Design of Nature

This paper embodies three main topics that repeatedly surfaced throughout my graduate experience. What is a design process? An intense study of the thing that you are designing. The design process is different for each individual depending on his or her attitude, character, and personal experiences. The designer must pull from these experiences and develop a process of approaching design. The process may be different for each project; however, the process is critical and must involve intro­ spection, experimentation, and comprehension of the problem. With this grab bag of attitudes and willingness to experiment the designer develops an idea that is uniquely his or her own. The process must be fully understood before the illumination can occur. Being disconnected from my family has influenced my attitude about family. As a designer, it is impor­tant to me to acknowledge memories through thoughts that were expressed by me and my family members about the memories we have of ourselves, our homes and our rituals. My move to Utah has deeply influenced my visual perception of the surrounding natural environment. Since moving here, I have observed how closely humans are connected with nature. More specifically, I have contemplated my own connection with nature. Salt Lake City is surrounded by wilderness, and has aroused in me an intense interest in this undeveloped landscape. I began to think about how this interest in nature could be connected to design. What design principles and elements are exhibited in nature? How do I transfer observations of nature into visual communication? Not only was I curious to explore the relationship between two unrelated variables - nature and design, but I also wanted to educate and arouse interest in natural areas surrounding Salt Lake City that may be well travelled, but not fully understood and appreciated. Therefore this creative project fulfills two different purposes:To explore the elements and principles of design and relate them to observation and research on Big Cottonwood Canyon, to use design to edu­cate people to instigate a change in behavior when travelling in natural environments.

A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Fine Arts Carol Ann Bunker Department of Art The University of Utah June 1998 Design o f Nature Copyright © Carol Ann Bunker 1998 All Rights Reserved The University o f Utah College o f Fine Arts Supervisory Committee Approval of a thesis submitted by Carol Ann Bunker This thesis has been read by each member of the following supervisory committee and by majority vote has been found to be satisfactory. / 9s Date / Raymond MbralevChairperson /ate X7~ Date Fred Wright The University o f Utah College o f Fine Arts Final Reading Approval To the Graduate Council ofThe University of Utah: I have read the thesis o f Carol Ann Bunker in its final form and have found that (1) its format, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate Schp Date Raymond Morales Chairperson, Supervisory Committee Approved for the Major Department Nathan B. Winters Chairperson Approved for the Graduate Council Phyllis Haskell ^ ' Dean, College of Fine Arts Abstract This paper embodies three main topics that repeatedly surfaced throughout my graduate experience. What is a design process? An intense study of the thing that you are designing. The design process is different for each individual depending on his or her attitude, character, and personal experiences. The designer must pull from these experiences and develop a process of approaching design. The process may be different for each project; however, the process is critical and must involve intro­spection, experimentation, and comprehension of the problem. With this grab bag of attitudes and willingness to experiment the designer develops an idea that is uniquely his or her own. The process must be fully understood before the illumination can occur. Being disconnected from my family has influenced my attitude about family. As a designer, it is impor­tant to me to acknowledge memories through thoughts that were expressed by me and my family members about the memories we have of ourselves, our homes and our rituals. My move to Utah has deeply influenced my visual perception of the surrounding natural environment. Since moving here, I have observed how closely humans are connected with nature. More specifically, I have contemplated my own connection with nature. Salt Lake City is surrounded by wilderness, and has aroused in me an intense interest in this undeveloped landscape. I began to think about how this interest in nature could be connected to design. What design principles and elements are exhibited in nature? How do I transfer observations of nature into visual communication? Not only was I curious to explore the relationship between two unrelated variables - nature and design, but I also wanted to educate and arouse interest in natural areas surrounding Salt Lake City that may be well travelled, but not fully understood and appreciated. Therefore this creative project fulfills two different purposes:To explore the elements and principles of design and relate them to observation and research on Big Cottonwood Canyon, to use design to edu­cate people to instigate a change in behavior when travelling in natural environments. Contents Abstract iv Acknowledgements w Retrospective 1 Family books 1 Process Collages 4 Magazine E d ito ria ls 4 Type Specimens 6 Creative Project 9 Justific ation 11 Thesis Problem 12 Delimitations 13 Antecedents / Precedents 13 Process /Methodology 17 Evaluation 27 Conclusions 28 Further Directions 29 Glossary 30 Bibliography 32 Acknowledgements Deepest thanks to my supervisory committee for their guidance. To Ray Morales for his questioning and unique way of approaching design. To Mac Magleby for his good nature, to Fred Wright for his technical knowledge. Special thanks to Tim Drew for his enthusiasm and dedication to the graduate program. To Joe Marotta for his guidance and dependability. To Nate Winters for his encouragement. To all of those involved in assisting me with gathering of information for the creative project, especially Larry Clarkson for his wilderness knowledge. To Steve Scheid, Russ Hone, The Utah Society for Environmental Education and all others that assisted with research, including the Wasatch-Cache National Forest.!hanks to Jeff Conger for his friendship and good advice. Thanks to Robert and Joan for their encouragement, support, guidance and love. Retrospective The retrospective aspect of my graduate show highly influenced the development and execution of the creative project. This part of the show takes the viewer step by step through the development of a new design process. Through questioning, analyzing and discovering, the full understanding of one's design process will teach the designer to develop more successful results. In this sense, looking at the development of these designs is important. The Family Books I was initially interested in creating a book about my immediate family. This general approach was elaborated on and developed into several different projects that explore this topic. The purpose of these books is to illustrate each family member and the rituals and traditions that we participated in. I developed a questionnaire in order to get each member's unique perspective on these memories. It was sent to all the family members - Brian Edward Bunker, Don Allan Bunker, Joan Carol Bunker, Robert Franklin Bunker, as well as me, Carol Ann Bunker. It included questions such as: What are some important things you remember about the houses that we lived in?, Describe certain events that defined "you" as a member of the Bunker family, list family rituals and traditions that were participated in, describe yourself from childhood up to present day, what things affected your character?. This information was subdivided into two categories that represented each book: homes and personalities. The questionnaire responses significantly influenced my approach to these books. Each person wrote it from the perspective of their memories of those events that occurred in each home. Because of this, the decision was made to document the responses verbatim as well as add my responses, to represent the text. "The Bunker Homes" - Methodology The first book created is about the four homes that our family lived in when we (Don, Brian, and Carol) were growing up. This book looks at our family history and how it developed in each o f our four homes: 34125 Northwick in Farmington Hills, Michigan; 1309 Sylvan Lane in Midland, Michigan; our cottage at 12050 Victoria Drive in Mecosta, Michigan; and my parent's retirement home at 25417 Ranchwood in Farmington Hills, Michigan. The structure of these homes reinforces our memories. The distinct structural elements make each home unique. These structures are recognized through the layout of the type. The page layouts are based on a structural line analysis of the four homes. The lines were determined by analyzing photographs of the houses. The structural lines that make up each house were then recorded and a grid was devised. The type runs along these lines, giving a slight indication to the reader that there is an underlying structure to the information recorded in this book. The thoughts documented by each family member lay on a different axis of the structural grid. Each individual's thoughts are denoted by a different weight of Helvetica. For example, 45 Helvetica Thin represents Carol Bunker, 86 Helvetica Heavy Italic represents Donald Bunker, 46 Helvetica Light Italic represents Brian Bunker, 55 Helvetica Roman represents Joan Bunker, 66 Helvetica Medium Italic represents Robert Bunker. The use of typography captures both the presence of the individuals and the inflections in their voices. Throughout the book the reader will acknowledge that sometimes thoughts related by each individual will overlap. Often times, more than one person will contribute to the story being told, much like some of the conversations our family would have around the dinner table (Figure 1). As the reader proceeds through the book he or she travels on a journey from one home to the next, experiencing different events relayed by each individual's interpretations of those events. Figure 1. Family Conversation Overlapping "The Bunkers"- Methodology The second book correlates to the first book in that it is w ritten through the eyes of the five different family members. Further, each individuals thoughts are denoted bv die same weights of Helvetica that were used in the family homes book. However, this book utilizes illustrations to J convey a visual story about a specific family member's personality. The idea was to develop illustrations that were somewhat abstracted so that the viewer does not fully understand it unless he or she reads the text. Each family member describes himself or hersell. Therefore, reading the text gives a sense o f what that person is about. By flipping the page the reader views an illustration representing that person. The illustrations were developed by highlighting some important aspects about each unique person (Figure 2). Although the illustrations are different, they relate as a whole to one another through use of colors and illustrative stvle. Figure 2. Illustration o f Brian Bunker - Engineer Process Collages The development of these books inspired the creation of the collage paintings that hang behind the book displays in the gallery (Figure 3). My interest in the design process fueled the creation of the collages that were pieced together with pages from process notebooks. These process notebooks documented die stages that I went through to arrive at mv final product. Just like memories of events that occurred in the past, these collages tell only a little piece of the story. Thev were not intended to be fully understood or read from start to finish like a book; however, pieces of the collages trigger different memories like a scrapbook of momentos from specific events that occurred in our lives. They also emphasize the importance of process. The intent was to reveal the process, for the process triggers die end result; therefore the process must be credited in some significant way. M agazine E d ito ria ls - Methodology These projects directly correlate with "The Bunker Homes" and "The Bunkers" books. This series utilizes a format similar to that used by journals and periodicals to convey a storv. The goals of this project were to find an article about a family, find an unrelated advertisement for a product and relate these two unrelated topics through an editorial page. The purpose was to redesign the layout according to my reaction to the article as well as connect the unrelated advertisement to die storv. The development of die three spreads "Together Forever" are die results of this work (Figure 4, p. 5 ) .They draw on irony and contrast in an effort to reinterpret, transform, and develop a personal editorial slant. The advertisement for a table and chairs creates an added meaning to the article. The table is the immobile item. The chairs can swivel and function independently without the table. These items become symbols for the girls. Although thev share one body, they are two unique characters, much like the chairs. The approach taken throughout the development of this page would later influence choices made for the latter half o f this project. The latter half o f this editorial series was the writing, the illustration, and the design of a storv about my family. It was to be a story about a specific event, not elapsing over long spans of time. This story incorporates hand painted illustrations in an attempt to express the theme of die storv (Figure 5, p. S). The story was about the experiences I had as a child on the tow rope at our cottage. It was not a particularly positive event, and the development of the illustrations coinciding with die typography reflected the struggle that occurred. Figure 3. Process Collage. "A State of Mind" 1S.5"x25.5" Process Once again, the process dictated the results. Initially, a set of rough layouts was developed utilizing tissue paper, xeroxes, and tracings of the letterforms to indicate text type. The ideas developed in this stage are not influenced by the computer. Upon further development of these roughs the computer will come into play. However, creative obstacles occurred due to too much time devoted to the laying out of the piece on the computer. The original ideas were forgotten due to the experimentation of computer techniques. In this particular case it is noticed after the printouts are made, possibly a few' days later. As a result of this, I decide to return to the sketching and pull away from the computer. Upon returning to the computer, I approached it with restraint. Not to be enamored with the things that the machine can do, rather, use the words and the information to tell the story to emphasize the most important points. This process of retracing my initial steps became a turning point for my design. This project impacted my design process as well as my attitude towards the computer. resenete Figure 4. Magazine Editorial, "Together Forever', 11 "x 1 7 " Copyright © 1 9 9 6 Time Inc. All rights reserved. Reprinted with permission of LIFE Magazine. Figure 5. Magazine Editorial, "The Rope*, 11 "xl 7" Cop/right © J 996 Time Inc. All rights reserved. Reprinted with permission of LIFE Magazine. Type Specimens - Methodology The purpose of this project was to gather information about five different typefaces. Helvetica, Univers, Baskcrvillc, G o u d y O ld S ty le and Perpetua were selected. The typefaces were selected because of their similarities, but at the same time these faces were chosen to uncover the differences between them (those differences that make them unique). Accordingly, the sans serif typefaces were compared and contrasted as well as the serif typefaces. Information was then gathered based on three different categories. These categories filtered the research in an effort to narrow down the subject matter so that the reader would learn the same information about each typeface. The three categories were: the type designer, typeface influences (i.e.: the period, movement or any other preceding events that may have influenced the development of that specific typeface), unique typeface characteristics (any aspect of the typeface that made it unique). The research was then placed into one of these three categories. There was a fourth category that was created specifically to bridge the research to the design. This category was a grid system (Figures 6 -10).The grid was intended to be based off some unique characteristic researched in one of the three categories listed above. The purpose of the grid was to serve as a template to begin layout of the design. Seeing that there would be five different typefaces housed under the roof o f one 1 l "x l7 " book, the grid would later be slightly altered to accommodate all five typefaces and draw a common theme throughout the book. This grid was just a starting point for ideas to be developed. Baskerville's grid was devised from a structural line analysis of John Baskerville's printing press. Goudy's grid was devised from a structural line analysis of the main room of The Village Press, Frederic Goudy's first printing company. Helvetica's grid was devised from a page designed by Josef Muller Brockmann, a designer who significantly influenced design during this time period. This page was reflective o f the Swiss Style that characterized the development of modern typefaces, one being Helvetica. Univers' grid was derived from a wood engraving o f specimen scripts that Adrian Frutiger created when he was a student at the Zurich School. Perpetua's grid was derived from an illustration created by Eric Gill in a book called The Passion of Perpetua and Felicity. This grid emphasized Eric's interest in illustration and hand engraving. Figure 6. Helvetica Primary Grid Figure 8. Baskerville Primary Grid Figure 7. Univers Primary Grid Figure 9. Goudy Old Style Primary Grid Figure 10. Perpetua Primary Grid After the grid was devised for each typeface, the three categories of research were laid out on the page. Each page had three sections: each section devoted to one of the research categories. The page layout also included a specimen of that typeface. The specimen highlighted unique letters and characteristics of that specific face. As the page layout evolved, so did the grid. As a result, another grid was devised. The purpose of this grid was to develop a common theme throughout the pages of these uniquely different typefaces.The grid placed the name of the typeface in large letters in the same position on each page. It also embodied a photo that related to each typeface. The photo typically was placed in the lower left hand corner of the page (Figure 11). However, this rule did not apply to Univers (Figure 1 2). The placement of the photo deliberately violates the grid, but does not affect the book as a whole. Some of the pages also housed a secondary grid that related to the initial grid devised for that specific page. Not all of the pages have a secondary grid; however, in some cases the primary grid was hindering the layout of the text. Therefore in those specific cases, a secondary grid was devised. For example, Perpetua's secondary grid was derived from a photo of Eric Gill's hand at work drawing, the type runs along the curves of his hand, implying a hand carved look to the type (Figure 1 3). This layout is reflective of the fact that Perpetua was hand engraved by Eric Gill. Helvetica's secondary grid was an enlargement of the capital letter G. The capital G exhibits many characteristics of Helvetica that differentiate it from Univers; therefore the type runs along the curves of this letterform (Figure 14). Figure 11. Helvetica Type Specimen, 22"x34" j sV ..UI llo luiv/efl/roc Figure 13. Perpetua Secondary Grid Figure 14. Helvetica Secondary Grid Figure 12. Univers 1ype Specimen, 22 "x3 4 " The primary grid, secondary grid and overall grid for these typefaces may not be evident when the viewer looks at these designs. Yet, it should not necessarily be evident. The purpose of the grid is to serve as a template for the design. It should not serve as the end result. The grids are important to the development of this project; however, the uncovering of information about these typefaces and the categorization of this information are also equally important in establishing the design approach taken. The uncovering of information about these typefaces is important because it helps the designer understand the history of typography. It also helps the designer make educated choices about what typefaces to use for different projects. The categorization o f this information is also important because it simplifies the vast amount of information that could be relayed about these typefaces. It is the designer's responsibility to filter through research and select the most important points from the research that he/she wants to relate to the audience. The designer must do this with all projects that he/she is involved in. The designer is an integral part of the communication process and must therefore select what is to be communicated based on what the project is about, who the audience is and what message is being relayed. Important aspects that determined the design of each page are as follows: Baskerville: a transitional typeface, a concern for only printing in books o f consequence, a move towards modern type design; Goudy: hand cut metal patterns, type casting, an old style typeface (Figure 15); Helvetica: specific letterforms that differentiate it from Univers, the influence o f the Swiss Style, the development of the Neue Helvetica series, the large x-height; Teipetua: the influence of Eric Gill's background, the emphasis on hand carved type, stone engraving, and line quality; Univers: the influence of Adrian Frutiger's background, the numerical naming system, the Swiss Style, a typographical comparison to Helvetica. Initially this series was created as a book. However, for the graduate show they were enlarged to poster size. The bibliography denoted each typeface according to the time period they derived from, as well as the books that were referenced for research.The title, "Query Type" denotes the main purpose behind this type specimen series. It was meant to inform the viewer of unique characteristics that make up typefaces in an effort to encourage designers to select a typeface with as much care and research as they devote to the creation ol their designs. Creative Project When you look around, most of what you see is designed by a designer o f some sort. When persons think of a designer they may relate it to one specialty of design, for example interior design, product design or logo design. A graphic designer may end up dabbling in many of these categories. Since each designer thinks differently based on who the client is, what he or she is designing and what purpose the design serves, it is difficult to pinpoint what design is. However, in all areas of design, the designer must consider both form arid function. This idea is best expressed in the words of designer Paul Rand. "Ideally; beauty and utility are mutually generative. In the past, rarely was beauty an end in itself.The magnificent stained glass windows of Chartres were no less utilitarian than was the Parthenon or the Pyramid of Cheops. The function of the exterior decoration of the great Gothic cathedrals was to invite entry; the rose windows inside provided the spiritual mood. Interpreted in the light of our own experiences, this philosophy still prevails." 1 A good example of form and function working harmoniously together is nature. All of the unique rock formations that you see in Big Cottonwood Canyon within the Wasatch Mountain Range are created by natural processes spanning over millions of years. The rock within this canyon that once began as sand dunes was baked into the metamorphic rock that it is today. This rock bears the scars of glaciers and earthquakes that helped create the steep walls of these mountains. A stream then cut away at the rock walls to create this canyon. These functions of nature have collaborated together to create one of the most beautiful canyons in the Wasatch mountains. Therefore, a perfect example of form resulting from function. Through spending time in natural environments like this one, you can see nature's sense of design. Not only is it evident in form and function; it is also an excellent example of basic elements and principles of design: line, texture, shape, color, value, movement, proportion, contrast, unity. Persons like Frank Lloyd Wright elaborated on ideas about nature/design through means of a similar 19th century concept called Conventionalization. Conventionalization was the means of abstracting nature into it's pure geometric form. "Designers of decorative arts and architectural details often used the concept of conventionalization for flat, two dimensional design.Wright differed from his contemporaries in his use of conventionalization by associating a formal aesthetic process with its cultural and social implications. He believed that the discovery of these forms and their representation in architecture could tranfform the ^ Paul Rand. Thoughts on Design (New York: Van Nostrand Reinhold Company, 1910) 10 society of that culture and create a harmony between a society's institutions and its individuals'' ^ Wright elaborated on the idea o f conventionalization so much so, that for him, it became more about a way to conduct one's life. It is my interpretation that Frank Lloyd Wright was trying to establish a unity between humanity and nature. He was attempting to reconnect the socialized, urbanized person with nature through architecture, as well as, establish a belief system about how the world should be. Wright experimented with methods of design that were inspired by nature, and as a result, became a pioneer of future developments within the world of architecture. Wright made a connection from a seemingly unrelated interest in nature to architectural design. Most good designers make these type of connections, and, as a result, stumble upon new ways of thinking. This idea was explored in a book called "The Design Concept" by Allen Hurlburt. "All innovation and most design is the result of connections - the link between experience and action, between deductive logic and inductive insight between the analysis of a problem and the verification of its solution." 3 This idea was best understood and explained by designer Charles Eames. He believed that connections were fundamental to his own problem solving. "To Eames the communication of difficult information to large audiences was essential, and the making of connections was imperative-connections between Copernicus and modern concepts, between mathematical abstractions and human experience. " ^ Within this arena lies my personal interest in making a connection from thoughts about nature in order to develop new concepts in graphic design. Ideas mentioned above -form and function within the workings of nature, and nature's relationship to basic design elements and principles--are examples of the connections that I am interested in exploring within this creative project. These ideas will collaborate with information I have gathered about Big Cottonwood Canyon, in an effort to educate people to instigate a change in behavior when traveling in natural environments. ^ Anthony Alofsin. Frank Lloyd Wright - The Lost Years 1910-1922 (Chicago: The University of Chicago Press, 1993) 120, 121 3 Allen Hurlburt. The Design Concept (NewYork: Watson-Guptill Publications, 1981) 114 ^ Allen Hurlburt. The Design Concept (New York: Watson-Guptill Publications, 1981) 114 Justification Through exploration o f personal connections with nature, this creative project has revealed new ways of approaching design by observing and comparing design elements and principles to observations made in nature. The methods explored in this project may encourage design educators, students or professionals to draw from their own personal experiences and connections with seemingly unrelated interests, to ultimately use these as a source for further experimentation within design. Not only does this project stimulate designers to integrate outside interests into their own design processes, it also explores the basic theories of design through observations of nature. This project is an excellent tool for the new designer, as well as for the experienced.These basic elements and principles o f design are often taught in basic art classes but are assumed to be understood by the upper level classes in beginning graphic design. This project is an excellent resource for the graphic designer by taking basic elements and principles of design and translating these theories to visual communicators, utilizing typography and graphics as the predominant medium. As a result, graphic designers gain a better understanding of how to integrate basic principles of design, like proportion, into their own projects. Furthermore, by drawing a relationship to observations of nature, this project translates these theories into the outside world, as well as, possibly awakening the designer to the workings of design that surrounds him or her daily. Lastly, this project will inform the public about Big Cottonwood Canyon within the Wasatch Front in an effort to encourage responsible actions when traveling in this canyon. Residents of Salt Lake City need to consider that the Wasatch Front canyons are visited by 12-14 million people annually.-' In comparison to Yellowstone National Park, which received 3.1 million visitors last year, the Uinta /Wasatch Cache National Forest received 35 million visitors last year. Eighty percent of this traffic was in the Wasatch Front (Big, Little Cottonwood Canyon, Millcreek Canyon). Furthermore, according to Russ Hone, the watershed-protection administrator for Salt Lake City, only 25 people (including watershed officers, county sheriffs, and back-country rangers) are patrolling these areas. ^Governor's Office of Planning and Budget. "Demographics/Taxes" Life in the Valiev. 1996, p 24-34. The responsibility to keep it clean and undamaged is up to the citizens that use it. Big Cottonwood Canyon will not survive without the care and support of the land users. By increasing the land user's knowledge and encouraging conscious behaviors, environments like this one will be in existence for future generations to utilize. Thesis Problem This project develops design methods based on observations made in nature, and is intended to increase environmental awareness in an effort to encourage preservation of natural areas. Based on research on Big Cottonwood Canyon within the Wasatch-Cache National Forest, four design principles (proportion, movement, contrast, unity) and four design elements (texture, line, value and shape) were selected in order to develop new design methods. These elements and principles are individually juxtaposed against each other and applied to different categories of information about the canyon that are derived from research. The visual communication that was created as a result of this is intended to educate persons about current laws and problems that are occurring as a result o f human travel within Big Cottonwood Canyon. This exhibit is also intended to instigate a change in behavior when traveling in this canyon, as well as, other natural environments. Delimitations This is not a study of the natural occurrences, biological studies or geological analysis of the wilderness. This is not a study about the history of the Wasatch National Forest. Rather, the visual communication created as a result of research for this project is intended to educate the audience about this wilderness area. This study is not directed towards the land developer, corporation, or government agency. It will not address land management issues that involve current or future land development or problems that are a result of residential, or resort area pollution. Rather, this project addresses the recreational land user that travels within these areas. The goal of this project is not to embark on an ecological campaign to save our natural areas. An teceden ts / Preceden ts Martin, Peter. Atlas for a Typeface Exploration Richmond: School of the Arts, Virginia Commonwealth University. This book studies the universal attributes of typographic form: texture, rhythm, structure, kinetic, and tonality. It individually juxtaposes each typographic principle with point, line and plane with a specific opposing theme that doctrine the design of the page. For example, one spread might explore the principles of point and texture with an opposing theme of smooth/rough. By using typographic principles, juxtaposed with design elements in an effort to explore a specific theme, The Atlas for a Typeface Exploration is a good reference for a study that is similar to this creative project. However, it is not meant to be read front to back, but is only a visual display of various typographic manipulations. It is utilized as a inspiration for ideas explored within this creative project. Nebeker, Kinde. Graphic Design and Social Responsibility Salt Lake City: University of Utah, 199S. This thesis focuses on the idea of being a socially responsible graphic designer, contributing to the greater good, by optimizing the function of design and minimizing excess. The intent is to educate people about alternative ways to use only the things they need for sustainability and being responsible for this material after the use has been met. This thesis relates to my creative project by utilizing design in order to educate the public about their responsibilities to nature. It embodies similar philosophies as this creative project. However, the content of the visual communication focused more on recycling, conserving waste and other issues of ecology that are not covered in my creative project. The Salt Lake Tribune, Canyons o f the Wasatch An overview of the Wasatch Range, its conditions and challenges, historical perspectives, canyon geology, discussion of watershed, wildlife and recreational values, along with a view to the future. This newspaper magazine gives an overview of the Wasatch Mountains, and the issues that are happening within it. It highlights several of the canyons within the Wasatch-Cache National Forest, including Big Cottonwood Canyon, Little Cottonwood Canyon and Millcreek. It does not go in depth about a specific canyon. It is a good guide to get an idea of what some of the issues are, but the magazine does not have enough information about Big Cottonwood Canyon to draw conclusions. Therefore, this magazine is a good starting point for research on this canyon. United States Department of Agriculture. Wasatch-Cache National Forest Land and Resource Management Plan The USDA Wasatch-Cache National Forest Land and Resource Management Plan states...The goal o f the Forest Plan is to provide for multiple use and sustained yield o f goods and services from the National Forest in a way that maximizes long term net public benefits in an environmentally sound manner.6 It describes resource management practices, levels of resource production and management, and the availability and suitability of lands for resource management. This plan covers all lands that are managed by the Wasatch-Cache National Forest, including the Wasatch United States Department of Agriculture. Wasatch-Cache National Forest Land and Resource Management Plan. (Salt Lake City: U.S. Government Printing Office, 1984) p 1-1 . Front, which is managed by the Salt Lake Ranger District. This plan describes the types of plant, animal life, water, and soil variations within each Ranger District Area, such as Big Cottonwood Canyon. This plan is excellent research material for my creative project. It categorizes the land, land uses, plant, and animal life in order to determine what areas are affected by development and human travel. Although this document is very informative, it provides much more information that is not applicable to my creative project. Therefore it is used strictly as research, providing guidelines to layout the information in a way that is more visually effective. Tufte, Edward R. Envisioning Information Connecticut: Graphics Press, 1990, p53-66. The methods of separation and layering were experimented with prior to development of a methodology for my creative project. These methods have a causal connection to the creative project. Separation is a conceptual device used to emphasize the most meaningful part of the content of the image. Separation plainly marks out, it is direct and intentional and should be very clear, spelling it out to the viewer. It does not use techniques of cropping or juxtaposition. It does not deal with syntactics, only semantics. It involves extension and naming. It is convergent and denotative. I gathered a variety of images from Big Cottonwood Canyon. The content of these images was analyzed in terms of icon, symbol and index. Images then were combined from these three different categories. The visual application of separation included a variety of techniques and devices. Images were manipulated through: spatial relationships, color, visual rhythm, repetition, distortion, combination of contrasting viewpoints, texture, contrast (Figure 16). These techniques were carried out in a manner of working from simple to complex. Figure 16. Separation Technique Applied to Categorized Images Layering was another concept explored extensively through experimentation. Layering is strictlv a formal derice. With layering you work as a pure formalist, aesthetic qualities onlv. It is a conceptual derice used risuallv to focus on formal relationships. The viewer should be recognizing it for its formal attributes, not the content. Layering removes die meaning o f something bv taking it out of its context. It is an abstraction from their signification and dieir cues and interpreters.The interpreters are symbols, icons, and indexes. Layering is suggestive. An abstract shape or painting is not layering. If the integrity of the image is lost to the point of total abstraction, it is not considered layering. Layering deals w ith syntactics. Layering is connotative; it suggests additional meaning. Mv research of die Wasatch Cache National Forest Land and Resource Management Plan was divided into four different categories: soil/rock, water, wildlife/fish and plants/trees. Layering was developed by using all diree o f the interpreters (index, icon, svmbol) from each of the four research categories. Indexes, icons, and symbols were combined to achieve layering.They included graphs, diagrams, statistical information as well as all of the different type of images collected during die image gathering process. Much like separation, these images were combined working from simple to complex (combining two images, then three, etc.) so that they were removed from their context, thus removing the meaning behind them. Experimentation also included creating layering bv hand using transparencies, xerox copies, color copies, ink transfers, paint and pastels. The idea w as to achieve a layered look. The final image, if layering was achieved, looked as if the images were placed on top of each other in transparent layers (Figure 17). Figure 17. Layering Technique Applied to Categorized Images 16 Although both o f these methods have a causal connection mv creative project, these methods were not incorporated into the methodology that I developed for the creative project. Day, Ben. Fracture Method Fracture focuses on the content as well as the formal aesthetics. It utilizes cropping and distortion to emphasize the most meaningful parts of the content. Although fracture deals with trying to emphasize the most meaningful part o f the content (like separation does), the techniques used to achieve fracture are totally different. Different processes are employed because different techniques are used. Fracture is not necessarily marking it out plainly, rather, it draws attention to the most meaningful part. Fracture is semantics (relating to the meaning of the content) and syntactics (formal relationships). Fracture is both denotative and connotatdve. Different visual devices can be used to achieve fracture: cropping - dramatic cropping of the image; distortion - extreme manipulation of the image, juxtaposition - fracturing the image then putting it back together to add new meaning; breaking * breaking a word or image in half to enhance the content; flipping - an element so that it reads wrong; repetition - overlaying elements many times, placing an element on a different plane - if the grid is horizontal but the element is placed on an angle. Although this method has a causal connection my creative project, it was not incorporated into the methodology that I developed for the creative project. Process / Methodology As mentioned before, methods developed in the retrospective aspect of the graduate show directly influenced design process and methodology for this poster series. Without the development of the retrospective show the creative project never would have evolved to the sophistication of the finished work. Research Big Cottonwood Canyon was selected as the focus of this campaign. There are several reasons this particular area was chosen. Through reading newspaper and magazine articles about current issues threatening the natural areas that surround Salt Lake City area, I discovered that Big Cottonwood Canyon, in particular, was unique. Big Cottonwood Canyon is one of a small number of watershed areas that are adjacent to Salt Lake City. It is also an area with heavy traffic: hikers, climbers, picnickers, bikers, and skiers. It is, one of the most beautiful canyons I've seen near Salt Lake City, and accessible to area residents. It also is beginning to suffer the effects of a highly populated area around it. Pollution problems in Lake Blanche(an area in this canyon) is an example that was noted last summer in the Salt Lake Tribune. "The water in this beautiful alpine lake may appear pristine, hut even here the effect of too many people is becoming obvious. Samples collected from the rolling stream that drains the lake show that bacteria levels have quadrupled in the past three years. Blame is being placed on poor sanitary practices by the thousands of hikers and campers who are attracted to this rocky perch among the highest peaks in the Wasatch Mountains. " - Salt Lake Tribune 6 /3 0 /9 6 . This article is just one example that represents many areas in Big Cottonwood Canyon that are revealing signs of human pollution. Therefore, the selection o f Big Cottonwood Canyon was based on the need for more wilderness awareness, the interest in the diverse geology and aesthetic canyon has to Salt Lake City. Upon selection o f the area, written research was gathered. The research falls into several different categories.These categories included existing education materials and programs about Big Cottonwood Canyon; newspaper articles about current issues dealing with threats to natural environments in the Salt Lake City area; Wasatch-Cache National Forest documentation such as Environmental Impact Statements, Management Plans, and Environmental Assessments; and Salt Lake City Corporation's documents that relate to Watershed Management and population. Research also included various information on the Wasatch Front, books about hiking, camping, biking in National Forest lands, wilderness awareness and general ethics when travelling in a National Forest. Further research about current issues regarding this area were also conducted through interviews with persons in the Forest Service, Salt Lake City Public Utilities Corporation, the Salt Lake Ranger District of the Wasatch-Cache National Forest, The Utah Society for Environmental Education, and Entrada. beauty of the canyon, as well as the proximity the 3 Image Gathering Image gathering began with extensively photographing Big Cottonwood Canyon. This included focusing down on some areas within the canyon itself including areas highlighted on Figure 18. Further image gathering included making ink and graphite rubbings of leaves, rocks, and trees, pen and charcoal drawings, scanning found objects, graphs and older photos and signage from historical books written about Big Cottonwood Canyon. All o f these images were compiled and utilized for experimentation; exploring different design strategies, conceptual approaches and form and content relationships. The collected images were reassessed and the main issues were defined as litter, overcrowded areas, violation of a fire ban, defacing nature, tremendous growth in Salt Lake City, plant species threatened by encroachment, threatened animals, coliform bacteria in the water, no value for natural areas, a general disconnection with nature. The content of these images was analyzed in terms o f icon, symbol and index. The methods o f separation and layering, developed byTufte, were used to manipulate these images. This process can be referenced on page 9 of the antecedents/precedents section. These methods have a causal connection to the development of the methodology for my creative project. However, separation and layering are not method explored in the poster series. Rather, images were combined with typography in an effort to visually communicate the methodology I created for this poster series. Methodology The methodology for this creative project derives from the research I gathered. The research is divided into four categories: water, wildlife/fish, soil/rock and plants/trees. This information was referenced in the 1989 Wasatch-Cache National Forest Land and Resource Management Plan. The information documented in this appendices, as well as in Environmental Impact Statements and Environmental Assessments, is categorized in this manner in order to assess how development or travel in an area will affect each category. These data are broken down in these categories in order to get a complete analysis of the land. In my creative project, I thought that it was important to retain these categories when documenting and designing the thesis posters. In this manner, the viewer would get specific information about a certain category and it would be easier for the reader to comprehend. 19 Figure 18. A Portion of Big Cottonwood Canyon in the Wasatch-Cache National Forest. Subcategories were developed as well. The subcategories were derived from my own interpretation of the research. Upon reading (he materials gathered from the Wasatch-Cache National Forest, and general information about wilderness and wilderness ethics, I wanted to convey information that 1 thought was important. The subcategories were derived with the idea of a call to action. They were intended to not only give information about the land and parallel the information presented in the main categories, but also more importantly, encourage the viewer to act responsibly when travelling through these areas. As a result the subcategories developed include information on The Wilderness Ethic, The Wasatch Front and Leave No Trace Camping/Biking. The research about Big Cottonwood Canyon was arranged into categories that would best convey the information. However, there is another aspect that was critical to the development of the methodology. I was also interested in developing a design aspect to the methodology found in my cognitive source, based on observations of nature. Based on this, I reinterpreted what I saw in nature and related it to design. When looking at and travelling through the natural environment of Big Cottonwood Canyon, design principles and elements become very evident. My interest in nature lies in its variety o f elements. Whenever I hike on a trail I notice colors, textures, values, and lines. They are all combined together in an unusual way so that they create notions of contrast, proportion, movement, and unity. Only in nature does this combination of so many different things work so well together to create an organic unity. My observations revealed a certain level of design within nature, and I set out to decipher these observations in hopes of using these natural design principles as part of my methodology to create the creative project. Contrast is dominant in nature, especially in the geography of the land that incorporates this canyon. There are several examples of contrasting relationships that make this area so visually interesting. Examples of these relationships include: wild/cultivated, mountains/flat lands, dry/wet, rocks/trees, water rushing/soil, moving elements/stable elements.The study of contrasting relationships in art also can relate to this natural environment as well (Figure 19): vertical/horizontal, straight/curved, lights/darks, one/many, transparent/opaque, smooth/rough, simple/complex, little/big, dull/shiny, stable/unstable. A TC 11-i Figure 19. Examples of Contrasting Typographic Relationships 1. Little/Big 2. Straight/Curved 3. Vertical/ Horizontal The idea of contrast and the exhibition in nature drew my interest towards other basic design principles and their relationship. Based on this, three other principles of design were selected that best reflected a relationship in nature: movement, proportion and unity. These categories were selected for they best represented the four main categories of the research. Each of these principles was then attached to the research category that best related to them: soil/rock - proportion, wildlife/fish - contrast, plants/trees - unity, water - movement. The design principles utilized are defined as follows. The principle o f Proportion is defined as a comparison between size and quantity of parts as they relate to a total physical form. Proportion is often expressed in ratios, such as 1:2 or twice as big.These ratios are often used to determine visual order or visual balance. Movement is defined as rhythm, flow that directs the viewer's eye. It can be achieved through repetition using elements to create direction or sequence. Contrast is to compare in such a way as to show differences. This is achieved by the placement of elements in opposition to each other. Something on the page stands out, emphasis on one item or a cluster of items increase tensions between elements to increase visual activity. Unity is the result of bringing the elements of art into appropriate ratio between harmony and variety to give a sense of oneness. The whole is greater than the sum of its parts. A design element was also applied to each of these categories. The elements were to serve as a vehicle to convey the information from each category. Being juxtaposed against a specific design principle the design element implements ideas conveyed through the subject matter. In this sense, each element was chosen for the validity that it had to the subject matter. The design elements utilized are defined as follows.Texture refers to the surface character o f a material. Line refers to the path o f a moving point, having only one dimension or length. A line is used to connect or divide other elements for greater comprehension. It has both a position and a direction in space. Value is the relative degree of light or dark, or the characteristic of color determined by light or dark. A Shape is an area that stands out from the space next to or around it because of a defined or implied boundary, or because of differences o f value, color, or texture. The following relationship is an example of one o f the four categories that I was working with. The topic category is water. The design principle of movement was applied to this category because it best fit the idea of flowing water. The element attached to the design principle was line. The challenge was to best convey the idea of flowing water through the use of line. In this specific case, the type was laid out in such a way that the reader will notice that the typography is reflective of a flowing river. Therefore, line successfully conveys the idea o f water and movement. In all of these categories, the approach to design directly corresponds with the research topics,the design principle and element that correlate with it. Therefore, the design is driven by the content derived from the research. The categories are as follows: Subject SOIL/ROCK WATER WILDLIFE/FISH PLANTS/TREES Design Principle Proportion Movement Contrast Unity Design Element Texture Line Value Shape (See Figures 19-22.) Each category represents a color poster used in my creative project. The posters hang away from the glass in the museum so that the light from the windows illuminates the posters. As the sun shifts during the day, so does the luminosity of the posters. Nature takes on an active role in the exhibit. The posters take on a life of their own and become elements within nature. This is important, as my main goal is to bring nature to the viewer and reveal it to them through a unique educational vehicle. Figure 19. SOIL /ROCK= Proportion / Texture The t ype is layered in an effort to create tenure. The picture magnifies the rock's tenure in proportion to the smaller picture that shows the whole mountain. The two pictures juxtaposed against one another exhibits the use of proportion. Figure 21. WILDLIFE / FISH- Contrast/Value The use of complementary colors, as well as extreme use of values within these colors exhibits contrast. Contrast conveys the diverse wildlife within this area. The heavy larger type contrasts with the thin smaller ripe. watershed Figure 20. WATER-Movement/ Line Movement is the principle used to exhibit water flowing. It is achieved through repetition of lines of ti -pe and images. 23 Figure 22. PLANTS/TREES= Unity/ Shape Plants and trees are exhibited through the use of different geometric shapes. The type conveys the idea of branches growing out of these shapes. The typography and pictures connect, thus creating unitv throughout the composition. There are four additional posters that utilize the same methods noted above.These methods are applied to the four subcategories derived from the research. Each design principle/element relationship is the same in an effort to parallel the color posters; however the subject matters they applied to are different. Once again, they are applied to a subject that best fits the design methods. Each category represents one black and white poster printed on translucent paper. These hang directly on the windows o f the gallery and correlate with the large color posters in content, design methods used as well as placement on the window. Their position on the window is determined by an analysis of the grid utilized for each of the color posters. Their placement runs along the lines of the grid used in the color posters.The categories are as follows: # of Posters Subject Design Principle 1 WILDERNESS ETHIC Proportion 1 WASATCH FRONT Contrast 2 LNT BIKING/CAMPING Unity (1 poster denoted to each) Design Element Texture Value Shape (See Figures 23-26.) Overall, the color posters and the black and white posters relate to one another as a whole. The placement of the color and black and white posters from a distance creates depth within the exhibit that encourages the viewer to walk among the posters and examine up close. Figure 23. WILDERNESS ETHIC-Proportion / Texture The type and maps are layered in an effort to create texture. The picture magnifies the texture on an aspen tree in proportion to the trash next to it. Figure 25. WASATCH FRONT-Contrast/Value An extreme use of values changes signifies contrast. The use ojcontrast emphasizes the litter highlighted in one of the photos. Larger type contrasts against smaller type in an effort to emphasize certain points. Figure 24. LEAVE NO TRACE BIKlNG=Unity/Shape The curvilinear shapes that the text takes on creates unity throughout the composition, as well as, conveys the idea of biking on trails down a mountain. 25 Figure 26. LEAVE NO TRACE CAMPING=Unity/Shape The curvilinear shapes that the text takes on creates unity throughout the composition, as well as, conveys the idea of hiking on trails, an stacking wood for a campfire. Lastly, pedestals were placed in specific positions throughout the gallery in an effort to guide the viewer through the creative project portion of the exhibit. The pedestals are intended to reflect the idea of trail markers and also act as barriers, separating this exhibit from the retrospective part of my graduate show (Figure 27). These pedestals exhibit some of the manipulations created as a result of an experimental process utilizing the methods of separation and layering by Edward R.Tufte (Figure 28). For more explanation of these methods see page 9 in the antecedents/precedents section.The information that correlates with each illustration explains the meaning of the methods of layering and separation. The purpose of including these into the creative project section of the show is to reveal to the viewer a few of the processes that I went through that have a causal connection to the development of the methodology used in my creative project. Figure 27. Placement of Pedestals in Gallery Separates Creative Project from Retrospective Portion of Show 26 Figure 28. Pedestal with Definition and Example of Layering Evaluation Through exploring my own personal connections with nature, I believe I have touched on new ways of approaching design by comparing design elements and principles to observations made in nature. This project explores basic theories of design through observations of nature. It can only stimulate more thought about basic concepts of art and how important they are to the area of design. It gives typographic examples of relationships between basic principles and elements of art in relationship to nature. This exhibit was also created in an effort to encourage responsible actions when travelling in Big Cottonwood Canyon within the Wasatch Front. It was intended to make the viewer think and ponder about ideas, much like one does when travelling through nature. If the information conveyed in this exhibit had been communicated loudly and blatantly it would not have lent itself to the subject matter. Many times the most intriguing parts of nature are discovered only when one stops, listens and analyzes. Furthermore, through speaking with many of the visitors to the exhibit who were born and raised in Salt Lake City, many said that there was a lot of information conveyed to them that they were not aware of. In this light, this exhibit succeeded in reaching people and teaching them something about Big Cottonwood Canyon that they did not already know. Conclusions Most importantly, the creation of this creative project has given me the opportunity to stop and analyze my approach to design, teaching, nature and life in general. This may sound quite general, but only through a deep understanding of the subject matter will the most positive results be revealed. And through this creative project I have had the opportunity to look deeply within and foster new ideas that may have not been nurtured without taking the time to do so. Not only have I furthered my skills as a designer through the development of the methodology in this project, I believe that other designers and design educators will benefit from this study as well. By exposing themselves to this particular method of design, it will reveal new methods for others. Further Direction This study could have been taken even further had there been target groups established, as well as the creation of a needs assessment survey, in an effort to better educate and elicit action. However, environmental education was not the sole purpose o f this creative project. It also was a vehicle of experimentation with new design methods inspired by nature. Therefore, only the viewer can determine the success of this project. To the artist, this exhibit may have been more about art, yet, to the viewer approaching it from another standpoint it may have been about Big Cottonwood Canyon. In this sense, you can not apply a simple black and white answer to the question of its success. Yet, to me, this project was just a launching pad for many more design methods to be developed. Currently, I am interested in further exploring the idea of juxtaposing different basic design elements and principles against one another, along with the exploration of new design methods for environmental education. Experimenting with these ideas will inspire new thoughts on this subject matter. Glossary connotative contrast conventionalization convergent denotative element extension fracture icon index layering line naming movement principle To suggest a meaning in addition to the plainly marked out meaning. To compare in such a way as to show differences, achieved by the placement o f elements in opposition to each other, something on the page stands out, emphasis on one item or a cluster of items increase tensions between elements to increase visual activity. A 19th century concept that explored the idea o f abstracting nature into its pure geometric form. Designer Frank Lloyd Wright elaborated on the idea of conventionalization. Meaning is narrowed to one point of view. To indicate, plainly signify, explicitly name. Refers to a design element. Visual ingredients that make up a design. In this creative project four design elements are referenced: texture, line, value, and shape. Direct and intentional, adding to extend meaning. A conceptual device that focuses on the content as well as the formal aesthetics. To emphasize the content utilizing cropping and distortion. A pictorial representation of an object, it is what it is. An indication or symptom of the object. Strictly a formal device. Layering is used visually to focus on formal relationships of elements in a design. The path of a moving point, having only one dimension or length. Used to connect or divide other elements for greater comprehension. Has both a position and a direction in space. To name in truth. Rhythm, flow that directs the viewer's eye. It can be achieved through repetition using the elements to create direction or sequence. Refers to a principle of design. The principles of design create structure in a design. They organize the elements in a design.Good design structure is a result o f correct use of principle In this creative project four design principles are referenced: proportion, movement, contrast and unity. proportion semantics separation shape syntactics symbol texture unity value Comparison between size and quantity o f parts as they relate to a total physical form. Often expressed in terms of ratios, such as 1:2 or generally, such as "twice as big" or "darker than" . The ratio formulas are often used to determine visual order or visual balance. The meaning of something, relation of signs and what they refer to. Separation deals with the content only, not with formal relationships between elements. To plainly mark out the most meaningful part of the content. An area that stands out from the space next to or around it because o f a defined or implied boundary. Relates to formal relationships of elements, disregarding their meaning. Something that stands for, or represents the object. Surface character of a material (actual, simulated, abstract or invented) The result of bringing the elements of art into appropriate ratio between harmony and variety to give a sense of oneness. The whole is greater than the sum o f its parts. The relative degree of light or dark, or the characteristic of color determined by light or dark. Bibliography Alofsin, Anthony. Frank Lloyd Wright - The Lost Years 1910-1922 Chicago: The University of Chicago Press, 1993. Bear West. Salt Lake City Watershed Management Plan Salt Lake City: Department of Public Utilities Planning Division, 1988. Bringhurst, Robert. The Elements ofTvpographic Style Point Roberts: Hartley and Marks, 1992. Bromka, Gregg. The Mountain Biker's Guide to Utah Birmingham: Menasha Ridge Press, 1994. Carter, Rob. Working with Computer Type - Books. Magazines. Newsletters New York: Watson Guptill Publications, 1995. Conn, David. Typographic Design - medium and message Texas Christian University Fort Worth: Lino Typographers/Lithographers, 1990. 32 Emerson, Ralph Waldo. Nature New York: Penguin Books, 1995. Goldsworthy, Andy. Hand to Earth - Andy Goldsworthy Sculptures 1976-1990 New York: Harry N. Abrams, 1990. Governor's Office of Planning and Budget. "Demographics/Taxes" Life in the Valiev. 1996, p 24-34. Hurlburt, Allen. The Design Concept Watson-Guptill Publishing, 1981. Kanizsa, Gaetano. Organization In Vision - Essays on Gestalt Perception New York: Praeger Publishers, 1979. Kelner, Alexis. Skiing in Utah - A History Salt Lake City: A. Kelner, 1980. Martin, Peter. Atlas for a Typeface Exploration Richmond: School of the Arts Virginia Commonwealth University. Peterson, Bryan. Using Design Basics to Get Creative Results Cincinnati: North Light Books, 1996. Peterson, Charles. A History o f the Wasatch-Cache National Forest 1903-1980 Logan: Utah State University, 1980. Rand, Paul. Design Form and Chaos New Haven:Yale University Press, 1993. Salt Lake Ranger District, Wasatch-Cache National Forest. Environmental Assessment for Solitude Ski Area Lift and Base Area Renovation Plan August 22, 1988. Salt Lake Ranger District, Wasatch-Cache National Forest. Final Environmental Impact Statement Brighton Ski Area Master Plan August 2, 1991. The Salt Lake Tribune. Canyons of the Wasatch 1994. Thoreau, Henry David. Thoreau - On Man and Nature Mount Vernon: Peter Pauper Press, 1960. Tufte, Edward R. Envisioning Information Connecticut: Graphics Press, 1990. United States Department of Agriculture. Wasatch-Cache National Forest Land and Resource Management Plan Salt Lake City: U.S. Government Printing Office, 1989. Veranth, John. Hiking the Wasatch Salt Lake City: The Wasatch Mountain Club, Inc., 1994. Wallschlaeger, Charles. Basic Visual Concepts and Principles Dubuque: William C. Brown Publishers, 1992. Organizations Entrada Nature Conservancy Save Our Canyons Sierra Club United States Forest Service USEE - Utah Society for Environmental Education Utah Museum of Natural History Utah Wilderness Association Wasatch-Cache National Forest