Process Book Nina Youn DES 115 Summer 2017
Table of Contents
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Minimal Letterforms
Type Hierarchy Studies Book Design
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Project 1: Minimal Letterforms For this project, we were given 6 different typefaces: Centaur, Garamond, Bodoni, Memphis, Helvetica, and Friz Quadrata. Each of us was to pick 1 typeface for the final version. Starting with thumbnail sketches, I used tracing papers to study the unique characteristics of the typefaces by sketching each alphabet. At first, I did not know what typefaces I was using because it was not written anywhere on the paper I was provided. Then, when we started the second draft Program used: Adobe Illustrator
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of this project, I paid attention on what typefaces I was using. I picked the one that was the most complimented in the second draft to move onto the final version. The typeface I used was Bodoni, sized 420. It had the best balance between the positive and negative spaces, playing with the juxtaposition of my letters: U, F, Q, and G. Then, I printed it on high quality 11 x 17� paper, glued it on a 11 x 14� bristol paper, and trimmed it to be perfectly mounted.
Final
F U QG 3
Project 2: Type Hierarchy Studies This project used different types hierarchy of 1 typeface, Univers. With different sizes and weights, we were given about 3 weeks to complete this project. There were total of 3 sets and each set had part A and B. To start of with this project, I was told to trim total of 10 tracing papers to 10 x10” and use strips of papers of information that was provided to us on Canvas for Set 1A and 1B. For Set 2A and 2B, I had to repeat the process but with total of 6 tracing papers. Set 3A and 3B layouts were done digitally. These are the different sizes, styles, and weights used for each sets: Set 1A: 15 pt. Univers 45 Set 1B: 15 pt. Univers 45 and 65 Set 2A: 15 pt and 9 pt Univers 45 and 65 Set 2B: 15 pt. and 9 pt. Univers 45, 46, 65, 66 Set 3A: Any of Univers with rules Set 3B: Any of Univers with or without rules I did not want to randomly put the strips on the tracing papers. I wanted my audience to be able to read what I have. After every critique, I picked out the ones that were critiques the most because I believed that they were the ones with the most potential of being successful. Even during the process of making the final versions, I kept asking my peers what can be improved. For the final versions, I printed them on high quality 11 x 17” papers and mounted them on the bristol papers that were provided. Then, I trimmed them down to 10 x 10”. Program used: Adobe InDesignt
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Turn page to see the layouts
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Set 1A
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Set 1B
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Set 2A
Set 2B
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Set 3
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Finals
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Marian Bantjes
Thursday, December 17 7 pm Design Museum UC Davis Lectures are free and open to the public
Andrew Blauvelt
Ruedi Baur Nicholas Felton Thursday, December 3 6 pm
Marian Bantjes
Richard Saul Wurman 135 Walker Hall UC Davis
More than just a love of letters
Ruedi Baur Nicholas Felton Rtichard Saul Wurman
Design Museum
6 pm
UC Davis
6 pm Thursday, December 3
Zuzana Licko Jonathan Hoefler Tobias Frere-Jones Thursday, December 10 6 pm 135 Walker Hall UC Davis
3B
Lectures are free and open to the public
Thursday, December 10
UC Davis
More than just a love of letters
7 pm
Lectures are free and open to the public
Tobias Frere-Jones
A lecture series exploring the relationship between form and content
A lecture series exploring the relationship between form and content Thursday, December 17
Visual Language
Jonathan Hoefler
135 Walker Hall
UC Davis
Zuzana Licko
135 Walker Hall
Orientation and disorientation
3A
Matter/anti-matter/does it matter?
Stefan Sagmeister
Visible Language
Orientation and disorientation
Matter/anti-matter/does it matter? Stefan Sagmeister Andrew Blauvelt Marian Bantjes Thursday, December 17 7 pm Design Museum UC Davis
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Project 3: Book Design This project was to design a Paul Rand book. All the information and images were given to us on Canvas. I started by sketching out the pages and roughly where the information and images were going to be placed. For the cover pages, I did not know how to begin designing. I searched the logos that Paul Rand designed on Google. I tried to make it more interesting by playing with the letters from the title but it did not quite work out as I planned. I then decided to start off with a circle, since several of Paul Rand’s logos were in the shape of a circle. I chose the main colors of the whole project, which were black, white, and red, and emphasized the word “play” ot balance out the tiProgram used: Adobe Photoshop, Illustrator, and InDesign
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tle. Everything was mainly placed in certain place to create a balance between the information and the images. I used different sizes of grids and guidelines. I converted the images into red to emphasize each topic visually, so that the audience will see them first and understand what each image is about. For the final version, all of the pages except the cover pages were printed and trimmed to size 10 x 10” at Copyland in Downtown Davis. Unfortunately, they were not able to print the cover pages so I went to Cruess Hall on campus to print it. When all the pages were ready, I binded them together using woodblocks and clamps.
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Final Cover
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Hokusai’s Drawing
This drawing is reproduced from the first volume of Hokusai’s Rapid Lessons in Abbreviated Drawing (Riakougwa Hayashinan, 1812). In the book Hokusai shows how he uses geometric shapes as a guide in drawing certain birds. This exercise may be compared to the Tangram in that both use geometric means.
The Modulor
The Tangram, however, uses geometry as an end in itself—to indicate or symbolize natural forms—whereas Hokusai uses it as a clue or guide to illustrate them. In the artist’s own words, his system “concerns the manner of making designs with the aid of a ruler or compass, and those who work in this manner will understand the proportion of things.”
The Modulor is a system based on a mathematical key. Taking account of the human scale, it is a method of achieving harmony and order in a given work. In his book, The Modulor, Le Corbusier describes his invention as “a measuring tool [the proportions] based on the human body [6-foot man] and on mathematics [the golden section]. A manwith-arm-upraised provides, at the determining points of his occupation of space—foot, solar plexus, head, tips of fingers of the upraised arm—three intervals which give rise to a series of golden sections, called the Fibonacci series.”8 [1, 1, 2, 3, 5, 8, 13, etc.]
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The Modulor is a discipline which offers endless variations and opportunities for play. Le Corbusier’s awareness of these potentialities is evident from the numerous references to the game and play in his book, such as “All this work on proportioning and measures is the outcome of a passion, disinterested and detached, an exercise, a game.”9 Further, he goes on to say, “for if you want to play modulor…”10
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Final Pages
Matisse It is inconceivable to consider Matisse’s compositions with cut paper without; in some way, linking them to the play element—the joy of working with simple colors and the fun of “cutting paper dolls.” But the greatest satisfaction, perhaps, is derived from creating a work of art with ordinary scissors and some colored paper— with so simple means, such satisfying ends.
Picasso One cannot underestimate the importance of restraint and playfulness in almost any phase of Picasso’s work. Here, for example, one sees a restrained use of the brush and one flat color. The drawing of the child’s face, the ornament and the lettering are all one. Lettering is not used as a complement to the drawing, but as an integral part of the drawing. It serves as both a garland and a verbal image—a visual pun. What emerges is a kind of game itself, revealing the ingenuity and playfulness of the artist, his ability to deal with problems in the simplest, most direct, and meaningful manner. Similarly, this ability to do much with little—to find a bull’s head in a bicycle seat and handle bars—is another aspect of Picasso’s wizardry, his humor, his childlike spontaneity, his skill as a punster and ability to improvise and invent with limited, often surprising means.
In comparison to most so-called systems of proportion, the Modulor is perhaps the least confining. The variations, as will be seen from this illustration, are practically inexhaustible (and this example utilizes only a very limited number of possibilities). This drawing is one of a limitless number of so-called Panel Exercises, played for pleasure or for some real application in order to discover a most satisfactory or beautiful
configuration. If, however, the system should present difficulties which happen to run counter to one’s intuitive judgment, Le Corbusier himself provides the answer: “I still reserve the right at any time to doubt the solutions furnished by the Modulor, keeping intact my freedom which must depend solely on my feelings rather than on my reason.’’11
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