Page 1

good

design


doog

ngised


good

design

*

* A.K.A: “DESIGN I’VE DONE THAT ISN’T TOO BAD” THE MFA GRAPHIC DESIGN PORTFOLIO OF BRIANNA JOHNSON


GOOD DESIGN / COPYRIGHT © 2010

BRIANNA JOHNSON / EMAIL: MAIL@BRIANNA-JOHNSON.COM WEBSITE: BRIANNA-JOHNSON.COM PHONE: +1 415 283 7696

MFA GRAPHIC DESIGN / ACADEMY OF ART UNIVERSITY

DESIGN & WRITING / BRIANNA JOHNSON PROJECT PHOTOGRAPHY / BRIANNA JOHNSON & NIKLAS PEARCE FONTS / BARUTA & BASKERVILLE

SPECS / 9.5” x 13.5”, 128 PAGES TEXT STOCK / 100LB FINCH UNCOATED ENDSHEETS / PURPLE FABRIANO ELLE ERRE 220GSM COVER / BLACK MOROCCO WITH BLACK FOIL HOTSTAMPING

PRINTER / GIANT HORSE PRINTING, INC. BINDER / CARDOZA-JAMES BINDING

All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, photographing or recording for information storage and retrieval) without written permission from the author.


CONTENTS TUBE 10 FREEATL AST 24 HOWTOAVOIDTH EBUMMERLIFE 36 HOTELE XPRESSIONISM 48 HANES 56 VISCERA 72 EPHEMERA 90 SUPERLOVESMILE 104


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

06


INTRODUCTION / ARTIST CONCEPT STATEMENT

EXAGGERATED

As a designer, the question I find I constantly ask myself is: “What is ‘Good Design?’” Design today comes across, sometimes, as one exaggerated run-on sentence of visual information. We are constantly bombarded by it. From mundane canned beans and shampoo bottles to huge shiny billboards and television commercials, it permeates every aspect of our lives. As I’ve developed and learned, so has my definition of ‘Good Design.’ Where I once believed ‘Good Design’ to be just well-structured and nice to look at, I now see it as being design that takes risks, stands out and is able to clearly communicate its purpose through the white noise of our design-saturated world. It is this kind of work that I strive wholeheartedly to create. In my endeavors as a designer, I always aim to create bold and purposeful work. Because, above all, I believe the most important part of a designer’s job is to make sure the art conveys the message. The concept of the design for this portfolio plays on both the idea of exaggerated amounts of visual information and the importance of being able to relay the core message through it. Throughout, you will see ridiculously long titles with certain words called out. While the long statements do state the information, it is the shorter call-outs that convey the important message. What you really need to know has been designed to stand out.

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port

work


tfolio

k


AMERICANS SPEND 22 TO 28 HOURS PER WEEK VIEWING TELEVISION:

ea t

sleep

live t.v.

KAISER FAMILY FOUNDATION NON-PROFIT HEALTH CARE ORGANIZATION


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: TUBE / INTRODUCTION

TUBE

CATEGORY / BOOK COURSE / EXPERIMENTAL TYPOGRAPHY INSTRUCTORS / CHRIS RO & JIMMY SOAT SPECS / 10” x 13”, 32 PAGES IMAGES / PHOTOGRAPHY BY BRIANNA JOHNSON FONTS / UNIVERS

We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted this book to satirize America’s addiction to television. And since I knew people usually opt to watch television rather than read, I wanted to really call out and play up this disinclination by creating a book that informed but did so with very little actual written content. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. Sometimes I would relay the ideas on a huge scale, and other times, I’d hide it in the fine print. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. Surprisingly (and rather ironically), as a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that was really for an intelligent reader.

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: TUBE / BOOK COVER

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PROJECT: TUBE / COVER DETAILS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: TUBE / BOOK INTRODUCTION SPREAD

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS

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I AM HAPPY TO JOIN WITH YOU TODAY:

to g e t freedom

DR. MARTIN LUTHER KING, JR. HUMAN RIGHTS ACTIVIST


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

FRE E AT LAST

CATEGORY / POSTER INSERT & NEWSPAPER PACKAGING COURSE / PUBLICATION NARRATIVES INSTRUCTOR / MICHAEL SAINATO SPECS / 14.5” x 24.5”, 1 PAGE (2 SIDES) & 1 CUSTOM PLASTIC BAG IMAGES / HISTORICAL STOCK PHOTOGRAPHY FONTS / AMERICAN TYPEWRITER, AVANT GARDE, BIFURK, BODONI POSTER ITALIC, BRAGGADOCIO, COOPER BLACK, CLARENDON, EAGLE BOLD, HELVETICA NEUE & STROKES

Re-creating Martin Luther King, Jr.’s “I Have a Dream” speech through design was the goal in this project. The result I came up with was this Free at Last special edition Martin Luther King Jr. Day newspaper poster insert. My concept was ‘black and white,’ which may seem like a rather obvious concept, considering the topic of the speech. But, my spin on it was the idea that while the message of the speech is simple, straightforward and very black and white in it’s morality, the concept was anything but. There are many shades and colors in the spectrum between black and white and it’s when they shift and blend that they are most interesting. It is both these concepts that I wished to explore in my piece. I chose to go with newspaper because it was a media that worked both strictly in black and white as well as in full-color. The front side of my poster insert was the black and white side and it contained the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed.

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PROJECT: FREE AT LAST / INTRODUCTION

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: FREE AT LAST / NEWSPAPER BAG DETAIL

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: FREE AT LAST / POSTER DETAILS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: FREE AT LAST / POSTER FRONT SIDE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: FREE AT LAST / POSTER BACK SIDE

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IF PACKED INTO A NUTSHELL, ALL THIS COMMUNICATION REALLY CONSISTS OF IS:

BIKE m a d n STEVE “STEVIL” KENEIVEL CYCLING LIFESTYLE BLOGGER

e

ss


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOW TO AVOID THE BUMMER LIFE / INTRODUCTION

how to

avoid th e bummer life

CATEGORY / BOOK COURSE / PUBLICATION NARRATIVES INSTRUCTOR / MICHAEL SAINATO SPECS / 4.5” x 4.5”, 144 PAGES (72 CARDS) IMAGES / COURTESY OF HOWTOAVOIDTHEBUMMERLIFE.COM FONTS / DIGITALLY-CAPTURED & HELVETICA NEUE

How To Avoid The Bummer Life was an exercise in converting a purely digital media (namely a cycling and lifestyle weblog) into a print artifact. As I went into the problem, my focus was to maintain the essence of what the blog is and how it works without imposing my own point of view too heavily upon it. I felt that the writers and readers of the blog had already created something so unique and fun and special to their niche that it would be inappropriate for me to completely remove the material from the source content just for the purpose of making it ‘mine.’ So, as I approached the design, I resolved that in order to maintain the purity of the blog’s voice and structure, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired directly by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, book the pages became removable cards. The cards were made to be torn out and used at the reader’s discretion. In fact, the only place my voice made itself overtly apparent in the book (outside of the colophon and end remarks) was in the various practical and humorous uses these cards could take. Whether as beer coasters, wall art, dog toys or spoke cards, I tried to mirror the fun and wacky spirit of the blog when writing the suggestions. Ultimately, I wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed.

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SCALE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SPREADS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOW TO AVOID THE BUMMER LIFE / PAGE DETAIL & BOOK SPREADS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOW TO AVOID THE BUMMER LIFE / SPREAD DETAIL

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I’LL TELL YOU, I’LL TELL YOU STRAIGHT:

ITS ART

MIKE “THE STREETS” SKINNER GARAGE RAPPER & MUSIC PRODUCER


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

HOTEL EXPRESSION ISM

CATEGORY / POSTER COURSE / EXPERIMENTAL TYPOGRAPHY INSTRUCTORS / CHRIS RO & JIMMY SOAT SPECS / 24” x 18” IMAGES / PHOTOGRAPHY BY BRIANNA JOHNSON FONTS / NEWS GOTHIC & HELVETICA COMPRESSED

Hotel Expressionism was an interesting exploration in non-standard typographic layout. In this project, I was told to select a song and create a poster that represented the music visually. And, I was asked to do so with minimal the use of a computer. As a class, we were allowed to create the basic type digitally, but were required to then capture both the quality and layout in a purely analog manner. The song I chose for the project was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. It is a short, humorous, satirical song about the ‘art’ of trashing hotel rooms that fuses garage, electronic and hip hop musical elements and has a snarky straight-from-the-London-streets feel about it. And, I had to express all of those elements within the layout of this poster. The truly fun part of this project was getting to explore the many varying ways one can still create design without the use of a computer. Different light, different materials, different environmental settings, the options were surprising. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition. As the song itself is pretty much the audible equivalent of getting the middle-finger from a sarcastic street youth, I feel like the resulting poster is a competent visual parallel.

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PROJECT: HOTEL EXPRESSIONISM / INTRODUCTION

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOTEL EXPRESSIONISM / POSTER DETAILS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HOTEL EXPRESSIONISM / POSTER

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WELCOME TO THE NEW HANES BRAND, WE JUST WANT TO SAY:

WEAR US

OU T

THE RE-BRANDED HANES APPAREL MANUFACTURER


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

hanes

CATEGORY / IDENTITY & BRAND STANDARDS BOOK COURSE / NATURE OF IDENTITY INSTRUCTOR / HUNTER WIMMER SPECS / 8” x 9.5”, 54 PAGES IMAGES / STOCK PHOTOGRAPHY & ADDITIONAL PHOTOGRAPHY AND ILLUSTRATIONS BY BRIANNA JOHNSON FONTS / UNIVERS & CLARENDON

This was a project in which I chose a company that I believed was in need of an aesthetic overhaul and completely re-envisioned it as an entirely new brand. I chose the undergarment and leisure-wear company, Hanes. Hanes had firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that would have it’s own store rather than something that was sold in cheap plastic baggies at the local convenience mart. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both classic and contemporary. Blocky and solid with elements (such as the lowercase letters in the logotype) that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable rather than boring and forgettable. Essentially, my ultimate goal in re-inventing Hanes was to be make it a brand people would actively seek out as a favorite fashion basic.

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PROJECT: HANES / INTRODUCTION

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / NEW LOGO

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / IDENTITY: STATIONERY & LOGO SPECS

4X

4X

X 4X

13 X

1.333 X 2.667 X

4X

4X

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / BRAND STANDARDS BOOK SPREADS & COVER

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / ONLINE STORE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / FLAGSHIP STORE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / FLAGSHIP STORE CHECK-OUT & SHOPPING BAGS

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AN ALMOST AVANT GARDE EXPLORATION OF CINEMATIC VIOLENCE:

TA

B

OO JAMES MUDGE INTERNET FILM CRITIC


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / INTRODUCTION

VISCERA

CATEGORY / IDENTITY, CATALOGUE BOOK, PRINT, PACKAGING, ETC. COURSE / INTEGRATED COMMUNICATIONS INSTRUCTOR / HUNTER WIMMER SPECS / VARIOUS DIMENSIONS IMAGES / PHOTOGRAPHY BY NIKLAS PEARCE & BRIANNA JOHNSON FONTS / HELVETICA COMPRESSED & TRADE GOTHIC

Viscera was a project that challenged me to design the identity and collateral for an entire fictional film festival. I was expected not only to come up with a name, logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. In the class, we were given carte blanche when it came to deciding which film director we wanted our festivals to revolve around. Wanting to make the challenge of designing a festival even more interesting for myself, I chose to go with a director that was not only a horror-genre director, but also a foreign filmmaker. I went with Japanese writer / director / producer, Takashi Miike. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. As a result, my festival became a combination of fan convention and film festival, catering to the cult film fans who have a taste for camp, horror, black comedy and ultra-violence. And from this came the name of the festival. I chose ‘Viscera’ as the title because, not only were Miike’s films gratuitously violent, but they also took chances. It was based on the idea that it took guts to not only make a film in which a person splatters someone else’s guts across the room, but it also took guts to watch it. Once I’d chosen the name, it was just a matter of sticking some needles and splattering a little ‘blood’ to develop and implement the design throughout the collateral for this project.

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

FEAR THE UNSPEAKABLE

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PROJECT: VISCERA / FESTIVAL LOGO & TICKETS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / FESTIVAL POSTER

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / FESTIVAL CATALOGUE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / CATALOGUE SPREADS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / SOUVENIR ‘TORTURE’ KIT

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: HANES / “ICHI THE KILLER” MANGA & ANIME BOXSET

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: VISCERA / FESTIVAL EMPLOYEE UNIFORMS

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THE WORD ‘EPHEMERA’ IS DEFINED AS:

T R A SH

OXFORD AMERICAN DICTIONARY ENGLISH LANGUAGE LEXICOGRAPHER


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: EPHEMERA / INTRODUCTION

EPHEMERA

CATEGORY / BOOK COURSE / SILKSCREEN INSTRUCTOR / CARRIE-ANN PLANK SPECS / 7” x 7”, 20 PAGES (ALL PAGES & COVER HAND-SILKSCREENED) IMAGES / ILLUSTRATIONS BY BRIANNA JOHNSON FONTS / POESIE NOIRE & POPLAR

Ephemera was probably the most “fine art” piece I’ve done as a designer. Not only was it a project that got me away from my printer and almost entirely off my computer, as a silkscreen project, it was a chance to work with my hands, let go of the need for clinical perfection in my design and get a little messy. Starting at the computer, I developed the basic design and pacing of the pages. From there, I added hand-drawn elements and used all of that to create the separations necessary for the silkscreen printing process. This piece was very much conceptually driven. My goal was always to create something visually intriguing out of something that was, essentially, considered trash. The concept behind the book is the same as the title: Ephemera. And I applied this concept not only to the content of the book, but also, to the form. It was made entirely of perishable, reused materials. I silkscreened each page by hand onto found newspaper pages I had discovered one day sitting in a stack near my apartment. And then, I finished it off with a piece of old chipboard cover as the material for the book cover. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t on archival quality, acidfree paper and the book would eventually rot and fall apart. But, even that unfortunate fact fit into my concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away.

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT; EPHEMERA / BOOK SPREAD DETAIL

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: EPHEMERA / PAGE DETAIL & BOOK SPREADS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: EPHEMERA / PAGE DETAIL

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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PROJECT: EPHEMERA / SIGNED COVER, EDITION VARIE 3 OF 3

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THE

T


THESIS


IT IS ASSUMED THAT NOTHING GOOD CAN COME FROM POPULAR CULTURE:

BUT

FANDOM R UL E S

HENRY JENKINS AUTHOR & POP CULTURE FAN


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / INTRODUCTION

SUPER LOVE

SMILE

CATEGORY / IDENTITY, EXHIBITION, PRINT, PACKAGING, ETC. COURSE / MFA GRAPHIC DESIGN THESIS INSTRUCTORS / MANY, MANY, MANY BRILLIANT PEOPLE SPECS / VARIOUS DIMENSIONS IMAGES / PHOTOGRAPHY & VIDEO BY ANGELA DEVILLE & BRIANNA JOHNSON, ILLUSTRATIONS BY BRIANNA JOHNSON & 3D COMPUTER MODELLING BY ARTURO LINDBERGH FONTS / BERTOLD AKZIDENZ GROTESQUE & BARUTA

“What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / INTERACTIVE BUSINESS CARDS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / LOGOTYPE & LOGO ICON

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION OVERVIEW

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

B1

47.5’

A1

47.5’

A2

43’

A3

47.5’

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALL DETAILS & FLOORPLAN

25’

47.5’

A3

25’

43’

A2

A4

43’

7’ 3’

A1

25’

B1 20.4’

4.5’

6.6’

2.5’

2.5’

20.4’

12.7’

25’

115


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

A4

43’

116


THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALL DETAIL & SCALE

25’

6’

117


MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

14’

6’

118


THESIS PROJECT: SUPERLOVESMILE / EXHIBITION FAN STATION DETAILS & SCALE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALK-THROUGH

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION TICKETS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION LOCATION SIGNAGE

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION PROMOTIONAL MINIPOSTERS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE FAN BUTTONS

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE T-SHIRTS & PACKAGING

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MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

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THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE SHOPPING BAGS

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tomyfamily

FRIENDS

TEACHERSBOSS ESANDCOLLEGUES

THANKYOU

Brianna Johnson / MFA Graphic Design Portfolio  

The MFA graphic design portfolio of Brianna Johnson

Brianna Johnson / MFA Graphic Design Portfolio  

The MFA graphic design portfolio of Brianna Johnson

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