PORTFOLIO A 15 Week Journey
Does it Fly?
Syntax & Semantics
Great Ideas Poster
Logos - Wizard of Oz
Extra Portfolio Work
Statement of Intent
PROCESS JOURNAL // Olivia Allison // 2
Hello! My name is Olivia Allison and this is my process journal. This journal is a walk-through of my Spring 2018 semester in Art 205, Foundation Design Methods class. This journal records 15 weeks of entries, WIPs, and revisions, for a total of five finished designs. Iâ€™ve also included some previous portfolio work that has been created outside of this class. These projects vary from packaging to magazine ads. What I love about this journal is not only seeing my design process but seeing the overall progress from my first day in class (as well as older design projects) to my final project.
PROCESS JOURNAL // Olivia Allison // 3
PROCESS JOURNAL // Olivia Allison // 4
PROJECT 1 DOES IT FLY ? I began the process of creating my paper aircraft design by researching different paper models, testing weights of paper, experimenting with the different designs, and assembling my versions of an aircraft. It proved to be harder than I had imagined because most of my beginning airplane designs often became too front heavy or the proportions would be off, and the plane would sail straight into the ground. I searched through numerous paper aircraft video tutorials trying to pick out different aspects of airplane designs I liked and then I attempted to imitate the model on an 8.5in x 8.5in piece of paper instead of the standard letter size paper. The size of my paper was frequently a problem for me as I tried to figure out how to adapt and scale down designs to fit my paper as many tutorials led to my plane becoming short and bulky. This issue led me to try and find the lightest paper rather than the thicker colored papers I had been experimenting with to compensate for this problem.
PROCESS JOURNAL // Olivia Allison // 5
PROCESS JOURNAL // Olivia Allison // 6
After multiple attempts and many failures, I finally went back to the basic (and most common) paper airplane model. What makes a paper airplane aerodynamic and how can I recreate this on a smaller scale? What attributes help the plane glide for longer distances? Instead of just having a cool plane, I needed it to work, so by recreating the classic paper airplane design, I was able to get an idea of what characteristics made the model aerodynamic. I began using this foundation to restart my design process and start stylizing new designs and introducing new features based on the classic style. For my finished product, I used the classic airplane wingspan and designed the front to resemble more of a space shuttle. The aircraft is made with standard printer paper (as this was the lightest paper I had) and didnâ€™t way down the plane as much as other papers. I decided to design the front of the craft to be shorter than the average paper plane so that the model wasnâ€™t just a pair of wings. Because I was able to make the front half of the wings shorter, I was able to make the body and the wings longer and broader. This adjustment led to my aircraft becoming more aerodynamic and more adept at flying farther.
PROCESS JOURNAL // Olivia Allison // 7
PROJECT 2 SYNTAX & SEMANTICS Syntax and semantics was an interesting concept to explore because I had never come across these terms before. Though straightforward in what these words mean (what a form is and what it represents), it was interesting to really take time and identify a subject and what itâ€™s connotations and denotations mean to me versus someone else. I chose a subject that would allow me to stray from the classic catalog format and experiment with a variety of layouts that were inspired by menu designs or food blog inspired layouts. I began sketching out different possible layouts and organizing images in different ways with image hierarchy in InDesign. After I chose my layout, I purposefully looked for images that shared similar color palettes and photographic style. Most of my time for this project was spent working with a variety of typefaces. I began experimenting with different fonts, what fonts complimented each other and what contradicted. After my layout was chosen, I knew that I wanted to have a thicker, bolder text for my headers and slim, sleek text for my body copy. I worked with a variety of different fonts, styles, and weights; from serif to sanserif and bold to hairline. I finally settled on the font Big John for my header and Lato Regular for my body copy. I feel like this pairing was successful for my design because Latoâ€™s lighter, thinner characteristics complimented the heaviness of Big John.
PROCESS JOURNAL // Olivia Allison // 8
PROCESS JOURNAL // Olivia Allison // 9
PROCESS JOURNAL // Olivia Allison // 10
PROJECT 3 GREAT IDEAS POSTER There were so many ideas and paths to explore but, in the end, I went with a more straightforward, simple approach with this quote. I chose a ripped page to add some texture to this piece instead of having a static black and white rectangle look. I liked how the ripped page is placed over the black, almost like the black is peeking out from underneath the torn page. This signifies to me the “hidden evil” or the evil we try to make “good.” I broke the quote up into two parts to make the composition more interesting and to lead the viewer from the white (what we perceive to be more good) to the black (what we might view as less good.) I used a serif font that reminded me of an old book to compliment the look of the torn paper. I used a brighter red to emphasize the purpose of the quote, that evil is still evil.
PROCESS JOURNAL // Olivia Allison // 11
In the beginning stages of The Great Ideas poster, the thumbnails started out a bit rough regarding my attempt to nail down a concept that appropriately symbolized my chosen quote. The primary goal of this poster was to convey the message of this quote to the reader and to leave an impact. To accomplish this and get a foothold on a concept, I made word lists, asked people what the quote meant to them, as well as researched the context surrounding the quote. When trying to come up with a design for this quote, I realized that though this quote is straightforward, it has a complexity about it as well. I feel like this quote is direct in the aspect of being entirely accurate and relatable, but it is complex as it can be applied to multiple scenarios in life. So, the question for me was figuring out what direction I wanted to take with this quote.
PROCESS JOURNAL // Olivia Allison // 12
PROCESS JOURNAL // Olivia Allison // 13
“A heart is not judged by how much you love; but by how much you are loved by others.” - L. Frank Baum
PROCESS JOURNAL // Olivia Allison // 14
PROJECT 4 LOGOS Week six was the start of a new projectâ€”character logos. The movie that I chose and created character logos for was The Wizard of Oz. I was excited to dive into research about the movie, from watching the film to understanding character dynamics and personalities, to physical characteristics about the characters. It was interesting taking a research approach to these characters because you notice things about the film you may never have seen before. I ended up selecting the characters Dorothy and the Wizard of Oz for the project. It was a challenge to figure out how to condense such complex characters and their stories into a single mark. I wanted to do them justice and be as clear as possible without creating a clichĂŠ logo.
PROCESS JOURNAL // Olivia Allison // 15
PROCESS JOURNAL // Olivia Allison // 16
Week 6 was also a week of brainstorming, sketching, while continuing to study the Wizard of Oz. While I explored multiple characters during the brainstorming process, I decided to focus on developing logos for Dorothy and the Wizard of Oz. I experimented with not only creating logos that displayed certain physical or material aspects of the character but also learning how to merge certain characteristics together. I really liked the idea of using negative space to create a simplistic yet clever logo. In terms of creating a logo based on a common characteristic, I tried designing them to in a more abstract way to become more interesting and less obvious. This brought about the challenge of making sure the logos did not become so abstract that they lost their sense of identity and recognizable features.
PROCESS JOURNAL // Olivia Allison // 17
It was an enjoyable experience studying the Wizard of Oz because before this project, I donâ€™t even remember the last time I watched the movie. So, it was fun to re-watch the film and really absorb the filmâ€™s message and each characterâ€™s physical characteristics and personality. This project was a good reminder (and refresher) that there are so many steps in creating a logo for a character and really learning how to dive into the heart of their identity in order to capture them in one image. It was interesting to create logos for these characters because it made me take a step back and question how do I create a design that is instantly recognizable? It was another challenge to not only design a suitable icon to represent these characters but to also find the appropriate colors and complementary type. In order to ensure that I stayed true to my chosen characters identities, I created mood boards full of pictures of Dorothy and the Wizard, their predominant colors, and symbols to pull inspiration from.
PROCESS JOURNAL // Olivia Allison // 18
PROCESS JOURNAL // Olivia Allison // 19
I have revised the Wizard of Oz logos from their submitted form to try and create a clearer, more effective design. In the Dorothy logo, I thickened up the half circle that encloses around the house as well as the outside rainbow line. I also darkened up the color blue on the outside to add a little more contrast and make the outside of the rainbow easier to see. The word Dorothy was shifted down away from the logo itself to give a little more breathing room between the two objects.
PROCESS JOURNAL // Olivia Allison // 20
With the Wizard of Oz logo update, I brought up the size of his mustache and made his hat smaller in order to emphasize Ozâ€™s main feature. I also added more negative space between the two mustache shapes to make the overall mustache easier to see as the logo gets smaller. I shortened the hat and made the eyebrows smaller to compensate for the larger size of the mustache as well as adding visual hierarchy. The jaw of Oz was also redrawn to have a more cohesive, organic look and match the rest of the logoâ€™s style. PROCESS JOURNAL // Olivia Allison // 21
PROCESS JOURNAL // Olivia Allison // 22
PROJECT 5 BOOK COVER When I first read my title, “The Social Fabric in the Digital Age: The Change in Community and Personal Interactions in a Mediated world,” I immediately thought of social media and technology. Social media specifically has made a dramatic impact on the way people around the world communicate with each other—the social fabric. I used the anonymous Facebook person as the main subject because it’s not directed at any one group; it can represent anyone. In the background, I used a variety of symbols from social media and technology to represent the new ways in which we connect with each other (the changes). I designed these elements into a pattern and gave the symbols dashed lines to echo old sewing outlines; a tribute to the fabric part of the title. The break in the symbols can also represent how technology is ever-changing, nothing is completely static.
PROCESS JOURNAL // Olivia Allison // 23
When working through the concept matrix and rough sketches, I messed around with how to weave fabric (or textures in general) into the digital world. One of the concepts I chose to explore (and later went with) was the anonymous Facebook person. I liked this figure because it’s an understated figure that we’ve seen so often we tend to forget it’s there. This figure is an iconic symbol of social media and is an applicable character to each and every person, young or old. I decided to pursue to social media route because to me, that has become the new social fabric of society.
PROCESS JOURNAL // Olivia Allison // 24
Above are examples of my design process roughs leading up to my final design. I drifted away from incorporating fabrics into my design but shifted towards adding a grainy texture to the cover. In the background, I have gone about adding faded social/ digital icons to add some texture and reinforce the “Social Fabric” and the change in human interaction. I considered incorporating older symbols of technology into the cover’s background but decided to stick only with new technology symbols to emphasize the change—the unfamiliar to older generations.
PROCESS JOURNAL // Olivia Allison // 25
EXTRA PORTFOLIO This page contains outside work from other classes as I am a transfer student. On the bottom of this
page (26), you will find my book cover “The Great Man” on the right and “time.” on the left. The book cover was a redesign of the book “The Great Man” by Al Morgan. The purpose of this project was to redesign the Great Man’s book cover in the artistic style of a chosen artist, mine being Alexey Brodovitch. I tried to keep a clean black and white style for the cover because a majority of Brodovitch’s work is black and white. I involved the use of photographs since Brodovitch was also a photographer. I used the text contouring on the back of the book to imitate his type style. This cover was kept with a 1950s influence based of the book being written in 1956 and Brodovitch working with Harper’s Bazaar Magazine from 1936-1958.
PROCESS JOURNAL // Olivia Allison // 26
Above in the right hand corner of this page (27), is my Wander Tea House branding (Magazine ad, packaging, and brochure). This branding project (as well as the patterns and colors) was inspired by different countries, their culture, and the desire to travel and experience these places. The packaging itself is designed in travel tin style so it would be easy to pack. The brochure was designed as a travel journal to keep with the world-wide inspired theme. The magazine ad is one of three (one ad for each flavor) and represents how drinking this tea, depending on which flavor, transports you to the country that inspired the flavor.
PROCESS JOURNAL // Olivia Allison // 27
STATEMENT OF INTENT
I didn’t always want to be a graphic designer. In fact, up until about three years ago, I didn’t even understand what graphic design was let alone actually pursue it as a career. After I graduated from high school, I was focused solely on becoming a professional photographer and opening my own business. As I moved through my college career, I was introduced to the world of graphic design in my first typography class. At the beginning of that class, I wasn’t sold on graphic design, but by the end of that semester, I was hooked. Over that semester (Fall 2015, Ivy Tech Southern Indiana) as I studied the various letterforms, poster designs, and more; I was intrigued by all the different opportunities that graphic design offered. That class, along with some encouraging teachers, pushed me towards pursuing graphic design as my future area of study. After I finished my photography courses in Fall 2015, I took my first graphic design course the following Spring. After completing the design program, I graduated in May 2017 with an Associate Degree in Visual Communication. After interviewing with some local graphic designers and consulting with my Ivy Tech professors, I decided to continue my education and pursue a Bachelor’s Degree in graphic design. I’m applying to the BFA program to grow stronger as a designer, to learn how to communicate ideas and thoughts more clearly, to create more impactful designs, and further enhance my existing portfolio.
PROCESS JOURNAL // Olivia Allison // 28
What I really love about this field is that it is everchanging, from the way current culture impacts design and design trends to various design projects based in different fields (web design, branding, etc.). Another aspect I love about graphic design is that it is intertwined with so many different fields which in return creates a variety of opportunities to create intentional, impactful work. I enjoy using graphic design as a creative outlet and producing work that Iâ€™m not only proud of and excited about, but also work that people can connect with. Overall, Iâ€™m eager to continue down the path of expanding my design knowledge in areas such as web design, print design, etc., and to learn more about the craft itself.
PROCESS JOURNAL // Olivia Allison // 29
t i do . d e r sca This quote is one of the best pieces of advice Iâ€™ve ever received. This quote represents what I want my life and career to be inspired by. I do not want the fear of failure to keep me from living.
PROCESS JOURNAL // Olivia Allison // 30
Body Text Droid Serif 8.5/16
Header Text Droid Sans Bold 18/23
Designed by Olivia Allison Spring 2018 University of Louisville Art 205 Foundation Design Methods PROCESS JOURNAL // Olivia Allison // 31
Olivia Allison, Spring 2018
Hello! My name is Olivia Allison and this is my process journal. This journal is a walk-through of my Spring 2018 semester in Art 205, Found...
Published on Apr 17, 2018
Hello! My name is Olivia Allison and this is my process journal. This journal is a walk-through of my Spring 2018 semester in Art 205, Found...