“You know too much not to be good, your biggest fear now is being boring...”--Henry Sene Yee, Creative Director PICADOR

NiNa LoSchiavoSva PortfoLio 2011

EXPEct the UNEXPEctED

A–Z book / The Yellow Pages Book

Taking the less obvious approach and finding a bal-

ance between a conceptual and a visually stimulating

piece. When faced with assignments that seem to have

easily attainable solutions I attempt to step away from

my work to find the answers no one was searching for.

When given the task to design an “A-Z” book, I knew the

popular solution would be to find images that related direct-

ly to that letter, or the shape of the letter. At first glance the

alphabet is symbols that relates to language and sound, but

when viewed as a whole it is a process that has a beginning

and end. I saw A-Z as 26 steps through human life, each let-

ter representing another moment in a person’s memory. The

images drawn from the New York Public Library Archives

visually bring you from a young boy’s school years through

to a man’s struggle to stay alive after suffering from a stroke.

A–Z book

A B

J

R

Z

I

Q

Y

C

K

S

D

L

T

digital representation, to be read from left to right across the entire spread

E

N

V

M

U

F

O

W

G

P

X

H

When Peter Buchanan-Smith told us to make a 100 page

book only from the New York City Yellow Pages, I won’t

lie, I was a bit mortified. After seeding through one cliché

idea after another I analyzed what the purpose of the Yellow

Pages actually is. It’s a book made up of primarily business

numbers and advertisements, all attempting to get New York

City to buy or do something. Doctors, lawyers, escorts and

more, the Yellow Pages provides just about any service that

you could imagine. Going off the idea that people open the

Yellow Pages because they are looking for a solution, i.e. I’m

depressed where can I find a psychologist? Or my carpet

is dirty who can clean it? The piece is an interpretation of

people’s (emotional) reactions to consumer services, all that

are essentially, shown in the New York City Yellow Pages.

The Yellow Pages Book

digital representation, to be read from left to right across the entire spread

thErE’S No EXcUSES iN DESiGN

Rose repackaging / Resistance pest control

When I first came to art school my craft was far from perfect, and I still

frequently use it as an excuse for running from packaging assignments.

It was when Peter Buchanan-Smith told me that my pleas were a lack

of resourcefulness that I stood back and re-tackled the two assignments

I struggled the most with this semester, repackaging a dozen roses and

branding any item found in a hardware store. Both assignments seemed

out of my comfort zone seeing as I could barely cut a straight-line with an

x-acto blade. Regardless I attempted to channel my lost resourcefulness

to solve the assignment to the best of my abilities.

In an attempt to package roses in a useful way, I constructed

a very simple device to hold flowers both right-side-up and

upside-down. When shown right-side-up it is a decorative

piece to give to a loved one. When flipped over it is a way to

dry roses in a position that will not allow them to wilt. The

stained wooden board also comes with instructions on how

to dry your roses and is finished with two quotes relating to

love (right-side-up) and memories (flip side).

Rose Repackaging

When assigned to brand and repackage anything found at a

hardware store, I attempted to connect with the assignment

by choosing something that I would purchase. I found pest

packages to be very scary looking; bright and not welcoming.

I also find that just because you are clean doesn’t mean you

are going to escape pest problems. By sewing small canvas

bags and creating very simple instructional cards I sought to

achieve a less daunting looking package. It doesn’t scream at

you when you first see it, and it doesn’t have a giant rat on

the front, because who really wants to see that anyway? It’s

the reason why you are buying the product in the first place.

Resistance pest control

Release copper handle and attach it to the yellow faux

cheese on the opposite side to set the trap. Now that the trap is set be sure

to keep away from yourself, your loved ones and animals not

intended for capture.

Place block bait out of the reach of children, pets and non-

target wildlife. Dispose of unused or spoiled bait.

Shake pebble poisonfrom bag onto the ground. Do

not touch pebbles with your hands.If exposed, wash with soap

and water immediately.

P E B B L E P O I S O N

S N A P T R A P S

B L O C K B A I T

R E S I STAN C E

R E S I STAN C E

R E S I STAN C E

by

by

by

P E B B L E P O I S O N

S N A P T R A P S

B L O C K B A I T

p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

digital representation

fronts backs

LEarNiNG thE roPES

Music Video, Go Out and Love Someone

Taking Graham Elliott’s music video course allowed me to

broaden my knowledge of using a camera. Go Out and Love

Someone is a music video piece that I worked on second se-

mester about a couple living in New York City who meets

in a supermarket and bonds over their love for cooking.

haviNG MY firSt “chiLD”

La Mia Famiglia, a short film

When Richard Wilde described ‘The Project’ course to an

auditorium of sophomores as “the biggest commitment

you will make in your academic career,” I simply (and ig-

norantly), shrugged my shoulders and thought to myself,

“perhaps a the biggest commitment for someone who has

a lack of understanding of dedication.” Little did I know I

could not have been more wrong. This, by far, was one of

the most difficult endeavors I have ever taken on in my life.

La Mia Famiglia is a story of John, a level-headed young

man, who is one of a three children in a Brooklyn Italian

family. Upon arriving home for the Christmas holiday

with his “close friend” from college he is accidentally out-

ed as homosexual by his oldest brother. After a series of

awkward silences and uncomfortable arguments you see

a traditional family deal with their conflicting thoughts

about modern values. John, both shocked and disap-

pointed by his family’s reaction finds some peace when

his grandfather unexpectedly supports his individuality.

La Mia Famiglia

When Bob Giraldi gave me the opportunity to tell a

story that would be seen not only by SVA students and

faculty but potentially, with the power of the internet,

the rest of the world––I was a instantly stumped. To

be working on a short film for an entire year you want

to write a piece that is going to mean something to you

beyond it’s completion. In 2010 the news was flooded

with stories about homosexual bullying, regardless of

your viewpoint on the subject, it was a sad reflection

of the close-minded nature of people with a lack of

understanding of other’s lifestyle choices. The film

conveys the realistic message that although acceptance

may not be simple for some, youth coming out today

will find a voice of reason, and eventually as it’s been

said many times before, things will get better.

La Mia Famiglia

“BaBY’S” firSt BooK

Not A Happy Camper

One of the first assignments in Peter Buchanan-Smith’s graphic

design communication class was to redesign any book from the $1

shelves at Strand. I was in the least bit excited, I had never designed

a book cover before, nor did I have any desire to. It wasn’t until I

wrapped my newly designed printed jacket around the book did

I realize that I had a love for this realm of art. It was the way the

jacket fit just the same as the original and looked and felt “real.” Af-

ter getting such a great feeling of satisfaction from this assignment I

continued to research the field of cover art and eventually got a job

interning at St. Martin’s Press publishing company. The majority of

my successful work became book covers and I had found something

I could truly see myself doing for the rest of my life.

thE ELEMENt of SUrPriSE PLAY

Arthur Miller book series

Throughout the year I received a lot of critiques stating that my work

was too predictable, too slick, too professional, or too serious. It was

after I had watched Paula Scher’s TED talk that I realized that this

poorly received work was far from serious, it was in fact quite solemn.

Their was no marriage between the image and the type, some pieces

had no idea, but most importantly I wasn’t having fun. I was designing

for the sake of getting the assignment completed, and not for the sake

of being a designer who loves what they are doing. After many failed

attempts at redesigning Arthur Miller’s Death of a Salesman, I turned a

1950’s illustration of a car upside-down on my laptop and John Gall

stood behind me and said “stop, that’s great.” There was an idea that

related to the book, their was something interesting, I had “played,”

and it was successful. I took a similar approach to the rest of series and

consider these covers as some of my most successful work from this year.

ar

thu

r m

ille

r

Death of a Salesman

digital representation

A View from the Bridge

ar

thu

r m

ille

r

digital representation

The Man Who Had All the Luck

ar

thu

r m

ille

r

thErE’S tWo SiDES to EvErYthiNG

“How To Not Become Your Parents”

Working on How To Not Become Your Parents opened my eyes to taking

two opposing approaches when working on an assignment. Typically

I am conservative and organized with my type, I never think to pick

up a pen and start creating my own. After delivering a very typical

“me” type setting to John Gall he asked me to take an opposing

approach and have fun. I find both covers to be successful for differ-

ent reasons but having taken polar directions allowed me to expand

my horizons and break my stubbornness with hand-type. A way of

working that I attend on implementing in the future.

vs.B E C O M E

not

your

PARENTS

how to

edith sexton

vErNacULar aND aSSociatioN

Lake Overturn

In an attempt to break the association that road signs can

only appear on highways, I created a symbol altered from an

original trailer indicator to convey the concept of Lake Overturn.

Turning vernacular on it’s head while still having an idea to wed

it with was a valuable design practice.

LEarNiNG froM YoUr MiStaKES

Conquering Carin Goldberg

I spent my entire first semester in Carin’s Goldberg’s class with a lack of ability to focus.

I struggled connecting with assignments, I didn’t push myself hard enough and I didn’t

produce a single successful piece. I chose to not take a type course in the spring semester

because of my fear of being unable to produce interesting work. If it wasn’t for Carin’s

harsh but honest criticism it would have never been brought to my attention that some as-

signments I had set my mind to “coast,” and was only doing an assignment to finish it, not

to push my limits. Under the instruction of John Ruggeri I made a fine art piece as a reflec-

tion of my regret for dropping typography in the second semester. The two-sided collage is

a statement about how overwhelmed I felt by my fear of typography. The Tudor’s displayed

on the back side of the collage are a representation of judgemental eyes, those who thought

less of me for walking away from studying under Carin. I’m glad the decision has effected

me so personally because it has truly made me a more thoughtful and serious designer.

BEiNG VERY aMBitioUS

A resume, 10 years in the future

Although Peter Buchanan-Smith’s 10 year resume assignment can

be easily discounted as a less important project, it was perhaps one

of my favorites. When given the opportunity to jot down where I’d

like to see myself in 10 years, it allowed me to evaluate where I stand

today and who and what has inspired throughout the past three years.

I frequently dismissed how difficult it is to be an instructor, but seeing

the dedication of SVA educators I have become obsessed with the

idea of becoming a mentor in the field of design. Having worked in

publishing as an intern for the past two semesters and working with

John Gall, Vintage Books seemed like the perfect beginning to my

hypothetical career. Being exposed to all of the best design firms in

the world I was easily inspired by the work of Pentagram, and even

more excited about their offices out of the US. To build relationships

with designers around the world working for one of the most incred-

ible firms would be nothing less than a dream come true.

n i n a l o s c h i a v o

g r a p h i c d e s i g n e r • d i r e c to r

w w w . n i n a l o s c h i av o . c o m

e d u c a t i o n

s c h o o l o f v i s u a l a r t s

b f a g r a p h i c d e s i g n , 2 0 1 2

w o r k

n i n a l o s c h i a v o d e s i g n

f o u n d e d w i n t e r 2 0 1 8a s m a l l f i r m b a s e d i n n e w y o r k c i t y t h a t p r o d u c e s a l l r e a l m s o f p r i n t a n d v i d e o .

s v a , p o r t f o l i o i n s t r u c t o r 2 0 2 0 - p r e s e n t

i n s t r u c t i n g s v a s t u d e n t s , a p o r t f o l i o c l a s s d e d i c a t e d t o b o o k d e s i g n , c o v e r

d e s i g n , b r a n d i n g a n d d e s i g n w i t h i n v i d e o .

p e n t a g r a m - b e r l i n , d e s i g n e r

s u m m e r 2 0 1 7 - s p r i n g 2 0 1 8t e m p o r a r i ly r e l o c a t e d t o b e r l i n t a k i n g o n

a n e w f o c u s o f a r c h i t e c t u r a l d e s i g n .

p e n t a g r a m - l o n d o n , d e s i g n e r

s u m m e r 2 0 1 6 - s p r i n g 2 0 1 7t e m p o r a r i ly r e l o c a t e d t o l o n d o n

l o c a t i o n w i t h t h e s a m e f o c u s ’ .

p e n t a g r a m - n e w y o r k , d e s i g n e r

s u m m e r 2 0 1 4 - s p r i n g 2 0 1 6d e s i g n e r , f o c u s i n b o o k , b o o k c o v e r a n d

b r a n d i n g d e s i g n .

v i n t a g e b o o k s , d e s i g n e r

f a l l 2 0 1 2 - s p r i n g 2 0 1 4d e s i g n e r f o c u s i n g o n l i t e r a r y n o v e l s a n d

c l a s s i c r e d e s i g n s .

a w a r d s

t h e n e w y o r k b o o k s h o w

r e c o g n i z e d 2 0 1 3 - p r e s e n t

a i g a ’ s 5 0 b o o k s 5 0 c o v e r s

a w a r d e d 2 0 1 3 - p r e s e n t

a d c y o u n g g u n s y 1 0 - y 1 7

t r i b e c a f i l m f e s t i v a l - s h o r t f i l m

s h o w n , s p r i n g 2 0 1 7

n i n a . l o s c h i a v o @ g m a i l . c o m

1 ( 3 47 ) 5 2 5 - 2 9 6 0

The lesson is of more value than the time and money spent, and even the

work produced. My 3rd year at SVA has been by far the most profound

learning experience of my educational career. I feel truly privileged to

have the opportunity to study under some of the greatest designers and

design educators in the world of art. It is through these instructors and the

connections I’ve made in the field that I have been inspired to push myself

beyond imaginable means just simply for the sake of creating something

beautiful or telling a story all my own. It is those people who’s lives have

crossed mine to change my way of thinking eternally and have made the

lesson much more valuable than any one piece featured in this book.

“iN coNcLUSioN... .”

So it seems --

Special thanks to my friends and family for the constant support, Biel Parklee (photographer), Peter Buchanan-Smith, Bob Giraldi, John Gall, John Ruggeri, Henry Sene Yee and Carin Goldberg.