CMD速
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CMD 281
W
FALL 2013
This assignment involves cropping out as much of a letter form as possible while leaving enough to allow its identification as a typographic character. This assignment brings focus those qualities of a letter that make it unique to itself. The characters I chose to do were lowercase “t” in baskerville, uppercase italicized “w” in gill sans, and uppercase “k” in didot.
CMD 281 FALL 2013
This assignment involves the fabrication of typography in three dimensions. We were asked to build a letterform from white paper, bristol board and foam core. The end result must look flawless. I chose to do an uppercase “f� in rockwell.
kk
k
CMD 281 FALL 2013
By arranging multiple copies of the same letterform, we can create a form different from the letterform. This arrangement can achieve new visual strength or symbolism. This project was created by hand using carefully cut adhesive paper.
HH
AA A
AA A
HH
stepping with k k
k
There are four distinct subgroups that serif typefaces belong in. The first one is old style, which dates back to 1465. Old style serifs are based on a diagonal stress, with the thinnest parts of letters at an angle. They also will have slight differences between thick and thin line contrast and are very readible. These typefaces are often reminiscent of human handwriting, which is where they were derived from. Garamond and Centaur are old style fonts. The second category is transitional, or baroque, serif typefaces. These first came about in the mid-18th century and are one of the most common, such as Times New Roman and Baskerville. They are a transition between modern and old style, hence the name “transitional.” Thick and thin lines are more pronounced than in old style, but they are still less dramatic then in modern serif fonts. Next comes modern serif typefaces, which emerged in the late 18th century and are associated with extreme contrast between thick and thin lines. They are vertically stressed with long serifs and minimal brackets. The serifs are thin while the letters’ vertical strokes are heavy. A couple of examples of modern fonts are Bodoni and Didot.
serifs step it up
CMD 281
This assignment involves the methods of organizing image and typography in a visual arena. We were asked to organize our cropped letterforms, letterform symbols and 3D letterforms in a poster format. We had to write a headline and body copy for each, as well as direct a conceptual photograph that will be incorporated into our layouts.
FALL 2013
sty
kk
ol
k k
kk
d
tra
le
ns
iti
so
on
There are four distinct subgroups
al
fs
that serif typefaces belong in. The first one is old style, which dates back to 1465. Old style serifs are
m
based on a diagonal stress, with the
od
thinnest parts of letters at an angle.
er
er
They also will have slight differences
n
between thick and thin line contrast and are very readible. These
ifs
sl
typefaces are often reminiscent of
ab
human handwriting, which is where they were derived from.
serifs stand out
gleaming on a gloomy day
There are four distinct subgroups that serif typefaces belong in. The first one is old style, which dates back to 1465. Old style serifs are based on a diagonal stress, with the thinnest parts of letters at an angle. They also will have slight differences between thick and thin line contrast and are very readible. These typefaces are often reminiscent of human handwriting, which is where they were derived from. Garamond and Centaur are old style fonts. The second category is transitional, or baroque, serif typefaces. These first came about in the mid18th century and are one of the most common, such as Times New Roman and Baskerville. They are a transition between modern and old style, hence the name “transitional.” Thick and thin lines are more pronounced than in old style, but they are still less dramatic then in modern serif fonts. Next comes modern serif typefaces, which emerged in the late 18th century and are associated with extreme contrast between thick and thin lines. They are vertically stressed with long serifs and minimal brackets. The serifs are thin while the letters’ vertical strokes are heavy. A couple of examples of modern fonts are Bodoni and Didot. Lastly is slab serif, or Egyptian serif. These typically have little to no contrast between line thickness. The serifs tend to be the same thickness as the letter itself and sometimes have no bracket. They have a bold, rectangular appearance, and some of them even have fixed widths, meaning the characters all occupy the same amount of horizontal space. Examples of slab serif typefaces are Rockwell, Clarendon and Courier.
k
Living in the competitive atmosphere of the modern business world can blind businesses to an important fact: cooperation is critical to survival. While we focus on outdoing our competitors, we must also keep an eye out for
Cooperation
opportunities to increase collaboration. Cooperation is the hallmark of human success. No other living species depends on group collaboration as much as humans. We have succeeded as a species because we have depended on each other. Protection from
HOSTILE OR VIOLENT BE HAVIORR S VIO UDE ER OR AT HAUD T TOWALER OR TTIT BE ATTI ESNOTH I OROATRDHA ST OLDEN AN O H VI W ER TO
predators or extremes of weather have been devised and constructed by cooperation among teams of workers. Even our knowledge system, passed on from individual to individual and from generation to generation is a monument to the capacity for collaborative effort among humans. Examples of cooperation are so prevalent in
KILL. .
SH CRU
our lives that we often overlook them.
Noncooperation: non-co-op-er-a-tion (noun): Failure or refusal to cooperate.
OY. DESTR
have you ever been in a crowded room?
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[ alone ]
ch one should eing isolated from a group or in which one should be b e i n g i sA olliaetneadt itfoer noom(rn aeo xugpnre)or: ui p n c e o f b e i n g i s o l a t e d f r o m a g r o u p T or iA n lw n e s ht ueyonus) h l: do ubled b e l o n g o r i n w h i c h o n e s h o u l d b e o ii tnerhovnieaoacwnlthsvhitoaeiaocn dcoeoht.ni(rovno(rieon l i e n a t i n o u n TA h e s t a t e x p e re)ir:eine cnec eo fo fb ebieni gn gi s ios loal taetde df rfor m a T h e s t a t e x p m r o bu ep o nl avho aetiricdcoaht. ninvo(ianntceyot uisvh o)tr:yui ledn cbee loofn gb eoi rn gi ni swo hl ai tc ehd ofnr eoom s h aoa ugglrd iTotnrlrhou gA ro i iveaeaopw n n s t a t e o r e x p e n a c t i v i t y cd h(. no on nue ens)hs: ho ou ul dl d b be el ol on ng g o or r i ni n wwh hi ci h c h o on ne e s h o u l d o bu ep A l i tei otnnovawotwhil ovhi ceni h T hs eh os ut al dt e boe r i en xv po el vr ei edn. c e o f b e i n g i s o l a t e d f r o m a g r o u p or an activity to which one should belong or in which one should be involvT e dl i. e n a t i o n ( n o upne) r: i e n c e o f b e i n g i s o l a t e d f r o m a g r o u p A otrho eawnshtaiacct htei vooinrt eye xs h ch one should be A l i e nAs atlhaiteietnonesvnatooat (rlitnvoeeeonxdoup(.rnne)eor: xiuepnne) cr: ei eo onu fcl deb oeb ifenl bog eniigsnogol rai tsieondl awftrheoidm T g r oa ugpr o u p othroai cacwhn otrho eawnT t ihvoai icncthteyi vos ihnt oey usl hd o bu el dl o bn eg l o nr gi no rw ihni cwh hoi cn he os hfnroaeoum sl hd o bu el d b e i n v o il n v ev do .l v e d . ns at at it oe no (rn eo xupne) r: i e n c e o f b e i n g i s o l a t e d f r o m a g r o u p wnl vh aei cdc ht. i vo int ey s h o u l d b e l o n g o r i n w h i c h o n e s h o u l d b e i e n a t i o n (rn eo xupne) r: i e n c e o f b e i n g i s o l a t e d f r o m g erwoshut iapct heo roo n a n ahc ot iuvl idt yb e l o n g o r i n w h i c h o n e ol iuelnda tbieo ni n(venoosl u ved. hg er osut ap t eo ro ar ne xa pcnet) ir: vi ei tnyc e o f b e i n g i s o l a t e d f r o m hoo uwl hd i cbhe oi nn ve o sl hv eo du .l d b e l o n g o r i n w h i c h o n e
, -jack’s mannequin
CMD 281 FALL 2013
I visually defined aggression, alienation, and noncooperation using form, typography, and image, and then combined each element to create three separate layouts. In the end, we had to assemble one of our words into a cube. This part of the assignment taught us the basic elements of how to organize visual and typographic informationon a three dimensional form.
Taste the whole picture at Palette Restaurant & Bar.
IP III palette
restaurant & bar
138 cambridge st. boston 617-821-3483
CMD 251 FALL 2013
Create a restaurant brand by developing the logotype and pictorally-driven and typographically-driven posters. My group’s restaurant, Palette, had a cuisince based on the five flavors: sweet, salty, bitter, spicy, and umami.
ever have a X
5
way? Toss out your eating inhibitions and let us tempt you with our 5 irresistible flavors.
IP III palette
restaurant & bar
138 cambridge st. boston 617-821-3483
P
IP III
palette
restaurant & bar
CMD 251 FALL 2013
We created a scale model of the assigned topic for our group. This was a walk-through display to be viewed by people at floor level. The specs were 24 by 24 feet and 12 feet high. The scale was 2 inches=1 foot. Our topic was social concerns in graphic design. Our exhibit included interactive as well as mechanical elements.
CMD 252 SPRING 2014
For this assignment, we had to pick one of the hundreds of uses of baking soda and create a whole new product out of it, complete with packaging, advertisement, and point-of-purchase. My product, FLEX, is a body odor neutralizer that eliminates odor instead of just covering it up. It is geared toward gym-going men to use post-workout, if they don’t have time to shower.
serial killers:
the theserial serialkiller killer next nextdoor door
there are
serial killers:
KILL AT LEAST 3 PEOPLE
3
ON 3 SEPARATE OCCASIONS
WITH A “COOLING OFF” PERIOD BETWEEN KILLS
2
ways to classify a serial killer:
EVEN THOUGH MOST SERIAL KILLERS HAVE ENDURED HARDSHIPS IN THEIR YOUTH, SOME HAVE HAD HAPPY AND HEALTHY CHILDHOODS; BUT, THEY WERE BORN WITH A
MENTAL DISORDER.
1. would you... neglect yourself
by society?
yes
asocial
68 % SOME TYPE OF MALTREATMENT 50% PSYCHOLOGICAL 36% PHYSICAL 26% SEXUAL 18%NEGLECT
clean up your crime scene?
by parents who want to toughen their child leads to a LACK OF LOVE, resulting in DISASTER. This can lead to isolation & intense VIOLENT thoughts become a sense of GRATIFICATION for the child.
68%
of
serial
no
neglect yourself from society?
yes
organize
d
no
probably not a serial killer
“THE MORE I LOOKED AT PEOPLE, THE MORE I HATED THEM.” CHARLES STARKWEATHER
BPD BORDERLINE PERSONALITY DISORDER
ORGANIZED & NONSOCIAL
DISORGANIZED & ASOCIAL
physical childhood abuse
emotional childhood abuse
socially adequate
socially inadequate
visits crime scene to see police work
visits crime scene to relive murder
converses with victims
depersonalizes victim leaves chaotic crime scene
es controlled crime scene
killers
manipulative intimidating empathy
disorganized
yes
nonsocial
suffered
anxious paranoia empathy
CARL PANZRAM
ADDITIONALLY, DAMAGE FROM CHILD ABUSE,
POPULAR IN HIS COMMUNITY. CLOWNAT BLOCK PARTIES. PRECINCT CAPTAIN OFTHE DEMOCRATIC PARTY.
MURDERED 33 BOYS AND MEN.
“I BELIEVE THE ONLY WAY TO REFORM PEOPLE IS TO KILL THEM.”
SCHIZOPHRENIA violent confused
JOHN WAYNE GACY
chi ld abu se
“BOSTON STRANGLER” ALBERT DESALVO WAS SOLD OFF AS A SLAVE BY HIS ALCOHOLIC FATHER.
APD ANTISOCIAL PERSONALITY DISORDER
would you...
2.
no
verbal, sexual, & physical
ABUSE
during childhood, serial killers often suffer abuse.
THE REAL VICTIMS wired to kill
THE REAL VICTIMS
evil is not born; evil is created
+
serial killers:
serial killers:
THE REAL VICTIMS
“PEOPLE LIKE ME DON’T COME FROM FILMS. THEM FILMS COME FROM PEOPLE LIKE ME.” DAVID HARKER
ALCOHOLISM, OR MALNUTRITION TO CERTAIN AREAS
NEGLIGENC E
TED BUNDY
alone can cause a child to grow void of empathy for others.
TED BUNDY
TED BUNDY
CHARASMATIC AND ATTRACTIVE. COLLEGE EDUCATED. CAREER IN POLITICS. MURDERED OVER 100 YOUNG WOMEN.
OF THE BRAIN
CAN LEAD TO A
LOSS OF CONTROL.
MONEY
THRILL
BED WETTING
BOBBY JO LONG’S MOTHER HAD FREQUENT SEX IN THE SAME ROOM IN WHICH HE SLEPT.
ARE ALL COMMON OCCURRANCES OF CHILDREN THAT GROW UP TO KILL.
2010
100
DECADE
2000 2010 1950 1960 1970 1980 1990 1900 1910 1920 1930 1940
RID OF EVIL HYPOTHALAMUS
80
ARSON
ANIM AL CRUE LTY
SERIAL KILLERS BY RACE &
60
POWER
40
CHARLES MANSON’S PROSTITUTE MOTHER DECLARED HIS NAME “NO NAME MADDOX” ON HIS BIRTH CERTIFICATE.
20 0 WHITE BLACK NATIVE AMERICAN HISPANIC ASIAN
THE HYPOTHALAMUS IS THE PART OF THE BRAIN THAT CONTROLS EMOTIONS, INCLUDING ANGER, EXTREME VIOLENCE, LOSS OF JUDGMENT & AGGRESSION.
ARE ALL MAIN MOTIVES FOR KILLING.
CMD 282 SPRING 2014
This project was information driven. We had to visually portray a large amount of information in a clear, concise design. I chose to do a series of three posters on serial killers and shed a different light on them by examining their lives including their childhoods, mental health, and adult life. I also included a serial killer toolkit.
CAREER
THE NEW FACE OF HIP-HOP White females are now appearing more and more as emcees, challenging tradition. Could this be a temporary fad, or a development in hip-hop culture? By Lise Sukhu Imagery by Amelia Samson
HIP-HOP IS PRIMARILY a celebration of black masculinity. Sure, there have long been significant black female and white male figures, but the majority of the conversation in hip-hop is and has always been about the actions, thoughts, feelings and ethos of black men. But this hegemony cannot last forever. Eventually the throne will have to be shared. The world of hip-hop has some diversity: Eminem, Mac Miller and Nicki Minaj now; the Beastie Boys, Lauryn Hill and Missy Elliott in the past. We have respected rappers of South Asian descent: M.I.A. and Heems from Das Racist. But what about the American white woman? Could she ever lorem ipsum rock the mic for real? The cosmology of American celebrity requires several blond white women be major planets at all times. From Marilyn Monroe to Madonna to Britney Spears to Paris Hilton to Lady Gaga, our culture refuses to allow a void in the job called America’s Favorite Blonde. (Some might say the woman currently holding that office is Beyoncé.) Given that cultural law, how long will it be until some blonde — or any white woman — rises to fame through hip-hop? I daresay it’s inescapable. I’m surprised it hasn’t happened already. Well, lorem ipsum lorem ipsum it may happen soon. We now have a small movement of white female rappers who want to be taken seriously, including Iggy Azalea, lorum ipsum ipsum ipsum ipsum lorem ipsum Kreayshawn and K.Flay. There are too many cultural consumers who love rappers and who love blondes to keep a collision of the two from
occurring, especially when the dominant hip-hop consumer is the young white suburban male. Imagine if Pamela Anderson could flow, allowing him to get his hip-hop fix and his soft-core pornography fix at the same time. That would blow his mind. There is nothing about the skills required to be an M.C. that makes it impossible for white women to rhyme. It’s not that their mouths can’t do it. The true barrier to entry is that there is an essence at the center of hip-hop that white women have an extraordinarily hard time exuding or even copying. For many Americans, black male rappers are entrancing because they give off a sense of black masculine power — that sense of strength, ego and menace that derives from being part of the street — or because of the seductive display of black ipsum male cool. Black women and white men who have been successful in hip-hop have found
...hip-hop is and has always been about the actions, thoughts, feelings and ethos of black men...eventually the throne will have to be shared. ways to embody those senses and make them their own. But hip-hop coming from a white woman is almost always an immediate joke.
CAREER
035
A
rapper was raised by his grandmother, whom he adored. However, because she had nine other children in her charge, the boy spent a good deal of time on the streets. By the time he was twelve, he was dealing crack, a strong form of cocaine that is smoked. As 50 Cent explained to Allison Samuels of Newsweek, he had to fend for himself because he did not want to burden his grandmother: “I didn’t want to ask her for a pair of Air Jordans when I knew she couldn’t afford them, so I began working to get my stuff and not stress her out. The bottom line is, the obstacles that you overcome are going to determine how great lorem you are.” At age fifteen, 50 Cent
to
bought his first gun, and by nineteen years old he was the neighborhood drug kingpin, bringing in about $150,000 a month. He had dropped out of high school and was spending most of his time in jail; 50 Cent was also listening to his favorite musicians, including Rakim, and Run-DMC, and trying his hand at writing his own rhymes. He dreamed about breaking into the music business but was not sure he should give it a try. When his son, Marquise, was born, 50 Cent knew it was time to make a change: he decided to stop dealing drugs and start making music. In 1996 a friend of 50 Cent’s introduced him to one of his boyhood idols, Jam Master
t the
Jay (1965–2002), a member of the pioneer rap group RunDMC. Jay was from the same neighborhood, and he saw a spark in the fledgling rapper. Soon, 50 Cent was studying with the seasoned musician. “He was really patient with me,” 50 Cent told Josh Tyrangiel of Time. “I would come in with rhymes, almost free verse, and he explained that they had to fit 16 bars of music. Once he said it, I got it.” In 1997 Jam Master Jay signed a production deal with 50 Cent and agreed to promote him. The songs 50 Cent produced were raw, and his lyrics were
taken from his own life on the streets. As Evan Serpick of Entertainment Weekly wrote, “they reverberated lorem ipsum with authenticity.” Fifty Cent quickly became a hit in the underground world of hip-hop. This means he was recording and releasing discs independent of any major record company. As a result, the big record labels started to take notice of the “street thug”-turned rapper. in about
ised by his grandmother, whom he adored. However, because she had nine other children in her charge, the boy spent a good deal of time on the streets. By the time he was twelve, he was dealing crack, a strong form of cocaine that is smoked. As 50 Cent explained to Allison Samuels of Newsweek, he had
to fend for himself because he did not want to burden his grandmother: “I didn’t want to ask her for a pair of Air Jordans when I knew she couldn’t afford them, so I began working to get my stuff and not stress her out.
op
he ot
bt lim o c e? e t gam k i l s it rap at ʼ he wh of t top ls
al nti Sm Peseiggie yB
sa Tere y b by ager im
RELATIONSHIP
018
Imagery by Kristie Cordon
Why can’t they admit when they’re in love?
028
Words by Alissa Henry
Photography by Abby Starobin
understand celebrities trying to keep their private lives private, but when a hip-hop artist is in a long-term relationship, I believe that the public needs to know about it. Why? Mainly because I am sick to death of male entertainers perpetuating the idea that effing
every girl in the ipsum world is the pinnacle of success while they’re living this secret life of monogamy whipped by one woman for years. It’s one of the reasons I wasn’t a fan of Jay-Z and his secret relationship with Beyonce in the early 2000’s and why I’m not a fan of Nelly now. Nelly has been with Ashanti since at least 2004,
yet nearly ten years later, he is still saying “we’re just cool”. That doesn’t even make sense. The man can go on national television and admit to watching Bridezillas, but he clams up like an oyster when it comes to admitting he has a girlfriend. It’s worse when they don’t even believe in the life they’re selling. They’re definitely fake.
With unplanned pregnancies, HIV, and general lack of true love running roughshod through the black community, it is utterly irresponsible for rappers to continue to promote destructive behavior as though they’re not contributing to the problem. It’s worse when they don’t even believe in the life they’re selling. Why not just sell the alternative?
CMD 252 SPRING 2014
We created a two-headed magazine for two distinct audiences. The magazine should be focused toward a lifestyle. Each side has a cover, two two-page feature spreads and a single-page department. My magazine, “HYPE,” is geared toward hip-hop culture lifestyle. One side is for men, and the other side is for women.
MUSIC
MUSIC
CULTURE
CULTURE
EXPRESSION
EXPRESSION
TO THE TOP
Overcoming struggles of climbing the stairs of the rap industry pg. 18
A new face of hip-hop pg. 34
THE SECRET LIFE
MARRIAGE TO THE GAME
Why rappers can’t admit when they’re in love pg. 28
$5.99US
$5.99US
The ins-n-outs of spending your life with a rapper pg. 41
ABBY
STAROBIN
Being a creative individual, I knew I wanted to pursue the arts as a career. After initially being an student of illustration, I decided to switch into communications design after seeing all the interesting projects the students created. The two majors are different yet similar, and the sketchbook and creative process are what bridge them. I am both an artist and designer, or a designist.