Typography 2 Process Book by Rachel Bender

Sleep is for the weak.

Rachel Bender Typography 2 Process Book

Typography 2 Process Book

Contents Foreword

Project 1: Designer Presentation

9–12

Project 2: Crystal Goblet

13–18

Project 3: Exercise de Style

19–37

Project 4: Type in Space

38–39

Project 5: Booklet

40–50

Final Thoughts

Foreword Hey There, If you’re picking up this book, you’re probably grading it, or you’re related to me. No matter what your reason, welcome! Another 15 weeks of my life has gone by in what feels like both a flash and eternity. I am so tired, but also very energized and excited to see what I can improve upon over the summer. This semester had some moments that ended up having some interesting effects on my work: January 19: Started an 18-credit course load and was only feeling semi-confident I could pull it off. January 21: Found out that the Type 1 “Girl’s Club” from last semester had changed significantly, which immediately resulted in me losing my usual desk space. I spent most of the semester in a chair in the corner because I was too tired during the morning to fight anyone for my old spot. I also really just don’t like being in between two people while I’m working because I flail my arms a lot and always shift between sitting and standing. January 27: Turned 21; suddenly felt both ancient and incredibly young and quietly had a quarter life crisis. February 4: Began disliking the general vibe in class; critiques were either extremely lacking in participation or felt combative. There was less a group workshop vibe and more of an isolated cliques atmosphere. February 18-21: Competed in an advertising campaign competition from 9am-2am for four days straight. I won first place but got screwed up in my school work schedule due to the sharp detour that used up all of my creative energy and motivation. February 24-25: Pulled my first extreme all-nighter of the semester to get all of my work done and hung by 8 am. This semester I lost a huge chunk of my usual work time because I had class on Wednesdays from 12:30-10, whereas the first semester I had Wednesdays almost entirely free. March 31: Accidentally cut my pinkie with an X-Acto knife and had to go to the emergency room because it would not stop bleeding. Received two stitches. April 14: Exhaustion caught up with me, and I just couldn’t get out of bed, did not make it to school this day. April 21: Found out at 5 am that I couldn’t register for classes due to a clerical error, briefly cried from exhaustion and frustration, fell back asleep, and ended up being late for class and without my work. Entire semester: Spent almost every day worried about what I was going to be doing in the summer and how to be a good friend/daughter/human being.

While many other both lovely and highly aggravating things happened throughout, that’s just life. Please enjoy this collection of work I completed in between. xo, Rachel

Project 1: Designer Presentation Background

Muriel Cooper

Self Portrait, 1982

Practice

Major Contributions Bauhaus Book and Poster Design, 1969

Message and Means Course Poster, 1974

Learning from Las Vegas Book Design, 1972

Highlighted Work

Typographic Approach

MIT Press Logo, 1962

â&#x20AC;&#x153;Information Landscapes,â&#x20AC;? 1994

Presentation Slides

Designer Presentation

Like the rest of our presentation, we kept the design of our timeline incredibly simplified with a clean white background and sans serif type. When sketching out the order, we noticed there was a significant shift in Cooperâ&#x20AC;&#x2122;s achievements when she began working digitally.

Timeline

1925

Goes to New York to pursue advertising; meets Paul Rand

Earns Fulbright Scholarship, goes to Milan to study exhibition design for six years

1951

1958 1952

Becomes 1st art director at MIT Press; takes first computer class at MIT

1967 1962

1994 1973

Born in Brookline, Massachusetts

Presents computer graphics at the TED5 Conference

Dies unexpectedly of a heart attack :(

Starts doing freelance for MIT Office of Publications

Returns to US, establishes her own design studio, still freelances for the MIT Press

Co-founds the Visual Language Workshop at MIT

My project partner, Elyse, and I looked into the life and work of Muriel Cooper. Before this assignment, I had never heard of her, which is such a shame. I had to take a coding class my freshman year of college that made me cry almost every day out of frustration, so finding out one of the innovators of digital communication design changed the game without really knowing how to code is highly inspiring. Cooperâ&#x20AC;&#x2122;s life work speaks to what truly makes a designer successful: communicating their ideas so others can understand what they want to say.

Designer Presentation

Muriel Cooper 01 02 03 04 BACKGROUND

PRACTICE

—————

Muriel Cooper graduated from Ohio State in 1944 and received a BFA in design in 1948 and a BS in education from the Massachusetts College of Art in 1951. She intially wanted to enter advertising in an era when it was still really an old boy’s club, but she ended up changing directions and getting a position as a freelance at the MIT Office of Publications. Her work with book design led her to be appointed to the director of design, a position she held for six years. 1958, she earned a Fulbright Scholarship and went to Milan for four years to study exhibition design. She had her coming of age when she returned to the US; she opened her own design studio, retained MIT Press as a client and returned as their first director in 1967.

Cooper was influenced by the Bauhaus principles, which is evident in her print design. She also had a love for animation, advertising and exhbition design. After taking her first computer class, she became inspired to figure out new solutions to new problems brought on by a digital interface. She believed that good graphic communcation could enhance computer systems and vice versa. Interestingly enough, she didn’t write code, instead she took on the roles of the designer and the thinker. She believed that information that wasn’t well designed wasn’t worth knowing.

08 PERSONAL THOUGHTS

MAJOR CONTRIBUTIONS —————

HIGHLIGHTED WORK —————

TYPOGRAPHIC APPROACH —————

Cooper became the first art director at the MIT Press in 1967, she designed over 500 books during her career with them. Her books are now highly sought after and fetch a hefty price in online auctions. The Visual Language Workshop, and the course she taught ”Message and Means,” were experiments based on the open studios of art and design education in a research setting. The curriculum in these classes were extremely influential on youg designers and coders. She completed her final computer typographic research in 1994. The results she and her team presented at TED5, “Information Landscapes,” went in a drastically different direction from computer interface design of the era.

Cooper created the logo for MIT Press in 1962. It references her love of the Bauhaus aesthetic, the clean geometric shapes and minimalist color palette. The seven bars represent the lower case initials of press’ name and also mimic the spines of a row of books. We like it because we like minimal design, it’s simple, representational and it gets to the point. We feel it fits with the image of the company.

Cooper’s typework is very situated in modernism. She was clearly inspired by the International style: clean lines, use of grid and sans serif typefaces. But her work with type was also very experimental, particularly when she began working digitally. She played with different planes and levels of transparency. As computer technology advanced, so did her team’s output. She wanted to explore texts outside of the confines of two dimensions, the digital domain allowed her to explore 3D and further into images that correlated and corresponded to sound.

In the grand tradition of historians sucking, Muriel Cooper clearly does not get her due. She has consistently been left off of the short lists for most influential designers of the 20th century, when in fact it’s her research and work that is more prevalent in modern life than many of her peers. User interace and experience design are now incredibly important, and lucrative, fields today. Perhaps as these areas of design continue to rise in the public concious, more credit willResearch be given toonCooper the contributions she made. Murieland Cooper’s Life and Work

She had the skills I think all young designers today crave: a mastery of the physical and digital mediums. Even though she didn’t know how to code, she knew how to say what she wanted and she worked with people who could help he bring her visions to frutition.

Designer Presentation

riel Cooper iel Cooper 02 03 03 04 04 05 05 02 05 06 07

Rachel Bender Elyse Clark

PRACTICE PRACTICE

TYPOGRAPHIC ————— ————— APPROACH uated Cooper influenced d Cooper was was influenced by by ————— 944 and the Bauhaus principles, and the Bauhaus principles,

MAJOR MAJOR CONTRIBUTIONS CONTRIBUTIONS TIMELINE ————— —————

HIGHLIGHTED HIGHLIGHTED WORK WORK BIBLIOGRAPHY ————— —————

TYPOGRAPHIC TYPOGRAPHIC APPROACH APPROACH ————— —————

Cooper became Cooper created the logo Cooper’s typework is very Cooper became the the Cooper created the logo Cooper’s typework is very ————— ————— art director at the for MIT in 1962. situated in modernism. first first art director at the for MIT PressPress in 1962. situated in modernism. which is evident in her MIT Press in 1967, she It references her love clearly inspired nesign in in which is evident in her 1967, love ofA of She She was was clearly inspired logo Cooper’s typework is very MIT Press 1925:inBorn in she Brookline, It references Aynsley,her Jeremy. ucation design. She designed books the Bauhaus the Bauhaus aesthetic, by International the International style: ion printprint design. also also designed overover 500 500 books the the by the style: 962. situatedShe in modernism. Massachusetts Centuryaesthetic, of Graphic etts had a love for animation, during during her career with clean geometric shapes clean lines, usegrid of grid and had a love for animation, her career with clean geometric shapes clean lines, use of and ve of She was clearly inspired 1951: Goes to New York Design. Hauppauge, NY: 51. advertising and exhbition them. them. Her books are now and and minimalist typefaces. exhbition books are now minimalist colorcolor sanssans serifserif typefaces. tic, the advertising by the and International style: toHer pursue advertising; Barron’s Educational o enter design. design. After taking her highly sought after palette. seven bars her work nter After taking sought after and and palette. The The seven But But her work withwith apes clean lines, useher of grid and highlymeets Paul Rand Series, 2001. bars Print. when first first computer class, she fetch a hefty price in represent the lower case type was also en computer class, she fetch a hefty price in represent the lower case type was also veryvery or sans serif typefaces. 1952: Starts doing freeold became inspired to figure online online auctions. initials of press’ name experimental, particularly became to with figure auctions. of press’ name and and experimental, particularly bars Butinspired her work lance for MIT Office of initials Carlos, Dante. “Muriel out new solutions to new The The Visual Language also mimic the spines of when she began working dnded out new solutions to new Visual Language also mimic the spines of when she began working case type was also very Publications Cooper: Turning Time ns problems brought onaby a Workshop, Workshop, and the course a row a row of books. We like digitally. played brought onparticularly by theFulbright course of books. WeThe like it it digitally. She She played into Space.” Gradient. me and problems experimental, 1958: and Earns na as a digital digital interface. she taught ”Message because we like minimal with different planes and interface. ”Message andtoand we9like nes of when she began working she taught Scholarship, goes Milan because N.p., Apr.minimal 2014. Web. 21 with different planes and Office She She believed that good Means,” were experiments design, design, it’s simple, replevels of transparency. fice believed that good Means,” were experiments it’s simple, replevels of transparency. e like it digitally. She played to study exhibition design Jan. 2016. work graphic communcation based on open the open studios resentational resentational it gets As computer technology rk communcation on six the and and it gets As computer technology nimal graphic with different planes and basedfor years studios d to her to could could enhance computer ofand art and design education to the to point. the point. We feel it advanced, so her did her enhance computer of art design education We feel it advanced, so did replevels of transparency. 1962: Returns to US, Clifford, John. Graphic director systems and versa. in a research setting. fits with the image of the team’s team’s output. wanted tor vicevice versa. setting. The The the Visionaries image of the output. She She wanted gets systems As and computer technology in a research establishes her own design fits with Icons: Who she Interestingly enough, she curriculum curriculum in these classes company. company. to explore texts outside Interestingly enough, these classes el it advanced, so didshe her studio,instill freelances for Shaped Modern Graphic to explore texts outside 958, didn’t code, instead were extremely influential of confines the confines of two writewrite code, instead extremely influential of the of two of the didn’tteam’s output. She wanted were the MIT Press Design. N.p.: n.p., n.d. ht she took on roles the roles on youg designers and dimensions, the digital she took on the on youg designers and1st dimensions, the digital to explore texts outside 1967: Becomes art diPrint. nt to of designer the designer the coders. completed domain allowed her to of the and and the coders. SheatShe completed domain allowed her to of the confines of two rector MIT Press; takes to thinker. believed that her final her final computer explore 3D and further thinker. She She believed dimensions, the that digital firstcomputer computer class at MIT “Muriel Cooper, 68, Dies; explore 3D and further ign. information that wasn’t typographic research into images that correlated She She information wasn’t typographic research intheinVidomainthat allowed her to 1973: Co-founds Noted Graphic Designer.” into images that correlated ge when wellwell designed wasn’t 1994. The results she and corresponded hen designed wasn’t 1994. The results she and corresponded to to explore 3D and further sual Language Workshop MIT News. N.p., 1 June US; worth knowing. and team her team presented sound. he she worth knowing. into images that correlated and her at MIT presented 1994. Web. 21 Jan. 2016. sound. gn stuat TED5, “Information tuat TED5, “Information and corresponded to 1994: Presents computer essa as a Landscapes,” went in as Landscapes,” sound. graphics went at theinTED5 “Related Information.” s their a drastically different eir a drastically different Conference The MIT 150 Exhibition . direction from computer direction computer Diesfrom unexpectedly of a 115 Comments. N.p., n.d. interface design of the era. interface heartdesign attackof:(the era. Web. 21 Jan. 2016.

In grand the grand tradition of historians sucking, Muriel Cooper In the tradition of historians sucking, Muriel Cooper clearly not her get due. her due. has consistently clearly doesdoes not get She She has consistently beenbeen left left offthe of short the short lists for most influential designers of the of lists for most influential designers of the think alloff young designers today crave: a 20th century, when in fact it’s research her research century, when in fact it’s her and and workwork that that is is sical and20th digital mediums. Even though more prevalent in modern life than many of peers. her peers. User more prevalent in modern life than many of her User w to code, she knew how to say what interace experience design are now incredibly importand and experience workedinterace with people who could design help herare now incredibly importlucrative, fields today. Perhaps as these ant, ant, and and lucrative, fields today. Perhaps as these areasareas of of frutition. design continue to rise in public the public concious, credit design continue to rise in the concious, moremore credit be given to Cooper the contributions she made. will will be given to Cooper and and the contributions she made. Research on Muriel Cooper’s Life and Work

the skills I think all young designers today crave: She She had had the skills I think all young designers today crave: a a mastery of physical the physical digital mediums. though mastery of the and and digital mediums. EvenEven though she didn’t know to code, she knew to what say what she didn’t know howhow to code, she knew howhow to say she wanted she worked people could she wanted and and she worked withwith people whowho could helphelp her her her visions to frutition. bringbring her visions to frutition.

Rachel B Rachel Ben Elyse Elyse C

06 06

07 07

TIMELINE TIMELINE

BIBLIOGRA BIBLIOGRAPH

————— —————

1925: in Brookline, 1925: BornBorn in Brookline, Massachusetts Massachusetts 1951: to New 1951: GoesGoes to New YorkYork to pursue advertising; to pursue advertising; meets meets PaulPaul RandRand 1952: Starts doing 1952: Starts doing free-freefor MIT Office lancelance for MIT Office of of Publications Publications 1958: Earns Fulbright 1958: Earns Fulbright Scholarship, to Milan Scholarship, goesgoes to Milan to study exhibition design to study exhibition design foryears six years for six 1962: Returns to US, 1962: Returns to US, establishes her own design establishes her own design studio, freelances studio, still still freelances for for the MIT the MIT PressPress 1967: Becomes 1stdiart di1967: Becomes 1st art rector at MIT Press; rector at MIT Press; takestakes computer at MIT first first computer classclass at MIT 1973: Co-founds the Vi1973: Co-founds the ViLanguage Workshop sual sual Language Workshop at MIT at MIT 1994: Presents computer 1994: Presents computer graphics at TED5 the TED5 graphics at the Conference Conference unexpectedly DiesDies unexpectedly of a of a attack heartheart attack :( :(

Aynsley, Jeremy Aynsley, Jeremy. A Century of Grap Century of Graphic Design. Hauppau Design. Hauppauge, Barron’s Educati Barron’s Educationa Series, 2001. Pri Series, 2001. Print.

Carlos, Dante. “M Carlos, Dante. “Mur Cooper: Turning Cooper: Turning Tim Space.” into into Space.” The The Gra 9 Apr. 2014 N.p.,N.p., 9 Apr. 2014. W 2016. Jan. Jan. 2016.

Clifford, G Clifford, John.John. Graph Icons: Visionarie Icons: Visionaries W Shaped Modern Shaped Modern Grap Design. Design. N.p.:N.p.: n.p.,n.p n. Print. Print.

“Muriel Cooper, “Muriel Cooper, 68, Noted Graphic D Noted Graphic Desig News. MITMIT News. N.p.,N.p. 1J 1994. 21 Ja 1994. Web.Web. 21 Jan. 2

“Related Inform “Related Information Ex The The MITMIT 150 150 Exhibi Comments. 115 115 Comments. N.p. 21 Jan. 201 Web.Web. 21 Jan. 2016.

Project 2: Crystal Goblet Learning by Heart

Kent and Steward

Work Play

combine the abstract and the concrete, the joy and the labor. That word would represent the ecstasy we feel when work and play are one.

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

Getting Started

Work is often done by playing around. For example, when you set out to write something that must be finished and finely crafted, you can begin by playing around. Write anything that comes into your head or write about what you see around you or what happened yesterday. This is to get your feet wet; soon you may find yourself swimming in material pertinent to your piece. You then can start rearranging and rewriting. Letting yourself go free, playing around until something comes, is often very hard work. Or it all seems too difficult–you are faced with a blank. Go to a movie, take a walk, read a book for fun. Sometimes, these experiences will spark an idea or memory or thought so that the fun times prove to be marvelous resources-research. Was that free time or was it simply the early part of some work? One way to start working is to put something, anything, on paper and then do it over and over. This can relax you and allow greater freedom because you are less critical (none has to be the best picture ever made). Playing allows you to slip into working from which you can easily slip back into playing. Then come those marvelous and rewarding moments when you are making and you are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work. It is the way of disappointment to expect too much, or only to work or only to play. The dictionary definitions of work and play have much in common, as if the person defining these words could not pull them apart to be two separate things.

Here’s how it works. If you want to make a special birthday card, you could start by taking a pile of pictures and a pile of words–poems or books with your favorite passages underlined–and play the matching game. The words might spark the image or the image spark the words. This process of combining words and images will begin the greater process that brings the non-specific into focus. The person for whom you are finding expression will be reflected in this pile. Sometimes, everything falls into place, but when it doesn’t, try turning the image upside down. Often, the most successful picture when seen from this fresh view will be exactly right. If this doesn’t work–simply tear up everything and take sections and rearrange them. A random piece, not inhibited by the prior spatial context, can become a marvelous thing you could never have arrived at if your thought there was only one way to put words and pictures together–one way to put paint on paper. If your words and pictures still seem far apart, use a finder. The finder will take small, specific areas out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place. Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around. In the work/play process just described, you are finding new ideas and images in what has already been collected or done. If someone were to witness your sifting, stacking, and tearing of paper– the messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

– Corita

Plork We tend to think of play as abstract, without a goal and somewhat irresponsible while work suggests a goal, is specific and honorable. Because of this, play can be more challenging–even though we have been taught to perceive work as that challenge. We need a third word–one which combines the two concepts and allows us to recognize them together as one responsible act necessary for human advancement. We 13

Learning by Heart

Kent and Steward

Work Play

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

have been taught to perceive work as that challenge. We need a third word–one which combines the two concepts and allows us to recognize them together as one responsible act necessary for human advancement. We combine the abstract and the concrete, the joy and the labor. That word would represent the ecstasy we feel when work and play are one.

Work is often done by playing around. For example, when you set out to write

Getting Started

something that must be finished and finely crafted, you can begin by playing around. Write anything that comes into your head or write about what you see around you or what happened yesterday. This is to get your feet wet; soon you may find yourself swimming in material pertinent to your piece. You then can start rearranging and rewriting. Letting yourself go free, playing around until something comes, is often very hard work. Or it all seems too difficult–you are faced with a blank. Go to a movie, take a walk, read a book for fun. Sometimes, these experiences will spark an idea or memory or thought so that the fun times prove to be marvelous resources-research. Was that free time or was it simply the early part of some work?

One way to start working is to put something, anything, on paper and then do it over

put paint on paper.

and over. This can relax you and allow greater freedom because you are less critical (none has to be the best picture ever made). Playing allows you to slip into working from which you

If your words and pictures still seem far apart, use a finder. The finder will take small, specific areas

can easily slip back into playing. Then come those marvelous and rewarding moments when

out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place.

you are making and you are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work.

Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around. In the work/play process just described, you are finding new ideas and images in what has already

It is the way of disappointment to expect too much, or only to work or only to play. The dictionary definitions of work and play have much in common, as if the person

been collected or done. If someone were to witness your sifting, stacking, and tearing of paper–the messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

defining these words could not pull them apart to be two separate things. – Corita

Crystal Goblet

Learning By Heart

Work Play

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost Work is often done by playing around. For example, when you set out to write something that must be finished and finely crafted, you can begin by playing around. Write anything that comes into your head or write about what you see around you or what happened yesterday. This is to get your feet wet; soon you may find yourself swimming in material pertinent to your piece. You then can start rearranging and rewriting. Letting yourself go free, playing around until something comes, is often very hard work. Or it all seems too difficult–you are faced with a blank. Go to a movie, take a walk, read a book for fun. Sometimes, these experiences will spark an idea or memory or thought so that the fun times prove to be marvelous resources-research. Was that free time or was it simply the early part of some work? One way to start working is to put something, anything, on paper and then do it over and over. This can relax you and allow greater freedom because you are less critical (none has to be the best picture ever made). Playing allows you to slip into working from which you can easily slip back into playing. Then come those marvelous and rewarding moments when you are making and you are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work. It is the way of disappointment to expect too much, or only to work or only to play. The dictionary definitions of work and play have much in common, as if the person defining these words could not pull them apart to be two separate things. – Corita

Getting Started Here’s how it works. If you want to make a special birthday card, you could start by taking a pile of pictures and a pile of words–poems or books with your favorite passages underlined–and play the matching game. The words might spark the image or the image spark the words. This process of combining words and images will begin the greater process that brings the non-specific into focus. The person for whom you are finding expression will be reflected in this pile. Sometimes, everything falls into place, but when it doesn’t, try turning the image upside down. Often, the most successful picture when seen from this fresh view will be exactly right. If this doesn’t work– simply tear up everything and take sections and rearrange them. A random piece, not inhibited by the prior spatial context, can become a marvelous thing you could never have arrived at if your thought there was only one way to put words and pictures together–one way to put paint on paper. If your words and pictures still seem far apart, use a finder. The finder will take small, specific areas out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place. Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around. In the work/play process just described, you are finding new ideas and images in what has already been collected or done. If someone were to witness your sifting, stacking, and tearing of paper– the messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

Book page design has always felt natural to me. My awareness of good typesetting was sparked by reading The Hunger Games. I noticed how smoothly everything flowed on the pages, my eyes were never strained, and I kept wanting to push forward and finish the story. The way the text was set up informed how I was supposed to read it: without stopping. When we were instructed to come up three-page layouts, I was able to do it quickly. In fact, I was done so fast; I thought I might’ve done something wrong. But everything looked and felt good on the page, so I was able to sleep a little sooner during this project.

Crystal Goblet

Learning by Heart

Kent and Steward

Work Play

Plork We tend to think of play as abstract, without a goal and somewhat irresponsible while work suggests a goal, is specific and honorable. Because of this, play can be more challenging– even though we have been taught to perceive work as that challenge. We need a third word–one which combines the two concepts and allows us to recognize them together as one responsible act necessary for human advancement. We combine the abstract and the concrete, the joy and the labor. That word would represent the ecstasy we feel when work and play are one.

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

Getting Started Work is often done by playing around. For example, when you set out to write something that must be finished and finely crafted, you can begin by playing around. Write anything that comes into your head or write about what you see around you or what happened yesterday. This is to get your feet wet; soon you may find yourself swimming in material pertinent to your piece. You then can start rearranging and rewriting. Letting yourself go free, playing around until something comes, is often very hard work. Or it all seems too difficult–you are faced with a blank. Go to a movie, take a walk, read a book for fun. Sometimes, these experiences will spark an idea or memory or thought so that the fun times prove to be marvelous resources-research. Was that free time or was it simply the early part of some work? One way to start working is to put something, anything, on paper and then do it over and over. This can relax you and allow greater freedom because you are less critical (none has to be the best picture ever made). Playing allows you to slip into working from which you can easily slip back into playing. Then come those marvelous and rewarding moments when you are making and you are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work. It is the way of disappointment to expect too much, or only to work or only to play. The dictionary definitions of work and play have much in common, as if the person defining these words could not pull them apart to be two separate things. – Corita

Here’s how it works. If you want to make a special birthday card, you could start by taking a pile of pictures and a pile of words–poems or books with your favorite passages underlined–and play the matching game. The words might spark the image or the image spark the words. This process of combining words and images will begin the greater process that brings the non-specific into focus. The person for whom you are finding expression will be reflected in this pile. Sometimes, everything falls into place, but when it doesn’t, try turning the image upside down. Often, the most successful picture when seen from this fresh view will be exactly right. If this doesn’t work–simply tear up everything and take sections and rearrange them. A random piece, not inhibited by the prior spatial context, can become a marvelous thing you could never have arrived at if your thought there was only one way to put words and pictures together–one way to put paint on paper. If your words and pictures still seem far apart, use a finder. The finder will take small, specific areas out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place. Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around. In the work/play process just described, you are finding new ideas and images in what has already been collected or done. If someone were to witness your sifting, stacking, and tearing of paper–the messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

Learning by Heart

Kent and Steward

Plork We tend to think of play as abstract, without a goal and somewhat irresponsible

Work Play

while work suggests a goal, is specific and honorable. Because of this, play can be more challenging–even though we have been taught to perceive work as that

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

challenge. We need a third word–one which combines the two concepts and allows us to recognize them together as one responsible act necessary for human advancement. We combine the abstract and the concrete, the joy and the labor. That word would represent the ecstasy we feel when work and play are one.

Or it all seems too difficult–you are faced with a blank. Go to a movie, take a walk, read a book for fun. Sometimes, these experiences will spark an idea or memory or thought so that the fun times prove to be marvelous resources-research. Was that free time or was it simply the early part of some work?

Sometimes, everything falls into place, but when it doesn’t, try turning the image upside down. Often, the most successful picture when seen from this fresh view will be exactly right. If this doesn’t work–simply tear up everything and take sections and rearrange them. A random piece, not inhibited by the prior spatial context, can

One way to start working is to put something, anything, on paper and then do it over

become a marvelous thing you could never have arrived at if your thought there was

and over. This can relax you and allow greater freedom because you are less critical

only one way to put words and pictures together–one way to put paint on paper.

(none has to be the best picture ever made). Playing allows you to slip into working

If your words and pictures still seem far apart, use a finder. The finder will take

from which you can easily slip back into playing. Then come those marvelous and rewarding moments when you are making and you are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work. It is the way of disappointment to expect too much, or only to work or only to play. The dictionary definitions of work and play have much in common, as if the person defining these words could not pull them apart to be two separate things. 15

– Corita

small, specific areas out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place. Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around. In the work/play process just described, you are finding new ideas and images in what has already been collected or done. If someone were to witness your sifting, stacking, and tearing of paper–the messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

Crystal Goblet

Learning by Heart

Kent and Steward

Work Play

Plork We tend to think of play as abstract, without a goal and somewhat irresponsible while work

Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

suggests a goal, is specific and honorable. Because of this, play can be more challenging–even though we have been taught to perceive work as that challenge. We need a third word–one which combines the two concepts and allows us to recognize them together as one responsible act necessary for human advancement. We combine the abstract and the concrete, the joy and the labor. That word would represent the ecstasy we feel when work and play are one.

Work is often done by playing around. For example, when you set out to write something that must be finished and finely crafted, you can begin by playing around. Write anything that

Getting Started

comes into your head or write about what you see around you or what happened yesterday. This is

Here’s how it works. If you want to make a special birthday card, you could start by taking a pile of

to get your feet wet; soon you may find yourself swimming in material pertinent to your piece. You then can start rearranging and rewriting. Letting yourself go free, playing around until something comes, is often very hard work.

pictures and a pile of words–poems or books with your favorite passages underlined–and play the matching game. The words might spark the image or the image spark the words. This process of combining words and images will begin the greater process that brings the non-specific into focus.

The person for whom you are finding expression will be reflected in this pile. Sometimes, everything falls into place, but when it doesn’t, try turning the image upside down. Often, the most successful picture when seen from this fresh view will be exactly right. If this doesn’t work–simply tear up everything and take sections and rearrange them. A random piece,

One way to start working is to put something, anything, on paper and then do it over and

not inhibited by the prior spatial context, can become a marvelous thing you could never have

over. This can relax you and allow greater freedom because you are less critical (none has to be the

arrived at if your thought there was only one way to put words and pictures together–one way

best picture ever made). Playing allows you to slip into working from which you can easily slip back

to put paint on paper.

into playing. Then come those marvelous and rewarding moments when you are making and you

If your words and pictures still seem far apart, use a finder. The finder will take small, specific areas

are not conscious of thought or anything outside. After doing a piece over and over, it either comes to a satisfactory solution (who is ever totally pleased?) or you can spread all your attempts on the floor and choose the one with the most vitality. The choosing, too, is a combination of work and play. You are working to find a usable piece and yet you are, as the dictionary defines play: moving swiftly, erratically, intermittently; darting to and fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work. It is the way of disappointment to expect too much, or only to work or only to play. The

out of context and perhaps get rid of the parts you don’t like. Then you will be in a very right place. Sometimes we can work and work at something–a drawing, a card, printing or words–and it will all seem terrible; and the very next day, perhaps with the addition of some small thing which now seems quite obvious–the piece will seem finished. It’s a matter of keeping on. You will have loosened up and gotten little hints from the previous tries, and things begin to flow together. You will know when it is time to stop playing around.

dictionary definitions of work and play have much in common, as if the person defining these

In the work/play process just described, you are finding new ideas and images in what has already

words could not pull them apart to be two separate things.

been collected or done. If someone were to witness your sifting, stacking, and tearing of paper–the – Corita

messy house, the late dinner–they might purse their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.

On the second round of iterations, again I felt like I was cheating somehow, I kept finishing the work in much less time than I expected. I experimented more with a playful rag and leading.

Crystal Goblet

Final Version Learning by Heart

Work Play Only when love and need are one, And the work is play for mortal stakes, Is the deed ever really done For Heaven and the future’s sakes. Robert Frost

Kent and Steward

anything outside. After doing a piece over and over, it either comes to a satisfactory

Then you will be in a very right place.

solution (who is ever totally pleased?) or you can spread all your attempts on the

Sometimes we can work and work at something–a drawing, a card, printing or

floor and choose the one with the most vitality. The choosing, too, is a combination

words–and it will all seem terrible; and the very next day, perhaps with the addition

of work and play. You are working to find a usable piece and yet you are, as the

of some small thing which now seems quite obvious–the piece will seem finished.

dictionary defines play: moving swiftly, erratically, intermittently; darting to and

It’s a matter of keeping on. You will have loosened up and gotten little hints from

fro, fluttering, vibrating. You’ve done the work now comes the pleasure of choosing. And the choosing is also a bit of work.

the previous tries, and things begin to flow together. You will know when it is time to stop playing around.

It is the way of disappointment to expect too much, or only to work or only to play.

In the work/play process just described, you are finding new ideas and images in

The dictionary definitions of work and play have much in common, as if the person

what has already been collected or done. If someone were to witness your sifting,

defining these words could not pull them apart to be two separate things.

stacking, and tearing of paper–the messy house, the late dinner–they might purse

– Corita

their lips in disapproval and think you were just playing around. Well, yes, but it was really very hard work.