portfolio JĂşlio Gallinaro Maranho
STUDIO SBORNIA 2012
pg.28
design
pg.34
intodruction
making of
photography
editorial
pg.32
pg.16
ilustrations
brand
pg.22
modeling
strips
design
ilustrations
3D
comic
pg.20
pg.12
vector
ilustrations
digital
nankin
pg.2
pg.36
development
JGM DESIGNS FOR LIFE Born in S達o Caetano do sul, Brazil in 1992. Has been passionate about art and designs since childhood, became a technical designer in 2010. After two years in this area, wanted new challenges and improve himself in graphic and illustration design. Today works with illustration, graphic design, editorial design and 3d modeling.
nankin
illustrations
NANKIN IS A SIMPLE BLACK INK ONCE WIDELY USED FOR WRITING AND PRINTING AND NOW MORE COMMONLY USED FOR DRAWING, ESPECIALLY WHEN INKING COMIC BOOKS AND COMIC STRIPS. BASIC NANKIN IS COMPOSED OF A VARIETY OF FINE SOOT KNOWN AS LAMPBLACK, COMBINED WITH WATER TO FORM A LIQUID. A BINDING AGENT SUCH AS GELATIN OR, MORE COMMONLY, SHELLAC MAY BE ADDED TO MAKE THE INK MORE DURABLE ONCE DRIED. INDIA INK IS OCCASIONALLY SOLD IN SOLID FORM (MOST COMMONLY, A STICK), WHICH MUST BE MOISTENED BEFORE USE.
3 I ALWAYS TRY TO PRODUCE ILLUSTRATIONS WITH BIG EMOTIONAL WEIGHT, HARD LIGHTING, HIGH CONTRAST AND SOME MYSTERY. THE NANKIN WAS THE WAY I FOUND TO EXPRESS ALL THE DRAMATIZATION I NEED IN MY ILLUSTRATIONS.
THE NANKIN FASCINATES ME BY THE CONTRAST IT HAS. GENERATING HIGH-IMPACT ILLUSTRATIONS WITH GREAT DRAMATIC EFFECT.
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DIGITAL
illustrations
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GIRL WITH GLASS PERSONAL WORK PIN UP PERSONAL WORK PIN UP AND CAT PERSONAL WORK NEXT PAGES STAR AND STORM
THE UNION OF TRADITIONAL DRAWING TECHNIQUES, NANKIN AND PENCIL WITH DIGITAL PAINTING TECHNIQUES, ALLOW ME TO CREATE ILLUSTRATIONS WITH HIGH VISUAL IMPACT WHILE MAINTAINING MY STYLE, PERSONAL AND UNIQUE.
vector
illustrations 4
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19 VECTOR ILLUSTRATION, MAIN FOCUS ON STAMPING & FASHION DESIGN. SKULLS SILK SCREEN ILLUSTRATION FOR IMUNE INLINE. ILUSTRATION FOR CAMISETERIA CONTEST. SILKSCREEN ILUSTRATION FOR IMUNE INLINE. VETORIAL ILLUSTRATION FOR PERONIO’S PROJECT. ANATOMICAL ILLUSTRATOR FOR ALINE NUNES. SILK SCREEN ILLUSTRATION FOR STUDIO SBORNIA.
COMIC
STRIPS
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COMICS AS AN ART FORM ESTABLISHED ITSELF IN THE LATE 19TH AND EARLY 20TH CENTURY, ALONGSIDE THE SIMILAR FORMS OF FILM AND ANIMATION. THE THREE FORMS SHARE CERTAIN CONVENTIONS, MOST NOTICEABLY THE MIXING OF WORDS AND PICTURES, AND ALL THREE OWE PARTS OF THEIR CONVENTIONS TO THE TECHNOLOGICAL LEAPS MADE THROUGH THE INDUSTRIAL REVOLUTION. THOUGH NEWSPAPERS AND MAGAZINES FIRST ESTABLISHED AND POPULARIZED COMICS IN THE LATE 1890S, NARRATIVE ILLUSTRATION HAS EXISTED FOR MANY CENTURIES.
COMICS STRIPS FOR MOMENTOSCAFEINADOS.COM.BR COMIC STRIP FOR REINODAPIMENTA.COM COMIC STRIPO FOR MOMENTOSCAFEINADOS.COM.BR
THE COMIC STRIPS HAVE THE FUNCTION OF PASSING AN IDEA VERY CLEARLY AND OFTEN WITHOUT THE NEED FOR TEXTS. I ALWAYS TRY TO CREATE MY COMIC STRIPS WITHOUT TEXT, JUST THE IMAGE IS THE VERY MESSAGE.
3D
MODELING
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IN 3D COMPUTER GRAPHICS, 3D MODELLING IS THE PROCESS OF DEVELOPING A MATHEMATICAL REPRESENTATION OF ANY THREE-DIMENSIONAL SURFACE OF OBJECT (EITHER INANIMATE OR LIVING) VIA SPECIALIZED SOFTWARE. THE PRODUCT IS CALLED A 3D MODEL. IT CAN BE DISPLAYED AS A TWO-DIMENSIONAL IMAGE THROUGH A PROCESS CALLED 3D RENDERING OR USED IN A COMPUTER SIMULATION OF PHYSICAL PHENOMENA.
USING THE SOFTWARE AUTOCAD, 3D STUDIO MAX AND SKETCHUP, 3D ILLUSTRATIONS TO CREATE THE MOST DIVERSE SECTORS. THE TECHNICAL AREA AND PRODUCT DESIGN WHERE THE GREATEST DEMAND.
3D MODELING FOR GLOBAL 21, MEXICO. AUTOCAD 2013
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3D MODELING FOR ANIMATION. SKETCHUP 8 + 3D STUDIO MAX DESIGN 2011.
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3D TEXTURE STUDIES AUTOCAD 2012.
BRAND
DESIGN
29 A BRAND IS A “NAME, TERM, DESIGN, SYMBOL, OR ANY OTHER FEATURE THAT IDENTIFIES ONE SELLER’S GOOD OR SERVICE AS DISTINCT FROM THOSE OF OTHER SELLERS.” BRANDING BEGAN AS A WAY TO TELL ONE PERSON’S CATTLE FROM ANOTHER BY MEANS OF A HOT IRON STAMP. THE RECOGNITION AND PERCEPTION OF A BRAND IS HIGHLY INFLUENCED BY ITS VISUAL PRESENTATION. A BRAND’S VISUAL IDENTITY IS THE OVERALL LOOK OF ITS COMMUNICATIONS. EFFECTIVE VISUAL BRAND IDENTITY IS ACHIEVED BY THE CONSISTENT USE OF PARTICULAR VISUAL ELEMENTS TO CREATE DISTINCTION, SUCH AS SPECIFIC FONTS, COLORS, AND GRAPHIC ELEMENTS. AT THE CORE OF EVERY BRAND IDENTITY IS A BRAND MARK, OR LOGO.
LOGO DESIGN FOR PERONIOS PROJECT, DOUBLE DJS PSY PROJECT
STUDI SBORN STUDIO SBORNIA
LOGO DESIGN FOR STUDIO SBORNIA, DESIGN STUDIO.
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STUDIO STUDIO SBORNIA SBORN P PHOTO
LOGO DESIGN FOR STUDIO PHOTOGRAPHY STUDIO.
SBORNIA
PHOTO,
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PHOTOGRAPHY BY HENRY CARTIER BRESSON GLASS OF MARTINI
THE USE OF REFERENCES IS VERY IMPORTANT TO ADD MEANING TO A BRAND AND THE CORRECT USE OF REFERENCES CAN BE THE CAUSE OF A SUCCESSFUL BRAND
editorial design
LIKE MOST GRAPHIC DESIGN, NEWSPAPER AND MAGAZINE DESIGN IS AN EXERCISE IN COMBINING TECHNICAL DETAIL WITH ARTISTIC FLAIR. THE CORE COMPONENTS OF EDITORIAL DESIGN ARE TEXT AND PICTURES, SO A KEEN UNDERSTANDING OF TYPOGRAPHY, LAYOUTS, GRIDS AND COMPOSITION IS ESSENTIAL. IN FACT, MAGAZINES PERHAPS MORE THAN ANY OTHER FORMAT SHOW HOW THE MANY ELEMENTS OF GRAPHIC DESIGN CAN COME TOGETHER IN ONE PLACE: IMAGES, ILLUSTRATION, PHOTOGRAPHY, LOGOS AND MASTHEADS, INFORMATION DESIGN, PAPER STOCK AND SO ON.
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THE GRAPHIC DESIGN, LAYOUT AND COVER DEVELOPMENT OF THE BOOK “A INVENÇÃO DE MOREL” WAS AN ACADEMIC WORK DONE DURING THE COURSE OF EDITORIAL DESIGN AT THE UNIVERSITY ANHEMBI MORUMBI.
THE GRAPHIC DESIGN OF THE MANUAL PRESS RELATIONS AND CRISIS SITUATIONS, PROJECT WAS DEVELOPED FOR THE INDEX PRESS OFFICE LOCATED IN SÃO PAULO.
photography
introduction
STILL PHOTOGRAPHY URBAN LANDSCAPE
PHOTOGRAPHY IS THE ART, SCIENCE AND PRACTICE OF CREATING DURABLE IMAGES BY RECORDING LIGHT OR OTHER ELECTROMAGNETIC RADIATION, EITHER CHEMICALLY BY MEANS OF A LIGHT-SENSITIVE MATERIAL SUCH AS PHOTOGRAPHIC FILM, OR ELECTRONICALLY BY MEANS OF AN IMAGE SENSOR.
STILL PHOTOGRAPHY ARTISTIC
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I HAVE AN EXTENSIVE PHOTOGRAPHIC PORTFOLIO THEREFORE I HAVE A PORTFOLIO DEDICATED TO IT. STUDIOSBORNIA.TUMBLR.COM
SPORTS FASHION PHOTOGRAPHY GIG PHOTOGRAPHY
making of development
C R E AT I O N P R O C E S S O F I L L U S T R AT I O N S A N D I N D E VE LOPME NT ART W OR K .
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studio sbornia DESIGN STUDIO IDEALIZED BY JÚLIO GALLINARO MARANHO IN 2011 AND BASED IN SAO CAETANO DO SUL, SAO PAULO WITH THE MISSION OF DEVELOPING HIGH QUALITY GRAPHICS SOLUTIONS FOR ALL PLATFORMS. CONNECTED WITH THE NEWEST TRENDS IN GLOBAL DESIGN AND TECHNOLOGY TO ALWAYS DELIVER THE BEST GRAPHICS PRODUCTS TO YOUR CUSTOMERS.
DESIGN JÚLIO GALLINARO MARANHO FONTS CAVIAR DREAMS BOLD CAVIAR DREAMS LOT SOFTWARE ADOBE INDESIGN CS6
STUDIO SBORNIA R. BOA VISTA, 631, BL. A AP. 41 SÃO CAETANO DO SUL, SÃO PAULO BRAZIL 09572-300 +55 (11) 9-8554-1215 JULIOGALLINARO@GMAIL.COM STUDIOSBORNIA@GMAIL.COM
studio sbornia