Design as One - Thesis Process Book

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

50 Questions

For part of my research, I had a friend ask me a series of questions regarding my thesis and my opinions on graphic design

As I progressed with my thesis, I ended up leaving behind some of my answers to these questions when it came to the concepts or forms I ended up working with.

29

30

31

32

33

34

35

36

37

1. Alex Villegar, “Grids: Recondite Structures of Design,” Noetic Fronts, accessed January 22, 2010, http://www.no-eticfront.com/blog/2010/01/22/grids-recondite-structures-of-design/

38

1.

2.

Grids: Recondite Structures of Design, ed. Julie Munden (Philadelphia: Lippincott William & Wilkins, 2006), 58, 62, 166, 266, 230, 232.

Eicher, Joanne B., Sandra Lee Evenson, Hazel A. Lutz, The Visible Self, 2nd edition (New York: Fairchild Publica-tions, 2000)

39

40

41

Grids in Graphic Design 1

- Troy Templeman - April 30, 2010

Types of Grids- Rule of Thirds - Common in photography- Golden Ration - Approximately 1.618 - used for prportioning - Studied by mathemticians for its presence in nature

- “used for centries by architects, artists and book designers for its aesthetically pleasing qualities”

- Columns - “often used in newspapers and magazines”- Baseline Grid - (same as above)

Anatomy of a Grid- Margins: The space that separates the content from the edge

of the page- Flowlines: Alignments that break the space into horzontal

bands.- Columns: Vertical divisions of space on a page.- Rows: A series of f lowlines that create horzontal divisions of

space created from intersecting rows and columns- Spacial Zones: Groups of modules that cross multiple rows

and columns

Purpose of Grids- “Grids give order to graphic design.”

- The grid speeds up the design process by distinguishing where to place certain things.

3.13.11 / Sun.

Using Grids- “intended to guide the graphic design process,

not dictate it.”

Wikipedia: Grid (page layout) 2

- “A typographic grid is a two-dimensional structure mage up of a series of intersecting vertical and horzontal axes used to structure content. The Grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner.”

Antecedents- Villiards Diagram

Evolution of the modern grid- After WWI, “a number of graphic designers, includ-

ing Brockmann, influenced by the modernist ideas of Jan Tschichold’s Die neue Typogaphic (The New Typography), began to question the conventional page layout at the time. They began to devise a f lexible system able to help designers achieve coherency in organizing the page.”

- Result - the modern typographic grid- Became associated with the International Typographic

Style (Swiss Style)

Reaction and Reassessment- By mid-1970s - typographic grid = the standard- 1980s - reaction against it

- Associated with corporate culture

Troy Templeman, “Grids in Graphic Design,” Troy Templeman (blog), April 30, 2010, http://www.troytemple-man.com/2010/04/30/grids-in-graphic-design/.

“Grid (page layout),” Wikipedia, accessed on March 10, 2011, http://en.wikipedia.org/wiki/Grid_(page_layout).

1.

2.

42

- Apple Mactinsoh computer- Pushed the “transition away from type being set by typ-

ographers to designers

Grid Use in Modern Web Design- Web developers only recently showing an interest in orga-

nizing with a grid - 960 grid system

960 Grid System 1

Essence- “The 960 Grid System is an effort to streamline web devel-

opment wokrflow by providing commonly used dimen-sions, based on a width of 960 pixels.”

1.

2.

“960 Grid System: Essence,” 960 Grid System, accessed on March 10, 2011, http://960.gs/.

Samara, Timothy, Making and Breaking the Grid: A Graphic Design Layout (Beverly: Rockport, 2002).

3.16.11 / Wed.

Making and Breaking the Grid: A Graphic Design Layout Workshop 1

- Timothy Samara

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99

100

101

WOVENWOVENWOVENWOVENWOVENWOVEN

DAOWOVEN

WOVEN

DAO

DAOWOVEN

WOVEN

DAODAOWOVEN

WOVEN

DAODAOWOVEN

WOVEN

DAO

DAOWOVEN

WOVEN

DAO

DAOWOVEN

WOVEN

DAO

DAOWOVEN

WOVEN

DAODAOWOVEN

WOVEN

DAO

DAOWOVEN

WOVEN

DAO

102

103

T / 555 555 5555

F / 111 222 3333

1234 12th Street, New York, New York 10001

of f ices@dao.com

T / 555 555 5555

F / 111 222 3333

1234 12th Street, New York, New York 10001

of f ices@dao.com

1234 12th Street, New York, New York 10001

of f ices@dao.com

T / 555 555 5555 F / 111 222 3333

For DAO, I wanted to keep its branding clean, simple, and neutral. I want it to be the default for the collections that it comes out with—like a gallery with its white walls and the artwork within it.

104

105

a study

of the body

as a grid

a study

of the body as grid

1 2 3 4 5 1 2 3 4 5

a study

of the body as grid

1 2 3 4 5 1 2 3 4 5

a study

of the body as grid

a study

of the body

as a grid

a study of the body as grid

1 2 3 4 5 1 2 3 4 5

a study of the body as grid

1 2 3 4 5 1 2 3 4 5

The originals tags were too generic. Instead, I made the tag the same ration of a 8.5 x 11 paper to relate it more to the materials that we work with as “graphic” designers.

The name Gridded is highlighted because it is the “focus” of DAO and broken to reflect the dual gridded and “broken” outfits of the collection. It also reveals the work—there is action implied as if the text is being worked on within the document.

106

107

108

pres

ents

109

presentspresents

astudy

of the body

asgrid

110

presents

astudy

of the body

asgrid

111

presents

astudy

of the body

asgrid

112

presents

113

presents

114

115

The invite is printed on 8.5 x 11 paper, again, to relate it to materials “graphic” designers work with. Then it is folded in half to make it easier to mail as well as for display purposes to allow it to stand up.

116

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy

of the body

asgrid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

a

study of

the body

as grid

SPRING | SUMMER 2011FRIDAY, APRIL 29, 6PM100 SOUTH GAY ST. KNOXVILLE, TN

a

study of

the body

as grid

presents

astudy

of the body

as grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

astudy

of the body

as grid

FRIDAY, APRIL 29

SPRING | SUMMER 2011

100 S. GAY ST. KNOXVILLE, TN

presents

astudy

of the body

as grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

117

a study

of the body

as grid

a

study of

the body

as grid

SPRING | SUMMER 2011FRIDAY, APRIL 29, 6PM100 SOUTH GAY ST. KNOXVILLE, TN

a

study of

the body

as grid

presents

astudy

of the body

as grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy of the body

asa grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy

of the body

asgrid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

presents

astudy

of the body

as grid

FRIDAY, APRIL 29 at 6PM

SPRING | SUMMER 2011

100 SOUTH GAY ST. KNOXVILLE, TN

118

astudy

of the body

as grid

119

FRIDAY, APRIL 29

SPRING | SUMMER 2011

100 S. GAY ST. KNOXVILLE, TN

120

121

astudy

of the body

as grid

122

123

124

125

presents

astudy

of the body

asgrid

126

There are traditional ways of tailoring clothing to emphasize certain parts of the body. This collection exercises that meth-od as well as creating a reaction outfit to each of those “gridded” outfits that breaks the grid of the body by denying form.

BODY AS GRID

127

128

129

130

131

132

133

134

135

Design as One was designed by Samantha Ownby to document the process of her thesis project at the University of Tennessee, Spring 2011.

Typefaces used:

Neutraface Text Light AltGranjon LT Std

136