Process Book 3

EDUCATION MFA Candidate (2010 - present)SavannahCollegeofArtandDesignGraphicDesign,3.5GPA

BFA (2009) UniversityofSouthAlabama Primary-GraphicDesign,Secondary-Painting.3.98GPA,SummaCumLaude

WORK EXPERIENCE Graphic Designer (June 2009 - present) Crown Products Responsibilitiesincludethedesignofallelectronicmediaincludingwebbannersand

graphics,e-mailmarketingandsocialmediamanagement.Additionally,Icreatespecialtyitemsincludingcustomdirectmarketingpiecesandhigh-endcatalogs.Otherdutiesincludeproductphotographyandproductdevelopmentdesign.

Art Director (June 2007 - present)Negative Capability Press Responsibilitiesincludeinteriorandexteriordesignandtypesettingofbooks.Additionally,

Iamresponsibleformostofthecompany’smarketingduties.

Student Assistant (June 2006 - May 2009)University of South Alabama Responsibilitiesincludedassistingstudentsandtroubleshootinggraphicdesignsoft-wareandMachardware.IalsooperatedseverallargeformatEpsonprinters.

ACHIEVEMENTS Silver Addy® Award(2010) PrintCollateral CrownProducts,AAFMobileBay

Silver Addy® Award (2010) InteractiveWebDesign(w/B.Davis) CrownProducts,AAFMobileBay

Progress Through Ideas Award(2010) EbscoIndustries Employee of the Quarter(2010) CrownProducts

SCAD Honors Scholarship Recipient

AFFILIATIONSAIGAAAFMobileBayGoldenKeyHonourSocietyPhiKappaPhiHonorSociety

TECHNICAL SKILLSAdobePhotoshopCS5AdobeIllustratorCS5AdobeInDesignCS5AdobeDreamweaverCS5AdobeFlashCS5AdobeAcrobatCS5XHTML/CSS

ADDITIONAL SKILLSCatalog&bookproductionWebsiteproductionE-blastcreationDigitalillustrationProductphotography&designCompetitiveanalysisCopywritingSocialmediamanagementQRcodedesign&optimizationResearch

Referencesavailableuponrequest.//M

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6711 Overlook Road // Mobile, Alabama // 36618 // 251 454 7510 // [email protected]

Megan Cary | GRDS 709-OL | Project C | Process BookProject C: Experimental Booklet Design

PROCESS BOOK 03


PROCESS BOOK

3

Assignment 4

Topic 5

Visual Research 6

Brainstorming 8

Thumbnail Sketches 9

Rough Sketches 12

Type & Color Studies 14

Digital Comps 15

Revised Comps 17

Analysis 19

Final Design Solution 20

CONTENTS


4

ASSIGNMENT

Overview: This project will provide you with the opportunity to apply the knowl-edge you have gained in this course so far. You will create a booklet or brochure that illustrates and enacts the ideas of a chosen article, story, or other piece of literature while staying true to the content and com-municating the message to a preselected audience.

Process:• The challenge of this project is to combine word and image to strike a balance between typographic legibility and the need for self expression, without copying a style.

• You will select an article, story, or other form of literature to use for the content of this booklet. The text you choose must clearly state a point of view. You MUST request written permission from the author to use his or her work for this project. The only way around this is to write your own literature.

Read and analyze the text, making sure that you really understand it. Outline it and think about its hierarchy of ideas. Before sketching the thumbnails, research experimental design. Look for inspiration and for ideas. Do not look for styles to copy.

You can choose the size and format, but consider several formats be-fore you decide. This piece should have at least four panels. Imagery can be used as long as it is original work. Do not base your design on the imagery. The message is the most important element.

• You will post thumbnails of at least three concepts for this project. Include grid developments and a list of the key elements you have chosen to emphasize (hierarchy). You will provide comments and feedback for three other postings. Thumbnails need to be to scale.

• Based on feedback provided in the previous discussion, select one concept and proceed to rough stages. Post the roughs for all the pages. Your postings should include a clear description of the proposed design. Discuss the final format, materials, special papers, and/or type of binding techniques. Explain your choices. Provide comments and feedback for three other postings.

• Finalize your design. Post the final piece to the unit discussion. Comment on three other designs.


5

TOPIC

I have always been fascinated by the processes of the human brain. Recently I had the pleasure of watching a TED talk by Dr. Jill Bolte Taylor, a brain scientist, as she recounted her experience having a stroke. Basically, Dr. Taylor watched as her brain functions shut down one by one. Amazingly, she survived and spent eight years recovering. The interesting part, was that while the stroke damaged the left side of her brain, it unleashed “a torrent of creative energy” from the right side of her brain.

On a more personal note, I feel its important to mention that I have a strong connection to this subject matter. My grandmother suffered a major stroke when I was a teenager. Throughout my teenage years and early 20s I was her primary caregiver. I experienced the effects of a stroke firsthand – the good and the bad.

After watching the TED video, I read her book My Stroke of Insight: A Brain Scientist’s Personal Journey. There were several passages that I found to be both insightful and poignant that reminded me of my own experiences. I emailed Dr. Taylor requesting permission to use either excerpts from her TED speech or her book and she graciously gave permission for me to use parts of her book. I have provided documentation of that permission on the right.


6

VISUAL RESEARCH

After selecting my topic, I began to research various experimental typography pieces. In my research I was particularly drawn to constructivist designs from the 1920s and 1930s. The brain is based on symmetry and constructivist designs have a wonderful symmetry, ge-ometry and simplicity that draw the viewer in. I looked at many examples (like the ones on the right) during my search for visual inspiration.

During this time I also began to look at color schemes and textures that appealed to me and began research-ing different folding techniques. I ultimately decided on one that opens to become almost poster-like when completely flat. I wanted the folding to be simple and not overpower the ultimate message. The technique I chose also emphasized the symmetry, contrast and the strong type message I wanted to convey.


7

VISUAL RESEARCH


8

BRAINSTORMING

brainstorming word list


9

THUMBNAIL SKETCHES


10

THUMBNAIL SKETCHES


11

THUMBNAIL SKETCHES


12

ROUGH SKETCHES

Examples of rough sketchesthat explore various folding techinques


13

ROUGH SKETCHES


Examples of rough sketchesthat explore various folding techinques

14

Type & Color Studies

Type studies and color palette tests done. Ultimately Futura and Palatino were chosen.


15

DIGITAL COMPS

Front Panel6” x 6”

(folds up)

Back Panel6” x 6”

Panels 2&312” x 6”Folds out left andright to reveal interior


16

DIGITAL COMPS

Interior Poster Panel12 “ x 12” Flat

Imagine if you will, what it w

ould feel

like to have each of your natural fac-

ulties systematically peeled away from

your consciousness. First,

imagine you

lose your ability to make sense of sound

coming in through your ears. You are

not deaf, you simply hear all sound as

chaos and noise. Second, remove your

ability to see the defined forms of any

objects in your space. You are not blind,

you simply cannot see three-dimen-

sionally, or identify color. You have no

ability to track an object in motion or

distinguish clear boundaries between

objects. In addition, common smells be-

come so amplified that they overwhelm

you, making it difficult for you to catch

your breath.

No longer capable of perceiving tem-

perature, vibration, pain, or proprio-

ception (position of your limbs), your

awareness of your physical boundar-

ies shift. The essence of your energy

expands as it blends with the energy

around you, and you sense that you

are as big as the universe. Those little

voices inside your head, reminding you

of who you are and where you live,

become silent. You lose memory con-

nection to your old emotional self and

the richness of this moment, right here,

right now, captivates your perception.

Everything, including the life force you

are, radiates pure energy. With child-

like curiosity, your heart soars in peace

and your mind explores new ways of

swimming in a sea of euphoria. Then

ask yourself, how motivated would you

be to come back to a highly structured

routine?

I understand that no matter what infor-

mation is being processed (or not being

processed) in my two hemispheres, I still

experience the collective of myself as a

single entity with a single mind. I do be-

lieve that the consciousness we exhibit

is the collective consciousness of what-

ever cells are functioning, and that both

of our hemispheres complement one an-

other as they create a single seamless

perception of the world. If the cells and

the circuitry that recognize faces are

functioning correctly, then I am capable

of recognizing you by your face. If not,

then I use other information to identify

you, like your voice, mannerisms, or the

gait of your walk. If the cellular circ

uitry

that understands language is intact, then

I can understand you when you speak.

IF the cells and circuitry that continually

remind me of who I am and where I live

are destroyed, then my concept of my-

self will be permanently altered. That

is, unless other cells in my brain learn

to take over those particular functions.

Much like a computer, if I don’t have

a program for word processing, then I

can’t perform that function.

When we evaluate the unique charac-

teristics of the two cerebral hemispheres

and how they process information dif-

ferently, it seems obvious that they

would manifest unique value systems

that would consequently result in very

different personalities. Some of us have

nurtured both of our characters and are

really good at utilizing the skills and

personalities of both sides of our brain,

allowing them to support, influence, and

temper one another as we live our lives.

Others of us, however, are quite unilat-

eral in our thinking – either exhibiting

extremely rigid thinking patters that are

analytically critical (extreme left brain),

or we seldom connect to a common re-

ality and spend most of our time “with

our head in the clouds” (extreme right

brain). Creating a healthy balance be-

tween our two characters enables us

the ability to remain cognitively flex-

ible enough to welcome change (right

hemisphere), and yet remain concrete

enough to stay a path (left hemisphere).

Learning to value and utilize all of our

cognitive gifts opens our live

s up to the

masterpiece of life we truly are. Imag-

ine the compassionate world we could

create if we set our minds to it.

Sadly, the expression of compassion is

often a rarity in our society. Many of

us spend an inordinate amount of time

and energy degrading, insulting, and

criticizing ourselves (and others) for

having made a “wrong” or “bad” deci-

sion. When you berate yourself, have

you ever questioned: who inside of you

is doing the yelling, and at whom are

you yelling? Have you ever noticed

how these negative internal thought

patterns have the tendency to generate

increased levels of inner hostility and/

or raised levels of anxiety? And to com-

plicate matters even more, have you

noticed how negative internal dialogue

can negatively influence how you treat

others and, thus, what you attract?

As biological creatures, we are pro-

foundly powerful people. Because our

neural networks are made up of neu-

rons communicating with other neurons

in circuits, th

eir behavior becomes quite

predictable. The more conscious atten-

tion we pay to any particular circuit, or

the more time we spend thinking spe-

cific thoughts, the more impetus those

circuits or thought patterns have to run

again with minimal external stimulation.

In addition, our minds are highly sophis-

ticated “seek and ye shall find” instru-

ments. We are designed to focus in on

whatever we are looking for. If I seek

red in the world then I will find it every-

where. Perhaps just a little in the begin-

ning, but the longer I stay focused on

looking for red, then before you know it,

I will see red everywhere.

My two hemispheric personalities not

only think about things differently, but

they process emotions and carry my

body in easily distinguishable ways. At

this point, even my friends are capable

of recognizing who’s walking into the

room by how I’m holding my shoulders

and what’s going on with that furrow

in my brow. My right hemisphere is all

about right here, right now. It bounces

around with unbridled enthusiasm and

does not have a care in the world. It

smiles a lot and is extremely friendly. In

contrast, my left hemisphere is preoccu-

pied with details and runs my life on a

tight schedule. It is my more serious side.

It clenches my jaw and makes decisions

based upon what it learned in the past.

It defines boundaries and judges every-

thing as right/wrong or good/bad. And

oh yes, it does that thing with my brow.

“As biological creatures, we are profoundly powerful people.”

“Imagine the compassionate world we could create if we set our minds to it.”

Exterior Poster Panel12 “ x 12” Flat

Blue lines indicate the folds


17

REVISED COMPS

Based on discussion feedback I broke upthe type into sections to add legibility.


is a Harvard-trained and published neuroanatomist who experienced a severe hemorrhage in the left hemisphere of her brain in 1996. On the afternoon of this rare form of stroke (AVM), she could not walk, talk, read, write, or recall any of her life. It took eight years for Dr. Jill to completely recover all of her functions and thinking ability. She is the author of the New York Times bestselling memoir My Stroke of Insight: A Brain Scientist’s Personal Journey (published in 2008 by Viking Penguin) and was chosen as one of TIME Magazine’s 100 Most Influential People in the World for 2008.

fRIGH

TBRA

IN

fRIGH

TBRA

IN

fLEFTBRAIN fLEFTBRAIN

fRIGHTBRAIN fRIGHTBRAIN

fLEFT

BRAI

N fLE

FTBR

AIN

fRIGH

TBRA

IN

fRIGH

TBRA

IN



fLEFT

BRAI

N fLE

FTBR

AIN

IMAGINE if you will.

. .

everything, including the life force you are, radiates

pure energy. With childlike curiosity, your heart

soars in peace and your m

ind explores new ways

of swimming in a sea of euphoria.

Then ask yourself, how motiva

ted would you be

to come back to

a highly structu

red routine?

RIGH

TBRA

IN

RIGH

TBRA

IN

LEFTBRAIN LEFTBRAIN

RIGHTBRAIN RIGHTBRAIN

LEFT

BRAI

N LE

FTBR

AIN

DR. JILL BOLTE TAYLOR. . .

is a Harvard-trained and published neuroanatomist who expe-

rienced a severe hemorrhage in the left hemisphere of her brain

in 1996. On the afternoon of this rare form of stroke (AVM), she

could not walk, talk, read, write, or recall any of her life. It took

eight years for Dr. Jill to completely recover all of her functions

and thinking ability. She is the author of the New York Times

bestselling memoir My Stroke of Insight: A Brain Scientist’s Per-

sonal Journey (published in 2008 by Viking Penguin) and was

chosen as one of TIME Magazine’s 100 Most Influential People

in the World for 2008.





IMAGINE, IF YOU WILL, W

HAT IT WOULD

feel like to have each of your natural

faculties systematically peeled away

from your consciousness. First, imagine

you lose your ability to make sense of

sound coming in through your ears. You

are not deaf, you simply hear all sound

as chaos and noise. Second, remove

your ability to see the defined forms of

any objects in your space. You are not

blind, you simply cannot see three-di-

mensionally, or identify color. You have

no ability to track an object in motion or





your breath.






















routine?
















you, like your voice, mannerisms, or

the gait of your walk. If the cellular

circuitry that understands language is

intact, then I ca

n understand you when

you speak. If the cells and circu

itry that

continually remind me of who I am and

where I live are destroyed, then my

concept of myself will be permanently

altered. That is, unless other cells in my

brain learn to take over those particu-

lar functions. Much like a computer, if I

don’t have a program for word process-

ing, then I can’t perform that function.









really good at utilizing the skills and per-

sonalities of both sides of our brain, al-

lowing them to support, influence, and




extremely rigid thinking patters that are

analytically critical (extreme left brain),

or we seldom connect to a common re-

ality and spend most of our time “with

our head in the clouds” (extreme right

brain). Creating a healthy balance be-

tween our two characters enables us







s up to the




SADLY, THE EXPRESSION OF COMPASSION,

is often a rarity in our society. Many of





















in circuits, th







































HAT IT WOULD

















your breath.






















routine?


in circuits, th






































18

REVISED COMPS

Examples of the printed revised comp.


After presenting this comp to the class, I received additional feedback. Changes made as a result of this feedback include:

• kerning for all type over 18pts

• additional type overlays were added to the front and back panels to enhance the contrast

• the interior panel was altered greatly - additional type overlays were added to large block of body text and to the pull quotes.

• Gradient feather effects were added to all of the type, breaking it up and fading it to the right said to represent the confusion and loss of function from the stroke.

19

ANALYSIS

What is the purpose of this design? The purpose of this design is to create an experimental typogra-phy booklet that illustrates and enacts the ideas of a chosen article, story, or other piece of literature while staying true to the content and communicating a message.

What did the research process consist of?I began the research process by deciding what type of article I want-ed to use in my design. I looked through various magazines and in-ternet articles I have collected over the years. I settled on an excerpt from a book written by Dr. Jill Bolte Taylor, about her experience of having a stroke. I then began to research experimental typography pieces, particularly constructivist designs from the 1920s and 1930s, because of their symmetrical style that relates to the idea of the brain. I also spent a good deal of time researching folds online.

What are the goals and objectives of the design?My goal for this design solution was to create the idea of brain sym-metry (right and left brain) and the idea that part of the brain is being lost or in a haze of confusion. My goal was to push the symmetry and type with both geometric and bold color contrast to clearly com-municate that message.

What are the elements of your layout and development?My final booklet consists of 5 panels. The design converts from an initial 6” x 6” folded size to a 12” x 12” size. I chose Futura and Pala-tino typefaces, I felt that they gave the bold contrast and interest that the passage needed. My color palette consists of black, lime, and white, with shades of grey. The design was built primarily in Adobe InDesign because of the heavy emphasis on typography. While this booklet may seem simple, for me it was an exercise in limiting my-self completely to typography. I did not use any imagery and relied on color, shape and the type to convey the author’s message. I was highly influenced by constructivism and symmetry, and wanted the booklet to be interesting from multiple angles.

What type of production does this design require?This design would be printed on 100# smooth, brilliant white cover-stock from Neenah Paper with a high gloss varnish applied to geo-metric colors blocks of the design for contrast.

Did you achieve the project and design goals?I think I have created a structured, balanced design that stays true to the content of the author’s message and communicates it to those that would read her book. I believe I have used typography in an interesting, dymanic way that is experimental in its simplicity and stands alone without imagery.


20

FINAL DESIGN SOLUTION

Exterior Panel (flat)


is a Harvard-trained and published neuroanatomist who experienced a severe hemorrhage in the left hemisphere of her brain in 1996. On the afternoon of this rare form of stroke (AVM), she could not walk, talk, read, write, or recall any of her life. It took eight years for Dr. Jill to completely recover all of her functions and thinking ability. She is the author of the New York Times bestselling memoir My Stroke of Insight: A Brain Scientist’s Personal Journey (published in 2008 by Viking Penguin) and was chosen as one of TIME Magazine’s 100 Most Influential People in the World for 2008.

fRIGH

TBRA

IN

fRIGH

TBRA

IN



fLEFT

BRAI

N fLE

FTBR

AIN

fRIGH

TBRA

IN

fRIGH

TBRA

IN



fLEFT

BRAI

N fLE

FTBR

AIN

RIGH

TBRA

IN

RIGH

TBRA

IN

LEFTBRAIN LEFTBRAIN

RIGHTBRAIN RIGHTBRAIN

LEFT

BRAI

N LE

FTBR

AIN

BRAI

N BR

AIN

BRAIN BRAIN

BRAI

N BR

AIN

BRAIN BRAIN

IMAGINE if y

ou will. . .

everything, including the life force you are, radiates

pure energy. With childlike curiosity, your heart

soars in peace and your m

ind explores new ways

of swimming in a sea of euphoria.

Then ask yourself, how motiva

ted would you be

to come back to

a highly structu

red routine?

BRAI

N BR

AIN

BRAIN BRAIN

BRAI

N BR

AIN

BRAIN BRAIN

DR. JILL BOLTE TAYLOR. . .

is a Harvard-trained and published neuroanatomist who expe-

rienced a severe hemorrhage in the left hemisphere of her brain

in 1996. On the afternoon of this rare form of stroke (AVM), she

could not walk, talk, read, write, or recall any of her life. It took

eight years for Dr. Jill to completely recover all of her functions

and thinking ability. She is the author of the New York Times

bestselling memoir My Stroke of Insight: A Brain Scientist’s Per-

sonal Journey (published in 2008 by Viking Penguin) and was

chosen as one of TIME Magazine’s 100 Most Influential People in

the World for 2008.

21


Interior Panel (flat)




HAT IT WOULD

















your breath.






















routine?


in circuits, th






































RIGH

TBRA

INLE

FTB



RIGHTBRAINLEFTB







HAT IT WOULD

















your breath.






















routine?


HAT IT WOULD

















your breath.






















routine?



















intact, then I ca



itry that























extremely rigid thinking patterns that

are analytically critical (extreme left

brain), or we seldom connect to a com-

mon reality and spend most of our time

“with our head in the clouds” (extreme

right brain). Creating a healthy balance

between our two characters enables us







s up to the


























in circuits, th







































HAT IT WOULD

















your breath.






















routine?



















intact, then I ca



itry that























extremely rigid thinking pattenrs that

are analytically critical (extreme left

brain), or we seldom connect to a com-

mon reality and spend most of our time

“with our head in the clouds” (extreme

right brain). Creating a healthy balance

between our two characters enables us







s up to the


























in circuits, th






































22


Front and Back (Folded)


23


Interior Gatefold


24


Interior Poster Panel (flat)


25


Exterior Poster Panel (flat)


Process Book 3

Documents

Transcript of Process Book 3