DES 115: Process Book by Ana Teruya

Process Book DES 115 | Fall 2018 Ana Teruya

Table of Contents

Project I: Minimal Letterforms Project II: Type Hierarchy Studies Project III: Book Design

Project I: Minimal Letterforms

Process: Beginnings

Introduction “This project requires the close examination of the form and function of letterforms. We will investigate the unique visual characteristics of a specific typeface and the aspects of composition — including juxtaposition, contrast, form/counterform, symmetry, and balance. In this process of “focusing in,” study the character of the positive and negative forms within each letter. As you design your composition within the prescribed grid, exploit the interrelationship of the parts to form a unified compositional whole.” - Gale Okumura

Project Constraints •

The font used for the project could only be one of the following:

Bauer Bodoni

Centaur

Friz Quadrata

Garamond 3

Helvetica

Memphis

•

Letters chosen for the design could only be ALL lowercase or ALL uppercase

•

The letters could NOT be rotated or modified and had to be the same size

•

All letters chosen for the final design must be identifiable

z g v

Process: Rough Drafts

During the early planning stages, I drew up multiple thumbnail sketches on tracing paper, utilizing different font styles, sizes, letters, and weights. These sketches were made by tracing over font print outs. â&#x20AC;&#x153;Cutting offâ&#x20AC;? parts of the letter by aligning them to pre-drawn squares allowed me to see the different shapes that could be created; even more so when the letters were combined together. After the hand drawn thumbnail sketches, we began creating drafts in Adobe Illustrator. These digital drafts allowed us to get a better idea of how our final designs should look like.

The images to the left are thumbnail sketches for this project. The left-most photo consists of small, 1-inch squares, each filled with a single letter of a font. The right-most photo was the second version of the thumbnails; these squares were larger so we could get a better idea of how size effects the apperance of the letters in different typefaces.

After doing a number of thumbnail sketches,

we moved to digital thumbnails. The three

images to the right are my digital thumbnails, which were created in Adobe Illustrator. I tried

three different fonts when desiging these thumbnails: Centaur, Bodoni, and Friz Quatra.

z kge

Process: Final Draft

For my final Minimal Letterform design, I decided on a slight variation of one of my digital thumbnails. The final font I chose is Friz Quatra (in its italicized form). In terms of letters, I chose “k”, “z”, “g”, and “e” since I thought that these letters showed off the font’s interesting terminals and letter weight. I tried my best to have both direct and indirect connections between the four letters, but I feel like I could move the letter “g” over to the left a bit for a more unique or interesting shape.

Project II: Type Hierarchy

Process: Beginnings

Introduction “This project uses a provided set of information to explore compositional alternatives. You will begin with one size and weight of Univers, and as the assignment progresses, you will be given additional elements and variations of type to make the problem more complex.” - Gale Okumura

Project Constraints •

Set 1 on plain paper

One size / one weight (15 pt. Univers 45)

One size / two weights (15 pt. Univers 45 and 65)

•

Set 2 on plain paper

Two sizes / two weights (15 pt and 9 pt Univers 45 and 65)

Two sizes / two weights / two styles (15 pt. and 9 pt. Univers 45, 46, 65, 66)

use a minimum of two fonts, eg. 15 pt. Univers 45 & 9 pt. Univers 66

•

Set 3 on bristol

Use given rules of any length

Any size, weight and style of Univers, with or without rules

Process: Rough Drafts (Set 1) The first set of the Type Hierarchy project was the most challenging for me. When mapping out the thumbnails (as seen below), I found it hard to create dynamic designs that maintained legibility to the viewer. Additionally, the constraint on the size and the weight of the font made these first two sets even more difficult to approach. For mapping out the sketches below, we used tracing paper, cut into squares, and waxed paper strips to layout and group the text.

Set 1A

Set 1B

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Visible Language A lecture series exploring the relationship between form and content Lectures are free and open to the public

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Visible Language A lecture series exploring the relationship between form and content

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Set 1B

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Digital Drafts

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Set 1A

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Set 1A: Final Version

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Lectures are free and open to the public

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Process: Rough Drafts (Set 2)

Rough and Digital Drafts

Set 2A

Set 2B

Visible Language A lecture series exploring the relationship between form and content

Ruedi Baur Nicholas Felton Richard Saul Wurman Orientation and disorientation

Lectures are free and open to the public

6 pm Thursday, December 3 135 Walker Hall UC Davis

Tobias Frere-Jones Jonathan Hoefler Zuzana Licko More than just a love of letters

Ruedi Baur Nicholas Felton Richard Saul Wurman Orientation and disorientation

6 pm Thursday, December 10 135 Walker Hall UC Davis

135 Walker Hall 6 pm

7 pm

UC Davis Thursday, December 3

Tobias Frere-Jones Jonathan Hoefler Richard Saul Wurman More than just a love of letters

Marian Bantjes Andrew Blauvelt Stefan Sagmeister Matter/anti-matter/does it matter?

135 Walker Hall 6 pm

Thursday, December 17 Design Museum UC Davis

Marian Bantjes Andrew Blauvelt Stefan Sagmeister Matter/anti-matter/does it matter?

UC Davis Thursday, December 10

Design Museum 7 pm

UC Davis Thursday, December 17

Orientation and disorientation 135 Walker Hall UC Davis 6 pm Thursday, December 3

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Visible Language A lecture series exploring the relationship between form and content

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135 Walker Hall 6 pm

UC Davis Thursday, December 10

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Tobias Frere-Jones Jonathan Hoefler Zuzana Licko

UC Davis Design Museum Thursday, December 17 7 pm Matter/anti-matter/does it matter?

More that just a love of letters

UC Davis 135 Walker Hall Thursday, December 10 6 pm More than just a love of letters

Marian Bantjes Andrew Blauvelt Stefan Sagmeister

Lectures are free and open to the public

Process: Final Drafts (Set 2) With set two, there was more variety in terms of font size and style, so I had a lot of fun designing these two layouts. The rough draft phase was a little messier than set oneâ&#x20AC;&#x2122;s, however, since I drew out my layouts instead of using the wax/tracing paper method. If I were to do it over again I would probably stick to using the latter. In terms of the layout of this set, I wanted to try aligning groups of text along diagonal lines, so I played with that type of alignment in both designs. Overall, Iâ&#x20AC;&#x2122;m pretty proud of the layouts, but I would like to try increasing the leading next time.

Set 2A

Set 2B

Visible Language A lecture series exploring the relationship between form and content

Orientation and disorientation 135 Walker Hall UC Davis 6 pm Thursday, December 3

Ruedi Baur Nicholas Felton Richard Saul Wurman

Ruedi Baur Nicholas Felton Richard Saul Wurman Orientation and disorientation 6 pm Thursday, December 3 135 Walker Hall UC Davis

More than just a love of letters 135 Walker Hall UC Davis 6 pm Thursday, December 10

Tobias Frere-Jones Jonathan Hoefler Zuzana Licko More than just a love of letters 6 pm Thursday, December 10 135 Walker Hall UC Davis

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Lectures are free and open to the public

Process: Rough Drafts (Set 3) Set 3A Visib le L A lectu anguage re seri form and c es explorin onten g the t relati

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Marian Bantjes Andrew Blauvelt Stefan Sagmeister

Lectures are free and open to the public

Set 3A was a bit hard for me to design because it took a long time to find a way to meaningfully incorporate lines into my layout. I also restarted 3A many more times than the other sets, which is why my draft and final design are completely different. My original 3A idea was to keep the linear-horizontal layout that I’ve been using for the other sets. However, after adding lines, I felt that I needed to try something different. As for 3B, I wanted to incorporate more black into my design, thus making the white space pop out more. Additionally, I wanted to play around with the meaning of “Visual Language” and design the title in a way that tied a literal meaning to it. Thus, to achieve the effect in the final design, I played around a bit with the visibilty of “visible” and “language.”

Process: Final Drafts (Set 3)

Set 3B

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VISIBLE LANGUAGE A lecture series exploring the relationship between form and content

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Lectures are free and open to the public

Ais N G ib U AGl e E

Set 3A

I am really pleased with how my final designs turned out. Especially 3A, since I spent a lot of time redoing the overall layout. Iâ&#x20AC;&#x2122;m also pleased that I was able to stray away from my usual style a bit and try different things. If I were to make any edits, I would try inverting the colors to see if the contrasting effect is the same.

Project III: Book Design

Process: Beginnings

Introduction “Using the text and images supplied, develop and utilize a grid system in the layout of a book using the following process. Work only in black, white and grey, plus one spot color if appropriate.” - Gale Okumura

Type and Color Selections: Color Scheme:

Font(s):

Neusa Next Std •

for headers and titles

Roboto •

main body font

Process: Rough Drafts (Page Layouts) When planning out the designs of the Paul Rand book, I originally styled most of the pages around the topic of the page. However, the more I styled each page, the more I noticed how the book as a whole lacked uniformity. Each, page while unique

First Draft

in its own right, did not fit with the overall image I had for the book.

Second Draft

Process: Rough Drafts (Page Layouts)

So, when I began laying out the pages on InDesign, I went for a more simplistic approach. At the time, I wanted the book to be neat and organized. But, I ran into the opposite problem designing digitally: the pages were to basic, and lacked any sort of creativity. The design I was going for did not reflect the book being made, nor the contents of it. I needed to find a balance between neat and fun.

Process: Rough Drafts (Covers)

Similarly, for my original cover designs, much of the layouts were very basic. I drew much inspiration from modern day book covers, but my execution was still lacking something.

Color Scheme:

Process: Final Draft After a lot of thinking and revision, I eventually decided on a color scheme of primary colors. Thereâ&#x20AC;&#x2122;s a lot of fun aspects to this book, and I wanted to incorporate that idea into the design with both layout and color. For some of the pages, I went back to my old sketched out thumbnails and drew inspiration from them. I feel that my finished book has a nice balance of uniformity and fun in the layouts. However, if I were to make edits, I would definitely aim to reorganize some of the body text.

Final Cover

Selected Pages: