Madison Weinberg Portfolio

Madison Weinberg portfolio

Hate

minizine

Hate I was asked to create a minizine with the topic of my choosing. We were tasked with creating a cover, advertisement, and creative piece as well as writing and designing an article and interview.

This project for me was to learn designing for the page versus designing for the spread. Sometimes seeing only one page at a time in a digital space you forget printed how these designs will look. As I navigated this new thinking I was also struggling with the idea for what the content would be. Then it struck me, I hate this project so why not fuel it with how I feel: hate. I was able to create a vibrant and edgy design, which was new and exciting for me to explore. I found that this ended up being one of my favorite projects for this class.

How’d it happen?: InDesign, Photoshop, Illustrator

Fruiti

coasters

This was a personal project that I did over quarantine to keep up with my design skills and the process of creating. Starting with simple rough sketches, to a refined sketch, and then into an illustrator document with complimenting mockups.

I have always loved designing with fruit, it’s the most basic yet classic model for an artist. Putting my own spin on this classic art form was a real big stress reliever over that difficult time.

How’d it happen?: Illustrator

Fruiti

Better World flyer

Better World Design

Conference This project was to create a flier for a Better World Design conference that would be taking place in the Bowen center. I was really wanting to practice my drawing skills in illustrator and landed on the inspiration of an art deco travel poster.

With that in mind, I took my own photos to get the perfect angle of the building and sketched it up on illustrator, and later added in some of the providence skyline to the background of the main building.

How’d it happen?: Illustrator

March 11 10:00am 75 Chestnut St, Providence, RI 02903

Krescent album

Krescent I was hired to create an album for this band. I was given the constraints of strictly photography for this album. I had gone to a show in Asbury Park, New Jersey at the stone pony stage beforehand and shot the band’s performance on a film camera. Later uploading the images had an unexpected blur effect to them, just what the band was looking for! Playing around in photoshop, I was able to create some really cool effects that inspired the rest of the designs.

How’d it happen?: Photoshop, InDesign, film photography

Coffee Time energy bar

Coffee Time This project was one of my first goes at package design about four years ago. Though it was great for the time, it needed a makeover. With the new skills I learned over the years I was able to create a clean and peaceful design. I wanted to create something you would see in a whole foods and this perfectly emulates that.

How’d it happen?: Photoshop and Illustrator

36 days font

36 days I was For this project we were prompted to explore fonts as shapes. Using Adobe Illustrator I started with a simple oval shape to create my letter forms. I wanted this type face to be fun and colorful and pulled bright pinks and a dark blue gradient background to compliment. Originally I wanted to try and explore all different ways to create a font, but I decided to challenge myself and stick with the theme I had already started. This is where I began posting my designs on Instagram and got a lot of great responses for what I was creating.

How’d it happen?: Illustrator

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instagram

Your Story

Lorem

Ipsum

maddiepw.art

Liked by Lorem and 2 others

Dolor

Sit_Amet

Success

photo series

Define Success This was for my photography class and I found this project to be really relieving. I felt really understood through this lens, and as a designer that’s a very important feeling for me. I wanted to express how true success is only worth it if you have someone to share it with, and the journey of finding that person. A new relationship starts out bright and hopeful of new possibilities, but as time goes on these relationships can burn out. This process is painful and sad but in the end there is always a light at the end of the tunnel.

How’d it happen?: Digital Photography

Swift Hotel mobile app

Swift Hotel This was an app for a hotel catering to Taylor Swift fans. It was required to have a launch screen, mobile food ordering, and checkout page. This was created fully in xd to practice our comprehension for the ease of the user. I really enjoyed this project and had the extra time to create two extra pages, one for different amenities the hotel had to offer, and one for exclusive merchandise that the hotel would have in the lobby.

How’d it happen?: Adobe XD

Helvetica Neue typeposter

Helvetica Neue This project was to create two very different designs for the same typeface. These posters had to include the type anatomy, history, complete alphabetical and numbers, and all the variations this font has to offer. I chose to explore Helvetica Neue, created by D Stempel AG. This is one of my favorite goto fonts and luckily I don’t hate it after this project. With the very different designs I wanted to draw inspiration from the time frame of when its inspiration, Helvetica, was released. 1957 designs that inspired this font were focused on primary colors and shapes. For my second poster I drew inspiration from Helvetica Neue, which was released in 1983. This area of design was playing with bright popping colors and playing with cut outs.

How’d it happen?: Illustrator

“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technologies improved, these limitations were removed, allowing total design freedom”

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1. terminal 2. bowl 1 3. spur

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ultra light ultra light italic thin thin italic light light italic regular italic medium medium italic bold bold italic condensed bold condensed black

HELVETICA HELVETICA NEUE NEUE

“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was released in D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions and spacing, all of which1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions and were sometimes compromised in earlier versions of the fam“Neue Helvetica was a re-working of the 1957 design in order to unify itsspacing, all of which were sometimes compromised in earlier versions of the fam“Neue Helvetica was a re-working of the 1957 structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements includeddesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comadjusting character weights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family inpany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised order to comply with inherent limitations of typesetting technologies of the day. As technologies improved, these limitations werein earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloremoved, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weightsgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting characterdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comweights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family in order to comply withpany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised inherent limitations of typesetting technologies of the day. As technologies improved, these limitations were removed, allowing totalin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technolodesign freedom”“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and wasgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions anddesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comspacing, all of which were sometimes compromised in earlier versions of the family in order to comply with inherent limitations ofpany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised typesetting technologies of the day. As technologies improved, these limitations were removed, allowing total design freedom”“Neuein earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloHelvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by D.gies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions and spacing, all of whichdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comwere sometimes compromised in earlier versions of the family in order to comply with inherent limitations of typesetting technologiespany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised of the day. As technologies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-work-in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloing of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’sgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 daughter company. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes com-design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter compromised in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As tech-pany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised nologies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technolodesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company.gies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised in earlierdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comversions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technologies improved,pany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 design in order to unifyin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloits structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements includedgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 adjusting character weights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family indesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comorder to comply with inherent limitations of typesetting technologies of the day. As technologies improved, these limitations werepany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weightsin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloand widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting charactergies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 weights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family in order to comply withdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter cominherent limitations of typesetting technologies of the day. As technologies improved, these limitations were removed, allowing totalpany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised design freedom”“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and wasin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloreleased in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions andgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 spacing, all of which were sometimes compromised in earlier versions of the family in order to comply with inherent limitations ofdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comtypesetting technologies of the day. As technologies improved, these limitations were removed, allowing total design freedom”“Neuepany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by D.in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloStempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proportions and spacing, all of whichgies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 were sometimes compromised in earlier versions of the family in order to comply with inherent limitations of typesetting technologiesdesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comof the day. As technologies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-work-pany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised ing of the 1957 design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’sin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technolodaughter company. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes com-gies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 promised in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As tech-design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comnologies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957pany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company.in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloRefinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised in earliergies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technologies improved,design in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comthese limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 design in order to unifypany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements includedin earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technoloadjusting character weights, proportions and spacing, all of which were sometimes compromised in earlier versions of the family ingies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957 order to comply with inherent limitations of typesetting technologies of the day. As technologies improved, these limitations weredesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter comremoved, allowing total design freedom”ily in order to comply with inherent limitations of typesetting technologies of the day. As tech-pany. Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised nologies improved, these limitations were removed, allowing total design freedom”“Neue Helvetica was a re-working of the 1957in earlier versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technolodesign in order to unify its structure, weights and widths, and was released in 1983 by D. Stempel AG, Linotype’s daughter company.gies improved, these limitations were removed, allowing total design freedom”ily in order to comply with inherent limitations Refinements included adjusting character weights, proportions and spacing, all of which were sometimes compromised in earlierof typesetting technologies of the day. As technologies improved, these limitations were removed, allowing total design versions of the family in order to comply with inherent limitations of typesetting technologies of the day. As technologies improved,freedom”“Neue Helvetica was a re-working of the 1957 design in order to unify its structure, weights and widths, and was these limitations were removed, allowing total design freedom” adjusting character weights, proportions and spacing, all of whichreleased in 1983 by D. Stempel AG, Linotype’s daughter company. Refinements included adjusting character weights, proporwere adjusting character weights, proportions and spacing, all of which were sometimes compromis sometimes compromistions and spacing, all of which were sometimes compromised in earlier versions of the family in order to comply with inherent

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