DES 115 Process Manual

MICHELLE

HOSOGAI|DES115

PROCESS MANUAL

OBJECTIVE

1

PRE-THINK

3

SET 1A + B

5

SET 2A + B

7

SET 3A + B

9

GLOSSARY

11

TA B L E O F

CONTENTS

PRE-THINK: A

OBJECTIVE

The purpose of the project was to use a provided set of information and explore different arrangements of the text, while creating a type hierarchy and learning counter and counterform. We started with one size and weight of Univers in Set 1, and were given additional elements and variations of type to make the problem more complex for Set 2 and 3.

The next set of pages will show examples of the work in progress and elaborate explanations of the smaller components, such as contrast, similarity, and proximity that I had learned in order to create a successful hierarchy system and exercise counter and counterform.

One of the first difficulties I had hit upon was how to organize information while only using the font type Univers without using different font sizes or styles to distinguish the importance of one set of information from another.

This encouraged me to explore the first concept, proximity. I had learned that grouping certain things and isolating others was the first step in achieving hierarchy. Essentially this meant placing similar information closer to one another, and information that related less further apart. I had also experimented in creating guidelines to space my information out in a systematic way.

However, placing things farther or closer was not enough to create a successful hierarchy. I learned this when I discovered how difficult it was to set the title “Visible Language” apart from the rest of the information. In order to set the title apart from the rest, I learned to use the second concept, similarity. By using methods such as repetition, or organizing the three lectures in a way that was similar to one another, I realized that the title, which did not follow the pattern

However, the “Visible Language” title and the small text underneath interrupts

with the rest, would naturally be set apart.

the entire piece. The different layout had set it apart but the proximity and contrast to the rest of the informaiton were weak. It did not follow the grid structure

This method of keeping repetition or pattern and then creating an interruption

and simply became a distraction.

with the title also introduced me to the concept of contrast. Contrast is one of the key ideas when dealing with counter and counterform. In the tracing on the left, you will see black shading of where I had placed my text. When I first started this project, I was not paying attention to the ratio between my black space (text) to the white space (background). In order to help me understand whether I had used my space effectively to create a strong counter and counterform, I had created tracings, similar to this one for many of my pre-computer drafts.

In this particular draft, you c see how the title of the events, time and place were kept relatively clear because I grouped it similarly to one another and perpendicular to the names.

2

The following images are scans of other pre-computer drafts that I had made.

I cut out strips of each line of text in its required size and style for Set 1 and 2 and arranged them on a 10x10 inch bristol paper. After making several of these drafts, I had taken my strongest ones for further development and editing on InDesign.

SET 1 1A: 15 pt, Universe 45 1B: 15pt, Universe 45 + 65 SET 2 2A: 15pt + 9pt, Universe 45 + 65 2B: 15pt + 9pt, Universe 45/46 + 65/66 SET 3 3A: SET 2B + Ruler 3B: Universe any Size, Weight, and Ruler

PRE-THINK: B

PRE-THINK: C

PRE-THINK: D

PRE-THINK: E

PRE-THINK PRE-THINK: F

PRE-THINK: G

4

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

SET 1B FINAL

Ruedi Baur Nicholas Felton Richard Saul Wurman O R I E N T AT I O N A N D D I S O R I E N T AT I O N Thursday, December 3 135 Walker Hall UC Davis 6 pm Zuzana Licko Jonathan Hoefler Tobias Frere-Jones M O R E T H A N J U S T A LOV E O F L E T T E RS Thursday, December 10 135 Walker Hall UC Davis 6 pm

SET1A+1B

Marian Bantjes Andrew Blauvelt Stefan Sagmeister MATT E R / AN T I - MATT E R /D OES I T M ATT E R ?

Thursday, December 17 Design Museum UC Davis 7 pm

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Displayed on the left imy rough drafts and final drafts of Set 1.

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For Set 1A, I had originally started with my Pre-think A concept (shown on page 2). This set was challenging because of the lack of sizes or variations such as r1 7

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Th 13 ur UC 5 Wsday 6 D alk , D pm av e e is r H cem all b e

structure on a diagonal grid structure, but made adjustments to the direction of

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each events and the title. One subtle difference I had added on the computer

/A

draft, was the leading and kearning spaces. Professor Amos had explained to

AT T

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SET 1A FINAL

bold or italic type to differentiate the information. I strived to keep the angular

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us how “text is like shading”, and could appear darker or lighter depending on the leading or kearning. I had used these two concepts to group certain information such as time and place to be closer to one another by decreasing Lectures are free and open to the public V I S I B L E L A N G UAG E A lecture series exploring the relationship between form and content Ruedi Baur Nicholas Felton Richard Saul Wurman

between the letters on the event titles. This kept the relative shapes of each event similar to one another and easier to read as well.

Because Set 1B had the Bolded variation of Univers, I had decided to keep it more simple compared to Set 1A. My original version for Set 1B was based off

This particular set allowed me to explore the different effects that spacing within

Thursday, December 3 135 Walker Hall UC Davis 6 pm

the Pre-think G concept. However, I ended up completely changing it to the Set

text could have created. I learned to not only pay attention to the black space

1B draft design. In order to contrast the angular and square structured design of

that I was creating with the text, but how the white space/ background interacts

Zuzana Licko Jonathan Hoefler Tobias Frere-Jones

Set 1A, I decided to go with a more fluid design for 1B. I increased the kearning

with the text. I learned to avoid trapped spaces between texts and how to make

of the event titles and capitalized to make the line longer to help emphasize the

use of them to help create a flow line or line of direction for the eyes.

O R I E N TAT I O N A N D D I S O R I E N TAT I O N

M O R E T H A N J U S T A LOV E O F L E T T E R S Thursday, December 10 135 Walker Hall UC Davis 6 pm

wave concept. I realized that this became problematic because of the “Visible

Marian Bantjes Andrew Blauvelt Stefan Sagmeister

tion to the overall flow of the design. I decided to make adjustments to the final

Matter/anti-matter/does it matter?

Thursday, December 17 Design Museum UC Davis 7 pm

SET 1B DRAFT

the leading space, and create a longer line of text by increasing the kearning

Language” being too short compared to the other lines and creating an interrupdesign by moving the name of the lecturers to the left to draw attention away from the shorter length text. Previous to this adjustment only the counter (the text) had a wave-like motion. However after the adjustment, this helped created a wave-shaped counterform between each section on top of keeping the wave-like motion in the black space.

6

spacing to act as a ruler. This helped to create more unity between “Vsible Language” and the rest of the thre events. I had also increased the leading space Visible Language

on the lecturer’s names to stregnthen the alignment between the left side to the

A lecture series exploring the relationship between form and content

right side.

Lectures are free and open to the public

For Set 2B, I had decided to start of the Pre-think F concept. I wanted this angular theme to be a continuation of the first set. The only major change I had

Orientation and disorientation

made to the Pre-think concept to the final draft was creating the same alignment

Thursday, December 3 6 pm 135 Walker Hall UC Davis

of “Visible Language” to the rest of the three events. In this particular piece, I had learned to explore flow line better as well, since the corners created from the perpendicular lines of text had formed a direction for the eyes to read. The

Ruedi Baur Nicholas Felton Richard Saul Wurman

More than just a love of letters

arrow would lead the eyes to read the title “Visible Language” first, then go

Thursday, December 10 6 pm 135 Walker Hall UC Davis

down one by one to read each event.

Matter/anti-matter/does it matter?

Thursday, December 17 7 pm Design Museum UC Davis

Zuzana Licko Jonathan Hoefler Tobias Frere-Jones

Marian Bantjes Andrew Blauvelt Stefan Sagmeister

SET 2A FINAL

Visible Language

Lectures are free and open to the public

The following are the rough drafts and final draft of Set 2A and B.

Orientation and disorientation Ruedi Baur

For Set 2A, size 9 pt. font was introduced. I explored using the smaller size font

Nicholas Felton Richard Saul Wurman

on different texts, and decided that the names of the lecturers were the least important out of all the information. I decided to make those texts smaller for this

Zuzana Licko Jonathan Hoefler

therefore I kept the similar grouping structure that I had used on Set 1B. One of

Tobias Frere-Jones

the biggest problems with the 2A draft was the inconsistent trapped space between the text. The three events on Set 2A would have the same parallelogram shaped white space in between the names and location. But the the top section

Marian Bantjes

with the title “Visible Language” would again, cause an interruption to this pat-

Stefan Sagmeister

moved all the names to the right side of the page and keep an empty vertical

Thursday, December 3 6 pm 135 Walker Hall UC Davis More than just a love of letters

reason. I wanted my Set 2A to have some type of relation to the previous sets,

tern. In order to create more order and and flow throughout the piece, I had

A lecture series exploring the relationship between form and content

Andrew Blauvelt

SET 2A DRAFT

Thursday, December 10 6 pm 135 Walker Hall UC Davis

Matter/anti-matter/does it matter?

Thursday, December 17 7 pm Design Museum UC Davis

Lectures are free and open to the public

SET 2B FINAL 6PM Thursday, December 3 135 Walker Hall UC Davis Ruedi Baur Nicholas Felton Richard Saul Wurman

6PM Thursday, December 10 135 Walker Hall UC Davis Zuzana Licko Jonathan Hoefler Tobias Frere-Jones

Matter/anti-matter/does it matter?

More than just a love of letters

Orientation and disorientation

Visible Language

A lecture series exploring the relationship between form and content

7PM Thursday, December 17 Design Museum UC Davis Marian Bantjes Andrew Blauvelt Stefan Sagmeister

SET2A+2B 8

VISIBLE SET 3B FINAL

ORIENTATION AND DISORIENTATION 6PM Thursday, December 3 135 Walker Hall UC Davis

L A N G UAG E

Ruedi Baur Nicholas Felton

Richard Saul Wurman

MORE THAN JUST A LOVE OF LETTER 6PM Thursday, December 10 135 Walker Hall UC Davis

Zuzana Licko

Jonathon Hoefler Tobias Frere-Jones

MATTER/ANTI-MATTER/DOES IT MATTER? 7PM Thursday, December 17 Design Museum UC Davis

Marian Bantjes

Andrew Blauvelt

SET3A+3B

Stefan Sagmeister

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

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Richard Saul Wurman

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Nicholas Felton

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Ruedi Baur

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6PM Thursday, December 10 135 Walker Hall UC Davis Tobias Frere-Jones

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O V b e ex p A I S t w lor l e 6P rien I B e e n ing c tu r 13 M ta t 5 L E fo the e s e Th io Ru W rm r e ed N al urs n a iB ich L A a n latior i e s k n a Ri er da d ch olas ur y ar F N d c o nsh d H , d el to Sa al De iso G n t ip n ul lU c r W U en i e ur C m en A t m an D b G av er tat E is 3 ion

Orientation and disorientation

More than just a love of letters

Matter/anti-matter/does it matter?

6PM Thursday, December 3 135 Walker Hall UC Davis

Zuzana Licko

7PM Thursday, December 17 Design Museum UC Davis Stefan Sagmeister Andrew Blauvelt Marian Bantjes

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

SET 3A FINAL

SET 3A DRAFT

These were the rough drafts and final drafts to SET 3A and B. For this set, I felt that a Pre-think concept could be difficult to make because of the excessive VISIBLE LANGUAGE A lecture series exploring the relationship between form and content

Lectures are free and open to the public

amounts of constraints there were. Cutting each line of text and drawing a ruler in where I felt fit best would have been very difficult, so I started my drafts directly on InDesign for this set.

Even though Set 3 allowed more flexibility with the size and variation to the font,

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

Ruedi Baur Nicholas Felton Richard Saul Wurman

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

I felt that my previous arrangements of leading and kearning for the font was

between the events ad the title.

strong enough to continue using throughout Set 3. I also felt that it was important to keep some type of consistency or relation with the previous 2 sets so I did not

For Set 3B, I again used the rulers to create an interesting counter/ counterform.

want to make it completely different.

I added the rulers both on the left side and ending at the diagonal wihte space

Zuzana Licko

created between the two sets of information. This helped to create an illusion of

Jonathan Hoefler Tobias Frere-Jones

Originally when I started Set 3, I decided I wanted to go with a box frame

two plains.

concept. However for both Set 3A and B, I had eventually gotten rid of it, since Matter/anti-matter/does it matter?

7PM Thursday, December 17 Design Museum UC Davis

Marian Bantjes Andrew Blauvelt Stefan Sagmeister

the rulers were not interacting and creating stronger type hierarchy. For 3A, I had decided to use the rulers as method of creating a diagonal flowline/ triangle counter form. In order to hold the entire shape together, I had added

SET 3B DRAFT

a perpendicular ruler for “Visible Language� that aligns to the end of the ruler of the middle event. This helped to create the balance between the top triangle created by the text, and the bottom triangle created from the white space formed

10

COUNTER: area of a letter that is entirely or partially enclosed by a letter form or a symbol COUNTERFORM: “Negative” spatial areas defined and shaped by letterforms.

HIERARCHY: expresses the organiztion of content, emphasizing some elements and subordinating others.

KERNING: adjustment of space between two letters LEADING: adjustment of space between each line of text TRACKING: adjustment of overall spacing of a group of letters

GLOSSARY 12