DRIVEN \\
SELECTED WORKS of BRIAN BACLIG
>
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DRIVEN \\
SELECTED WORKS of BRIAN BACLIG
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PAGE 5
>
>
COLOPHON_ Copywrite 2011 All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the written permission of Brian Baclig. Brian Baclig Phone_ 916.715.4749 Email_ Briantotheb@gmail.com Web_ www.BrianBaclig.com Academy of Art University 79 New Montgomery, San Francisco, CA Department Director_ Mary Scott Course_ Portfolio Seminar Instructor_ Mary Scott Printer_ Blurb Bindery_ Blurb Typeface_ Blender Software_ Adobe Creative Suite 5.5 Camera_ Canon Digital Rebel XSI Photography_ Personal, Plotnet
PAGE 6
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|||||||||||||||||||||||||||||||||||||||||
PROJECT_1 \\ AIR \\ DIRECTION
CONCEPT \\ DRIVEN TO SUCCEED Every project starts with an idea and concept. Shift gears as we continue to refine and make adjustments. The final destination is unknown, but we keep driving. Some projects require us to drive fast while others let us drive slow. With each project, I had to find a driving force to help me keep pushing.
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PAGE 7
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SELECTED WORKS_ BRIAN BACLIG
COURSE_
ART DIRECTION_
INTRODUCTION \\ TABLE OF CONTENTS
TABLE OF CONTENTS \\
01 02 03 04 05 PAGE 8
|||||||||||||||||||||||||||||||||||||||||
FLYING WITHOUT WINGS_ PAGE 10 – PAGE 27 RETHINKING MOTOR OIL_ PAGE 28 – PAGE 41 EXPRESS YOURSELF WITH COLOR_ PAGE 42 – PAGE 51 ADAPT TO YOUR ENVIRONMENT_ PAGE 52 – PAGE 71 ALCHEMY : MASTERS OF DESIGN_ PAGE 72 – PAGE 83
DRI V EN TO SUCCEED
06 07 08 09 10
SHIFT_
SECTION_1 \\
PROJECT_
|||||||||||||||||||||||||||||||||||||||||
ENTER A BLACK HOLE_ PAGE 84 – PAGE 99 KNOCKING ON DEATH’S DOOR_ PAGE 100 – PAGE 109 SEARS REBRANDING_ PAGE 110 – PAGE 153 LOGOS_ PAGE 154 – PAGE 159 MISC ARTWORK_ PAGE 160 – PAGE 167
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PAGE 9
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PAGE 10
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
DRI V EN TO SUCCEED
01
SHIFT_
SECTION_1 \\
PROJECT_ NIKE CONVENTION
|||||||||||||||||||||||||||||||||||||||||
PROJECT_1 \\ NIKE CONVENTION
AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ NIKE CONVENTION
KEY WORDS_ NIKE, EDUCATIONAL, HISTORY, FLIGHT SCHOOL, FUN, MEMORABLE PROJECT_1 \\ NIKE CONVENTION
DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE PROJECT_1 \\ NIKE CONVENTION
TYPEFACES_ FUTURA, ROCKWELL
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PAGE 11
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PAGE 12
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ NIKE CONVENTION
|||||||||||||||||||||||||||||||||||||||||
PROJECT_1 \\ NIKE CONVENTION
PROJECT ONE \\ FLYING WITHOUT WINGS Welcome to the world of AIR. Join us in flight school as we look at the history behind Nike shoes. With the growth of the shoe culture, a lot of people who are getting into shoes may not know much about them. The goal is for all fans of Nike to come together and share knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love. For the people that already know, it is a chance to see and appreciate old, new, and rare shoes. The focus is to bring old and young sneaker heads together in an environment that encourages learning the history.
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PAGE 13
AIR MAX 87/ AIR MAX 1 1987
AIR MAX 90 1990
AIR MAX 180 1991
HISTORY OF AIR
AIR MAX 93 1993
AIR MAX 95 1995
AIR MAX 97 1997
AIR MAX 2003 2003
AIR MAX 360 2006
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PAGE 16
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_4 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 17
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PAGE 18
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_5 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 19
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PAGE 20
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_6 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 21
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SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
ART DIRECTION_ NICOLE FLORES
1 ADULT
NOVEMBER 1
MOSCONE CENT ER
CISCO 3PM–10PM SAN FRAN
, CA
1 ADULT
NOVEMB
MOSCONE CENT ER
3PM–10PM SAN
FL I G H T S H U N D R ED TH E 1 ADULT
N OV
MOSCONE CENT ER
PAGE 22
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FL I G H
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_7 \\
DRI V EN TO SUCCEED SHIFT_
$15 $15 $15 $15
1 ADULT
9 NOVEMBER 14 200
I R A I R A I R A AI
MOSCONE CENT ER
.NIKE -AIR.COM A RSVP ONLIN E WWW
9 NOVEMBER 14 200
1 ADULT
9 NOVEMBER 14 200
9 NOVEMBER 14 200
14 2009
1 ADULT
1 ADULT
CISCO 3PM–10PM SAN FRAN
MOSCONE CENT ER
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
CISCO 3PM–10PM SAN FRAN
MOSCONE CENT ER
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
3PM–10PM
MOSCONE CENT ER
.NIKE -AIR.COM RSVP ONLIN E WWW SAN FRAN CISCO, CA
CISCO 3PM–10PM SAN FRAN
WWW.NIKE -AIR.C , CA RSVP ONLIN E
KO I A T E N N E S V N E K O I C N R N E O K I A T E N SEN V N E K O I C N R N E O K I A T E N N E S V N E K O NIKE SNEAKERNCI $15
$15 $15
NOVEMBER 14 20
1 ADULT
9 NOVEMBER 14 200
1 ADULT
$15
1 ADULT
1 ADULT
CISCO 3PM–10PM SAN FRAN
, CA RSVP ONLIN E
R A I R A I R A I A 9 NOVEMBER 14 200
9 NOVEMBER 14 200
BER 14 2009
CISCO 3PM–10PM SAN FRAN MOSCONE CENT ER
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
MOSCONE CENT ER
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
3PM–10PM
.NIKE RSVP ONLIN E WWW SAN FRAN CISCO, CA
MOSCONE CENT ER
-AIR.COM
NCEAOHTVCOET N S H O T S T C 4 N H S I 1 G O G I R E L R M E F B E B E T L M H N O T E O C V T H O A E C N N S RIOGG1ISHN4CTSTOH E L M E F B B E L M H O E T O V T H O A C N S H S T T 4 N H I 1 G G I R E L SAOHNFBT G VOEOMLBBFE E H S T U O O C S D O N S E H S S R S T . A T D N H E I S R N E G K G O I I T U E E L F N M H F B A T Y D L T F B N O H O A S O G S CH TASRSHEODSOUTSE D R S N E O T U E F M H A T D T F N H O A G S T U S D O E S R A T D R ISHLA H T A FDTHMEUONS T H N D O A IT S E N R I S T H D E T S D H E K E E T A R R B E A A D T Y N R N R S U E O . T E H T L A T L H IS H T A F DS O KEHTEDHIRNESITDHT TAIKOENRNCIO E T A R B ETA E N A Y N T N E R S S V O T E N E T A H K IS T H T H D S E N I R H E T H K E A B E E N Y N N E R S S V O HTISHTE KENVSENNETAIKOENRNCIOKEN E H ISTO RYNBIKEHTEHI NSEDNEAKERNCIO MOSCONE CENT ER
.NIKE -AIR.COM RSVP ONLIN E WWW N FRAN CISCO, CA
CISCO 3PM–10PM SAN FRAN
$15
$15 $15 $15
VEMBER 14 2009
1 ADULT
1 ADULT
9 NOVEMBER 14 200
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
CISCO 3PM–10PM SAN FRAN
9 NOVEMBER 14 200
NOVEMBER 1 CISCO 3PM–10PM SAN FRAN
,C
R A I R A I
9 NOVEMBER 14 200
MOSCONE CENT ER
1 ADULT
1 ADULT
WWW.NIKE -AIR.COM , CA RSVP ONLIN E
MOSCONE CENT ER
3PM–10PM
.NIKE -AIR.COM RSVP ONLIN E WWW SAN FRAN CISCO, CA
MOSCONE CENT ER
HN4CTSTOHSNNCEAOH S I 1 G O G I R E L R M E F B E B E T L M H N O T E O C V T H O A E C N N S H O T S T C 4 N H S I 1 LEBBFEMLERIOGG M H O E T O V T H O A C N S H S T T 4 N H I 1 G G I R E L E F B B L M SNCOHVOEO HEODSOUTSEGSA S S R S T . A T D N H E I S R N E G K G O I I T U E E L F N M H F B A T Y D L T F B N O H O A S O G E S H T U O C S D O S E H S HT MFEUTOENSRDTASR H A T D T F N H O A G S T U S D O E S R A T D R S N O U E M H KEHTEDHIRNESITDHT EDSTS AONFDT 3PM–10PM
.NIKE RSVP ONLIN E WWW SAN FRAN CISCO, CA
-AIR.COM
MOSCONE CENT ER
CISCO 3PM–10PM SAN FRAN
|||||||||||||||||||||||||||||||||||||||||
PAGE 23
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SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_8 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 25
SPECS >
>
PAGE 26
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
PROJECT_ NIKE CONVENTION
||||||||||||||||||||||||||||||||||||||||| SECTION_9 \\
DRI V EN TO SUCCEED SHIFT_
ABOUT US
|||||||||||||||||||||||||||||||||||||||||
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PAGE 28
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
DRI V EN TO SUCCEED
|||||||||||||||||||||||||||||||||||||||||
PACK AGE DESIGN 3 CONCEPT PACKAGING
02
BRIAN BACLIG
PACK AGE DESIGN 3 CONCEPT PACKAGING
BRIAN BACLIG
PACK AGE DESIGN 3
BRIAN BACLIG PACK AGE DESIGN 3
CONCEPT PACKAGING
CONCEPT PACKAGING
SECTION_1 \\
PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
BRIAN BACLIG
PROJECT_2 \\ SUSTAINABLE PACKAGING
AUDIENCE_ CAR OWNERS, MECHANICS, MEN, AND ENVIRONMENTALISTS PROJECT_2 \\ SUSTAINABLE PACKAGING
KEY WORDS_ SUSTAINABLE, ECO-FRIENDLY, REVERSE, SHIFTING GEARS PROJECT_2 \\ SUSTAINABLE PACKAGING
DELIVERABLES_ LOGO, BOTTLE CONCEPT, GREEN PACKAGE DESIGN PROJECT_2 \\ SUSTAINABLE PACKAGING
TYPEFACES_ VITESSE SANS
|||||||||||||||||||||||||||||||||||||||||
PAGE 29
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PAGE 30
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
PROJECT_2 \\ SUSTAINABLE PACKAGING \\ DIRECTION
PROJECT TWO \\ RETHINKING MOTOR OIL The automotive industry is always searching for more ways to be “green”. Autozone provides tons of parts and can benefit from being the first to have a “green” line. An important part of maintaining your car is routine oil changes. What most people fail to do is dispose of the oil properly. An easy way to do this is to return used oil to places such as Autozone where they will dispose of it correctly. By doing this, the oil can be cleaned and repurposed to be used again. Shift 360 is about changing our mindset on cars and the environment. Recycling oil properly is an easy step in the right direction.
|||||||||||||||||||||||||||||||||||||||||
PAGE 31
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SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
||||||||||||||||||||||||||||||||||||||||| SECTION_3 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
|||||||||||||||||||||||||||||||||||||||||
PAGE 33
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SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
||||||||||||||||||||||||||||||||||||||||| SECTION_4 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
|||||||||||||||||||||||||||||||||||||||||
PAGE 35
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>
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
FULLY IC SYNTHET
5W30
ART DIRECTION_ PAUL K AGIWA DA
MOTOR OIL
5W30 MOTOR OIL
SAE 5W-30
FULLY SYNTHETIC 1 QT
FOR GASOLINE ENGINES // 1 QT / 946 mL
MOTOR OIL SAE 5W-30
1 QT / 946 mL
PAGE 36
|||||||||||||||||||||||||||||||||||||||||
MOTOR OIL SAE 5W-30 FOR GASOLINE ENGINES // 1 QT / 946 mL
FOR GASOLINE ENGINES // 1 QT / 946 mL
360
||||||||||||||||||||||||||||||||||||||||| SECTION_5 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
FULLY IC SYNTHET
5W30
MOTOR OIL
5W30 MOTOR OIL
SAE 5W-30
FULLY SYNTHETIC 1 QT
FOR GASOLINE ENGINES // 1 QT / 946 mL
MOTOR OIL
SAE 5W-30 FOR GASOLINE ENGINES // 1 QT / 946 mL
SAE 5W-30 1 QT / 946 mL
MOTOR OIL
FOR GASOLINE ENGINES // 1 QT / 946 mL
36
360
5W30 5W
SA E R OIL MO TO SY NT HE TIC FULLY OLINE ENGINES
30
FOR GAS
1 QT / 946 mL
MOTOR OIL FULLY SYNTHETIC FOR GASOLINE ENGINES
5W
5W
MOTOR OIL
MOTOR OIL
30 FULLY
SYNTHETIC FOR GASOLINE
ENGINES
|||||||||||||||||||||||||||||||||||||||||
30 FULLY
SYNTHETIC FOR GASOLINE
ENGINES
PAGE 37
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>
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
PACK AGE DESIGN 3 CONCEPT PACKAGING
PAGE 38
BRIAN BACLIG
PACK AGE DESIGN 3
BRIAN BACLIG PACK AGE DESIGN 3
CONCEPT PACKAGING
CONCEPT PACKAGING
BRIAN BACLIG
|||||||||||||||||||||||||||||||||||||||||
PACK AGE DESIGN 3 CONCEPT PACKAGING
BRIAN BACLIG
ART DIRECTION_ PAUL K AGIWA DA
||||||||||||||||||||||||||||||||||||||||| SECTION_6 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
|||||||||||||||||||||||||||||||||||||||||
PAGE 39
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PAGE 40
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
||||||||||||||||||||||||||||||||||||||||| SECTION_7 \\
DRI V EN TO SUCCEED PROJECT_ SHIFT_ S U S TA I N A B L E P A C K A G I N G
|||||||||||||||||||||||||||||||||||||||||
PAGE 41
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PAGE 42
SELECTED WORKS_ BRIAN BACLIG
COURSE_ GR APHIC DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ NICOLE FLORES
DRI V EN TO SUCCEED
03
SHIFT_
SECTION_1 \\
PROJECT_ PA NTONE POST ERS
|||||||||||||||||||||||||||||||||||||||||
PROJECT_3 \\ PANTONE POSTERS
AUDIENCE_ GRAFFITI ARTISTS, MUSICIANS, AND VENTURE CAPITALISTS PROJECT_3 \\ PANTONE POSTERS
KEY WORDS_ NIKE, CULTURE, PANTONE, COLORFUL, STYLE, ARTISTIC, PASSIONATE PROJECT_3 \\ PANTONE POSTERS
DELIVERABLES_ SET OF 3 POSTERS PROMOTING 3 PANTONE COLORS PROJECT_3 \\ PANTONE POSTERS
TYPEFACES_ FRUTIGER, OCRB, ROCKWELL
|||||||||||||||||||||||||||||||||||||||||
PAGE 43
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>
PAGE 44
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 1
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ M E G U M I K I YA M A
PROJECT_ PA NTONE POST ERS
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
PROJECT_3 \\ PANTONE POSTERS
PROJECT THREE \\ EXPRESS YOURSELF WITH COLOR This set of posters aims to showcase pantone colors through Nike. The challenge was to show Nike without it being about shoes. The solution: Think of Nike as a culture and then showcase the different cultures that Nike has become a part of. Who wears Nikes? The three posters were created to show graffiti artists, musicians, and venture capitalists. Looking at the posters imerse you into the culture that they represent. The pantone numbers were integrated into the posters so that the whole poster is seen as one.
|||||||||||||||||||||||||||||||||||||||||
PAGE 45
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PAGE 46
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 1
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ M E G U M I K I YA M A
PROJECT_ PA NTONE POST ERS
||||||||||||||||||||||||||||||||||||||||| SECTION_3 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 47
SPECS >
>
PAGE 48
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 1
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ M E G U M I K I YA M A
PROJECT_ PA NTONE POST ERS
||||||||||||||||||||||||||||||||||||||||| SECTION_4 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 49
SPECS >
>
PAGE 50
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 1
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ M E G U M I K I YA M A
PROJECT_ PA NTONE POST ERS
||||||||||||||||||||||||||||||||||||||||| SECTION_5 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 51
SPECS >
>
PAGE 52
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
DRI V EN TO SUCCEED
04
SHIFT_
SECTION_1 \\
PROJECT_ T YPE PROMOTION
|||||||||||||||||||||||||||||||||||||||||
PROJECT_4 \\ TYPE PROMOTION
AUDIENCE_ DESIGNERS, TYPOGRAPHERS, STUDENTS, BIRD WATCHERS PROJECT_4 \\ TYPE PROMOTION
KEY WORDS_ ADAPTABLE, SURVIVAL, NATURAL SELECTION, ENVIRONMENT PROJECT_4 \\ TYPE PROMOTION
DELIVERABLES_ 48 PAGE BOOK, 24 PAGE TYPE SPECIMEN BOOK, POSTER PROJECT_4 \\ TYPE PROMOTION
TYPEFACES_ KIEVIT, QUADRAAT
|||||||||||||||||||||||||||||||||||||||||
PAGE 53
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>
PAGE 54
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
PROJECT_4 \\ TYPE PROMOTION
PROJECT FOUR \\ ADAPT TO YOUR ENVIRONMENT The characteristics of the typeface Kievit makes it ideal for use in body copy and headlines. In this sense, it is able to adapt to different type environments. To promote Kievit and its adaptability we observe Darwin’s Finches and how they were able to adapt to their environment. Through natural selection, finches in different regions of the Galapagos Islands developed unique beaks that helped them survive. Selecting a typeface is an important part of design. We need it to be able to handle different sizes and changes. This field guide is about making the right selection for your typographic needs.
|||||||||||||||||||||||||||||||||||||||||
PAGE 55
SPECS >
>
PAGE 56
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_3 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 57
SPECS >
>
PAGE 58
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_4 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 59
SPECS >
>
PAGE 60
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_5 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 61
SPECS >
>
PAGE 62
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_6 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 63
SPECS >
>
PAGE 64
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_7 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 65
SPECS >
>
PAGE 66
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_8 \\
DRI V EN TO SUCCEED SHIFT_
A A A A A A A A A A A A A A A A A A
A @
@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @
K K K K K K K K K K K K K K K K K K
K |||||||||||||||||||||||||||||||||||||||||
PAGE 67
SPECS >
>
PAGE 68
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE PROMOTION
||||||||||||||||||||||||||||||||||||||||| SECTION_9 \\
DRI V EN TO SUCCEED SHIFT_
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PAGE 69
Type in an Environment
2
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T HE F F K I EV I T F A MI L Y I N C L U D E S N I N E W E I GH T S , T R U E I T A L I C S , O LD S T Y LE FI GU RE S AN D S MA L L CA P S — E V ER Y T H I N G N E C E S S A R Y F O R E V E N T H E MO S T D E MAN DI N G T Y P O GRA P HY
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GR
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I
COURSE_ T YPOGRAPHY 4
SH
SELECTED WORKS_ BRIAN BACLIG
RU
>
PAGE 70 >
Issue No. 1
SPECS ART DIRECTION_ ARIEL GREY
R
M
K
L
J
BITI
ING ASP
C
E
F
G
I
K
L Thin Italic
D
Medium Italic
Regular Italic
Light Italic
Extra Light Italic
t Ligh
t ra L igh
Book Italic
n Thi
k Boo
M
N
Tail
Uppertail-Coverts
Primaries
Rump
Tertials
Vent Undertail-Coverts
Back
Secondaries
Scapul ars
Mantle
Greater Coverts
Crown
Nape
Ear-Coverts
Lores
O
T
S
R
Q
P
a nd the hum a ni stic c ha ra ct e ri st i c s of ol d s t yl e s w e r e t h e i n spi r at i on fo r t h i s c on t e mpo r ar y de si g n t h at i s e q u al l y at h ome i n a h e ad l ine or a b od y of te x t .
The ope nne s s of t h e c ha ra c t er s an d t h ei r pr o por t i on s make s i t an i de al t ype fac e for u se i n smal l pr i n t. T h e c l ar i ty of c l assi c s a ns s e rif fa ce s
Ext
r ula Reg
ium Med
THE FF KIEVIT FAMILY
Fontshop
B
H
J
A
A
Bold Italic
0
d
Z
Bol
Y
Extra Bold Italic
X
d
W
A A A A A A A A A A A A A A A A A A
IC
PROBING
I TA L
S BILL
9
S 8
PR OB ING
7
100% A NIMAL FOOD
6
S 5
BIL L 4
TIP V
ra B ol
3
NG U
Ext
2
G T
Black Italic
S
CK
Forehead
Tarsus
Thigh
Belly
Fl anks
Primary Coverts
Breast Alul a
Median Coverts
Lesser Coverts
Throat
Chin
PROJECT_ T YPE PROMOTION
BLA
1
MAINLY A NIMAL FOOD
SHIFT_ SECTION_10 \\
DRI V EN TO SUCCEED |||||||||||||||||||||||||||||||||||||||||
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PAGE 71
SPECS >
>
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
D E R S TA N D I
NG
CO
S OF DE S
IG
DE
N
UN
ART DIRECTION_ ROL AND YOUNG
M
G
AS
TER
N S T R U C TIN
CO
NS TR U C TIN G
79
RE
PAGE 72
|||||||||||||||||||||||||||||||||||||||||
DRI V EN TO SUCCEED SHIFT_
SECTION_1 \\
PROJECT_ ALCHEMY
|||||||||||||||||||||||||||||||||||||||||
MIND
05
BODY
PROJECT_5 \\ ALCHEMY
AUDIENCE_ SCIENTISTS, DESIGNERS, STUDENTS, HISTORIANS, AND TEACHERS PROJECT_5 \\ ALCHEMY
KEY WORDS_ HIDDEN, SECRETS, UNCOVERING, FORM, FUNCTION, SCIENCE, DESIGN PROJECT_5 \\ ALCHEMY
DELIVERABLES_ BOOK AND POSTER PROJECT_5 \\ ALCHEMY
TYPEFACES_ HELVETICA, Akzidenz Grotesk
|||||||||||||||||||||||||||||||||||||||||
PAGE 73
SPECS >
>
PAGE 74
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ROL AND YOUNG
PROJECT_ ALCHEMY
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
PROJECT_5 \\ ALCHEMY
PROJECT FIVE \\ ALCHEMY: MASTERS OF DESIGN Alchemists spent their lives in the shadows trying to create gold through transmutation. Transmutation focuses around the idea of rearranging elements to create something different. it is mainly associated with turning base metals into gold. In order to do this, Alchemists must remove all impurities. They understood elements, how to deconstruct them and rearrange them. They may not have been successful in creating gold, but they understood the relationship between elements. In design, type and images are merely elements on a page and it is our job to arrange them so that they work.
|||||||||||||||||||||||||||||||||||||||||
PAGE 75
SPECS >
>
PAGE 76
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ROL AND YOUNG
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ ALCHEMY
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 77
SPECS >
>
PAGE 78
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ROL AND YOUNG
DRI V EN TO SUCCEED SHIFT_
SECTION_4 \\
PROJECT_ ALCHEMY
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 79
SPECS >
>
PAGE 80
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ROL AND YOUNG
DRI V EN TO SUCCEED SHIFT_
TER
S OF DE S IG N
G
M
AS
SECTION_5 \\
PROJECT_ ALCHEMY
|||||||||||||||||||||||||||||||||||||||||
IN
C RE
ONS
E R S TA N D
TR U C TIN
UND
G
DE |||||||||||||||||||||||||||||||||||||||||
PAGE 81
CO
N S T R U C TIN
G
SPECS >
>
PAGE 82
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PRINT 2
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ROL AND YOUNG
DRI V EN TO SUCCEED SHIFT_
SECTION_6 \\
PROJECT_ ALCHEMY
|||||||||||||||||||||||||||||||||||||||||
AS
TER
S OF DE S
IG
N
UN
NS TR U C TIN G
M
RE
NG
CO
D E R S TA N D I
DE
CO
N S T R U C TIN
G
79
Au GOLD
CODE
MIND BODY
|||||||||||||||||||||||||||||||||||||||||
PAGE 83
SPECS >
>
PAGE 84
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
DRI V EN TO SUCCEED
06
SHIFT_
SECTION_1 \\
PROJECT_ T YPE CONFERENCE
|||||||||||||||||||||||||||||||||||||||||
PROJECT_6 \\ TYPE CONFERENCE
AUDIENCE_ DESIGNERS, SCIENTISTS, ASTRONOMERS, AND TYPOGRAPHERS PROJECT_6 \\ TYPE CONFERENCE
KEY WORDS_ CLEAN, EDUCATIONAL, QUICK, UNKNOWN, BLACK, ABSTRACT PROJECT_6 \\ TYPE CONFERENCE
DELIVERABLES_ 48 PAGE BOOK AND POSTER PROJECT_6 \\ TYPE CONFERENCE
TYPEFACES_ KUNSTWARE, DIN
|||||||||||||||||||||||||||||||||||||||||
PAGE 85
SPECS >
>
PAGE 86
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE CONFERENCE
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
P
E
C a c s t a i t t c s t a i t t
PROJECT_6 \\ TYPE CONFERENCE
PROJECT SIX \\ ENTER A BLACK HOLE In the center of our galaxy, there is a super massive black hole. A black hole is a region of spacetime where gravity is so strong that nothing that enters the region, not even light, can escape. Join us and take a journey to a black hole. We may not know much about what lies through a black hole, but we do know that they exist. Scientists have observed how black holes affect their surroundings with a relentless pull, stretching and sucking in anything that comes close. It is a point of no return.
|||||||||||||||||||||||||||||||||||||||||
PAGE 87
SPECS >
>
PAGE 88
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ BL ACK HOLES
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 89
SPECS >
>
PAGE 90
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE CONFERENCE
||||||||||||||||||||||||||||||||||||||||| SECTION_4 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 91
SPECS >
>
PAGE 92
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE CONFERENCE
||||||||||||||||||||||||||||||||||||||||| SECTION_5 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 93
>
PAGE 94 >
The theor y of general relativit y predicts that a ver y compact mass will deform spacetime to form a black hole. Around a black hole there is an undetectable sur face called an event horizon that marks the point of no return. Ever y thing, including light, is unable to escape its relentless pull. A s of now, we do not know for cer tain what is inside of a black hole, however, we do know that they exist. Many astronomers agree that black holes are widespread and are impor tant in our universe. A s humans, we continue to stretch our horizons and search for more answers to our universe. Obser ving black holes teaches us more about our universe.
SPECS
SELECTED WORKS_ BRIAN BACLIG COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
OUR MILK Y WAY GA L A X Y
r
=
−∞
−∞
r
r
∞
∞
=
=
WORMHOLE PARALLEL UNIVERSE
BL ACK HOLE
WHITE HOLE
NEW UNIVERSE
UNIVERSE
PARALLEL WORMHOLE
AT THE CENTER OF
BL ACK HOLE E X IS TS
r
=
NEW PARALLEL UNIVERSE
r
∞
∞
=
=
r
r
−∞
−∞
=
=
r
PROJECT_ T YPE CONFERENCE
A SUPER M A S SI V E
SPACE
SHIFT_ SECTION_6 \\
DRI V EN TO SUCCEED |||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 95
SPECS >
>
PAGE 96
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE CONFERENCE
||||||||||||||||||||||||||||||||||||||||| SECTION_7 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 97
SPECS >
>
PAGE 98
SELECTED WORKS_ BRIAN BACLIG
COURSE_ T YPOGRAPHY 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ ARIEL GREY
PROJECT_ T YPE CONFERENCE
||||||||||||||||||||||||||||||||||||||||| SECTION_8 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 99
SPECS >
>
PAGE 100
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
DRI V EN TO SUCCEED
07
SHIFT_
SECTION_1 \\
PROJECT_ RT D PACK AGING
|||||||||||||||||||||||||||||||||||||||||
PROJECT_7 \\ RTD PACKAGING
AUDIENCE_ BOUTIQUES, LDA TO 30, RTD DRINKERS, MAINLY WOMEN PROJECT_7 \\ RTD PACKAGING
KEY WORDS_ CLEAN, SOPHISTICATED, LOCAL, SIMPLE, HISTORIC, FASHIONABLE PROJECT_7 \\ RTD PACKAGING
DELIVERABLES_ SINGLE SERVING BOTTLE DESIGN, CARRIER FOR 4, LARGER BOTTLE PROJECT_7 \\ RTD PACKAGING
TYPEFACES_ KNOCKOUT, TRADE GOTHIC
|||||||||||||||||||||||||||||||||||||||||
PAGE 101
SPECS >
>
PAGE 102
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
PROJECT_ RT D PACK AGING
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
PROJECT_1 \\ AIR \\ DIRECTION
PROJECT SEVEN \\ KNOCKING ON DEATH’S DOOR “Death’s Door” took its name from the body of water between Door County peninsula and Washington Island in which they get organic hard red winter wheat to make their vodka, gin and white whisky. The legends surrounding Death’s Door portray grim scenes worthy of the passage’s name. They tell of a huge Indian war party pummeled to death against its rocky shores. They recount the last voyages of innumerable wooden ships pulverized by swirling currents and howling winds. But like a fierce squall that blurs the line between sea and sky, the potent legacy of Death’s Door obscures the line between fact and fancy. |||||||||||||||||||||||||||||||||||||||||
PAGE 103
SPECS >
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PAGE 104
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ RT D PACK AGING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 105
SPECS >
>
PAGE 106
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
DRI V EN TO SUCCEED SHIFT_
SECTION_4 \\
PROJECT_ RT D PACK AGING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 107
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PAGE 108
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 3
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ PAUL K AGIWA DA
DRI V EN TO SUCCEED SHIFT_
SECTION_5 \\
PROJECT_ RT D PACK AGING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 109
SPECS >
>
PAGE 110
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED
08
SHIFT_
SECTION_1 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
PROJECT_8 \\ SEARS REBRANDING
AUDIENCE_ LOYAL SEARS SHOPPERS, NEW GENERATION OF SEARS SHOPPERS PROJECT_8 \\ SEARS REBRANDING
KEY WORDS_ LOYAL, AFFORDABLE, FAMILY, ACTIVE, YOUNG, TRUST, QUALITY PROJECT_8 \\ SEARS REBRANDING
DELIVERABLES_ REDESIGN SEARS LOGO, CREATE SUB-BRANDS FOR SEARS
|||||||||||||||||||||||||||||||||||||||||
PAGE 111
SPECS >
>
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
ART DIRECTION_ T O M M c N U LT Y
MISSION STATEMENT_ Sears in-house brands are built to create a new interest and unique feel to the store, while maintaining the durable and trusted expectation Sears has earned over the generations.
CAMPING \\
HOME \\
BABY \\
FIFTH SEASON_ A line of camping products from easy to moderate experience levels. Designed to suit the needs of a whole family away for just the night or the holiday weekend.
HEARTH COLLECTION_ The Collection supplies everyday home items while maintaining a unique balance between comfortable cabin living, and the well designed urban modern home.
FOOTPRINTS_ An extensive line of products for babies, newborn to 2yrs including organic foods, clothing, toys, decor, and more. Products are naturally made and packages are biodegradable.
BOLD STRONG NATURE CLEAN ADVENTUROUS FAMILY FUN CASUAL NATURAL
MODERN CLEAN WARM COZY INVITING CONTEMPORARY COMFORTABLE UNIQUE
CALM NATURAL TRUSTING BRIGHT ECO-FRIENDLY GENTLE UNIQUE
PAGE 112
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DRI V EN TO SUCCEED
OUTDOOR LIVING \\
MOSAIC_ Supplying an array of seasonal products in gardening, grilling, entertaining, and decor. All products needed to create the ultimate outdoor living experience. WARM INVITING RELAXING RUSTIC FRESH BRIGHT
SHIFT_
SECTION_2 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
WOMENS FITNESS \\
AUTO \\
MOMENTUM_ Creating a feminine, inviting, and motivating atmosphere for females who need more excitement and style in their at-home fitness equipment.
WARRENS_ A line of auto parts carrying the trust and durability already known from Sears Auto. The packaging is both clean and classic to show history and to let it stand out.
MOTIVATED CLEAN EXCITING CONTEMPORARY SYLISH UNIQUE SIMPLE
CLEAN TRUSTED VINTAGE UNIQUE RELIABLE STURDY DURABLE CLASSIC
|||||||||||||||||||||||||||||||||||||||||
PAGE 113
SPECS >
>
PAGE 114
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 115
SPECS >
>
PAGE 116
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 117
SPECS >
>
PAGE 118
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 119
SPECS >
>
PAGE 120
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_4 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 121
SPECS >
>
PAGE 122
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 123
SPECS >
>
PAGE 124
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 125
SPECS >
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PAGE 126
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 127
SPECS >
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PAGE 128
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_4 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 129
SPECS >
>
PAGE 130
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_5 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 131
SPECS >
>
PAGE 132
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 133
SPECS >
>
PAGE 134
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_2 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 135
SPECS >
>
PAGE 136
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 137
SPECS >
>
PAGE 138
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 139
SPECS >
>
PAGE 140
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 141
SPECS >
>
PAGE 142
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 143
SPECS >
>
PAGE 144
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_4 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 145
SPECS >
>
PAGE 146
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 147
SPECS >
>
PAGE 148
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ SEARS REBR ANDING
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 149
SPECS >
>
PAGE 150
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_3 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 151
SPECS >
>
PAGE 152
SELECTED WORKS_ BRIAN BACLIG
COURSE_ PACK AGE DESIGN 4
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ T O M M c N U LT Y
PROJECT_ SEARS REBR ANDING
||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\
DRI V EN TO SUCCEED SHIFT_
|||||||||||||||||||||||||||||||||||||||||
PAGE 153
SPECS >
>
SELECTED WORKS_ BRIAN BACLIG
COURSE_
ART DIRECTION_
S IN C E 19 24
PAGE 154
|||||||||||||||||||||||||||||||||||||||||
DRI V EN TO SUCCEED
09
SHIFT_
SECTION_1 \\
PROJECT_ LOGOS
|||||||||||||||||||||||||||||||||||||||||
PROJECT_9 \\ LOGOS
AUDIENCE_ DESIGNERS, ARTISTS, AND BUSINESS PROJECT_9 \\ LOGOS
KEY ADJECTIVES_ IDENTITY, DISTINCT, DIFFERENT, UNIQUE, BOLD, EXCITING PROJECT_9 \\ LOGOS
DELIVERABLES_ COLLECTION OF DIFFERENT LOGO DESIGNS FOR VARIOUS PROJECTS
|||||||||||||||||||||||||||||||||||||||||
PAGE 155
SPECS >
>
PAGE 156
SELECTED WORKS_ BRIAN BACLIG
COURSE_
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ LOGOS
|||||||||||||||||||||||||||||||||||||||||
S I N C E 19 24
n PR E M I U M QUA L I T Y PA I N T n
|||||||||||||||||||||||||||||||||||||||||
PAGE 157
SPECS >
>
PAGE 158
SELECTED WORKS_ BRIAN BACLIG
COURSE_
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ LOGOS
|||||||||||||||||||||||||||||||||||||||||
The PacWest |||||||||||||||||||||||||||||||||||||||||
PAGE 159
SPECS >
>
PAGE 160
SELECTED WORKS_ BRIAN BACLIG
COURSE_
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_
DRI V EN TO SUCCEED
10
SHIFT_
SECTION_1 \\
PROJECT_ MISC
|||||||||||||||||||||||||||||||||||||||||
PROJECT_10 \\ MISC ART
AUDIENCE_ DESIGNERS, ILLUSTRATORS PROJECT_10 \\ MISC ART
KEY ADJECTIVES_ FINE ART, ILLUSTRATION, TYPE, CALLIGRAPHY, PROJECT_10 \\ MISC ART
DELIVERABLES_ COLLECTION OF MISCELLANIOUS PROJECTS
|||||||||||||||||||||||||||||||||||||||||
PAGE 161
SPECS >
>
PAGE 162
SELECTED WORKS_ BRIAN BACLIG
COURSE_ A N A LY S I S O F F O R M
|||||||||||||||||||||||||||||||||||||||||
ART DIRECTION_ TERMEH YESHIAZ ARIAN
DRI V EN TO SUCCEED SHIFT_
SECTION_2 \\
PROJECT_ FINE ART
|||||||||||||||||||||||||||||||||||||||||
|||||||||||||||||||||||||||||||||||||||||
PAGE 163
SPECS ART DIRECTION_ R E N E E D ’A R C Y
TYP
FINE ARTISTNEVI LLE BRODY ARTDI RECTOR GRAPHIC DESIGNER G RAPH DES IGNER ART DIRECTOR NEVI LIC LE BRODY R T D I R E C TOR THE FACE ARA FINE ARTIST TDIRECTOR ARTIST A R T D I R E C TOR TYPOGRAPHYFINE NEVI LLE BRODY ARTDI RECTOR ART DIRECTOR FINE ARTIST TPDI R ECTOR G RA H D ES IGNER FINE ARTISTAR NEVI LIC LE BRODY A R T D I R E C T O R FINE ARTIST TYPOGRAPHYNEVILLEBRODY INSIGNIAARTDIRECTOR RAPHIC DESIGNER THE FACE G FINE ARTIST NEVI AR D LRIR LE ECBRODY TOR TTDI ECTOR FINE ARTISTAR ART DIRECTORFINE ARTIST GRINSIGNIA APH ICDESIGNER TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY GRAPHIC DESIGNER TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY NEVI L LE BRODY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY AR T DI R ECTOR ARTIST TYPOGRAPHY INSIGNIA FINE TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY INSIGNIA TDIRECTOR TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTHE FACE AR TYPOGRAPHER THE FACE GRAPHIC TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTYPOGRAPHY DESIGNER ART NEVI LLEARTIST BRODY DIRECTOR UNCOMMERCIAL TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTYPOGRAPHYINSIGNIA FINE FINE ARTIST THE FACE ART DIRECTOR NEVILLE TYPOGRAPHY TYPOGRAPHER BRODYNEVILLE BRODY TYPOGRAPHY TYPOGRAPHY INSIGNIA THE FACE TYPOGRAPHY NEVI LLEBRODY TYPOGRAPHER GRAPHIC TYPOGRAPHY TYPOGRAPHY DESIGNER THE FACE SIGNIA NEVILLE B ARTFINE ARTIST GRAPHIC TYPOGRAPHY TYPOGRAPHY INSIGNIA DIRECTOR ROD DESIGNER UNCOMMERCIAL ART NER IN FINE ARTIST THETHE FACE YG AR T DI R ECTOR TYPOGRAPHY DIRECTOR FACE ART DIRECTOR RA UNCOMME INSIGNIAFINE ARTIST NEVILLEBRODY TYPOGRAPHER RCIAL SIG ARTIST PH TYPOGRAPHYBRODYNEVILLE THE FACE GRAPHIC FINE TYPOGRAPHER THE DESIGNER ART DIRECTOR THE FACEFINE ARTIST FACEART GRAPHIC IC UNCOMMERCIAL FINE ARTIST FINE ARTIST THE DE DESIGNER DIRECTOR THE FACE ART DIRECTOR FACE UNCOMMERCIAL FINE DE ARTIST NEVILLE BRODYNEVILLE BRODY C FINE ARTIST ART INSIGNIA ARTIST THE FACE ART TYPOGRAPHER THE FACE GRAPHIC THE FACE ARTIST NEVI LLE DIRECT DIRECTOR NEVILLE DESIGNER ART DIRECTOR SI ARTIST OR BRODYNEVILLE BRODY UNCOMMERCIAL FINE ARTIST THE FACE INSIGNIA FINE ARTIST NEVILL ATR TECTOR D ECBRODY TOR TYPOGRAPHER THE ART DIRECTOR NEVILLE BRODYNEVILLE E FACE GRAPHIC ARTIST BRODY TYPOGRAPHER THE FACE GRAPHIC DI RIR ECTOR ARAR TDI R BROD DESIGNER ART TYPOGRAPHY DESIGNER ART FACE DIRECTOR UNCOMMERCIAL YNEVI DIRECTOR FINE ARTIST THE ART DIRECTOR NEVILLE ARTIST INSIGNIA LLE UNCOMMERCIAL FINE BRODYNEVILLE BRODY TYPOGRAPHER THE FACE BRO ARTIST THE FACE ART THE FACE FINE ARTIST A R T D I R ECTOR GRAPHIC DESIGNER ART DIRECTOR DY DIRECTOR NEVILLE UNCOMMERCIAL FINE ARTIST THE FACE ART ARTIST NEVI LECTOR LE BRODY TYP NEVI LTLE BRODY AR DI R ECTOR AR T DI R BRODYNEVILLE DIRECTOR NEVILLE BRODY INSIGNIA OG BRODY TYPOGRAPHER THE FACE GRAPHIC DESIGNER RA TYPOGRAPHER THE ART DIRECTOR UNCOMMERCIAL FINE ARTIST P FACE GRAPHIC TYPOGRAPHER THE FACTYPOGRAP HER THE ARTIST TICLE DI R ECTOR DESIGNER ART THE FACE G RAR A PH D S IGN ER FACE GRAPHIC DESIGNER ART DIRECTOR ARTIST DIRECTOR NEVI LIE LE BRODY NEVI L BRODY UNCOMMERCIAL FINE ARTIST THE FACE ARTIST UNCOMME ART DIRECTOR NEVILLE BROD FINE ARTIST ARTIST ARTIST RCIAL A R D R E CBRODY TROR TD E C TO YNEVILLE TYPOGRAP HER ARTIST FINE THE FACE BRODY GRAPHIC ARATRNEVI DI RTTIR ECTOR AARTIST L LE DESIGNER ART DIRECT OR THE FACE UNCOMM AR DI R ECTOR ERCIAL FINE TORTHE FACE C ARTIS T THE E FINE ARTIST A R T D I R E C T O R IR D THE FACE ARTIST T ARTIST NEVI LLE BRODY ARTDI RECTOR ART RARTIST TYPE N FACE A ARTIST DIRE HY
TTYTYYPTO PTO PYYOPG GPTR O G YRARPG O PH GAPTAO YPA RRH APYHR G Y PPOYHH AGPY YRHAY P
ER FINE A R T I S APH T AR GR TD PO IRE TY CT ON
ER FINE ART I S APH T A RT GR DIR PO EC TY TO N
R NEVILL E BR ECTO DIR OD RT YG TA RA S I T PH AR I
ER GN
BRO ART ARTDIRECTOR DIRECTOR ART T DIR ARTIST ART DIRECTOR ARTDIRECTOR DIRECTOR R ART ART DIRECTOR DY GART DIRECTOR NEVILLE BRODY TA RA TIS PH AR I
TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY
TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY `YPOGRAPHER THE FACE TYPOGRAPHY NIA NEVILLE BR GRAPHIC DESIGNER ART R INSIG ODY T DIRECTOR YPO UNCOMMERC GR GRAP IALFINE IGNE AP HER ARTIST S THE TYP HICTHE E FACE FACE OGRA GRAPH ART PHER D IC DI THE DDESIG C R FACE ESNER E GRAPHIC DESIGNER DIRECT IART ART OR DIRECTOR UNCO MMERC UNCOMMERCIAL FINE ARTIST IAL THE FACE ART DIRECTOR NEVILLE FINE BRODYNEVILLE BRODY TYPOGRAPHER ARTIST THE FACE GRAPHICFINE DESIGNER THE UNCOMMERCIAL ARTIST ART THE DIRECTOR FACE ART FACE DIRECTOR NEVILLE BRODYNEVILLE BRODY ART TYPOGRAPHER THE FACE GRAPHIC DESIGNER ART DIREC DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE TOR ART DIRECTORTHE NEVILLE BRODY NEVIL TYPOGRAPHER FACEBRODYNEVILLE GRAPHIC DESIGNER ART LE DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE BROD ART DIRECTOR NEVILLE BRODY TYPOGRAPHER YNEVI FACE GRAPHIC DESIGNER LLE ARTTHE DIRECTOR UNCOMMERCIAL FINE TYPOGRAPHER THE FACTYPOG RAPHER THE FACE GRAPHIC DESIGNER ART DIREC TOR UNCO TYPOGRAPHER FINE ARTIST MME RCIA L GR FINE FIANPHIC T ART ARTIS IS D HEE ARTISETSIGNER ART TYPE FAC RT TA;YPE E
ER GN
FINE ARTIST ART FINE FINE ARTIST ARTIST FINE ARTARTIST DIRFINE R ART PHIC ECART ART TOARTIST VILLE BROFINE DY TARTIST YPOGRAPH NE ER GRA
FINE ARTIST ARTIST FINE ARTISTFINE FINE FINEARTIST ARTIST ARTIST FINE ARTIST FINE ARTIST FINEFINE ARTIST FINE ARTIST
R O G RTI A
AP
FINE ARTIST ST H Y FINE ARTIST FINE ARTIST TYPOGRAPHY FINE ARTIST TYPOGRAPHY TYPOGRAPHY
ER
> COURSE_ T YPOGRAPHY 1
TYPOGRAPHER TYPOGRAPHER TYPOGRAPHER TYPOGRAPHER NEVILLE BRODY NEVILLE BRODY ART DIRECTOR ART DIRECTOR NEVILLE BRODY GRAPHIC DESIGNER ART DIRECTOR R NEVTYPOGRAPHER O I T L L C E E ART
> SELECTED WORKS_ BRIAN BACLIG
THE FACE SIG UNCOMMERCIAL DE ARTIST GRAPHIC
ARTIST ARTIST
NE
PO
E ILL EV
IS T
R G
GRAPHIC DESIGNER TY POG ODY BR RA PH ER
Y OD
TD IREC TOR
NE
FI
TY
ART IST CE ART TAISATCE RFE ITN AEC T IEST TFHA S F AR IF THE TFHAECE ART R ET INO TTH FT E ISCC ARR A E E FE ARTTD HI
GRAPHIC DESIGNER TY POG ODY BR RA PH ER
A
NE TYPE VIL ARTIST THE FACE LE BRO DY TUNCOMMERCIAL T YPOG RAPHER ARTIS
T
TY
ER APH
O CT
ARTIST
HY
AP
GR
R NE SIG ARTIST DE GR HIC G APRA AP PH HIC IC D GR ` DARTIST RE ESIG E R NE E N SIG RN ARTIST SIG NE SIG DE ARTIST RE ARTISTD HIC ARTISTPHIC AP A GR GR
ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTISTARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST
RT
ARTIST
ARTIST
ARTIST
G RA PH Y
ARTIST
O
GR AP
PO
G GR RAP AP HIC HIC D E
TY
ARTIST ARTIST
ARTIST
GR
GR GRGRGARDAPES GSIGN AP APGHPRH HICIGNREAP ER G H G ICAIC P D DER H GRRA DHEICES SIGIC D G RAPG IC APPH SIG DIG N E GRRAPH HRICAPDHD GE HIC ENSENE ER SIG NE AGPIC D EICSDRICASPDIDG R RN ES IG R E RAHESGR GIGENS HEIC I GIGANPRAEIGR SNIGDIGEENNERR GR PHC RAEHRICPHNE SERIG R GR AP IC DD E P D IC R E H S AP S H ESD NER E HIC IC D IGICIG GRGNREDENIGNSIG E SIG A AR SE ERN GR DE G R P P IGR E
T ART IST ARTIST ARTIST
A S R AN H H N GRPH IGN PEHR ICIC ER APIC D ER IC DEDSES HICES GR DE IGIG AP SIG NENE GR DEIG G SNRE HIC NE R R GR APHICIGNAREPH DE R AP D R IC SIG GICR ESIG DE NER H ADP NE SIG GR R NE SIG APGR EH I R HIAPHIC CNDE GR RE AP GC R D DES S H GR IC DE APEHSIC IGNERIGN S GRAP I ER AP HIC IGNE GDNES HIC R GR IG E G DD ESESRAP R NER GRAPHIC IGNIG HIC AP D G HIC ES RA E NE D DE IGN PHIC R R ESIG SIG ER D NE ES R NE IGN R ER GRAPHIC DESIG NER GRAPHIC DESIG ART NER IS
SIGN ER R GRAPHIC DE GRAPHIC DE SIGNE DESIGNER SIGNE HIC NER R GRAP SIG R R GRAPHIC GRAPHIC DESIG DE DESIGNER NE HIC DE NER SIG SIG R NE RR GRAPHIC NE DE R SIG HIC R E NE NE N GR GRAP SIG SIGNE GRAPDEHICSDE SIG DE IG APH HIC GRAPHIC E HIC AP APDE AP D R GR GR IC D NE GR GR APHIC HIC DESIG ESIG DESIG GRAP GRAPHIC NER NER GRAPHIC DESIG NER R GRAPHIC DE SIGNE DESIGNER HIC NER GRAP SIG R R GRAPHIC DE DESIGNER NE HIC NE AP SIG SIG R GR HIC DE DENE RR NER RSIG HICSIG ENENE N GRAP SIG GRAPDE SIG DE DE IG DE SAP HIC HIC GRAPHIC EHIC AP AP D GR NER GR IC HGR DESIG GRAP GRGAPHIC GR R RA DE GRAPHIC SIGNE AP HIC P DESIGNER R GRAP SIGHNEGRR GR HIC GRAPHIC DE DESIGNER ICRGNE AP R HIC DESIGNE DE SIG GRAPHIC APR NE DENE HNE R R HICSIG D S NE RAE ICR N GRAP SIG H GRAPDE SIG DE EDE IG DE PHSSIG SAP D IC IGN HIC HIC GRAPHIC EHIC AP AP D GR E GR ICI ESD IC HGR G GR G G D NIGENSIG R RA GRAP GRAPH E N AP RAESE PHIC DESIG H P IGR R E G NER ICGRAGPGRA IC DHEIC NDER R R R D SIGESGDE RA HICR SIGNE DESIGNER N RAER EPHSPDHAGRAPHIC IGNE HIC IG IC AP N S GR EP EGSIG E NEPRHIC R ICIG SDHDE HIC EID RARGNE RNE SIG SIG GRAP DE GRD DE NSICIGEDE DNE RAR E NSC IG RR R PNE PEH SIG HIC NE GND ER AHIC HIG GRAP SIG APAP RGR PN SIG S NE RS RE DE IG ICSIG DE RNEHIC EAAP H GRGAPHIC HIC ERDE AP HIC AP PHSHIC D DEICNERIGN GR EGR IC SIG HGR E R DE IC SD TIOG ES DENIGENSIG R GRAP GRAPDHIC G IG RARSE ERN NE PHIGR ER R R IC NER GRAPHIC SIGNE DESIGNER DE HIC DE R SIGGRAP SIGNER R GRAPHIC DE DESIGNER NE HIC NE DESIG SIG R NE RR GRAPHIC DENE HICSIG R NER ENENESIG N GRAP SIG GRAPRDE SIG DE DE IG DE SAP HIC HIC GRAPHIC EHIC AP AP D GR GR NER GR IC DESIG APHGR APHIC
ARTIST
ARTIST ARTIST ARTIST ARTIST
ARTIST
R
HIC GR GRGARA DE SIG AP PGHPRICHAIC NE HI PDHEDICE R C DE SIGSDIGNENSIG GR SI ERERNER GR GN AP APH IC D ER HSTI ESIG C N DE ER GR AP GRAP SI GR HIC DE HIC GN AP SIGN DES GRA HIC ER IG PHIC ER NE R DES GR DES IGN AP IG GRAP GRAP G HIC DE EHR IC NER HIC DE RSI AGN D PHERIC SIGNERES GRA GRAPHIC DESIG IGNER PHIC DESIGNER NER DPHI GRA ESCIGDES IGNER NER GRAP HIC DE
R NE SIG DE HIC NER AP GR DESIG
HIC AP GR
T ARTIS
ARTIST
T ARTIS
ARTIST T ARTIS ARTIST ARTIST TIST AR ARTIST ST ARTIST TI AR
ARTISTR
ARTIST
ARTIST
ARTIST
ARTIST
ARTIST
ARTIST
ARTIST ARTIST
ARTIST
ARTIST ARTIST
|||||||||||||||||||||||||||||||||||||||||
DE
ARTIST
ARTIST T ARTIST ARTIST AR IR ARTIST CT IR RARTIST TD GRAPHER RERAARPTHDEPRHEARARARTIST OIG TYPO ARTIST ART YPD T ISPHER ARTT RA ARTIST GRAT ARTIST T T AR YPO AR ARTITST R ARTIST ER ARTIST HE IR ARTIST PH ARTIST TP ART D TYPAOGR ISA A T R P R H AR ER A T AR ER PH RA
ART DIR ECTOR
ARTIST
ARTIST
ARTIST ARTISTIST T AR ARTIST ARTISTARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST
ARTIST
ARTIST
ARTIST
ARTIST
ARTIST NE R ARTIST ARTIST SIG NE ARTIST IG DE HIC DES AP GR ARTIST HIC ARTISTARTIST ARTIST AP GR GR GRAPH IC APGRAPH H DESIGNER GR ARTIST APH IC DES IC DESIGNERARTIST IC DE IGNE SIG R ARTIST NE R
ARTIST
ARTIST ARTIST
H N AP PH SIG GR GRA DE HIC ER AP SIGN GR
H AP GR
T TIS AR
R NE N ERE R IG SIG EERRRSDE IGN NE E SIG SIG IGNNNE DE ` D DES NER ESSIGAPICHIC `DSIG NER GRAPHICDDEGR ARTIST DE IC PH HIC DESIG NEERR AHIC HIC ARTAP ARTIST RGRAPHIC PPH HICDESIGNER ESIG IGN GIST AP GR AGR RA AP D DES GR GRG PART HICIST R E GRA IGN ARTIST S E ARTIST D HIC R AP NE R GR SIG NE ARTIST IG DE R HIC DES NE AP ARTIST GR SIG R IC DE IGNPEH IC ER DES RA H N ARTIST IC G HARTIST ARRATPISTESIG GRAP R G D ARTIST HE ARTIST AP ARTISTAPHIC ER GRAPHER AR GR IGN YPO T ES ARTIST ARTIST T IC D ARTIST PH ARTIST RA ARTIST G R ARTIST ARTIST ARTIST ARTISTDESIGNE ARTIST GRAPHIC ARTIST ARTIST ARTIST ARTIST R ARTIST IR IGNE ARTIST S ART DEARTIST ARTIST D ARTIST ARTIST HIC OR AP ECT T GR DIR AR R DES ART R IGNE ARTIST GRAPHICARTIST HE ARTIST APHER AR APARTIST IR OGRARTIST ART D TR TYP
GR G GR APRHAP AP ICHIC D ` ARTIST HIC DE ESIGN ` D SIG ER ES N IG ER NE R ARTIST
R NE ARTIST SIG DE IC
T TISARTISTT AR TIS AR
GR APH IC D ES IGN ER
DE SIG NE R
R NE R SIG NE NER IG IG DE HIC DES ES AP D GR IC IC ER
ER IGN DES HIC AP R GR SIGNE HIC DE GRAP
GR AP HIC
HIC AP GR
R NE SIG DE
IST ARTTIST AR ST ARTI
HIC AP GR
R SIGNE HIC DE GRAP
HY AP GR
R NE SIG DE
GR G GR APRHAP AP ICHIC D HIC ` D ESIG NE ` D ESIG R ES N IG ER NE R
R NEERNENRER SIG IGSNIGIG DDEES DEDES R HIC HICIC NE R ER AP AAPPH SIG IGNE N GR GGRR DE S IG DE DES HIC AP HIC IC R IGNER GR AP PH NE NEER GR GRSAIGS IG S DE E IC D D H RPER NER ER EA R HIC NIC N G AP PH IGN SIG IG GR DGERSAIG ES DE DES D IC IC HIC IC PH PH ER ER AP PHRAGRSAIGN ER IGN GR GRA G D E IGN DES DES HIC HIC AP HIC AP GR AP GR GR
O TYP
HIC AP GR
ART AR TISIS AART T T R IS ARTTISTT ART IST IST ART ARA TIS RAA RIS T TTTIS TTRIS RA ISTTTIST
FI
E DIR
GR APH IC D ES IGN ER
R NE SIG DE R HIC NE IG AP GR DES IC H AP GR
PAGE 164
CT O
E ILL EV
T
FINE ARTIST AR TPDI R ECTOR G RA H D ES IGNER NEVI LIC LE BRODY ARTD ECBRODY TOR FINE ARTIST NEVI LIR LE AR T DI R ECTOR ART GNEVI RAPHIC D ESIG NER TYPE LECTOR LE FINE ARTIST A RT RT R T;YPE NEVI AA R TDI D IR LE E CBRODY TBRODY O RR TLR D IR E C TO AR TTR A RT IST TYPE NE AR DI R ECTOR ART TY SIG TYP FINE ARTIST GRA AR P H ICD E SC IGTNO ER NEVI L T LE D I R BRODY E R OGRAPHER DE NEVI LECTOR LE BRODY AR TDI RECTOR AR TDI R AR TLDI R ECTOR FINE ARTIST NEVI LIR LE BRODY NEVI LE BRODY AR TRDI R ECTOR A T D E C T O R NEVI LD BRODY G R A PT H E S IG N ER DI R ECTOR NEVI LLE LE BRODY NEVI LTIC LE BRODY A D ETC TROR ATAR RDI TTR D IR C O DI REIR ECTOR ARAR R ECTOR A R TIR D IR ETC TROR AARTIST FINE ARTIST A R T D E C O P NEVI L LE BRODY T AR T DI R ECTOR NEVI L LE BRODY AR T DI R ECTOR R HARTIST Y ARTIST ARTIST ARTIST INE A A RTIST ARTIST TIC DI R ECTOR ARTIST FINE ARTIST NEARTIST AR TPDI R ARTIST G RAR A H D E S IGN ER F ARTIST LECTOR LE BRODY VILLE BROD NEVI L LE BRODY ARTIST ARTIST ARTIST DY Y GRA ARTIST PHIC DESIGN A TIR D IR ET C TROR A RNEVI TR D C O FINE ARTIST ARTIST BRO ARTIST NEVI LE BRODY LE NEVI L LE BRODY ARTIST VILLE E N N ATNEVI R TDI D IR ELE TBRODY OR AR TL DI RC ECTOR Y AR TDI R ECTOR H EV AR R ECTOR TYPOGRAP IL G R A P H C I D E S G I N ER LE FINE ARTIST D IR ECBRODY CTTOORR NEVI AAR TDI L LE EBRODY BR NEVI LTD LE AR TR RIR ECTOR FINE ARTIST G R A P H C I D E S G I N ER AR T DI R ECTOR AR NEVI LE BRODY TLD IR C TO ART TD AA R TR D IR EE CBRODY TO RR NEVILLE BRODY AR T DIR IRE NEVI LECTOR LE CT AR T DI R ECTOR A R T D I E C T O R THE FINE ARTIST OR AR TDIR ECTOR FACE ART DIRECTOR NBER VO ILLD EY FIN Y R GRAPHIC DESIGNER EA P FINE ARTIST FACE FR INTEIS THE ARTIST R A FINE S BROD RT E NEVI L LE BRODY I H N A T I P FACE THE O S A R NEVILLE BRODY TTY T Neville GE TYPOG RS AIG PH IC EVILLE G BRODY PO NEVILLE BR O D Y AR TBRODY RD ECTOR NEVILLE RNEVILLE NC EE R GARTIST RA PDI HIC E SBRODY IGNERFACE GR Brody was DT T Y P O G R A P H E R F I N E A R NEVILLE H E F A THE FINE A ARTDIRECTOR D ECBRODY TOR ARTIST UNCOMMERCIAL EE FINE ARTIST ART TID CATP OH RYR TYPOGRAPHER ARTDIRECTOR PHER FIND GRAPHIC SIGNE RTHEFACEFINE NEVI LIR LE born on April 23, A TR YP OIR GER ART DIRECTOR NEVILLE BRODY ADESIGNER RTISTNEVILLE THE BRODY GRAPHIC ART DIRECTOR FACE THE FINE ARTIST INSIGNIA FINE NEVILLE BRODY OING P HTER 1957 in London. He TYPF FACE THE ARTDIRECTOR TFI YP O G RA P HTUNCOMMERCI ERNEVILFACE LEBRONEVILLE DAYL TY POGRBRODY AP HE GR ER AA R TE IS FACE THEARTIST UNCOMMERCIAL GRAPHIC DESIGNER NEVILLE BRODY FACE ARR THE GRAPHIC DESIGNER N E AR TI S GRAPHI C AP TIS GRAPHIC DESIGNER ART DIRECTOR O M M R C A I L FACE THE studied A-Level Art UNCG INSIGNIA H DIRECTOR DB ER SO IGD NYEG RR TH EF AIC CD EE FS INIG EANRETR ISTTH NEEFVAIL LEE GRA T NEVIART LLEDESIGNER BRODY RIG AN PE HR ICTHE FINE ARTIST GRIC ACE FACE F THE THE GRAPHIC INSIGNIA A P H C D D E S G A PH PHES GRAPHIC DESIGNER RA and in 1975 he went FACEFINEARTIST N E V I L L E B R O D Y FACE THE FIN INSIGNIA ART DIRECTOR FINE ARTIST NEVILLE BRODY IC G IG IC G P ART DIRECTOR EA TY GG RARPAHPEH RE NR EF VIL BRRTO DTY A RAPDRAEPS NEVILLE BRODY ART DIRECTOR VG ILLREAB Y DNE FINE ARTIST NEVILLE BRODY GHRIC NEVILLE BRODY RT TP YO P O INLR EEA IS on to take a Fine Art NE AR PR HO ICTD AR HICHIG RT FINE ARTIST ART DIRECTOR IS ARTESRIG APDE ACE F THE UNCOMMERCIAL GRAPHIC DESIGNER ART DIRECTOR U N C O M M E R C I A L G A P H I C TIS GRICNG ART IS TIS T ACE F THE GRAPHIC DESIGNER D E S G I N E R H E NEVILLE BRODY IS N S H A GRAPHIC DESIGNER ART DIRECTOR D T IS D IG T E INSIGNIA T E DA ER SIG NNEERVTILHLEEFB ACO EF IC N AEPRREA A UNCOMMERCIAL NEVILLE BRODY NO ED VILYLE AR RTIS T T ART DIRECTOR foundation course at FAC FINE ARTIST NEVI LLENEVILLE BRODY R SHIGSP FINE ARTIST DEE ARTISRTIS NEVILLE BRODY ISAT DIN YE BER H ART DIRECTOR NEVILLE BRODY ICNIG AR TIST T ASR AR T BRODY G GTR PHICFACE DESIGR NER EDRRNEICAED TIS RB AR PH E RNEVI TIS TIS T TYPOGRA ARRIG FACE THE AR Hornsey College of Art. TYPO FINE ARTIST ARTIST N T PHER THE THE NEVILLE BRODY SPRIGHES LG LE OH D GRAPHIC DESIGNER ART DIRECTOR ARTDIRECTOR DIRECTOR FINE ARTIST FACE ARTISTETR T GRAPHIC AR TIS A T ART NEVIFINE L LE BRODY TIS NEVILLE ART DIRECTOR NEVILLE BRODY AP EYRFINE NICEIGN TIS DESIGNER TIS T RTIS AR AR ACE FDIRECTOR THE FINE ARTIST In 1976, Brody started a TYPOGR ART ART RDEER A R T S I T T DIRECTOR T ART DIRECTOR TIS T ACE F THE GRAPHIC DESIGNER S CG OR MAM E RICCIAL IG T INSIGNIA UNCOMMERCIAL GRAPHIC DESIGNER NEVILLE BRODY AR INSIGNIA FINE ARTIST NUNCOMMERCIAL NEVILLE BRODY NEVILLE BRODY three-year B.A. course in UN P H NEVILLE BRODY ER TIS NEVILLE BRODY ART FINE ARTIST DAEC SIG NE EA RR TH ET NEVILLE BRODY ARTDIRECTOR DIRECTOR FACE ARTTHE T FACE DIRECTOR THE FINE ARTIST ART DIRECTOR NEVILLE IN TIS graphics at the London F NEVILLE BRODY ART DIRECTOR NEVILLE BRODY GRAPHIC DESIGNER ART DIRECTOR FINE BRODYNEVILLE TYPOGRAPHER NEVE ILFL EAB Y ART DIRECTOR NEVILLE BRODY BRODY ART DIRECTOR FINE ARTIST NEVI LDIRECTOR LEARTIST BRODY THE FACE GRAPHIC ART DIRECTOR ART GRAPHIC DESIGNER NEVILLE G RIG PR HO ICTD DESIGNER ARTTYPOGRAPHER ART DIRECTOR ART DIRECTOR BRODY THE FACE College of Printing where his DE ACE FGRAPHIC NEVILLE BRODY DIRECTOR UNCOMMERCIAL THE FINE ARTIST FINE ARTIST GRAPHIC S N E R H EARTIST FINE ARTIST THE FACE ART INSIGNIA DESIGNER ART DIRECTOR NEVILLE T T DESIGNER T F A C E N E V L I L E DIRECTOR INSIGNIA ARTISTTYPOGRAPHER BRODYNEVILLE BRODY NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ARTIST IS GRAPHIC UNCOMMERCIAL TIS TIS NEVILLE BRODY NEVILLE BRODY tutors condemned his work as T THE FACE GRAPHIC DESIGNER B R O D Y R R R FINE ARTIST THE NEVILLE BRODY NEVILLE BRODY TYPE ARTIST DESIGNER ART DIRECTOR A A A NEVILLE BRODY ART DIRECTOR A ARTIST FACE ART ART DIRECTOR RTART UNCOMMERCIAL FINEBRODY ARTIST THE FACE DESIGNFINE TYPOGRAPHER PO G R A P H ED RARTIST NETYPOGRAPHY DIRECTOR ART DIRECTOR DIRECTOR NEVILLE IS ACE F ART DIRECTOR THE ART DIRECTOR FINE ARTIST NEVILLE "Uncommercial". Punk rock was TY BRODYNEVILLE V L I L E B R O Y T T GRAPHIC ART THE FACE BRODYNEVILLE ARTISTTYPOGRAPHER THE ACE FFINE THE GRAPHIC DESIGNER ARTART DIRECTOR NEVILLE BRODY IS GRAPHIC ACE FDIRECTOR THE BRODY NEVI L LE BRODY ARTIST TYPOGRA P HT EARTIST RFINEFINE FACE ART TYPE DIRECTOR ART DIRECTOR DESIGNER ART A ART FINE ARTIST TYPOGRAPHER ARDIRECTOR ARTIST GRAPHIC DESIGNER ART DIRECTOR NEVI LDIRECTOR LE BRODY ARTFDIRECTOR ARTTISDESIGNER ARTIST DIRECTOR THE FACE RM TIS INSIGNIA NEVILLE BRODY starting to have a major effect UNCA NEVI LLE BRODY TL FINE ARTIST UNCOMMERCIAL GRAPHIC NEVI LDIRECTOR LE BRODY DESIGNFINEARTTYPE NEVILLE BRODY IST ART UNCOMMERCIA ART ACE THE ART FINE ARTIST INSIGNIA O M R C IANTYPOGRAPHY LE FINE ARTIST DESIGNER TFINE NEVILLE BRODY ATARIS FACE ARTTHE ART ART DIRECTOR ARTIST ART DIRECTOR GRAPHIC DESIGN P HC ICE DFE E S IG RT POG DESIGNFINEARTTYPE DIRECTOR FACE THE NEVILLE BRODY NEVILLE BRODY NEVILLE DIRECTOR on London life by 1977 and this G GRAPHIC DESIGNER ARTIST IS FINE ARTIST FINE ARTIST NEVILLE BRODY NEVILLE BRODY R BRODYNEVILLE UNCOMM RAPRTATIS FACE GRAPHIC DESIGNER TR HA E F A IN E A R TIS TTTHE T BRODY TYPOGRAPHER THE ERCIA ART DIRECTOR ART IS DESIGN FINE NEVILLE BRODY Y ARTIST F ACE GRAPHIC DESIGNER L NEVILLE BRODY D N E V L I L E B R O D Y ARTDIRECTOR HY TART ART DIRECTOR FINE T NEVILLE UNCOMMERCIAL had a great impact on Brody's GRAPHICDESIGNARTIST DIRECTOR ARTBRODY DIRECTOR FACE BRODY ARTUNCOMMERCIAL DIRECTOR NEVILLE ACE FART FACE THE THE GRAPHIC DESIGNER INSIGNIA ART ARTIST IS THE ACE FBRODY THE NEVILLE BRODYNEVILLE TYPOGRAPHER THE FACE NEVI LBRODY LE FINE GRAPHIC DESIGNER ART DIRECTOR THEFA C EO ND EY VILLEER NEVILLE ARTBRODY DIRECTOR GRAPHIC DESIGNER NEVILLE BRODY UNCOMMERCIAL FINE ARTIST THE FACE ART DIR TDIRECTOR INSIGNIA ART DIRECTOR NEVILLE BRODY NEVI LLEARTIST BRODY work and motivation. His tutors, not T NEVILLE NEVILLE BRODY BRODY B R NEVILLE BRODYNEVILLE BRODY NEVILLE BRODY GR FINE ARTIST FINE ARTIST NEVILLE BRODY ECT TYPOGRAPHER THE F ACE GRAPHIC NEVILLE BRODY NEVILLE BRODY Y P O G R A P H E R N E V I DESIGNER ART DIRECTOR ART DIRECTOR NEVILLE BRODY A ORUNCOMMERCIAL THEFACE ART DIRECTOR GRAPHIC DESIGNER FINEARTISTTHE ARTUNCOMMERCIAL DIRECTOR PH GRAPHIC ER BA RP OH DEYRFINE ART DIRECTOR ACE F THE FINEARTIST DESIGNER too happy with his work, almost had TYPL NEVILLE FACEARTDIRECTOR UNCOMMERCIAL ART DIRECTOR IC OLG NEVILLE BRODY NEVI LBRODY LE BRODY DE FINE ART DIRECTOR NEVILLE RM TIS NEVI LDIRECTOR LE BRODY him thrown out of the college for UNCA SIG NEVILLE BRODY NEVI L LEARTIST BRODY O MTE R C IANLER ART NEVI LBRODY LEBRODY NEVILLE NE GRAPHIC DESIGNER NEVI LLE BRODY P HC ICE D E S IG ACE FBRODY THE IARTIST NSIGNIA FINE ARTIST R DIRECTOR ART DIRECTOR ART DIRECTOR putting the Queen's head sideways on G ART FINE TR HA E F A F N I E A R T S I T ART DIRECTOR ART DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVILLE BRODY ILLREABPR Y ART DIRECTOR a postage stamp design. Brody's NEVE G HO ICD GRAPHIC DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVI LDESIGNER LETHE BRODY ART DIRECTOR UNCOMMERCIAL N E TH E ACE FART FINE ARTIST ART DIRECTOR ASCIG ER NO ER V E NEVILLE BRODY ART DIRECTOR FINE frist-year thesis was based around a DF ART DIRECTOR GRAPHIC DESIGNER GR INSIGNIA ART DIRECTOR ART DIRECTOR NEVILLE BRODY B DIL YL NEVILLE NEVI LBRODY LEARTIST BRODY GRAPHIC DESIGNER GRAPHIC DESIGNER ART DIRECTOR ART DIRECTOR AP ART DIRECTOR NEVILLE BRODY O G R A P H E R N ARTIST GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ART DIRECTOR NEVILLE BRODY comparison between Dadaism and Pop TYP ACE FDIRECTOR THE FINE ARTIST ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE BRODY EVILO LE BRAO D YARTIST GHRIC ART DIRECTOR ART TY ACE F THE INSIGNIA NEVILLE BRODY ART PO ART DIRECTOR APDE P HTE R ACE FDIRECTOR THEBRODY NEVILLE NEVILLE BRODY ART DIRECTOR ARTIST GRAPHIC DESIGNER Art. Initially working in record cover design, TYPF SIG HIC GR ING ER AR TE IS ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE BRODY C O M MP RIC CARTIST IALTI ART DIRECTOR DNEE ART DIRECTOR ARTDIRECTOR DIRECTOR GRAPHIC DESIGNER INSIGNIA Brody made his name through his work as Art UN G R A H SRIG DIRECTOR ART ART DIRECTOR UNCOMMERCIAL ART ART DIRECTOR FFACE FACE THE THE GRAPHIC DESIGNER ARTIST AR ART DIRECTOR D E S G I N E R H EE ART DIRECTOR GRAPHIC DESIGNER IN NE DIRECTOR FT ACE THE ART UNCOMMERCIAL ARTIST AE CVEILFLINEEBAR RO TIS T ART DIRECTOR UNCOMMERCIAL R DIRECTOR ART DIRECTOR NEVILLE BRODY Director for the Face magazine. Brody FN NEVILLE BRODY ART GRAPHIC DESIGNER ART DIRECTOR ARTIST DY NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ART DIRECTOR ART DIRECTOR GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ARTIST G FFACE THE GRAPHIC DESIGNER GSRIG AN PE HR IC ART DIRECTOR ART DIRECTOR NEVILLE BRODY ART DIRECTOR ART DIRECTOR NEVILLE BRODY ARTIST GRAPHIC DESIGNER consistently pushes the boundaries of visual DE ACE FACE THE THE GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ACE F THE ART DIRECTOR NEVILLE BRODY TH E RAPGHIC NEVILLE BRODY ART DIRECTOR GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ART DIRECTOR ART DIRECTOR NEVILLE BRODY ACE F THE ER NO EV IL LARTIST E ART DIRECTOR ART DIRECTOR NEVILLE BRODY NEVILLE BRODY NEVILLE BRODY ART DIRECTOR RA D ACE F THE ARTIST communication in all media with his experimental FACB NEVILLE BRODY NEVILLE BRODY ART DIRECTOR D Y PHES T ART DIRECTOR NEVILLE BRODY ACE F THE GRAPHIC DESIGNER GRAPHIC DESIGNER PR ON G R A P H P ICIGN YP UNCOMMERCIAL ART DIRECTOR ARTIST T and challenging work. Neville Brody continues to TYE E VD ILL EARTIST DESER OG YP NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ACE F THE INSIGNIA GRAPHIC DESIGNER B R O Y TY O IG C THE ART DIRECTOR G O NE RE ART NEVILLE work as a graphic designer and has launched TY ART DIRECTOR NEVILLE BRODY BRODY DIRECTOR NEVILLE BRODY TY ART DIRECTOR ART DIRECTOR ART DI GRAPHIC DESIGNER AP P HG EFRACE GRAPHIC DESIGNER IST TFYINE R PO ART DIRECTOR T UNCOMMERCIAL ART DIRECTOR R Y P Research Studeios in London with his business ART T ART DIRECTOR ART DIRECTOR G PO ART DIRECTOR OG INSIGNIA GRAPHIC DESIGNER FIARTDIRECTOR OR NEVILLE BRODY DIRECTOR UNCOMMERCIAL G DIRECTOR NEVILLE BRODY AR ART DIRECTOR partner Fwa Richards. The typeface known as Insignia, ART ARTIST ART DIRECTOR GRAPHIC DESIGNER EC NEVILLE BRODY E DI DIRECTOR INSIGNIA NEVILLE BRODY TY ART DIRECTOR T YPOG E TP YP O G R A P H DI IN designed by Brody, was originally used as a headline ART GRAPHIC DESIGNER NEVILLE BRODY RAPHRYECTOROR NEVILLE BRODY F RE CTORUNCOMMERCIAL T Y O G R A P H E R ART DIRECTOR CTO FO INE RETR ISC TIADIRECTOR NEVILLE BRODY NEVILLEBRODY ART for Arena magazine in 1986. It was released as a font TORUNC R EC D NEVILLE BRODY ART DIRECTOR MA M FACE GRAPHIC DESIGNER THE GRAPHIC DESIGNER TOR EC IR EC DI DI R AEPAH IC DTE NLEERB TR HL EF AYCE TO EC CF TOR RE NEVILLE BRODY by Linotype in 1989. Its monoline, round and RGRAPHIC EG NEVILLE BRODY DIRECTOR DESIGNER IN R TD IS NS EIG VN IL O D CTO R TOR ART ECTDIRECTOR ART NEVILLE BRODY R G R ARP HD ICY E S IG ER TH E FR A C EVILRL OR NEVILLE BRODY NEVILLE ART BRODY DIRECTOR GRAPHIC DESIGNER DVIIL sharp forms represent technology and N E L E B O T Y P O G R A P H E N E E GRAPHIC DESIGNER ACE F ACE THE F THE FINE GRAPHIC ARTIST DESIGNER ART DIRECTOR NEVILLE BRODY T BR O DC YIA TY RH AP HE RFIG INN EAR RT TH ISE TGRAPHIC ART DIRECTOR GRAPHIC DESIGNER RCOM NEVILLE BRODY AN DESIGNER NEVILLE BRODY NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY ME EVR LP GO RG A IC E FA C E NEVILLE BRODY progress. Insignia is also immediately DFIN ART DIRECTOR NEVILLE BRODY DESIGNER YU TYTYEN AER IS TN ILGRAPHIC LD EYB O DP YG RD A PS H IC DEE E S N E RTARTIST TBRODY H NEVILLE BRODY BRODY GRAPHIC DESIGNER NEVILLE FINE POGRAPHY OFACE VTIL L B R O TR Y P O G RCA P H ERR N ILLIG LE E B R O D YNEVI ART ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER FV IN AR IH S TE LLDIRECTOR EBRODY ART NEVILLE DIRECTOR ACE FNEVILLE FACE THE THE GRAPHIC DESIGNER FINE ARTIST RT recognizable as one of the hip, ACE F THE INSIGNIA NEVILLE BRODY ART DIRECTOR BE D Y AR TART DI RDIRECTOR ECTO BD YP O G RT A P HE E R FE IN E AER TR IS TIS U N O M M EO RART C IA G R A P IC ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER ART NEVILLE DIRECTOR BRODY DIRECTOR GRAPHIC DESIGNER U N C O M M ER C I A L TYP O G RA E GRAPHIC DESIGNER INSIGNIA E S G I N E R H E F A C F N I A T T N E V L I L B R O D Y G R A P H C I NEVILLE BRODY THEFACE ART DIRECTOR FINE ARTIST INSIGNIA L ART DIRECTOR GRAPHIC DESIGNER P HY F I N E AR TI S T NEVI L L E ART DIRECTOR ART DIRECTOR L DIRECTOR ART DIRECTOR cutting-edge classics of our EVIDESIGNERTHEFACENEVILLEBRODYTYART ART DIRECTOR DIRECTOR ARTART NEVILLE DIRECTOR BRODY ART DIRECTOR P O G R A P H EC RIA N E VD ILRAP L E B R O D Y R O D AR T IR ECTO UNCO MFACE THE NEVILLE ART BRODY FINE ARTIST INSIGNIA NEVILLE BRODY FINE ARTIST NEVILLE BRODY FINE ARTIST NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY M ER IY A LB P O HAR YH FI N E AR TI SDIRECTOR TART ART DIRECTOR DIRECTOR ART DIRECTOR TEYS PIG ON GERRATP H E RC FIN EIN AE RTIST U N CB O M M EL RE L G R A P H IC ART DIRECTOR BRODY FACE THE FINE GRAPHIC ARTIST DESIGNER N EV IC B RG O DY TIC DI RNEVILLE ECTO GRAPHIC DESIGNER R ND ACE F THE ACE F THE FINE ARTIST own computer era. NEVILLE BRODY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY H E F A E F A R T S I T N E V L I R O D Y G R A P E UNCOMMERCIAL TYPOGRAPHY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY N ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER GRAPHIC DESIGNER D ER SAIG N TNH ALC VD ILLYE B D YNF IN EEC AR TI S TEDIRECTOR E VI LR L E BRO DY ARA TLNEVILLE FACE NEVILLE BRODY THE NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY FINE ARTIST INSIGNIA NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY BRODY D IE R TO UNCO MMERCI ART DIRECTOR ESIGTY P O G PG HE ER RDIRECTOR EEIC VFILD EE BN REO TTFY P O G RART AR PO HE R IN ETA T IS TL ART NEVILLE DIRECTOR BRODY DU ACE F THE NEVILLE BRODY FINE ARTIST ART C INSIGNIA NEVILLE BRODY FINE ARTIST I GRAPHIC DESIGNER N C O M M E R C A I L R A P H E S G I N E R H F A C E F N I A R T S I N E V L I E H TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART DIRECTOR ART DIRECTOR P ACE F ART NEVILLE DIRECTOR BRODY THE GRAPHIC DESIGNER FINE ARTIST ACE F INSIGNIA THE FINE ARTIST RANEVILLE POGRAPHY INSIGNIA BRODY FINE ARTIST B RH OE DRY GE R A P H C I D E S G I N E R T H E F A C E N E V L I L E B R O D Y POGRAPHY ART DIRECTOR NEVILLE BRODY NEVILLE BRODY FINE ARTIST ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER ART DIRECTOR ART DIRECTOR ART DIRECTOR FI N E AR TI S T NEVI L L E ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER FI N E AR TITSTNEVI LLE ART NEVILLE DIRECTOR BRODY TG YGP O G R A P N V L I L E B R O D Y T Y P O G R A P H E R F N I E A R T S I T U N C O M M E R C A I L INSIGNIA GRAPHIC DESIGNER ACE FARTIST THE NEVILLE FINE ARTIST BRO DYFINE AR TBRODY DI RO ECTO ACE F INSIGNIA THE FINE ARTIST BRO DY AR DIRO ECTO ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY R A P H C I D E S G I N E R T H E F A C E F N I E A R T S I T N E V L I L E B R O D Y G R A P H C I ART DIRECTOR ART NEVILLE DIRECTOR BRODY UNCO MMERCI A L TYP G RA UNCO MMERCI A L GRA NEVILLE BRODY FINE GRAPHIC DESIGNER ACE F THE ARTIST INSIGNIA P HT Y DY FINAR ETNEVILLE AR TIECTO SNEVILLE T NEVILLE NEVI LLE P H Y FI N E AR TI S TTYPNEVI LLE BRODY BRODY BRODY D E S G I N E R T H E F A C E N E V L I L E B R O D Y NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY NEVILLE BRODY ART NEVILLE DIRECTOR BRODY DIRECTOR ART DIRECTOR ACE F THE BRO DI R UNCO MBRO DY AR T DI R ECTO UNCO TART Y P O G R A P H E R N E V L I L E B R O D Y T Y P O G R A P H E R F N I E A R T S I NEVILLE NEVILLE BRODY BRODY MERCI A LNEVILLE PBRO O GBRODY RAP HAR YFI NNEVILLE EBRODY AR TIFINE ST BRODY NEVILLE BRODY FINE ARTIST ART NEVILLE DIRECTOR BRODY ART DIRECTOR MERCI AE L PBRO OFG RAP HAR YFI N EAR TIMST GRAPHIC DESIGNER INSIGNIA NEVI L L E DY T DI R ECTO UNBC O M M E R C A I L G R A P H C I D E S G I N E R T H E F A C E F N I E A R T S I T N E V L I L E NEVI L L DY T DI RECTO ART NEVILLE DIRECTOR BRODY NEVILLE FINE ARTIST ART DIRECTOR ACE THE ARTIST ART DIRECTOR ART DIRECTOR UNCOMMERCIAL TYPOGRAPHY UNCOMMERCIAL TYPOGRAPHY HTE CG EN BIN R O D Y ART NEVILLE DIRECTOR BRODY ART NEVILLE DIRECTOR BRODY ART DIRECTOR FI N E AR TI S T NEVI L L E BRO DY AR T ACE F THE FINE ARTIST FI N E AR TI S T NEVI L L E BRO DY ARATL GRAPHIC DESIGNER INSIGNIA TYPR OO GD RYAG PR HA EP RH NIC ED VILELS EIG BN RE OR DTY YF PAO RE AV PILHLEER F E A R T S I T DIRECTO UNCO MMERCI AL DIART RECTO UNCOMMERCI ART DIRECTOR ART NEVILLE DIRECTOR BRODY ARTDIRECTOR DIRECTOR GRAPHIC DESIGNER UNDIRECTOR INSIGNIA ART ART DIRECTOR ART TYPE A RT T;YPE A TE TART YRTP ;YPE ART TYPE ART TYPE ART TYPE AT;YPE R T ATYP RT
DRI V EN TO SUCCEED SHIFT_
SECTION_3 \\
PROJECT_ T Y P E I L L U S T R AT I O N T Y P E A N AT O M Y
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SELECTED WORKS_ BRIAN BACLIG
COURSE_ CALLIGR APHY
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ART DIRECTION_ CL AUDE DIETRICH
DRI V EN TO SUCCEED SHIFT_
SECTION_1 \\
PROJECT_ CALLIGR APHY BOOK
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THANK YOU_ Family_ A huge thank you to my family and friends that have helped me through this process. Thanks to my parents Pelagio and Esperlita Baclig for providing me with everything and believing in me. Thanks to my girlfriend Bianca Tolentino for the all nighters, early mornings, and stressful finals. Thanks to my family and friends for understanding when I needed to spend time working on projects instead of being with them. TEACHERS_ MARY SCOTT, THOMAS McNULTY, NICOLE FLORES, MEGUMI KIYAMA, ROLAND YOUNG, PAUL KAGIWADA, CHRISTINE GEORGE, SCOTT RANKIN. SERVICES_ PLOT NET, PURRFECT COLOR, BLURB, CALIFORNIA MODEL, UTRECHT, PAPER SOURCE, FLAX, FRYS ELECTRONICS, STAPLES
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