l magazine

magazine

vol 1, iss 1, spr 2015

meet a typeface monarchy

16

48standing on the shoulders of giants: a 15 pt manifesto

70thesis abstracts:Lori’s focus forthe next year

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Lori enjoys working on the go. She prefers to be in a different place

every day, gathering materials, photographs, video and insight on

a project and then bringing it all together. If she could chose, she

would only spend 1/3 of her time on her computer designing and the

other 2/3 building, making and experimenting. She enjoys reading

and learning about not only graphic designers but marketing,

industrial design, handmade crafts, and sea life.

Lori admires surreal movies like The Fall, The Science of Sleep

or Eternal Sunshine of the Spotless Mind and loves to peruse Fast

Company, The New Yorker and Eye Magazine.

In time, Lori aims to become an Art or Creative director for editorial media, including magazines or films.

Intro to the Editor

Lori’s acquaintance with Art and Design

originates from learning basic color theory

in Preschool, thanks to her Grandmother.

She studied art and illustration as an

undergraduate, building her drawing and

basic design skills. During this time, she

became very interested in surreal work,

including that of Max Ernst. In a film

about Ernst, he traveled to Arizona to get

inspiration from the landscape and built

his home in the desert. After seeing this

film, she knew she wanted to move to

Arizona to cultivate her creativity.

Her design work explores a vivid color palette, handmade work and other tactile objects

are infused with tried and true typefaces, as well as a new and up and coming typeface,

Homestead. Outside of school, she works with the Tempe Bike

Action Group designing event posters. Lori also sells her illustrative

alcohol ink, collage paintings in Phoenix art shows and shops.

photo credit: Tonya Freeland

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contents

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Projects10

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this magazine is a collection of projects from my Visual Communication and Design Studio Class during 2014-2015 school year

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Roller Coast of aaahHHhh ProcessaaahHHhhaaahHHhh

the birth of an ideaWhat is the idea? This is when I decide or I am given an idea by a client, teacher, or inspiration.

Investigation: search, steal, borrowResearching an idea through Pinterest, Google, Behance, peers. This is when I search for a solution to the problem. I read some, I take some notes, hopefully magic comes from this.

Expectations: Is this cool enough to do? Has someone already done it and can I do it better? Am I on track for myself, my teacher, my client?

Final Concept: all I can search, I think?Usually at this point I have all the research done for my materials, ideas, concepts. First experiments have been done to make sure somethings will work. Development: Can this be done?

This is when the bulk of the experiments and prototypes come with my materials, lighting, colors, typefaces. What combination will they work the best in? Should I redesign some of it?

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Standing on the

Shoulders of Giants:

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Standing on the


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Standing on the


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Standing on the


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Standing on the


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Standing on the


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The year started out with some

explorations. Our teacher not only

wanted us to learn about type and color

pallets, she wanted us to chose our own

for the entire year.

I chose some of my favorite artists, film

makers, and designers and started my

exploration. After choosing my colors

so easily, I struggled to pick typefaces

I could use together. The hardest part

is pairing 4 typefaces to live together,

sometimes on the same document.

Color & Font for a Year

studies of artists and designers toolboxes

artist / designer color study taken from well known pieces

El Lissitsky Saul Bass Ralph Steadman

David Carson Roy Lichtenstein Hans Neuburg

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artist / designer typography study taken from well known pieces

Christof Gassner

ITC Avant

Garde Gothic

Wes Anderson

Archer

Futura (Bold)

Kyle Steed

Frontage

Futura

Khoi Vinh

Galaxie Polaris

Fort

Paul Rand

Ultra Bodoni

Alternate Gothic

Emily Craig

Kailey

League Gothic

ITC Fat Face

My Colors My Typefaces

HomesteadBodoni STD

AvenirFairview

what I chose for myself after this study

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His goal, at this point in his life, was to use design to create a new social structure.

some of Lizitsky’s work

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El Lissitzky was an engineer, architect, painter

and designer. His work was highly influenced

by politics and those he worked with. Lissitzky’s

work was created to get others to realize the

major issues artists can engage in. He was open

minded and designed to change perspectives as

well as to design the new world.

El Lissitzky: Designbook review of this original master of design

Next, Lissitzky went on to join Marc Chagall

in teaching architecture and graphic arts

in Vitebsk and collaborating with Kazimir

Malevich who invented Suprematism. Not

long after, Chagall left the Vitebsk Academy

and the school became dedicated to

Suprematism, which Lissitzky fully embraced.

El Lissitzky joined up with the Unovis group

and worked with Kera Ermolaeva, Malevich,

and other coworkers. At this time he was

working on organizing events, teaching,

publications, experimental work with lettering

and geometric forms, and graphic design

for public committees. His work became

constructive in shape, technical in geometry,

with logarithmic curves.

Born in Pochinok, Smolensk district in 1890, El Lissitzky

was a creative artist to many disciplines. From 1909-

1915, Lissitzky studied engineering, drawing, and

architecture in Darmstadt, Paris, Italy, and Moscow.

He created the Soviet flag during 1917 and was an

international social activist that wanted to promote a

political message. Lissitzky was now making paintings

of geometric shapes. Others saw them as just paintings,

to him, he was actually emphasizing that his techniques

were a process; stages in a creative process that

defined new ways to make things like books, the

printed page, or producing propaganda.

important people he worked with

the wonderful cover

He enjoyed using contradictory perspectives with floating

geometric shapes, and 3-D construction. As time continued,

Lissitzky worked on periodicals, design exhibition of his work

and other artists and lithography. He used squares, circles,

elliptical forms, and logarithmic curves. His work grew more

philosophical and practical as he worked with more artists,

designers, and poets. He continued to move between the

places he had been to and learned from. El Lissitzky engaged

in a vast range of creative and social themes throughout his

life. The best things to learn from him are his loyalty and

eagerness to design the future.

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To learn more about how my colors interacted together, I got paper,

tape, and string to see what kind of interactions happened. These

were made before I chose to add the magenta color. Doing this

exercise showed me I needed another warm color to finish the pallet.

images of experiments

Color PaletteExpedition

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paper, tape, string

Color PaletteExpedition

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5 stencils

over 150 photographs taken

10 final photos chosen

stencil sketches

stencil sketches

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Handmade Stencils

how my work and I fit into my environment

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Starting in class on our first day, my class

and I cut up our syllabus to make stencils.

After sketching

ideas for a while, the

stencils were chosen

and cut. A couple of

people passing by

wanted to be involved

and give it a try.

We went outside with flour, tape, stencils and cameras and made removable graffiti.

The next part of the assignment

was working on the project for two

weeks. We were supposed to try

many different experiments. By the

end of the assignment, no one other

person’s work looked alike. I chose to use

baking soda and then spray paint.

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body position sketches

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I decided to buy a 7 x 4 foot piece of ply

wood to spray paint. This allowed me

to take breaks between working and to

reposition the board

so I could change

the lighting easily. I

initially sprayed the

board black and then

used the stencils and

white paint to make

mandalas. I also

became part of the

photos to bring them

more to life and add

just a little color.

The end result was many images taken while experimenting and thinking about design in a new and different way.

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Typeface Monarchy

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As an artist, I wanted this monarchy to be loud and allow for many experimental opportunities.

the King, Queen and their children

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Typeface Monarchy

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using as many or few as their artistic direction

warrants. This is unique to Homestead and

one of the biggest draws to me as a designer.

Luke Lisi designed this typeface. He says it was

“Inspired by our desire and need to explore.

Always searching for a place to call home.”

A new graphic designer has to learn about

color theory, composition and the dreaded

concept of typeface pairings. Combining

type is a challenge when you are picking

two typefaces, but I chose to pick four. I

knew this was going to be a challenge, and

I had to have a plan. I needed something

bold and exciting to start out with. The

type that was going to have the dominating

presence among the others was to be

crowned king. I then needed a typeface

that was going to contrast but also

compliment the king, which of course

was to be the Queen. Finally, I needed

to pick two typefaces that agreed

with the King and Queen but had

a lesser presence, their children, the

Prince and Princess. Homestead became

that typeface my others looked to.

This typeface gave me a creative and

artsy feeling most typefaces do not.

Homestead comes in multiple layers,

giving the designer the option of

A King needs to have the means and the motive to effectively govern his surroundings, and Homestead seemed appropriate upon the throne.

Lissi’s type experiments

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Bodoni STD was designed as a revival

between 1907 and 1911. Described as a

sturdy and mechanical transitional, Bodoni

STD was designed with inspiration from

Baskerville and Didot. The designer, Morris

Fuller Benton was born in 1872 in Milwaukee,

Wisconsin. After Benton trained as a mechanic

and engineer, he joined the American Type

Founders, and became the type designer.

I have seen Bodoni used in fashion magazines

as the cover title font to give a romantic and

elegant feeling, this is obviously set for a

Queen. I am interested in the thick and thin

lines it uses to compose its letters. I chose

to use this typeface because it has so many

font options: regular, italic, book, book italic

and poster. The width of the font changes

drastically between regular and poster. It

Next, I chose Bodoni as the Queen.

seems the poster version has a wild uppercase “J”

where the stem curves in at the bottom as the curve

pushes in. The uppercase “Q” has a centered tail,

which makes it like a caricature that has a personality.

With the King and Queen set and vibrant, I needed to

chose their children to suit.

Fairview was chosen as the typeface for the Princess.

I needed a sans serif typeface that compliment the

King. Fairview was simple and contrasted Homestead

in weight, width and complexity in texture. Riley

Cran designed this typeface. He described it as a

condensed, industrial sans serif. It is also somewhat

geometrical which matched the King Homestead. It is

much thinner than so it contrasted it well.

Fairview is simple and easy to read. I like that it is

not a typeface that shouts out at the reader but

says its words in a formal way, as a Princess should.

The geometric counters mixed well with those of

homestead typeface

specimen

bodoni std typeface specimen

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Avenir, which is French for ‘future,’ was my next choice. Avenir

was designed by Adrian Frutiger, in 1998. It was released by

Linotype-Hell AG and was based on typefaces Futura and

Univers. Avenir is a geometric sans serif but it has a human

touch to it, which is what my typeface options needed and why

Frutiger redesigned Futura. The different fonts have similar

weights, designed for a specific purpose. Interestingly enough,

Avenir has no Italic style and the ‘o’ is not a perfect circle. The

Prince will not always follow in his father’s foot steps. Originally,

I had chosen Futura for the Prince typeface. It is interesting to

learn how similar they are.

As the Prince, he needs to be looking towards the future.

Homestead as well. Though it seems to fit pretty well with

Homestead, it does not mingle as well with my other typeface

choices. She is obviously a daddy’s girl.

fairview typeface specimen

avenir typeface specimen

My typefaces were made during completely

different time periods and locations, but

this reflects my influences and what I am

interested in. I plan to use these typefaces

together in the same poster and show

how their layered time periods can work

together. Before this process started,

type was important to me but not fun or

exhilarating. As the process unfolded, the

subtle nuances in each letter started to

become more apparent. I could tell the

difference between my typefaces after

making type specimen after type specimen.

The beginning of this process was still

rough for me, but has become rewarding.

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The Ultimate Design Form

a book by Paul Grushkin about posters from the ‘60s to the early ‘90s about rock & roll

The Art of Rock: Posters from Presley to Punk

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Posters are a gateway to design. They are

not just wonderful to those who create them

but also to the collector. During the 60’s in

the U.S., posters were looked at in the same

way as the next Instagram picture posted by

your favorite band today. Paul Grushkin’s The

Art of Rock: Posters from Presley to Punk is

a spectacular and complete visual and oral

history of rock concert posters from the 50’s

to late 80’s. Much can be learned from the

interviews with those involved in the creation

of these posters including the poster artists,

musicians and promoters.

In the world of rock posters or music posters,

the rock promoter Bill Graham is famous.

Graham started out giving away posters.

Soon he realized that he needed to start

charging. It was at this point that Graham and

Family Dog, another poster printer, starting

numbering each poster for historical value.

Nicholas Kouninos’ poster, made in 1967, is part of the Bill Graham

Presents Series (BG). Similar to other BG posters, Kouninos’ poster

is psychedelic. A lion holds an egg up to a mythical griffin’s mouth

while the sun peeks over the silhouette of the lion’s face. Red, dark

purple and mustard yellow vibrate from their positions next to

one another. The type is hand drawn, warped and becomes part of

the illustration. The lion’s mane, tail and decorations on his sleeve

are reminiscent of Art Nouveau. According to Gary Brooker of

Procol Harum, the poster was “...the absolute making of our whole

style.” The mythological griffin and lion additionally alluded to the

band’s British roots.

Another BG poster by Su. Suttle caught my attention because it

featured the Talking Heads and the B-52’s at Freeborn Hall. The

poster uses three different kinds of type but all sans serifs: first a

display font, in all capital letters, which appears to be hand drawn

for the pink text, second, all capital letters in white for the details

of the event and third, a hand drawn, black type. The names of

the bands are oriented so they appear to be at a 30 degree angle,

setting them apart from the details of the venue.

posters from Bill Graham’s series

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While somewhat obvious, Suttle had no

graphic design training in her typesetting, the

main parts of this poster are easy to read from

a distance. The poster is heavily influenced by

what would soon become the iconic 80’s style

beginning here. The colors are flat. The type

is very important and the seemingly digitized

texture all start to shout the “80’s!”

The last poster I chose to study was The

New World Hits Oakland at the Leamington

Hotel in 1967 poster. The poster was created

by Stanley Mouse and Alton Kelley. Kelley

originally did collages and Mouse did air

brush paintings on shirts and posters at hot

rod events. The two met as friends and started

working together on 26 of the Family Dog

posters. They described their work together

as the psychedelic style as an expression of

the times.

Pink Floyd poster by Nicolas Kouninos

Their collaborative poster uses red on the top

that fades to orange and then yellow, most

likely a screen print. The background is blue

and is the layer all the type is shown on. There

is a photo of a band, screen printed in green

monochrome sitting towards the top.

The colors are extremely successful, without

looking like a rainbow. The only thing that

could be fixed would be the color blue. It

seems that it is too close in hue to the red.

Because of this, the blue type sitting on

the red field is difficult to read. The type is

all hand drawn, and most of it is written on

banners that twist and turn in perspective.

This adds to the difficulty in reading the text.

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Stanley Mouse and Alton Kelley’s The Sparrow Poster

There is a texture drawn between the banners that breaks up

the space and makes it inviting to look at while contrasting

the type. Overall, the composition is straightforward but it

manages to draw attention. The golden ratio is employed in

the lower half but changes and swirls the other direction.

These posters combine image, type, color, line and

composition to tell the viewer about an event or happening.

These posters, like posters in general, are an exceedingly

effective vehicle of design. They seemed to have hit their

heyday in the 60’s, but they have continued to be a prominent

part of our music culture still. Band manager, Chris Coyle

explained, “It was enough to just to be obsessed with finding

them and sticking them up where you lived. Posters were

everywhere.” And posters are still everywhere.

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From my study of looking into these

posters, I want to use colors that are similar

in hue to make them vibrate. I am going

to start experimenting with hand drawn

type and I will always take influence from

psychedelic rock posters, as this is what

turned me on to graphic design. I will also

mix other genres like Art Nouveau and the

early 80s, as they have always been a love

of mine. Composition is important to think

about and I will simplify mine to make my

posters more readable.

Su. Suttle’s, Talking Heads, B-52’s , UC Davis Poster

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1 poster24 x 48 inches

laser cut type

A Poster About My Process

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step 1 step 2 step 3

The process I am establishing for myself has many mistakes. Understanding the way I learn and work best is part of my journey to becoming a better designer, creator and teacher for our future generations.

creativity is allowing yourself to make

design is knowing which ones to keep

homehomehome

teadteadtead

bodon

venir

fairviw

Adam Scott

AAAAAAAAAaAAAAAQQQQQqQQQQQQQQQ

GGGG

sketches

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Mistakes are as much of a part of success

as they are of failure. Although we are

told that they are a necessary part of the

process of learning, it helps to be reminded

so that we do not feel defeated after we

make one. Instead of feeling defeated, it

is imperative to determine what lesson we

can learn from our mistake so that we can

remember that information when we need

it again.

step 4

sketche from middle of process

We want to aid others by offering our

own experience from errors we have

made, but we must keep in mind that

we often remember best what we

learned from our own mistakes.

AAAAAAAAAaAAAAAQQQQQqQQQQQQQQQ

creativity is allowing

yourself to make

design is knowing which ones to keep

Scott Adams

Bod

oni:

roman

itc an

d ell

egan

t

Aven

ir: fr

ench

for

futu

re, h

uman

touc

h

Fairview: quite, geometric, industrial, sans serifHomestea

d: “inspired by our need

to explore. a

lways searching fo

r a

place t

o call home”

Luke Lisi

GGGGG

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This poster titled “Mistakes,” is about

the process I have cultivated in myself

as a Graphic Designer. It was made with

the typeface: Homestead, designed by

Luke Lissi, as an experiment in moveable

type. Dilbert creator Scott Adams said,

“Creativity is allowing yourself to make

mistakes. Design is knowing which ones

to keep.” This spoke to my creative artist

background, which has been colliding

with my more disciplined design learning.

Cast shadows, handmade paper, bits of

string and a lesson in photography all

contribute to a vibrant palette of colors.

Accompanying typefaces consist of Bodoni

Std., Fairview and Avenir. In combination,

these four fonts make up a family unlike

any seen before. Little bits of information

can be found around the poster that name

each and explain why I chose them. Finally,

three sets of letters are seen overlaying

each letter from a specific font family to

show how drastic the different weights are

for that font.

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Examining my Process

500 wordsdiagram of written statement

One of the best ways to work better is

to examine how you are working. There

are road blocks and “ah-ha” moments

for everyone but when do they happen?

Can we make them happen more often?

Those were the questions I was asking

myself when doing this assignment. I first

studied other people’s sketches of their

process and then sketched mine.

What I have now is an ever evolving

process that I constantly improvise to

make it work better for me.

wanderlust process sketch madebyshape.com process sketch

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Define: the birth of an idea

What is the idea? This is when I

decide or I am given an idea by a

client, teacher, or inspiration.

Investigation: search, steal, borrow

Researching an idea through Pinterest, Google,

Behance, peers. This is when I search for a

solution to the problem. I read some, I take

some notes, hopefully magic comes from this.

Expectations: the questioning stage

Is this cool enough

to take the time

to do? Has

someone already

done it and can I do

it better? Am I on

track for myself, my

teacher, my client?

Development: Can this be done?

Presentation: we are getting close

Spell and grammar check, fix rags, make

sure overlaps and corners are just right in

composition. Final craft is decided now. I

take some final photos and I think about

printing or other final deliverables,

make some test prints.

the Roller Coaster of aaahHHhh Process

This is when the bulk

of the experiments and

prototypes come with my

materials, lighting, colors,

typefaces. What combination

will they work the best in?

Should I redesign some of it?

process poster

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Final Concept: I have searched all I can search, I think?

Usually at this point I have all the

research done for my materials, ideas,

concepts. First experiments have been

done to make sure somethings will work

Delivery: finished!

A final product is ready

for the world, printed,

published online,

whatever is needed for

this project.

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finding out where I fit into this world of design

sticky notes to brainstorm

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48 x 24 inch posterexplanationkey

Mapping my Future

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one of the first ideas

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sketches of mobiles

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Mapping out your future. Something every

one does, right? I think most people do

but they do not chose to make something

to understand it better. This project went

from sticky notes of designers and artists

I like and ways I like to work to the visual

inspirations I look toward.

My first idea was cutting the images I used

for inspiration and putting them into my

hair. I was trying to form a type of nest

that cultivated new inspirations. As this did

not work well, I moved on to the idea of a

mobile inspired by Alexandar Calder. I used

my work and wire to do my initial photos

for this idea.

step 2 step 3

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final poster

when in motion, the mobile would sway and intermingle with the other pieces and I could see possible combinations where I did not previously notice them.

I realized that using other designer’s and

artist’s work would give me better ideas

of how to mix different elements of my

work to make something completely

different. The final result was a mobile

with other people’s work and some of my

work. The idea is that,

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Only drink coffee when you need it or are meeting an old friend.

“Sure some medical experts say coffee could be a health hazard, but they obviously never built a web site before!”

Geoff Blake, Ten Ton Dreamweaver

poster 1

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2 Hours2 Posters

2 posters4 typefacescolor pallet

In two hours, without much warning,

we were to sketch, design and print

two posters. We had our tools from last

semester and a manifesto we had started

writing as the subject of the posters. I

was also told that I had to use a triangle

in each poster.

It was, at this time, the beginning of

the second semester. Our class wanted to

make something, to design something! We

had only written papers and done literature

reviews at this point and were bored.

Take another stab at web.

“First, solve the problem. Then, write the code.” John Johnson, Programmer

sketches of 2 manifesto points

poster 2

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A Design Exploration by Martin Bone and Kara Johnson

image from ideo.com

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Graphic design research is new. Because of that, I find it helpful to

draw inspiration as well as topical information from other disciplines.

At this point in my studies, I have realized that I want to make

handmade design of many forms and photograph it. Now I need to

figure out how to do it differently.

a book review about industrial designers

Before reading this book, I thought I could imagine the process

Industrial Designers go through when working on a project. Now I

know a more detailed version of it. The next night after reading the

book, I found myself trying to figure out how to stuff chicken breasts

the best way possible from this perspective. It was refreshing to have

a new point of view.

The book is a design exploration between two

Industrial Designers on the opposite sides of

the United States. They talk about projects

they want to make and brainstorm via Instant

Messaging. Vivid images with an entertaining

layout and instant message format sets the

reader on a path of discovery. The book

is written so as to make the reader feel as

though they were part of the process. Each

designer explains the project, experiment and

end result separately and often times with

strikingly opposing views. This gives a very

honest feeling to the journey.

I Miss my Pencil

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One of the first chapters is called Aisthetika. Aisthetika are

things that we perceive through our senses, most often a unique

combination of the senses. Smell is the strongest sense and most

often left out of Industrial Design. Smell is also the sense

that helps us remember. A single smell can take you back to the

day when you were hanging out with your grandma. It could

be the smell of cut grass the day you skinned your knee, or it

images from ideo.comw

could be just the way your best friend’s

house smelled. There are also the less

acknowledged senses. The senses of time,

humor, style, balance and rhythm.

The first experiment the designers did was

making a printer less nois. Some people hate

the sound of printers, so they want to simplify

the sense of sound. They figured that they

could cover it in felt. They decided to take

one sense that was annoying and add another

one that could be more enjoyable. The

designers go through many steps of changing

the thickness of the felt, figuring out how to

make the ink accessible and how the paper

would feed through a drawer.

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image from ideo.com

Reading this book has helped me open my eyes to other disciplines in design.

In another experiment, a doorbell sprayed a specific scent for each person that rang it

and came into the house. Reading about this experiment made me think about how much

smell really does mean to me. In the book they said, “It smells like

the postman and lavender.” What a peculiar way to identify someone

with an essential oil. Now we want to positively label our friends and

family with jasmine, basil and lemon.

I can see how each experiment contributed to the success of

another, that each experiment is worth the time. Something that I

have been thinking lately, which is mentioned in the text: Design is

stuck on a known path to an expected result. Being a designer is not about getting to the

same place with different means. It is about getting to a different place. My next question

is, how does that poster with a scent and texture become digital?

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Things I have Learned in my Life so Far

a book review about Stefan Sagmeister

There is no doubt that this book has one of the most attention-

getting covers ever seen. The collection box includes eighteen

books all with separately designed covers. The front of the box

has organic shapes cut into Sagmeister’s face. Each book put

behind the façade makes him look different. Some of the covers

have shapes that coincide with the shapes in the box, while others

disregard the openings altogether.Each booklet tells a story about one or two

projects. The first booklet I read had a black

and white bulls eye on the front, the kind that

is used to create optical illusions. There are

two projects in here: Worrying Solves Nothing

and Over Time I get Used to Everything and

Start Taking it for Granted. The first project

was done with school kids, 25,000 black coat

hangers, and 35,000 white coat hangers. The

children and Sagmeister built cubes out of

the hangers. They used 4 for each side and

then built the cube shape. Each cube became

a pixel and each pixel became part of the

message: “Worry Solves Nothing.” The words

ended up being over 10 feet high and a city

block long.

The second project, Over Time I get Used to Everything and Start

Taking it for Granted, is a series of photos taken throughout New

York City in places Sagmeister had never been to before. Because

of these unique stops, he could not take them for granted. Among

various other things, Sagmeister swam in the Hudson River at 6:00

a.m. with letters painted on his chest, marking a word on a dirty

cop car and hanging out the window of a thirtieth floor window

holding a sign until the police and fire trucks arrive. At this point in

the story, he narrowly misses being arrested.

After reading several other booklets, I realized that Sagmeister

tells a story through type, photography and video. Never does

he tell the story before the viewer can see part of the project.

Sagmeister plans things for his work and does not worry about

repercussions. He seems to live like a 20-year-old boy still with

ideas that are surprising. The most

interesting part of his stories is how he

gets to the idea. As a designer that keeps

trying to write a daily journal, which seems

like a great source to get encouragement.

All of his ideas seem to come from his journals or things that keep him up at night.

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Manifesto4 8

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Stay Diligent:

Take more notes and stay attentive.

Cause your memory’s gonna riot AHHH!”- Animal Collective, Slippi

a 15 point declaration of my design and how I would like to do it

fifteen 11 x 17 inch posters

each with one point

Standing on the Shoulders of Giants

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Manifesto4 9

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2. Experiment with colors and good typefaces

you are uncomfortable with and use them one

at a time with the toolbox you have.

“Always do what you are afraid of.”- Emerson

3. Figure out what motivates you. Prove the

skeptics wrong.

“If we’re gonna do this,

we’ve got to do it now, while we’re young.

What are you tryin’ to prove, what are you

tryin’ to prove,

who are you tryin’ to prove it to?” -

Department of Eagles

4. Take another stab at web.

“First, solve the problem. Then, write the

code. ” - John Johnson

5. Do not cut corners.

“Never cut corners, or accept anything that’s

second-rate.”- Bruce Oldfield

6. Ask questions, even if they are the dumb

questions.

“There are naive questions, tedious questions,

ill-phrased questions, questions put after

inadequate self-criticism. But every question

is a cry to understand the world. There is no

such thing as a dumb question.”- Carl Sagan

Stay Diligent:

7. Drink coffee when you need it or are

meeting an old friend.

“Sure some medical experts say coffee

could be a health hazard, but they

obviously never built a website before!”-

Geoff Blake, Ten Ton Dreamweaver

8. Research a new designer, writer,

someone professional and/or famous every

week.

“The trick to having good ideas is not to sit

around in glorious isolation and try to think

big thoughts. The trick is to get more parts

on the table.” - Steven Johnson, Where

Good Ideas Come From: The Natural

History of Innovation

9. Read EVERY day to build your social

skills.

For Better Social Skills, Scientists

Recommend a Little Chekhov

http://well.blogs.nytimes.com/2013/10/03/

i-know-how-youre-feeling-i-read-

chekhov/?_r=0

10. Look back at artists and designers you

have already learned about and see if their

work is now relevant to yours.

“Eventually everything connects —

people, ideas, objects...the quality of the

connections is the key to quality per se...I

don’t believe in this ‘gifted few’ concept,

just in people doing things they are really

interested in doing. They have a way of

getting good at whatever it is.”- Charles

Eames

11.Take risks and make mistakes.

“Creativity is allowing yourself to make

mistakes. Design is knowing which ones to

keep.” - Scott Adams

sketches of initial ideas

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12. Use your hands and mind to build beauty

daily: draw something, build something, write

something.

“I want everything we do to be beautiful.

I don’t give a damn whether the client

understands that that’s worth anything, of

that the client thinks it’s worth anything, or

whether it is worth anything. It’s worth it to

me. It’s the way I want to live my life. I want to

make beautiful things, even it nobody cares.”

- Saul Bass

13. Don’t work for less than you are worth.

“ A successful design career is possible

without forfeiting self-respect as long as you

do not undervalue (or overvalue) your work.”

- Peter Landt

14. Stuck on a project?

“Sometimes you just have to go skiing.” - Al

Sanft

15. Continuousssssssllyyyyyy remind yourself

of your goals.

“The reason most people never reach their

goals is that they don’t define them, or ever

seriously consider them as believable or

achievable.” - Denis Waitley

Stay Content:

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The next step in the process was cutting and

painting triangles in my color pallette.

I strung up, arranged, placed, moved,

scattered, and spinkled trangles around my

screens. I had them illustrate the point.

After light

Photoshopping,

I added text for

each point.

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Standing on the Shoulders of Giants:Stay Diligent

Take more notes and stay attentive.

“Cause your memory’s gonna rot AHHH!”

Animal Collective, Slippi

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Standing on the


Stay Diligent

“Always do what you are

and typefaces you are uncomfortable with & use them one at a time with your toolbox.

Emerson afraid of.”

Experiment with colors

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Standing on the Shoulders of Giants:StayDiligent

we’ve got to do it now, while we’re young.What are you tryin’ to prove, what are you tryin’ to prove,who are you tryin’ to prove it to?”

Figure out what motivates you. Prove the skeptics wrong.

Department of Eagles

“If we’re gonna do this,

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Take another stab at web.

“First, solve the problem. Then, write the code.”

John Johnson


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“Never cut corners, or accept anything that’s second-rate.”

Do not cut corners.

Bruce Oldfield

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There are naive questions, tedious questions, ill-phrased questions, questions put after inadequate self-criticism. But every question is a cry to understand the world. There is no such thing as a dumb question.”


Ask questions, even if they

are the dumb questions.

Carl Sagan“

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Sure some medical experts say coffee could be a health hazard, but they obviously never built a web site before!”

“

Geoff Blake

Only drink coffee when you need it or are meeting an old friend.


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The trick to having good ideas is not to sit around in glorious isolation and try to think big thoughts. The trick is to get more parts on the table.”

Research a new designerwriter, someone professionaland/or famous every week.

Steven Johnson

“


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For Better Social Skills, Scientists Recommend a Little Chekhov

Read EVERY day to build your social skills.

Standing on the Shoulders of Giants:StayDiligent

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Eventually everything connects — people, ideas, objects...the quality of the connections is the key to quality per se...I don’t believe in this ‘gifted few’ concept, just in people doing things they are really interested in doing. They have a way of getting good at whatever it is.”

Look back at artists and designers you have already learned about and see if their work is now relevant to yours.

Charles Eames

“


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Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.”

Take risks and make mistakes.

Scott Adams

“


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“I want everything we do to be beautiful. I don’t give a damn whether the client understands that that’s worth any thing, of that the client thinks it’s worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even it nobody cares.”

Standing on the


Stay Content

Use your hands and mind to build beauty daily: draw something, build something, write something.

Saul Bass

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A successful design career is possible without forfeiting self-respect as long as you do not undervalue (or overvalue) your work.”

Standing on the Shoulders of Giants:Stay Content

Don’t work for less Than you are worth.

Peter Landt

“

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“Sometimes you just have to go skiing.”


Take a break.

Al Sanft

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The reason most people never reach their goals is that they don’t define them, or ever seriously consider them as believable or achievable.”


Continuousssllyyyy remind yourself of your goals.

Denis Waitley“

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Memory is a challenge for most people but for others, it can be impossible.

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It is easy to read this article and only understand it at certain points, but at those times,

becoming truly amazed. For example, Proust says that memories under extreme scrutiny

can disappear like a star in the sky looked at too long. This is a simple but humbly

articulate way to describe this experience. He later says “Eyes are just time machines,

telescopes of the invisible.” I have so many images in my head to envision what he meant

by that, all of these images, of course, are from my memory.

This book will be a continued exploration into thinking about memory and how to work

towards my goal of playing with a viewer’s memory and possibly helping them remember

in a different way. From this book I learned that to one writer, memories are experiences,

consciousness, feelings, thought, and ideology connected with food, material

possessions, daily routine, and more. As I go forward, this definition will guide me.

Documents of Contemporary Art a book review

about Memory

I read about Marchel Proust: arguably

the best author in the world. He was an

essayist, critic, and novelist known most for

the novel À la recherché du temps redu, It

was seven volumes, ten in total but three

were never published as he had passed

away before completion, and translates to

Remembrance of Things Past. These books

were about involuntary memory and the

search for lost time.

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Roger Shattuck writes about them and has a discussion with the

reader about what Proust meant in his books. Shattuck refers to

work that Proust did to undertake a transposition of spatial vision

by adding optical figures until it removed our depth perception in

space and re-invents itself in time. In this way, Proust is explaining

memories as images we string together in our heads to create a

story. After such experiments Proust aimed to revolutionize the “here”

and “now.”

As someone that has short-term memory loss, I am regularly

trying to remember where I put my jacket or phone, what the Art

Director’s name is that just introduced themselves to me, or simply

writing a word down after someone has just verbally announced

it to me. Memory loss cannot be seen or really noticed unless it is

severe. As a Graphic Designer with short-term memory loss, I want

to learn all that I can about memory and how I can sew it into my work.

This book is a compilation of documents from various people

talking about memory, how they understand it to work in various

ways and what others have written about it.

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thesis bstracts

3 abstracts3 different ideas

1 future ahead

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thesis bstracts

Remembering to Remember or Forgetting to Forget

Handcrafted Type: An Exploration in Typeface Essentials

Blurry Lines: Haptic Learning& Tactile Design for Memory

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Haptic Learning & Tactile Design for Memory

Blurry Lines:

In the 21st Century, nearly everyone owns

a computer and has a deceptive freedom

of digital creation. They feel of they can

buy Photoshop or Illustrator, they can be a

“designer.” It seems that trends and fads

continuously cycle in and out of popularity.

I believe tactile and handcrafted work is

coming back into its prime.

Handmade items uncover our real roots

as humans and give haptic learners a

way to understand things. By creating

something that cannot be shrugged off

or clicked out of, it demands the viewer’s

full attention and deliberate commitment.

The mesmerizing and meditative beauty

of extended, focused concentration is

something to celebrate and bring back

to the attention of such computer users.

I see this approach as a refreshing and

reinvigorating way to work.

Now is the time to celebrate the simple joy of something analog in this world obsessed with digital and return to the tangible realm, to physical creations.

Paloma Rincón, Bankia 50

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My interest in this area of study is based on

my experience working with tactile graphic

design elements and learning by touch,

therefore encouraging better remembering.

My research on Jeremiah Shaw and Zim

& Zou has helped me frame an area of

tangible design, which interests me. Julien

Vallee’s study and work on handmade

graphic design has helped me see and

understand how I might aid haptic learners

by making tactile design for creating

memories.

My work will seek to expand and articulate

the possibilities of what is expected of

graphic design, what the boundaries of

graphic design are and what the difference

is between digital and tactile design

through a series of experimental interviews.

I will experiment with the following process

and methods: laser cutting wood, paper

folding and light and shadow play because

they will help me better understand how

tactile graphic design shapes memories.

My work could revolutionize the way

design is viewed and how people learn

through touch, having impact on the design

community and haptic learners. My thesis

will help me begin to understand what

makes a person remember a design so that

I may make progress toward my long term

goal of helping others remember my work.

Kevin Steele, The Movable Book of Letterforms

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It is easier to have better craftsmanship

when designing in a computer than it is

when designing by hand. Off the computer

is a different world where command-z does

not undo the last thing done and there is no

“undo” shortcut. It is important to go slowly

when designing by hand, some would say

painstakingly slow. Mistakes either turn into

happy mistakes or things that will restart an

entire project. As such, handmade design is

almost a newfound cultural freedom in this

thoroughly digital era. Not everyone has the

patience to withstand such long, laboring

hours. As a designer that enjoys the reaction

of, “How do you have so much patience,”

I want to further test my patience and

thoroughly examine type.

An Exploration in Typeface Essentials

Handcrafted Type:

Jessica Hishe, Starbucks: Fancy Lattes

Letter forms are the heart of graphic

design. There are many types of Designers

but only one who knows what a typeface

is, how to choose it, when to utilize it, etc.

My interest in this area of study is based

on my experience studying and exploring

typefaces. My research on Jessica Hische and

Arm Studio has helped me frame an area in

typeface design which interests me. Victoria

Rushton’s study and work on unique and non-

traditional hand drawn fonts has helped me

see and understand how I might contribute to

graphic design by making work that confronts

typeface design in advertising, books and on

the web.

Type is a big component of design, and learning about different ways to make a letter while studying readability, accessibility and usability is something I would like to explore.

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Anna Keville, Panco Sassano & Agustin Nieto, A Gusto

Marmalade Bleue, Love You More

My work will seek to expand and articulate

the possibilities of readability, accessibility

and usability through various experiments

in building letter forms. I will experiment

with foods, naturally occurring objects and

industrially designed objects to create them.

These experiments will help me better

understand how typeface design shapes

readability and human behavior. It will closely

examine the often forgotten or overlooked

parts of a letter form from a slow meditative

work flow.

My work could challenge the boundaries

of what a typefaces is, having impact on

anyone that can read the English language.

My thesis will help me begin to experiment

with typographical forms so that I may

make progress toward my long term goal of

designing typefaces.

Anna Keville, Panco Sassano & Agustin Nieto, A Gusto

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Remembering to Remember or Forgetting to Forget

Memory is a challenge for many people, but for others it can be

impossible task. As someone who has short-term memory loss, I

am regularly trying to remember where I put my jacket or phone,

what the Art Director’s name is that just introduced

I hope to inspire further explorations of memory.

himself to me or simply writing a word down after someone has

just verbally announced it to me. Memory loss is considered a

different level of ability from what is “normal” but not one that can

be seen or really noticed unless it is severe.

Tame Impala, Feels Like We Only Go Backwards

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As a Graphic Designer with short-term memory loss, I want to learn all that I can about memory and how I can sew it into my work and possibly help others with the same challenges. My research on Marcel Proust has helped me frame an area of memory-driven design. Proust’s study and work on involuntary memory and the search for lost time has helped me see and understand how I might contribute to graphic design. In this thesis, I can make work that explores and expands how we design for people with varying levels of memory retention.

My work will seek to expand and articulate the possibilities of the activation of memory,

haunting memories, rewinding and fast forwarding time, and the act of forgetting through short videos that will remind viewers of past and present times. The videos will be created with experimentation in tactile handmade design. I will experiment with the following processes and methods: repetition, reappearance, grid systems and transparencies. I will explore active forgetting because it will help me better understand how our experiences, consciousness, feelings, thought and ideology transcend to memorable.

My thesis is intended to shape human behavior when referring to practices of memory. My work could evolve into a more artistic approach to design, having impact on those with varying levels of memory retention as well as my peers.

Animal Collective, Bluish Julien Vallee, Hermes Metamorphose

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process postermapping my future poster15 manifesto posters

photo credit: Lindsay Kinkade

Posters& Talks

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The show consisted of my classes posters

and short talks about local urban design

entrepreneurs and their innovative infill

projects, new business models in residential

renovation, and passion for historic

preservation.

Photo Credit: Shangning Wang

Photo Credit: Lizhou Zhang

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