The Coast is Finally Clear by Rachel Bender

The Coast is Finally Clear

Publication Typography Process Book Rachel Bender

The Coast is Finally Clear

Table of Contents Foreword................................................................................................................................. 7 Week 1: Word and Concepts ............................................................................................. 8 Week 2: Dummies and Revised TOCs ........................................................................... 11 Week 3: The Spread Project ............................................................................................ 14 Week 4-5: Type Palette ..................................................................................................... 23 Week 6: A Dark Spot in My Memory ............................................................................. 28 Week 7: Midterm Presentation ........................................................................................ 29 Week 8: Refining Book Concept .................................................................................... 44 Week 9: Pagination ............................................................................................................ 49 Week 10-11: First Full Book Mock Up ........................................................................... 52 Week 12: Refined Mock Up ............................................................................................. 57 Week 13: Cover Options ................................................................................................. 69 Week 14: Final Book ......................................................................................................... 71 Designer Presentation .................................................................................................... 79 Final Thoughts ................................................................................................................... 85

Foreword When I think back on my semester in Type 3, one phrase garners the most attention: "I wish I had more time." Every week blurs together into a rush of confusion about assignments, endless lines for printing, and chiding those in my section for asking those from the other class what was due since the answer tended to be different and would consequently stress everybody out. The class was over just as it had begun, and in that time I always felt like I had done something wrong. It seems that handling the logistics of the workload (i.e., printer logistics, lab press lines, the number of pages needed, uncertainty if pieces should be tabbed on just on the table, being able to have individual meeting times, etc.) was often more important than what ended up on the page itself. I craved a weekly 6-hour studio schedule allotment to critique at not just my work properly, but the pages my peers were creating. I missed group critiques and felt like I was working in solitude most of the semester because I couldn’t afford to spend time talking about what everyone else was doing. Still, I spent a good chunk of the semester waiting, especially for myself. For weeks, I struggled with my concept, lost amongst a disjointed jumble of articles that I couldn’t put together in an order that made sense. I surprised myself when it was the result of the presidential election that finally made me realize that I knew how to unify my book. Overall, I’m very proud of what I accomplished in this class; I pushed myself to create a rather complicated final publication, structure and binding wise. Going back through the past three months has made me realize there were a lot of points of uncertainty and fear that I wish I had gotten past sooner. I wouldn’t say I wasted time necessarily. It was a part of my process, but, while I was in the thick of it, was more like typographical hell. This book chronicles my experiences of making a book, enjoy the meta journey.

xo, Rach

Week 1: Word and Concepts

Brainstorming word association with â&#x20AC;&#x153;coastâ&#x20AC;?

It's hard to believe now, but the word "coast" was not my first choice. I wanted "space," (don't we all?) but somebody else nabbed it before me. I found a ton of directions with my second choice, though, some that were more obvious, like things related to the coastline, and some that were more niche, like things related to beer coasters. The phrase "the coast is clear" came to mind, and I kept trying to think of a way to incorporate it into my system. 8

Word: Coast

Conceptual Statement: I want to create a book based around the three starkly different connotations of the word coast

Word: Coast

Conceptual Statement: I want to create a book based around the three starkly different connotations of the word coast

Table of Contents:

Part I: Bicoastal The Los Angeles Coast as a Public Place East Coast West Coast Feud

Part II: Stuck on a Roller Coaster Designing the Ultimate Thrill Machine Table of Contents: Following a Theme Park Along the Eastern Seaboard PartTrail I: Bicoastal The Los Angeles Coast as a Public Place Part III: Coasters East Coast West Coast Feud Word: Conceptual Coasting on BeerStatement: Mats Coast I want to go through the word coast from its most Part II: Stuck on a Roller Coaster utilitarian to its most escapist Designing the Ultimatepurpose Thrill Machine Following a Theme Park Trail Along the Eastern Seaboard

Word: Coast

Part III: Coasters Conceptual Statement: Coasting on Beer Mats

I want to go through the word coast from its most utilitarian purpose to its most escapist

Table of Contents: Coasting on Beer Mats Designing the Ultimate Thrill Machine The Los Angeles Coast as a Public Place Following a Theme Park Trail Along the Eastern Seaboard East Coast West Coast Feud Table of Contents: Our Coney Island State of Mind Coasting on Beer Mats Designing the Ultimate Thrill Machine The Los Angeles Coast as a Public Place Following a Theme Park Trail Along the Eastern Seaboard East Coast West Coast Feud Our Coney Island State of Mind

Word: Coast

Conceptual Statement: I want to explore the points of separation and unity between the east and west coast

Word: Coast

Conceptual Statement: I want to explore the points of separation and unity between the east and west coast

Week 1

Table of Contents: Part I: West Coast Best Coast The Los Angeles Coast as a Public Place Part II: East Coast Beast Coast Our Coney Island State of Mind East Coast West Coast Feud Table of Contents: Following a Theme Park Trail Along the Eastern Seaboard Part I: West Coast Best Coast The Los Angeles Coast as a Public Place Part III: Coast to Coast Designing the Ultimate Thrill Machine Part II: East Coast Beast Coast Coasting on Beer Mats Our Coney Island State of Mind East Coast West Coast Feud Following a Theme Park Trail Along the Eastern Seaboard Part III: Coast to Coast Designing the Ultimate Thrill Machine Coasting on Beer Mats

Because of the broad range of content I was pulling from, organizing three tables of content that featured virtually all of the same articles but had three different conceptual organization methods was a challenge. I was having trouble writing simple conceptual statements because I was diving too deep into the process of gathering more and more texts before I even had a place to put them. My initial thought was that I would be able to find a large amount of articles about the differences between the West and East coast, but it would appear this rivalry is hardly mentioned in the academic world. My search had to expand to other topics surrounding "coast." I was overwhelmed and uncertain of how to make my intentions clearer. 10

Week 2: Dummies and Revised TOCs

6x9 6x10

8x10

Not to scale, but reduced proportionally

I chose my dummy sizes for a couple of practical reasons: I wanted to be able to hold it comfortably in my hand, and I always wanted to be able to print out my spreads on 11x17 paper. I knew the upcoming weeks would involve a lot of printing and mock-ups, and I wanted to streamline that process so that I could focus on what mattered the most to me: the content and typesetting inside. 11

Week 2

Concept: I want to explore the points of separation and unity between east and west coast culture TOC West: LA is a Heavenly Place The Los Angeles Coast as a Public Place Endless Summer (1964): Consuming Waves and Surfing the Frontier Weast: East vs. West: Stark Coast-to-Coast Culture Clash Revealed Quora: What Are the Major Cultural DiďŹ&#x20AC;erences? East: Here is New York East Coast West Coast Feud Our Coney Island State of Mind

Concept: Go through the diďŹ&#x20AC;erent emotional levels involving coast TOC Utility: Coasting on Beer Mats Coasters Let Students See If Their Drink is Spiked In Loo of Coasters Fantasy: Designing the Ultimate Thrill Machine On the Wild Side Our Coney Island State of Mind The Los Angeles Coast as a Public Place Reality: My Dark California Dream Coastal Wetland Restoration and the Deepwater Horizon Oil Spill East Coast/West Coast Art Project

I edited my concept about the differences between the east and west coast to literally have content in the beginning the was related to the left/west go through the middle, and end with content about the east. For my concept where the word "coast" changes meaning, I created stronger separate sections, but the wording wasn't quite right. Still, I liked the idea of having a book with such a wide range of content tied to together by one thread. 12

Dummies and Revised TOCs

Concept: Create a historical map of the evolution of roller coasters throughout the United States, organized by construction material TOC Wood Steel Suspension Virtual Reality

For whatever reason, probably just because they're both fun and scientific, my research drew me to learning more about roller coasters. I changed one of my concepts entirely with a vision in mind to create an incredibly comprehensive history of their evolution in the United States.

Week 3: The Spread Project 4

Commentary on Travel Yuichi Yokoyama Translated by Taro Nettleton

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5 Tor miniene ctium, quos eossimus untet et ma venempo ribusa debitAgnimolupis andi te porectem

For the an excerpt from the book Travel by Yuichi Yokoyama see pages 1-6

8 Itatia que optas ad quam, unt maiorpores rehendae qui cupti odias que resectotasit et ex es sandes expliaOfficia qui dolorei cienit asim quas ex expero et facero berum alis quibus doluptati odis venis estet doloria nullantis veni accatem idenihi cientibus dit as ium as essim sandi ipsandae lam ea doluptae vendit acerovid quis aut renis eiusam fuga. Magnienimust enimi, quas eicatur? Orrum nulliquis sum sumet alic to doloremquis si bea porum nescient.

1 An American Pastoral

AUDC Robert Sumrell and Kazys Varnelis

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The Words Here

A Footnote that no one will ever read because honestly this is so tiny! But good for you academics, you’re gonna go places, 300

The Words Here

Page hierarchy items ranked 1-10, or at least the hierarchy that makes sens to me

Commentary on Travel Yuichi Yokoyama Translated by Taro Nettleton

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For the an excerpt from the book Travel by Yuichi Yokoyama see pages 1-6 32

The Words Here

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An American Pastoral AUDC Robert Sumrell and Kazys Varnelis

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A Footnote that no one will ever read because honestly this is so tiny! But good for you academics, you’re gonna go places, 300

The Words Here

I love working on documents with large grids, so this project was pretty intuitive for me. I knew to expect more columns than there were upon the first glance. What I didn't expect was to put in so much work creating grids from scanned pages that weren't flat, thus creating a ripple when trying to determine the column sizes accurately. My inner "snap-to-grid lover" died a bit when I realized my source material wasn’t even going to be that helpful. I had some fun once I started trying to figure out what typefaces were being used, and I did a pretty good job of matching them. This project had good intentions, but the execution was flawed. 14

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The Words Here

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Week 3

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The Spread Project

Coast

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Part II

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It’s a familiar scene at every amusement park: People standing patiently in line, sometimes for more than an hour, filled with an odd mixture of trepidation and excitement, inching closer to the moment of truth. Then, after being strapped into their seats and subjected to a fist-clenching, head-spinning, stomach-churning ride, they step of, some exhilarated, others visibly shaken, only to get back in line and do it all over again.

This was not always so. During their heyday in the 1920s, roller coasters were crude, clanking constructions of steel and wood, and riders had to rely on lap bars and a strong grip to keep from being thrown from their seats. Yet despite well-publicized injuries and even fatalities, the roller coaster, then as now, was the king of the amusement park. Indeed, the more terrifying a reputation a roller coaster had, the more riders it attracted. Starting Down The Slippery Slope According to Paul Ruben, the North American editor of Park World magazine, which covers the amusement park industry, the origins of the roller coaster can be traced as far back as the early 17th century in St. Petersburg, Russia. It was there, in 1610, that an enterprising showman constructed a wooden slide over a wood frame to form a steep incline. He then poured water over the structure in the winter to coat it with ice. Patrons soon lined up to pay good money for a terrifying ride down the ramp on sleds, seated in the laps of guides. Legend has it that Empress Catherine the Great was so taken with the ride that she wanted to use it during the summer months. The first wheeled cart was then developed to propel the monarch down the slide. Nearly 200 years later, the French began building what they called “Russian Mountains” around Paris. (When modern roller coasters were developed, Russians called them “American Mountains.”) Like their predecessors, the French rides consisted of wooden towers that provided a continuous descent for wheeled passenger carts. The straight-away design changed with the introduction of the first looping ride, the Chemin de Centrige (Centrifugal Road), at the Frascate Gardens in Paris in 1846. “The ride’s owner would pass the hat among spectators who paid to watch his partner board a wicker carriage, not unlike a large baby carriage, that rolled downhill on railway track through a 13-foot-diameter loop,” Ruben said. Other French looping rides built later included the Chemin de Amour (Road of Love). Passengers were strapped at their waist and feet inside a 7-foot diameter wooden barrel and rolled down an undulating track. “In time, paying spectators of the Chemin de Amour outnumbered the riders,” Ruben said.

As frightening as they are, modern-day roller coasters are designed to provide their passengers with the smoothest, quietest (except for the screaming), and safest ride possible. Engineers use computerized design tools to calculate the forces and stresses to which riders are subjected. Lightweight and durable materials, specially designed restraints, and computerized controls are used to build roller coasters that will give thrill-seekers the ride of their lives without endangering them.

In the French rides, passenger cars were manually hauled by

Coast

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Part II

Golden Age of Roller Coasters During their heyday in the 1920s, roller coasters were crude, clanking constructions of steel and wood, and riders had to rely on lap bars and a strong grip to keep from being thrown from their seats. A combination of historic and economic factors caused roller coasters to decline in numbers from the 1930s to the 1970s. First, growing urban populations made trolley-park land valuable to developers, who purchased it to build suburban housing and businesses. The Depression also took away the carefree spending habits of the previous decades. Fires, lack of maintenance, the onset of World War II, and the seediness of many amusement parks all contributed to the dwindling number of North American Roller coasters - down to 147 by 1979. Roller coasters have come a long way since then. With today’s computerized design techniques, electronic controls, and modern materials, engineers are creating more daring - yet much safer - rides. According to the US Product Safety Commission, roller coasters cause only 1.5 deaths per year, out of more than 240 million roller-coaster riders. In addition to better safety restraints, other design changes, including the use of CAD, have made faster, scarier rides possible. It’s a familiar scene at every amusement park: People standing patiently in line, sometimes for more than an hour, filled with an odd mixture of trepidation and excitement, inching closer to the moment of truth. Then, after being strapped into their seats and subjected to a fist-clenching, head-spinning, stomach-churning ride, they step of, some exhilarated, others visibly shaken, only to get back in line and do it all over again. As frightening as they are, modern-day roller coasters are designed to provide their passengers with the smoothest, quietest (except for the screaming), and safest ride possible. Engineers use computerized design tools to calculate the forces and stresses to which riders are subjected. Lightweight and durable materials, specially designed restraints, and computerized controls are used to build roller coasters that will give thrill-seekers the ride of their lives without endangering them.

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I started trying to create levels of hierarchy in my grids, but everything ended up feeling flat. I wasn't utilizing all of the space I had given myself well. I was creating big block that, despite having a huge margin, made the spreads look cluttered. 17

Week 3

Coast

chain to their launching point and then released. The first powered ride was built in the 1870s from a former open-pit coal mine located at the top of Mount Pisgah, in Mauch Chunk (now Jim Thorpe), Pa., between Philadelphia and Scranton. When the mine was operating, mules hauled empty coal cars up a railed track, called the Mauch Chunk Railway, to the mountaintop, where the cars were filled with coal. At the end of the day, the miners tried to walk the mules down the mountain, but the stubborn beasts refused. The miners realized that riding down a mountain is easier than walking it, so they put the mules in an empty car when the train was sent down for unloading the coal on barges. The idea of putting people instead of mules in the cars soon followed. When the Mount Pisgah mine was closed in 1873, the coal-car railway was converted to an excursion service. The new line, called the Mauch Chunk Switchback, provided an hour-long scenic ride on an 18-mile-long figure-eight route. A single wooden car that held up to 70 paying passengers on bench seats was pushed to the top of Mount Pisgah and rolled to the base of Mount Jefferson seven miles away. The car was then pushed to the top of Mount Jeerson by a Barney car, which in turn was pulled by a steam engine. The train was then released to roll back to Mount Pisgah. Passengers could disembark on either mountain to enjoy the view, and return on the next car. Although the car reached speeds of 60 miles per hour on the home stretch and had no lap bars, seat belts, or other safety restraints, no one was ever injured on the Mauch Chunk Switchback, which was in service until 1938. The Father Of Modern Roller Coasters The popularity of the Mauch Chunk Switchback spawned a number of imitators. One such ride, built in 1887 in Haverhill, Mass., had closely spaced rollers on the side of a building to provide an incline. Although the ride was not profitable, it did give rise to the name “roller coaster” for the first time. The first modern roller coaster, one with undulating slopes, was the Gravity Pleasure Switchback Railway, built by LaMarcus Adna Thompson in 1884 in Coney Island, N.Y. Thompson’s ride consisted of two wooden towers, each 45 feet high and 450 feet apart, connected with flat steel track laid over five to seven layers

Part II

After A Roller Coaster Ride Neurologic complications after roller coaster rides are uncommon but potentially catastrophic. Physicians should have a high index of suspicion and prompt appropriate investigation. A 22-year-old healthy African American man presented with a 2-day history of constant occipital headache associated with vertigo, nausea, vomiting, and ambulatory dysfunction. Physical examination

showed gait ataxia, slight dysmetria, and vertical nystagmus.

Magnetic resonance imaging (MRI) of the brain showed early subacute ischemic infarct in the right cerebellum in the distri-

bution of the right posterior inferior cerebellar artery. Magnetic

resonance angiography of the neck showed focal dissection of

the right vertebral artery at C1 through C2 level. On subsequent questioning, the patient recollected riding a roller coaster 2

weeks before the onset of symptoms. Anticoagulation with hepa-

rin was started, and the patient was bridged to oral warfarin. After a 5-day uneventful hospital course, symptoms improved and

patient was discharged on oral anticoagulation. Cervicocephalic arterial dissections after roller coaster rides are rarely described in literature. The acceleration and abrupt changes of direction

might lead to indirect trauma that is applied to mobile portions

of the cervicocephalic arteries leading to intimal tears. Magnetic resonance angiography combined with axial T1-weighted cervical MRI is preferred because it is a high-sensitive, noninvasive test. The rationale for the use of anticoagulants or antiplatelets in patients with cervicocephalic arterial dissection is to prevent

References Burneo JG, Shatz R, Papamitsakis NIH: Amusement park stroke . Neurology 55 564- 2000. Fukutake T, Mine S, Yamakami I: Roller-coaster headache and subdural hematoma . Neurology 54 2642000. Schneck M, Simionescu M, Bijari A: Bilateral vertebral artery dissection possibly precipitated in delayed fashion as a result of roller coaster rides . J Stroke Cerebrovasc Dis 17 (1): 39-41, 2008. Lascelles K, Hewes D, Ganesan V: An unexpected consequence of roller coaster ride . J Neurol Neurosurg