Wood &Chipboard Accordion by Jamie Turpin

[experimental panel design] jamie turpin . wood + chipboard accordion . portfolio design

[table of contents] discover . design . construct

start [begin here]

1 3 5

establish

[.01 to .04]

define problem research

design

[.22 to .36]

submittal

[.45 to .49]

define concepts studies feedback

2 4

schematic

[.05 to .21]

construct

[.37 to .44]

brainstorming inspiration thumbnails

digital development feedback mock up + analysis

accomplishment

final design execution final prints + images

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Jamie Turpin . Wood + Chipboard Design . Portfolio Design

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[establish]

define problem . creative brief

Experimental Accordion

Target Audience

Course : GRDS 709 – OL Professor : Merrick Henry Quarter : Winter 2011

Location : Urban Setting Age Group : 20 – 65 Sex : Male + Female

Professor’s Objectives

developed into my studies on color, typography and materials that were incorporated into digital design drawings. The detail level for the digital designs exploit and illustrate the placements for the display, primary and secondary type along with visually forming the grid structure for each design layout. The typography and colors were selected during the studies are illustrated on the digital design drawings to form an overall visual aesthetic of each composition.

The project’s challenge is to exploit my knowledge that I gained during my 709 Typography Studio 1 during the Winter 2011 quarter. To begin, I selected the article “Graphic Design Theory?” written by Professor Helen Armstrong to articulate my project. Before I moved forward with the project, I contacted Helen Armstrong asking her approval for me to utilize her article. In return, I read and analyzed the copy and created an outline that generated a list of different hierarchy ideas. My design goal for this project is to integrate word and image that strikes a balance between typography legibility and the need for self expression without copying an existing style of Neville Brody, April Greiman, or David Carson. I also wanted the final design to exemplify simplicity and expressiveness in an interactive form for the target audience. The next steps of my design process are to research and study the experimental typography styles of Neville Brody, April Greiman, and David Carson. These graphic designers have really left a statement in the history of graphic design and it is an honor to study their style for this project. Next, I researched experimental typography style in greater detail and gathered further inspirational images that support experimental typography layouts, type on booklet and panel designs and type on textured materials. From all of the inspiration images that I accumulated, I was able to take the brainstorming list of ideas and form thumbnail creations and sketches. For my schematic phase, I selected about 10 thumbnails and transformed the sketches into detailed conceptual drawings that exemplified my thoughts behind the design. My conceptual designs were

Also, for the construct phase, I printed out the compositions and provided a further analysis on each accordion design to verify that the executions were in sync with the initial concepts, were exploited at a superior detail level, and created a universal interaction piece for the target audience.

yellow support my design intention of simplicity while creating a rich color experience for the end user. The accordion composition is printed on cherry wood veneer that’s intertwined with chipboard to create a layer effect that articulates the theory behind the design while expressing the body of the article “Graphic Design Theory?” Overall, my design intent is to provide a continuous uniform flow from Armstrong’s article to the accordion design. The overall design exemplifies a unique take on the article by creating visual dirt on type, number hierarchy, and grid structure that speaks a nice consistent rhythm from each panel design.

After my analysis revisions were noted, I began executing my final design that spoke a sincere personality and reflected some of my inspiration that gathered during my schematic phase.

Design Outcome

My final design achieves my design goal and objective of simplicity integrated with expressiveness which provides the message to be viewed as legible and interesting while the target audience is interacting with the final piece. The overall design layout intermingles from a rotated grid to a horizontal grid that is exemplified from panel to panel. The overall aesthetic feel of the piece is geometric in shape with an organic feel that is created in a raw natural material. I decided to intertwine the rockwell type family with century schoolbook to balance a slab serif with a sans serif. The complementary color palette of red, blue, gray, and

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[establish] research . the approval

I contacted author, Helen Armstrong through LinkedIn to ask permission to use her article â&#x20AC;&#x153;Graphic Design Theory?â&#x20AC;? for the course project.

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[establish] reserch . selected article

By Helen Armstrong

Graphic Design Theory? aiga.org | September 29, 2009

About the Author

Helen Armstrong is the creative director of Strong Design and an assistant professor of graphic design at Miami University. Her design work for such clients as Sage College of Albany, US Internetworking and New College of Florida has won regional and international awards. Such work has been included in numerous publications in the United States and the United Kingdom, including HOW International Design Annual, The Complete Typographer, The Typography Workbook and Design Elements. Her first book, Graphic Design Theory: Readings from the Field, came out in Spring 2009.

Graphic design has often looked to architecture as an intellectual model. We long to infuse our work with the same kind of dense theoretical knowledge and the same kind of broad ranging, legendary critiques. But we’re not architects. We’re graphic designers. Our role is less defined. We cross between print and web, 2-D and 3-D. Our work is easier to produce and more ephemeral. This fluidity, coupled with a discipline wide pragmatic streak, makes it difficult to establish a defined body of graphic design theory.

Through my research I work to emphasize the value of our own theoretical base and inspire others to read and write more. Working on a recent book project got me thinking about a range of issues that face the profession today. Theory can help us address them. Cranbrook poster by Katherine McCoy and book spread by Laszlo Moholy-Nagy and Ellen Lupton.

Graphic designers have written about the ideas behind their work since the inception of the profession. Consider F. T. Marinetti, László Moholy-Nagy, Herbert Bayer, Josef Müller-Brockman, Karl Gerstner, Katherine McCoy, Jan van Toorn and, more recently, Jessica Helfand, Dmitri Siege and Kenya Hara. This body of work is small compared to architecture and fine arts, but it is passionate and smart.

[Clockwise from left] Katherine McCoy’s “See Read” poster for Cranbrook Graduate Design, 1989, a photographic collage of recent graduate student work overlaid by a list of possibly opposing design values and a diagram of communication theories a model for how deconstruction and structuralist post structuralist literary theories might be applied to graphic design’s visual and verbal processes; a spread from László Moholy Nagy’s Malerei, Photographie, Film (Painting, Photography, Film), 1925; spread from Graphic Design: The New Basics (New York: Princeton Architectural Press, 2008), written and designed by Ellen Lupton and Jennifer Cole Phillips, in which Lupton explores emerging universals within the practice of graphic design, including newly relevant concepts like transparency and layering.

Texts about graphic design fall under different categories of “theory.” Some analyze the process of making. Think Bauhaus experiments, methodologies that fall under the umbrella of International Typographic Style, and contemporary explorations labeled “design research.” Some texts examine the ideas behind the visual work. Authors “read” designs or design texts and put them into a wider historical/cultural context. And some apply outside theoretical discourses to the field of graphic design deconstruction, semiotics, gender studies.

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[establish] reserch . selected article

Design Increasingly Lives In the Actions of its Users

Think Flicker, Facebook, Etsy, Lulu, Threadless and the multitude of blogs. Users approach software and the web with the expectation of filling in their own content shaping their own visual identities often with guidance from prepackaged forms. Dmitri Siegel calls this phenomen “the templated mind.” Designers are grappling with their own place in this DIY phenomenon. Creativity is no longer the sole territory of a separate “creative class.” Designers can lead this new participatory culture by developing frameworks that enable others to create; doing so, however, means allowing our once-specialized skills to become more widespread and accessible. That transfer knowledge is threatening to some, liberating to others.

Technology Alters our Aesthetics Even as We Struggle Against It

We Should Encourage Collaboration and Communal Experience

Designers everywhere strive to create unique visual voices despite the prevalence of stock photography and the monolithic hold of Adobe Creative Suite. Simultaneously, as noted by design and media critic Lev Manovich, specific techniques, artistic languages, and vocabularies previously isolated within individual professions are being imported and exported across software applications and professions. This new common language of hybridity and “remixability,” through which most visual artists now work, is unlike anything seen before. Technology has irreversibly changed our sense of aesthetics, giving us both more power and less.

What’s the good of multi-touch technology if we don’t want to sit down together? Collaboration and community fuel world changing design solutions. Despite our connections online, many people are experiencing a growing sense of personal isolation. How can we, as designers, combat that isolation with projects that foster community? Media activist Kalle Lasn has warned designers: “We have lost our plot. Our story line. We have lost our soul.” Producing work that fosters real connections may be one way of getting that soul back. Jamie Turpin . Wood + Chipboard Design . Portfolio Design

We All Write More Today than We did 15 Years Ago

Blogs, emails, Twitter – we communicate with many more people through text than through speech. If grammar imparts order and structure to our thoughts, then this increase in writing brings value to our society and our discipline. Design authorship, an issue debated by influential figures like Michael Rock, Ellen Lupton and Jessica Helfand over the course of the last decade, foregrounds the active relationship between text and image and between a discipline and its discourse. The expansion of written communication makes possible thoughtful contributions to the larger discourse of design by a wider slice of the graphic design population.

The Central Metaphor of Our Current Society Is the Network

Even if we don’t all understand the computer codes that run the back end of our digital age, we can comprehend the networked structure of our day and design to meet it. Avant-garde artists at the beginning of the last century, including F. T. Marinetti, László Moholy Nagy and Aleksandr Rodchenko, were adept at activating their own networks: newspapers, magazines, lectures and written correspondence. Recently, I heard lectures by Emily Pilloton of Project H and Cameron Sinclair of Architecture for Humanity, two young designers who are creating opportunities, locally and around the world, for designers to improve basic human living conditions. The connectivity of the web is critical to their success. Efficient networks for spreading change and prosperity are already in place. We just have to grasp them. Designers in the early 20th century rose to the challenges of their societies. We too can take on the complexities of our time, the rising millennium. Delving into our theoretical base equips us to address critical material problems in the world and our discipline.

My Interpretation of the Article

I found this article while searching AIGA’s web; the article is written by Helen Armstrong. I feel that Armstrong wrote a very intriguing article that discusses some of the challenges that designers face today with technology, social networking and template based designs. The article encourages us to invest into different kinds of explorations that need to be addressed in order to continue design development for the millennium. While reading through the article a fourth time, I understand that good design has actually altered history. I can see this change in graphic designers replacing fine artists and computers replacing paint brushes. Through my personal experience, I can truly relate to this article due to my past 10 years of diverse design experiences. I feel that I have been on both sides of the fence with learning the actual drawing board, t-square, and drafting ropes at Kansas State in the architecture program to having intense professional experience in Dallas’s corporate world. I feel this article is surreal and is a good example of analyzing how graphic designers made it to “HERE” through utilizingn theinternet, stock photography, Adobe Creative Suites, & Social Networking.

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[schematic] brainstorming

self expression explorative overscaled typography vibrant colors personality design offset grid break the grid word & image visual aesthetics positive + negative arrows to provide focal direction innovative ďŹ&#x201A;ow hierarchy unity fundamentally simple

modern minimal vintage washed out visual dirt on type the WOW factor angeled geometric visual type navigate locate, seperate, connect consistency & ďŹ&#x201A;exibility

textural material smooth texture rounded corners interaction economical easy to work with decisive dimensional depth experimental POP of color

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[schematic] inspirational research

rid g d

te a t ro

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

Grid Structure

self expression

influential fusion

vibrant colors

Type + Image to balance

Typographic Legibility

visual aesthetics

positive & negative

Neville Brodyâ&#x20AC;&#x2122;s Experimental Typography Style researchstudios.com fontshop.com/fonts/designer/neville_brody harrisment.co.uk/HARRISMENT/2010/02/23/brody

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[schematic]

gr id ate d ro t

hierarchy Jamie Turpin . Wood + Chipboard Design . Portfolio Design

self expression

visual

material

balance

textural materials

Neville Brodyâ&#x20AC;&#x2122;s Experimental Typography Style en.wikipedia.org/wiki/Neville_Brody apple.com/pro/profiles/brody jaddesignsolutions.com/thesisweb2.html

Type + Image to Typographic Legibility

layout design

inspirational research

arrows to provide focal direction

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[schematic] inspirational research

Type + Image to balance

vibrant colors Jamie Turpin . Wood + Chipboard Design . Portfolio Design

accordion panel design

innovative flow

grid structure

Typographic Legibility

unity

explorative

April Greimanâ&#x20AC;&#x2122;s Experimental Typography Style aprilgreiman.com madeinspace.la aiga.org/content.cfm/medalist-aprilgreiman

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[schematic] inspirational research

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

Typographic Legibility

to balance

Type + Image

hierarchy

accordion panels

visual aesthetics

layout design

material

rotated grid

rhythm

April Greimanâ&#x20AC;&#x2122;s Experimental Typography Style idsgn.org/posts/design-discussions-april-greiman-on-technology art-directory.info/design/april-greiman-1948/index.shtml designhistory.org/Post_mod.html

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[schematic] inspirational research

David Carsonâ&#x20AC;&#x2122;s Experimental Typography Style davidcarsondesign.com ted.com/talks/david_carson_on_design.html en.wikipedia.org/wiki/David_Carson

vibrant colors

typography scale

visual aesthetics

panel designs

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[schematic] inspirational research

David Carsonâ&#x20AC;&#x2122;s Experimental Typography Style dexigner.com/news portfolios.aiga.org/gallery/David-Carson-Poster new.myfonts.com/person/David_Carson

ed t ta

id r g

typography scale

material

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

hierarchy

accordion panels

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inspiration

Research: Experimental Typography Style pinterest.com graphicfetish.com idnworld.com/books

directional form

grid structure

material

bold numbers

[schematic]

aggressive & dirty

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[schematic] layout design

inspiration

typography scale

grid structure

hierarchy

Ë&#x153; ow

Research: Experimental Layouts and Typography smashingmagazine.com behance.net withrelish.co.uk

vibrant colors page

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[schematic]

visual

Research: Booklet and Panel Design blog.inkd.com a.parsons.edu clouddump.com

aesthetics

ity

typography scale

grid structure Jamie Turpin . Wood + Chipboard Design . Portfolio Design

form + space

rhythm

inspiration

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[schematic] inspiration

inventive

rhythm

ďŹ&#x201A;ow

unity

Research: Type on Booklet and Panel Design stylehive.com fiveprime.org portfolios.aiga.org

typography scale

hierarchy

rounded corners Jamie Turpin . Wood + Chipboard Design . Portfolio Design

visual aesthetics

grid structure

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[schematic] inspiration

grid structure

arrows to provide focal direction

Research: Type on Booklet + Panel Design ilovetypography.com grainedit.com designsponge.com

unity

positive + negative form

hierarchy

rhythm

visual aesthetics

rounded corners

material

typography scale

static flow page

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[schematic] inspiration

Research: Type on Texture Ideas ohsobeautifulpaper.com etsy.com vi.sualize.co

economical easy to work with

small format enhances the presence

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

rounded corners

texture

how does it feel?

smooth

aesthetics

line, mass + texture

rustic

visual

adds fabulous dimension

structural page

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[schematic] thumbnails

Design Intent

Throughout my sketchbook concepts, Iâ&#x20AC;&#x2122;ve organized different experimental panel designs to exploit Helen Armstrongâ&#x20AC;&#x2122;s article. My thoughts range in different illustration forms by utilizing rhythm, unity, space, structure, texture, and typography legibility.

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[schematic] thumbnails

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[schematic] thumbnails

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[schematic] thumbnails

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[schematic]

These are New Package Design Thumbnails Thoughts?

thumbnails

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[design] define concepts

CONCEPT 1 The design intent behind the fandeck design is to exemplify a fun, playful, interactive design for the target audience. The overall aesthetics for the design is to have a vintage modern feel to the panels with the utilization of mode colors and selected typeface to help support the article, â&#x20AC;&#x153;Graphic Design Theory?â&#x20AC;? The panels will be printed on quarter inch thick chipboard.

485C 297C 604C

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[design] define concepts

CONCEPT 2 Structure, Detail and Navigation The design intent for this design piece is to exemplify an architectural modern feel to the uniform booklet design panels. The thought behind this is to keep the balance between architectural and graphic design since graphic design was influenced by the architectural process. The exterior panel exemplifies dividing the space which creates a structure, that unifies disparate elements in the composition. This design speaks an ecstatic unity with the explorative approach and balance of the eco- friendly materials. The interaction of positive and negative, rhythm of the hierarchy, and utilization of simplicity materials drives a dynamic composition of type and image in this booklet design. The alignments between elements help create directional movement through the elements in the format.

485C

424C Black 6C 485C 7459C

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[design] define concepts

CONCEPT 3

The idea behind the designer blocks is to provide an interaction and display piece for the target audience and to exploit how â&#x20AC;&#x153;Graphic Design Theory?â&#x20AC;? is always changing to keep up with time. The vibrant colored blocks have a modern personality with a twist of vintage flair due to the balance of typeface and grid placement on each panel.

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[design] define concepts

CONCEPT 4 oncept 2

The design intent is to exploit a linear quality with printed type and contrast its horizontal and diagonal flatness. The vertical format is expressed viscerally by the upward thrust of the format. The simplicity of materials, Modern Sans typeface and minimal use of color balance the overall aesthetics. This design is very explorative with materials as well as with design elements.

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[design] define concepts

CONCEPT 5

The coaster panel design intent illustrated is to voice a diverse piece that serves as a self expression piece which also can be utilized as a functional piece for everyday use. The simplistic layout design is balanced successfully with visual hierarchy and grid structure.

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[design] define concepts

CONCEPT 6 oncept 2

The design thought is to create a uniform composition that one could exemplify on their inspiration wall at home. The overall design exemplifies a rhythmic grid that balances visual hierarchy formation due to the selected typeface.

CONCEPT 7

The idea behind this creation is to interact form and space. The simplistic design layout and grid structure achieve an abstract form while exemplifying hierarchy and rhythm in a successful manner.

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[design] define concepts

CONCEPT 8

The folding panel design intention was to create an interaction piece that folds out and exploits an entirely different experience than when folded up. When the creation is in the open view, the typography accelerates a nice balance with the flow of the grid structure which results in a positive and negative relationship.

CONCEPT 9 The design intent on the diverse fan deck, coasters, and panel system is to create a 3 in 1 aspect for the end user. The simplistic utilization of the balanced grid and dominant typeface create a solid, uniform package.

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[design] define concepts

CONCEPT 10

The idea on this unique panel design is to create a product that speaks to the end user to the extent of the different characteristics the form exemplifies.The modern design personality speaks successful use of hierarchy, balance and unity that exploits the article to its fullest.

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[design] color studies

grid structure

PANTONE

186

rhythm

Geometric in Shape, Organic, and Raw

arrows to provide focal direction

hierarchy

visual aesthetics

flow page

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[design]

Geometric in Shape, Organic, and Raw

visual aesthetics

repetition

directional

consistency

color studies

hierarchy

unity

grid structure

consistency page

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[design] grid structure

color studies

unity

hierarchy

visual aesthetics Geometric in Shape, Organic, and Raw

rhythm

balance page

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[design] color studies

Geometric in Shape, Organic, and Raw

balance

grid structure

visual aesthetics

unity

hierarchy

rhythm

typography scale page

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[design] type studies

Thought Process

The accordion design will be at a superior level due to the formity and balance of Sans and Slab Serif. They allow the typography to create an abstract feel and expressive meaning that articulates the linear flow of the article, “Graphic Design Theory?” and its spatial relationship.

Univers Lt Std

[Realist Sans Serif]

Century Gothic

[Sans Serif]

Regular/14pt

45 Light/14pt

Courier New

[Slab Serif]

Regular/13pt

The quick brown fox jumps over the lazy dog

75 Black /15pt

Italic/14pt

Italic/13pt

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

The quick brown fox jumps over the lazy dog

57 Condensed /19pt

Bold/14pt

Bold/13pt

11/13 Designer: Adrian Frutiger The design is a neo-grotesque, similar to its contemporary, Helvetica. Linotype also has adopted this numerical system for many other faces. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. Their legibility lends itself to a large variety of apps, from text and headlines to packaging and signage.

11/13 Designer: Sol Hess Century Gothic is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising.

11/13 Designer: Vincent Connare Comic Sans was originally designed for Microsoft® Corp. based on lettering from comic magazines. It has a friendly, casual appearance and is extremely readable on screen at small and large sizes. The new weights and features were developed by Terrance Weinzierl.

Din 1451

Helvetica

Rockwell

The quick brown fox jumps over the lazy dog

[Realist Sans Serif]

Engschrift /18pt

The quick brown fox jumps over the lazy dog THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG Mittleschrift /18pt

The quick brown fox jumps over the lazy dog 11/13 Designer: Linotype Staff The letters DIN refer to the Deutsche Industrie-Norm, the German Industrial Standard; among their many uses, these typefaces are seen on most road signs and license plates in what was formerly West Germany. One of the primary criteria for the DIN Schriften design was a facility for reproduction. There are four geometric sans serif typefaces, of roughly the same weight but of various widths, from quite round to condensed. Use DIN Schriften for signage, posters, and display work that emanates a neo-1990s look.

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

[Neo-Grotesque Sans Serif]

The quick brown fox jumps over the lazy dog

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

[Slab Serif]

Roman/14pt

Bold/14pt

The quick brown fox jumps over the lazy dog

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

Condensed /14pt

Regular/14pt

The quick brown fox jumps over the lazy dog

Bold /13pt

Italic/14pt

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

The quick brown fox jumps over the lazy dog

11/13 Designer: Max Miedinger with Eduard Hoffmann The design is based on the grotesques of the late 19th Century, but new refinements put it in the sans serif sub-category of neo grotesque. Shortly after its introduction, the Stempel foundry purchased the original Helvetica typeface and developed a full series of weights. Helvetica is an all-purpose type design that can deliver practically any message clearly and efficiently. The condensed Helvetica designs are excellent for display applications such as newspaper or newsletter headlines, billboards, and advertising.

11/13 The Monotype Corporation produced its version of Rockwell in 1934; unfortunately, some of the literature erroneously referred to it as Stymie Bold, thereby creating confusion that still exists today. Rockwell is a geometric slab serif design, a strong display face for headlines and posters; it is also legible in short text blocks.

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[design]

material + texture studies

Thought Process

I am exploring different utilizations of raw, natural materials such as wood veneer, chipboard, old newspaper press sheets, transparency materials and metal connection pieces to create structure, which unifies a dynamic composition of the type and image integration.

Chipboard

Mohawk Paper

Matte Board

Wood Veneer

Kraft Paper

French Paper

Acrylic

Printing Press Sheets

Screw Posts

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[design] feedback

The Direction

I received great insights and direction from my peers in GRDS 709-OL. I utilize their feedback to the fullest extent and allowed it to benefit me in the digital design development phase.

Dyan Gulovsen states:

2/12/11 3:59 pm “I like concept 1. I like the unfolding of it like those old yardsticks. You certainly have a lot of ideas about assembling this. I need to look a little more outside the box.”

Denise Gross states: 2/12/11 9:37 pm “Jamie, you have so many good concepts its hard to choose. I think actually my favorite is 2. I know it is simple as far as “booklet” goes but I think it would allow you to really push the typography really far experimentally. I also think A and B would do the same. Many of the others are super creative booklet wise but I wonder about the actual typography.” Jennifer Oliver states:

2/16/11 12:16 pm “Hi Jamie--I think your process book is looking really good! I am drawn to concept ‘C’, especially with the grid layout on p 20. I think the grid on these pages could work well to connect the parts of the article, especially when the piece was fanned-out. Nice work!”

Tiffany Cullen states:

2/16/11 12:16 pm “All of your concepts are very inspiring and aesthetically pleasing. I like the booklet options for concept 2 and concept 4. all of them are really good. You’ve definitely put a lot of thought into the booklet design.”

Marvin Eans states:

2/14/11 9:18 pm “Great directions Jamie, I think concepts 1 and 4 are the ones that I am drawn to the most. The book structures are very creative and I feel you can really pull of something dynamic when you integrate the typography treatments.”

Denise Gross states:

2/16/11 2:00 pm “You have some excellent research on experimental typography and layout. Thanks so much for that because it helps all of us. **I think your article is challenging to work with. I am not clear of the overall theme you are working with. Is it mainly the network and collaboration theme? If it is, will the piece ask the viewer to collaborate with it? What I mean is, will the piece make me turn it over, move it around etc.? Or is the theme more about how one becomes a designer? Or is it about technology? Sorry for so many questions, I am just trying to see if there is an overall theme you are working with or maybe you are just going to highlight the parts of the article on pg 4. You have so many great concepts. I like the grid on pg 20 (concept C) and I love that concept C is making me interact with it. It is very dynamic and has interesting shapes to look at. It is sort of blend between an organic feel and a geometric feel.”

Mary Leiser states: 2/16/11 2:00 pm “For your fan deck would you print on both sides of the card or just one? If you do print on both what will be some of the visual clues that will take the person through the book so they read the article in the right way? This is something I’m thinking about in terms of my own so I thought I would put it out there. Your process book is thorough as it always is. I enjoy reading it and seeing all of the visual examples that you have pulled. Nicely done.”

Professor Merrick Henry states:

2/18/11 8:43 pm “There’s definitely a rich alignment and placement within the shape of the design for concept 4. As Mary indicated, the concept must be felt when looking at the artifact and the reverse side of the design might become very interesting or as as support area for more content. I honestly believe that this project can be build and executed without any evidences of photography.”

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[construct] digital development

Concept 1.Design Intent

PANEL DESIGN

Primary Type: Univers Lt Std Odd Number Panel Design: 01 â&#x20AC;&#x201C; 07

Strathmore Pure Cotton

Graphic design has often looked to architecture as an intellectual model. We long infuse our work with the same kind of theoretical knowledge and the same kind of broad ranging, legendary critique. But we are not architects. We are graphic designers. Our role is less defined. We cross between print

and web, 2-D and 3-D. Our work is easier to produce & ephemeral.

Fluidity coupled with discipline wide pragmatic streak, makes it difficult to establish a defined

body of graphic design theory.

1/4" Screw Post Placement

GRAPHIC GRAPHIC DESIGN DESIGN THEORY THEORY Kraft Paper 100 lb C

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

Primary Type: Univers Lt Std Even Number Panel Design: 02 â&#x20AC;&#x201C; 08

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GRAPHIC GRAPHIC DESIGN DESIGN THEORY THEORY Mohawk

PANEL DESIGN

Fro n

S IC TH IGN EO RY

d ke loo al en tu ec oft as intell work l r a nh n ou retic sig as a se de o of hic cture g infu f the ind p . k ue Gra rchite e lon ind o me tiq k a sa cri are to l. W ame the e ary de s d nd ts. W less e mo the e an c is h leg dg g, rchite role print wit le in r u n ow rang ot a rk ee kn .O n d tw wo l. ad re ers ke bro we a sign ss be . Our mera loo al e e t en tu Bu hic d e cro d 3-D eph ne ec oft li n p W & ork tell as cip s gra ned. 2-D a uce n h an in ur w cal dis ke d , o fi sig reti of de web pro with k, ma ned de re as fuse o e ic fi d r to pled trea ph f th kind e. ctu de ry. an g in sie u Gra rchite e lon ind o me ea y cou atic s lish a eo tiq k is a sa cri are n th to tab idit l. W ame the gm e ary de s Flu e pra to es desig d nd ts. W less mo the e an ge ic h wid ficult g ph , le hitec role is rint wit led ing p dif of gra it ow rang ot arc Our een n rk k . dy n tw wo l. ad re bo ers bro we a sign ss be . Our mera e e t Bu hic d e cro d 3-D eph ne li n p W & cip s gra ned. 2-D a uce dis ke d , fi de web pro with k, ma ned to fi d d a r e n e d a tr ple sie ry. ea y cou atic s lish a eo is n th tab idit gm Flu e pra to es desig ic wid ficult ph if gra it d y of d o b

GR A DE PHI SIG C Ba T HE N ck Pa OR n e G GR lD e sig Y R AP D DES A HIC n EIGSP T THH NI H EOE IC RYOGN

Pa G GR nel De sig AP D DER A HIC n SE IGSPH T THH NI EOE G IC R GR Y O A RN DE PH Y

Below are three different views of the grid + layout structure for the fandeck panel design. There will be a total of 9 panels including the front/cover panel. The layout integrates visual forms that enhance hierarchy and clarity navigation through type. Overall, the rhythmic panel design creates a playful, interactive piece for the target audience.

Outer Front Panel

Display Type: Univers Lt Std Radius Edges: Pure, Finish Look

2.5"

page

.37

[construct]

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digital development

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Concept 2.Design Intent

GRA P D E S HIC I THE GN ORY

Exemplified are three different views that exploit a modern + minimal aesthetic layout. The grid structure is organized with a space persona of a three ratio/portion. The type is an integral part of the composition. Tone: Legible + Interesting = Simplicity combined with Expressiveness

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GRAP HIC DESI GN THEO RY

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cept con ideeno nom tem con ide nal a tem cep placon cep tem ted nal a atem t t cep plapla con ted min ideide td. ted a tem cep min min ted t d. plapla d. min ted min d. d.

7.5"

10"

Temp mplat Te Te lateefor mp forDe lat mp TeTe Desig forDe mp signn eefor Desig latlat e for n Desigsig nn

Texts abo TexTex ts aboutut gra abo ts ts phic des gra abo fall TexTex gra ts utut und fall phiphi c design abo gra ign fall erdiff und phi ut diff des und er gra cc ere ign des und phi nt diff “the fallfall ign cere cat erer ere des nt und diff “the ory egories cat ign “the er cat ory ego Somnt diff ory “the .”.”ere ego ere Som eana .” ana ory riesries ego ntent Som the “the e cat .”ory cat lyze ries Som the ory ego ana lyze that pro the .” ory e ries Som ana ces ory thatha s lyze propro e t ces ory oflyze ana ces abo thethe ma tha pro of s ofslyze ory t t . Thin utBau abo ces Bau tha abo pro mama s of king t king ces hau king ut ut abo ma . Think k Bau shau s exp . Thin king ofhau utme abo ma Bau s . Thin erim exp tho king s me ut hau exp dolsogi k ks, as meBau .erim Thin erim exp thotho hau dol k ent eserim entent dol s, as s ogi tho tha exp ogi um meme ent dol t fall erim tha es es bre tho s, s, ogi tha asaser t fall und ent llaesof dol umum bre t tha fall s, ogi bre und lla um as Inte a t es und of fall er rnaund tha Inte Typ umbrebre llalla tioner Inte trna a a rna fall ofof ogr Typ aler tion Inte und a lla aph Typ del ogr tion of rna ogr icStyl aph so Inte aleral adel tion Styl aph del ogr ic so rna e, al con TypTyp ic aph so and del tion Styl ogr tem con ic por so nge al and e, e, arra aph con Style, del tem and arra icpor tem ary con so por and arra Styl nge exp tem e,ary nge lab arra con ary lora and exp por ele nge tem lab exp tion lora arra das lab ele por asexp lora s the tion nge ele dary “de ary tion lora s the sign exp “de s the tion lablab dd “de lora sign rese asas s the eleele sign “de tion arch.” rese d as sign rese sarc arc the “de rese h.” sign h.” researcarch.” h.”

cept con ideeno nom tem con ide nal a tem cep placon cep tem ted nal a atem t t cep plapla con ted min ideide td. ted a tem cep min min ted t d. plapla d. min ted min d. d.

GRAPHIC GRAPHIC Template for Design

Texts about graphic design fall under different categories “theory.” Some analyze that theory process of making. Think about Bauhaus experiments, as methodologies that fall under a umbrella of International del so Typographic Style, and arrange contemporary explorations the labeled as “design research.”

Graphic Design Graphic Design Theory Theory

GRAPHIC DESIGN THEORY

Graphic design has often looked to architecture as an intellectual model. We long to infuse our work with the same redundant kind of theoretical concept knowledge and the same kind of broad ranging, legendary critiques. But were not architects. We’re graphic designers. Our role is better defined. We intertmingle print, web, & 2D.

Graphic designers have written about their design ideas behind their work since the inception of the profession. Also consider F. T. Marinettio, László R. Moholyagy, Herbert Rae Bayer, Josef Müllerbrockman, Karl Geurstner, Katherine McCoy, Jane Vaan Toorn and, designer recently, Dimitri Siegel, Kenya Hara, and Scott Daulson.

THEORY Value of Graphic Design

THEORY

White Matte Board [Front Panel Design]

Mohawk Gray Carnival Vellum [Overlay]

Display Type: Century Gothic

Some apply outside theory are discourses to the field of the graphic design deconstruction, semiotics, gender de studies. As many seminal texts, of course, unit and form categorizations. Throug design research I work to emphasize these values of our own theory base designs inspire others read and write more.

Working other recent book project thinking about range issues. Theory can help design address them. Think Flickr, Etsy, Facebook, Lulu, Threadless and the multitude of blogs. Users are have approaching software as web with the expectation of all filling in their own content and shaping the own visual indent but guidance from prepared forms. Dimitri Siegel calls this

phenomenonal concept idea templated mind.

Mohawk 100 C [Typical Page Layout + Grid Structure]

Primary Type: Din 1451, Secondary Type: Century Gothic Text + Image Integration: Century Gothic + Rockwell

page

.38

[construct] digital development

Concept 3.Design Intent

There are a total of 8 cubes that have a consistent rhythm, grid layout structure and typeface. The overall structure is organized with chaotic patterns. The message is legible and provides an interesting message for the end user. Each cube forms an interaction piece that expresses a modern personality with a vintage aesthetic twisted into the mix. Idea influenced by Charles + Ray Eames. Fold Tab + Glue to Adjcent Surface

8 Designer Blocks: Panel Designs

theory

2" TYP

Display + Primary Type: Rockwell, Courier New and Helvetica Print: Wood Veneer and French Paper Pop Tone

theory

Fold Tab + Glue to Adjcent Surface

2" TYP

Fold Tab + Glue to Adjcent Surface

2" TYP

theory

Fold Tab + Glue to Adjcent Surface

2" TYP

page

.39

separate “creative class.” Designers can lead this new participatory culture by developing frameworks that enable others to create; doing so, however, means allowing our once-specialized

le t it ins

a Ag

connections online experiencing personal isolation

COLLABORATION

tru eS

SIX

We Should Encourage Collaboration + Communa

as a template design

m ot tic t fa lp us rite ore ct g s tha he the and w proje an sue d ok f is eory c o o rea b e h nt g T e n . c ra re ay tod ut a abo ssion m. fe the pro s s e ddr

SIX

GRAPHIC DESI

Display Type: Rockwell intermingled with T Century Schoolbook. Material: Chipboard to balance the selected to ork typeface with the geometric modern I w persona n ow rs to rch ur e sea o e f r oth a y eo e m the grid layout exploits. ir lu n p ugh the va d ins go hro n rkin e a o iz Tmphas al base ore. W me thinkcinegthe

SIX

We Should Encourage Co

Vertical Form: 9 Front Panel Designs

VALUE of GRAPHIC DESIGN

personal isolation. How can we, as designers, combat that isolation with projects that foster community? Media activist Kalle Lasn has warned designers: “We have lost our plot. Our story line. We have lost our soul.” Producing work that fosters real connections may be one way of getting that soul back.

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What’s the good of multi-touch technology if

5" TYP

Even if we don’t all understand the computer

eight eight eight

codes that run the back end of our digital age, we can comprehend the networked structure of our day and design to meet it. Avant-garde artists at the beginning of the last century, including F. T. Marinetti, László Moholy-Nagy and Aleksandr Rodchenko, were adept at activating their own networks: newspapers, magazines, lectures and written correspondence. Recently, I heard lectures by Emily Pilloton of Project H and Cameron Sinclair of Architecture for Humanity, two young designers who are creating opportunities, locally and around the world, for designers to improve basic human living conditions. The connectivity of the web is critical to their success. Efficient networks for spreading change and prosperity are already in place. We just have to grasp them..

Designers in the early 20th century rose to the challenges of their societies. We too can take on the complexities of our time, the rising millennium. Delving into our theoretical base equips us to address critical material problems in the world and our discipline.

scale: 1/2" =1”

to architecture fine arts, but it is passionate smart.

F FIVE I FIVE V FIVE E FIVE

can alter history

ve sE

tic

est

This body of work is small compared

people are experiencing a growing sense of

The Central Metaphor of our Current Society is the Network

has put a spin on our aesthetics

Dmitri Siegel and Kenya Hara.

solutions. Despite our connections online, many

communicate via text instead of speech- blogs

TECHNOLOGY

ers

van Toorn and, more recently, Jessica Helfand,

Alt

overall size: 45" x 7"

Creativity is no longer the sole territory of a

GOOD DESIGN

olo

Brockman, Karl Gerstner, Katherine McCoy, Jan

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their own place in this DIY phenomenon.

TECHNOLOGY

Moholy-Nagy, Herbert Bayer, Josef Müller-

s ain Ag

templated mind.” Designers are grappling with

Tec

profession. Consider F. T. Marinetti, László

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forms. Dmitri Siegel calls this phenomenon “the

e to the triv pite es her des and w s e y ry ic h e v o p v ra tive se ual tog rea ner vis pho obe C by esig ique ck d d o n t h, A e s u of of not novic , ate nce hold , as cre Ma ages vale olithic eously Lev u e g r n p ic n n d la crit mo ulta tic late g dia the . Sim rtis ly iso me bein e s, a s ite r and nique eviou s are Su n twa r n h ig p c io sof des ific te ries ess ross new c ula l prof c his spe ocab d a ns. T a e u t d v or ivid sio ity an and exp ind fes id hin d and d pro ost ybr wit n e of h hich m ort sa e p n e g w io im at has nlik gua ugh c u n li gy n la ,” thro ork, is nolo app mo f y w ch it o m e il w o c er se .T ab no ore sen e pow mix rtists ur r bef “re d o h mo al a seen e u g t n g vis bo cha thin us any rsibly iving ve ,g ics irre t e th s. aes les and

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identities—often with guidance from prepackaged

FOUR: FOUR: +

and community fuel world-changing design

in their own content and shaping their own visual

+ user experience

What’s the good of multi-touch technology if we don’t want to sit down together? Collaboration

all e W te wri re mo ay tod n we tha 15 go did ars aWRITING MORE NOW ye

software and the web with the expectation of filling

has put a spin on our aesthetics

FIVE FIVE FIVE FIVE

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and the multitude of blogs. Users approach

SOCIAL NETWORK

Think Flickr, Facebook, Etsy, Lulu, Threadless

We Should Encourage Collaboration + Communal Experience

ERS

TWO: TWO:

behind their work since the inception of the

sW na ve

Lives in the Actions of its Users

connections online experiencing personal isolation

user experience

Graphic designers have written about the ideas

Design Increasingly

COLLABORATION

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VALUE of GRAPHIC DESIGN

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This geometric creation is exploited at a superior level, exemplifying rich alignment of type that creates an integral placement within the composition.The accordion panel design provides a continuous flow to the article that expresses explorative ideas behind the experimental design. The overall feel of the piece has sort of an organic, geometric integration with a modernized twist. The abstract words and letter spaces will be manipulated to form an expressive meaning.

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page

.40

[construct] feedback

The final words

My peers definitely seem to favor Concept 4 due to it’s interaction, material of choice, and geometric flow. Their feedback is very valuable and is similar in context that a client would provide.

Mary Leiser states:

2/20/11 9:52 am “It looks great. The overall layout has a good flow. I can see the grid structure without being smashed in the face with it. I like how your using the numbers to carry through the piece. Even the attention to including the spelling of each number is unique. Keep that going through out. Be careful with the numbers that start on the right. Find a way to give a clue as to where the text starts from. what do you read first. Use a drop cap or a similar color or a large font to indicate that you start there. In #3 I’m not sure if I start reading all the way to the left of if I go directly below the number. #’s 5 and 7 are the only ones that you have on the angle right. As all your other numbers are straight on these are a bit out of place but if you make them similar it will help them look purposed rather than a mistake. Your #9 panel may be the weakest. There seems to be a lot of text on this panel so maybe break it up differently as you have done in your other panels. Final comment, is there a back side to this? I know it’s not necessary I seem to always want to know that. I must ask everyone. I think it has a great direction. I can see that you have studied the text and understand where it is going. Keep moving it forward towards the digital stage and I think you will have a nice piece on your hands.”

Thomas Creamer states:

2/20/11 3:58 pm “Great process book! Awesome references of experimental type, thanks. The mock up looks great too. I like the directional elements of the layout using the type, it gives a flow to the piece just as much as it does add style. The texture of the booklet and color of the type will certainly add to the overall quality of the piece. This seems like a logic size also. Whats going on the reverse side?”

Dyan Gulovsen states:

2/22/11 9:39 pm “This is looking great so far. It really helps to see the mock up; it cleans it up and visually makes more sense. I like the diagonals and different ways you have laid the text out. I feel this project doesn’t necessarily mean making the text indecipherable, just interesting and non traditional. It still needs to read as an informational booklet. I think the chip board is interesting. Good

Dena Wallace states:

Denise states:

Denise Gross states:

I think it works well and it flows well. The only thing that is a bit of a stand out to me, and it is probably just me, is the drop cap in each paragraph. I think when I see that it brings me back to the idea of a “regular” magazine layout. I wonder if there is a way to treat it that makes it more experimental? Like maybe just invert the color so it is stroked instead of filled. Please feel free to throw out that advice if you don’t agree. It is just when my eye was moving through the piece it would stop on the drop caps. Anyway, it looks great! Can’t wait to see more!”

2/22/11 3:13 pm “Wow Jamie you have progressed a lot! I love your accordion book design. I also really enjoy your use of grid structure. I can see how it will easily guide the viewer’s eye through the material. This is something I am struggling with. I want to use an unusual grid but still make it very easy for the viewer to absorb the information. This is looking great!” 2/20/11 5:15 pm “It looks really great so far. I don’t know if it needs to be readable in every aspect. I know this is a disagreement with everyone else’s comments so far but it is supposed to be “experimental” and some experimental pieces are not all legible. Experimental can mean so many things. So I think this is up to you as to how readable you want some of the panels to be. I think another aspect of “experimentation” that you could add into this, if you wanted to, would be to actually create some kind of unique forms for the numbers. I am saying to create your own numbers instead of using a font. It might add to the depth. That being said, it would probably need to be something relatively geometric if you decided to do it. Maybe it could reflect, somehow, the directionality of the grid on the corresponding page. Anyway, these are just ideas. I love it so far!”

Christopher Italiano states:

2/22/11 9:39 pm “nice process book, first off concept H (page 18). scissor fold thats a blast. it can go on and on in so many directions. the final accordion is set up nice, but some type is sketched out even, thin and organized. exploit the page numbers, make them huge, differ the copy size, weights or faces from each page as the progression travels through the booklet. i really like that it is a tall piece. would you read this and let it flow off your lap, fold it up or hang it? perhaps to spin around. i also like your rounded edges in concept 4. nice werk.”

2/27/11 10:54 am “Wow! That looks great! I can’t wait to see it put together in real life. I especially love the way you are treating the numbers. They are all so different yet there is a real rhythm to them.

Dyan Gulovsen states:

2/27/11 12:20 pm “This looks fantastic the grid structure really works. The numbers are dynamic and creative and the diagonal text is great. The colors are vibrant yet the entire piece has a very clean feel. I think clean is important as the booklet has to be functional as well as experimental. I think you have done an excellent job all that is left to do is to print and assemble.”

Marvin Eans states:

2/28/11 12:29 am “This is great work Jamie! I love the flow of your process book as well. I think your booklet displays a strong use of the type and your color options work well with the piece. I think you did a great job experimenting with the grid and your booklet has a nice balance of elements. I look forward to seeing the final product.”

Prof Merrick Henry states:

2/28/11 11:36 pm “There is a rich control over the typographic composition and color. The large letter-forms against the smaller treatment in the design is working harmoniously. The earlier design on the colored background truly gives the design a rich contrast and I hope that the readability against that is sufficient in your final output. I can not wait to see how the design turns out.”

page

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

.41

[construct] mock up

The final words

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Concept 4 Material Development

Preliminary Mock up Model [everything exemplified by hand]

Mock up Model [utilized eco friendly chipboard]

Material Study [exploration with chipboard, wood veneers, and French Paper]

Mock up Models [maple wood veneer in comparison to chipboard]

page

Jamie Turpin . Wood + Chipboard Design . Portfolio Design

.42

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Jamie Turpin . Wood + Chipboard Design . Portfolio Design

scale: 1/2" =1"

back panels: each 5" x 7"

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[submittal]

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Exemplified is the final front and back panel creations exploiting the overall form with the bleed lines. Overall dimensions are 45" x 7" The accordion booklet design will be exemplified on chipboard intertwined with wood veneer and an added POP of Eames textural paper to provide a pure exploration of materials that create a dynamic layered effect.

TWO: TWO:

VALUE of GRAPHIC DESIGN

Graphic designers have written about the ideas behind their work since the inception of the profession. Consider F. Marinetti, László Moholy-Nagy, Herbert Bayer, Josef Müller Brockman, Karl Gerstner, Katherine McCoy, Jan van Toorn and, more recently, Jessica Helfand, Dmitri Siegel and Kenya Hara.

VALUE of GRAPHIC DESIGN

This body of work is small compared to architecture fine arts, but it is passionate + smart.

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Design Increasingly Lives in the Actions of its Users

Think Flickr, Facebook, Etsy, Lulu, Threadless, and the multitude of blogs. Users approach software and the web with the expectation of filling in their own content

SOCIAL NETWORK

and shaping their own visual identities often

has put a spin on our aesthetics user experience

with guidance from prepackaged forms. Dmitri

Siegel calls this phenomenon “the templated mind.” Designers are grappling with their own

FOUR: FOUR: +

place in this DIY phenomenon. Creativity is no longer the sole territory of a separate “creative

class.” Designers can lead this new participatory culture by developing frameworks that enable others to create; doing so, however, means

user experience

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don’t want to sit down together? Collaboration and community fuel world- changing design solutions. Despite our connections online, many people are experiencing a growing sense of personal isolation. How can we, as designers, combat the isolation with projects that foster community? Media activist Kalle Lasn has warned designers: “We have lost our plot. Our story line. We have lost our soul.” Producing work that fosters real connections may be one way of getting that soul back.

seven seven seven

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Jamie Turpin . Wood + Chipboard Design . Portfolio Design

GOOD DESIGN

front side:

The Central Metaphor of our Current Society is the Network

eight eight eight

Even if we don’t all understand the computer codes that run the back end of our digital age, we can comprehend networked structure of our day & design to meet it. Avant-garde artists at the very beginning of the last century, including Si Marinetti, László Moholy-Nagy and Alek Rodchenko, were adept at activating their own networks: newspapers, magazines, lectures and written correspondence. So recently, I heard lectures given by Emily of Project H and Cameron Sinclair of the Architecture for Humanity, two young designers who are creating opportunities, locally and around the world, for designers

to improve basic human living conditions. The connectivity of the web is critical to their success change and prosperity are already in place. Efficient networks for spreading Designers in the early 20th century rose to the challenges of their societies. We too can take on the complexities of our time, the rising millennium. Delving into our theoretical base equips us to address critical material problems in the world and our discipline.

5 66 seven 77 8 SIX SIX

SIX S IX

back side:

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[submittal] final design

Concept 4.final images

The final compositions layered with cherry wood veneer, chipboard, and accented with Eames texture paper to create a balancing form that unifies the article.

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[submittal] final images

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Jamie Turpin . Wood + Chipboard Design . Portfolio Design

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[submittal] final images

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Jamie Turpin . Wood + Chipboard Design . Portfolio Design

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[accomplishment] success

Final Words

The experimental accordion design has been my favorite explorative project while at SCAD. During my GRDS-709 course in Winter Quarter 2011, I received valuable feedback and direction for the accordion design from Professor Henry and my peers. I utilized only chipboard as the pronounced material to exploit the article “Graphic Design Theory?” I was confident with my choice of material and execution of the panel design. However, during my MA Review in the Spring Quarter 2011, the Review Board challenged me to explore different materials and to intertwine my Interior Architecture background into the mix of Graphic Design more. During the summer of 2011, I studied different materials from acrylic, to Formica plastic laminates, to wood veneer and thin metal sheets. I purchased different wood graphic paper and bought bold French colored paper too. Surely, somewhere in the mix of the materials I could create a unique composition that spoke interior architecture intertwined with graphic design. Next, I began by printing the article on the different materials. When the cherry wood successfully went through my printer, I fell in love with the printed results. The article, “Graphic Design Theory?” read beautifully on the wood veneer. I compared the wood veneer accordion to the original chipboard accordion and decided the end result needs to POP more. After running different ideas through my head for a few days, finally I thought the two accordions should be merged together to create the interior architecture intertwined with the graphic design result. Next I decided to add a POP of Neenah Eames paper to the composition. Because of Eames’ exposure in the architecture and design world, the choice was a perfect fit to connect the two more diligence. Overall, the accordion panel design exemplifies strong visual hierarchy, consistent grid rhythms and nice aesthetics throughout that support the article successfully. Having the opportunity to utilize chipboard and cherry veneer to the fullest definitely made the project speak a theoretical personality. The overall composition articulates a pleasant flow of the article while providing a great use of positive and negative space, type integration, and unity.

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