In the article by Allen, I read more about scientific writing than I think I've read in my entire life. Even though, I understand the article is pertaining more to the rhetoric behind such writing, I in all honesty didn't find much use for the tools desribed in the writing.
And, I was extremely lost on the integration of the (TBI) and how researchers wrote on the topic. Plus, when the author discusses how editors of Merriam Webster's Dictionary of English Usage claim passive voice allows writers an instance "whereby the writer can easily omit the agent (the "doer" in the clause)" (Allen p98), I was immediately turned off because in journalistic writing reporters are taught to always write in the active in order to take themselves out of the story; exactly the opposite of the point made in the writing.
I liked Magee's article much more, though. I actually wish I'd been able to get my hands on this article prior to writing my college admission letter. As a typical girly girl, I know I constantly project my gender into my writing without thinking twice about it.
This made me take an interest in page 117, wherein the author begins to discuss her own gender characteristics peaking through into her writing. Magee says how in an essay she wrote she compared community service work and the personal need to be her own fairy godmother -- this is most definitely not a piece of writing a typical male would first think to write.
The point she makes in exploring this is finding her true genre of writing before making the mistake of missing her objective -- she writes, "I had to sell myself so that someone at school X would want me to attend his or her institution. It was the genre that influenced both the lack of relationships and the focus on achievements" (Magee, p118).
The person she's writing for, i.e., may not care as much for princesses as her 3-year-old and 20 something self does.
In the final article read, written by Bawashi, the ideas of social influence on writing and the organization and plotting process of rhetoric are assessed together. The two are hand-in-hand in enabling writers to choose a direction and giving readers a genre to dissect.
I agree that the combination of these elements aid in constructing the perfectly laid out article.
"Genre is at the heart of this ecological process, maintaining a symbolic relationship between social habits and rhetorical habits" (Bawashi, p77). -- This point of the article lies at the heart of the author's argument as well as perfectly sums up the emphasis of the writing.
Wednesday, April 27, 2011
Sunday, April 24, 2011
Dirk and Devitt Response.
In beginning to explore genres, I'm learning that genres are essentially "man made." This is an interesting concept, because much alike all other classification methods genres are more of an idea than they are concrete. A genre exists to one person or one group of people, howver it is not a proven system of classification, but instead genres are a tool for us.
In the Dirk reading my favorite part exists in this example, "Think about George Wash- ington giving the first State of the Union Address. Because this genre was completely new, he had complete freedom to pick its form and content. All presidents following him now have these former addresses to help guide their response because the situation is now a reoccurring one" (p5).
This is so interesting to me because it's so true and plain in its factual basis. George Washington did set the precedent for all presidents giving their State of the Union Address. What he said and how he performed it, has been carried down at least in concept by the following 43 presidents. Until her stood at the podium to speak, there was no genre of formal State of the Union speech given by presidents -- thus man created it.
Another portion of the Dirk reading which I particularly liked is later on page seven when Dirk addresses how interconnected writer and reader really are. He states that all genres matter because each is linked to the actions of the writer, which directly or indirectly are carried out in order to provoke some sort of action from the reader. His example is how in The Onion -- which I love reading, especially for the headlines -- the headlines are written specifically to make readers laugh. The genre of satircle writing is usually meant to provoke comedy and thought. This shows how the writers wanted to connect with readers who will share in their humor, and that these readers have sought out this literature with a desire to do what action pertains to the genre.
In the writing of Devitt, the focus of the article is placed on an escape from the confines often associated with genres. Devitt argues that though genres may be seen as limiting, they can also expand the rhetorical gains a student takes away from the subject and author's purpose of the peice as he or she reads.
Devitt sums up his opinion to be, "The genre awareness I argue for is a type of rhetorical awareness, and others have posited that rhetorical awareness can lead to critical awareness and to more deliberate action."
He claims the more rhetorically aware a student be, the more he or she will take away from the reading and learning at hand. By understanding the context of the reading, it'll aid in understanding the author's purpose for the readers. This is how readers are meant to gain an understanding of the main focus points of the reading, which means the student has successfully gained what he or she originally needed to from the reading.
He goes on in the third and fourth pages discussing how teachers direct impressions of certain topics and "genres" on students by the chosen writings they expose students to. He also claims, though, that teachers must construct lessons using genres as an organization system. This use of genre gives students a building block to construct greater writing skills from.
Though genres are scary for teachers because they may sometimes be self-serving or focus in on one group more than another, Devitt still uses it with his students.
He said, "I want students not only to add to their repertoire but also to learn to critique the genres they know and encounter, with an end possibility of changing the genres that need to change to better serve their needs" (p11). As to say that by learning more about the genres, students begin critiquing not just the work within the genres but also the genres themselves. This way they can judge to see if the genre is really appropriate for what purpose their writing is trying to accomplish. This gives guidelines to writing without constraining the thought power and creativity of the writer.
As a journalist I understand the usage of genres -- we have them within our field of course; features, previews, coverage, editorials, opinion pieces, columns and more. These each guide writers as to which direction to take information in order to most usefully exhibit an idea to readers.
Genres, friend or foe, should be used in a skillful ways to aid readers and writers along the course of what point their making where and why in their writing. It's just another bridge connecting both readers and writers.
In the Dirk reading my favorite part exists in this example, "Think about George Wash- ington giving the first State of the Union Address. Because this genre was completely new, he had complete freedom to pick its form and content. All presidents following him now have these former addresses to help guide their response because the situation is now a reoccurring one" (p5).
This is so interesting to me because it's so true and plain in its factual basis. George Washington did set the precedent for all presidents giving their State of the Union Address. What he said and how he performed it, has been carried down at least in concept by the following 43 presidents. Until her stood at the podium to speak, there was no genre of formal State of the Union speech given by presidents -- thus man created it.
Another portion of the Dirk reading which I particularly liked is later on page seven when Dirk addresses how interconnected writer and reader really are. He states that all genres matter because each is linked to the actions of the writer, which directly or indirectly are carried out in order to provoke some sort of action from the reader. His example is how in The Onion -- which I love reading, especially for the headlines -- the headlines are written specifically to make readers laugh. The genre of satircle writing is usually meant to provoke comedy and thought. This shows how the writers wanted to connect with readers who will share in their humor, and that these readers have sought out this literature with a desire to do what action pertains to the genre.
In the writing of Devitt, the focus of the article is placed on an escape from the confines often associated with genres. Devitt argues that though genres may be seen as limiting, they can also expand the rhetorical gains a student takes away from the subject and author's purpose of the peice as he or she reads.
Devitt sums up his opinion to be, "The genre awareness I argue for is a type of rhetorical awareness, and others have posited that rhetorical awareness can lead to critical awareness and to more deliberate action."
He claims the more rhetorically aware a student be, the more he or she will take away from the reading and learning at hand. By understanding the context of the reading, it'll aid in understanding the author's purpose for the readers. This is how readers are meant to gain an understanding of the main focus points of the reading, which means the student has successfully gained what he or she originally needed to from the reading.
He goes on in the third and fourth pages discussing how teachers direct impressions of certain topics and "genres" on students by the chosen writings they expose students to. He also claims, though, that teachers must construct lessons using genres as an organization system. This use of genre gives students a building block to construct greater writing skills from.
Though genres are scary for teachers because they may sometimes be self-serving or focus in on one group more than another, Devitt still uses it with his students.
He said, "I want students not only to add to their repertoire but also to learn to critique the genres they know and encounter, with an end possibility of changing the genres that need to change to better serve their needs" (p11). As to say that by learning more about the genres, students begin critiquing not just the work within the genres but also the genres themselves. This way they can judge to see if the genre is really appropriate for what purpose their writing is trying to accomplish. This gives guidelines to writing without constraining the thought power and creativity of the writer.
As a journalist I understand the usage of genres -- we have them within our field of course; features, previews, coverage, editorials, opinion pieces, columns and more. These each guide writers as to which direction to take information in order to most usefully exhibit an idea to readers.
Genres, friend or foe, should be used in a skillful ways to aid readers and writers along the course of what point their making where and why in their writing. It's just another bridge connecting both readers and writers.
Wednesday, April 20, 2011
Johns and Harris Discourses Response.
In the discourse of both Johns and Downs -- articles focusing again on the discourses and communities in which professional writing often finds itself.
In Johns' discourse the thought is poured into what community is being written for and why. It also examines why writers join communities and what useful tools these communities can become in a professional setting.
Over and over again the text stops and asks writers to question why they are writing -- this is to make sure they're using the most applicable voice to create their work. The questions asked range from which type of community this is being written for, profession or personal etc., to what the goals and objectives of the writing truely are.
Later in the Discourse the relation between this and how students are written for is drawn. The article reads, "Some students cannot recognize when they are being talked down to in text books" (p509).
Saying that textbooks are written with a goal to educate students, however students very seldom reason see this point in the textbooks. The information is of course "dumbed-down" to a level easily understood by students.
This statement definitely relates to my field of study -- seeing that many national studies claim most of American reads a fourth grade level. It's the job of the media to thus take information seen as pertinent to the public and by the public and spoon feed it to them in a way they'll easily understand. The more easy information is for readers to understand, free of jargon and over-the-head vocabulary, the more quickly the information will be transpired across.
In the other discourse, the one regarding Harris, my favorite part of the article is found on page 587 where the discussion of communities as too much of a safety blanket for students and writings come into place. The idea that students may turn to asking so many questions about what's expected knowledge within their community that when asked to regurgitate the knowledge there's no knew thought to it. And the original point of a community is to fee off one another with new ideas while stile maintaining common ground.
Later in the discourse the article reads, "I would like to urge an even more specific and material view of community: one that, like a city, allows for both consensus and conflict, and that holds room for ourselves, our disciplinary colleagues, our university coworkers, and our students" (p591). This idea suggests that communities must, in Harris's opinion, join together to create common ground and work for better truths, however conflict must also be allowed to resonate in the group in order to allow for growth and continuation of modernization and success.
I agree that if communities want to stay active and strong as time progresses they must hold stern to the successes they've found throughout working together, but must also be able to let go of their failures and make room for improvements in thought and methods.
In Johns' discourse the thought is poured into what community is being written for and why. It also examines why writers join communities and what useful tools these communities can become in a professional setting.
Over and over again the text stops and asks writers to question why they are writing -- this is to make sure they're using the most applicable voice to create their work. The questions asked range from which type of community this is being written for, profession or personal etc., to what the goals and objectives of the writing truely are.
Later in the Discourse the relation between this and how students are written for is drawn. The article reads, "Some students cannot recognize when they are being talked down to in text books" (p509).
Saying that textbooks are written with a goal to educate students, however students very seldom reason see this point in the textbooks. The information is of course "dumbed-down" to a level easily understood by students.
This statement definitely relates to my field of study -- seeing that many national studies claim most of American reads a fourth grade level. It's the job of the media to thus take information seen as pertinent to the public and by the public and spoon feed it to them in a way they'll easily understand. The more easy information is for readers to understand, free of jargon and over-the-head vocabulary, the more quickly the information will be transpired across.
In the other discourse, the one regarding Harris, my favorite part of the article is found on page 587 where the discussion of communities as too much of a safety blanket for students and writings come into place. The idea that students may turn to asking so many questions about what's expected knowledge within their community that when asked to regurgitate the knowledge there's no knew thought to it. And the original point of a community is to fee off one another with new ideas while stile maintaining common ground.
Later in the discourse the article reads, "I would like to urge an even more specific and material view of community: one that, like a city, allows for both consensus and conflict, and that holds room for ourselves, our disciplinary colleagues, our university coworkers, and our students" (p591). This idea suggests that communities must, in Harris's opinion, join together to create common ground and work for better truths, however conflict must also be allowed to resonate in the group in order to allow for growth and continuation of modernization and success.
I agree that if communities want to stay active and strong as time progresses they must hold stern to the successes they've found throughout working together, but must also be able to let go of their failures and make room for improvements in thought and methods.
Monday, April 18, 2011
Engineer v. English -- writing for all subjects.
In the reading by Johnson, Clark and Burton -- I have to say it was an interesting thought to stop and think of the person on the other side of the writing workshop table. I often go in for help on papers and find myself intimidated and in need of dire help for my pathetic paper, however I never stop and think about the mess of ideas I'm about to unload on the tutor sitting next to me and how they're going to approach helping me.
It was interesting to hear a more narrative approach looking at how the tutors feel nervous sometimes ... I can't imagine the shock and terror level of being approached by a stampede of engineer super nerds asking for my help. Oh, the terror.
The authors even write on the first page of the article, "She wonders if she will even be able to understand the intricate, jar-gon-laden draft. Then she takes a deep breath, knowing that these students are looking to her for help, and starts asking questions." In order to express the sheer intimidation factor felt by the writing lab attendant.
It continues on the explain the positive and negative methods used by writing tutors in approaching student papers. It encouraged empathy and suggesting instead of holding education or experience above students' heads. I have to say that though it's nice to dream of walking into the lab with a semi-blank page and having the tutor fill it with genius for me, I probably am learning more by their cooperation to listen to my ideas and work alongside me.
In the reading from the article by Winsor, the topic of egineering writing is again addressed. I think engineering is used over and over again because it's the perfect opposite to English, and the subject appears to almost be the total antithesis to writing itself.
The text reads in one of the formost paragraphs on the second page, "Textual mediation of knowledge is difficult for engineers to accept because they see themselves as working directly on physical objects."
Although I'm not an engineer I understand this application, because as a journalist it's difficult for me to imagine writing without the usage of strong sources of research. I work with people, and I tell their stories. That's my job as I've been taught in the Scripps School of Journalism, here at OU. Ask me to sit and write an in depth five page paper on the topic of journalism writing, and you'll find me out on the streets asking others what they think. I've been taught to maintain a high level of unbiased behavior.
However, a little rhetorical writing and thought process behind specifically why I form into words which thoughts I choose to jot down can greatly aid my skills as a journalists. I could meet the most interesting source in the world, but if I can't express or tell their story in a means pleasing to reader's ears or eyes -- the source's story is better off remaining untold.
As for the final article, Wardle's piece specifically deals again with writing for your specific profession -- however, she keeps the field open and writes a general piece detailing writing in your profession.
She also delves into the story of Alan, and how he got the boost of responsibility he wanted at work through usage of strong writing. The narrative form Wardle uses to step-by-step layout the thought process of Alan working his writing skills in his departments helped me see how written word can give any worker a stronger voice if thought out and used carefully.
From the very simple tasks of using the Listerves properly in order to send email as the company expected and beyond, Alan was able to perform his duties to the maximum as well as amp up his own personal needs.
My sorority Chi Omega has a listerve which the girls and I rely on daily to keep us up to speed regarding meetings, rules, happenings and even campus opportunities we would have missed out on had they not been filtered through to us by one of our fellow sisters. These emails are often profession and often personal -- both format well because one can email specifically to the group, the cardinal cabinet or even just one person in charge. By being able to connect digitally we stay connected with even the busiest of senior girls, who still involves herself in the sorority without ever having to set foot in our house.
I guess the tip-top lesson I walked away from these three articles with is that writing doesn't have to stay within the context of research papers or English classrooms. Writing follows every profession -- I know my dad who is a CEO of a national sporting goods company even said once that a good writer can go anywhere ... despite his or her chosen field.
It was interesting to hear a more narrative approach looking at how the tutors feel nervous sometimes ... I can't imagine the shock and terror level of being approached by a stampede of engineer super nerds asking for my help. Oh, the terror.
The authors even write on the first page of the article, "She wonders if she will even be able to understand the intricate, jar-gon-laden draft. Then she takes a deep breath, knowing that these students are looking to her for help, and starts asking questions." In order to express the sheer intimidation factor felt by the writing lab attendant.
It continues on the explain the positive and negative methods used by writing tutors in approaching student papers. It encouraged empathy and suggesting instead of holding education or experience above students' heads. I have to say that though it's nice to dream of walking into the lab with a semi-blank page and having the tutor fill it with genius for me, I probably am learning more by their cooperation to listen to my ideas and work alongside me.
In the reading from the article by Winsor, the topic of egineering writing is again addressed. I think engineering is used over and over again because it's the perfect opposite to English, and the subject appears to almost be the total antithesis to writing itself.
The text reads in one of the formost paragraphs on the second page, "Textual mediation of knowledge is difficult for engineers to accept because they see themselves as working directly on physical objects."
Although I'm not an engineer I understand this application, because as a journalist it's difficult for me to imagine writing without the usage of strong sources of research. I work with people, and I tell their stories. That's my job as I've been taught in the Scripps School of Journalism, here at OU. Ask me to sit and write an in depth five page paper on the topic of journalism writing, and you'll find me out on the streets asking others what they think. I've been taught to maintain a high level of unbiased behavior.
However, a little rhetorical writing and thought process behind specifically why I form into words which thoughts I choose to jot down can greatly aid my skills as a journalists. I could meet the most interesting source in the world, but if I can't express or tell their story in a means pleasing to reader's ears or eyes -- the source's story is better off remaining untold.
As for the final article, Wardle's piece specifically deals again with writing for your specific profession -- however, she keeps the field open and writes a general piece detailing writing in your profession.
She also delves into the story of Alan, and how he got the boost of responsibility he wanted at work through usage of strong writing. The narrative form Wardle uses to step-by-step layout the thought process of Alan working his writing skills in his departments helped me see how written word can give any worker a stronger voice if thought out and used carefully.
From the very simple tasks of using the Listerves properly in order to send email as the company expected and beyond, Alan was able to perform his duties to the maximum as well as amp up his own personal needs.
My sorority Chi Omega has a listerve which the girls and I rely on daily to keep us up to speed regarding meetings, rules, happenings and even campus opportunities we would have missed out on had they not been filtered through to us by one of our fellow sisters. These emails are often profession and often personal -- both format well because one can email specifically to the group, the cardinal cabinet or even just one person in charge. By being able to connect digitally we stay connected with even the busiest of senior girls, who still involves herself in the sorority without ever having to set foot in our house.
I guess the tip-top lesson I walked away from these three articles with is that writing doesn't have to stay within the context of research papers or English classrooms. Writing follows every profession -- I know my dad who is a CEO of a national sporting goods company even said once that a good writer can go anywhere ... despite his or her chosen field.
Wednesday, April 13, 2011
Boyd, Gee and Cooper Response.
The three writing styles discussed in the blog, I think, are uniquely different yet go hand-in-hand at the same time.
Boyd, Gee and Cooper all discuss where writing comes from and how the origin of writing topics affects the content that fills the pages. Boyd, for example, contrives writing from a more internal level, where as Gee writes by taking ideas and thought from the community. And Cooper, sits at the extreme by claims of taking all aspects of writing at a more social stance -- drawing primarily from the external.
In terms of which writing I prefer the most, I feel like Cooper may have the point of topic nearest to a journalist. As much as I love rhetorical writing practiced in the 10,000 English course I've loved, as a journalist I draw influence primarily from my environment.
Journalists write for their readers -- about readers. Every person we meet is a possible source, every action a possible event and every bit of gossip is a possible lead.
Rhetoric and community help stretch social audience topics into a story, however the dynamic, ever-changing aspect of social society is what culture reporters are made to cover.
Boyd, Gee and Cooper all discuss where writing comes from and how the origin of writing topics affects the content that fills the pages. Boyd, for example, contrives writing from a more internal level, where as Gee writes by taking ideas and thought from the community. And Cooper, sits at the extreme by claims of taking all aspects of writing at a more social stance -- drawing primarily from the external.
In terms of which writing I prefer the most, I feel like Cooper may have the point of topic nearest to a journalist. As much as I love rhetorical writing practiced in the 10,000 English course I've loved, as a journalist I draw influence primarily from my environment.
Journalists write for their readers -- about readers. Every person we meet is a possible source, every action a possible event and every bit of gossip is a possible lead.
Rhetoric and community help stretch social audience topics into a story, however the dynamic, ever-changing aspect of social society is what culture reporters are made to cover.
Monday, April 11, 2011
Resume Article Response.
I found the concept of teaching resume building to be a genre especially interesting in the article posted up on resumes.
Often resumes are viewed as more of a tool than their very own category, however I think learning how to craft a well put-together resume is just as useful as -- if not more so than -- knowing the bio and writings of William Shakespeare, for example.
And, that's specifically why I chose to take this class for my junior comp credit.
As far as peer editing goes, I think it fits perfectly alongside integrating resume building into course curriculum. It's good to be able to understand your own resume of course, however it is essentially a document meant purely to impress your image upon others.
In the professional world, resumes are practically like Facebook.
So by allowing other students to critique my resume, it will reveal what it predominately says about me -- what does each reader walk away with or remember about my skills and experiences after viewing my resume. I'm guessing what peers take away will be close to the same message employers will also receive.
Often resumes are viewed as more of a tool than their very own category, however I think learning how to craft a well put-together resume is just as useful as -- if not more so than -- knowing the bio and writings of William Shakespeare, for example.
And, that's specifically why I chose to take this class for my junior comp credit.
As far as peer editing goes, I think it fits perfectly alongside integrating resume building into course curriculum. It's good to be able to understand your own resume of course, however it is essentially a document meant purely to impress your image upon others.
In the professional world, resumes are practically like Facebook.
So by allowing other students to critique my resume, it will reveal what it predominately says about me -- what does each reader walk away with or remember about my skills and experiences after viewing my resume. I'm guessing what peers take away will be close to the same message employers will also receive.
Wednesday, April 6, 2011
Chapter 8 to 11, K&S article reading response.
Chapter eight lays out exactly what it takes to make a good personal package, in order to best sell yourself for whatever reason needed. Showing examples as visual aids helps guide readers into seeing how packages look when laid together. This way the reader can carefully pick out what looks good together and see the difference for themselves -- plus, the book containing good and bad examples is awesome.
Speaking of good and bad examples, I loved how in the same chapter on p. 141 it says, "Absence of the bad features of web design takes you a long way toward good web design." This is why it's so helpful for the text to contain do's as well as don'ts. I like thinking about design using the frame of mind that knowing what to do is even more powerful to use if paired with knowing what to avoid doing.
Later on in the book, the content is more exciting!! Despite being a writer who could care less about design, I really like fonts. My favorite font is Georgia -- which paired with Times of course is utter conflict because the two are so similar. However, I admire Georgia over the common standard because it's what readers are familiar with and expect, but with a little more oomph or added flare. It flows more. So when paired with a sans-serif font, the contrast between the two proves even more stark.
I've studied a little on my own, mostly for school projects, the concept of creating contrast between fonts in order to visually please readers. I love that there's chapters and examples of this in the book -- the wedding invitation on p. 149 shows how ugly two fonts which are too similar look when paired together on the same document. There is no visual separation on the invitation between the what's going on and the who's getting married -- all the type runs together.
In the blackboard reading by Klein and Shackleford, my favorite part of the reading is the concept of how graphics can often express what writing can't. Whether a picture or a table, it's easier to keep information organized by using fewer words.
I know that at the Post our graphics for items such as "If You Go" boxes help the paper to function more efficiently. A reader can glance from lede to graphic and gather all the information needed to attend the event written about.
I also found in the reading, p. 7, information on how to apply design principals outside of designing. This made the reading more applicable to my life because I seldom design layouts or pages outside of required coursework. The reading suggests using simple space-saving and clean-visual tips for resumes as well as academic papers also. When writing a paper for class I tend to think more about the content, effort and research poured into the assignment -- which I should -- than the design of the page. I've never stopped to ask if reading all that jumbled text leaves my professors with a headache. I know I wouldn't want to read 200 multiple-page papers all written in crammed size 12, Times New Roman font -- even if double-spaced.
Both the book and required reading posted to blackboard contained very useful tips ... all held within multiple well-designed pages.
Speaking of good and bad examples, I loved how in the same chapter on p. 141 it says, "Absence of the bad features of web design takes you a long way toward good web design." This is why it's so helpful for the text to contain do's as well as don'ts. I like thinking about design using the frame of mind that knowing what to do is even more powerful to use if paired with knowing what to avoid doing.
Later on in the book, the content is more exciting!! Despite being a writer who could care less about design, I really like fonts. My favorite font is Georgia -- which paired with Times of course is utter conflict because the two are so similar. However, I admire Georgia over the common standard because it's what readers are familiar with and expect, but with a little more oomph or added flare. It flows more. So when paired with a sans-serif font, the contrast between the two proves even more stark.
I've studied a little on my own, mostly for school projects, the concept of creating contrast between fonts in order to visually please readers. I love that there's chapters and examples of this in the book -- the wedding invitation on p. 149 shows how ugly two fonts which are too similar look when paired together on the same document. There is no visual separation on the invitation between the what's going on and the who's getting married -- all the type runs together.
In the blackboard reading by Klein and Shackleford, my favorite part of the reading is the concept of how graphics can often express what writing can't. Whether a picture or a table, it's easier to keep information organized by using fewer words.
I know that at the Post our graphics for items such as "If You Go" boxes help the paper to function more efficiently. A reader can glance from lede to graphic and gather all the information needed to attend the event written about.
I also found in the reading, p. 7, information on how to apply design principals outside of designing. This made the reading more applicable to my life because I seldom design layouts or pages outside of required coursework. The reading suggests using simple space-saving and clean-visual tips for resumes as well as academic papers also. When writing a paper for class I tend to think more about the content, effort and research poured into the assignment -- which I should -- than the design of the page. I've never stopped to ask if reading all that jumbled text leaves my professors with a headache. I know I wouldn't want to read 200 multiple-page papers all written in crammed size 12, Times New Roman font -- even if double-spaced.
Both the book and required reading posted to blackboard contained very useful tips ... all held within multiple well-designed pages.
April 4 response.
Chapters one through six in The Non-Designer's Design Book deal with the four basic principals of the Joshua Tree theory and how best to apply them.
These principles are as follows; Proximity, alignment, repetition and contrast.
By usage of visual emphasis the book breaks down why each of these four principals matter and how best each one can be used.
For example in chapter three, which discusses alignment. This encomphases facets that I as a writer would never think of. It states to make sure, on p. 45, that the aligning of text and heads and subheads matchup. Being a writer, I've always simply seen my job to be filling the spaces on the page with no regard as to what's actually being placed on the page, or how my words are positioned ... especially not as to how they're aligned.
And then, in chapter five the book discusses the principle of contrast. It says that if two items are not identical, then making them vastly different aids in extreme contrast which appeals to readers, p. 65. This design goes hand-in-hand with all the reversal black and white heading my graphics 221 teacher had me create last quarter. It's interesting that instead of learning how to do so on a design program, I'm actually acquiring from the text now why it's done.
These chapters, including six which is a review of the principals, break-down nicely the four principles presented. I especially enjoyed the visual aid.
These principles are as follows; Proximity, alignment, repetition and contrast.
By usage of visual emphasis the book breaks down why each of these four principals matter and how best each one can be used.
For example in chapter three, which discusses alignment. This encomphases facets that I as a writer would never think of. It states to make sure, on p. 45, that the aligning of text and heads and subheads matchup. Being a writer, I've always simply seen my job to be filling the spaces on the page with no regard as to what's actually being placed on the page, or how my words are positioned ... especially not as to how they're aligned.
And then, in chapter five the book discusses the principle of contrast. It says that if two items are not identical, then making them vastly different aids in extreme contrast which appeals to readers, p. 65. This design goes hand-in-hand with all the reversal black and white heading my graphics 221 teacher had me create last quarter. It's interesting that instead of learning how to do so on a design program, I'm actually acquiring from the text now why it's done.
These chapters, including six which is a review of the principals, break-down nicely the four principles presented. I especially enjoyed the visual aid.
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