DrivenPortfolio

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DRIVEN_ 01 \\ SELECTED WORKS OF BRIAN BACLIG \\

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DRIVEN_

COLOPHON_ Copywrite 2011 All Rights Reserved. No part of this publication may be reproduced, stored in a tretrieval 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

Driving takes us from one place to a destination. I asked myself what drives me? What keeps me going from project to project? This is a collection of selected works done by me. A project starts with an idea and concept. We shift gears and continue to refine and make adjustments. With each project, I had to find a driving force that allowed me to reach my goal.

MIND MAP

COMPUTER

IDEA

RESULT

CONCEPT

SKETCH

DRIVE

DRIVEN_

PAGE 8

NIKE SNEAKER C

>

>

ART DIRECTION_ NICOLE FLORES

AI

SPECS

10

10

10

10

10

10

10

10

10

10

10

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DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

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TABLE OF CONTENTS_ PROJECT_01

10 FLYING WITHOUT WINGS PROJECT_01

25 COLOR YOUR WORLD PROJECT_01

35 RETHINKING MOTOR OIL PROJECT_01

45 ADAPT TO YOUR ENVIRONMENT PROJECT_01

55 SECRET SOCIETY PROJECT_01

65 FADE TO BLACK 70 EXPENSIVE TASTE 77 BRINGING BACK THE DEAD 87 SEARS REBRANDING 100 LOGOS 120 ART

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PAGE 9

SPECS >

>

PAGE 10

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

01

SHIFT_

SECTION_1 \\

PROJECT_ FLYING WITHOUT WINGS

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ FLYING WITHOUT WINGS

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ FLYING WITHOUT WINGS

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ FLYING WITHOUT WINGS

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ FLYING WITHOUT WINGS

TYPEFACES_ FUTURA,ROCKWELL

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PAGE 11

SPECS >

>

PAGE 12

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ FLYING WITHOUT WINGS

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR \\ DIRECTION

Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes that they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes.

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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

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ FLYING WITHOUT WINGS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

ABOUT US

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SPECS >

>

PAGE 26

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

02

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ DESIGNERS, GRAFFITI ARTISTS, MUSICIANS, VENTURE CAPITALISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, CULTURE, PANTONE, COLOR,STYLE, ART, PASSION PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS TYPEFACES_ FUTURA,ROCKWELL PROJECT_1 \\ AIR

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PAGE 27

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A

PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

How do we show Nike without showing shoes. Nike is a culture now and people who wear them feel as if they are a part of it.

This set of posters aims to portray different cultures that Nike has tapped into.

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SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A

PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PRINT 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ M E G U M I K I YA M A

PROJECT_ PA NTONE POST ERS

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

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SPECS >

>

PAGE 34

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

03

SHIFT_

PACK AGE DESIGN 3

BRIAN PACK BACLIG AGE DESIGN 3

BRIANPACK BACLIG AGE DESIGN 3

BRIAN PACK AGE BACLIG DESIGN 3

CONCEPT PACKAGING

CONCEPT PACKAGING

CONCEPT PACKAGING

CONCEPT PACKAGING

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

BRIAN BACLIG

PROJECT_1 \\ AIR

AUDIENCE_ CAR OWNERS, MECHANICS, ENVIRONMENTALISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ SUSTAINABLE, ECO-FRIENDLY, REVERSE, CHANGE, SHIFT PROJECT_1 \\ AIR

DELIVERABLES_ LOGO, ECO-FRIENDLY PACKAGE DESIGN, SET OF 3 POSTERS PROJECT_1 \\ AIR

TYPEFACES_ VITESSE SANS

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PAGE 35

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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

_ Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes taht they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes.

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

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 FOR GASOLINE ENGINES // 1 QT / 946 mL

SAE 5W-30 1 QT / 946 mL

MOTOR OIL

FOR GASOLINE ENGINES // 1 QT / 946 mL

360

360

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

5W30

5W

5W

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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 NE ENGINES

30

FOR GAS

1 QT / 946 mL

OLI

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

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

PACK AGE DESIGN 3 CONCEPT PACKAGING

BRIAN BACLIG

PACK AGE DESIGN 3

BRIAN BACLIG PACK AGE DESIGN 3

CONCEPT PACKAGING

CONCEPT PACKAGING

|||||||||||||||||||||||||||||||||||||||||

BRIAN BACLIG

PACK AGE DESIGN 3

BRIAN BACLIG

CONCEPT PACKAGING

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ PAUL K AGIWA DA

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

PAGE 46

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

04

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ DESIGNERS, TYPOGRAPHERS, STUDENTS, PROJECT_1 \\ AIR

KEY ADJECTIVES_ ADAPTABILITY, SURVIVAL, NATURAL SELECTION, ENVIRONMENT PROJECT_1 \\ AIR

DELIVERABLES_ 48 PAGE BOOK, 24 PAGE TYPE SPECIMEN BOOK, POSTER PROJECT_1 \\ AIR

TYPEFACES_ KIEVIT, QUADRAAT

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PAGE 47

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

_ Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes taht they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes.

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ T YPE PROMOTION

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

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 |||||||||||||||||||||||||||||||||||||||||

Type in an Environment

†

A Field Guide to Finches

3

4

5

6

7

8

N

G

9

LL

S

MAINLY PLA NT FOOD

BI

A B

C

D

E

GR

V

Y

X

¢

F

G H

I

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

2

9

Z

0

ADAPTABILITY

1

Weights

Poster

All genetic mutations start out random, but those that are beneficial to an organism's success in their environment are directly selected

Selected Typeface : Kievit by Michael Abbink

Q

U

P

EDGE

W

H

US CR

G IN

SECTION_1 \\

N

O

C

|||||||||||||||||||||||||||||||||||||||||

I

COURSE_ T YPOGRAPHY 4

SH

>

SELECTED WORKS_ BRIAN BACLIG

RU

>

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_1 \\

DRI V EN TO SUCCEED |||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

UN

D E R S TA N D I N G

DE

ART DIRECTION_ NICOLE FLORES

C O

UCT

S OF DE S

TR

IG

N

NS

ST

M

ON

AS

TER

IN G R EC

U

CT

IN

G

79

R

SECTION_1 \\ PAGE 60

|||||||||||||||||||||||||||||||||||||||||

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

SHIFT_

MIND

05

BODY

PROJECT_1 \\ AIR

AUDIENCE_ SCIENTISTS, DESIGNERS, STUDENTS, HISTORIANS, TEACHERS PROJECT_1 \\ AIR

KEY ADJECTIVES_ HIDDEN, TRUTH, UNCOVERING, DELIVERABLES_ BOOK AND POSTER PROJECT_1 \\ AIR

TYPEFACES_ HELVETICA PROJECT_1 \\ AIR

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\ PAGE 61

DRI V EN TO SUCCEED

SPECS ART DIRECTION_ NICOLE FLORES

func TIOnIng Of Th e cOS mOS

Th e pr IncIple S unde r lyIng Th e fOr mATIOn And

> COURSE_ GR APHIC DESIGN 3

TAOIS T Alc h e my IS A dOc Tr Ine AImIng TO unde r S TAnd

> SELECTED WORKS_ BRIAN BACLIG

SOl SUN Ruler of Gold

SECTION_1 \\ PAGE 62

|||||||||||||||||||||||||||||||||||||||||

lu n A MOON Ruler of Silver

TerrA E ARTH Ruler of Gold

mercurIuS VenuS MERCURY Ruler of Quicksilver Ruler of Copper

mArS

J u pIT e r

Ruler of Iron

Ruler of Tin

S AT u r SATUR Ruler o

rnuS RN of Lead

PROJECT_ AIR

urAnuS

nepTunuS NEPTUNE

|||||||||||||||||||||||||||||||||||||||||

SHIFT_

p lu TO

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\ PAGE 63

DRI V EN TO SUCCEED

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

ALCHEMY FOR M & FUN CTION

7

OCCULT STUDIES

ALCHEMY FOR M & FUN CTION

ART DIRECTION_ NICOLE FLORES

10,000

science, an interest ce. Dur ing New ton’s of his exper iment al ccurately a ssociated th that exper iment s uc ted and analy tic al hemistr y a s we know y may have been the o gold ), and per haps

9,000 8,000 7,000 6,000

7

10,000 New ton wa s deeply interested in all for ms of natural sciences and mater ials science, an interest that ultimately would lead to some of his bet ter-known contr ibutions to science. Dur ing New ton’s lifetime the study of chemistr y wa s still in it s infanc y, thereby leading many of his exper iment al studies to consist of the use of esoter ic language and vague ter minology more accurately a ssociated with alchemy and occultism. It would be several dec ades af ter New ton’s death that exper iment s of stoichiometr y under the pioneer ing wor ks of A ntoine L avoisier were conduc ted and analy tic al chemistr y, with it s a ssociated nomenclature, would come to resemble moder n chemistr y a s we know it today. ¤ New ton’s wr itings suggest that one of the main goals of his alchemy may have been the discover y of The Philosopher’s Stone (a mater ial believed to tur n ba se met als into gold ), and per haps to a lesser ex tent, the discover y of the highly coveted Elixir of Life.

9,000 8,000 7,000 6,000

5,000

5,000

4,000

4,000

3,000

3,000

2,000

2,000

1,000

1,000

Alchemists Sir Isaac Newton Jabir Geber Benjamin Franklin

alchemy were

Some practices of alchemy were

during Newton’s

banned in England during Newton’s

to unscrupulous

lifetime, due in part to unscrupulous

would often promise

practitioners who would often promise

s unrealistic

wealthy benefactors unrealistic

pt to swindle them.

results in an attempt to swindle them.

, also fearing the

The English Crown, also fearing the

n of gold, should

potential devaluation of gold, should

Stone actually be

The Philosopher’s Stone actually be

penalties for alchemy

discovered, made penalties for alchemy very severe.

ALCHEMY FOR M & FUN CTION

7

OCCULT STUDIES

ALCHEMY FOR M & FUN CTION

10,000

science, an interest ce. Dur ing New ton’s of his exper iment al ccurately a ssociated th that exper iment s uc ted and analy tic al hemistr y a s we know y may have been the o gold ), and per haps

9,000 8,000 7,000 6,000

10,000 New ton wa s deeply interested in all for ms of natural sciences and mater ials science, an interest that ultimately would lead to some of his bet ter-known contr ibutions to science. Dur ing New ton’s lifetime the study of chemistr y wa s still in it s infanc y, thereby leading many of his exper iment al studies to consist of the use of esoter ic language and vague ter minology more accurately a ssociated with alchemy and occultism. It would be several dec ades af ter New ton’s death that exper iment s of stoichiometr y under the pioneer ing wor ks of A ntoine L avoisier were conduc ted and analy tic al chemistr y, with it s a ssociated nomenclature, would come to resemble moder n chemistr y a s we know it today. ¤ New ton’s wr itings suggest that one of the main goals of his alchemy may have been the discover y of The Philosopher’s Stone (a mater ial believed to tur n ba se met als into gold ), and per haps to a lesser ex tent, the discover y of the highly coveted Elixir of Life.

9,000 8,000 7,000 6,000

5,000

5,000

4,000

4,000

3,000

3,000

2,000

2,000

1,000

Alchemists Sir Isaac Newton Jabir Geber Benjamin Franklin

alchemy were

Some practices of alchemy were

during Newton’s

banned in England during Newton’s

to unscrupulous

lifetime, due in part to unscrupulous

would often promise

practitioners who would often promise

s unrealistic

wealthy benefactors unrealistic

pt to swindle them.

results in an attempt to swindle them.

, also fearing the

The English Crown, also fearing the

n of gold, should

potential devaluation of gold, should

Stone actually be

The Philosopher’s Stone actually be

penalties for alchemy

discovered, made penalties for alchemy very severe.

SECTION_1 \\ PAGE 64

7

|||||||||||||||||||||||||||||||||||||||||

1,000

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

SHIFT_

M

AS

TER

S OF DE S

IG

N

UN C

O

U

DE

CT

IN

G

D E R S TA N D I N G

NS

TR

UCT

IN G R EC

ON

ST

R

79

Au GOLD

CODE

MIND BODY

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\ PAGE 65

DRI V EN TO SUCCEED

SPECS >

>

PAGE 66

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

06

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 67

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ CHRISTINE GEORGE

PROJECT_ C H O C O L AT E

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

_ Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes taht they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes.

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 1

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ CHRISTINE GEORGE

PROJECT_ C H O C O L AT E

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

60%

CACAO

LOUIS VUITTON Chocolatier

LOUIS VUITTON Chocolatier

Chocolatier

60% CACAO NET WT 1.5 OZ

A L L N AT U R A L

C H O C O L AT E

LOUIS VUITTON 6 0 % C AC AO

Chocolatier

MI L K C HOCOL AT E NET WT 3.5 OZ (100g)

NET WT 3.5 OZ (100g)

60% CACAO NET WT 1.5 OZ

A L L N AT U R A L

C H O C O L AT E

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 1

ART DIRECTION_ CHRISTINE GEORGE

LOUIS VUITTON

LOUIS VUITTON

Nutrition Facts Serving size 3 sections (38g)

LOUIS VUITTON

PREMIUM WHITE

C H O C O L AT E 60% CACAO

Nutrition Facts Serv. Size : 3 sections (38g), Servings Per Container: about 2.5, A mount Per Serving: Calories 180, Fat Cal. 110, Total Fat 12g (19 % DV), Sat. Fat 7g (35% DV), Trans Fat 0.5g, Cholest. 5mg (1% DV), Sodium 30mg (1% DV), Total Carb. 21g (7% DV), Fiber 2g (8 % DV), Sugars 15g, Protein 2g, Vitamin A (0 % DV), Vitamin C (0 % DV), Calcium (2% DV), Iron (10 % DV). *Percent Dai ly Values are based on a 2,0 0 0 calorie diet.

Ingeredients: unsweetened chocolate, sugar, corn syrup, sweetened condensed mi lk, cocoa butter, partial ly hydrogenated vegetable oi l (coconut, soybean, cottonseed), water, mi lk fat, butter, sorbitol, natural and artificial f lavor, salt, disodium phosphate, vani l la, soy lecithin — an emulsifier, potassium sorbate — a preservative.

0

47559

60765

Amount per Serving Calories 170

LOUIS VUITTON To t a l F a t 1 0 g

Saturated Fat 5g Tr a n s F a t 1 g Cholesterol 0mg Sodium 0mg To t a l C a r b o h y d r a t e 2 4 g Dietary Fiber 2g Sugars 20g Protein 1g

PREMIUM DARK

C H O C O L AT E 60% CACAO

5

NET WT 3.5 OZ (100g)

LOUIS VUITTON

LOUIS VUITTON

SECTION_1 \\

Nutrition Facts Serv. Size : 3 sections (38g), Servings Per Container: about 2.5, A mount Per Serving: Calories 180, Fat Cal. 110, Total Fat 12g (19 % DV), Sat. Fat 7g (35% DV), Trans Fat 0.5g, Cholest. 5mg (1% DV), Sodium 30mg (1% DV), Total Carb. 21g (7% DV), Fiber 2g (8 % DV), Sugars 15g, Protein 2g, Vitamin A (0 % DV), Vitamin C (0 % DV), Calcium (2% DV), Iron (10 % DV). *Percent Dai ly Values are based on a 2,0 0 0 calorie diet.

Ingeredients: unsweetened chocolate, sugar, corn syrup, sweetened condensed mi lk, cocoa butter, partial ly hydrogenated vegetable oi l (coconut, soybean, cottonseed), water, mi lk fat, butter, sorbitol, natural and artificial f lavor, salt, disodium phosphate, vani l la, soy lecithin — an emulsifier, potassium sorbate — a preservative.

0

NET WT 3.5 OZ (100g)

|||||||||||||||||||||||||||||||||||||||||

Calories from Fat 90

47559

60765

5

PROJECT_ C H O C O L AT E

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

LOUIS VUITTON

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ PACK AGE DESIGN 1

ART DIRECTION_ CHRISTINE GEORGE

LOUIS VUITTON

LOUIS VUITTON

PREMIUM

C H O C O L AT E 60% CACAO

Nutrition Facts Serv. Size : 3 sections (38g), Servings Per Container: about 2.5, A mount Per Serving: Calories 180, Fat Cal. 110, Total Fat 12g (19 % DV), Sat. Fat 7g (35% DV), Trans Fat 0.5g, Cholest. 5mg (1% DV), Sodium 30mg (1% DV), Total Carb. 21g (7% DV), Fiber 2g (8 % DV), Sugars 15g, Protein 2g, Vitamin A (0 % DV), Vitamin C (0 % DV), Calcium (2% DV), Iron (10 % DV). *Percent Dai ly Values are based on a 2,0 0 0 calorie diet.

Ingeredients: unsweetened chocolate, sugar, corn syrup, sweetened condensed mi lk, cocoa butter, partial ly hydrogenated vegetable oi l (coconut, soybean, cottonseed), water, mi lk fat, butter, sorbitol, natural and arti ficial f lavor, salt, disodium phosphate, vani l la, soy lecithin — an emulsi fier, potassium sorbate — a preservative.

0

NET WT 3.5 OZ (100g)

LOUIS VUITTON

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

47559

60765

5

PROJECT_ C H O C O L AT E

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

PAGE 76

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

07

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ DESIGNERS, SCIENTISTS, ASTRONOMERS, TYPOGRAPHERS PROJECT_1 \\ AIR

KEY ADJECTIVES_ CLEAN, EDUCATIONAL, QUICK, UNKNOWN, BLACK PROJECT_1 \\ AIR

DELIVERABLES_ 48 PAGE BOOK AND POSTER TYPEFACES_ FUTURA,ROCKWELL PROJECT_1 \\ AIR

|||||||||||||||||||||||||||||||||||||||||

PAGE 77

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ BL ACK HOLES

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

_ Coming together and sharing knowledge and information about sneakers. It is a chance to inform people on the history of the shoes taht they love and for the people that already know, it is a chance to see and appreciate all of the shoes. The focus is to bring old and young sneakerheads together in an environment that promotes the history behind the shoes.

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ BL ACK HOLES

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

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.

OUR MILK Y WAY GA L A X Y

AT THE CENTER OF

BL ACK HOLE E X IS T S

A SUPER M A S SI V E

SPACE r

r

−∞

−∞

=

=

r

r

=

=

∞

∞

NEW PARALLEL UNIVERSE

WORMHOLE PARALLEL UNIVERSE

BL ACK HOLE

WHITE HOLE

NEW UNIVERSE

UNIVERSE

PARALLEL WORMHOLE r

∞

∞

=

=

r

r

−∞

−∞

=

=

r

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

FA D E T O B L A C K 17 O f 4 8

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ BL ACK HOLES

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

FA D E T O B L A C K 18 O f 4 8

Isodelay surface r q

Time delay t

2 r/c

r/c

VO R B Line of SIght Velocity

t = (1+cosq) r/c V = V O R B sinq

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ BL ACK HOLES

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

FA D E T O B L A C K

FA D E T O B L A C K

17 O f 4 8

18 O f 4 8

Isodelay surface r q

Time delay t

2 r/c

r/c

VO R B Line of SIght Velocity

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the general theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-ray source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its radial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This range makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

CYG

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attracted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gravitational pull of the other body; one cannot “cut of f ” or block gravit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contracts; we are drawn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contracts to half of its former radius, for instance, the gr avitational force on its sur face increases by a factor of four, since gravit y follows an inverse-square law;

the corresponding escape velocit y therefore also increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild radius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

ART DIRECTION_ ARIEL GREY

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

FA D E T O B L A C K

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feels the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

+ MO S T A S T RONOMER S NO w AGREE T H AT

+ MO S T A S T RONOMER S NO w AGREE T H AT

bL ACk HOL E S A RE w IdE Sp RE A d A Nd V ER y IM-

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

FA D E T O B L A C K 18 O f 4 8

FA D E T O B L A C K

FA D E T O B L A C K

17 O f 4 8

18 O f 4 8

Isodelay surface

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K 24 of 4 8

2 r/c

SECTION_1 \\

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

CYG

|||||||||||||||||||||||||||||||||||||||||

q

Time delay t

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

2 3 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-ray sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the general theor y of relativit y is the correct theor y of gravit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-ray source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its radial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This range makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

18 O f 4 8

2 r/c

r/c

VO R B

FA D E T O B L A C K

r q

Time delay t

2 r/c

SPEED

Isodelay surface r

q

Line of SIght Velocity

FA D E T O B L A C K 17 O f 4 8

Isodelay surface r

Time delay t

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

_LIGHT CONE S NE A R THE E V ENT HORIZON

+ MO S T A S T RONOMER S NO w AGREE T H AT

FA D E T O B L A C K

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

17 O f 4 8

FA D E T O B L A C K

15 O f 4 8

CYG

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

CYG

|||||||||||||||||||||||||||||||||||||||||

PROJECT_ BL ACK HOLES

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gravitationally attracted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gravitational pull of the other body; one cannot “cut of f ” or block gravit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contracts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contracts to half of its former r adius, for instance, the gravitational force on its sur face increases by a factor of four, since gravit y follows an inverse-square law;

the corresponding escape velocit y therefore also increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

FA D E T O B L A C K

FA D E T O B L A C K

15 O f 4 8

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feel s the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deal s with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

FA D E T O B L A C K

16 O f 4 8

We cannot glimpse what lies inside the event horizon of a black hole because light or material from there can never reach us. Even if we could send an explorer into the black hole, she could never communicate back to us. A projectile launched from rest must be given a cer tain minimum speed, called the escape velocit y, to escape from the other body, to which it is gr avitationally attr acted. For example, we would have to launch rockets at 11 km/sec (4 0,000 km/hr) or faster in order for them to escape from the Ear th, if they got all their velocit y at launch. From a more massive body of the same size as Ear th, the escape velocit y would be higher. • Note that the escaping object still feels the gr avitational pull of the other body; one cannot “cut of f ” or block gr avit y. However, the object’s speed is suf ficiently high that it will never turn around and fall back down. Now imagine that this body contr acts; we are dr awn closer to the center of the mass. A s this happens, the escape velocit y rises. If the body contr acts to half of its former r adius, for instance, the gr avitational force on its sur face increases by a factor of four, since gr avit y follows an inverse-square law;

SPEED

+ MO S T A S T RONOMER S NO w AGREE T H AT

+ MO S T A S T RONOMER S NO w AGREE T H AT

bL ACk HOL E S A RE w IdE Sp RE A d A Nd V ER y IM-

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

p OR TA N T IN OuR uNI V ER SE .

FA D E T O B L A C K 18 O f 4 8

FA D E T O B L A C K

FA D E T O B L A C K

17 O f 4 8

18 O f 4 8

Isodelay surface

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K 24 of 4 8

CYG

q

Time delay t

2 r/c

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

2 3 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-ray sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gravit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

18 O f 4 8

2 r/c

r/c

VO R B

FA D E T O B L A C K

r q

Time delay t

2 r/c

r/c

VO R B

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

Line of SIght Velocity

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

SPEED

Isodelay surface r

q

Line of SIght Velocity

FA D E T O B L A C K 17 O f 4 8

Isodelay surface r

Time delay t

The equation for the Schwar zschild r adius is R = 2GM/c², where M is the star’s mass, G is New ton’s constant of gr avitation, and c is the speed of light.

_LIGHT CONE S NE A R THE E V ENT HORIZON

+ MO S T A S T RONOMER S NO w AGREE T H AT

FA D E T O B L A C K

the corresponding escape velocit y therefore al so increases (although not by a factor of four). When all of the mass of the body is within its Schwar zschild r adius, the escape velocit y becomes equal to the speed of light. Thus, even light cannot escape. If we begin to apply the special theor y of relativit y, which deals with motion at ver y high speeds, we might then reason that since nothing can go faster than the speed of light, nothing can escape.

_LIGHT CONE S NE A R THE E V ENT HORIZON

bL ACk HOL E S A RE w IdE SpRE A d A Nd V ER y IM-

17 O f 4 8

FA D E T O B L A C K

15 O f 4 8

CYG

t = (1+cosq) r/c V = V O R B sinq

FA D E T O B L A C K

FA D E T O B L A C K

2 3 of 4 8

24 of 4 8

We can determine masses only for cer tain binar y stars. When we search the position of the x-r ay sources, we look for a single-lined spectroscopic binar y (that is, an apparently single star whose spectrum shows a periodically changing Doppler shif t that indicates the presence of an invisible companion. Then, if we can show that the companion is too faint to be a normal, main-sequence star, it must be a collapsed star. If fur ther, the mass of the unobser vable companion is greater than 3 solar masses, it is likely to be a black hole, assuming that the gener al theor y of relativit y is the correct theor y of gr avit y and that our present understanding of matter is correct. To definitively show that the black-hole candidate is indeed a black hole, however, additional evidence is needed. • The first and most discussed case is named Cygnus X-1, where X-1 means that it was the first x-r ay source to be discovered in the constellation Cygnus. A 9th-magnitude star called HDE 226868 has been found at its location. This star has the spectrum of a blue supergiant; its mass is uncer tain but is thought to be about 20 times that of the Sun. Its r adial velocit y varies with a period of 5.6 days, indicating that the supergiant and the invisible companion are orbiting each other with that period. • From the orbit, it is deduced that the invisible companion must probably have a mass greater than 7 solar masses and less than about 13 solar masses. This r ange makes it ver y likely that it is a black hole. But if the visible star is abnormal, and doesn’t really have a mass of 20 times that of the Sun, the invisible companion could be less massive, so the case for it being a black hole is not absolutely conclusive.

|||||||||||||||||||||||||||||||||||||||||

CYG

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ T YPOGRAPHY 4

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SECTION_1 \\

ART DIRECTION_ ARIEL GREY

PROJECT_ BL ACK HOLES

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DRI V EN TO SUCCEED SHIFT_

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PAGE 92

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

08

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

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PAGE 93

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>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

_ SNEAKERHEADS, DESIGNERS, SHOE COLLECTORS, AND ARTISTS NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SWOOSH, FLIGHT SCHOOL SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE AND TAKE-AWAY TYPEFACES_ FUTURA,ROCKWELL SNEAKERHEADS,DESIGNERS, SHOE COLLECTORS, AND ARTISTS NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SWOOSH, FLIGHT SCHOOL SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE AND TAKE-AWAY TYPEFACES_ FUTURA,ROCKWELL

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SPECS >

>

PAGE 96

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

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PAGE 97

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>

PAGE 98

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

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PAGE 99

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PAGE 100

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

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PROJECT_ AIR

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PAGE 101

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PAGE 102

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

09

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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.

Sears needs to connect with its demographic on a psychological and emotional level to communicate quality and sophistication through strong product design and establish a deep brand loyalty throughout its many locations. Sears also needs to focus on their customers needs as apposed to just their wants.

PRICE POINTS

Our goal is to make Sears the destination most preferred by customers to shop. We will create sub-brands to demonstrate the effectiveness and impact of our packaging system.

The American chain of department stores Sears, which is officially named Sears, Roebuck and Co., was founded in the late 19th century by Richard Warren Sears and Alvah Curtis Roebuck. The company first started as a mail order catalog company which eventually grew to be the largest retailer in the US by the mid-20th century. Due to competition and changes in their customer base, the catalog program was largely discontinued. In 1925, the first Sears retail store opened in Chicago followed by the first freestanding store in Evansville, Indiana. Sears went on to building many urban department stores. In the 1950’s they expanded the company into suburban markets and in the 1960’s and 1970’s they expanded into malls. The company was the largest retailer in the US until the early 1980’s but has since dropped in its rankings.

Sears Department Stores carry clothing, jewelry, home appliances, hardware, lawn and garden supplies, lawn mowers, paint, sporting goods, automobile repair, office supplies, electronics and school supplies. Sears stores are usually multi-level. There are 926 full-size Sears stores in the United States. There are also 301 Sears locations in Canada and 66 in Mexico. The largest Sears Department Store is located at the Toronto Eaton Centre in Canada.

COMPETITION

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.

Supplying an array of spring seasonal products in gardening, grilling, entertaining, and decor. All products needed to create the

Creating a feminine, inv atmosphere for females excitement and style in t

Men and women aged 20-40 middle income families who enjoy being outdoors and taking adventurous family trips. People who enjoy casual camping & tailgating.

Men and women aged 20-60 who enjoy relaxing and entertaining friends and family.

They enjoy grilling, gardening, and spend ing

Women in the ages of 2 in feeling good, and look to high income. Women

Bold, Strong, Nature, Clean, Adventur-

Warm, Inviting, Trusting, Friendly, Relax ing,

Motivated, Clean, Excitin

Mid Range, affordable yet not to appear as a cheap value-brand.

Four-Person Tent:

Price ranges remains affordable, while still appearing as a quality product. Items will be priced equal to or greater than the current

Price ranges remains aff appearing as a quality p priced equal to or greate leading brand.

Coleman, Kelty, REI, Embark,

Home Depot, Lowes, Pier One, Target, Ace

Gold’s Gym Products, R

THE DESIGN: “Fifth season” is the idea that camping season is another season on it’s own especially for families. The design is bold yet sophisticated in style. The logo has personality and sits comfortable when it is bleeding off in the corner or when it is centered. The topographic lines sitting in the background add a unique texture that connects maps and geography to the design. The sihlouette of trees and mountains reinforce the idea of getting outdoors and being in a camping environment. The logo is also used as a seal that helps with staging the products.

The idea of it as a seal reinforces the thought of quality and trust.

THE DESIGN: Mosaic is the Gardening category for Sears, which is divided into two separate sections - gardening and outdoor grill ing. The new package utilizes a line pattern for both sections.

THE DESIGN: Momentu specifically to females. T to emulate the slim, attra woman. The colors are s The typeface is used fo classy feel. Black and w to create the dynamic ef the product shown. Brigh

Project Designed by: Donna Roggi, Melissa Davidson, Brian Baclig, Christine Santana, Amber Aldrich Tu

PAGE 104

ART DIRECTION_ NICOLE FLORES

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The Grilling Line is unique and memorable, it echoes the personality of Sears and the logo reflects the image of a blazing flame. The Gardening Line is appealing with great impact and reminds one of spring.

The initial design is to create a quality line of gardening and grilling items that elevates its orignal design with a different atmosphere from the original Sears brand. The design focuses on a friendly and warm color pal ette,

DRI V EN TO SUCCEED

iting, and motivating who need more their at-home

0-50 interested king great. Middle who need a little

ng, Contempo rary,

fordable, while still product. Items will be er than the current

Reebock, Target,

um’s design caters to The corners are made active curves of a fit sophisticated, yet fun. or a modern, friendly, white images were used ffect of the color of ht lines are overlayed

PRICE POINTS

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

The Collection supplies everyday home items while maintaining a unique balance between comfortable cabin living, and

A line of auto parts carrying the trust and durability already known from Sears Auto.

The packaging is both clean and classic to

An extensive line of products for babies, newborn to 2yrs including organic foods, clothing, toys, decor, and more. Products are naturally

Mainly women but also men, aged 20-50 interested in furnishing their new home with a unique fusion of country and modern. New

Mostly men between the ages of 20 and 60 interested in repairing, tuning detailing and all around car care for their every day car, or

Expecting First time parents, both men and women. Middle to high income, families looking for a high quality natural product for

Modern, Clean, Warm, Cozy, Inviting,

Clean, Trusted, Vintage, Unique, Reliable,

Calm, Natural, Trusting, Bright, Eco-Friendly,

Middle to high priced products to reflect unqiue fusion of modern and country.

Lantern: $40, Clock: $50 Throw: $ 15

Price ranges are level to the competition.

Affordable and very accesible to all sized wallets. Motor oil - $6.99, Tire Shine priced at $9.99

Middle to high priced items to compensate for organic and biodegredable materials.

Reusable diapers: $45, Disposable dia pers:

Pottery Barn, Pier 1 Imports

Kragens, O’Reilies, Large Department stores,

Sprout, Gerber, kid bean, Johnson’ s Natural,

THE DESIGN: With the Hearth line, the products are so unique and interesting that the design should not take away from the product. The design is typographically driven, with a balance of decorative and delicate type with loud and strong headlines. Muted color pallette adds a hint of color but does not take away focus on the product.

THE DESIGN: This is line of Sears focuses directly on having an affordable prodcut to the customer. There are many different auto brands out there, and it can get very confusing as to which one is higher quality, and the cheapest price. Warren’s provides both quality and price, while still being affordable to those who need it.

THE DESIGN: Currently in sears the baby section is overwhelming, low quality, and unorganised. The Footprints line will stand out on the shelf by the strong use of browns and creams to reflect the natural side to the line, but the bright exciting colors allow product to pop. Clearly labled with strong hieracrchy to show age groups, colors, sizes, and other important information.

Expecting parents will trust the footprints line and be encouraged to move toward more green products.

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COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

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DRI V EN TO SUCCEED SHIFT_

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

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PROJECT_ AIR

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COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

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PAGE 112

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

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PAGE 113

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SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

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DRI V EN TO SUCCEED SHIFT_

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PAGE 116

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

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ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

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PAGE 117

SPECS >

>

PAGE 118

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 119

SPECS >

>

PAGE 120

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 121

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

PAGE 126

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 127

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

PAGE 130

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 131

SPECS >

>

PAGE 132

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 133

SPECS >

>

PAGE 134

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 135

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

SECTION_1 \\

ART DIRECTION_ NICOLE FLORES

PROJECT_ AIR

||||||||||||||||||||||||||||||||||||||||| SECTION_1 \\

DRI V EN TO SUCCEED SHIFT_

|||||||||||||||||||||||||||||||||||||||||

SPECS >

>

PAGE 140

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 141

SPECS >

>

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

S IN C E 19 24

PAGE 142

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

10

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 143

SPECS >

>

PAGE 144

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 145

SPECS >

>

PAGE 146

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 147

SPECS >

>

PAGE 148

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 149

SPECS >

>

PAGE 150

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 151

SPECS >

>

PAGE 152

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

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 153

SPECS >

>

PAGE 154

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED

11

SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

PROJECT_1 \\ AIR

AUDIENCE_ SHOE COLLECTORS, ADULTS, TEENS, DESIGNERS, AND ARTISTS PROJECT_1 \\ AIR

KEY ADJECTIVES_ NIKE, EDUCATE, HISTORY, AIR, FLIGHT, SNEAKERS, SHARE, FLIGHT SCHOOL PROJECT_1 \\ AIR

DELIVERABLES_ SET OF 3 POSTERS, LOGO, BOOK, TICKET, WEBSITE, AND NAME TAG PROJECT_1 \\ AIR

TYPEFACES_ FUTURA,ROCKWELL

|||||||||||||||||||||||||||||||||||||||||

PAGE 155

SPECS >

>

PAGE 156

SELECTED WORKS_ BRIAN BACLIG

COURSE_ GR APHIC DESIGN 3

|||||||||||||||||||||||||||||||||||||||||

ART DIRECTION_ NICOLE FLORES

DRI V EN TO SUCCEED SHIFT_

SECTION_1 \\

PROJECT_ AIR

|||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||||

PAGE 157

SPECS ART DIRECTION_ NICOLE FLORES

TYP

FINE ARTISTNEVI LLE BRODY ARTDI RECTOR GRAPHIC DESIGNER G RAPH DES IGNER ART DIRECTOR NEVI LIC LE RDI TD IR ECBRODY TOR THE FACE ARA T R ECTOR FINE ARTIST FINE ARTIST A R T D I R E C TOR TYPOGRAPHYNEVI LLE BRODY ARTDI RECTOR ART DIRECTOR FINE ARTIST TPDI R ECTOR G RA H IC D ES IGNER FINE ARTISTAR NEVI L LE BRODY ARTD ECBRODY TOR ARTIST TYPOGRAPHYFINE LIR LE INSIGNIANEVI AR TPDI RD ECTOR RA HIC ESIGNER 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 ARTFINE DIRECTOR ARTIST TYPOGRAPHY INSIGNIA TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY INSIGNIA TDIRECTOR TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTHE FACE AR TYPOGRAPHER THE FACE GRAPHIC TYPOGRAPHY TYPOGRAPHY TYPOGRAPHYTYPOGRAPHY DESIGNER ART NEVI L LE BRODY INSIGNIA DIRECTOR UNCOMMERCIAL TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY FINEARTIST FINE ARTIST THE FACE ARTTYPOGRAPHY TYPOGRAPHY TYPOGRAPHY DIRECTOR NEVILLE TYPOGRAPHER BRODYNEVILLE BRODY INSIGNIA THE FACE TYPOGRAPHY NEVI LLEBRODY TYPOGRAPHER GRAPHIC TYPOGRAPHY TYPOGRAPHY DESIGNER THE FACE SIGNIA NEVILLE B ARTFINE ARTIST GRAPHIC TYPOGRAPHY TYPOGRAPHY INSIGNIA DIRECTOR ROD IN DESIGNER UNCOMMERCIAL THE FACE R ART FINE ARTIST THE Y E AR T DI R ECTOR TYPOGRAPHY DIRECTOR GR FACE NEVILLE ART DIRECTOR N UNCOMME INSIGNIAFINE ARTIST TYPOGRAPHER AP TYPOGRAPHYBRODYNEVILLE RCIAL SIG ARTIST BRODY THE FACE GRAPHIC FINE TYPOGRAPHER THE HIC DESIGNER ART DIRECTOR THE FACEFINE ARTIST FACEART GRAPHIC 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 DESIGNERFINE ART ARTIST DIRECTOR SI ARTIST OR BRODYNEVILLE BRODY UNCOMMERCIAL 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 AR DI RIR ECTOR AR T DI R BROD DESIGNER ART TYPOGRAPHY DESIGNER ART DIRECTOR UNCOMMERCIAL YNEVI DIRECTOR FINE ARTIST THE FACE TYPOGRAPHER ART DIRECTOR NEVILLE ARTIST INSIGNIA LLE UNCOMMERCIAL FINE BRODYNEVILLE BRODY THE FACE THE FACE BRO ARTIST THE FACE ART FINE ATARTIST R TECTOR D IR ECTOR GRAPHIC DESIGNER ART DIRECTOR DY DIRECTOR NEVILLE UNCOMMERCIAL FINE ARTIST THE FACE ART ARTIST NEVI L LE BRODY TYP NEVI L LE 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 RTIR ECTOR AARTIST L LE DESIGNER ART DIRECT OR UNCOMM RTHE FACE ARTDIRECTOR ERCIAL FINE TO C ARTIS T THE E THE FINE D ECTOR DIR THE FACE FACE ARTIST T ARTIST NEVI LTARTIST LE BRODY ARATRDI RIR ECTOR 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 FACE FACE OGRA GRAPH ART PHER DE IC DI THE DDESIG C FACE ESNER ER 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 ART DIRECTOR THE UNCOMMERCIAL ARTIST THE FACE ART FACE DIRECTOR NEVILLE BRODYNEVILLE BRODY ART ART TYPOGRAPHER THE FACE GRAPHIC DESIGNER DIREC DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE TOR ART DIRECTORTHE NEVILLE BRODYNEVILLE BRODY NEVIL TYPOGRAPHER FACE GRAPHIC DESIGNER ART LE DIRECTOR UNCOMMERCIAL FINE ARTIST THE FACE BROD ART DIRECTOR NEVILLE BRODY TYPOGRAPHER YNEVI THE FACE GRAPHIC DESIGNER LLE ART 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 FAC ATYPE RT E AT;YPE RT

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_ GR APHIC DESIGN 3

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

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R G

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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

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R NE SIG ARTIST DE GR HIC G APRA AP PH HIC IC D GR ` DARTIST ES R NE ESIG IGNERNER 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

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ARTIST

G RA PH Y

ARTIST

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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

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

ARTIST

ARTIST ARTIST ARTIST ARTIST

ARTIST

ARTIST

GR

G GR RAP AP HIC HIC D 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

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

DE

T ARTIS

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T ARTIS

ARTIST T ARTIS ARTIST ARTIST TIST AR ARTIST ST ARTIST TI AR

ARTISTR

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST

ARTIST ARTIST

|||||||||||||||||||||||||||||||||||||||||

H N AP PH SIG GR GRA DE HIC ER AP SIGN GR

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

ARTIST

ARTIST

ARTISTARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST ARTIST

ARTIST

ARTIST

ARTIST ARTIST

ARTIST ARTISTIST T AR

ART DIR ECTOR

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

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 HIC AP GR

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

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GR AP HIC

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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 TPDI RD ECTOR G R A H C I E S IGNER LECTOR LE FINE ARTIST RT R NEVI ANEVI R TDI D IR LE E CBRODY TBRODY O RR A TLR D IR E C TO AR TTR IST NE AR DI R ECTOR SIG TYP FINE ARTIST G R A P H C I D E S IGTNO ER E D NEVI A R L T LE D I R BRODY E C R OGRAPHER NEVI LECTOR LE BRODY AR TDI RECTOR AR TDI R AR TLDI R ECTOR FINE ARTIST NEVI L LE BRODY NEVI LE BRODY AR T DI R ECTOR ARTD IRECBRODY TOR NEVI LD G R A PT H E S IGN 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 T D I R E C T AARTIST FINE ARTIST A R T D I R E C T O ROR P NEVI L LE BRODY T AR T DI R ECTOR NEVI LLE BRODY ARTDI RECTOR R HARTIST Y ARTIST ARTIST ARTIST INE A A RTIST ARTIST TIC DI R ECTOR ARTIST FINE ARTIST NEARTIST AR TPDI R ECTOR ARTIST G RAR A H D E S IGN ER F ARTIST NEVI L LE BRODY VILLE BROD NEVI L LE BRODY ARTIST ARTIST ARTIST DY Y GRA ARTIST O P A R T D I R E C T O R H I A R T D I R E C T O R C R D FINE ARTIST ARTIST E S IGN ARTISTVILLE B NEVI LE BRODY LECTOR NEVI LE BRODY ARTIST NE ATNEVI R TL D IR ELE TBRODY OR AR TL DI RC AR TDI R HY N E AR R ECTOR VIL TYPOGRAP GR A PDI H IC DE SECTOR IGNER LE FINE ARTIST D IR ECBRODY CTTOORR NEVI AAR TDI L LE EBRODY BR NEVI LTD LE AR TR RIR ECTOR FINE ARTIST GR PH ICECTOR DE SIGNER AR TRADI R AR NEVI LE BRODY A TLD IR E C TO ART TD A R T D I R E C T O RR NEVILLE BRODY AR T DI R ECTOR IRE NEVI LLE BRODY CT AR TTDI ECTOR ATRDI D IR E CTTHE OR FACE FINE ARTIST OR AR R ECTOR ART DIRECTOR NBER VO ILLD EY FIN R GRAPHIC DESIGNER DY EA P FINE FACE FR INTEIST THE ARTIST S RT ER A FINE NEVI LARTIST LE BRODY RO N A IST FACE THE BRODY TI B Neville G TYPOGRAPH Y NEVILLE RS AIG PH IC TYP EVILLEO G BRODY AR TBRODY RD ECTOR NEVILLE RNEVILLE E NC EE R GARTIST RA PDI HIC E SBRODY IGNERFACE OG NEVILLE BR O D NEVILLE Brody was DT T Y P O G R A P H E R F I N E A R H E F A THE FINE R A A R T D I R E C T O R ARTIST UNCOMMERCIAL E FINE ARTIST ART DIRECTOR A R T D I R I E C T O R TYPOGRAPHER P N I GRAPHIC D E S I G N E R T H E F A C E F I N E NEVI L LE BRODY HER F BRODYGRAPHIC born on April 23, TYPOGRAPHYR ART ART DIRECTOR NEVILLE BRODY ADESIGNER RTISTNEVILLE THE ART DIRECTOR ACE FDIRECTOR 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 U N C O M M R C A I L FACE THE studied A-Level Art INSIGNIA DIRECTOR DB ER SO IGD NEG RTH EF ACD EE FS INIG EARETR ISTTH NEFVAIL LE G T NEVIART LLEDESIGNER BRODY G APE HICTHE FINETHE ARTIST GHRIC FACE FACEDESIGNER THE GRAPHIC INSIGNIA SR GR APDE GRAPHIC and in 1975 he went D NTYY EOR VARP IAHP LIC LR EE BVN R ORE DDC YE RAPGHRICGDR FACE THE FIN SIG INSIGNIA HIC FN AEE C EIG FLN INEEBR ARRO TIS TY AP ART DIRECTOR FINE ARTIST NEVILLE BRODY ART DIRECTOR EA P G H E N I L L E B O Y HIC NEVILLE BRODY ART DIRECTOR V L I D NE D FINE ARTIST A NEVILLE BRODY A G NEVILLE BRODY E R P TU YP O GM RM AP H EIR F INR EA RH TIS TART ARTIS HICPSGHIGIC AR RAPDE on to take a Fine Art DE AR G RIG AN PE HR ICTHE TIS AR ESR FINE ARTIST ART DIRECTOR ACE F THE UNCOMMERCIAL GRAPHIC DESIGNER ART DIRECTOR IG N C O E R C A L G A P I C T T T ACE F THE GRAPHIC DESIGNER S NEVILLE BRODY IS IS S N G IS TIS HICIG A GRAPHIC DESIGNER RAEDR ART DIRECTOR D T T INSIGNIA T NE DA ER SIG NNEERVTILHLEEFB ACO EF A UNCOMMERCIAL NEVILLE BRODY EPSREA NO ED VILYLE AR RTIS T ART DIRECTOR foundation course at FAC FINE ARTIST NEVI LLENEVILLE BRODY R SPIGH T FINE ARTIST DNEE ARTISRTIS NEVILLE HIGIC BRODY ISAT DIN YE BER ART DIRECTOR NEVILLE BRODY AR TIST T ASR AR T BRODY NG 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 F THE FINE ARTIST DEE In 1976, Brody started a TYPOGR ART DIRECTOR ART R A R T S I T T T ART DIRECTOR TIS T ACE DIRECTOR FDESIGNER THE GRAPHIC DESIGNER SRIG CG OR MAM IAL T INSIGNIA UNCOMMERCIAL GRAPHIC NEVILLE BRODY AR INSIGNIA FINE ARTIST NUNCOMMERCIAL NEVILLE BRODY NEVILLE BRODY three-year B.A. course in UN PE HR ICC NEVILLE BRODY ER TIS NEVILLE BRODY ART DIRECTOR FINE ARTIST THE D E S G I N E R T H E NEVILLE BRODY ART DIRECTOR FACE ART T FACEFINEARTIST DIRECTOR THE FINE ARTIST ART DIRECTOR NEVILLE AE CVEILFLIN E ARO TISTY graphics at the London F NEVILLE BRODY ART DIRECTOR NEVILLE BRODY GRAPHIC DESIGNER ART DIRECTOR BRODYNEVILLE TYPOGRAPHER N EA B ART DIRECTOR NEVILLE BRODY BRODY ART DIRECTOR FINE ARTIST NEVI LDIRECTOR LEBRODY THE FACE GRAPHIC ART DIRECTOR ART GRAPHIC DESIGNER NEVILLE G PR HICTD 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 SRIG N E EARTIST FINE ARTIST INSIGNIA DESIGNER ART DIRECTOR T FACE ARTUNCOMMERCIAL TTHE DESIGNER T GRAPHIC TNEVILLE ER NO ER V ILYH LE DIRECTOR INSIGNIA ARTISTTYPOGRAPHER BRODYNEVILLE BRODY IS IS NEVILLE BRODY ART DIRECTOR NEVILLE BRODY ARTIST IS T NEVILLE BRODY NEVILLE BRODY tutors condemned his work as FACB T THE FACE GRAPHIC DESIGNER D R R ARTIST THE NEVILLE BRODY NEVILLE BRODY TYPE FINE ARTIST ARTARTIST DIRECTOR AA ARDESIGNER NEVILLE BRODY ART DIRECTOR AR ARTIST ARTIST FACE ART ART DIRECTOR UNCOMMERCIAL FINE THE FACE T Y P O G R A P H E R N E DIRECTOR T ART DIRECTOR ART DIRECTOR NEVILLE DESIGNFINE BRODYNEVILLE IS ART DIRECTOR THEFACE ART DIRECTOR FINE ARTIST TYPOGRAPHER NEVILLE "Uncommercial". Punk rock was TYP BRODY VO ILLG ER BA RPO Y TYPOGRAPHY T T GRAPHIC ART THE FACE ARTISTBRODYNEVILLE TYPOGRAPHER THE ACE FFINE THE GRAPHIC DESIGNER ART DIRECTOR NEVILLE BRODY IS GRAPHIC ACE FDIRECTOR THE BRODY NEVI L LE BRODY ARTIST HD EARTIST RFIN EFINE FACE ART TYPE ART 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 T 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 FINE TTHE NEVILLE BRODY ATARRTATIS 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 IS R FACE GRAPHIC DESIGNER TR HA E F A N I E A R T S I T T BRODY TYPOGRAPHER THE ERCIA A ART DIRECTOR ART T IS DESIGN FINE NEVILLE BRODY PHY DTART ARTIST FACE GRAPHICDESIGNER L FINE NEVILLE BRODY E VPILH LIC ED BR OIG DN YE AARTIST ART DIRECTOR DIRECTOR UNCOMMERCIAL TY NEVILLE BRODY R UNCOMMERCIAL had a great impact on Brody's GN ART DIRECTOR ART DIRECTOR THE F ACE ART DIRECTOR NEVILLE T R A E S R ACE ACE F F THE THE GRAPHIC DESIGNER INSIGNIA ART IS GRAPHICBRODY ACE FBRODY THE NEVILLE BRODY BRODYNEVILLE TYPOGRAPHER THE FACE NEVI LNEVI LE ARTIST FINE DESIGNER ARTDIRECTOR THEFA C EO ND EY VILL E NEVILLE BRODY ART DIRECTOR GRAPHIC DESIGNER NEVILLE BRODY UNCOMMERCIAL FINE ARTIST THE FACE ART DIR TDIRECTOR INSIGNIA ART DIRECTOR NEVILLE BRODY 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 DIRECTOR ART DIRECTOR NEVILLE BRODY AP ORUNCOMMERCIAL THEFACE ART DIRECTOR GRAPHIC DESIGNER FINE ARTISTTHE ARTUNCOMMERCIAL DIRECTOR ER BA RP OH DEYRFINE ART DIRECTOR ACE F THE FINEARTIST DESIGNER too happy with his work, almost had TYPL NEVILLE FACEARTART DIRECTOR HIC GRAPHIC UNCOMMERCIAL ART DIRECTOR 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 BRODY NE GRAPHIC DESIGNER NEVI LLE BRODY P HC ICE D E S IG ACE F THE I NSIGNIA FINE ARTIST R DIRECTOR ART DIRECTOR ART DIRECTOR putting the Queen's head sideways on G ART FINE ARTIST TR HA E F A F N I E A R T S I T ART DIRECTOR ARTBRODY DIRECTOR NEVILLE 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 ARTIST frist-year thesis was based around a DF ART DIRECTOR GRAPHIC DESIGNER GR INSIGNIA ART DIRECTOR ART DIRECTOR NEVILLE BRODY B DIL YL NEVILLE BRODY NEVI L LE BRODY GRAPHIC DESIGNER GRAPHIC DESIGNER ART DIRECTOR ART DIRECTOR AP ART DIRECTOR NEVILLE BRODY T Y P O G R A P H E R N ARTIST GRAPHIC DESIGNER GRAPHIC DESIGNER UNCOMMERCIAL ART DIRECTOR NEVILLE BRODY comparison between Dadaism and Pop 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 R ACE ACE F F THE THE GRAPHIC DESIGNER ARTIST A ART DIRECTOR D E S G I N E R T H E E ART DIRECTOR GRAPHIC DESIGNER IN NE DIRECTOR ACE F THE ART UNCOMMERCIAL ARTIST AE CVEILFLINEEBAFR R T S I T ART DIRECTOR UNCOMMERCIAL R ART DIRECTOR NEVILLE BRODY Director for the Face magazine. Brody FN NEVILLE BRODY ART DIRECTOR 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 HO 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 ER V 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 T Y P O G R A P H IG YP P IC UNCOMMERCIAL ART DIRECTOR ARTIST TY and challenging work. Neville Brody continues to ER N E V L I L E DNEE O NEVILLE BRODY ART DIRECTOR ARTIST NEVILLE BRODY ART DIRECTOR NEVILLE BRODY R G ACE F P THE INSIGNIA S GRAPHIC DESIGNER R OG DFR YACE TY OG IG C THE ART DIRECTOR Y O N RE ART NEVILLE work as a graphic designer and has launched TB ART DIRECTOR T NEVILLE BRODY BRODY DIRECTOR NEVILLE BRODY TY ART DIRECTOR ART DIRECTOR ART DI FIN ER GRAPHIC DESIGNER AP P H E GRAPHIC DESIGNER S T P E ART DIRECTOR I T Y UNCOMMERCIAL ART DIRECTOR O RI DIRECTOR YP PO Research Studeios in London with his business ART T ART DIRECTOR ART DIRECTOR G ART DIRECTOR INSIGNIA GRAPHIC DESIGNER F OG OR G NEVILLE BRODY DIRECTOR UNCOMMERCIAL ART DIRECTOR NEVILLE BRODY AR ART DIRECTOR partner Fwa Richards. The typeface known as Insignia, ART ARTIST ART DIRECTOR GRAPHIC DESIGNER E NEVILLE BRODY DI DIRECTOR INSIGNIA NEVILLE BRODY TY ART DIRECTOR YPOG RE CTOR NE EC TP YP O G R A P H DI I designed by Brody, was originally used as a headline ART GRAPHIC DESIGNER CTO NEVILLE BRODY Y TORUNCOMMERCIAL R H A P NEVILLE BRODY F R T Y O G R A P H E R R ECT DIRECTOR FO INE RETR ISC TIADIRECTOR NEVILLE BRODY OR NEVILLEBRODY ART for Arena magazine in 1986. It was released as a font TORART EC D NEVILLE BRODY ART DIRECTOR UIC ND C MA M FACE GRAPHIC DESIGNER THE GRAPHIC DESIGNER EC IR D E DI E TOR R AEPAH NLEERB TR HL EF AYCE CF NEVILLE BRODY

by Linotype in 1989. Its monoline, round and RGRAPHIC RE CTOR IREC TOR CTOR ART EG NEVILLE BRODY DIRECTOR DESIGNER IN R TD ISETE NS EIG VN IL O D TOR CTDIRECTOR ART NEVILLE BRODY I GR A P H C I S G I E R T H E F A C E OR NEVILLE BRODY NEVILLE ART BRODY DIRECTOR GRAPHIC DESIGNER D sharp forms represent technology and N E V L I L E B R O D Y T Y P O G R A P H E R N E V L I L E GRAPHIC DESIGNER ACE THE THEFFACE FINEDESIGNER GRAPHIC ARTIST DESIGNER ART DIRECTOR NEVILLE BRODY T BR O DC YIA TY RH A P HE RFIG INN EAR RT TH ISE TGRAPHIC ART DIRECTOR GRAPHIC RC NEVILLE BRODY AN DESIGNER NEVILLE BRODY NEVILLE BRODY NEVILLE NEVILLE BRODY BRODY O M 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 TEN 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 O D Y AR TART DI RDIRECTOR ECTO BD Y P O G R A P H E R F N I E A R T S I T U N O M M E R C A I G R A P C I ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER ART NEVILLE DIRECTOR BRODY ART 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 T H E F A C E F N I E A R T S I 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 FE INAR EN AR TIECTO SR TFINE NEVI LL E ART DIRECTOR ART DIRECTOR LESIGN ART DIRECTOR ART DIRECTOR cutting-edge classics of our EVID ART DIRECTOR ART DIRECTOR ART NEVILLE DIRECTOR BRODY ART DIRECTOR E R T H E F A C E N E V L I L E B R O D Y T Y P O G R A P H R E V L I L E B O D Y B R O D Y T D I R UNCO MACE F THE NEVILLE ART BRODY DIRECTOR FINE ARTIST INSIGNIA NEVILLE BRODY ARTIST NEVILLE BRODY FINE ARTIST NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY ER C IA LBIA P O G RAP HAR YHFI NDI E AR TI SACE TART ART DIRECTOR DIRECTOR ART DIRECTOR TEYS PIG ON GERRATP H E RC FIN EIN AE RTIST U N CM O M M E R C L G R A P H C I ND ART NEVILLE DIRECTOR BRODY ACE F THE FINE GRAPHIC ARTIST DESIGNER N EV I B R O DY T R ECTO GRAPHIC DESIGNER R 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 L E R O D Y G R A P C I E UNCOMMERCIAL TYPOGRAPHY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY NGRAPHIC ART DIRECTOR ART NEVILLE BRODY DESIGNER DESIGNER D ER SAIG N TNH ALC VD ILLYE B D YNF IN EEC AR TI S TEDIRECTOR EGRAPHIC VI LDIRECTOR 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 G PG HE ER RDIRECTOR EEIC VFILD EE BN REO TTFY P O RART AR PO HE ETA T TL ART NEVILLE DIRECTOR BRODY FACE THE BRODY FINE ARTIST INSIGNIA NEVILLE BRODY FINE ARTIST IC DU GRAPHIC DESIGNER N C O M MO EE RS CIG IAART L R A P H E S IG NILE R H FG AC E F IN AR RD TIN IS NR E VIS ILART ENEVILLE HR TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART NEVILLE DIRECTOR BRODY GRAPHIC DESIGNER TYTYART NEVILLE DIRECTOR BRODY ART DIRECTOR ART DIRECTOR ART DIRECTOR PB ACE F ART NEVILLE DIRECTOR BRODY THE GRAPHIC DESIGNER FINE ARTIST ACE F INSIGNIA THE FINE ARTIST RANEVILLE POGRAPHY INSIGNIA BRODY FINE ARTIST O D Y G R A P H C I D N E R T H E F A C E N E V L E B R O Y POGRAPHY DIRECTOR NEVILLE BRODY G 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 FIN EAR TITSTNEVI LLE ART NEVILLE DIRECTOR BRODY TG YP O GHRIC AART PDIRECTOR HNEVILLE EIG RDIRECTOR 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 T U N C O M M E R C A I L INSIGNIA GRAPHIC DESIGNER ACE F THE NEVILLE BRODY FINE ARTIST BRO DY AR T DI R ECTO ACE F INSIGNIA THE FINE ARTIST BRO DY AR DIRECTO ART DIRECTOR ART DIRECTOR ART DIRECTOR ART DIRECTOR NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY R A P D E S 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 NEVILLE BRODY UNCO MMERCI A L TYP O G RA UNCO MMERCI ALTISBRODY OGRA BRODY FINE ARTIST GRAPHIC DESIGNER F ARTIST INSIGNIA HT Y DY FINAR EFINE AR SNEVILLE T THE NEVI LACE LE P HBRODY Y DY FINEVILLE NAR ET DI AR TTYPNEVI LLE BRODY NEVILLE NEVILLE BRODY BRODY S IG N EART RDIRECTOR H F A C E N E L BG RR OA D YHERFINE NEVILLE NEVILLE NEVILLE BRODY BRODY ART NEVILLE DIRECTOR BRODY DIRECTOR ART DIRECTOR ACE FTIL THE BRO TG DI RTIECTO UNCO MBRO RECTO UNCO TART YN PO G RD AE P H E R N E VT IL LE EDIRECTOR B R O D YV Y PE O PA AIS RP TNEVI IS NEVILLE BRODY NEVILLE NEVILLE NEVILLE BRODY BRODY BRODY MERCI A L P O RAP H Y FI N E AR TI S T NEVILLE BRODY FINE ARTIST ART NEVILLE BRODY MERCI A L P O G RAP H YFI EAR TIMST GRAPHIC DESIGNER INSIGNIA L L E BRO DY AR T DI R ECTO U C 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 C E F N I E A R T T N E V L I L E NEVI L L E BRO DY AR TNDI RECTO ART NEVILLE DIRECTOR BRODY NEVILLE BRODY FINE ARTIST ART DIRECTOR ACE F THE FINE ARTIST ART DIRECTOR ART DIRECTOR UNCOMMERCIAL TYPOGRAPHY UNCOMMERCIAL TYPOGRAPHY B R O D Y G 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 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 DESIGNER INSIGNIA TYPOGRAPHERNEVILLEBRODYTYPOGRAPHER FINE RECTO TISTUNART DIAR UNCO MMERCI ALGRAPHIC DIART RECTO UNCOMMERCI ART DIRECTOR NEVILLE DIRECTOR BRODY ART DIRECTOR DIRECTOR GRAPHIC DESIGNER INSIGNIA ARTDIRECTOR ARTDIRECTOR TYPE A RT T;YPE A RT TYPE ART TY

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COLOPHON_ Copywrite 2011 All Rights Reserved. No part of this publication may be reproduced, stored in a tretrieval 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

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