Irrationology Research

Ma d e l e ne K i ngK

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1 FMP2 Contents3 Brief4 Research Questions5 Contextual Positioning6 Where would it fit7 Print isn’t dead8 Finishing9 Finishing10 Finishing11 Week one12 Content13 Hannah Hoch14 Week two15 Power of making16 Binding17 Publications18 Publication design19 Week three20 Expert week21 Binding22 Quentin Jones23 Imagery24 Feedback

c o n t e n t s

25 Fount26 Foiling27 Foiling28 Riso29 Content issues30 Week four31 Epiphany32 Typography33 Prototype34 Narrative35 Week Five36 Back to Dada37 David Carson38 Typograhic experiments39 Typographic experiments40 Week six41 Designing the outcome42 Title and cover43 Final prototype44 Week seven45 Production46 Production47 Final outcome48 Conclusion49 Bibliography


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b r i e f

Getting positve feedback from my proposal meant I could get on with more research and experiments straight away, I didn’t have to completely rethink my idea. On the following few pages are the elements of the project that I thought about within my proposal and have gone on to expand.

From the initial research stages I layed out my set of aims and intentions, culminating in a one sentence brief, which I have since revised, making it slight;y shorter.

One Sentence Brief

Motivate a cognitive shift in how people perceive irrational beliefs by shining a positive light on the subject, using

design and print processes to create an engaging publication.

Goal

Motivate a cognitive shift in how people perceive irrational behaviour

and thoughts

How?

Shining a positive light on irrrational behaviour and celebrating human

eccentricities

Who?

People who perceive irrationality to be a negative insult

People interested in human behaviour and cognitive activity

People interested in publication design

How?

For people to be able to get on board with the idea it needs to be

entertaining and engaging

What?

A publication that highlights the irrational in the everyday and

examples of how it can be beneficial

Why?

Irrationality is widely perceived to be a negative insult

How?

Using sourced content as well as generating my own. Implementing

design processes throughout to make the content as visually engaging

as possible. The higher the level of engagement the more convincing the

message.

Outcome

A visually stimulating publication around the specified topic that offers

people an alternate perspective

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r e s e a r c h q u e s t i o n s

“Today’s publication designers must work harder than ever to captivate and connect with the reader on both an aesthetic and an emotional level” Lakshmi Bhaskaran

PUBLICATION DESIGN IS LIkE MARRIAGE

key areas that can affect the finished design:

formatgrid

typographycolourcover

use of imagery

It is the combination of these elements that allows designers to seamlessly fuse together a publications content while at the same time endowing it with a unique identity. The importance of each of these elemets will, of course, vary with the type of publication being designed however a good design should never override the content or vise versa rather the two should work together to support and bring out the best in each other.

Part of the appeal of a publication is what it feels like to hold. Designers are often limited in choice of format by factors such as size, shape and cost but there is still a wide scope for variety.

Research questions to begin to exploreIs type text as an image?What is its function?Is there an illustrative element to be considered?Aesthetic vs legibility?How might the final format, in itself reflect the message?

Over-arching research questions for the entire project:

How can selection and curation of content communicate a particular message?

How can levels of interaction and engagement impact upon how receptive the reader is?

How can print and finishing processes contribute this overall level of engagement?

Ma d e l e ne K i ng


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c o n t e x t u a l P o s i t i o n i n g

Being aware of how a publication will be read, by whom, under what conditons, is crucial to the successful design of any publicaiton, for example a telepone directory will be read under very different conditions to that of a novel

-I imagine my publication to be read at leisure and for pleasure

-Perhaps on a journey or as an evening activity before bed

-Able to read in one sitting, should time allow for it

-If not, easy to pick up where it was left

-Chapter system where there are various articles and images, not long lengths of prose

-This would also allow people who are just browsing to read parts as to what interested them. For instance if the book is on a table somewhere and curiosity draws them to it.

Literature Heavy

Silly

Coffee Table Style

Fact

Picture Book

Serious

Zine

Fiction

It would have a relatively even balance of text and imagery

The main content will be have substantial research behind it. Not completely made up. I suppose the imagery cold be seen as fiction as it may not always be photography or real life

In a bid to make it more positive and engaging I would like to include an element of humour but not to an extent that the whole publication is a joke

This would definitely not be a zine, it is far more informative and insightful than a zine. Although it would aim to have elemnts of a light-hearted feel to it.

It is not a self help book

I am not a therapist, or a psychologist or a scientist

I cannot cure people of their irrational behaviour, that is outside my realm of influence and knowledge

Only attempt to frame it differently


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w h e r e w o u l d i t f i t ?

9

Where can I see the publication being shelved?

In larger book shops such a Foyles and smaller niche independent shops that sell books and magazines. Selfridges also has a wide selection of magazines and books on offer, incluing those that are slightly more eclectic.

Selfridges plays host to quite unique pop up shops and libraries where there is also space for people to sit and read the books as as they look around.The displays are also arranged to show off as much of the books as possibe, they are not cramped into small spaces, like some bookshops can be.

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P r i n t i s n ’ t d e a d

- Their take on traditional genres is oblique and angular, but always visually seductive-They’re beautiful objects, whose arrangement of content, photography and paper stocks convey a different view of the world-The design and textures are an invitation to be touched, flicked, handled.-The content is visually driven-The curated storytelling, often around a single theme, is closer to the storytelling of novels-They’re narrative journeys of ideas, pictures and activities

What’s already on the shelves?What is the content?What makes them appealing?What would I aspire for my book to sit amongst?

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-It’s something that needs to be thought about from the start as a poor finish that has been done in a rush at the end can let the whole project down-Need to know what the possibilities are from the start so that they can be trialled and implemented throughout-Is possible to bind other things into the book, to hide things for example, envelopes, peep holes, angles-Can enhance the emotional level of the publication especially with paper stock-Gives the imagery and overall feel of the publicaiton more depth and atmosphere-Gives a more tactile feel and makes the publication more interesting and in turn the audience engage with it more, even if it’s on a sub concious level-Can have different bulks for the same weight so can make fewer pages look like mor and vice versa to achieve the density desired-To fold you need uncoated or it will crack-Consider grain direction so the pages flare are out correctly-Coated stock is good for detailed photography-Can print using litho, riso, digital, screenprint, letterpress-A dust jacket can allow for more options being utilised

Scale, Stock, Binding-Semi translucent can create a disappearing effect-French folds allows for things to be hidden, printed on the inside-Playing with scale within the publication can switch things up, change the feel/atmosphere of that particular section-Loose with elastic allows for freedom to separate spreads-Hand stitched gives a less sterile finish, compliments the handwritten font

How can I make the content visceral?OverlappingHalftone coloursScale and sizeMacroProximityDistortionImage manipulationFocus and BlurMultiplesCut awaysHidden parts - use the publication itself to hide the content.Paper choice can be quite fibrous - GF SMith has a ‘Twist’ which was coated in fibresHandrawn element would add human touchDrawing over the top of imagesProjection onto thingsUse of ColourEmphasize texture

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Embossed Patterns-Over whole page-E.g matrix dots-Adds texture

Multi level and blind embossingCreates subtle height-

Creates texture-Allows for no ink to be printed-

Foiling-Can add glamour-Can coat edges-Doesn’t have to be metallic-Can create texture-Looks good on top of embossed material

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Varnishing-Can go all over a page-UV coating-Can create type effects

Colourplan range is consistent, so you are not trying to match colours through print which can be tricky and lower the quality of presentation

Coloured StockGF Smith’s samples come in various booklets where you can easily choose between size weight colour. The sample package is a great example of publication design within itself

Double Page Spreads-Break up text and content-Can create impact


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B A D GC Yr 3Week One


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c o n t e n t

Many books are self help guides which is not what I’m looking to produce. Irrationality seems to be widely perceived as a negative aspect of our behaviour. No one in a serious profession will admit to being irrational as it has negative connotations. To be labelled as irrational has become an insult. I wanted to see if there were ways in which this could actually be seen as a positive attribute.

For example intuition, it is not rational by typical standards. Eg: The guy seems totally nice. He opens doors, smiles, asks questions, remembers your birthday. Something just feels off. It’s irrational. When he starts stalking you a week later, you realize that the irrational thought was the right one.

For example, In science fiction literature, the progress of pure rationality is valued as that may lead civilisation ultimately toward a scientific future dependent on technology. Irrationality in this case is a positive factor that helps balance excessive reason.

I wanted to make it more of a visual experience than these books, as they are very text heavy and not much else. I wanted to use particular articles and arguments used within them as content for my own publication and to help communicate my message.

I had spent the time since the proposal hand-in delving into some of the reading list that I had given myself. However I hadn’t had much success by the time it came to the first lesson back for fmp. It was hard to find content within these books that said want I wanted it to, or you didn’t have to read the whole book to understand. I was armed with a couple of articles but that was all.


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h a n n a h h o c h

Hannach Hoch Exhibiton

Having been aware that Hannah Hoch was one of the leading artists during the Dada movement I paid a visit to an exhibiton of her work at the Whitechapel gallery.

It was great to experience the work close up and see the detail and tactility of her collages that I feel gets lost when it is in a digital image, it seems to flatten them.

I want to create a publication that was highly tactile in order for the reader to engage with it on a deeper level than just seeing it with their eyes.

The combination of images were arranged in a surreal manner which could be considered irrational so there was also the potential for using these as imagery within my publication.


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Week Two

B A D GC Yr 3

For this workshop I wantedto experiment with the formatof the book and page sizes etc.It was fun to make and I feltthe freedom to keep adding elements as I went along as I decided to not adhere to any particular rules.The result was interesting and there are parts which I would want to experiment with further, but overall I think the added height would make the publication hard to handle.

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Tests and expeiments with binding

-Format can be irrational in itself-For instance a very large book, no uniformity in page size, stock etc

I had already done some experiments with various binding techniques for my proposal. I found that stitching or bolted methods worked better than perfect bound for me personally.

I have hand stitched books in the past but wanted to practice more so that I would be confident to apply it to my final outcome. To do this I bound a self-initiated book using the coptic stitch which winds it’s way up through the spine of each of the segments indiviually.

I really admired the effect it gave with the lines up the edge of the book. It was also more practical because it allows for the book to lay open flat whereas with some binds content gets lost down the valley in the centre of the book as it does not easily bend open that far.

Stitched and glued signatures-Feels the most sturdy-Most time consuming

Bolted + French folds-Allows for a thicker book with half the content-Can hide content in between pages-Can insert pages and take them out again-Can get creative with images folded round edges of pages

Perfect Binding-Really difficult to get right-Seems quite messy-Can look incredibly smart and neat when done properly-Different colour spines make them stand out

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P u b l i c a t i o n s

Throughout the whole project I have used an extensive amount of pot it notes to keep track of designs that have inspired me. There are some examples on the next couple of pages that I found particularly inspiring due to their ability to represent the content in the form of the publications and their extensive use of printing and finishing techniques in which to do so.


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Irregular Notebook: Aaron Nieh, Yung-Chen

A collection of discarded sheets of paper amount to this idiosyncratic booklet. stapled together in various sizes and shapes, with alternate angles and edge, it defies the monotony of ordinary notebooks.

P u b l i c a t i o n d e s i g n

Fakery: Cosmetic Graphic Surgery: Tuesday Stevenson

The style, format and typography are all clean and clinical, such that the medical them is conveyed. Special material features and finishing

techniques are used to suggest fakery and surgery.


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Week Three


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For Expert week I got in touch with Michelle Bradbeer, who is currently studying for a phd in Cognitive Science. It was a fairly informal chat in which I explained my aims and she relayed to me what she knew about the subject I was investigating. This was followed up by an email exchange in which she gave me sites and links to which I could refer to for content and imagery. These were really useful and gave me a broader knowledge of the subject I was investigating.

As well as helping me out, she was really interested in my project and asked a lot of questions, and keen for me to let her know how I got on.

e x P e r t w e e k


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Create your own version of happiness: Artworklove

A vivid combination of papers, textures, formats, and colours creates a tailored object that reflects the craft based nature of the artistic collaboration.

b i n d i n g

Hyrid Novels A new way of reading narative fiction:

Alberto Hernandez

What is differetn about physical books is having one in your hands, the feeling of leafing

through it backwrads and forwards, the feel and smaell of the paper, the colour of the

illustrations and even the sound of the leafing.Maria Fusco suggested that the physicality of books is another one of their distinguishign

social features.


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Quentin Jones is an illustrator and art director who mainly works in fashion edtorial. She creates abstract collages that usually feature human beings at the centre of them whilst crazy shapes and sometimes type swirling around their heads and bodies. I thought this represented the irrational and unconscious in all of us so thought these could be included as imagery for the final outcome.

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i m a g e r y

Other found imagery which I could include in the final outcome


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I started to experiment with the materials that I had and created my first, short mock up of what a few pages of the publication might look like.

- It lacked what I had created during the power of making workshop, the disorder, the folding, the lifting up to look what’s underneath- The design of the articles could reflect the content more than it currently does.- Like the use of different stock

f e e d b a c k


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f o u n t

According to Jackson Lam, Fount should be considered as a series of suggestions, an incomplete, guide to St bride library and to the making of things. The publications content has been directly sourced from St Bride’s bookshelves, which are home to both widely familiar and very rare volumes. In addition to the compilation of copyright free and orginal material, Lam and his team have added their own annotatins and instructions. As a whole, Fount presents an inconclusive introduction to topics that anyone could face when making a book; from letter-spacing to binding, from paper to grain layout, and from reproduction to type design, it aims at mapping the knowledge and skills at work within the field of book making. This publication uses vary scale, stocks and colours to create a tactile book that requires the handler to engage with the content by flicking and unfolding through the pages to find out what lies beyond.


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f o i l i n g

The foiling created a really nice effect whereby you had to shine the page in the light to be able to see the outlines of the words, this communicated the content of the article perfectly, as it was about being afraid of the dark.


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r i s o

For imagery I like the idea of using macro images of brain cells as this is the region of the brain that dictates behaviours and beliefs. They can be quite abstract and not immediately recognisble. I decided to riso them to create a slightly textured look to them.

These could be used as a background for my text or form double page spreads to break up the chunks of words,


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I had wanted to find some of my content within the poetry, literature and graphic design of the Dada movement. I researched and read through many chapters of many books trying to find snippets of information that I could use. Perhaps I was looking at the wrong books but I found that a lot of the content was actually hard to fully grasp and understand and it completely went over my head. It made me realise what a complex topic I had chosen to look into and if I couldn’t even understand it then how was I supposed to design something that a reader was able to?

c o n t e n t i s s u e s

Hannah Hoch‘Cut with the Kitchen

Knife Through the First Epoch of the Weimar Beer-Belly

Culture” (1919)

Raoul Hausmann‘Elasticum’

1920

Scene from ‘The Gas Heart’ by Tristan Tzara.

Costumes designed by Sonia Delaunay,

Theatre Michel, Paris, July 6-7, 1923

Theo van Doesburg. ‘Poster Kleine Dadasoirée Haagsche ‘ December 1922


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Week Four


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e P i P h a n y

This was when I really took action when it cam eto finding content for my publication. With very few pieces of information to work with my production and experimentation had almost ground to a holt. I think was taking the message of the positive effects of irratonal behaviour too literally and discarded anything that didn’t seem to say exactly what I want to.

I decided to widen the loop and find information that was tied to my topic in any way, albeit loosely at times, I looked further into the psychopatholgy of irrational behaviour and found more purely informative texts as well as continuing my search for it and searched for more specific behaviours that could be considered irrational, for example procrastination and lying. I could work with the content I found to try and show the positive side by how I design and combine the content as a whole.


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t y P o g r a P h y

Having seen my small mock up of the content I had designed so far it was mentioned by more than one person that for the publication to work I need to nail the typography. If I’m honest this really scared me as I do not consider myself to be a typographer and would not say I have always used the most appropriate fonts.

I decided to use just 3 fonts that I would use as well as stock, colour and binding to distinguish between the different sections of content.

It was mentioned that because my outcome was likely to look quite modern and abstract it would be a nice contrast if I used some classic, editorial fonts. I did have long lengths of text to now think about and there needed to be consideration for the readability.

ScalaScala SansRockwell


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P r o t o t y P e

- For my second mock up I had toned down the fonts, and made them a lot smaller.- Taken out the images completely, I felt like I was adding them for the sake of it as opposed to them having a specific reason to be included-This was well recieved with peers agreeing that if they had no reason to be then they shouldn’t and at times it was distracting.


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I needed to somehow arrange the content I had to form some sort of narrative. I didn’t want it to be too linear, organised or rational, but at the same time didn’t want it to be completely random. My aim was to make the content appear non-sensical when it can actually be made perfect sense of when the reader started to engage with the content.

In the film Memento the narrative is played from the end to the beginning to only at the end of the film you know what is going on.

n a r r a t i v e

The chapters I have arranged my content into goes as follows:

Rational/IrrationalIntuition

UnconsciousFear

HysteriaCreativityNonsense

KiesProcrastination

Fortune

I want the chapter to be in an order but have the individual articles interrupt each other and cut into one another to create an element of chaos, but if the reader gets lost they can easily just refer back to the contents.


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Week Five


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At th end of the week I spoke to Paul about my project as I had never had his input on it before. He really liked the idea of it lovedthe fact that the reader could pick nd choose what they wanted to read or what to read next but it all seemed to neat and orderly still. Without the images everything was quite linear and lacked an element of irrationality. He made me think about how far I could push the typography in this project and use it to my advantage instead of being afraid if I was using it correctly or not. How far could I push the legibility to get the message of irrationality across to the reader.

He gave me more references to go back to, including artists from the Dada and Postmodern movement. Like I said before I found it hard to grasp the subject as a whole so focussed especially on the typography elements and how experimental they were at the time because no one had doen it before.

b a c k t o d a d a


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An example of a more contemporary exprimental typographer is David Carson who famously converted a whole interview in Wingdings because he didn’t like it.

The experimental typography I would be doing wouldn’t be experimental if I was just imitating it, I needed to do it with particular intent for it to actually be a success.

d a v i d c a r s o n

Is it really the case that a text that is typographically demanding to read is more

memorable once deciphered?Typography Now Two


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I really wanted to try and push the legibility of the text and content I was using to try andmake it far more interesting that it currently was. I used a photocopier to begin with to try and get a fluid type of motion that would represent the unconscious mind, a topic of which a whole chapter of my book is dedicated to.

t y P o g r a P h i c e x P e r i m e n t s


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In terms of legibilty it was never my intention to create an illegible book that people couldn’t read even if they tried. I think it’s fine to push the boundaries slightly though, it’s about trying to find a balance.

What has come out of these experiments is actually some quite striking imagery which has been created by using nothing but typography.

I’ve really liked some of the effects that I have created and think they would lend themselves to the narrative of the publication as well as the written content.

The typography treatments were a good thing to do because a lot of my content had been photocopied from books and there was no way I had to the time to re-write chapter upon chapter of text.This way I could make them more visually stimulating by scanning them in and manipulting them.It was it really great way of doing hands on design and I found that accients happened that turned out to be successful andI have gone on to use the same methods in my final outcome.

t y P o g r a P h i c e x P e r i m e n t s


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Week Six


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When it comes to designing a publication, preparing files for print, chapters, binding, stocks, finishing methods, logistics, I actually screw my logical thinking cap on and really think about things rationally, which was a real challenge. Certain processes needed to be done before others could be completed and the fact that there wasn’t a particular uniformity to how many pages were bound into each signature meant that files had to be created and printed separately. This is because they were also bound in different ways.

I didn’t want it to just be irrational for the sake of it, I had to do it with intent, so that each treatment I gave to the content was in some way reflecting the message within that content.

It would be quite easy to have just plonked stuff any old place, making it messy and think that I could get away with it, ‘oh, but it’s irrational, so it doesn’t matter’’. It is not a scrapbook, at the end of the day it has to be a piece of designed work.

Some are quite abstarct some are fairly literalalthough things may look as if they are illegible they are actually not, just put tsome effort into reading it it, or it is in anothe rpage of the book completely legibale format

How could I design each page to create some sort of engagement from the reader whether it be having to read around onto the next page, ripping it, rotating it or just running their fingers along it to feel the surface. How could I incorporate the techniques and experiments that I have created so far. How could my research inform the final outcome whilst taking into consideration all the feedback I have been given up unitl this point.

d e s i g n i n g t h e o u t c o m e


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I was struggling to think of a title foy my publications as I didn’t exactly know how to summarise what was inside without it getting too long winded. Was it a dossier? An anthology? A document? A compilation?

As I had eliminated any imagery from the book itself I had already planned on having a typographic cover of some sort.

Title Ideas

Unbounded Irrationality - as a play on the ‘Bounded Rationality’ expression (can be found on page 5 of my bok), as it was exactly the opposite.

Bounded Irrationality - A play on the fact that I have actually bound irrationality into a book by sewing it all together.

Irrationology - A nonsense made up word made from the words “anthology’ and ‘irrational’.

i wanted the cover to grab people, even when the title didn’t necessarily , as it is an unfamiliar term. In this way the cover I thought about from more of an aesthetic angle, it’s the first thing you see so needed to be striking.

t i t l e a n d c o v e r


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I show my final mock up of the book to a few different people

- Very tactile object- Great textures and use of differing stocks- Nice experimentation with typography- Professional looking-Need to pay attention to the details- Widows and Orphans

f i n a l P r o t o t y P e


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B A D GC Yr 3Week Seven


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P r o d u c t i o n


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Making the publication was actually the most fun part of this project although it has require the most logical thought and caused the most amount of stress.

P r o d u c t i o n


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f i n a l o u t c o m e


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With this project I found it a challenge to find content produced by other people to try and convey the particular message that I wanted to get across. In that respect it may have been easier to produce my own as it did end up stalling my progress quite early on.It was good experience having to prototype my outcomes as they were ideas that did not come across purely by trying to describe them to people. To give feedback they needed to be able to actually hold something and understand it. It was also good because it meant that I was always in the process of making something no matter how good or bad the quality was.I wanted to come away with an outcome that was irrational in it’s nature, something considered to be a negative thing, but that actually turn out to be a beautifully tailored object, that people want to hold, touch and flick though. I think I managed to find a good balance between imagery and type and that in a lot of places compliment one another. There are parts where it looks like it could be illegible and it is, and the reader may feel like they have missed out on reaing something, when in fact it will be printed elsewhere in the book, in a totally legibel format. I would say that this final outcome in a way seeks it’s own audience because different aspects could appeal to completely different people. There could be many pulling factors such as people interested in publication design, human behviours and those who just like shiny objects.As a fairly labour intensive publication in terms of production I only created one single copy but there would be no reason why it cannot be reproduced even though it is quite a unique publication. I can hopefully use it as a strong portfolio piece in the future as I certainly have a growing interest in publication/magazine/editiorial design and would love to get some work experience in the field.

c o n c l u s i o n


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B A D GC Yr 3

The Mind Map Book Tony Buzan

Experimental Formats & Packaging Roger Fawcett-Tang

Design Diaries: Creative Process in Graphic Design Lucienne Roberts

What is publication design? Lakshmi Bhaskaran

Publication design workbook: A real-world design guide Timothy Samara

Society of Publication Designers 2010 : 45th publication design annual

Thinking Visually Mark Wigan

3D Typography Jeanette Abbink & Emily CM Anderson

Print and Production Finishes for Brochures and Catalogues Roger Fawcett-Tang

100 Habits of Successful Publication Designers Laurel Saville

Turning Pages Robert klanten

Visual Research Ian Noble & Russell Bestley

The Layout Book Amrose & Harris

The Art Diretors Handbook of Professional Magazine Design Horst Moser

Sagmeister: Made You Look Peter Hall

Book Design Andrew Haslam

The Invisible Gorilla: And Other Ways Our Intuition Deceives Us Christopher

Chabris

Predictably Irrational: The Hidden Forces that Shape Our Decisions Dan Ariely

The (Honest) Truth About Dishonesty Dan Ariely

Sway: The Irresistible Pull of Irrational Behaviour Ori & Rom Brafman

The Upside of Irrationality: The Unexpected Benefits of Defying Logic at Work

and at Home Dan Ariely

The anxiety and phobia workbook Edmund J. Bourne

Manifesto of Surrealism Andre Breton

No more rules Graphic Design and Post Modernism Rick Poynor

Typography Now Rick Poynor

The liberated page Herbert Spencer

Typography Today Helmut Schmidt

Fully Booked Gestalten

b i b l i o g r a P h y

Irrationology Research

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Transcript of Irrationology Research