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O P E N · S O U R C E S · C A T A L O G

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INTRO

For the first time in the history of MAT (since its foundation in 1999), a physical book was published: OPEN SOURCES. A heavy emphasis on technology (and how to master it) has been long present in our program. With this publication, we aimed to frame the work and counter-balance technique with theory.

The whole team worked –in one way or another– in the catalog. Fabian and I talked throughly how necessary was to include a written publication. This would provide context and leave a testimony for future generations.

As a team and first year students (2014), we decided to volunteer and make a contribution to our program. Right from the beginning (early February) we announced our decision to publish a catalog. Time started to run quickly from there.

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THE CONTENTS

The book features three types of contents:

a. Student work - Projects included in the show were featured
and represented 70% of the book.

b. Interviews with Faculty - Their perspectives –sometimes– have a tremendous influence in MA and PhD student’s work. We felt it was absolutely necessary to feature them in their own voice.

c. Editorials - The original proportion for the catalog content was: 50% student’s projects / 50% essays. However, at the end only one essay was included: “The Poetic Algorithm or What Happened to Software Art? ” by Fabian Offert. From a design perspective, this were the only pages with a full color filled background. With this decision, the essay occupied a space of it’s own (visually).

 

 

 

AN OPENING

 

 

 

 

Each time we open a book, a story starts to unfold. Based on our Visual Identity, the sketch above shows the first pages of the catalog.

 

 
 
LINES

 

 

 

Following the same isometric angle used for the main Visual Identity, lines (i.e. a point’s journey) were important from a narrative perspective. Lines indicated were exactly a page started.

Based on their personal trajectory, we prepared interviews with our faculty. The questions went from general topics (asking for their –past/present/future– vision of our program), to individual questions about their work. For example, how Matt Wright’s OSC was conceived, Curtis Roads’ creative process and JoAnn Kuchera-Morin’s early works.

Lines were also specially helpful to indicate movement and flow for each interview: Question/Answer. Three different layouts for three different individuals:

 

 

 

Matt Wright's interview. Question to the left, line connecting the answer moving right.

 

 

Curtis Roads' interview. Two column questions, question on the top, answer on the bottom.
Top lines indicate where the question begins.

 

 

JoAnn Kuchera Morin's interview. One column questions and answers.
Line showing movement from top to bottom.

 

 

THE PROCESS

 

 

 

Over 30 different size proportions were explored. From there, the search was narrowed to 13. Physical mock-ups were made for each one of them to decide the final size. Variations between them were as small as half a centimeter. In the image, Kurt Kaminski browsing the four finalists.

 

 

 

 

 

Early design tests were necessary, we started with a clean, uncluttered motif,
only to be balanced afterwards with the content and the rest of the visual identity.

 

 

 


Since our budget was limited, we couldn’t have the entire catalog printed in color (only a few pages). Since we chose to have a neutral/gray color scheme, this meant we could indeed create a full designed document, and surgically placing color pages (when/where needed). Some of our colleague’s photographs deserved to be printed in its full color glory (for example, David Gordon’s “Color Music”, Hannah Wolfe’s “R.O.V.E.R.” or “The Sound Digestive System”).

 

 
 

This required a lot of early planning and knowledge of the printing flow. At the end, it is unnoticeable which ones are color printed pages and which ones are black and white. In the photograph above, a sketch of how we calculate this placement.

 

 
 

 

To meet printing deadlines, and stretch as much as possible the time available for authors to deliver their contents, we pulled off a marathonic proof reading session. In the picture, Kurt and me at 4a.m. in the early morning of May 13th, 2015 at our Phelps space. (Photo by Fabian Offfert).

 

PRE-PRINT

 

 
 

 

Several iterations of the printing files were generated, in order to fit the printer’s color profile. After a 1st printing draft, several photographs were also re-adjusted to balance the correct brightness between the perceived one at the screen, and the one –final– on paper.

 

 
 

 

THE PRINTING PROCESS

 

 
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We visited the great “Printing Impressions” several times, to make sure everything was properly set for final approval. In the images below, Fabian carefully inspecting the printed proof, Kurt and me approving the files.

 

 

 

 

P H E L P S

 

 

 

For two quarters (winter and spring 2015), we were allowed to use Phelps #3320 to plan and execute our volunteering efforts. Having a space to meet and do work was crucial.

This created a brief two-quarter break, in our nomadic quest of working from home, at coffee-shops, and other campus spots (the library, the Grad Lounge, SRB). The catalog could’ve never happened without it.

This space was shared with our entire generation (9 people),
and –sometimes– even used 24 hours per day.

 

 

 

 

 

  >> Download CV
>> Previous and further work at Realität
>> "Logics of Elusion" - a photo journal from Cali.

No other work featured in any other UC website is endorsed by the author, unless included or mentioned here.

The contents, including all opinions and views here expressed, do not necessarily represent the opinions or views of anyone else, including other employees in my department or at the University of California. My department and the University of California are not responsible for the material contained in this publication.

2016