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?