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Thesis and Process

Liminal: The Process of Becoming ArtCenter College of Design Thesis Project for the Masters of Fine Art Graphic Design Program.

First Edition @2022 ArtCenter College of Design All rights reserved under pan-American copyright conventions. No part of this publication may be reproduced or utilized in any form or by any means without permission in writing from the publisher.

Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions.

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Liminal: The Process of Becoming Space for Process Workbook for Process Visual Identity

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Process and Development Modular Type Design Spatial Design Workbook

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Afterword Colophon

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Introduction

To designers who choose resilience in the tumultuous process.

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Introduction

'Liminal: The Process of Becoming' emphasizes the process over the end result of a designer’s work. The process (the nonlinear journey from conception to execution) should be valued within our community and be celebrated as a humanistic discipline. In doing so, designers will discover a holistic framework for their practice, which will create a domino effect, enriching the design community’s ecosystem to become evergreen. Our process is our heritage, and we must keep it active and at the forefront of this industry.

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FOREWORD

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Foreword

When I look at the design process, I see many different approaches. There isn’t much conversation around the tumultuous journey behind the work— the inspiration, the plateau, the excitement, the tears. Our process is our heritage. And yet our design community is obsessed with the end result—the beautiful award-winning, presentation. This has led us to forget the process in-between. The process can vary in experience and look different. It is a mystery that even seasoned designers are still unpacking. The process adapts and changes throughout different stages of your career, and is never stagnant. The design process should be valued within our community and be celebrated as a humanistic discipline. Integrating it within multiple aspects of our lives will help create a richer experience with the process. It will make it become more meaningful and rewarding. The process is informed by your values, lifestyle, and the culture around us. It is what informs and influences our work. What we nourish ourselves with, eventually becomes a part of what we do.

As human beings are messy, our design processes are often messy and unpredictable even if we have built systems for how we present it in a clean manner. Designers often aim for precision and evidence of credibility in their work, which is desirable for both the American corporate culture—as majority goals are result and profit-driven.

Another value of Western culture is to lean on “scientific evidence.” When designers work within this framework, their practice unknowingly demands to fit within these criteria. In other words, our process has become fixated on creating “high-level” succinct steps for non-designers to understand. This only stifles designers to narrow their explorations and eliminate spontaneity, which is essential to the practice and to the transformative experience that the process has to offer. To challenge this fixation, I have created Liminal as a framework of vulnerability in relation to the design process. To designers, vulnerability means showing the inspiration, thought process, and personal transformation from building their work—contemplating on self-edited rough sketches and sharing unfinished design while deeply in their process. These are the moments that create an opportunity for a powerful dialogue within our design communities. Other designers can learn new principles, rather than restrictive structures, which cultivate our creativity, our intrinsic fuel.

To bring process to the forefront, I have created Liminal as a portable spatial experience that works via modular guided processes to contribute to our design ecosystem along with a contemplative workbook. The portable spatial experience is an immersive and nonhierarchical participation practice as we believe that everyone has a seat at the table. We create a concept of having a safe space to learn and grow our design processes. This safe environment catalyzes our creativity. In addition, this immersive experience activates our senses to create an impact on our neuro-pathways and muscle memory for us to integrate into our daily practice. The contemplative workbook gives designers the opportunity to meditate on and analyze the process of other designers, and also make these exercises their own. Learning from influential and unconventional methodologies and principles will expand our ability to identify, nourish, and articulate our ideas in unexpected measures. This experience and workbook will help combat our creativity from stifling and becoming homogenous to a globally connected design community. It is essentially an incubator for undiscovered ideas that eventually scale to become rich moments in design. The current climate of our design culture is merging to become one pathway. We must become proactive in developing sensitivity and awareness about our processes—to think critically and contextually. In doing so, diverse pathways will naturally evolve.

How we think and design will continue to grow. And growth should be a value of Thesis: Process Book

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cultivating process. In doing so, I believe that designers become more “free” in their process and bold in their practice—that their lifestyles are so deeply integrated with how their practice lives on. Designers will begin to value their unfinished work, ideas, and sketches as a part of their project. They will begin to understand how they are transforming in their skills, methodologies, and principles. These will be foundational pillars to their success— success beyond the monetary and superficial.

A deeper appreciation for themselves and how they live their lives will become part of their practice. Design is meant to be approached as a holistic process. It cannot be compartmentalized to the career category of their lives. These ways will help continue to develop diversity in perspectives, insights, and realizations, which will keep the design community rich and evergreen. It will teach designers that our practice is deeply intertwined with the worldviews we carry and live in.

Erin Georgia

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space for process

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exploratory table: a blank canvas for your thoughts

dialogue chairs: catalysts for conversation

rejuvenation screens: projecting the honest process

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Liminal The portable spatial experience is an immersive and nonhierarchical participation practice as we believe that everyone has a seat at the table.

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Project Overview

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Liminal Liminal spatial model MDF, white FDM, vellum, and vinyl

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Unpacking the liminal experience in sequence

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Space for Process

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Space for Process

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Liminal 01 Rejuvenation screen (front view) 02 Space for process (3/4 view)

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03 Space for process (3/4 view, opened) 04 Space for process (top view, opened)

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Space for Process 05 Dialogue chairs (3/4 view) 06 Exploratory table (front view)

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07 Designers (scale models) 08 Dialogue chair (front view)

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Packaging variation 01 of Liminal (front view) Veneer plywood and acrylic 2.5"x2.5"

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Space for Process

Packaging variation 01 of Liminal (back view) Veneer plywood and acrylic 2.5"x2.5"

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Packaging variation 02 of Liminal (front view) Cardstock in frost, colored paper, 20 lb blue printer paper 2.5"x2.5"

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Space for Process

Packaging variation 02 of Liminal (back view) Cardstock in frost, colored paper, 20 lb blue printer paper 2.5"x2.5"

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rejuvenation screens: projecting the honest process

contemplative workbook: making the process seen

Pamphlet for space Each furniture is designed with a narrative of the process in mind.

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Space for Process

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Liminal Contemplation Activation The contemplative feature creates an ambient environment for designers to take time to pause and reflect. Sound is also introduced here to help catalyze a flow state of mind.

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Liminal: space for process Introduction to the space when activated.

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Space for Process Liminal: space for process (detail) Introduction to the space when activated.

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Liminal Workbook Extension Workbook extension is a feature that provides designers visual references and context to help support while working on their assignments.

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The dialogue chairs can adapt to any kind of environment.

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Liminal Sketch Conversion Sketch conversion is a feature that curates a designer's sketches. It allows for other designers to join into the conversation and creates a collaborative opportunity.

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Workbook Hero Shot 1

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Workbook Hero Detail Shot 2

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Project Overview

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Project Overview

Workbook Selected Spreads

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Liminal Workbook for Process The workbook allows us to activate the 4 pillars, and the graphics (4 shapes) as a visual language intentionally highlight that, that allows us to be sensitive and aware of all the points of the process.

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Workbook for Process

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ViSUAL LANGUAGE

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Visual Language

The visual language, or brand guidelines, were informed by the print-making process. I designed the foundation from simple graphic elements that build the modular typographic system, furniture, and workbook.

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The logo locks up within the modular system built.

Most times, it will be the initial point 03 weight that applies to all digital to physical media types. The top corner will have the subtitle or label needed within given context.

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Visual Language

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Liminal Modular Type Design Inspired by the print making process and marks, I designed this typeface with three different weights, which relate to the spatial and furniture design, packaging, and workbook.

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Liminal: Point 01 Line Showing

ABCDEF GHIKLMN oPQRsT UvWXyz Thesis: Process Book

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ABCDEF GHiKLMN OPQRST UVWXYZ Thesis: Process Book

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Liminal Visual Language Color Palette These colors pay homage to the corporate culture of the endless office supplies. process yellow C: 2 M:0 Y: 35 K: 0

process blue C: 34 M: 9 Y: 7 K: 0

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Visual Language

process cream C: 1 M: 0 Y: 9 K: 0

process tan C: 4 M: 12 Y: 29 K: 0

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Photography Images are either selected as sole object and surrounded by an outline of the graphic elements, or made as a clipped mask over the elements.

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Visual Language

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PROCESS AND DEVELOPMENT

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From developing a modular typeface system, spatial design, and workbook, here is the evolution of how a concept developed in different media types overtime.

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Modular Typeface

MoDULAR TyPEFACE

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Exploration of micro elements for building letterforms. Variations formed using negative space.

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Modular Typeface

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Modular Typeface

The evolution of building out the letter forms by spelling out the word, "hamburger."

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Final selected elements for Point 01, 02, and 03 after exploration of letter forms in "hamburger."

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Modular Typeface

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Exploration of test patterns for the spatial experience

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Modular Typeface

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First round of designing "Liminal Point 01" letter forms.

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Modular Typeface Details of "Liminal Process Point 01" letter forms behind a grid system.

Details of "Liminal Point 01" letter forms.

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Logo exploration and color test prints. Sample papers taken from Kelly Paper taking homage of the corporate color copy paper stacks in the office.

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Modular Typeface

The final colors selected for the visual language.

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sPATIAL DEsIGN

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Liminal Unpacking experience 01 The package arrives to the doorstep.

02 The package moves into the user's space.

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Spatial Design 03 The box lifts.

04 At the top view, there is a smaller box.

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05 The user opens the smaller box to find the pieces to set up the screens, an introductory pamphlet, and 4 workbooks.

06 The beginning of unfolding the modular workspace set.

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Spatial Design 07 Sideview: table and chairs.

08 Finished view of screens and modular workspace set.

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Sketch Conversion App Using the micro app, designers can capture their sketches and Liminal will curate them onto the rejuvenation screens. This is an exploration of how the experience can develop in the future.

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Spatial Design

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Liminal Low-fidelity paper models, that show furniture piece design and the unpacking experience.

01 The experience is delivered to the space 02 The experience unpacks a compartment

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03 Details of the deliverables consist of unused design work for users to take and use.

04 More chairs and modifications of the main table shown. In addition, a canopy that can be activated for designers to use

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Spatial Design 05 The compartment can be utilized as another smaller table 06 The smaller table unpacks deliverables and cushion seats

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07 How the canopy can change to become a side projector 08 How the walls and floors can be digitally activated (front view)

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Liminal A time-lapse of how I built my second iteration of furniture (a modular set of table and chairs) through model clay.

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Protoyping furniture with clay

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Protoyping furniture with clay (detail)

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Exploration of furniture placemen

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Projector set up for spatial experience. Using MadMapper to project multiple screens.

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Overview of MadMapper setup

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Spatial Design Warping screens on MindMapper

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Spatial design layout (overview)

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Spatial Design

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Spatial design layout (detail 1)

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Spatial design layout (detail 2)

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Rhino sketch (top view)

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Rhino sketch (side view)

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Spatial Design Building the screens process

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Final physical rendering of the spatial design (variation studies)

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Testing the introduction experience when the screens are set up and activated

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Spatial Design

Testing the workbook extension feature

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Liminal Packaging studies (variation 01)

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Spatial Design Packaging studies (variation 02)

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Liminal Second round of 4 studies of packaging with the revised logo

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Spatial Design

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Laser test cuts of variations packaging studies

Printing variations of laser cuts

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Spatial Design Exploring the durability of transparent material through laser test cuts

Exploring the durability of transparent material through laser test cuts

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Gluing the human model

Variations of the front packaging design

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Spatial Design Vinyl wallpaper applied to the MDF

Exploring the durability of transparent material through laser test cuts

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Photo production for final spatial design

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Spatial Design

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nomad: process collection

2022 ©

Back and front cover logo testing on furniture collateral

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nomad

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plain view

front view

side view

dimensions: 3” w x 3” d x 3” h finish/materials: acrylic, plywood, custom fabric

Inside cover exploring how to present Liminal modular furniture design

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Liminal Prints test for scale and materiality exploration

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An exploration on how to present the furniture

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Spatial Design

Creating a concept narrative that ties into the thesis and design intent

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Initial sketches ideating how to create the space

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Adding more features and details to the space

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Initial graphic element exploration sketches

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Spatial Design More sketches on how to translate and build a relationship between the graphic elements and furniture.

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Spatial Design Scaling proporations for life-size versus model

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Liminal Critique sketches by Miles Mazzie during Week 03

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Spatial Design Critique sketches by Miles Mazzie during Week 05

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WoRKBooK

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Liminal Workbook pagination from initial design.

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Workbook

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Engawa spread design from initial explorations.

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Workbook

I wrote this "mantra," inspired by how Schrofer describes the importance of his documentation.

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Liminal Workbook ideation sketches guided by the Google Doc outline for the curriculum plans.

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Workbook

This spread was guided by the initial sketch "B" on the left.

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Pagination with notes for printing the workbook

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Workbook

Black and white workbook test prints

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Trimming the workbook

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Workbook Taking photos for the workbook

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Workbook curriculum development

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Workbook

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Workbook

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INITIAL EXPLoRATIoNs

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Liminal Logo sketches based off the name, "The Realm Unseen"

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Initial Explorations

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Liminal Logo sketches with color

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AFTERWORD

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Afterword

The design process is a meticulous process that requires proactive nourishing, cultivating, and growing. This thesis' modular typography system, spatial design, and workbook is a small part of a larger ecosystem in which I hope benefits all designers. We must become proactive in developing sensitivity and awareness about our processes—to think critically and contextually. The process is never linear, and we are a work in progress. We need renewed attention to the process, to remind us that our process is our heritage.

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COLOPHON

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Colophon

Typography: IBM Plex Sans Light IBM Plex Sans Roman Liminal Point 01 Liminal Point 02 Liminal Point 03 Design & Concept: Erin Georgia Photo Production: Jeffrey Hong Advisors: Christian Perez-Morin Brad Bartlett Miles Mazzie Michael Neal Jen Sorrell ArtCenter College of Design: Sean Adams Gerardo Herrera Gloria Kondrup Monica Schlaug Petrula Vontrikis Special Thanks: Hannah Kwon Yingda Shang

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Boyd, J. (2020, August 24). A look at the history of the Montessori method. 45 Conversations Media & Education Ltd. Retrieved November 28, 2021, from https://45conversations. com/history-of-montessori-method/.

The Brand Identity. (n.d.). The Process Two. Bunch, Bureau Borsche, Mildred & Duck, Never Now, & Only. (2020).

Eames, C., Eames, R., & Ostroff, D. (2015). An eames anthology: Articles, film scripts, interviews, letters, notes, speeches. Yale University Press.

Herrera , G. (n.d.). Walkabouts.

Huygen, F., & Schrofer, J. (2014). Schrofer sketches. Lecturis.

IBM Pavilion NY World's fair. Eames Office. (2021, October 4). Retrieved March 27, 2022, from https://www.eamesoffice.com/the-work/ibm-pavilion-ny-worlds-fair/ IBM Plex. IBM. (n.d.). Retrieved March 27, 2022, from https://www.ibm.com/plex/concept/ IDEO. A global design and innovation company. (n.d.). Retrieved November 28, 2021, from https://www.ideo.com/.

THE INSTITUTE OF INVESTIGATIVE LIVING The A-Z enterprise encompasses all aspects of day to day living. AZ Projects. (n.d.). Retrieved March 27, 2022, from https://www.zittel.org/ Interlock type system. MuirMcneil. (n.d.). Retrieved March 27, 2022, from https://muirmcneil. com/project/interlock-type-system/ Levrant de Bretteville, S. (n.d.). A reexamination of some aspects of the design arts from the perspective of a woman designer. Are.na. Retrieved November 28, 2021, from https://www. are.na/block/454609.

Levrant de Bretteville, S. (n.d.). IDCA 1971: special edition of the Aspen Times (June 20 - 24).

Rosa B. Retrieved November 28, 2021, from http://www.rosab.net/en/idca-1971-specialedition-of-the/?lang=en.

Lewandowski, D. (2013, September 16). Paul Rand: American Modernist. Retrieved November 28, 2021, from https://www.paulrand.design/work/ Lorenz, M. (2022). Flexible visual systems: The Design Manual for Contemporary Visual identities. Slanted Publishers.

Maurer, L., Paulus, E., Pucky, J., & Wouters, R. (n.d.). Conditional Design. Retrieved November 28, 2021, from https://conditionaldesign.org/.

Model of the the IBM pavilion including the Ovoid Theater at the 1964 New York World's Fair which was designed by the Office of Charles and Ray Eames and Eero Saarinen & Associates. The Library of Congress. (n.d.). Retrieved March 27, 2022, from https://www.loc.gov/ item/2014647918/

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