the creation of this book, I have found that my creative process
both incorporates creation and evolutionary tactics. I draw
on both on very planned ideas, as well as aleatory processes.
This was especially evoked for me by the subject matter of
chose to take passages from Charles Darwin's Origin of the
Species and the King James Version translation of the book
of Genesis and incorporate them together into one piece on
the dominant narratives of the Western world as to how our
universe came to be. These two texts are very culturally charged
for Western culture, so I put them into a proverbial bottle
which I shook up to see what happened.
that is not entirely accurate. It was more planned than that.
As a born-again Christian, I definitely have my bias as to
which of the narratives I believe in, and that came through
in the text in ways both overt and subtle.
of the subtle ways I incorporated my belief into the piece
was through subliminal numerology. The number 3, that number
being so closely associated with the Christian God, makes
many appearances. To start off, the page proportions very
roughly correspond to the proportions from the musical scale
known as the major third. The leading of the text is done
in multiples of three points. The width of the column and
the images are 12p6, which also works out as a multiple of
three. There are 60 pages to the book, which is, not coincidentally,
a multiple of 3. More obviously, the two images that appear
on most every page along with the one column of text between
them make up three elements on each page.
the treatment of the two texts, I changed my methods. For
the Darwin text, I primarily let the text take its own shape,
only steering its appearance when an emergent form started
to make itself apparent. I tried to coax out the double helix
and chromosone shapes the text began to take as it evolved,
but those shapes were not planned. They just happened to work.
In contrast, the Creation narrative was very highly structured
and trimmed. I hoped to make the hand of an intelligent (I
hope) designer evident in the shape of the text and how it
interacted with the background text. There are no hyphens
in the Creation section, whereas I let them stay if they came
to be in the Evolution section.
are some of the ways that I employed design with intent to
illustrate the Creation side of this book. I wish it might
have been more along the lines of "Nils said, 'Let there
be a book' and there was a book. And behold it was good,"
but alas, it was not so.