In 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 the text.

I 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.

Well, 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.

One 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.

In 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.

These 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.