Typeset entirely in italics, this mind-racing and forward-thinking retrospective questions my understanding and definition of graphic design. The unedited stream-of-consciousness writing acts as my tentative thoughts on the practice of graphic design since the day I was first introduced to the discipline to circa September 2014.
In the beginning of this story, visual inspiration and meaningless novelty artifacts were my understanding of graphic design, with conceptual thinking and discourse as an afterthought. By the end, I no longer obsess over aesthetics and instead take value in current events or professions not necessarily related to graphic design, noticing how these outsider ideas can translate to the design process. The layout of the book reflects this analysis by typesetting my initial thoughts in an extremely small point-size—thus an extra long and poorly set line-length—with the correlating visuals (and page numbers, another decorative element) extremely large. Gradually the scale shifts, with my thoughts and opinions becoming the overbearing element of the book while the visuals, although now more varied, become secondary. This shift causes the book to translate from a naive design sensibility found in my early freshman school assignments to a complex and professional design sensibility found in my current work.
After rereading my passage I noticed a reoccurring theme of intellectualism within design and my subconscious endeavor to attain this knowledge. These revelations, typeset in reverse italics, stop me in my tracks and divert me in a new direction. Other specific moments or artifacts are underlined and connected to images on the opposite page. These overlapping and intersecting lines represent how these different artifacts of inspiration were unknowingly crossing paths.