Process Journal F19 Book Forms

5 THINGS

F19

1

2

Fall 2019 Book Forms

by Ravnn Thornton

4

CONTENTS

contents What is Book Forms?

2

5 Things

4

5 Foods

54

Exhibition Catalog

64

Credits

92

5

AUGUST

6

W H AT I S B O O K F O R M S ?

BOOK FORMS What is Book Forms?

From the very first day of class, I learned that

more with it. There also seems to be a lot of

books are more than just bounded material.

details with books that designers needs to

I mean, I think I knew that beforehand but

take into consideration that I realized when we

once Leslie got into the philosophical things,

went over the purpose, audience, context, and

it’s more than e-books and bound books. For

tonality of books. Words or no words, color or

example, there’s scrolls in the religious aspect,

monotone, unique (pop-up books) or bland

blank pages to put down our own thoughts

(just words and pics), and etc.

and feelings, and etc. It’s hard to determine what is a book because there seems to be

7

AUGUST

5 THINGS Why do we love these objects? What do we learn from them? How do they define us?

What’s our identity?

The idea of this book was Tara Anderson’s podcast, Five Things. Anderson is the host and producer of the Five Things podcast who sets out to question the importance of a variety of objects from the person themself. The podcast sets on the idea of why we keep these objects, what part about it defines us, and what memories we experienced from keeping them.

This book narrates the journey of Howard Thornton, my older brother, and delves into his thoughts and memories throughout the book. Each object that he chose dictates key moments in his life.

Photos used in the 5 Things book are credited from the respected source material (Pokemon, Horizon Zero Dawn, Super Smash Bros., Skyrim, Play Station 1,2,3,4 games, etc.). The rest of the photos were from the author of this book.

8

5

5 5 THINGS

9

AUGUST

8/19 – 8/21 The art librarians were down in the classroom

When I interviewed my brother, the problem

today to show us different binding processes

came with him getting more in—depth with his

and book ideas that could inspire us for this

objects. I decided that maybe the way I was

project. I got overwhelmed because it felt like

going about asking the questions was wrong,

I just got dropped into the water without a

so I thought about different ways to approach

life vest. Even though the books did give me

him about his things. “Why do we love these

inspirations, I didn’t really want to narrow my

objects?” “What do we learn from them?”

ideas onto that specific binding just yet since I

“How do they define us?” That’s when he went

didn’t have all my content and photos. I ended

on a tangent about these objects. We went

up taking photos of the book ideas I liked.

off topic a few times but that just made the objects themselves more personal. After the interview, I wrote the copy and made sure I got the information that I want to include in there.

10

5 THINGS

Inspirations from the books in the Art Library.

11

AUGUST

12

5 THINGS

around 48-50 minutes

the memorable moment | 5 Things

Interviewing Howard, my brother, took almost an hour once I was able to ask the right questions to him. I voice recorded just for me to be able to go back and capture the main points since we did stray off topic a few times.

13

AUGUST

My brother's 5 things: a PokĂŠball, Aloy pop figure, PS1, R.O.B. figurine, and HIgh School class ring.

14

5 THINGS

More inspiration for book ideas from the web.

15

AUGUST

16

5 THINGS

17

AUGUST

18

5 THINGS

19

AUGUST

8/26 – 8/29 At the beginning of class, we got into groups

inspiration about the binding process like the

of five to talk about our ideas, sketches, and

accordion. When everyone went around to

plans for the 5 things project. It was difficult

explain their process and ideas, I realized we

because we were at an early stage of the book

were all in the same boat when it came to

project, so it was hard to explain precisely

talking about conveying the story and having

what we wanted for our books to convey. One

to put the book together. It made me feel a

of the ideas I had so far about the book cover

little bit more at ease with the fact that I don’t

was a Pokeball and incorporating the ball itself

have all the plans yet, but time moves fast, so I

to the packaging itself for the book or the

can’t really feel relaxed just yet.

actual book cover. I explained that the books I saw back from Wednesday gave me some

20

5 THINGS

nostalgic unrelatable funny enjoyable bland

nostalgic unrelatable funny enjoyable bland

nostalgic unrelatable funny enjoyable bland

uncaring empathetic earnest/serious boring engaging

uncaring empathetic earnest/serious boring engaging

uncaring empathetic earnest/serious boring engaging

Semantic Differential Scales of my 5 Things book.

21

AUGUST

The rest of the work hours was studio time,

being in a different world using the diecuts

and when Leslie had come to me, she ended

alone. This may not be the direction I should

up making a small book with empty papers

be moving towards, but I may see what I could

and encouraged me to sketch out my ideas in

incorporate to the rest of the book to see if

the book to physically see the effects of trying

diecuts are the way to go for this or not.

diecuts. Since I thought about going for the PokĂŠmon theme throughout the book, I tried different cuts to see the after-effects. When I did that within the book, I began to get more ideas that I could incorporate with the theme of gaming, interacting with the book, and

22

5 THINGS

23

AUGUST

I was absent for my Wednesday class, but I

insider’s look on Howard's fantasy worlds.

did get to talk with Leslie about my updated

But when Leslie mentioned about having

plan for this project. I still had some doubts

different shapes also, I had an epiphany. I

about where I was going to go, but once

could incorporate different styles of diecuts

I got talked with Leslie, I felt a lot better. I

or folds into the book and make it about

went with more of the route with diecuts, and

the 5 things while creating this atmosphere

Leslie made this nice idea of possibly doing

of being in a new world for each category. I

fold-outs of the shapes of each of the 5 things

don’t exactly know how I would plan this, but

and making that interactive. At first, she kept

I have the weekend to do this, so I need to

wondering why I was really adamant about the

start on the compositions of the layouts and

Pokéball. The Pokéball is something I thought

possibly printing them out and start outlining

about being a reoccurring theme throughout

or cutting the shapes out to see how it would

the whole book, having the audience be

look like at the start. From there, I started to

interacting with the book itself and have an

incorporate the images in the book.

24

5 THINGS

25

AUGUST

Small book Leslie made for me to try to physiically cut and see the diecuts I was going to do with this book.

26

5 THINGS

27

AUGUST

Images I thought of using or used in the book itself. I wanted to create the idea of the reader stepping into the "fantasy world" my brother experienced with his 5 things.

28

5 THINGS

29

SEPTEMBER

9/4 For my layouts, I tried different variations of

set up my Indesign file and gave me some

them and I was more focused on trying to

pointers. I felt a lot better with the route I’m

figure out the idea and process of diecutting

taking with this project after the small brief,

and how to make the pages compensate for

so now I just need to make sure everything is

the diecuts. I decided that making a folded

concise and cohesive with the themes with

page was probably better with the diecuts.

the direction I’m taking. Sometimes, I tend to

At first, I was going to use the diecuts with a

forget the initial or end goal for the project

hanging part of the page to hide and unveil

because I don’t take a step back to refresh

one of the 5 things, but then Leslie suggested

my brain and it's sometimes a huge downfall

that unveiling a quote instead seemed

for me. I hope it comes all together and each

interesting. Once I explained my idea after

object doesn't feel like a separate entity overall.

the wall critiques, Leslie came and helped me

30

5 THINGS

My initial layouts and spreads for this book.

31

MONTH

Pokeball

ote ote ote

Gaming wasn’t something to just pass time; it was a way to become someone else, to build back the self-confidence, to escape the reality of the world.

why would anyone tell you what to enjoy and what not to enjoy when i can just bring the same argument to them?

He felt distant from his peers because gaming wasn’t really well received at the time for him, yet he continued to love it despite that. Yet there was always doubt and insecurity behind the bravado. His only safe place to play it was at home, away from the judging eyes.

32

This isn’t just a regular ball, but something he’s protected his thoughts, creativity, and freedom in from the outside world. It was a fantasy. The idea of a Pokemon world was a form of escapism. It was a place that held diversity, strategy, and freedom.

5 THINGS

Horizon Zero Dawn Funko Pop I like her willingness to dive deeper into something. She wasn’t scared of the unknown because she already didn’t know anything so there was no point in being scared of it.

Howard resonated with Aloy a lot as a person. He was intrigued by her curious personality, and her willingness to dive deeper to know more about the greater unknown. He saw himself in her, and sympathized with her about her struggles.

Throughout the course of him playing the game and learning about Aloy, one thing he learned that in life, he should be more neutral and more open-minded about seeing both sides of a situation.

Ignorance and innocence fades away as we grow more curious about something; we have to face the harsh facts and dark side of reality the more we learn about the world.

The game made him more open and expressive about how he views the world, and he showed concern for the world and how to perceive it the more he played the game.

“My whole life I lived as an outcast from the Nora. They would have been the first to say i wasn’t one of them. Yet, as soon as I leave the sacred lands, everyone calls me ‘Aloy of the Nora.” It should be ‘Aloy, despite the Nora’.” —Aloy

Though there’s a negative outlook with this statement, he wants positivity for gaming where the art of gaming is free to do whatever the story lends itself to and not worry about critics and people’s political views interrupting the process. He doesn’t want to be tied down by people’s views; he wants people to be able to make and tell their own story, no matter what anyone says. This knowledge came about when he came back to play it all over again a couple of months after he had finished the game. He loves Aloy not only because of her curiousity, but strong determination against the world and her own people to fight for her views.

I hate the policing of the art of gaming itself; I want the games to be more free.

It should be an escape for people. The story should be the driving factor of the game, not the aesthetics, yet this game had both; a rarity in games nowadays to be honest

“confidence is quiet, you are not” —Aloy

33

SEPTEMBER

9/9 – 9/11 With the round-robin reviews, I got a lot of

of having so much white space, so I tried to

positives about my interactiveness of the book

add colored backgrounds, but I don’t think it’s

and the book telling the story itself. Though

really helping with all of the photos I’m putting

one of the reoccurring comments I got was

in so I may end up just making the pages a

working more on the composition of the book.

cream color or just white itself so it doesn't

I noticed when I reviewed my peers' books

fight with the text and photos itself.

was that their pages were really simple and had lots of white space. I think I’m still scared

34

5 THINGS

A diecut page from Aloy's section (top).

Work in progress critiques from the Round Robin Review in class (bottom).

35

SEPTEMBER

Pokeball

5

This isn’t just a regular ball, but something he’s protected his thoughts, creativity, and freedom in from the outside world. It was a fantasy. The idea of a Pokemon world was a form of escapism. It was a place that held diversity, strategy, and freedom.

THINGS

He felt distant from his peers because gaming wasn’t really well received at the time for him, yet he continued to love it despite that.

Yet there was always doubt and insecurity behind the bravado. His only safe place to play it was at home, away from the judging eyes.

why would anyone tell you what to enjoy and what not to enjoy when i can just bring the same argument to them?

36

5 THINGS

Horizon Zero Dawn Funko Pop

Howard resonated with Aloy a lot as a person. He was intrigued by her curious personality, and her willingness to dive deeper to know more about the greater unknown. He saw himself in her, and sympathized with her about her struggles.

Throughout the course of him playing the game and learning about Aloy, one thing he learned that in life, he should be more neutral and more open-minded about seeing both sides of a situation.

I like her willingness to dive deeper into something. She wasn’t scared of the unknown because she already didn’t know anything so there was no point in being scared of it.

The game made him more open and expressive about how he views the world, and he showed concern for the world and how to perceive it the more he played the game. One of the reoccuring themes he learned throughout this game was that ignorance and innocence fades away

as we grow more curious about something; we have to face the harsh facts and dark side of reality the more we learn about the world.

“confidence is quiet, you are not” —Aloy

Though there’s a negative outlook with this statement, he wants positivity for gaming where the art of gaming is free to do whatever the story lends itself to and not worry about critics and people’s political views interrupting the process. He doesn’t want to be tied down by people’s views; he wants people to be able to make and tell their own story, no matter what anyone says. This knowledge came about when he came back to play it all over again a couple of months after he had finished the game. He loves Aloy not only because of her curiousity, but strong determination against the world and her own people to fight for her views.

“My whole life I lived as an outcast from the Nora. They would have been the first to say i wasn’t one of them. Yet, as soon as I leave the sacred lands, everyone calls me ‘Aloy of the Nora.” It should be ‘Aloy, despite the Nora’.” — Aloy

37

SEPTEMBER

R.O.B. Figurine

Their name is Robotic Operating Buddy. ROB is a character in the Super Smash Bros games, and although he was a villain in the beginnings of the story, he ended up sacrificing his own kind to help end the war, yet the burden lingered, as they became the only one of their kind left. ROB was all alone.

“even if robots don’t have feelings, the intent of ROB’s actions and story came across as relatable and empathetic”

38

ROB was lonely, and Howard seemed to be empathetic towards both his narrative and the character itself.

Their story reflects not only him but the world, and as he relates to him, he realizes he doesn’t ever want to go through what ROB did.

5 THINGS

Play Station 1

This also ignited the spark in him of wanting to be a video game developer. Since he’s been around games his whole life, he wants to pursue his career in something game related to keep that joy with him.

This item was the ultimate gateway to the gaming world, and his father introduced him to the PS1. This created a good relationship with his dad since he was able to play and share the experience with someone in the same room.

Ever since he got the PS1, he has gotten all the Play Stations (2, 3, 4) and he uses his gaming time as a way to also bond with his father and share tips and memories together. He would play games his dad was interested in so he would try to get to know more of his dad and to share the experience with someone.

Unfortunately, his father passed away a little over a year ago, August 9th, and since then, he’s kept the PS1 as a memento.

High School Class Ring

39

SEPTEMBER

This is the final stretch before we have to

I think I like the direction I went with this

finalize everything for the design. I spent most

project. It’s slowly but surely coming together.

of the class trying to figure out the right size

The one thing I’m worried about now is the

for the book itself to see if all of the layouts

cover material and what to pack the five

are good. Since I’m creating the book with

things and the book in. I have ideas but I’m

Japanese binding, there’s a certain way I have

still trying to figure out a way to execute them.

to print these pages out to make sure that it

But hopefully, once I finish my designs for the

folds right for the diecuts. Leslie helped me

book, I can focus more on that.

with scaling down the overall pages, so I don’t have to redo the whole InDesign file again to make it the right size. This gave me more of an opportunity to find out what size actually fits better with the book rather than having to wonder if it’s right or not and not being able to change it.

40

5 THINGS

Different sizes of the book before I print the real thing with color. From furthest back to the front: 100% scale, 90% scale, 85% scale, 80% scale.

41

SEPTEMBER

9/16 At the beginning of class, we had to tell how

printing process. This project feels so long,

we feel with our book project, percentage-

but with all the work I'm doing, I'm sure my

wise. I stated I was about 70% complete.

brother will appreciate it in the end.

Overall, my design is finished; now I just have to print it. I created a prototype of the book, so I could figure out how everything would look before I throw away my money for the

42

5 THINGS

Prototype of the book.

43

SEPTEMBER

9/23 – 9/25 During the last half of the class, I ended up

ended up messing up the trim of the diecuts. I

working on my 5 Things book instead of

also thought about being able to put the book

the process journal. I printed them out and

inside a box and wrap it up like a bento box

ended up trimming all of them by hand with

using the bento scarves I sometimes wear as a

an Xacto knife. This was the hardest part

bandana. If the box idea doesn't work, I'll just

out of everything that's happened with this

wrap up the book with the scarves themselves.

book because the print didn’t really match up sometimes, so some of the photos were shifted and I had to print them again. That or I

44

5 THINGS

45

SEPTEMBER

Today was where I had an existential crisis

only had time to print out the pages and store

with this project. I printed and trimmed out

them in the cabinets to trim for tomorrow. I

all of the pages of the book, only to have

plan to trim and bind it in a book the next day.

to do it again because of the difference of

I reread the assignment details and I don't

paper. The paper Leslie gave me is more

necessarily need the scarves since I already

durable and heavy so I'm glad about that, but

have an interactive element, but I’m still going

the reprinting made me have more anxiety.

to do it anyway since it completes the book.

Honestly, I just categorized this as a part of the life of graphic design: continuous double— checking and doing multiple prints. I love prints but I don’t miss paying for the prints. I

46

5 THINGS

47

O C TO B E R

10/2 Today was presentation day. It wasn’t that nerve-wracking, since I ended up finishing my project early as well as my presentation.

I ended up going second and overall I quite enjoyed the project. Since we had to run through presentation quickly to have time to look through everyone's book, there was no time for questions and it was really brief, which I actually like this better.

48

5 THINGS

49

O C TO B E R

color & typefaces

Signika Bold, Semibold

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Lora Regular

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

I used specific fonts for each of the 5 things (besides the High School Class Ring section) to help represent the object and bring more of the authenticity to the book.

50

5 THINGS

Pokemon Fire Red ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

horizon ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Pretendo

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Zrnic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

51

O C TO B E R

The unveiling of the cover to show the book itself. They're wrapped up in two Japanese bento scarves to resemble a bento box, as Howard (the person the 5 things is about) is half-Japanese.

52

5 THINGS

Tara Anderson flipping through the book (top).

Everyone in the Book Forms class with our books (along with Tara Anderson) in the photo (middle).

53

O C TO B E R

M

Illustrations I did for the page details and for part of the interactiveness in the PokĂŠmon section.

54

5 THINGS

Howard wrote his name out in Japanese, as well as his middle name, since we have two middle names: one American name and one Japanese name (top). Then I illustrated it in IIllustrator to keep the same feeling of his handwriting within the book. His last name, first name in that order (bottom left) and his Japanese middle name (bottom right).

55

O C TO B E R

Leslie's critique and comments on the final result of the 5 Things book.

56

5 THINGS

57

SEPTEMBER

5 FOODS SPRINT What are your favorite foods/drinks that you eat in your everyday life? Share your stories, recipes, tastes, etc.

This was a one—class sprint that Leslie proposed to work something other than the 5 things project. This is similar to the 5 things, just using foods/drinks instead.

58

5 THINGS

59

SEPTEMBER

9/18 We did the one—class sprint for the Five Foods

the content I included was Asian foods/drink,

prompt. I had my photos and text ready to go,

excluding the fruits. I didn't plan it that way,

so it was just placing them in the composition

but it is a huge part of what I eat every day.

I wanted to make it look good. I didn’t really have an idea going into this sprint project, but I didn’t want to have a lot on the pages considering the zines will be small. Most of

60

5 FOODS

Rice with pickled plum (top left), mixed fruits (top right), donuts from Mr. Donuts (middle), Matcha tapioca drink from Mr. Donuts (bottom left), Udon (bottom right).

61

SEPTEMBER

tap! tap!

I never really had one of these up until this past summer and it’s really delicious. During the

summer when I got one of these while walking back home from the mall, it tasted so refreshing.

Chewing the little tapioca balls were a nice pass time to do too while I was walking. Though there were a few times were I think I swallowed a few tapioca balls whole. Nevertheless, it was really good drink for a hot, summer day and it easily became one of my favorite drinks.

tapioca!

tooth— picked

I usually pack variety of fruit almost everyday for me to eat at school. When I was little up until middle school, we usually eat fruits at night, but ever since I had gotten the little containers around high school, my mom started to pack fruit for me so I could eat it during the day. She sometimes still packs my fruit, but ultimately I do it myself once I got into college. The fruits that are usually in these small containers are grapes, strawberries, white peaches, yellow peaches, blueberries, blackberries, mangoes, and kiwis.

fruits 62

5 FOODS

slurpin’ Udon is one of the dishes I first learned to make when I was

young. It’s a dish that my mother makes whenever we have days off or breaks from school and work. It’s really light to eat and it fills my stomach pretty quickly.

Sometimes I eat it with rice after i eat all the noodles and only the broth is left.

noods

oops!

“Eat every grain of rice,” is what my mom instilled onto my

brain when eating rice. This is pretty much the easy and simple breakfast, lunch, or dinner whenever we’re too lazy to cook anything besides the rice, or have a lot of rice leftover to last us the next several days. We usually put different types of seasonings on top of the rice (dried salmon flakes, sesame seeds, dried seaweed, kimchi, etc.) but the number one

contender for adding something with the rice is pickled plums.

It’s really sour but it goes great with rice. It’s one of the easiest dishes to make and it can fill your stomach up quickly.

my rice!

63

SEPTEMBER

64

5 FOODS

mister One of my favorite places to go to whenever I visit my mom’s

side of the family. When I was a kid I loved the different shapes of the donuts and the light airiness of the donuts themselves.

It was a nice atmosphere to walk into and to take a break from

donuts the hot, sweltering sun after the long walk from our house to the mall.

The inside page for the zine. This is a full bleed spread to show off my favorite food out of the 5.

65

SEPTEMBER

conclusion Overall, I feel like I didn’t really do much

but I feel like that with each project so it’s

compared to the others. I wanted to make

something for me to work on throughout my

sure that the hierarchy of the title and body

time in the graphic design program. Mine does

complimented each other, so I focused more

look really bare and simple but even the stuff

on the typography and grid to fit the overall

that looks really simple takes so much time to

aesthetic. I feel like I had a lot of white space

accomplish.

66

5 THINGS

fruits

noods broth is left.

I usually pack variety of fruit almost everyday for me to eat at I usually pack variety of fruit almost everyday for me to eat at school. When I was little up until middle school, we usually school. When I was little up until middle school, we usually eat fruits at night, but ever since I had gotten the little eat fruits at night, but ever since I had gotten the little containers around high school, my mom started to pack fruit containers around high school, my mom started to pack fruit for me so I could eat it during the day. She sometimes still for me so I could eat it during the day. She sometimes still packs my fruit, but ultimately I do it myself once I got into packs my fruit, but ultimately I do it myself once I got into college. The fruits that are usually in these small containers college. The fruits that are usually in these small containers are grapes, strawberries, white peaches, yellow peaches, are grapes, strawberries, white peaches, yellow peaches, blueberries, blackberries, mangoes, and kiwis. blueberries, blackberries, mangoes, and kiwis.

i eat all the noodles and only the Sometimes I eat it with rice after fills my stomach pretty quickly. work. It’s really light to eat and it off or breaks from school and makes whenever we have days young. It’s a dish that my mother learned to make when I was

tooth— picked

slurpin’ Udon is one of the dishes I first

tap! tap!

ta

us the next several days. We usually put different types of

seasonings on top of the rice (dried salmon flakes, sesame

oops! oops!

“Eat every grain of rice,” is what my mom instilled onto my

“Eat every grain of rice,” is what my mom instilled onto my

brain when eating rice. This is pretty much the easy and simple

brain when eating rice. This is pretty much the easy and simple

breakfast, lunch, or dinner whenever we’re too lazy to cook

I never really had one of these up until this past

I never really had o

summer and it’s really delicious. During the

summer and it’s rea

summer when I got one of these while walking

summer when I got

back home from the mall, it tasted so refreshing.

back home from th

Chewing the little tapioca balls were a nice pass

Chewing the little t

time to do too while I was walking. Though there

time to do too whil

contender adding with riceeasiest is pickled plums.

It’s really sour but itfor goes greatsomething with rice. It’s onethe of the

were a few times were I think I swallowed a few

were a few times w

It’smake reallyand sour butfill it goes withuprice.

It’s one of the easiest dishes to it can your great stomach quickly.

tapioca balls whole. Nevertheless, it was really

tapioca balls whole

dishes to make and it can fill your stomach up quickly.

good drink for a hot, summer day and it easily

good drink for a ho

became one of my favorite drinks.

became one of my

breakfast, lunch, or dinner whenever we’re too lazy to cook

anything besides the rice, or have a lot of rice leftover to last

anything besides the rice, or have a lot of rice leftover to last us the next several days. We usually put different types of

seasonings on top of the rice (dried salmon flakes, sesame seeds, dried seaweed, kimchi, etc.) but the number one seeds, kimchi, etc.) the number contender for dried addingseaweed, something with the ricebut is pickled plums.one

my myrice! rice! tapioca!

ta

mister One of my favorite places to go to whenever I visit my mom’s

side of the family. When I was a kid I loved the different shapes of the donuts and the light airiness of the donuts themselves.

It was a nice atmosphere to walk into and to take a break from

donuts the hot, sweltering sun after the long walk from our house to the mall.

67

O C TO B E R

EXHIBITION CATALOG We work with the Speed

Art Museum to create an art catalog for the two exhibitions they're holding in the future.

The assignment was to design a catalog for either the African Art collection or the upcoming Bert Hurley exhibition. The goal was to have an opportunity to work with the Speed museum curator Kim Spence and the Speed design manager Carrie Scrufari and understand the cultural institution of working for somebody as if it was a "real world" project, following the brand guidelines and such.

All photos from the African Art collection were used for the exhibition catalog was from the Speed museum themself.

68

5 THINGS

69

O C TO B E R

70

E X H I B I T I O N C ATA LO G

Inspirations of layouts and page details.

71

O C TO B E R

10/9 Today was pretty much knowing more about

art collection. In this project, the artwork is the

the artifacts and artists for the catalogs.

first priority, so the designs have to be more

Although Bert Hurley and his story was

nuanced and subtle. But because there’s not

interesting, I felt like it would be hard to

a lot to show off the design besides the grids

translate that to the catalog. With text

and typography, it’s more apparent to see the

alongside with more text and the huge

designs itself.

manuscripts that can’t be cropped, there’s a limited amount of things you could do for the catalog itself. So, I decided to do the African

72

E X H I B I T I O N C ATA LO G

73

O C TO B E R

74

E X H I B I T I O N C ATA LO G

Sometimes I end up remembering stuff better if I doodle in my sketchbook while I take notes. I also get distracted sometimes.

75

O C TO B E R

10/14 – 10/16 I made a lot of thumbnails for the catalog, yet

got a lot of great feedback, so I don’t think

I have no idea where I want to start. I think

it was a loss. After the wall critique, I had to

it’s mostly because I don’t really know a lot of

focus on finding what kind of paper I wanted

good structures from catalogs that count as

for the cover and what I wanted to do for the

“good”. At the time, I was also dealing with

cover. I’m used to pushing the cover towards

a family emergency, so I couldn’t really get a

the end because usually, the content is still

lot done. I essentially threw multiple ideas in

a work in progress. I decided on doing some

Indesign the day before the critique to show

sort of black diecut with African colors using

off multiple versions and see which is better.

the Stardream paper. The cuts are going either

When we did the critique, I thought it was

to be some of the symbols they have in their

going to be round robin review, so I only

fabric and works or the speed logo.

printed out one version of the catalog out that I thought looked the best. Then I realized it was only the wall critique. However, I still

76

E X H I B I T I O N C ATA LO G

First wall critique for the assignment.

77

O C TO B E R

78

E X H I B I T I O N C ATA LO G

79

O C TO B E R artwork | Section Title

artwork | Section Title

ANCESTORS, GODS, & SPIRITS INFLUENCE IN AFRICAN ART

3

5

ANCESTORS, GODS, & SPIRITS INFLUENCE IN AFRICAN ART ANCESTORS, GODS, & SPIRITS INFLUENCE IN AFRICAN ART

artwork | Section Title

artwork | Section Title

9

7

A Teaching Tool

Members of the Gnoumous family wearing plank masks, awaiting their turn to perform.

Burkina Faso 2007.

Photograph by Christopher D. Roy.

The graphic patterns on this plank mask correspond to a complex group of symbols that offer lessons in proper social behavior and moral conduct within Bwa society. These symbols educate the young on their responsibilities within the community as they transition into adulthood. Bwa men wearing plank masks perform at funerals, harvest ceremonies, and on market days. The masks represent spirits that inhabit the natural world in the form of insects and water fowl—supernatural forces that protect and act on behalf of the Bwa. 2015.12 Bwa artist Burkina Faso Plank Mask 20th century Wood, pigment 86 ⅜ × 24 24 ⅛ × 14 ⅝ in. (219.4 × 61.3 × 37.1cm)

artwork | Section Title

artwork | Section Title

11 Depicting Forces of Change These architectural panels probably once decorated the home of a high-ranking military chief or elder. Their complex imagery refers to a turbulent period in Nigeria’s history when a series of civil wars disrupted trade routes and prompted Britain to intervene with colonial forces in 1892. As the military rose in importance, the power of the king declined.

Here, armed soldiers on horseback dominate each panel, while the king (wearing his conical crown mounted with birds) is relegated to the lower right panel.

13

Reinforcing these ideas are allusions to two Yoruba gods: Eshu, the messenger god who causes good and bad things to happen in one’s life, and Ogun, the god of iron and guardian of warriors. The upside-down Eshu devotee on the lower right probably refers to the god’s ability to turn people’s lives upside down. A military leader who is able to draw on Eshu’s power to create chaos and confusion would be formidable in war. Two men on horseback carry spears and iron staffs, demonstrating their military prowess and Ogun’s strength.

1976.12.1 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 × 19 ⅞ × 2 ½ in. (177.8 × 50.5 × 6.4 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

1976.12.2 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 ⅛ × 20 9⁄16 × 3 in. (178.1 × 52.2 × 7.6 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

STATUSES & PRESTIGES

1976.12.3 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 ¼ × 21 ⅛ × 2 ⅞ in. (178.4 × 53.7 × 7.3 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

artwork | Section Title artwork | Section Title

15

17

STATUS & PRESTIGE

Initial layouts of the exhibition catalog during the first wall critique.

80

E X H I B I T I O N C ATA LO G artwork | Section Title

artwork | Section Title

2003.7.1 a,b Yoruba artist Nigeria, Owo Ceremonial sword (Udamalore) and beaded scabbard (Ewu) 19th-20th century Sword: iron, glass beads, cotton, raffia Scabbard: glass beads, cotton, felt, raffia, copper alloy, wood, animal pelt 16 ¼ × 20 ¼ × 1 ¾ in. (41.3 × 51.4 × 4.4 cm.) installed 4 ½ × 18 ½ × 1 ⅛ in. (11.4 × 47 × 2.9 cm.) sword 18 × 16 ¼ × 1 ¾ in. (45.7 × 41.3 × 4.4 cm.) scabbard on mount 14 ¼ × 18 × 1 ½ in. (36.2 × 45.7 × 3.8 cm.) scabbard without strap 36 ¾ × 18 × 1 ½ in. (93.3 × 45.7 × 3.8 cm.) scabbard with strap extended

19

21

2010.1.4 a,b Yoruba artist Nigeria, Okuku Cap 1916-1934 Glass beads, cotton velvet, plain-weave cotton 50 ⅛ × 104 (127 × 264.2 cm.) tunic 17 × 10 ½ × 7 ¼ in. (43.2 × 26.7 × 18.4 cm.) hat with mount

Olaosebikan Oyewusi II wearing his royal tunic and cap.

Nigeria 1961.

Photograph by Ulli Beier.

Olaosebikan Oyewusi II wearing his royal tunic and cap.

Nigeria 1961.

Photograph by Ulli Beier.

artwork | Section Title

artwork | Section Title

2003.7.1 a,b Yoruba artist Nigeria, Owo Ceremonial sword (Udamalore) and beaded scabbard (Ewu) 19th-20th century Sword: iron, glass beads, cotton, raffia Scabbard: glass beads, cotton, felt, raffia, copper alloy, wood, animal pelt 16 ¼ × 20 ¼ × 1 ¾ in. (41.3 × 51.4 × 4.4 cm.) installed 4 ½ × 18 ½ × 1 ⅛ in. (11.4 × 47 × 2.9 cm.) sword 18 × 16 ¼ × 1 ¾ in. (45.7 × 41.3 × 4.4 cm.) scabbard on mount 14 ¼ × 18 × 1 ½ in. (36.2 × 45.7 × 3.8 cm.) scabbard without strap 36 ¾ × 18 × 1 ½ in. (93.3 × 45.7 × 3.8 cm.) scabbard with strap extended

23

2010.1.4 a,b Yoruba artist Nigeria, Okuku Cap 1916-1934 Glass beads, cotton velvet, plain-weave cotton 50 ⅛ × 104 (127 × 264.2 cm.) tunic 17 × 10 ½ × 7 ¼ in. (43.2 × 26.7 × 18.4 cm.) hat with mount

25

Dressing A King This tunic once belonged to the oba or king of the Nigerian town of Okuku. It served as an emblem of his authority, power, and prestige. All Yoruba kings trace their lineage to the first divine kings, sons of the god Oduduwa. When the oba wears his royal crown and tunic, he is the embodiment of the eternal line of divine kingship. The imagery on this tunic—referencing politics, history, Christianity, Islam, and traditional African beliefs—symbolizes his ties to sacred kings of the past and his important unifying role in the community.

A Symbolic Sword

This sword was never used in battle. The beaded sheath made it an impractical weapon. Instead, it formed part of an elaborate ceremonial costume worn by a high-ranking chief. Impressive court dress was considered essential for kings and chiefs in the Yoruba kingdom of Owo. The most prestigious leadership costume included ceremonial swords, such as this, worn on the hip as emblems of status and prestige. The glass beads, an expensive trade item, implied wealth and high standing. The white rams’ heads may symbolize strength and alertness, qualities of an effective leader.

Dressing A King with A Symbolic Sword 2010.1.4 a,b Yoruba artist Nigeria, Okuku Tunic (agbada) 1916-1934 Glass beads, cotton velvet, plain-weave cotton 50 ⅛ × 104 (127 × 264.2 cm.) tunic 17 × 10 ½ × 7 ¼ in. (43.2 × 26.7 × 18.4 cm.) hat with mount

This tunic once belonged to the oba or king of the Nigerian town of Okuku. It served as an emblem of his authority, power, and prestige. All Yoruba kings trace their lineage to the first divine kings, sons of the god Oduduwa. When the oba wears his royal crown and tunic, he is the embodiment of the eternal line of divine kingship. The imagery on this tunic—referencing politics, history, Christianity, Islam, and traditional African beliefs—symbolizes his ties to sacred kings of the past and his important unifying role in the community. This sword was never used in battle. The

beaded sheath made it an impractical weapon. Instead, it formed part of an elaborate ceremonial costume worn by a high-ranking chief. Impressive court dress was considered essential for kings and chiefs in the Yoruba kingdom of Owo. The most prestigious leadership costume included ceremonial swords, such as this, worn on the hip as emblems of status and prestige. The glass beads, an expensive trade item, implied wealth and high standing. The white rams’ heads may symbolize strength and alertness, qualities of an effective leader.

Olaosebikan Oyewusi II wearing his royal tunic and cap.

Nigeria 1961.

Photograph by Ulli Beier.

artwork | Section Title

artwork | Section Title

back view

¾ view

front view

27

29 The Power of Motherhood A Yoruba mother prepares to nurse the infant in her lap, while carrying its twin strapped to her back. Images of maternity—and indirectly fertility—appear frequently in Yoruba art, a nod the vital role that women play in society and life. The Yoruba believe that women, as givers of life, make possible all the good things that one achieves. This sculpture probably once stood beside a Yoruba king or high-ranking official, suggesting that the king ultimately owes his social and political power to the spiritual and mystical power of women.

2003.14 Agbonbiofe Adeshina Nigeria, Ekiti, Efon-Alaiye Mother of Twins (Iya Ibeji) early 20th century Wood, Pigment 25 9⁄16 × 7 ¾ × 8 in. (64.9 × 19.7 × 20.3 cm.)

Purchased with funds from the Alice Speed Stoll Accessions Trust 2003.14

artwork | Section Title

31 1970.14 Edo artist Nigeria, Kingdom of Benin Altar of the Hand 17th century Brass 10 ¼ × 11 in. (26 × 27.9 cm.)

A Sign of Success Altars of the hand celebrate a person’s accomplishments in life and success achieved through one’s own efforts. This sculpture, encircled with royal attendants playing musical instruments, was probably created for the Queen Mother, who held an important role in Benin politics and society. By protecting the health and welfare of the king, the Queen Mother indirectly ensured the prosperity of the kingdom. Her unique status granted her rights normally reserved for high-ranking men, including a bevy of attendants, a palace, and the right to own bronze objects such as this.

81

O C TO B E R

10/21 – 10/23 It was pretty much a workday today. I ended

some of the objects and text don’t line up

up masking most of the images because

together even though they match up with the

although the backdrops for the African Art

grid. The other thing she commented on was

pieces were good, I wanted a lot of white

having another section instead of just two. I

space to make each of the spreads more

basically just followed the pdf of the African

breathable. For the most part, I got the overall

Art collection labels, which had two galleries

layouts of the inside done. I didn’t get a lot

for the artworks.

of feedback as last time, but Leslie was able to give me some. The main issue she had was the tiny details. I matched a lot of the text and images with the grid, but to the naked eye,

82

E X H I B I T I O N C ATA LO G

83

MONTH spirits | Influence of Gods, Spirits, & Ancestors in African Art

artwork | Section Title

INFLUENCE OF, GODS, SPIRITS & ANCESTORS IN AFRICAN ART

9

7

A Teaching Tool

Members of the Gnoumous family wearing plank masks, awaiting their turn to perform.

Burkina Faso 2007.

Photograph by Christopher D. Roy.

The graphic patterns on this plank mask correspond to a complex group of symbols that offer lessons in proper social behavior and moral conduct within Bwa society. These symbols educate the young on their responsibilities within the community as they transition into adulthood. Bwa men wearing plank masks perform at funerals, harvest ceremonies, and on market days. The masks represent spirits that inhabit the natural world in the form of insects and water fowl—supernatural forces that protect and act on behalf of the Bwa. 2015.12 Bwa artist Burkina Faso Plank Mask 20th century Wood, pigment 86 ⅜ × 24 24 ⅛ × 14 ⅝ in. (219.4 × 61.3 × 37.1cm)

eshu | Influence of Gods, Spirits, & Ancestors in African Art

11 1976.12.1 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 × 19 ⅞ × 2 ½ in. (177.8 × 50.5 × 6.4 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

1976.12.2 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 ⅛ × 20 9⁄16 × 3 in. (178.1 × 52.2 × 7.6 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

1976.12.3 Yoruba artists Nigeria, Ijebu-Ode Panels late 19th century Wood 70 ¼ × 21 ⅛ × 2 ⅞ in. (178.4 × 53.7 × 7.3 cm.)

70 ¼ × 61 9⁄16 × 3 in. (178.4 × 156.4 × 7.6 cm.) all panels together

osugbo | Influence of Gods, Spirits, & Ancestors in African Art

2005.10.2 Yoruba artist Nigeria, Ijebu Ritual Bracelet with Receptable and Two Faces probably second half of the 19th20th century Bronze 3 ⅜ × 4 7⁄16 × 2 ⅞ in. (8.6 × 11.3 × 7.3 cm.)

2005.10.2 Yoruba artist Nigeria, Ijebu Ritual Bracelet with Receptable and Two Faces probably second half of the 19th20th century Bronze 3 ⅜ × 4 7⁄16 × 2 ⅞ in. (8.6 × 11.3 × 7.3 cm.) side view

2004.18 Yoruba artist Nigeria, Oyo Eshu Staff (Ogo Elegbara) late 19th-early 20th century Wood 20 ½ × 3 ⅞ × 10 ¼ in. (52.1 × 9.8 × 26 cm.)

Wise Leadership Bulging, ever-watchful eyes, large noses, and other prominent facial features decorate these brass sculptures.

They suggest the acute physical senses of their owners and the need for vigilance and heightened awareness.

These objects were probably created for members of the Osugbo or Ogboni, an ancient Yoruba society comprised of village elders who have distinguished themselves as being wise, levelheaded, and possessing high integrity. The Osugbo help govern their communities. They are responsible for the selection and installation of rulers, for the oversight of important burials, and for the judgment and punishment of serious crimes. The vertical staff is one of the primary emblems of authority of the Osugbo. The large anklet was worn in pairs, but also functioned as a rattle that was sounded at the funerals of kings and chiefs.

Depicting Forces of Change These architectural panels probably once decorated the home of a highranking military chief or elder. Their complex imagery refers to a turbulent period in Nigeria’s history when a series of civil wars disrupted trade routes and prompted Britain to intervene with colonial forces in 1892. As the military rose in importance, the power of the king declined. Here, armed soldiers on horseback dominate each panel, while the king (wearing his conical crown mounted with birds) is relegated to the lower right panel.

Reinforcing these ideas are allusions to two Yoruba gods: Eshu, the messenger god who causes good and bad things to happen in one’s life, and Ogun, the god of iron and guardian of warriors. The upside-down Eshu devotee on the lower right probably refers to the god’s ability to turn people’s lives upside down. A military leader who is able to draw on Eshu’s power to create chaos and confusion would be formidable in war. Two men on horseback carry spears and iron staffs, demonstrating their military prowess and Ogun’s strength.

13

Purchased with funds from the Alice Speed Stoll Accessions Trust 2004.18

A Joker’s Devotee This staff depicts an Eshu priest holding a jar of palm oil with a small Eshu staff—looking much like himself—hooked over his shoulder. The Yoruba believe that Eshu is a complex, contradictory god who crosses boundaries between the spiritual and earthly realms to deliver offerings and prayers to the gods. If Eshu is not honored properly, however, he becomes a trickster who wreaks havoc. Eshu priests dance holding staffs such as this in performances to honor the god. The hook-like protrusion projecting from the figure’s head may symbolize Eshu’s powerful life force.

Purchased with funds from the Alice Speed Stoll Accessions Trust 2005.10.2, .3, .5, .6 2005.10.3 Yoruba artist Nigeria, Ijebu Pendant Head for an Osugbo Elder second half of the 19th-20th century Bronze 4 ⅞ × 2 ⅛ × 1 5⁄16 in. (12.4 × 5.1 × 3.4 cm.)

ifa | Influence of Gods, Spirits, & Ancestors in African Art

2005.10.5 Yoruba artist Nigeria, Ijebu Ritual Anklet with Bells, Two Faces, and Two Crocodiles second half of the 19th20th century Bronze 7 ½ × 7 9⁄16 × 1 ¼ in. (19 × 19.2 × 3.1 cm.)

2005.10.2 Yoruba artist Nigeria, Ijebu Edan Osugbo Staff 19th-20th century Bronze 18 ¾ × 4 ⅛ × 1 5⁄16 in. (47.7 × 10.4 × 3.3 cm.)

shango | Influence of Gods, Spirits, & Ancestors in African Art

15

17

Purchased with funds from the Alice Speed Stoll Accessions Trust 2003.6 2004.4 Yoruba artist Nigeria, Ijebu, Ikorodu Horse and Rider (Babalawo Eleshin) 19th-20th century Wood, pigment 12 ⅞ × 7 ⅝ × 3 ⅜ in. (32.7 × 19.4 × 8.6 cm.)

13 ⅝ × 7 ⅝ × 3 ⅜ in. (34.6 × 19.4 × 8.6 cm.) with base

Purchased with funds from the Alice Speed Stoll Accessions Trust. 2004.4 Restored by income from the Marguerite Montgomery Baquie Memorial Trust. 2004

Ready for Battle

A Man of Knowledge and Power

Ever vigilant and alert, this mounted warrior raises a spear or lance with his right hand and wears a small sword or dagger on his hip. Warriors, as a respected and integral part of Yoruba society, appear frequently in art.

They embody ideals of power, restraint, courage, and composure. Astride a horse, the rider is simultaneously seated and elevated—two signals of status among the Yoruba. Horses were not native to Africa, but were introduced from the north through trade by the 1600s.

The cavalry vitalized Yoruba armies and helped establish powerful political empires.

The curved ivory staff held by this equestrian figure identifies him as an Ifa divination priest. The Yoruba call him babalawo, “father of secrets.” Priests who practice divination use such staffs to tap trays like the one here to summons Ifa, the god of wisdom, to oversee the proceedings. The sculptor uses graceful lines and elongated shapes to convey the benign demeanor of the priest.

84

2003.6 Yoruba artist Nigeria, Owo Ifa Divination Tray (opon Ifa) 19th- early 20th century Wood 15 × 14 ¼ × 1 ⅛ in. (38.1 × 36.2 × 2.9 cm.)

1972.40 Yoruba artists Nigeria, Oyo Shango Dance Wand (Oshe Shango) late 19th century Wood 15 ⅝ × 7 7⁄16 × 4 3⁄16 in. (39.7 × 18.9 × 10.6 cm.)

From Aggressive to Serene

Advice from the Gods The protruding eyes of Eshu stare out at us from atop this carved tray. He is the Yoruba diety who delivers messages between humans and the gods.

Priests use such trays to help reveal the spiritual forces that govern daily life. When facing a problem, a person consults a divination priest to seek answers from Ifa, the god of wisdom. During the ritual, the priest makes a series of marks on the tray. Each of the 256 possible combinations of marks corresponds to a specific myth, folktale, song, proverb, or riddle that the priest has memorized. The priest then recites the verse until the individual hears something that offers insight into his or her problem.

A priestess dancing with a Shango dance wand.

Nigeria 1975.

Photograph by H. J. Drewal.

Museum purchase 1972.40

This sculpture once topped a dance wand carried by a devotee of the god Shango. During spirited worship, the dancer became possessed by the god, symbolized by the double-axe projecting from the figure’s head. Shango was a volatile king who later became the Yoruba god of thunder. People who cannot control their anger may become followers of Shango, whose religious practices help them attain self-control and may bring them prosperity. The face of the woman depicted here is calm and cool, expressing the restraint she has gained through her faith.

5 THINGS king | Status & Prestige

artwork | Section Title

2003.7.1 a,b Yoruba artist Nigeria, Owo Ceremonial sword (Udamalore) and beaded scabbard (Ewu) 19th-20th century Sword: iron, glass beads, cotton, raffia Scabbard: glass beads, cotton, felt, raffia, copper alloy, wood, animal pelt 16 ¼ × 20 ¼ × 1 ¾ in. (41.3 × 51.4 × 4.4 cm.) installed 4 ½ × 18 ½ × 1 ⅛ in. (11.4 × 47 × 2.9 cm.) sword 18 × 16 ¼ × 1 ¾ in. (45.7 × 41.3 × 4.4 cm.) scabbard on mount 14 ¼ × 18 × 1 ½ in. (36.2 × 45.7 × 3.8 cm.) scabbard without strap 36 ¾ × 18 × 1 ½ in. (93.3 × 45.7 × 3.8 cm.) scabbard with strap extended

21 19

2010.1.4 a,b Yoruba artist Nigeria, Okuku Cap 1916-1934 Glass beads, cotton velvet, plain-weave cotton 50 ⅛ × 104 (127 × 264.2 cm.) tunic 17 × 10 ½ × 7 ¼ in. (43.2 × 26.7 × 18.4 cm.) hat with mount

STATUS & PRESTIGE

Olaosebikan Oyewusi II wearing his royal tunic and cap.

Nigeria 1961.

Photograph by Ulli Beier.

queen mother/motherhood | Status & Prestige artwork | Section Title

25

23 The Power of Motherhood A Yoruba mother prepares to nurse the infant in her lap, while carrying its twin strapped to her back. Images of maternity— and indirectly fertility—appear frequently in Yoruba art, a nod the vital role that women play in society and life. The Yoruba believe that women, as givers of life, make possible all the good things that one achieves. This sculpture probably once stood beside a Yoruba king or high-ranking official, suggesting that the king ultimately owes his social and political power to the spiritual and mystical power of women.

1970.14 Edo artist Nigeria, Kingdom of Benin Altar of the Hand 17th century Brass 10 ¼ × 11 in. (26 × 27.9 cm.)

A Sign of Success

Dressing A King with A Symbolic Sword and A Royal Heirloom This tunic once belonged to the oba or king of the Nigerian town of Okuku. It served as an emblem of his authority, power, and prestige. All Yoruba kings trace their lineage to the first divine kings, sons of the god Oduduwa. When the oba wears his royal crown and tunic, he is the embodiment of the eternal line of divine kingship. The imagery on this tunic—referencing politics, history, Christianity, Islam, and traditional African beliefs—symbolizes his ties to sacred kings of the past and his important unifying role in the community.

This sword was never used in battle. The beaded sheath made it an impractical weapon. Instead, it formed part of an elaborate ceremonial costume worn by a high-ranking chief.

Impressive court dress was considered essential for kings and chiefs in the Yoruba kingdom of Owo. The most prestigious leadership costume included ceremonial swords, such as this, worn on the hip as emblems of status and prestige.

The glass beads, an expensive trade item, implied wealth and high standing. The white rams’ heads may symbolize strength and alertness, qualities of an effective leader.

European traders began importing glass beads into Africa as early as the sixteenth century. Initially rare and valuable commodities, they became the privilege of Yoruba kings, priests, and diviners. The oba or king of Okuku, Olaosebikan Oyewusi II, wore this cap and the tunic on the right during his coronation ceremony in 1961. The ensemble was originally made for his grandfather, who ruled from 1916 to 1934.

Altars of the hand celebrate a person’s accomplishments in life and success achieved through one’s own efforts. This sculpture, encircled with royal attendants playing musical instruments, was probably created for the Queen Mother, who held an important role in Benin politics and society. By protecting the health and welfare of the king, the Queen Mother indirectly ensured the prosperity of the kingdom. Her unique status granted her rights normally reserved for high-ranking men, including a bevy of attendants, a palace, and the right to own bronze objects such as this.

Museum purchase 2010.1.4 b 2010.1.4 a,b Yoruba artist Nigeria, Okuku Tunic (agbada) 1916-1934 Glass beads, cotton velvet, plain-weave cotton 50 ⅛ × 104 (127 × 264.2 cm.) tunic 17 × 10 ½ × 7 ¼ in. (43.2 × 26.7 × 18.4 cm.) hat with mount

Purchased with funds from the Alice Speed Stoll Accessions Trust 2003.14 2003.14 Agbonbiofe Adeshina Nigeria, Ekiti, Efon-Alaiye Mother of Twins (Iya Ibeji) early 20th century Wood, Pigment 25 9⁄16 × 7 ¾ × 8 in. (64.9 × 19.7 × 20.3 cm.)

outsider to friend | Status & Prestige

1934.9.1 Kuba artist Democratic Republic of the Congo Axe 19th century Iron, wood 20 ⅛ × 10 ½ × 1 ⅝ in. (51.1 × 26.7 × 4.1 cm.)

to honor women | Status & Prestige

27

29

A Royal Gift

William Sheppard (standing) posing with a group of Kuba hunters 1897.

Photographed by Hampton University Archives.

Gift of Mrs. W. H. Sheppard 1934.9.1

The handle of this axe is carved in a seemingly abstract pattern of triangles, rectangles, and curves. But look closer and you’ll see these shapes are simplified human figures. Elaborately carved ceremonial axes were not meant for ordinary use. Decoration elevated their status from functional objects to a declaration of their owner’s prestige.

Purchased with funds from the Alice Speed Stoll Accessions Trust 2003.12 Gelede masquerade performers. Nigeria.

Louisville native William Sheppard received this axe as a gift from a Kuba king. Sheppard was the first African American missionary to visit the Congo. While the Kuba king ordinarily refused to allow westerners into his kingdom, he made an exception for Sheppard. He believed that Sheppard—a man of color knowledgeable in the Kuba language and customs—was a Kuba reincarnated and simply returning home.

2003.12 Yoruba artist Nigeria Gelede Mask (Ere Gelede) mid 20th century Wood 13 ¾ × 11 × 7 ½ in. (34.9 × 27.9 × 19.1 cm.)

18 ¾ in. (47.6 cm.) with base

A Costume to Honor Women Although this mask depicts the head of a woman, it formed part of a masquerade costume worn by a man.

A member of the Gelede society placed the mask on top of his head like a helmet, attached flowing fabric sashes around his body, and danced through his village to honor the spiritual power of women in the community (both living and dead) and to illustrate examples of good and bad behavior. The delicate facial features, rounded volumes, and symmetrical forms of this mask suggest an individual who is cool, composed, well balanced, and patient.

Second layouts of the exhibition catalog during the second wall critique.

85

O C TO B E R

86

E X H I B I T I O N C ATA LO G

87

O C TO B E R

10/28 This was the very last day to work on the

Art, and I unintentionally almost did that as

exhibition catalog in class, and I pretty much

I was making the book, so I decided to cut

finish the insides content. It was over 30+

back some pages and content. For the final

pages though, and I did have thoughts on

layout, I ended up having all the sections

wire-bounding the book since I was trying

have two smaller categories that took one full

to add three-colored pages to be behind the

spread. The pages ended up being 28 pages,

diecuts since I figured that was a better way

excluding the diecut and colored pages. I

of binding those small cut pages together

ended up going for the Speed logo for the

behind the black cover with the diecut. But

front and back of the cover.

then I took a second look at the Speed’s guidelines with their colors, and I also thought about just using the gold paper to be the color. And then I had a small epiphany. A catalog won’t have every piece of the African

88

E X H I B I T I O N C ATA LO G

89

N OV E M B E R

11/6 Upon presenting the project, Carrie gave me a bit of feedback about how I could use the same colors as the cover. I had the idea that the color change was a bit flexible, but I didn’t know how flexible, so I kept it safe and went with the brand standard colors. Overall, the book is pretty consistent, and I’m happy with it for what I’ve done with this project, besides the ghastly trimming of the book.

90

E X H I B I T I O N C ATA LO G

91

N OV E M B E R

colors & typefaces

#ee4799

#ffcb05

#b5d334

#0cc0dc

92

E X H I B I T I O N C ATA LO G

Brandon Grotesque ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Helvetica Neue ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Adobe Garamond Pro ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

93

N OV E M B E R

94

E X H I B I T I O N C ATA LO G

95

N OV E M B E R

colophon Title: Rachel regular 35/42 Subtitle: Gotham thin 25/20 Body 1/2 columns: Gotham book 7.5/14 Caption: Gotham medium 6/10 Fall 2019 Book Forms Photography: Ravnn Thornton, and to the sources credited alongside with the sections and photos.

Book Design: Ravnn Thornton

96

C O LO P H O N

97

99

MONTH

100