YIJUN ZHOU Graphic Design
Visual Literacy
4 - 19
Typography
20 - 55
Graphic Design
56 - 85
Drawing
86 - 101
V Visual Litercay
6
CIRCLE SQUARE TRIANGLE Project Description
Using the geometric shapes indicated as the focal point of each design, create identifiable images by adding other elements while maintaining the integrity of the given mark.
7
8
CIRCLE SQUARE TRIANGLE Project Description
Using the geometric shapes indicated as the focal point of each design, create identifiable images by adding other elements while maintaining the integrity of the given mark.
10
SOUND PROBLEM Project Description
Graphically present the sounds of the topics indicated. Consideration of the character of the sound in terms of its tempo, volume, duration, context, and color is essential. Although literal problem solving has its place in design, a graphic vocabulary must be expanded beyond a narrative voice. The use of metaphor, symbolism, abstraction and typography is encouraged.
Stampede
11
Glass Breaking
Shooting Gallery
12
SOUND PROBLEM Project Description
Graphically present the sounds of the topics indicated. Consideration of the character of the sound in terms of its tempo, volume, duration, context, and color is essential. Although literal problem solving has its place in design, a graphic vocabulary must be expanded beyond a narrative voice. The use of metaphor, symbolism, abstraction and typography is encouraged.
Roar of A Crowd at A Sports Event
13
Insect Hitting A Windshield
Stepping into A Pile of Leaves
14
Manhattan Bridge Area
MANHOLE COVERS Project Description
Use the graphic language of a manhole cover, more specifically the dimensional shapes, forms, patterns and typography that constitute these industrial iconic objects to create a series of manhole covers that depict New York City landmarks.
Times Square Area
New York Harbor Area
16
New York City Subway Area
17
MANHOLE COVERS Project Description
Use the graphic language of a manhole cover, more specifically the dimensional shapes, forms, patterns and typography that constitute these industrial iconic objects to create a series of manhole covers that depict New York City landmarks.
Flatiron District Area
Wall Street Area
18
SNOWFLAKE Porject Description
Each snowflake has six spokes emanating from a center focal point. Using only letterforms, design series of snowflakes using the schematic diagrams indicated. Type can touch, overlap, intersect or stand alone in the creation of the design.
T Typography
22
I use bold Helvetica to present my initials, which aer letter "Y" and "Z." To push the edge of letter "Z," I remove the upper bar of "Z," so that both letter have the same angled edge next to each other, whcih makes it easy to combine the two letters.
TYPOGRAPHIC MARKS - MONOGRAM Project Description Use only letterforms corresponding to first and last name to create a monogram or typographic “logo.” Fellow the rules: compositions should be black and white; these compositions may use computer but
the letters must stay as they are – solid shapes; the object is to merge the two letterforms into a unique, new “symbol” where both letterforms are legible but the totality is equally important.
In this case, I use a serif font to illustrate my initial letters "Y" and "Z." In order to combine the two letters, I rotate the letter "Y" to make it become the cross bar of letter "Z", meanwhile keep the nice serif curves.
I use Futura to create this monogram. Combining three letters "J", "Y", and "Z" together, stem of letter "J" combined with the stem of letter "Y", and the triangle become both part of letter "Y" and letter "Z".
24
Tension
Scale
MONOGRAM POSTERS
Project Description
Make final refinements to the monogram and apply it to posters for a show. Create five options for the poster. The five options should explore the following design ideas: scale, direction, color, tension, and volume. Each poster must include: the monogram, student's name, SVA Gallery, 209 East 23RD Street, New York City, March 15 – April 1, 2015. For the additional type to be used on the poster — try to be simple, clear, classic fonts such as Helvetica, Bodoni, Baskerville, Frutiger.
Direction
26
CONTRAST WITH TYPE Project Description Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping,
penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
Congression
28
CONTRAST WITH TYPE
Congression
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
30
CONTRAST WITH TYPE
Playful
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
32
CONTRAST WITH TYPE
Tension
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
34
CONTRAST WITH TYPE
Tension
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
36
CONTRAST WITH TYPE
Direction
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, and positve and negative, congression, playful, pattern, and tension.
38
CONTRAST WITH TYPE
Positive and Negative
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
40
CONTRAST WITH TYPE
Playful
Using only letterforms, create a series of square compositions. Each composition will explore an idea. Use a minimum of two letterforms or as many as you want. Compositions should be black and white. Carefully consider the following design principles: framal reference, detachment, touching, overlapping, penetration, cropping, repetition, illusionary space, and contrast of shape, size, and direction. The composition should reflect the following concepts: direction, scale, positve and negative, congression, playful, pattern, and tension.
42
EXPRESSIVE TYPE
Project Description
Begin by adding marks in black and white, or possibly cutting up each title. Be experimental. adding marks in small increments while trying to develop a progression. The marks added should be as neutral as possible, and should try not to relate to the actual letterforms they obscure. Throughout these progressions, try to push the word so that is is on the edge of being legible, not just to who know what it says, but to the general public. Part of this exercise is exploring how far the mind will go to “fill in the blanks� and find meaning in a typographic message. Also, try to connote a specific feeling - excitement, agitated, bored, etc.
43
44
45
TYPE ARRANGEMENT Project Description
Use text to create an interest and hierarchy composition with the simplest of means. Try to fellow the design principles: hierarchy, color, rhythm, and proportion. Also follow the rules: select a simple sans serif font like Avenir, Helvetica, or Futura; use one typeface, but you may use different sizes and weights. The composition must include all of the following text: "The most impressive sight I saw was not the moon, not the far side that we never see, or the craters. It was Earth. The Earth was the most impressive sight. As we came around the far side of the Moon and saw the Earth come up above the horizon, we could see the only color in our part of the Universe. The blues of the oceans, the white clouds, the tans, the pinks. I could put my thumb up and hide the Earth completely. Then it dawned on me how completely insignificant we are. Everything I had ever known - my family, my country, my world - was behind my thumb. — Apollo 13 Astronaut Jim Lovell."
46
Series Posters for Shakespeare's Plays Project Description
Based on what have discovered during the past three weeks about contrasts and page composition, create a series of 3 posters for shows coming to the Brooklyn Academy of Music. These will be a series — try to create a central idea and then apply to the three plays. The goal here is to create compositions where "type is image". Photographs and drawings may be used to integrate, as long as the focus of the poster is still typographic.
48
CITY LOGO HAND DRAWING Project Description Using only letterforms to design a city's logo, begin by setting it in a few different caps and lowercase situations in basic sans serif font and basic serif font. Looking for the “shape� of the word and the letter combinations. Instead of using computer to produce the logo, handdrawing is used to achieve the goal.
50
CITY LOGO HAND DRAWING Project Description Using only letterforms to design a city's logo, begin by setting it in a few different caps and lowercase situations in basic sans serif font and basic serif font. Looking for the “shape� of the word and the letter combinations. Instead of using computer to produce the logo, handdrawing is used to achieve the goal.
51
52
CITY LOGO POSTER Project Description
Design your hometown's logo with a concept that express your hometown's features and style and feelings. My hometown, Kunming, is an industral city with modern buildings and tall architectures. So I took the cityview as part of the element to design the logo, combine the bars of both letter N to give the logo a modern city touch.
54
PASTA PACKAGE DESIGN Project Description
Design a series of pasta boxes in the same design language, exploring the overall design concept and begin to tackle typographic hierarchy. Using only one font, utilize size and color.The De Cecco logotype will also be in the font and not be treated as a logotype. Constantly look at this project in three dimensions. Make sure the different panels work in terms of hierarchy and legibility.
G Graphic Design
58
Front
Back
59
PERSONAL IDENTITY DESIGN Project Description
Design my own logo and brand identity. The design includes my personal logo, busniess card, letter head, and envelop.
My Logo
Letterhead, Front and Back of Envelope
61
PERSONAL IDENTITY DESIGN Project Description
Design my own logo and brand identity. The design includes my personal logo, busniess card, letter head, and envelop.
62
AIR PLANE BRANDING IDENTITY DESIGN Project Description
The brand identity design includes employee's uniform, ID card, first page of cellphone's App, and airline boarding tickets.
PHOENIX AIRLINES Air Plane Logo
64
AIR PLANE BRANDING IDENTITY DESIGN Project Description
The brand identity design includes employee's uniform, ID card, first page of cellphone's App, and airline boarding tickets.
66
HOTEL BRANDING IDENTITY DESIGN Project Description
Design the brading identity for a hotel, including the logo, and hotel supplies.
MONDRIAN HOTEL
68
HOTEL BRANDING IDENTITY DESIGN Project Description
Design the brading identity for a hotel, including the logo, and hotel supplies.
70
CD COVER DESIGN Project Description
Design a CD cover for a musician or band.
Front
Back
72
HAYDEN PLANETARIUM MUSEUM POSTER Project Description
Design a poster for Hayden Planetrium museum for an upcoming event.
74
STAMP DESIGN Project Description
Using Chinese elements to design postage stamps. "USA 68" must be included in the stamp design. I use four typical Chinese style flowers as my design
elements. In addition, I use a stamp-styled way to illustrate "USA 68" to give it a touch of Chinese style while keeping the consistency in the design.
Chinese Heritage Month
Chinese Heritage Month
Chinese Heritage Month
Chinese Heritage Month
76
Magazine Cover
77
MAGAZINE DESIGN Project Description
Redesign the existing magazine "Cooking Light." The design includes cover and two pages spreads.
Magazine Spread
78
Front
Back
Front
CEREAL PACKAGE DESIGN Project Description
Redesign the package for Trader Joe's cereal series.
Back
Front
Back
80
BOTTLE DESIGN Coconut Milk
Design or redesign the packaging for a bottle, or a series of bottles. I took the company, named "Harmless Harvest" to redesign thier bottle package. The company's concept is fruits used to produce the drinks were harmlessly harvested. So I focused on the point of harmless to create a glass bottle with minimun information on the bottle to give the package sense of purity and no damage.
81
Front
Back
82
BOTTLE DESIGN Coffee
Design or redesign the packaging for a bottle, or a series of bottles. I took the company, named "Harmless Harvest" to redesign thier bottle package. The company's concept is fruits used to produce the drinks were harmlessly harvested. So I focused on the point of harmless to create a glass bottle with minimun information on the bottle to give the package sense of purity and no damage.
83
Front
Back
84
BOOK DUST JACKET DESIGN Project Description
Design the dust jacket for a book named "Murder on the Orient Express." In order to with the content of the book, I use the train and blood food prints as part of design elements.
D Drawing
88
GORILLA Project Description
Using gorilla shaped template and working with water color and acrylic paints to create a mixed media to present the banana paintings.
90
GORILLA Project Description
Using banana shaped template to create four different banana paintings. They have different textures, colors, and expressive styles.
92
GORILLA Project Description
Using banana shaped template to create four different banana paintings. They have different textures, colors, and expressive styles.
94
Complementary Colors
95
Analogous Colors
MOUNTAIN Project Description
Using different methods to present mountains. Color Feeling and Mood Effects - examine the difference in mood that differrent colors combination can produce. On the left side, it's a painting using complementary colors (blue, orange, and values.) On the right sides, it's a painting using analogous colors (red, red violet, violet, violet-blue, and values.)
96
97
MOUNTAIN Project Description
Using different method to present mountains. Using photoshop to present a 3D mountain.
99
FLATIRON
Project Description
Flatirion Building is one of the icon landmarks in NYC. It is famous for its unique iron-shape, and that is the reason of its name. Taking the concept that art works are inspired by objects in normal life, I created the booklet to present my concept of how Flatiron building shares similarity with flatirons. The project includes drawing of Flatiron building, and a four pages double-sided booklet.
100
FLATIRON Project Description Flatirion Building is one of the icon landmarks in NYC. It is famous for its unique iron-shape, and that is the reason of its name. Taking the concept that art works are inspired by objects in normal life, I created the booklet to present my concept of how Flatiron building shares similarity with flatirons. The project includes drawing of Flatiron building, and a four pages double-sided booklet.
THANK YOU!