Publication Design Flippable Book

lauren tussey

flip me!

business

in the

front

introduction

business in the front

W

elcome to the business side.

Much like the infamous mullet hairstyle, this entire book is split in two halves: business is in the front, and a party’s in the back.

This half is dedicated to the technical requirements for my Publication Design class, as this book is my final project/ final product. Here you will find the book’s colophon and modular grid examples among many other technical business things.

4

When you’re done here, flip the book over to experience the creative, colorful party side featuring m y p o e t r y.

5

table of contents

this side introduction...........................4-5 VOX/50 fonts.......................10-11 c l a s s g l o s s a r y. . . . . . . . . . . . . . . . . . . . . 1 2 - 1 3 modular grids......................14-29 class summaries...................30-35 colophon.............................36-37

flip side introduction........................B4-B5 2013 poems......................B10-B12 2014 poems......................B13-B16 2015 poems......................B17-B24 2016 poems......................B25-B28 2017 poem.............................B29

66

77

8

9

VOX Humanist / Centaur, Jensen (1450-90s) low contrast, pronounced inclined stress, high ascenders, deep descenders, good for letterpress Garalde / Bembo, Garamond (1450-1790s) old style faces, medium contrast, medium stress

Transitional / Baskerville, Times Roman (1690s) high contrast, vertical/near vertical stress

Mechanistic / Rockwell, Scala (1840s) low contrast, bracketed/ square serifs

Didone / Bodoni, Walbaum (1740s- ) pronounced/extreme contrast, vertical/near vertical stress, hairline serifts

Lineal (san serif) /

Century Expanded / Morris Fuller Benton / 1900 / Transitional Didot / Firmin Didot / 1784–1811 / Didone Eurostile / Aldo Novarese / 1962 / Geometric Fedra Sans / Peter Bil’ak / 2001 / Neo-Grotesque Fenice / Aldo Novarese / 1980 / Didone Filosofia / Zuzana Licko / 1996 / Didone Fruitiger / Adrian Fruitiger / 1975 / Humanist Sans Franklin Gothic / Morris Fuller Benton / 1902 / Grotesque Futura / Paul Renner / 1927 / Geometric

Georgia / Matthew Carter / 1993 / Transitional Gill Sans / Eric Gill / 1928 / Humansist Sans Garamond / Claude Garamond / 1540s / Garalde Glypha / Adrian Frutiger / 1977 / Mechanistic Gotham / Tobias FrereJones / 2000 / Geometric sans-serif Helvetica / Max Merdinger / 1957 / Neo Grotesque Hoefler Text / Jonathan Hoefler / 1991 / Garalde Interstate / Tobias FrereJones / 1993-1999 / NeoGrotesque

Grotesque / News Gothic, Trade Gothic (1900s- ) variable contrast, variable stroke at junctions, wide sets Neo Grotesque / Helvetica, Univers (1900s- ) minimal contrast, slightly condensed

Geometric / Eurostyle, Futura (1930-50s) zero contrast, geometric, single story Humanist Sans / Gill Sans, Optima (1920s) minimal contrast, low x-height, san-serif

Glyphic / Albertus, Trajan (107AD- ) historic and modern letter cutting, chiseled form, sharp terminal serifs, angle finials Script / Mistral, Shelly Graphic / Benguiat, Stencil

50 fonts name / year / designer / VOX Akzidenz-Grotesk / 1896 / Hermann Berthold | NeoGrotesque Avante Garde / Herb Lubalin, Tom Carnase / 1970-77 / Geometric Baskerville / John Baskerville / 1757 / Transitional Bembo / Francesco Griffo / 1495 / Garalde Benguiat / Ed Benguiat / 1977 / Based on Art Nouveau Period | Graphic Bodoni / Giambattista Bodoni / 1798 / Didone Adobe Caslon / Carol Twombly / 1990 / Garalde Centaur / Bruce Rogers / 1914 / Humanist

10

10

Jenson / Robert Slimbach / 1996 / Humanist Letter Gothic / Roger Roberson / 1956-62 / NeoGrotesque Matrix / Zuzana Licko / 1986 / Graphic Meta / Erik Spiekermann / 1985 - 1991 / NeoGrotesque Minion / Robert Slimbach / 1990 / Garalde Mrs Eaves / Zuzana Licko / 1996 / Transitional Neutraface / Christian Schwartz / 2002 / Geometric Nobel / Sjoerd Henrik de Roos / 1929 / Geometric News Gothic / Morris Fuller Benton / 1908 / Grotesque

OCR / American Type Founders 1968 / Slab Serif sans the serif, Monospaced Officina / Erik Spiekermann / 1990 / Slab Serif Optima / Hermann Zapf / 1958 / Humanist Sans Quadraat / Fred Smeijers / 1992 / Transitional Palatino / Hermann Zapf / 1948 / Garalde Rockwell / Frank Hinman Pierpont / 1934 / Slab Serif Sabon / Jan Tschichold / 1964 / Garalde Scala / Michael Majoor / 1990 / Mechanistic Stencil / R. Hunter Middleton / Graphic

Stone Serif / Summer Stone / 1984 / Transitional Thesis Serif / Lucas de Groot / 1994 / Humanist Times New Roman / Stanley Morison and Victor Lardent / 1932 / Transitional Trade Gothic / Jackson Burke / 1949 / Grotesque Trajan / Carol Twombly / 1989 / Glyphic Univers / Adrian Frutiger / 1957 / Neo-Grotesque Verdana / Matthew Carter / 1996 / Neo-Grotesque Walbaum / Justus Erich Walbaum / 1804 / Didone

11

11

class glossary

Colophon - A statement at the end of a book, typically with a printer’s emblem, giving information about its authorship and printing. (RK) Repurposing - To change (something) so that it can be used for a different purpose, i.e, repurpose artwork for print, digital, etc. (RK) Bleed - Off-page area printed to allow for minor inaccuracies in trimming.

Generally anything intended to print right up to the edge of the page is extended, and bleeds about 3mm beyond the intended edge of the trimmed page area. (GG) Gutter - Blank space between two columns of type or, more often, the blank margins in the fold between left and right pages. (GG) Kerning - In typography, kerning is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking (letter-spacing) adjusts spacing uniformly over a range of characters. (JD) Initial - An initial or drop cap is a letter at the beginning of a word, a chapter, or a paragraph that is larger than the rest of the text. The word is derived from the Latin initialis, which means

12

12

standing at the beginning.

An initial often is several lines in height and in older books or manuscripts, sometimes ornately decorated. (JD) CMYK - Cyan, Magenta, Yellow and Black (or ‘key’, hence the ‘K’). Cyan is a turquoise blue, magenta a deep pink/fuchsia color.

The four ‘process colors’ used in four-color printing to simulate all other colors, by halftoning them together. In fact there are many colors that cannot be properly matched by combining CMYK, eg metallics and many strong oranges, greens and blues (the gamut of the CMYK colorspace is quite small) – hence the need for special spot color inks. (AM)

much white space between paragraphs or at the bottom of the page. (SG) Widow - A single line of text that is separated from the rest of the text; such, the line occurs in the next column or in the next page.

It interrupts the reader’s eye and diminishes readability and is fixed by reworking the rag. (SG) Sub Head - A heading given to a subsection of a piece of writing. (JC) Font family - A set of fonts all with the same typeface, but with different sizes, weights and slants. (LM)

Headband - Used as a decoration element on the head and tail of the book (JW)

Offset printing - A commonly used printing technique in which the inked image is transferred (or “offset”) from a plate to a rubber blanket, then to the printing surface. When used in combination with the lithographic process which is based on the repulsion of oil and water, the offset technique employs a flat planographic image carrier on which the image to be printed obtains ink from ink rollers, while the nonprinting area attracts a water-based film (called “fountain solution”), keeping the non-printing areas inkfree. (LM)

Orphan - When the last line of a paragraph is one or a few words. This creates too

Six Elements of Design - Six basic elements are used to create an attractive graphic

Copy-editing - Checking a typescript for spelling, grammar and content errors, and marking up corrections to be made when typesetting. Can be done on-screen or on paper. cf Proof-reading. (AM) Case liner - Lining the spine of a book, helps reinforce the spine of the book (JW)

design project. These include, line, shape, value, space, texture, and color.

(MM) Crop Marks - Small printed lines around the edges of a printed piece indicating where it is to be cut out of the sheet. Sometimes referred to as cut marks. (IK) Halftone - Using small dots to produce the impression of a continuous-tone image.

The effect is achieved by varying the dot size and the number of dots per square inch. (IK) Perfect Binding - A binding process where the signatures of a book are held together by a flexible adhesive. (IK) Ligature - Groups of characters such as fi,ffi or fl, that are combined to form a single symbol or glyph, where the individual letters might overlap in an displeasing way. Ligatures vary in number with different typefaces. (KL) Grid - A two-dimensional format made up of a set of horizontal and vertical axes used to structure content.

(LH) Leading - Refers to the amount of added vertical spacing between lines of text. (LH)

Copyright page - Usually the verso of the title page, this page carries the copyright notice, edition information, publication information, printing history, cataloging data, legal notices, and the books ISBN or identification number. In addition, rows of numbers are sometimes printed at the bottom of the page to indicate the year and number of the printing. Credits for design, production, editing and illustration are also commonly listed on the copyright page. (JE) Blocking - The use of metallic foils, much used on covers and jackets for visual impact or as a routine operation on the spine of a hardback book. (JE) Imposition - The positioning of pages on a sheet or reel of paper when printed which produces the correct sequence of pages when folded. (JE) Spot varnish - The varnishing of a particular part only of a cover or jacket image for visual impact. (JE) Half-tone - Result of the process whereby continuous tone illustrations are broken down into dots for printing.

(CJ) Folio - The page number which is printed at the top or bottom of each printed page.

(CJ)

Colophon - Tells us how you designed the book, including the details of every element (fonts, resources, sizes, leading, etc.) (LT) Flysheet - A sheet used as a divider/advertisement page that helps break up sections of a book. (LT) Subhead - Sentence or two underneath the headline of an article that summarizes what the article is about or further describes the essence of the story. (LT) Duotone - Two-color halftone reproduction from a black-and-white photograph. (NM) Folio - A page number, often placed at the top of a page outside the running head. If placed at the bottom of the page, the number is a drop folio. (NM) Perfect-bound - A method of binding in which signatures are folded and collated on top of one another and held together by adhesive, resulting in a squared-off spine which can be printed on. (NM) Typeface - A set of characters that share a distinctive and consistent design. (NM) Typeset - The process of applying style specifications such as typeface and point size to raw text. (NM)

13

13

modular grid (visible)

Viljami Design: “A modular grid has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right.

Modular grids are created

by positioning horizontal guidelines in relation to a baseline grid. Baseline grids serve to anchor all layout elements to a common rhythm.

Grids in design are kind of like the scales in music. They give you a way to anchor your layout elements and typography to a certain rhythm.”

As you can see, this spread is designed using a modular grid that’s 5 columns by 5 rows.

14

The half circles of varying sizes display the ways to use the boxes made by the grid for a good, solid design.

I’ve placed this text here to show how type can also be used in modular grid layouts.

15

modular grid (visible)

Design Shack: “Modular design is a technique where everything is built using a block grid pattern. Each of the elements of the design fit into the modules in rectangular patterns.

Modular design has been around for a long time. It was popularized at various stages by newspaper designers as they created modules for the components of each story in that day’s edition of the paper. But modules are popular for other design styles as well, because the use of a distinct grid is a good way to organize and manage content.”

This particular spread is using a different modular grid. I’ve arranged this layout using a 2 by 3 grid. Compared to the last spread, this page has a more open grid and is less confined by the numerous and complex lines.

16

17

modular grid (visible)

Design Shack: “The modular grid is especially useful for projects where there is an abundance of content or lots of bits of content that might be unrelated on the face but appear in a design together.

Modular design takes some thought but really is just a grid-based design system that works like any other grid. It works for any type of project or style. And it will help you design with organization and harmony.

Modular design is not a concept that is only for graphic designers.

Everything from architecture to interior design to the way computers or even cars are built can be modular in nature.

In other fields, the definition of modular design is a little broader but can still be applied in graphic design theory.

Modular design includes elements that fit together like blocks visually.�

18

This layout is much more lineral than the previous examples of modular grids.

Modular grids provide such organization for any designer, it can help relay their intended message or visual in a way that’s more easily accessible by readers.

19 19

modular grid (visible)

20

Uh oh. This grid’s getting a bit tight. See the variety of ways a grid can be stretched and arranged to still provide designers with a solid baseline guide to follow when dealing with so many important design elements?

The ways in which a grid can be followed are vast and spanning.

Grids keep order in design. No matter how abstract your style, a grid can map the way for a successful, strong design.

21

modular grid (invisible)

Now, as we continue through the modular grid section of this book, you’ll notice the visible grids have disappeared.

This is to

demonstrate how a spread looks without visibly seeing the grid, but knowing what grid format has been used to put a spread together. I’m using the same

grid shown on the previous pages with the same graphics, but got rid of the grid lines so a grid isn’t clogging the view.

For the rest of the modular section, the same spreads previously shown with a visible grid will be duplicated but will not have a visible grid. Compare

22

and contrast the spreads with and without visible grids. In cases of publication design, having a grid is essential.

Particularly because

type must be factored into design, and type works best with an organized, harmonious structure. This text here is an example of type on a grid.

23

modular grid (invisible)

Designer Insights Website: “This system is always the first test to see if that idea will work well and be applicable to a real world application. Any high-quality design project, campaign or identity/branding system needs a strong, tested and perfected layout grid system to make it possible to split the work to many designers at one time, so that they all produce the same quality end result with consistency and visual harmony.

An experienced designer knows that a specific style of design can only be achieved by an odd number of columns, or alternatively, by using an even number of columns. Learning to choose the right grid for your design is crucial to its success.�

24

25

modular grid (invisible)

Design Shack: “The modular grid is especially useful for projects where there is an abundance of content or lots of bits of content that might be unrelated on the face but appear in a design together.”

Even now, as I try to set up these invisible grid layouts, it’s difficult without a grid to reference. I’ve had to keep going back to my original baseline modular grid and copy the lines so I know where to place my text and graphics.

It may seem limiting to utilize a grid, but once you make the choice to use one, it changes your own perspective on design and the way in which you format your work. Ultimately, in my opinion, it is the most professional way to go about designing.

This booklet was one of the first legitimate times I had used a grid as a designer.

The modular grid may be my biggest takeaway from this Publication Design class. I was one of the few who didn’t know what a modular grid was.

26

In this class, I’ve been able to observe my classmates and professor utilizing the modular format. And now, I can say that I am a fan of the tool. I approach all my design works differently now since learning and using a baseline modular grid.

27 27

modular grid (invisible)

28

This spread has been the hardest in terms of formatting my type to fit the grid. It’s quite vertical, and it goes well with my graphics.

I hope I’ve successfully shown the way a modular grid works throughout this section. I chose not to

put the spreads right next to each other for comparison because I believe it’s easier to understand after seeing grids so many times, and then not seeing any at all. This is meant to solidify a grid’s effectiveness in page layouts for publication.

29

class summaries

In our first Publication Design class, we began by filling out our own individual “vitals” forms with our information.

We reviewed the nine different design styles— something that’s taught early on in design-based courses—and explored examples of the styles.

We viewed previous students’ vitals that they designed into pieces of visual work, and critiqued them based on the style they chose to emulate, the design elements and their placement, and the message that’s being communicated by the designer. One student’s vitals were shown in two phases of her creative process—the first draft and the final draft. Both were different, but the changes she decided to make between her first time considering what she wanted to visually display

30

30 30

about herself and what she settled on for the final piece. Ron explained that we should be designing our vitals while considering or being inspired by one of the nine graphic design styles. We also briefly went over the three advertisements and logos we were to redo as part of our homework assignment.

The logos and images were all vector images, so we had to recreate them while adding in appropriate text boxes and clearer shapes, colors, etc. Something I took away from this first class was a refresher on how to use the pen tool, which is something that I haven’t used in a while. I really believe this class will be a great way to end my time spent at Columbia in my graphic design minor, as it will hopefully brush up my skills in InDesign, Photoshop and Illustrator.

During our second Publication Design class, we started off the first 45 minutes finishing up our homework from the previous week and submitting everything to the Dropbox, Moodle and Ron’s email. Everyone’s work was presented on the projector—the nine genres of style examples, student vitals, and the three exercises with the Hummer ad, TradeWell logo and Boddingtons logo. I heard a few classmates mention they had tips for the work they did, but we did not get to discuss them. We then began discussing our 62-page book—which will be completed by the end of the semester—and addressed some important elements to remember as we proceed to create the book. When publishing, we need to remember that even page numbers go on the right side of the page,

and odd numbers go on the left side. Ron told us a few glossary terms, and the ones I remember (the ones I had never heard before) were folio, vox and modular grid. Vox is a way to classify fonts. I found this term to be the most interesting because of how much I love fonts. Ron stressed the importance of margins and how we need to emphasize them whenever we can when publishing. Before class ended, we viewed some book examples Ron brought in. Some were postmodern styled, some followed a modular grid style and others were minimalistic and beautifully designed. I’m excited to start creating our booklet and I’m eager to be designing more pieces of my own.

31 31

31

class summaries

In our fourth Publication Design class, we learned about fly sheets. Fly sheets, when printing, is a small loose piece of paper used for advertising. I’m not sure if this definition is accurate to the one Ron gave us in class, but it’s what I found when I looked up the definition for “fly sheets” online.

We talked a lot about our storyboards. I was a bit confused when talking about storyboards because I am not a design major— only a design minor—and had never heard or seen an example of a structured storyboard in my classes. I did not come prepared with a storyboard, I wanted to see what my classmates had produced in order to get the idea in my head.

I was not really sold on any specific idea for my booklet as well. I am still confused as to what our booklets need to be and the structure of the booklets—are we making

32

32 32

one succinct class book, or are we each setting out to make a 60 page publication? Jonathan and Jasmine gave us our weekly tips and tricks.

Jonathan’s tip was the shadow tool being used to create a 3D-like effect for different shapes in our layouts. Jasmine’s tip was creating outlines of text to maintain font continuity across documents and computers. Next, Cecilia passed around a couple publication examples, as well as some graphic design savvy books. I enjoyed looking at her Eames furniture book from the Wright Gallery, and the Graphic Design & book was cool because it was a book of designers being questioned by designers for the interest of people who like design and for people who are also designers themselves.

In one of our last classes, we started the class off going over some classmates booklets. Not everyone had their work ready for presentation.

I was definitely one of those students, as my booklet was still a big work in progress. Yikes!

It’s crazy how easily 60+ pages can sneak up on you like that. Regardless, I took a lot away from the in-class critiques we did have concerning others’ booklets. Many of my classmates had clever ways to fill the booklet pages and make them an entire flowing piece of work. I can’t wait to see all of our final products!

We solidifed our class glossary and went over who had submitted terms and how many we had.

Ron also looked up the definition of “font” and we debated font versus typeface. Next week is the week we need to have print-ready PDF files of our projects ready to send to the

DPC. I’ve never printed a project there before, but luckily my classmate and friend Cecilia has, so I’m hoping she’ll help me out in case Ron can’t or is busy helping others. I’m proud so far of my booklet concept and hope Ron does too. It’s based off the infamous mullet hairstyle: business in the front, party in the back. My final product will be a 2 sided, flippable book modeled loosely after the Chicago Reader’s format for their annual“Best of Chicago” issue. The business front half will be the technical requirements for our book, and the party back half will be filled with creative spreads and pages of my poetry to express my style as a designer. I wanted to fill the pages with my poems as the text because publishing a book of poems has been a longtime goal of mine. I’m glad this class is allowing me to accomplish this other goal!

33 33

33

colophon

the book

sources

font

sizing

This book was created by me, Lauren Tussey, as the final project for Ron Kovach’s Publication Design course. The book is a perfect bound book. The stock of the book is premium matte, printed at Columbia College Chicago’s Digital Print Center. The book’s trim size is 7.5 inches by 11 inches.

VOX & 50 fonts All fonts and VOX classifications supplied by my professor, Ron Kovach.

Roboto

Front & back cover Font type: Italic Font size: 35pt Leading: 42pt Tracking: 300

Every spread throughout this book intentionally incorporates a shade of orange. Each page was made with love.

Enjoy this book: it is meant to be welcoming and inviting for any onlooking reader.

Orange is a warm, fuzzy and elegant color: soak it up!

Copyright © 2017 Lauren Tussey.

All rights reserved.

Class glossary The glossary was a collaborative effort by my entire Publication Design class. All terms and definitions were contributed by students in the class.

Modular grid section All quotes and excerpts featured in the modular grid section of the book were taken from the following design outlets: - Viljami S. Design (digital product design studio based in Helinski, Finland) - Blog of Viljami Salminen (product designer, founder of Viljami S. Design, 13+ years of web industry design experience) - Design Shack (online site showcasing inspiring examples of design alongside informational resources and articles pertaining to the design) - Design Insights (San Francisco-based consultancy comprised of facilitators, coaches and design strategists)

34

34 34

Designed by Christian Robertson for Google in 2011 and released in 2015, this font family was developed as the system font for its Android operating system. Google describes the font as “modern, yet approachable” and “emotional.”

Thin Thin Italic Light Light Italic Regular Regular Italic Medium Medium Italic Bold Bold Italic Black Black Italic

Introduction Font type: Italic Font size: 12pt Leading: 14.4pt Tracking: 170 Table of contents Font type: Medium Italic Font size: 10pt Leading: 28pt Tracking: 300 Section titles Font type: Medium Italic Font size: 20pt Leading: 24pt Tracking: 300 Section subheads Font type: Medium Italic Font size: 10pt Leading: 12pt Tracking: 300 In-text headers Font type: Black Italic Font size: 10pt Leading: 12pt Body text Font type: Regular Font size: 10pt Leading: 12pt Page numbers Font type: Regular Font size: 10pt Leading: 12pt

35 35

35

i

r

t

s

n

a

y

b u

e

p

s

s

poems: 2016-17 body skinned angles I felt my body from every angle, different angles just to see what the fuck the touch would feel like at my skin’s own surface value I’m craving a point of view that’s beloved and gloved but my drying eyelids beg to differ I’ve always been a one woman band doing it without a hint of man I’m inside myself with my right hand it’s all a cold sweat up to here— back knees and an achy breeze— last night I thought about death before bed again I only sleep when it’s raining showers to my solemned out thoughts, put yourselves on the glowing paper in front of me I’d rather you place your curvatures directly inside of this outline it’ll be easier that way, so tell them what you want and then go fucking get it my finger creases are proportionately equal to the amount of words I’ve spent on human hands this minted empty intimacy has always been familiar to me

B28

38

surfaces and layers surfaces and layers whatever lies in between no, it’s not serious no, it’s not off the bat i’m sick of being sick and i’m being without really being i am always for myself just as i am always for others enough turns to waiting patience dry like my mouth when the blunt hits, i want someone to fucking fight for this these eases are built inside my own head and anyone outside of them risks being crushed it’s too high up you can’t reach it you’re real but you’re not being realistic (lauren) give them room and they will grow give them their bodies and they’ll show you what they got my outlets ache on more than just one surface

B29

39

poems: 2016

a wave like you

dipped in the nook of your bed

I think about kissing you to no end kissing you, magically kissing your name and lips into the air around us to be near you, against you, beside you

dipped in the nook of your bed it’s not supposed to be there, but you’ve settled in it before alone, we take turns mumbling heartfelt sighs and soft secrets

I see you and I see everything all over again at once I find you all the time and want to hold you all the time when your hands the precious delicate ways your hands can look in a quiet, crowded room the way you look standing there across the oceans of space standing between us I’m waning like the moon, but for your face’s beauty to find me just once just once is all it would take to dive into you completely I can’t help being so truly enamored your orb of light and my raw hearted being to experience a wave like you in a storm like me is the incredible way our souls found each other

B26 40

40

our heads on your pillows as if they were fragile and full and weightless another 20 minutes sharing this same space you don’t get up until I do it’s all I can do not to

holding your body how I could hold your body— separate, yet still so far from mine— could be the closest I’d ever get to giving my real whole person to another real whole person I’m alive and breathing but this air isn’t thin enough

B27 41

41

poems: 2015-16 8:42 a.m. on a plane there’s this existential feeling I have every time I break my own heart I fall too fast, trust too viciously, feel the heat in a pool of ice ignore the colored tones at the window sweet air consciously slowing the depth of my own realness is the most unnatural thing i’ve ever done it’s an attempt at my sole protection it’s an attempt at my soul’s protection to avoid the dragging of my heart across some rocky ground is all I can ask of you low hanging clouds hover above your edge covering what it is I’m seeking to find, but just so you know nothing about you is low hanging

rose oil on my neck my gradient over your baby blue legs I let myself go where I thought there was air but you’re much farther than I can think to reach

I unevenly know where my blindness will get me, I just know it’s only ever gotten me somewhere the only sureness is to not get hurt and not feel that pain all over again another 10 months can’t ruin me like he did, I’m already too strong and it hasn’t been that long the sleeves of my coat feel tighter, I wish it was enough for your sweet air to handle

4242

B24

B25 43

43

poems: 2015

total surface area I want to lay with you and kiss the total surface area of your face I want the creases in your skin, the ones between your nose and chin I can’t want you this badly but I do I want to kiss you and I mean really kiss you I want to kiss you like every pore is a differently colored flower petal tiny, soft, and me wanting to kiss each one

sunset light beams=you everything about you, I want to hold in my hands you are probably made of the same light beams as a sunset catching light and filling with light and touching things other lights can’t quite reach it’s because the beauty omitting from your shoulders is more than pinkish evening skies could ever be my entire encapsulated fucking being is pointing toward you every aspect of my will my conscience my gut and heart above it wants your light I haven’t stopped wanting, longing for your heart you told me you loved Biggie and I fell for you hard

44 44

B22

flowers are beautiful but you’re incredible and beautiful all at once

face halo I want to halo my hands around your face in a way that’s gentle but just barely I want to be touching your face but just the tips of your soft peach hairs I want your eyes and mine entwined I also want to be entwined in you and around you and with you and next to you seeing you is like seeing everything for the first time again seeing you is as close to seeing a star existing as a real human you are also moonlike and glowing all the time I could sit in your glow forever or at least until 5:54 a.m.

I’ll be your sea if you be my moon

B23 45

45

poems: 2015

you left me on that beach I’ve left my purse at home these past few nights maybe because I wanted to feel lighter, freer maybe because the air and my skin are one when I’m holding less or when I’m held less I am bold and alone since you left me on that beach crunching Sacramento glass losing my balance and not wanting the gripping thrill down my neck my hair was haloed in sweat, you’d never let the wind take it

i want back i pushed my heart as hard as i could and as hard as i’ve ever done before i want back every single reassuring word i ever told you stupid picture message inside joke fingerprint on your glasses the ground was cold and wet my face and the ground glistened together over your petty plaid shirt you feel like everyone else when you wear that shirt i bet no one knows how much more confident that shirt is than you i hope you remember the way you danced because i will never forget the lie i told about a cigarette when i left you crushed me in a way that was your own i hope you don’t forget it

B20

46

B21

47

poems: 2015

target list fridge magnet I want to catch your eyes and put them in my pocket your eyes are magnetic you are magnetic I am the magnet to your fridge I am some type of food magnet and you’re probably an off-white fridge full of cheap beer and leftovers I am pulled to you I am pulled to you but I don’t know why I’m only a magnet and you’re my fridge

I made a list of stuff I have to get at target I’m sitting on my bed only it feels like a shitty island the only appealing feeling to me is helplessness and a shower I want to cough in the shower and feel like I’m losing everything I don’t want to choose my Sunday I want Sunday to choose me I woke up and wanted you I want you when I have bad posture I want to hunch my back next to you I’m really not forgetting about you you’ve told me about you crying and I want to watch a movie and cry with you I wonder what your arms feel like

--I can still see you in my immediate and post-immediate future there are certain words you say that I like because of the way you say them I have an idea of what we’d look like on a magazine cover I don’t know if I’ll ever tell you what it is we shared pictures of our high school faces on my bed at 3 am once and when I think about us doing that I think of how warm my room was and how making eye contact with you is a scary thing I want to do all the time B18

B19

poems: 2014-15

i don’t know what you want from me aren’t/weren’t/won’t ever be ready I could be the person who knows you best but god knows you aren’t ready and here we are in the void this fucking space that makes no sense you and I we are in it even though I never asked to be rejected postcards from friends tells me I shouldn’t be here but you you roped me in you chose me and I didn’t know I’d get this deep you were it you gave me a fake cushion for the chair and the hard seat hit harder and I felt so pulled and stupid but god knows you weren’t ready

B16

50

i’m sick of what i am to you i’m sick of what i thought i was and how you were too scared to hold the fire i don’t know what you want from me i don’t know what you want from me i don’t know what you want from me the risk would have been worth it

I kiss you I kiss you because I’m on my side and I can’t reach your face I kiss you to make the sun go down I kiss you and I look at you and I kiss you again I kiss you and then constantly think that we are the only people kissing in the entire world I kiss you because you are you I kiss you and hold you for awhile I kiss you because I can’t say it without your lips on my lips I kiss you and hold your head I kiss you and hope that someday you’ll be somewhere that’s not as quiet and not as cold

B17

51

poems: 2014

shit thanks for the temporary pulse and temporary thrill i’ve never gotten a vibe quite like yours i guess i never will

B14 52

laying upside down on my couch looking out the window for a minute I just needed the city to be above me and the sky to be below me I needed the vast nothingness to feel like I was floating on my own

I mark my days by my nights

good writing comes from

I mark my days by my nights I have candles and dreams that keep everything sweet I remember how the dimly-lit desk lamp made my pupils go wider while I thought of you as today turned into tomorrow

good writing comes from uncomfortable situations good writing comes from times spent alone in dark hallways good writing comes from people with a change of plans good writing comes from signs on buildings good writing comes from the way you look at the sky

B15

53

poems: 2013-14 #3 you can only find the sadness in the song if you’re really listening to it, the heartfelt outcry initially later secluding into the heart of the girl, who is truly happy while is never underneath I can’t believe I made it this far

#2 wanting to stare off meaninglessly into space while being held, being held, being very held by someone the feeling of holding and being held by someone wanting to think endlessly while holding something, while holding something, someone, holding anything just to have the feeling of holding present any act of desperation seems apparent or pathetic at this point

i can burn my throat on endless cups of tea but nothing will give me that feeling of being close to you or something like that i like you and it is sad when things were new and fresh and we didn’t know what parts of ourselves would shine the most the time we talked about

a text i sent my mom tonight “an old soul who knows how to be young maybe. sometimes i think i am too many things all at once” water The water draws your late night nocturne and I wish that I was the water.

B12

the heart in the time we talked about the moon and our moms the head i assume when you enter the room it’s freaky and i can’t find the light switch in your bathroom give me more of the blanket, i gotta lay right next to you the walls surrounding our laminated eyes kept the winds at rest for once

B13

poems: 2013

don’t I said what I felt once veering off the road, I spewed it all out in a single breath to a dead end “You’ve got nothing to lose” but it wasn’t me who lost even though I felt guilty and I could care less about the numbers and the letters telling me how much sleep I’m losing and I could care less about the way you were great

for u I am taking baby steps baby steps baby steps baby step and that was for you and that was all for you too

I’ve gone and now I’m on my way and I can feel the wheel slipping away again it’s on repeat

I wrote your name on the wall it was for you

nothing like anything you are nothing like anything and that draws me closer I am intrigued and you are the only figurine in this dimly-lit hall let yourself fall it’s not going to hurt I can handle you and hold you and tell you about the beautiful tragedy of our lives we’re all we are together B10

2:40 sometimes I wonder if these nights in the dark amount to anything and then I realize that I need this dark more than some people need me

B11

table of contents

this side introduction........................B4-B5 2013 poems......................B10-B12 2014 poems......................B13-B16 2015 poems......................B17-B24 2016 poems......................B25-B28 2017 poem.............................B29

flip side introduction...........................4-5 VOX/50 fonts.......................10-11 c l a s s g l o s s a r y. . . . . . . . . . . . . . . . . . . . . 1 2 - 1 3 modular grids......................14-29 class summaries...................30-35 colophon.............................36-37

B6 60

B7

61

introduction

party in the back

W

elcome to the party side. This half is meant to be a creative companion to the other half of this book, the business side.

This half is dedicated to my own creative layouts and designs for my Publication Design class, as this book is my final project/final product. I dedicated these pages to p u b l i s h e x c e r p t s o f m y o w n p o e t r y.

They are sprinkled chronologically across pages that express my style a s a g r a p h i c d e s i g n e r.

When you’re done here, flip the book over to experience the business side featuring the technical supplements for this project.

64

65

lauren tussey

flip me!

party

in the

back