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GRAPHIC DESIGN
THE NEW BASICS
SECOND EDITION, REVISED AND EXPANDED

ELLEN LUPTON AND JENNIFER COLE PHILLIPS

Princeton Architectural Press, New York and

Maryland Institute College of Art, Baltimore

Published by For Maryland Institute College of Art
Princeton Architectural Press
37 East Seventh Street Book Design
New York, New York 10003 Ellen Lupton and Jennifer Cole Phillips

Visit our website at www.papress.com. Contributing Faculty

Ken Barber
© 2008, 2015 Princeton Architectural Press Kristian Bjørnard
All rights reserved Kimberly Bost
Jeremy Botts
No part of this book may be used or Corinne Botz
reproduced in any manner without written Bernard Canniffe
permission from the publisher, except in Nancy Froehlich
the context of reviews. Brockett Horne
Tal Leming
Every reasonable attempt has been made Ellen Lupton
to identify owners of copyright. Errors or Al Maskeroni
omissions will be corrected in subsequent Sandra Maxa
editions. Ryan McCabe
Abbott Miller
Kiel Mutschelknaus
Jennifer Cole Phillips
James Ravel
Zvezdana Stojmirovic
Nolen Strals
Mike Weikert
Bruce Willen
Yeohyun Ahn
Library of Congress Cataloging-in-Publication Data
Lupton, Ellen, author. Visiting Artists
Graphic design : the new basics / Ellen Lupton and Marian Bantjes
Jennifer Cole Phillips. — Second Edition, Revised and Nicholas Blechman
Expanded. Alicia Cheng
pages cm Peter Cho
Includes bibliographical references and index. Malcolm Grear
ISBN 978-1-61689-325-5 (hardcover : alk. paper) David Plunkert
ISBN 978-1-61689-332-3 (paperback : alk. paper) C. E. B. Reas
ISBN 978-1-61689-455-9 (epub, mobi) Paul Sahre
1. Graphic arts. I. Phillips, Jennifer C., 1960– author. Jan van Toorn
II. Title. Rick Valicenti
NC997.L87 2015
741.6—dc23 For Princeton Architectural Press
2014046286
Editors
Clare Jacobson and Nicola Brower

Special thanks to
Janet Behning, Erin Cain, Megan Carey,
Carina Cha, Andrea Chlad, Tom Cho,
Barbara Darko, Benjamin English,
Russell Fernandez, Jan Cigliano Hartman,
Jan Haux, Mia Johnson, Diane Levinson,
Jennifer Lippert, Katharine Myers,
Jaime Nelson, Rob Shaeffer, Sara Stemen,
Marielle Suba, Kaymar Thomas, Paul Wagner,
Joseph Weston, and Janet Wong of Princeton
Architectural Press
—Kevin C. Lippert, publisher
 6 Foreword
Contents
8 Back to the Bauhaus
Ellen Lupton

10 Beyond the Basics

Jennifer Cole Phillips

12 Formstorming
32 Point, Line, Plane
48 Rhythm and Balance
60 Scale
68 Texture
80 Color
98 Gestalt Principles
116 Framing
128 Hierarchy
140 Layers
154 Transparency
166 Modularity
186 Grid
200 Pattern
214 Diagram
232 Time and Motion
248 Rules and Randomness
260 Bibliography

262 Index

Ellen Lupton and Jennifer Cole Phillips
This book is a guide to visual form-
making, showing designers how
to build richness and complexity
around simple relationships.
We created the first edition of this
book in 2008 because we didn’t
see anything quite like it for today’s
students and young designers:
a concise, contemporary guide
to two-dimensional design. Since
its release, Graphic Design: The
New Basics has reached an
enthusiastic audience around the
world. Everywhere we go, we meet
educators and young designers
who have used the book and learned
something from it.
What’s new in this volume?
You will find updated and expanded
content throughout the book,
reflecting new ideas emerging in
our classrooms at Maryland Institute
College of Art (MICA). The most
important addition to this volume,
however, is an entirely new opening
chapter devoted to “formstorming,”
a term originated by Jennifer Cole
Phillips. Formstorming is a set of
structured techniques for generating
visual solutions to graphic design
challenges. We open the book with
this chapter in order to plunge
our readers directly into the act of
visual invention.
Foreword
As educators with decades of
combined experience in graduate and
undergraduate teaching, we have
witnessed the design world change
and change again in response to
new technologies. When we were
students ourselves in the 1980s,
classic books such as Armin
Hofmann’s Graphic Design Manual
(published in 1965) had begun to lose
their relevance within the restless and
shifting design scene. Postmodernism
was on the rise, and abstract design
exercises seemed out of step with the
interest at that time in appropriation
and historicism.
During the 1990s, design
educators became caught in the
pressure to teach (and learn)
software, and many of us struggled
to balance technical skills with
visual and critical thinking. Form
sometimes got lost along the
way, as design methodologies
moved away from universal visual
concepts toward a more anthro-
pological understanding of design
as a constantly changing flow of
cultural sensibilities.
This book addresses the gap
between software and visual thinking.
By focusing on form, we have re-
embraced the pioneering work of
modernist design educators, from
Josef Albers and László Moholy-Nagy
at the Bauhaus to Armin Hofmann
and some of our own great teachers,
including Malcolm Grear.
We initiated this project when
we noticed that our students
were not at ease building concepts
abstractly. They were adept at
working and reworking pop-culture
vocabularies, but they were less
comfortable manipulating scale,
rhythm, color, hierarchy, grids, and
diagrammatic relationships.
This is a book for students and
emerging designers, and it is
illustrated primarily with student
work, produced within graduate
and undergraduate design studios.
Our school, MICA, has been our
laboratory. Numerous faculty and
scores of students participated
in our brave experiment. The work
shown on these pages is varied
and diverse, reflecting an organic
range of skill levels and sensibilities.
Unless otherwise noted, all the
student examples were generated
in the context of MICA’s courses; a
few projects originate from schools
we visited or where our own
graduate alumni are teaching.

Our student contributors come
from China, India, Japan, Korea,
Puerto Rico, Trinidad, Zimbabwe,
a wide range of US states, and
many other places. The book was
manufactured in China and published
with Princeton Architectural Press
in New York City. It was thus created
in a global context. The work pre-
sented within its pages is energized
by the diverse backgrounds of its
producers, whose creativity is shaped
by their cultural identities as well
as by their unique life experiences.
A common thread that draws all
these people together in one place
is design.
The majority of student work
featured here comes from the course
we teach together at MICA, the
Graphic Design MFA Studio. Our
Acknowledgments
MFA program’s first publishing
venture was the book D.I.Y.: Design
It Yourself (2006), directed at
general readers who want to use
design in their own lives. We have
published a series of other titles
since then, including Indie Publishing
(2009), Graphic Design Thinking
(2010), and Type on Screen (2014).
These books are researched and
produced under the aegis of MICA’s
Center for Design Thinking, an
umbrella for organizing the college’s
diverse efforts in the area of design
education research.
Complementing the student
work included in this book are
examples from contemporary
professional practice that
demonstrate visually rich design
approaches. Many of the designers
The first edition of this book constituted
my degree project in the Doctorate in
Communication Design program at the
University of Baltimore. I thank my advisors,
Stuart Moulthrop, Sean Carton, and Amy
Pointer. I also thank my colleagues at MICA,
including Samuel Hoi, president; Ray Allen,
provost; Gwynne Keathley, vice provost
for research and graduate studies; Brockett
Horne, chair, Graphic Design BFA; and my
longtime friend and collaborator, Jennifer
Cole Phillips. Special thanks go to the
dozens of students who contributed work.
Editors Clare Jacobson, Nicola Brower,
and the team at Princeton Architectural
Press made the book real.
My family is an inspiration, especially
my parents Bill, Lauren, Mary Jane, and
Ken; my children Jay and Ruby; my sisters
Julia and Michelle; and my husband Abbott.
Ellen Lupton
7 Foreword
featured, including Marian Bantjes,
Alicia Cheng, Peter Cho, Malcolm
Grear, David Plunkert, C. E. B. Reas,
Paul Sahre, Rick Valicenti, and
Jan van Toorn, have worked with
our students as visiting artists
at MICA. Some conducted special
workshops, whose results are
included in this volume.
Graphic Design: The New Basics
lays out the elements of a visual
language whose forms are employed
by individuals, institutions, and
communities that are increasingly
connected in a global society.
We hope the book will inspire more
thought and creativity in the
years ahead.
My contribution to this book is dedicated
to Malcolm Grear, mentor and friend,
who taught me to approach design from
the inside out, and instilled an appetite
for invention and formal rigor.
The culture at MICA is a joy in which
to work, thanks in large part to the vision and
support of our past president, Fred Lazarus;
our new president, Samuel Hoi; provost Ray
Allen; vice provost for research and graduate
studies Gwynne Keathley; and our talented
faculty colleagues. Deep respect and thanks
to our students for their commitment and
contributions. Heartfelt gratitude goes to my
friend and close collaborator, Ellen Lupton,
for raising the bar with grace and generosity.
I am thankful for the support of my
family and close friends, especially my
parents Ann and Jack; and my sisters
Lanie and Jodie.
Jennifer Cole Phillips
Back to the Bauhaus

Ellen Lupton

The idea of searching out a shared The Bauhaus Legacy In the 1920s, Since the 1940s, numerous
framework in which to invent and faculty at the Bauhaus and other educators have refined and
organize visual content dates back schools analyzed form in terms expanded on the Bauhaus approach,
to the origins of modern graphic of basic geometric elements. They from Moholy-Nagy and Gyorgy
design. In the 1920s, institutions believed this language would Kepes at the New Bauhaus in
such as the Bauhaus in Germany be understandable to everyone, Chicago; to Johannes Itten, Max
explored design as a universal, grounded in the universal instrument Bill, and Gui Bonsiepe at the Ulm
perceptually based “language of of the eye. School in Germany; to Emil Ruder
vision,” a concept that continues Bauhaus faculty pursued this and Armin Hofmann in Switzerland;
to shape design education today idea from different points of view. to the “new typographies” of
around the world. Wassily Kandinsky called for Wolfgang Weingart, Dan Friedman,
This book reflects on that vital the creation of a “dictionary of and Katherine McCoy in Switzerland
tradition in light of profound shifts elements” and a universal visual and the United States. Each of
in technology and global social life. “grammar” in his Bauhaus textbook these revolutionary educators
Whereas the Bauhaus promoted Point and Line to Plane. His articulated structural approaches
rational solutions through planning colleague László Moholy-Nagy to design from distinct and
and standardization, designers sought to uncover a rational original perspectives.
and artists today are drawn to vocabulary ratified by a shared Some of them also engaged
idiosyncrasy, customization, and society and a common humanity. in the postmodern rejection of
sublime accidents as well as to Courses taught by Josef Albers universal communication. According
standards and norms. The modernist emphasized systematic thinking to postmodernism, which emerged
preference for reduced, simplified over personal intuition, objectivity in the 1960s, it is futile to look
forms now coexists with a desire to over emotion. for inherent meaning in an image
build systems that yield unexpected Albers and Moholy-Nagy forged or object because people will
results. Today, the impure, the the use of new media and new bring their own cultural biases and
contaminated, and the hybrid hold as materials. They saw that art and personal experiences to the process
much allure as forms that are sleek design were being transformed of interpretation. As postmodernism
and perfected. Visual thinkers often by technology—photography, itself became a dominant ideology
seek to spin out intricate results film, and mass production. And yet in the 1980s and ’90s, in both the
from simple rules or concepts rather their ideas remained profoundly academy and in the marketplace,
than reduce an image or idea to its humanistic, always asserting the role the design process got mired in
simplest parts. of the individual over the absolute the act of referencing cultural styles
authority of any system or method. or tailoring messages to narrowly
Design, they argued, is never defined communities.
reducible to its function or to a
technical description.

The New Basics Designers at the
Bauhaus believed not only in a
universal way of describing visual
form, but also in its universal
significance. Reacting against that
belief, postmodernism discredited
formal experiment as a primary
component of thinking and making
in the visual arts. Formal study
was considered to be tainted by its
link to universalistic ideologies.
This book recognizes a difference
between description and
interpretation, between a potentially
universal language of making
and the universality of meaning.
Today, software designers have
realized the Bauhaus goal of
describing (but not interpreting) the
language of vision in a universal
way. Software organizes visual
material into menus of properties,
parameters, filters, and so on,
creating tools that are universal
in their social ubiquity, cross-
disciplinarity, and descriptive
power. Photoshop, for example, is
a systematic study of the features
of an image (its contrast, size,
color model, and so on). InDesign
and QuarkXpress are structural
explorations of typography: they are
software machines for controlling
leading, alignment, spacing, and
column structures as well as image
placement and page layout.
In the aftermath of the Bauhaus,
textbooks of basic design have re-
turned again and again to elements
such as point, line, plane, texture,
and color, organized by principles of
scale, contrast, movement, rhythm,
and balance. This book revisits those
concepts as well as looking at some
of the new universals emerging today.
What are these emerging
universals? What is new in basic
design? Consider, for example,
transparency­— a concept explored
in this book. Transparency is a
condition in which two or more
surfaces or substances are visible
through each other. We constantly
experience transparency in the
physical environment: from water,
glass, and smoke to venetian blinds,
slatted fences, and perforated
screens. Graphic designers across
the modern period have worked
with transparency, but never more
so than today, when transparency
can be instantly manipulated with
commonly used tools.
What does transparency
mean? Transparency can be used to
construct thematic relationships. For
example, compressing two pictures
into a single space can suggest
a conflict or synthesis of ideas
(East/West, male/female, old/new).
Designers also employ transparency
as a compositional (rather than
thematic) device, using it to soften
edges, establish emphasis, separate
competing elements, and so on.
Trans­parency is crucial to the
vocabulary of film and motion-based
media. In place of a straight cut,
an animator or editor diminishes
the opacity of an image over
time (fade to black) or mixes two
semitransparent images (cross
dissolve). Such transitions affect a
9 Back to the Bauhaus
Transparency and Layers The Google Earth
interface allows users to manipulate the
transparency of overlays placed over satellite
photographs of Earth. Here, Hurricane
Katrina hovers over the Gulf Coast of the US.
Storm: University of Wisconsin, Madison
Cooperative Institute for Meteorogical
Satellite Studies, 2005. Composite: Jack
Gondela.
film’s rhythm and style. They also
modulate, in subtle ways, the
message or content of the work.
Although viewers rarely stop to
interpret these transitions, a video
editor or animator understands
them as part of the basic language
of moving images.
Layering is another universal
concept with rising importance.
Physical printing processes use
layers (ink on paper), and so do
software interfaces (from layered
Photoshop files to sound or
motion timelines).
Transparency and layering have
always been at play in the graphic
arts. In today’s context, what makes
them new again is their omnipresent
accessibility through software.
Powerful digital tools are commonly
available to professional artists
and designers but also to children,
amateurs, and tinkerers of every
stripe. Their language has become
universal.
Software tools provide models
of visual media, but they don’t tell us
what to make or what to say. It is
the designer’s task to produce works
that are relevant to living situations
(audience, context, program,
brief, site) and to deliver meaningful
messages and rich, embodied
experiences. Each producer animates
design’s core structures from
his or her own place in the world.
Beyond the Basics
Jennifer Cole Phillips
Even the most robust visual
language is useless without the
ability to engage it in a living
context. While this book centers
around formal structure and
experiment, some opening thoughts
on process and problem solving
are appropriate here, as we hope
readers will reach not only for more
accomplished form, but for form that
resonates with fresh meaning.
Before the Macintosh, solving
graphic design problems meant
outsourcing at nearly every stage
of the way: manuscripts were
sent to a typesetter; photographs—
selected from contact sheets—were
printed at a lab and corrected by
a retoucher; and finished artwork
was the job of a paste-up artist,
who sliced and cemented type and
images onto boards. This protocol
slowed down the work process and
required designers to plan each
step methodically.
By contrast, easily accessed
software, cloud storage, ubiquitous
wi-fi, and powerful laptops now
allow designers and users to control
and create complex work flows
from almost anywhere.
Yet, as these digital technologies
afford greater freedom and conven-
ience, they also require ongoing
education and upkeep. This recurring
learning curve, added to already
overloaded schedules, often cuts
short the creative window for
concept development and formal
experimentation.
In the college context, students
arrive ever more digitally adept.
Acculturated by social media,
smart phones, iPads, and apps,
design students command the
technical savvy that used to take
years to build. This network know-
how, though, does not necessarily
translate into creative thinking.
Too often, the temptation to turn
directly to the computer precludes
deeper levels of research and
ideation—the distillation zone that
unfolds beyond the average appetite
for testing the waters and exploring
alternatives. People, places,
thoughts, and things become
familiar through repeated exposure.
It stands to reason, then, that initial
ideas and, typically, the top tiers of a
Google search turn up only cursory
results that are often tired and trite.
Getting to more interesting
territory requires the perseverance
to sift, sort, and assimilate subjects
and solutions until a fresh spark
emerges and takes hold.
Visual Thinking Ubiquitous access to
image editing and design software,
together with zealous media
inculcation on all things design, has
created a tidal wave of design makers
outside the profession. Indeed, in our
previous book, D.I.Y.: Design It Yourself,
we extolled the virtues of learning
and making, arguing that people acquire
pleasure, knowledge, and power
by engaging with design at all levels.
This volume shifts the climate of
the conversation. Instead of skimming
the surface, we dig deeper. Rather
than issuing instructions, we frame
problems and suggest possibilities.
Inside, you will find many examples,
by students and professionals, that
balance and blend idiosyncrasy with
formal discipline.
Rather than focus on practical
problems such as how to design
a book, brochure, app, or website,
this book encourages readers to
experiment with the visual language
of design. By “experiment,” we mean
the process of examining a form,
material, or process in a methodical
yet open-ended way. To experiment
is to isolate elements of an operation,
limiting some variables in order to
better study others. An experiment
asks a question or tests a hypothesis
whose answer is not known in advance.
 11 Beyond the Basics
Choose your corner, pick away at it carefully, intensely and to the best of your ability
and that way you might change the world. Charles Eames

The book is organized around

some of the formal elements and
phenomena of design. In practice,
those components mix and overlap,
as they do in the examples shown
throughout the book. By focusing
attention on particular aspects of
visual form, we encourage readers
to recognize the forces at play
behind strong graphic solutions.
Likewise, while a dictionary presents
specific words in isolation, those
words come alive in the active
context of writing and speaking.
Filtered through formal and
conceptual experimentation, design
thinking fuses a shared discipline
with organic interpretation.

Diagramming Process Charles Eames drew

this diagram to explain the design process
as achieving a point where the needs
and interests of the client, the designer, and
society as a whole overlap. Charles Eames,
1969, for the exhibition What is Design at
the Musée des Arts décoratifs, Paris, France.
© 2007 Eames Office LLC.

I like a lot the adage that for every problem there is a solution
that is simple, obvious, and wrong. A problem worthy of the name is seldom
accessible to sudden and simple solution. Malcolm Grear
Photo Constructions Designer Martin
Venezky made this image of reconstructed
details from a large collage wall he
generated in a three-day formstorming
exercise for All Possible Futures, an
exhibition by Jon Sueda.
Martin Venezky, Appetite Engineers.
In a world where almost every
designer has instant access to vast
image databases and online search
sites, there is little wonder why
the landscape of contemporary
graphic design is mired in
mediocre solutions that capitalize
on convenience. Many designers
are not familiar with the kind
of rigorous processes that might
lead to higher levels of formal and
conceptual innovation.
Formstorming is an act of visual
thinking—a tool for designers to
unlock and deepen solutions to
basic design problems. This chapter
presents several formstorming
exercises designed to trigger and
tease out options and ideas that
go beyond the familiar, prompting
designers to find fresh ways to
illuminate subjects through guided
creative engagement.
Formstorming moves the
maker through automatic, easily
conceived notions, toward
recognizable yet nuanced concepts,
to surprising results that compel
us with their originality. The
endurance required to stick with a
subject through exhaustive iteration,
dissection, synthesis, revision, and
representation takes discipline and
drive, but this level of immersion
Formstorming
yields an unexpected and profound
return on the creative investment.
In design school students are
cautioned against turning too
quickly to the computer, eclipsing
the ideation phase. Still, many
designers engage the process
of concept generation thinly, soon
landing in a place that seems
promising and then starting
prematurely to build out that idea.
The result of such a truncated
development phase is dull design
that, at best, seems slick and
eye-catching and, at worst, appears
instantly dispensable.
Top chefs remind us that a great
dish depends on top-notch ingredients.
Likewise, in graphic design, we
must strive for excellence in each
part of our design. The principles
and processes demonstrated in this
chapter may be used to elevate
and extend any of the design basics
covered in this book and beyond.
In a complex world that is filtered
through layers of visual, verbal, and
sensory signals, robust, clear visual
communication is key. Excellent
design not only helps us make sense
of our lives, but it can make
the experience a pleasurable one.
14 Graphic Design: The New Basics

egg

One Hundred Iterations

Generating multiple iterations of one
subject is a means of digging deeper.
One dozen.
By repeatedly tapping into our
mental database of associations and
ideas, we are able to exhaust the
obvious and get to fresher territory.
This classic exercise asks designers
to choose one subject and visually
interpret it in one hundred ways.
Basic semiotic principles—the icon,
index, and symbol—are introduced
to expand the scope of thinking
and representation. Students make,
capture, and appropriate imagery
that, as a collection, has depth and
breadth conceptually and formally,
with an emphasis on excellence
and innovation. MFA Studio. Jennifer
Cole Phillips, faculty.

Don't put all

your eggs in
one basket.

Dozens of Eggs This designer chose a

bound book to house her one hundred
egg iterations. Basic semiotic modes
of representation helped probe the subject
from multiple angles. Indexical signs, Hard boild
Benedict.
such as the nest, shell, sperm, and carton,
point to the subject, while icons, such
as photographs and illustrations of eggs,
resemble the subject. Symbols, such as
a Humpty Dumpty, rely on shared cultural
understanding. Multipage formats challenge
the designer to address a layer of pacing
and parallelism. Jackie Littman.
 15 Formstorming
A Plus Working with the letter A, the designer
found or created one hundred diverse and
graphically compelling images. She arranged
the edited collection inside and around a
gridded template, paying careful attention
to the distribution of color, texture, depth
of field, and gesture in order to engage the
viewer’s eye throughout the composition.
Yingxi Zhou.
16 Graphic Design: The New Basics

Colleen Roxas
Precedents These are or inspiration that
shared the approach of translating typographic
messages and shapes into 3D form.

Formstorming Templates
Pairing Connections Letters were
explored in pairs, interconnecting with
one another to form new relationships

These templates can serve as

inspiring vessels to capture, collect,
and curate evolving visual and
verbal ideas related to projects.
Designers use formatted templates
to mindfully conduct essential Character types Here, a celebration

investigations, such as research of cats emerge as the form and fur are
formed from the letters “M, E, O, W”

precedents, engage in visual

thinking, draft sketches, and explore
various visual and verbal voices,
vehicles, component formats, and
media and materials. A multi-column Character types Again, a musical enthusiat’s
interest is captured through the interplay of

grid helps distribute and arrange letters from the musical scale, “F, A, C, E, G,
B, D, F” to denote headphones, which then
converge repetitively to form soundwaves

subject matter, and captions and

context summaries reference and
record design thinking. Advanced
Graphic Design II and MFA Studio.
Jennifer Cole Phillips, faculty.

3D Applications These experiments are

testing the translation of typographic
concepts into 3D form. Applications for
product design might include jewelry,
textile designs for apparal, accessories,
and home furnishings

Customization Creating patterns from

letters is one way to integrate and abstractly
represent persona and coalescence. This
exploration utilizes the letters of my
name, “C, O, L, L, E, E, N,” together with
ampersands, to form modular patterns

Beyond the Sketchbook Selecting, synthe-

project title project description

Embody Typography explored as unique, abstract form, apart from their context as language,
sizing, rendering, representing, and installing A unification of individual character types holds infinite possibility for coalescing into new configurations. The convergence

visual ideas into templates provides of these characters can serve metaphorically for connections made in interpersonal
relationships, hence, the notion of two souls merging into one unified whole.
an added layer of clarity and curation, and
serves as a more professional process designer

record than a sketchbook. Aura Selzer.

Colleen Roxas
 17 Formstorming
Jasper Crocker

Yingxi Zhou

Julian Haddad

Design Investigation Undergraduate seniors

at MICA are required to frame and solve a
semester-long design investigation of their
choosing. Often daunted by the open-
ended nature of this challenge, they turn to
formstorming templates, which help them
organize and deepen their work.
18 Graphic Design: The New Basics

Breaking the Block This designer collected

strategies for getting beyond creative blocks
and translated them into experimental
typographic form that fell outside his own
comfort zone. Brian Pelsoh, MFA Studio.
 Trending Hashtags This designer chose a

19 Formstorming
daily trending Twitter hashtag as fodder
for dimensional typographic experiments.
Amanda Buck, MFA Studio.

Dailies
This ongoing generative exercise
spurs design thinking through a
daily creative act situated within a
conceptual framework. Designers
are prompted to define the param-
eters of the daily act, including the
conceptual framework, medium, and
format. The rigor and momentum
involved in creating a design-a-day
help students build key discipline
and time management skills and
yield a robust body of work that
develops the designer’s portfolio and
process. Dailies generally span
at least two weeks and sometimes
involve creating a container or
system to house the work and add
context. MFA Studio. Jennifer Cole
Phillips, faculty.
20 Graphic Design: The New Basics

Daily Collage Project These collaged

compositions were inspired by hand sketches
of famous modern architects, such as Frank
Gehry, Zaha Hadid, and Frank Lloyd Wright.
A controlled color palette and consistent
visual vocabulary insure cohesiveness
across a wide range of experimental form.
Jessica Wen, Advanced Graphic Design I.
Jennifer Cole Phillips, faculty.
Happier. Feeling down? Getting anxious?

21 Formstorming
We’ve got something for you. Just plug
in the patented happi-stick to your device’s
headphone jack and stick your finger in.
We’ll give you a tiny prick, test your blood
for chemical imbalances, then have a
pharmacist deliver the right prescription
to your door. Feeling good has never
been easier.

Happier
Feeling down? Getting anxious? We,ve got something for you. Just plug in the
patented happi-stick to your device's headphone jack and stick your finger in.
We'll give a tiny little prick, test your blood for chemical imbalances, then
have a pharmacist deliver the right prescription to your door Feeling good has
never been easier.

Works with iPhone

Instagramaphone. Show off your love for

vintage music with Instagramaphone, the
hot new audio filter. Why should everything
sound so clean? With Instagramaphone, you
can add audio filters like “vinyl” and “AM
radio” to create authentic background noise
from a simpler era. Create playlists from
iTunes, Spotify, Rdio, and more to play your
favorite songs with a nostalgic twist.

Instagramophone
Show off your love for vintage music with instagrmophone, the hot new audio
filter. Why should every thing sound soclean? With Instagramphone, you can
add audio filters like "viny!" and "AM radio" to create authentic background noise
from simpler era. Create playlists from ITunes, Spotify, Rdio and more to play
your favorites songs with a nostalgic twist.

Works with iPhone

Happier Ptogeny App a Day This student created fourteen

fictitious apps in fourteen days as an
exercise in rapid design. The apps form a
Pix18r HealthNut dystopic family that lampoons society and
blurs the lines of what is possible, what
is legal, and what is worthwhile. Emma
Instagramophone FeedMe Sherwood-Forbes, MFA Studio.

Midas Touch Uninterrupt

ipoo Memoji

Liar, Lair Presence

Brain2 Text MatchMaker

22 Graphic Design: The New Basics

BECK

DUST BROTHERS

SONIC YOUTH

MURDER BALLADS

Record a Day Passionate about music, this

designer challenged himself to match the
musical moxy and tenor of a collection of his
favorite albums, using color, composition,
and custom typography on a series of daily
LP cover designs. Shiva Nallaperumal,
MFA Studio.
 23 Formstorming
Daily Movements For this project the designer
created an animated series of two- and
three-dimensional letterform experiments
built from a variety of digital and analog
bits over the course of a month, and then
built a website to showcase the alphabet
on screen. Jackie Littman, MFA Studio.
24 Graphic Design: The New Basics

THE UNI- THE UNI-

VERSAL
DECLAR-
ATION OF
HUMAN
RIGHTS*
*1. Right to equality 2. Freedom from discrimination 3.
Right to life, liberty, and personal security 4. Freedom
from slavery 5. Freedom from torture and degrading
treatment 6. See Above 7. Right to equality before
the law 8. Right to remedy by a competent tribunal
9. Freedom from arbitrary arrest and exile 10. Right
to fair public hearing 11. Right to be considered in-
nocent until proven guilty 12. Freedom from interfer-
ence with privacy, family, home, and correspondence
13. Right to free movement in and out of the country
14. Right to asylum in other countries from perse-
cution 15. Right to a nationality and the freedom to
change it 16. Right to marriage and family 17. Right
to own property 18. Freedom of belief and religion
19. Freedom of opinion and information 20. Right of
peaceful assembly and association 21. Right to par-
ticipate in government and in free elections 22. Right
to social security 23. Right to desirable work and to
VERSAL
DECLAR-
ATION OF
HUMAN
RIGHTS*
join trade unions 24. Right to rest and leisure 25.
Right to adequate living standard 26. Right to educa-
tion 27. Right to participate in in the cultural life of the
community 28. Right to a social order that articulates *(1) Right to equality. (2) Freedom from family, home, and correspondence. (13) Right to (22) Right to social security. (23) Right to desirable
this document 29. Community duties essential to a discrimination. (3) Right to life, liberty, and personal free movement in and out of the country. (14) Right work and to join trade unions. (24) Right to rest and
free and full development 30. Freedom from state or security. (4) Freedom from slavery. (5) Freedom from to asylum in other countries from persecution. (15) leisure. (25) Right to adequate living standard. (26)
personal interference in the above rights torture and degrading treatment. (6) See Above. (7) Right to a nationality and the freedom to change Right to education. (27) Right to participate in in the
Right to equality before the law. (8) Right to remedy it. (16) Right to marriage and family. (17) Right to cultural life of the community. (28) Right to a social
by a competent tribunal. (9) Freedom from arbitrary own property. (18) Freedom of belief and religion. order that articulates this document. (29) Community
arrest and exile. (10) Right to fair public hearing. (19) Freedom of opinion and information. (20) Right duties essential to a free and full development. (30)
(11) Right to be considered innocent until proven of peaceful assembly and association. (21) Right Freedom from state or personal interference in the
guilty. (12) Freedom from interference with privacy, to participate in government and in free elections. above rights.

THE UNI- THE UNI-

Process Verbs After building a solid
typographic composition, designers
applied a series of actions (both
physical and digital) to their initial
design. The actions were prompted
by a list of verbs, including fold,
cut, tear, touch, warp, reflect,
multiply, copy, disperse, compress,
and reflect. Each designer chose
how to turn these verbs into
design processes and outcomes.
VERSAL VERSAL
DECLAR- DECLAR-
ATION OF ATION OF
HUMAN HUMAN
RIGHTS* RIGHTS*
*1. Right to equality 2. Freedom from discrimination 3.
Right to life, liberty, and personal security 4. Freedom
from slavery 5. Freedom from torture and degrading
13. Right to free movement in and out of the country
14. Right to asylum in other countries from perse-
cution 15. Right to a nationality and the freedom to
join trade unions 24. Right to rest and leisure 25.
Right to adequate living standard 26. Right to educa-
tion 27. Right to participate in in the cultural life of the
*1. Right to equality 2. Freedom from discrimination 3.
Right to life, liberty, and personal security 4. Freedom
13. Right to free movement in and out of the country
14. Right to asylum in other countries from perse-
join trade unions 24. Right to rest and leisure 25.
Right to adequate living standard 26. Right to educa-

Typography II. Ellen Lupton, faculty.

treatment 6. See Above 7. Right to equality before
the law 8. Right to remedy by a competent tribunal
9. Freedom from arbitrary arrest and exile 10. Right
to fair public hearing 11. Right to be considered in-
nocent until proven guilty 12. Freedom from interfer-
ence with privacy, family, home, and correspondence
change it 16. Right to marriage and family 17. Right
to own property 18. Freedom of belief and religion
19. Freedom of opinion and information 20. Right of
peaceful assembly and association 21. Right to par-
ticipate in government and in free elections 22. Right
to social security 23. Right to desirable work and to
community 28. Right to a social order that articulates
this document 29. Community duties essential to a
free and full development 30. Freedom from state or
personal interference in the above rights
from slavery 5. Freedom from torture and degrading
treatment 6. See Above 7. Right to equality before
the law 8. Right to remedy by a competent tribunal
9. Freedom from arbitrary arrest and exile 10. Right
to fair public hearing 11. Right to be considered in-
nocent until proven guilty 12. Freedom from interfer-
ence with privacy, family, home, and correspondence
cution 15. Right to a nationality and the freedom to
change it 16. Right to marriage and family 17. Right
to own property 18. Freedom of belief and religion
19. Freedom of opinion and information 20. Right of
peaceful assembly and association 21. Right to par-
ticipate in government and in free elections 22. Right
to social security 23. Right to desirable work and to
tion 27. Right to participate in in the cultural life of the
community 28. Right to a social order that articulates
this document 29. Community duties essential to a
free and full development 30. Freedom from state or
personal interference in the above rights

THE UNI-
VERSAL
DECLAR-
ATION OF
HUMAN
RIGHTS*
*1. Right to equality 2. Freedom from discrimination 3.
Right to life, liberty, and personal security 4. Freedom
from slavery 5. Freedom from torture and degrading
treatment 6. See Above 7. Right to equality before
the law 8. Right to remedy by a competent tribunal
9. Freedom from arbitrary arrest and exile 10. Right
to fair public hearing 11. Right to be considered in-
nocent until proven guilty 12. Freedom from interfer-
ence with privacy, family, home, and correspondence
13. Right to free movement in and out of the country
14. Right to asylum in other countries from perse-
cution 15. Right to a nationality and the freedom to
change it 16. Right to marriage and family 17. Right
to own property 18. Freedom of belief and religion
19. Freedom of opinion and information 20. Right of
peaceful assembly and association 21. Right to par-
ticipate in government and in free elections 22. Right
to social security 23. Right to desirable work and to
join trade unions 24. Right to rest and leisure 25.
Right to adequate living standard 26. Right to educa-
tion 27. Right to participate in in the cultural life of the
community 28. Right to a social order that articulates
this document 29. Community duties essential to a
free and full development 30. Freedom from state or
personal interference in the above rights
*1. Right to equality 2. Freedom from discrimination 3.
Right to life, liberty, and personal security 4. Freedom
from slavery 5. Freedom from torture and degrading
treatment 6. See Above 7. Right to equality before
the law 8. Right to remedy by a competent tribunal
9. Freedom from arbitrary arrest and exile 10. Right
to fair public hearing 11. Right to be considered in-
nocent until proven guilty 12. Freedom from interfer-
ence with privacy, family, home, and correspondence
13. Right to free movement in and out of the country
14. Right to asylum in other countries from perse-
cution 15. Right to a nationality and the freedom to
change it 16. Right to marriage and family 17. Right
to own property 18. Freedom of belief and religion
19. Freedom of opinion and information 20. Right of
peaceful assembly and association 21. Right to par-
ticipate in government and in free elections 22. Right
to social security 23. Right to desirable work and to
join trade unions 24. Right to rest and leisure 25.
Right to adequate living standard 26. Right to educa-
tion 27. Right to participate in in the cultural life of the
community 28. Right to a social order that articulates
this document 29. Community duties essential to a
free and full development 30. Freedom from state or
personal interference in the above rights

Nick Fogarty
 25 Formstorming
RIGHT OFAIRPUBLICHEARING
RIGHT TO FREE MOVEMENT IN AND OUT OF THE COUNTRY
RIGHT TO ASYLUM IN OTHER COUNTRIES FROM PERSECUTION
RIGHT TO A NATIONALITY AND THE FREEDOM TO CHANGE IT RIGHT TO REMEDY BY A COMPETENT TRIBUNAL
RIGHT OASOCIALORDERTHATARTICULATESTHISDOCUMENT right
RIGHT TO MARRIAGE AND FAMILY
RIGHT TO LIFE, LIBERTY, AND PERSONAL SECURITY
HRIGHT TO REMEDY BY A COMPETENT TRIBUNAL
RIGHT TO OWN PROPERTY
FREEDOM OF BELIEF AND RELIGION RIGHT TO REMEDY BY A COMPETENT TRIBUNAL
RIGHT TO FAIR PUBLIC HEARING

FREDOM INTERF CWITHPRVACY,FMILHOEANDCORESPNDCE FREDOM INTERF CWITHPRVACY,FMILHOEANDCORESPNDCE

FRE DOM FROM ARBITRARY ARREST AND EXILE FREEDOM FROM ARBITRARY ARREST AND EXILE

RIGHT OFAIRPUBLICHEARING
FREEDOM OF OPINION AND INFORMATION
RIGHT TO FAIR PUBLIC HEARING RIGHT TO FAIR PUBLIC HEARING
RIGHT OF PEACEFUL AS EMBLY AND AS OCIATION RIGHT TO BE CONSIDERED INNOCENT UNTIL PROVEN GUILTY
RIGHT TO BE CONSIDERED IN OCENT UNTIL PROVEN GUILTY
RIGHT OF PARTICIPATE IN GOVERNMENT AND IN FRE ELECTIONS
RIGHT TO SOCIAL SECURITY
FREEDOM FROM TORTURE AND DEGRADING TREATMENT FREEDOM FROM TORTURE AND DEGRADING TREATMENT
RIGHT TO DESIRABLE WORK AND TO JOIN TRADE UNIONS
RIGHT TO RECOGNITION AS A PERSON BEFORE THE LAW RIGHT TO RECOGNITION AS A PERSON BEFORE THE LAW
RIGHT TO EQUALITY BEFORE THE LAW

RIGHT OFAIRPUBLICHEARING
RIGHT TO EQUALITY BEFORE THE LAW
RIGHT TO REST AND LEISURE
COMMUNITY DUTIES ES ENTIAL TO A FRE AND FUL DEVELOPMENT RIGHT TO ADEQUATE LIVING STANDARD
COMMUNITY DUTIES ES ENTIAL TO A FRE AND FUL DEVELOPMENT
RIGHT TO EDUCATION
RICHT TO EQUALITY
RICHT TO EQUALITY
RIGHT TO PARTICIPATE IN IN THE CULTURAL LIFE OF THE COMMUNITY free
FREEDOM FROM DISCRIMINATION
RICHT TO EQUALITY
FREEDOM FROM SLAVERY

FREEDOM FROM SLAVERY

FRE DOMFROMSTATEORPERSONALINTERFERENCEINTHEABOVERIGHTS state

Laura
Brewer-Yarnall

RIGHT OFAIRPUBLICHEARING RIGHT OFAIRPUBLICHEARING

FREDOM INTERF CWITHPRVACY,FMILHOEANDCORESPNDCE FREDOM INTERF CWITHPRVACY,FMILHOEANDCORESPNDCE
26 Graphic Design: The New Basics

Alterego: Literary Stylist This literature-

obsessed hairstylist pays tribute to his
favorite authors by surgically slicing lines of
their prose into strands of hair and fashioning
them into hairstyles reflective of the work’s
era and affect. In the exhibition space, an
expertly crafted film capturing the coiffing
plays in the background. Chen Yu.
 27 Formstorming
INKNESS LONDON SHANGHAI NEW YORK
MONDAY 19 NOVEMBER MONDAY 12 NOVEMBER MONDAY 05 NOVEMBER
MOHU GRAY TATE MODERN MUSEUM CONTEMPORARY ART MUSEUM THE MUSEUM OF MODERN ART
SPRING BANKSIDE LONDON SE1 9TG 231 NANJING WEST ROAD 11 WEST 53 STREET
2013
COLLECTION

INKNESS
MOHU GRAY
SPRING
2013
COLLECTION

THE MUSEUM OF MODERN ART

MONDAY 05 NOVEMBER

11 WEST 53 STREET
NEW YORK

CONTEMPORARY ART MUSEUM

231 NANJING WEST ROAD
MONDAY 12 NOVEMBER
SHANGHAI

BANKSIDE LONDON SE1 9TG

TATE MODERN MUSEUM
MONDAY 19 NOVEMBER
LONDON

INKNESS
MOHU GRAY
SPRING LONDON SHANGHAI NEW YORK
MONDAY 19 NOVEMBER MONDAY 12 NOVEMBER MONDAY 05 NOVEMBER
2013 TATE MODERN MUSEUM CONTEMPORARY ART MUSEUM THE MUSEUM OF MODERN ART
COLLECTION BANKSIDE LONDON SE1 9TG 231 NANJING WEST ROAD 11 WEST 53 STREET

Alterego: Fashion Sense This alterego is an

Alterego internationally renowned fashion designer
with a penchant for sleek silhouettes, taut
This project invites each designer asymmetry, and bold graphic form, texture,
to develop a fictitious persona that and tonality. Yingxi Zhou.
amplifies, undermines,or rediscovers
an element of themselves and
then to design through the lens
of that character. Alterego pushes
designers to step outside and
beyond their comfort zone and
experiment with fresh design
language, media, and making. At
MICA, the project culminates in
an exhibition where students bring
their character to life in a three-
dimensional setting. MFA Studio.
Silas Munro and Jennifer Cole
Phillips, faculty.

Alterego: After Hours The persona here is

an elite madam at the helm of an exclusive
“escort service.” Once clients are thoroughly
screened, they receive this provocative
black box containing only a card with a web
address. The site has no information other
than a seductive motion graphic designed to
attract new business. Jamie Carusi.
28 Graphic Design: The New Basics

Alterego: Identity Disorder The alterego is

a German psychiatrist specializing in multiple
and dissociative identity disorders. Through
multiple-exposure photography meticulously
stitched together, he captures and fuses
fractured persona parts into one cohesive
whole, creating a sort of snapshot of the
psychosis. David Dale.
 29 Formstorming
Alterego: Rogue Taxidermist Odds & Ends
for the Rogue Taxidermist is a concept design
for a taxidermist’s toolkit. Wood, leather,
glass, metal, and paper were carefully crafted
to create a credible visual vernacular.
Jackie Littman.
Another random document with
no related content on Scribd:
 XXI
Le temps approchait où l’on arracherait les pommes de terre. La
campagne était roussie, et par grandes étendues, l’automne poussait son feu
encore secret. On voyait mieux le mouvement de la branche des arbres qui
retenaient un feuillage plus lourd. Le travail des eaux et du soleil préparait
la vieille magie dans ces solitudes que le cri d’un oiseau inconnu déchire.
Depuis qu’elle était moissonnée, la terre semblait s’éloigner de l’homme et
découvrir sa face éternelle. Les étangs n’étaient plus des miroirs que l’on
brisait en y pêchant des liasses de poissons, mais des boucliers d’argent que
les chevaliers du ciel avaient jetés dans la prairie: une merveilleuse paix en
était conclue au sommet des airs.
Dans les éloignements, sous la feuille enroulée avec une dernière
puissance, l’horizon prenait la couleur fondue des bruyères, des fruits, de la
fougère brûlée; des arceaux irréels s’ouvraient à l’aube dans des fumées
blanches qui montaient des herbages, et la nuit, s’élevaient des portes de
légendes.
Aimée n’était pas insensible à cette poésie éparse et changeante, mais
elle goûtait simplement le haut repos de la saison.
 XXII
On éleva le petit de Brunette avec beaucoup de peine. Trois fois par jour,
Aimée fit chauffer du lait qu’il venait laper en jetant de menus abois.
Quelque temps, il chercha sa mère, et fureta, son bout de nez à terre,
reniflant et soufflant, tout tremblant sur de grosses pattes. Bientôt, il suivit
les vaches au champ, affairé et trottinant, poussant des jappements aigus.
Fansat connut qu’il serait bon de garde. Dans l’herbe rase, il se lançait de
toutes ses forces contre les bêtes qui balançaient leurs fronts pesants.
Parfois, il se précipitait et son museau butait contre une motte de terre et le
faisait rouler sur la tête; mais il repartait, ouvrant sa petite gueule rose et
jappait, jusqu’à ce que Nonot le prît dans ses bras et le berçât comme un
poupon.
 XXIII
Le vieux Villard se courbait davantage et somnolait des journées
entières, non loin de la cheminée, en attendant que le feu de l’hiver lui tînt
compagnie. Il s’abandonnait à un demi-sommeil, car il sentait que la maison
était en sécurité.
Quand on lui faisait compliment d’Aimée, il bredouillait de plaisir et
d’émerveillement, ou bien il pleurait.
Là-haut, sur la planche du grenier, les sacs de blé étaient entassés. On
avait plié sous la bonne charge du grain. La mère, à vrai dire, ne reprenait
pas grand courage, mais au fond d’elle, le chagrin s’était assoupi.
Le soir, on se rassemblait autour de la table de cerisier. Aimée amusait à
des jeux rustiques ses petites sœurs et Nonot, ou bien elle inventait et
retrouvait de vieilles histoires qui font s’agrandir d’étonnement les yeux des
enfants. La mère tricotait. Lionnou faisait des paniers, et dans ses gros
doigts, c’était merveille de voir le brin s’assouplir. Après le repas du soir,
Aimée récitait la prière où, comme à l’habitude, on demandait à Dieu le
pardon, la paix.
 XXIV
Septembre coupait dans l’étoffe des belles journées. Le temps des
veillées revenait. Lionnou Fansat avait fauché le regain; et les prés encore
drus donnaient à manger aux bêtes. Le petit de Brunette était maintenant
haut sur pattes et montrait les qualités de sa mère. Aimée avait voulu qu’il
se nommât: Fidèle.
Elle ne fréquentait pas les assemblées et les frairies où éclate la joie
paysanne. Parfois le souvenir de Jacques l’émouvait furtivement. Elle avait
su qu’il était revenu à Rieux pour de brefs congés, mais elle évitait de le
rencontrer. Elle avait élevé son cœur dans le ciel de son pays. Il lui était
toujours agréable d’aller au champ et de se faire accompagner de Nonot ou
de Tine et Vone. Elle s’asseyait sous des arbres roussis par l’automne. Elle
trouvait du bonheur dans le silence qui montait de la campagne où elle avait
voulu fixer sa vie.
Un soir, suivie de Nonot, elle mena loin les bêtes, dans un pré qui
côtoyait la Gartempe. A cet endroit se dressent des rochers noirâtres qui, se
recourbant, retiennent beaucoup de mystère. L’arbre s’y convulse et lève
des rameaux crispés, près de l’eau qui roule, étranglée et sombre. Là, tout
est sauvage et rude; le ciel clair et le soleil même ne peuvent effacer la trace
des temps tragiques.
Cette fin de journée était chaude et chargée d’orage. Peu à peu, les
nuages s’amoncelèrent et formèrent une voûte noire bientôt déchirée
d’éclairs. Un grand vent se leva, rebroussant les feuilles, tordant les arbres
et rabotant la rivière.
Aimée voulut revenir à la Genette, mais elle connut vite que c’était
impossible. Nonot épouvanté, s’agrippait à sa robe et les bêtes, que Fidèle
tentait de rassembler, s’abritaient sous les rochers. Une pluie drue et lourde
tomba dans une fumée d’eau qui flottait. Aimée se blottit dans un creux de
terrain préservé par des rocs surplombant; elle retenait Nonot contre elle,
mais l’averse eut bientôt fait de les tremper. Quand elle vit que l’orage
durait, elle ôta son corsage et se dépouilla de son gilet dont elle emmaillota
Nonot.
—Mon Dieu, faites que Nonot n’ait pas de mal, priait-elle.
 Elle fut prise de frissons et serra les dents pour que Nonot ne vît pas
qu’elle grelottait.
Après une heure où la campagne semblait noyée sous un déluge, le ciel
se rasséréna et le soleil alluma des gouttelettes dans les arbres.
Nonot, encore étourdi par les coups de tonnerre, n’osait bouger. Aimée
le ranima en riant, rassembla les bêtes et s’en revint à la Genette, mais l’eau
qui la mouillait jusqu’aux os l’alourdissait et elle tremblait de froid.
La mère l’attendait sur le seuil; elle se hâta en gémissant de lui préparer
du vin chaud. Nonot fut vite revêtu d’habits bien secs. Grâce au gilet dont
sa grande sœur l’avait couvert, il avait eu plus de peur que de mal.
Aimée se coucha et toute la nuit, elle eut la fièvre. Sa mère qui la veillait
entendit qu’elle disait:
—Couvrez Nonot, il aurait froid ... Attendez, j’ai un manteau de laine
bien chaud ...
Quelques jours après, comme elle toussait, on fit venir M. Rémy qui
diagnostiqua une bronchite. Mais elle disait:
—Ce n’est rien ...
Confuse d’être malade et de donner de la peine. Alors la mère sentit
qu’un feu nouveau la ranimait. Nuit et jour, elle se tint au chevet de sa fille,
attachant sur elle ses yeux et son cœur.
 XXV
Après deux longues semaines, Aimée fut hors de danger. Mais elle ne se
levait pas encore. Il lui semblait qu’elle trouvait enfin un vrai repos. Elle ne
s’ennuyait pas; Clémentine Queyroix s’asseyait près de son lit et lui contait
de naïves histoires de campagne. Sa bonne figure rouge, aux yeux francs,
aux cheveux bien lissés, était agréable à regarder.
Elle parlait maintenant à Aimée de son frère Martial qui achevait son
service en Tunisie et qui reviendrait bientôt en Limousin.
—Tu te le rappelles certainement, bien qu’il soit plus vieux que nous
autres; étant un peu sauvage, il ne sortait pas beaucoup. C’est un brave
garçon.
Aimée se souvenait de lui, comme d’un jeune homme bien planté, un
peu rude de manières. Nonot et les petites sœurs venaient s’asseoir au bas
du lit, sur le couvre-pied, et ils jouaient aux osselets.
La mère, qui ne cessait de préparer des tisanes, voulait les chasser de la
chambre, mais en vain; Aimée la suppliait de les laisser auprès d’elle. Le
grand-père lui tenait compagnie de longues heures et la considérait en
silence.
Un jour, le curé Verdier lui apporta des livres pleins de contes et de
beaux récits.
Aimée, les ayant lus, s’étonnait que sa vie fût si calme. Mais elle n’avait
aucun désir de connaître des jours mouvementés, liés par cent intrigues.
Quand elle était seule, elle refermait les livres de l’abbé Verdier et regardait,
longtemps, frémir la pointe vivante d’un jeune frêne qui s’élevait devant la
fenêtre.
 XXVI
Enfin elle put se lever. Elle fut bien heureuse de voir que Nonot et les
petites sœurs aidaient au ménage et aux soins de la basse-cour. Elle
s’émerveillait de découvrir que sa mère, depuis sa maladie, semblait être
devenue plus forte qu’elle ne l’avait jamais été. Mais quand on lui disait
qu’elle s’était montrée vaillante et courageuse, à plein cœur, elle rougissait,
prise de gêne, comme si l’on se moquait d’elle.
 XXVII
L’automne parut tout à fait. En ce pays d’eaux vives, où la feuille des
arbres est d’un vert puissant, il alluma ses couleurs. On voyait, dans des
profondeurs de châtaigneraies et de taillis, s’enfoncer des traits ardents qui
se brisaient en parcelles d’ors et de rouilles. Et ce fut une grande pluie de
lumière qui changeait les feuilles en fleurs. La terre s’enchantait comme si
un étrange soleil montait d’elle sous un ciel fermé. Et la couleur courait au
fond des bois, plus émouvante que la chanson des cors.
Un matin d’octobre finissant, Clémentine Queyroix conduisit son frère à
la Genette.
Aimée le vit monter les marches de la terrasse d’un pas solide, et il
souriait. Il était grand et musclé; ses regards, dans une figure brune, allaient
droit, avec une franchise claire.
—Tu vois, c’est mon frère! s’écria Clémentine.
Martial Queyroix salua Aimée, à la façon plaisante des campagnes.
Ils entrèrent. La mère fit fête au nouveau venu.
—Tu as forci, petit, dit-elle, et le soleil de là-bas t’a cuit la peau.
Le vieux Villard se leva du banc à sel où il était tassé. Il considéra
Martial d’un œil qui devenait guilleret et il hocha de la tête pour approuver:
—Je t’ai connu gros comme deux radis et te voilà à cette heure fièrement
tourné.
On prit place autour de la table; la mère alla chercher une bouteille de
vin bouché.
Martial parlait, avec une sorte d’avidité heureuse, des jours de garnison,
en ces pays du diable, secs comme de l’amadou; et sous le regard attentif
d’Aimée, il ne manquait pas de se vanter un peu. Il s’écria:
—Ça fait du contentement de s’en revenir chez nous!
Aimée gardait le silence; elle écoutait. Martial se mit à rire pour cacher
le trouble qui le prenait sous les yeux de cette fille bonne et belle. Il devint
grave:
—Vous avez eu bien de la peine, m’a dit Clémentine. Ah! si j’avais été
là, pour vous prêter la main! Mais tout est en place, à cette heure, dans votre
maison. Je me suis laissé dire, Aimée, que vous aviez peiné plus que vous
ne pouviez ...
—Oh! non! J’ai fait ce que j’ai pu, seulement ...
Le vieux Villard dit avec lenteur, comme s’il soupesait ses mots:
—Mon fi, tu pourras nous aider, si tu veux. Nous en serons contents. Il y
a toujours de la besogne à faire et Fansat en a plein sa charge.
Martial ne répondit pas, car il ne pouvait détacher ses regards du visage
d’Aimée.
Il repartit vers Lascaud avec Clémentine qui se sentait bien légère.
Nonot, avant qu’il passât le seuil, lui avait glissé dans la poche de sa
veste une grosse pomme rouge.
 XXVIII
Aimée et Martial se rencontrèrent, à la faveur des premières veillées, à la
Genette ou dans les chemins solitaires des champs. Le temps était venu
d’arracher les pommes de terre. Humble travail sous le ciel gris de
l’automne dont le feu s’éteint vite. Les hommes piochaient à l’endroit où se
voyait à peine un bout de tige brûlé par le soleil. Le pied livrait ses
tubercules pressés. Aimée, sa mère, le vieux, les petits, les rassemblaient
par paniers de bois que l’on versait dans des sacs entassés sur le tombereau.
Chaque sillon était suivi avec soin; peu de paroles étaient dites. Nonot et ses
petites sœurs se pliaient à la vieille discipline; mais la charrette chargée, on
s’en revenait en devisant gaiement. Aimée et Martial restaient un peu en
arrière et ils se prenaient par la main.
 XXIX
Quand les pommes de terre furent arrachées et entassées dans la grange
où la gelée ne les pourrait piquer, la mère pensa à la châtaigneraie du Cros
du Renard où se pressaient une trentaine d’arbres d’espèces différentes. Les
uns donnaient des châtaignes de forme un peu pointue avec une aigrette de
soie blanche, les autres dans des bogues ouvertes et roussies en montraient
de rondes et de trapues, presque aussi grosses que des marrons.
Un soir de la semaine qui annonce la Toussaint, Fansat vint à Lascaud et
invita Martial à emporter une grande serpillière:
—Tu ramasseras quelques châtaignes pour Clémentine qui les trouve
bonnes noyées dans du cidre doux. Et il y a rudement de pommes, cette
année. Aimée va, ce soir, à la châtaigneraie avec le Nonot.
Il clignait de l’œil sous le sourcil en touffes et dodelinait sa tête velue.
Quand ils arrivèrent au Cros du Renard, dans la châtaigneraie aux branches
pourprées, Aimée et Nonot écrasaient du pied les bogues qui s’ouvraient et
laissaient jaillir de leur peluche, des châtaignes luisantes.
—Arrêtez-vous, Aimée, dit Fansat. Je vais en ramasser avec le Nonot.
Fidèle jouait; il approchait prudemment des bogues où il s’était piqué le
nez et il poussait des jappements coléreux comme devant quelques
hérissons. Nonot lui jetait des châtaignes qu’il happait, rejetait, reprenait
dans sa gueule; et il les faisait sauter au bout de ses grosses pattes pour se
donner le plaisir d’une course.
Fansat déploya la serpillière et la remplit de châtaignes choisies; Nonot
l’aidait bien sagement.
Martial s’éloigna avec Aimée. Ils allèrent s’asseoir sur le tronc d’un
vieux chêne que l’on avait coupé par longues billes. Le temps était doux,
traversé de courants frais et d’odeurs de feuilles qui mouraient. Martial prit
les mains d’Aimée dans les siennes. Ils se taisaient et leurs regards se
mêlaient dans une paix infinie.
Lionnou annonça qu’il passait devant avec Nonot et Fidèle.
Martial parla un moment, presque à regret, tant il était rempli d’un
bonheur impossible à dire:
 —Aimée, souvent, là-bas, quand il y avait tant de soleil sur tant de terres
grillées, je pensais à notre pays. Je me languissais. Maintenant je ne
quitterai plus chez nous. Ah! que j’aurai du courage et du plaisir à travailler
près de vous ... toujours.
Elle lui répondit tendrement à mi-voix et elle appuya sa tête sur son
épaule. La vie s’ouvrait devant eux, calme et belle comme l’horizon, formé
de collines modérées, de bois que l’automne embrasait et de prairies où
l’eau était pure. Le soir vint sans bruit. Ils s’étaient donnés l’un à l’autre,
par delà les paroles, et la bénédiction du ciel descendait en silence sur eux.
L’ombre s’ouvrait comme une main qui protège; la première étoile se leva.
 XXX
Le jour de la bonne fête de Toussaint, Aimée et Martial communièrent à
la première messe. L’église était remplie par le peuple paysan sur lequel
soufflait le grand souvenir des défunts. En Limousin, terre où la racine des
arbres s’enroule au rocher, la fidélité aux morts ne cesse d’éclairer les
cœurs.
Le soir de ce jour, Villard et la mère, Clémentine et Queyroix le sabotier,
Martial, Aimée et les petits revinrent ensemble à Rieux pour la solennité
des vêpres. Soir sublime où la multitude des morts, de ceux qui sont encore
dans la peine des ténèbres, et des élus, est présente partout dans les maisons
et les champs.
Après l’office, la foule se pressa au cimetière. L’abbé Verdier, en chape,
précédé de la croix d’argent, se plaça au pied de la vieille croix
mérovingienne que l’embrun des siècles a noircie. Il chanta le Libera à voix
forte et un petit enfant reprenait le verset comme un grillon chante
clairement dans le blé. Ayant béni les tombes sous un ciel qui se voilait, il
partit. Les bonnes gens se répandirent entre les tombes pour les honorer et
prier. Sur la pierre où dormait Pierre Villard, la mère fit couler de l’eau
bénite du goulot d’une bouteille destinée à cet usage, depuis des temps et
des temps.
Elle murmura:
—Tu vois Aimée et son promis, mon pauvre. Dors en paix, on prie pour
toi.
Aimée, les yeux baissés, disait dans son cœur:
—Père, j’ai fait ce que j’ai pu ... Tu as vu que j’ai travaillé de mon
mieux. Martial, tu le sais, est un bon jeune homme; avec lui, je serai
heureuse et la terre ne souffrira pas.
Puis les Villard allèrent prier sur la tombe des Queyroix, un ancien granit
en forme de bière, creusé, dans le haut, en coupe.
Les Villard et les Queyroix s’en retournèrent chez eux, approuvés et
fortifiés par leurs défunts.
 XXXI
Il faisait nuit quand Aimée entendit tinter le premier glas du 2 novembre.
Les petits dormaient; mais voici qu’elle ouvrait grands ses yeux et que son
cœur écoutait. De minute en minute, les coups touchaient le toit de la
maison, assourdis par l’éloignement.
Puis les cloches s’ébranlèrent et sonnèrent à grande volée. Dans les
ténèbres passait le long battement de l’airain exorcisé; parfois le vent
l’étouffait, mais il revenait, sortant des abîmes de l’air.
Aimée accoudée sur l’oreiller, écoutait toujours et une lumière intérieure
l’éclairait. Elle entendit dans la cuisine un bruit de pas; elle ouvrit à demi la
porte. Sa mère était levée et semblait vivre dans un rêve, tandis qu’elle
couvrait d’une nappe blanche la table où elle posa la tourte de pain, une
bouteille de vin et du salé dans un plat de faïence[C]. La lampe faisant dans
la salle une faible lumière, la mère Villard s’immobilisait près de la table en
joignant les mains, comme en attente. Elle resta quelque temps ainsi,
debout; des larmes roulaient de ses yeux et ses lèvres remuaient dans une
prière silencieuse. Enfin, elle souffla la lampe et se coucha. Les cloches
s’étant apaisées, on n’entendait plus que le souffle du vent, au dehors, dans
la campagne. Et les coqs annonçaient que le jour blanchissait le ciel.

FIN

IMPRIMERIE FRANÇAISE DE L’ÉDITION, 12, RUE DE L’ABBÉ DE L’ÉPÉE.—PARIS Vᵉ

NOTES:
[A] Soupe au lard.
[B] Repas de midi.
[C] Vieille tradition dans les campagnes limousines.
 *** END OF THE PROJECT GUTENBERG EBOOK AIMÉE
VILLARD, FILLE DE FRANCE ***

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