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Interior Book Design | Wiley

chapter title

•

35

Prepare Pieces1 Make a paper circle template using the circle making instructions in the technique chapter.

2 Fold the paper circle in half. Pin to wool blanket. Cut along the curve but add an additional 1⁄2 inch before cutting across the diameter (the straight side).

3 Cut out the rest of the pieces of wool and set aside all, but the handle.

SUPPLIES 2 wool half circles

small: 61⁄2" medium: 81⁄2" large: 121⁄2"

1 wool circle small: 12" medium: 16" large: 24"

1 wool rectangle small: 8 × 37" medium: 10 × 49" large: 12 × 72"

1 wool handle small: 3 × 81⁄2" medium: 3 × 101⁄2" large: 3 × 121⁄2"

Zipper small: 9" medium: 12" large: 20"

RulerRoll of paperScissorsPencilCoordinating threadStuffing material

PODSFinished Dimensions: TK

I first made these pods for a play space at a local store. I called them squat dots

because they made perfect spots for sitting and were sized just right for little

bodies. A soft stool, a mini ottoman, or a floor cushion… whatever you call them

these pods are versatile and inviting. Larger sizes beckon lounging, putting up your

feet and stacking. Each one sports a handle for easy toting from room to room. A

simple to insert zipper makes cleaning easy. They can be stuffed with a myriad of soft

items: from wool, to recycled sweater scraps. Try stuffing extra blankets or linens in

the larger size to create a storage unit that can be put to use and out on display.

PODS

STEP 2

A Wool

26"

8"

Wo

ol

40"

Shoulderstrap

3"

Wo

ol

15"

Griphandle

3"

B Batting

26"

8"

C Wool

26"

15"

Wool8"

A

Wool8"

C

Batting8"

B

chapter title • 41

FLEECE BEANIEBy Jennifer Hagedorn (Tie Dye Diva Designs)

In the time it takes to drink a grande mocha latte, you can knock out this cuddly warm

beanie. You can make the pieced crown from a single solid or printed fleece fabric, or

you can have fun alternating colors. You can use matching or contrasting fleece for the

band as well. Teeny beanies are wonderful for little ones. You can top one off with a cute

pom-pom or add a big fleece flower to make a perfect photo prop. For bigger folks, you

can make a sleek and stylish beanie. It’s a good thing this beanie is so quick and easy to

sew, because everybody is going to want one!

Sizes: XXS–L (Baby–Adult)

Skill Level: Beginner

Materials• Main fabric: 1⁄4 yard polyester fleece for the

crown (can use 2 different colors for alternating pieces, which requires 1⁄4 yard each). The designer used blizzard fleece (generic Polar Fleece) for this hat.

• Contrasting fabric: 1⁄4 yard polyester fleece for the band (will have enough left over for optional pom-pom)

• OPTIONAL: fleece flower or fleece pom-pom embellishment (see the appendix for fabric requirements)

143cardigans

RONIAshort-sleeved empire cardiganby linda wilgus

DIFFICULTYIntermediate

SIZE2 (4, 6, 8, 10, 12)

FINISHED MEASUREMENTSChest circumference: 22.5 (25, 26.5, 28.5, 30, 32)”Length: 14 (15, 16, 18, 20, 22)”

MATERIALS• [MC]CascadeSierra(80%cotton,

20%wool;191ydper100g);color:Color05;2(3,3,4,4,5)skeins

• US7(4.5mm)circularneedle,29”orlonger(or size needed to match gauge)

continued ➤

Roniaisasweetshort-sleevedcardiganthatknitsupquicklyinaworsted-weightcot-tonblend.Thelacepanelsdownthefront,

empire-waistshapingandslightlypuffedsleevescom-bineforawonderfullygirlytopthatwouldbeperfectpairedwithjeansorthrownoverasummerdressonacoolerday.Knitfromthetopdown,Roniaisentirelyseamless,andthelacepanelsareeasytowork,evenifyou’venevertriedlacebefore.

pattern notesCardiganisknitfromthetopdown,workingbackandforthonacircularneedle,withraglanincreases.

directionsyokeUsingcircularneedle,CO64(68,68,68,74,74)sts.Do not join.BeginningwithaRSrow,work3rowsink2,p2rib.

Nextrow(WS):Continuingink2,p2rib,work12(13,13,13,14,14)sts,pm,work8sts,pm,work24(26,26,26,30,30)sts,pm,work8sts,pm,worktoend.

Begin raglan shaping and lace panels

Row 1 (RS):*Kto1stbeforemarker,kfb,sm,kfb,repfrom*3times,ktoend.8stsinc’d.72(76,76,76,82,82)sts.

Row 2 (WS):Purl.

SUMMER TOPS

138 more knitting in the sun

RAMONAcamisoleby katherine vaughn

This simple camisole avoids ruffles and lace, and the racerback styling stays on her shoulders even when she’s swinging from the trees. The purled

diamonds echo the lace pattern from the Beezus cardi-gan, making them a perfect twinset.

DIFFICULTYAdventurous Beginner

SIZE2 (4, 6, 8, 10, 12)

FINISHED MEASUREMENTSChest circumference: 19 (21, 23, 24.5, 26, 28)”Length: 13 (14, 15, 17, 18.5, 19.5)”

MATERIALS• ClassicEliteAllegoro (70% organic

cotton, 30% linen; 152 yd/140 m per 50g skein); color: 5634 Best Berry; 1 (2, 2, 2.5, 3, 3) skeins

continued ➤

ramona stitch(multiple of 6 sts + 3)

Row 1 and all WS rows: Purl.

Row 2: K1, *p1, k5, repeat from * to last 2 sts, p1, k1.

Row 4: *P1, K1, p1, k3, repeat from * to last 3 sts, p1, k1, p1.



Row 10: *K3, p1, k1, p1, repeat from * to last 3 sts, k3.


Repeat these 12 rows for pattern.

directionsbackCO 61 (67, 73, 75, 83, 89) sts.

Next row (WS): P2 (2, 2, 3, 1, 1), work Ramona St across beg with Row 1, a WS row, end p2 (2, 2, 3, 1, 1).

Next row (RS): K2, (2, 2, 3, 1, 1), work Ramona St to last 2 (2, 2, 3, 1, 1) sts, k to end.

Continue in Ramona st as set until Back measures 8.5 (9, 9.5, 11, 12, 12.5)” from cast-on edge, ending with a WS row.


Interior Book Design | Wiley

So you have good content, you have interesting ideas, and you get the whole approach we’re talking about here. Now it’s about making the right choices (from the design concepts listed above) for how you visually communicate the data—what devices will you use? If publishing, always make sure you have permission to use these devices (like photos or cartoons). How can you represent your various “players?” Chances are, you are showing some combination of people, processes and deliverables—or inputs, outputs, and what happens in-between…

For instance: if you have a process you are showing in your map, how will you communicate a deliverable at the end of the process? Use the checklist callout on the following pages to clarify how to get your “visual voice” heard

What is the best way for your audience to establish an understanding of what you are trying to say? Content Coding may also be determined by the previously addressed topic of formatting. Certain kinds of information may not be possible in limited spaces, so consider that carefully as you determine your choices, based on your understanding of your audience.

All of these coding elements will create a type of “coding system.” When taken together, they will solidify your message, and if done correctly, will afford optimal success with your test audience.

Bullet Points. Have you attempted to avoid the typical use of bullets in your presentation? Is the audience listening to you first, and than then using your presentation to deepen the under-standing? Remember that to you, your presenta-tion is an index card to keep your story on track, but to your audience, it is a way to connect with you and your message. Make it interactive and respond to your audience in real-time, without an over-scripted plan.

Icons or symbols. Are your graphics achieving optimal effect in front of your audience? Icons can be explicit and/or pictorial, or implicit and/or metaphorical. Whether it’s a more obvious vi-sual or a thought-provoking one, an icon stands for something, like a stakeholder or decision-maker – and a lot of what it stands for has to do with what has already been accepted by your target audience or the world at large.

Photographs: a black and white (or color) pic-ture says a thousand words, but it’s also a differ-ent way to learn than reading. Selecting images to tell a story by first showing the experience and then describe it (in words) when appropriate.

Use of a Visual Hook. Is the best way to “center your approach” done through a central graphic that acts as a core for all your elements?

This approach eliminates the need for a large vol-ume of text and language that might be needed in a data-heavy graphic. It’s like the chorus in your favorite song that won’t leave your brain, and what makes the viewer exclaim “a-ha!” As a designer, you should make this hook the focal point of the design whenever possible, to heighten memorability by placing the hook at either the center or very end of the infographic so that it grabs more attention.

The “exploded or dimensional View.” This is a way to call out the detail in a high-level process – and a way to show what’s going on in there. Icons may accomplish this purpose fine, but sometimes this zoomed-in detail or a different angle or 3D approach brings the data to light.

Movement Devices. How can you be explicit about depicting processes or movement? Use arrows, lines, clustering and color to pull your audience across your graphic.

Cartoons, Illustrations or Line-drawings. This is a special way to create something memorable through humor and the style of the artist.

It’s time to accessorize: use your running shoes to quickly move far away, and your microscope to zoom in fast. Before you know it, we end up back at the beginning: our perception of the whole. We started with the squint test and the higher-level flow, and end coming back to that. Designers, painters, sculptors and artisans and photographers are all constantly shifting visual gears, examining the details and taking in the whole—and you must do the same.

Gestalt and visual psychology principles have numerous applications, many of which we have addressed in various direct or indirect ways in this chapter. A key takeaway of the approach is how we perceive the totality of elements on a page – they can’t always be measured objectively, but they can always be experienced subjectively. While the squint test is the flow of the information, the closely related ‘Gestalt of it all’ is how the pieces come together to create the whole.

Objectively and systemically we can evaluate the effects of the whole layout as much as possible – tweaking things if needed, but don’t spend too much time tweaking. Get your work into the testing phase quickly. You will probably have more changes to make after testing – it’s a work in progress.

It is a rare day when all visual devices are used in any single design. Have you used too much information, and is the message cluttered? Are you trying to use too many elements

VISUAL DEVICE CHECKLIST VISUAL DEVICE CHECKLISTLESSON 5DO YOU USE....

STMM_specs.indd 40-41 7/31/12 1:22 PM


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