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REFLECTION ON PROCESS Yena Jeong Monogram Fall 2018 Fall 2018 » Monogram » Research


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RESEARCH

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DISCOVERY

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REFINEMENT

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CRITICISM Fall 2018 » Monogram » Research

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For this project, I created a monogram and business card based on the trans-media artist April Greiman. She was seminal in the early 70’s and 80’s in the field of graphic design in the United States, ushering in a “New Wave” aesthetic that used computers for design. To start, I gathered visual imagery related to Greiman.

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Yena Jeong


Initial visual research, continued

Fall 2018 Âť Monogram Âť Research

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Initial visual research, continued

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Yena Jeong


Fall 2018 » Monogram » Research

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In particular, I noticed that she used a lot of patterns and textures in her work, as well as primary colors. She also used geometric shapes quite frequently in her work, showing a Swiss design reference.

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Yena Jeong


Fall 2018 » Monogram » Research

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Yena Jeong


At first, I created sketches with letterforms reminiscent of Greiman’s frequent use of geometric shapes; they were quite blocky.

Fall 2018 » Monogram » Discovery

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Sketches (cont.)

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Yena Jeong


Sketches (cont.)

Fall 2018 » Monogram » Discovery

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Preliminary black and white monograms, based off of the sketches.

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Yena Jeong


More experimentation in color and iterations.

Fall 2018 Âť Monogram Âť Discovery

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For a while, I worked with this design with the overlapping blocky forms of the “A” and the “G”; however, the overlap obscured the readability of the two characters.

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Yena Jeong


Fall 2018 » Monogram » Discovery

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Pulling from an initial design I had made, I added overlap and varying color elements to show distinct letterforms in this variation of the monogram.

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Yena Jeong


At this point, I kept the overall composition of the elements the same but experimented by swapping out different shapes and colors.

Fall 2018 Âť Monogram Âť Refinement

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I settled on the monogram with the geometric shapes and proceeded to make business cards that matched the monogram. These first business cards lacked typographic consideration but aligned with the colors of the monogram.

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Yena Jeong


More business card explorations

Fall 2018 Âť Monogram Âť Refinement

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More business card explorations (continued)

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Yena Jeong


More business card explorations (continued)

Fall 2018 Âť Monogram Âť Refinement

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More business card explorations (continued)

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Yena Jeong


More business card explorations (continued)

Fall 2018 Âť Monogram Âť Refinement

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At this point, I narrowed down the design to the one above but adjusted the color for printing purposes.

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Yena Jeong


Final monogram at 3.5in and 1in scales

Fall 2018 Âť Monogram Âť Criticism

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The feedback given during the critique for my business card was mostly positive, centering on the inclusion of texture into the monogram and collaged elements that seemed to reflect Greiman’s title as a “Trans-media artist.” Viewers wrote that the monogram was “very legible,” even though it didn’t use distinct letterforms.

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Yena Jeong

Another aspect of feedback that I received noted that the leading between the lines of text as well as the text sizes seemed to vary just enough to be uncomfortable. I had meant for the variations to denote hierarchy of elements, but there was not enough variation for this point to come across to viewers.


Close-ups of the font and textures

Fall 2018 Âť Monogram Âť Criticism

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Mock-up of the business cards

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Yena Jeong


Fall 2018 Âť Monogram Âť Criticism

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Yena Jeong


Fall 2018 Âť Monogram Âť Criticism

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Profile for Yena

Greiman Monogram Process Book  

Greiman Monogram Process Book  

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