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Alyssa Zolna


TV

Tonight iPhone App “TV Tonight” This app is to create an easy way to keep track of whats new on TV each night. The simplicity of the app is to narrow down to help you find what you want to know in the easiest/quickest way possible.


Tonights Schedule

My Shows

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Thursday, April 11 change location/provider

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ABC

Missing

CBS

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American Idol

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Rules of Engagement

2 Broke Girls Touch

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Thursday, April 11

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8:00

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ABC

Missing

Grey’s Anatomy

FOX

American Idol

Touch

NBC

Community

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The Vampire Diaries

Tonights Schedule My Shows

Missing

30 Rock

The Office The Secret Circle

My Shows Reminder Settings

Set Reminders Turn on/off

on start time 1 hour before

Grey’s Anatomy American Idol

2 hours before 5 hours before 1 day before

Touch Community 30 Rock The Vampire Diaries

Tonights Schedule My Shows

Missing Grey’s Anatomy American Idol Touch Community 30 Rock The Vampire Diaries

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1 hour before

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MySVA Sign in username: password:


MySVA Email

Azolna@sva.edu

My Courses

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SVA Alerts Web Advisor

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Student Art

iPhone App “My SVA” My SVA app was to make an easy accessible way to access your My SVA account without logging onto the computer, but also narrowing down to the main areas you might use the most.


About Us

About Us

Catering

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Elegance, Romance, & Tradition “You just wouldn’t believe the party we went to last week, the food was incredible, the service was fabulous and the place was magnificent!” This comment and many others similarly complimentary comments are as abundant as the food at a Richfield Regency party. While the sheer weight of praise may come as a surprise to some, it doesn’t to us. A forty-year tradition of excellence makes Richfield Regency offer incomparable and unsurpassed hospitality, services and cuisine, but its elegant and festive atmosphere makes it an exceptional selection for all occasions. Upon arrival, your guests will begin to experience the ambiance of tastefully appointed surroundings and the hospitable services offered by Richfield Regency’s highly skilled and attentive staff. Next, your guests will delight in the selection you have made from Richfield Regency’s ample menus featuring unparalleled continental cuisine. Attention to detail is evident, from the exquisitely decorated chapel and bridal rooms to the finest china and linens used for your reception.

As catering professionals, our staff will customize your affair to create memorable moments that will last a lifetime. Richfield Regency offers a vast array of catering packages tailor-made to fit a wide range of budgets. Kosher, corporate, and off-premise catering is also available. Richfield Regency is located inVerona, a quaint suburb of Northern New Jersey. Picturesque Verona Park sits just across the street. Its charming waterfall and stone bridge off a perfect backdrop for wedding photographs.

The Richfield Regency is a unique blend of city sophistication and suburban charm.

Catering

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Catering

Special Events

Kosher Catering Non Kosher Catering Off Premise Catering

Our Chapel

Our Chapel

Vendors

Vendors

Photo Gallery

Photo Gallery

About Us

Catering

Special Events

Our Chapel

Vendors

Photo Gallery


iPad App “Richfield Regency� This is basically an app version of the companies website. The theme matches that of the website and their trademark black and white style. A quick and easy way to retrieve information.


Username: Password: Browse

look for The Look

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90210 America’s Next Top Model Gossip Girl Hart of Dixie Nikita One Tree Hill Remodeled Ringer Supernatural The Secret Circle

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Gossip Girl

Gossip Girl Season 2

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Episode 1. “Summer, Kind of Wonderful” 2. “Never Been Marcused” 3. “The Dark Night”

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4. “The Ex Files” 5. “The Serena Also Rises” 6. “New Haven Can Wait” 7. “Chuck in Real Life”

Gossip Girl Season 2 Episode 4

The Looks

The Look can be found at... Bloomingdales Nordstroms Saks Fifth Avenue Barneys New York Intermix Inc Bloomingdales Nordstroms Saks Fifth Avenue

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Necklace

Bag Dress

Oscar de la Renta Pre-Fall 2010 Vermillion Silk Organza Pleated Gown Price: $8,990.00

Shoes

iPad App “The Look” This app is a way for you to find “The Look” or outfit that you saw on a TV show or in a movie. You can search for specific outfits or browse for fun to see what you like best. When you find the outfit you like you can then view the details like the designer and price. Which then takes you to the end where you can search the best places to find what you are looking for. You are given the option to create an account so the app can learn the things you like and make suggestions for you and allow you to see your search history as well.


What Do I Want To Cook ?

iPad App “What Do I Want To Cook?” Not sure what to cook? This app can help you narrow down your options with 3 simple steps: what meal?, what your cooking skill level is?, how much time do you want to spend cooking?


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MEAL

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Top 15 Recipes of the Week:

Daily Tips: -

Whenever barbecuing, use tongs to turn the meat. A fork should never be used. For it will punch holes in the flesh and allow the natural juices to escape and loose flavor and become chewy.

Home Selected: - Breakfast - Intermediate

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- Intermediate - 30 minutes

Breakfast

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Buttermilk Pancakes

The key to fluffy pancakes is not to overmix the batter; it should not be beaten smooth. If serving these pancakes with bacon, reserve half a teaspoon of bacon drippings to grease the griddle instead of butter. Serve with Cranberry Syrup, if desired.

Dinner

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Classic French Toast Any dense bread such as challah, brioche, or sourdough will make rich French toast.

Beginner

Expert

Intermediate

-

Whenever barbecuing, use tongs to turn the meat. A fork should never be used. For it will punch holes in the flesh and allow the natural juices to escape and loose flavor and become chewy.

Home Selected:

10 min.

20 min.

40 min.

My Cook List

MEAL

-

It’s important to let a roast sit a little while before carving. That allows the juices to retreat back into the meat. If you carve too soon, much of its goodness will spill onto the carving board.

30 min.

50 min.

60 min.

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Classic French Toast

to List PrepAdd Time 15 minutes

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Ingredients

The egg whites cause the waffles to puff up and then fall quickly, so serve each piece as it finishes cooking. Jumbo eggs work best, but you can substitute 2 large yolks and 4 large whites.

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View

View Recipe Total Time

Yield Makes 6

30 minutes

Directions

Cobb Salad

Preheat a waffle iron on the highest setting. Stir together

View

together yolks, flour, sour cream, cornmeal, and baking soda. Stir in milk-vinegar mixture. Stir butter into batter

1 cup all-purpose flour

Basic (do notOmelet overmix).

3/4 cup sour cream

If you have some time, bring eggs to room temperature -- they’ll whip up nicely and the

2 tablespoons coarse cornmeal 1 teaspoon baking soda 5 tablespoons salted butter, melted

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Vegetable oil cooking spray, for waffle iron

Beat whites omelet will be fluffier.with a mixer on high speed until stiff peaks 2. form. Stir half into batter. Gently fold in remaining whites

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with a rubber spatula.

Donn’s Waffles

3. Coat waffle iron with cooking spray. Pour 1 cup batter into waffle (itthe should three-quarters full). Close lid, and The egg whitesiron cause wafflesbe to puff up and

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View

Classic French Toast

vinegar; let stand for 5 minutes to thicken. Mix Recipe Add milk to Listand View

2 tablespoons white vinegar Read Reviews 2 jumbo eggs, seperated, plus 1 jumbo egg white

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Macaronni and Cheese

Any dense bread such as challah, brioche, or sourdough will make rich French toast.

1.

1 1/2 cups whole milk

-

View Recipe

Donn’s Waffles

Buttermilk Pancakes

The key to fluffy pancakes is not to overmix the batter; it should not be beaten smooth. If serving these pancakes with bacon, reserve half a teaspoon of bacon drippings to grease the griddle instead of butter. Serve with Cranberry Syrup, if desired.

Daily Tips:

Add to List

Read Reviews

Classic French Toast

Any dense bread such as challah, brioche, or sourdough will make rich French toast.

- 30 minutes

If you have some time, bring eggs to room temperature -- they’ll whip up nicely and the omelet will be fluffier.

My Cook List

x

Search Results:

- Intermediate

View Recipe

Basic Omelet

Daily Tips:

- Breakfast

It’s important to let a roast sit a little while before carving. That allows the juices to retreat back into the meat. If you carve too soon, much of its goodness will spill onto the carving board.

Add to List

Read Reviews

Daily Tips:

then fall quickly, so serve each piece as it finishes cook until waffle is gold andcancrisp, about cooking. Jumbo eggs work best, but you substitute 2 large yolks and 4 large whites.

6 minutes.

Daily Tips:

Spaghetti and Meatballs View

-

It’s important to let a roast sit a little while before carving. That allows the juices to retreat back into the meat. If you carve too soon, much of its goodness will spill onto the carving board.

Baked Zitti View


baked by melissa Cookies & Cream

chocolate cake, chocolate cookie, vanilla icing

Cookie Dough yellow cake, cookie dough, chocolate icing

Peanut Butter Cup

chocolate cake, peanut butter cup, chocolate icing

Peanut Butter & Jelly

yellow cake, grape jelly, peanut butter icing

Red Velvet

red velvet cake, cream cheese icing, red sprinkles

S’mores

chocolate cake, graham cracker, marshmallow fluff, chocolate icing

Tie-Dye

vanilla cake, vanilla icing

Cinnamon

yellow cake, cinnamon filling, vanilla icing, cinnamon sugar topping

Mint Chocolate Chip

chocolate cake, chocolate cookie filling, mint icing, chocolate chips


baked by melissa Locations SOHO 529 Broadway New York, NY 10012

FASHION DISTRICT 526 7th Avenue New York, NY 10018

UNION SQUARE 7 East 14th Street New York, NY 10003

UPPER WEST SIDE 2325 Broadway New York, NY 10024

GRAND CENTRAL 109 East 42nd Street New York, NY 10017

TIMES SQUARE 1585 Broadway New York, NY 10036

www.bakedbymelissa.com

212.842.0220

orders@bakedbymelissa.com

Business Identity “Baked by Melissa” The objective here was to redesign the brand Baked by Melissa. Creating a new logo and using a new color scheme, I was able to design an identity that portrays the companies feeling of sleek, trendy, and unique.


Business Identity “Kitchen Basics� This is the redesign for the company Kitchen Basics. The company had an old design that had the feeling of 1970’s and unattractive on the shelf. This new design has a clean/sleek/simple design that is appealing and keeps up with the trends people want to see today.


Keith

Haring

Editorial Openers

“Ghost’s of New York” The objective here was to create 3 editorial opener spreads on memorable artists of New York.

e ar


May 1958

Keith Haring was born on May 4, 1958 in Reading, Pennsylvania and was raised in nearby Kutztown, Pennsylvania. He develope a love for drawing at a very early age, learning basic cartoonin skills from his father and from the popular culture around him such as Dr. Seuss and Walt Disney.

“Haring moved to New York City and enrolled in the

eith ring

School of Visual Arts (SVA).”

Haring moved to New York City and enrolled in the Schoo of Visual Arts (SVA). In New York, Haring found a thrivin alternative art community that was developing outside th gallery and museum system, in the downtown streets, th subways and spaces in clubs and former dance halls. Her he became friends with fellow artists Kenny Scharf and Jean Michel Basquiat, as well as the musicians, performanc artists and graffiti writers that comprised the burgeoning ar community. Haring was swept up in the energy and spirit of thi scene and began to organize and participate in exhibitions an performances at Club 57 and other alternative venues.

In addition to being impressed by the innovation and energ of his contemporaries, Haring was also inspired by the wor of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brio Gysin and Robert Henri’s manifesto The Art Spirit, whic asserted the fundamental independence of the artist. With thes influences Haring was able to push his own youthful impulse toward a singular kind of graphic expression based on th primacy of the line. Also drawn to the public and participator nature of Christo’s work, in particular Running Fence, an by Andy Warhol’s unique fusion of art and life, Haring wa determined to devote his career to creating a truly public art.

As a student at SVA, Haring experimented with performance video, installation and collage, while always maintaining strong commitment to drawing. In 1980, Haring found highly effective medium that allowed him to communicate wit the wider audience he desired, when he noticed the unuse


R


Oh Roy October 1923 - September 1997

American painter, sculptor, and printmaker

Roy Lichtenstein was born in New York City on October 27, 1923, the son of Milton and Beatrice Werner Lichtenstein. His father owned a real estate firm. Lichtenstein studied with artist Reginald Marsh (1898–1954) at the Art Students League in 1939. After graduating from Benjamin Franklin High School in New York City, he entered Ohio State University. However, in 1943 his education was interrupted by three years of army service, during which he drew up maps for planned troop movements across Germany during World War II (1939–45; a war in which Great Britain, France, the Soviet Union, and the United States fought against Germany, Japan, and Italy). Lichtenstein received his bachelor of fine arts degree from Ohio State University in 1946 and a master of fine arts degree in 1949. He taught at Ohio State until 1951, then went to Cleveland, Ohio, to work. In 1957 he started teaching at Oswego State College in New York; in 1960 he moved to Rutgers University in New Jersey. Three years later he gave up teaching to paint full-time.

Lichtenstein’s long career and large body of work brought him appreciation as one of America’s greatest living artists. In 1994 he designed a painting for the hull of the United States entry in the America’s Cup yacht race. A series of sea-themed works followed. In 1995 the Los Angeles County Museum of Art launched a traveling exhibition, “The Prints of Roy Lichtenstein,” which covered more than twenty years of his work in this medium.

Lichtenstein

From 1951 to about 1957 Lichtenstein’s paintings dealt with themes of the American West—cowboys, Native Americans, and the like—in a style similar to that of modern European painters. Next he began hiding images of comic strip figures (such as Mickey Mouse, Donald Duck, and Bugs Bunny) in his paintings. By 1961 he had created the images for which he became known. These included advertisement illustrations— common objects such as string, golf balls, kitchen curtains, slices of pie, or a hot dogs. He also used other artists’ works to create new pieces, such as Woman with Flowered Hat (1963), based on a reproduction of a work by Pablo Picasso (1881– 1973). He also created versions of paintings by Piet Mondrian (1872–1944), Gilbert Stuart’s (1755–1828) portrait of George Washington (1732–1799), and Claude Monet’s (1840–1926) haystacks.

The 1970s saw Lichtenstein continuing to experiment with new styles. His “mirror” paintings consist of sphere-shaped canvases with areas of color and dots. One of these, Self-Portrait (1978), is similar to the work of artist René Magritte (1898–1967) in its playful placement of a mirror where a human head should be. Lichtenstein also created a series of still lifes (paintings that show inanimate objects) in different styles during the 1970s. In the 1980s and 1990s, Lichtenstein began to mix and match styles. Often his works relied on optical (relating to vision) tricks, drawing his viewers into a debate over the nature of “reality.” The works were always marked by Lichtenstein’s trademark sense of humor and the absurd.

Roy

Roy Lichtenstein, American painter, sculptor, and printmaker, startled the art world in 1962 by exhibiting paintings based on comic book cartoons.

Lichtenstein was best known for his paintings based on comic strips, with their themes of passion, romance, science fiction, violence, and war. In these paintings, Lichtenstein uses the commercial art methods: projectors magnify spray-gun stencils, creating dots to make the pictures look like newspaper cartoons seen through a magnifying glass. In the late 1960s he turned to design elements and the commercial art of the 1930s, as if to explore the history of pop art (a twentieth-century art movement that uses everyday items). In 1966 his work was included in the Venice (Italy) Biennale art show. In 1969 New York’s Guggenheim Museum gave a large exhibition of his work.


b m


Michel, ma belle, Sont les mots qui vont tres bienensemble, ma Michel. Decemeber 1960 - August 1988

Nosei and Larry Gagosian and was also included in the “1983 Biennial Exhibition” at the Whitney Museum of American Art. It was also in 1983 that Basquiat was befriended by Andy Warhol, a relationship which sparked discussion concerning white patronization of black art, a conflict which remains, to this day, at the center of most discussions of Basquiat’s life and work. Basquiat and Warhol collaborated on a number of paintings, none of which are are critically acclaimed. Their relationship continued, despite this, until Warhol’s death in 1987. By 1984, many of Basquiat’s friends had become quite concerned about his excessive drug use, often finding him unkempt and in a state of paranoia. Basquiat’s paranoia was also fueled by the very real threat of people stealing work from his apartment and of art dealers taking unfinished work from his studio. On February 10, 1985, Basquiat appeared on the cover of The New York Times Magazine, posing for the Cathleen McGuigan article “New Art, New Money: The Marketing of an American Artist.” In March , Basquiat had his second one-artist show at the Mary Boone Gallery. In the exhibition catalogue, Robert Farris Thompson spoke of Basquiat’s work in terms of an Afro-Atlantic tradition, a context in which this art had never been discussed.

Jean-Michel Basquiat was born on December 22, 1960 in Brooklyn, New York. His father, Gerard Basquiat was born in Port-au-Prince, Haiti and his mother, Matilde was born in Brooklyn of Puerto Rican parents. Early on, Basquiat displayed a proficiency in art which was encouraged by his mother. In 1986, Basquiat travelled to Africa for the first time and In 1977, Basquiat, along with friend Al Diaz begins spray his work was shown in Abidjan, Ivory Coast. In November, painting cryptic aphorisms on subway trains and around lower a large exhibition of more than sixty paintings and drawings Manhattan and signing them with the name SAMO© (Same opened at the Kestner-Gesellschaft in Hannover; at twenty-five Old Shit). “SAMO© as an end to mindwash religion, nowhere Basquiat was the youngest artist politics, and bogus philosophy,” “...many of Basquiat’s friends ever given an exhibition there. In “SAMO© saves idiots,” “Plush safe he think; SAMO© .” had become quite concerned 1988, Basquiat had shows in both Paris and New York; the New York about his excessive drug use, show was praised by some critics, In 1978 Basquiat left home for good often finding him unkempt and an encouraging development. and quit school just one year before Basquiat attempted to kick his in a state of paranoia.” graduating form high school. He lived heroin addiction by leaving the with friends and began selling hand temptations of New York for his ranch in Hawaii. He returned painted postcards and T-shirts. In June of 1980, Basquiat’s art to New York in June claiming to be drug-free. On August 12 was publicly exhibited for the first time in a show sponsored by , Basquiat died as the result of a heroin overdose. He was 27. Colab (Collaborative Projects Incorporated) along with the work of Jenny Holzer, Lee Quinones, Kenny Scharf, Kiki Smith, Robin Winters, John Ahearn, Jane Dickson, Mike Glier, Mimi Gross, and David Hammons. Basquiat continued to exhibit his work around New York City and in Europe, participating in shows along with the likes of Keith Haring, Barbara Kruger.

In December of 1981, poet and artist Rene Ricard published the first major article on Basquiat entitled “The Radiant Child” in Artforum. In 1982, Basquiat was featured in the group show “Transavanguardia: Italia/America” along with NeoExpressionists Sandro Chia, Francesco Clemente, Enzu Cucchi, David Deutsch, David Salle, and Julian Schnabel (who will go on to direct the biographical film Basquiat in 1996). In 1983 Basquiat had one-artist exhibitions at the galleries of Annina


ROCK ALBUM

5 4 3 2

OF THE YEAR

Released October 19, 2011 For their fifth studio album, “Come Around Sundown”, Kings of Leon trimmed their shaggy manes and introduced a sleeker more sophisticated sound. That south-of-the-Mason-Dixon perspective still prevails on singles like “Radioactive”, but artsy, new wave guitar tendrils imbue their proven sound with something unexpected.

Foo Fighters “Wasting Light” Released April 8, 2011 Recorded to tape on analog equipment in Dave Grohl’s garage. “Wasting Light” sounds and feels like no previous Foo Fighters album. The Warm, unspoiled environment encourages the integrity of the Foo stadium groove, collapsing together college rock at its most primal, punk-pop at its most jumpy, and hard rock pushed to its tipping point. Just as “White Limo” and “Rope” condense the jittery punch of a thousand fresh pots, “Back & Forth” and “Arlandria” reveal a lightness and an unquenchable love of melody.

Wilco “The Whole Love” Released September 23, 2011 Wilco’s career arc has been as dramatic as some of its mid-period extended noise-infused jams. Botn out of the seminal Americana trio Uncle Tupelo, the Chicago-based group has explored many facets of rock (classic, post, country, Kraut, college) and heartland soul under the guidance of singer/ songwriter/guitarist Jeff Tweedy. Band members have come and gone over the years, and Wilco’s creative conflicts with (and eventual triumphs over) its record-label bosses have fortified its of-the-people status. “The Whole Love” is not just Wilco’s eighth studio album; it’s also the first to be released on Wilco’s own new dBpm label.

Jeff Beck “Rock ‘N’ Roll Party Honoring Les Paul”

Released February 22, 2011 This solitary man came out of his dark cave to celebrate the life and work of Les Paul, who died on August 13, 2009. Beck booked the Iridium, the NYC club where Paul held court every Monday night. Beck and his current backing ensemble, the Imelda May Band, in their most rockabilly-blues mode pulled together an exciting set of standards that were Paul’s specialty (“Cry Me a River”, “How High the Moon”), along with a few rockers of their own, “The Train Kept-A-Rollin” from Beck’s Yardbirds days, and “Twenty Flight Rock.” Guests ranging from the Stray Cats, Brian Setzer, Trombone Shorty and Gary U.S. Bonds take a spotlight here and there. There’s a wonderful nostalgic feel to these old-time numbers, as if Beck and his group of musicians had tapped directly into the 40s and 50s of Paul’s early life.


WINNER

M

R

1

Released August 26, 2011 Behind the shambolic splendor of a Red Hot Chili Pepers’ performance is a tightly coiled symbiosis of musicianship. Ten albums deep, the band that once epitomized Hollywood’s punk rock heyday keeps setting their sights on higher ground. Even as Flea’s basslines get more intricate, Chad Smith’s kick-drum pounding more brutishly calhartic, and Anthony Kiedis’ vocals more exquisitely vulnerable, the band grapples with themes of life and death on “I’m With You”, an album born from the ashes of a friend’s fatal overdose. Bringing a subtle style, Josh Klinghoffer has replaced John Frusciante as guitarist, but the band still retains its unmistakable Chili Pepper flavor. Consider the totemic lead single, “The Adventures of Rain Dance Maggie”, a tale of inner-city juju that soars and bops with magnitue. The album was produced by Rick Rubin and is mastered specifically for iTunes to optimize sound quality.

ul”

IM WITH YOU

RED HOT CHILI PEPPERS


Form + Meaning “Movement 01� Isolating the visual attributes of imagery from its subject, content, and meaning by selecting a series of four images related only by their syntax.


FORM + ISOLATING THE VISUAL ATTRIBUTES OF IMAGERY FROM ITS SUBJECT, CONTENT, AND MEANING

BY SELECTING A SERIES OF FOUR IMAGES

RELATED ONLY BY THEIR SYNTAX.

MOVEMENT 01 SCHOOL OF

ALYSSA ZOLNA

THEME AND VARIATION

MEANING

VISUAL ARTS COMMUNICATION DESIGN

FALL 2011 SEMESTER


Form + Meaning “Movement 02� Isolating the semantic, or meaningful content of imagery from its syntactic aspects to generate a clear and compelling imagebased narrative sequence.


FORM + MEANING FALL 2011 SEMESTER

COMMUNICATION DESIGN

ALYSSA ZOLNA

SCHOOL OF VISUAL ARTS

THEME AND VARIATION ISOLATING THE SEMANTIC, OR MEANINGFUL

CONTENT OF IMAGERY FROM ITS SYNTACTIC

ASPECTS TO GENERATE A CLEAR AND COMPELLING

IMAGE-BASED NARRATIVE SEQUENCE.

MOVEMENT 02


Form + Meaning “Movement 03� Exploring alternate representation of a neutral subject: icon, index, metaphor, and abstraction.


MOVEMENT 03 ALYSSA ZOLNA

SCHOOL OF

VISUAL ARTS FALL 2011 SEMESTER

COMMUNICATION DESIGN

VARIATION

THEME AND

FORM + MEANING

EXPLORING ALTERNATE

REPRESENTATION

OF A NEUTRAL SUBJECT: ICON, INDEX, METAPHOR,

AND ABSTRACTION.


a moment still in time soaked after a storm cold night/shivering wind blowing

Form + Meaning “Movement 04� Manipulating a found image to reveal or impose alternate meanings; pairing each manipulated image with a short text that evolves the respective meanings.


ALYSSA ZOLNA

SCHOOL OF VISUAL ARTS COMMUNICATION DESIGN

MEANINGS; PAIRING EACH MANIPULATED

IMAGE WITH A SHORT TEXT THAT

EVOLVES THE RESPECTIVE MEANINGS.

THEME AND

MANIPULATING A FOUND IMAGE TO REVEAL OR IMPOSE ALTERNATE

VARIATION

FALL 2011 SEMESTER MOVEMENT 04

FORM + MEANING


deserted

Love

Young The summer has ended and the bikes were left on the beach all winter. Form + Meaning “Movement 05� Exploring image/type interaction by pairing alternate texts with the same image to change its meaning; designing the typography to draw upon and establish purely syntactic relationships with the image.


FALL 2011 SEMESTER

COMMUNICATION DESIGN

SCHOOL OF VISUAL ARTS

ALYSSA ZOLNA

THEME AND VARIATION

MOVEMENT 05 EXPLORING IMAGE/TYPE INTERACTION

BY PAIRING ALTERNATE TEXTS WITH THE

SAME IMAGE TO CHANGES ITS MEANING;

DESIGNING THE TYPOGRAPHY TO DRAW

FORM + UPON AND ESTABLISH PURELY SYNTACTIC

RELATIONSHIPS WITH THE IMAGE.

MEANING


“Movement 06” Investigating changes in a concrete image’s syntax through cumulative manipulations that render the image abstract. Introducing a text that supports a discovered meaning and integrating it with the image sequence into a unified composition.

And Rosie the elephant was there because she was the great gray hope, the new act that was going to be the salvation of the circus; the only problem was, Rosie didn’t have an act -- in fact, she couldn’t even follow instructions.

Form + Meaning The bond that grew among this unlikely trio was one of love and trust, and ultimately, it was their only hope for survival.

The story is related in the somber tones of the Depression, the hardscrabble and often unscrupulous business of a traveling circus and the heartless despots who make their fortunes on the backs of men who must do anything to survive. Star performer Marlena, an equestrian, is sensitive to the needs of her horses, although her mercurial husband, August, the trainer, is obsessively jealous and given to unspeakable cruelties. Uncle Al, Benzini Brothers circus owner-bydefault, is a ruthless businessman who cares little for man or beast, engaged in a quest for fame to rival the great Ringling Brothers.

With his advanced training in veterinary medicine, Jacob does his best to protect the animals from their harsh existence, especially Rosie, an elephant purchased to replace Marlena’s lead horse.

Jacob and Rosie share an affinity for one another, the huge creature at times almost human. Because of his growing affection for Marlena, Jacob suffers August’s increasing affronts, caught in a cycle of inevitable violence, certain of a reckoning.


SCHOOL OF VISUAL ARTS

MOVEMENT 06 ALYSSA ZOLNA

FORM + MEANING COMMUNICATION DESIGN

FALL 2011 SEMESTER

INVESTIGATING CHANGES IN A

CONCRETE IMAGE’S SYNTAX

THROUGH CUMULATIVE MANIPULATIONS THAT

RENDER THE IMAGE ABSTRACT.

INTRODUCING A TEXT THAT

SUPPORTS A DISCOVERED MEANING

AND INTEGRATING IT WITH THE

IMAGE SEQUENCE INTO A

UNIFIED COMPOSITION.

THEME AND VARIATION


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tor s sec res t-se

nsiti

ve

in context

th e

inte

results

low er

rea

tempoa

l ra tes ,

stimu

lati

ng

put these rily. To

ally , it

ca n le ad

to

to expand

uce

a per

ent sist

rise

in

infl

atio

t mig n tha

ht

n cau

se

P to GD

ctio na ry

in inflation bo un d, the high

er

infl

ation

that might

ind

uce

even

d

by

the

cause

sho

ck

GDP

gra urs occ es pric oil in se rea inc the t, if fac In ck. sho the of cts effe ary tion trac con expand temporarily. To put these results in context, it is useful to contrast them with recent work on the zero lower bound that has emphasized that the effects of

the

of

eco

no

my , an

d

off

the

set ting

co

usu al

eff

the

ect s of

sho

ck.

In

fac

t,

inc

if the

rea

in

se

oil

pri

ces

ca

n ind

uce

oc cur s gra du

ntra

When policy rates are at the zero lower bound, the higher inflation induced by the shock can lead to lower real rates, stimulating the interest-sensitive sectors

nd

sh oc ch , su ks as go ve rnm en t sp di en ng sh oc ks , ar e am d

fie pli at the ze ro low er bo d.

un Th e am pli fic ati on of the se sh ks oc mo ve .

ry ta

ra t es

.

t io n induc e d by th e shock can lead to l ow e he W hen p o li c y ow e r bound, the higher infl a

r

a tes are at the zero l

ho

me country.

io

n and reduce output in t i nfla

t

hock tends to push u p

y policy is unconstrained,

al ts. co ec ntr eff actionary

his shock tends to ined, t p u sh u nstra p in nco f la su ti o yi na lic po nd r re al

a

pe

rsis ten

t rise

n ut i utp eo uc ed

eve

home, oil-importing in the c o u f oil ntr y .W he nm on e

ind

it can

lly,

o ce pri the

useful , it is

up

dua

ma de

. To understa e countr y nd th hom is re the sult ,c on sid er t

es the demand for at rais oil b ck th y fo sho reig ne rs,

fa ts o ec eff

ing

he

r

this s

i l by foreigners, pushing up the price of oil in the home, oil-importing country. When moneta r

o u nder sta n d t h is r esu lt, c o n sid e r t h de mand fo r o

ts

e effects of a shock that raises th e T of t he shock. ry eff ec

s etting the usual contra c t umulating the interest-sensitive sectors of the e e d by the shock can le a

c on omy , and o

f

t iona

i n f la ti o n i nd u c d to lower real rates, s

hi g h er

nd, t h e

o

licy rates are at the zero lower bo u the home countr y .

p ush up inflation

and reduce outp u t i n W h en p

s unconstrained, this shock tends t o

i

f the shock.To understand this result, cons i of a shock that rai s for oil by foreigners, pus h mp o rtin g cou ary p olic y

n

t r y. W h e n m o n e t -i oil in the home, oil i ng up the price of nd s t he dema effe ct s d e r th e

u us the ing tt

e

tra u su al con and o f f of t h e ec o no my, n si tive se c to r s r rea l l owe r a d to

cti o na r y

effects o

set t in g

th e

ates, stumulating the interest-se

r bo

low e

licy is uncon stra etary po ine mon d, hen of W fse y. tr

und, the higher inflation induced by the shock can l e

z ero

is unconstrained, this shock tend s e home c o untry. When policy rat e s are a t th e

th and reduce out p ut in t o push up inf l ation

e , oil-importing country. When monetary polic y

p ric

eo f oi l

ho m

in t he

g up th e

r

s , pushin

f or oi l b y f o reign

e

i ra

ses the demand the e ffects o f a sho c k t h a t

a c t io na

ry e f fects

r e s ult, con s i d er

of th e shoc k .T o u n de r

t hi s

sta nd

e in te

rest-sensitive sectors of the economy, and offsetting the usual cont r

d to lo we r

a

l rates, stumulating t h

re

c

c a n le a e d by th e sh o c k

inflation

indu

u nd ,

he t h e hig

r

y . When policy rates are at the zero lower b o

un

tr

du

e output in the home c o c

s h ock

ends to push up inflation and r e

t rain e

d, th is

t

Wh

e n monetary policy is uncon s

c o untry. demand for oil by foreigners, pushing up the p r

of a s hock that raises th e i c e of oil in the home, oil-importin g

ts the e ffe c

f the economy, and offsetting the usual contract i o f the shock.To

s ult, consider

ffects o na r y e

understand

this r e

r eal rates, stumulating

the interest-sensitive

sectors o

t o push up . When polic y ra t e s a r o lower bound, the hig h er inf l at io c k can le a d t o lowe r e

h e sh o n i nd u ce d by t

at the ze r

i

n flation and reduce output in the home countr y

n constrained, this shock tends

ers, pushing u o i l in th e i ng countr h o y. W h en moneta r

y po li cy is u

p

m e, oil-impor t the price of

nd for oil by f

a m

orei gn

de

th e

nd t

m e, oil -im po rtin gc ou n

t raises c k th a

a

h is result, consider the effects of a sh o

o f the s h o c k . To

un d ers t

u sual contractionary effect s

sectors of the ec t in g th e

o nomy, and offse t

i a ting t he t e s, stumul lea d

nterest-sensitive

ig h

n

a

e r inflation induced by the shock c a t o lower real r

e h om e count r y. W h en p o licy ra t e s ar e a t th e z ero lo we r b o u n d , the h

u

ho

c e output

in t h

to p this shoc k tends

by foreigners, pushing up the price of oil in the home, ry. When monetary

o il - im p or ti n g

coun t

policy is

dem a

r oi l n d fo

this re s

ult, consider the effects of a shock that raises th e

o ntractionary

the shock.To effects of co n the e rs o f

understand

omy, and offsetting the usual c e ct o

stu real rates, a d to lower

mulating the interest-sensitive s i e r inflation c o u nt ry. Whe n ou t put in the h ome p inf l a ti on a nd r educe pu

u

policy rates are at the zero lower bound, the hig h n duced by the shock can l e sh

n strained, this shock tends t o i ng country. W

policy

is unc o

t

l in the home, oil-impo hen monetaryr

the price of o i b y foreigners, pushing up the demand for o il

s a shock that raise e r the effects of d o c k.To un

result, consi

d

h

omy, and offsetting the ary effects u s of the s e rstand this al contractio n

u

e ,p th us il in hin g up the price of o

u sh up i n fl a tion and red

u nc o nstr a ined,

of the econ

n

s itive sectors lead to lower real rates, stumula t i r bound, the higher inflation induced by the shock can

ng the interest-se

s h oc k .To un ders f ects of a shoc nd for oil by f o he home, oil-importing country. When monetary policy i ds to push up ce output in the home country. s are at the zero lo w

W hen policy rat e i nflation and red u

k

s unconstrained, this shock te n price of oil in t r eigners, pushing up the that raises the dem a t a nd this result, consider the e f

of th e i onary effects

lower real rates, stumul a ectors of the economy, and offsetting the usual contrac t

e

rs ne eig y for or oil b and f dem he st se

t ing the interest-sensitive t th e zero lo wer bou n d, t h e h i g her i nflat i o n i nduce d b y th e shoc k c a n le ad t o

y r ate s

are a

poli c u nt r y. W h en

s

t en d s to p u educe output in the

home c o

s

h up inflation and r trai n ed, this shoc k o ns

mo

a shock th at ra i

netary policy is u n c

m e, oil-importing country. Whe n

n the home count r y. W her inflation induced by t h l ow er r ea interest l - sens it i y, and offsetting t ffects of the shock.To understand the effects of t a shock that raises the demand for oil by fo c e of oil in the ho

r eigners, pushing

up the pr i

h i s result, conside r

v

h

e usual contractionary e e sectors of the econo m r ates, stumulating th e

e shock can lead to

d , this

f ts o ec

hen policy rates are at the zero lower bound, the hi g e nds to push up inflation and reduce output i

s h oc

k t

p orting country. When monetary policy is unconstrain e

e d eman d , pushing up the price

of oil in the home, oil-im

f or oil by foreigner s t , consider the effects of a shock that raises th

ef f

of t h this resu l

e shock.To unde r

s ta nd

l contractio n sectors of the economy, a l rates, stumulating the interest-sensitive

a

e sider th

nd offsetting the a ry effects us u

up inflation and reduce o e h ome co un try. When p o lic y ro lower bound, the higher u c ed by th e s to lower re a

h

ock can lead

i

n flation ind rates are at the z e

in t h

u

t pu t

co n

this shock tends to push monetary policy is unconstrained, th e n ers, pushing up f fects of a shock that r e

effects of esult, consider th a ises the demand e for oil by fo rei g price of oil in the home, oil-importing country. Whe n t he shock.To understand this r

g the usual contractionary

w

up inflation

and reduce

s yi

tends unconstrained, this shock

lic

r

o yp

cou n

try. When moneta

at

b y foreigners, pus h

, ult res is

In our ana lysi s, we ext end the two -co unt ry DS GE mo del in Bo den stei

n, Erc eg, and Gu err ieri (201 0) wit h pri ce and wa ge rigi diti es

and by int rod uci ng a mo net ary pol icy rul e tha t exp lici tly rec

og niz es the ZLB co nst rai nt on no min al int ere

st rat es. A key fin din g of our ana lysi ss is tha

t oil pri ce sho cks pro pag ate dif fer

ent ly wh en pol icy rat es in the oil imp ort ing

cou ntr y are at zer o low er bou nd.

this

of a shock th

To understand

derstand t un h

he

output in the home country. a t es are at the zero lower boun d , t h can lead to lo u latin gt sitiv

t o push

oil-importing in the home, price of oil i ng up the for oil raises the demand the effec t s result, consider

To

e

s ectors of the economy, and offsetti n interest-se n

e r real rates, stu m

e higher inflation induced by the shoc k r policy W hen

olic y

of oi

l shocks on the macroeconomy.

rates affects the transmission

s,

we address how the zero lower bound constraint on p

09

to a peak of $80 in July 2010. In light of these event of

a little less than $40 per barrel in February of 2 0

est T

exas Intermediate crude doubled from a trough

rice

of W

g th

e sp

ot p

eir stabilization role. At the same time, th

rea

ched their zero lower bound (ZLB) inhibitin n mo

netary policy. Namely, in many advanced economies, policy rates

ghter

nnin

g in 2009, there has been another important systematic change i

monetary policy in response to these shocks. Begi

cre

ases in oil prices in the 1970s can be attributed to ti

rge

part of the effect of in

sta

nce, argues that a la n (1

997), for in

r, a

nd Watso

sa

prominent role. Bernanke, Gertle

mo

netary policy to oil shocks play s

ystematic response o f

lower bound (ZLB) inhibiting their stabilization role. At the same time, the spot price of West Texas monetary policy. Namely, in many advances economies, policy rates reached their zero in response to these shocks. Beginning in 2009, there has been another important systematic change in that a large part of the effect of increases in oil prices in the 1970s can be attributed to tighter monetary policy

smaller role in more recent years. Within this debate, the systematic response of monetary policy shocks as drivers of economic fluctuations in the 1980s and 1990s, and suggested an even preceding run-up in oil prices. In contrast, Blanchard and Gali (2007) attributed a small role to oil

In this vein, Hamilton (2009) argues that most of the global recession that began in 2008 reflects the One view is that oil shocks are a principal source of business cycle fluctuations

An important, ongoing debate in macroeconomics concerns the influence of oil shocks on aggregate activity.

“Movement 07� Exploring semantic manipulation of typography to enhance the content of a selected text; developing a cohesive syntactic language for the type that helps integrate supporting statistical data in a clear hierarchy.

to oil shocks plays a prominent role. Bernanke, Gertler, and Watson (1997), for instance, argued

Intermediate crude doubled from a trough of a little less than $40 per barrel in February 2009.

Within this debate, the

Form + Meaning


FALL 2011 SEMESTER

SCHOOL OF VISUAL ARTS COMMUNICATION DESIGN

THEME AND VARIATION

ALYSSA ZOLNA

EXPLORING SEMANTIC MANIPULATION OF

TYPOGRAPHY TO ENHANCE THE CONTENT OF A SELECTED TEXT; DEVELOPING A COHESIVE SYNTACTIC

LANGUAGE FOR THE TYPE THAT

HELPS INTEGRATE SUPPORTING

STATISTICAL DATA IN A CLEAR HIERARCHY.

MOVEMENT 07 FORM + MEANING


N

tc

to go. I

our

me. cu

hing

ad z I need your love so b

.

yI Bab

eryt

d yo

on

nee

ed a soft voice.

ase

ur love so bad.

na be alright. ple

. Ne

is g

bad

liste

n

Mental wounds not healing Who and what’s to blame I’m going off the rails on a crazy train I’m going off the rails on a crazy train

This could be. Para-para-paradise. Para-para-paradise. This could be. Para-para-paradise. Oh oh oh oh oh oh-oh-oh-oh.

sun must set to rise”. This could be. Para-para-paradise. Para-para-paradise. Para-para-paradise. Oh oh oh oh oh oh-oh-oh.

oh oh oh oh-oh-oh-oh. lalalalalalalalalalala. And so lying underneath those stormy skies. She’d say, “oh, ohohohoh I know the

n

th

e to

ecause I need y

so love

a

ou worry about it, baby. ev

e mad. B

on’t y

ng m

ht. D

e to me. Or write it on a p

Iw

ad ed

for

la wa

pe

y. O

w ay a

k

o . So I g u

f the bay. Wastin’ ti

e tide roll away.

ck o

tching th

me.

ess I’ll remain the same, yes. Sittin’ here

iles I roam ed. Just to make this dock my

ba y . Wa

gain, yeah

. I’m sittin’ on the dock of the bay. Watching the tide roll

away.

‘Cause I’v e had nothing to live for. And look like nothin’s gonna

the dock of the bay. Wastin’ time. Look like nothing’s

e to d

the

sand m

of

tho u

sittin’ on

le tell m

oo, I’m

op

‘Fris co ba y.

ro l

the

atc h ‘e mr o ll a

He

hom

t nig

it hom

Oh oh oh oh oh oh-oh-oh. She’d dream of. Para-para-paradise. Para-para-paradise. Para-para-paradise. Oh oh

In the night the stormy night away she’d fly. and dreams of. Para-para-paradise. Para-para-paradise. Para-para-paradise.

nd .A ll i n ips ro

g it

ea

brin

to m

drivi

Heirs of the Cold War, that’s what we’ve become Inheireted troubles, I’m mentally numb! Crazy, I just cannot bear I’m living with something that just isn’t fair!

sh ing the

nd

stop

t

e tid

y please. a

and

tha

I t’ st wo

do

“Sittin’ On” by Otis Redding

keeps thinking you’ve had enough. But the heart keeps telling you ‘don’t give up’. Who are we to be

om

by.

d.

me . ia rg eo in G

alk

read to me. Tell

ed your love so ba

n be

I ne

it ca

aby en

that to t

e. B

the butterfly. Every tear a waterfall. In the night the stormy night she’ll close her eyes. h me. Watc

so per.

to m

heavy. The wheel breaks

ome

love me ba

that to talk to me at nig

please. and bring it home

Mental wounds still screaming Driving me insane I’m going off the rails on a crazy train I’m going off the rails on a crazy train

I know that things are going wrong for me You gotta listen to my words Yeah yeah yeah

yh . I left m

the

ou

voice

to my

ing ng

ring

isten

d

ryth

tchi y. Wa the ba

nd b

se l

about it, baby eve

g me mad. cuz I nee

orry

rivin

t at wh

p, a

plea

’t

op d

w you

d st

just a girl. She expected the world. But it flew away from her reach. and the bullets catch in her teeth. Life goes on, it gets so

dreamed of. Para-para-paradise, Para-para-paradise, Para-para-paradise. Every time she closed her eyes. When she was

e.

it u

y. An

on ht. D

that you love me bab

I’ve watched I’ve listened to preachers I’ve listened to fools I’ve watched all the dropouts Who make their own rules One person conditioned to rule and control The media sells it and you live the role

When she was just a girl. She expected the world. But it flew away from her reach so. She ran away in her sleep. and

“Paradise” by Coldplay

venin’ co sittin’ when the e Sittin’ in the mornin’ sun. I’ll be

ht.

e

o know give it up, And bring

All aboard! HA HA HA HA HA HA! a’ight, a’ight, a’ight, a’ight (echo) Crazy, but that’s how it goes Millions of people living as foes Maybe, it’s not too late To learn how to love And forget how to hate

Mental wounds not healing Life’s a bitter shame I’m going off the rails on a crazy train I’m going off the rails on a crazy train

“Crazy Train” by Ozzy Osbourne

stin’ time f the bay. Wa Ooo, I’m just sittin’ on the dock o

do

ive

soft

ad. S

xt

aper . So

e

l ne

ow

n’ t I ca

So know g

ed a

Tell m

. Ne

.

write it on a p

are low. And it’s tim

eed some lips to fee

e. Or

hts

l Cr

e

. King and Shery

dock of

bad

e lig

.In

st

m e to

n th

m it ho

whe

arm

B.B

ld and squeeze m o ho

by

ad so b

n e ’s

love

meo

t an end. Cuz I need your

e night. I need so

v

tell me when I’m lying. And

, I’m a

rough th

d up.

so b

stan

gins

me th

“Need Your Lo

ad”

. same

onna be alri g sg

your love so

ove

e to

ur l

eon

d yo

me

nee

lead

t be

d to

nigh

han

he

som

en t

ine. I Need

tight. Wh

n e ’s

an be read to

om

I

t

i

B e So

Y

e

and

o pr

ch

e

e th

ttle Bo

t Pu

it a w a y

r natu re

for a fact that y ou now Ik h ut ou. Red whit gy ea n i nd nd o u look at h i u o m ’ v y e l e i k n e v e r know nh im up and go. Bottle up and explode, seeing st .B ars sur ro u

mo

eed someo

lon ea em

i

on the st gonna sit come my way. So I’m ju e av

y

ains the ng still rem gonna change. Everythi

c do

hid ove The las r. e, Bu tt it’ im e

s

g

d no tire

w of wa itin

. Be c

you. I’m com to

u yo

up

’m tI

. Who’d you ried th i uc yo

ug

lli ot

Sm

h.

ith

a nn go

t

n’ t l e

e u’r

es

now, find it within now, find it within. Through it all, just stand up. “Just

if y o

vid

o es s w l o n el i n

th at

go,

.T og et

si t

ay. In for a round of overexposure. The thing

n na

p an d

the d

ttle u ow. Bo ever sh

me co

for

nd this resting my bones. A

o st g

e

t to

ck ou t

m ju ow, I’ home. N

th

d ex plode ov troublemake er and over. Keep the r be lo w .

“Movement 08” Responding to a series of intuitive, abstract form languages developed to represent emotions and concepts. Discovering a text that supports the abstract visualizations and integrating it compositionally among the image to establish both semantic and syntactic relationships. on ttin’ e, si

bou

an

Form + Meaning ro th E et by ’ll g e. I n e” utsid . You od l e it o k you a p m r x . I can fo dE u p and go g e l t n t o B . h a g u p thro ttle U ing ou. “ B o o mi n g y ou . Be c ing y om

a ere ou w that y

up

e. av

m in

Oooo-we

wa

Be co

nk sid s in

g hinkin e? T

. ue bl

it all, just stand up. You got it in you. find it within. You got in now, find it within now. You got in you, find it within. You got in

Stand Up” by Various Artists

Bust the heart keeps telling you ‘don’t give up’. Who are we to be questioning, wondering what is what? Don’t give up, through

you trust the good. Everything will be alright, yeah. Light up the dark, if you follow your heart. And it will get better through

questioning, wondering what is what? Don’t give up, through it all, just stand up. If the mind keeps thinking you’ve had enough

If you fall, dust it off, you can live your life. Yeah, let your heart be your guide. Yeah yeah yeah. You will know there’s a good if

whatever. If the mind keeps thinking you’ve had enough. But the heart keeps telling you ‘don’t give up’. Who are we to be

wondering what is what? Don’t give up, through it all, just stand up. You don’t gotta be a prisoner in your mind

whatever. If you fall, dust off, don’t let up. Don’t you know you can go be your own miracle. You need to know! If the mind

questioning,

beat the hate. Don’t wanna let the mind keep playing you. Saying you can’t go on. I’m tellin’ you things get better through

Don’t give up, through it all, just stand up. Ooh, it’s like we all had better days. Problems getting all up in your face. Just

because you go through it. Don’t mean it gotta take control, no. You ain’t gotta find no hiding place. Because the heart can

you’ve had enough. But the heart keeps telling you ‘don’t give up’. Who are we to be questioning, wondering what is what?

pain. And if you don’t belive it look into your heart. The beat goes on. I’m tellin’ you things get better through whatever. If you fall, dust it off, don’t let up. Don’t you know you can go be your own miracle. You need to know! If the mind keeps thinking

Everything’ll be alright again. Alright again, alright again. The heart is stronger than you think. Like it could go through anything. And even

when you think it can’t. It finds a way to still push on through. Sometimes you wanna to run away. Ain’t got the patience for the


MOVEMENT 08

THEME AND VARIATION

FORM + MEANING

ALYSSA

ZOLNA

SCHOOL OF

VISUAL ARTS

COMMUNICATION DESIGN

FALL 2011 SEMESTER RESPONDING TO A SERIES OF INTUITIVE, ABSTRACT FORM LANGUAGES DEVELOPED TO

REPRESENT EMOTIONS AND CONCEPTS.

DISCOVERING A TEXT THAT SUPPORTS

THE ABSTRACT VISUALIZATIONS AND INTEGRATING IT COMPOSITIONALLY

AMONG THE IMAGE TO ESTABLISH BOTH SEMANTIC

AND SYNTACTIC RELATIONSHIPS.


B RAND AD H E S I VE

B ANDAG E S

Breathable All-Purpose Protection

Breathable All-Purpose Protection

30 All One Size

30 All One Size

See side panel for size

See side panel for size

Alyssa Zolna

B RAND AD H E S I VE

Alyssa Zolna

B ANDAG E S

ENDLESS RUNWAY STRIPS

30 All One Size

30 All One Size

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Alyssa Zolna

Alyssa Zolna

B ANDAG E S

WEBCAM STRIPS

B RAND AD H E S I VE

Breathable All-Purpose Protection

30 All One Size

30 All One Size

Alyssa Zolna

B ANDAG E S

HOT TV STRIPS

Breathable All-Purpose Protection

See side panel for size

B ANDAG E S

FOOTBALL KING STRIPS

Breathable All-Purpose Protection

See side panel for size

“Band-Aid” Using 10 articles found in the New York Times I designed creative Band-Aid boxes and Band-Aids that representated the general topic of the article.

B RAND AD H E S I VE

Breathable All-Purpose Protection

B RAND AD H E S I VE

B ANDAG E S

DINOSAURS STRIPS

HELP STRIPS

10 Responses

B RAND AD H E S I VE

See side panel for size

Alyssa Zolna


B RAND AD H E S I VE

B ANDAG E S

PIANIST’S PALETTE STRIPS

B RAND AD H E S I VE

BATTERY SAVER STRIPS

Breathable All-Purpose Protection

Breathable All-Purpose Protection

30 All One Size

30 All One Size

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Alyssa Zolna

B RAND AD H E S I VE

B ANDAG E S

DEBATING STARS STRIPS

See side panel for size

Alyssa Zolna

B RAND AD H E S I VE

Breathable All-Purpose Protection

30 All One Size

30 All One Size

Alyssa Zolna

B ANDAG E S

LANDLINE TWIST STRIPS

Breathable All-Purpose Protection

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B ANDAG E S

See side panel for size

Alyssa Zolna


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Imagine a pla

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eally do that),

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PSA “Funny PSA” Here are 3 versions of a funny PSA for the attorney Shawn Holley. The funny part of the PSA being how she kepy Lindsay Lohan out of jail. Without using any photography and keeping them black and white.


Shawn Holley

301-566-9822

Shawn Holley can get Lindsay Lohan out. She can get you out too. Call today.

YOU DON’T

HAVE TO GO TO JAIL


stomp


Alyssa Zolna

Alyssa Zolna

Alyssa Zolna

Alyssa Zolna

Alyssa Zolna

973.229.8121

Alyssa Zolna

Alyssa Zolna Alyssa Zolna

Graphic Designer

Alyssa Zolna Alyssa Zolna

Graphic Designer

Personal Identity “Business Cards” Taking my own initials “A” and “Z” I was able to create a logo on the front side of the card, without it being obvious as to the letter formation. They are printed in multiple bright neon colors because that fits my personality best.

973.229.8121 alyssa.zolna@gmail.com www.alyssazolna.com


Alyssa Zo Alyssa Zolna Alyssa Zolna

973.229.81

alyssa.zolna@

www.alyssaz



Portfolio 2012