HAIKU Final Images.

These are the final images with the lines of the haiku they represent included in the composition.

Taxonomy Format, Organization, and Classification.

The book will be organized as such

1. Cover


2. Table of contents


3. Manmade/Natural

• Object used in mark making
• Method/Manipulation

Marks made from similar objects and methods will be placed on the same pages.

The book will be bound with either saddle stitch or wire-o.  (tentative)

The format will be square.  (tentative)




http://erikagoering.com/2010/11/16/taxonomy-and-such/

Leo Lionni.

Leo Lionni is a man who is making a plea for visual consciousness at all times, and to have meaning for the choices we make both formally and conceptually.  At the same time it may be the greatest form of inspiration and preliminary process to just let the sketches be sketches and not let the hand be as affected by the concept.  This can allow for more pure image making and a broader palette from which we can draw and redistribute according to concept later.  I'm still debating with myself just how much you can allow for pure unadulterated image making to go before it can be counterproductive to final deliverable requirements.  Pure image making however can be very relaxing (then it comes back to bite you in the rear because it is too distant from a workable concept).

Web Spreads Cont.

Here is my latest iteration for the final spread.  All that was really changed was an issue with the top white space placement.

Web Spreads.

Here are my spreads.  The body type is Veranda 12/15.  Tried to keep an I on alignment.

     My overall concept for these posters was to show the vacant nature of some of downtown by highlighting both the upper and lower parts of the area.  For both the skyline and the ground level I took the original image and broke it up, setting it against the area that is not represented to accentuate that vacancy.  In the first I juxtapose the progressive line study and the progressive nature of the building as it curves back into space.  I then progressively bring the lines down. The negative space leads from the upper section of the city to segue into the second poster.  The second poster is focused on the lower part of the city leaving the higher parts open.  I used the progressive manipulated line study to accentuate the movement of the stairs and also hold the upper area of the composition.
     My process included allot of reworking between the concept and formal exploration and decisions.  Using the different methods of line manipulation did allow for a greater palette from which to draw information from.  The use of analogue manipulation/sketches for the first drafts of these posters was helpful for direction but I found that moving into digital after that allowed for faster editing that for the most part allowed me to keep moving.

Paula Scher

     Paula Scher is, from what I've gathered, a very expressive designer who is influenced heavily by her surroundings and her disdain for helvetica and every conforming, conservative, war starting institution for which it stands... sigh.  While I do enjoy her designs aesthetically and formally I find I often disagree with her reasons for her formal choices.  Doing a project a certain way for a thousand dollars is fine, but I don't think you should then be able to trace every decision back to "and it allowed me to keep the thousand dollars".  A thousand dollars does not mean you can make Utah an Island to justify your geographical misnomer.  But I digress (busts a vein).


     One thing that Scher does have right is her observations about how geography can influence design.  The world is full of lines which in turn make one giant grid for us designers to fit into.  Letting this grid influence our design allows for cohesion between the environment and design.  Obviously we probably won't be making a building in New York that follows the grid of our design.  More commonly the infrastructure will already be there as there are certain rules to follow, and nobody wants a design that doesn't look like it belongs somewhere.  This also forces us to create solutions for spacial relations we do not naturally process, and take lessons from these solutions.  The infrastructure that we have made is an extension of us, and our design is an extension of the infrastructure.