Processbook Finalagain Again

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YUKIKOSUZUKI

FORTo be completely honest, this process book has haunted me day and night. It has been the major source of my stress; it should not be misunderstood, however, that this stress was caused by something like a badly-designed project. It is my own complete fault, for I have been lag-ging behind, much like the other projects that are presented in this book.

If I were to sum up my complete experi-ence with this book, truthfully I cannot say that it was an enjoyable experience. However, it would also be a life if I were to state that I hated every moment of it. Colliding with what one could call a artist block, the creation of this god-damn book (excuse my French) has been full of discoveries and nerve-wrecking nights. I had to face my own weaknesses throughout the entire process, but I also had opportunities where I received help from sources I had not expected. Such discoveries have made this tiring process worthwhile.

I have also come to realize my severe lack of experience in the art of formatting and designing multiple-paged works.

Book designing and process book mak-ing is my first, surprisingly, and I truly regret my lack of experience. Here, I would like to take the opportunity to place the plame on OCADU. Please get your curriculum together. The works presented in this book is ar-ranged in an interesting array, where it goes from my personal favourite down to my least pesonal favourite. It is also coincidentally organized in chronological order, which was obviously not planned at all. Of course not.

It would be of my greatest satisfaction if viewers were to be able to enjoy my first-ever book. May it be that in the future, I will be producing something of a similar nature with more understand-ing of book-making. Meanwhile, this will have to do.

It is now time to wrap up my rambling which may perhaps been here just to fill-up space speech and allow the view-ers to get on with the rest of the book, where it is filled with more rambling and whatnot. I hope you enjoy.

WARD

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CONTENTS2

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a word and more of nonsense

project 1: logo redesign

project 2: table of contents

project 3: the interview

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FORWARD

REVISE & REFINE

BRING FORTH

SO HE SAYS

TABLE OF

REVISE

REFINE&

To be frank, I do not sketch my ideas by hand most of the time. My common work process habit starts right ont he computer most often. It was, therefore, both refreshing and enjoyable to be sketching these logos traditionally. It seemed extremely excruciating at first, but the whole experience felt great. Just putting it out there.

This has also been one of the few project in which I started early on. In the end, it still ended up rather last-minute (there’s no doubt about that. It is always last-minute) yet it was not one of those “do it the night before and pull and allnighter and hope for the God of Inspiration to lend you his hand.”

There was an interesting (well perhaps not realy) story to this project. When we were first messaged by our graceful professor that we had not even met over the winter break, my understanding, or lack of, the instructions prompted me to think that we were to create a logo from scratch. It was then that I felt weary of

this advisor that we had not even met; a brand new logo from scratch, with only a week’s warning in advance sounded rather crazy. However, it turns out that my comprehension skill was the crazy one and not the former. Since this dis-covery of my error, this project had been nothing other than creative funness.

It had been a great project to work with, and my newfound discovery for logo (re)designing has given me more options for where I would like to end up in the future, if I can end up anywhere.

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There isn’t really a particular reason why I chose to work with the LEGO logo at all. If I were to give any reasons, it would be beacuse a) it was simply a bad (or outdated, rahter) logo, and b) it contained only four letters, which meant that it would be easier to work with, especially with balance.

While working on the redesign, it occurred to be just how correct my particular choice was for this project. Having grown up playing with LEGO blocks, there was this personal

attachment to the company and what the logo represented. This attachment was possibly what drove me and kept me working on the project to create a work that satisified me personally.

Having done the 60 required sketches made me feel like an artist again, for sketching by hand has this feeling of craft. I hope to take a leaf out of this and follow through with sketching by hand in initial ideas in the future as well.

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ABOVE: Selected samples of the logo

sketches, organized in chronological

order of development, starting with the

original logo down to the revised logo.

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BRINGFORTHTHE ESSENCE OF

To be perfectly blunt again, I did not research too much about Karel Martens and his works. I did afterwards and re-grets not doing it sooner. His works have been captivating, to say the least, and I may have produced a table of contents of a different design. But then again, I may have been too lazy to do that. It re-ally does not matter at this point.

I have never made so many revisions as this project. Though it felt rather re-petitive at certain points, I definitely felt like I was making a small step forward everytime I was forced to make certain changes. By the final revision, I was pret-ty burnt out with the entire project, and I won’t deny it being rather haphazardly put together. However, the sheer amount of corrections I made for this project was nontheless gratifying to look at.

It made me realize that as a graphic designer, one would have to make these numerous minute changes to achieve a project that is worthy of being called the final submission.

This project has been insightful overall. It was difficult task and the mountain was hard to climb; however, the grafitication that was brought from completing the climb has been one of the best.

If there was ranks or levels associated to project difficulty, this would probably be ranked somewhere in the middle of the list. There were some extremely challeng-ing aspects of this project, though not as challenging as the projects that will follow later on. Trying to retain the hierarchy while trying to create an visually interesting layout was the most difficult element of this work. In the end, legibility slipped off the table, but it was a great project to learn about one’s strength and weaknesses.

The other excruciating part about the project was trying to develop three designs of equal quality. I had to retire at the end and scrap one of the designs entirely. The legibility of the original was simply not working. To this day, I wonder if the new one was ever better than the original, or if the original was still salvageable. Whatever the answer is, the decision I made that night before the due date is to scrap it completely.

As mentioned earlier, thanks to my lack of research early on, my personal under-

Heineken Prize jury report (1996) Jury Heineken Prijs (1996)

Robin Kinross:Karel Martens: work in progressKarel Martens: werk in uitvoering

Karel Martens:50 years of work50 jaar werk

Koosje Sierman:What design means for meWat vormgeving voor mij betekent

Hugues C. Boekraad:Martens’s capture of the marginMartens’ verovering van de marge

Karel Martens: meticulous and personalKarel Martens: zorgvuldig en persoonlijk

Jaap van Triest:Karel Martens and educationKarel Martens en onderwijs

Book keepingUit de boeken

Bibliography Literatuur

Hyphen Press London 2010

Printed matterDrukwerk

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Karel Martens










Karel Martens

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Printed matter

KarelMartens

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207Heineken Prize jury report (1996) Jury Heineken Prijs (1996)

Karel Martens: work in progressKarel Martens: werk in uitvoering

50 years of work50 jaar werk

What design means for meWat vormgeving voor mij betekent

Martens’s capture of the marginMartens’ verovering van de marge


Karel Martens and educationKarel Martens en onderwijs





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8Robin Kinross:

32Karel Martens:

184Karel Martens:

186Koosje Sierman:

188Hugues C. Boekraad

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198Jaap vanTriest:

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Karel Martens











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8Robin Kinross:

32Karel Martens:

184Karel Martens:

186Koosje Sierman:


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Karel MartensPrinted matterDrukwerk










Karel Martens



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KarelMartens

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standing of the work is that it does not reflect Karel Martens. Well, not really. I would especially change the colours. Changing that red accent to a hot pink would definitely make it more like him.

One thing I learned about myself from this project, is my newfound love for 9 pt sans serif body texts. They are simply amazing to look at, though due to its minute nature, one would have to pro-vide more body text to cover the space. Which is rather painful.

Never have I realized how difficult to design a one page table of contents. I am grateful for having the opportunity to discover this, and will keep this in mind when I design books and whatnot.











Karel MartensPrinted matterDrukwerk

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8Robin Kinross:

32Karel Martens:

184Karel Martens:

186Koosje Sierman:


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198Jaap vanTriest:

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Karel Martens

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LEFT: A cover and sample page of Karel

Marten’s Printed Matter.

RIGHT: Collection of the entire final

designs, starting from the refined initial

sketches to the coloured final look.

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////////////////SO HE

Louis C.K. is a stand-up comedian that I have only recently discovered. On the night of the discovery, I spent hours with a tangled stomach. It was a good abdo-men excerise.

I decided to choose Louis C.K. as my tar-get for the project, simply because I fig-ured not many would think that I would even know about Louis C.K. As well, he’s god awful hilarious and thought that listening to him while transcribing would be a fun process itself.

This project was extremely lagging behind. I had no idea what I was to do, where to start, nor where to end up. It would be a project I would gladly redo, if given the opportunity. Of course, no such opportunity would be given, and so I will simply have to give up on it. It is, unfortunately, a work full of extreme

SAYS

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last-minuteness, regrets, and bad deci-sions. There is only one solution to solve a problem such as this, and it is to simply drink it down. The choice of liquid is up to the person.

There were things that I have discov-ered on the way, however, and I figure the discoveries have just barely made it enough for me to have not hate the project completely. I would like to take this project as a reminder of myself to work at a project even if I do not understand it; it is much better for you to understand from a fail-ure than try to understand from absolute nothing.

BELOW: Stand-up comedian and the

interviewee, Louis Szekey aka Louis C.K.

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No

Louis C.K.The Interview

They’re happy to see you.Yeah, they go crazy.

So they’re giving you the benefit of doubt in a way that you’ve never had it.

You get it for about

And then after that, with standup, you just can’t do it. You get one joke benefit of the doubt and you can actually

Yes

If the joke doesn’t work, they’re really pissed off now.

Right.

But they really love to say,

So actually, sometimes when you go up and you get that, if you get that cheer, you actually w a n t t h e m to feel that.

David Steinberg interviews Louis C.K. about the evolution of comedy acts, telling bad jokes and talk about taking pictures with fans.

This process of having to be bad,

is it easier to be bad than l e s s f a m o u s ?

when you’re more famous,

because you have pressure because everything is a zero-sum game

Yeah they go crazy.

so it’s like they’re really excited when you get on stage.

3 0 s e c o n d s .

burn it completely

with that joke.

This

f u c k i n g g u y

is probably rich and this guy is wasting my time.

And also people love to say, what people love to say, people really enjoy saying,

“I got to see great comedian X, and he was really great.”

“I saw that guy, he sucks. I saw him. He’s not that good.”

Y e s . That feels good to say. I like saying that about somebody. That’s fun to say that.

This project was funny in the sense that I was trying to be experimental, and yet it ended up being not so experimental. To be experiemental, one must push something to the extreme, and looking back at this now, the push was definitely not enough.

My intention for this piece was to em-phasize the humour and the language of Louis C.K., but a more successful approach would have been to play with extreme contrasts, but not so over the top that it would not have been legible.

Legibility is an interesting, as I have discovered in this project. The designer could read it perfectly well, but the read-er and the rest might not see what the designer is seeing. This makes everything so much difficult, because what you are trying to convey wouldn’t necessary be conveyed at all. All in all, this was a frustrating project, with much stress and fury involved in the creation. And of course, lack of sleep.

ABOVE: Selected section of the in-

terview spread that was deemed most

interesting to look at.

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