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CHARLIE HARPER

COLOR

About Charlie

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COLOR | Charlie Harper | | COLOR | Charlie Harper

Charlie Harper had an alternative way of looking at nature. His serigraphs are large expanses of rich color which give the viewer a very different perspective on the animal kingdon. A conservationalist as well as an artist, Harper revealed the unique as-pects of his wildlife subjects through highly stylized geometric reduction. Harper said he is “the onle wildlife artist who has never been compared to Audubon,” yet his wildlife art is just as instructive- the only difference is that harper laced his lessons with humor. Harper believed that humor makes it easier to encourage change in our attitudes and awareness of environmental concerns.

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CLASSIC ARTISTS

COLOR

Color Inspiration From the Masters of Painting

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COLOR | Classic Artists | | COLOR | Classic Artists

Starry NightBy Vincent van Gogh

Harmony in RedBy Henri Matisse

No. 5 1948By Jackson Pollock

Three Musicians By Pablo Picasso

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COLOR WHEEL

COLOR

COLOR | Color Wheel | | COLOR | Color Wheel

RGB Additive Color

CMYK Subtractive Color

RGB (red, green, and blue) refers to a sys-tem for representing the colors to be used on a computer display. Red, green, and blue can be combined in various proportions to obtain any color in the visible spectrum

The CMYK color model is a subtrac-tive color model, used in color printing, and is also used to describe the printing process itself. CMYK refers to the four inks used in some color printing: cyan, magenta, yellow, and key.

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C: 88M: 42Y: 55K: 21 C: 86

M: 20Y: 100K: 7

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UNIVERS LT STD

TYPOGRAPHY | Univers Lt Std | | TYPOGRAPHY| Univers Lt Std

TYPOGRAPHY

Family Information

Aa Bb Cc Dd EeFf Gg Hh Ii JjKk Ll Mm Nn OoPp Qq Rr Ss TtUu Vv Ww Xx YyZz 1 2 3 4 5 6 7 8 9 0

As a student in Zurich, Adrian Frutiger began work on Univers, which would even-tually be released in 1957 by the Deberry & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contempo-taty, Hevetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers fam-ily consists of twenty- one typefaces, and Frutiger has ised this numerical system on other designs, including Serifa and Fritiger. Linotype also has adopted this numerical system for many other faces. All twenty-one Univers faces were designed to work together, so they can be mixed in a variety of ways. Their legibility lends itseld to a large variety of ways. Their legibility leds itself to a large variety of applications, from text and headlines to packaging and sig-nage.

In many Windows® applications, instead of every font appearing on the menu, fonts are grouped into style-linked sets, and only the name of the base style font for a set is shown in the menu. The italic and the bold weight fonts of the set (if any) are not shown in the font menu, but can still be ac-cessed by selecting the base style font, and then using the italic and bold style buttons. In this family, such programs will show only the following base style font names in the menu:

Univers LT Std 39 Thin UltraCnUnivers LT Std 45 LightUnivers LT Std 47 Cn LtUnivers LT Std 49 Light UltraCnUnivers LT Std 53 ExtendedUnivers LT Std 55Univers LT Std 57 CnUnivers LT Std 59 UltraCnUnivers LT Std 73 Black ExtUnivers LT Std 85 XBlkUnivers LT Std 93 XBlk Ext

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ANATOMY OF TYPE

TYPOGRAPHY | Anatomy of Type | | TYPOGRAPHY| Anatomy of Type

TYPOGRAPHY

Thinkingwithtype.com

Cap Height

X-Height

Baseline

Stem Bowl Serif Descender

Ligature Ascender Terminal Ascender

Finial

Uppercase

Spine

Small Capital

Cross Bar Counter Lowercase

Size Specifics

Height:

Attempts to standardize the measurement of type began in the eighteenth century. The point system is the standard used to-day. One point equals 1/72 inch or .35 mil-limeters. Twelve points equal one pica, the unit commonly used to measure column widths. Typography can also be measured in inches, millimeters, or pixels. Most soft-ware applications let the designer choose a preferred unit of measure; picas and points are standard defaults.

Abbreviating Picas and Points8 picas = 8p8 points = p8, 8 pts8 picas, 4 points = 8p48-point Helvetica with 9 points of line spacing = 8/9 Helvetica

Width:

A letter also has a horizontal measure, called its set width. The set width is the body of the letter plus a sliver of space that protects it from other letters. The width of a letter is intrinsic to the proportions and visual impression of the typeface. Some typefaces have a narrow set width, and some have a wide one. You can change the set width of a typeface by fiddling with its horizontal or vertical scale.This distorts the line weight of the letters,however, forc-ing heavy elements to become thin, and thin elements to become thick. Instead of torturing a letterform, choose a typeface that has the proportions you are looking for, such as condensed, compressed, wide, or extended.

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COMIC NEUE

TYPOGRAPHY | Comic Neue | | TYPOGRAPHY| Comic Neue

TYPOGRAPHY

Say Hello To An Unlikely Hero

Comic Sans wasn’t designed to be the world’s most ubiquitous casual typeface1. Comic Neue aspires to be the casual script choice for everyone including the typo-graphically savvy.

The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape while maintaining the honesty that made Comic Sans so popular.

It’s perfect as a display face, for marking up comments, and writing passive aggressive office memos.

“Make your lemonade stand look like a fortune

500 company”

Aa Bb Cc Dd EeFf Gg Hh Ii JjKk Ll Mm Nn OoPp Qq Rr Ss TtUu Vv Ww Xx YyZz 1 2 3 4 5 6 7 8 9 0

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NENE THOMAS

LVL 2

ILLUSTRATORS | Nene Thomas | | ILLUSTRATORS | Nene Thomas

ILLUSTRATORS

Her StoryThe decision to become a print artist rather than a contract artist wasn’t an easy one for me to make. Contract art can be very lucrative—at least in the short run—and I was making fairly good money. Unfortu-nately, the work wasn’t as satisfying to me as painting my own work was, so I stopped being a Contract artist, and started my ca-reer as a Print artist. As a print artist I was free to create anything I wanted, but with that freedom came the understanding that I wouldn’t have a steady paycheck waiting for me, and because of that anything I pro-duced had to be marketable. Even today, I paint everything with one eye towards the artistic side, and one eye on the practical business side. Experience has taught me that no matter how good your technique may be on a piece, stray too far from com-mon themes in art and no one will buy it. In the end, the customer wil always tell you if what you’ve created is marketable.

I have been drawing and painting for most of my life, but I began my professional career in 1994 when I was approached by a company called Wizards of the Coast to contribute work to the popular Collectible Card Game called “Magic: the Gather-ing.” I worked with WotC for a few years, as well as several other CCG companies, but eventually I grew tired of working for other people and decided to try doing my own thing. In particular, I wanted to paint the characters from a story that I had been working on since high school, and I felt I needed to hone my skills to be able to truly ‘capture’ them.

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Hayao MIYAZAKI

His Work

ILLUSTRATORS | Hayao Miyazaki | | ILLUSTRATORS | Hayao Miyazaki

ILLUSTRATORS

“Do everything by hand, even when using

the computer”Hayao Miyazaki is a Japanese film director, animator, manga artist, illustrator, pro-ducer, and screenwriter. Through a career that has spanned six decades, Miyazaki has attained international acclaim as a maker of anime feature films and, along with Isao Takahata, co-founded Studio Ghibli, a film and animation studio. The success of Mi-yazaki’s films has invited comparisons with American animator Walt Disney, British animator Nick Park, and American direc-tor Steven Spielberg. He is also considered as one of the most popular and influential animators in the history of cinema.

Born in Bunky, Tokyo, Miyazaki began his animation career in 1963, when he joined Toei Animation. From there, Mi-yazaki worked as an in-between artist for Gulliver’s Travels Beyond the Moon where he pitched his own ideas that eventually became the movie’s ending. He continued to work in various roles in the animation industry over the decade until he was able to direct his first feature film Lupin III: The Castle of Cagliostro which was released in 1979. After the success of his next film, Nausicaä of the Valley of the Wind, he co-founded Studio Ghibli, where he contin-ued to produce many feature films besides during a ‘temporary retirement’ in 1997 following Princess Mononoke.

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NINA GEOMETRIEVA

ILLUSTRATORS | Nina Geometrieva| | ILLUSTRATORS | Nina Geometrieva

ILLUSTRATORS

Berlin based Nina Geometrieva is a visual artist that loves to work with colour in her illustrations. The often adorable characters she produces are packed full of inspira-tional techniques, as well as a wide range of bright and beautiful colours. She’s always up for collaborations too!

One of the things I personally love about her work is her use of vibrant colors to cre-ate life through contrast in her art. It makes it to where I can feel the energy. She is always open to accepting free lance projects and collaborations as well, which is pretty cool.

Her Work

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PHOTOSHOP TUTORIAL

TUTORIALS

Converting Color to Grayscale

We can also tell that the image is in the RGB color mode by going up to the Image menu at the top of the screen and hovering our mouse cursor over the very first option that appears, Mode (short for Color Mode), which brings up another menu showing us all the various color modes that Photoshop can use to reproduce colors. The current color mode of the image will have a check-mark beside its name, which in this case is RGB Color:

To convert the image to Grayscale, simply click on Grayscale in the list of color modes:

Photoshop will pop open a small dialog box asking us if we really want to discard the color information. If you’re using Pho-toshop CS3 or later (I’m using Photoshop CS4 here), Photoshop will recommend that you use the new Black and White im-age adjustment instead for more control over the black and white conversion, but since we’re interested here in what the Grayscale color mode can do for us, click the Discard button

Photoshop instantly throws the photo’s color information away and leaves us with its best guess on what the black and white version should look like the image to the right.

TUTORIALS | Photoshop | | TUTORIALS | Photoshop

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At the moment, this photo is in the default RGB color mode. How do we know that? We know because Photoshop tells us the current color mode of the image at the top of the document window

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ILLUSTRATOR TUTORIAL

TUTORIALS

Making Compound Shapes

TUTORIALS | Illustrator | | TUTORIALS | Illustrator

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Compound shapes let you combine mul-tiple objects and specify how you want each object to interact with the other objects. Compound shapes are more versatile than compound paths because they provide four kinds of interactions: add, subtract, inter-sect, and exclude. In addition, the underly-ing objects are not changed, so you can se-lect each object within a compound shape to edit it or change its interaction mode.

First, you are going to want to start out with seperate shapes, making them over-lap or touch eachother in some way. Select them all. In the event that you want to not include a shape, use shift and click it again to deselect it.

Go to Window - Pathfinder to open the Pathfinder Panel. Click Unite and all the oval Paths are united into one boundary Shape – leaving the circle as a separate Path above it. This will give you the desired shape.

Following that, select both the flower shape and the center circle. Click Subtract in the Pathfinder Panel to subtract the circle from the background shape.Once you create your shape, add a stroke and some fill color and you got it good, son!

Unite Button

Subtract Button

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INDESIGN TUTORIAL

TUTORIALS

Combining Images and Type

TUTORIALS | InDesign | | TUTORIALS | InDesign

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Before you turn your typography into outlined text you need to rough out how it’s going to work. Establishing the right typeface is paramount – a good, heavy sans serif works best for what we have planned as it covers a greater surface area; I’ve used Aldo Open (created by Jonathan Hill) – as is working out the amount of density you’ll need for the letterforms.

At this stage, if you were to outline every-thing in one go you would more than likely end up with overlapping paths, so it’s best to approach each letterform individually. Copy and paste each target letter, then hit Cmd/Ctrl+ Shift+O to turn it into paths. Now reveal the document grid by pressing Cmd/Ctrl+” and begin aligning your typography.

Once you’ve got everything looking as you wish, open the Pathfinder panel (Window>Object & Layout). Select all the letterforms that you want to merge and click the Add icon. What we’ve created is effectively a customised picture-binding box that you can paste or import into.

To get the illustration from the design into the outlined type, copy the illustra-tion, then select the outlined text and paste it into (Cmd/ Ctrl+Opt/Alt+V). To re-enforce the effect that the type is cut-ting through to the illustration below, open the Effects panel, change ‘Settings for’ to Object and add a subtle inner shadow.

Now you can take things a little further and start to play with the background colour of your outlined letterforms. Com-bine this with altering the pasted illus-tration’s opacity and Effects style (Cmd/Ctrl+Shift+F10) to create some appealing tint effects. As always, be careful you don’t over-cook things – you still want some semblance of legibility with the typography to hold the attention of viewers.

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SAUL BASS

About Saul

DESIGNERS | Saul Bass | | DESIGNERS | Saul Bass

DESIGNERS

Saul Bass was an American graphic design-er and Academy Award winning filmmak-er, best known for his design of motion picture title sequences, film posters, and corporate logos.

During his 40-year career Bass worked for some of Hollywood’s most prominent film-makers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s North by North-west, and the disjointed text that races together and apart in Psycho.

Bass designed some of the most iconic corporate logos in North America, includ-ing the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the break-up of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo which became some of the most recognized air-line industry logos of the era.

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CHIP KIDD

About Chip

DESIGNERS | Chip Kidd | | DESIGNERS | Chip Kidd

DESIGNERS

Chip Kidd: Work 1986-2006, Book One

Lately, there has been a lot of hype about

Chip Kidd’s new book, “GO! A Kidd’s Guide

To Graphic Design” (Workman Publishing)

C hip Kidd is the associate art director at Knopf, an imprint of Random House. He first joined the Knopf design team in 1986, when he was hired as a junior assistant. Turning out jacket designs at an average of 75 a year, Kidd has freelanced for Amazon, Doubleday, Farrar Straus & Giroux, Grove Press, HarperCollins, Penguin/Putnam, Scribner and Columbia University Press in addition to his work for Knopf. Kidd also supervises graphic novels at Pantheon, and in 2003 he collaborated with Art Spiegel-man on a biography of cartoonist Jack Cole, Jack Cole and Plastic Man: Forms Stretched to Their Limits. His output in-cludes cover concepts for books by Mark Beyer, Bret Easton Ellis, Haruki Murakami, Dean Koontz, Cormac McCarthy, Frank Miller, Michael Ondaatje, Alex Ross, Charles Schulz, Osamu Tezuka, Gengoroh Tagame, David Sedaris, Donna Tartt, John Updike and others. His design for Michael Crichton’s Jurassic Park novel was carried over into marketing for the film adaptation

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Bradbury Thompson

DESIGNERS | Bradbury Thompson | | DESIGNERS | Bradbury Thompson

DESIGNERS

A native of Topeka, Kansas, Bradbury Thompson left the Great Plains for the big city life of NYC, as you do when you’re a creative. He worked for 60 years in NYC, for companies like Rogers, Kellog and Stillson, the magazine Mademoiselle and the West and Co. Paper Corporation and also taught at Yale. Thompson’s work is distinguished by his talent for color, com-position and understanding of the power of letter forms. His close relationship with the printing process is evident by his use of color overlays, which gives his work a refreshing energy.

About Bradbury

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DESIGN BLOGS

WEBSITES

Top 5 Blogs

WEBSITES | Design Blogs | | WEBSITES | Design Blogs

These are the blogs I ran across this se-mester that I really enjoyed asthetically. They are all interesting in their own way and contain content that is both inspiring and entertaining. They all have elements of excellent web design and typography styles, and I believe thats what you need to create an effective and interesting design blog.

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TIMOTHY HOGAN

PHOTOGRAPHY

Tim’s Work

PHOTOGRAPHY | Timothy Hogan | | PHOTOGRAPHY| Timothy Hogan

Timothy Hogan is an award-winning still life photographer, speaker and teacher based in Santa Monica, CA. Known for his keen observational eye and ability to present his subjects in a new light, Hogan has shot for an array of internationally-rec-ognized brands, global advertising agencies and influential media outlets. These top clients regularly seek him out for his ex-perimentation, in-camera techniques and lighting mastery of even the most challeng-ing subjects.

Hogan’s peers have lauded his work for bringing to life unseen textures and mo-ments. Throughout his professional career, his photographs have appeared numerous times in publications like Graphis Photog-raphy Annual, Communication Arts and the British Journal of Photography.

Hogan is widely regarded as a master of photographic lighting and has been a featured speaker at Photokina, taught workshops at Shoot LA and served as an adjunct professor at his alma mater, Syra-cuse University.

In his most recent work, Hogan marries his profession with his passion – surfing – as the founder theFINproject, a visual explo-ration of the craft, history and people be-hind the most instrumental element in the progression of surfing – the surfboard fin.

When he’s not on assignment or surfing, Hogan can often be found in his studio, fashioning unique tools to create the stun-ning visual effects that put him on the shortlist for a wide variety of clients.

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BEN HASSETT

PHOTOGRAPHY

His Photography

PHOTOGRAPHY | Ben Hassett | | PHOTOGRAPHY| Ben Hassett

Ben is a photographer and filmmaker now living in NYC. He studied Fine Art in England, and began his career in landscape and art photography. His life and work have been profiled in The British Journal of Photography and Playboy.

A regular contributor to Vogue magazines worldwide, Ben also shoots for W, Numero, and American Harpers Bazaar and he is best known for his striking and sometimes disturbing images of beauty.

German Vogue labeled him “the Penn of his generation.”

Clients include Omega, Dior, L’Oreal, Wella, Givenchy, Clarins and Rimmel. His directorial debut came in 2008 for Chanel, creating his first commercial.

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MIKE WALSEN

PHOTOGRAPHY

About Mike

PHOTOGRAPHY | Mike Walsen | | PHOTOGRAPHY| Mike Walsen

Mike Walsen is a modern day photogra-pher based in Moscow, Russia. His port-folio showcases a variety of pictures from sunsets on the beach, to abstract lines, to children playing.

His versitility inspires me to a great extent. He could take a photo of virtually anything and turn it into a piece of art. Seeing his photos made me think about different ap-proaches I can take when it comes to my own photography and designs. I like the way many of his photos have bright, but not overwhelming colors, making them pleasing to the eye.

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ROLLING STONE MAGAZINE

CHOICE

Brief History

CHOICE | Rolling Stone | | CHOICE | Rolling Stone

Rolling Stone is a magazine published ev-ery two weeks that focuses on politics and popular culture. In 1967, Rolling Stone was founded in San Francisco, California, by Jann Wenner – who is still the magazine’s chief editor – and music critic, Ralph J. Gleason.

Rolling Stone was known for its musical coverage and for political reporting by the enigmatic and controversial gonzo journal-ist, Hunter S. Thompson. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors, and popular music. This led to criticism that the magazine was emphasizing style over substance.[2]

In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories. It also has expanded content to include coverage of financial and banking issues. As a result, the maga-zine has seen its circulation increase and its reporters invited as experts to network television programs of note.[3]

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PINTREST SOCIAL MEDIA

CHOICE

A Visual Discovery Tool

CHOICE | Pintrest | | CHOICE | Pintrest

Pinterest is a visual discovery tool that people use to collect ideas for their differ-ent projects and interests. People create and share collections (called “boards”) of visual bookmarks (called “Pins”) that they use to do things like plan trips and projects, organize events or save articles and recipes. The site was founded by Ben Silbermann, Paul Sciarra and Evan Sharp. It is managed by Cold Brew Labs and funded by a small group of entrepreneurs and investors.

Pinterest allows users to save images and categorize them on different boards. They can follow other users’ boards if they have similar tastes. The evolution of Pinterest is based on the shared interest of its users and relies on its members to produce the content. The most popular categories, as of March 2012, were home, arts and crafts, style/fashion, and food.[30]

Development of Pinterest began in Decem-ber 2009, and the site launched as a closed beta in March 2010

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ME, MYSELF AND I

CHOICE

My Mission

CHOICE | Me, Myself, and I | | CHOICE | Me, Myself, and I

I decided to do my final choice section for myself, because after all I am probably going to benefit most from this reference book. So I figured I would leave something for future Shannon to go back and refer-ence if I ever get distracted or forget why I am doing this in the first place. I know the road to my future is going to be a long and difficult one, but I have to keep going for as long as the program will let me.

My goal is to graduate from the Com-munication Design program of UNT, and later make my way into the printing and advertising world. I have always had a passion for art, and for the majority of my life I have known that my future would be a creative one. Although, I am not sure how well I am doing at this point it is all a learning eperience. So I hope that I can one day make it through and start my life as a creative individual who also hopefully gets a paycheck along with it. Because lets face it, my health and sanity is not going to last through a life of serving food, that would be terrible.