BEG. GRAPHIC DESIGN 221 SEC 002
PROCESS BOOK
ALEJANDRO BENAVENTE
TABLE OF CONTENTS PROJECT 1 PROJECT 2 PROJECT 3 PROJECT 4
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PROJECT 1: SIGN For this project, we had to create a logo for the Nebraska Statewide Living Council and create a logo, including a letterhead, buisness cards, and notification envolopes for members. when I began this assignment, I started drawing some sketches up and this what I started with. When I finished my sketches, I had brought them to class for people to pick out the one’s that they thought were mothe most successful ones.
SKETCHES
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chosen logo experiment
After choosing the 2 leaves sketch for the logo, I started to experiment with the different line tools and color as well. When I did this and looked at all of them, instead of choosing just one, I decided to mix two together.
FINAL PRODUCT
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PROJECT 2: BOOK JACKET For this project, we had to create a book jacket for a book called “Culture Politics� whish was about the Native Americans in Alaska trying to live life among other people, but are stressed by the public to perform ancient native american traditions. For my first step I started to sketch the book cover out, but none of them seemed to be working.
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FINAL PRODUCT For my Final book jacket cover, I had started to look up photos on Istock.com and I had found this one photo which I thought worked perfectly and I used it with some typography.
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PROJECT 3: HISTORY PRESENTATION For this project, I was chosen to do a presentation from 1930 to 1950 which was the time of World War 2. When I was doing my research, I could not find any history about the time at all so I did my presentation on five artists that were famous at this time which were Lester Beall, Hans J Barchell, Alexey Brodovitch, and Walter Allner.
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PROJECT 4: MAGAZINE For the magazine project, I thought to do a magazine about something I actually had a passion about and one of the first ideas that came to mind was an anime magazine and that was perfect for me. When I went to work on this project, I had started planning out the two articles and came to the decision to make one article about a certain anime, then the second would be about the most popular hobby of the anime community, cosplay. For the cover, I thought it would be nice to have something cute and adorable to grab the attention of the viewer with nice bright and subtle colors.
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ATTACK ON TITAN By: Nick Shamon
The series began serialization in Kodansha’s Bessatsu Shonen Magazine on September 9, 2009, and has been collected into 11 tank bon volumes as of August 9, 2013. It is set in a world where humanity lives inside cities surrounded by enormous walls due to the Titans, gigantic humanoid creatures who devour humans seemingly without reason. The story centers on Eren Jaeger, his adoptive sister Mikasa Ackerman, and their friend Armin Arlert, whose lives are changed forever after the appearance of a colossal titan brings about the destruction of their home town and the death of Eren’s mother. Vowing revenge and to reclaim the world from the Titans, Eren, Mikasa and Armin join the Survey Corps, an elite group of soldiers who fight Titans outside the walls.
Attack on Titan and all three spin-off manga are published in North America by Kodansha Comics USA, while the novels will be published by Vertical. The anime has been licensed by Funimation for North America, and by Manga Entertainment for the United Kingdom and Australasia. The manga series has become a commercial success, selling over 22 million volumes as of 2013. The release of the anime also saw a boost in the series’ popularity with
One hundred years prior to the beginning of the story, giant humanoid creatures called Titans have forced humanity to retreat into a system of concentric walls known as Wall Maria (Waru Maria?, outermost), Wall Rose (Waru Roze?, middle), and Wall Sina (Waru Shina?, innermost). Inside these walls, humanity lived in peace for one hundred years, but a sudden attack by a gigantic sixty-meter Titan and a smaller Titan covered in armor plates caused the outermost wall to be breached, forcing mankind to abandon the land between Wall Maria and Wall Rose, resulting in turmoil and famine. Little is known about the Titans; giant creatures ranging from 3–15 meters tall, which instinctively attack and devour ordinary humans on sight. Howev-
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Attack on Titan won the Kodansha Manga Award in the shonen category in 2011,[42][43] and was nominated for both the 4th annual Manga Taishi award and the 16th annual Tezuka Osamu Cultural Prize.[44][45] The 2012 edition of Kono Manga ga Sugoi!, which surveys people in the manga and publishing industry, named Attack on Titan the 8th best manga series for male readers.[46] Six of the seven English volumes published in North America charted on The New York Times Manga Best Seller list for the week of October 13, 2013, and volume one has been on the list for 24 weeks.[47][48] Volume one was also number one on Nielsen BookScan’s list of top 20 graphic novels in American bookstores for October 2013,[49] and for the month of Septem-
Images by Shonen
The anime has won multiple prizes during the 3rd Newtype Anime Awards, including best director, best script, best soundtrack, runner-up for commercial, best theme song, top female character, and title of the year. [54] Carl Kimlinger from Anime News Network was sharply critical of the first two episodes of the anime adaptation. He did praise the show for “[bringing] back the terror of the feefi-fo-fum set”, but then said that it “does not a good show make”. Kimlinger criticized Araki’s direction, saying he “clearly intends it to be powerful and unsettling, but it’s just crude and unpleasant.”[55] On the other hand, other critics from Anime News Network praised much of the series. Rebecca Silverman said it “is both gorgeous and appalling in its visuals”, and “an
The series has also gained popularity in neighboring Asian countries. For instance, coverage of the anime appeared on the front page of the Hong Kong free Chinese newspaper am730 on May 27, 2013, concerning its popularity within Hong Kong as well as China and Taiwan. [59] However, the series also attracted criticism: the South Korean Electronic Times magazine accused Attack on Titan for having a militaristic message that serves Japanese Prime
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COSPLAYS IN AMERICA By: Nicolle Lamerichs When I was 18 years old, I attended my first fan convention, Animecon 2005, in the Netherlands. I was aware that fans often “cosplayed” at such conventions, meaning they dressed as fictional characters they loved. A friend of mine had made me an Aerith costume; Aerith is a character from Final Fantasy VII. She hoped we could enter the costume competition. She had become an avid cosplayer since her first convention and really wanted to participate with a Final Fantasy act. Aerith was the most practical choice for me. I could relate to her, and I had long brown hair just like hers. My friend portrayed Ceres (Final Fantasy VI), my sister opted for Quistis (Final Fantasy VIII), and we had also recruited a Tifa (Final Fantasy VII) and a Shadow (Final Fantasy VI). Most of us knew 3
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The term cosplaying was coined in the 1980s by the game designer Takahashi Nobuyuki when he encountered the costuming practices of American fans on a visit to the United States (Bruno 2002; Winge 2006, 66–67). In Japan, cosplay has become very prominent. Many Western fans nowadays learn about costuming not through science fiction or fantasy genres, but through Japanese fiction. As a fan practice, cosplay is associated with Japanese fans of anime (cartoons), manga (comics), and games, who are called otaku (Hills 2002; Kinsella 1998). Fans usually wear their costumes in specific settings, such as during particular events at conventions (e.g., competitions, fashion shows), or as props for fan videos. In contrast to definitions that argue that cosplay involves outfits inspired by Japanese fiction,
Fan fiction in particular has been closely examined (Jenkins 1992; Bacon-Smith 1992; Pugh 2005; Busse and Hellekson 2006). Game studies scholars often analyze such fan products as machinima, user-generated content in games, and fan modifications, although Andrew Burn (2006) has offered a study of Final Fantasy fan fiction and fan art, and James Newman (2005) has published an article on the fan practices of gamers, including fan games, fan fiction, and walkthroughs. As I will show, research on cosplay can contribute to the field of fan studies, not only because cosplay is an aesthetic practice, but also because it reveals the personal relationship fans develop with a narrative. I analyze cosplay here as a form of performance. Examining fan cultures
a fan simply wears the costume and socializes in it. To an outsider, fan costumes might suggest that fans want to look like, or momentarily be, the fictional characters they identify with. Fans’ reasons for cosplaying vary, however, and our group at Animecon 2005 was an example of this (figure 1). For instance, I did not love Aerith wholeheartedly. There were things about her I disliked, such as her sweet (maybe even shy) attitude, and I didn’t care for the pink in her outfit. Later, as a cosplayer, I chose to play more eccentric or evil characters whom I was more attached to emotionally and whose outfits I liked better (e.g., the Baroness from G.I. Joe; Lady Une from Gundam Wing; Franziska von Karma from Ace Attorney). I chose Aerith at Animecon partly because she fit into the group and partly because her outfit was doable. These practical considerations influence other cosplayers as well. My sister loved wearing her Quistis outfit because she really identified with Quistis; my friend portrayed Ceres partly because of the complex design of the ball gown that Ceres wears in the game. She saw this as a sewing challenge and
boards, on LiveJournal, in chat sessions, or elsewhere; write fan fiction about them; draw fan art depicting them; or use them as an avatar during chat sessions. My sister role-played Quistis on LiveJournal, and the fan who cosplayed Tifa with us often used a Tifa avatar when posting on bulletin boards. Discussing cosplay as a fan practice means taking all of these spaces into account. Dressing up is a regular activity in most societies. Cosplaying, however, is a fannish subculture and has its own limits and possibilities. It always takes place in a specific social context, usually in discrete spaces such as fan conventions or get-togethers. In Japan, cosplaying is more entwined with the public domain than in the West. For instance, cosplayers gather in the parks of the district of Harajuku in Tokyo. Here, costuming practices are part of consumption culture. Shops sell cosplay articles, such as wigs, and even full costumes. Cosplay restaurants draw fans in by having waiters and waitresses dress up as fictional characters or types (e.g., maids, butlers). Particularly interesting are the Miss Dandy bars, in which women dress up as men to cater to other women
Photo’s created by Cosplay Photography
t wigs; tutorials made by fellow fans and these discussion boards lead to a culture in which fans help each other out as peers. The community is crucial here to the development of costuming skills. The process of sewing the costume and guaranteeing its authenticity is therefore very important. The costume is a cultural product that can be admired at a convention, and therefore spectators also play a role in guaranteeing authenticity (see also Winge 2006, 69). Fans may evaluate the costume, appreciate the character being portrayed, or take photographs. Cosplaying at a fan convention is partly institutionalized through, and motivated by, specific events. The most common of these are fashion shows, photography sessions, and cosplay acts. Fashion shows are organized much as they are in mainstream fashion culture and are usually held on a catwalk or stage where cosplayers can show their costumes from various angles. At fashion shows, the costume is central. Because fans make the outfits themselves, they can earn praise for their sewing skills here. Fashion shows are also entwined with the narrative the costume is based on. Through their 4
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