Graphic design archive: Masterworks portfolio

Rochester Institute of Technology

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5-18-1993

Graphic design archive: Masterworks portfolio

Daniel Pocock

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ROCHESTER INSTITUTE OFTECHNOLOGY

A ThesisSubmittedto the

Faculty

of

The Collegeof

Imaging

Artsand

Sciences

in

Candidacy

fortheDegreeof

MASTER OF FINE ARTS

GRAPHIC DESIGN ARCHIVE

MASTERWORKSPORTFOLIO

By

Daniel B. Pocock

Approvals

Advisor: R. Roger Remingto:..:,:n/,....".,....--

_

Date:

~

7

,

"' __,

Associate Advisor: Barbara Polowy/

_

D.te~\

'1r-t-\

..t:.\t1R1:...-3~---Associate Advisor: Joseph

Watson/

_

Date

O%,(.(Lq)

Philip Borna.rth

Dean, College of Imaging Arts and Sciences: Dr. Margaret Lucas

Date:

?

...-11 -

3

I, Daniel B. Poco k, Hereby grant permission to the Wallace Memorial Library of RIT to reproduce

my thesis in whole or part. Any reproduction will not be for commercial use or profit.

Acknowledgements

Iwould like tothankthestaff oftheArchivesandSpecial

Collections

fortheir

help

in

locating

and

TABLE OF

CONTENTS

ACKNOWLEDGEMENTS

ii

INTRODUCTION

Problem Sought 1

Problem Found 2

PART I.

DEFINING

THE PROBLEM

Choosing

a committee 2

Thesis Proposal 3

Project

Outline

andTimeline 3

PART II. SOLVING THE PROBLEM

First Committee

Meeting

4

Preliminary

Designs-Lester Beall 5

Working

With Images

Working

with Folds

Deciding

on

Preliminary

TypographicalGrid

Refining

the Design 10

Reworking

The Grid/Final Type Solutions

Choosing

Imagesand Information

Final ImageSelectionsand Design Refinement

Creating

theMasterGrid Biographical Information

Reproductionand Color Separation 1 1

Mechanicals

PART III. EVALUATION

Testing

theGrid

Designing

Cipe

Pineles Portfolio 14

Outside

Evaluation 15

The Test

The Test

Group

Results

PART IV. SUMMARY

Defending

the Project 16

Personal

Summary

ofthe Projectand itsGoals 17

Appendices

Proposal

ProjectOutline

Project Timeline

Questions for Committee

Meeting

Image Selection Matrix

Preliminary

DesignsandFolds

Preliminary

TypographicalGrids Master

Grid

ComputerSketches

Final Project

Evaluation

Thesis

ProblemSought

In the

spring

of1992 inanticipation

my

forthcoming

thesisproject, I began

by looking

back

atthestepsthathad led meto Rochester InstituteofTechnology'sgraduate graphicdesign

program.

Three

key

questionskept

running

through

my

thoughtsas Itriedto discovera suitable

problemtoexplore_{Where have I}

comefrom? Whatam I hereat RITtogain?

And,

wheredo I

intend togofrom here? I began to

keep

alistof educational and vocational goals which I

anticipatedthisprojectwouldaddress.

Silkscreen

printing

had playedtheimportantrole of

introducing

meto theworld ofgraphics

as well as

being

a medium inwhich Ipossessed professional skills. I hopedthat_{my thesis}might

usethese

preexisting

skills.

My

desireto teachgraphicdesignwasfostered

by

my

undergraduate

art professorsand,no

doubt,

my upbringingin a

family

of educators. I _{felt strongly}that

my

project

should encompass somesort of educational goals.

My

experience asadesigner had leftme

feeling

thatI lackedcreative

working

methods,and wasincapableof

producing

work with

substance. Iwantedthisprojecttodemonstrate

my ability

to

successfully

solve visual

problems_{tovalidatethe}

workingmethodsIwas

learning

atRochester InstituteofTechnology. I

alsowanted_{to incorporate into my} project

something

which wouldtakeadvantageofthe

uniqueness of RochesterInstituteofTechnology. At

RIT,

graphicdesign

history

had becomean

intriguing

and valuable windowthrough which I have been abletoview_{my discipline. The Graphic}

Design Archive is clearlya resource uniquetoRIT. Becauseofthegenerallackofinformation

Thesis Problem Found

Late in the 1992

spring

quarter, Iapproached Professor Roger Remingtonwiththis listof

goals and webegan to formulateaproject which would encompassthesequalities. A few days

after I laid outtheserequirementstoProfessor

Remington,

he proposeda projecttocreate a

portfolio of silkscreened reproductionsofimportantworksincluded in the

Graphic

Design

Archive. Iwasdrawn to the ideaandruminatedabouttheprojectthroughoutthesummer months.

Theproject offered a set ofproblemswhich not

only

met

my

personalthesisgoals, but

offered

many

other avenues of exploration which would contributeto

my

educationalgoals. This

project wouldtakeadvantageof

my

_printing skills, its finalproducthad a

strong

possibilities as an

educationaltool.

And,

the veryessence ofthesubject matterdemanded historicalresearch. This

was also a project whichleftme

plenty

of roomforcreativeexploration yet,confined meto some

veryreal parameters.

Defining

theProblem

Choosing

aCommittee

Inthefallquarter I proposedtheportfolio project as_{my thesis}problem. Iselected

ProfessorRoger Remingtonas_mychief advisordue to hispersonal interest intheGraphic

Design Archive. Ialsofeltthathisdesign

philosophy

has

strongly

_{influenced my}own. I selected

Ms. Barbara

Polowy,

Artand

Photography

Librarianat Wallace

Library,

as anassociateadvisor

becauseofherinterestin the Graphic Design

Archive,

her

familiarity

andknowledgeofthe

archive, andherspecialinterest inthefinalproduct.Joe

Watson,

professor ofgraphicdesignat

RochesterInstituteofTechnology's Collegeof

Imaging

Artsand

Sciences,

was selectedasthe

Thesis Proposal

In the thirdweekofSeptember Isubmittedthe

following

as_{my thesis}proposal:

"I intend to

develop

a portfoliofor the

Graphic

Design ArchiveattheWallace

Library. I willplan, research, write,

design,

and screen printalimited

editionset ofportfoliostopromotethe

Graphic

Design Archive. Itwillserve

asadocumentationofthemasterworks

residing

inthe archive,andasan informationaltool whichleads toa greater

understanding

of graphicdesign history."

(Appendix

1)

Thisproposal wasaccepted, signed,and returnedtome on September 21, 1992.

Project

Outline

During

the fallquarter muchtimewas spent on

defining

theproject'sparameters,

producing

and

reworking

theproject outline(Appendix

2),

and_creatingatimeline forworkonthe

designtaskahead (Appendix 3). I found thisportion oftheprojectto bean essential and

worthwhile part of_{my thesis}experience. Planswentforwardquite rapidly.

Defining

and_organizing

mytask

verbally

gave me abetter

understanding

of whereitsstrengths and weaknesses

lay

before I spentagreatdealoftimeonthephysical design. Forme, a good portion oftheproject

wasaccomplished

during

this time. I defined the areas which were criticaltotheproject's success

such,astheneedforthis work, the

setting

in whichitwouldbeused,theaudiencesitwould

address,theinformationitwouldconvey, andtheplan

by

which Iwould accomplishthese tasks.

Thisafforded methe_{opportunity to}rule out_many

faulty

avenuesfrom theproject'sbeginning.

The process of

interpreting

my

own writtenoutlineintoa visualflowchart(Appendix

3)

beganto

bridgea

longstanding

voidbetween

my

verbaland visual

thinking,

and solidified a major area of

Solving

theProblem

The First

Committee

Meeting

My

firstcommittee

meeting

washeldon

Friday,

December

18,

1992.This

meeting

was a

very

positive one. I presentedtheoutlineand alistof written questionsfor

my

committeeto

consider(Appendix 4). Ialsocreated a matrixfor

choosing

specificworksto include in the

portfolios andwediscussedwhatthecriteriashouldbe for inclusion of workintotheportfolios

(Appendix 5).

One

oftheareasthatweshouldhave discussedmore atthistimewasthescope of

theproject.

The

Graphic

Design Archive includeseight collections ofdesignersand aPolish

Postercollection. I had high hopesof

having

enoughtime toproduce a portfolioforeach ofthese

and

possibly

a portfoliofolder to holdthem. Thequestion ofwhetherthisproject attemptedto

breaknew ground inthefieldof graphicdesignwasalsodiscussed. Thecommittee agreedthat

thiswas a new project

simply

becausethissort of portfolio was not

currently

inexistenceforthe

Graphic

Design Archive.

One

thing

whichdeservesmentionhere isthe_strong

compatibility

of _{my thesis}committee.

This

quality

was apparentto me_{from the very}

beginning

ofthis

meeting

throughout theentire

project.

Each,

competentin hisorherown

field,

has beena greatsourceof supportthroughout

this project. When Iencountered a particular problem Iappreciated

knowing

justwhoto turn to.

Eachwas

willing

to concedethatcertain areas were outside oftheirarea of expertise andthat I

wouldfinda more reliable answerto

my

questionthroughanother committee member.

Working

Preliminary

Designs_LesterBeall

Deciding

on aFormat

I began theactual designprocess

by

trying

to define thephysicalshape oftheportfolio

card. Barbaraand I had talkedabout whattheappropriate sizeforsuch a piece mightbe. We

decidedthat16"x

24"

would bea

fairly

standardbasesizetostartfrom. I decidedthat Iwould like

to

try

a square

format,

andalso experimentedwitha

16"

x

16"

size. Thissizerange would give a

certain amount of prominencetothepiece without

making

it

extremely

large and cumbersome. I

exploredvariouspossibilities

by

creating

blankmodels ofthecards at halfsize(Appendix6). The

most obvious solutionwas aflatsheet. Ialso experimented withthe ideaof

symmetrically

folded

sheets which whenfoldedmeasured

16"

x

16"

and

16"

x

24."

Theseprovedtobemuchtoolarge

whenfoldedout. Itrieda set which_{folded symmetrically but had} afour inch horizontalcut_running

acrossthe

fold,

half

way up

thepage. Ithen took thelowerportion ofthisarea andfolded itin

towards theviewer. Thiscreated an

interesting

die-cut

fold,

butposedtoo

many

problemsfor

actual production. Itriedanotherversion ofthis

idea,

folding

the right halfofthecoverback

towardsthefold tocovertheportion which had been die-cutfrom thecenter(Appendix

6,

Fig.

1.4). From this halfpage

idea,

thefinal design foldemerged.

Working

atbothsizes, I developedtheideaof a short pageforthefrontofthecard.This

short page offeredthemostversatileforum for

displaying

thearchival materials. I decided to

keep

the 16"x

16"

formatandtriedtocreate a one-thirdtotwo-thirdsproportion ofthepagesizes

(Appendix

6,

Fig. 1.5).Thissize produced a card which waseasily largeenoughtoaccommodate

theinformation and offer a proportion change when openedflat. The

16"x24"

formatwiththe

short page was muchtoo largewhen opened. Once I had decidedthatthisformatwas

acceptable, Iproduced a_{preliminary design using}theBeall images I hadgatheredfrom

Deciding

on

Preliminary

Typographical

Grids

The first

thing

I decided to dowastobase

my

grid structure on atypographicalunit grid.

Becauseofthis I neededtomake an initialassumption about what

my

typespecificationswereto

be. IchoseHelvetica becauseofits

strong readability

and appropriatenessto theproject. I based

my

firsttypographical unit grid on

Helvetica

set 12/1 8.

Working

on grid _paper, I set outtocreate a

master grid basedonthe16"x 16"foldedsize and

preliminary

"shortpage"

folding

assumptions. I

created ahalf-sizesketch of

my

typographical unitgridfrom this information (Appendix

7)

and

also set

copy

atthesizeand width at whichitwouldbeused. At thispoint Ipolled

my

committee

fortheirreactionsto theportfoliodesign. Ms.

Polowy

was

very

pleased withtheformatasit

attemptedtoaddressthe informationand audiences. Wespokein depthabouttypestyle and size

choice, readability, cardsize, and aboutsomeofthe informationwhich shefeltwas appropriateto

this format. Professor Watsonseemed concernedthat

my

grid was notdesignedwiththe

flexibility

Iwould needfora system such asthis. Hesuggestedthatit beredesignedto leavemore white

space. Healso mentionedthat_{in setting up}a gridsystem, it is important to designatestandard

informationareas and repetitive elements which would remainthesamethroughout thepages of

thepublication. Professor Remingtonwasconcernedthatthe

leading

wastoogreat and

encouragedmetotighten _upthe textareas. When I showedhim_{the copy}setsolid,wedecided

that thiswould be better. Ithen set outtoimprovethe

existing

gridformat for theportfolio

incorporating

thesesuggestions_{from my}committee.

Creating

theMasterGrid

In theprocess of_recreatingthemastergridfrom

my

original_structure, I first discarded the

wide line

leading

thatI hadchosenand rebuilt

my

basicunit grid

using Helvetica

set 12/13.This

copy

block.

The

second problemthatI tackledwastore-divide_{the page(s) into}appropriate

columns(Appendix 8). Becauseofthe"short-page"

thiswas a complex problem whichtook

careful considerationinordertomakethecolumns andborderscome out evenly. I approached

thistask

by

considering

thefoldedcard asif itwastwo different partspresented side-by-side. The

firstsection

being

the"short-page"

(measuring

16"(96

units)

x10 1/2"(63units)), thesecond

section

being

theportion whichextendedtotherightofthe"short-page"

(measuring

16"(96 units)

x5 1/2"(33units)).

Knowing

my

typestyle andpointsize, I figured theoptimum column widthfor

readability

tobe between

twenty

fourand

twenty

seven units wide. Oncethishad been

determined,

thecolumn width wascomparedto thewidth ofthe"short-page"

Twocolumns

twenty

fiveandahalfunits wide and separated

by

adistanceoftwounits

comfortably

fitonthe

page.This lefta space offiveunitsbetweentheedges ofthepage andthecolumns. I determined

that thisarea would beused_{for presenting}one prominentimage.

Counting

overto the rightfive

unitsfrom theedge ofthe

"short-page,

I drewtheverticallinewhichwouldbetheleftmarginfor

thesecond section.On theright side ofthissection Iset_upa verticaltitle_{bar measuring}seven

units wide.This bar bledoffthepage onthe

top,

bottom,

and rightside and was printed on both

sides ofthecard_{for easy}reference at alltimes. The distance between theleftmarginandthe title

bar becametheactive areaforsmallerimages. Whilethe leftmargin ofthisarea remained

absolute, theright marginwasleftopenandflexible. Thisarea would accommodateimagesof

differing

sizes and shapes.Afterthishadbeen completed, I extendedthegridthroughoutthe

entire piece(Appendix 8).The depthof_{the copy blocks}weredetermined more

by

the depthofthe

featured imagethan

any

otherfactor. And the designer'sname and life dateswerepresented

vertically, reversed out ofthetitlebarand aligned withthebaseoftheimageonthebottom. The

copy

standardsfor theentire card werethenbased on an asymmetricallayout. Titlesweretobe

aligned withthe

top

leftofthe left handcolumns.Text

copy

wasto begin in thecolumntothe left

ThemoreIworked withthe"short-page"

themore evidentthepossibilitiesbecame for

presenting

the information.

The

frontofthecard

(closed)

couldfunction morelikea standard

portfoliocard

showcasing

the

images

withouttheclutterof copy.

By

using

the"short-page"

strategically, Iwas ableto

"bring

someoftheimagesforward"

to theinsideofthecard and

elaborate ontheirsignificance.

Inside,

even moreimagescouldbepresented. Allofthe

biographical informationwasthenmovedto the backpagewhereitremained_easilyaccessible,

yet out oftheway. This information isread

easily

whentheportfoliois folded.

And,

themain

reproduction onthefrontstandsto theright ofthe

biography

whenit is

fully

unfolded.

Choosing

The ImagesandInformation

In my initial

meeting

withthe thesiscommitteeI had presented criteriafor

choosing

images. While thematrix was used

initially

only

to brainstormabout what worktoinclude inthe

portfolios,itcontinuedtoguide usthroughouttheselection process.Two

key

questions,"What

does thiswork

say

aboutthisdesigner?"and, "Whatdoes thiswork

say

abouttheuniquenessof

the Graphic Design

Archive?,

"helpedusdetermine the finalchoices. Ofcourse athirdquestion

wasalways, "Can thisworkbereproduced

faithfully by

thesilkscreen

method?'

Becauseofthe

complex

fold,

juxtapositionofimagesandinformationflow becamecritical concerns. This dictated

that thechoiceinformationandimages berelatedto the layoutand itspurpose.When I had

fully

realized allthatthis formatoffered, I begantomake

my

finalselection ofimagesand

develop

the

copy

for the Lester Beallportfolio card.

In searching for theappropriate

images,

I began to feel

frustrated,

asIwasn'tquitesure

whatkindof materialswere availabletome. I began

researching

areasof

preliminary

interest for

alleight

designers,

randomlyviewingmuch oftheirwork onthe

Electronic Graphic

Design

Archive

in the Media Resource CenterofWallace Library. The timespent

here

was

very

important to this

reinforcedtheneedfor theportfolio project.

Again,

Ispentagreatdealoftime

looking

overthe

worksofallofthedesigners Iwasconsidering. While thisgave mea greater

understanding

ofthe

breadthofthematerialtobemademoreaccessiblethroughtheportfolios, italso wasvaluable

timewhichwasnot spent

producing

actualdesignwork.The Lester Beall Archiveprovedto be

the

key

collectionfor theproject, astheentirecollectioniscatalogedand it isan

historically

importantand complete

group

of works.

By

viewing

Lester Beall'sworkfrom the

laserdisc,

I determinedthat therewerethree

groups of work whichwould lend themselvestopresentationin theporfolios. Onewas a complete

set of

working

sketchesand mechanicalsofBeall's logoworkfor Caterpillar Tractor. When Itried

toreproduce some ofthepencil sketches

by

photocopy, I decidedthatthelineworkwastoofine

tostand

up

to thesilk screen process. Alsotheelectronic archiveincludesa complete case

study

ofthis projectandthisisavailableto

library

users attheMedia Resource Center.

Thesecond_groupof work which

strongly

interestedme wasthecollection of Beall's

paintings,

drawings,

and experimental photographs. Though these imagesevidencedthemore

personal side of

Beall,

they

often blazedthe trailfor hisprofessionaldesignwork, andin

fact,

many

oftheseworks were

actually

incorporated

directly

into hisgraphicdesigns. Thoughthese

works present a side ofBeall whichis

largely

unknown, and represent a_wellspringforhis

creativeenergies, Iwas again concerned about

creating

faithfulreproductions. Ialso questioned

thepresence of meaningfuldocumentationoftheseworks.

Thethird

group

Iconsidered wasthethreeseries of posters createdfor the Rural

Electrification Administration. The Rural Electrification Administrationposterswere

originally

produced

by

thesilk screenprocess,

making

them

perfectly

suitedto

my

reproduction method.

They

weremore_{completely documented}than theother work Iconsidered, and presenteda

strong

stylistic statement about Bealland hiscareer as well astheuniquenessofthe LesterBeall

discussing

thesepossibilities with Professor Remingtonand Ms.

Polowy,

I decidedthatthese

posters should be the focus for the Lester Beallportfoliocard.

Final Image SelectionandDesign Refinement

Finally,

I began towork onthe final design. I collectedtheimageswhich Iwould needfor

the Beallportfolio and began to

lay

outthe information inafull-sized

working

model. Ichoseto

feature fourofthesiximages from the first Rural Electrification Administrationseriesto

display

on

theclosed-cardformat. Thesewerechosen abovetheothertwofortheirsuperior graphics.The

premier

image,

placed onthe"short-page,"

was chosenbecauseof

strong

diagonalswhich would

effectively

balanceand pointto theotherthreeimages in thesectionto therightofthepage

division.These threewere groupedtogetherbecauseoftheir

strong

horizontalcolordivisionsand

were arranged_verticallyonthecard

by

_{alternating the}color schemes. When thecard was opened

these threeposters wouldremain visible,

only

nowwouldappear adjacenttoreproductionsfrom

the firstandthird seriesand a sample of

working

sketches.The insideofthe"short-page,"

includesatextaboutthesignificance ofthe Rural Electrification Administration poster project

originallywritten

by

Roger Remington fortheposter

display

in Wallace Library. With his

permissionand some_{editing I} usedthis informationasthesupport

copy

forthework.

Titles,

subtitles,

copy text,

captiontitlesandtext, and

copy

breakswere all given appropriate size

measurementsbasedonthe13point unit grid. Helvetica boldcondensed was employedfor the

titles,

subtitles, and captiontitles.Since Beallwas a pioneerincorporate

identity

design,

Iplaced

a_groupingofsymbolshe had designedadjacenttothebiographicaltextonthebackofthecard

along

withaquote abouthis philosophyofthecorporate symbol. The

Graphic

Design

Archive

logoand address werethen setinasimilarstyle and placed in the lowerrighthandcorner ofthe

rear panel.Thiswasitspermanentposition onthegrid. When Imadethese

decisions,

I recreated

computer, I foundthat

by knowing

thesizes andshapes oftheimages Icould create a rough

sketch ofhow the imageswerelaidout onthegrid(Appendix9). Inthis

way

thecomputer proved

tobea great supportin

laying

outthisoversizedpiece.

Biographical Information

Throughout the design processI was

busy

writing

thebiographical information forthis piece, a

taskwhichstretched

my

researchand

writing

abilities. ProfessorRemingtonand Ms.

Polowy

were

very

helpfulwiththis

task, editing my

written material with an

understanding

oftheaudience's

needs. Both helpedme

keep

my

factsstraight and encouragedmeto

keep

the

writing

concise

andinformative.

During

thistask Iconsultedbiographical resources such as

Contemporary

Designers togain an greater

understanding

ofhowothershad approachedthis

writing

problem.

Since I had determinedthatthisportfolio would serve as a reference source, Iset outtoproduce

the

copy

inself-containedsegments,each

addressing

specificaspectsofthedesigner's life. I

accomplishedquick visual referencetothesesegments

by

separating

themwithbold subtitles.

Copy

editing

continued_upuntilthe time I producedthemechanicals.

Reproduction,

Color

Seperation,

and

Printing

The Silk Screen Process

Oneof_{my basic}assumptions wasthatthisportfoliowould beprinted

using

thesilk screen

process. ProfessorRemingtonand Ithought thatthiswould bean inexpensivemethod of

producing

a small run ofthepieces. Thismethod _{dictated many}oftheparametersforthisproject.

Typesizehad to beratherlargesothat thescreen would not

dry

closed

during

printing

production. For black-and-white halftonereproduction Iuseda65line halftone dotscreento

produceadotpatterncoarse enoughtoovercomethe

drying

factorsandthe

possibility

of moire

workbepresented asblackand whiteline work, blackand white

halftones,

or as spot color

separations. I was alsolimited toa maximum_size, afactorwhich wasin factpushedtoits

extreme.

Mechanicalsand

Reproductions

At thispointin theprojectitwastime tomoveto theproduction phase oftheoperation.

Productionofthemechanicals_commenced, butnot

simultaneously

withtheperfection ofthe

design. Instead Iusedthe timespent

producing

themechanicals, to"tweak"and polishthe design

beforeprinting.Toreproducetheposterimages itwas_{necessary to}obtainsomeformof

copy

of

theoriginal posters. Professor Remingtonand Ms.

Polowy

had 35mm slidesfor the Beall images

andthese

greatly

sped_my productiontimeand allayedfearsof

having

tophotographtheselarge

piecesformyself. I discoveredthattheCanon Color Copiercould create_reasonablygood

reproductionsfrom theseslides at a resolution greaterthan

my

processdemanded.

Having

obtainedcolor copies ofthe

images,

Iseparatedthecolorsfortheprints.

Using

thecopies as a

template,

I handcutAmberlithseparationsfortheoriginal colors. Where halftoneswereused on

theoriginal posters, I madehalftonereproductionsfrom thecolor copies. In afewcases I had to

resettheoriginaltypeas

faithfully

asI could. _{After separating}thecolors Ireducedthework

by

approximately

fifty

percenttoreducetheimperfections. These separations werethencomposed

as afilmpositive withthe texton a press_set-upsheet. Each piece challenged anew

my ability

to

solve

creatively

thereproduction problems.

Printing

Production

My

original planwasto begin the printing process

during

the firstweek ofApril to leave

myself_plentyoftime toproducetheworkbefore theshow.Although I did begin

printing

on

schedule, the Beallcard wasthe

only

onecomplete, asthe

printing

tookabouttwiceas

long

asI

five

ontheother. Becauseofthe

very

_{tight registration,}severalportionsofthesame color were

run

separately

tomaintainthehighest degreeof quality. Each halftone imagewas also run

separately

for thesame reason. Inall,thepaper passedthrough thepress about

twenty

times.

Theentireproductiontime for thispiece consumed atleast two

working

weeks of

my

time.

Work

During

Production

During

theperiod I was

printing

the Beallcard, Iwas also

developing

biographiesofthe

otherdesigners. I had

already

confrontedthe factthat Iwould not get as

many

ofthese portfolios

producedasI had intended.

Having

discussed thiswith Ms.

Polowy

and Professor

Remington,

I

shortened

my

list to four designers. Even thisprovedtobetoomuch asI attemptedtojuggle

informationofthree more

biographies;

thoseofCipe

Pineles,

William

Golden,

andAlvin Lustig.

Someresearch and

writing

has beenaccomplishedforall of

these,

butduetotimeconstraints I

focused

my

energies on one more.

Ichose

Cipe

Pinelesasthesubject withthemosttooffer_my project. Little documentation

ofhercareer

presently

exists.Thisgave methe

opportunity

tocreate a new and uniquedocument

(something

whichhad been inquestion atthefirstcommittee meeting). Hercollectionisalso one

ofthemore extensive archival collectionsheld in theGraphic Design Archiveanddocumentsone

ofthe fewwomen designers between1930-1960.

Again,

writing

the

biography

slowed medown.

Though thecollectionhasnotbeencataloged, Ms.

Polowy

hasa

strong grasp

onPineles'scareer

andis familiarwiththecollection's content.After

discussing

what wouldbestsuittheneeds ofthis

portfolio, Ms.

Polowy

and I decidedtopresentworkfrom thethreemajorfacetsofher

professional career: hertime atConde

Nast,

her timeasafreelance designconsultantforthe

Lincoln Center

Corporation,

and her

teaching

careeratParsons Schoolof Design. Wealso

wantedtoshowcaseher

very

differentgraphic andillustrative styles. Weselected material which

and lent themselves the thesilk screen process. Armedagain with color_copies, Iset myselftothe

taskof

designing

afinished

dummy

for the thesisshow.

Evaluation

Testing

theGrid

Cipe

_Pineles

Inadditionto

producing

tangibleevidenceof

my

laborsand a secondfinished document for

thearchive,the

Pineles

portfoliowas atestoftheportfolio system I had designed. Realquestions

remained aboutthe

flexibility

ofthegridstructure I hadset up.Oneof _{Professor Watson's early}

questionstome_was, "What happens ifwith onedesigneryouhave

mostly

horizontalmaterial,or

withanother

mostly

vertical

material?"

Hechallenged meto"Seewhattheinformation looks like

and let it dictateyour grid

decisions."

While

gathering

theimagesandtextbeforehandwas out of

thequestion, Iwasaware ofthese

very

real problems. If I designeda grid which

effectively

addressedthe Beallcollection yetdid notaddresstheothercollections, thissystemfailedtosolve

theproblem. In

considering

thePinelesarchive, I foundthat the"inside-outside"

functionofthis

design effectivelyaddressedtheproblem. Onthefront (cardclosed), Iwasabletopresent an

imagewhichfit thespace well. Inthesectionto theright ofthe"short-page,"

Iwasabletoallude

to thethree facetsofhercareer. Hereandonthe

inside,

imagesof

differing

sizes, shapes, and

orientation wereemployed,

testing

the_versatilityofthisgrid system. Tosomedegreethepremier

images hadtobechosenwith considerationto thespace,yet no systemiswithoutits limitations.

Asa whole I feltthat thegrid provedtobeversatilein

accomodating

a subjectwherethespecific

elementshad

only

_{been preliminarily}accountedfor.Thegrid system wasdesigned to fulfill

archive, audience, anduserneeds, not_{specifically the}needs ofthePinelesarchive. The images

wereselectedfromthePinelescollectionto representthisportion oftheGraphic Design Archive

aswell asto fit the thisportfoliostructure,soto some extenttheimages becomesubordinateto

One

ofthe thingsthatI expectedin

setting

_upa master grid wasthatthe design and

productionofthesecond piece would be

greatly

accelerated

by

theuse of a standardgridsystem

ofdesign.

This

designsystem alsolendsadegreeof

consistency

and cohesivenesstoafinished

set oftheseportfoliocards. This inturnbestows thesequalitiesto the

Graphic

Design

Archive,

something

I had hoped thissystem might accomplish. This is in fact theessence of visualidentity.

Outside

Evaluation

Themethodof evaluationfor thisprojecthas been basedonhow the final piecefulfills the

needsoftheaudiences who usethe

Graphic

Design Archive. Thequestionnaire(Appendix

11)

wasdeveloped

using

theoriginal criteriafor the idealoutcomeforthisproject.Allofthequestions

areintended toprobeuserstoseeifthedesign issuccessful in

reaching

theseideals.The

method of

administering

thetestwas

very

informal. The Lester Beall portfolio and a model ofthe

Cipe

Pinelesportfolio were placed onthe tableinside theentranceto theArchivesandSpecial

Collections

in Wallace Library. Asignasked peopleinterested intheportfoliostofill outthe

questionnaire. Itwas

my

beliefthat

by doing

this Icouldreceive anhonestevaluationfrom

only

thosewhowereinterested enoughintheprojectto pick_{it up}and lookatit. Icouldthen

easily

comparethenumber of questionnairesreturnedtothenumber of peoplethatsigned inatthe

ArchivesandSpecial Collectionsregister

during

the

testing

period.

The finalresults oftheevaluationwereinformative.Therewere

thirty

threepeoplewho

visitedthe ArchivesandSpecial Collections

during

theweektheportfolioevaluation was

performed. Inall

only

fourpeoplefilledouttheevaluation_{threestudentsand}

onestudent

worker. Threeofthe four indicatedthat

they

were a part ofthe

College

ofArtsand

Imaging

Sciences,

theotherdid not statethisinformation. Overall the feedback to thequestions was

positive. Mostthoughtthatthecardfunctionedwell, was

easy

tounderstand and_use,andfelt

referenceresource. Onepersoncommentedontheprint

quality

ofthetype.

Three

ofthe four

indicated

thatthesecardsdidnot raisetheirawarnessofthe

Graphic

Design Archive. Ithinkthis

was

largely

due to

only

having

twocardsfinished. If there had beenafullsetofcardsinacase, I

think

they

would have hadadifferenteffect. Everyonewantedtosee more.

Defending

theProject

Since

the thesis show,

my

projecthas has been theobject of _manycriticisms

leading

meto

believethatit ismisunderstood.Thisprojectisnot about self expression. It isabout process and

successful visual problem_solving,about

controlling my

design skilland _{using it to draw}attention

to thematerial _presented, and aboutthecondensation of materialintoameaningful, usable

format. Itwas

my

intent that

my

designnotbeshowy,

distracting

theviewer's attentionfromthe

materialsitshowcased.Thisprojectattemptstoaddressquestions ofcontent, purpose,

information

flow,

informationstructure, research, andthe

responsibility

thatdesigner has to the

product's message. Forme,thisprojecthasencompassed all ofthese. I have learnedmuch

about whatit is to beadesigner.

Thisprojecthasalsobeencriticizedforits lackof novelty. Weallknowthat

nothing

is

really

new.Theproject hasattemptedtocreate a representation oftheGraphic Design Archive inorder

toaddressa need which existed.Thisportfolio projecthas broughttogether textand images ina

unique portfolioformatwhichaddresses_manyneeds and uses. Itprovidestangible

representationofmaterials which cannotbe easilyor

safely

handled. Itwasdesigned to function

in many differentsettings such astheclassroom, andthearchive, and serve as a portable

representationoftheGraphic Design Archive. I believethesemakethisa project which has been

Conclusion

The

close ofaproject alwaysbrings thoughtsof what mighthave been done

differently,

moreeffectively, ormoresuccessfully.

The

original scopeoftheproject,

producing

a cardfor

each personin the

Graphic

Design

Archive,

wastooambitious.Theassumptionthat I hadenough

time to dothisprovedtobeacritical mistakeforme. Ispent much of_{my time before Christmas}

break

researching

biographical resourcesforeach personon

my

list.

During

break Itried to

acquaint myself withthesepeople,

reading

allthat Icouldfindaboutthem. As thewinter quarter

progressed I realizedthat therewas not sufficienttime toreachthisgoal. Professor Remington

andMs.

Polowy

encouraged meto begin

producing

theportfolio ofLester Beallas aprototype,

letting

theothersfollowonceBeallwasdesigned. Had Isooner set asidetheothers andfocused

juston Lester

Beall,

I mighthavesaved muchtime.Thetimespent ontheothers could have been

spentmore

efficiently

laterwhenthesystem was complete. Atthislater date Icouldhave more

easily

estimatedtherealistic number of portfolios possible andfocusedonthese.

I still questiontheprudence of

making

thisa silk screen productioninthatit

severely

limits

the

quality

oftheproduct. Giventheproperfundsandlargeraudience needsI believethisproject

would have beenproduced much more

effectively

by

offset press.

Mostof all I wasdisappointedwiththeamount oftime ittook towritebiographicalcopy. I

realizedthatI am neithera writer or an editor. In the future I can makea pointtofocuson what I

do best.

Asa wholeI feelthat_{I have successfully}solvedthisproblemfrom adesignstandpoint.

Thosewho understandtheportfolio's purpose havecomplimentedme on successful presentation

ofthematerials. I have feltasense of accomplishment and

moturity

in

my

designworkthroughout

theexecution of thisthesisproblem.

And,

I havegained afirmer graspontheheritageof our

Glossary

Assymmetrical

Design Layout

Leading

Die-cut

Halftones

Mechanicals

Portfolio

Short-page

Screen Printed

Modern typograpicstylewhich rejectsthetraditionof symmetry.

The distance from the

baseline

ofalineoftypeset

copy

to thebaselineofthe

next.

Theprocess of

using sharp

steel rulestocut special shapesfromprinted

sheets.

Theprocess

by

whichcontinuoustoneimages

(photos)

are convertedinto

black &whitedotpatternsfor thepurpose of

printing

reproductions.

Black &white artworkproducedfor thepurposeof

printing

reproduction.

A

group

ofselectedimageswhich arebroughttogetherintoa

group

andserve

a common purpose.

Onepage which isnarrowerinwidththan thestandard. In thecase ofthis

project,the frontpage oftheportfolioisnarrowerthan thefullportfolio card

size.

Astencil

printing

process

by

which ink is forcedthroughafine fabricmesh onto

thesubstrate.

Showcase

Placing

_{something in}a position of prominanceforallto see.

Typographical

UnitGrid This isadesigngrid inwhich all measurements arederived fromthe typesize

Working Bibliography

Beall,

Lester. Lester Beall: [catalog],

Brookfield

Center,

Connecticut: Lester

Beall,

Inc.,

[1962?].

C P. Print

Magazine.

January/February,

1956,

p18-29.

Golden,

William.

My

Eye. Print

Magazine.

May/June1959,v

13,

p32-36.

Grundberg,

Andy.

Alexev

BrodovitchandHis Influence.

Philadelphia,

Pennesylvania:

Philadelphia

College

of

Art,

1972.

Oeri,

Georgine. Alvin Lustig.

Graphis

11 , v60, p322-329, 61-62.

Haworth-Booth,

Mark. E. McKnight Kaufter: adesignerand hispublic.

London,

England:G.

Fraser,

1979.

Heller,

Steven. Ladislav Sutnar: the Czechyears. Print

Magazine, January/February,

1991, v.

45,

P50-55.

Meggs,

Philip

B. A

History

ofGraphic Design. New York: Van Nostrand

Reinhold,

c1992.

Mcquiston,

Liz. Women In Design:a_contemporaryview. New York: Rizzoli International

Publications, Inc.,

1988.

Naylor,

Colin.

Contemporary

Designers.

Chicago,

Illinois:Saint James

Press,

1990.

Lahr,

John.The Blurred Graphic ImageofLincoln Center. Print

Magazine,

May/June

1967,

P15-23.

Laughlin,

James. The Book JacketsofAlvin Lustig. Print

Magazine, May/June, 1956,

p52-60.

Livingston,

Alan and IsabellaLivingston. Graphic Designand Designers. LondonEngland:

ThamesandHudson

Ltd.,

1992.

Pineles, Cipe,

Kurt

Weihs,

Robert

Strunsky,

eds., TheVisual CraftofWilliam Golden. New York: George

Braziller, Inc.,

1962.

Remington,

R.

Roger,

and Barbara J. Hodik. Alvin

Lustig

Remembered.Communication ArtsMagazine,

May/June, 1983,

p90-100.

Remington,

R.

Roger,

and Barbara J. Hodik. Lester Beall: alook back. Communication

ArtsMagazine,

September/October, 1985,

v27, p84-99.

Remington,

R.

Roger,

and Barbara J. Hodik. Nine PioneersofGraphic Design.

Cambridge,

Massachusettsand

London,

England:The MIT

Press,

1989.

Stevens,

Carol. A CompanionofDesign(Cipe Pineles). Print

Magazine.

January/February,

1991,

Thesis Proposal for

the

Master

of

Fine Arts

Degree

College

of

Imaging

Arts

and

Sciences

Rochester

Institute

of

Technology

Title:

A Portfolio

of

Graphic

Design

Archive Masterworks

'Submitted

by:

Daniel B. Pocock

Date:

Thesis Committee:

Chief Advisor: Roger Remington

Associate Advisors:

1

.

Barbara

Polowy

2.

Joe Watson

Departmental

approval:

Approval,

Special Assistant

to the

Dean for Grady^te^ffairs

Date:

Date:

Computer

needs:

Design

and

layout

Committee

approval:

/

^,

-^

.-.'-^

I intend

to

develop

a portfolio

for

the

Graphic

Design

Archive

at

the

Wallace Memorial

Library.

I

will

plan, research, write,

design,

and screenprint a

limited

edition set of porfolios

to

promote

the

Graphic

Design

Archive.

It

will serve as a

documentation

of

the

masterworks

residing

in

the archive,

and as an

informational

tool

which

leads

to

agreater

understanding

Revision#7-11/3/92

Title: GraphicDesign Archives Masterworks Portfolio

Client: GraphicDesignArchive

Wallace Memorial

Library

RochesterInstituteof

Technology

Rochester,

New York 14623

Designer: Daniel Pocock

21 WarringtonDrive Apt.#8

Rochester,

New York 14618

Subject: Graphic Design Archive MasterworksPortfolio

Problem Statement

Thisproject will attempttoaddress and_{partially remedy}theneedsidentified belowthrough theproduction of a portfolio.Thisportfoliois intendedtointroduce and aquaintthe_viewingaudienceto theholdingsofthe

Graphic Design

Archive,

andserve as one resource reference about graphicdesign history. Itwill attemptto:

serve as a generalhistoricalresourceforgraphicdesign.

give a

bibliography

of pertainentinformationoutside ofthearchivalholdings.

graphicallyshowcase samples ofmaterials, reproductions,and artifactsfromthecollections. givehistorical backgroundon specific"collected"designers inanaccessable,abstractedformat.

serve as a referenceforthe useofthearchive and archivalinformation.

create a portfolio system ofdesignwhich will

help

to_unifythearchivalholdings intoa more comprehensible and interrelatedcollection.

stimulateinterest inthearchive and itsuse.

presenttheessence oftheGraphic Design Archive in apleasing, "coffeetable"format.

Need/SituationAnalysis

I believethatthereis:

a general shortage ofinformationabout graphicdesign history.

a needforabstractedhistoricalinformationabout graphicdesign history.

a needtodocumenttheGDAarchival collectionsina graphicmanner.

aneedfortangible examples ofthematerialsheld inthearchiveand

information about_accessingthesematerials.

a useforthisportfolioto

instruct,

orient,andinformprospective archive users about

theGraphic Design Archive.

a needfora reference systemthatdisplaysthespecific archivalholdingsof graphicdesignersand

theirwork withinthegreater context oftheGraphic Design Archiveand graphicdesign history.

a usefora portfolio which will serve as a portable representation ofthe

Graphic Design Archive fortheporposes of_obtainingnew collections andfinancial donors.

Setting

The settingwillbetheGraphic DesignArchive,

library

collections,college graphicdesignstudios,and

donor's homes.

Audience

Graphic Design/Art

History

Teachers - _Writers

Graphic Design Archive Users Researchers

Mission

The Graphic Design Archive Masterworks Portfolio istobea"sampler"oftherichresources which canbe found intheGraphic DesignArchive. Itwill serve asanhistoricalresource which willinformtheviewer

aboutthe

GDA;

showcase, reference,documentand interrelatetheholdingsoftheGraphic Design

Archive;

and stimulate and motivateinterestedpartiestoexplorethese

largely

unexplored works of graphicdesign

history

producedbetweentheyearsof1930and1950.

Goals Objectives ProcessesandStrategies

1. Toproduce a set ofgraphicdocumentswhich servetheneedsoftheGraphic Design Archive.

Theseobjectivesdeal_primarilywith analysisofthecontentandfunction.

A. ResearchtheGraphic Design Archive'sneedsfortheportfolio

1

)

Definetheaudiences

2)

Definethedifferentcontexts and settings.

3)

Definethedifferent functionstheportfolio should perform

3)

Definethecurrent_referencingsystems oftheGraphic

Design Archive.

B. Researchtheaudience needsfortheGraphic Design Archive Masterworks Porfolio.

1

)

Determinetheinformationneeds ofthespecific audiences

2)

Determinespecificinformationwhich will appear on all cards.

Dateofbirth/death

Placeoforigin-nationality, race,country, etc.

Languages Formaleducation

Fieldsof specificstudy

Locations importantto thisdesigner Employment record/Resume

Any technology

developedor advanced

Cross

diciplinary

work_{(ie. architecture) include} references

Fieldofinflunce

(contemporary

or_succeeding

designers/artists)

Location(s)

of archivalwork, RITor other

Timeperiodand movementsinvolved

Shortbiographicalinformationaboutthedesignerand

hiswork

3)

Determine functionalneedsfortheportfolio.

2 Tocreatehistorical resourceofabstracted informationwhich promotes anincreased understandingof

'

graphicdesign history. Thiswouldincludeasamplingofimportantmasterworks which arehoused in

theGraphic Design Archive.

Theseobjectivesdeal primarilywiththehistoricalcontent oftheproject.

1

)

_a) Timeperiod-movements-time linesof_{person, work,} or process

b)

Education-mentors-influences

c) General interest

biographical,

geographical,

employment,specialinterests

d)

Majorcontributionsand works

e) Specialties

2)

Abstract,

write

information,

and create abibliography.

Researchinformationand collectArchival images from:

Sources

Electronic ArchiveData

Archive

Booksand periodicals

Period writing

movements

World

history

Contemporaries

B. Selectimagestobe implemented intheportfolio which reinforce and supportthe

abstractedinformation.

1

)

Keep

a notebook ofimageswhich arefound

during

the researchprocess.

2)

Usethesemiotic matrixtodeterminethemost appropriate

imagestobe included intheportfolio.

3. Tocreate an informationsystemforthecollectionshoused intheGraphic Design Archivewhich

interrelates individualcollectionstoeachother anddesign_history,andreferencesthearchive andits

holdings.

These objectivesdeal_primarilywith _{information structuring}andsystemstheory.

A. Researchandexplore methods of_{systematizing}theinformationwhich are

appropriatetothisproject.

1

)

Exploreways of_{structuring info:} chronologically,

historically,

referentially,

by

periodor movements. (RichardSaul

Wurman)

2) Study

methodsofinformation flow inresource materials.

(Fall project)

3)

Choose methods appropriateto theaudiences andthe

information.

B. Createaninformation flowwhichTHEORETICALLY interrelatesand referencesthe

archive.

1

)

Selectthebestmethodfortheportfolioinformationand audiences.

2)

Create flowcharts fortheinformationsystem.

4. Todesignadocumentwhich showcasestheGraphicDesign Archiveandstimulates and motivates

theviewertoexplorethearchive.Itshouldbeexciting, dynamicandpromotional. Thegraphic

presentation should representthemost appropriate solutionsto_{the problem,}giventhe timeconstraints.

Theseobjectivesdeal primarilywithapplication,functionanddesign theory.

A. DesignadocumentwhichFUNCTIONALLY interrelatestheindividual designers

1

)

Exploreways of_presentingthegraphicmaterialas a

packagewhichbest takes intoaccounttheintendedneeds,

usesandpurposesoftheportfolioproject.

2)

Designthefunctionalproduct.

B. Useappropriateinformationandimageswhichhave beenresearched andcollected

todesign theportfolio pages.

1)

Designagridstructure.

2)

Usethisgridtodesign individualpages, cover,etc.

5. Toproducethisportfolio.

Theseobjectivesdeal_primarilywithproduction.

Produce thefinaledition.

A. Produce Mechanicals

B. Print Edition

Pragmaticconsiderationsfor Goal#5

Screenprinted_{(time, facilities,}

detail,

color, size,

quantity)

Materialcosts_(film,paper,

ink,

photomechanicalwork,

solvents, covers)

Distributionand audience

Costof production?Istheremoney?What isthe

budget? Arethere_{monetary limits}or canthe_printing

constraintsbethelimit? Halftonework?Computer

generatedtypeandhalftones? Reproductionofthe

actual works?Copyrights? Size?

C. Project Scope

Atthispoint intheprojectIam_assumingthat Iwill have

the timeand informationtoproduce a portfolio"card"for

each ofthe ninemajordesignerswhose collections are

held inthisarchive. Ialso wouldliketodoa cardforeach

ofthemajor collections such asEuropeanandAmerican

posters,journalholdings,etc.

6. Toevaluatethesuccessofthisportfolio giventhe_startinggoals.

Theseobjectives_{deal primarily}with evaluation.

A. Exploremethods of_evaluatingtheportfolio project.

Testing

Methods

1)

2)

3)

B. Determinethe_{best way}toevaluate whethertheprojectwas successful.

1

)

Createanevaluationtest.

2)

Evaluate the Portfolio. Proceedwiththebestplan given

Glossary

Coffee Table Thisrefersto theformatand visuallookof sophisticationthata printedbook has. Italso

implicatesanintimatesize, usuallyoversized.

Warm,

pleasing, inviting.

Copyrights Theexclusivelegalrighttothe publication, sale,ect. of a

literary

orartisticwork.

GDA Graphic Design Archive

Halftones Theprocess

by

which continuoustone images

(photos)

are converted into black &

whitedotpatternsforthepurpose of printed reproductions.

Mechanicals Black &whiteartworkproducedforthepurpose of printed reproduction.

Portfolio _{A group}of selectedimageswhich arebroughttogetherintoa collection and as awhole,

serve a commonpurpose.

Screen Printed Astencil_printingprocess

by

whichink is forcedthrougha silk meshontothesubstrate.

RESEARCH NOTEBOOK

Daniel B. Pocock

GDA Masterworks Portfolio

1stThesisCommittee

Meeting

Questions for theCommittee

1.Asyousee

it,

what aretheprimaryneeds,

limitations,

and concernsfor this thesis

project?

-Needs

-Limitations

-Concerns

2.HowcanI bestmaximizethe "newtheory"

aspect ofthis thesisprogram?

-Educationalthrust

-Designing with

integrity

3.What designersshouldIworkwith?

M.F. Agha Hans Barschel Lester Beall

Alexey

Brodovitch Will Burtin Jaqueline

Casey

WilliamGolden E. McKnight Kauffer Alvin

Lustig

CipePineles Ladislav Sutnar

4. Whatbiographicalinformationmightbeappropriatefor thisproject?Howmuch?

What formshouldit take?

(written,

timeline,etc.)

Shouldthisinformationbeseparatefrom the

images,

orintegrated insome_waywiththe images?

5. Doyouhaveparticular suggestions asto how the imagesshouldbeselceted?Howmany?

6. Doyouhavesuggestions asto the formatoftheportfolio?

Criteriafor

Choosing

Images-MasterworksPortfolio DanielB. Pocock

December15, 1992

Pragmatic Considerations

-WorkmustbepresenttheArchive holdings.

-Nofullcolor reproductions

-Easily separated into 2-6spot colors

-Canthevitaltypeandimage beextracted out photographically? -Canthecolor separationsbemadefromthisinfo?

-CanIreconstructtheartwork?

-Cantheworkbeseparatedphotomechanically intotheappropriate colors?(Notint

builds)

-Quality of a monochrome orB&W halftonereproduction.(Detail 85 line

dot)

-Trademarks&

Identity

work insolid B&WorPMScolors. -Willtheimagestanduptothescalechange?

-Acceptablemethodsof reproduction.

-Computerscan and photoshop.

-Statcamera seperation.

-Handoutoverlays.

Theselectedimagesshould:

-solidly representthedesigner'swork,philosophyand style.

-newtechniques, methods,process oradvancements.

-representan importantevent/workinthedesigner'scarreer.

-be identifiableand researchable.(Noobscuremystery

images)

-asawhole, give a sense ofthedesigner, hiscarreer,and hiscontributions.

-representtheimportanceand

diversity

oftheArchive

L7

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Pocock

Selection

Matrix

12/15/92

-Prominence en 0 y.

-Subject

3|

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-Prominence 5!X Z

^

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3-

g

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Evaluation

for

The Graphic

Design

Archive

Portfolio

Please

take afew momentsto filloutthis evaluation

being

ashonest inyourassessment as possible

Thank

youforyourtime.

LWhat

is

your

relationship

_{to the}

Graphic Design Archive?

Worker, Student,

Library

Staff, Faculty,

Outside

party?

Please indicate

your professionalfield orstudy.

2. What

interest

do you

have

in the

Graphic

Design Archive?

Resource,

general_curiosity, no

interest,

other.

3.

Does

this portfolio giveyou agreater

understanding

ofthe

Graphic

Design Archive? Lester Beall?

Cipe

Pineles?

4.

Does

this portfolio spark your _{curiosity to} usethese resources? Ifso, what was _{it particularly} that

sparked this interest?

5.

Do

you find the portfolio comfortable and _{pleasing to} use? _{Is it confusing in any}way?

6.

To

the best of your knowledge does the portfolio functionwell as a portfoliocard and an

introductory

reference resourceto the archival holdings on this person?

7.In your opinion could thiscard be used as an informational poster?

Selected

Bibliography

for

Portfolio Biographies

Lester Beall

Card

Beall,

Lester. Lester Beall:

fcatalog], Brookfield

Center,

Connecticut:

_Lester

Beall, Inc.,

_[1962?].

Remington,

R.

Roger,

and

Barbara

J. Hodik. Lester