B O A R D

D E S I G N

G R A P H I C D E S I G N / B R A N D I N G JZA+D Branding ALEXANDRE Branding

JOSHUA ZINDER Ludwing Vaca, LEED AP

ARCHITECTURE + DESIGN
Project Manager.

Princeton, 2009-2011. Santa Cruz, Bolivia, 2012-2013.

24"x36" final presentation board.
VIGNELLI CANON:

1.

Massimo Vignelli is an Italian designer who studied architec-

ture at the Politecnico di Milano and Universita di Architettura
in Venice, but has had significant work done in the area of
graphic design, from the corporate identities of recognizable
brands as American Airlines and Knoll, to the signage and
map for the New York City Subway system.

In 2009 he publishd his Vignelli Canon as a free PDF book

and a printed version the following year. In it he outlines his
fundamental principles of design that he has established in his
practice of many decades.

Available free to download at http://www.vignelli.com/canon.

pdf
GRID:

1.

The use of a grid is a fundamental tool for board layouts. It is

the basic structure to begin a layout and organize the content
that one would like to show on a board.

Start with laying out the margins and then decide the board
in a certain amount of columns and rows depending on the
content, like in the examples shown. This creates a number of
modules for one to start introducing the content in this strcu-
tured format.

This book uses a 4x6 grid structure.

SKETCHING:

1.

Sketching different layouts quickly either in paper or the com-

puter to scale is important before deciding on the final layout
of a board.

Very quicky you can see if you would like to put an emphaisis
on a particular image or have all the image have equal weight.
You can also start to arrange images by type, color or scale
together.

The emphasis of this is to do several layouts in a fast fash-

ion before without spending much time on detail or technical
items. This process will let you flush out ideas or designs that
are not workable or would be too time consuming.
SCALE/PROPORTION:

1.

Scale and proportion relationships are also crucial for design

layout, that either being on grid modules or type sizes as in the
example presented.

Always try to work with similar sizes and when scaling different
objects or type always do them in a proportional manner, this
will create a more balanced layout, as well as give the different
elements hierarchy.

In this book, notice that the title are twice as large as the body text (20pt
and 10pt respectively). The rulers also have an hierchical relationship,
from 2pt for the body of text to 4 pt for the page markers.
NEGATIVE SPACE:

1.

Negative space becomes one of the fundametal design tools in

board design to allow an image, or text stand out in the board
layout.

As in the adjacent example presented, the high contrast of

black and white and the scale and type of the font used (gara-
mound and the cursive signature respectively) allows the viewer
to clear see the emphasis on the names presented. The power-
full use of black as the negative space allows for these names
to jump out of the page.

The same can be done to images, photographs, and renderings

on an architectural presentation.

In this book, notice the full bleed spread cyan color at the introduction,
helping give an emphasis for the title of the chapter: Board Design.
FULL BLEED IMAGES:

1.

Using full bleed images is another tool that makes images and
boards stand out. A full bleed image is one that spreads over
the margins of the art board and will print without any borders.

For the adjacent example, look how the double spread of a

photograph (top and bottom images) have a more powerful
impact to the viewer, compared images that are borken into
smaller parts of the grid.

In this book, notice the full bleed image spread ascting as a chapter introd-
cution. The same is done with the full bleed spread cyan color.
FONTS:

1.

As Vignelli suggests the invention of the computer and thou-

sands of typefaces has become a bit toxic for graphic and ty-
peography design. He suggest to use a handful of fonts on
ones design library, he personally uses only half a dozen type-
faces to create the thousands of projects he has worked on in
his life time.

This book was created using only two fonts: Helvertica and Garamand.
CASE STUDY:
grid.

1. 1.

Pristine Fine Dry Cleaning represents an evolution from your

GRID: The larger image takes 20 of the 25 smaller squares. One square
The 40"x40" board is divided into smaller 8"x8" squares. The is for text, another one for an explodable axonometric and the
conventional dry cleaning operation. The facility uses an innovative,
sustainable process using CO2 as a cleaning agent, and unlike other
cleaners, they also offer a community concierge service. The client
wanted the 765 sq. ft. space to have a “high-end” feel that fit within their

grid itself is visible and printein white lines, giving the board a remainder 3 for an a panoramic view of the interior space.
budget constraints, to provide a warm and welcoming atmosphere, and
also effectively symbolize a departure from the industry standard.

Taking those conditions into consideration, a reception kiosk was

subtle but effective composition.

designed to simultaneously unite and separate each of the functional
elements of the project. This kiosk needed to be small, efficient and
provide different levels of transparency to maximize screening of the
clothing racks and allow for views out and through the space. The
modern design, complemented by a hint of industrial aesthetic, supports
specific functional needs, client interaction, and signage. The reception ASSEMBLY DIAGRAM
area acts as a transition point, with a complimentary curvilinear wall
feature leading clients in need of tailoring services to a private circular
fitting area toward the back of the space.

To reflect the “green” nature of the client’s cleaning process, sustainable

design elements were brought to the project including energy efficient
lighting, no VOC paint, no VOC concrete stain, and recycled tile. The
completed space utilizes a simple palette of sustainable materials in
warm wood and earth tones framed within each of the white curvilinear
elements.

The architecture of Pristine Fine Dry Cleaning strives to embody the

definition of its name, reflecting purity in its materials and design,
creating a new kind of dry cleaning experience.

ASSEMBLY DIAGRAM

PRISTINE FINE DRY CLEANING

PRINCETON, NEW JERSEY

40"x40" presentation board for AIA New Jersey Awards printed in glossy photo paper and moounted on black gator board.
CASE STUDY:
full bleed/hierarchy.

1. 1.

Pristine Fine Dry Cleaning represents an evolution from your

FULL BLEED/HIERARCHY: The same is done in a smaller scale on the panoramic view on
The full bleed image taking most of the space on the board the top left, making this image second in importance on the
conventional dry cleaning operation. The facility uses an innovative,
sustainable process using CO2 as a cleaning agent, and unlike other
cleaners, they also offer a community concierge service. The client
wanted the 765 sq. ft. space to have a “high-end” feel that fit within their

gives it the most impact. Its full bleed quality gives the image board. The rest of the elements (the axonometric and text)
budget constraints, to provide a warm and welcoming atmosphere, and
also effectively symbolize a departure from the industry standard.

Taking those conditions into consideration, a reception kiosk was

a bigger than life feeling, specially since it was printed in such take a third importance, whiile the title and firm name at the
designed to simultaneously unite and separate each of the functional
elements of the project. This kiosk needed to be small, efficient and
provide different levels of transparency to maximize screening of the
clothing racks and allow for views out and through the space. The

a large format (40"x40"), given the viewer the ability to be in- bottom make a subtle and last impression on the viewer.
modern design, complemented by a hint of industrial aesthetic, supports
specific functional needs, client interaction, and signage. The reception ASSEMBLY DIAGRAM
area acts as a transition point, with a complimentary curvilinear wall
feature leading clients in need of tailoring services to a private circular
fitting area toward the back of the space.

To reflect the “green” nature of the client’s cleaning process, sustainable

design elements were brought to the project including energy efficient
lighting, no VOC paint, no VOC concrete stain, and recycled tile. The
mersed in the space.
completed space utilizes a simple palette of sustainable materials in
warm wood and earth tones framed within each of the white curvilinear
elements.

The architecture of Pristine Fine Dry Cleaning strives to embody the

definition of its name, reflecting purity in its materials and design,
creating a new kind of dry cleaning experience.

ASSEMBLY DIAGRAM

PRISTINE FINE DRY CLEANING

PRINCETON, NEW JERSEY

40"x40" presentation board for AIA New Jersey Awards printed in glossy photo paper and moounted on black gator board.
CASE STUDY:
image size

40’

24"x4" jpg all images sized in

150DPI photoshop to their cor-
rect sizes for plotting.

7"x4" jpg images

150DPI

PDF line work negative space for line

from ACAD. work drawing.
line width 1PT.

line work from in

illustrator
line width 4PT.

24"x36" jpg
150DPI
backgournd image
with clipping mask
and gradient sky

24"x36" presentation board for school of architecture graduate design course in glossy photo paper and moounted on black gator board.
PHOTOSHOP:
1.
image size & layer mask

1. 3.
2.
image size:
go the menu bar under IMAGE, then IMAGE SIZE.

for 24"x36" board, set the RESOLUTION to 150 DPI. if working

on 8.5"x11" or 11"x17" books, the resolution can be increased to 300
after making the selction with the 3.
DPI.
previous tools, select the layer you
wish to apply the CLIIPING
MASK on.

2.

2.

from the tool menu, use the MAG-

IC wand or LASSO tool (or a
combination of both), trace the
outline of the mountains. RIGHT
CLICK and then use SELECT
INVERSE.

select the ADD LAYER MASK.

3.
ILLUSTRATOR:
printing 1.

1.

never print directly from AI file in Illustrator, as the memory size and
layering on them will make the plot too long to print.

under FILE, select SAVE AS, and then select PDF.

on the save Abobe PDF setting, select HIGH QUALITY PRINT on

the preset and under OPTIONS, make sure you UNCLICK "preserve
illustrator editing capabilities.

open the new file on Adobe Acrobat and then print the file from here. 1.

1.

1.