Graphic Design Portfolio 2018 | Jonathan Hemingway Jr.

Jonathan Hemingway Jr. The Visual Storyteller The Creator. I am a deliberative conceptual thinker. I believe that every project has a unique story, which needs to be told in a very specific way. My creative instinct is always pushing me to learn more techniques and explore new ideas..

The Person. I am an introspective extrovert. I was raised in the small city of Mount Vernon, NY in Westchester County. My passion for visual design stems from my passion for art and music and is influenced by my spirituality. I currently attend Johnson & Wales University and hope to attain a Bachelors Degree in Science in Graphic Design & Digital Media. JWU, however, is only my first stop on my journey to a healthy and sustainable career.

The Brand. I am a structured, polished, detail-oriented designer.

I take my time to make sure that everything from the curve on a logo to the visual alignment (as well as the technical alignment) of typographic elements is organized well, balanced properly, and pleasing to look at. I always aim to streamline cohesiveness across a project, as well as make design decisions that are relevant to the audience. My promise is to strive to deliver quality work that you, the client, and they, the audience will love.

JWU Exhibit Brochure Showcasing The Spirit of Design & Innovation The Problem. The College of Engineering & Design at Johnson & Wales University houses a wide variety of talented students, and every year student work is showcased in an open exhibit. As a class project, I decided to create brochure that would complement and expand the exhibit’s original brand and advertisements.

The Process. My goal was to create a printed piece that showed guests why our design and engineering programs are so unique.

My main focus in approaching the brochure was abstract cleanliness and balance that reflected the original poster for the exhibit.

The Product. The brochure represents the creativity, uniformity, and multidimensionality of the students and their work. The front of the brochure (which resembles the original poster) treats informational elements like graphic elements. In contrast, the inside distinctly divides two types of information into their own sections and the panels showcase the daily activities of students at the college. All original photography.

Typefaces Futura PT - Primary & Secondary HEX: #ae132a

HEX: #212121

HEX: #ffffff

R:174 G:19 B:42

R:33 G:33 B:33

R:255 G:255 B:255

C:7 M:100 Y:82 K:26

C:72 M:66 Y:65 K:73

C:0 M:0 Y:0 K:0

welcome to

student design & engineering conference

DISPLAY:

DECEMBER 4TH

TO

JANUARY 24TH 75 CHESTNUT STREERT • PROVIDENCE RI • 02903

BOWEN CENTER FOR SCIENCE & INNOVATION

STUDENT DESIGN & ENGINEERING CONFERENCE

Built only one year ago, the John J. Bowen Center for Science and Innovation has been the birth place of many creative and innovative projects. The building encompasses multiple design spaces, industry standard technologies, and professors that help guide the students in the direction towards experiential success.

In this year’s exhibit, we’re showcasing a wide range of our student’s work. From the moment our students step into the program, they are full of potential that only grows the more they are exposed to great design. So, our goal is to push our students to a level where they can confidently go out into the industry and shine.

“

I love the exhibit! It’s great seeing student work all in one place and seeing where you can come from as a freshmen all the way through senior year. Seeing junior and senior work compared to mine only inspires me more.

- Brooklyn Estremera,

Graphic Design Student ‘20

It shows other people a way to really think outside the box, whether it be in design or in CAD design and computer graphics. It helps me as a Johnson & Wales student be comfortable among my peers and get great feedback.

- Neakail Tolbert,

Graphic Design Student ‘18

Watching students evolve as graphic designers is one of the most rewarding things about teaching. I look at my current students as not just students, but as future colleagues. We prepare our students to be true design professionals.

- Karyn Jimenez,

Associate Professor of Graphic Design

”

Genius Space Home To Creators The Problem. As a creator who often finds it difficult to work effectively in certain environments, I found the idea of a company that created open environments specifically for creators to work simply genius. It was the perfect concept to create a full brand off of for my class project. This is where Genius Space comes in.

The Process. Genius Space is a conceptual open, creative workspace for all kinds of creators. The brand’s strategy is to provide a fully equipped place for both companies and individuals to be productive. Genius Space’s approach is both sophisticated and unconventional. They think outside of the box but are visually sleek and modern.

The Product. The logo, which resembles both the letter “G” and an open geometric object, is a symbol of the brand’s welcoming of all kinds of creatives. The brand’s colors and typefaces emphasize their warmth and simplicity respectively while conveying a sense of birth and innovation. When innovators engage with the brand, they will feel right at home.

Home To Creators Home To Creators John Doe

Founder/CEO

123 Creative Street New York, New York 10456 P. (916) 333-7055 www.geniusspace.com

123 Creative Street New York, NY 10456

(916) 333-7055 hello@geniusspace.com

Typefaces Avant Garde - Primary TodaySHOP - Secondary HEX: #f18421

HEX: #212121

HEX: #ffffff

R:240 G:133 B:33

R:33 G:33 B:33

R:255 G:255 B:255

C:2 M:58 Y:100 K:0

C:72 M:66 Y:65 K:73

C:0 M:0 Y:0 K:0

Novuspecere Changing Lives Using Our Own The Problem. For many, it’s frustrating to hit one of life’s roadblocks every time they try to turn their lives around and make steps towards their ideal future. Especially if they don’t see others going through similar obstacles. This idea birthed Novuspecere.

The Process. Novuspecere combines the Latin roots for “new” and “look” to create this emblematic phrase of seeing things differently and drastically changing in our personal lives as well as others’ lives.

The Product. The site includes four different category pages that list new posts in chronological order, as well as a home page, an about page, and contact page. The aesthetic for the site is very open, using lots of white space, with minimal uses of dark colors.

This creates a familiar atmosphere while also being focusing the user’s attention to the main page elements. This prototype was created using Foundation 5.

Typefaces Montserrat - Primary & Secondary HEX: #20272f

HEX: #4a5a6e

HEX: #74bad8

R:240 G:133 B:33

R:33 G:33 B:33

R:116 G:186 B:216

C:2 M:58 Y:100 K:0

C:72 M:66 Y:65 K:73

C:52 M:11 Y:8 K:0

HEX: #20272f

HEX: #961a37

HEX: #ffffff

R:106 G:38 B:82

R:150 G:26 B:55

R:255 G:255 B:255

C:55 M:94 Y:40 K:29

C:27 M:100 Y:73 K:24

C:0 M:0 Y:0 K:0

Staying Awake Odyssey or Commodity The Problem. In today’s monetary state of mind, many of us tend to base the value of books on how much they sell and not necessarily what they tell. This way of thinking tends to devalue the work of those who have something important or thought-provoking to share. I depicted this complexity using a set of collages.

The Process. I started by reading “Staying Awake” by By Ursula K. Le Guin, a passionate essay in which Le Guin details the conflict with publishers and authors. I, then, found items from printed books, magazines, and newspapers to construct three collaged pieces that relate to the reading. I chose to tell a story of the battle between the two sides.

The Product. The final images juxtapose the two ways of thinking, depicting the moment where the two meet. The first is vibrant, beautiful, and not recognizable by face or name, which represents the beauty of a book itself. The other side is lifeless, dark, and draining. The middle is the battle between the two. When arranged linearly, it tells the story of the progression from a work of art to a marketed item.

Legacy Magazine Reimagining Excellence The Problem. As a young, African American man, it’s imperative that I carry myself in a way that is noble, humble, and honorable.

That means believing in myself that I am an excellent person, no matter what anyone else says. This idea led me to create Legacy, a mini-magazine about black excellence. In this issue, I’m the star of the show.

The Process. After researching the look and style of certain major magazines, I decided to come up with something that was loud, bold, and unique to the African American culture.

The Product. The result was a mini-magazine that was as bold as it is loud. The black and gold color palette embodies a sense of royalty with something that represents my ethnicity. The imagery I used makes a statement. The typefaces used have a modern feel to them, which is complementary to the era we live in today and adds a quality that no other type category could do as well this one does. I also designed the typographic illustrations in a way expresses the feel of the content it is presenting. All ads and photography are original as well.

Typefaces Montserrat & League Spartan - Headers Playfair Display - SubHeaders Lora - Body HEX: #f7d850

HEX: #fba919

HEX: #000000

R:248 G:218 B:64

R:251 G:169 B:25

R:0 G:0 B:0

C:4 M:10 Y:86 K:0

C:0 M:38 Y:100 K:0

C:0 M:0 Y:0 K:100

Raleway The New Helvetica The Problem. While some say it’s as sleek as a bullet train, I call it the new Helvetica. I’m talking about the typeface called Raleway.

When I was asked to study a single typeface and then create a type specimen book showcasing it, I couldn’t help but choose the coolest typeface on the printing block.

The Process. I attacked this project from a slightly different angle.

Instead of just talking about the typeface itself, I wanted to tell the story of the process that Matt McInerney took to create the typeface as well as showing off the typeface. I also wanted the typeface to live in a unique space.

The Product. Those decisions lead me to screw post bound, wooden cover type specimen book that is just as stylish as it is sturdy. The engraving on the cover, in conjunction with the earthy color palette and linen paper texture, solidifies the typefaces presence while complementing its sleek structure. I broke up the book into “chapters” which briefly explain the stages of the typefaces creation. Each chapter also displays the typeface’s unique characters either graphically or informatively. My goal was to tell an interesting story while showcasing the typeface’s most interesting characteristics.

CHAPTERS 01 Conception

To Gail For loving this typeface

02 First Draft 03 Adjust 04 Second Draft 05 Name 06 Publish 07 Expand 08 Sources

Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww Ww

FIRST DRAFT

CONCEPTUALIZE This wonderful typeface, known as Raleway, didn’t

The first set of characters consisted of a

just come into existance overnight. Like many

single thin font, which encompassed the

things in the world, it began with a simple concept.

full English alphabet, lining numbers, a few symbols and ligatures, and some Latin let-

The creator, Matt McInerney, made this font

ters. The style came by combining Helvetica

specifically for his own use (and for collaboration

Ultra-Light, Gotham, and Museo, however, a

projects with friend). His main inspiration came

few of the letters needed to be worked on

from Helvetica Ultra-Light, Gotham, and Museo.

b

because they “rendered poorly.”

Ultimately, his goal was to create a thin, elegant grotesque typeface.

McIERNEY 2

c 4

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

W Rr Aa Ll Ee Ww Aa Yy

ADJUST

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

k

i

g

u

With all of these influences and ideas, some things needed to be adjusted.

Letters, like the lowercase “a,” “b,” “g,” and “l,” had multiple versions with small differences in the tops and bottoms of stems. (They resembled serifs). Most of the characters in this family share characteristics as well as align to the x-height

The diagonal stroke of the “K” that goes down doesn’t connect at the stem.

The dot above the “i” is linear instead of circular. Plays well with the “thin” characteristic.

Decender creates an interesting negative space with the bowl of the “g.”

almost evenly. These characteristics

Because it’s an upside down “n,” the shoulder creates interesting space.

create a very geometric, balanced, and cohesive look overall.

Rr

With such a bold concept and a number of letters and characters, who would

Ww

have thought that Matt McInerney hadn’t come up with a name until the very end?

Aa

Bottom arm of capital extends past the other arms.

Crossed “v” are used to create the “W.”

What do you name a typeface like this anyway? Well, Matt McInerney decided to use some the unique letters to create a name. Luckily for Matt, those letters

Aa

(r, a,l,e,w, and y) happened to create a legible name.

Ll

Symmetrical and geometric structure of capital.

Ee

Yy

Shares a similar cure at the bottom of the stroke.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

BROWN FOX •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

Jumps Over The •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

(cleaning up the capital letters and adjusting the “serifs” of the lowercase letters), McInerney produced a second draft of characters. This set introduced the characters in sentence structure.

d

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

8

PUBLISH

NAME

End of the stem is curved.

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

With most of the adjustments made

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

6

Bowl becomes thicker as it extends out from stem.

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

B

SECOND DRAFT

I Love Raleway. I LOVE RALEWAY. i love raleway. I LOVE RALEWAY. DO YOU LOVE RALEWAY? do you love

Bowl is squared off at the top and bottom.

The Quick

iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway. iloveraleway!DOYOULOVERALEWAY?iloveraleway.

ABCDEFGHIJKLMN O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Á Ç Đ É Ģ Ĥ Į Ñ Œ Ŧ Ů Ý 1 2 3 4 5 6 7 8 9 0 @ # $ % ^ & * () ; ?

1 2 3 4 5 6 7 8 9 0 ¼ ½ ¾ £ § ¶ ct st ff fi fl ffi ffl Ω μ π œ ǽ į a d j l q t w y G W a b c d e f g h i j k l m n o p q r s t u v w w x y z a b c d e f g h i j k l m n o p q r s t u vw x y z

10

Thin

Extra-Light

Light

Regular

Medium

Semi-Bold

Bold

EXPAND On February 20, 2010, the elegant, thin, and grotesque typeface, known as Raleway, was posted on the League of Movable Type. Its intent was to be used as a “display face that features both old style and lining numerals, standard and discretionary ligatures.”

Two years later, Pablo Impallari and Rodrigo Fuenzalida decided to expand Raleway to a 9 weight family. They also gave each weight and accompanying italic style.

Extra-Bold

LAZY DOG Black

Thin Extra-Light Light Regular Medium Semi-bold Bold Extra-Bold Black

14

12

Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway Raleway

SOURCES

THANK All the information that is detailed in this book comes from The League of Movable Type and Matt McInerney’s website/blog posts. All credit for the use of this font goes to Matt McInerney, Pablo Impallari, and Rodrigo Fuenzalida.

YOU 16

RISD Museum Mobile Guide Find Your Way The Problem. If you’ve ever been to the RISD Museum, you know it can feel like walking through a labyrinth. The museum’s design is complex, with exhibits that intersect and connects with each other. For that reason, I created a prototype RISD Museum Mobile Guide that introduces one of the exhibit’s rooms in a new, more accessible way.

The Process. The idea was to center the design around middle and high school student usage. The guide introduces the Ancient Egyptian Materials room, which is limited in terms of information.

The Product. With my audience in mind, I created a mobile layout that was aesthetically pleasing and easy to navigate. Most of the colors I used were light and distinct to increase memorability. I used larger type, fewer words, distinctive imagery, and phrases that would make an impact. This prototype was created using Foundation 6. The imagery used was both original and taken from the RISD Museum’s website.

Typefaces Montserrat - Primary & Secondary HEX: #ef4035

HEX: #ebb700

HEX: #deb887

R:239 G:64 B:53

R:235 G:183 B:0

R:222 G:184 B:135

C:0 M:90 Y:85 K:0

C:9 M:27 Y:100 K:0

C:13 M:27 Y:51 K:0

HEX: #212121

HEX: #ffffff

R:33 G:33 B:33

R:255 G:255 B:255

C:72 M:66 Y:65 K:73

C:0 M:0 Y:0 K:0

The Urban Village Foundation Impacting Urban Communities Through Our Youth The Problem. In today’s climate, the youth are given, at a very young age, certain tools and skills that they then develop and bring into their young adulthood. However, there is still such a large group of young people around the country that are forgotten and doomed to failure. The Urban Village Foundation is a conceptual, non-profit organization that wants to shed light on minority youth in urban environments and empower them to become leaders.

The Process. In developing this fictitious organization, I wanted to merge the urban aesthetic with the idea of raising a child with an entire village. I approached this brand by examining existing organizations like it and them developing something that was similar, but unique.

The Product. This idea led me to a logo and color palette that served as a metaphor for organization. In developing the brand, I also developed the “Don’t Give Up on Us” campaign. The campaign includes an infographic of statistics about minority youth, a subway ad, and apparel that both children and young adults can wear and carry with them. Lastly, I developed a website that people could visit and then learn how to donate or enroll youth.

Primary Logo

THE

THE THE

Typefaces Typefaces Proxima Nova - Use for headlines

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Typefaces Proxima Nova - Use for headlines Futura - Use for body copy

The size of different ethnic groups in the United States has rising growing over the last couple of years. The number of African Americans, for example, jumped from 35.81 million in 2000 to 43 million in 2016. In 2014, white children with Hispanic origin made up 22% of the children under age 5, making them the largest minority group. These numbers are only going up.

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An Infographic About The Importance of Developing Our Minority Youth

In Fact, Blacks and Latinos, who only Did You Know...

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Yet...

Did You Know...

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OVER 50%

Those white American are then more likely to support punitive policies – including capital punishment and mandatory minimum sentencing – than whites with weaker racial associations of crime

of the 20 million children under 5 years old living in the U.S. are minorities

Why is it that we are likely to nearly view half of the nation as dangerous to the rest of the American society? A part of this large phenomenon is the negative perception that we have of minority groups which affects the way our minority children are raised.

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30% of U.S. Citizens

The more educated the parent of a child is, the more likely that child will not live in a low-income or poor family.

=

58% of U.S. Prisons

226, 359 children under nine in

New York

lived in deep poverty in 2015

14 Million

of the 24 million children, who are growing up in low-income working families, are ethnic minorities.

Did You Know...

Among children whose parents have less than a high school degree, 82% live in low-income families and 50% live in poor families.

At the root of these economic and academic issues is a relationship with type of resources that our minority youth have. An article from the Atlantic suggests that our young minority students are underfunded in public schools, which, coupled with low-income neighborhoods, leaves our schools unable to keep students actively engaged. Mentor groups, however, can combat this.

Yet...

Did You Know...

Did You Know...

In Pennsylvania,

Schools typically discipline students’ misbehavior by suspending them, which sends a message that they are not wanted. This model of discipline tends to make an atrisk student’s situation worse.

public schools with just a few more minority students receive less funding than schools with 100% or 95% white students.

Very helpful if less than a year

33%

67%

https://txssc.txstate.edu/topics/youth-leadership/articles/positive-effects-of-youth-engagement https://www.usnews.com/news/articles/2015/07/06/its-official-the-us-is-becoming-a-minority-majority-nation

http://www.education.ox.ac.uk/wordpress/wp-content/uploads/2010/07/Young-people-at-Risk-of-Drop-Out-from-Education.pdf

https://www.sentencingproject.org/publications/race-and-punishment-racial-perceptions-of-crime-and-support-for-punitive-policies

Did You Know...

45%

of all at-risk youth

with a mentor are

enrolled

of young adults found that their mentoring relationship was very helpful if it lasted for a year or more versus 33% who thought it was helpful when the relationship lasted less than a year.

in some type of post secondary

education.

Positive Behavior

THE

http://schoolengagement.org/school-engagement-services/at-risk-youth/

https://www.theatlantic.com/business/archive/2015/09/public-school-funding-and-the-role-of-race/408085/

67%

“Research has shown that youth who are engaged in their communities are less likely to use drugs and alcohol, less likely to drop out of high school, and less likely to be involved in criminal behavior.” - The Positive Effects of Youth Community Engagement (Texas State)

https://www.prb.org/working-poor-families/ http://www.nccp.org/publications/pub_1194.html http://www.mentoring.org/images/uploads/Report_TheMentoringEffect.pdf

Did You Know...

Black, American Indian, and Hispanic children are disproportionately low income and poor. 18-21% of children under 6 years old in the Bronx live in deep poverty.

Very helpful if a year or longer

Sources http://www.nccp.org/publications/pdf/text_1190.pdf

Yet...

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Community Engagement

w...

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