Page 1

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DRIVEN \\

SELECTED WORKS of BRIAN BACLIG

|||||||||||||||||||||||||||||||||||||||||


|||||||||||||||||||||||||||||||||||||||||

DRIVEN \\

SELECTED WORKS of BRIAN BACLIG

|||||||||||||||||||||||||||||||||||||||||


COLOPHON_ Copywrite 2011 All Rights Reserved. No part of this publication may be reproduced, stored in a tretrieval system or transmitted, in any form or by any means, without the written permission of Brian Baclig. Brian Baclig Phone_ 916.715.4749 Email_ Briantotheb@gmail.com Web_ www.BrianBaclig.com Academy of Art University 79 New Montgomery, San Francisco, CA Department Director_ Mary Scott Course_ Portfolio Seminar Instructor_ Mary Scott Printer_ Blurb Bindery_ Blurb Typeface_ Blender Software_ Adobe Creative Suite 5.5 Camera_ Canon Digital Rebel XSI Photography_ Personal, Plotnet


|||||||||||||||||||||||||||||||||||||||||

CONCEPT \\ DRIVEN TO SUCCEED Driving takes us from one place to a destination. I asked myself what drives me? What keeps me going from project to project? This is a collection of selected works done by me. A project starts with an idea and concept. We shift gears and continue to refine and make adjustments. With each project, I had to find a driving force that allowed me to reach my goal.

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

ART DIRECTION_ NICOLE FLORES

PAGE 8

|||||||||||||||||||||||||||||||||||||||||


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

TABLE OF CONTENTS_ TOC \\ PROJECT_01 \\

FLYING WITHOUT WINGS

TOC \\ PROJECT_01 \\

COLOR YOUR WORLD

12 30

TOC \\ PROJECT_01 \\

RETHINKING MOTOR OIL

TOC \\ PROJECT_01 \\

ADAPT TO YOUR ENVIRONMENT

TOC \\ PROJECT_01 \\ PROJECT_01

SECRET SOCIETY

46 56 76

PROJECT_01 TOC \\ PROJECT_01 \\

FADE TO BLACK

86

TOC \\ PROJECT_01 \\

BRINGING BACK THE DEAD

TOC \\ PROJECT_01 \\

SEARS REBRANDING

102 114

TOC \\ PROJECT_01 \\

LOGOS

140

TOC \\ PROJECT_01 \\

ART

160 |||||||||||||||||||||||||||||||||||||||||

PAGE 9


SPECS >

>

PAGE 10

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

01

SHIFT_

SECTION_1 \\

PROJECT_ NIKE CONVENTION

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ NIKE CONVENTION

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ NIKE CONVENTION

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ NIKE CONVENTION

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ NIKE CONVENTION

TYPEFACES_ FUTURA, ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 11


SPECS >

>

PAGE 12

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ NIKE CONVENTION

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR \\ DIRECTION

PROJECT ONE \\ FLYING WITHOUT WINGS Sneakers are becoming more and more popular and the culture is growing a whole lot bigger. A lot of people who are getting into shoes may not know the history behind them. The goal is for all sneaker heads to come together and share knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love.

|||||||||||||||||||||||||||||||||||||||||

PAGE 13


AIR MAX 87/ AIR MAX 1 1987

AIR MAX 90 1990

AIR MAX 180 1991

HISTORY OF AIR

AIR MAX 93 1993


AIR MAX 95 1995

AIR MAX 97 1997

AIR MAX 2003 2003

AIR MAX 360 2006


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

ART DIRECTION_ NICOLE FLORES

1 ADULT

NOVEMBER

MOSCONE CENT ER

CISC 3PM–10PM SAN FRAN

1 ADULT

NOVEM

MOSCONE CENT ER

3PM–10PM

FL I G H T H U N D R ED TH 1 ADULT

NO

MOSCONE CEN

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

FL I G H


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

$15 $15 $15 $15

1 ADULT

9 NOVEMBER 14 200

I R A I R A I R A AI

MOSCONE CENT ER

OM E WWW.NIKE -AIR.C CO, CA RSVP ONLIN

9 NOVEMBER 14 200

1 ADULT

9 NOVEMBER 14 200

9 NOVEMBER 14 200

14 2009

1 ADULT

1 ADULT

CISCO 3PM–10PM SAN FRAN

MOSCONE CENT ER

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

CISCO 3PM–10PM SAN FRAN

MOSCONE CENT ER

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

3PM–10PM

MOSCONE CENT ER

.NIKE -AIR.COM RSVP ONLIN E WWW SAN FRAN CISCO, CA

CISCO 3PM–10PM SAN FRAN

WWW.NIKE , CA RSVP ONLIN E

AIKO T E N N E S V N E K O I C N R N E O K I A T E N N E S ENV K O I C N R N E O K I A T E N N E S V N E K O I C N N I K E S N EA K E R 1 ADULT

$15

$15 $15 $15

1 ADULT

NOVEMBER 14 2

1 ADULT

9 NOVEMBER 14 200

1 ADULT

CISCO 3PM–10PM SAN FRAN

, CA RSVP ON

R A I R A I R A I A

9 NOVEMBER 14 200

MBER 14 2009

.NIKE -AIR.C RSVP ONLIN E WWW SAN FRAN CISCO, CA

9 NOVEMBER 14 200

MOSCONE CENT ER

OM

CISCO 3PM–10PM SAN FRAN

MOSCONE CENT ER

OM E WWW.NIKE -AIR.C CISCO, CA RSVP ONLIN 3PM–10PM SAN FRAN MOSCONE CENT ER

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

VCO T H O A E C N N S H O T S T C 4 N H S I 1 G O G I R E L R M E F B E B E T L M H N O T E O C V T 4CTSTOHSNNCEAOH N H S I 1 G G O I R E L M E F B B E L M H O E T O V T H O A C N S H S T T 4 N H I LBBFELERIGG1 M O E O V H O C SOUTSEGSAOHN D O N S E H S S R S T . A T D N H E I S R N E G K G O I I T U E E L F N M H F B A T Y D L T F B N O H O A S O G E S H T U O C S D O S EUTOENSRDTASRSHE F M H A T D T F N H O A G S T U S D O E S R A T D R S N O U E AONFDTHM ESITDHTATHIS N R I S T H D E T S D H E K E E T A R R B E A A D T Y N R N R S U E O . T E H T L A T L H IS H T A F T H D O IT S E N DS T E EBRATEKEHTEDHIR NETAIKOENRNCIO N A Y N T N E R S S V O T E N E T A H K IS T H T H D S E N I R H E T H K E A B E VSEN N E K O TISHTEOSRNY CIO I C H N D R E N N E I H O T K H I E A T B E N N Y E R S V O N E T K IS HE H NIKE SNEAKERN

M SAN FRAN CISCO

MOSCONE CENT ER

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

3PM–10PM

$15

$15 $15 $15

OVEMBER 14 2009

1 ADULT

1 ADULT

9 NOVEMBER 14 200

.NIKE -AIR.COM RSVP ONLIN E WWW SAN FRAN CISCO, CA

9 NOVEMBER 14 200

MOSCONE CENT ER

CISCO 3PM–10PM SAN FRAN

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

1 ADULT

1 ADULT

9 NOVEMBER 14 200

3PM–10PM MOSCONE CENT ER

NOVEMBER

CISC 3PM–10PM SAN FRAN

R IA

.NIKE RSVP ONLIN E WWW SAN FRAN CISCO, CA

-AIR.COM

MOSCONE CENT ER

SNNCEA H O T S T C 4 N H S I 1 G O G I R E L R M E F B E B E T L M H N O T E O C V T H O A E C N N S H FEMLERIOGG1ISHN4CTSTO B B E L M H O E T O V T H O A C N S H S T T 4 N H I 1 G G I R E L E F B EG HVOEOMLB S T U O O C S D O N S E H S S R S T . A T D N H E I S R N E G K G O I I T U E E L F N M H F B A T Y D L T F B N O H O A S O G E S H T U HEODSO HT SC RSEODSUTSGAOHNFTDTAHMFEUTOENSRDTASRS

SAN FRAN CISCO NTER 3PM–10PM

WWW.NIKE -AIR.COM , CA RSVP ONLIN E

MOSCONE CENT ER

3PM–10PM

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

ABOUT US

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 28

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ PAUL K AGIWA DA


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_

|||||||||||||||||||||||||||||||||||||||||

SHIFT 360

PACK AGE DESIGN 3 CONCEPT PACKAGING

02

BRIAN BACLIG

PACK AGE DESIGN 3 CONCEPT PACKAGING

BRIAN BACLIG

PACK AGE DESIGN 3

BRIAN BACLIG PACK AGE DESIGN 3

CONCEPT PACKAGING

CONCEPT PACKAGING

BRIAN BACLIG

PROJECT_2 \\ SHIFT 360

AUDIENCE_ CAR OWNERS, MECHANICS, ENVIRONMENTALISTS PROJECT_2 \\ SHIFT 360

KEY ADJECTIVES_ SUSTAINABLE, ECO-FRIENDLY, PERFORMANCE, CHANGE, SHIFT PROJECT_2 \\ SHIFT 360

DELIVERABLES_ LOGO, GREEN PACKAGE DESIGN PROJECT_2 \\ SHIFT 360

TYPEFACES_ VITESSE SANS

|||||||||||||||||||||||||||||||||||||||||

PAGE 29


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

PROJECT_2 \\ SUSTAINABLE PACKAGING \\ DIRECTION

PROJECT TWO \\ RETHINKING MOTOR OIL The automotive industry is always looking for more ways to be “green”. Autozone provides tons of parts and can benefit from being the first to have a “green” line. An important part of maintaining your car is routine oil changes. What most people fail to do is dispose of the oil properly. With the automotive industry pushing to be green, it made sense for a well-known store like Autozone to create a line of eco-friendly car parts.

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

FULLY IC SYNTHET

5W30

ART DIRECTION_ PAUL K AGIWA DA

MOTOR OIL

5W30 MOTOR OIL

SAE 5W-30

FULLY SYNTHETIC 1 QT

FOR GASOLINE ENGINES // 1 QT / 946 mL

MOTOR OIL SAE 5W-30

1 QT / 946 mL

|||||||||||||||||||||||||||||||||||||||||

MOTOR OIL SAE 5W-30 FOR GASOLINE ENGINES // 1 QT / 946 mL

FOR GASOLINE ENGINES // 1 QT / 946 mL

SECTION_1 \\

360


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

FULLY IC SYNTHET

5W30

MOTOR OIL

5W30 MOTOR OIL

SAE 5W-30

FULLY SYNTHETIC 1 QT

FOR GASOLINE ENGINES // 1 QT / 946 mL

MOTOR OIL

SAE 5W-30 FOR GASOLINE ENGINES // 1 QT / 946 mL

SAE 5W-30 1 QT / 946 mL

MOTOR OIL

FOR GASOLINE ENGINES // 1 QT / 946 mL

36

360

5W30 5W

SA E R OIL MO TO SY NT HE TIC FULLY OLINE ENGINES

30

FOR GAS

1 QT / 946 mL

MOTOR OIL FULLY SYNTHETIC FOR GASOLINE ENGINES

5W

5W

MOTOR OIL

MOTOR OIL

30 FULLY

SYNTHETIC FOR GASOLINE

ENGINES

|||||||||||||||||||||||||||||||||||||||||

30 FULLY

SYNTHETIC FOR GASOLINE

ENGINES


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

PACK AGE DESIGN 3 CONCEPT PACKAGING

BRIAN BACLIG

PACK AGE DESIGN 3

BRIAN BACLIG PACK AGE DESIGN 3

CONCEPT PACKAGING

CONCEPT PACKAGING

|||||||||||||||||||||||||||||||||||||||||

BRIAN BACLIG

PACK AGE DESIGN 3

BRIAN BACLIG

CONCEPT PACKAGING

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA


||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 42

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

03

SHIFT_

SECTION_1 \\

PROJECT_ PA NTONE POST ERS

|||||||||||||||||||||||||||||||||||||||||

PROJECT_3 \\ PANTONE X NIKE

AUDIENCE_ DESIGNERS, GRAFFITI ARTISTS, MUSICIANS, VENTURE CAPITALISTS PROJECT_3 \\ PANTONE X NIKE

KEY ADJECTIVES_ NIKE, CULTURE, PANTONE, COLOR,STYLE, ART, PASSION PROJECT_3 \\ PANTONE X NIKE

DELIVERABLES_ SET OF 3 POSTERS PROJECT_3 \\ PANTONE X NIKE

TYPEFACES_ FRUTIGER, OCRB, ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 43


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A


PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

PROJECT_3 \\ PANTONE POSTERS \\ DIRECTION

PROJECT THREE \\ EXPRESS YOURSELF WITH COLOR This set of posters aims to showcase pantone through Nike. The challenge is to show Nike without it being about shoes. The solution was to think of Nike as a culture and showcasing the different cultures that wear Nikes. The three posters were created to show graffiti artists, musicians, and venture capitalists. The pantone numbers were integrated into the posters so that the whole poster is seen as one.

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A


PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A


PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A


PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 52

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

04

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_4 \\ TYPE PROMOTION

AUDIENCE_ DESIGNERS, TYPOGRAPHERS, STUDENTS, PROJECT_4 \\ TYPE PROMOTION

KEY ADJECTIVES_ ADAPTABILITY, SURVIVAL, NATURAL SELECTION, ENVIRONMENT PROJECT_4 \\ TYPE PROMOTION

DELIVERABLES_ 48 PAGE BOOK, 24 PAGE TYPE SPECIMEN BOOK, POSTER PROJECT_4 \\ TYPE PROMOTION

TYPEFACES_ KIEVIT, QUADRAAT

|||||||||||||||||||||||||||||||||||||||||

PAGE 53


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

PROJECT_1 \\ AIR \\ DIRECTION

PROJECT FOUR \\ ADAPT TO YOUR ENVIRONMENT Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love.

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

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A A A A A A A A A A A A A A A A A A

A @

@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @

K K K K K K K K K K K K K K K K K K

K |||||||||||||||||||||||||||||||||||||||||


Type in an Environment

A Field Guide to Finches

3

4

5

6

7

8

N

G

9

LL

S

MAINLY PLA NT FOOD

BI

A B

C

D

E

GR

V

Y

X

¢

F

G H

I

T HE F F K I EV I T F A MI L Y I N C L U D E S N I N E W E I GH T S , T R U E I T A L I C S , O LD S T Y LE FI GU RE S AN D S MA L L CA P S — E V ER Y T H I N G N E C E S S A R Y F O R E V E N T H E MO S T D E MAN DI N G T Y P O GRA P HY

2

9

Z

0

ADAPTABILITY

1

Weights

Poster

All genetic mutations start out random, but those that are beneficial to an organism's success in their environment are directly selected

Selected Typeface : Kievit by Michael Abbink

Q

U

P

EDGE

W

H

US CR

G IN

SECTION_1 \\

N

O

C

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I

COURSE_ T YPOGRAPHY 4

SH

>

SELECTED WORKS_ BRIAN BACLIG

RU

>

Issue No. 1

SPECS ART DIRECTION_ ARIEL GREY

R

M

K

L

J

BITI

ING ASP


C

E

F

G

I

K

L Thin Italic

D

Medium Italic

Regular Italic

Light Italic

Extra Light Italic

t Ligh

t ra L igh

Book Italic

n Thi

k Boo

M

N

Tail

Uppertail-Coverts

Primaries

Rump

Tertials

Vent Undertail-Coverts

Back

Secondaries

Scapul ars

Mantle

Greater Coverts

Crown

Nape

Ear-Coverts

Lores

O

T

S

R

Q

P

a nd the hum a ni stic c ha ra ct e ri st i c s of ol d s t yl e s w e r e t h e i n spi r at i on fo r t h i s c on t e mpo r ar y de si g n t h at i s e q u al l y at h ome i n a h e ad l ine or a b od y of te x t .

The ope nne s s of t h e c ha ra c t er s an d t h ei r pr o por t i on s make s i t an i de al t ype fac e for u se i n smal l pr i n t. T h e c l ar i ty of c l assi c s a ns s e rif fa ce s

Ext

r ula Reg

ium Med

THE FF KIEVIT FAMILY

Fontshop

B

H

J

A

A

Bold Italic

0

d

Z

Bol

Y

Extra Bold Italic

X

d

W

A A A A A A A A A A A A A A A A A A

IC

PROBING

I TA L

S BILL

9

S 8

PR OB ING

7

100% A NIMAL FOOD

6

S 5

BIL L 4

TIP V

ra B ol

3

NG U

Ext

2

G T

Black Italic

S

CK

Forehead

Tarsus

Thigh

Belly

Fl anks

Primary Coverts

Breast Alul a

Median Coverts

Lesser Coverts

Throat

Chin

PROJECT_ T YPE PROMOTION

BLA

1

MAINLY A NIMAL FOOD

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

UN

D E R S TA N D I N G

DE

ART DIRECTION_ NICOLE FLORES

C O

UCT

S OF DE S

TR

IG

N

NS

ST

M

ON

AS

TER

IN G R EC

U

CT

IN

G

79

R

SECTION_1 \\ PAGE 72

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PROJECT_ AIR

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SHIFT_

MIND

05

BODY

PROJECT_5 \\ ALCHEMY BOOK

AUDIENCE_ SCIENTISTS, DESIGNERS, STUDENTS, HISTORIANS, TEACHERS PROJECT_5 \\ ALCHEMY BOOK

KEY ADJECTIVES_ HIDDEN, TRUTH, UNCOVERING,FORM, FUNCTION, SCIENCE, DESIGN PROJECT_5 \\ ALCHEMY BOOK

DELIVERABLES_ BOOK AND POSTER PROJECT_5 \\ ALCHEMY BOOK

TYPEFACES_ HELVETICA

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ T YPE PROMOTION

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DRI V EN TO SUCCEED SHIFT_

PROJECT_1 \\ AIR \\ DIRECTION

PROJECT FIVE \\ ALCHEMY: MASTERS OF DESIGN Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love.

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SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

SECTION_1 \\ PAGE 76

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ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

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SECTION_1 \\ PAGE 77

DRI V EN TO SUCCEED


SPECS ART DIRECTION_ NICOLE FLORES

func TIOnIng Of Th e cOS mOS

Th e pr IncIple S unde r lyIng Th e fOr mATIOn And

> COURSE_ GR APHIC DESIGN 3

TAOIS T Alc h e my IS A dOc Tr Ine AImIng TO unde r S TAnd

> SELECTED WORKS_ BRIAN BACLIG

SOl SUN Ruler of Gold

SECTION_1 \\ PAGE 78

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lu n A MOON Ruler of Silver

TerrA E ARTH Ruler of Gold

mercurIuS VenuS MERCURY Ruler of Quicksilver Ruler of Copper

mArS

J u pIT e r

Ruler of Iron

Ruler of Tin

S AT u r SATUR Ruler o


rnuS RN of Lead

PROJECT_ AIR

urAnuS

nepTunuS NEPTUNE

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p lu TO

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SECTION_1 \\ PAGE 79

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

ALCHEMY FOR M & FUN CTION

7

OCCULT STUDIES

ALCHEMY FOR M & FUN CTION

ART DIRECTION_ NICOLE FLORES

10,000

science, an interest ce. Dur ing New ton’s of his exper iment al ccurately a ssociated th that exper iment s uc ted and analy tic al hemistr y a s we know y may have been the o gold ), and per haps

9,000 8,000 7,000 6,000

7

10,000 New ton wa s deeply interested in all for ms of natural sciences and mater ials science, an interest that ultimately would lead to some of his bet ter-known contr ibutions to science. Dur ing New ton’s lifetime the study of chemistr y wa s still in it s infanc y, thereby leading many of his exper iment al studies to consist of the use of esoter ic language and vague ter minology more accurately a ssociated with alchemy and occultism. It would be several dec ades af ter New ton’s death that exper iment s of stoichiometr y under the pioneer ing wor ks of A ntoine L avoisier were conduc ted and analy tic al chemistr y, with it s a ssociated nomenclature, would come to resemble moder n chemistr y a s we know it today. ¤ New ton’s wr itings suggest that one of the main goals of his alchemy may have been the discover y of The Philosopher’s Stone (a mater ial believed to tur n ba se met als into gold ), and per haps to a lesser ex tent, the discover y of the highly coveted Elixir of Life.

9,000 8,000 7,000 6,000

5,000

5,000

4,000

4,000

3,000

3,000

2,000

2,000

1,000

1,000

Alchemists Sir Isaac Newton Jabir Geber Benjamin Franklin

alchemy were

Some practices of alchemy were

during Newton’s

banned in England during Newton’s

to unscrupulous

lifetime, due in part to unscrupulous

would often promise

practitioners who would often promise

s unrealistic

wealthy benefactors unrealistic

pt to swindle them.

results in an attempt to swindle them.

, also fearing the

The English Crown, also fearing the

n of gold, should

potential devaluation of gold, should

Stone actually be

The Philosopher’s Stone actually be

penalties for alchemy

discovered, made penalties for alchemy very severe.

ALCHEMY FOR M & FUN CTION

7

OCCULT STUDIES

ALCHEMY FOR M & FUN CTION

10,000

science, an interest ce. Dur ing New ton’s of his exper iment al ccurately a ssociated th that exper iment s uc ted and analy tic al hemistr y a s we know y may have been the o gold ), and per haps

9,000 8,000 7,000 6,000

10,000 New ton wa s deeply interested in all for ms of natural sciences and mater ials science, an interest that ultimately would lead to some of his bet ter-known contr ibutions to science. Dur ing New ton’s lifetime the study of chemistr y wa s still in it s infanc y, thereby leading many of his exper iment al studies to consist of the use of esoter ic language and vague ter minology more accurately a ssociated with alchemy and occultism. It would be several dec ades af ter New ton’s death that exper iment s of stoichiometr y under the pioneer ing wor ks of A ntoine L avoisier were conduc ted and analy tic al chemistr y, with it s a ssociated nomenclature, would come to resemble moder n chemistr y a s we know it today. ¤ New ton’s wr itings suggest that one of the main goals of his alchemy may have been the discover y of The Philosopher’s Stone (a mater ial believed to tur n ba se met als into gold ), and per haps to a lesser ex tent, the discover y of the highly coveted Elixir of Life.

9,000 8,000 7,000 6,000

5,000

5,000

4,000

4,000

3,000

3,000

2,000

2,000

1,000

Alchemists Sir Isaac Newton Jabir Geber Benjamin Franklin

alchemy were

Some practices of alchemy were

during Newton’s

banned in England during Newton’s

to unscrupulous

lifetime, due in part to unscrupulous

would often promise

practitioners who would often promise

s unrealistic

wealthy benefactors unrealistic

pt to swindle them.

results in an attempt to swindle them.

, also fearing the

The English Crown, also fearing the

n of gold, should

potential devaluation of gold, should

Stone actually be

The Philosopher’s Stone actually be

penalties for alchemy

discovered, made penalties for alchemy very severe.

SECTION_1 \\ PAGE 80

7

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1,000


PROJECT_ AIR

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SHIFT_

M

AS

TER

S OF DE S

IG

N

UN C

O

U

DE

CT

IN

G

D E R S TA N D I N G

NS

TR

UCT

IN G R EC

ON

ST

R

79

Au GOLD

CODE

MIND BODY

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PAGE 82

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

07

SHIFT_

SECTION_1 \\

PROJECT_ AIR

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PROJECT_1 \\ AIR

AUDIENCE_ DESIGNERS, SCIENTISTS, ASTRONOMERS, TYPOGRAPHERS PROJECT_1 \\ AIR

KEY ADJECTIVES_ CLEAN, EDUCATIONAL, QUICK, UNKNOWN, BLACK PROJECT_1 \\ AIR

DELIVERABLES_ 48 PAGE BOOK AND POSTER TYPEFACES_ FUTURA,ROCKWELL PROJECT_1 \\ AIR

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PAGE 83


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ BL ACK HOLES

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DRI V EN TO SUCCEED SHIFT_

PROJECT_1 \\ AIR \\ DIRECTION

PROJECT SEVEN \\ ENTER A BLACK HOLE

P

E

Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love.

|||||||||||||||||||||||||||||||||||||||||

C a c s t a i t t c s t a i t t


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ BL ACK HOLES

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DRI V EN TO SUCCEED SHIFT_

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>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ BL ACK HOLES

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DRI V EN TO SUCCEED SHIFT_

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SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

FA D E T O B L A C K 17 O f 4 8

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ BL ACK HOLES

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DRI V EN TO SUCCEED SHIFT_

FA D E T O B L A C K 18 O f 4 8

Isodelay surface r q

Time delay t

2 r/c

r/c

VO R B Line of SIght Velocity

t = (1+cosq) r/c V = V O R B sinq

|||||||||||||||||||||||||||||||||||||||||


> >

The theor y of general relativit y predicts that a ver y compact mass will deform spacetime to form a black hole. Around a black hole there is an undetectable sur face called an event horizon that marks the point of no return. Ever y thing, including light, is unable to escape its relentless pull. A s of now, we do not know for cer tain what is inside of a black hole, however, we do know that they exist. Many astronomers agree that black holes are widespread and are impor tant in our universe. A s humans, we continue to stretch our horizons and search for more answers to our universe. Obser ving black holes teaches us more about our universe.

SPECS

SELECTED WORKS_ BRIAN BACLIG COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY


OUR MILK Y WAY GA L A X Y

r

=

−∞

−∞

r

r

=

=

WORMHOLE PARALLEL UNIVERSE

BL ACK HOLE

WHITE HOLE

NEW UNIVERSE

UNIVERSE

PARALLEL WORMHOLE

AT THE CENTER OF

BL ACK HOLE E X IS TS

r

=

NEW PARALLEL UNIVERSE

r

=

=

r

r

−∞

−∞

=

=

r

PROJECT_ BL ACK HOLES

A SUPER M A S SI V E

SPACE

SHIFT_ SECTION_1 \\

DRI V EN TO SUCCEED |||||||||||||||||||||||||||||||||||||||||

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SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attracted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gravitational pull of the other body; one cannot “cut of f ” or block gravit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contracts; we are drawn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contracts to half of its former radius, for instance, the gr avitational force on its sur face increases by a factor of four, since gravit y follows an inverse-square law;

the corresponding escape velocit y therefore also increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild radius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

ART DIRECTION_ ARIEL GREY

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

FA D E T O B L A C K

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feels the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

+ MO S T A S T RONOMER S NO w AGREE T H AT

+ MO S T A S T RONOMER S NO w AGREE T H AT

bL ACk HOL E S A RE w IdE Sp RE A d A Nd V ER y IM-

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

FA D E T O B L A C K 18 O f 4 8

FA D E T O B L A C K

FA D E T O B L A C K

17 O f 4 8

18 O f 4 8

Isodelay surface

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K 24 of 4 8

2 r/c

SECTION_1 \\

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

CYG

|||||||||||||||||||||||||||||||||||||||||

q

Time delay t

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

2 3 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-ray sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the general theor y of relativit y is the correct theor y of gravit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-ray source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its radial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This range makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

18 O f 4 8

2 r/c

r/c

VO R B

FA D E T O B L A C K

r q

Time delay t

2 r/c

SPEED

Isodelay surface r

q

Line of SIght Velocity

FA D E T O B L A C K 17 O f 4 8

Isodelay surface r

Time delay t

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

_LIGHT CONE S NE A R THE E V ENT HORIZON

+ MO S T A S T RONOMER S NO w AGREE T H AT

FA D E T O B L A C K

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

17 O f 4 8

FA D E T O B L A C K

15 O f 4 8

CYG

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

CYG


|||||||||||||||||||||||||||||||||||||||||

PROJECT_ BL ACK HOLES

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gravitationally attracted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gravitational pull of the other body; one cannot “cut of f ” or block gravit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contracts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contracts to half of its former r adius, for instance, the gravitational force on its sur face increases by a factor of four, since gravit y follows an inverse-square law;

the corresponding escape velocit y therefore also increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

FA D E T O B L A C K

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feels the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

+ MO S T A S T RONOMER S NO w AGREE T H AT

+ MO S T A S T RONOMER S NO w AGREE T H AT

bL ACk HOL E S A RE w IdE Sp RE A d A Nd V ER y IM-

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

FA D E T O B L A C K 18 O f 4 8

FA D E T O B L A C K

FA D E T O B L A C K

17 O f 4 8

18 O f 4 8

Isodelay surface

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K 24 of 4 8

CYG

q

Time delay t

2 r/c

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

2 3 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-ray sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gravit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

18 O f 4 8

2 r/c

r/c

VO R B

FA D E T O B L A C K

r q

Time delay t

2 r/c

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

SPEED

Isodelay surface r

q

Line of SIght Velocity

FA D E T O B L A C K 17 O f 4 8

Isodelay surface r

Time delay t

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

_LIGHT CONE S NE A R THE E V ENT HORIZON

+ MO S T A S T RONOMER S NO w AGREE T H AT

FA D E T O B L A C K

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

17 O f 4 8

FA D E T O B L A C K

15 O f 4 8

CYG

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

|||||||||||||||||||||||||||||||||||||||||

CYG


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY


PROJECT_ BL ACK HOLES

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 98

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

08

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ BOUTIQUES, LDA TO 30, RTD DRINKERS, MAINLY WOMEN PROJECT_1 \\ AIR

KEY ADJECTIVES_ CLEAN, SOPHISTICATED, LOCAL, SIMPLE, DELICATE, STRONG PROJECT_1 \\ AIR

DELIVERABLES_ SINGLE SERVING BOTTLE DESIGN, CARRIER FOR 4, LARGER BOTTLE PROJECT_1 \\ AIR

TYPEFACES_ KNOCKOUT

|||||||||||||||||||||||||||||||||||||||||

PAGE 99


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

PROJECT SEVEN //

KNOCKING ON DEATH’S DOOR Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes they love.

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 102

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 103


SPECS >

>

PAGE 104

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 105


SPECS >

>

PAGE 106

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 107


SPECS >

>

PAGE 108

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

08

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ LOYAL SEARS SHOPPERS, NEW GENERATION OF SEARS SHOPPERS PROJECT_1 \\ AIR

KEY ADJECTIVES_ LOYAL, AFFORDABLE, FAMILY, ACTIVE, YOUNG, PROJECT_1 \\ AIR

DELIVERABLES_ REDESIGN SEARS LOGO, SUB-BRANDS FOR SEARS PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 109


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

ART DIRECTION_ NICOLE FLORES

MISSION STATEMENT_ Sears in-house brands are built to create a new interest and unique feel to the store, while maintaining the durable and trusted expectation Sears has earned over the generations.

FIFTH SEASON_ “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo is also used as a seal that helps with staging the products. The idea of it as a seal reinforces the thought of quality and trust.

PAGE 110

|||||||||||||||||||||||||||||||||||||||||

HEARTH COLLECTION_ “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo is also used as a seal that helps with staging the products. The idea of it as a seal reinforces the thought of quality and trust.


DRI V EN TO SUCCEED

MOSAIC_ “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo is also used as a seal that helps with staging the products. The idea of it as a seal reinforces the thought of quality and trust.

SHIFT_

MOMENTUM__ “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo is also used as a seal that helps with staging the products. The idea of it as a seal reinforces the thought of quality and trust.

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

WARRENS_ “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo is also used as a seal that helps with staging the products. The idea of it as a seal reinforces the thought of quality and trust.

|||||||||||||||||||||||||||||||||||||||||

PAGE 111


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 116

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 117


SPECS >

>

PAGE 118

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 119


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 122

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 123


SPECS >

>

PAGE 124

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 125


SPECS >

>

PAGE 126

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 127


SPECS >

>

PAGE 128

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 129


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 134

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 135


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 138

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 139


SPECS >

>

PAGE 140

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 141


SPECS >

>

PAGE 142

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 143


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

PAGE 146

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 147


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES


PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||


SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

S IN C E 19 24

PAGE 152

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

09

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 153


SPECS >

>

PAGE 154

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

S I N C E 19 24

n PR E M I U M QUA L I T Y PA I N T n

|||||||||||||||||||||||||||||||||||||||||

PAGE 155


SPECS >

>

PAGE 156

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

The PacWest |||||||||||||||||||||||||||||||||||||||||

PAGE 157


SPECS >

>

PAGE 158

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED

10

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ ARTISTS, DESIGNERS KEY ADJECTIVES_ FINE ART, ILLUSTRATION, TYPE, CALLIGRAPHY, HANDS ON PROJECT_1 \\ AIR

DELIVERABLES_ COLLECTION OF MISCELLANIOUS PROJECTS PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL PROJECT_1 \\ AIR

|||||||||||||||||||||||||||||||||||||||||

PAGE 159


SPECS >

>

PAGE 160

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES


DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 161


SPECS ART DIRECTION_ NICOLE FLORES

TYP

FINE ARTISTNEVI LLE BRODY ARTDI RECTOR GRAPHIC DESIGNER G RAPH DES IGNER ART DIRECTOR NEVI LIC LE BRODY R T D I R E C TOR THE FACE ARA FINE ARTIST TDIRECTOR ARTIST A R T D I R E C TOR TYPOGRAPHYFINE NEVI LLE BRODY ARTDI RECTOR ART DIRECTOR FINE ARTIST TPDI R ECTOR G RA H D ES IGNER FINE ARTISTAR NEVI LIC LE BRODY A R T D I R E C T O R FINE ARTIST TYPOGRAPHYNEVILLEBRODY INSIGNIAARTDIRECTOR RAPHIC DESIGNER THE FACE G FINE ARTIST NEVI AR D LRIR LE ECBRODY TOR TTDI ECTOR FINE ARTISTAR ART DIRECTORFINE ARTIST GRINSIGNIA APH ICDESIGNER TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY GRAPHIC DESIGNER TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY NEVI L LE BRODY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY AR T DI R ECTOR ARTIST TYPOGRAPHY INSIGNIA FINE TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY INSIGNIA TDIRECTOR TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTHE FACE AR TYPOGRAPHER THE FACE GRAPHIC TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTYPOGRAPHY DESIGNER ART NEVI LLEARTIST BRODY DIRECTOR UNCOMMERCIAL TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTYPOGRAPHYINSIGNIA FINE FINE ARTIST THE FACE ART DIRECTOR NEVILLE TYPOGRAPHY TYPOGRAPHER BRODYNEVILLE BRODY TYPOGRAPHY TYPOGRAPHY INSIGNIA THE FACE TYPOGRAPHY NEVI LLEBRODY TYPOGRAPHER GRAPHIC TYPOGRAPHY TYPOGRAPHY DESIGNER THE FACE SIGNIA NEVILLE B ARTFINE ARTIST GRAPHIC TYPOGRAPHY TYPOGRAPHY INSIGNIA DIRECTOR ROD DESIGNER UNCOMMERCIAL ART NER IN FINE ARTIST THETHE FACE YG AR T DI R ECTOR TYPOGRAPHY DIRECTOR FACE ART DIRECTOR RA UNCOMME INSIGNIAFINE ARTIST NEVILLEBRODY TYPOGRAPHER RCIAL SIG ARTIST PH TYPOGRAPHYBRODYNEVILLE THE FACE GRAPHIC FINE TYPOGRAPHER THE DESIGNER ART DIRECTOR THE FACEFINE ARTIST FACEART GRAPHIC IC UNCOMMERCIAL FINE ARTIST FINE ARTIST THE DE DESIGNER DIRECTOR THE FACE ART DIRECTOR FACE UNCOMMERCIAL FINE DE ARTIST NEVILLE BRODYNEVILLE BRODY C FINE ARTIST ART INSIGNIA ARTIST THE FACE ART TYPOGRAPHER THE FACE GRAPHIC THE FACE ARTIST NEVI LLE DIRECT DIRECTOR NEVILLE DESIGNER ART DIRECTOR SI ARTIST OR BRODYNEVILLE BRODY UNCOMMERCIAL FINE ARTIST THE FACE INSIGNIA FINE ARTIST NEVILL ATR TECTOR D ECBRODY TOR TYPOGRAPHER THE ART DIRECTOR NEVILLE BRODYNEVILLE E FACE GRAPHIC ARTIST BRODY TYPOGRAPHER THE FACE GRAPHIC DI RIR ECTOR ARAR TDI R BROD DESIGNER ART TYPOGRAPHY DESIGNER ART FACE DIRECTOR UNCOMMERCIAL YNEVI DIRECTOR FINE ARTIST THE ART DIRECTOR NEVILLE ARTIST INSIGNIA LLE UNCOMMERCIAL FINE BRODYNEVILLE BRODY TYPOGRAPHER THE FACE BRO ARTIST THE FACE ART THE FACE FINE ARTIST A R T D I R ECTOR GRAPHIC DESIGNER ART DIRECTOR DY DIRECTOR NEVILLE UNCOMMERCIAL FINE ARTIST THE FACE ART ARTIST NEVI LECTOR LE BRODY TYP NEVI LTLE BRODY AR DI R ECTOR AR T DI R BRODYNEVILLE DIRECTOR NEVILLE BRODY INSIGNIA OG BRODY TYPOGRAPHER THE FACE GRAPHIC DESIGNER RA TYPOGRAPHER THE ART DIRECTOR UNCOMMERCIAL FINE ARTIST P FACE GRAPHIC TYPOGRAPHER THE FACTYPOGRAP HER THE ARTIST TICLE DI R ECTOR DESIGNER ART THE FACE G RAR A PH D S IGN ER FACE GRAPHIC DESIGNER ART DIRECTOR ARTIST DIRECTOR NEVI LIE LE BRODY NEVI L BRODY UNCOMMERCIAL FINE ARTIST THE FACE ARTIST UNCOMME ART DIRECTOR NEVILLE BROD FINE ARTIST ARTIST ARTIST RCIAL A R D R E CBRODY TROR TD E C TO YNEVILLE TYPOGRAP HER ARTIST FINE THE FACE BRODY GRAPHIC ARATRNEVI DI RTTIR ECTOR AARTIST L LE DESIGNER ART DIRECT OR THE FACE UNCOMM AR DI R ECTOR ERCIAL FINE TORTHE FACE C ARTIS T THE E FINE ARTIST A R T D I R E C T O R IR D THE FACE ARTIST T ARTIST NEVI LLE BRODY ARTDI RECTOR ART RARTIST TYPE N FACE A ARTIST DIRE HY

TTYTYYPTO PTO PYYOPG GPTR O G YRARPG O PH GAPTAO YPA RRH APYHR G Y PPOYHH AGPY YRHAY P

ER FINE A R T I S APH T AR GR TD PO IRE TY CT ON

ER FINE ART I S APH T A RT GR DIR PO EC TY TO N

R NEVILL E BR ECTO DIR OD RT YG TA RA S I T PH AR I

ER GN

BRO ART ARTDIRECTOR DIRECTOR ART T DIR ARTIST ART DIRECTOR ARTDIRECTOR DIRECTOR R ART ART DIRECTOR DY GART DIRECTOR NEVILLE BRODY TA RA TIS PH AR I

TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY

TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY `YPOGRAPHER THE FACE TYPOGRAPHY NIA NEVILLE BR GRAPHIC DESIGNER ART R INSIG ODY T DIRECTOR YPO UNCOMMERC GR GRAP IALFINE IGNE AP HER ARTIST S THE TYP HICTHE E FACE FACE OGRA GRAPH ART PHER D IC DI THE DDESIG C R FACE ESNER E GRAPHIC DESIGNER DIRECT IART ART OR DIRECTOR UNCO MMERC UNCOMMERCIAL FINE ARTIST IAL THE FACE ART DIRECTOR NEVILLE FINE BRODYNEVILLE BRODY TYPOGRAPHER ARTIST THE FACE GRAPHICFINE DESIGNER THE UNCOMMERCIAL ARTIST ART THE DIRECTOR FACE ART FACE DIRECTOR NEVILLE BRODYNEVILLE BRODY ART TYPOGRAPHER THE FACE GRAPHIC DESIGNER ART DIREC DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE TOR ART DIRECTORTHE NEVILLE BRODY NEVIL TYPOGRAPHER FACEBRODYNEVILLE GRAPHIC DESIGNER ART LE DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE BROD ART DIRECTOR NEVILLE BRODY TYPOGRAPHER YNEVI FACE GRAPHIC DESIGNER LLE ARTTHE DIRECTOR UNCOMMERCIAL FINE TYPOGRAPHER THE FACTYPOG RAPHER THE FACE GRAPHIC DESIGNER ART DIREC TOR UNCO TYPOGRAPHER FINE ARTIST MME RCIA L GR FINE FIANPHIC T ART ARTIS IS D HEE ARTISETSIGNER ART TYPE FAC RT TA;YPE E

ER GN

FINE ARTIST ART FINE FINE ARTIST ARTIST FINE ARTARTIST DIRFINE R ART PHIC ECART ART TOARTIST VILLE BROFINE DY TARTIST YPOGRAPH NE ER GRA

FINE ARTIST ARTIST FINE ARTISTFINE FINE FINEARTIST ARTIST ARTIST FINE ARTIST FINE ARTIST FINEFINE ARTIST FINE ARTIST

R O G RTI A

AP

FINE ARTIST ST H Y FINE ARTIST FINE ARTIST TYPOGRAPHY FINE ARTIST TYPOGRAPHY TYPOGRAPHY

ER

> COURSE_ GR APHIC DESIGN 3

TYPOGRAPHER TYPOGRAPHER TYPOGRAPHER TYPOGRAPHER NEVILLE BRODY NEVILLE BRODY ART DIRECTOR ART DIRECTOR NEVILLE BRODY GRAPHIC DESIGNER ART DIRECTOR R NEVTYPOGRAPHER O I T L L C E E ART

> SELECTED WORKS_ BRIAN BACLIG

THE FACE SIG UNCOMMERCIAL DE ARTIST GRAPHIC

ARTIST ARTIST

NE

PO

E ILL EV

IS T

R G

GRAPHIC DESIGNER TY POG ODY BR RA PH ER

Y OD

TD IREC TOR

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FI

TY

ART IST CE ART TAISATCE RFE ITN AEC T IEST TFHA S F AR IF THE TFHAECE ART R ET INO TTH FT E ISCC ARR A E E FE ARTTD HI

GRAPHIC DESIGNER TY POG ODY BR RA PH ER

A

NE TYPE VIL ARTIST THE FACE LE BRO DY TUNCOMMERCIAL T YPOG RAPHER ARTIS

T

TY

ER APH

O CT

ARTIST

HY

AP

GR

R NE SIG ARTIST DE GR HIC G APRA AP PH HIC IC D GR ` DARTIST RE ESIG E R NE E N SIG RN ARTIST SIG NE SIG DE ARTIST RE ARTISTD HIC ARTISTPHIC AP A GR GR

ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTISTARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST

RT

ARTIST

ARTIST

ARTIST

G RA PH Y

ARTIST

O

GR AP

PO

G GR RAP AP HIC HIC D E

TY

ARTIST ARTIST

ARTIST

GR

GR GRGRGARDAPES GSIGN AP APGHPRH HICIGNREAP ER G H G ICAIC P D DER H GRRA DHEICES SIGIC D G RAPG IC APPH SIG DIG N E GRRAPH HRICAPDHD GE HIC ENSENE ER SIG NE AGPIC D EICSDRICASPDIDG R RN ES IG R E RAHESGR GIGENS HEIC I GIGANPRAEIGR SNIGDIGEENNERR GR PHC RAEHRICPHNE SERIG R GR AP IC DD E P D IC R E H S AP S H ESD NER E HIC IC D IGICIG GRGNREDENIGNSIG E SIG A AR SE ERN GR DE G R P P IGR E

T ART IST ARTIST ARTIST

A S R AN H H N GRPH IGN PEHR ICIC ER APIC D ER IC DEDSES HICES GR DE IGIG AP SIG NENE GR DEIG G SNRE HIC NE R R GR APHICIGNAREPH DE R AP D R IC SIG GICR ESIG DE NER H ADP NE SIG GR R NE SIG APGR EH I R HIAPHIC CNDE GR RE AP GC R D DES S H GR IC DE APEHSIC IGNERIGN S GRAP I ER AP HIC IGNE GDNES HIC R GR IG E G DD ESESRAP R NER GRAPHIC IGNIG HIC AP D G HIC ES RA E NE D DE IGN PHIC R R ESIG SIG ER D NE ES R NE IGN R ER GRAPHIC DESIG NER GRAPHIC DESIG ART NER IS

SIGN ER R GRAPHIC DE GRAPHIC DE SIGNE DESIGNER SIGNE HIC NER R GRAP SIG R R GRAPHIC GRAPHIC DESIG DE DESIGNER NE HIC DE NER SIG SIG R NE RR GRAPHIC NE DE R SIG HIC R E NE NE N GR GRAP SIG SIGNE GRAPDEHICSDE SIG DE IG APH HIC GRAPHIC E HIC AP APDE AP D R GR GR IC D NE GR GR APHIC HIC DESIG ESIG DESIG GRAP GRAPHIC NER NER GRAPHIC DESIG NER R GRAPHIC DE SIGNE DESIGNER HIC NER GRAP SIG R R GRAPHIC DE DESIGNER NE HIC NE AP SIG SIG R GR HIC DE DENE RR NER RSIG HICSIG ENENE N GRAP SIG GRAPDE SIG DE DE IG DE SAP HIC HIC GRAPHIC EHIC AP AP D GR NER GR IC HGR DESIG GRAP GRGAPHIC GR R RA DE GRAPHIC SIGNE AP HIC P DESIGNER R GRAP SIGHNEGRR GR HIC GRAPHIC DE DESIGNER ICRGNE AP R HIC DESIGNE DE SIG GRAPHIC APR NE DENE HNE R R HICSIG D S NE RAE ICR N GRAP SIG H GRAPDE SIG DE EDE IG DE PHSSIG SAP D IC IGN HIC HIC GRAPHIC EHIC AP AP D GR E GR ICI ESD IC HGR G GR G G D NIGENSIG R RA GRAP GRAPH E N AP RAESE PHIC DESIG H P IGR R E G NER ICGRAGPGRA IC DHEIC NDER R R R D SIGESGDE RA HICR SIGNE DESIGNER N RAER EPHSPDHAGRAPHIC IGNE HIC IG IC AP N S GR EP EGSIG E NEPRHIC R ICIG SDHDE HIC EID RARGNE RNE SIG SIG GRAP DE GRD DE NSICIGEDE DNE RAR E NSC IG RR R PNE PEH SIG HIC NE GND ER AHIC HIG GRAP SIG APAP RGR PN SIG S NE RS RE DE IG ICSIG DE RNEHIC EAAP H GRGAPHIC HIC ERDE AP HIC AP PHSHIC D DEICNERIGN GR EGR IC SIG HGR E R DE IC SD TIOG ES DENIGENSIG R GRAP GRAPDHIC G IG RARSE ERN NE PHIGR ER R R IC NER GRAPHIC SIGNE DESIGNER DE HIC DE R SIGGRAP SIGNER R GRAPHIC DE DESIGNER NE HIC NE DESIG SIG R NE RR GRAPHIC DENE HICSIG R NER ENENESIG N GRAP SIG GRAPRDE SIG DE DE IG DE SAP HIC HIC GRAPHIC EHIC AP AP D GR GR NER GR IC DESIG APHGR APHIC

ARTIST

ARTIST ARTIST ARTIST ARTIST

ARTIST

R

HIC GR GRGARA DE SIG AP PGHPRICHAIC NE HI PDHEDICE R C DE SIGSDIGNENSIG GR SI ERERNER GR GN AP APH IC D ER HSTI ESIG C N DE ER GR AP GRAP SI GR HIC DE HIC GN AP SIGN DES GRA HIC ER IG PHIC ER NE R DES GR DES IGN AP IG GRAP GRAP G HIC DE EHR IC NER HIC DE RSI AGN D PHERIC SIGNERES GRA GRAPHIC DESIG IGNER PHIC DESIGNER NER DPHI GRA ESCIGDES IGNER NER GRAP HIC DE

R NE SIG DE HIC NER AP GR DESIG

HIC AP GR

T ARTIS

ARTIST

T ARTIS

ARTIST T ARTIS ARTIST ARTIST TIST AR ARTIST ST ARTIST TI AR

ARTISTR

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST ARTIST

ARTIST

ARTIST ARTIST

|||||||||||||||||||||||||||||||||||||||||

DE

ARTIST

ARTIST T ARTIST ARTIST AR IR ARTIST CT IR RARTIST TD GRAPHER RERAARPTHDEPRHEARARARTIST OIG TYPO ARTIST ART YPD T ISPHER ARTT RA ARTIST GRAT ARTIST T T AR YPO AR ARTITST R ARTIST ER ARTIST HE IR ARTIST PH ARTIST TP ART D TYPAOGR ISA A T R P R H AR ER A T AR ER PH RA

ART DIR ECTOR

ARTIST

ARTIST

ARTIST ARTISTIST T AR ARTIST ARTISTARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST NE R ARTIST ARTIST SIG NE ARTIST IG DE HIC DES AP GR ARTIST HIC ARTISTARTIST ARTIST AP GR GR GRAPH IC APGRAPH H DESIGNER GR ARTIST APH IC DES IC DESIGNERARTIST IC DE IGNE SIG R ARTIST NE R

ARTIST

ARTIST ARTIST

H N AP PH SIG GR GRA DE HIC ER AP SIGN GR

H AP GR

T TIS AR

R NE N ERE R IG SIG EERRRSDE IGN NE E SIG SIG IGNNNE DE ` D DES NER ESSIGAPICHIC `DSIG NER GRAPHICDDEGR ARTIST DE IC PH HIC DESIG NEERR AHIC HIC ARTAP ARTIST RGRAPHIC PPH HICDESIGNER ESIG IGN GIST AP GR AGR RA AP D DES GR GRG PART HICIST R E GRA IGN ARTIST S E ARTIST D HIC R AP NE R GR SIG NE ARTIST IG DE R HIC DES NE AP ARTIST GR SIG R IC DE IGNPEH IC ER DES RA H N ARTIST IC G HARTIST ARRATPISTESIG GRAP R G D ARTIST HE ARTIST AP ARTISTAPHIC ER GRAPHER AR GR IGN YPO T ES ARTIST ARTIST T IC D ARTIST PH ARTIST RA ARTIST G R ARTIST ARTIST ARTIST ARTISTDESIGNE ARTIST GRAPHIC ARTIST ARTIST ARTIST ARTIST R ARTIST IR IGNE ARTIST S ART DEARTIST ARTIST D ARTIST ARTIST HIC OR AP ECT T GR DIR AR R DES ART R IGNE ARTIST GRAPHICARTIST HE ARTIST APHER AR APARTIST IR OGRARTIST ART D TR TYP

GR G GR APRHAP AP ICHIC D ` ARTIST HIC DE ESIGN ` D SIG ER ES N IG ER NE R ARTIST

R NE ARTIST SIG DE IC

T TISARTISTT AR TIS AR

GR APH IC D ES IGN ER

DE SIG NE R

R NE R SIG NE NER IG IG DE HIC DES ES AP D GR IC IC ER

ER IGN DES HIC AP R GR SIGNE HIC DE GRAP

GR AP HIC

HIC AP GR

R NE SIG DE

IST ARTTIST AR ST ARTI

HIC AP GR

R SIGNE HIC DE GRAP

HY AP GR

R NE SIG DE

GR G GR APRHAP AP ICHIC D HIC ` D ESIG NE ` D ESIG R ES N IG ER NE R

R NEERNENRER SIG IGSNIGIG DDEES DEDES R HIC HICIC NE R ER AP AAPPH SIG IGNE N GR GGRR DE S IG DE DES HIC AP HIC IC R IGNER GR AP PH NE NEER GR GRSAIGS IG S DE E IC D D H RPER NER ER EA R HIC NIC N G AP PH IGN SIG IG GR DGERSAIG ES DE DES D IC IC HIC IC PH PH ER ER AP PHRAGRSAIGN ER IGN GR GRA G D E IGN DES DES HIC HIC AP HIC AP GR AP GR GR

O TYP

HIC AP GR

ART AR TISIS AART T T R IS ARTTISTT ART IST IST ART ARA TIS RAA RIS T TTTIS TTRIS RA ISTTTIST

FI

E DIR

GR APH IC D ES IGN ER

R NE SIG DE R HIC NE IG AP GR DES IC H AP GR

PAGE 162

CT O

E ILL EV

T

FINE ARTIST AR TPDI R ECTOR G RA H D ES IGNER NEVI LIC LE BRODY ARTD ECBRODY TOR FINE ARTIST NEVI LIR LE AR T DI R ECTOR ART GNEVI RAPHIC D ESIG NER TYPE LECTOR LE FINE ARTIST A RT RT R T;YPE NEVI AA R TDI D IR LE E CBRODY TBRODY O RR TLR D IR E C TO AR TTR A RT IST TYPE NE AR DI R ECTOR ART TY SIG TYP FINE ARTIST GRA AR P H ICD E SC IGTNO ER NEVI L T LE D I R BRODY E R OGRAPHER DE NEVI LECTOR LE BRODY AR TDI RECTOR AR TDI R AR TLDI R ECTOR FINE ARTIST NEVI LIR LE BRODY NEVI LE BRODY AR TRDI R ECTOR A T D E C T O R NEVI LD BRODY G R A PT H E S IG N ER DI R ECTOR NEVI LLE LE BRODY NEVI LTIC LE BRODY A D ETC TROR ATAR RDI TTR D IR C O DI REIR ECTOR ARAR R ECTOR A R TIR D IR ETC TROR AARTIST FINE ARTIST A R T D E C O P NEVI L LE BRODY T AR T DI R ECTOR NEVI L LE BRODY AR T DI R ECTOR R HARTIST Y ARTIST ARTIST ARTIST INE A A RTIST ARTIST TIC DI R ECTOR ARTIST FINE ARTIST NEARTIST AR TPDI R ARTIST G RAR A H D E S IGN ER F ARTIST LECTOR LE BRODY VILLE BROD NEVI L LE BRODY ARTIST ARTIST ARTIST DY Y GRA ARTIST PHIC DESIGN A TIR D IR ET C TROR A RNEVI TR D C O FINE ARTIST ARTIST BRO ARTIST NEVI LE BRODY LE NEVI L LE BRODY ARTIST VILLE E N N ATNEVI R TDI D IR ELE TBRODY OR AR TL DI RC ECTOR Y AR TDI R ECTOR H EV AR R ECTOR TYPOGRAP IL G R A P H C I D E S G I N ER LE FINE ARTIST D IR ECBRODY CTTOORR NEVI AAR TDI L LE EBRODY BR NEVI LTD LE AR TR RIR ECTOR FINE ARTIST G R A P H C I D E S G I N ER AR T DI R ECTOR AR NEVI LE BRODY TLD IR C TO ART TD AA R TR D IR EE CBRODY TO RR NEVILLE BRODY AR T DIR IRE NEVI LECTOR LE CT AR T DI R ECTOR A R T D I E C T O R THE FINE ARTIST OR AR TDIR ECTOR FACE ART DIRECTOR NBER VO ILLD EY FIN Y R GRAPHIC DESIGNER EA P FINE ARTIST FACE FR INTEIS THE ARTIST R A FINE S BROD RT E NEVI L LE BRODY I H N A T I P FACE THE O S A R NEVILLE BRODY TTY T Neville GE TYPOG RS AIG PH IC EVILLE G BRODY PO NEVILLE BR O D Y AR TBRODY RD ECTOR NEVILLE RNEVILLE NC EE R GARTIST RA PDI HIC E SBRODY IGNERFACE GR Brody was DT T Y P O G R A P H E R F I N E A R NEVILLE H E F A THE FINE A ARTDIRECTOR D ECBRODY TOR ARTIST UNCOMMERCIAL EE FINE ARTIST ART TID CATP OH RYR TYPOGRAPHER ARTDIRECTOR PHER FIND GRAPHIC SIGNE RTHEFACEFINE NEVI LIR LE born on April 23, A TR YP OIR GER ART DIRECTOR NEVILLE BRODY ADESIGNER RTISTNEVILLE THE BRODY GRAPHIC ART DIRECTOR FACE THE FINE ARTIST INSIGNIA FINE NEVILLE BRODY OING P HTER 1957 in London. He TYPF FACE THE ARTDIRECTOR TFI YP O G RA P HTUNCOMMERCI ERNEVILFACE LEBRONEVILLE DAYL TY POGRBRODY AP HE GR ER AA R TE IS FACE THEARTIST UNCOMMERCIAL GRAPHIC DESIGNER NEVILLE BRODY FACE ARR THE GRAPHIC DESIGNER N E AR TI S GRAPHI C AP TIS GRAPHIC DESIGNER ART DIRECTOR O M M R C A I L FACE THE studied A-Level Art UNCG INSIGNIA H DIRECTOR DB ER SO IGD NYEG RR TH EF AIC CD EE FS INIG EANRETR ISTTH NEEFVAIL LEE GRA T NEVIART LLEDESIGNER BRODY RIG AN PE HR ICTHE FINE ARTIST GRIC ACE FACE F THE THE GRAPHIC INSIGNIA A P H C D D E S G A PH PHES GRAPHIC DESIGNER RA and in 1975 he went FACEFINEARTIST N E V I L L E B R O D Y FACE THE FIN INSIGNIA ART DIRECTOR FINE ARTIST NEVILLE BRODY IC G IG IC G P ART DIRECTOR EA TY GG RARPAHPEH RE NR EF VIL BRRTO DTY A RAPDRAEPS NEVILLE BRODY ART DIRECTOR VG ILLREAB Y DNE FINE ARTIST NEVILLE BRODY GHRIC NEVILLE BRODY RT TP YO P O INLR EEA IS on to take a Fine Art NE AR PR HO ICTD AR HICHIG RT FINE ARTIST ART DIRECTOR IS ARTESRIG APDE ACE F THE UNCOMMERCIAL GRAPHIC DESIGNER ART DIRECTOR U N C O M M E R C I A L G A P H I C TIS GRICNG ART IS TIS T ACE F THE GRAPHIC DESIGNER D E S G I N E R H E NEVILLE BRODY IS N S H A GRAPHIC DESIGNER ART DIRECTOR D T IS D IG T E INSIGNIA T E DA ER SIG NNEERVTILHLEEFB ACO EF IC N AEPRREA A UNCOMMERCIAL NEVILLE BRODY NO ED VILYLE AR RTIS T T ART DIRECTOR foundation course at FAC FINE ARTIST NEVI LLENEVILLE BRODY R SHIGSP FINE ARTIST DEE ARTISRTIS NEVILLE BRODY ISAT DIN YE BER H ART DIRECTOR NEVILLE BRODY ICNIG AR TIST T ASR AR T BRODY G GTR PHICFACE DESIGR NER EDRRNEICAED TIS RB AR PH E RNEVI TIS TIS T TYPOGRA ARRIG FACE THE AR Hornsey College of Art. TYPO FINE ARTIST ARTIST N T PHER THE THE NEVILLE BRODY SPRIGHES LG LE OH D GRAPHIC DESIGNER ART DIRECTOR ARTDIRECTOR DIRECTOR FINE ARTIST FACE ARTISTETR T GRAPHIC AR TIS A T ART NEVIFINE L LE BRODY TIS NEVILLE ART DIRECTOR NEVILLE BRODY AP EYRFINE NICEIGN TIS DESIGNER TIS T RTIS AR AR ACE FDIRECTOR THE FINE ARTIST In 1976, Brody started a TYPOGR ART ART RDEER A R T S I T T DIRECTOR T ART DIRECTOR TIS T ACE F THE GRAPHIC DESIGNER S CG OR MAM E RICCIAL IG T INSIGNIA UNCOMMERCIAL GRAPHIC DESIGNER NEVILLE BRODY AR INSIGNIA FINE ARTIST NUNCOMMERCIAL NEVILLE BRODY NEVILLE BRODY three-year B.A. course in UN P H NEVILLE BRODY ER TIS NEVILLE BRODY ART FINE ARTIST DAEC SIG NE EA RR TH ET NEVILLE BRODY ARTDIRECTOR DIRECTOR FACE ARTTHE T FACE DIRECTOR THE FINE ARTIST ART DIRECTOR NEVILLE IN TIS graphics at the London F NEVILLE BRODY ART DIRECTOR NEVILLE BRODY GRAPHIC DESIGNER ART DIRECTOR FINE BRODYNEVILLE TYPOGRAPHER NEVE ILFL EAB Y ART DIRECTOR NEVILLE BRODY BRODY ART DIRECTOR FINE ARTIST NEVI LDIRECTOR LEARTIST BRODY THE FACE GRAPHIC ART DIRECTOR ART GRAPHIC DESIGNER NEVILLE G RIG PR HO ICTD DESIGNER ARTTYPOGRAPHER ART DIRECTOR ART DIRECTOR BRODY THE FACE College of Printing where his DE ACE FGRAPHIC NEVILLE BRODY DIRECTOR UNCOMMERCIAL THE FINE ARTIST FINE ARTIST GRAPHIC S N E R H EARTIST FINE ARTIST THE FACE ART INSIGNIA DESIGNER ART DIRECTOR NEVILLE T T DESIGNER T F A C E N E V L I L E DIRECTOR INSIGNIA ARTISTTYPOGRAPHER BRODYNEVILLE BRODY NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ARTIST IS GRAPHIC UNCOMMERCIAL TIS TIS NEVILLE BRODY NEVILLE BRODY tutors condemned his work as T THE FACE GRAPHIC DESIGNER B R O D Y R R R FINE ARTIST THE NEVILLE BRODY NEVILLE BRODY TYPE ARTIST DESIGNER ART DIRECTOR A A A NEVILLE BRODY ART DIRECTOR A ARTIST FACE ART ART DIRECTOR RTART UNCOMMERCIAL FINEBRODY ARTIST THE FACE DESIGNFINE TYPOGRAPHER PO G R A P H ED RARTIST NETYPOGRAPHY DIRECTOR ART DIRECTOR DIRECTOR NEVILLE IS ACE F ART DIRECTOR THE ART DIRECTOR FINE ARTIST NEVILLE "Uncommercial". Punk rock was TY BRODYNEVILLE V L I L E B R O Y T T GRAPHIC ART THE FACE BRODYNEVILLE ARTISTTYPOGRAPHER THE ACE FFINE THE GRAPHIC DESIGNER ARTART DIRECTOR NEVILLE BRODY IS GRAPHIC ACE FDIRECTOR THE BRODY NEVI L LE BRODY ARTIST TYPOGRA P HT EARTIST RFINEFINE FACE ART TYPE DIRECTOR ART DIRECTOR DESIGNER ART A ART FINE ARTIST TYPOGRAPHER ARDIRECTOR ARTIST GRAPHIC DESIGNER ART DIRECTOR NEVI LDIRECTOR LE BRODY ARTFDIRECTOR ARTTISDESIGNER ARTIST DIRECTOR THE FACE RM TIS INSIGNIA NEVILLE BRODY starting to have a major effect UNCA NEVI LLE BRODY TL FINE ARTIST UNCOMMERCIAL GRAPHIC NEVI LDIRECTOR LE BRODY DESIGNFINEARTTYPE NEVILLE BRODY IST ART UNCOMMERCIA ART ACE THE ART FINE ARTIST INSIGNIA O M R C IANTYPOGRAPHY LE FINE ARTIST DESIGNER TFINE NEVILLE BRODY ATARIS FACE ARTTHE ART ART DIRECTOR ARTIST ART DIRECTOR GRAPHIC DESIGN P HC ICE DFE E S IG RT POG DESIGNFINEARTTYPE DIRECTOR FACE THE NEVILLE BRODY NEVILLE BRODY NEVILLE DIRECTOR on London life by 1977 and this G GRAPHIC DESIGNER ARTIST IS FINE ARTIST FINE ARTIST NEVILLE BRODY NEVILLE BRODY R BRODYNEVILLE UNCOMM RAPRTATIS FACE GRAPHIC DESIGNER TR HA E F A IN E A R TIS TTTHE T BRODY TYPOGRAPHER THE ERCIA ART DIRECTOR ART IS DESIGN FINE NEVILLE BRODY Y ARTIST F ACE GRAPHIC DESIGNER L NEVILLE BRODY D N E V L I L E B R O D Y ARTDIRECTOR HY TART ART DIRECTOR FINE T NEVILLE UNCOMMERCIAL had a great impact on Brody's GRAPHICDESIGNARTIST DIRECTOR ARTBRODY DIRECTOR FACE BRODY ARTUNCOMMERCIAL DIRECTOR NEVILLE ACE FART FACE THE THE GRAPHIC DESIGNER INSIGNIA ART ARTIST IS THE ACE FBRODY THE NEVILLE BRODYNEVILLE TYPOGRAPHER THE FACE NEVI LBRODY LE FINE GRAPHIC DESIGNER ART DIRECTOR THEFA C EO ND EY VILLEER NEVILLE ARTBRODY DIRECTOR GRAPHIC DESIGNER NEVILLE BRODY UNCOMMERCIAL FINE ARTIST THE FACE ART DIR TDIRECTOR INSIGNIA ART DIRECTOR NEVILLE BRODY NEVI LLEARTIST BRODY work and motivation. His tutors, not T NEVILLE NEVILLE BRODY BRODY B R NEVILLE BRODYNEVILLE BRODY NEVILLE BRODY GR FINE ARTIST FINE ARTIST NEVILLE BRODY ECT TYPOGRAPHER THE F ACE GRAPHIC NEVILLE BRODY NEVILLE BRODY Y P O G R A P H E R N E V I DESIGNER ART DIRECTOR ART DIRECTOR NEVILLE BRODY A ORUNCOMMERCIAL THEFACE ART DIRECTOR GRAPHIC DESIGNER FINEARTISTTHE ARTUNCOMMERCIAL DIRECTOR PH GRAPHIC ER BA RP OH DEYRFINE ART DIRECTOR ACE F THE FINEARTIST DESIGNER too happy with his work, almost had TYPL NEVILLE FACEARTDIRECTOR UNCOMMERCIAL ART DIRECTOR IC OLG NEVILLE BRODY NEVI LBRODY LE BRODY DE FINE ART DIRECTOR NEVILLE RM TIS NEVI LDIRECTOR LE BRODY him thrown out of the college for UNCA SIG NEVILLE BRODY NEVI L LEARTIST BRODY O MTE R C IANLER ART NEVI LBRODY LEBRODY NEVILLE NE GRAPHIC DESIGNER NEVI LLE BRODY P HC ICE D E S IG ACE FBRODY THE IARTIST NSIGNIA FINE ARTIST R DIRECTOR ART DIRECTOR ART DIRECTOR putting the Queen's head sideways on G ART FINE TR HA E F A F N I E A R T S I T ART DIRECTOR ART DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVILLE BRODY ILLREABPR Y ART DIRECTOR a postage stamp design. Brody's NEVE G HO ICD GRAPHIC DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVI LDESIGNER LETHE BRODY ART DIRECTOR UNCOMMERCIAL N E TH E ACE FART FINE ARTIST ART DIRECTOR ASCIG ER NO ER V E NEVILLE BRODY ART DIRECTOR FINE frist-year thesis was based around a DF ART DIRECTOR GRAPHIC DESIGNER GR INSIGNIA ART DIRECTOR ART DIRECTOR NEVILLE BRODY B DIL YL NEVILLE NEVI LBRODY LEARTIST BRODY GRAPHIC DESIGNER GRAPHIC DESIGNER ART DIRECTOR ART DIRECTOR AP ART DIRECTOR NEVILLE BRODY O G R A P H E R N ARTIST GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ART DIRECTOR NEVILLE BRODY comparison between Dadaism and Pop TYP ACE FDIRECTOR THE FINE ARTIST ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE BRODY EVILO LE BRAO D YARTIST GHRIC ART DIRECTOR ART TY ACE F THE INSIGNIA NEVILLE BRODY ART PO ART DIRECTOR APDE P HTE R ACE FDIRECTOR THEBRODY NEVILLE NEVILLE BRODY ART DIRECTOR ARTIST GRAPHIC DESIGNER Art. Initially working in record cover design, TYPF SIG HIC GR ING ER AR TE IS ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE BRODY C O M MP RIC CARTIST IALTI ART DIRECTOR DNEE ART DIRECTOR ARTDIRECTOR DIRECTOR GRAPHIC DESIGNER INSIGNIA Brody made his name through his work as Art UN G R A H SRIG DIRECTOR ART ART DIRECTOR UNCOMMERCIAL ART ART DIRECTOR FFACE FACE THE THE GRAPHIC DESIGNER ARTIST AR ART DIRECTOR D E S G I N E R H EE ART DIRECTOR GRAPHIC DESIGNER IN NE DIRECTOR FT ACE THE ART UNCOMMERCIAL ARTIST AE CVEILFLINEEBAR RO TIS T ART DIRECTOR UNCOMMERCIAL R DIRECTOR ART DIRECTOR NEVILLE BRODY Director for the Face magazine. Brody FN NEVILLE BRODY ART GRAPHIC DESIGNER ART DIRECTOR ARTIST DY NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ART DIRECTOR ART DIRECTOR GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ARTIST G FFACE THE GRAPHIC DESIGNER GSRIG AN PE HR IC ART DIRECTOR ART DIRECTOR NEVILLE BRODY ART DIRECTOR ART DIRECTOR NEVILLE BRODY ARTIST GRAPHIC DESIGNER consistently pushes the boundaries of visual DE ACE FACE THE THE GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ACE F THE ART DIRECTOR NEVILLE BRODY TH E RAPGHIC NEVILLE BRODY ART DIRECTOR GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ART DIRECTOR ART DIRECTOR NEVILLE BRODY ACE F THE ER NO EV IL LARTIST E ART DIRECTOR ART DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVILLE BRODY ART DIRECTOR RA D ACE F THE ARTIST communication in all media with his experimental FACB NEVILLE BRODY NEVILLE BRODY ART DIRECTOR D Y PHES T ART DIRECTOR NEVILLE BRODY ACE F THE GRAPHIC DESIGNER GRAPHIC DESIGNER PR ON G R A P H P ICIGN YP UNCOMMERCIAL ART DIRECTOR ARTIST T and challenging work. Neville Brody continues to TYE E VD ILL EARTIST DESER OG YP NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ACE F THE INSIGNIA GRAPHIC DESIGNER B R O Y TY O IG C THE ART DIRECTOR G O NE RE ART NEVILLE work as a graphic designer and has launched TY ART DIRECTOR NEVILLE BRODY BRODY DIRECTOR NEVILLE BRODY TY ART DIRECTOR ART DIRECTOR ART DI GRAPHIC DESIGNER AP P HG EFRACE GRAPHIC DESIGNER IST TFYINE R PO ART DIRECTOR T UNCOMMERCIAL ART DIRECTOR R Y P Research Studeios in London with his business ART T ART DIRECTOR ART DIRECTOR G PO ART DIRECTOR OG INSIGNIA GRAPHIC DESIGNER FIARTDIRECTOR OR NEVILLE BRODY DIRECTOR UNCOMMERCIAL G DIRECTOR NEVILLE BRODY AR ART DIRECTOR partner Fwa Richards. The typeface known as Insignia, ART ARTIST ART DIRECTOR GRAPHIC DESIGNER EC NEVILLE BRODY E DI DIRECTOR INSIGNIA NEVILLE BRODY TY ART DIRECTOR T YPOG E TP YP O G R A P H DI IN designed by Brody, was originally used as a headline ART GRAPHIC DESIGNER NEVILLE BRODY RAPHRYECTOROR NEVILLE BRODY F RE CTORUNCOMMERCIAL T Y O G R A P H E R ART DIRECTOR CTO FO INE RETR ISC TIADIRECTOR NEVILLE BRODY NEVILLEBRODY ART for Arena magazine in 1986. It was released as a font TORUNC R EC D NEVILLE BRODY ART DIRECTOR MA M FACE GRAPHIC DESIGNER THE GRAPHIC DESIGNER TOR EC IR EC DI DI R AEPAH IC DTE NLEERB TR HL EF AYCE TO EC CF TOR RE NEVILLE BRODY by Linotype in 1989. Its monoline, round and RGRAPHIC EG NEVILLE BRODY DIRECTOR DESIGNER IN R TD IS NS EIG VN IL O D CTO R TOR ART ECTDIRECTOR ART NEVILLE BRODY R G R ARP HD ICY E S IG ER TH E FR A C EVILRL OR NEVILLE BRODY NEVILLE ART BRODY DIRECTOR GRAPHIC DESIGNER DVIIL sharp forms represent technology and N E L E B O T Y P O G R A P H E N E E GRAPHIC DESIGNER ACE F ACE THE F THE FINE GRAPHIC ARTIST DESIGNER ART DIRECTOR NEVILLE BRODY T BR O DC YIA TY RH AP HE RFIG INN EAR RT TH ISE TGRAPHIC ART DIRECTOR GRAPHIC DESIGNER RCOM NEVILLE BRODY AN DESIGNER NEVILLE BRODY NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY ME EVR LP GO RG A IC E FA C E NEVILLE BRODY progress. Insignia is also immediately DFIN ART DIRECTOR NEVILLE BRODY DESIGNER YU TYTYEN AER IS TN ILGRAPHIC LD EYB O DP YG RD A PS H IC DEE E S N E RTARTIST TBRODY H NEVILLE BRODY BRODY GRAPHIC DESIGNER NEVILLE FINE POGRAPHY OFACE VTIL L B R O TR Y P O G RCA P H ERR N ILLIG LE E B R O D YNEVI ART ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER FV IN AR IH S TE LLDIRECTOR EBRODY ART NEVILLE DIRECTOR ACE FNEVILLE FACE THE THE GRAPHIC DESIGNER FINE ARTIST RT recognizable as one of the hip, ACE F THE INSIGNIA NEVILLE BRODY ART DIRECTOR BE D Y AR TART DI RDIRECTOR ECTO BD YP O G RT A P HE E R FE IN E AER TR IS TIS U N O M M EO RART C IA G R A P IC ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER ART NEVILLE DIRECTOR BRODY DIRECTOR GRAPHIC DESIGNER U N C O M M ER C I A L TYP O G RA E GRAPHIC DESIGNER INSIGNIA E S G I N E R H E F A C F N I A T T N E V L I L B R O D Y G R A P H C I NEVILLE BRODY THEFACE ART DIRECTOR FINE ARTIST INSIGNIA L ART DIRECTOR GRAPHIC DESIGNER P HY F I N E AR TI S T NEVI L L E ART DIRECTOR ART DIRECTOR L DIRECTOR ART DIRECTOR cutting-edge classics of our EVIDESIGNERTHEFACENEVILLEBRODYTYART ART DIRECTOR DIRECTOR ARTART NEVILLE DIRECTOR BRODY ART DIRECTOR P O G R A P H EC RIA N E VD ILRAP L E B R O D Y R O D AR T IR ECTO UNCO MFACE THE NEVILLE ART BRODY FINE ARTIST INSIGNIA NEVILLE BRODY FINE ARTIST NEVILLE BRODY FINE ARTIST NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY M ER IY A LB P O HAR YH FI N E AR TI SDIRECTOR TART ART DIRECTOR DIRECTOR ART DIRECTOR TEYS PIG ON GERRATP H E RC FIN EIN AE RTIST U N CB O M M EL RE L G R A P H IC ART DIRECTOR BRODY FACE THE FINE GRAPHIC ARTIST DESIGNER N EV IC B RG O DY TIC DI RNEVILLE ECTO GRAPHIC DESIGNER R ND ACE F THE ACE F THE FINE ARTIST own computer era. NEVILLE BRODY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY H E F A E F A R T S I T N E V L I R O D Y G R A P E UNCOMMERCIAL TYPOGRAPHY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY N ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER GRAPHIC DESIGNER D ER SAIG N TNH ALC VD ILLYE B D YNF IN EEC AR TI S TEDIRECTOR E VI LR L E BRO DY ARA TLNEVILLE FACE NEVILLE BRODY THE NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY FINE ARTIST INSIGNIA NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY BRODY D IE R TO UNCO MMERCI ART DIRECTOR ESIGTY P O G PG HE ER RDIRECTOR EEIC VFILD EE BN REO TTFY P O G RART AR PO HE R IN ETA T IS TL ART NEVILLE DIRECTOR BRODY DU ACE F THE NEVILLE BRODY FINE ARTIST ART C INSIGNIA NEVILLE BRODY FINE ARTIST I GRAPHIC DESIGNER N C O M M E R C A I L R A P H E S G I N E R H F A C E F N I A R T S I N E V L I E H TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART DIRECTOR ART DIRECTOR P ACE F ART NEVILLE DIRECTOR BRODY THE GRAPHIC DESIGNER FINE ARTIST ACE F INSIGNIA THE FINE ARTIST RANEVILLE POGRAPHY INSIGNIA BRODY FINE ARTIST B RH OE DRY GE R A P H C I D E S G I N E R T H E F A C E N E V L I L E B R O D Y POGRAPHY ART DIRECTOR NEVILLE BRODY NEVILLE BRODY FINE ARTIST ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER ART DIRECTOR ART DIRECTOR ART DIRECTOR FI N E AR TI S T NEVI L L E ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER FI N E AR TITSTNEVI LLE ART NEVILLE DIRECTOR BRODY TG YGP O G R A P N V L I L E B R O D Y T Y P O G R A P H E R F N I E A R T S I T U N C O M M E R C A I L INSIGNIA GRAPHIC DESIGNER ACE FARTIST THE NEVILLE FINE ARTIST BRO DYFINE AR TBRODY DI RO ECTO ACE F INSIGNIA THE FINE ARTIST BRO DY AR DIRO ECTO ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY R A P H C I D E S G I N E R T H E F A C E F N I E A R T S I T N E V L I L E B R O D Y G R A P H C I ART DIRECTOR ART NEVILLE DIRECTOR BRODY UNCO MMERCI A L TYP G RA UNCO MMERCI A L GRA NEVILLE BRODY FINE GRAPHIC DESIGNER ACE F THE ARTIST INSIGNIA P HT Y DY FINAR ETNEVILLE AR TIECTO SNEVILLE T NEVILLE NEVI LLE P H Y FI N E AR TI S TTYPNEVI LLE BRODY BRODY BRODY D E S G I N E R T H E F A C E N E V L I L E B R O D Y NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY NEVILLE BRODY ART NEVILLE DIRECTOR BRODY DIRECTOR ART DIRECTOR ACE F THE BRO DI R UNCO MBRO DY AR T DI R ECTO UNCO TART Y P O G R A P H E R N E V L I L E B R O D Y T Y P O G R A P H E R F N I E A R T S I NEVILLE NEVILLE BRODY BRODY MERCI A LNEVILLE PBRO O GBRODY RAP HAR YFI NNEVILLE EBRODY AR TIFINE ST BRODY NEVILLE BRODY FINE ARTIST ART NEVILLE DIRECTOR BRODY ART DIRECTOR MERCI AE L PBRO OFG RAP HAR YFI N EAR TIMST GRAPHIC DESIGNER INSIGNIA NEVI L L E DY T DI R ECTO UNBC O M M E R C A I L G R A P H C I D E S G I N E R T H E F A C E F N I E A R T S I T N E V L I L E NEVI L L DY T DI RECTO ART NEVILLE DIRECTOR BRODY NEVILLE FINE ARTIST ART DIRECTOR ACE THE ARTIST ART DIRECTOR ART DIRECTOR UNCOMMERCIAL TYPOGRAPHY UNCOMMERCIAL TYPOGRAPHY HTE CG EN BIN R O D Y ART NEVILLE DIRECTOR BRODY ART NEVILLE DIRECTOR BRODY ART DIRECTOR FI N E AR TI S T NEVI L L E BRO DY AR T ACE F THE FINE ARTIST FI N E AR TI S T NEVI L L E BRO DY ARATL GRAPHIC DESIGNER INSIGNIA TYPR OO GD RYAG PR HA EP RH NIC ED VILELS EIG BN RE OR DTY YF PAO RE AV PILHLEER F E A R T S I T DIRECTO UNCO MMERCI AL DIART RECTO UNCOMMERCI ART DIRECTOR ART NEVILLE DIRECTOR BRODY ARTDIRECTOR DIRECTOR GRAPHIC DESIGNER UNDIRECTOR INSIGNIA ART ART DIRECTOR ART TYPE A RT T;YPE A TE TART YRTP ;YPE ART TYPE ART TYPE ART TYPE AT;YPE R T ATYP RT


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SELECTED WORKS_ BRIAN BACLIG

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COLOPHON_ Copywrite 2011 All Rights Reserved. No part of this publication may be reproduced, stored in a tretrieval system or transmitted, in any form or by any means, without the written permission of Brian Baclig. Brian Baclig Phone_ 916.715.4749 Email_ Briantotheb@gmail.com Web_ www.BrianBaclig.com Academy of Art University 79 New Montgomery, San Francisco, CA Department Director_ Mary Scott Course_ Portfolio Seminar Instructor_ Mary Scott Printer_ Blurb Bindery_ Blurb Typeface_ Blender Software_ Adobe Creative Suite 5.5 Camera_ Canon Digital Rebel XSI Photography_ Personal, Plotnet


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