Mail Call Process Book by Ethan Schreiber

VISC 302 | Sam Yates | Mail Call

MAIL CALL PROCESS BOOK

Ethan Schreiber

VISC 302 | Sam Yates | Mail Call

Ethan Schreiber

1/26 LECTURE UNTOLD DESIGNERS + CULTURAL APPROPRIATION Angel DeCora: Native American designer known for “Indian’s Book”. Ho-Chunk artist, designer and educator. Born in wigwam. Explained Native American culture in her book and her design was influenced by the culture. Sent to a camp to learn how to integrate into European cultures. Was taught under a famous artist known for their monotone paintings, Dwight Williams, tonalist painter. Created compositions just using black white and gray tones. She did a lot of black and white illustrations and used techniques from her mentor. Went to Drexel Institute of Art. She took note from old native American art. She was totally inspired by her culture. Her

typography was inspired by the visuals around her. Preserving her heritage through design. Jessica Harjo: Jessica Moore Harjo, Ph.D., weomepe, is an artist, designer, and educator based in Oklahoma. Jessica’s approach to art and design is unique, post-traditional, and grounded in cultural symbolism. Her pieces display intersections of traditional ribbonwork, florals, appliqué, elements of nature and other harmonious and symmetric forms with atmospheric color palettes. Created typography based off of her native language. She shared knowledge and culture.

Cultural Appropriation vs Appreciation: Appropriation is the unacknowledged or inappropriate adoption of the customs, practices, ideas, et. of one people or society by members of another or typically more dominant people.

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Ethan Schreiber

1/26 RESEARCH SOURCES

COLLECTED RESEARCH

https://www.loc.gov/search/?fa=contributor:waugh,+dorothy

Dorothy Waugh studied design at the Chicago Art Institute, then moved to New York where she managed Alfred A. Knopf’s children’s book department. During the 1930s, she worked for the National Park Service as production supervisor, and provided them with actual artwork and copy.

https://catalogue.swanngalleries. com/Lots/auction-lot/DOROTHY-WAUGH-(1896-1996)-STATEPARKS-Circa-1934-39x27inche?saleno=2467&lotNo=52&refNo=740219 https://www.coldsplinters.com/blog2010-1/2010/06/dorothy-waugh https://www.artland.com/artists/ dorothy-waugh

After graduating from the Chicago Art Institute, Dorothy Waugh worked in a commercial art studio in Chicago. She relocated to New York soon after and became the manager of the children’s book department at Alfred A. Knopf. In addition to her work at Knopf, she was production supervisor of the National Park Service doing copy, layout and artwork. In the late 1930′s she was appointed special lecturer and critic

to the New York School of Fine and Applied Art where she also taught typography and design. Dorothy Waugh was a Chicago Art Institute, graduate who worked in a commercial art studio in Chicago. She relocated to New York and became the manager of the children’s book department at Alfred Knopf. She was also production supervisor of the National Park Service. A wonderful and influential women’s artist and illustrator of her time. In the 1930′s she taught typography and design at the New York School of Fine and Applied Art. Her original posters are rare, uncommon and sell quickly at major poster auctions.

These four posters by Dorothy Waugh were funded by the Works Progress Administration (WPA), Franklin Delano Roosevelt’s New Deal agency that tried to jumpstart the economy during the Great Depression by funding a wide range of economic revitalization projects across the country. “Educated at the Chicago Art Institute, Waugh lived to 100 and had a remarkable career – as a graphic designer, illustrator, children’s book editor at Knopf, teacher at Cooper Union and Parsons School of Design, and published expert on Emily Dickinson. Her juggernaut ‘poster phase’ consisted of at least 16 national and state park posters designed around 1934, ‘National Parks Year’.

These four are among the best: utilizing the most modern, au courant examples of typography, color and figuration to create iconic advertisements celebrating American public lands. Final Biography: Educated at the Chicago Art Institute, Waugh spent her career as a graphic designer, illustrator, children’s book editor at Knopf, teacher at Cooper Union and Parsons School of Design. Her father, an agriculture professor was able to use connections to find her a job with the National Park System. Her ‘poster phase’ consisted of at least 16 national and state park posters designed around 1934, ‘National Parks Year’... Amidst the Depression, the National Parks

Service posters aimed to remind Americans of the glory of their lands and that the country remained “a place of opportunity”. In the 1930′s she taught typography and design at the New York School of Fine and Applied Art. Most of her work is lost to time, with only the National Parks posters having been archived in the Library of Congress.

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Ethan Schreiber

1/26 RESEARCH VISUAL CUES Type- expressive, decorative. She uses distinct typefaces for her projects in order to convey the emotion that the poster intends to express. Unique type treatment for every instance. Subject Matter- Lots of posters on National Park Service. Material- Lithograph on paper. Art style- Bold shapes, solid colors, minimal shading, use of negative space depends on the subject, could be edge to edge design or could be simple. Always has a good flow and dominance though. Colors- lots of black and white and low chroma high saturation color. Limited palette.

DOROTHY’S WORK

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Ethan Schreiber

1/31 LECTURE SOFT/HARD SKILLS Hard Skills: Learned abilities acquired and enhanced through practice, repetition, and education. Increase productivity. Soft Skills: Personal attributes that enable someone to interact effectively and harmoniously with other people. The C’s (for beauty, fame and fortune): Concept- Looking at “Hoodzpah Design”. They worked on the Luca Title Treatment for Disney. Created type solutions for the movie to embody the themes. Watched video on the Italian Inspiration for Luca.

Trying to channel the Italian Riviera, amphibians and mood into just four letters. Think about time period, place of birth, contribution to the industry, etc when looking at your designer. Typography has the ability to say so much more. Confidence- George Lois, 50’s ad man. Greek-American art director, designer, and author. Known for Esquire magazine covers. Confident in his ideas, wants the art director to hold the power, and him to hold the narrative. Clarity- When looking at design with a clear message. Look at Françoise Mouly. Art director of the New Yorker for almost 30 years. Born in Paris, grew up with the illustrated, satirical press.

Sometimes the images that say the most do it with the most bare means. With a clear message, they are very provocative. Contrast- Archie Boston Jr. Recognized for his work in political design. Educator. Beyond black and white, he created work that had the idea of contrast—background and image, image and emptiness, colors, rich photography, figure ground, etc. High contrast between design elements.

VISC 302 | Sam Yates | Mail Call

Ethan Schreiber

1/31 SKETCHES CRITIQUE Incorporate humanity and interaction with nature in the images in some capacity Images are going to be shaded with only 3-4 colors, which will work best when rendered like that? Could I use smaller illustrations throughout the mailer?

POSTER SKETCHES

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Ethan Schreiber

1/31 SKETCHES CRITIQUE Make sure back of mailer is dedicated to mail info Typography should not be overshadowed by the image Could do a customized typeface based off of Dorothy’s type Since her work didn’t have much in the way of body copy, focus on the headlines and making them striking

FRONT SKETCHES

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Ethan Schreiber

1/31 TYPOGRAPHY THOUGHTS Generally positive review of idea to create font and the choice of font to recreate Prefer the one on the right Could this be incorporated elsewhere in the mailer?

FONT CREATIONS

Overall bland

DOROTHY WAUGH Educated at the Chicago Art Institute, Waugh spent her career as a graphic designer, illustrator, children’s book editor at Knopf, teacher at Cooper Union and Parsons School of Design. Her father, an agriculture professor was able to use connections to find her a job with the National Park System. Her

Educated at the Chicago Art Institute, Waugh spent her career as a graphic designer, illustrator, children’s book editor at Knopf, teacher at Cooper Union and Parsons School of Design. Her father, an agriculture professor was able to use connections to find her a job with the National Park System. Her ‘poster phase’ consisted of at least 16 national and state park posters designed around 1934, ‘National Parks Year’... Amidst the Depression, the National Parks Service posters aimed to remind Americans of the glory of their lands and that the country remained “a place of opportunity”. In the 1930′s she taught typography and design at the New York School of Fine and Applied Art. Most of her work is lost to time, with only the National Parks posters having been archived in the Library of Congress.

The Spencer Museum of Art 1301 Mississippi St, Lawrence, KS 66045

Through the use of bold colors, powerful typography, and unique illustration, Dorothy Waugh captures the essence of the National Parks System in a collection of posters celebrating its architecture and natural beauty.

Not perfectly aligning to a grid in some places The Spencer Museum of Art, 1301 Mississippi St, Lawrence, KS 66045

FEBRUARY 16–MAY 11, 2022

The Spencer Museum of Art 1301 Mississippi St, Lawrence, KS 66045

Too many large bodies of text

FEB 16–MAY 11, 2022 Through the use of bold colors, powerful typography, and unique illustration, Dorothy Waugh captures the essence of the National Parks System in a collection of posters celebrating its architecture and natural beauty.

‘poster phase’ consisted of at least 16 national and state park posters designed around 1934, ‘National Parks Year’... Amidst the Depression, the National Parks Service posters aimed to remind Americans of the glory of their lands and that the country remained “a place of opportunity”. In the 1930′s she taught typography and

The Spencer Museum of Art, 1301 Mississippi St, Lawrence, KS 66045

People enjoy the general idea and concepts, but the execution here is not super airtight

design at the New York School of Fine and Applied Art. Most of her work is lost to time, with only the National Parks posters having been archived in the Library of Congress.

The Spencer Museum of Art 1301 Mississippi St, Lawrence, KS 66045

CRITIQUE

February 16–May 11, 2022

VISC 302 | Sam Yates | Mail Call Ethan Schreiber

2/7 FIRST DRAFT FRONT PAGES

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Ethan Schreiber

2/7 FIRST DRAFT CRITIQUE

POSTERS

Far left: does not match the theme I am planning on going with. It is fun to have a person there, but the rendering style isn’t something I am comfortable with and that is visible. Middle left: A little empty. It relates back to some of her work, but represents a very minuscule portion of it, may not be the best choice to go with. Middle right: Pretty fun! The bar into the sky isn’t working, is there a way to do without it? It may be a little too busy, not enough negative space to put any writing. Far right: Was not critiqued, but was rendered based off of the first three’s critiques and was generally positively received.

Poster

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Ethan Schreiber

2/9 DESIGN SLAM BRAINSTORMING Non objective: Entirely from imaginations with no reference to the natural world. Naturalism: A faithful reproduction of forms in all their detail; of photographic quality. Representational: Where the artwork reminds the viewer of real life scenes or objects. Contour line: Line that describes or defines the edges. Abstract: To summarize. To take away or remove. To reduce a form to its simplest, essential character. To eliminate all extraneous details. Usually implies the isolation , emphasis or exaggeration of some aspect of the real world. Economy: Distilling an image to its essentials. Stylize: To alter a forms so that the visual accuracy becomes

subordinate to the idea or feeling to be conveyed. Usually involves distortion, simplification, elimination, or exaggeration. Distortion: The purposeful changing or exaggeration of form to more forcefully convey or express an idea to provoke an emotional response to the viewer. Descriptive words: Stipple Playful Light Open Simple Colorful Bold Parks Nature Decorated Silhouette

Simple Shadows Sculpted Patterns Blues Tans Borders Unique Type America Advertisements Travel Landscaping Architecture Sports Activities Games Modified Type Negative Space Simplified Outlines Solid Colors Closure

Informative Open Air Floating Ungrounded Blocky Sharp Winter Snow Smoke Dots Fishing Skiing Camping Wildlife Skiing Athletes Posters Mountains

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Ethan Schreiber

2/9 DESIGN SLAM ECONOMY

SHADOW

STYLIZED

AN EXHIBIT ON DOROTHY WAUGH

February 16–May 11, 2022 The Spencer Museum of Art 1301 Mississippi St, Lawrence, KS 66045

The Spencer Museum of Art, 1301 Mississippi St, Lawrence, KS 66045

Need to reorient the pages. Need to fix the mailing address. Colors did not print as desired. The logo over the foot may be hard to read, is there a way to fix that? Interaction between the arm and the K is good, but a weird space was being created. Beige could extend to the mailing side as well. Too much copy on the right side of the spread. Reduce and rework with a flip of the canoe. Address under the canoe in the spread is unnecessary. Copy on the poster side could be adjusted and packaged differently. Educated at the Chicago Art Institute, Waugh spent her career as a graphic designer, illustrator, children’s book editor at Knopf, teacher at Cooper Union and Parsons School of Design. Her father, an agriculture professor was able to use connections to find her a job with the National Park System. Her ‘poster phase’ consisted of at least 16 national and state park posters designed around 1934, ‘National Parks Year’... Amidst the Depression, the National Parks Service posters aimed to remind Americans of the glory of their lands and that the country remained “a place of opportunity”. She taught typography and design at the New York School of Fine and Applied Art. Most of her work is lost to time, with only the National Parks posters having been archived in the Library of Congress.

ABOUT THE ARTIST

The Spencer Museum of Art 1301 Mississippi St, Lawrence, KS 66045

CRITIQUES

THROUGH THE USE OF bold colors, powerful typography, and unique illustration, Dorothy Waugh captures the essence of the National Parks System in a collection of posters celebrating its architecture and natural beauty.

VISC 302 | Sam Yates | Mail Call Ethan Schreiber

2/14 1-ON-1’S SHARED WITH SAM

February 16–May 11, 2022

SPENCER MUSEUM OF ART

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Ethan Schreiber

2/16 PRESENTING SHARED WITH BRIAR LEVIT

THE EXHIBIT Through the use of bold colors, powerful typography, and unique illustration, Dorothy Waugh captures the essence of the American National Parks System in a collection of posters celebrating architecture and natural beauty.

The beige does not need to be reduced on the spread, could go full opacity. Switch out black for blue on mailing side. The canoe is not reading well, both the style and in its interaction with the text, is there something to replace it with? Could use decorative text throughout the rest of the poster. Generally positive review.

CRITIQUES

1301 Mississippi St, Lawrence, KS 66045

Ethan Schreiber 1301 W 24th St, Lawrence, KS 66046

ABOUT THE ARTIST Educated at the Chicago Art Institute, Waugh was a graphic designer, illustrator, editor, and teacher. She created at least 16 national and state park posters around 1934, amidst the Depression. Later in her career, she taught at the New York School of Fine and Applied Art.

AN EXHIBIT ON DOROTHY WAUGH February 16–May 11, 2022

SPENCER MUSEUM OF ART February 16–May 11, 2022

VISC 302 | Sam Yates | Mail Call

Ethan Schreiber

2/21 FINAL The front/back printing did not line up so the actual printed document is not perfect, which is a little upsetting but is not detrimental to the project.

I did not end up implementing the decorative text throughout, while I do like the idea and tried it out, it was too difficult to read at a smaller size, and I did not have time to rework with a new weight and make new characters. I think it would’ve been cool to use, but did not end up working out.

PRINTED AND TURNED IN THE EXHIBIT Through the use of bold colors, powerful typography, and unique illustration, Dorothy Waugh captures the essence of the American National Parks System in a collection of posters celebrating architecture and natural beauty.

Overall I am happy with how this turned out. Most of the critique I received throughout the project was able to be easily implemented and made for a better product.

FINAL THOUGHTS

1301 Mississippi St, Lawrence, KS 66045

Ethan Schreiber 1301 W 24th St, Lawrence, KS 66046

AN EXHIBIT ON DOROTHY WAUGH February 16–May 11, 2022

SPENCER MUSEUM OF ART February 16–May 11, 2022

VISC 302 | Sam Yates | Mail Call

Ethan Schreiber

VISC 302 | Sam Yates | Mail Call

Ethan Schreiber

2/21 REFLECTION HIGHS/LOWS/LEARNING MOMENTS This project was such an interesting exploration, not only into the world of unsung designers, but also into the ways that design is used. I think learning about how print can be used and how to create a design meant to be folded and read out of order (compared to what we see on the screen) was so interesting and a great way to show how typography is important in so many different capacities. While I don’t think it was detrimental to my experience or learning, I do think we could have spent a class longer or just another critique at the start of the project. While we did present our work a couple of times, toward the beginning of the project I felt like I needed a little critique

on which path to follow, not just critique once I already picked a direction and went with it. If it was an intentional choice to let us pick our starting point and critique more toward the end, I will say that it is probably important for me to learn how to figure out which idea of mine I think is best on my own. I loved that we got to present to Briar, I have never gotten to present to a guest before and I think that was so fun for us and definitely a learning experience. She brought a perspective to critique that I really valued. While I always get great feedback from my professors and classmates, you often notice that each person has specific things they always critique, and it is refreshing to get fresh eyes on my work.

Something totally unavoidable in this project that was a low for me was just the printing. Since we cannot print 12x18 in Chalmers, we had to print through Jayhawk Ink, and while they are not bad at all, there is so much less control you have over your end product in terms of coloring and redoing things. There was also some flaws with the front/back alignment which made the printed project look a little sloppy, but I’m not entirely sure how this could be avoided, so I just wanted to note it. Overall this has been one of my favorite projects to do. I think print work is so much more exciting than pure digital, so getting to work on this and learn about mailing was nice. I love that it wasn’t just a type

project, but also taught us about designers and design history. I loved not having to conceptualize my own design entirely, but getting to recieve a style and find a way to work with it and make it my own. Having to create a new product that stays true to source material is always such a challenge and can be very fun.