperative to spring for flavor. It’s the type of fat that is most important, and olive oil is the best out there. The council categorizes other oils as refined or pomace. Refined oils are those that have been chemically treated to produce a certain taste or correct acidity. Pomace olive oil uses oil extracted from the seeds of the fruit, usually using heat. Those handy categories don’t make it any easier for American consumers, though. The United States is not a member of the International Olive Oil Council, so labeling here is more liberal and can get a bit tricky. However, even the clueless shopper can immediately clue in to marketing techniques by just getting familiar with some of the common terms that can trip people up. First, forget everything you know about the word “pure.” A bottle that claims to contain “100% Pure” oil is usually the lowest grade on the shelf; look for one that says “extra virgin” instead. And “light” olive oil has nothing to do with the fat content. Whether it’s a tablespoon of olive oil, vegetable oil, canola oil or butter, the nutritional profile is identical: 120 calories, 14 grams of fat. “Light” olive oil actually refers to a refined oil that is light on flavor. There is no such thing as a low-fat fat, unfortunately, so it is imperative to spring for flavor. It’s the type of fat that is most important, and olive oil is the best out there. t

6 A

Read & Report

ll life is composition. According to the text, the purpose of composition is to create clear and interesting solutions. In information design, it really is as simple as that…or maybe not so much. Like most things, the many parts work together to create one magnificent piece of art. If the page layout and spatial arrangement are each off, the main goal of creating clear and interesting solutions simply cannot be achieved. The main focus of Chapter Six is to describe, in depth, how crucial these parts are to one another. The textbook definition of composition is, “The form, the whole spatial property and structure from intentional visualization and arrangement of graphic elementsboth type and visual” (133). It is meant to visually communicate, compel the reader/viewer to an action, express emotion, and most importantly, be SPONTANEOUS and UNPREDICTABLE. To me, this aspect is so much more important than the tedious steps taken to get to that point. This being said, I am not trying to undermine the importance of grids, columns, flowlines, modules and spatial zones. These are the small things that pull everything together. I am not trying to say that the rule of thirds, modularity and chunking are meaningless either. If there is anything that I took away from this

37 Process Book GDE 310

chapter, it is that making enhances feeling. The idea of spontaneous formative methods, that a designer can visualize and structure from a concept, is so amazing to me. While the other means of composition, formally, media and style driven, are certainly still as relevant, I felt most intrigued by spontaneity. Perhaps this is because it is the style I lack most in myself. Author Robin Landa did a phenomenal job finding ways to help students memorize important concepts; specifically, the Three A’s and M.E.N.T. The Three A’s, action, articulation and arrangement, deal so much with guiding the eye. From the visual energy of the surface to the journey the reader’s eye takes, one must articulate clearly so that transitions are fully crafted and the expression, and therefore integrity, is not sacrificed. The acronym MENT stuck with me as well, teaching me two major lessons. The first is that MENT stands for Midline (relating all graphics to the midline of the format), Edges (Relate all graphics to the edges), Negative Shapes (Consider all negative space) and Transitions (Consider all transitions among graphic components) (153), but also that if I want a reader to actually READ something, I will have to pull it out of the body copy and put it elsewhere, seemingly pulling the eye away to something more important.

Lastly, I will pay close attention to the compositional checklist found on page 155. Reading it almost put me in check. Whereas I previously would look at something and say, “Looks good to me, guess it is finished,” I now promise myself that I will pay attention to every intricacy, but not so much that I lose the spontaneity. I suppose that is what the chapter was about: balance and finding meaning in the small details as well as in the big picture. That is composition, and that is life.

“Be spontaneous and unpredictable.” -Robin Landa

Visual Identity Fonts Lobster 1.4 48/57.6 Rex bold 48/57.6 Helvetica Neue Regular 10/12 Adobe Garamond Pro 10/12 ITC Avant Garde Light 48/57.6

Colors C=0 M=100 Y=0 K=0 64% C=0 M=100 Y=0 K=0 22% C=71 M=42 Y=0 K=0 C=29 M=12 Y=0 K=0 C=0 M=0 Y=28 K=0 C=0 M=0 Y=28 K=100

Grid 10x10 size

Footer 27 Process Book GDE 310

Transition Read & Report Read & Report GDE 310 Process Book 28

8 C

Read & Report

hapter eight’s purpose is to inform young and upcoming designers about the importance of compelling cover design. What is the purpose of a cover? To get people to read it. If the cover is unappealing, then a brilliant book may be overlooked. Likewise, a beautifully bound book with no substance may be purchased for a large amount of money simply because it looks lovely. Ever heard the phrase, “You can’t judge a book by it’s cover?” That is true-but the dusty books never get taken off the shelf. There are several key things to keep in mind when designing a cover. 1. Target the audience. Design something that makes sense for the audience that you are trying to reach. If this isn’t done correctly, then what’s the use of trying? It most likely will not succeed and all efforts will have been wasted. 2. Design a cover that makes sense. An author or writer has dedicated his or her time to this piece of work and if the cover art doesn’t do it justice, you dishonor not only their work, but also their life that they have dedicated to this piece. 3. Differentiate the cover from those of competition. Make it outstanding. Make it work. Make it something that no one has ever seen before so that at the very least, the artwork can be praised. The inside design is just as crucial as the outside. Margins, flowlines, and body copy can also make

or break an otherwise successful publication. Here are some key factors in designing the inside: 1. Clarity of communication. 2. Legibility. 3. Use of type/imagery. 4. Audience. 5. Concept. Whenever I think of this, I think of those jitterbug phones for the elderly. The buttons are large for the old people to be able to see them clearly. Books and publications should be the same. There are many elements necessary for efficient design, including: 1. Character styles. Once established, these will help save time when changing body copy from headlines, etc. 2. Grids. These will keep your work organized, clean and ready to rock. 3. Master pages. These will allow you to establish headers and footers on a multi-page document with ease. The important thing to remember is that there are many components to remember when designing. I am always inspired by W Magazine’s cover and internal features because they are so clean and beautiful. W, therefore, is what I try to think about when designing for class even though not everything is similar to W. What I got out of this chapter and selected essay is that at the end of the day, graphic design is

a business. You are a business person holding someone’s livelihood in your hands. And at the end of the day, if you can’t deliver, you will lose your job just like in any other position. Hold it wisely and treat it with care, and everything will pay off in the end.

“It’s not enough to make something look cool.” -Carla Frank

GDE 310 Process Book 38

Read & Report

hapter ten embodies the importance of visual identity. In the simplest terms, what gives a brand its integrity? Essentially, there is a problem if you look at a publication from a well-known brand and cannot identify who it is from. Visual identity is not just visual, it is verbal as well. This is also known as brand identity, branding and corporate identity. The logo is one of the key ingredients to a successful brand. The aim? Something recognizable, memorable, distinctive, sustainable and flexible. If it does not stick with the audience, the time and money spent on the brand is obsolete. One of the biggest difficulties in visual identity is creating coherence. The brand is about experience and when things do not flow, it more or less bothers the audience. Author Robin Landa suggests the following in creating good flow: +Strategy: All designers and marketing planners should use the same method of brand application. The key is to create harmony; the voice should be similar. +Look and feel: Create visual interest through attitude and tone. A consistent color palette, line quality and type help to do this. +Clarity: All copy should be conscious of the “big picture.” What message does a company want to portray with its advertising? If it does not make sense or enhance the message, it probably is off topic. A brand standards guide, also known

39 Process Book GDE 310

as identity standards manual, acts as a guideline for all of a company’s brand specifications. The logo is a complex creation. It takes many different categories, including logotype, lettermark, symbol, pictorial symbol, nonrepresentational symbol, character icon, character mark, and emblem. Design begins with a brand brief clarifying expectations and the nitty gritty details, moves to the name and collage board, to logo development. The logo must be able to stand alone, and the rest of the brand generally stems off of the logo, utilizing the color palette, elemental form, contrast and texture/pattern. Designers must remember to choose wisely when designing a logo, as the rest of the brand rests on its success. Some people, such as myself, often overlook the importance of letterhead, business cards and envelopes in branding. In reality, these are all extremely important to a brand. It is something tangible that people feel and carry with them. If a business card has glossy paper that feels weird to the touch, it will certainly resonate with a person that is particularly bothered by this. I think that the rest of the chapter built up well to this ending section about business cards and such. Obviously it is quite relevant to not only what we are learning about in class, but also to what I just did in Creative Ink for a group project. One brand that has a very strong image, to me, is Starbucks. Everything they produce feel warm and true to

the brand, even down to the visual displays in the restaurants and customer service. To me, Starbucks represents a brand that even though we pay an arm and a leg for, it keeps us coming back day after day for more. They are good at what they do.

“A logo is the point of entry to the brand.” -Milton Glaser