Digital Portfolio - Christina Rose

2015
CHRISTINA ROSE
GRAPHIC DESIGN
TABLE OF CONTENTS
1
2
3
4
5
6
7
8
9
Project 1: Typography and Letter Spacing.........................................2

Project 2: Typography That Works Business Card............................6
Project 3: Chapter Layout....................................................................10
Project 4: Expressive Type Illustration.................................................18
Project 5: Graphic Translation.............................................................24
Project 6: Title Pages, Table of Contents, Colophons.........................30
Project 7: End Pages...........................................................................38
Project 8: Book Covers........................................................................48
Other Exercises...................................................................................56
1
Typography and Letter Spacing
Part One : Research on designers who played a major role in modern typography
Part Two: Kerning exercise and expressive typeface exercise
Paul Renner was a graphic designer,

typographer, type designer, painter,
and teacher.
He was born in
1878. He chose to study art after
secondary school, attending several
academies, and nally completing
his training in Munich in 1900.
Renner spent most of his life in
applied art, trying to bring high
cultural standards to material
objects for use (i.e. typefaces and
books). He was drawn to a eld
of activity in which he could put
his aesthetic skills to a utilitarian
purpose. From 1908 to 1917 he
designed books for a living for the
Mnich publishing trade. Renner
insisted on being responsible for
nearly all design-related aspects
of a volume, both inside and out,
including choice and arrangement
b. August 9, 1878,
of type. From 1908 onwards, he
Wernigerode, Germany
wrote extensively about typography
d. April 25, 1956,
and design. Throughout his time, he
wrote a number of books, including
Hodingen, Germany
Typographie als Kunst (Typography
as Art), Die Kunst der Typographie
(The Art of Typography) and Color Order And Harmony.
Renner was a prominent member of the Deutscher Werkbunda coalition of
artists, craftsmen, manufacturers, and industrialists who promoted both art and
technology in the manufacture of everyday objectsand a key participant in
the ideological and artistic debates of that time. At the time, there were tensions
between tradition and modernity in German design, in typography style and
in technology (Streit um die Technik). Renner and his fellow members of the
Deutscher Werkbund sought to reform German design and were fully engaged
in the Streit um die Technik.
The debate concerning the importance of gothic letterforms in German culture
which had been present for centuries became a political issue in the early twentieth century. Renners position on this issue was progressive: he called for the
abolition of fraktur (gothic) and revitalized grotesk (sanserif), to make some kind
of elemental, universal form of roman. By doing so, Renner dismissed that gothic was essential to modern Germany and took on the international, contemporary style. The result was Futura. Futura is a sans serif face designed by Renner between 1924 and 1926. It is based on geometric shapes which became
representative visual elements of the Bauhaus design style (1919-1933). It was
Artist reports by: Christina Rose
PART TWO
PAUL RENNER
PAUL RENNER
PART ONE
tight kerning:
commercially released in 1927 in six eights, a condensed version in three
weights, and an Inline. Renners typeface family provided the right typographical tool for the professional designer and it became a popular choice for text
and display composition. During this period, other designers were addressing
the same issues and developing comparable Modernist fonts. Futura became a
cornerstone of the New Typography classied as Geometrical Modernism, in
which form follows function became the key words and careful reasoning constrained all the character shapes to their utmost functional simplicity. It stands
as a landmark of modern graphic design and has become one of the most successful and most-used types of the twentieth century. Advertising typographers
often use the combination of Futura Light/Book and Futura Extra Bold because
of the designs stylish elegance and commanding visual power.
domitager
ELE GAN CE
elegance
(bickham script std)
HEAVY METAL
heavy metal
(ironwood std medium)
CHILDHOOD
childhood
(chalkduster regular)
COMPUTER CODE
computer code
(OCR A std medium)
tight kerning:
HIPPIES
hippies
(cottonwood std med)
CIRCUS THEMED
circus themed
(pepperwood std fill)
medium kerning:
EGYPTIAN
egyptian
(desdemona regular)
open kerning:
WHIMSICAL
whimsical
(giddyup web pro reg)
THE LION KING

the lion king
(pompeia std inline
italic)
medium kerning:
domitager
open kerning:
d om i t a g e r
Typographical design publication
Poster design
HANOLAGEST
HANOLAGEST
DeLange, Logan. Paul Renner. Accessed January 22, 2015.

Fabian, Nicholas. The Bauhaus Designer Paul Renner. CreativePro. Accessed January 22, 2015.
Kelley, Gregory. Paul Renner. Accessed January 22, 2015.
H A NO L AG EST
GHOSTLY
ghostly
(quake regular)
2
Typography That Works: Business Card
Documentation of the entire process of designing a business card,
from preliminary sketches to the final design
SKETCHES
FINAL DESIGNS
Design Process
3
Chapter Layout
Part One: Analysis of page layouts

Part Two: Research on page construction and typefaces.
Part Three: Chapter design for Coast of Characters, a chapter in The View from Lazy Point
9
10
PART ONE
PART TWO
Im Only Here for the WiFi by Chelsea Fagan
The Sorrows of Young Werther by Johann Wolfgang Von Goethe
whats working:
-consistent font
-spreads are simple and
not overwhelming
whats not working:

looking through the rest
of the book, there is a
variety of type styles
that could possibly be
simplified down to just
a few (though on each
spread it is still not overwhelming)
whats working:
a distinct differentiation between sections with the date
subtitle, as if journal entries
whats not working:

both the page number and the
subtitles shouldnt be centerized, especially when the new
subtitle is close to the bottom of
the page, like in this example
1
page dimensions: 7.25x5.125
margins: outer: 0.65625, inner: varies because flush left (gutter: .125), top: 0.96875, bottom: (to footer) 0.71875, (to text) 1.1875
column width: varies because flush left, about 3.75
type sizes: text: 9pt, footer: 6-7pt, page number: 9pt, drop cap: 54pt
leading: 0.21875
typefaces: Caecilia LT Std Light? - regular & bold
additional elements: drop cap, flush left text, colored text
master pages: footer, margins, column width
Grays Anatomy: The Classic Collectors Edition

whats working:
the layout of images relative to
the text
whats not working:

there are too many diferrent
typefaces, sizes, etc used and
are unnecessary
Methods of Page Construction
Van de Graaf Method
The Van de Graaf method of page construction is also called the secret canon. Its originator was J.
A. van de Graaf, a Dutch scholar of book design, and from which the method takes its name. Traditionally it was used in medieval manuscripts and incunabula, and, more recently, has been used by
Jan Tschichold and many other contemporary designers.
It is used in book design to divide a page in pleasing proportions, most commonly in a 2:3 ratio. A series of diagonals allows
the top left corner of the text block being 1/9th from the top
and the same from the inside margin. The text area and page
size are of the same proportions, and the height of the text area
equals the page width. This method can supposedly be used
with a spread of any sized pages. It will always create consistency with balance and harmony.
Golden Canon
The Golden Section
The Golden Canon method of page construction was developed by Jan Tschichold, a typographer
and book designer of the twentieth century. It is based on a simpler ratio design similar to that of
Argentine typographer and designer Raul Rosarivos typographical divine proportion. According to
Rosarivo, fifteenth century printers like Gutenberg used the ratio of 2:3, or secret number, to establish the harmonic relationships between the different parts of the
page. Here, the golden canon is illustrated by a set of two constructions and rely on the 2:3 page ratio to give a type area height
equal to page width as demonstrated by the circle, and result in
margin proportions 2:3:4:6. The page is divided into nine equal
spaces both horizontally and vertically. If not, the right-hand page
would be exactly the same as that of the golden section (below).
By using the Golden Canon, page layouts were much more uniform and easily reproducible.
This Golden Section or golden ratio is a mathematic proportion in which the ratio of two quantities
is the same as the ratio of their sum to the larger of the two quantities. Page proportions based on
this phenomenon are described through its convergents of 2:3, 5:8 and 21:34. This proportional
system is created by drawing a diagonal line from the upper left corner to the lower right corner
of the right-hand page, drawing a second diagonal from the upper right to the lower left of the
entire spread, and drawing a text/image frame so that the upper and lower right corners are on the
diagonals. The text area and margin proportions are determined by the starting page proportions
and where the diagonals fall with that overall page proportions. Contemporary book designers such
as Tschichold believe that the golden section has been used in manuscripts produced between
1550 and 1770. Richard Hendel states that since Gutenbergs time, books have been printed in
what conforms to the golden ratio. Some sources claim that the golden ratio is commonly used in
everyday design, from postcards to wide-screen televisions.
Muntyan, Danielle. Canons and Grids. Design Practice. February 19, 2013. Accessed February 8, 2015.
Golden Section Page LayoutJan Tschichold. Pacific Graphic Design. Accessed February 8, 2015.
page dimensions: 9.125x5.75

margins: outer: 0.5, inner: 0.46875 (gutter: .125), top: (to header) 0.46875, (to text) 0.75, bottom: 0.65625
column width: 4.65625
type sizes: text: 9pt, page #: 9pt, header: 10pt, image captions: less than 8pt
leading: 0.125
typefaces: Baskerville (regular, bold, italic, caps, small caps)
additional elements: small caps
master pages: header, page #, margins, column width, gutter, image alignment in text & caption
The Industrial Design Reader by Carma Gorman

whats working:
differentiation between the
different sections and type of
information with the use of
different sizes/style of text is
clear
whats not working:

the abstract in the beginning of each new section is
a smaller leading, when a
smaller sized font would do
just fine
page dimensions: 7.75x5

margins: outer: 0.6875, inner: 0.5625 (gutter: none), top: 0.5, bottom: (to page #) 0.6875, (to text) 1
column width: 3.8125
type sizes: text: 10pt, subtitle: 12pt, page #: 10pt
leading: 0.15625
typefaces: Times New Roman - regular & italic
master pages: footer, margins, column width, gutter, page #
11
Van De Graaf. This Page Intentionally Left Ugly. Accessed February 8, 2015.
page dimensions: 9x6

margins: outer: 0.625, inner: 0.625 (gutter: .125), top: (to header) 0.625, (to text) 1, bottom: 1
column width: 4.5
type sizes: text: 11pt, header: 7pt, footnotes: 8pt, title: 30pt, subtitle: 16pt
leading: 0.1875
typefaces: text: Times New Roman, headers/titles: different typeface, in condensed/black
additional elements: kerning
master pages: header, margins, column width, titles/subtitles, endnotes
12
PART TWO (cont.)

Typeface Research Helvetica
Typeface Research Times New Roman
Helvetica is a sans serif typeface developed in 1957 by

Swiss typeface designer Max Miedinger with input from
Edouard Hoffman, the director of Haas Type Foundry in
Manchenstein, Switzerland. The original typography was
called Neue Haas Grotesk, being a contemporary version of
nineteenth century German and Swiss designs, such as the
typeface Akzidenz-Grotesk. This would allow the typeface to
be featured in a variety of situations without ever seeming
inappropriate. When Haas Type Foundrys parent company
of Mergenthaler Linotype decided to market the typeface in
foreign markets, it changed the name to Helvetica in an effort to make it more appealing and easier to
pronounce for international customers. It was positively received due to its flexibility, crisp appearance,
and its humanized characteristics. There is a second version, called Neue Helvetica, launched in
1983. It was a reworking of the typeface to have a more structurally unified set of heights and widths.
Other changes include improved legibility, heavier punctuation marks, and increased spacing in
the numbers. Helveticas s wide range of variants have different weights, widths and sizes, as well
as matching designs for a range of non-Latin alphabets. Notable features of Helvetica include the
termination of all strokes on exactly horizontal or vertical lines and unusually tight letter spacing,
which give it a dense, compact appearance. Helvetica was one of the most popular typefaces of the
twentieth century. Its use became a hallmark of the International Typographic Style that emerged from
the work of Swiss designersin the 1950s and 60s. To date, Helvetica has steadily been one of the
most popular typefaces, seen everywhere from in print to the web, and associated with companies
including Staples, Motorola and Panasonic.
Times New Roman is a serif typeface that gets its name from the British
newspaper Times. In 1929, the Times hired typographer Stanley
Morison of Monotype, a British font foundry, to create a new text font.
Morison led the project and supervised the advertising artist of Victor
Lardent who drew the letterforms. He used an older font named Plantin
as the basis for his design but revised it due to its issues of legibility and
economy of space. Since it was designed for a newspaper, Times New
Roman is narrower than most text fonts, as newspapers prefer narrow
fonts because they fit more text per line. The new font made its debut in
the October 3, 1932 issue of the Times newspaper and after one year, the
design was released for commercial sale. Times New Roman has influenced
designs for multiple serif typefaces, including Georgia which has very
similar stroke shapes but wider serifs. Times New Roman is used frequently in book typography, especially
in mass-market paperbacks in the United States. It is of a legible style and ineffable sense of authority
establishing it as the font designed for readers.
Font Family:
Typeface Research Baskerville
Typeface Research PNM Caecilia
Typeface Research Georgia
Baskerville is a transitional serif typeface designed in 1757 by

businessman John Baskerville in England. The typeface was created
as an improvement on the old style typefaces of William Caslon; he
increased the contrast between thick and thin strokes, making the serifs
sharper and more tapered, and shifted the axis of rounded letters to a
more vertical position. The curved strokes are more circular in shape,
and the characters became more regular. These changes created a greater
consistency in size and form. The creation of this typeface was part
of Baskervilles effort to improve legibility as well as keeping in mind
paper making and ink manufacturing. Some identifying characteristics
include the non-closing tail on the lowercase g, the swash-like tail of Q,
uppercase J that falls well below the baseline and its calligraphic style,
the wide arms of the uppercase T, and the top and bottom serifs on C.
The result reflected his ideas of perfection, choosing simplicity and quiet
refinement.
PNM Caecilia was the first font family created by Peter Matthias
Noordzij. He developed his first drafts of the typeface in 1983, and the
completed design was released to Linotype in 1991. The typefaces
name is a combination of his initials (PNM) and a version of his wifes
name (Cecile). Under Linotype, PNM Caecilia became one of the most
successful slab-serif text typefaces, building on a long history of slab
serifs that began in the early nineteenth century, when designers
began to play with the proportions of letters and the shapes of serifs.
Some of the major precursors to Caecilia that inspired its design
include Rockwell, Egyptienne, Courier, and Clarendon. Slabs are
divided into two categoriesclarendon and neo-grotesquethe latter
of which Caecilia falls into. A clarendon is defined as a typeface with
minor bracketing (curved connections between the stem and serif)
and a serif thickness that is different from the stem thickness. Caecilia
takes the smoothness of a clarendon one step further by introducing
humanist variety to the thickness of its strokes. Because of this, it has
been called the first-ever neo-humanist slab. Caecilia has been one of the most widely used slab
typefaces since its release, and ushered in the public acceptance of slabs as text fonts. It has a
friendly, open quality, with a large x-height and open counters. One of its most prominent uses
is as the default font on Kindle e-readers. It is used in this context because its thick slab serifs
make it easily legible on the pixelated screen.
Georgia is a transitional serif typeface designed in 1993 by Matthew

Carter for Microsoft Corporation, but wasnt released until November
1, 1996. It was designed to go with one of Carters earlier typeface of
Verdana, Microsofts first a sans serif typeface. It was inspired by Scotch
Roman designs of the nineteenth century. Georgia was intended to appear
elegant but legible when printed small or on low-resolution screens. As a
transitional serif design, Georgia shows a number of traditional features
of classic serif typefaces, such as alternating thick and thin strokes, ball
terminals and an italic taking inspiration from calligraphy. Its numeral
designs are text figures, designed to blend into continuous text. With
closer inspection, however, one can see how the typeface is designed for
clarity on a computer monitor even at small sizes: a large x-height and
thin strokes that are made thicker than usual. Georgias bold is also unusually bold, almost black in style;
Verdana and Georgia...were all about binary bitmaps: every pixel was on or off, black or white...The bold
versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were
doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels.
That is a bigger jump in weight than is conventional in print series. The name of the typeface came not
from the U.S. state but from a joke tabloid headline about alien heads found in Georgia, which was used to
test the typeface. According to the New York Times in 2006, Georgia is the most fashionable typeface on
the Internet.
Font Family:
Font Family:
Font Family:
Font Families:
Typeface Research Additional Thoughts

The Purpose of a Font Family:
A font family is made up of the styles available within a single typeface. For example, many fonts
include styles like normal, bold, italic/oblique, and sometimes more, as in the case of Helvetica that
has light, black and others. The different styles within the family allow for different weights to be
applied to the typeface without distorting its original design by maintaining the same point size. The
different styles within each family are designed to work together.
Typeface For My Book Design:

As I have researched and used fonts in all of the projects and assignments given to me thus far, I
seem to always be drawn to the typeface of Helvetica, especially its Light style. I definitely prefer
the sans serif style to its serif counterpart, just becuase of its minimalistic nature. As I looked at
different book spreads in the first part of this project, however, I notice that many books use serif
typefaces, particularly Times New Roman, as I have stated above. It is very legible and the most
popular. Because of that, I am tempted to use Times New Roman for my book spread as this project
progresses. However, I believe that it should also be circumstantial, i.e. based on the context of the
matter one is designing, so I cant make a final call as of yet. If I were to use a serif typeface such
as Times New Roman for the body text, I would use it for the display type as well, just in a different
weight to maintain uniformity. However, if I were to use the sans serif of Helvetica, I dont think the
same would apply, and I would instead use a serif font for it, just to add some softness to the page. I
have a textbook that uses Helvetica for its display type and Times New Roman for its body text, and
that specific combination doesnt appeal to me. However, like I said, I do believe decisions such as
this are circumstantial.
The Times:
Strizver, Ilene. Helvetica: Old and Neue. Fonts. Accessed February 10, 2015.
13
A Brief History of Times New Roman. Buttericks Practical Typography. Accessed February 10, 2015.
Family Classifications of Type. Graphic Design. Accessed February 10, 2015.
Font Study: PMN Caecilia. Forrest Media. January 23, 2014. Accessed February 10, 2015.
Brief History of the Typeface Design of Georgia. DangDesigns. September 15, 2010. Accessed February 10, 2015.
14
PART THREE
2
Coast of Characters
eve had no ice on the Sound this winter, and this morning
portends more warmth, well above freezing. By now, late
January, the days are already noticeably longer and the light has
changed. Its a little stronger, a little brighter.
Though the beach is lovely, the air remains raw, with a damp
south wind. Kenzies dark shape is loping along far ahead,
zigzagging the beach. The tide, already low, is still ebbing.
Pebbles are mounded at the upper boundary of the wave wash;
above them, near the swipe of highest tides, lies a line of slipper
shells. Six decades ago, my neighbor J.P. tells me and hes
got photos this beach was all sand, no pebbly stretches. A
generation ago, the beach was windrowed with jingle shells.
Kids, hippies, and young mothers (some people seemed all three
at once) liked to string them into little driftwood mobiles to hang
in windows and breezeways. Now slipper shells reign. It never
occurred to anyone that counting shells on a beach could be
science, so theres no data on how jingles have nearly vanished.
Only the neighbors speak of it; only the neighbors know.
A large time-blackened oyster shell, newly uncovered by the
collusion of wind and water, speaks of when they grew wild in
15
the view of lazy point
coast of characters
abundance, and big. Every walk is a product of the present and a

relic of the past. And on a very recent clamshell I recognize the
perfect, tiny borehole of the predatory snail that was its assassin.
Three round, translucent pebbles catch my eye; they fit snugly
across my palm not that I need more pebbles. Then again,
Isaac Newton himself said, I do not know what I may appear
to the world, but to myself I seem to have been only like a boy
playing on the seashore and diverting myself in now and then
finding a smoother pebble or a prettier shell than ordinary, while
the great ocean of truth lay all undiscovered before me. Well,
exactly. So Ill grant myself the pretty stones.
Mysteries notwithstanding, this daily morning walk is how I

take the pulse of the place, and my own. Its a good spot in which
to wake up.
The Sound reflects both the light of morning and the calls of
sea ducks. I cup my ears and hear the Long-tailed Ducks ah-ohda-leep. Their call means its winter and it means Im home.
Among the gifts of the sea is a wonderfully portable sense of
place. Portable because one ocean washes all shores. Like these
migrants themselves, my sense of home goes where they go.
Scanning with binoculars, I locate those elegantly streamered
Long-tails. The morning light is falling across their pied
heads, putting a gleam on their whites and setting their pink
bill tips aglow. I swivel my gaze across the water, past several
Common Loons in their soft-gray winter pajamas. Red-breasted
Mergansers, heads war-bonneted with ragged crests, sit scattered
across the Sound. On the shore across the Cut, three Harbor Seals
are resting with their bodies gracefully bowed, heads and rear
flippers up off the sand, air-cooling themselves.
Their beauty alone is inspiring. But what in the journey of
their ancient lineage led one kind to develop a black-and-white
head, another a cap of ragged plumes? How does ones DNA
begin building a Bufflehead and anothers start assembling
a seal when cells are so similar? Each kind is an engraved
invitation posted on an unlocked door that opens to a mansion
bigger than human time. Step inside, and you can easily spend a
lifetime.
The sun here comes out of the sea and returns to the sea a
trick thats hard to pull off if you dont live on an island or some
narrow bit of land with its neck stuck out. As Earth revolves
around that disk of sun, you can watch dawn and sunset migrate
across the horizon a little each day.
On a coast ruled by a wandering sun and twelve moons that
pull the tides like the reins on a horse, a year means something.
Seasonality here isnt just a four-season, common-time march.
The rhythm of the year here beats to the pulse of a perpetual series
of migrations, rivers of life along the leaning line of coast. Fishes
and birds mainly, but also migrating butterflies, dragonflies,
whales, sea turtles, even tree frogs and toads and salamanders,
whose migrations take them merely from woodland to wetland
and back. Each kind moves to its own drum. Getting tuned into
the migrants urgent energies turns four seasons into a much
more complex idea of what life does, what life is, of where life
begins and goes.
Time has been called an arrow, but here times directionality
assumes the circularity of the sky, the oceans horizon-in-theround. Circular time. This is perhaps time as an animal perceives
it, each day replayed with all the major elements the same and
every detail different. Its a pinwheel in which each petal creates
the one behind it, goes once around and then falls, as all petals
eventually do. Time and tide. Ebb and flow. Many a metaphor
starts in water. As did life itself.
Life Earths trademark enterprise-starts with plants and
algae capturing energy from sunlight and using solar power to
turn carbon dioxide and water into sugar. Then they use the sugar
theyve created as fuel for turning the nutrients in soil and water
into cells, and for powering growth, reproduction, repair and
defense. Whether at sea or on land, plants and countless trillions
16
Expressive Type Illustration
Part One: Research of expressive typography and ideas for a chosen sentence from Coast of Characters
Part Two: Developed sketches for the chosen sentence
Part Three: Finalized digital sketches for the chosen sentence
Part Four: Insertion of illustration into chapter
17
18
PART ONE
PROJECT 4 Part 1: Research + Analysis
A Chosen Sentences from Coast of Characters
1. By now, late January, the days are already noticeably longer and the light has changed. Its a little stronger, a
little brighter.
PART TWO
B Expressive Typography Research (cont.)
C Chosen Sentence Interpretation Sketches
http://seaningsdesign.com/post/77620767856/audrey-hepburn-typographic-design-buy-this
https://www.behance.net/gallery/illustration/4539115
I was unable to narrow down my chosen sentences past these three, so I sketched ideas out for each
one. Below are the images of which I will model my designs after.
2. Every walk is a product of the present and a relic of the past.

3. I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the
seashore and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, while
the great ocean of truth lay all undiscovered before me.
Every walk is a product of the present and a relic of the past.
4. Their call means its winter and it means Im home. Among the gifts of the sea is a wonderfully portable
sense of place. Portable because one ocean washes all shores. Like these migrants themselves, my sense of
home goes where they go.
5. Each kind is an engraved invitation posted on an unlocked door that opens to a mansion bigger than human
time. Step inside, and you can easily spend a lifetime.
6. The sun here comes out of the sea and returns to the sea.
7. On a coast ruled by a wandering sun and twelve moons that pull the tides like the reins on a horse, a year
means something.
The solid grey sections of the footprint will be where the text is.
8. The rhythm of the year here beats to the pulse of a perpetual series of migrations, rivers of life along the leaning
line of coast.
9. Time has been called an arrow, but here times directionality assumes the circularity of the sky, the oceans
horizon-in-the-round. Circular time.
I would treat this image

as I explained to the right,
creating an impression with
the text.
10. Its a pinwheel in which each petal creates the one behind it, goes once around and then falls, as all
petals eventually do.
11. Many a metaphor starts in water. As did life itself.
https://dylanlee59.wordpress.com/
I like this angle of this so I would make

the allusion of the impression with varied
weight, size and spacing of text. I also
like this because the background is the
shore line.
12. World history is not the story of politics, wars, ideologies, or religions. Its the story of energy flow, beginning
with a fraction of the suns radiance falling on a lifeless planet coated with water.
13. Animals eat plants, so, ultimately, we are all grass, pretty much. Now the astonishing thing is how much of the
grass we are.
14. There are those for whom the dying of the world comes as unwelcome news.
15. I dont mean day-to-day living; I mean Life, capital L;
16. I hope Life will find a way to hold on, keep its shape, persist, ride it out. And I also hope we will find our way
toward quelling the storm we have become.
http://www.dataisnature.com/?p=529
I wanted to really capture the idea of the past and

what is to come. Pieces of words and letters would
trail off the back of a single footstep impression as
well as something in front of the step as well. I was
also thinking of having a foot stepping out of the
impression.
17. The modern study of life started, one might argue, with Charles Darwin.
18. ...that all life is related by lineage, by flows of energy, and by cycles of water, carbon, nitrogen, and such; that
resources are finite, and creatures fragile. The institutions havent adjusted to new realizations about how we
can push the planets systems into dysfunction.
19. Though were fearless about revolutionizing technologies, we cling to concepts that no longer reflect realities.
Were incredible at solving puzzles, poor at solving problems. And if the whole human enterprise has one fatal
shortcoming, this is likely it.
19
20
PART THREE
PART FOUR
anda
re
duct of th
the p
of
.
duct of t
yw
st. Ever alk is a prod
u
p
h
oft
o
h p
a
e nt nda
th
pr s
en
ta
a
v ft
lk
wa a pr
od c
u
sa
oduct
od
ft
s tver
and
e se
y walk is a produc
t of
Ever
st.
t
nd a
the pr
esent a nd a relic o
f th
ep
a
rel
ic
present and a
th e p
rese nt a nd
he
of t
ct
sa
pro
ct
of t
he
pas
t. Ev
ery
walk
is a product of
o f the
o f the p
t of
walk
is a rodu
c
t. Every
f the pas
and a relic
o
of th e p r e s e n t
o d uc t
a pr
is
he p a s
of t
ic
th e p a s t .
li c o f
a re
nd
Ever
yw
alk
of th
ep
a pr
res
od uct
ci
is a pr
nt a
uct of th
k is a
rel
ct of the present and a r

eli
Ev
y wa

Long-tails. The morning light is falling across their pied
heads, putting a gleam on their whites and setting their pink
bill tips aglow. I swivel my gaze across the water, past several
Common Loons in their soft-gray winter pajamas. Red-breasted
Mergansers, heads war-bonneted with ragged crests, sit scattered
across the Sound. On the shore across the Cut, three Harbor Seals
are resting with their bodies gracefully bowed, heads and rear
flippers up off the sand, air-cooling themselves.
Their beauty alone is inspiring. But what in the journey of

their ancient lineage led one kind to develop a black-and-white
head, another a cap of ragged plumes? How does ones DNA
begin building a Bufflehead and anothers start assembling
a seal when cells are so similar? Each kind is an engraved
invitation posted on an unlocked door that opens to a mansion
bigger than human time. Step inside, and you can easily spend a
lifetime.
to wake up.
narrow bit of land with its neck stuck out. As Earth revolves
around that disk of sun, you can watch dawn and sunset migrate
across the horizon a little each day.
The rhythm of the year here beats to the pulse of a perpetual series
of migrations, rivers of life along the leaning line of coast. Fishes
and birds mainly, but also migrating butterflies, dragonflies,
more complex idea of what life does, what life is, of where life
begins and goes.
Time has been called an arrow, but here times directionality
assumes the circularity of the sky, the oceans horizon-in-theround. Circular time. This is perhaps time as an animal perceives
it, each day replayed with all the major elements the same and
every detail different. Its a pinwheel in which each petal creates
the one behind it, goes once around and then falls, as all petals
pro
ci of the
w al
ery
wa
d u ct of
Among the gifts of the sea is a wonderfully portable sense of
place. Portable because one ocean washes all shores. Like these
migrants themselves, my sense of home goes where they go.
coast of characters
w a l k is
p a st. E v e r
a lk
and
nt
y walk is a product o f the prese
Ever
Ever product of th e present and a relic of the past. rodu

y wa lk
p
is a
E ver
l k is a
y walk is a p
ar
a st
f the
p
pre
an
Eve
ry
and
past. Ev
er
is a product o
walk
f th
very
ep
f
st. E
r
lic o the pa
e
r
a
a prod
c
reli of th
ct
du
pro
oduct of t
se n
is a
of the p
t
re
is a
sent a relic of the past. Every walk is a product sent a
e
r
p
product of t he
nd
y
a r e li
c o f t h e p a s t. E v e r
walk
prese
n
nd a r
a relic of the pa
and
the
uct of the
t
en
res
ery
Ever
e pa
i
lk
wa
a rel
nd
of
ry
Eve
ast.
ep
f th
t an da reli
ic o
rel
prod
se
da
an
ent
pres
the
of
r
a p od
wal k
y
er
Ev
st.
eli c
is a product
walk
of
lk is a prod
y wa
u
ver
t. E
as
ep
ar
ery
. Ev
ft
E ve
the p
y lkis a prod uc f
w
o
h p t an
a
e
t of
ast
r eli cof
t
en
es
pr
st.
pr esn ta
duc
s ap
ct o
ast. E
th
eli
du ct of t
e past. E
f th
e li c o
pre s e n
p ro
alkis a
apr
ver y w
ry w
fthe
wa
er y l k
t. Ev
pas
the
t. E
t. E
ve
ry
uct
is
a
e li c of the past.
walk
ofth
ery
Ev
he
p
s t ver
ent a
nd a re
pr
od
uc
to
f
cto
lk is
wa
ry
a product
c
a reli
lk is a pr
pr
is a o
sa
roduct of the
lk is a p
wa
e se
ry
t and
ve
o
oduct
a pr
is
ey
a pr
od
u
t. E
theE
of
relic
pres
the pas t. Every w

alk i
s
n re
pr
very wa
f
lic o
a re
pr
e
t e
h E
c o a
ep
i
nt
r
lic hoe p
d as
a rel
pr
he
f e
ast
esent and
d
ta n
es
E
e v
y walk
er
pres
en
odu c of
lk
wa i
past. E
the
f the
nt
re e
ep
f th
ct o
y walk is
ver
o
d a relic f the past
. Eve
ry w
al
the
present and a re
lic o
f
th
a
pre sent
a product o
f
a r e ilc of
t of the
roduc
ar
nt and el ic of the past. Every walk is a p
rese
ep
h
t
f
s
lk i
ry w
Eve a
ar
f
lic o
es
nd
er k
a s t . E v w al
pr
ent
th e p
f th
d u c o f the
t
du
a
ent
er y walk
pr o
is a
ro
is
the p r e s e n t
. Ev y
er
o fth e past. E v
t. Every
pas
wa
ki
th e
li c
p rese
nt
an
d
a
v ery
ry
f the
a re
the
as t
ct of the
rodu
ta
nd
Eve
pre
se
nt a
t he
pr e s e
sa p
rodu
ct o
f
co
c to
ft
h
du
is
wa
lk i
ery
. Ev
ast
ep
Ev
er
y
e li
nt and
a
elic
al k
ap
of
ic
E v er y w
of
f th
ep
a
r e li c
rel
ic
and a
an
da
th
ic o f
si
pre se nt a n d a r e l
is a pr oduct of
E ver y w alk is a p
a reli c
E ve ry w alk
ast.
ipro
e se
pr
uct
rod
is
alk
du
a pro ct o f t h e
alk
rel
ap
of the
of th
e
and
Every walk is
p
relic of t h e
t
presen
pr
a
nd
c
reli
of the past.
E
21
t.
e present and
f th
to e
lic hoe p a s
odu c
alk i
yw
h E
a reli c op a
prese
er
t e
ent
es
da
e past. Ev
ry walk is a produ
ct o
. Eve
e pas t
f th
f th
e
co
eli
ar
pas
t. E
ve
nd
elic
ucto
rod f
d
an
ent a nd a r eic of the
heE
y walk
ver
e
uct
of
p res
st
the
pres ent
of
relic th
is a
t. E
re
y walk is
pre
sent and a
p as
he
walk is
walk is a
ry
o fth e
alk
v er y w p r d
Eve
ry
is a p
t and a
c
rodu t o
product
Ever y w
isa
c t of th
e p esent
and
r
a rel
ast. Eve
ep
th
elic of th
is a
lk
in abundance, and big. Every walk is a

product of the present and a relic of the
past. And on a very recent clamshell I
recognize the perfect, tiny borehole of the
predatory snail that was its assassin. Three
round, translucent pebbles catch my eye;
they fit snugly across my palm not
that I need more pebbles. Then
again, Isaac Newton himself
said, I do not know what I
may appear to the world,
but to myself I seem to have
been only like a boy playing
on the seashore and diverting
myself in now and then finding a
smoother pebble or a prettier shell
than ordinary, while the great ocean of
truth lay all undiscovered before me. Well,
duct of the present a

pro
nd
ta
nd
ent a n d a
a relic of th
ep
a
th
a l k is a
pres
nd
ent a
pres
Every
a
lk is
wa
he Eve
ry walk
prodA
he
uct of th
prod
e
rodAu
sent an
d ar
pre
the
ct of
du
ro
sa
alk
ry w is
sent a
ast. Eve
pre
ry walk i
ve
e pr
esent a
t.
pas
is a
e
e Ev
lci of t
h
a pro
is
PROJECT 4 Part 3: Sketched to Finished Illustrations
yw
22
5
Graphic Translation
Part One: Rendering of a chosen object 4 ways: realistic, outline, highlights/shadows, midpoint ranges
Part Two: Digital illustration for chosen object
Part Three: Digital illustration of an animal from Coast of Characters
Part Four: Insertion of illustration into chapter
23
24
PART ONE
25
PART TWO
26
PART THREE
PART FOUR
lk is a prod
y wa
u
ver
t. E
as
ep
th
pr s
en
ta
a
v ft
lk
wa a pr
od c
u
ic o
rel
ry
Eve
ast.
ep
f th
sa
ft
s tver
da
an
ent
pres
the
of
i
lk
wa
pr
od
uc
to
f
he
p
t
en
res
and
e se
duct of th
the p
of
.
anda
re
sa
y walk is a produc
t of
Ever
st.
t
oduct
duct of t
ct o
eli c
a pr
od
u
t. E
relic
pres
the pas t. Every w

alk i
s
f e
is
ey
pr
theE
of
very wa
f
lic o
a re
n re
nd a
od
eli
rel
ic
e l i c of the past.
walk
ofth
t. E
ve
ry
of the p
resent a nd a reli
c of
the
pa
of t
he
pas
t. Ev
ery
walk
is a product
apr
d
ta n
es
t e
r
lic hoe p
d as
e p
i
nt
pr
odu c of
lk
wa i
pr
he
h E
c o a
ast
esent and
th
o
. Every walk is a pro
h
h p
oft p st
du
a
e nt nda
r
f the
a r e ilc of
a rel
y walk
er
nd
pres
en
E
e v
ent a
ywa l k
Ever
ast.
ep
th
ent
y walk is
ver
f th
o
oduct
a pr
uct
du
past. E
the
c
a reli
ery
Ev
is a
nt
re e
ep
f th
ct o
a
lk is pr
nd a re
o fth e past. E v
f
lic o
es
a pro
is
pro
is a
present and a
the
present and a re
lic o
f
p rese
nt
an
da
he
of t
ct
ar
a product o
f
is
c to
f th
ery walk
pr o
ry w
Eve a
s
lk i
duct of the present a

pro
nd
pr
in abundance, and big. Every walk is a

product of the present and a relic of the
past. And on a very recent clamshell I
recognize the perfect, tiny borehole of the
predatory snail that was its assassin. Three
round, translucent pebbles catch my eye;
they fit snugly across my palm not
that I need more pebbles. Then
again, Isaac Newton himself
said, I do not know what I
may appear to the world,
but to myself I seem to have
been only like a boy playing
on the seashore and diverting
myself in now and then finding a
smoother pebble or a prettier shell
than ordinary, while the great ocean of
truth lay all undiscovered before me. Well,
he Eve
ry walk
prodA
a
lk is
wa
e pr
esent a
t
pas .
is a
lci of t
h
a relic of the pa
and
Among the gifts of the sea is a wonderfully portable sense of place.
Portable because one ocean washes all shores. Like these migrants
themselves, my sense of home goes where they go.
Long-tails. The morning light is falling across their pied heads,
putting a gleam on their whites and setting their pink bill tips aglow.
I swivel my gaze across the water, past several Common Loons in
their soft-gray winter pajamas. Red-breasted Mergansers, heads
war-bonneted with ragged crests, sit scattered across the Sound.
On the shore across the Cut, three Harbor Seals are resting with
their bodies gracefully bowed, heads and rear flippers up off the
sand, air-cooling themselves.
27
coast of characters
Their beauty alone is inspiring. But what in the journey of their

ancient lineage led one kind to develop a black-and-white head,
another a cap of ragged plumes? How does ones DNA begin
building a Bufflehead and anothers start assembling a seal when
cells are so similar? Each kind is an engraved invitation posted
on an unlocked door that opens to a mansion bigger than human
time. Step inside, and you can easily spend a lifetime.
to wake up.
narrow bit of land with its neck stuck out. As Earth revolves around
that disk of sun, you can watch dawn and sunset migrate across
the horizon a little each day.
The rhythm of the year here beats to the pulse of a perpetual
series of migrations, rivers of life along the leaning line of coast.
Fishes and birds mainly, but also migrating butterflies, dragonflies,
more complex idea of what life does, what life is,
of where life begins and goes.
Time has been called an arrow, but
here times directionality assumes
the circularity of the sky,
the oceans horizon-inthe-round.
Circular time. This is
perhaps time as
an animal perceives it, each day
replayed with all the
major elements the same and every detail different. Its a pinwheel
28
Title Pages, Table of Contents, Colophons

Part One: Research on colophons
Part Two: Research on title pages

Part Three: Research of table of contents
Part Four: Creation of a colophon, a title page, and table of contents for Coast of Characters
29
30
PART ONE
Project 6: Part 1 What is a Colophon?
A colophon is a brief description that states information about the publication of a
book, including the place of plublication, the name of the printer and publisher, and
the date of publication. It also might be pictorial or emblematic in nature, rather than
in words. A colophon is placed after the explicit, i.e. the end of the text, often after an
index. After 1500, this information was transferred over to be included on the title page
instead.
With the development of the private press movement around 1890, colophons became
conventional in private press books, including a good deal of additional information
on the book: statements of limitation, paper/ink/type/binding information, and other
technical details. Some such books include a separate Note about the type, which
idenitified the names of the primary typefaces used, with a brief description of the
types history and a brief statement about its most identifiable physical characteristics.
Some commercial publishers took up the use of colophons, and began to include
similar details in their books. These colophons identified the books designer, the
software used, the printing method, the printing company, the typeface(s) used in
the page design and the kind of ink, paper and its cotton content. Book publishers
Alfred A. Knopf, the Folio Society and OReilly Media are notable for their substantial
colophons.
I found it very interesting that 1) the term colophon is derived from the Latin and
Greek word meaning finishing touch or summit. 2) Naturally, they appear at the
end of the text, even though I would have though it would be at the beginningwhich
is where that information lies in its most common use on the title page. 3) The first
application of the term was to clay tablet inscriptions appended by a scribe to Ancient
Eastern texts such as books and manuscripts. Here, they contained information such
as the scribe, owner, or commissioner of the tablet, literary contents (title, repeated
phrases to help identify and organize the tablets, or number of lines), and occasion or
purpose of writing.
PART TWO
Project 6: Part 1 Analysis
This is from a yearbook, and I especially like

the use of type overlayed by the photographs.
The text is also very well placed, despite its
unusuality.
type: this information was not listed; sans serif
typeface, unsure of size (probably large given
the relativity to a large yearbook size), also
differs in size
other text elements: all lowercase, different
colors
spacing: flush left and flush right type,
different leading
placement: above image to the outer margin
(i.e. left page of the spread)
I really like that the emblem used at the bottom

is placed as if to finish off the shape. The use of
small caps throughout the entire text also lends
an old-English feel to the book.
type: Adobe Garamond (the history of
typeface is included), unsure of size (depends
on size of the paper)
other text elements: small caps
spacing: justified to the edge of the trapezoid
shape
placement: bottom center, takes up bottom half
of page
additional elements: emblem at bottom,
completing the shape
31
Project 6: Part 2 Analysis
Project 6: Part 2 Analysis (cont.)
I like this, as the rest of the ones I have chosen,

due to its use of white space and simple look.
This one also uses grey text instead of black
and a sans serif typeface, which I think is very
visually appealing.
I think the patterns in the opposite corners really

make this example successful, especially in
the grey color. I do think that the combination
of typefaces that were chosen were not
successful, however.
elements: title, subtitle including author,

publishing date/location
type: sans serif, possibly Futura (due to the
structure of the a), different weights and
sizes
spacing: flush left
placement: title (at top) and publisher info
lined up to grid, author info lined up to second
grid
elements: title, author, publisher/location

type: serif for title and publisher info, sans serif
for author
spacing: flush right for author and publisher
info, combination for title
placement: varies
additional elements: pattern in opposite
corners
I like this because of its placement of text and

white space. Though usually discouraged from
it, I think centerized text is successful here. I
also like the image and its chosen size, though I
believe the symbol and publisher info could be
smaller at the bottom (hierarchial reasons).
elements: title, author, publisher/location
type: sans serif, different weights and sizes
spacing: centerized
placement: most of the info is at the top
additional elements: image between title and
author, publisher symbol at bottom
I like this obviously because of the childhood

memories/nostalgia it recalls, however I think
white space is used successfully. The unique
typeface for the title is very nicely paired with
the serif typeface used in the rest of the title
page.
elements: title, author/illustrator, publisher
name and location
type: drawn title, serif for author/illustrator and
publisher
spacing: centerized
placement: the title makes the page a little top
heavy
additional elements: spider coming off the
drawn title
32
PART THREE
PART FOUR
1
This style has the page numbers

on the left and includes author
etc. underneath the article title. I
think the setup is very clean and
organized, and the reader can easily
find what they are looking for. The
layout is very much so that of a
magazine, separating the contents
into categories. I like this because it
reminds me of the Chronogram.
type: sans serif for the chapter/
authors, possibly Helvetica in
both bold and light styles, serif for
category/page numbers
spacing: flush left with page

numbers on the left side, gutters
between the columns could be
wider
This style has the page numbers

following the title on the right with
a brief description of the article
underneath the title. This, too, is
clearly from a magazine. I think the
descriptions under each title are
successful; especially some titles you
might not know what they are about.
Also A+ for handmade typography.
placement: 3 columns, indicative of

a large page size such as that of a
magazine
A Natural Year In An Unnatural World
type: sans serif for the titles/page

numbers/description, bold and
regular styles; handmade sans serif
font for title (TOC)
This style of TOC is definitely fit

for a book, giving emphasis to the
numbering of the chapters, and least
importance to the page it starts on,
indicated by its lack of its own grid. I
like the connecting line that extends
from the T through the bottom of the
page between the chapter numbers
and the titles.
type: same sans serif throughout;
bolded for header and different
sizes to indicate different types
(chapter numbers, chapter titles,
etc)
spacing: chapter numbers flush
right against vertical line and
chapter titles flush left against line
spacing: flush right with page

numbers on the right side, wide
kerning/leading to be seen on top
of background image
placement: placement on the right
side of the page assumably lead
to the flush right choice; it is smart
to place the TOC on the outer side
of the page, but I dont know how I
feel about the flush right text.
View
THE
FROM LAZY POINT
placement: assumably taking up

the entire page of the book
This style of TOC gives more

emphasis on the page number than
the title in terms of size. Though
the focus should be on the titles,
by doing so it leaves room for more
white space and in effect makes the
titles more visible, especially in the
different colors that they are.
type: serif for the titles, in different
colors; transitional serif(?) for the
page numbers and header
A Novel By Carl Safina

Author of Song for the Blue Ocean
MACMILLIAN 2011
spacing: flush left; the larger type

size of the numbers leaves for more
spacing in between the titles, which
gives more white space
placement: 2 columns; presents the
information in a clean manner
33
34
PART FOUR (cont.)

9
Table of Contents
1
5
9
23
30
43
61
81
95
111
142
155
183
195
220
231
248
261
279
301
318
329
347
359
379
383
35
Prelude
The View from Lazy Point
Coast of Characters
February
March: In Like a Lion
March: Out Like a Lamb
Travels Solar: Coral Gardens of Good and Evil Belize
and Bonaire
Farewell, Whole New Time
April
May
June
Travels Polar: Bear Witness Southeast Alaska
July
Travels Polar: Svalbard
August
Travels Polar: Baked Alaska
September
October
Travels Solar: Rainbows End Palau
November
December
Travels Polar: Copa Cabana Antarctica
January
uses the double-entry bookkeeping and accounting adopted in

thirteenth-century Venice, first written down in the 1400s by a
friend of Leonardo Da Vincis, the Franciscan monk Luca Pacioli.
His book Summa de Arithmetica established the concept that banks
main assets are other peoples debts and we know where thats
gotten us recently.
So our daily dealings are still heavily influenced by ideas that
were firmly set before anyone knew the world was round. In many
ways, they reflect how we understood the world when we didnt
understand the world at all.
Our economic, religious, and ethical institutions ride antique
notions too narrow to freight what weve learned about how life
works on our sparkle dot diamond dust in space. These institutions
resist change; to discoveries about how life operates. So they
havent assimilated the last centurys breakthroughs; that all life
is related by lineage, by flows of energy, and by cycles of water,
carbon, nitrogen, and such; that resources are finite, and creatures
fragile. The institutions havent adjusted to new realizations about
how we can push the planets systems into dysfunction.
the view from lazy
point is set in the classic

Times New Roman. This
book was orginally published
by Macmillian Publishers in 2011
and reprinted in 2012. Design and
artwork included by Christina Rose,
ARS205.01 Graphic Design student
at the State University of New
York at New Paltz in
March of 2015.
In important ways, they poorly correspond or respond to a

changing world. You wouldnt treat an illness by calling a medical
doctor from the Middle Ages, but we run the modern world with
only pre-modern comprehension. Old thinking prevails. In the
main, our philosophy of living, our religions, and our economics
simply dont have a way of saying, As we learn, so will we adjust.
Though were fearless about revolutionizing technologies, we
cling to concepts that no longer reflect realities. Were incredible
at solving puzzles, poor at solving problems. And if the whole
human enterprise has one fatal shortcoming, this is likely it.
References
Acknowledgments
Index
36
7
End Pages
Part One: Photographs relating to the text and associating color palettes
Part Two: Creation of our own color palettes
Part Three: Creation of pattern sheets: organic, geometric, and our own patterns
Part Four: Final end pages for the book A View From Lazy Point
37
38
PART ONE
PART TWO
2
As a new force of nature, humans are changing the

world at rates and scales previously matched mainly by
geological and cosmic forces like volcanoes...
On the shore across the Cut, three Harbor Seals are

resting with their bodies gracefully bowed...
The Sound reflects both the light of morning and the

calls of sea ducks.
...the United Nations expects the population to grow to

over nine billion people by the middle of this century.
Winter Time
Sunrise Over Water
Serene Lake
The opening paragraph of the text seemed to set the scene in a wintery, or end of winter, environment. I
couldnt imagine the lake sunny, despite the natural sunrise/sunset (as seen in the next palette). I think the
combination of blues and browns achieve this, because if it was all shades of blue, it would envoke a sadder
feeling and be more monochromatic, which I did not want. I dont think I would use this color scheme for the
end pages (though who knows) because of its otherwise lack-luster color selection, but if so, Im not sure
what the design would be as it doesnt lend itself to extreme variety or inversion of colors.
I was trying to evoke the colors of a sunrise (and/or sunset??) with the warm colors of the sun contrasting
against the color blues and midnight purples of the sky. In the text, Carl Safina discusses the sunset on at
least one occassion, and given the chapter title and his frequent discussion of lake animals (ducks, etc) I
imagine the sun setting over the lake. Im not sure how I will approach the end pages, but I think I will utilize
the complementary colors, using one side of the spectrum as that which stands out on the front, and vice
versa.
For my third color palette, I debated between beach colors and that of the water. However I feel with both
of these options didnt seem to connect to the text or bring much variety. I think the color palette of the lake
gives a nice aesthetic, displaying both the colors of the water and the algae of the lake (despite it lying all on
the same side of the color wheel - greens and blues). I think if I were to use this as a final, I would combine
the sunrise and lake to provide a better use of complementary colors.
Roughly 40 percent of tropical coral reefs are rapidly

deteriorating...
Every walk is a product of the present and a relic of the

past.
8
39
The sun here comes out of the sea and returns to the
sea.
Almost all of it comes streaming to the treasury in gold

bars of sunlight...
On a coast ruled by a wandering sun and twelve

moons that pull the tides like the reins on a horse...
10
Portable because one ocean washes all shores.
40
PART THREE
41
1 Organic
2 Organic
3 Organic
4 Organic
5 Geometric
6 Geometric
I like this scalloped shape of the design I found. I created the outline of
the image and just set it in grey and
white to give a nice pattern. I will probably explore this in my create-your-own
design.
I describe this design as organic

because even though it can be made
into a geometric shape, the painterly
nature of the watercolor strokes and
zig-zag striped design separate it from
the aesthetic of rigid geometric lines.
I really liked the sketchiness to this

design (as you can tell from example
#2, I like the hand-made aspect to patterns). At first, I couldnt tell which one
I liked more when two layer came off
of the image. But I think side-by-side
works successfully as well.
I like the original design but I didnt

know how to play with it/there were too
many options to settle on just one, so I
left it in its most basic form.
I really like the original design and I

like what happened to it with image
trace. Though some sections of the
pattern was deleted, it is still repetitive
and leaves a nice aesthetic.
The pattern is made so that if another row is added below what is shown
above the dark to light to dark range
remains. The color acts with its complementary.
42
PART THREE (cont.)
43
7 Geometric
8 Geometric
9 My Designs
10 My Designs
11 My Designs
12 My Designs
A pattern can be achieved just with

straight lines, and I tried exploring that
here. I envokes a barcode, however
this is not necessarily a bad thing, especially depending on your context.
The pattern I found is beautiful; it is

made up of hexagons and it seems
almost as if the colors were chosen
by pixelating an image. I used the
general form of columns of hexagons
above.
I think this design is very playful. A lot can be done with it in terms of colors and sizes, outlined or filled-in.
I really wanted to make my own scalloped pattern. Using the monochromatic color scheme of pattern #6, following an almost Pantone-type aesthetic, I colored the scallops. I know it was said you shouldnt go that light
in value at the bottom, but I like that it fades into the background.
I think making a paint splatter into a repeating pattern is interesting due

to the uniqueness of splatters, etc. I thought about collaging together the
one splatter, however there is a certain dialogue that they are being lined
up in perfect columns and rows; it is bringing order to something that is
meant to be a mess.
I really love tribal/Aztec patterns, both for their combinations of color and
geometric shapes. Though I did not design this pattern, I recreated it using the pen tool and shapes (like the Pen Tool Exercise) with the original
image on a different layer. The possible fill colors are also endless.
44
PART FOUR
45
46
8
Book Covers
Part One: Analysis of book covers
Part Two: Group project comparing two book covers

Part Three: Development of a book cover for A View From Lazy Point
Part Four: Digital sketches for the book cover
Part Five: Final book cover and spine
47
48
hints at the life she leads. This illustration relies on concentrated line work and negative space. They both
create a diagonal across the page that brings your eye throughout the whole cover. The solid color of the
ship ties in with the title to give the design some simplicity.
There are two different type faces used. Size is used to indicate the hierarchy of the title author and subtitle.
The title is more illustrative and feels part of the design on the cover. The sub title and author have a
simple text that does not interfere with the design.
The design is very effective. There is a lot of negative space on the top outlining the ship and figure which
makes the illustration pop. The shape of the ship and the head brings your eye clockwise around the image.
PART ONE
The cover relates to the content of the book because it addresses the characters personal relationships
with the ocean and deals with redefining ones self and overcoming personal struggles.
PART TWO
Alices Adventures in Wonderland by Lewis Carroll

Book Cover Designer: Joseph Pielichaty
The imagery used relates to the book because it represents the rabbit hole that Alice falls into. This cover
is not an illustration. The cover uses a photograph of a wooden hole.
The cover uses one serif typeface with an illustrative A. The hierarchy is defined by the size of the type.
The type is in all caps and is a shade of brown which is also in the photograph.
The layout is centered vertically but not horizontally. This design is very effective. The color palette is
minimalist and uses different brown tones. The palette and simplicity of the layout brings your eye from
the title down to the authors name.
The design relates to the content of the book because it represents the pivotal point when Alice falls into
the rabbit hole and her whole journey begins.
The center composition and simplicity works well. They could have used a more accurate representation
of the book.
simple this cover is while also relating

1 Itolikethehow
book in its imagery. The cover is basically
made up of two areas of color [one of white and

one of a gradient of blue to brown to symbolize
the ocean] and one word [JAWS]. However,
the clever use of the cropped/stand-alone text of
the top of the A describes the book without using excessive imagery of a shark and ocean. It
would be interesting to determine what element
of Carl Safinas story could be used in a clever
way such as this.
49
Compare and Contrast

One cover is an illustration and the other uses a photograph. One has a centered composition
and one does not. One has the title positioned on the top but one has the author listed
first. The She Rises design gives information about the book without having read it. The
imagery gives off various feelings. Alices Adventure in Wonderland uses imagery that
would be hard to understand the meaning unless already knowing the story. One book
uses a cool color palette and the other uses a warm.
Both covers use a serif font and both use size for hierarchy. They both use minimalist
color palettes and use illustrative type to express movement. They both use negative space
in a successful way.
like the cut paper look to this cover. It is very

2 Idifferent
from the classic/other versions of this
book. I am very drawn to this style and this process of making art as well. It goes well with the
nature of the book, which deals with the human
mind. The blue strips look like nerves of the
brain. If I was able to do a collage/paper cutout
for a book cover I would do something like this,
as I have done projects resembling this design.
Additionally, the color blue contrasts nicely with
the orange present in the Penguin Books logo,
as small as it is. The background calls to mind a
paper bag, similar to the paper on top of it.
50
PART THREE
ducks:
ripples:
Collected Images:
seagulls:
groups of birds:
Collected Images:
(I know these are wedding books):
A View
from Lazy Point
other tree imagery:
I was also inspired by To Kill A Mockingbird covers:
nature and human dignity require each other. The View

from Lazy Point follows the arc of the seasons from
Carl Safinas home waters of eastern Long Island to
far horizons of the globe, from the Arctic to Antarctica
and across the tropics. We encounter bears, Eskimos,
salmon, penguins, corals, tropical fishes, local villagers-. We see a world brimming with vitality, but
changing, with much at stake.
Why do our institutions fail to sense the dangers? Safina shows how philosophy, religion, and economics-all
developed before we knew the world was round-are
so out of sync with scientific realities that theyre
essentially irrational.
Single bird silhouette:
images for the top of the page (bled off):
In this intertwined story, Carl Safina shows us that
But in the cycle of seasons and the waves of migrating

fishes and birds, Carl Safina still finds solace and delight and the power and resilience of living things. As
revealed by Safina, the world still sings. The challenge
now: to keep the music alive, for those wholl follow.
You could call Safina a Thoreau for the twenty-first

Century. The New York Post
FROM LAZY POINT
Collected Images:
Concept #3: Taking from the last example for concept #2, Im exploring just trees/
leaves. I really like how the designer of this cover of To Kill A Mockingbird handled
the leaves below. I think trees are a perfect aesthetic for this book.
View
Concept #1: Ducks swimming across the bottom of the page, with the background of
the page symbolic of the water. Ripples will be present around the ducks. At the top of
the page to create balance, will be hint of overlanging leaves, etc. No text will be present on the cover, only the spine.
Concept #2: I think birds (not ducks but maybe seagulls or ordinary birds) would also
be good imagery to represent Safinas book. Below is a rough interpretation of the cover with a single seagull.
Cover Design by:

Christina Rose
MacMillian Publishing
2015
51
THE
View
View
FROM LAZY POINT

A Natural Year In
An Unnatural World
THE
FROM LAZY POINT
THE
Project 8: Part 3 Tactile Research
PART FOUR
Carl Safina
Safina
52
But in the cycle of seasons and the waves of migrating

fishes and birds, Carl Safina still finds solace and delight and the power and resilience of living things. As
revealed by Safina, the world still sings. The challenge
now: to keep the music alive, for those wholl follow.
Carl Safina
Cover Design by:
Christina Rose
53
Why do our institutions fail to sense the dangers? Safina

shows how philosophy, religion, and economicsall developed
before we knew the world was roundare so out of sync with
scientific realities that theyre essentially irrational.
But in the cycle of seasons and the waves of migrating fishes
and birds, Carl Safina still finds solace and delight and the
power and resilience of living things. As revealed by Safina,
the world still sings. The challenge now: to keep the music
alive, for those wholl follow.

century. the new york post

Century. The New York Post
MacMillian Publishing
2015
Carl Safina shows us that

nature and human dignity require each other. The View from
Lazy PoinT follows the arc of the seasons from Carl Safinas
home waters of eastern Long Island to far horizons of the
globe, from the Arctic to Antarctica and across the tropics. We
encounter bears, Eskimos, salmon, penguins, corals, tropical
fishes, local villagers. We see a world brimming with vitality,
but changing, with much at stake.
View
View
THE
View FROM LAZY POINT
Why do our institutions fail to sense the dangers? Safina shows how philosophy, religion, and economics-all
developed before we knew the world was round-are
so out of sync with scientific realities that theyre
essentially irrational.
View
THE
FROM LAZY POINT
In this intertwined story,
THE
nature and human dignity require each other. The View

from Lazy Point follows the arc of the seasons from
Carl Safinas home waters of eastern Long Island to
far horizons of the globe, from the Arctic to Antarctica
and across the tropics. We encounter bears, Eskimos,
salmon, penguins, corals, tropical fishes, local villagers-. We see a world brimming with vitality, but
changing, with much at stake.
PART FIVE
THE
In this intertwined story, Carl Safina shows us that
View FROM LAZY POINT
PART FOUR (cont.)
FROM LAZY POINT
THE
FROM LAZY POINT
Carl Safina
US $14.99/CAN $19.99
Cover Design by: Christina Rose
Safina
MacMillian Publishers Ltd.

www.macmillan.com
Printed in the U.S.A.
Safina
54
9
Other Exercises
Typeface Terminology Worksheet
55
Helvetica the Movie Analysis
Kerning Exercise
Pen-Tool Exercise in Illustrator
John McWade Assignment
Exercises for Table of Contents and Colophons
Golden Rectangle Exercise
SkillShare Pattern Exercise
56
TYPEFACE TERMINOLOGY
57
58
KERNING EXERCISE
JOHN MCWADE
Before & After: Things Every Designer Should Know
John McWade shares his theories on graphic design in his video set Before and
After: Things Every Designer Should Know. The first point I found interesting was in
his first section entitled Know Your Story. As an aspiring graphic designer, I will be
working with clients who all have their own preferences in color, layout, etc. To avoid
the nit-picking critiques of could you make that a different shade of green or could
you move this thing over here, McWade says to have a creative brief, asking instead the question of does this design fulfill the goal? This then allows the graphic
designer to do his job and the client to be able to correctly communicate his vision in
his own workplace. I now know how to handle these situations that will be happening
very regularly in my future career.
Another point he made was in regard to business cards and logos. Using an example of a local business using an acronym as a logo/on their card, McWade explained
that acronyms need explanation and thus creates distance with the client. This is not
a good idea for a local business. As someone wishing to go into package and logo
design, this is definitely something to keep in mind. An additional point, especially
beneficial to art students like us, is to put your own craft on your card if thats the story
you want to tell. This is useful information for anyone starting up a business and trying
to define themselves. At this particular moment it is very helpful for me as I design a
business card and think about how I want to represent myself to my future clients.
McWade goes on to describe ways to get the most effective and visually pleasing
design. This includes having a focal point, utilizing white space, unblocking elements,
setting type bolding, and using color correctly. He shows each point he makes by
taking poorly designed advertisements, magazine covers, etc. and recreating them.
One particular thing that I never thought of before is the blocking effect caused by
capitalized or justified text or outlined photos. Being more organic with your typography and removing the frame in which the image sits gives a more visually appealing
composition. As someone who is just learning the particulars of graphic design, his
video was very helpful and something I will definitely refer to when approaching future
projects in this class and in the real world.
Christina Rose
59
60
GOLDEN RECTANGLE
THE FOUNDATION OF A STELLAR PIE is an excellent crust. At Thanksgiving,
expectations run especially high. Thats why weve created this foolproof
THE FOUNDATION OF A STELLAR PIE is an excellent crust. At Thanksgiving,

expectations run especially high. Thats why weve created this foolproof
guide for every baker. If the thought of using a rolling pin makes you anxious,
try our easy press-in pie crust. If youre practiced but not a pro, try our
guide for every baker. If the thought of using a rolling pin makes you anxious,
try our easy press-in pie crust. If youre practiced but not a pro, try our
intermediate version, made with wonderfully forgiving dough. And if youd

really like to impress, go for our advanced pie, topped with decorative
pastry cutouts. Theres something here for all levelsand all appetites.
intermediate version, made with wonderfully forgiving dough. And if youd

really like to impress, go for our advanced pie, topped with decorative
pastry cutouts. Theres something here for all levelsand all appetites.
PIE
PIE
PHOTOGRAPHS BY CHRISTOPHER BAKER

TEXT BY MELISSA CLARK
PHOTOGRAPHS BY CHRISTOPHER BAKER

TEXT BY MELISSA CLARK
Our satiny, fragrant pumpkin
filling finds a perfect partner
in this sweet shortbread
crust, which is easy to make.
Because the dough isnt
rolled out, you dont need
a rolling pinjust a mixing
bowl and a spoon. Press the
buttery crumbs evenly into
a pie pan, and then bake the
dough briefly before adding
the custardly pumpkin filling.
The finished crust is crisp,
cookielike , and sophisticated.
61
Our satiny, fragrant pumpkin

filling finds a perfect partner
in this sweet shortbread
crust, which is easy to make.
Because the dough isnt
rolled out, you dont need
a rolling pinjust a mixing
bowl and a spoon. Press the
buttery crumbs evenly into
a pie pan, and then bake the
dough briefly before adding
the custardly pumpkin filling.
The finished crust is crisp,
cookielike , and sophisticated.
62
63
I appreciated learning about the history of the typeface Helvetica in the 2007 film by
director Gary Hustwit. I had previously researched it when doing a section of our third
project; however, I still found I learned quite a lot from this film. I was interesting to learn
that Helvetica came out of a need to redesign in the spirit of idealism following the Second World War. Wim Crouwel described the process as doing away with the manual
details, to create something that would be neutral so as to not contribute a meaning to
the product, etc. that it was being associated with. This is very important when creating
your corporate identity and generating your company culture to your consumers, not just
a typeface. Tobias Frere-Jones stated the following: I think even if theyre not consciously aware of the typeface theyre reading, theyll certainly be affected by it, the same way
that an actor thats miscast in a role will affect someones experience of a movie or play
that theyre watching.
As the film progressed and multiple examples were shown I was amazed in how many
logos use the typeface of HelveticaBMW, Target, Crate & Barrel, Sears, the list goes
on. You dont realize at first glance, however, because each company personalizes it a
bit to make it their own; for example, Staples adds the staple-like extension on the letter
L and Sears with the white stripe through the middle of the letter. It is interesting (as I
looked up images of the logo) that Sears actually has modernized it a bit by switching
to a light style of the typeface as opposed to its previously black style. The film actually
states that American Airlines is the only company that has not updated their logo in forty
years. There is no doubt that this class has made me more aware of logos and signs and
their use of typefaces, and viewing this film has made me realize that most of them use
Helvetica.
What I found the most interesting was the comment made when speaking of how the
typeface was designed. It was explained that the Swiss paid more attention to the space
that holds the letters in place and a successful typeface is that which creates successful interrelationships between the negative spaces. Vignelli described typography as the
space between the black, like music is the space between the notes. I thought this was
a very interesting way of looking at how type sits on a page. With this in mind, is how I
went about designing the layout of this page, making the body text, set in Helvetica (of
course) white on a black background, to emphasis the importance of the negative/white
spacein this case black space.
The designer Matthew Carter also shared how to determine if a letter is sans serif or serif
and how to analyze the letters to help determine typefaces. I found this particularly useful
as a graphic design student; our magazine recreation exercise particularly stood out to
me as being a good situation in which this information would be useful, as I didnt know
which letter to compare the different styles to when trying to determine which typeface
was in the original spread. Not many people realize how much work goes into typography, and this movie fueled my appreciation. Unfortunately there will always be those who
dislike something, and Helvetica is no different. As a fan of the typeface myself, I have to
disagree with those who dislike Helvetica and their assertions against it. However whether you love it or hate it, Helvetica is unavoidable.
Everything I learned in this film will stay with me, as all of the points made and discussed
are important to keep in mind as I enter into the world of graphic design and advertising.
The life of a designer is a life of fight.

Fight against the ugliness.
-Massimo Vignelli
HELVETICA
HELVETICA
HELVETICA THE MOVIE
PEN-TOOL EXERCISE
I appreciated learning about the history of the typeface Helvetica in the 2007 film by
director Gary Hustwit. I had previously researched it when doing a section of our third
project; however, I still found I learned quite a lot from this film. I was interesting to learn
that Helvetica came out of a need to redesign in the spirit of idealism following the Second World War. Wim Crouwel described the process as doing away with the manual
details, to create something that would be neutral so as to not contribute a meaning
to the product, etc. that it was being associated with. This is very important when creating your corporate identity and generating your company culture to your consumers,
not just a typeface. Tobias Frere-Jones stated the following: I think even if theyre not
consciously aware of the typeface theyre reading, theyll certainly be affected by it,
the same way that an actor thats miscast in a role will affect someones experience of
a movie or play that theyre watching.
As the film progressed and multiple examples were shown I was amazed in how many
logos use the typeface of HelveticaBMW, Target, Crate & Barrel, Sears, the list goes
on. You dont realize at first glance, however, because each company personalizes it a
bit to make it their own; for example, Staples adds the staple-like extension on the letter
L and Sears with the white stripe through the middle of the letter. It is interesting (as I
looked up images of the logo) that Sears actually has modernized it a bit by switching
to a light style of the typeface as opposed to its previously black style. The film actually
states that American Airlines is the only company that has not updated their logo in
forty years. There is no doubt that this class has made me more aware of logos and
signs and their use of typefaces, and viewing this film has made me realize that most
of them use Helvetica.
What I found the most interesting was the comment made when speaking of how the
typeface was designed. It was explained that the Swiss paid more attention to the
space that holds the letters in place and a successful typeface is that which creates
successful interrelationships between the negative spaces. Vignelli described typography as the space between the black, like music is the space between the notes. I
thought this was a very interesting way of looking at how type sits on a page. With this
in mind, is how I went about designing the layout of this page, making the body text,
set in Helvetica (of course) white on a black background, to emphasis the importance
of the negative/white spacein this case black space.
The designer Matthew Carter also shared how to determine if a letter is sans serif or
serif and how to analyze the letters to help determine typefaces. I found this particularly useful as a graphic design student; our magazine recreation exercise particularly
stood out to me as being a good situation in which this information would be useful, as
I didnt know which letter to compare the different styles to when trying to determine
which typeface was in the original spread. Not many people realize how much work
goes into typography, and this movie fueled my appreciation. Unfortunately there will
always be those who dislike something, and Helvetica is no different. As a fan of the
typeface myself, I have to disagree with those who dislike Helvetica and their assertions against it. However whether you love it or hate it, Helvetica is unavoidable.
Everything I learned in this film will stay with me, as all of the points made and discussed are important to keep in mind as I enter into the world of graphic design and
advertising.
The life of a designer is a life of fight.

Fight against the ugliness.
-Massimo Vignelli
64
TABLE OF CONTENTS
COLOPHON
Gershons Guide to Growing a Greener Garden

Household Plants 2
Edible Plants
Herbs 4
Flowers
Decorative Plants
Bonsai
Cactus 9
Trees
Outdoor Plants 10
Growing in Pots 11
Drainage 12
Soil 12
Plant Food 13
Creating a Garden 14
Choosing a Bed 15
Carl Safina takes us on a tour of

the natural world in a view from lazy
point. Over the course of a year spent both at
his home on the shore of eastern Long Island and on
his travels to the four points of the compass, he witnesses
a natural year in an unnatural world. Safina shows how
the problems of the environment are linked to questions of
social justice and the politics of greed, and in asking difficult
questions about our finite world, his answers provide hope.
This book was published by Random House Publishing.
The body copy is set in Times New Roman and is offset
by the unusual san serif typeface of Devanagari Sangam. Design and original artwork is by Christina
Rose. Printed on Glama Natural Opaline 40
lb by Hudson City Paper Company.
Edible Plants 16
Protection
17
Common Issues 19
Soil 20
Soil Chemistry
21
Plant Food 22
Pests 23
Birds
24
Insects 25
Deer 26
Glossary 27
Works Cited 30
Index 35
65
66
SKILLSHARE EXERCISE
SkillShare
I was very interested in learning, though only mentioned briefly, of how to create
a pattern that looks randomly thrown on a page, but in an orderly fashion. I had
trouble doing this (and every time I go to create a polka-dot pattern in fact) and
the answer is actually simple! Jenna Frye showed the placement of an object
in a Sudoku type form, where in every row and column, the object only appears
once. With this knowledge, I used a part of a pattern from part 3 of project 7 that
I was struggling to place within a square and make look good when the square
was repeated, and placed it in a pattern using a 6x6 square.
67
Christina Rose
Digital Portfolio
2015

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2015

Project 1: Typography and Letter Spacing.........................................2

Paul Renner was a graphic designer,

Artist reports by: Christina Rose

THE LION KING

DeLange, Logan. Paul Renner. Accessed January 22, 2015.

Part One: Analysis of page layouts

The Sorrows of Young Werther by Johann Wolfgang Von Goethe

whats not working:

whats not working:

Grays Anatomy: The Classic Collectors Edition

whats not working:

Methods of Page Construction

Van de Graaf Method

Methods of Page Construction

Methods of Page Construction

The Golden Section

page dimensions: 9.125x5.75

The Industrial Design Reader by Carma Gorman

whats not working:

page dimensions: 7.75x5

page dimensions: 9x6

PART TWO (cont.)

Typeface Research Times New Roman

Helvetica is a sans serif typeface developed in 1957 by

Typeface Research Baskerville

Typeface Research PNM Caecilia

Typeface Research Georgia

Baskerville is a transitional serif typeface designed in 1757 by

Georgia is a transitional serif typeface designed in 1993 by Matthew

Typeface Research Additional Thoughts

Typeface For My Book Design:

Family Classifications of Type. Graphic Design. Accessed February 10, 2015.

the view of lazy point

abundance, and big. Every walk is a product of the present and a

Mysteries notwithstanding, this daily morning walk is how I

Expressive Type Illustration

PROJECT 4 Part 1: Research + Analysis

PROJECT 4 Part 1: Research + Analysis

B Expressive Typography Research (cont.)

C Chosen Sentence Interpretation Sketches

2. Every walk is a product of the present and a relic of the past.

Every walk is a product of the present and a relic of the past.

I would treat this image

I like this angle of this so I would make

I wanted to really capture the idea of the past and

ct of the present and a r

Scanning with binoculars, I locate those elegantly streamered

Their beauty alone is inspiring. But what in the journey of

Ever product of th e present and a relic of the past. rodu

the pas t. Every w

ent a nd a r eic of the

in abundance, and big. Every walk is a

duct of the present a

PROJECT 4 Part 3: Sketched to Finished Illustrations

the pas t. Every w

duct of the present a

in abundance, and big. Every walk is a

Their beauty alone is inspiring. But what in the journey of their

Title Pages, Table of Contents, Colophons

Part Two: Research on title pages

This is from a yearbook, and I especially like

I really like that the emblem used at the bottom

Project 6: Part 2 Analysis