Hello! MY NAME IS ADRIANA VALANTIEJUTE. I STUDY GRAPHIC DESIGN AT VILNIUS ART ACADEMY. THIS BOOK CONTAINS MY RECENT WORKS OVER THE PAST FEW YEARS. THE CONTENT VARIES FROM SKETCHES, PAINTINGS, DOODLES, ILIUSTRATIONS, POSTERS, PHOTOGRAPHY, BOOK BINDING, LAYOUT DESIGN, CONCEPTUAL GAME DESIGN,
THINKING, EXPLORING AND DEVELOPING IDEAS INTO DESIGN EXPIERENCE. THE MAIN PURPOSE OF MY WORKS IS TO CHALLENGE PEOPLE TO EXPLORE AND THINK DIFFERENTLY. I’M ALWAYS LOOKING FOR NEW IDEAS AND OPPURTUNITIES TO IMPROVE MY WORK PROGRESS AND RESULTS.
ACADEMIC D R AW I N G MY ACADEMIC WORKS VARY FROM REPRODUCING EVERYDAY OBJECTS, EXAMINING SHADES, CONTOUR AND LIGHT, REPLICATING TEXTURES, FORMS, MANIPULATING PERSPECTIVE AND CREATING DEPTH ON PAPER. TAKING TASKS WHICH REQUIRE LOGIC AND SKILLS IN UNDERSTANDING OBJECTS IN THREE DIMENSIONS, RECREATING
VARIOUS MATERIALS FROM WHICH THE ITEMS COULD BE MADE OF. I ANALYZED CLASSICAL SCULPTURES TO UNDERSTAND THE BASICS OF ANATOMY AND I ALSO HAD CLASSES IN WHICH LIVE MODELS POSED FOR LIVE PORTRAIT STUDY.
SKETCHES I ENJOY SKETCHING, ESPECIALLY DOING IT AS FAST AS I CAN. IT GIVES UNPREDICTABLE RESULTS. ALSO I AM FASCINATED BY USING DIFFERENT TECHNIQUES IN ORDER TO PRODUCE DIFFERENT EMOTIONS OF THE MODEL. IN MY OPINION, SKETCHING REQUIRES “A FREE HAND” AND A LOT OF PRACTISE. EVEN THE PAPER TEXTURE
MATTERS. IT CAN HELP CAPTURE A UNIQUE AND NEW FEATURE OF THE PORTRAITS. IF YOU MASTER THESE SKILLS THEN YOU CAN EASILY EXPERIMENT.
ACADEMIC PA I N T I N G PAINTING IS ONE OF MY STRONGEST ABILITIES. I WORK WITH WATERCOLORS AND HAVE MASTERED THIS TECHNIQUE TO A VERY HIGH LEVEL. I PAINT NOT ONLY FOR WORK OR UNIVERSITY BUT ALSO AT MY FREE TIME. THE MOST IMPORTANT THING FOR ME IN PAINTING AND ESPECIALLY WHEN YOU ARE USING WATERCOLORS IS THAT
YOU CAN’T MAKE ANY MISTAKES. I PREFER TO BE SPONTANEOUS, ABSTRACT AND EXPERIMENTAL. IT’S NOT THE COLOR THAT YOU SEE THAT IS IMPORTANT BUT THE ONE THAT YOU DON’T.
TOWN ICONS THIS ICON SET WAS CREATED FOR A SMALL TOWN IN LITHUANIA NAMED ANYKSCIAI. THE BASE OF THESE ICONS IS A THUMB BECAUSE THE TOWNS NAME “ANYKSCIAI” MEANS THUMB. IT IS WELL KNOWN FOR ITS MONUMENTS, FAMOUS LITHUANIAN ARTISTS AND WRITERS, ITS RESERVES, FOLKLORE, MYTHS AND LEGENDS FROM
WHICH THIS TOWNS NAME WAS BORN. THE THUMB HAS A FACE BECAUSE EVERY TOWN IS BUILT, RAISED AND FLOURISHED BY ITS SOCIETY WHICH THEMSELVES RAISED HONORABLE PEOPLE WHOM PRAISE OUR COUNTRY AND ITS CULTURE.
WORLD MUSIC F E S T I VA L FOR THIS PROJECT WE HAD A WORKSHOP DURING WHICH WE WERE GIVEN A TASK TO CREATE A POSTER FOR A MUSIC FESTIVAL WHICH TAKES PLACE IN PARIS, FRANCE. OUR MAIN GOAL WAS TO USE PAPER TO ACHIEVE INTRIGUING RESULTS. FxOR MY POSTER I BUILT AN ANGULAR WORLD IN WHICH MUSIC IS BORN
AS A MATERIAL OF TRADE. FESTIVALS ARE BUILT ON THIS IDEA BECAUSE WHEN WE GO TO LISTEN TO MUSIC THE FESTIVAL TURNS INTO A LITTLE WORLD WHERE MUSIC IS A “MATERIAL” THAT UNITES EVERYONE AS A COMMUNITY.
World Festival Paris/Vilnius April 2014
www.worldmusicfestival.com
S PAT I A L FORM OF STUDY FIRST OF ALL, FOR THIS WORK AN UNDERSTANDING MUST BE BUILT ABOUT STRUCTURE, FACTURE AND TEXTURE. FIRSTLY, I EXAMINED TREE STUMPS. AS A RESULT I NOTICED THAT MOST OF THEM HAD CRACKS WHICH BROKE APART THE HARMONY OF THE TREE RINGS. I USED MODULES TO REPRESENT THAT INTERFERENCE IN THE TREE
STUMP. THE SECOND STEP WAS TO USE THE SAME MATERIAL AND CREATE VARIOUS SHAPES WITH SOME SORT OF SOURCE OF LIGHT WHICH WOULD CAST SHADOWS. MY MAIN GOAL HERE WAS TO CREATE AS MUCH DEPTH AND LAYERS AS POSSIBLE.
DJANGO CALENDAR THIS CALENDAR IS INSPIRED BY QUENTIN TARANTINOS MOVIE “DJANGO UNCHAINED”. THE DESIGN WAS INSPIRED BY OLD WESTERN POSTERS. EVERY PAGE OF THE CALENDAR REPRESENTS A SCENE FROM THE MOVIE. MOREOVER, THE SCENES WERE THROUGHLY EXAMINED TO COMPLIMENT CERTAIN DETAILS. I
USED SERIF FONTS EXCLUSIVELY IN ORDER TO KEEP THE WESTERN ATMOSPHERE IN TOUCH.
PERPETUA FONT A N A LY S I S A SMALL PUBLICATION MEANT FOR AN ANALYSIS OF THE FONT “PERPETUA”. THE ANALYSIS INCLUDES THE FONTS ORIGIN, ITS DECONSTRUCTION, READABILITY, FEATURES, TERMINOLOGY, FONT SYSTEM ANALYSIS, COMPARISON WITH OTHER FONTS AND A SHORT BIOGRAPHY OF IT’S AUTHOR. LASER PRINT WAS USED FOR
THE BOOKS COVER. THE CUT OUT LETTERS WERE LATER USED IN THE PUBLICATION TO IMITATE TACTILE FEEDBACK SO THAT THE READER COULD READ AND FEEL THE FONT.
Kas vyko 1925?
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG cap height x-height
didžiųjų raidžių aukštis x aukštis
bazinė linija pailginimų į apačią aukštis
baseline descenders height
pailginimų į viršų aukštis didžiųjų raidžių aukštis x aukštis bazinė linija pailginimų į apačią aukštis cap height ascender height x-height baseline descenders height
Kas vyko 1925?
&
V
j
h
n
Aperture (anga)
Ampersand (ženklas &)
b
Ascender Line (pailginimų linija)
l
Bowl (pilvas)
Apex (viršūnė)
A
O
Bilateral Serifs (abipusiai serifai)
S
Baseline (bazinė linija)
U
x
Beak (snapas)
N p
Q
Descender (pailginimas į apačią)
Diagonal Stroke (įstrižas brukšnys)
5 g
Cross Stroke (skersinis brukšnys)
x
Flag (vėliava)
Hairline (ploniausias brukšnys)
Loop (kilpa)
Lowercase (mažosios raidės)
w
gB
B
Italics (kursyvinis)
h
Aštrūs, maži, horizontalūs serifai
A
A didžioji turi plokščią viršūnę
k
Leg (koja)
E
Overshoot (kontūro išilginimas)
Kaligrafiška kursyvinė “italic” g mažoji panaši apverstą ir atvirkščią B didžiąją.
Ear (ausis)
Diacritic (diakritinis ženllas)
x
Mean Line (vidurio linija)
h
n
Serif (serifas)
x
X-Height (x aukštis)
Tail (uodega)
q
V g
Croch (dviejų šakų susidūrimas)
Š
Z
Open Counter (atvira erdvė)
e Q
Eye (akutė)
S
Spine (stuburas)
c
Cap line (didžiųjų raidžių linija)
H
t
Counter (raidės kryptis)
Lobe (skiltis)
N
i
Dot (taškas)
Crossbar (skersinė juostelė)
Bracket (kronšteinas)
Cap Height (didžiųjų raidžių aukštis)
A P
Bar (juostelė)
Terminal (kontūro pabaiga)
r
f
Hook (kilpa)
Ascent Line (aukščiausio pakilimo linija)
f
Arm(atšaka)
Axis (ašis)
E
Arc of Stem (uodega)
Ascender (pailginimas į viršų)
Shoulder (petys)
Descender (pailginimas į apačią)
g
e
Link (sąsaja)
w
Stroke (brukšnys)
W Uppercase (didžiosios raidės)
B W
Swash (skliautas)
Vertex (viršūnė)
E q p Oo f a g r E didžiosios rankos beveik lygios
q ir p mažosios turi kaligrafiškus pailginimus į apačią ir išsikišimus
Nepaisant senoviškos išvaizdos, vidurio ašis yra vertikali raidėje O didžioji ir o mažoji
a mažoji turi unikalią viršūnę
k
Stem (kotas)
g mažoji turi ilgą linkį
f mažosios plati viršūnė
r mažoji turi kaligrafišką ausį
FONT I N T E R P R E TAT I O N VISUALISED INTERPRETATION OF THE ALPHABET USING PHOTOGRAPHY AND VARIOUS OBJECTS OF ARCHITECTURE. THE MAIN POINT OF THE CONCEPT IS TO VISUALISE DIFFERENT LETTERS OF THE ALPHABET AND LATER USE THEM AS A FONT FOR DESIGN PURPOSES. AS A RESULT WE HAVE SHORT FRAZES WHICH ARE ILIUSTRATED
IN POSTERS. MOREOVER, OBJECTS OF DAILY LIFE REGAINED NEW GRAPHIC INTERPETATION AND WERE GIVEN A SECOND CHANCE.
E X P E R I M E N TA L NEON TYPOGRAPHY THIS PROJECT WAS CREATED IN ORDER TO FIND A UNIQUE WAY IN TYPOGRAPHY. I USED PHOTOGRAPHY TO ACHIEVE IT. MY TOOLS WERE CANON EOS 5D AND NEON PAINT WHICH WERE DYED ON FINGERS, HANDS AND PAPER. EVERYTHING WAS SHOT IN A DARK ROOM USING A NEON LAMP AND LONG CAMERA EXPOSURE.
VISUAL DIARY THIS BOOK COVERS HALF A YEAR OF ILIUSTRATIONS WHICH WERE DRAWN EVERY DAY. MY MAIN GOAL WAS TO EXPERIMENT AND TEST EVERY TECHNIQUE AND OBSERVE THEIR INTERACTIONS WITH EACH OTHER. THIS RESULTED IN UNPREDICTABLE COMPOSITIONS AND FINAL RESULTS. MOST OF THE ILIUSTRATION ARE NOT
ONLY MEANT FOR OBSERVATION BUT CAN BE TOUCHED, SMELLED OR INTERACTED WITH.
PHOTOGRAPHY P U B L I C AT I O N A SMALL PHOTOGRAPHY PUBLICATION THAT WAS DEVELOPED B A S E D O N D AV I D LY N C H S F I L M “ M U L H O L L A N D DRIVE”. MY MAIN GOAL WAS TO PORTRAY THE MAIN CHARACTER IN A WORLD OF MIRRORS. HERE SHE IS UNSETTLED, RESTLESS AND LOST. SHE DOESN’T UNDERSTAND WHAT IS REAL AND WHAT IS NOT.
MOST PHOTOS MIMIC SCENES FROM THE MOVIE IN WHICH THE MAIN CHARACTER HAS DOUBTS. I SEEK THAT THE VIEWERS WOULD BE FLATTERED AND WOULD DESIRE AN EXPLANATION.
SKETCHES
“GRIN GRIN” VEGAN CAFE BRANDING GRAPHIC IDENTITY DESIGN FOR A VEGAN CAFE AND SHOP “GRIN GRIN”. THEY PROMOTE A HEALTHY LIFESTYLE, VEGAN FOODS AND DIET. THE FINAL LOGO DESIGN SAYS THAT YOU CAN EASILY SWAP PRODUCTS WHICH ARE MADE OF ANIMALS TO FRUITS, VEGETABLES AND OTHER GREEN FOODS. WITH THIS DESIGN I
SEEK TO SHOW THE SHOPS POSITIVE AND PLAYFUL ATTITUDE. COLORS FOR THIS BRANDING ARE CHOSEN TO BE AS NATURAL AS POSSIBLE. THEY ARE SOFT, WARM, FRIENDLY AND NOT SYNTHETIC.
GRAPHIC DESIGN C AT H E D R A L P U B L I C AT I O N A COMPILATION OF POSTERS WHICH WAS CREATED FOR DIFFERENT TYPES OF FESTIVALS AROUND THE WORLD. THE MAIN GOAL WAS TO CREATE A UNIQUE PUBLICATION FOR FUTURE STUDENTS TO OBSERVE. IT IS EXCLUSIVE BECAUSE IT UNFOLDS FOUR TIMES. ON THE FIRST PAGE YOU’RE INTRODUCED WITH THE AUTHOR.
SECONDLY, YOU CAN READ INFORMATION ABOUT THE POSTER. THIRD, YOU CAN SEE OTHER POSTERS. FOURTH, YOU VIEW THE CHOSEN AND BEST POSTER. FINALLY, IF YOU LIKE THE POSTER YOU CAN RIP IT OUT AND HANG IT ON YOUR WALL.
FLUXUS TRIBUTE TO G. MACIUNAS THE BOOK AND POSTER ARE A TRIBUTE TO GEORGE MACIUNAS, THE CREATOR OF FLUXUS ART. I WAS INSPIRED BY THE AMOUNT OF EVENTS ORGANIZED BY FLUXUS MEMBERS. THE BOOK ITSELF CONTAINS ALL THE EVENTS ORGANIZED BY FLUXUS WHICH DATES FROM 1955 TO 1993. THEY ARE ALL CONECTED TO A TIMELINE
WHICH GOES THROUGHOUT THE WHOLE BOOK. ALSO THE TIMELINE RECREATES ITSELF INTO PORTRAIS OF ARTIST WHO WROTE LETTERS TO G. MACIUNAS. THE POSTER IS AN ABSTRACT IMAGE OF G. MACIUNAS IN WOMENS CLOTHES BECAUSE THAT IS WHAT HE LOVED TO DO.
OBJECT AND TEXT A N A LY S I S IN THE OBJECT ANALYSIS I CHOSE A FACELET GLASS. I RESEMBELED IT IN THREE POSTER. THE FIRST SHOWS THE GLASS PHYSICAL AND CHEMICAL STRUCTURE. THE SECOND ONE IS HISTORIC LINKS AND THE THIRD IS SHOWING IT IN AN ABSTRACT WAY. FOR THE TEXT ANALYSIS I GOT A GERMAN TEXT ABOUT GARDENING. IN THE FIRST POSTER I TOOK TEXT BLOCKS AND POINTED OUT THE POSSITIONS
OF UMLAUTS. IN THE SECOND I RESEMBELED THE BERLIN WALL. ON THE LEFT SIDE PEOPLE ARE FREE AND ON THE RIGHT ALL PEOPLE ARE EQUAL. THE THIRD SHOWS A N ABSTRA CT TEX T B LOCK WHICH WA S INVERTED AND DOUBELED TO BECOME AS A BLOSSOM. IN THE FINAL I JOINED TWO COUNTRIES WHICH ARE RUSSIA AND GERMANY. THEY BOTH HAD CONCENTRATION CAMPS.
KRISTIJONAS DONELAITIS I L L U S T R AT I O N B O O K THIS ILLUSTRATION BOOK WAS CREATED IN HONOR OF AN ANNIVERSARY OF A FAMOUS LITHUANIAN WRITER KRISTIJONAS DONELAITIS. THE TEXT IS TAKEN FROM HIS MOST FAMOUS BOOK “METAI” IN ENGLISH IT MEANS “YEAR”. THE MAIN IDEA OF THE BOOK IS THAT EVERY SEASON IS A MYTHICAL CREATURE ITSELF. IT HAS
ITS OWN UNIQUE FEATURES. ALSO ALL OF THE ILLUSTRATIONS ARE ONLY OF ANIMALS. THIS IS BECAUSE IN THE BOOK HUMANS COMPARE THEMSELVES TO ANIMALS AND THEY ARE DESCRIBED TO CREATE A BETTER UNDERSTANDING FOR THE READER ABOUT EVERY SEASON.
C O N C E P T U A L GAME DESIGN THE BASE OF THE GAME IS TAKEN FROM AN OLD HAND CONSOLE “TAMAGOTCHI” IN WHICH YOU HAD TO GROW LITTLE CREATURES. THIS GAME THEME IS SCULPTURE AND THUS HERE YOU HAVE TO GROW FAMOUS SCULPTURES IN VILNIUS. THE CHALLENGE HERE IS THAT IN EVERY LEVEL YOU HAVE TO FIND THE RIGHT
TOOLS TO GROW THE SCULPTURE. EVERYTIME THEY ARE DIFFERENT. THIS GAME REQUIRES PATIENCE AND ATTENTIVENESS. MOST OF THE GAMES GRAPHICS ARE DRAWN BY HAND AND PAINTED WITH WATER COLORS.
SKETCHES
VILNIUS J A PA N E S E G A R D E N BRANDING THE CLIENT IS VILNIUS JAPANESE GARDEN. THEY REQUIRED THAT THE LOGO WOULD BE MINIMAL, HAD TRADITIONAL JAPANESE SYMBOLISM. MY MAIN PRIORITY WAS TO BE CONCEPTUAL AND MINIMALISTIC. I CHOSE “ZEN” GARDEN OR SO CALLED DRY GARDEN IMAGE. I MADE THREE SIMPLE STAINS. EACH UNIQUE,
SPONTANIOUS AND CAN RESEMBLE ANYTHING ANY VIEWER WANTS TO SEE. UNIVERSITY OF OREGON STUDENTS VOTED FOR MY LOGO. “THEY LIKED THE BLACK AND WHITE, MINIMALIST AESTHETIC.”
VILNIAUS JAPONIŠKAS SODAS
VILNIAUS JAPONIŠKAS SODAS
Všį “Vilniaus japoniškas sodas Žalgirio g. 122, 09300 Vilnius Vilniaus dailės akademijai Maironio g. 6 01124, Vilnius
2014-06-18
Dėl...
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam sed orci vitae felis condimentum feugiat scelerisque vel nisi. Maecenas convallis mauris a sapien ultrices lacinia. Donec suscipit erat sed tempus accumsan. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Suspendisse mauris libero, vestibulum sit amet orci et, rhoncus porttitor leo. Duis vulputate lorem risus, vitae feugiat lorem adipiscing sed. Duis egestas ante ac dolor elementum ultrices. Etiam ut mi leo. Proin at velit eu enim hendrerit suscipit quis vitae quam. Duis quis bibendum eros. Quisque consequat tempus ligula, at bibendum arcu ultrices ac. Praesent quis lectus non risus accumsan tempor. Duis sapien ligula, lobortis eget varius eu, semper id turpis. Nam porttitor libero eu erat pharetra molestie eget vitae lectus. Curabitur quis risus auctor, ullamcorper urna ac, viverra nisl. Sed lorem arcu, faucibus vel orci sit amet, pulvinar suscipit nibh. Donec tristique metus id tortor bibendum tristique. Nunc neque velit, mollis sit amet nulla quis, malesuada aliquet ante. Ut facilisis consectetur augue vel laoreet. Integer sed dapibus tellus. Pellentesque sed erat metus. Proin elit tortor, accumsan in arcu et, condimentum dignissim nunc. In in scelerisque magna.
Laimutė Velionaitė Director Vilnius Japanese Garden, Pi Žalgirio Str. 122, 09300 Vilnius Phone/fax: +370 5 219 9983 VILNIAUS JAPONIŠKAS SODAS
Mobile: +370 618 80065 laimute.velionaite@vilniausjaponiskassodas.lt
Pagarbei, Laimutė Velionaitė
Vilniaus Japoniškas Sodas, Všį Company Code: 303156712
Laimutė Velionaitė Direktorė Všį “Vilniaus japoniškas sodas Žalgirio g. 122, 09300 Vilnius Tel/fax: +370 5 219 9983 VILNIAUS JAPONIŠKAS SODAS
Parašas
www.vilniausjaponiskassodas.lt
Mob: +370 618 80065 laimute.velionaite@vilniausjaponiskassodas.lt www.vilniausjaponiskassodas.lt
Bank Account: Lt087044060007925824 Ab Seb Bankas
Address: Žalgirio G. 122, Vilnius Phone/fax: +370 5 219 99 83 Info@vilniausjaponiskassodas.lt
SECOND SKIN CONTEST 2013 ARJOWIGGINS CREATIVE PAPER ORGANISED A CONTEST WHICH WAS CALLED “SECOND SKIN”. ME AND MY COLLEAGUE CREATED A MASK CALLED “METAMORPHIS”. IT IS COMPLETED WITH A HELP OF YOUR OWN HANDS AND FINGERS. IT’S A FINAL METAMORPHOSIS,WHEN A HUMAN TURINING INTO SOMETHING ELSE,
THAT STILL HAS THE IMAGE OF HUMAN, BUT NO LONGER IS ONE. THIS MASK WON THE 16TH PLACE AND WAS BETWEEN 20 LUCKY WHO WON. PHOTOGRAPHIES ARE TAKEN BY MYSELF. ADITIONALY EXPLORING THE POSIBILITIES OF LIGHT, REFLECTIONS AND INTERACTIONS BETWEEN THEM TO CREATE A DRAMATIC MOOD.
BODEGAS TERRAS GAUDA WINE POSTER CONTEST A POSTER SENT TO A COMPETITION IN SPAIN FOR BODEGAS TERRAS GAUDA WINE. THE MAIN CRITERIA WAS TO SHOW THAT THE WINE IS BORN NEAR THE SEA AND IS OF SPANISH ORIGIN. IN MY POSTER I WORKED WITH A TRANSPERENT SHEETS. I USED WATER COLORS TO GET A CLEAN BLUE EFFECT TO RESEMBLE WATER.
IN THE BACKGROUND THERE IS A SAILOR WHOS ALL LIFE IS THIS WINE. HE IS ITS CAPTAIN, HE IS THE HERO OF THIS STORY.
STUDIO ERROR ADDITIONALLY I WORK AT A MUTUALY OWNED STUDIO. I AM A PHOTOGRAPHER, MODEL AND ART DIRECTOR. MOST OF THE TIME I GENERATE IDEAS FOR NEW PHOTO SESSIONS. I USUALY SEARCH FOR A NEW WAY IN PHOTOGRAPHY TO EXPRESS MY IDEAS. ALSO I DO PHOTOMANIPULATION AND RETOUCH. IT’S NEXT LEVEL
OF ILLUSTRATING THE PHOTO AND GIVE IT MORE EMOTIONAL BACKGROUND WITH PATTERNS, DUBLICATIONS AND COLOUR DEPTH.
COFFEE INN CHRISTMAS POSTER A POSTER CREATED FOR A COFFEE SHOP IN LITHUANIA “COFFEE INN”. IT WAS A SPECIAL DISCOUNT AT CHRISTMAS. THERE WERE FIVE ELF MUSICIANS WHO PLAYED JAZZ. THE MAIN IDEA WAS TO USE WATERCOLORS AND PAINT IN CUBISM STYLE ON THE TAKE AWAY CUPS.
T hanks for your attention