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Fall 2019 Learning Evaluation the Theme of This Portfolio Is to Exemplify Precision, Alignment, and Organization

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Fall 2019 Learning Evaluation the Theme of This Portfolio Is to Exemplify Precision, Alignment, and Organization Portfolio of Work Matthew Stoddard Fall 2019 Learning Evaluation The theme of this portfolio is to exemplify precision, alignment, and organization. I felt like that was my biggest hurdle in print publication. The process of making content look and feel organ­ ized is no simple matter. It requires patience, persistence, and a willingness to learn and stretch your creativity. My understanding of those ideas has grown during this course. For instance, I learned how to better align content using grid lines in the InDesign program. I discovered how to line up col­ umns of text using a baseline grid, or even adjusting them in small increments of leading. I even learned how to create my own grid and gutters with proper margins. From that, I saw how to properly organize pictures with their associated captions or text. I especially learned the importance of organization and preci­ sion when it comes to cleaning up and copy fitting text. I saw how things like optical alignment, justifying text, and avoiding eyesores, like widows or orphans, makes a world of difference. I also saw how removing unnecessary white space or using proper characters produces a more polished piece. My skills of InDesign have definitely improved in those areas. Since I had to do it many times, cleaning up or copy fitting text has almost become second nature to me. In this portfolio, I think my magazine feature turned out the best. The reason is because it was the culmination of everything I’d learned in print publishing. Using correct margins, having good line lengths, choosing a good serif/san­serif typeface, utilizing proper hierarchy, accurately implementing the paragraph and character styles, taking advantage of layers, color correcting the images, etc. All of this amounted to a substantial, quality piece I am actually quite proud of. In this portfolio, the piece I learned the most from is the cata­ log. The reason is because it required a lot of careful planning before placing any content on the page. I had to know beforehand which pieces of content should go where and what needed to be highlighted. I needed to establish where to put my grid lines and how to divide them up evenly. And, most importantly, I needed a concept that would bring it all together. Through all the trial and error, I felt like it turned out sleek and well organized. Design Brief A design brief is “a written plan delineating strategy, objec­ tives, expectations, audience, brand or group perception, and may include budget and media.” I used Helvetica for the title/headings because it gives off legibility and it’s a very “safe” font. Since we don’t have a truly specific and defined audience from the get-go, Helvetica is a good fall­ back option that has little impact by itself. I also used Adobe Garamond Pro for the rest of the text because it gives off the impression of professionalism. The key to this design brief was to not make anything too fancy or out of the ordinary. It just needed to be simple, even if that meant “ordinary.” One thing I learned from this piece is that all caps on a title is not good design choice. Design Brief Project Information Contact name: Business name and address: Budget or rate of project: When will the project be delivered? Where will the project be delivered? How will the project be delivered? Audience Who is your audience? (Consider their age, culture, gender, economic status, race, geographic location, educational level, etc.) What are their needs? How will you meet those needs? Message What are you trying to communicate? What are you trying to get your audience to do? (What is the “call to action?”) Use What type of document is the piece? What is the trim size? Where will the piece be seen or used? Concept What is your concept? (A symbol that is simple, concrete, and unique) How does your concept communicate the message to your audience? (Consider tone and feel) Additional Information What must be in the piece? What must NOT be in the piece? Are there any design specifications or constraints to keep in mind? Are there any similar products or designs you want us to draw inspiration from? Sketch Area Table This table takes passages from the 1835 edition of the Doctrine and Covenants and compares it with the 1981 edition. The audience for this piece is catered towards older members of the LDS church who are interested in church history. To make it feel historic, I used a Bookman Old Style typeface to give it that bygone-era look. I made sure there was good contrast and hierarchy in the headings so that it was clear what the nature of the information was below. I also eliminating a lot of rules from my original draft because they were unnecessary. A new thing that I learned from this assignment is how to decimal align numbers to make columns of information align better. “Contents” from the 1835 edition of the Doctrine and Covenants. In this edition, sections were ordered differently than they are today and were broken into paragraphs rather than verses. 1981 LDS Key Phrase 1835 Edition Edition A Sec. Par. Sec. Verse(s) Aaronic or lesser priesthood 3 8 107 13 an appendage, &c. Authority of the standing 3 14 107 36 councils at the stakes Authority of the standing 3 15 107 37 council at Zion Adam blessed his posterity 3 28 107 53 in Adam-ondi-Ahman Adam prophesied concerning 5* 29 107 56 his posterity Authority of bishops 3 32 107 68 Appeal from the bishop’s 3 35 107 78 council to the high council Appendages of the high 4 5 84 29 priesthood Appeal to the seat of the 5 11 102 24 first presidency Another comforter 7 1 88 1 All things of God 7 10 88 39 All kingdoms receive of the 7 14 88 56 Lord’s presence Arm of mercy atoned 10 1 29 1 Adam transgressed 10 11 29 40 Authority necessary to 13 4 42 11 preach Adulterers cast out, 13 7 42 19 Ask God for wisdom, 13 18 42 63 All gifts to some, 16 8 46 28 All things done in the name 16 9 46 31 of Christ, Abominations in the church, 17 2 50 4 Ask the Father, 17 7 50 31 After much tribulation 18 2 58 3 cometh the blessing, Book Chapter This is a book chapter titled Minerva Teichert’s Manti Temple Murals. It’s about a historic LDS painter and her contributions to the artwork inside the Manti Temple. The purpose of this assignment was to clean up prewritten text and copyfit it. The audience is meant for LDS church mem­ bers in Utah who are interested in learning more about the Manti Temple’s rich history. I wanted to improve the chap­ ter’s readability and legibility by using a san­serif typeface for the headings and a transitional serif typeface for the body text. By doing this, I believe it made the document a more interesting and accessible read. A valuable lesson I learned from this document is how to create footnotes and make proper superscripts. Minerva Teichert’s Manti Temple Murals Doris R. Dant In April 1947, a slight, white-haired grandmother installed herself in a Manti, Utah, motel. At fifty-nine years of age, Minerva Teichert could still keep pace with any Scandinavian farmer in Sanpete County and probably outwork many. After all, she was a rancher’s wife who toiled long hours to meet the demands of garden, flocks, dairy, and family. Now for one month, all her drive would be Minerva Teichert (1888–1976), at age 59. Teichert was the artist pri- devoted to an undertaking that daunted marily responsible for the pageant of even her—painting enormous murals nations murals in the Manti Temple. for the world room of the Manti Tem- ple. Sustained by prayer and a sole assistant, she covered four walls several times her height with scenes whose conception is at once unique and spiritually profound. This article tells that story, much of it taken from Teichert’s letters and from interviews with her assistant. It also includes repro- ductions of her world room murals. Although individual Manti murals have been published previously, this is the first time these beautiful works have been printed together. BYU Studies is grateful to The Church of Jesus Christ of Latter-day Saints for permission to offer them to our readers. The Artist Teichert brought to the world room murals an artistic ability honed through study at the Chicago Art Institute and the Art Students’ League in New York City. One of her New York teachers, Robert Henri, challenged her to paint the Mormon story she felt so keenly. This she did, working at night after her family went to sleep and creating time during her crowded days. Many of her works were dis- played in LDS chapels and tabernacles, public schools, and Brigham Young University. But her more significant qualifications stemmed from her faith. A keen student of the scriptures, Teichert was on quoting terms with the Old Testament prophets, and over the years, she had read the Book of Mormon several times through to her family while they ate dinner. She was a deeply spiritual person who drew upon the Lord’s inspiration and healing power as a matter of course in her daily life. “Pray,” she once exhorted a family member. “We have done a lot of that.
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