Parsons Aas Graphic Design 08

PARSONS AAS GRAPHIC DESIGN WORK 2008 VOLUME 2

PARSONS AAS / GRAPHIC DESIGN / WORK 2008 / VOLUME 2

typefaces owned stat spread

13,968

233

Total number of typefaces owned

Tuesday

41.75

Wednesday

64.25

49

34.5

WORK 2008:VOLUME 2

69.5

PARSONS AAS GRAPHIC DESIGN

Total number of typefaces actually liked

Friday

Thursday

Monday

Number of hours you spend in class each week 8

9

13 27 2 2 Alaska

Ireland

2

Canada

United States

Hawaii

Mexico

8

United Kingdom

2

Sweden

Germany France

3 4 2 3

PARSONS

Puerto Rico

Brazil

Bolivia

2

Argentina

2 5

Spain

4

Italy

1

Estonia

5

Russia

1

6 3 1 3 1 2 31 2 Georgia

1

Turkey

Israel

6 7 Korea

4

China

India

Thailand

Sudan

Japan

Philippines

Kenya

Australia

South Africa

New Zealand

Where are you from? 4

5

Pamela Trought Klein Associate Dean of Professional Studies

1

7

Number of cups of coffee or tea you drink a day

10

11

12

Natalie Waterbury

Shelly Suzuki

Aditi Rao

Masakazu Okura

Monica Miranda

Caloline Maher

Jon Lopkin

Diana Lim

Ariel Lapidus

Jennifer Lankford

Eileen Kinsella

Kruti Joshi

Ela Jacoby

Dan Hoffman

Adam Headrick

Aaron Gwirtz

Tim Geesman

Cristopher Gedda Westrell

Sharon Gamss

Farrah Fine

Yfat Eyal

Hansul Amy Cho

Katarzyna Gruda, Director

In view of the role visual communications play in our world today, it is exciting to present a graduating class that has produced such wildly inventive and inspirational work. Designers cannot escape social responsibility, and I am proud that our faculty pushes our students to address both commercial and social problems, guiding their responses to the challenges we confront every day. These young designers leave ready to make their own way in the world, fusing their many ambitions with a hard-won sense of good design.

We know that students choose the best education they can, based on the reputation of the school, the faculty, and the school’s connections to the design industry. But, perhaps the most important factor in the learning process itself is the caliber of the student in the next seat. AAS students come from everywhere —Argentina, California, Alaska, Colorado, France, Korea, Kenya, New York, Texas, and more. And in their previous lives they’ve been everything: ballet dancers, attorneys, writers, engineers, financial analysts, teachers, chefs, stockbrokers, fine artists and most any other profession you can think of. This provides a rich and unique learning environment because our students benefit from each other’s informed opinions and approaches to design problems. They help each other, compete with each other, and never stop until the solution is the best available. We challenge them; they challenge us; and they challenge themselves. From my side of the desk, it’s a thrilling, rewarding, and breathtaking process.

AAS students learn early on that research and resourcefulness are the best-kept secrets of any great designer. Truly understanding a project is essential for innovation, whereas ignorance inevitably produces the expected. Our students look at any situation openly, then dig ever deeper within the substance of the problem, leaving behind the slow decay of “good enough.”

This year, the Graphic Design graduating class has once again produced outstanding work. How is this consistently high level of creativity and execution possible? We have terrific teachers and we’ve worked hard to provide instruction that reflects the ongoing evolution in the industry, but these factors by themselves can’t account for the excellent work that students produce after only two or three semesters of study. The answer has to be our students, themselves.

NOTE NOTE FROM THE DIRECTOR

NOTE FROM THE CHAIR

student work

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Where From Israel; Previous Work Experience No 11 Studio; Resource Magazine; Previous College Hadassah College, AAS in Photography; How many typefaces do you own? Maybe 100 Sharon Gamss, continued 1 Cookbook, Cuisine du Maroc, Dimensions: 10 x 10 in; 2 Movie Poster, In Transit, Dimensions: 27 x 40 in.

Sharon Gamss, continued

3–4 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.

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27

5–6 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.

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Where From Mishawaka, Indiana; Previous Work Experience Segal Savad; Sotheby’s; LPL Financial Services; Previous College Ball State University, BS, Marketing major, Journalism minor; How many typefaces do you own? Over 1,500 1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 5 x 7 in; 3 Logo/Identity, Clothing Line (Hang Tags and Labels)

Tim Geesman, continued 3

4 Logo/Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope); 5 Poster, Dimensions: 15 x 20 in.

38

39

1

40

41

2

Where From Hartford, Connecticut; Previous Work Experience Time Warner; New York Parks Department; Previous College University of New Haven, BA Music; How many hours do you spend in class each week? 20 or so

1 Book Cover, Packrat; 2 Book Cover, The Story is True 58

59

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6/21 >

When was the first day of your last period? May

25

08

Cycle Length 28 days Mobile # for SMS 206 555 1557

3

Save

moontimewidget.com 4

1

2

Where From Seattle, Washington; Previous Work Experience Universal Music Distribution Group; Eeboo!; CZ Design; Previous College BFA, Cornish College of the Arts; How many typefaces that you own do you actually like? 15 1 Movie poster, Heavy Load, IFC documentary film, Dimensions: 26 x 40 in; 2 Poster, We Collect, exhibit of Vintage Vinyl at Seattle’s Experience Music Project, Dimensions: 15 x 22 in.

Ariel Lapidus, continued 3 Logo, Greennote Jazz Festival; 4 Apple Widget, Moontime

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69

K 6

ITC

HEN

70

71

S

8

5

7 9

Ariel Lapidus, continued

Ariel Lapidus, continued

5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens 72

7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series 73

74

75

5

2 8

6

3

1

9 7

Where From Vancouver, Canada; Previous Work Experience Martha Stewart Living; Ogilvy; Previous College University of British Columbia, BA, Psychology; How many times a week do you take the stairs (instead of the elevator)? Depends on my mood

Diana Lim, continued

4

5 Logo /Identity, Ceres Restaurant; 6 Letterhead & Envelope; 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing

1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin keepsake box; 2–4 Interior Spreads 76

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79

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Diana Lim, continued 13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan, Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit, Dimensions: 15 x 21 in.

Diana Lim, continued 10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains 80

81

82

83

3 4

1

2

Where From Boston, Massachusetts; Previous Work Experience Madavor Media; Bridger Conway; Previous College Boston University, BS, Communications; How many cups of coffee do you drink in a day? 2 1 Poster for an annual comedy show at the Upright Citizens Brigade in Manhattan, Dimensions: 13 x 19 in; silkscreen, letterpress with wood type; 2 Poster, quote by Paula Scher from her book Make It Bigger, Dimensions: 20 x 30 in.

Jon Lopkin, continued 3–5 Noguchi Museum T-shirt & Cubed Packaging

The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC

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Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

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Friday October 13, 8:00 pm Manoela dePasão

.

Mr. Fouchy-Billancourt is a professor of linguistic anthropology at the University de la Sorbonne in Paris, France. He is a recognized authority on linguistic ideology.

The presentation will focus on numeric sequencing systems developed from biofeedback for application in medical and robotic manufacturing computation

Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

3

Saturday October 14, 3:00 pm Heinrich Utenrraden

The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC

A moderated panel of noted architects will discuss their explorations of user-centered building in the context of a presentation on stylistic and functional trends of the past century

Mr. Utenrraden is a Professor Laureate of the Bern Architectural Academy in Switzerland.

Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

Ms. dePasão is a Fellow of the Instituto Mechanico de São Paolo, Brazil, and a visiting chaired lecturer at Harvard College’s School of Applied Mathematics

2

Corporeal Architecture: Living Spaces

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The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC

Biorhythms and Algorithms

Incorporations: The Body as a Source

Incorporations: The Body as a Source

Incorporations: The Body as a Source

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Thursday October 12, 8:00 pm Claude Fouchy-Billancourt

A discussion the physics of speech and cognition as related to the development of sexual power

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Language, Sensuality, and Power

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Biorhythms and Algorithms October 13, 2007, 8:00 pm Manoela dePasão Corporeal Architecture: Living Spaces October 14, 2007, 3:00 pm Heinrich Utenrraden

Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

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Language, Sensuality, and Power October 12, 8:00 pm Claude Fouchy-Billancourt

Lecture Series October 12–14, 2007 The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC

5

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85

Incorporations: The Body as a Source

84

4

“?%&,˜˚{[>*@\” Where From Puerto Rico; Previous Work Experience Taught at Fieldston School in NY; Previous College Sarah Lawrence College; Where do you plan to live after graduating? Same apartment I have now.

Monica Miranda, continued 3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.

1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in. 94

95

96

97

2

1

3

Where From Japan; Previous Work Experience FutureBrand NY; How many typefaces do you own? About 100

1 Poster; 2–3 Book Jackets (Front & Back) 102

103

10

2

8

11 3 1

9

Where From Kailua, Hawaii; Previous Work Experience Advertising Account Service at Laird Christianson Advertising, John Duarte Design Group and Team Vision in Honolulu, Hawaii. Design Internships at Y Interact, Windup Design (New York, NY) and Red Rover Creative; Design Job at Basik Group (New York, NY); Previous College Claremont Mckenna College, BA, Economics & Psychology; How many typefaces do you own? 659

12 Shelly Suzuki, continued

4

8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch, Dimensions: 10 x 10 in; 10–12 Interior Spreads

1 Book Design, Pollution3: Air, land and water pollution in New York City; 2–4 Interior Spreads 110

111

114

115

1

2

Where From San Francisco, California; Previous Work Experience Nylon Magazine; HDR Architects, Inc; Previous College Northwestern University, BS, Radio /TV/Film; How many typefaces do you own? 5,000

1 Poster, Bangaluru 2007 Digital Film Festival; 2 Poster, A Retrospective 120

121

12

3

Natalie Waterbury, continued

Natalie Waterbury, continued

3–4 Logo/Identity System, Good Soles Shoes 122

13

4

12 Logo/ Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard 123

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129

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11 Average number of blocks walked to get to school

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131

collaboration RELEASE MAGAZINE

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The Eugene Lang College literary magazine Release is the product of a three-year collaboration between students and faculty from Lang and Parsons School of Design. This innovative partnership, in which writing students at Lang edited the magazine and students from the Parsons AAS program designed and produced it, has represented the best of the cross-disciplinary possibilities offered at The New School. By combining the creative literary talent of Lang’s writing students with the Parsons’ students’ innovative design vision and expertise, Release has become a first-rate, professional publication. Producing it has enriched students in both schools, offering them real-world publishing experience while also yielding extraordinary educational benefits—honing skills as writers, editors and designers, and, as important, fostering a creative community engaged in productive dialogue around a meaningful project. Neil Gordon Professor, Literary Studies Dean of Eugene Lang College The New School for Liberal Arts

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2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads

1 Release 2008 Cover 132

133

6–9 Release 2008 Interior Spreads

134

135

136

137

collaboration 10

15

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10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads 138

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16–17 Release 2006 Interior Spreads

13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover 139

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For the past three Spring semesters I’ve taken my Publication Design class on– press for the printing of Release. After critiquing washed-out ink jet pages for 15 weeks, the actual florescent and metallic inks are mesmerizing. Watching the sheet forms roll off the press is dizzying. Seeing the student’s attention and awe, I recognize the beginning of a long and healthy obsession.

I love printing. I’ve saved stacks of press sheets. I sniff the ink in new books. I wanted to be a graphic designer when I first worked a printing press. During my work-study summer job at RISD’s Type Shop I learned about type and printing while sorting and supervising. Not only could I recognize a 9-point letterform backwards in lead, but I became obsessed with creating many instead of just one. From then on, a single mock-up was not enough. My school projects were about quantity, series and multiples.

Begin with a clever concept. Finish with flawless typography. In between consider your client, your audience, and your printing budget. Or, in school, consider your teacher, your class, and your ink jet.

FEATURED FACULTY

1

1 Claudia Brandenburg

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4

8

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2 Sleeve Box; 3 Cover; 4 –6 Interior Spreads The Andy Warhol Foundation for the Visual Arts 20-Year Report, 1987–2007, The Andy Warhol Foundation for the Visual Arts 3 Publications & Sleeve Box, 10 x 10 in, 96 Pages Each

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7 Cover; 8–10 Interior Spreads Long Island City: Connecting the Arts. The Design Trust for Public Space, Case Study Publication, 7.5 x 11 in, 88 Pages

All artworks © The Andy Warhol Foundation for the Visual Arts

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149

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11 Cover; 12–14 Interior Spreads Make It Now: New Sculpture in New York. SculptureCenter Exhibition Publication, 6.5 x 9.25 in, 96 Pages 150

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15 Fold-out Spread; 16–19 Covers, The Center of It All, Abrons Arts Center Seasonal Event Program & Calendar, 9.5 x 13 in, 8 Pages 151

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FEATURED ALUMNA My undergraduate degree in liberal arts was from Indiana University. After three and a half years working first on the account management and then production side in various big-name advertising agencies, I changed my focus to the creative side of the industry. Parsons’ Associate Degree Program was the perfect catalyst for such a change. After an intense year and a half of “design boot camp” at Parsons, I felt very prepared to reenter the professional world. The mentors I found in the AAS faculty raised my expectations of the type of people I chose to work with right out of school, and that I continue to choose to this day —people such as Lina Kutsovskaya and Charles Churchward, with whom I was lucky enough to work with while he was still directing Vogue magazine on the book Vogue Living: Houses, Gardens, People. Redesigns seem to greet me wherever I go. With Lina, I was a part of the redesign of Teen Vogue. From there I moved to the beauty industry where I helped drive the redesign of the Almay brand. Most recently, I have redesigned the beauty section for Glamour magazine, which debuted in its September 2008 issue. There is a ton of process involved in redesigning a brand and /or magazine and I feel very lucky to have had the strong foundation and understanding of design process, color theory, typography and use of photography that I received at Parsons. 1

1 Emily Wardwell 158

159

5

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4

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2 Teen Vogue Magazine Opening Spread

4 Cover Design, Open Magazine; 5–6 Open Magazine Interior Spreads

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photographs by James woJcik

best beauty buys of

2008

A record 106,627 of you voted in this year’s Glammy awards, and these are your winners— the makeup, hair and skin-care products Glamour readers just can’t live without. Find your new favorites here!

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THE WINNING LIP GLOSSES

Why it’s still a champ: It looks “rich,” voters say, but it’s never gloppy.

Comes in 30“delicious” flavors and has a “sexy sheen.”

w in every single one! enter at glamour.com.

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7 Vouge Living: Houses, Gardens, People (Front & Back Cover); 8–10 Interior Spreads 166

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13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages 167

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PAMELA KLEIN, Chair / Associate Professor Degree(s) MFA, BFA, Pratt Institute Course(s) Color Theory KATARZYNA GRUDA, Director / Associate Professor Degree(s) MFA, Yale University School of Art; BS, Architecture, City College of New York Course(s) Process & Skills, Graphic Design, Silkscreen & Letterpress; Silkscreen Printing THOMAS BOSKET, Coordinator / Associate Professor Degree(s) MFA, Yale University School of Art; BFA, Parsons School of Design Course(s) Color Theory, Drawing

SARAH GEPHART Degree(s) MFA, Yale University School of Art; BA, Oberlin College Website www.mgmtdesign.com Work Partner, MGMT Design Course(s) Typography 1 & 2 JONATHAN J. GOUTHIER Degree(s) BFA, Hartford Art School, University of Hartford Website www.gouthier.com Work Principal / Creative Director, Gouthier Design Course(s) Graphic Design 1 & 2 ANDREW GRABER Degree(s) BS, SUNY, Binghamton Work Graphic Designer, Photoeditor Course(s) Digital Layout, Advanced Digital Layout BRETT GROVES Degree(s) BFA, Pratt Institute Work Master Printer, Axelle Fine Art Prints, Freelance Bookbinder Course(s) Silkscreen Printing

ROLF ANDERSEN Degree(s) MPS, New York University; Tisch School of the Arts; BFA, Teknologisk Institut, Copenhagen, Denmark Website www.rolf-design.com Work Digital Artist, 2D & 3D, Graphic / Web Designer and Educator Course(s) Digital Layout 1 JASON BOOHER Degree(s) BA, Princeton University; AAS, Parsons School of Design, Graphic Design Work Designer, Alfred A. Knopf Course(s) History of Graphic Design CLAUDIA BRANDENBURG Degree(s) BFA, Rhode Island School of Design Website www.languagearts-ny.com Work Principal, Language Arts Course(s) Typography 1, Publication Design 174

JULIA GORTON Degree(s) BA, Parsons School of Design Work Children’s Book Illustrator & Designer Course(s) Graphic Design 1 DMITRY KRASNY Degree(s) MFA, Yale University School of Art; BFA, The Cooper Union School of Art Website www.dekadesign.com Work Principal, Deka Design Course(s) Typography 2 MARA KURTZ Degree(s) MA, The New School, Media Studies; BA, New York University; AAS, Parsons School of Design Website www.marakurtzstudio.com Work Graphic Designer, Photographer, Photo/Illustrator Course(s) Graphic Design 1, History of Graphic Design (online)

JOHN MALCOLMSON Degree(s) MFA (honors), Rhode Island School of Design; BFA, University of Canterbury, New Zealand Website www.teamproam.com Work Partner, Team Pro-Am Course(s) Graphic Design 3 TAMARA MALETIC Degree(s) MFA, Yale University School of Art; Post-baccalaureate Certificate, The Art Institute of Chicago; BA, Université des Sciences Humaines, Strasbourg, France Website www.linkedbyair.net Work Partner, Linked by Air Course(s) Typography 1 TED MAUSETH Degree(s) MFA, Tyler School of Art, Temple University; BA, Michigan State University Work Principal, Mauseth Design Course(s) Graphic Design 3 MARTIN MAZORRA Degree(s) MFA, American University, Washington DC; BFA, West Virginia University Website www.cannonballpress.com; www.martinmazorra.com Work Director, Cannonball Press Course(s) Photo Lithography & Graphic Design, Silkscreen & Letterpress

CHRISTINE MOOG Degree(s) MFA, Yale University School of Art; MA, University of Toronto; BA, Sarah Lawrence College; AAS, Parsons School of Design; Work Creative Director, Little Spoons Inc. Course(s) Portfolio & Process, History of Graphic Design WILLIAM MORRISEY Degree(s) BFA, Rhode Island School of Design; BA, University of Colorado Website www.wmwmwm.com Work Principal, wmwmwm Course(s) Graphic Design, Silkscreen & Letterpress RENDA MORTON Degree(s) BFA, Minneapolis College of Art and Design Website www.rumors-online.com Work Partner, Rumors Studios Course(s) Interactive Web Design MARK MULLIN Degree(s) AAS, Parsons School of Design Work Manager of Creative Services and Graphic Designer, Cleary Gottlieb Steen & Hamilton LLP Course(s) Process & Skills

ALExA NOSAL Degree(s) BFA, Montclair University; BA Montclair University Work Creative Director, Leap Course(s) Typography 1, Designing SUSAN MOLNAR Degree(s) BFA, Tufts University; Diploma, Symbols, Graphic Design, Silkscreen & Letterpress School of the Musuem of Fine Arts Work Principal, SuMo Design NYC Course(s) Digital Layout 1

ANDY PRESSMAN Degree(s) BFA, Cooper Union School of Art Website www.andypressman.com Work Partner, Rumors Studios Course(s) Graphic Design 2, Process & Skills

MUSHON ZER-AVIV Degree(s) MPS, New York University,; Tisch School of the Arts; BDS, Bezalel Academy of Art and Design, Jerusalem Website www.shual.com Work Co-founder, Shual Design Studio Course(s) Interactive Web Design 1 & 2

JEFF RAMSEY Degree(s) MFA, The Werkplaats Typografie, Netherlands; BFA, The Savannah College of Art and Design Website www.jefframsey.net Work Advertising Manager / Designer, The Museum of Modern Art (MoMA) Course(s) Portfolio & Process

TIMOTHY SAMARA Degree(s) BA, University of the Arts, Philadelphia Work Principal, Stim Visual Communication Course(s) Graphic Design 3

PAUL ROERAADE Degree(s) MA, Grafiska Institutet; Royal Instititute of Techonology, Sweden; AAS, Parsons School of Design; Website www.windup-design.com Work Principal, Windup Design Course(s) Interactive Web Design 1 & 2

DIEGO VAINESMAN Degree(s) BFA, Parsons School of Design Diploma, Art Institute of Boston Website www.40N47Design.com Work Principal, 40N47 Design Course(s) Graphic Design 2

WILLIAM VAN RODEN Degree(s) BA, Graphic Design, Rhode Island School of Design Work AVP Art Director of Books and Special Projects, Martha Stewart Living Omnimedia Course(s) Typography 2, Portfolio & Process ALEx W. WHITE Degree(s) MFA, Syracuse University; BFA, Graphic Design, Kent State University Work Design Consultant and Author of Graphic Design Books Course(s) Graphic Design 1 & 2, Portfolio & Process

FACULTY FACULTY 175

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PRODUCTION Alix Sorrell

DIRECTOR / EDITOR / PHOTOGRAPHER Katarzyna Gruda

SPECIAL THANKS Thomas Bosket Jim O’Connor Larry Jackson Denise Wallner Annemieke Beemster Leverentz

ART DIRECTOR Claudia Brandenburg

TYPEFACES Akzidenz Grotesk (Designed by Günter Gerhard Lange), Archer (Designed by Heofler & Frere-Jones Type Foundry)

DESIGNER / PRODUCTION DIRECTOR Brian McDermott

Credits and Acknowledgments

DESIGNER Shelly Suzuki

PRINTER Fernando Luciano, Project 44, Long Island City, NY

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179

46% 29% 13%

Typography Digital Layout Publication Design

8% 4% 180

Process & Skills Digital Imaging

The most crucial skill obtained while studying at Parsons 181

WORK 2008 VOLUME 80 70 60 50 40 30 20 10 Number of hours spent on this book

182

Director

Art Director

Designers

Administration

Production

Printing

Delivery 183