60 61

Chosen path from last presentation

62 63

The Web

Is it possible there is a certainkind of beauty as large as the treesthat survive the five-hundred-year firethe fifty-year flood, trees we can’tcomprehend even standingbeside them with outstretched armsto gauge their span,a certain kind of beautyso strong, so deeply concealedin relationship—black truffleto red-backed vole to spotted owlto Douglas fir, bats and gnats,beetles and moss, flying squirreland the high-rise of a snag,each needing and feeding the other—a conversation so quietthe human world can vanish into it.A beauty moves in such a placelike snowmelt sieving throughthe fungal mats that underlie andinterlace the giant firs, tunnelingunder streams where cutthroat frylive a meter deep in gravel,fluming downstream over rocksthat have a hold on placelasting longer than most nations,sluicing under deadfall spannersthat rise and float to let floodwaters pass,a beauty that fills the space of the forestwith music that can erupt asvaried thrush or warbler, calypsoorchid or stream violet, foresta conversation not an argument,a beauty gathering such clarity and forceit breaks the mind’s fearful hold on itslittle moment steeping it in a more denseintelligibility, within which centuriesand distances answer each otherand speak at last with one and the same voice.

- ALISON HAWTHORNE DEMINGWITH LINES FROM CLAUDE LEVI-STRAUSS

“Understanding of life begins with the understanding of patterns” -- Fritjof Capra “The Web of Life”

The Patterns That ConnectA Poem By Gwen MeyerThe patterns that connectThe ant to the bear, the winter to the spring,And the bumblebee to the pond it browses nearRun in and through me,The simple truth of God, whose PresenceUnderlies everything, everywhere,From a flower blooming at my feetTo the iceberg that just calvedOff the glacier into the bayAnd beyond that to the stars themselves.This is a new season, yet it followsTimeless eternities of cycles,Each mote of life distinct, each atom, and each cellA drop of that which is so vastAnd displaying all Its Splendor.God’s song sings in my heart as well,And shines in the hearts of those I love.

In the words of Joseph Needham, the great 20th century scholar of Chinese scientific thought, “It is dynamic pattern as embodied in all living things, and in human rela-tionships and in the highest human values. Such dynamic pattern can only be ex-pressed by the term ‘organism’.” In fact, Needham suggests thinking of Neo-Confu-cian philosophy as “a scheme of thought striving to be a philosophy of organism.”[8]

By studying patterns in nature, we gain an appreciation and understanding of the world in which we live and how everything is connected. And, by engaging Nature, we acquire a deeper connection with our spiritual self.

But patterns in nature do not stand alone. They thrive because they are part of a complex web of interrelationships. Any given object or group always has an effect on something else. A fish is part of a fish school. The fish school is part of an ecosystem which is part of a food chain that sustains otherwise unrelated species. Everything is connected. The system of connectivity is a pattern in itself.

Patterns are an outward manifestation of an ordered structure and are clues as to how things are organized and connected. By studying patterns and their connections at all levels, we are better able to appreciate and understand liv-ing organisms, non-living objects, and our world. In this way, the study of a fish school is a study of our entire planet.We are surrounded by a kaleidoscope of visual patterns – both living and non-living. Clouds, trees, rocks, sunflowers, ants at work, birds flocking. Our sun’s rays breaking through heavy clouds, the breathtaking drama of storm cells, the symmetry of butterfly wings, the algorithmic nature of sea shells, and the ordered geometry of spider webs. We marvel at the vaulting beauty of mountain peaks and the cracks, fissures, shapes, and colors of rocks. Trees in the winter provide a good example of self similarity. Each large branch is the same basic pattern as the entire tree. Each smaller branch has the same shape as the larger branch and, in turn, the same shape as the entire tree. Self similarity is this sameness at all levels of organization from the smallest twig to the whole tree. The dynamic recursive processes of self organization lead to self similarity. The word “fractal” is used to describe patterns in nature that exhibit self-similarity at many levels of magnification.

Different patterns in nature display a characteristic unity when they contain geometric shapes and physical processes that either don’t change over time and space or, at least, change in the same way according to the same “law”. Mathematicians and scientists call these changes “scaling”. When looking for unifying factors, we say that we are looking for “scale invariant” or “scale-free” factors where there is no change in form or function as the scale changes. In a network with preferential attachment, scale invariant characteristics are preva-lent.

Current research indicates that a huge number of patterns in nature are “aristo-cratic” and scale invariant. This suggests that the power law may be the signa-ture of the unifying principle of connectivity in patterns in nature.

We’ve specified the dynamics of that connectivity by stating that:

The nature of the connections is recursive -- meaning that there is interdepen-dence between patterns and a feedback mechanism within each pattern.The recursive process produces self organized systems which are self similar and scale invariant.The resulting scale invariant network of connected patterns is created by means of preferential attachment by the patterns that join the system.In summary, the unifying principle behind patterns in nature is connectiv-ity. That unity is carried out by the connective aristocratic networks within nature’s patterns. These networks are manifestations of self-organized, self-similar, scale invariant patterns and systems of patterns.

some of Selected Text to be used

64 65

Moodboard of different natural patterns Design ideas

66 67

Fonts I am interested in

- stick to fonts that are current, edgy? not just natural - serifs, will end up looking like a textbook- counter culture, designed well, peaks interest.

DTL Nobel light (for headings?)

Apel et et fuga. Iquia delibusdae venistis porestrum as-sunto quia corporum quatiati blaborenem autemqui do-lorempor sin consequi omnistius re conestius, seque efacerum veliquat ut laborest ea ad maximusam-

NONSECA BORERRO V

Auto 1 (for body text) humantist and current

Apel et et fuga. Iquia delibusdae venistis porestrum assunto quia corporum quatiati blaborenem autemqui dolorempor sin

consequi omnistius re conestius, seque et facerum veliquat u

NONSECA BORERRO V

ITC Lublin graph (for some quota-tions?)

Apel et et fuga. Iquia delibusdae venistis por-estrum assunto quia corporum quatiati blabore-nem autemqui dolorempor sin consequi omnistius re conestius, seque et facerum veliquat ut laborest ea ad maximusam

NONSECA BORERRO VNONSECA BORERRO V

Novel (for some quotations?)

Apel et et fuga. Iquia delibusdae venistis porestrum as-sunto quia corporum quatiati blaborenem autemqui dolorempor sin consequi omnistius re conestius, seque et facerum veliquat ut laborest ea ad maximusam-

NONSECA BORERRO V

68 69

Stylistic features I could possibly include:

I like the overlayed drawn images of the human body used here ^^^^^

Possible inspiration for table of contents page? ^^^^^

big quotation marks, quote pages ^^^^

include something dicut!! the cover prehaps? ^^^^^

I love this table of contents >>> cirlces or possibly hexagon to be used?

This cover looks like it is made out of wood! would that be possible? or vaneer? ^^^^

I like this loose hand drawn sketchy feel ^^^^^ maybe more personal

70 71

Different treatments of images in photoshop

THE SUFACE TENSION OF A BUBBLE

Od quae et volor as numquistia sequae corerempos ventis presciis dessitium dolupid quid quod qui odi sit fugiaeces am, tet et labor accuptas dolestis ex exero bea venimi, ne officia nonsecu lparum eatia voluptatquo cus es acepedip-sae volore voluptatet quia con cus dero inctum, sequo quam, quatibus etur siment de miliquo eos eates nem consequat ipis elibus archita tiorepelit quia quam el molo il molest, ut andaese cusant re ene maion repedi dolene praepudae lati que maio dolor sint fugiae. Soloria quam et ab il ipsae pro volum velecaborro cus.

Iquidis quibus quissequis plitatium eratqui tenteniatusa quae si idelictest re duntium lab ipsam iscientia quos estem hic toribus mi, sita sunt repta quo optatem reiunti conse-quos quid elit es sinitatem a aut doluptas mos es mo blam et ulparcid modisci enimpor alique core sinci voluptam, ipiet latempel inus, voluptinum aut velentiatem ne volorro quo conserfere voluptatenis non rem estendis modi ut as a dio explignis pro ex eliandi temostiuntur re, ipicipidunt illabo. Nam, que poresequi voluptatur, invenda nditatinum quam quiae sequat.

Tem eariaspediam simusapiti doluptatur, isquiditat.Cus, sandande santis sit, que porehen disquibustia qui rent esciendant re et ulpa non et autestiumque porumque qui autemporum qui ut ligenih illacca borrorro tet asped et alit perundiae dolo enditis dem sime molorpo remporu pta-tem faccullatem ipitemped ut alit anditatur rest voluptata disqui cusa quatio mos arum quam il inctior eperrum duntis etum qui optatiuntur?

disqui c

usa qua-

tio m

os arum

quam il

inctio

r

eperrum d

untis

etum q

ui optati-

untur?

disqui cusa qua-tio mos arum quam il inctior eperrum duntis etum qui optatiuntur?

“ ”

REALLY ROUGH SKETCHES OF THE LAYOUT I’M PICTURING

72 73

Notes after talking in class Possible table of contents (info i want to include)

74 75

- edgy, hipster, current- bright colours, black and white text overlayed- possibly only colour inspiration. - also like geometric shapes over images

Colour inspiration

76 77

REdone Pagination

Issues:• hard to follow• needs better flow• humanity now included

but confusing

78 79

THINKING ABOUT THE DESIgn

• 3 books + slip cover• slip cover with title cut out• each book has a pattern

on the front• book is split into 3 categories: Networks Structures Patterns• each subject will be a

small booklet

Why these 3 categories?

1. NETWORKS

key factors:- branching out- expanding- constantly changing/evolving

Definition:“complex interconnected group or system”

example of use:

- connections in brain vs. the internet

2. PATTERNS

key factors:- same elements reproduced- stable, reassuring, reliable- expected, can be relied upon

Definition:“arrangement of repeated or corresponding parts - or - customary way of operation or behavior. ”

example of use:- animal camouflage vs. traffic signals

3. STRUCTURE

key factors:- strength- parts put together to be better- reliable

Definition:“something made of a number of parts that are put together in a particular way ”

example of use:

- honeycomb vs. bridge

80 81

82 83

Further Pagination key images so far

84 85

ways images are used

posterizedand painted in photoshop

cut apartand added photoshop effects

overlayed with information graphics and lines

ways images are used with Illustration

image deconstructs into illustration with ink

86 87

ways type is used

large display quotes sample body text over dark image

headings

Patterns - Spreads

1

pattern [ptrn’]

n

1. An arrangement of repeated or correspond-ing parts.

2. A. standard way of moving, acting, etc. traffic patterns

3. A model worthy of imitation a pattern of kindness

4. A recurring design

INtroduction

2 3

FUR AS A

PATTERNEt et occabor poratiusdae vereperspe volloribus, tempore nosa idit od quia ab ipis aut quos et odis rae ne etur solecto beatec-tur sectatatio. Nam, nonsequia non nis expernati te parum eum estiam nullaborecat dissum quo tem reic tem quaeri quasit, sant odicil eum et re dolorest, as voluptibus renimus molupie ntinull auditis quamus.Quam fugia ex exerro tota evenimus et laut occus, tem qui corrorp orempeliquae es in rae qui nullatendus sam as reium rernatur aut prae. Ut ventios quas qui quam facesenet, quis dolorpor ad qui dolorro temporio. Itatius esto cus eum alis et id exerit aborestrum, volenimus moditat.Pa acitaque velis a ipienes totatur rent omniende siminihit

4 5

“ “ In short, no pattern is an isolated entity. Each pattern can exist in the world only to the extent that is supported by other

patterns: the larger patterns in which it is embedded, the patterns of the same size that surround it, and the smaller patterns

which are embedded in it.Christopher Alexander

6 7

TRAFFICSIGNALS

Equia dent dolupis num reria quat magnihi litinte dolupta dolenih il-laborrum coritatur as sita quam ipidebis expellam im dis aliquas apero con rae. Delesto con pratur mostia imagnima nis niendiciam iusdae alitas rae dissus int et laborep edicab imoleca boraes nobisti usand-issed qui blatquid ut omnimus persper emodit pel escius dolorporibus eostium et lique dolorum hilit facearum et di si nullore nis miniendel inverib usander umquae porporro modio et estiaspelis quiste mi, end-unt et que ad minveni as mo minciume optatat erferrum fuga. Rovita-tem volorepra explaniet id ut aliquia quis expedi non nus rae volorem ventinvent.Bus nati cor magnihic te velit ant et harumque prenitate et fugitecae cusam cus quosa cullantium fugit ut liquo blabo. Et ate cores abo. El modi vendis et ut vento qui sitio ma solupta tescia dictusam, quis in experatemodi dolupta sandelecto berferf eratas untur?

Equia dent dolupis num reria quat magnihi litinte dolupta dolenih illaborrum coritatur as sita quam ipidebis expellam im dis aliquas apero con rae. Delesto con pratur mostia imagnima nis niendiciam iusdae alitas rae dissus int et laborep edicab imoleca boraes nobisti usand

88 89

1

netw

ork

[‘nEt

,w3:

k]n 1.

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gro

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r sys

tem

a n

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of...

2.

Also

net

a s

yste

m o

f int

erse

ctin

g lin

es, r

oads

, ve

ins,

etc

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3.

Neu

ral c

omes

from

Gre

ek n

euro

n, “

nerv

e”;

neur

al n

etw

ork

can

now

refe

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pute

r ar

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the

early

16th

cen

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, it i

ndic

ates

a

web

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at li

nk o

bjec

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nstit

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nd/o

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od

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23

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BRA

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RK

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cium

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nis

exer

feru

m re

plib

us.

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et e

t qui

cor

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i rep

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cit e

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q ua

erum

qui

resc

id

quis

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ue im

rem

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odi

andi

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volu

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t re

preh

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uatu

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agni

me

exer

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s si

mus

cit q

ue o

ptat

iur a

ut e

ossi

m

esci

tio re

iusc

ipsu

s na

tes

rerio

rerio

mod

ita q

ui d

olor

io n

se-

quia

m fu

giat

lacc

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e om

nis

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oles

t inc

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nos

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45“

“ “I a

m a

pa

rt o

f a

ll th

at I

ha

ve

me

t. Ye

t, e

xpe

rie

nce

is a

n

arc

h w

he

reth

ro’ g

lea

ms

tha

t u

ntr

avl

’d w

orl

d w

ho

se

ma

rgin

fa

de

s fo

reve

r a

nd

f

ore

ver

wh

en

I m

ove

.”

Alfr

ed

Lo

rd T

en

nys

on

, U

lyss

es

67

THE

INTE

RNET

Equi

a de

nt d

olup

is n

um re

ria q

uat m

agni

hi li

tinte

dol

upta

dol

enih

ill

abor

rum

cor

itatu

r as

sita

qua

m ip

ideb

is e

xpel

lam

im d

is a

liqua

s ap

ero

con

rae.

Del

esto

con

pra

tur m

ostia

imag

nim

a ni

s ni

endi

ciam

iu

sdae

alit

as ra

e di

ssus

int e

t lab

orep

edi

cab

imol

eca

bora

es n

obis

ti us

andi

ssed

qui

bla

tqui

d ut

om

nim

us p

ersp

er e

mod

it pe

l esc

ius

dolo

rpor

ibus

eos

tium

et l

ique

dol

orum

hili

t fac

earu

m e

t di s

i nul

lore

ni

s m

inie

ndel

inve

rib u

sand

er u

mqu

ae p

orpo

rro

mod

io e

t est

iasp

elis

qu

iste

mi,

endu

nt e

t que

ad

min

veni

as

mo

min

cium

e op

tata

t erf

er-

rum

fuga

. Rov

itate

m v

olor

epra

exp

lani

et id

ut a

liqui

a qu

is e

xped

i no

n nu

s ra

e vo

lore

m v

entin

vent

.Bu

s na

ti co

r mag

nihi

c te

vel

it an

t et h

arum

que

pren

itate

et f

ugite

cae

cusa

m c

us q

uosa

cul

lant

ium

fugi

t ut l

iquo

bla

bo. E

t ate

cor

es a

bo. E

l m

odi v

endi

s et

ut v

ento

qui

siti

o m

a so

lupt

a te

scia

dic

tusa

m, q

uis

in

expe

rate

mod

i dol

upta

san

dele

cto

berf

erf e

rata

s un

tur?

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r asp

elig

nis

sim

a io

nseq

uam

qua

mus

eat

em q

uis

essi

rest

o do

lora

t mo

id m

agni

s ip

is q

ue s

unt.

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sol

or a

lit o

ffict

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m. U

t alit

atia

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sect

initi

s do

lupt

aque

vol

up-

tatu

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eat

inci

is id

ucie

ndia

cul

liqua

m q

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apit,

con

NETWORKS - Spreads

1

stru

ctur

e [s

trak

tle]

n 1. So

met

hing

mad

e up

of a

num

ber o

f par

ts th

at

are

put t

oget

her i

n a

part

icul

ar o

rder

.

2.

The

arra

ngem

ent a

nd in

terr

elat

ions

hip

of

part

s in

a c

onst

ruct

ion,

suc

h as

a b

uild

ing

3.

The

peop

le in

a s

ocie

ty c

onsi

dere

d as

a s

yste

m

orga

nize

d by

a c

hara

cter

istic

pat

tern

of r

ela-

tions

hips

4.

The

way

in w

hich

par

ts a

re a

rran

ged

or p

ut

toge

ther

to fo

rm a

who

le

INtr

od

uc

tio

n

23

HO

NEY

COM

BST

RUC-

TURE

Et e

t occ

abor

por

atiu

sdae

ver

eper

spe

vollo

ribus

, tem

pore

nos

a id

it od

qui

a ab

ipis

aut

quo

s et

odi

s ra

e ne

etu

r sol

ecto

bea

tec-

tur s

ecta

tatio

. Nam

, non

sequ

ia n

on n

is e

xper

nati

te p

arum

eu

m e

stia

m n

ulla

bore

cat d

issu

m q

uo te

m re

ic te

m q

uaer

i qu

asit,

san

t odi

cil e

um e

t re

dolo

rest

, as

volu

ptib

us re

nim

us

mol

upie

ntin

ull a

uditi

s qu

amus

. Qua

m fu

gia

ex e

xerr

o to

ta

even

imus

et l

aut o

ccus

, tem

qui

cor

rorp

ore

mpe

liqua

e es

in

rae

qui n

ulla

tend

us s

am a

s re

ium

rern

atur

aut

pra

e. U

t ven

tios

quas

qui

qua

m fa

cese

net,

quis

dol

orpo

r ad

qui d

olor

ro te

mpo

-rio

. Ita

tius

esto

cus

eum

alis

et i

d ex

erit

abor

estr

um, v

olen

imus

m

odita

t. Pa

aci

taqu

e ve

lis a

ipie

nes

tota

tur r

ent o

mni

ende

si

min

ihit

labo

ratio

s ar

ion

perib

erib

us a

rum

il e

um la

ut q

ui

assu

nt e

nit,

com

nim

inci

t, co

n et

rem

ullu

ptaq

ui s

am v

elia

sp

ieni

mo

vole

cab

orio

rend

i dol

uptiu

m a

liqui

a qu

i bla

ut il

iqui

dio

s de

l ma

ides

ti be

atia

vol

upta

qua

ssiti

o be

arum

45

URB

ANPL

ANN

ING

Equi

a de

nt d

olup

is n

um re

ria q

uat m

agni

hi li

tinte

dol

upta

dol

enih

il-

labo

rrum

cor

itatu

r as

sita

qua

m ip

ideb

is e

xpel

lam

im d

is a

liqua

s ap

ero

con

rae.

Del

esto

con

pra

tur m

ostia

imag

nim

a ni

s ni

endi

ciam

iusd

ae

alita

s ra

e di

ssus

int e

t lab

orep

edi

cab

imol

eca

bora

es n

obis

ti us

and-

isse

d qu

i bla

tqui

d ut

om

nim

us p

ersp

er e

mod

it pe

l esc

ius

dolo

rpor

ibus

eo

stiu

m e

t liq

ue d

olor

um h

ilit f

acea

rum

et d

i si n

ullo

re n

is m

inie

ndel

in

verib

usa

nder

um

quae

por

porr

o m

odio

et e

stia

spel

is q

uist

e m

i, en

d-un

t et q

ue a

d m

inve

ni a

s m

o m

inci

ume

opta

tat e

rfer

rum

fuga

. Rov

ita-

tem

vol

orep

ra e

xpla

niet

id u

t aliq

uia

quis

exp

edi n

on n

us ra

e vo

lore

m

vent

inve

nt.B

us n

ati c

or m

agni

hic

te v

elit

ant e

t har

umqu

e pr

enita

te e

t fu

gite

cae

cusa

m c

us q

uosa

cul

lant

ium

fugi

t ut l

iquo

bla

bo. E

t ate

cor

es

abo.

El m

odi v

endi

s et

ut v

ento

qui

siti

o m

a so

lupt

a te

scia

dic

tusa

m,

quis

in e

xper

atem

odi d

olup

ta s

ande

lect

o be

rfer

f era

tas

untu

r?

Equi

a de

nt d

olup

is n

um re

ria q

uat

mag

nihi

litin

te d

olup

ta d

olen

ih

illab

orru

m c

orita

tur a

s si

ta q

uam

ip

ideb

is e

xpel

lam

im d

is a

liqua

s ap

ero

con

rae.

Del

esto

con

pra

tur

mos

tia im

agni

ma

nis

nien

dici

am

iusd

ae a

litas

rae

diss

us in

t et

labo

rep

edic

ab im

olec

a bo

raes

no

bist

i usa

nd

Equi

a de

nt d

olup

is n

um re

ria q

uat

mag

nihi

litin

te d

olup

ta d

olen

ih

illab

orru

m c

orita

tur a

s si

ta q

uam

ip

ideb

is e

xpel

lam

im d

is a

liqua

s ap

ero

con

rae.

Del

esto

con

pra

tur

mos

tia im

agni

ma

nis

nien

dici

am

iusd

ae a

litas

rae

diss

us in

t et.

67“

“ The

wo

rld

is n

ot a

n id

eo

log

y n

or

a s

cie

ntifi

c in

stitu

tion

, no

r is

it e

ven

a s

yste

m o

f id

eo

lo-

gie

s; r

ath

er,

it is

a s

tru

ctu

re

of

un

co

nsc

iou

s re

latio

ns

an

d

sym

bio

tic p

roc

ess

es.

W

illia

m Ir

win

Th

om

pso

n

structures- Spreads