Resource Library

Prayer Book Project

Prologue

Prayer Book is an idea for an assignment to be used in thecontext of graphic design/typography/book art studies for upper level, undergraduate art and design students. It is a consideration of one of the agenda items of the New Faculty Workshop, namely, approaching a specific discipline from the point of view of the foundational assumptions of the Christian college or university.

Graphic design instruction usually requires that there isconceptual content that poses the design problem with which the student must deal. Since designers make expressions that have a basic "thingness," there is also a formal construct that gives direction to the final product of the work. Broadly defined, the problem is to design of book. The form of the book is a rich concept for use in the teaching of graphic design problem solving.This project is the design of a book which takes prayer as its conceptual basic and point of origin.

Instructional objectives:

• Invite the student to investigate the form of the book as an object
• Provide an opportunity for research and synthesis on a text
• Encourage thinking about the book as an aesthetic enterprise as well as a communicative tool
• Make the student consider materials and construction methods
• Encourage typographic/textual thinking

Framing the Problem:

The frame of the problem should be drawn from a broad perspective. Presumably, the class context here would bring together students all of who would have some notion of prayer in their lives. I would, however, stand them at an objective vantage point. While the selection and research of the subject could be specifically scriptural/spiritual, I would propose that the investigation be broadly based on the subject of prayer. The text could be selected on the basis of historical forms of ritualized petition, forms or techniques of prayer used in world cultures, presentation of prayer texts from scripture, or self-created texts presents as personal statements. The compound image of both the book would encourage consideration of the communication problem on several different levels. Thinking could extend to how the prayer is offered, or on what occasion, in what environment or worship culture would the book function? How would the poetry or prose of a prayer (or text about prayer) be enhanced or changed by making it a book? How is the text different when it becomes a physical object? Could a petition be formed or interpreted exclusively visually? These are all possible questions to use indefining the assignment for the student.

The Design Brief

Problem: Design and make a book on the generic subject of prayer. One of the book's chief features should be appropriate and expressive typography. Consider carefully the physical form and design of the book uniting the typography conceptually with the text you find or create.

Here is a caution to guide your research: in considering the subject, don't limit yourself to a narrow inference from the title "Prayer Book." You might wish to look at world culture and religions to find out about their ritual practices. Look for forms outside your own prayer tradition. Historic aspects of the subject could be rich ground to cover. What about language forms that are used in prayer? You may have a personal text that you find expressive or you may be analytical about how people pray. Approach the problem from a viewpoint outside of your own personal and private thoughts or feelings about the subject.

Your knowledge of design process will give you the tools to set the parameters of your book. You may define the physical form oft he final product and craft it accordingly. If you decide upon a totally digital form you must justify how it functions as a book. If you decide to use imagery, the typography must still be a major player in the success of the design.

Reflection

Proposing design problems to any individual or group of students takes a good deal of courage. It is quite like dropping oil on water. You may have an idea of solutions to the problem that seem appropriate, but you must put those expectations away from the beginning. Students must have a chance at way finding on their own mixed with suggestion, cajolery, and herding along the way.Sometimes (we hope, most of the time), the results are fantastic and surprising. Other times the seed doesn't germinate. While I find this problem of the Prayer Book interesting and fertile ground for expressive design, I have some reservations about proposing that students use a subject that is such a direct assumption in their faith life. So how to think about this?

Upon reflection, I think this: solutions could easily be facile, naiveand not rigorous enough; however, a closely-held concept requires greater concentration on the student's part to plumb the depths of the subject. Understanding that this will only be used with upperclassmen, I feel that that familiarity with the subject as some level adds an element of difficulty that requires more careful research and reflection to make a creative and surprising statement in graphic terms. Hence, in spite of some reservations, I believe that framing the design brief in an inclusive and detached way in an extremely important part of theprocess.

Prototypes

Two solutions to the problem were created in an effort to provide a hands-on research process for me and to create two tangible examples for classroom use. It should be noted that examples should be judiciously used in design instruction. The timing of their use can be all-important in how constructive or destructive they become in the student's search for a conceptual base for their project.

In executing the two examples for this book problem, I directed my own study toward two abiding interests of the graphic designer: typography and book building. Both have a tactile quality thatbuilds upon the "thingness" and haptic nature of the traditional book. Both are handmade, one-of-a-kind books which could be produced in edition in the future.

Book One

Book One is titled Day/Night. In preparation to do this project, I read a lot of prayers both formal and otherwise. In listening to people prayer and reading about prayer one comes to the (perhaps overwhelmingly obvious) notion that prayer has a very personal nature to it. There is a very distinct difference between a public liturgical form of prayer and the words one might use upon rising in the morning. Among my notes regarding possible solutions there were a number of written texts that took the form of personal prayer which one hopes would be useful for a wider audience as well. In thinking about what a book is, I believe that it is a thing that can have a preciousness born of its beauty, utility and crafted personality. The book has a regularity to it - a routine or ritual - if you will. It asks for a discipline in its use, and could be thought of as a metaphor of the discipline of prayer. The solution here is a brace of prayer written for use morning and evening. They are bound spine opposite spine in a compact size that lends itself to fit a pocket, book bag, or purse. The arrangement is a sort of Yin/Yang motif that I see as a completing spiritual idea.

Book Two

Book Two is titled PILGRIMage. I often choose to present typography to students as "drawing." Exercises often include the free-hand drawing of letter-forms both with tradition drawing tools and with digital tools. I find my own study of type enriched and informed by hands-on drawing of characters from a font of type.

Part of the premise of the Prayer Book Project included the thought that a book is a ritual object that holds a text and that it could function as an opportunity to present multiple texts about personal journey wrapped in a visual exercise of drawing letter forms. The drawings and notes are based on a typeface called GoudyOldstyle spelling out the word "begin" and including the other characters in the font. There is history here as well. This digitally updated font is based on the original 1915 design byFederic W. Goudy, a prolific and important American typedesigner.

The solution here speaks to the possibility that a physical book can be a precious object that provides a secure place for reflection. It proposes that vocation is prayer, and can offeritself as praise, thanksgiving or introspection.

Summary

The two prototypes for this presentation are offered in an attempt to give examples of various approaches to investigating typography, letterform design and book arts. In actual use in class the instructor would gauge the level of students, local concerns of the class work and specific areas desired to be addressed. Once those were defined the project brief could be tailored to the situation.

In summary, I believe I must refer to concerns previously stated in my earlier reflections. These concerns are among the key concerns I heard presented at the workshop. How do we base broad and inclusive study on underlying foundational assumptions that grown from the ethos of the Christian college and university? This project undertakes to address this concern as a challenging andenriching dimension in design learning. Posed with flexibility and sophistication, I believe it can be a useful addition to a courseof study in typography and design.

Appendix I, Text of Book 1

Day

Upon Rising

MORNING

Creator, Light-Giver

Open my eyes that I may

Strengthen my heart that I may

Balance my ears that I may hear

Lighten my step that I may

Grant me a small measure of

Night

Upon Retiring

EVENING

Creator of dark and stillness,

Open my inner eyes

Still my mind for

Calm my voice

Forgive my missteps

Rest my body, that I may

Appendix II, Text of Book 2

Text from large pages:

Text from small pages: