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HUNTER BERRY

Graphic Design 2 Portfolio


CONTENTS Hierarchy Exercise

3

Metamorphosis Exercise

5

CD Packaging

7

Poster & Ticket 11 Stamp Design 13 Beverage Packaging 15 Extension/Reflection 19 Magazine 21


HIERARCHY EXERCISE

This assignment deals with the use of typography to create an organized visual informational hierarchy.Graphic design involves communicating and presenting conceptual or practical information in visual form. This requires, in part, an understanding of the information in order to present it in an organized and understandable manner. One way to do this is to build a hierarchy of the material in order of importance. One can delineate these different kinds of information typographically with the use of layout, graphic elements, font choices and variation, point size, placement and spacing.


G r a p h i c

D e s i g n

“To design is much more than simply to assemble, to order, or even to

edit; it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design broadens perception,

and awareness, of ideas that originate in the mind of the designer and culminate, one hopes, in the mind of the spectator.” (Paul Rand, Form + Content)

Basic Concepts and Principles

Typography

Introduction

Typography is designing with type, not the designing of type. It involves 1) choosing and using type, and 2) the application of design principles to the setting of type: the arrangement, style, and general appearance of matter printed with type.

• • • • •

Design must be considered as an instrument of organization. It must perform in response to human needs. Design is an urgent requirement, not a cosmetic addition. Graphic Design can save time by presenting information more clearly. It enhances communication; it helps people to understand a given message and accelerates learning.

• the problem. Graphic designers communicate and express themselves in four distinct ways. They need to have a working knowledge of typography, illustration, photography/video, and symbolism.

The Graphic Design Process possible visual solutions. The process to generate alternate visual solutions to a problem can be described as follows: • • • • • •

Production of many preliminary sketches (thumbnails), Analysis of roughs, Selection/decision, Implementation (and preparation for print).

implementation. The process grows by constantly checking backwards. In the design process, the establishment of priorities is essential. Designers must be able to judge and gauge the relative importance of factors as they relate to one another. Priorities set the functional and visual criteria in communications.

Perception and Composition Visual perception involves a complex interplay of both inborn and learned responses to visual stimuli. The Gestalt laws of perception summarize tendencies that appear to be innate or inherent in out biological heritage and which undoubtedly serve as the basis for our concept of composition in visual art.

Figure Ground a ground.

Similarity Similarity facilitates grouping: Objects which resemble one another tend to be seen as belonging together.

Proximity Proximity facilitates grouping: Objects placed close together tend to

Closure

Spacing Letters and words need to be spaced in a logical, consistent manner to appear optically correct, and achieve optimum readability. In letterspacing there are three standards. Minimum space is used between cursive (oo) letters, or between inclined (xy) letters. Medium space is used between vertical and cursive letters (lo). Between vertical letters (ll) maximum space is used. Good word-spacing is achieved by making all space intervals between words “look” the same. Words must not appear to run together or be spaced so widely as to appear to be separate units. One system is to imagine a lower case “n” between words. This gives moderate word- spacing.

The Grid The grid is an underlying structure organizing data. It articulates space according to a pattern of oppositions: vertical and horizontal, top and bottom, rectangular and diagonal, and left and right. If used well it provides perceptual organization, coherence and consistency. A well-conceived grid alone will not ensure effective design. It is an organizational tool, and must be used creatively to maximize communications potential. Grids can help answer compositional questions such as balance, proportion, sequence, unity/harmony, and contrast.

Layout: Composition with Type & Images Layout involves the following set of interrelated basic design principles:

Balance Balance is created by moving around “optical weights”, big and small items, dark and light items, varieties of shapes.

Proportion Good proportion is achieved by deciding on space between image and type, between type and the edge of the paper, between columns of type, between type-size, line-length and leading, between different visual elements, etc.

Sequence Sequence is created by directing the viewer, for example, through the use of lines, real or implied; by arranging images in such a way that leave to chance the order in which the viewer perceives the items in the layout.

Unity/Harmony illustrations, and photos into the style/mood of the layout.

Contrast Contrast is achieved through differentiation in size, color, and shape. Giving the same graphic emphasis to several elements will make them compete for attention.

Symbolism whole rather than a collection of unrelated parts.

Continuity in by the brain.

A symbol is a representation, verbal or visual, of a concept, object, idea, etc., the meaning of which is mutually agreed upon. In graphic design, the effective use of symbolism, combining and relating symbols, enhances the expression of ideas. It creates recognition, association and meaning.


METAMORPHOSIS EXERCISE

This project was to utilize the tools available to us. Transform a lowercase A into a lowercase K, using limited font choices. The second portion was to turn a letter into an object that starts with that letter. Hence a b into a bee. I used mainly the pen tool to achieve the steps.


CD PACKAGING


The Heist is a revolutionary album by Macklemore and Ryan Lewis. Their differing styles created some very inspiring music. I wanted the album to reseemble that. Here is the layout for the front and back covers, as well as the inside spreads before the lyric spreads get added. I stayed with the theme of their “Heist flag� to show they are united, and used the different outfits on the front to show their unique styles.

FRONT COVER

BACK COVER


Cartoonized versions on Macklemore and Ryan Lewis are placed on the top of the booklet spreads. Inside the spreads, the lyrics are set in two columns for an easier read. COLOR: PRINTS: 1 of 3 COLOR: PRINTS: 2 of 3 COLOR: PRINTS: 3 of 3 PASTE OFA TAG HERE

THE HEIST The cd is simple. I kept the same color scheme, but flipped it so it would stand out from the case.

MACKLEMORE + RYAN LEWIS Š 2012 MACKLEMORE & RYAN LEWIS LLC

Notes:


For the poster, I kept the same image as the front of the album. The words were placed within a hierarchy that is easy to read and to collect the information. I wanted to keep it very similar to the album so that it was easy to tell that the tour is for the specific album.

POSTER & TICKET The tickets were planned to be a lot less confusing than regular concert tickets. Need to know information was the only thing put on them. I also kept the cartoons to emphasize that the tour was with both Macklemore and Ryan Lewis.


MACKLEMORE + RYAN LEWIS P R E S E N T

THE

HEIST WORLD TOUR SOLDIER FIELD, CHICAGO, IL : SATURDAY, JULY 5, 2014 @ 7 PM


STAMP DESIGN


P AUL A SC HER 49 cents

UNITED OF

states

LAND O F THE

AMERICA

FREE

4 HOME O F THE

BRAVE

UNITED states

AMERICA

FREE

4 HOME O F THE

1776

BRAVE

cents

LAND O F THE

JULY

AMERICA

FREE

4 HOME O F THE

USA

USA

states

1776

BRAVE

UNITED

JULY

AMERICA

FREE

4 HOME O F THE

1776

states

JULY

BRAVE

UNITED

1776

1776

1776

AMERICA

FREE

4 HOME O F THE

JULY

1776

USA

USA

JULY

states

cents

LAND O F THE

P A UL A SCHER 49 OF

BRAVE

UNITED

cents

LAND O F THE

P A UL A SCHER 49 OF

AMERICA

FREE

4 HOME O F THE

cents

LAND O F THE

P A UL A SCHER 49 OF

OF

states

P A UL A SCHER 49 OF

UNITED

BRAVE

JULY

JU LY

OF

cents

LAND O F THE

FREE

4 HOME O F THE

AMERICA

P A UL A SCHER 49

cents

LAND O F THE

UNITED states

49

USA

SC HER

USA

USA

P

AUL A

My stamp project was based off work by Paula Scher. Her bold text that overrules her images makes her pieces very interesting. To some it may look clutteres, but the more you look at her work, you se she has analyzed where every word should go. I planned my text in a way that frames the map of the US, but also stays clean and easy to read.

BRAVE


BEVERAGE PACKAGING

The box label is the simplest of all the labels on the chardonnay box. Traditional wines must be simple and elegant, enough to catch your eye, but enough to not distract you.


Elegante

CHARDONNAY TOSCANA 2 014

Elegante

CHARDONNAY TOSCANA 2 0 14

TOSCANA 2 014

CHARDONNAY

Elegante

GOVERNMENT WARNING: (1) ACCORDING TO THE SURGEON GENERAL, WOMEN SHOULD NOT DRINK ALCOHOLIC BEVERAGES DURING PREGNANCY BECAUSE OF THE RISK OF BIRTH DEFECTS. (2) CONSUMPTION OF ALCOHOLIC BEVERAGES IMPAIRS YOUR ABILITY TO DRIVE A CAR OR OPERATE MACHINERY, AND MAY CAUSE HEALTH PROBLEMS. P ROD UCED S A LVA T O R E

AND

BO T TLED

BY

F A M I LY V I N E YA RD S

T U S C A N Y, I T A L Y

ALC 13.5% BY VOL 750 ML $99.99

The information on the bottle must be similar to the box, but also have all of the necessary items to determine price, alcohol percentage and the production and bottling of the grapes and finished wine. To the right, is the production information about the chardonnay. The story of how the grapes are grown and estate where they are grown to perfection. This label is placed on the left inside of the box.

Our 2014 Resereve Chardonnay is Estate Grown and made exclusively from our Tuscany Valley Vinyards, a small certified organic vineyard tended by our winemaker Christiano Vitale. We like to think of it as a large graden in our front yard where we grow our wines in harmony with the nature around us. We are happy with the limits of our production and strive to produce the best quality wines for the best price with as little impact on our surroundings as possible. Every practice used is analyzed thoughtfully with an effort to make wise decisions maintaining a balanced and healthy environment. The grapes for this select lot were hand harvested at dawn on September 10, 2013. They were immediately pressed and the resulting juice began its slow, cold fermentation. Upon completion it was aged in new French oak barrels and allowed to sit on the lees until bottling in the Spring of 2014. The firm citrus qualities of the natural acids compliment the malalactic fermentation and oak aging. Aromas of melon, apple, and vanilla prepare the mid palate for rich buttery flavors with a hint of citrus.


EXTENSION &REFLECTION


The idea behind extension was to take an image and find a letter that helps it extend beyond the frame.

The idea behind reflection was to take an image and find a letter that helps to reflect the image onto the page next to it.


MAGAZINE

Logos must be representative of what is being presented. For a 2D/3D magazine, the best way I thought that would represent the work in the magazine was a logo that was both 2D and 3D. There was no specific color scheme that i was intending to do, this one just happened to come along.


Cover Option 1

Fot the covers I tried to keep it clean and uncluttered. Sometimes magazine cobers have too much to look at on the front. I kept Neville Brody as the min cover since he is the main article in the magazine.


Cover Option 2


Contents page: The goal was to stay clean and simple. To make sure nothing was too distracting but for everything to be placed neatly through out the spread.

Spreads one and two are about Santiago Calatrava. I kept along with the same color scheme so it would flow well. The grids are different on each page, but they still are clean and easy to read.


Spreads three, four and five are on Neville Brody. I wanted there to be more images than text in his articles to really display his work. The grids are all different as well, but still clean and interesting to view. I also kept along with his style and based the color scheme off of his Cabaret Voltaire album cover on the second spread.


Hunter Berry Portfolio  

Graphic Design 2 Portfolio, Spring 2014

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