WELCOME TO

Making a Beautiful Thesis

HELLOmy name is

HELLOmy name is

I AM A

TODAY I AM TALKING ABOUT

Typesetting Information Design

(AND OTHER STUFF YOU NEED TO KNOW TO MAKE YOUR THESIS DOCUMENT)

Typesetting

Typesetting is old

ARTIST: ROBERT THOM

With strong craft traditions

ARTIST: ROBERT THOM

PORTRAIT OF STEVE JOBS, BY SUSAN KARE (DESIGNER OF THE ORIGINAL MAC ICONS) 1983

Traditions that still exist in digital typesetting

Which is why using Word for typsetting is like using this…

…to do this

and why typesetting your

thesis will take longer

than you think

The Crystal Goblet

‘Type well used is invisible’—Beatrice Warde 1930

Here are your specs:

International Standard Paper Size A4 (297 x 210mm)

1.5 spacing and presented in a clear and legible font and would normally be expected to be double-sided

Left and right margins of no less than 30mm and page numbers that appear inside the margins

Pages that are numbered consecutively and clearly

Folding diagrams or charts arranged so as to open to the top and right.

So you have somechoices to make

Serif OR Sans Serif

Typefaces communicate

The typefaces we read best are the ones

we read the most

High contrast between thick and thin strokes is hard to read

Minimal contrast is easier to read

You can pair Serif and Sans Serif

You can pair the same kinds of typefaces

Just make sure they are not too similar(OR IT WILL LOOK LIKE A MISTAKE)

TYPEFACES THAT HAVE NO PLACE IN A THESIS:

PapyrusComic Sans

Chancery ScriptEurostile

Copperplate

anything art nouveau / art deco style

AVOID IF YOU CAN:

Gill Sans

Optima

FuturaArial

Times New Roman

TRY THESE CLASSICS INSTEAD:

Garamond

Baskerville

CambriaUnivers

Franklin Gothic

Helvetica

STAY AWAY FROM SCREEN FONTS INCLUDING:

Calibri

Trebuchet

GenevaGeorgiaTahoma

(GENERALLY ANY TYPEFACES NAMED AFTER CITIES)

The Rules(OR IF YOU PREFER “GUIDELINES” OR “BEST PRACTICE”)

Do not compress or extend type

Don’t distort images

Don’t use justified type.because it looks terribleespecially if you have tight aswell as loose lines

Don’t use more than three changes in your type to create emphasis

Avoid widows

Try to leave at least two full lines at the top of a page

Line Stuff Up

Indent or space between, not both

Good typsetting is all about creating hierarchy

Body copy size and leading (line spacing)

Margins

me, the exemplar work displayed in that long ago hallway had a presence that was

almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of

inspiration, envy, and anxiety.

This conversation made me wonder, how could I help my online design students

‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the

conditions for ‘the fear’ to flourish in the digital hallways of the online school? It

was on this last thought that I found myself deeply conflicted. While acknowledg-

ing that my colleague was perhaps correct, fear is part of design teacher practice, I

found myself wondering if this was a good thing. I wondered too what it may mean

if online teaching is a less fear filled practice, and at the same time is (at least in my

experience) as effective as onsite teaching. Thus, I loosely framed my initial re-

search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’

Although I eventually set out to explore how the online design studio reshapes

graphic design teaching more broadly, this question still gives me pause. It is how-

ever, best left to research of a more cause-effect kind to take forward.

This is a A Head

This thesis examines the design studio, common to all art and design disciplines,

and the focus of learning and teaching in design education (Schön, 1990). The

design studio is both a learning space and a unique pedagogical method (Broadfoot

& Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the

antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender

& Vredevoogd, 2006; Broadfoot & Bennett, 2003; Hetland, Winner, Veenema, &

Sheridan, 2007; Kelly, 2001).

Teaching in the design studio is intensely collaborative, and many scholars have

remarked that the engagement between teachers and learners is somewhat akin

2 SPACES ABOVE = 24pt

1 SPACE BELOW = 12pt

me, the exemplar work displayed in that long ago hallway had a presence that was

almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of

inspiration, envy, and anxiety.

This conversation made me wonder, how could I help my online design students

‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the

conditions for ‘the fear’ to flourish in the digital hallways of the online school? It

was on this last thought that I found myself deeply conflicted. While acknowledg-

ing that my colleague was perhaps correct, fear is part of design teacher practice, I

found myself wondering if this was a good thing. I wondered too what it may mean

if online teaching is a less fear filled practice, and at the same time is (at least in my

experience) as effective as onsite teaching. Thus, I loosely framed my initial re-

search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’

Although I eventually set out to explore how the online design studio reshapes

graphic design teaching more broadly, this question still gives me pause. It is how-

ever, best left to research of a more cause-effect kind to take forward.

This is a B Head

This thesis examines the design studio, common to all art and design disciplines,

and the focus of learning and teaching in design education (Schön, 1990). The

design studio is both a learning space and a unique pedagogical method (Broadfoot

& Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the

antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender

& Vredevoogd, 2006; Broadfoot & Bennett, 2003; Hetland, Winner, Veenema, &

Sheridan, 2007; Kelly, 2001).

Teaching in the design studio is intensely collaborative, and many scholars have

remarked that the engagement between teachers and learners is somewhat akin

2 SPACES ABOVE = 24pt

1 SPACE BELOW = 12pt

me, the exemplar work displayed in that long ago hallway had a presence that was

almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of

inspiration, envy, and anxiety.

This conversation made me wonder, how could I help my online design students

‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the

conditions for ‘the fear’ to flourish in the digital hallways of the online school? It

was on this last thought that I found myself deeply conflicted. While acknowledg-

ing that my colleague was perhaps correct, fear is part of design teacher practice, I

found myself wondering if this was a good thing. I wondered too what it may mean

if online teaching is a less fear filled practice, and at the same time is (at least in my

experience) as effective as onsite teaching. Thus, I loosely framed my initial re-

search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’

Although I eventually set out to explore how the online design studio reshapes

graphic design teaching more broadly, this question still gives me pause. It is how-

ever, best left to research of a more cause-effect kind to take forward.

This is a C Head

This thesis examines the design studio, common to all art and design disciplines,

and the focus of learning and teaching in design education (Schön, 1990). The

design studio is both a learning space and a unique pedagogical method (Broadfoot

& Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the

antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender

& Vredevoogd, 2006; Broadfoot & Bennett, 2003; Hetland, Winner, Veenema, &

Sheridan, 2007; Kelly, 2001).

Teaching in the design studio is intensely collaborative, and many scholars have

remarked that the engagement between teachers and learners is somewhat akin

1.5 SPACE ABOVE = 18pt

1 SPACE BELOW = 12pt

me, the exemplar work displayed in that long ago hallway had a presence that was

almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of

inspiration, envy, and anxiety.

This conversation made me wonder, how could I help my online design students

‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the

conditions for ‘the fear’ to flourish in the digital hallways of the online school? It

was on this last thought that I found myself deeply conflicted. While acknowledg-

ing that my colleague was perhaps correct, fear is part of design teacher practice, I

found myself wondering if this was a good thing. I wondered too what it may mean

if online teaching is a less fear filled practice, and at the same time is (at least in my

experience) as effective as onsite teaching. Thus, I loosely framed my initial re-

search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’

Although I eventually set out to explore how the online design studio reshapes

graphic design teaching more broadly, this question still gives me pause. It is how-

ever, best left to research of a more cause-effect kind to take forward.

This is a D Head

This thesis examines the design studio, common to all art and design disciplines,

and the focus of learning and teaching in design education (Schön, 1990). The

design studio is both a learning space and a unique pedagogical method (Broadfoot

& Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the

antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender

& Vredevoogd, 2006; Broadfoot & Bennett, 2003; Hetland, Winner, Veenema, &

Sheridan, 2007; Kelly, 2001).

Teaching in the design studio is intensely collaborative, and many scholars have

remarked that the engagement between teachers and learners is somewhat akin

1 SPACE ABOVE = 12pt

1 SPACE BELOW = 12pt

me, the exemplar work displayed in that long ago hallway had a presence that was

almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of

inspiration, envy, and anxiety.

This conversation made me wonder, how could I help my online design students

‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the

conditions for ‘the fear’ to flourish in the digital hallways of the online school? It

was on this last thought that I found myself deeply conflicted. While acknowledg-

ing that my colleague was perhaps correct, fear is part of design teacher practice, I

found myself wondering if this was a good thing. I wondered too what it may mean

if online teaching is a less fear filled practice, and at the same time is (at least in my

experience) as effective as onsite teaching. Thus, I loosely framed my initial re-

search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’

Although I eventually set out to explore how the online design studio reshapes

graphic design teaching more broadly, this question still gives me pause. It is how-

ever, best left to research of a more cause-effect kind to take forward.

This is an E Head

This thesis examines the design studio, common to all art and design disciplines,

and the focus of learning and teaching in design education (Schön, 1990). The

design studio is both a learning space and a unique pedagogical method (Broadfoot

& Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the

antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender

& Vredevoogd, 2006; Broadfoot & Bennett, 2003; Hetland, Winner, Veenema, &

Sheridan, 2007; Kelly, 2001).

Teaching in the design studio is intensely collaborative, and many scholars have

remarked that the engagement between teachers and learners is somewhat akin

1 SPACE ABOVE = 12pt

1 SPACE BELOW = 12pt

Consistent indent

No tab space

Footnotes, page numbers, and bibliography can be in a smallerpoint size

Possible formula for thesis text with 7 heading levels:

Body Copy = 12pt all type sizes are based off this measure (in increments of 2 points)

Line Spacing 24pt = 1.5 spaced (32pt would be double-spaced) all spaces are based on this measure

Body copy set with no indents, instead uses 1/2 line space as space between (para space) in this case = 12pt*

Headings all use the same typeface (which may differ from body text typeface):

Section Head = 18pt (8 pts larger than body copy) usually set all caps, on a page by itself

Chapter Head = 16pt (4 pts larger than body copy) Bold, looks best with 3 to 5 para spaces below (so 36pt/60pt)

A Head (14pt) = set bold, 2 para spaces above, one para space below (24pt above/12 below)**

B Head (14pt) = set bold italic, 2 para spaces above, one para space below (24pt above/12 below)

C Head (12pt) = Set bold, 1.5 line space above, one para space below (18pt above/12pt below)

D Head (12pt) = Set regular, 1 para space above, 1 para below (12pt above and below)

E Head (12pt) = Set italic, 1 para space above, 1 para below (12pt above and below)

Footnotes and Page Numbers set in body text @ 8–10pt

* Paragraphs above headings should be set with no space below. **When one heading is above another, delete the space below the top heading.

Information Design

Your data is bivariate > use a table

Your data is bivariate > use a table

Your data is multivariate > use an infographic

THERE ARE ONLY 5 WAYS TO ORGANIZE INFORMATION

LATCH

LOCATIONALPHABETICALT IMECATEGORYHIERARCHY

Pick the Right Tool

Bar Charts / compare items

Pick the Right Tool

Bar Charts / compare items

Line Graphs / show trends over time

Pick the Right Tool

Bar Charts / compare items

Line Graphs / show trends over time

Pie Charts / emphasize proportions

Pick the Right Tool

Bar Charts / compare items

Line Graphs / show trends over time

Pie Charts / emphasize proportions

Flowcharts / show process and connectedness

Designing yourinformation

Not just a designer thing

Can be quite important actually

Tables

Use one dataset per table

Tables

Use one dataset per table

Goal is to notice information, NOT the table structure

Tables

Use one dataset per table

Goal is to notice information, NOT the table structure

Use thin lines and light background colors

Use dashes or ellipses for missing data

Use dashes or ellipses for missing data

Tints help the eye read across or down

Use dashes or ellipses for missing data

Tints help the eye read across or down

Use fonts with open counters and/or no serifs

Pie Charts

Don’t use an ellipse—it distorts the data

Pie Charts

Don’t use an ellipse—it distorts the data

Don’t use busy patterns or 3D effect

Pie Charts

Don’t use an ellipse—it distorts the data

Don’t use busy patterns or 3D effect

Make sure colors are tonally contrasting

Line Graphs

Background and labels should not overwhelm the lines

Line Graphs

Background and labels should not overwhelm the lines

Scale allows variation without exageration

Line Graphs

Background and labels should not overwhelm the lines

Scale allows variation without exageration

Doesn’t always need increments

Bar Charts

Don’t always need a frame or increment marks

Bar Charts

Don’t always need a frame or increment marks

Differences of height should be discernible

Thanks for listening, Godspeed!

Any Questions?