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GRPH

221

Beginning Graphic Design University of Nebraska, Lincoln Fall Semester 2013

Jordan Scribner


Table of Contents

Exercise

01

Billboard as Messaging Center 01 Image Studies 02 Finished Billboard

Project

01

Form as a Typology / What is Graphic Design? 03 Project Brief 04 Matrices 05 Grid #1 06 Grid #2

Exercise

02

Visible Signs + Visual Research Quiz

07 Literature 08 Quiz

Project

02

Form as Language / Designing Visual Communications 09 Project Brief 10 Image Studies 11 Image Based Art 12 Line Art 13 Posters 14 Posters Cont’d.


Table of Contents

Project

03

Form as Identity / Logo Transformation 15 Project Brief 16 Image Studies 17 Logo Transformation 18 Logo Transormation Cont’d.

Exercise

03

Color + System 19 Color Scheme Studies 20 Color Scheme Studies Cont’d

Project

04

Form as System / Working with a Typographic Grid 21 Project Brief 22 Image Studies 23 Manual Products 24 Digital Products

Exercise

04

Graphic Design History / Authorship 25 Wolfgang Weingart Poster


Exercise 01

Billboard as Messaging Center

01 Image Studies


Exercise 01

Final Billboard 02


Project 01

Form as a Typology / What is Graphic Design?

03 Project Brief

This particular project led me to the Gateway Mall of Lincoln, NE, where I found the problem of a very capitalist side of design and worked to connect the way that design in advertisement manipulates us to move around a space and make decisions coincides with how the same design moves us to spend money or see money in certain objects. To provide a solution, or at least a connected point of view, I have first created three matrices that explore the various ideas that go into and come out of modern currency, attempting to expose how we look at money and where we see it in our everyday lives. I then provide a theme of the techniques that design uses to lead a person from place to place, particularly from store to store and from product to product. Finally, I created a second theme moving more in depth on the use of a specific historical period, in this case, ancient Asia, which is appropriated in order to direct people’s perceptions and provoke them into buying these particular products. I believe that the grouping of these images and their context while surrounding each other is fairly successful in at least providing awareness of the paradigms that lead people in their daily shopping experiences.


Project 01

Matrices 04


Project 01

05 Grid #1


Project 01

Grid #2 06


Exercise 02

Visible Word+ Visual Research Quiz Through a series of readings and quizzes, we explored the various concepts of graphic design described in our textbooks. Visible Signs by David Crow practically applied the same techniques of graphic design that it described in order to portray the use of semiotics in the visual arts; Visual Research by Ian Noble and Russell Bestley demonstrates the various practical methods used in gathering research and images for use in graphic design as well as providing an in-depth historical background to the field.

07 Literature


Exercise 02

Quiz 08


Project 02

Form as Language / Designing Visual Communications

09 Project Brief

In this project, I studied various printed images in order to convey the meaning of the word connaturally, which is defined as things being of similar nature or as the philosophical concept by Thomas Aquinas as reason that is formed by experiencing senses rather than pure reason. As I was collecting images I found that the ones that were the most successful in expressing this kind of relationship were various vinyl album covers. Genres of music expressed through a person’s library of albums often express a sort of connection in theme that brought forth a seamless relationship which I sought to exploit. Using isolated black and white versions of this album artwork, I was able to develop a template for a series of line art expressing both an interconnected style as well as an experience of the senses as described by Aquinas. To achieve this, I explored a couple of different routes in the same general theme of the experiences one might feel via their senses in stereotypical scenes of nature. Using the simple line art studies that were truly only related by their soft angles and representations of natural shapes, I combined them into scenery of trees, rivers, caves, and animals. I drew further inspiration from these albums by using covers from Resistance by Muse and Walk the Moon by the band of the same name. Both of these albums provided a particularly adept use of layering as well as natural scenery which I picked apart to develop several compositional variations for my line art.


Project 02

Image Studies 10


Project 02

11 Image Based Art


Project 02

Line Art 12


Project 02

Connaturality

Connaturality

13 Posters


Project 02

Connaturality

Posters Cont’d. 14


Project 03

Form as Identity / Logo Transformation

15 Project Brief

In order to further understand the often simplistic designs of brand logos, this project prompted us to destroy, disrupt, and otherwise redesign logos to completely change their meaning. By working with simple black and white forms that we could break apart digitally or manually, focus was detracted from any outside factors such as color or obvious texture which made it even easier to create movement as the objects were blown apart and reassembled according to their own sense of physics. In my studies, I began with a logo which almost resembled a drop of water, almost appearing as a logo for an oil company due to its blackness. After tearing apart the image, I allowed them to fall naturally and tried to imitate a realistic sense of gravity. Once the layers of the droplet formed back together, they opened up more and created a sort of leaflet, which could either change the message completely by representing some sort of natural anti-oil organization, or it could still represent the same message as a biodiesel company. The examination of how completely just altering an image slightly could change a message, or how a message can stay the same even while the image is completely different provides a great insight into the importance of minute differences in an image. The representation that an entire brand can choose is completely dependent on the precision that goes into knowing how consumers will view the image.


Project 03

Image Studies 16


Project 03

17 Logo Transformations


Project 03

Logo Transformations 18


Exercise 03

Color + System

19 Color Scheme Studies


Exercise 03

Color Scheme Studies Cont’d. 20


Project 04

Form as System / Working with a Typographic Grid

21 Project Brief

For me, this project was a very literal example of thinking outside the box. Learning to work graphically using a grid without being constrained by it is an incredibly important aspect of working with page layout. For the images that I used in this project, I investigated several different forms of special interest magazine, noticing many distinctions of type, value, and graphic shapes that change between interests such as gardeners, celebrity tabloids, businessmen, car enthusiasts, and video gamers. I based my study on a collection of images from video game magazines due to their cohesiveness throughout various issues as well as their drastic contrast between text and shape. As I disassembled these images using similar techniques to the third project, I found a lot of interesting changes between working in analog with knives and glue and working digitally when it comes to the grid. When working in analog, I felt much more decisive in my actions due to the inability to simply step backwards while working digitally had the advantage of controlling the layering and value of the images to a much more precise degree. In my analog studies, I found it much easier to make more interesting shapes and combinations while the digital studies were much more formal, but much better crafted. To the degree of the value achieved in these images, I feel that the typography I found in these video game magazines were very successful in creating a full range of value between black and white, which was very helpful when I used them to create fully expressed shapes and forms that completely abstracted from the type.


Project 04

Image Studies 22


Project 04

23 Analog Products


Project 04

Digital Products 24


POSTMODERNISM (1970-2000)

Graphic Design History / Authorship

WOLFGANG WEINGART

Exercise 04

Wolfgang Weingart is a German graphic designer credited as the progenitor of New Wave typography. According to Weingart, “I took ‘Swiss Typography’ as my starting point, but then I blew it apart, never forcing any style upon my students. I never intended to create a “style.” It just happened that the students picked up- and misinterpreteda so called ‘Weingart style’ and spread it around.” -(http://www.designhistory.org/PostModern_pages/NewWave.html)

Born in Southern Germany in 1941, Weingart spent his younger years learning applied graphic arts and typesetting from the Merz Academy as well as an apprenticeship at Ruwe Printing. Hewas seen as influential through his work as a teacher and philosopher, teaching advanced programs for graphic design at the Schule für Gestaltung Basel where he used what were oftentimes described as vague and expressive methods that led his students to lead innovation in New Wave/Swiss Punk typography.

“All of us face the problem of a differential fit between how we see ourselves and how others see us. Where we try to solve this problem individually it can lead to isolation, but solving the problem collectively offers us a new perspective on the situation.”

25 Wolfgang Weingart Poster

-Crow, David, Visible Signs, pp. 106


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