Embed Size (px)
DESCRIPTION
A process book for 3 projects completed during my sophomore year in the Graphic Design Program at Virginia Commonwealth University.
Citation preview
1
Brandon ShieldsSelect Process
2015 Portfolio ReviewVirginia Commonwealth UniversitySchool of the ArtsDepartment of Graphic Design
2
This page is intentionally left blank.
3
The first assignment composed of four phases:
2000 photograph categorization, 25 pairings
of select photographs, 100 illustrations of the
photographs and a non-typographic narrative of a
personally selected phrase. The project explored
form–making and development utilizing existing
forms in Richmond. The end products were:
25 Pairing PDF
18”x 24” poster - 100 sketches
18”x 24” poster - 6 form narrative
Design Form & CommunicationJas Stefanski
Forms in space are total dictators
4
For the first phase of the project, I explored the
immediate campus community and then branched
out into the Fan, Oregon Hill and Monroe Ward.
I searched for common objects and symbols to
photograph so I could exhaust the common things
that I would be able categorize. As I looked for
unique and hidden objects, I searched in alleys and
spaces that are not as public. There I was able to
find interesting forms and combination of forms.
While I didn’t compose a narrative at that moment,
I was able to fill my collection with visually different
forms and find connections between the objects I
sourced.
For the categorization of the 2000 photos, I was
instructed to place each series of photographs by
color. The categories were Cyan, Magenta, Yellow,
Red, and Green.
Cyan Photographs Green Photographs
5
Magenta Photographs Red Photographs Yellow Photographs
6
Cyan Photographs
7
8
Green Photographs
9
10
Magenta Photographs
11
12
Red Photographs
13
14
Yellow Photographs
15
16
From these 2000 photographs, each category was
narrowed down from 500 to 25. While difficult to
figure out which photographs displayed the most
interesting forms, a narrative and compositions
were also considered.
As I selected images, I became interested in the
materials used to create some objects, as well
as how those materials interacted with graphic or
structural elements.
On this bike, the graphical element of the crosshatching
stripes created a composition that flowed with the
material it was placed on.
17
This graffiti near the Flood Wall in Shockoe Bottom, has a great composition where
the space is divided by the concrete parking lot. I wanted to consider the space it was
composed in and I felt it gave the graffiti a ground to stand on.
Outside the Student Media Center, the window signage displayed the wavy pattern
to distort the thick color fields. The cropping points between the magenta and yellow
bonds the two color planes at a point, I felt could be used later on the project.
18
From these select photographs from each
category, I began to create a PDF containing 25
pairs of photographs. I was not restricted by color
however, I had to consider the general composition
of the photographs, graphic or physical elements
within the photographs, and how both photographs
created a visual narrative.
This pairing forces on the repetition of the forms as well
as the soft colors.
19
Above: The comparison of real material versus imitated constructed forms.
Bottom: The comparison between the functions of each form.
Above: The contrast between perfect repetition and a break in a system.
Bottom: The use of signs in different forms.
20
Above: Comparison of angles
Bottom: Comparison of closure, and implied repetition
Above: Comparison of flat curves and wavy curves
Bottom: Comparison of color and reflection of light
Above: Comparison of color and shades
Bottom: Comparison of angles and direction
21
Above: Comparison of curves
Bottom: Comparison of point of view
Above: Comparison of spot color
Bottom: Comparison of repetition of lines
Above: Comparison of scale
Bottom: Comparison of repetition of forms
22
Above: Comparison of similar forms
Bottom: Comparison of angles in composition
Above: Comparison of geometric forms and organic forms
Bottom: Comparison of scale between each composition
23
Above: Comparison of negative spacing
Bottom: Comparison of angles in forms and composition
Above: Comparison of forms in space
Bottom: Comparison of circular forms
24
In this phase of the project, I deconstructed and
images and took the essential elements from
them. I was tasked to vectorize the forms and take
100 of the best sketches and compose them into a
single 18” x 24” poster.
Sketches Selected forms
25
26
27
28
29
30
After a study and reduction of forms, I
compiled a poster of 54 forms. Many of
these forms are interesting in shape and
composition. The statement Forms in space
are total dictators relates to how these forms
interact with the negative spaces.
I focused on the direct and indirect
relationships formed by each composition
and I purposefully placed specific forms next
to and around other forms that demonstrated
similar characteristics or contrasting attributes.
Brandon Shields Forms in space are total dictators
31
The second poster, entitled Forms in
space are total dictators, is a composition
arrangement of six of my favorite forms.
These forms were selected based on each
individual compositional arrangement as well
as compatibility with other forms.
I wanted to show a mutual relationship
between several forms as well as use other
forms as tools assist the viewer with how
to read the composition. The two forms in
the upper and lower corners are specifically
placed to bounce the reader’s eye back into
the composition, for example.
I believe this project was successful in
communicating my central theme throughout
three compositions. I was able to explore
translation and representational ways of
expressing how forms can grab the viewer’s
attention as a group and as individuals.
32
This page is intentionally left blank.
33
The second assignment was a newspaper
publication which was composed of a collection
of things. As a group project, our group decided
to investigate the purpose, definition and concept
around mapping. We wanted to relate mapping in
different forms to explain how we view Richmond,
historically and in the present. The end product
was a broadsheet size newspaper, printed by
Newspaper Club.
Typography IIDaniel Sinclair
via Newspaper Publication
34
For the first phase of the project, our group
researched a basic definition of maps. Our working
definition of maps would be: a diagram or collection of
data showing the spatial arrangement or distribution
of something over an area, as defined by the New
Oxford American Dictionary. We initially wanted
to move away from traditional mapping and dig
deeper. We sought to “map” data, specifically
historical changes, future conceptions and alternative
viewpoints of our world.
35
Traditional 2D map system (Google Maps application). We first studied the significance
of this system. The representation of the physical world is merely laid out from a “god-
eye” perspective. The features of the physical environment is simplified and laid out
with color coordination.
3D rendering (Google Maps application). We further studied satellite and 3D rendering
systems which provide a better representation of the world. This model can be
controlled from specific viewpoints and depending on the intentions of the user, he or
she can find relationships that are not considered in a simplified 2D map.
36
Historical 2D Map (Baist Atlas, VCU Libraries). This historical depiction of Richmond
key for our group to understand how the current city we know today was shaped by
the original structure and grid. Throughout the last century, there have been major
infrastructure improvements that drastically changed how Richmond functions today.
Historical Outline 2D Map (1930 Richmond Streetcar System, John Murden). Maps
contain layers of content to separate and specify elements that the cartographer wants
to highlight. We studied a crucial part of Richmond’s infrastructure development with
the invention of the first practical electric streetcar system in the United States.
37
Aerial photography (GoPro mounted to custom-built drone). Aerial photography is
an emerging medium that is becoming more accessible. We had the opportunity to
partner with an engineering student to take our own images of Richmond from the
perspective that used to require a helicopter.
After gathering our mediums, we narrowed our focus areas to analyzing the historical
streetcar system, the grid structure of the Fan District, significance of the Shockoe
Bottom flood wall (not listed), and detailed description of the drone.
38
In this phase of the project, we decided to
take photograph using the drone. The other
articles would require further research and were
individually delegated tasks. As a group, we met up
with Andy Fabian, an engineering student, to fly his
custom-built drone.
Our launching point was Jefferson Park in Church
Hill. It offered an open space for the drone to fly
freely as well as didn’t have many obstructions in
case of a bad landing. We were able to capture
views of downtown and Shockoe Bottom, using a
heads up display system controlled by me, while
Andy controlled the drone’s aerial controls.
The custom built octocopter.
39
The headset used to control the GoPro. There was a separate joystick that controlled
how far the camera was tilted in any direction. The camera was set to take photos at a
5 second interval due to the lack of access to the manual controls during flight.
The drone in flight.
40
As I captured images from the drone, I was
intrigued by the quality of the compositions. I
wanted to get a wide range of images since I had
a time limit of 5 seconds to setup and frame each
composition. With the drone and GoPro, I wanted
to emphasize the curvature of the Earth. This series
of images demonstrates a unique perspective of
viewing the city as well as distorting of its features.
Preflight Lifting off the ground
41
Mid-flight Horizon shots Preparation for decent
42
Out of all the images we captured, we decided to use
this image as our main images. With minor Photoshop
enhancements to color, we kept the natural distortion to
maintain the focal point of the composition.
43
44
For my portion of the newspaper, I chose to
research the Richmond streetcar system. The
streetcar system was the first electric based
system in the United States, and this was
fascinating to me because I am interested in how
this crucial infrastructure component has effected
the layout of the city grid since it’s commission and
demolition.
Through my research, I was able to find historic
routes. Some of the old routes probably would
have been decommissioned earlier, based on
today’s grid system. Automobile popularity was the
main cause for the streetcar system’s demise and
the current city grid layout reflects an auto-friendly
environment.
I researched news articles and blogs to find if there
are any visions for a modern day electric system. I
was able to find one, and it helped me to vision my
personal rendering of the new Richmond electric
streetcar system.
A historic map of the streetcar system. Many routes such as Harrison Street would not be
able to handle the current day’s traffic patterns along with a streetcar.
45
With the basic outline of the old map in black dots, I overlaid a conceptual Richmond
streetcar system based on today’s traffic patterns and attractions. I considered existing
routes and popular roads that could decrease in road traffic or could accommodate a
streetcar alongside regular automobile traffic.
I overlaid potential stations and stops that would connect residents, the working class
and tourists to the most popular sites in the city as well as connections for carpooling
stations for more specific destinations.
46
For my portion of the newspaper, I chose to
research the Richmond streetcar system. The
streetcar system was the first electric based
system in the United States, and this was
fascinating to me because I am interested in how
this crucial infrastructure component has effected
the layout of the city grid since it’s commission and
demolition.
Through my research, I was able to find historic
routes. Some of the old routes probably would
have been decommissioned earlier, based on
today’s grid system. Automobile popularity was the
main cause for the streetcar system’s demise and
the current city grid layout reflects an auto-friendly
environment.
I researched news articles and blogs to find if there
are any visions for a modern day electric system. I
was able to find one, and it helped me to vision my
personal rendering of the new Richmond electric
streetcar system.
I created a hypothetical streetcar system identity. Inspiration for this streetcar system
came from Washington D.C.’s Metro and New York City’s MTA systems. The 9 routes
are condensed from the original lines and are based on popular routes on main arteries.
47
The concept map is visualized on this page of the newspaper publication. The
Richmond Rail would consist of 9 routes, each color coded with an emblem that
symbolizes that line.
My article focused on the historical development and demolition of the streetcar
system. In the background, I wanted to give more context to the article. Therefore,
the line graph of the old system is laid out. Also, the words: Powered, Rolled Over,
Revived; are overlaid to give a general overview of each section of the article.
6 via.
Richmond Automated Streetcar
N
Welcome to Richmond’s revived and the first large-scale automated streetcar system in the United States.
Powhatan Hill toRichmond Int’l Airport
Chesterfield Station toAshland/Hanover Term.
University of Richmond to Carytown
Maymont toBrook/Dumbarton
Forest/Thurloe toGateway Plaza
Carytown to Powhatan Hill Park
Short Pump Station toRichmond Int’l Connector
Midlothian Station to14th/Broad
Rosedale toShockoe Plaza
RAIL
Market
Forest
Sh
ield
s, Bra
nd
on
. “RA
S S
yste
m M
ap
Co
nce
pt.” 2
015
. JPE
G.
Ro
lled
Ove
r.
Powered.
Revived.
Richmond is known for many historical feats. Known predominantly as the River City, the former capital of the Confederate States of America was a prominent crossroad in all forms of transportation. Many people may perhaps not recognize Richmond as the pioneer in urban planning but the city developed the fi rst “reliable” electric streetcar system in the United States. Before the rise of the automobile, the streetcar, or “trolley”, was a large-scale public transportation project that was able to move many people throughout the city in a fashionable and timesaving manner. However, the history of our nation’s trolley was burned into ashes when alternative and more personal transportation methods were developed in the latter.
In the late 1800’s, Richmond and an engineer from New York—Frank Julian Sprague—collaborated on the electric streetcar system. In 1887, at a cost of $185,000, the city tasked Sprague with a 90-day contract to create the fi rst reliable streetcar model system. The system developed had 4 wheeled cars, or trolleys, that were powered by an overhead wire, or a troller. In 1888, regular service of the Richmond Union Passenger Railway began with 12 miles of track serviced by 23 trolleys.
The streetcar system made signifi cant impact on the passengers, investors, and the entirety of the city itself. It’s economic impact allowed recreational and retail centers around the city to expand. Forest Hill Park and Lakeside drew public interest for their pleasure gardens due to their
accessibility by the new streetcar system. Furthermore, Carytown experienced signifi cant impact making way for its expansion overtime, eventually giving its appearance as we see it today.
If the streetcar were to still exist today, we would probably see an even more sophisticated and expansive version of the old street car system with light-rail transportation as well. The system would perhaps play an important part as an attraction to the city of Richmond and should provide signifi cant growth to the tourism industry. By observing the older version of the electric streetcar map, we can make possible assumptions as to how a current version of it may perhaps look like today. The original grid of the railway system connects stations to major locations such as the University of Richmond, Lakeside Park, Maymont, Hollywood Cemetery, Shockoe Bottom, Church Hill, and etc. Assuming how a newer version of the map would like, the transportation system, if it still existed today, could probably expand stations and include signifi cant accessibility to areas such as the Richmond Speedway, Short Pump, Carytown, Manchester, and to Richmond International Airport.
The original Richmond trolley system molded together the bits and pieces of Richmond that we see today. Although it has been quite long since the cities last decision to abandon the transportation system, we can still see many of what is still reminiscent from the pioneering feat of its historic past.
Source: Kollatz, Harry, Jr. “Richmond’s Moving First.” www.richmondmagazine/com. Target Communications, 4 May 2004. Web. 22 Mar. 2015.
Background Image: Illustration based on the historic Richmond Union Passenger Railway system of 1930.Illustration Source: Murden, John. Street Railway Map of 1930. 26 March 2015. JPEG.
A Shock to the World Brandon Shields
7 via.
48
Our first iteration of the newspaper layout featured
a large full bleed image of the drone picture. We
would use the grid to divide the content but also
emphasize the bleeding of large photographs. Each
spread would feature a different grid structure to
emphasize either the main article or the photograph
display. Our use of typography would be consistent
with the sans serif typefaces of Univers and
Helvetica to give visual appeal to a digital-first
audience.
Through our critique, we found problems with
the staleness of the grid and the typography.
Through peer and faculty feedback, we were able
to go back to the drawing board to improve our
publication.
Our first iteration focuses heavily on the relationship between type and imagery. We wanted to give equal focus
to both elements however the imagery was more apparent. The typography didn’t make our content seem more
appealing but rather more cumbersome to read.
49
Moving forward, we decided to look back at the definition of a map and analyze
graphing platforms as alternatives to creating multiple layers of traditional maps. We
also honed in on specific topic areas we could focus on, such as the significance of the
flood wall in the Shockoe Bottom district.
We looked at elements on the cover that would could add to invite the viewer into the
publication. We choose to change the cover image in order to focus on the geometry
of the streets. We felt this would be more interesting to give a unique perspective to
the image. Other elements were shifted to accommodate this change.
50
The final publication features a large
black composition with red light streaks.
The light streaks were inspired by the
countless photos of nighttime time-lapse
photography. The light streaks highlight
the major roads from the drone image. We
chose to highlight this composition because
it removes many mapping elements. We
narrowed it down to one layer detailing the
roads.
The title via describes our newspaper’s
collection of direction, history and change
using maps as our initial medium to portray
this message.
51
The back cover details more of the stroke
effect. We are proud of the print quality
provided by Newspaper Club.
This publication is a Broadsheet size, 375
mm x 520 mm (14.76 in x 20.47 in).
52
Our introduction page features our manifesto of the project under the Richmond
heading. The editorial team of Kentaro Crockett, John Sampson, and myself is listed as
well as credits to VCU, Department of Graphic Design and Newspaper Club. Our table
of contents for main headings are listed in thin type to contrast the heavy text.
The first article written by John Sampson, explores the impact of the flood wall on the
Shockoe Bottom district as well as how it has provided security for the area. The top
image features a Google Maps satellite view of the area. The bottom area features an
image of the wall. The type is staggered to add context to the article.
53
The second article written by Kentaro Crockett, explores the geometric grid structure of
the Fan district. Each main article features a color coded title and header to coordinate
to the writer. The main title is in light type next to the author. The catch phrase is in
large type, in this case on the opposite page.
John created a vector map of the area with highlights of distinct elements, such as
parks, that help form the shape of the Fan. Pictures of landmarks such as Kuba Kuba
restaurant and the Robert E. Lee monument detail the area.
54
I created a concept map of automated Richmond streetcar system. It was modeled
after the Washington DC and New York City subway systems. The routes on the
bottom are inspired by the historic Richmond streetcar system.
My article explores the history of the streetcar system as well as offer insight in the
economic impact of the transit system on modern day Richmond. The title of the
article is overlaid over large areas of text to break up the space. Under the title, a vector
representation of the streetcar system was added.
55
This spread features the large photo taken by the drone. We used this page as a break
between the three articles and the last interview article.
56
The last article is an interview with the drone operator and owner, Andy Fabian. Three
images of the drone feature crucial elements such as the GPS unit and blades.
This page features the specifications of the drone. We acquired the technical details
from Andy. Throughout the spread we feature the parts of the drone. We dispersed the
parts to show the complexity of the device and display the forms as individual parts.
57
58
This page is intentionally left blank.
59
As a team, Kentaro Crockett and I had to explore
Shockoe Bottom and generate an image-based
installation that interacts conceptually and
materially with your site. We had to create imagery
that could be reintroduced into the site and had to
be temporary. We focused on the floodwall and
how it protects Shockoe Bottom. The end product
was:
Series of 8”x11” cutout location pins
Imaging ISarah Baugh
Pinwall
60
For the first phase of the project, I was assigned
the Shockoe Bottom district. In a small group,
Kentaro Crockett and myself had to select three
sites within the district where we would propose to
complete an installation.
We were immediately intrigued by the Flood wall.
It was constructed in 1994 by the City of Richmond
to protect Shockoe Bottom from the floods of the
James River. At the wall’s highest point, it reaches
29 feet, spanning approximately 6,000 feet long.
We focused on the southern part of the wall under
Interstate 95 near E 17th Street.
Sketch of the Flood wall Sketch of the gate
61
Photograph of the wall. The size of the wall, while
enormous, would be used in the continuation of the
project.
Close up of the gates. We first planned to make posters that would visualize how the district would look if the walls
weren’t constructed.
62
Our second proposed site was at the end of
the Richmond Dock Creek. The Great Shiplocks
located on the edge of the Canal Walk, was a
former shiplock to allow ships to bypass the falls of
the James River. Completed in 1854, the shiplocks
allowed Richmond to become an industrial city to
import and export goods into the city before the
railroad was popular.
Sketch of the shiplock area. Images would be placed on
each bridge.
Perspective sketch.
63
Photograph of the shiplock.
64
The last site was the interior of Urban Farmhouse
in Shockoe Slip. The coffee shop featured a large
dining area with large glass doors that could
be opened when the weather is warm enough.
The shop also features live entertainment. We
proposed to document a photo of the space that
would have all the contents in the photograph are
levitating.
Sketch of the area. Sketch of the proposed project.
65
Photograph of the area.
66
We chose the Flood wall as our final site. It was
expansive enough and held many connotations.
We wanted to focus on the Flood wall as a barrier
between the James River and Shockoe Bottom
landmarks and an important development to the
area.
Also, we heavily focused on how the Flood wall
obscures the viewpoint of the region between the
James River and the Canal.
We based our concept on location awareness. The Flood wall obstructs your view of landmarks in the district. Also,
you lose a sense of direction without because of all the structures surrounding the area. Therefore, we used GPS on
our phones to help guide us. We wanted to create location pins that had images of landmarks in Shockoe Bottom,
and place them on the wall where they are located in real space.
67
We were inspired by the Google Maps “pin.” In a real space, this object directs us to a
specific point.
In a virtual space, the Google Maps pin highlights a specific location.
68
We searched for sites in and around Shockoe Bottom, particularly ones with historical
significance.
Along with searching for sites, we were interested in the general architecture that is
in Shockoe Bottom. The world under the interstate highway creates an interesting
composition that hides and reveals different gems of the district.
69
70
After selecting our sites, we planned our method
to present our concept. With the pins, we would
place them on the wall in relation to where they
would be if the wall wasn’t there. The pins would
feature Shockoe Bottom landmarks.
We used Google Maps on our iPhone to help us plot our pins on the wall. The blue triple lines reference the Flood
wall. The magenta circles are landmarks and the yellow triangle is your point of view from the wall.
71
Each pin would feature a landmark. These pins are modeled similarly to Google Maps
pins.
The color is grayed out to reduce so the pins camouflage more with the wall.
72
We searched for sites in and around Shockoe Bottom, particularly ones with historical significance.
73
Mural near railroad supports. Welcome to Shockoe Bottom.
74
Main Street Station and James Monroe Building. Railroad tracks.
75
Old Main Street Station entrance. 17th Street Farmers Market.
76
The final pins were placed on the wall. The
height of each pin on the wall coordinated
with its actual height in the real world.
During critique, we positive feedback and
generally well received comments such as
the idea was a great use of how location
pins could be used in the real world.
77
78
79
80
Brandon Shields | Selected Process Book | 2015
