Typography I Process Journal by Brooke B

PRO CESS.

Though this book ended up longer than I thought it had any right to be, I'm thoroughly happy with what I was able to create in the short time alotted for this project. As it is a reflection of my process, and even my style of work in general, I hope whoever ends up reading this can at the very least not be bothered by the choices I've made regarding how my spreads are laid out.

CONT ENTS.

Introduction.

The Beginning.

Design Heroes.

RĂŠsumĂŠ.

Process.

The End.

110

INTR ODU CTIO N.

When the semester began, it was akin to coming home. Hite was, and still is a second home. Coming back from the summer break, it was easy to settle back into a rhythm. Class. Break. Lunch. Class. Home. It repeats, but doesn’t get old. Rather, it becomes a comforting constant during an extremely tumultuous fall semester, and for that I can only appreciate the stability that coming back to class brings. As the end of the semester comes closer, this chaper of my education becomes closer to its closing. This isn't exclusive to Typography I, or Intro to Graphic design (though this journal is centered around the former), rather, it becomes all encompassing. My education in general, regarding this time period, is going to end, and a new page will begin. It’s strange to think about, especially considering how fast this semester has gone by. But the idea that within several weeks I’ll be starting new with the arrival of January is a comforting thought. This semester has been long, and tiring. I’m at least 80% sure that everyone else feels that way, but sometimes it just needs to be said. Things have come up that I hadn’t planned for, and destroyed any plans I had made as far as trying to “be better” in general. Better at drawing, being a better designer, being better about remembering things, and the list continues. I haven’t been able to work on this list, or anything other than school at this point. Even classes have been more difficult to keep up with. And yet, I’ve still managed to come this far.

INTRODUCTION

THE BEG INN ING. August 21st, 2018 to September 13th, 2018

WHAT IS...

TYPOG

RAPHY Typography is the study of design of typefaces, and the way type is laid out on a page to best achieve its intended visual effect upon the viewer. This class, Letterforms I, was a study of the typographical thought that goes into creating a beautiful body copy. It was this question that was to be asked on the first day, and what really was able to get me thinking about what was going on with the content I consumed.

Also on the first day, we were tasked with bringing in an example of what we considered to be “good” body copy, and an example of what we considered to be “bad” body copy. Of course, some examples were better or worse than others, but here was what I had thought about what we were being presented with conceptually at the time. There was a certain vision of clarity that I was able to gather from looking at body type for what it really was. A set of words, in a place on some kind of surface. Digital or print media, it didn’t really matter as it can be transferred from one medium to the other instantaneously at this point in time. It wasn’t so much jarring, as fog lifting, as I said before. Everything must be considered, things outside of the control of the designer, outside of the control of whatever intent may be held. What can be considered, however, is the idea of context, and the idea of an audience and purpose regarding the content given to work with. Paper, type size, and even the font used regarding the type are dependent on the environment that they are intended for. A preference for using colored inks and papers won’t matter in a corporate environment where accessibility and budget must be considered at the forefront.

Top, Left: Scans from page 94 of Mohawk Maker Quarterly Issue 14, Lead and Serve

GOOD VS BAD TYPE

Another example of this is regarding readability isn wedding invitations versus the readability needed in a book. Given the context of the example I liked reading, colored inks and papers were no issue because the content is meant to be read where you would normally sit down and read a book. rather than in the rain, or at the mailbox. The size of the text posed no issue, and there was no anxiety that came from reading any of the text given.

Top, Leftt: Scans from page 1 of Thinking Through Sources for Ways of the World, Volume 1: Third edition. This was an example of type that made me uncomfortable.

GOOD VS BAD TYPE

Name

counters are an aid to character recognition. A byproduct of open counters is usually a large lowercase x-height. As long as the x-height is not excessively large, this can also improve legibility in a typeface. Because over 95% of the letters we read are lowercase, The next thing, following our introduction to type, was to larger letter proportions usually result in a ays a Goal experiment creating our own “good” type. Of course, this more typeface. or should be– meant divinglegible into what we had at the time thought of as the While virtually with anytheserif typeface deep end, and experimenting size and leading of primary design the font we had chosen to work with. At The time, I didn’t can benefit from large open counters, awn for the really have much to say at all ahout what we were doing, but raphic statement, “Clarendons” like Nimrod or Scherzo and there was a progression of sorts with the sizes and leadings interpretations of “Old Style” spirit or feeling to thatcontemporary I picked. designs, such as Monotype Bembo and ITC me typefaces are Weidemann, to come by this rom the crowd. There was something tend to be said about doing a typetrait most naturally. ce has personality, exploration in the way that we did regarding the six factorial. Using type to letter fill a pageshapes rather thancan just picking Individual also affect er, it almost and choosing was an interesting way to compare how typeface legibility. For example: the two-story y on the legibility leading and text size effected the “color” of a page, and ‘a’ such as the one found in Stellar or Exlibris readability rather than how a specific font itself effects these is much legible than the single-story qualities (which more was what i had always been concerned with‘a’ before). The in manipulation qualities created found Futura oforthese Erbar. The lowercase y something that would be more successful than if I had justis more ‘g’ based on Roman letter shapes egible? A longpicked something that worked without any editing. legible then the simple ‘g’ found in Helvetica m is that the This degree of control was something that hadn’t In Old typefaces as “transparent” beenor as Glypha. emphasized before, butStyle with this knowledge, it such is absolutely necessary Plantin, to take advantage of it. As without Monotype Galena and ITCit Berkeley on’t call undue there’s a degree of ignorance, in the way that these settings Oldstyle, individual characters have more ditionally, the are being ignored in favor of leaving these decisions up to than those in traditional “legibility” ain big features the personality computer. faces with virtually no loss in character characteristics. legibility. typographic While the argument continues to rage tures” refers to about whether sans serifs are easier to counters, ample read than serif fonts in text copy, sans serif haracter shapes typefaces, because their letter shapes are o recognize. The simpler, have been proven to be slightly more also restrained. legible than their serifed cousins. ht or bold, weight

ility, on the other ow the typeface t typography. It rds, phrases and .

size, leading, x-h

size, leading, x-height, line changes Legibility in typography and serif Typographic clarity comes in two flavors: attention legibility and readability. What’s the Coun difference? Legibility is a function of typeface such as design. It’s an informal measure of how easy it is to distinguish one letter from another in a characte typeface. Readability, on theWhile other thiscounters may se Legibility in particular typography A byprod hand, is dependent upon how the typeface oxymoron, it’s no Typographic clarity comes in two flavors: large low is used. Readability is about typography. It things as larg legibility andisreadability. What’s x-height a gauge of how easilythe words, phrases and such lowercaseimprove x-heigh blocks of copy can be read. difference? Legibility is a function of 95% ofet are obvious and typeface design. It’s an informal measure larger let Legibility: A Trait, Not Always a Goal legible typefaces of how easy it is to distinguish one letter more leg First, not all typefaces are–or should be– not excessively lig from anothercreated in a particular typeface. While with legibility as a primary design can bene function. Manyhand, faces are s Readability, on the other is drawn for thewithin character “Clarend purpose of creating a typographic statement, if the face has the dependent upon how the typeface is used. Top: From the page of thespirit first draft, or for providing a second particular orit feeling to contemp was Helvetica Neue 10/12, excerpt themselves. Readability isgraphic aboutcommunication. typography. Itthough is athistypefaces designs, Some are isn’t in scale. Counters, the w Bottom: From the first page first draft, gauge of howjust easily words, phrases and Weidem designed to stand outof the from thethis crowd. text is Lato 10/14 in the left column and 11/14 To can the degree that a typeface has personality, such as ‘o,naturally ’ ‘e,’ ‘c,’ e blocks of copy bein the read. right column. This also isn’t to scale. Individ spirit, or distinction, however, it almostTypographers bel typeface always suffers proportionally on the legibility are an aid‘a’ tosuch char Legibility: Ascale. Trait, Not Always a Goal byproductisof ope much First, not all typefaces are–or should found Threelegibility Aspects as of Legibility lowercase‘a’x-heigh be–created with a primary ‘g’ based So what makes a typeface legible? A longis not excessively design function. Many faces are drawn legible th standing typographic maxim is that the legibility in type for the purpose creating a typographic or aGlyph mostoflegible typefaces are “transparent” tofor the providing reader–thatais, they don’t call undue the lettersMonotyp we rea statement, or particular Oldstyle attention to themselves. Additionally, the proportions usua spirit or feeling to graphic communication. persona most legible typefaces contain big features typeface. faces wi Some typefaces are just designed to characteristics. and have restrained design stand out from thethis crowd. To the legibility. While may seem likedegree a typographic While virtually oxymoron, it’s not. “Big features” refers to benefit fromWhile large that a typeface has personality, spirit, about w things such as large, open counters, ample SIX FACTORIAL like Nimrod or Sc or distinction, however, it almost always read tha lowercase x-heights, and character shapes

interpretations o

S size, leading, x-height, line length,

Body te

Legibility in typography Typographic clarity comes in two flavors: legibility and readability. What’s the difference? Legibility is a function of typeface design. It’s an informal measure of how easy it is to distinguish one letter from another in a particular typeface. Readability, on the other hand, is dependent upon how the typeface is used. Readability is about typography. It is a gauge of how easily words, phrases and blocks of copy can be read.

95% of the letters we read are

proportions usually result in a

While virtually any serif ty

large open counters, “Clarend

and contemporary interpretat

such as Monotype Bembo and

come by this trait most natura

Individual letter shapes ca

legibility. For example: the two

found in Stellar or Exlibris is m Legibility: A Trait, Not Always a Goal single-story ‘a’ found in Futura First, not all typefaces are–or should be–created with ‘g’ based on Roman letter shap legibility as a primary design function. Many faces are drawn for the purpose of creating a typographic the simple ‘g’ found in Helveti statement, or for providing a particular spirit or feeling to typefaces such as Monotype P graphic communication. Some typefaces are just designed Berkeley Oldstyle, individual c to stand out from the crowd. To the degree that a typefacesize, leading, personality than those trad x-height, line in length has personality, spirit, or distinction, however, it almost virtually no loss in character le Body te always suffers proportionally on the legibility scale. While the argument contin

Three Aspects of Legibility So what makes a typeface legible? A long-standing Legibility in typography typographic maxim is that the most legible typefaces are Typographic clarity comes in twois,flavors: legibility and “transparent” to the reader–that they don’t call undue readability. What’s the difference? Legibility is a function of attention to themselves. Additionally, the most legible typeface design. It’s an informal measure of how easy it is to typefaces contain big features and have restrainedtypeface. design distinguish one letter from another in a particular characteristics. While this may seem like a typographic Readability, on the other hand, is dependent upon how the typeface isit’s used. is about typography. It is a oxymoron, not.Readability “Big features” refers to things such how counters, easily words, phrases and blocks of copy can asgauge large,ofopen ample lowercase x-heights, and be read. character shapes that are obvious and easy to recognize. The most legible typefaces are alsoarestrained. They Legibility: A Trait, Not Always Goal are not excessively light or bold, weight changes First, not all typefaces are–or should be–created within with legibility strokes as a primary designand function. are character are subtle, serifs,Many if the faces face has drawn the purpose of creating a typographic statement, them, dofor not call attention to themselves. or for providing a particular spirit or feeling to graphic Counters, the white space within letters such as ‘o,’ ‘e,’ communication. Some typefaces are just designed to stand ‘c,out ’ etc., help tocrowd. define To a character. believe from the the degreeTypographers that a typeface has that large counters are an aid to character recognition. A personality, spirit, or distinction, however, it almost always suffers proportionally on theislegibility byproduct of open counters usually ascale. large lowercase x-height. As long as the x-height is not excessively large, Three Aspects of Legibility this can also improve legibility in a typeface. Because over So what makes a typeface legible? A long-standing typographic maxim is that the most legible typefaces are “transparent” to the reader–that is, they don’t call undue Lato is a sans serif type family attention to themselves. Additionally, the most legible developed in 2010 as an open typefaces contain big features and have restrained design source project by the Polish characteristics. While this may seem like a typographic designer Łukasz Dziedzic. It was oxymoron, it’s not. “Big features” refers to things such designed in the summer ( Lato as large, open counters, ample lowercase x-heights, and

sans serifs are easier to read t

sans serif typefaces, because t

simpler, have been is proven Stellar or Exlibris much to mob their cousins. storyserifed ‘a’ found in Futura or Er on Roman letter shapes is mo Little and Light Weigh foundSerifs in Helvetica or Glypha

as Monotype Plantin, Galenao Another potential drawback individual characters have mo the legibility of individual lette in traditional “legibility” faces have exaggerated shapes. Lon character legibility. exceptionally heavy and those While the argument conti detract from legibility. Ideal se sans serifs are easier to read th and slightly bracketed. They a serif typefaces, because their l obvious yet not conspicuous. T been proven to be slightly mo Sabon and ITC Stone have gre cousins. Lighter typefaces are usua

weights of type. They allow fo Little Serifs and Light Weig unmodified character shapes.o Another potential drawback best character stroke thicknes legibility of individual letters exaggerated shapes. Typeface Long seri 18% of the x-height. heavy and those with unusua legibility. Ideal serifs are some bracketed. They are also heav conspicuous. Typefaces such Stone have great serifs. Lighter typefaces are usua

Six Factorial Type Specimens size, leading, x-height, line length, style/weight, letterspacing Body text: 8/12 + 8/13 Lato Regular 2 columns Line length = 16 picas Explorations by Brooke Baylis Explorations by Brooke Baylis

95% of the letters we read are lowercase, larger letter n two flavors: legibility and proportions usually result in a more legible typeface. Six Factorial Type Specimens erence? Legibility is a function While virtually any serif typeface can benefit from size, leading, x-height, line length, style/weight, letterspacing nformal measure of how easy large open counters, “Clarendons” like Nimrod or Scherzo Body text: 8/10 + 8/12 Dapifer Book r from another in a particular and contemporary interpretations of “Old Style” designs, 2 columns e other hand, is dependent such as Monotype Bembo and ITC Weidemann, tend to Line length = 16 picas sed. Readability is about come by this trait most naturally. how easily words, phrases and Individual letter shapes can also affect typeface Stellar or Exlibris is much more legible than the singlelegibility. For example: the two-story ‘a’ such as the one n two flavors: legibility and story ‘a’ found in Futura or Erbar. The lowercase ‘g’ based found in Stellar or Exlibris is much more legible than the ence?aLegibility is a function of ways Goal on Roman letter shapes is more legible then the simple ‘g’ mal measure of how easy it is to single-story ‘a’ found in Futura or Erbar. The lowercase or should be–created with found in Helvetica or Glypha. In Old Style typefaces such nother in a particular typeface. ‘g’ based on Roman letter shapes is more legible then n function. Many faces as Monotype Plantin, Galena and ITC Berkeley Oldstyle, d, is dependent upon how the of creating a typographic the simplecharacters ‘g’ found in Helvetica or Glypha.than In Old Style is about typography. It is a individual have more personality those a particular spirit or feeling to such as Monotype Plantin, Galena hrases and blocks of copy can intypefaces traditional “legibility” faces with virtually noand lossITC in me typefaces are just designed Top Left: From the firsthave pagemore of the second Berkeleylegibility. Oldstyle, individual characters character draft, was Lato 8/12. d. To the degree that a typeface personality those in it traditional “legibility” faces with While thethan argument continues to rage about whether ways a Goal Top Right: From the second page of the stinction, however, it almost sans serifs are easier to read than serif fonts in text copy, sans virtually no loss in character legibility. r should be–created with second draft, this text is Lato 9/14. lly on the legibility scale. function. Many faces are serif While typefaces, because their letter shapes are simpler, have the argument to rage about whether Left: continues From the second page of the final ating a typographic statement, been proven to be slightly more legible than their serifed draft. The text is Dapifer book 8/10 in the sans serifs are easier to read than serif fonts in text copy, yspirit or feeling to graphic left column and 8/12 in the right column. cousins. sans serif typefaces, because their letter shapes are aces are A just designed to stand egible? long-standing egree that a typeface has simpler, have been proven to be slightly more legible than the most legible typefaces are Little Serifs and Light Weights ion, however, it almost always their serifed cousins. r–that is, they legibility scale.don’t call undue Another potential drawback of serif typefaces is that the dditionally, the most legible legibility of individual letters suffers when serifs have Little Serifs and Light Weights yres and have restrained design exaggerated shapes. Long serifs, those that are exceptionally gible? A long-standing may seem like a typographic Another drawback of serifall typefaces is that heavy andpotential those with unusual shapes detract from e most legible typefaces are tures” refers to things such the legibility individual letters suffers when serifs legibility. Idealofserifs are somewhat short and slightly hat is, they don’t call undue ple lowercase x-heights, have exaggerated Long serifs,to those that areyet not itionally, the most legible and bracketed. They areshapes. also heavy enough be obvious andrestrained easy to recognize. sbvious and have design exceptionally heavy and those with unusual shapes conspicuous. Typefaces such as Monotype Sabon and all ITC ay a typographic areseem alsolike restrained. They Stone have great serifs. Ideal serifs are somewhat short detract from legibility. res” refers to changes things such bold, weight within Lighter typefaces are They usually than heavier and slightly bracketed. aremore also legible heavy enough to be e lowercase x-heights, and e, and serifs, if the face has weights of type. They allow for full, open counters and vious and easy to recognize. obvious yet not conspicuous. Typefaces such as Monotype toalso themselves. re restrained. They are not unmodified Studies have shown that the Sabon and character ITC Stoneshapes. have great serifs. ace letters such as ‘o,’ ‘e,’ ghtwithin changes within character best character stroke thickness for text typefaces is about Lighter typefaces are usually more legible than heavier if the face has them, do not call racter. Typographers believe 18% of the x-height. Typefaces with weights similar to that weights of type. They allow for full, open counters and aid to character recognition. A of Albertina Regular, ITC Officina Sans Book and Cartier e within letters such as ‘o,’ ‘e,’ unmodified character shapes. Studies have shown that the s is usually a large lowercase Book Roman fall into this general category. acter. Typographers believe best character stroke thickness for text typefaces is about eight is not excessively large, to character recognition. A lity in a typeface. Because over 18% of the x-height. is usually a large lowercase Transparent Type Typefaces with weights similar to that ight is not excessively large, this The metaphor of “transparent type” was coined by Beatrice a typeface. Because over 95% Warde, Monotype Imaging’s famous marketing manager of ercase, larger letter proportions the 1930s and 40s. She once wrote in an article that good le typeface. type is like “a crystal goblet” which allows content to be typeface can benefit from large like Nimrod or Scherzo andSIX FACTORIAL more important than the container. Warde contended that s of “Old Style” designs, such the best types do not get in the way of the communication

What followed experimenting with size and leading was an introduction to font pairing. It was quick and dirty, with no time to really doubt my choices like I had been able to with projects for other classes. Looking back at this point, some of my choices could be better, but at the same time, they were Fluid Typography | AnI Essay by Ellen Lupton better than other pairings had chosen before. with additional subheads inserted for the exercise

Print and Digital — The New Paradigm

Fluid Typography | An Essay by Ellen Lupton

Subhead Futura PT Book 13/13.5 Body text Dapifer Book 9/13.5

Today, the simultaneity of diverse content streams is a given. with additional subheads inserted for the exercise Alongside the archetype of the printed page, the new digital archetype of the window has taken hold. The window is a Visual of Language scrollingExpression surface of unlimited length, whose width adjusts at the Liquidity, saturation, andInoverflow areand words thatmedia, describe the will of reader or writer. both print digital graphic information surplus that us at the start of the twenty-first designers devise ways tobesets navigate bodies of information by century. Images proliferate in this media-rich environment, so exploring the structural possibilities of pages and windows, and boxes too the edges written word. Far from diminishing in influence, text anddoes frames, and margins. has continued to expand its power and pervasiveness. The visual Top: A first combination, I hadn’t adjusted any settings as far as expression of language has grown increasingly diverse, as new Soft Copy — A Chameleon decoration when I paired this set of Futura and Dapifer. fonts and formats evolve to using accommodate the relentless display Bottom: Here I flipped convention, a sans serif body and working In 1978, Nicholas Negroponte and Muriel Cooper, at of serif subhead. The pairing is Sitka and Lato the word. mit’s Media Lab, published a seminal essay on the notion of “soft

Subhead Futura PT Bold 13/13.5 Body text Dapifer Book 9/13.5

copy,” the linguistic raw material of the digital age. The bastard

What Typography offspring is of hard copy, soft text lacks a fixed typographic identity.

Subhead Sitka Te 13/3.5 Body text Lato Regular 9/13.5

Owing allegiance or format, it is willingly pasted, Typography is the to artno offont designing letterforms and arranging pirated, output, or time. repurposed in invention countless contexts. It is the them in space and Since its during the ubiquitous medium of word-processing, desk-top publishing, Renaissance, typography has been animated by the conflict e-mail, and thearchitectural Internet. Theelements-such burgeoning of as softthe copy had anits between fixed page and enormous impact on graphic design in the 1980s and 1990s. In margins-and the fluid substance of written words. Evolutions design forofprint, soft copy eliminated the mediation the in the life the letter ariselargely from dialogs between wet and of dry, typesetter, theslack technician previously charged converting the soft and hard, and taut, amorphous and with geometric, ragged manuscript—which hadunpredicted. been painstakingly marked up by hand and flush, planned and With unprecedented with instructions fromare thedriving designer-into galleys, or formaltoday. pages force, these conflicts typographic innovation of type. Softiscopy flows directly insubmerge digital form from Typography going under watertoasdesigners designers authors andin editors. The designer is free to directly manipulate themselves the textures and transitions that bond letter, the text-without relying theformats typesetter-and toopen adjustand typographic word, and surface. Ason rigid become pliant, the details up to the final moments of production. The soft copy architectural hardware of typographic systems is melting down. revolution led designers to plunge from an objective aerial view The flush, full page of the classical book is dominated by a single into the moving waters of text, where they shape it from within. block of justified text, its characters mechanically spaced to completely occupy the designated volume. The page is like a glass into which text is poured, spilling over from one leaf to the next. By the early twentieth century, the classical page had

Subhead Futura PT Bold Oblique 13/13.5 Body text Dapifer Book 9/13.5

with reluctance, others dive eagerly into the reservoirs of pop culture. Tibor Kalman (1949-1999) led the graphic design world’s reclamation of visual detritus, borrowing from the commonplace vernacular of mail-order stationery and do-ityourself signage. Designers now frankly embrace the humor and directness of everyday artifacts. In the aesthetic realm as in the economic one, pollution is a natural resource—one that is expanding rather than shrinking away. Below: One of the more experimental uses of style upon a subhead. Thirty years ago, progressive designers often described I enjoyed how a highlight changed how the type felt.

Subhead Futura PT Demi Oblique 13/13.5 Body text Dapifer Book 9/13.5

their mission as “problem-solving.” They aimed to identify the functional requirements of a project and then discover the appropriate means to satisfy the brief. Today, it is more illuminating to speak of solvents than solutions. Design is often an attack on structure, or an attempt to create edifices that can withstand and engage the corrosive assault of content.

Static Typography No Longer Rules The clean, smooth surfaces of modernism proved an unsound fortress against popular culture, which is now invited inside to fuel the creation of new work. Image and text eat away at the vessels that would seal them shut. Forms that are hard and sharp now appear only temporarily so, ready to melt, like ice, in response to small environmental changes. All systems leak, and all waters are contaminated, not only with foreign matter but with bits of structure itself. A fluid, by definition, is a substance that conforms to the outline of its container. Today, containers reconfigure in response to the matter they hold. Pairing typefaces wasBaylis one thing I had always felt I Explorations by Brooke struggled with. There was something incredibly daunting about finding a pair that complimented eachother without competing with the space or the other type face, or even what I was trying to say. This exercise really helped flex that muscle, and even helped train my eye into being able to recognize what kind of pairs really “went” together. Though it was tedious work to keep switching out types and sizes, obliques and italics, bolds and mediums, lights and regulars etc. It was extremely satisfying to find a pair that truly went together.

PAIRING TYPE

Futura PT Bold

A BC D E F G H I J K L M N OPQRSTUVWXYZ a b cd e fghi j k l m n o p q r s t u vwx y z 12 3 4 5 6789 0 & @ # $%& ? â&#x20AC;? â&#x20AC;&#x2122; :;.,

The type pairing I had most fun with, and liked the best. I liked it enough to put it in this journal at least.

Dapifer Bold A B C D E FG H I J K L M N O P Q R S T U V W X YZ abcdefgh i jkl m n o pq rs t uv w xy z 12 34 5 67 8 90 & @ #$ %& ? ”’ :;.,

PAIRING TYPE

Publication Title:Title: Editorial / David Lynch Publication Editorial / David Lynch

System elements System elements

» Two color consistent throughthrough images images › yellow used asused accent » Twosystem color system consistent › text yellow text as accent › sans serif accent » Text system consistent across pages › sans serif accent » Text system consistent across pages › body ›text usually consistent within two › serif body body text usually consistent within two › seriftext body text columnscolumns per page per page

» full page spreads even with text used almost » full page spreads even with text used almost» wid as images themselves › t as images themselves » images not necessarily displayed consistently » images not necessarily displayed consistently › y but thebut b/wthe filter creates consistency b/w filter creates consistency

Publication source: https://www.behance.net/gallery/17646507/Editorial-David-Lynch Publication source: https://www.behance.net/gallery/17646507/Editorial-David-Lynch

https://www.behance.net/gallery/17646507/Editorial-David-Lynch

Our next task, following figuring out how to pair type, was to take a visual system, and identify what made it able to be seen as the system it was. This was somewhat Feel/tonality Feel/tonalitychallenging de »margins on “specialty” pages pages » textured paper adds gritty consistent wide margins on “specialty” » textured paper addsfeel gritty feel consistent » Gritty» Gritty at first, though I did enjoy it. I was able to find this editorial text used asused images on these with system » Contemporay › text as images onpages these pages with system » Contemporay yellow largeup part of part theseofpages » Informal › makes yellow up makes large these pages on Behance to dissect. I think it not » Informal being in English made it » Dynamic » Dynamic easier to focus on what the pages were made up of. Visual systems are something that I find to be a favorite of mine. I love finding and creating a theme, I love figuring out how things come to mesh together, and seeing why those things mesh together. Dissecting a visual system of my own choosing was something interesting. While visually it came together, the components that put it together were seemingly miniscule. Overall important enough that if even one of them was off or misplaced, the system wouldn’t feel nearly cohesive enough to work successfully.

VISUAL SYSTEM

System Systemelements elements

» »Two Twocolor colorsystem systemconsistent consistentthrough throughimages images » »Text Textsystem systemconsistent consistentacross acrosspages pages › ›body bodytext textusually usuallyconsistent consistentwithin withintwo two columns columnsper perpage page The finished assignment, showing how the traits of the system were put into words to describe it.

› ›yellow yellowtext textused usedasasaccent accent › ›sans sansserif serifaccent accent › ›serif serifbody bodytext text

» »full fullpage pagespreads spreadseven evenwith withtext textused usedalmost almost asasimages imagesthemselves themselves » »images imagesnot notnecessarily necessarilydisplayed displayedconsistently consistently but butthe theb/w b/wfilter filtercreates createsconsistency consistency

VISUAL SYSTEM

» »wide widemargins marginsonon“specialty” “specialty”pages pages › ›text textused usedasasimages imagesononthese thesepages pages › ›yellow yellowmakes makesupuplarge largepart partofofthese thesepap

Source: Juan Pablo Dellacha - Behance - Editorial / David Lynch https://www.behance.net/gallery/17646507/Editorial-D Before this mini-project, I didnâ&#x20AC;&#x2122;t really necessarily realize

how dependent most things regarding body text were on grids. It was a bit eyeopening to look at how most content was situated within a grid. Even if there were only columns, it was something to set it straight, and keep everything consistent. I thought this project was interesting, even a bit fun (though I got overwhelmed by where to even begin looking at the other aspects of the visual system, such as type, gutters, and other visual components). I found myself lost, and yet drowning in everything at the same time looking at the completed example, because i couldnâ&#x20AC;&#x2122;t focus on a specific order to do things in. but, after settling and jumping into the fray, I was able to complete this assignment by going from left to right, gaining more and more of an understanding of how the grid in place was able to push everything into a whole.

Body Text: serif Georgia regular? 8/10 indented - no end paragraph space

Top: A closer look at the body text and what it may be as far as type size and leading (as well as the font itself) Right Top: The grid system put in place, as well as some other notes about it. Right Bottom: A closer look at the alternate text.

ga. Elesti consero maio volo magnatibea a dolor aciatendella sin nus et re volupiae lit, solecea tquibus ut es consedis aut erferibus. Apeliat aut ipsam imos dolum is liquatio. Ut quis eum re, iderior ehendae umquoImet dererio nsequam vene el modist

Fugia volenis ex et laccusam eum qui abor si di consequi blam ea voluptur modi dolupta verspiendi assimin ctemqui nempero volo cus dollendi atin nonsequ atusdan dipsant otaerferiae. Itatempor audio volupta as etus doluptat qui dercid ut rem impor asincta plabor aspissitas vent quoditatem as exped et

Margins & Columns: inside and outside margins = 3p // 4 columns with 1p gutter

Fugia volenis ex et laccusam eum q di consequi blam ea voluptur modi verspiendi assimin ctemqui nempe dollendi atin nonsequ atusdan dips riae. Itatempor audio volupta as et qui dercid ut rem impor asincta pla vent quoditatem as exped et

Accent Text: sans serif Bebas neue? 19/20 underlined

Caption / Alt Text: sans serif Futura PT Cond Medium 9/10

Opta dolo voluptas dellat aut volut et volorepel exceaquibus dus audam aut ab int debis el magnam, te non nissitatemEt estrum il minis estrum reptatur? Qui omnisit que eaquibu stempor aut

EXPELLANT. VOLORENDAE NIHILLATAS AUT VENIM QUUNTI RECEATI SCIDESTIUS MADOLUPIT MAGNIME NULPA Accent Text: sans serif Bebas neue? 19/20 underlined

Caption / Alt Text: sans serif Futura PT Cond Medium 9/10

Opta dolo voluptas dellat aut volut et volorepel exceaquibus dus audam aut ab int debis el magnam, te non nissitatemEt estrum il minis estrum reptatur? Qui omnisit que eaquibu stempor aut

DISCERNING A GRID

EXPELLANT. VOL NIHILLATAS AUT UNTI RECEATI SC MADOLUPIT MAG

Our next project tasked us with putting everything together.. Of course, it was the logical conclusion to us working with the individual pieces of a system, and dissecting other systems, was to put it together in something simple. In this case, it was a brochure titled "After School Special". The content inside was advice for emerging designers. Though not completely and all of text related press and I learned how to do basic billi relevant to sorts us at this time, it wasto still useful advice design, to correspondence. I don’t feel particularly I wired my own network. I wrote copy store away for later. good at it, I simply slog through. In I steeled myself and made cold calls. Throughout all of these, I’ve found it flexing my retrospect, I wish I had focused on honing All of the long nights paid off, I built a indesign muscles. I haven’t really thought about the technical elements of my writing client base, and now, years later, I ha whether or not I enjoyed them (or even if they were earlier because I think it would make a thriving practice. You can achieve g cabale of being enjoyable), more, I enjoyed having things easier now. things, if you’re willing to put in the eff work to actually do, and something that felt like it was building towards something I enjoyed being The ability to write gives greater. you power. ableAtodesigner use inDesign again, and have a reason to open who can structure content up the to do work. enjoyed working within canprogram communicate visualI ideas more type.effectively. it was something that Clients tend to interested be word me before, Ignore the Naysa though I hadn’t feltwhen as if idesigners would be can good at it, or want oriented, and their level, gain be good at to becommunicate good at it in aon way other thanthey “I should If you craft a good game plan, stay That trust is what leads to getting this trust. to be marketable”.

Building a

that happ requires

and it inv talent. A

overarch the world

topped o skills. To

hasis is on gularly—are client and you are ht even care

hey are not although g the way if ign firm’s company. re the ious stylistic a part of lize that x months fraction of know. The

op Really at Habits

ut fostering ime to start; an it is to ou get older, ater, and you to make mental become

e Positive

professio guts to b your own improve And, com talent do

The grea in design

success i You can s creative create a to savor parentho your hom This indu savvy ins perspect from flex

In the be transition difficult, thing you more to l

more work approved.

Work Harder Than Anyone Else

I hate to say this, but if you really want to be successful, you have to rethink the concept of the so-called work/life balance. The most successful creative people I know do not segregate their “work” and their “play”—it’s all the same. They love what they do, and do it all the time. If you look at design as a job that you do between 9 and 5 every day, you will earn a paycheck...and that’s all. Talent will take you far, but determination will take you further. I can’t tell you how many people I’ve heard moan about how they could have started a business, gotten the great assignment, scored a better position or whatever. The truth is, most people aren’t willing to put the time and effort into accomplishing their goals. It’s easier to just live their dreams inside of

focused and work incredibly hard, yo can accomplish just about anything. A a friend of mine says, “It’s all about t follow through.” Remember that the important person to believe in your w is you—then you’ll prove any who dou you wrong.

Try to Make Ev Assignment Be Than the

When you finish a project, look at it, h Scrutinize. Nitpick. Be critical. Do mor better. Don’t become complacent. Ever. Complacency is death.

Get Invo

This is a great way to continue your education at the beginning of your ca

After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After

a career is not something

pens overnight. It patience and tenacity,

volves more than raw career demands an

hing curiosity about d and how things work,

off with well-honed people rise to the top in your

on, you have to have the be self-aware, to know n strengths while trying to upon your weaknesses. me to think of it, raw oesn’t hurt.

at thing about a career n is that you can define

in a number of ways. strive to be a renowned director at a big firm, to small boutique studio, or both your profession and ood by working out of me while raising children. ustry isn’t just about sight and fresh aesthetic tives; it’s also largely built xibility and potential.

eginning of a career, the n from school to work is to put it mildly. The first u learn is that there is learn. A lot more.

School Special After School Special After School Special After School Special After School Special After School Special School Special After

After Advice School Special After

School Special After School for Emerging Designers

Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After School Special After https://www.aiga.org/general/after-school-special/ text reprinted with permission of Decker Design. brochure designed by Brooke Baylis

School Special After School Special After School Special After School Special After School Special Top: The outside cover of my brochure, Quicksand and Lato Black were my weapons of choice for this project. Left: A closeup of the subhead format I used. As we were limited to only two colors, I chose to do a darker teal for my body text, a tint of it for the subhead title, and a warm yellow for all of my accents.

VISUAL HIERARCHY

The inside spread of the brochure. I felt that making the inside light and airy, while filling space in a way that made the body easier to follow for the reader.

VISUAL HIERARCHY

The outside cover of the brochure. Though not as airy as the inside, I felt the yellow was able to draw attention and keep the motif of rectangular bars.

VISUAL HIERARCHY

DES IGN HER OES. September 13th 2018 to October 23rd 2018

WHAT MAKES...

A DESIG

N HERO That was the question that this project brought to the table. What makes a design hero? What constitutes status as someone to look up to? This wasn't just anything, it was my career and what I plan to do in life. So whoever I picked had to be worth it. Of course, there were constraints put onto the table about who we could choose. But, without them there would be no place to begin thinking what we thought deserved hero-dom.

The design heroes project began with idea generation. While we had in some capacity worked with the idea of spreads before (the process journal for 205 being most of our experience) , we hadn't really worked with it to this extent. That extent being, that of a booklet that was to be saddle stitched. Of course there was also the matter of what our content had to be. We had to create a booklet, with three spreads, about a person and their work, and then something about why we chose them. Simple in theory, but in practice it began to be a bit of a challenge of what to do, and where to begin thinking about placement of content. It helped, to an extent to be required to have to begin sketching layouts before one of our classes. But helping didn't mean it gave us the ability to know even where to begin.

I think the most helpful thing to idea generation was the sprint in class. Instantaneously, we were able to create about forty layouts. From these forty or more layouts, I was able to actually begin to develop an idea regarding how this project was going to look. Sure, none of them were absolute gold in the beginning, but with an amount of polishing could become what I was looking for. There began the process of choosing which layouts out of my thumbnails were worthwhile. In the end, there were three that I started working with digitally, even if they started to change the second I loaded them into inDesign.

IDEA GENERATION

The five four layouts I chose to expand upon from the beginning thumbnails. These ones were what I felt really embodied what I was ready to say about their work, and about my own style of work.

IDEA GENERATION

With an idea of where I wanted to take this booklet, the next step might seem to be to jump into actually composing the booklet. But for me, it felt like I had to go and actually take the list of people I considered putting into this project, and narrow it down to the three that I ended up doing. Info gathering regarding this project was something that I found to be theraputic in a way, but also something extremely interesting given what we were having to research. Who were my design heroes given the parameters we had to follow? Did I have any? Did any of their work appeal to me? Of course given all the available people I couldn’t say that I didn't like anything at all, but it was overhwhelming to have a list of names with nothing at all to trace them through. It wouldn’t make sense to start by clicking links at random and hoping that eventually I would find someone who’s work struck a chord within me, but inevitably it was what I ended up doing that to find an AIGA medalist that had work that well, worked for me. It was somewhat easier with the design matters podcast to find someone, as I kept scrolling until I found a name I recognized. of course, that might not necessarily be the best way about going about stretching my self out to find new sources of inspiration, but familiarity is comforting. and familiarity meant something that i had to think about less, when looking for a “hero”. That was the most difficult part about making any kind of decision for this, was that this project is about design heroes. This had to be a hero of mine, someone who’s work I adored, whos work inspired me to want to be able to create something that had the presence and beauty that their work had. I didn’t have names, I had examples of their work.

Bottom: Socks from Olly Moss' twitter.

Ultimately that’s what led me to the heroes I picked for this project. Susan Kare, Alex Center, and Olly Moss. Their work was something I adored, even without knowing names. In fact, the names meant nothing before this point. I didn’t like it because it was their work, I liked them because of their work. Kare, of course did a lot of computer work, with Apple and even with Microsoft, though somewhat less known for that. There was a simplicity that came naturally to her work, that made it seem like there wasn’t work put into it. It was incredible to realize that this was done by someone, and that was part of what drew me to her work. Alex Center did the work for Coca-Cola, specifically known to myself for his work regarding the branding for vitamin water. simple, vibrant, and effective (at least to myself). I knew that if there was a way i could bring him into this project i might have to. This leaves Olly Moss, who’s work i’ve adored for years at this point. His art direction on Firewatch, his movie posters, and his ability to use negative space were things I was, and still am captivated by. It was intimidating to try to contact him, and even though I wasn't able to get a response, it was still amazing to begin thinking about.

RESEARCH

The next step for me was to begin importing the thumbnails i had done into inDesign digitally. It wasn't really hard, but it made me realize that certain things wouldn't work because there wasn't enough room for text.

IMPORTING DIGITALLY

susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susan kare susankare susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su s usankare susankare susankare s susankare susankare susankare su The first of my digitally imported layouts. Initially, it was the one I was most attached to. Filled with color? Text as a texture? Not a lick of black within the composition? It was something I wanted to explore, but wasn't viable for a cohesive system that could be adjusted for other content.

usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare susankare usankare susankare

Hendignim quo bea voluptati od moluptatur sequid quam repudia arum repe con nis qui dia cone repudan dignis iunti cuptatur? Andam, arum aciam quiame aut as siminullor modistissim faccus sandam sit prenis as dolention coreicipsam sit autaspe lestias re

IMPORTING DIGITALLY

ad ut quaturit, evendis acestor empore pore, aut atio. Nequam essit ma nis nimusci cus namus dolorrorem cone etusand emquissi ilit inim qui qui se aut magnim sunderest volo blatquis quatat verum essitation res sandist dicimi, qui culparumqui

OLLY MOSS Another one that I thought showed promise, moreso with the way it was conservative in its page real estate. It was the beginning of the palette that I used with the final product.

Num fugia ipsa sed mod quist, qui to berunto officiis molupiene cuptaest, num quaectur molorepe voleceprem volorior mi, samet et accabores quiae lab ilit antium hitiandit plisit, si dolores molestinctus dolupta quid milit venihit, omnis id ut quisquae offictore velest ommos illesti sedigent atecess imusam, comnis exceatem hilla eveliqui quatecererum sum quaest quid quam erferumquam evel et, sedis cusae cus aspieni hiligenimus, sin nam, quae idelendus. Moluptati te comnis maximperfero te

non nonsed molorehenis sequi dolum que ped mi, ero quibusc imintia nobis aspiciliquo et ut aliquam fuga. Maximus, quunti bea dolupta nonsed etur aut adiamus, volupiet ene cone sum qui te et re velit ut laborio ea destempore es as con consed ut que eum, etuscipsapit omnia que volor sa quati nos mos int plibusa peruptatem faccus moditat offictori dis molupta volorum auta etur? Poreici lluptaqui doluptat fugias volores temperum volupta speribu scitiam, quam eostiur? Et ea de eosamus es eost

i have no earthly clue what he actually looks like pera volorib usania pel molor mos mo id moloribusam nam, utaecea voloria tiatatur adis ius dolupta tatemoluptas neceperum dolupta solorer Imus necusa non elici officid mod millace stiure rempore sciasit qui reperiae. Rehenti repera apiet lit voluptiora nos simpore nemquae lab inia cusdaep ereium que volorru mquam, volo eos ducium simillu ptatios adist et officil laboris solorit que consediti ommoluptatis alignihitat hilignis estias simosae ctatinus volum apeleni doluptaqui aliquas et ad quatium utas prore consenimos res atque que nia-

sitas dolupta quatibus dolum volestist untur, conessit fugit, quiatior a dest quos vel ipsamentio. Nequaep ersperferem ius eate con rendisi millicia duntotatur aliqui dolum, nonsed mossequi ipsum re, sam qui odi solorios aborrovit voluptur autate estias solut harum que ma veris et laboremperum rest volor sequatia non coresci aecates erio. Et ex explabo ruptatur, occusae santorum liquiatur am dem ex el es ut etum, unto eicab iliti doluptat am faceperit poris et moluptatis doloriatest, etur accatur aut et laborro estrupt iantint quam erchic te vel

IMPORTING DIGITALLY

ALEX CENTER This layout was one I thought to be the most interesting of the bunch., as it was whart I ended up moving up from to actually finish the project.

IMPORTING DIGITALLY

hariatis con expero maiosan tVolupid molupta spercia imet officiliqui sum volorecatur sundae veliciliquam fugiati onsequi nobis restiam eost dis dolupta quist eatum, sinimin veritatur alibeatia que volut magnime dolo maxima non reperum eiusdam iliquam laborit aquam, sentincid magnihi caecte remperit ut ut idus etur sam, nihicid ucillam liquo blandani di aut endem volorer orectotas iuntemodi optaquam quam que ne quas dolum acerchi cipsandebis seditatis deliquam, exerunt. In eribusda volora pelendiae ab ilitatia quis porpos a delecerovit quos arumqua ectur, quia inveliqui quaepudae dus aut lauditam etureris eturiberibus aut plitas dollanim velicim usdanis assi opta sinis doluptatum volendit dicilic aessecum exeruptatur, con

SUSAN KARE The final layout I was able to decide on, working with this project. I chose to use thumbnails of work to show lesser known work as well as corral the text without making it too obvious I was trying to do that. I also turned that blank page into a full bleed picture of the hero themselves. It grabbed attention, but also let me create a defined palette.

Ovitat volliquatem ium repuda volenemquas earum, od molestium quo omnihil evelectiam qui aut intecuscit everepelibus ent, quiatio nsendit adi seque noneces min comnient quianduciti torest quis ad et apitiat uriosto temoditis et atia pa voluptam, torporecus sequiam sin nobis autem ipsunt, sae optist, ommolupit lab ipsa inulpa pedia volore alicil iur, ut quas ratendi tatatat hariatis con expero maiosan tVolupid molupta spercia imet officiliqui sum volorecatur sundae veliciliquam fugiati onsequi nobis restiam eost dis dolupta quist eatum, sinimin veritatur alibeatia que volut magnime dolo maxima non reperum eiusdam iliquam laborit aquam, sentincid magnihi caecte remperit ut ut idus etur sam, nihicid ucillam liquo blandani di aut endem volorer orectotas iuntemodi optaquam quam que ne quas dolum acerchi cipsandebis seditatis deliquam, exerunt. In eribusda volora pelendiae ab ilitatia quis porpos a delecerovit quos arumqua ectur, quia inveliqui quaepudae dus aut lauditam etureris eturiberibus aut plitas dollanim velicim usdanis assi opta sinis doluptatum volendit dicilic aessecum exeruptatur, con re que nobis delit in rectemporum eum quunti sitae nos evenimus verrum inctotas. Voloresto voloreheni ommodiasint adis eum hic tem repedis aut inis num idis es idiciis sed que rae sequisi nctium elis alitatur autemqu idunt. Omni ulparisquae pelitatem estini cumet et inverchil int verionsectem cum remqui volupie nimilibus, corem. Dolorero magnim il iligentota dolore cupti beatiat emposae none nobitatum quis numqui cusantes aborum solorem idi dolo molupta tusdae perumquas nemped endia sitatur, quia et inverchil int verionsectem cum remqui volupie nimilibus, corem. Dolorero magnim il iligentota dolore cupti beatiat emposae none nobitatum quis numqui cusantes aborum uia

IMPORTING DIGITALLY

Left: The final palette chosen for the project. Originally, the orange was going to be blue, but it porinted too closely to the teal color to really contrast the way I felt necessary. Bottom: Lato Light was the weapon of choice regarding the body copy for this project.It seems that Futura PT Bold has become something I've fallen back on as far as display text, but if it isn't broken, don't fix it.

Lato Light ABC DEF G HIJ K L MN O PQ RS T U VW X Y Z a b c def g h i j k l m n o p qr st u v w x yz 1 2 3 45 6 7 8 9 0 &@#$%&?â&#x20AC;?â&#x20AC;&#x2122; :;.,

TWEAKING THE LAYOUT

https://twitter.com/ollymoss/

Top: The unedited photo. Bottom: The photo with edits necessary to make it cooperate with the color overlay.

An important part of this project that was separate from the research, was content gathering. Considering what we had to do, it was a fairly necessary thing to dedicate time to. Regarding the image content we needed to have, it needed to be print ready. This of course, complicated things. It didn't complicate anything when I went looking for work, but my choice for the full bleed photo of Olly Moss caused... Tension to say the least. It was something I personally found to be interesting, and fit with the presence he had cultivated for himself online, and yet there was somewhat of an issue with it when we we went into written critique. Others didn't like it. There was a push for me to go on Facebook and Instagram for photos, but I didn't feel the need to. Firstly, I didn't know what he looked like. Secondly, the photos I did catch a glimpse of on those platforms were more than five years old (and nowhere near print quality). It was a bit aggravating, to say the least, to have efforts focused on that instead of on other things that could or couldn't have been improved. Though looking back on that, I guess it was the only thing they could think of to really comment on for me to change other than tinted text. It didn't stop me from being a tad frustrated at the end of every critique though. But, I needed to move on from that point and actually continue to work on this project. I hadn't been able to work

TWEAKING THE LAYOUT

Following finding images, I needed to manipulate them to make them compatible with the effects I wanted to use. To put it plainly, because I was using a lighting filter, I needed to almost make them look like corpses depending on the color used with the overlay. This was definitely the case with the image below of Susan Kare, as I was using a pink gradient overlay.

TWEAKING THE LAYOUT

The edit for Alex Center wasn't nearly as extreme as needed for Susan Kare, but was just as necessary to keep everything from becoming a mess without any kind of contrast. Rather than changing the tones entirely the way I had to in the other image, this one just needed to be scaled back as far as color, and the levels needed to be adjusted.

TWEAKING THE LAYOUT

Cover design was something that we didn't really go over much. Of course, we couldn't really go into it in depth. This is an introductory class, and there's only so much time that we can dedicate to something like a cover when the topic of the class is based more in the "guts" of a piece. This was the only sketch I had for the cover, but it was more thought than I had put into our previous process journal's cover. In the end, I used the same colors in a similar, but ultimately different version of the cover that actually included everything we needed. At the time of this sketch I hadn't realized that we needed to include our grid, or a picture of ourselves.

COVER DESIGN

In 1954, the world was introduced to Susan Kare, and so Apple cried out in joyous applause, as their saviour had been brought forth. All joking aside, Susan Kare is the designer best known for her work as the designer for many of the interface elements belonging to the Apple Macintosh in the 1980’s. In 1975 she graduated with a B.A. from Holyoke College in 1975, and received a Ph.D. from New York University in 1978. She began her career at Apple in 1982, originally hired on as a designer for the interface graphics within the Macintosh as well as the interface fonts. Notably, she was an early pioneer of early pixel art ( fonts included ). Her works with apple are still incredibly recognizable, the Chicago typeface, the Geneva typeface, the “Happy Mac” icon, and the command key symbol ( that’s still used today ) are memorable examples of her work. Following her design work, she was also a creative director, before leaving Apple and moving to be a designer for NeXT. It was here that she began working with clients Microsoft and IBM. It was at NeXT she designed the iconic card deck for Microsoft Windows 3.0 Solitaire, as well as the iconography for Eazel’s Nautilus File Manager. More recently, between 2006 and 2010 she designed some of the gift icons for Facebook, as well as being hired in 2015 by Pinterest to lead product design. As of 2018, she currently works in San Francisco, and sells limited run prints of her work from her site kareprints.com I chose her as one of my heroes because of how far reaching, and iconic her work is. Being able to move from Apple and continue to create without having her previous work define current projects is something that I personally find admirable, and I want to be

SUSAN KARE

able to achieve something as far as not letting previous work define what I’m able to do.

https://www.areaware.com/collections/susan-kare http://kare.com/portfolio/ https://www.areaware.com/products/solitaire-cards?variant=14622412804

Born in 1987, Oliver “Olly” Moss is probably best known for his poster design and his work as an art director on the game Firewatch. His illustration work began as a hobby, before receiving online attention that led to his turning from advertising to work within illustration as well as graphic design. Moving forward with illustration, in 2010 he created possibly his most famous work, a series of 3 Star Wars posters in a limited series of 400 copies each.Following that, he was commissioned to create posters by Marvel to create a poster for the cast of Thor. With continuous work creating posters, he was also tasked with creating

the cover for the Resistance 3 video game, leading to a trailer being developed in a similar style to the packaging he designed. In 2013 he joined the ranks of a newly created developer, Campo Santo. Within Campo Santo, he was to become the art director for the video game Firewatch, the game mimicked the style of 1960’s national park posters. He was also responsible for the game’s color and lighting scheme, as well as handling the logos and designs for props within the game itself. As of 2018, he currently works in Winchester, though the future looks to him working in

OLLY MOSS

Washington at the video game developer, Valve. This designer became one of my heroes the second I came across his work. He’s created a defined visual style, but not without compromising his ability to adapt to what is needed from his work, or what is able to grab attention. Moss’ use of negative space is something I hope to be able to achieve within my work, as though it’s subtle, the second it’s seen it captivates the viewer.

https://twitter.com/ollymoss http://ollymoss.com/

Alex Center, born in 1984, is probably best known for his work regarding the vitaminwater visual identity. Secondly, most likely as a speaker within Debbie Millman’s podcast “Design Matters” or his other written work upon the subject of design. He began his career in design at an internship with the New York Knicks, and from there went on to work as a designer at glaceau before its acquisition by Coca Cola. At this point was the beginning of the relationship with the branding belonging to vitaminwater, that continued through the acquisition. He rose through the ranks from senior designer, looking over the branding, packaging, and print advertisement for several brands, to lead designer, and eventually design director. As of 2018, he has opened CENTER design. In 2011, he was named one of the 200 best packaging designers within the Leurzers Archive. His work is immediately recognizable, even without a name to attach to it. It’s far reaching, but isn’t something that has been slammed into everyone’s vision. Without reference, the idea of vitaminwater, smartwater, or POWERADE is able to be recognized without difficulty and without hesitation. And I aspire to create something with that kind of memorability. As of 2018, he currently works in Brooklyn, New York, as the founder of CENTER Design. Alex Center was chosen as one of my design heroes because of his work, and because of how he has been able grow with presence. His work is large scale, recognizable, and somewhat minimal, but without sacrificing a personality. The packaging speaks, without acknowledging the text, and it’s a goal of mine to be able to emulate that type of style.

http://thealexcenter.com/ https://www.wearecollins.com/work/vitaminwater-brandbook

ALEX CENTER

DESIGN Though currently unsure of where she hopes to end up in the design world, Brooke Baylis has a passion for bright, flat colors, and a blooming interest in web design that so far has resulted in a portfolio site.

HEROES Body Text: 9/14 Lato Light Spread title text: 72/60 Futura Heavy Oblique Source Text: 7/10 Lato Light Cover Title Text 72/72 Futura Bold Cover Accent Text: 8/11 Lato Light

Overall, this finished project is something I'm proud of. Though upon the initial finish, I was somewhat insecure, time has left me proud of what I was able to accomplish with this project. Though the cover isn't as captivating as the inside, everything manages to tie together. That, and it was a relief to be done with this project. It took up most of my time and focus, because it was the first major project of the semester for this class. There was a lot riding the line for this, not even to mention that the possibility of it being seen by one of my heroes was becoming extremely real. But, I finished it. It was complete. There wasn't anything to do with it.

FINAL PRINT (NICE)

I wanted to avoid creating eye contact with the cover. There was an amount of mystique added by cutting it off right below the eyes. It wasn't completely dehumanizing, but added interest.

FINAL PRINT

The first spread. Pink fit for the spread, as well as just created a striking introduction to my booklet. A vast spread of pink. It made a statement. I liked that.

FINAL PRINT

The middle spread, featuring the work of Olly Moss, is probably my favorite. The color scheme, and the work presented, has been a part of my life longer than that of Susan Kare or Alex center, and has influenced what I want to do.

FINAL PRINT

The final spread was a completely different creature, regarding the content. Where the other two designers worked more with visual works as their own thing, packaging and branding was this space. It was fun to work with.

FINAL PRINT

RÉS UM É. October 30th to November 5th

WHAT IS...

A GOOD

RÉSUMÉ A good resume is one that is able to introduce you. It shows your work, your education, other things of note, and in a way, yourself. If you're designing your own resumé, you want it to say something. But you don't want your voice to be louder than your content. It's a fine line of what exists as too much and what exists as too little.

Again, with the sketching. It seems to be the most important part of the process. I was able to do more sketching with this project thzn others, even though it was arguably more difficult to design something like this, as the content should come to the forefront of the design with the content only being text. My affinity for using geometric shapes and other colors didn't really fit here as well as I wanted it to.

Most of these sketches relied on more content than I had to work, so when I imported them digitally they didn't work as well as I wanted, and I had to abandon them to unused pages in the inDesign document. Maybe I can come back to these ideas at a later date, when I have more experience and things to fill out the layout. But until then, I had to work with what I had and move on.

SKETCHING... AGAIN

Top: The first idea I latched onto with the idea of using green as an accent and using only serif fonts. I didn't like the balance of it. Right Top: The next idea, after ditching the idea of using a serif font. It didn't reflect what I wanted to say about me, so I moved onto a sans serif. Right Bottom: This was what I moved on from to create my final copy of the resumĂŠ. Blue fit better than green for what I wanted to say with my resume.

DIGITAL IMPORT

My finished resumĂŠ is something I can safely say I'm proud of. It's more subtle than other iterations, and yet still has the slightest bit of personality in it because of my choice to use the subdued blue and Nimbus Sans. I don't really have much else to say about this project, because it wasn't one I felt really connected to, or thrilled about, as my content wasn't proportional enough for me to be able to balance it in the way I liked on the page any other way. But, here it is, in all its glory.

For the resume I used Nimbus Sans as subheads and accent text, with Lato Light as my general body. My accent color was C:100 M:43 Y:10.

brooke baylis education.

experience.

University of Louisville,

Graphic Production Assistant.

BFA in Graphic Design. Hite Art Institute August 2017–May 2021 Projected Graduation May 2021 Related Coursework:

Adecco / Kroger • Louisville, Kentucky Contracted April 2018–August 2018 Duties: Use of Adobe Photoshop as part of image processing for use in print media.

Foundation Design Methods

File management using in‑house system.

Letterforms I

Processing of incoming product for use in

Introduction to Graphic Design History and Issues of Graphic Design

skills. Adobe Creative Cloud Adobe Photoshop Adobe InDesign Adobe Illustrator

product photography. Web Designer. Freelance • Various Locations March 2015–August 2017 Duties: Created web page layouts and graphics for clients. Use of Adobe Photoshop as well as CSS and HTML for creation of graphics

CSS Styling + HTML File Management

b.baylis99@gmail.com 502.888.4241

DIGITAL IMPORT

I really liked how this fit onto a page. It looked like it gave room for all the content to breathe, even if the content was put in close proximity with eachother.

FINAL PRINT

PRO CESS. November 8th 2018 to November 27th 2018

WHAT IS...

MY PR

OCESS This was a hard question to answer for me. What is my process? What did I want to show? Do I even have anything to reflect what's going on as I create this reflection of the past semester? Heck - would I even have time to do it? The answer to the last question was the only one I could actually find a solid answer to. The answer? I would have to make time if I didn't have it.

The first step to this project was to begin with the question of what format I wanted to use. The 8.5" x 11" magazine? Or the 6"x9" trade book? This decision was fairly easy to make for me, as I wanted to be able to have more pages in the book. 6"x9" fit that want, as I would have to spread out my content more. From that point, I was able to sketch a few layout thumbnails. Given how a long form book works, I wasn't able to sketch the way I was with design heroes. The system with this couldn't be a concrete thing, rather, it had to be able to adjust to the content put in it. To the left were the few layouts I managed to come up with, hoping to be able to derive a coherent system within them. It was harder to do this, than design heroes, and we had less time to even begin working on it, so I threw it down, hoping it would stick, beginning with the section openers and the idea of color defining "sections". This would be the first of several decisions regarding how I wanted to define the system. But, it was the integral decision to actually define a system that I think helped me continue to work on this project. If there was a set of guidelines, I'd be able to actually make pages that adjusted to content fairly easy.

IDEA GENERATION

SYSTEM BIBLE 1) Use a quarter inch for spacing. 2) Dapifer Book for all "body" text. 3) Justify body text, rag right captions.

4) Futura PT Bold for any kind of "image" text or page furniture. 5) Live and die by the grid set in place. 6) Cross over the gutter when possible. 7) Color block when at all possible. 8) If you create the text inside a color block, make it white. 9) Avoid use of straight black. 10) Keep it airy.

Keep everything within the area defined by the pink box, unless it's a caption like this for a full spread between pages. Also a note, make captions 0.125" from content it's describing.

REMEMBER! THE GRID IS BUILT FOR FLEXIBILITY

DEFINITION

100

When actually going forward to create the process journal, I had to ask myself what kind of color I wanted to use. Color is something I like to think defines my work, or at least how I work. It inspires emotion, creates a mood, and tells you what the intention of the work in a way. Deep. saturated colors tend to have a more serious tone. Dark reds, dark blues, deep browns, they exist in a more professional connotation. That wasn't what I was ready to do with this book. Sure, the content was serious (to an extent), but I'm not comfortable with the kind of pressure that comes from using that kind of color scheme. As said before in my rules, the intention is to keep spreads airy. Light. Friendly to the eye, but not overly imformal. The way to do this, with the geometric look I wanted, was with the section colors I picked.

The colors I used in the order they're introduced

DEFINITION

102

Top: My page numbers. I chose to put them on the center of the page with a bleeding block so that when the book was cut what section of the book was where would be visible without having to open it up. Hopefully it works in practice. Right: The page furniture these small titles was something I decided fairly last minute, but now feels absolutely necessary. Without it, I doubt there'd be the clarity as far as where in the process I was on whatever page.

WORKING

104

The first spread I started working on was the introduction title page. It was where I first established my color blocking idea, and how I wanted to work with the relationship of white space to to content.

WORKING

106

It was difficult to begin with a cover, as I couldn't even start one digitally until every single page in the process journal was done. Hopefully, nest time there won't be as many pages in my next work (though I sincerely doubt that). Again, I needed to begin sketching to create some kind of starting point. It wasn't as hard as I thought it would be. Completely necessary with the cover design was the notion of airy geometry I made a point of using with the inside content of the book. Unlike the inside content, I needed to tie in all the colors on the inside, or none of them at all. A pale gray would work for that, but I wasn't sure what to do about it, as I couldn't put in more process if I started the cover. Preliminary sketching resulted in this, and it's what I'm going to work with.

COVER

108

My Covers.. I found it able to draw me in, and others seemed to like it as a companion to my work inside.

FINISHED PRINT

110

My favorite spread, with the color of the work and the way the text is displayed. Though I don't have a print copy yet, I used mockups to preview how spreads might look.

FINISHED PRINT

112

THE END.

WHEN DOES IT...

ALL

END

The semester, luckily, ends on December 3rd, 2018. I don't know if I can handle any more of this.

116

As this semester comes to a close, it really comes to light how much work I've done - even just on this journal. I hope to be able to improve my work as much as I have throughout this semester. There's something about being able to see physically what I've done, and what work I've completed,. It's just nice to hold it in my hands, and realize that the hundred or so pages I've compiled here are working. Even as the semester has thrown its all at me, I've managed to keep going, and keep creating. Its an adventure, albeit a tiring one, to be able to continue within this program, and still be able to hold what I've done. And for that I can't help but be excited for what the future is going to offer.

It's me.

CLOSING

Body Text: 8.5/12.5 Dapifer Book Title Text: 90/72 Futura PT Bold Captions: 7/10 Dapifer Bold Section Indicators: 10/12.5 Futura PT Bold

6"x9" Trade Book Standard Color Paper Soft Cover Perfect Bound Final Page Count: 120

Brooke Baylis Typography I Fall 2018