In 2000, the College of Design, Architecture, Art, and Planning (DAAP) produced a limited edition commemorative book titled, Visions Revisions. This visually impressive tabloid sized document highlighted the institution’s many historic accomplishments, the global reputation gained, celebrating the dynamic art and design educational environment and special recognition to all of its alumni, past and present. This book came just 10 years after the opening of the The Aronoff Center for Design & Art, a College of DAAP expansion. This innovative building designed by architect, Peter Eisenman, received the Architectural Design Award from Progressive Architecture magazine. Visually this portfolio book mirrors the design “zeitgeist” of 2000. This comprehensive document was team designed by the 2000 Graphic Design class under guidance by its faculty.
Now in 2017, it was my teams job to create a prototype redesign and typographic system for three chapters of the publication. The following submission showcases the chapter that I extensively worked on.
To start this project my team and I dissected the original Visions Revisions publication. We analyzed the grids, typefaces, fonts, leading, and design treatments used throughout the publication. After the analysis phase, we created a concept for our redesign. The concept statement my team created was: DAAP is an iterative process that revises itself in order to adapt to the current and future world. Keeping this concept statement in mind, my team proceeded to choose Proxima Nova and Jubilat as the typefaces used within our publication. The reason behind my teams typeface pairing is the fact that Jubilat and Proxima Nova mix to create a contrasting pair with a flair of personality and the reservation of a solid, yet humanistic, typeface built for the modern age of both screens and print. Opposites, Jubilat’s thick serifs sit strongly against the stripped down form of Proxima Nova, while they harmonize in their sensitive curves. The result is a modern feeling of freshness and bold contrast from typefaces that embody process and the needs of today’s world.
After choosing typefaces, my team decided to choose a grid and size for the publication. Our entire publication is based of the rule of thirds. The reason being that the rule of thirds is a primary element of design, and was one of the first elements that we learned in our foundational classes. Going along with the rule of thirds, we chose a main 3-column grid for body copy, as well as, a secondary 6-column grid for other typographic and design elements. We chose the size of 6.33" by 9" for our publication. We used a typographic modular scale based on 3's. After discovering and deciding on a system for our typographic elements, we spent many weeks experimenting with the layout and the spread design of our publication. We used tracking and overlapping throughout the publication as a nod to our concept statement, that design is an iterative process. For our color palette we decided to use the three pastel color that appear on DAAP's physical building (green, pink, and blue). Each color signified a change in chapter. We also used grayscale pages throughout our publication, in order to indicate the history section of the publication, which ran through all chapters in the book.
The results of this extensive process was the creation of a bold, fresh, and fluid experimental typography publication. A publication that encompasses what it means to be a student, alumni, or staff member at DAAP. A publication that gets those unfamiliar with the School of Design, Architecture, Art, and Planning interested about the school. A publication that encompasses the idea of a typically nonlinear, an almost always imperfect, and a sometimes uncomfortable design process: Visions Revisions.