I caved...

So after speaking to Jeremy, I think that he was right about the current anger poem that I written. It didn't have the flow that the collaborator established with the other poetic themes. So, I have done is combine the two anger drafts that the writer written into this:

This is where it gets ugly

Dark settings
resembles evil

I knelled.
Talking to the devil
Inside

“This needs to be released,”

I take a walk and wonder
If this’ll ever be gone.

Rage seething
Slowly killing me

Steaming within
Hatred bounces

In my ears
Irritation buzzes

In my mind
There’s darkness

My anger
Madness short-lived

A wild bull

I cannot control.

Anger Version 2

Roaming theses streets,
This dark cold night
Brought out unusual feelings
That was never felt before:

Conflicting.
Confusing.
Rage.
Pity.

These attributes have me standing
In this particular spot
Looking at the sky
Seeing the transition from
Black to red.

The moment that happened
I screamed these words
“Why! Why! Why me Goddamn It!”
This monster from within is indeed in control
Of everything that is around me.

I yield to the ground
Praying to the lord that
The negative feelings will cease.
The recklessness from within will go away,
But my instincts tell me that it will never be ceased.
Fate has indeed fallen.

As I rise and begin walking
I begin seeing everything around
That is black and white
Representing the world.

Suddenly these colors
Have merged to shades of gray,
I, and the rest of the world,
Is meant to be in all along.

Breathe it
Enjoy it
Experience it.

The anger has influx into that surrounding.

Senior Project Deliverable

1.) Working click through of the project.
A. A working web prototype displaying the poetic themes and their settings.
B. A temporary menu that will display the themes
C. Each theme will display 10 photos of 2 pages per theme
D. Each theme will display different colors in order to match the respective tone.

2.) Refined poems via hard copy.
A.) Polished poems to display the complexity of the themes.

3.) Thumbnail sketches.
A.) A series of photo shopped storyboards displaying the step-by-step process of each poetic theme on the website.
4.) Photos.
A.) Altered photos in order to match the respective poetic themes

Exitensalism Emotions research

This is an interesting book from Paul Elman and Richard K. Davidson focusing on the use of emotions through different theories.

http://books.google.com/books?id=hHSAKTRDpccC&pg=PA84&lpg=PA84&dq=existential+emotions&source=web&ots=cHPPIvbfyF&sig=c_L6fT3iz0hTQILdexeil5FO7pk&hl=en&sa=X&oi=book_result&resnum=10&ct=result#PPA480,M1

This book from Robert J. Yanal called Paradoxes of Emotion and Fiction describe the use of emotion in different formats of fiction.
http://books.google.com/books?id=Pgic3wBO9n8C&pg=PA84&lpg=PA84&dq=existential+emotions&source=web&ots=uX7U27-Dil&sig=PDSDsY0TdXUNgmI0mmSt_9q7plQ&hl=en&sa=X&oi=book_result&resnum=2&ct=result#PPA13,M1

his is an interesting book from Jean Paul Satire
http://books.google.com/books?id=uy8j8E6NLeIC&printsec=frontcover&dq=Existentialism+emotions&lr=

Mapping

So for the mapping phase, I went beyond the typical mapping for a website. I decided to make it like a collage, but also include the cutting method from William Burroughs because it gave me a chance to try some a unique form of storytelling, but for the web.

Updated Schedule

September

Week 1: Present Idea to class/Do more research to project by viewing multiple digital poetry websites/Set up blog.

Week 2: Get in touch with writer to talk about the writings/Begin taking pictures for site around certain areas; Think of poem themes.

Week 3: Began taking photos.

Week 4: Continue taking pictures/ begin outline for writer/ First set of writings are due/ Finish taking photos;

October

Week 5: Begin visual research/Communicate with writer about progress and revisions/Talk to psych professors at schools at themes /Bibliography due.

Week 6: Communicate with writer about progress and revisions/Began building composition collages surrounding themes/Presentation

Week 7: Communicate with writer about progress and revisions/Continue composition collages surrounding themes

Week 8: Continue composition collages surrounding themes/ Began site development/Mapping

November

Week 9: Continue site development/ Mapping

Week 10: Continue site development/Mapping

Week 11: Continue site development/Rough Draft

Week 12: Continue site development/Revision on Rough Draft /Presentation

December

Week 13: Continue site development/Revision on Rough Draft/ Finalize binder/ Get domain name.

Week 14: Binder due

Good reminder for fonts

Currently I am doing the mapping phase of my project and it's starting to come along real well, I think. I was told to by Tom and Jeremy to begin looking at different fonts in order to go with the themes of my project. So I stumble upon this website and it gave me a reminder on what should I look for when choosing a font.

http://www.allgraphicdesign.com/typotips.html

Good help though.

1. Because it works.
Some typefaces are just perfect for certain things. I've specified exotic fonts for identity programs that work beautifully in headlines and even in text, but sooner or later you have to set that really tiny type at the bottom of the business reply card. This is what Franklin Gothic is for. Careful, though: some typefaces work too well. Frutiger has been used so much for signage programs in hospitals and airports that seeing it now makes me feel that I'm about to get diagnosed with a brain tumor or miss the 7:00 to O'Hare.

2. Because you like its history.
I've heard of several projects where the designer found a font that was created the same year the client's organization was founded. This must give the recommendation an aura of manifest destiny that is positively irresistible. I haven't had that luck yet, but still try to find the same kind of evocative alignment. For instance, I was never a fan of Aldo Novarese's Eurostyle, but I came to love it while working on a monograph on Eero Saarinen: they both share an expressiveness peculiar to the postwar optimism of the 1950's.

3. Because you like its name.
Once I saw a project in a student portfolio that undertook the dubious challenge of redesigning the Tiffany's identity. I particularly disliked the font that was used, and I politely asked what it was. "Oh," came the enthusiastic response, "that's the best part! It's called Tiffany!" On the other hand, Bruce Mau designed Spectacle, the book he created with David Rockwell, using the typeface Rockwell. I thought this was funny.

4. Because of who designed it.
Once I was working on a project where the client group included some very strong-minded architects. I picked Cheltenham, an idiosyncratic typeface that was not only well-suited to the project's requirements, but was one of the few I know that was designed by an architect, Bertram Goodhue. Recently, I designed a publications program for a girls' school. I used a typeface that was designed by a woman and named after another, Zuzana Licko's Mrs. Eaves. In both cases, my clients knew that the public would be completely unaware of the story behind the font selection, but took some comfort in it nonetheless. I did too.

5. Because it was there.
Sometimes a typeface is already living on the premises when you show up, and it just seems mean to evict it. "We use Baskerville and Univers 65 on all our materials, but feel free to make an alternate suggestion." Really? Why bother? It's like one of those shows where the amateur chef is given a turnip, a bag of flour, a leg of lamb and some maple syrup and told to make a dish out of it. Sometimes it's something you've never used before, which makes it even more fun.

6. Because they made you.
And sometimes it's something you've never used before, for good reason. "We use ITC Eras on all our materials." "Can I make an alternate suggestion?" "No." This is when blind embossing comes in handy.

7. Because it reminds you of something.
Whenever I want to make words look straightforward, conversational, and smart, I frequently consider Futura, upper and lower case. Why? Not because Paul Renner was straightforward, conversational, and smart, although he might have been. No, it's because 45 years ago, Helmut Krone decided to use Futura in Doyle Dane Bernbach's advertising for Volkswagen, and they still use it today. One warning, however: what reminds you of something may remind someone else of something else.

8. Because it's beautiful.
Cyrus Highsmith's Novia is now commercially available. He originally designed it for the headlines in Martha Stewart Weddings. Resistance is futile, at least mine is.

9. Because it's ugly.
About 10 years ago, I was asked to redesign the logo for New York magazine. Milton Glaser had based the logo on Bookman Swash Italic, a typeface I found unimaginably dated and ugly. But Glaser's logo had replaced an earlier one by Peter Palazzo that was based on Caslon Italic. I proposed we return to Caslon, and distinctly remember saying, "Bookman Swash Italic is always going to look ugly." The other day, I saw something in the office that really caught my eye. It was set in Bookman Swash Italic, and it looked great. Ugly, but great.

10. Because it's boring.
Tibor Kalman was fascinated with boring typefaces. "No, this one is too clever, this one is too interesting," he kept saying when showed him the fonts I was proposing for his monograph. Anything but a boring typeface, he felt, got in the way of the ideas. We settled on Trade Gothic.

11. Because it's special.
In design as in fashion, nothing beats bespoke tailoring. I've commissioned custom typefaces from Jonathan Hoefler and Tobias Frere-Jones and Joe Finocchiaro, and we're currently working with Matthew Carter and Chester. It is the ultimate indulgence, but well worth the extra effort. Is this proliferation? I say bring it on.

12. Because you believe in it.
Sometimes I think that Massimo Vignelli may be using too many typefaces, not too few. A true fundamentalist requires a monotheistic worldview: one world, one typeface. The designers at Experimental Jetset have made the case for Helvetica. My partner Abbott Miller had a period of life he calls "The Scala Years" when he used that typeface almost exclusively. When the time is right, I might make that kind of commitment myself.

13. Because you can't not.
Princeton Architectural Press is about to publish a collection of essays I've written, many of which first appeared here on Design Observer. I wanted it to feel like a real book for readers — it has no pictures — so I asked Abbott to design it. He suggested we set each one of the 79 pieces in a different typeface. I loved this idea, but wasn't sure how far he'd want to go with it. "What about the one called 'I Hate ITC Garamond?'" I asked him. "Would we set it in ITC Garamond?" He looked at me as if I was crazy. "Of course," he said.

Updates yet again

So I achieve in doing my first draft of mapping this week and I feel another iteration is necessary in order to have a successful. The problem was for me doing this mapping was my schedule got thrown off with the Phillies parade canceling school and I was out of town from Friday night to Sunday morning. So I did 8 hours of works in two days of mapping and new comps for the other themes at school since I do not have the software. But it's worth it.

Research: Williams Burroughs

To try to my project more interesting, I recently looked at a chapter in "Multimedia: From Wagner to Virtual Reality" on William Burroughs. He mixed up text in order to explore a different kind of nonlinear storytelling perception. Burroughs influence was a painter name Brion Gysin and he developed the method within his paintings by using text in order to create a collage of storytelling telling. I always wanted to do a collage of some sort for this project, but I think the cut up method is an interesting technique to incorporate into the project by experimenting with the mapping.