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portfolio for graphic design II
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PortfolioTony RamosGraphic Design II (01D:120)Instructor Vinicius LimaTuesday/Thursday 10:30am-1:20pm
Table of ContentsPg. 1 -- Hierarchy ExercisePg. 2 -- Hierarchy ExercisePg. 3 -- CD PackagingPg. 4 -- Photograph of Mockup of CD BoxPg. 5 -- Photograph of CD BookletPg. 6 -- CD DesignPg. 7 -- CD Cover DesignPg. 8 -- Photograph of Mockup of CD Box (Back)Pg. 9 -- Photograph of Mockup of CD Box (Left/Right Sides)Pg. 10 -- CD Booklet DesignPg. 11 -- Poster, Ticket, EnvelopePg. 12 -- Poster DesignPg. 13 -- Photograph of Ticket (Front)Pg. 14 -- Photograph of Ticket (Back)Pg. 15 -- Photograph of Envelope (Front)Pg. 16 -- Photograph of Envelope (Back)Pg. 17 -- SymboliconPg. 18 -- SymboliconPg. 19 -- Stamp DesignPg. 20 -- Photograph of Stamp (Large)Pg. 21 -- Photograph of Stamp (Small)Pg. 22 -- Photograph of Stamp (Far/Close-Up On Envelope)Pg. 23 -- Stamp Design (20 Stamps)Pg. 24 -- MagazinePg. 25 -- Magazine Logo (Large)Pg. 26 -- Magazine Logo (Medium)Pg. 27 -- Magazine Logo (Small)Pg. 28 -- Magazine Logo (Black/White on White Background, Medium)Pg. 29 -- Magazine Logo (Black/White on Black Background, Medium)Pg. 30 -- Wireframe of Cover, Masthead, CreditPg. 31 -- Two Articles of ArtistsPg. 32 -- Magazine Cover PagePg. 33 -- Magazine Table of ContentsPg. 34 -- Magazine IntroductionPg. 35 -- Magazine Main Artist Spread #1Pg. 36 -- Magazine Main Artist Spread #2Pg. 37 -- Magazine Second Artist SpreadPg. 38 -- Magazine Second Artist Third PagePg. 39 -- Magazine Back PagePg. 40 -- Beverage Bottle and PackingPg. 41 -- Label a Beverage (Large and Normal)Pg. 42 -- Packaging DesignPg. 43 -- Two Photographs of Bottle and PackagingPg. 44 -- Photograph of Finished ProductPg. 45 -- Cropped Photographs That Enhance Details of the Product
I
Hierarchy ExerciseHierarchy Exercise
Pg. 1 -- Hierarchy ExercisePg. 2 -- Hierarchy ExercisePg. 3 -- CD PackagingPg. 4 -- Photograph of Mockup of CD BoxPg. 5 -- Photograph of CD BookletPg. 6 -- CD DesignPg. 7 -- CD Cover DesignPg. 8 -- Photograph of Mockup of CD Box (Back)Pg. 9 -- Photograph of Mockup of CD Box (Left/Right Sides)Pg. 10 -- CD Booklet DesignPg. 11 -- Poster, Ticket, EnvelopePg. 12 -- Poster DesignPg. 13 -- Photograph of Ticket (Front)Pg. 14 -- Photograph of Ticket (Back)Pg. 15 -- Photograph of Envelope (Front)Pg. 16 -- Photograph of Envelope (Back)Pg. 17 -- SymboliconPg. 18 -- SymboliconPg. 19 -- Stamp DesignPg. 20 -- Photograph of Stamp (Large)Pg. 21 -- Photograph of Stamp (Small)Pg. 22 -- Photograph of Stamp (Far/Close-Up On Envelope)Pg. 23 -- Stamp Design (20 Stamps)Pg. 24 -- MagazinePg. 25 -- Magazine Logo (Large)Pg. 26 -- Magazine Logo (Medium)Pg. 27 -- Magazine Logo (Small)Pg. 28 -- Magazine Logo (Black/White on White Background, Medium)Pg. 29 -- Magazine Logo (Black/White on Black Background, Medium)Pg. 30 -- Wireframe of Cover, Masthead, CreditPg. 31 -- Two Articles of ArtistsPg. 32 -- Magazine Cover PagePg. 33 -- Magazine Table of ContentsPg. 34 -- Magazine IntroductionPg. 35 -- Magazine Main Artist Spread #1Pg. 36 -- Magazine Main Artist Spread #2Pg. 37 -- Magazine Second Artist SpreadPg. 38 -- Magazine Second Artist Third PagePg. 39 -- Magazine Back PagePg. 40 -- Beverage Bottle and PackingPg. 41 -- Label a Beverage (Large and Normal)Pg. 42 -- Packaging DesignPg. 43 -- Two Photographs of Bottle and PackagingPg. 44 -- Photograph of Finished ProductPg. 45 -- Cropped Photographs That Enhance Details of the Product
1
graphic design Basic Concepts and PrinciplesIntroduction
Design may be considered as an instrum
ent of organization. It m
ust perform in response to hum
an needs. Design is an urgent requirem
ent, not a cosmetic addition. Graphic design can
save time by presenting inform
ation more clearly. It enhances com
munication, it helps
people to understand a given message andaccelerates learning. Design is �nding the best
solution to a problem within the lim
itations of the problem. “To design is m
uch more
than simply to assem
ble, to order, or even to edit; it is to add value and meaning, to
illuminate, to sim
plify, to clarify, to modify, to dignify, to dram
atize, to persuade, and perhaps even to am
use. To design is to transform prose into poetry. Design broadens
perception, magni�es experience, and enhances vision. Design is the product of feeling
and awareness, of ideas that originate in the mind of the designer and culm
inate, one hopes, in the m
ind of the designer and culminate, one hopes, in the m
ind of the new m
imespectator.” (Paul Rand, Form
+ Content)
The Graphic Design Process
Each design problem
has unique differences and an in�nite num
ber of possible visual solutions. T
he process to generate alternate visual solutions to a problem
can be described as follows:
De�nition of needs, criteria and lim
its of the design problem (problem
identi�cation), P
roduction of many prelim
inary sketches (thumbnails),
Re�nem
ent of selected sketches (roughs), Analysis of roughs,
Selection/decision, Im
plementation (and preparation for print).
After problem
identi�cation, the process follows a cyclic pattern. From
prelim
inaries through re�nement, analysis, and selection to
implem
entation. The process grow
s by constantly checking backwards.
In the design process, the establishment of priorities is essential.
Designers m
ust be able to judge and gauge the relative importance of
factors as they relate to one another. Priorities set the functional and
visual criteria in comm
unications.
Graphic designers com
municate and express them
selves in four distinct w
ays. They need to have a w
orking knowledge of typography, illustration,
photography/video, and symbolism
.
TypographyTypography is designing w
ith type, not the designing of type. It involves 1) choosing and
using type, and 2) the application of design principles to the setting of type: the arrangem
ent, style, and general appearance of matter printed
with type.
SymbolismA
symbol is a representation, verbal or visual, of
a concept, object, idea, etc., the meaning of
which is m
utually agreed upon. In graphic design, the effective use of sym
bolism, com
bining and relating symbols, enhances the expression of
ideas. It creates recognition, association and meaning.
Perception and Composition
Visual perception involves a com
plex interplay of both inborn and learned responses to visual stim
uli. The G
estalt law
s of Perception sum
marize tendencies that appear to be innate or
inherent in our biological heritage and which undoubtedly serve as the
basis for our concept of composition in visual art.
Figure-Ground:Tendency tow
ard �gure-ground: There
is a tendency to interpret visual data as objects against a background, or m
ore precisely, �gures against a ground.
SimilarityS
imilarity facilitates grouping: O
bjects which
resemble one another tend to be seen as
belonging together.
ProximityP
roximity facilitates grouping: O
bjects placed close together tend to form
a �gure.
ClosureTendency tow
ard closure: Missing visual
information is �lled in by the brain. T
he eye closes the open parts of a �gure because it w
ants to see a whole rather than a
collection of unrelated parts.
ContinuityTendency tow
ard continuity: An interrupted
linear �gure is similarly �lled in by the brain.
SpacingL
etters and words need to be spaced in a logical,
consistent manner to appear optically correct, and
achieve optimum
readability. In letter-spacing there are three standards. M
inimum
space is used between cursive (oo) letters, or
between inclined (xy) letters. M
edium space is used betw
een vertical and cursive letters (lo). B
etween vertical letters (ll) m
aximum
space is used. G
ood word-spacing is achieved by m
aking all space intervals betw
een words “look” the sam
e. Words m
ust not appear to run together or be spaced so w
idely as to appear to be separate units. One system
is to im
agine a lower case “n” betw
een words. T
his gives a moderate
word-spacing.
The GridT
he grid is an underlying structure organizing data. It articulates space according to a pattern
of oppositions: vertical and horizontal, top and bottom, rectangular and
diagonal, and left and right. If used well it provides perceptual
organization, coherence and consistency. A w
ell-conceived grid alone w
ill not ensure effective design. It is an organizational tool, and must
be used creatively to maxim
ize comm
unications potential. Grids can
help answer com
positional questions such as balance, proportion, sequence, unity/harm
ony, and contrast.
LayoutC
omposition w
ith Type and Images. L
ayout involves the follow
ing set of interrelated basic design principles.
BalanceB
alance is created by moving around “optical
weights”, big and sm
all items, dark and light item
s, varieties of shapes.
ProportionG
ood proportion is achieved by deciding on space betw
een image and type, betw
een type and the edge of the paper, betw
een columns of type, betw
een type-size, line- length and leading, betw
een different visual elements, etc.
SequenceS
equence is created by directing the viewer, for
example, through the use of lines, real or im
plied; by arranging im
ages in such a way that an edge or a force from
one �ow
s into an adjoining one. One does not leave to chance the order in
which the view
er perceives the items in the layout.
Unity/HarmonyU
nity and harmony are achieved by
“�tting” all visual elements, type,
illustrations, and photos into the style/mood of the layout.
ContrastC
ontrast is achieved through differentiation in size, color, and shape. G
iving the same graphic
emphasis to several elem
ents will m
ake them com
pete for attention.
The first project of the class, this hierarchy exercise has been improved from my first hand in.
2
CD PackagingPhotograph of Mockup of CD BoxPhotograph of CD BookletCD DesignCD Cover DesignPhotograph of Mockup of CD Box (Back)Photograph of Mockup of CD Box (Left/Right Sides)CD Booklet Design
3
Photograph of front of CD box mockup, second project.
4
Photograph of unfolded CD booklet, second project.
5
PDF of CD, second project.
6
Alice Cooper
School’s OutPDF of CD cover design, second project.
7
Photograph of back of CD box mockup, second project.
8
Photograph of sides of CD box mockup, second project.
9
1). School's Out:
Well we got no choice, All the girls and boysMakin all that noise, 'Cause they found new toys
Well we can't salute ya, Can't find a flagIf that don't suit ya, That's a drag
School's out for summerSchool's out foreverSchool's been blown to pieces
No more pencils, No more booksNo more teacher's dirty looks
Well we got no classAnd we got no principlesAnd we got no innocence, We can't even think of a word that rhymes
School's out for summerSchool's out foreverMy school's been blown to pieces
No more pencilsNo more booksNo more teacher's dirty looks
Out for summerOut till fallWe might not go back at all
School's out forever, School's out for summerSchool's out with fever, School's out completely
2). Luney Tune:
I slipped into my jeansLookin hard and feelin meanI took a spit at the moonIt's all in this luney tune
Just a little insane, A couple shotsI can't feel no pain, Hey, where have I been? And who are these scary men?
Is this all real? Is this all necessary?Or is this a joke?
Many know, I don't regret at allThey locked me up for good, Pinned me against the wall
I can't find the exit, I quit lookin for doorsI stole a razor from the commissary, I just couldn't take it no more
I'm swimmin in blood, Like a rat on a sewer floorNo longer insane, Just part of this crazy dream
3). Gutter Cats vs. The Jets:
I went out cat pussyfootin aroundTill the break of dawnFound me knocked out flat on my head
Some feline beauty, Waved her tail my wayI just had to stayI couldn't get the blood off my hands
She made my eyes bug out, Her tail stand upAnd I ain't even in heat for a month
House cat, You really got it madeSleepin all night, And perfect delight of day
Some feline beauty, Waved her tail my wayAnd I just had to stayI couldn't get the blood off my bed
She made my eyes bug out, Her tail stand upAnd I ain't even in heat for a month
Some bad cats from 4th StreetCome down to our alley, Well we say that's coolBut just stay away from me and my boys
Eyes clash, And claws slashAnd green-eyed fur goes flyinMidnight, Catfight, Neckbite, Die
When you're a Jet, You're a Jet all the wayFrom your first cigaretteTill your last dyin day
Here come the Jets, Like a bat out of hellSomeone gets in our waySomeone don't look so wellWhen you're a Jet, You - Stay - A - Jet
(Pow!)
When you're a Jet, Let 'em do what they canLittle boy, you got friends, You're a family manThe Jets are in gearThey're always well-respectedYou're never alone, When company's expectedYou're well-rotected
4). Street Fight:
(Instrumental and Fighting Noises)
5). Blue Turk:
(Blue), (Hot)
I'm lazy, You know itI'm ready for the second show, AmazinThing growin, Just waitin for the juice to flow
But you're so very picturesqueYou're so very coldTastes like roses on your breathBut graveyards on your soul
I'm hurtin, I'm wantinI'm achin for another goYou're squirmin wet, babyNothin bad comin very slowAnd it's burnin holes in me
You're so very picturesque, You're so very coldIt tastes like roses on your breathBut graveyards on your soul
(Whoa-oh-mmm), (Mm')
One spastic explosionTwo pressure-cookers go insaneIt makes me act crazyI shiver but I love this game
You're so very ordinary, You're so very lameTaste like whiskey on your lipsAnd earthworms rule your brain
6). My Stars:
My stars, So far, No one's callin me home
Space brain, Vagabond, Living on my own
Come on ye faithfulYou know all you people should come to meI'll make your arms workAnd I'll make your legs work, I'll make you see, Ladada dadada dadada dadada da da dumWhoa, yeah
Well I swear by the air, I'll be made to breatheYou'll pay very dear for this banishing deed, The power alone stored in my little handCould melt the Eiffel TowerTurn does Sphinx into sand
Oh no, Thar she blows, Spreadin crazy newsAll night, Cannonball, Loves to light the fuse
And everyone blows up and nobody grows upto fill Dad's shoes, But that doesn't mattercuz no little boys really wanted toLadada dadada dadada dadada da da dum
I stared at the squall lineI stared at the fault lineI see a funeral black thereI think I see a crack thereLandscapes alive, And it's movin my feetAll I need's a HolocaustTo make my day complete
If I keep my nose cleanI won't get my eyes shinedBut I'm proud to be, Public Animal Number Nine
License plates are runnin, Out of my earsI'd give a month of cigarettes
Tradin all his ball cardsAnd they promised him a gold starAnd they told him he could go far
Hey Mr. Bluelegs, Where are you takin me?I'm like a lifer, In the state penitentiary
For just a couple of lousy beersOr even a bottle of, Real cheap wineBut that's the price you pay to bePublic Animal Number Nine, Number Nine
Hey Mrs. Cranston, Where are you takin me?I feel like a lifer, In the state penitentiaryShe wanted an EinsteinBut she got a FrankensteinYeah, I'm proud to bePublic Animal Number Niiiirrrrrgh
Animal Number NinePublic Animal Number Nine NinePublic Animal Numbergh NiiiirrrrrghPublic Animal Nurrrgh Nirrrgh, Errrrrrrrrgh
7). Public Animal #9:
Me and G.B., We ain't never gonna confessWe cheated at the math testWe carved some dirty words in our deskWell now it's time for recessOld man waiting by the monkey bars
(Aaow!)Public Animal Number NinePublic Animal Number NinePublic Animal Number Nine NinePublic Animal Number Nine Number NineNumber Nine Number Nine
8). Alma Mater:
Rain is falling, Down my cheekSearching for the seaTomorrow, like the rain, I'll be back home again
Now I don't think Miss AxelrodWas much impressedNow I don't think Miss AxelrodWas much impressedWell I don't think Miss AxelrodWas much impressed
I watch, The bus, As it pulls out of viewSomeday like that bus, I will be leavin too
But you know, It breaks my heartTo leave you, Camelback, My high school
And now, Alone, Cryin in my beer'Cause old friends saidGoodbye, I guess I'll be leavin too
But you know, It breaks my heartTo leave you, Cortez, I'll miss you
Yes I will, Yes I will, You know I willYes I will, Yes I will, You know I will
Well so long, EverybodyI hope that I would see you again
Goodbye, Everybody, I finally grew upThey finally let me out of school
Hey, remember the time - 'member the timeWe took that snakeAnd put it down little Betsy's dress?
Oh, goodbye, EverybodyI hope that I would see you againSo long, Everybody, How do you like thatThey finally let me out of school, GoodbyeAh, I wanna get out of hereThey let me out of schoolHow 'bout that, uh?
Goodbye, Hey, goodbye, guys, Maybe I'll see -Maybe I'll see you around some time, uh?'Ey, don't make a stranger of yourself, uh?Remember the Coop, uh? May - I ho -I hope - you don't forget me or nothinGoodbye
9). Grande Finale:
(Instrumental)
Hey Alice
schools out,
isnt that great!!
have a great
summer, and see
you next year
Thank you for the memories, for the good times, and for picking up my spirits when I was sad. I know this sounds like I'm saying goodbye, but what I'm trying to say is enjoy your time off and party hard. Also, here is a list and the lyrics of songs we jammed out to. Your friend Tony, P.S. --
PDF of CD booklet, second project.
10
Poster, Ticket, EnvelopePoster DesignPhotograph of Ticket (Front)Photograph of Ticket (Back)Photograph of Envelope (Front)Photograph of Envelope (Back)
11
Alice Cooper: VocalsMichael Bruce: KeyboardsGlen Buxton: Guitar
Dennis Dun
away: B
ass
Neal Smith:
Drums
Release Ye
ar: 1972
1
2
3
4
5
NO more pencils NO more booksNO more teachers dirty looks
PDF of poster, group photo of Alice Cooper’s school’s out, third project.
12
Photograph of front of ticket, imaginary ticket for the concert school’s out, third project.
13
Photograph of back of ticket, imaginary ticket for the concert school’s out, third project.
14
Photograph of front of envelope, imaginary envelope for concert ticket, third project.
15
Photograph of back of envelope, imaginary envelope for concert ticket, third project.
16
SymboliconSymbolicon
17
A symbolicon illustration for the artist Roy Lichtenstein, fourth project.
18
Stamp DesignPhotograph of Stamp (Large)Photograph of Stamp (Small)Photograph of Stamp (Far/Close-Up On Envelope)Stamp Design (20 Stamps)
19
Photograph of a large stamp, a stamp design of the artist Roy Lichtenstein, fifth project.
20
Photograph of a small stamp, a stamp design of the artist Roy Lichtenstein, fifth project.
21
Photograph of a stamp on an envelope, from far away, for final.
Photographs of a stamp on an envelope, close-up, for final.
22
PDF of stamps, 20, fifth project.
23
MagazineMagazine Logo (Large)Magazine Logo (Medium)Magazine Logo (Small)Magazine Logo (Black/White on White Background, Medium)Magazine Logo (Black/White on Black Background, Medium)Wireframe of Cover, Masthead, CreditTwo Articles of ArtistsMagazine Cover PageMagazine Table of ContentsMagazine IntroductionMagazine Main Artist Spread #1Magazine Main Artist Spread #2Magazine Second Artist SpreadMagazine Second Artist Third PageMagazine Back Page
24
esign
PDF of Magazine logo, large 2-D/3-D design, sixth project.
25
n
esig
PDF of Magazine logo, medium 2-D/3-D design, sixth project.
26
esign
PDF of Magazine logo, small 2-D/3-D design, sixth project.
27
n
esig
PDF of Magazine logo, medium 2-D/3-D design black/white on white background, for final.
28
n
esig
PDF of Magazine logo, medium 2-D/3-D design black/white on black background, for final.
29
Credited by TIC (Tony Illustrated Company)
PDF of wireframe of cover page, normal size for Magazine, sixth project.
PDF of masthead, normal size for Magazine, sixth project.
PDF of credit, normal size for Magazine, sixth project.
30
Stan
Lee
Lee’s Birth and Birth Name
28, 1922, in New York City, New York.
Joan Lee and they were married December
together to this day.
Later in life
New York city, New York (1922).
Stanley Martin Lieber was born on December
and his nickname is The Man. Lee’s wife is
5, 1947. They had two children and are still
2 3
5
Early CareerAs a teenager Lee enjoyed reader and writing, and became a part-time employee writing obituaries and press releases for the loc news paper. He graduated high school early, at age sixteen in 1939, and joined the WPA Federal Theatre Project. A year later Lee’s uncle helped him get a job with Timely Comics which would evolve into Marvel Comics. While working with them his duties were to make sure
proofreading, and pencil marks were erased from the art
Same JobProving himself up to the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance,
horror and suspense. By the end of the decade, Lee had
Marvel Comics
Approached by publisher Martin Goodman, Lee stayed and created more lifelike superheros that would have bad
themselves, worried about paying their bills, impressing
perheros he designed were the Fantastic Four, Hulk, Iron Man, Thor and the X-Men; but his most successful character, which developed Marvel comics, was Spider-Man. Then by 1972, Lee became the head of Marvel comics.
As of Now
face for Marvel Comics. He made appearances at comic book conventions, lecturers at colleges, and several cameos in Marvel movies. His latest work has been hosting a 2010 History Channel documentary series called Stan Lee’s Superhumans. Last but not least, he has founded a foundation that focuses on literacy, education, and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.
4
7
t
the early yearsVictor Navone was born, November 2,1970, and raised in San Diego, California. He got a Fine Arts degree from the University of Calfornia and his talents became well known with his animation ‘Alien Song’, in 1999. This artwork went on a masvsive exposure of popularity through the Internet and caught the attention of Pixar, who hired him full time in 2000.
character animation
Navone has been involved in 3D prodution (design, effects, modeling, lighting, etc.) since 1994. However, it wasn’t until 1998 that he started teaching himself character animation on his spare time. Some of his inspiration, that helped with this task, was through his life and other artwork. The artist’s work he admired the most, in no particular order, were: Hayoa Miyazake, Brad Bird, John Lasseter, Tony Fucile, Doug Sweetland, John Kahrs, Milt Kahl, Ward Kimball, Glenn Keane, and countless others.
University of California
Brad Bird (top left), Doug Sweetland (bottom right), Glenn Keane (bottom left), Hayoa Miyazake (top right).
John Kahrs (bottom left), John Lasseter (bottom right),Tony Fucile (top left), Ward Kimball (top right).
6
Vicor navone
Navone has explained that, “Pixar is a dream job for an animator and the best place in the world to work.” He says that it is a casual, fun atmosphere, with has lots of talented and friendly people. He, also, explains that he gets to make some of the best movies ever. “I myself have worked on Monsters, Inc., Finding Nemo, The Incredibles and various short projects.” However, his talents do not stop there, because in 2006 through 2010 he worked on Cars, Wall-E, and Toy Story Three.
navone and Pixar
inspiring words
When asked if he had any advice for the aspiring Animators out there, he said, “Learn the traditional principles for animation. Read The Illusion of Life and The Animator’s Survival Kit.
Toy Story 3 Wall-E
Monsters Inc.
8
PDF of main artist spread, Stan Lee first spread, sixth project.
PDF of main artist spread, Stan Lee second spread, sixth project.
PDF of second artist spread, Victor Navone first spread, sixth project.
PDF of second artist extension, Victor Navone third page, sixth project.
31
esign
Credited by TIC (Tony Illustrated Company)
PDF of cover page, includes logo, masthead, and credit, sixth project.
32
TAB
LE O
F CO
NTE
NTS
PAG
E -- 1
Introdu
ction
PAG
ES
-- 2-3S
tan Lee
PAG
ES
-- 4-5S
tan Lee’s C
areer
PAG
ES
-- 6-7V
ictor Navon
e
PAG
E -- 8
Victor N
avone’s In
spiration
III
PDF of table of contents, identifies pages and displays photographs, sixth project
33
TH
E PA
ST A
ND
FUT
UR
E D
ESIG
NE
RS
AN
D ILLU
STR
AT
OR
S, WH
ER
E W
E
HA
VE
CO
ME
FRO
M A
ND
WH
ER
E W
E
AR
E G
OIN
G!
III1
PDF of Magazine introduction, introduction which includes first page, sixth project.
34
Stan
Lee
Lee’s Bir
th and
Bir
th Nam
e
28, 1922, in N
ew York C
ity, New
York.
Joan Lee an
d they w
ere married D
ecember
together to th
is day.
Later in
lif
e
New
York city, New
York (1922).
Stan
ley Martin
Lieber was born
on D
ecember
and h
is nickn
ame is Th
e Man
. Lee’s wife is
5, 1947. They h
ad two ch
ildren an
d are still
23
PDF of Magazine Main artist spread, information about Stan Lee, sixth project.
35
5
Early Career
As a teen
ager Lee enjoyed reader an
d writin
g, and becam
e a part-tim
e employee w
riting obitu
aries and press releases
for the loc n
ews paper. H
e graduated h
igh sch
ool early, at age sixteen
in 1939, an
d joined th
e WPA
Federal The
atre Project. A year later Lee’s u
ncle h
elped him
get a job w
ith Tim
ely Com
ics wh
ich w
ould evolve in
to Marvel C
omics. W
hile w
orking w
ith th
em h
is duties w
ere to make su
re
proofreading, an
d pencil m
arks were erased from
the art
Sam
e Jo
bProvin
g him
self up to th
e mid-1950s, by w
hich
time th
e com
pany w
as now
generally kn
own
as Atlas C
omics, Lee
wrote stories in
a variety of genres in
cludin
g roman
ce,
horror an
d suspen
se. By th
e end of th
e decade, Lee had
Marvel Com
ics
Approach
ed by publish
er Martin
Goodm
an, Lee stayed
and created m
ore lifelike superh
eros that w
ould h
ave bad
them
selves, worried abou
t paying th
eir bills, impressin
g
perheros h
e designed w
ere the Fan
tastic Four, H
ulk, Iron
M
an, Th
or and th
e X-M
en; bu
t his m
ost successfu
l char
acter, wh
ich developed M
arvel comics, w
as Spider-M
an.
Then
by 1972, Lee became th
e head of M
arvel comics.
As of Now
face for Marvel C
omics. H
e made appearan
ces at comic
book conven
tions, lectu
rers at colleges, and several cam
eos in M
arvel movies. H
is latest work h
as been h
osting
a 2010 History C
han
nel docu
men
tary series called Stan
Lee’s S
uperh
um
ans. Last bu
t not least, h
e has fou
nded
a foun
dation th
at focuses on
literacy, education
, and th
e arts. Its stated goals in
clude su
pporting program
s and
ideas that im
prove access to literacy resources, as w
ell as prom
oting diversity, n
ational literacy, cu
lture an
d the arts.
4
PDF of Magazine Main artist spread, more information about Stan Lee, sixth project.
36
7
tthe e
arly
years
Victor N
avone w
as born, N
ovember 2,1970,
and raised in
San
Diego, C
alifornia. H
e got a Fin
e Arts degree from
the U
niversity of
Calforn
ia and h
is talents becam
e well kn
own
w
ith h
is anim
ation ‘A
lien S
ong’, in
1999. Th
is artwork w
ent on
a masvsive exposu
re of popu
larity throu
gh th
e Intern
et and cau
ght
the atten
tion of Pixar, w
ho h
ired him
full
time in
2000.
character a
nim
atio
n
Navon
e has been
involved in
3D produ
tion
(design, effects, m
odeling, ligh
ting, etc.)
since 1994. H
owever, it w
asn’t u
ntil 1998
that h
e started teachin
g him
self character
anim
ation on
his spare tim
e. Som
e of his
inspiration
, that h
elped with
this task, w
as th
rough
his life an
d other artw
ork. The
artist’s work h
e admired th
e most, in
no
particular order, w
ere: Hayoa M
iyazake, B
rad Bird, Joh
n Lasseter, Ton
y Fucile, D
oug
Sw
eetland, Joh
n K
ahrs, M
ilt Kah
l, Ward
Kim
ball, Glen
n K
eane, an
d coun
tless others.
Un
iversity of Californ
ia
Brad B
ird (top left), Dou
g Sw
eetland (bottom
right),
Glen
n K
eane (bottom
left), Hayoa M
iyazake (top right).
John
Kah
rs (bottom left), Joh
n Lasseter (bottom
right),
Tony Fu
cile (top left), Ward K
imball (top righ
t).
6
Vic
or
navone
PDF of Magazine second artist spread, information about Victor Navone, sixth project.
37
Navone has explained that, “Pixar is a dream job for an animator and the best place in the world to work.” He says that it is a casual, fun atmosphere, with has lots of talented and friendly people. He, also, explains that he gets to make some of the best movies ever. “I myself have worked on Monsters, Inc., Finding Nemo, The Incredibles and various short projects.” However, his talents do not stop there, because in 2006 through 2010 he worked on Cars, Wall-E, and Toy Story Three.
navone and Pixar
inspiring words
When asked if he had any advice for the aspiring Animators out there, he said, “Learn the traditional principles for animation. Read The Illusion of Life and The Animator’s Survival Kit.
Toy Story 3 Wall-E
Monsters Inc.
8
PDF of Magazine second artist extending page, more information about Victor Navone, sixth project.
38
PDF of Magazine back cover, blank, sixth project.
39
Beverage Bottle and Packaging
Label a Beverage (Large and Normal)Packaging DesignTwo Photographs of Bottle and PackagingPhotograph of Finished ProductCropped Photographs That Enhance Details of the Product
40
15 Pounds
4 Gallons
2 Packs
1 Handful
PDF of beverage labels, large size and normal size that represent a homemade mead, seventh project.
41
PDF of beverage packaging design, wood create design, seventh project.
42
Photographs of bottle and packaging, bottle is inside of wood create, seventh project.
43
Photographs of finished product, 4 photographs of bottles, 8 photographs of, 3 photographs of them together, seventh product.
44
Photographs that are cropped, they are enhancing the details of the labels and packaging, seventh project.
45
Second Table of Contents
Pg. 1 -- Projects RedonePg. 2 -- Hierarchy ExercisePg. 3 -- Hierarchy ExercisePg. 4 -- SymboliconPg. 5 -- Symbolicon
II
Projects Redone
1
Hierarchy ExerciseHierarchy Exercise
2
graphic designBasic Concepts and Principles
Introduction: Design m
ay be considered as an instrument of
organization. It must perform
in response to human
needs. Design is an urgent requirement, not a cosm
etic addition. Graphic design can save tim
e by presenting information m
ore clearly. It enhances comm
unication, it helps people to understand a given m
essage andaccelerates learning. Design is �nding the best solution to a problem
within the limitations of the problem
. “To design is much m
ore than sim
ply to assemble, to order, or even to edit; it is to add value and m
eaning, to illum
inate, to simplify, to clarify, to m
odify, to dignify, to dramatize, to persuade, and
perhaps even to amuse. To design is to transform
prose into poetry. Design broadens perception, m
agni�es experience, and enhances vision. Design is the product of feeling and awareness, of ideas that originate in the m
ind of the designer and culminate, one
hopes, in the mind of the designer and culm
inate, one hopes, in the mind of the new
mim
espectator.” (Paul Rand, Form + Content)
The Graphic Design Process:
Each design problem
has unique differences and an in�nite num
ber of possible visual solutions. T
he process to generate alternate visual solutions to a problem
can be described as follows:
De�nition of needs, criteria and lim
its of the design problem (problem
identi�cation), P
roduction of many prelim
inary sketches (thumbnails),
Re�nem
ent of selected sketches (roughs), Analysis of roughs,
Selection/decision, Im
plementation (and preparation for print).
After problem
identi�cation, the process follows a cyclic pattern. From
prelim
inaries through re�nement, analysis, and selection to
implem
entation. The process grow
s by constantly checking backwards.
In the design process, the establishment of priorities is essential.
Designers m
ust be able to judge and gauge the relative importance of
factors as they relate to one another. Priorities set the functional and
visual criteria in comm
unications.
Graphic designers com
municate and express them
selves in four distinct w
ays. They need to have a w
orking knowledge of typography, illustration,
photography/video, and symbolism
.
Typography:Typography is designing w
ith type, not the designing of type. It involves 1) choosing and
using type, and 2) the application of design principles to the setting of type: the arrangem
ent, style, and general appearance of matter printed
with type.
Symbolism:A
symbol is a representation, verbal or visual, of
a concept, object, idea, etc., the meaning of
which is m
utually agreed upon. In graphic design, the effective use of sym
bolism, com
bining and relating symbols, enhances the expression of
ideas. It creates recognition, association and meaning.
Perception and Composition:
Visual perception involves a com
plex interplay of both inborn and learned responses to visual stim
uli. The G
estalt law
s of Perception sum
marize tendencies that appear to be innate or
inherent in our biological heritage and which undoubtedly serve as the
basis for our concept of composition in visual art.
Figure-Ground:Tendency tow
ard �gure-ground: There
is a tendency to interpret visual data as objects against a background, or m
ore precisely, �gures against a ground.
Similarity:S
imilarity facilitates grouping: O
bjects which
resemble one another tend to be seen as
belonging together.
Proximity:P
roximity facilitates grouping: O
bjects placed close together tend to form
a �gure.
Closure:Tendency tow
ard closure: Missing visual
information is �lled in by the brain. T
he eye closes the open parts of a �gure because it w
ants to see a whole rather than a
collection of unrelated parts.
Continuity:Tendency tow
ard continuity: An interrupted
linear �gure is similarly �lled in by the brain.
Spacing:L
etters and words need to be spaced in a logical,
consistent manner to appear optically correct, and
achieve optimum
readability. In letter-spacing there are three standards. M
inimum
space is used between cursive (oo) letters, or
between inclined (xy) letters. M
edium space is used betw
een vertical and cursive letters (lo). B
etween vertical letters (ll) m
aximum
space is used. G
ood word-spacing is achieved by m
aking all space intervals betw
een words “look” the sam
e. Words m
ust not appear to run together or be spaced so w
idely as to appear to be separate units. One system
is to im
agine a lower case “n” betw
een words. T
his gives a moderate
word-spacing.
The Grid:T
he grid is an underlying structure organizing data. It articulates space according to a pattern
of oppositions: vertical and horizontal, top and bottom, rectangular and
diagonal, and left and right. If used well it provides perceptual
organization, coherence and consistency. A w
ell-conceived grid alone w
ill not ensure effective design. It is an organizational tool, and must
be used creatively to maxim
ize comm
unications potential. Grids can
help answer com
positional questions such as balance, proportion, sequence, unity/harm
ony, and contrast.
Layout:C
omposition w
ith Type and Images. L
ayout involves the follow
ing set of interrelated basic design principles.
Balance:B
alance is created by moving around “optical
weights”, big and sm
all items, dark and light item
s, varieties of shapes.
Proportion:G
ood proportion is achieved by deciding on space betw
een image and type, betw
een type and the edge of the paper, betw
een columns of type, betw
een type-size, line- length and leading, betw
een different visual elements, etc.
Sequence:S
equence is created by directing the viewer, for
example, through the use of lines, real or im
plied; by arranging im
ages in such a way that an edge or a force from
one �ow
s into an adjoining one. One does not leave to chance the order in
which the view
er perceives the items in the layout.
Unity/Harmony:U
nity and harmony are achieved by
“�tting” all visual elements, type,
illustrations, and photos into the style/mood of the layout.
Contrast:C
ontrast is achieved through differentiation in size, color, and shape. G
iving the same graphic
emphasis to several elem
ents will m
ake them com
pete for attention.
PDF of hierarchy exercise, this was my first example I handed in for a grade, first project.
3
SymboliconSymbolicon
4
PDF of symbolicon, this was my first example I handed in for a grade, fourth project.
5