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How to make a beautiful thesis

Presentation given to ANU July 2015 about typesetting thesis documents.

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WELCOME TO
Making a Beautiful Thesis
HELLO
my name is
HELLO
my name is
I AM A
TODAY I AM TALKING ABOUT
Typesetting
Information Design
(AND OTHER STUFF YOU NEED TO KNOW TO MAKE YOUR THESIS DOCUMENT)
Typesetting
Typesetting is old
ARTIST: ROBERT THOM

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How to make a beautiful thesis

  • 1. WELCOME TO Making a Beautiful Thesis
  • 4. TODAY I AM TALKING ABOUT Typesetting Information Design (AND OTHER STUFF YOU NEED TO KNOW TO MAKE YOUR THESIS DOCUMENT)
  • 7. With strong craft traditions ARTIST: ROBERT THOM
  • 8. PORTRAIT OF STEVE JOBS, BY SUSAN KARE (DESIGNER OF THE ORIGINAL MAC ICONS) 1983 Traditions that still exist in digital typesetting
  • 9. Which is why using Word for typsetting is like using this…
  • 11. and why typesetting your thesis will take longer than you think
  • 13. ‘Type well used is invisible’ —Beatrice Warde 1930
  • 14. Here are your specs: International Standard Paper Size A4 (297 x 210mm) 1.5 spacing and presented in a clear and legible font and would normally be expected to be double-sided Left and right margins of no less than 30mm and page numbers that appear inside the margins Pages that are numbered consecutively and clearly Folding diagrams or charts arranged so as to open to the top and right.
  • 15. So you have some choices to make
  • 16. Serif OR Sans Serif
  • 18. The typefaces we read best are the ones we read the most
  • 20. High contrast between thick and thin strokes is hard to read
  • 21. Minimal contrast is easier to read
  • 22. You can pair Serif and Sans Serif
  • 23. You can pair the same kinds of typefaces Just make sure they are not too similar (OR IT WILL LOOK LIKE A MISTAKE)
  • 25. TYPEFACES THAT HAVE NO PLACE IN A THESIS: Papyrus Comic Sans Chancery Script Eurostile Copperplate anything art nouveau / art deco style
  • 26. AVOID IF YOU CAN: Gill Sans Optima Futura Arial Times New Roman
  • 27. TRY THESE CLASSICS INSTEAD: Garamond Baskerville Cambria Univers Franklin Gothic Helvetica
  • 28. STAY AWAY FROM SCREEN FONTS INCLUDING: Calibri Trebuchet Geneva Georgia Tahoma (GENERALLY ANY TYPEFACES NAMED AFTER CITIES)
  • 29. The Rules (OR IF YOU PREFER “GUIDELINES” OR “BEST PRACTICE”)
  • 30. Do not compress or extend type
  • 32. Don’t use justified type. because it looks terrible especially if you have tight as well as loose lines
  • 33. Don’t use more than three changes in your type to create emphasis
  • 36. Try to leave at least two full lines at the top of a page
  • 41. Indent or space between, not both
  • 42. Good typsetting is all about creating hierarchy
  • 43. Body copy size and leading (line spacing) Margins
  • 46. me, the exemplar work displayed in that long ago hallway had a presence that was almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of inspiration, envy, and anxiety. This conversation made me wonder, how could I help my online design students ‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the conditions for ‘the fear’ to flourish in the digital hallways of the online school? It was on this last thought that I found myself deeply conflicted. While acknowledg- ing that my colleague was perhaps correct, fear is part of design teacher practice, I found myself wondering if this was a good thing. I wondered too what it may mean if online teaching is a less fear filled practice, and at the same time is (at least in my experience) as effective as onsite teaching. Thus, I loosely framed my initial re- search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’ Although I eventually set out to explore how the online design studio reshapes graphic design teaching more broadly, this question still gives me pause. It is how- ever, best left to research of a more cause-effect kind to take forward. This is a A Head This thesis examines the design studio, common to all art and design disciplines, and the focus of learning and teaching in design education (Schön, 1990). The design studio is both a learning space and a unique pedagogical method (Broadfoot & Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender 2 SPACES ABOVE = 24pt 1 SPACE BELOW = 12pt
  • 47. me, the exemplar work displayed in that long ago hallway had a presence that was almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of inspiration, envy, and anxiety. This conversation made me wonder, how could I help my online design students ‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the conditions for ‘the fear’ to flourish in the digital hallways of the online school? It was on this last thought that I found myself deeply conflicted. While acknowledg- ing that my colleague was perhaps correct, fear is part of design teacher practice, I found myself wondering if this was a good thing. I wondered too what it may mean if online teaching is a less fear filled practice, and at the same time is (at least in my experience) as effective as onsite teaching. Thus, I loosely framed my initial re- search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’ Although I eventually set out to explore how the online design studio reshapes graphic design teaching more broadly, this question still gives me pause. It is how- ever, best left to research of a more cause-effect kind to take forward. This is a B Head This thesis examines the design studio, common to all art and design disciplines, and the focus of learning and teaching in design education (Schön, 1990). The design studio is both a learning space and a unique pedagogical method (Broadfoot & Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender 2 SPACES ABOVE = 24pt 1 SPACE BELOW = 12pt
  • 48. me, the exemplar work displayed in that long ago hallway had a presence that was almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of inspiration, envy, and anxiety. This conversation made me wonder, how could I help my online design students ‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the conditions for ‘the fear’ to flourish in the digital hallways of the online school? It was on this last thought that I found myself deeply conflicted. While acknowledg- ing that my colleague was perhaps correct, fear is part of design teacher practice, I found myself wondering if this was a good thing. I wondered too what it may mean if online teaching is a less fear filled practice, and at the same time is (at least in my experience) as effective as onsite teaching. Thus, I loosely framed my initial re- search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’ Although I eventually set out to explore how the online design studio reshapes graphic design teaching more broadly, this question still gives me pause. It is how- ever, best left to research of a more cause-effect kind to take forward. This is a C Head This thesis examines the design studio, common to all art and design disciplines, and the focus of learning and teaching in design education (Schön, 1990). The design studio is both a learning space and a unique pedagogical method (Broadfoot & Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender 1.5 SPACE ABOVE = 18pt 1 SPACE BELOW = 12pt
  • 49. me, the exemplar work displayed in that long ago hallway had a presence that was almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of inspiration, envy, and anxiety. This conversation made me wonder, how could I help my online design students ‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the conditions for ‘the fear’ to flourish in the digital hallways of the online school? It was on this last thought that I found myself deeply conflicted. While acknowledg- ing that my colleague was perhaps correct, fear is part of design teacher practice, I found myself wondering if this was a good thing. I wondered too what it may mean if online teaching is a less fear filled practice, and at the same time is (at least in my experience) as effective as onsite teaching. Thus, I loosely framed my initial re- search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’ Although I eventually set out to explore how the online design studio reshapes graphic design teaching more broadly, this question still gives me pause. It is how- ever, best left to research of a more cause-effect kind to take forward. This is a D Head This thesis examines the design studio, common to all art and design disciplines, and the focus of learning and teaching in design education (Schön, 1990). The design studio is both a learning space and a unique pedagogical method (Broadfoot & Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender 1 SPACE ABOVE = 12pt 1 SPACE BELOW = 12pt
  • 50. me, the exemplar work displayed in that long ago hallway had a presence that was almost palpable, and was often capable of triggering ‘the fear’: a heady mixture of inspiration, envy, and anxiety. This conversation made me wonder, how could I help my online design students ‘feel the fear’ without such a hallway? How can I (or indeed should I?) set the conditions for ‘the fear’ to flourish in the digital hallways of the online school? It was on this last thought that I found myself deeply conflicted. While acknowledg- ing that my colleague was perhaps correct, fear is part of design teacher practice, I found myself wondering if this was a good thing. I wondered too what it may mean if online teaching is a less fear filled practice, and at the same time is (at least in my experience) as effective as onsite teaching. Thus, I loosely framed my initial re- search question as: ‘Is ‘the fear’ in fact necessary to good design teaching practice?’ Although I eventually set out to explore how the online design studio reshapes graphic design teaching more broadly, this question still gives me pause. It is how- ever, best left to research of a more cause-effect kind to take forward. This is an E Head This thesis examines the design studio, common to all art and design disciplines, and the focus of learning and teaching in design education (Schön, 1990). The design studio is both a learning space and a unique pedagogical method (Broadfoot & Bennett, 2003, p. 3) of learning-by-doing, which most scholars trace back to the antecedents of the modern design school: the Beaux Arts and the Bauhaus (Bender 1 SPACE ABOVE = 12pt 1 SPACE BELOW = 12pt
  • 52. Footnotes, page numbers, and bibliography can be in a smaller point size
  • 53. Possible formula for thesis text with 7 heading levels: Body Copy = 12pt all type sizes are based off this measure (in increments of 2 points) Line Spacing 24pt = 1.5 spaced (32pt would be double-spaced) all spaces are based on this measure Body copy set with no indents, instead uses 1/2 line space as space between (para space) in this case = 12pt* Headings all use the same typeface (which may differ from body text typeface): Section Head = 18pt (8 pts larger than body copy) usually set all caps, on a page by itself Chapter Head = 16pt (4 pts larger than body copy) Bold, looks best with 3 to 5 para spaces below (so 36pt/60pt) A Head (14pt) = set bold, 2 para spaces above, one para space below (24pt above/12 below)** B Head (14pt) = set bold italic, 2 para spaces above, one para space below (24pt above/12 below) C Head (12pt) = Set bold, 1.5 line space above, one para space below (18pt above/12pt below) D Head (12pt) = Set regular, 1 para space above, 1 para below (12pt above and below) E Head (12pt) = Set italic, 1 para space above, 1 para below (12pt above and below) Footnotes and Page Numbers set in body text @ 8–10pt * Paragraphs above headings should be set with no space below. **When one heading is above another, delete the space below the top heading.
  • 55. Your data is bivariate > use a table
  • 56. Your data is bivariate > use a table Your data is multivariate > use an infographic
  • 57. THERE ARE ONLY 5 WAYS TO ORGANIZE INFORMATION LATCH
  • 59. Pick the Right Tool Bar Charts / compare items
  • 60. Pick the Right Tool Bar Charts / compare items Line Graphs / show trends over time
  • 61. Pick the Right Tool Bar Charts / compare items Line Graphs / show trends over time Pie Charts / emphasize proportions
  • 62. Pick the Right Tool Bar Charts / compare items Line Graphs / show trends over time Pie Charts / emphasize proportions Flowcharts / show process and connectedness
  • 64. Not just a designer thing
  • 65. Can be quite important actually
  • 68. Tables Use one dataset per table Goal is to notice information, NOT the table structure
  • 69. Tables Use one dataset per table Goal is to notice information, NOT the table structure Use thin lines and light background colors
  • 71. Use dashes or ellipses for missing data
  • 72. Use dashes or ellipses for missing data Tints help the eye read across or down
  • 73. Use dashes or ellipses for missing data Tints help the eye read across or down Use fonts with open counters and/or no serifs
  • 75. Pie Charts Don’t use an ellipse—it distorts the data
  • 76. Pie Charts Don’t use an ellipse—it distorts the data Don’t use busy patterns or 3D effect
  • 77. Pie Charts Don’t use an ellipse—it distorts the data Don’t use busy patterns or 3D effect Make sure colors are tonally contrasting
  • 79. Line Graphs Background and labels should not overwhelm the lines
  • 80. Line Graphs Background and labels should not overwhelm the lines Scale allows variation without exageration
  • 81. Line Graphs Background and labels should not overwhelm the lines Scale allows variation without exageration Doesn’t always need increments
  • 83. Bar Charts Don’t always need a frame or increment marks
  • 84. Bar Charts Don’t always need a frame or increment marks Differences of height should be discernible