PROCESS WORK 30%
YSDN SADDLE ISSUE 01 / NOV ’14
TABLE OF CONTENTS
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LET TER FROM YOUR FELLOW SADDLER
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NOVEMBER FEATURE
4 -5
CAMILLA DINARDO
6 -7
SIMONE ROBERT
8-9
YUCHING TIFFANY TSAI
10 -11
JOANNE VONGPHACHAN
12-13
PROCESS BEHIND THE YSDN SADDLE
14 -15
SADDLE ON THAT
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WHAT'S NEXT?
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LET TER FROM YOUR FELLOW SADDLER
Dear readers, Nice, you’ve got your hands on the first issue of the YSDN Saddle. Or better yet, the first issue made it out. I certainly cannot take credit for starting a YSDN magazine because it has been done in previous years more than once. The only original thing that I have done is ask the question, “why doesn’t YSDN have a magazine?” at the right place and time. With the help from the DSA and other talented ysdners, IT IS HERE! Much yays, hurrahs, and tildas ~ ~ ~ The YSDN Saddle is a student led magazine project I have overjoyously proposed and am now gratefully directing. The aim of this magazine is to unite the YSDN student body closer through sharing the experiences of similar practices we go through. It is also to raise the student voice positively without the intention to complain and coarsely criticize anything about the university program. Yeah, I can leave my guerilla designing and manifestos for another day. In the mean time, I am very excited to witness how the Saddle will take its shape throughout the year. Expect fun monthly issues designed and conceptually developed by your very own peers. Another reason behind the creation of this magazine is, well, to put our lessons into good practice. We are after all studying to become designers, right? It’s a lot of work to commit to a student led project, especially with what the YSDN program already offers us. However when a task is done from passion, joy, and a substantial amount of caffeine, good things happen. When good things happen, people are inspired to join, and a new crew of passionate, joyous, and caffeinated folks join to continue the cycle. I hope to meet many different designers from our program in their first to fourth, and even fifth year, and share the experience of making good memories and good designs together. From your fellow YSDNer, Hyojung Julia Seo
YSDN Saddle: The saddle stitched papers to saddle on for the latest and greatest scoop in YSDN.
NOVEMBER FEATURE
Process Work 30% The first feature of the YSDN Saddle begins with process, obviously. Nathan Grimberg When Julia explained her vision for this project for the first time, she told us that we could use this ‘zine to explore some of the more overlooked areas of our program. It’s fitting then that process work, the topic of our first issue, is perhaps one of the most overlooked things we do as design students. When we compile and sort through our process work we gain valuable insight into how and why we work the way we do. Working through process work forces us to think critically about our ideas—a tool that has helped me separate the bullshit from the stuff I’m actually proud of. Design fundamentals are a big part of first year and although these are really important, I felt like it was hard to express myself through some of the more structured exercises. But there was my process work, and that’s where I really had an opportunity to grow and think and develop my method. In the same way I know that no matter what we’re doing when we get out of this program, our process work will remind us of our true struggle.
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CAMILLA DINARDO
It’s all in the small details. Typography 2: Historical Poster Having never designed a 18x24 poster before, I was excited to finally get into oversized printing and test out bright colours. I have a tendency to do process work quickly because I want to get to the final product sonner, which is a bad habit. I’ve found that forcing myself to do a certain number of pages of thumbnail sketches has helped to push me into coming up with more ideas. Choosing the ideas to pursue isn’t always easy. I find this part of the process hard because your sketches don’t translate well on screen in most cases. I ended up taking pieces of the ones I liked the best and trying to make a few rough drafts in inDesign. Since we were only allowed to use three colours, I spent time picking different swatches and piecing them together. I ended up sticking with the last set of four.
SECOND YEAR
“well, these don’t work.” I made three rough drafts on the computer. One was done in red, the second was done in blue and the third was purple. After looking at them all, I felt the blue one was the strongest to move forward with. The first image (top left) was my initial mockup and the image of the grid is what I used to begin organizing text. By the end of the whole process, I ended up with my final (left).
This final part of the process work included me having to fix a lot of little things. Colours changed, column widths got more narrow, the image quality improved and little alignment changes brought it all together in the end. For me, this is my favourite part of process work. I love having a rough concept and spending time looking at all the details to see what can be improved further. It can be the most time consuming but it’s also the most rewarding. Things I learned: Neville Brody is awesome, so is the over-sized printer, mounting takes a long time, and I really like making posters.
SIMONE ROBERT
ABC: Artboards, Breakfast, & Code
Interactivity 2
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A look at my Illustrator files for Interactivity 2 in all of their disorganized glory. Having the structured stages of process in interactivity forces more experimentation than I might usually opt for in other courses, and has helped completely reshape my self-guided process as well. For this project, I am coding a website for the self-created festival Breakfest: The Breakfast Food Festival. (In the noble words of Leslie Knope, “why would anyone ever eat anything besides breakfast food?�)
SECOND YEAR
Accepting process work I accepted process work rather begrudgingly in my first semester—then I learned the glory of artboards. When another student decided to show me exactly what an artboard was (oh, the joys of a high school Photoshop Elements grade background) my world was basically shattered. I take back any of my scoffing at process work and thank that kind student for teaching me the~*~Art of Artboards~*~. I now know and love files with thirty-plus artboards, with vectoring galore outside of the artboards themselves. By saving all of my design steps, I became way more conscious in my descisions, rather than placing elements here and there for the sake of ~design~. I am still working at building a more harmonious relationship between me and my sketchbook (past just getting concepts on the paper), but me and my way-too-numerous artboards are BFFs in the creative refinement process.
YUCHING TIFFANY TSAI
I leave my thoughts everywhere
Interactivity 3 These are screen captures from my most recent project. The most challenging part of this project was in its concept, because the entire class was given the same content. I think I spent the first two weeks jotting down every ridiculous idea that crossed my mind at any single point of the day.
THIRD YEAR
“Ripping pages out of a sketchbook is like ripping out a piece of my heart.”
My process: Loose sheets of paper and more paper I love sketchbooks, I really do. I appreciate a beautiful, clean, perfect bind as much as the next design geek. However, if YSDN has put me out of any habits in the last two years, it is sketching in sketchbooks. Process work, process work, process work. Scanning pages from a thick sketchbook is a pain. It leaves a lovely patch of shadow in the gutter. Scanning a page and then printing it again feels like a waste of paper. Ripping pages out of a perfect sketchbook is like ripping out a piece of my heart. I now habitually use a clipboard filled with letter size paper for process work. That means I end up with a lot of loose sheets. It feels like a lot of scattered thoughts. Process work starts off as jotting down everything that comes across my mind. Especially at the beginning, there are a million different thoughts on a single sheet – most of them useless. Sometimes I will never realize how bad an idea it is until I see it on paper. Then it starts to filter itself. Being able to compare my thought process in a non-linear order helps eliminate the awful ideas. It is the clarity at the end of the tunnel - but in this case, a pile of paper - when I come to the idea that I am going forward with. 9
JOANNE VONGPHACHAN
It is good to experiment Process work… …is where the fun begins. There are no restrictions but the ones you give yourself. This is the time where you can cut, paste, scan, paint, throw, eat, cry, laugh and sketch ideas out. There is no need to B.S the work when you get a weeks work of sketching, c’mon we all know B.S ain’t
fun. I personally enjoy process work because there are so many ways you can do things. My mind starts to blow up with all of these ideas and since I’m not the strongest illustrator, what you will usually see in my sketchbook is a lot of written ideas with half assed sketches.
THIRD YEAR
“Just me and my scanner, day in, day out. No new friends.”
Toro y Moi “Bull and Me”
INFLUENCES Chaz’s parent's vinyl and tape collection heavily influenced Toro y Moi and admires
ANYTHING IN RETURN (2013) ANYTHING IN RETURN (2013) UNDERNEATH THE PINE (2011) UNDERNEATH THE PINE (2011) CAUSERS OF THIS (2010) CAUSERS OF THIS (2010)
the longest time I thought R&B was so boring, because I didn't understand it.”
contemporary influences like Sonic Youth,
Recently, Toro y Moi is listening to George
Animal Collective, J Dilla, and Daft Punk.
Harrison, Paul McCartney, Big Star, and
Chaz grew up listening to rock, indie rock
Todd Rundgren. Chaz would like to take
and the grunge but never listened to funk,
his music in a indie-esque, Beatles-type
hip-hop or R&B until college. “Really, for
but doesn’t want it to be mundane pop.
CONTEXT OF THE MUSIC
MY TOUCH TOUCH (2008) (2008) MY
His music is influenced by a range of different music genres, freak-folk, R&B, French House-which is heavily influential on Chaz's newest dance alias, Les Sins. Toro Y Moi has received praise from music websites like Pitchfork, Gorilla Vs. Bear and as well as print features in the NME, Dazed and Confused. Toro y Moi believes, reaching out to different audiences is a natural characteristic of music.
Chaz Bundick Chaz Bundick is from Columbia, South Carolina and was born on November 7, 1986. Studied at The University of South Carolina, graduated in 2009, earning a BFA in Graphic Design. Chaz stumbled into making music in 2001 as a bedroom project and later sent out his sounds to prominent blogs. Today, Chaz is a
Cha z
c Bu vo ndi ck on
IMPORTANCE OF TORO
f Patrick Je
Toro y Moi added a sensual life into the chillwave craze circa
fo
2009. Chaz working with electro-pop, psychedelic funk, outsider R&B and kaleidoscopic disco over the course of three
An dw dy Woo
full-length albums, has never cared much for categorization, compartmentalization or generalization. Many critics fell over themselves to praise him – Kanye West, providing a critical vote of approval for Toro y Moi’s debut, Causers of This. Bundick’s first album represents chillwave. Blogs like Hipster Runoff had a field day with the micro-genre, while influential outlets like Pitchfork drafted pieces of historical context of electronic pop. By December 2010, Bundick was happy to disregard the term while admitting to blog At the Sinema that he still liked Washed Out and Neon Indian: “I think [chillwave] was just a small little period where we all were, coincidentally.”
J
or km dan Blac
s & synt al h
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recording artists who performs with his live band and longtime friends.
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FAVOURITE CITY? Columbia, South Carolina. FAVOURITE FOOD? Doritos. FAVOURITE ARTICLE OF CLOTHING? Salmon-coloured pants.
“I really want music to sort of stay a hobby. I don't want to get jaded doing music. I need to make sure I have something to go back to when I get bored and tired of music. 'Cause that happens all the time to musicians.” – Chaz
Type 3 This is a spread for my type 3, project 3 booklet from second year. This spread had to represent the artists my booklet was about (Toro y Moi). Some say his music genre is chillwave. The scanner was my best friend throughout this whole project, helping me overcome the challenge in creating movement on paper. 11
PROCESS BEHIND THE YSDN SADDLE
Paper size: 8.5�x11� Margins Top & bottom margin: 3p0 Inside margin: 2p0 Outside margin: 4p0 Full bleed images: none Grid 6 column grid Gutter: 0p8 Baseline grid: 0p8 Typeface Univers font-family. Designed by Adrian Frutiger, Alexei Chekulayev 1957-1997
univers univers univers univers univers univers
Evolution of the horse.
That grainy, noisy border object style. YES.
In the proposal for this magazine project, this glorious image of a rider on a paper saddle was used to describe the magazine's concept. Wouldn't it be great to actually make one that big?
One delicious burrito was consumed in the process of the magazine development.
Revealing the secret behind the spinning horse. Shot in the one and only TEL photo studio.
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SADDLE ON THAT
Saddle up for Halloween #2SPOOKY Halloween Party Wed Oct 29, 9pm-3am Studio Bar 824 Dundas St. West
Hey everyone!! It's almost that time of year again: HALLOWEEN!! We're kickstarting our first event of the school year by hosting a huge Halloween jam at the Studio Bar. We've booked the entire venue for you lovely people to enjoy this crazy night! Our Story: This is a fundraising event to help support the YSDN 2015 Grad Show. At YSDN (York/Sheridan Design), it's our tradition to host an annual Grad Show at the end of the school year. The students that are graduating that year are required to combine forces and work together in order to produce a stellar show that exhibit their finest works created throughout their journey here at YSDN. It's our turn this year and we are working hard to ensure that our Grad Show will be one kick-ass show. We would love it if you came out for our first fundraising event for a stress-free night! YSDN, you have an awesome co-curricular week right after this night so come out and see how we really throw a party!! Non-YSDN, how many times can you say you've partied on a Wednesday night? Everyone's welcome to come!! IN SHORT, LET'S PARTY!!
Advertisement. Ew.
Costume party! The most creative costume wins a prize. Be scarier than Comic Sans, Spinning Beach Balls, and Stretched Type.. 19+ EVENT | 9PM - 3AM BRING GOV'T ISSUED ID | PAY AT THE DOOR $10 FOR YSDN (STUDENTS/ALUMNI) $15 FOR NON-YSDN $20 FOR EVERYONE AFTER MIDNIGHT Check out their site for the drink menu! http://www.studiobartoronto.ca/
See you all there! Spread the word!
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WHAT’S NEXT
“Poly Zip” Process work is finished. Now poly zip that. Going to class with your poly zip in hand is like running across the finish line after one hell of a sleepless-back-aching race. With its sharp corners and stiff edges, it is comforting to know that the project you spent your blood and tears on is well protected. The next YSDN Saddle issue is all about that— the poly zip. After all that process, what made you choose to put that particular work in the poly zip? Out of all poly zipped projects, which one was your favourite? Is it your favourite because of what others have said, the mark you got, or simply because of a personal connection? There are many factors out there that influence us on the way we judge our own work. We create our own poly zip standards and decide which of our projects are worthy enough to enter it. So, what influnences us? Who influences us?
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Want to be featured in the next saddle? Share your experience of a time when you felt the absolute best and worst about what was in your poly zip. We are seeking students from all year levels to share their work and experience regarding this “Poly Zip” theme. Submit a snap shot of work that you felt best about and worst about to be published in the next issue. Provide a brief description on what/who influences you on how you judge your own work.
Submit to: ysdnsaddle@gmail.com Submission deadline: November 3rd
FEATURING: CAMILLA DINARDO SIMONE ROBERT TIFFANY TSAI JOANNE VONGPHACHAN
SADDLERS ANGELINA TJHUNG JACOB COLOSI NATHAN GRIMBERG HYOJUNG JULIA SEO