Professional Documents
Culture Documents
Presented to Dr. David Blakesley, Dr. Tharon Howard, and Dr. Sean Williams
Abigail Maxim
April 5, 2018
Final Reflection
MAWRM Defense
Building Unbuilt Clemson
Introduction
From August 2017 until March 2018, I was involved in one of the most
challenging but rewarding things I have ever done. Unbuilt Clemson was intended to
justify my exit from this program as an expert in Writing, Rhetoric, and Media. I believe
it did that, but also did much more. During the seven months that I was involved with this
project, I met with my clients, Dennis Taylor and Kathy Edwards, weekly, receiving
feedback and sometimes just talking about their own process in creating Unbuilt
Clemson. I also produced numerous iterations of the design, beginning with one that I
talk about below in September 2017 and ending with the one that I will turn in as a part
has challenged me in all the way that I would expect a project should in order to conclude
one’s Master’s degree, but also in some ways that were unexpected. In short, it has been
with the desire to use CUP as my client project, I thought I would be working on projects
similar to what I had done in the past. Previously, I had worked on books and journals
such as the South Carolina Review and a poetry book called Scranton Lace. Each of these
projects were challenging in their own right, but perhaps were not as design-intensive as
a final project should be for a student with a cognate area in digital publishing. With that
in mind, John pointed me towards an unfinished future project called Unbuilt Clemson.
With this project, my job would be to create a design, create the book upon that template,
and then create the cover. I was warned, though, that my clients might not have the
manuscript finished in time for me to complete the book in full. There was an air of
Nevertheless, I took it on. The following paper details the theory which
influenced me in its creation, the entire design process, and my overall thoughts
Literature Review
Throughout my time as a student in the Professional Communication/Writing,
industry professionals, and experts in the fields of rhetoric, composition, usability, user
experience, publishing, and so many more. While I will only cite a few of the readings I
read that directly influenced this project, know that it would not have been possible
without reading everything over the course of these past two years. Each article I
struggled to understand, each book I nearly threw across the room, and each book that
at Clemson and the basis of this project—as it does every single time that we use rhetoric.
While I do not necessarily want to get into the specifics, as we all know the definitions of
ethos, pathos, and logos, I would like the point out his definition of rhetoric. Aristotle
defined rhetoric as “the faculty of discovering in any particular case all of the available
audience when designing this book? I think that is the overarching question I should
tackle before introducing theory or any other readings—after all, it is this basic question
that influenced all the rest. Perhaps the answer is straightforward as well: I used all that I
have learned about visual rhetoric, design, and the field of publishing to design this book.
Particularly, I enjoyed looking at ways to create a modern, yet scholarly, design fit for an
ordinary scholar’s would turn their noses at the book. It had to be a combination of both.
The content also meant that it had to appeal to two different audiences: scholars, as I
mentioned, but also a more general audience interested in the history of Clemson. The
latter could either be alumni, professors outside the field of architecture, and locals.
One of the main was a designer can make rhetorical decisions is through
typography. The main typefaces I used in my design were Adobe Minion Pro, Helvetica,
and Fester, with Fester being the lesser-known, more unusual choice. I read a variety of
books on typography, but one of the main influences to my work was Jo Mackiewicz’s
“How to use Five letterforms to Gauge a Typeface’s Personality.” It has long been
recognized that typefaces each have a different “personality” and promote distinct
reactions from a reader. Mackiewicz takes this further and applies research to this
thought. Written in 2005, Mackiewicz’s study is one of the first of its kind. She says
about her research, “There remains a need, though, for research that examines the
personality attributes people assign to typefaces, explores people’s reasons for assigning
those attributes to different typefaces, and investigates how different typefaces convey
different personalities” (Mackiewicz 292). While Adobe Minion Pro was not included in
the survey (it is a fairly new typeface), Helvetica was judged to be a more “professional”
font. Another font the participants saw as professional? Times New Roman. Adobe
Minion Pro might not have been tested, but given that other fonts like it were, it can be
assumed that Minion Pro would be considered “professional” as well. For a scholarly
research, I was able to assuredly choose typefaces that would promote the kind of
While I have worked with book design prior to this project, I had not yet worked
with an untraditional book like Unbuilt Clemson. Needless to say, architecture books are
generally much more involved than a journal or even a book of poetry (both of which I
have worked on before). Before I met with my clients, I knew the book would have a
multitude of visual elements, and likely not just pictures. Gunther Kress and Theo van
On page 183, Kress and Van Leeuwen detail three systems of composition that
dictate the meaning and presentation, being information value, or “the placement of
elements [which] endows them with specific informational values attached to the various
‘zones’ of the image.” This, for example, would be the format of the chapter headers at
the top of the page. Then, there is salience, “the elements…[that] attract the viewer’s
size (image or font). Lastly, there is framing, which can refer to lines of the lack thereof,
which “disconnects of connects elements of the image, signifying that they belong or do
not belong together in some sense.” The example Kress and Van Leeuwen show is a still
image from a movie, however these three elements are not just applicable to images and
stills. Indeed, they can apply to the multiple pages comprising a book design.
I chose to place the chapter headers on the top of the page, with the chapter title
specifically being on the left-hand side. I could have chosen to put the chapter title on the
bottom of the page, but chose to follow a more traditional format. Kress and Van
Leeuwen say this about the placement of an element at the top of a page versus the
bottom:
“If, in a visual composition, some of the constituent elements are placed in the
upper part, and other different elements in the lower part of the picture space of
the page, then what has been placed on the top is presented as the Ideal, what as
The top of the page in Unbuilt Clemson is symbolic—the beginning of another chapter
provides the reader with context for what he or she will be reading. It is “ideal,” and the
information and text presented on the lower half of the information real. It gives the
reader more information about the chapter title, makes it real and more tangible.
I could relate Kress and Van Leeuwen to every aspect of the book’s design,
however I feel that would be redundant considering the section titled “Design.” However,
I feel it necessary to point out the influence of Kress and Van Leeuwen’s work on my
own design. While it might seem obvious that titles go at the top of the page (unless
you’re one to play with the rules), Kress and Van Leeuwen give that meaning. They tell
us specifically why we want to put the chapter title at the top of the page, rather than in
the middle or at the bottom, and why it is the only placement that really seems to come
naturally.
Design
Book Design
Going into the project, I already had an idea at how I might like to design the
book. I knew I wanted something with a more modern aesthetic. At the time, I was not
which, of course, grew to change. Instead, I wanted to play around with what I could do. I
wanted to see how far I could push the design without taking from its main purpose—to
inform the audience of the unbuilt history of Clemson. Knowing the book was going to
one page and has interesting typography at the top. The only pop of color is the rule at the
bottom of the page (which I believe was ruled too distracting). Out of my original
designs, I feel this one is probably one of the strongest. While there were a few other
pages I liked, in the end, the design did not serve the purpose that the book intended.
For example, this page was one where I felt confident in the design. I still do. I
architecture where
in the days after I finished it. It is a somewhat interesting design, at least if I were going
“thesaurus” function on Word and find yourself using it every other word. The main
focus of this page should be the images. They are not—the main focus here is the
background. It is distracting and the caption can hardly be seen over all the different
colors. The color scheme also clashes with the colors in the photograph. With a book
printed in full color, it was tempting to put all the color I could into it. In the end, that
takes away from why full color was chosen for this book in the first place—the multitude
of images the book requires and the experience the reader should have.
The final version includes much less color and is much more simplistic. While it
still has a modern flair, it seems more like something one might pick up in a university
library than the “art” section of a bookstore. Given the material, that feels much more
appropriate. When comparing the changes between the first version I showed my clients
to the last, there are a couple things that stick out: the typography is much more
professional and condensed, the color palette has narrowed, and the design as a whole is
more streamlined. Each week, I showed a new design to my clients, and each week they
would give me feedback. As one of my clients was an architect, she always gave detailed
feedback in regards to the design of the book. While some requests were not as feasible
as I would have liked, having another person with an artistic eye look at my material
with color choice. From what I attached of my first design, it was easy to see that there
was not a clear vision for a color scheme. While turquois, lime green, and yellow were all
present in the design, there was no thought that I put into it other than the fact that I
thought it was aesthetically pleasing and presented the audience with a more modern
design. Due to my clients only having one chapter of the book finished at the time of my
defense, I was only able to put together one mock chapter of the design. The intention is
developing the design. While the color and overall design are a bit different here, it is
clear that this design is much closer to the final. This color scheme was taken from an
image I was given, and one that I thought would be used in the book at the time. My
clients changed what image they wanted to introduce the chapters to one that was the
same throughout (the intention was to be able to see the construction of buildings at
Clemson as time passed). In the final version, the layout design from the olive green
version has transferred over. However, this one utilizes less ink and is a bit brighter and,
in my opinion, is more eye-catching. While I am a fan of turquoise, I originally got this
color through another masterplan image than I put at the start of a December version of
color scheme compared to the first version. Gone are the blues and yellows and greens
replaced with something much more simple. The color and design is modern, but the lack
I originally changed the title font to Helvetica from Fester when my clients told
me of their fondness for Helvetica. Fester is predominantly featured in the folios and on
the section titles—a more minor role than chapter title. Given that Helvetica is a more
“professional” font, having been around for over fifty years, I thought it would be a good
choice for the chapter introductions. Then, there was also the fact that much of Clemson’s
development happened in the 50’s and 60’s, a time when Helvetica was new and
incredibly popular.
One of the most noticeable changes in design is the inclusion of the masterplan
front and center, taking up a whole page of the chapter introduction. Even the olive
version, created in October 2017, does not have the master plan featured that
prominently. When I created the first design, I did not know that the authors would want
a master plan of the university on the first page of the chapter, thus the first version of the
book design is without one. That said, this was something they soon made clear—each
chapter should have a masterplan to introduce it. Originally, the chapter was to feature a
master plan from the chapter’s time period. Later, my clients decided they wanted to use
one master plan from the 2000s, but alter it to show the evolution of construction on the
campus. Due to the master plan’s increasingly important role in the chapter introduction,
it went from taking up half a page to a full page. The final design also has a black and
white master plan compared to others that were not. This not only makes it less
Another major change between each of the three versions that I have shown in
this paper is the timeline. When I created the first version back in August, I did not know
where the timeline would be featured in the book. It was proposed that the timeline could
be a pop-out, at the beginning of the book, at the end of the book, or take up its own page
at the beginning of each chapter. Since I did not know exactly how to approach the
timeline on my first go, I left it out. The timeline was one of the last elements to be
included in the design, with me first putting it in the mock pages at the end of October.
The current iteration was actually something I added in February after consulting
numerous times with my clients. The timeline has a bit of modernity but follows the same
color scheme as everything else. A faded, straight line keeps everything in place and
pages, there have numerous changes in design between iterations of the text-based pages
as well. Starting from a version created in early October, the top margin of the text pages
print, and given that the book has so much color, using cost-saving measures in other
areas makes sense). Due to printing restrictions, the columns also had to be made more
narrow. This had the additional effect of making the text a bit easier to read; the wider
With the black outline on the images, it might also be apparent that the spacing of
the images and margins has changed. The first set-up was based on a book the designers
gave me as an example. That book, however, was made by a seasoned designed who
knew enough to know how to break conventional rules. In my case, and in Unbuilt
Clemson’s case, moving the images into the margins onto the very end of the page does
not work as well. In fact, it looks a little unprofessional. Later designs are more
traditional with the images centered on the column and accompanying captions that are
strategically placed. While I have chosen two pages that do not quite match in terms of
Unfortunately, the final mock page design does not have complete captions as the
authors have not gotten to that point yet. However, my design does provide some
examples and guidelines for how captions should look. The captions are simple and
straight-forward. Each picture is labeled with a figure number (for easy identification and
in case it is to be referenced in the text) and a short caption, generally the building name
and construction date. Early versions have the title bolded with a longer caption. The font
remains Helvetica, but I found the bold to be a little distracting for such a small space. As
the focus should be the images, the captions simply need to inform the audience of the
Cover Design
Part of my project was also to design Unbuilt Clemson’s cover. When I reconvened
with my clients after winter break in January, they had an image they wanted me to use in
the cover design. It is the image you see spanning the front and back of the cover above.
The image for the cover came from plans for a Center for Visual Arts, proposed in the mid-
2000s and, as fitting the content of Unbuilt Clemson, remains unbuilt. My clients chose
this image for the cover due to the contrast the two different halves of the image, the angular
lines that add visual interest, and the balance between complexity and simplicity the image
holds (while there is quite a bit of white space, the image could not be described as boring).
I agree—it is a great image for the cover. There was even a built-in spot for me to put the
The image did not originally come in greyscale; that was a change I made after an
hour or so of messing with the image and trying to decide on a color scheme, only to realize
that keeping the cover in color would likely make it too busy. Changing the image to
grayscale insured that I could add color to the cover design without it being too distracting
or busy. As it is, there are only two colors that really stand out on this design—the turquoise
which is replicated in the layout design and the bright yellow-green of the title cover.
Due to the extreme contrasts between the blacks and whites of the image, it was
hard to simply add a light or dark title. There had to be something a little more to it to make
it visible. I believe the first thing I tried was the band at the bottom where the authors’
names are now. At the beginning of the Fall semester, my clients gave me around ten
designer did with the bright yellow on the cover. That yellow is not one of the main colors
on the image the designer used. Instead, it is a smaller accent color that one can see if
looking more closely. With the background of my own cover being monotone, I liked the
idea of adding a couple flashy colors to really make the cover pop and seem a little modern.
I do not think it is too modern for a scholarly piece of work—the typography I chose was
quite traditional and the cover remains fairly simplistic. The color and cover image do all
the work.
I found the cover to be one of the more easy aspects of Unbuilt Clemson’s design.
At that point, I already knew what sort of design we had for the interior, so it was easier to
convey the same appearance on the outside. I had a couple ideas of what I could use for
the main colors and the majority of my time was spent trying to find the perfect font and
color for the main title. It is also one of the parts of the design that I am most proud about.
I feel the cover looks like what a modern architecture book’s cover should look like if its
You might notice that no part of the Unbuilt Clemson design really evokes Clemson
itself. There is no orange, no purple, no tiger paws. That is intentional. This is a book
primarily about architecture. While I am open to changing the colors to more closely fit
that of Clemson’s style guide (they do have a turquoise in there), I wanted the design to
first and foremost fit a book on architecture at a university. I did not want it to scream
“Clemson,” because the first thing I think of when I see Clemson’s orange and purple is
the football team. Orange and purple may directly correlate to Clemson’s ethos, but I was
book design. If I had more time, there would likely be fifteen more. All the changes I
discussed in this section were over a six-month period of time, and thus happened
gradually rather than all at once. I have showcased three different examples of Unbuilt
Clemson’s design, but these do not tell the whole story. They do, though, give an
overview of the process and the steps I went through to create the design. It was a
collaborative process, particularly since I met with my clients every week and they
almost always had a clear vision of what they did not want, even if they were not quite
sure what they did. It was often up to me to find solutions knowing what they did not
want the design to have or look like. One of the biggest things that this project has taught
me is that working with a client is always a collaborative effort—neither side has more
influence than the other. While I might make and propose designs to my clients, they can
do the same to me. My job is simply to create the best work out of what my clients want
Constraints
the process. As one can imagine, a months-long project involving multiple people
certainly had a few constraints. Of course, the constraint of working with multiple people
is something in and of itself—I certainly was not able to make unilateral decisions about
the book design, nor should I have. However, sometimes the process of working with
clients and getting things like the typography, color scheme, and overall look and feel of
the book design does add some difficulty to the project as a whole. That constraint is a
given no matter the project and it is one that, as a collaborator, I should be more used to
than not.
Then, there are added constraints to a project that are not a given and certainly do
make things more difficult. In this case, it was the fact that the manuscript had yet to be
completed. Looking back, the manuscript was only in its early stages at the time I agreed
to take on the project. There are a number of reasons why the lack of a manuscript makes
things difficult: First, it is impossible to know the size of the book. It is hard to calculate
costs, page numbers, and even the amount of work and time that it would take to
complete the book design fully without a complete manuscript. Second, as the chapters
were not yet finalized, parts of the layout could not be decided. For example, the time
periods that Chapter One covered changed from August to January. While my clients
might have wanted a particular photo to introduce the reader to Chapter One in October,
the image they wanted would have likely changed by January. The timeline would also
be apt to change as the chapters and the materials that they covered did. Third, during
much of the time that I was working on Unbuilt Clemson, I did not have exact photos to
match with content. All the material that I made up until around December was just a
template—the actual material still had to be applied later. Given such a dynamic text, that
is not easy. The entire page’s layout depends on the text and which images are needed to
compliment the content. While my clients were incredibly helpful with the design process
and troubleshooting, my project eventually fell behind due to the lack of a manuscript
Coming into the project, I was optimistic with a goal of having a finished book to
show my committee. That, of course, did not happen. I was only able to make a template
out of one completed chapter and its endnotes. I would have loved to be there for the
completion of the book and have my full input over the design. Being that I am
graduating in May and my clients may not have the manuscript print-ready for another
year, that is unfortunately not possible. I am happy that I do have a solid template of the
second chapter to use as example. The process of designing this book was not exactly
what I expected when I went into it in August and presented me with a number of
Conclusion
Unbuilt Clemson was more than I intended. When I completed my first design, I
now?” I was not done with Unbuilt Clemson’s design in September. Nor was I finished
with the design in October. Or November. I spent until the last weeks possible working
on Unbuilt Clemson. The amount of time it took to complete the project to the best of my
ability meant that I ran into some challenges along the way. I did not have a manuscript
to work with for much of the project and finished the design having only seen one chapter
completed. That said, that was not an unforeseen challenge at the time and I could have
prepared better for it. Despite the fact that the project ended up a little differently than I
expected when I started (doesn’t everything?), I am glad I did it. I feel that helping design
Unbuilt Clemson prepared me for a career not only dealing with design, but also for a
career in which I may have to engage with clients and unexpected challenges.
Works Cited
Bitzer, Lloyd. “The Rhetorical Situation.” Philosophy and Rhetoric, vol. 1, no. 1, 1968,
pp. 1–14.
Hendel, Richard. Aspects of Contemporary Book Design. University of Iowa Press, 2013.
Kress, Gunther, and Theo van Leeuwen. Reading Images: The Grammar of Visual
Norman, Donald A. Emotional Design Why We Love (or Hate) Everyday Things. Basic
Books, 2005.