Design Portfolio
2014/2015 Virginia Commonwealth University Department of Graphic Design
DENZEL BOYD
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Definition of Design? My definition of design has continually redefinied itself from the start of my intial cliched concepts of the modern graphic designer and field of study. I no longer ignorantly catergorize graphic design as purely business cards and advertsing. Graphic design is seen in our daily lives and has shaped the visual language our culture has become accustomed to. Virtually everything that we see in our lives is graphic design. I strongly appreciate how designers have the power to articulate through various visual means to achieve pyschological harmony in hopes of stimulating our senses for the purposes of not just pure visual satisfaction, but also functionality. Over the course of the two semesters during my first year in the program, I quickly adapted to paying more attention to details macro to micro as I moved through my day to day and weekly studies and practices. Likewise I inherently possessed an increased hyper awareness of the visual and textual world around me. I began making connections and asking questions about how my interests within the objects and messages work, what they are, what things look like, and what they mean in great detail through my self directed research. Unlike my time during Art Foundation, the design program was the first time I was able to really get close to a problem or project and in which I can work long hours alone towards a solution with both the emotions of discomfort and ease. At the same time, I learned to be an expert in reading people and navigating the needs and desires of my audience and my personal taste to eventually shape the experience of the end user.
Spring 2015
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Fall 2014
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Semester One
Fall 2014
Fall 2014 Brooke Chronyak
GDES 212 Design Form and Communication Description
The relationship of form and communication in graphic design is explored through theoretical and applied projects. The impact of typography and imagery and their syntactic relations upon audience and content is stressed. Course Objectives
Introduction to the language of visual semiotics. Application of semiotic language to applied and theoretical problem solving. Development of visual responses that incorporate typography and imagery. Investigation of multi-meanings of visual language. Application of color properties and their impact on communication. Exploration of different forms, processes and techniques of image generation. Introduction to visual mapping and diagramming. Oral participation to support VCU general education initiative associated with project development is required. Major Topics and Sub-topics
1. Visual language. a. Visual signification b. Semantics, syntactics, and pragmatics c. Message and meaning d. Aesthetic and expressive concerns e. Spatial systems 2. Methods and examples of design discourse, oral and verbal participation. a. Precedents b. Manifestoes, articles and text written in support of practitioner’s intent. 3. Charting and mapping, organization and display of visual information. 4. Media and technique for image generation in visual communication.
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PAIRINGS
05
DESIGN FORM + COMM
Brooke Chronyak
VECTOR COLLECTION
06
DESIGN FORM + COMM
Make 100 drawings Experiment with mark making and the range of abstraction to realism that can be obtained in a set of drawings
Brooke Chronyak
VECTOR COLLECTION
07
DESIGN FORM + COMM
Brooke Chronyak
VIDEO RESPONSE
08
DESIGN FORM + COMM
Brooke Chronyak
VIDEO RESPONSE
09
DESIGN FORM + COMM
Brooke Chronyak
VIDEO RESPONSE
10
DESIGN FORM + COMM
Matte Paper | 18 x 14 in | 2014
Brooke Chronyak
GIF ANIMATION
11
DESIGN FORM + COMM
Make 6 sound recordings - 25 seconds each - these can be edited from longer recordings From those 6 recordings you will make 5 responses to each sound with analogue materials and mark making. (30 individual pieces) Use any medium (Paint, wrapping paper, found paper, etc.) Use the SCANNER + Photoshop to assemble these compositions The final size - 600 x 600 px -- These need to be compositionally similar Then you will be making 1 animated GIF from the 30 works
Brooke Chronyak
DREAM PILLOWS
12
IMAGING I
Brooke Chronyak
DREAM PILLOWS
13
IMAGING I
Brooke Chronyak
Fall 2014 Stephanie Clark
GDES 214 Imaging I Description
A studio course focusing on the use of digital imaging techniques for the communication purposes. The processes and techniques for making and working with digital images are explored. Course Objectives
The goal of this course is to feel comfortable talking about and making images. The challenge this semester will be developing a designer’s way of thinking, working, and talking about your work. Writing will be an important part of this class as a way to bring a more intentional approach to your image-making. Writing is also a way to explore and process ideas and concepts before even taking off your lens cap so that you are not so much “taking pictures” but looking carefully to convey ideas through the images you create. Creating a body of work/a statement is a process. We ideate, we write, collect ideas, shoot, edit, shoot more, edit more. This will be the process throughout the semester. The course will take us through many different tactics in image making—both digital and analog. The point is to realize images can be made in many different ways. We will look at the ties between contemporary photography and graphic design, with our focus being on graphic design language and composition. Materials
– Laptop / Software – Lynda.com account – Sketchbook / Tripod – Hard drive to back up your files
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REFERENCE BOOK
15
IMAGING I
Stephanie Clark
SMALL SPACE
16
IMAGING I
Photograph a small space. Take 100 photos. Edit this selection to 9 images, trim each photo down to 4x4 inches When considering your selection, think of narration. This can be a literal or abstract story. Maybe it’s not a story at all, but anemotion, or form study. How do you present this small space to us? How do you work with limitations and restrictions? Think of how the images communicate on their own as well as a whole.
Stephanie Clark
Photograph three locations at three different times of day and bring in photographic prints (at least 5� x 7� images). The light source must be natural light, i.e. no night shots with street lights, or indoor lighting (florescent, incandescent, etc.). Photograph the same location each time. Take time to frame your images carefully and consistently. It is imperative that you are familiar with the light settings on your camera.
LIGHTING 17 IMAGING I
Stephanie Clark
LIGHTING
18
IMAGING I
09/13/2014 | 17:17:10 | f/3.9
09/13/2014 | 12:48:55 | f/5.3
09/13/2014 | 23:26:29 | f/3.9
Stephanie Clark
LIGHTING
19
IMAGING I
Stephanie Clark
ACORDIAN BOOK
IMAGING I
20
Select one object that you might call a personal iconic object. Carefully consider the composition and framing issues we’ve discussed up to this point. Shoot high quality 50 images of this object and only this object. Leave out as much background information as possible so we may focus only on the characteristics of the object itself. We will look at these in class today and give feedback.
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ACORDIAN BOOK
21
IMAGING I
Matte Paper | 7x 10 in | 2014
You will also be creating a matrix describing the object. This will include image ideas and textual ideas that relate to the object’s: –Iconic characteristics (every detail about the object itself) –Indexical characteristics (things that point or refer directly to the object. Smoke is an index to fire) –Symbolic characteristics/associations (what universal ideas does this object represent? What about in different cultures? The color red can symbolize love, or it can also symbolize danger.)
Stephanie Clark
TIME + SPACE
22
IMAGING I
Newsprint + Vellum | 18 x 14 in | 2014
Stephanie Clark
TAROT CARD
IMAGING I
23
Glossy Paper | 18 x 14 in | 2014
Stephanie Clark
TAROT CARD
24
IMAGING I
Matte Paper | 18 x 14 in | 2014
Stephanie Clark
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Fall 2014 Dan Sinclair
GDES 211 Typography I Description
An introduction to communication problem solving through the visual medium of language. The fundamentals of typography and typographic design are explored in experimental and practical projects. Course Objectives
This course provides an opportunity to build visual awareness of letter forms and their composition in space. Participants will gain an understanding of the material properties of type, of how typography fits into broader political and economic history. To investigate typographic pattern-forming (part-to-whole, part-to-part) which considers factors of format, visual hiearchy, sequencing, legibility, and color in the translation of message onto visual-verbal relationships. To manipulate form and content withing various contexts To apply the variables by which typographic contrast is achieved (style, posture, axis, size and weight). To examine a summary of two- and three-dimensional typographic systems such a structural and relational grids, primary and secondary division of space, and overall proportional relationships. To view typographic design as the ordering of information with special attention given to visual emphasis and sequencing
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FICTIONAL LIGATURES
TYPOGRAPHY I
27
Fictional_ligature_01_part02 Franklin Gothic, regular 300pt Didot, regular, 300pt *scaled.
Fictional_ligature_02_part02 Franklin Gothic, bold, 300pt
Fictional_ligature_03_part02 Franklin Gothic, bold, 300pt Didot, regualar, 300pt *scaled.
Fictional_ligature_04_part02 Franklin Gothic, bold, 300pt
Fictional_ligature_05_part02 Didot, bold, 300pt Franklin Gothic, regular, 300pt *scaled.
Fictional_ligature_06_part02 Didot, regular 300pt
Fictional_ligature_07_part02 Didot, bold, 300pt Franklin Gothic, bold, 300pt *scaled.
Fictional_ligature_08_part02 Franklin Gothic, regular 300pt Didot, regular 300pt *scaled.
Fictional_ligature_09_part02 Didot, regular, 300pt Franklin Gothic, regular, 300pt *scaled.
Fictional_ligature_10_part02 Franklin Gothic, regular, 300pt
Fictional_ligature_11_part02 Didot, regular, 300pt Franklin Gothic regular 300pt *scaled.
Fictional_ligature_12_part02 Didot, regular, 300pt Franklin Gothic, regular 300pt *scaled.
Fictional_ligature_01_part01 Franklin Gothic, regular 300pt Didot, regular, 300pt *scaled.
Fictional_ligature_02_part01 Franklin Gothic, bold, 300pt *scaled.
Fictional_ligature_03_part01 Franklin Gothic, bold, 300pt Didot, regualar, 300pt *scaled.
Fictional_ligature_04_part01 Franklin Gothic, bold, 300pt *scaled.
Fictional_ligature_05_part01 Didot, bold, 300pt Franklin Gothic, regular, 300pt *scaled.
Fictional_ligature_06_part01 Didot, regular 300pt *scaled.
Fictional_ligature_07_part01 Didot, bold, 300pt Franklin Gothic, bold, 300pt *scaled.
Fictional_ligature_08_part01 Franklin Gothic, regular 300pt Didot, regular 300pt *scaled.
Fictional_ligature_09_part01 Didot, regular, 300pt Franklin Gothic, regular, 300pt *scaled.
Fictional_ligature_10_part01 Franklin Gothic, regular, 300pt *scaled.
Fictional_ligature_11_part01 Didot, regular, 300pt Franklin Gothic regular 300pt *scaled.
Fictional_ligature_12_part01 Didot, regular, 300pt Franklin Gothic, regular 300pt *scaled.
*scaled.
*scaled.
*scaled.
*scaled.
Dan Sinclair
FICTIONAL LIGATURES
28
TYPOGRAPHY I
Dan Sinclair
SLOGAN POSTER
29
TYPOGRAPHY I
Dan Sinclair
SLOGAN POSTER
30
TYPOGRAPHY I
Dan Sinclair
SLOGAN POSTER
31
TYPOGRAPHY I
Kraft Paper | 18 x 14 in | 2014
Dan Sinclair
FICTIONAL LIGATURES
TYPOGRAPHY I
32
Wood, Natural Paper | 18 x 14 in | 2014
FICTIONAL LIGATURES
33
TYPOGRAPHY I
Dan Sinclair
MODULAR GRID
TYPOGRAPHY I
35
W
$2 million
identity fraud case
28 people accused
of conspiracy
#stolen #oversharing #technology #consequence #criminal #why #hashtag #steal #bank #
#theft #bank #sodumb #teenagers #victims #photos #censorsed #lesson #hackers #account #online #fucked up #posted #300hots
/// Federal prosecutors in Minnesota announced charges Tuesday against 28 people accused of participating in a conspiracy to cash counterfeit checks with bank details gleaned from sources including Instagram photos. Apparently, teenagers have been posting their first paychecks on Instagram using a couple different hashtags, and it looks like the wrong people noticed
“This case is represenative of a reccurring trend- the migration of traditional street criminals to white collar fraud”
#selfies #instagram #paycheck #fraudster #identity #blessed #lesson #payslip
on Instagram
#usa #adult #social #mistake #wrong
/// Law enforcement officials say the group obtained account numbers and bank routing information from victims by searching for Instagram photos with the hashtag #myfirstpaycheck.
#twitter #dollars #rippedoff #federal #gleaned #routing #visible
/// A search for that hashtag on the
#fucked #money #conspiracy #dumb #accused #charged #posting
300 selfies
WWW
photo-sharing service Wednesday yielded nearly 300 hits, many with the bank details on checks clearly visible.The defendants allegedly used the stolen information to open bank accounts and produce and cash counterfeit checks. In other cases, they allegedly stole physical checks from individuals and businesses. W
#stop #usa #adult #social #mistake #wrong
#source #visible #searching #produce #IDtheft #attorney #reporters #notsafe #Luger
Fraudsters use paycheck selfies to steal bank details Reminder: don’t post pictures of your payslip on Instagram unless you want your identity stolen
Dan Sinclair
GIMMICK FONTS
36
TYPOGRAPHY I
Dan Sinclair
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Semester Two
Spring 2015
Spring 2015 Nicole Killian
Description
An in-depth investogation of the theoretical aspects of the design process within the context of designing effective visual communications. There is no right way to be a graphic designer. The key is that we are open to any methods, forms and processes that are appropriate to our content and communicate effectively. That being said, there are so many ways to communicate. We have to be sensitive to our audiences and allow ourselves time to experiment and play to find the right solution. We will use this course as a forum to experiment. Exploring effective communication, interpretation, translation while then critically questioning contemporary approaches to graphic design. Processes we will cover, but are not limited to: mark making, motion, cataloging, typography, objects, 2d to 3d, etc. Course Objectives
Explore any & every method –Keep an open mind –Challenge yourself –Communicate effectively * in your work * in critique
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DIGITAL REALMS
40
DESIGN + METHODS
Nicole Killian
DIGITAL REALMS
41
DESIGN + METHODS
DIGITAL REALMS
42
DESIGN + METHODS
Nicole Killian
DIGITAL REALMS
43
DESIGN + METHODS
Nicole Killian
PHYSICAL REALM
44
DESIGN + METHODS
Nicole Killian
DIGITAL REALMS
45
DESIGN + METHODS
Nicole Killian
FORECAST
46
DESIGN + METHODS
Nicole Killian
SPECULATIVE DESIGN
47
DESIGN + METHODS
Ivory + Windsor Blue Paper | 18 x 14 in | 2015
Nicole Killian
SPECULATIVE DESIGN
48
DESIGN + METHODS
Taking one aspect, object, element of your utopia: You must construct a physical installation somewhere inside of Pollak or around Pollak .Things to think about: how to translate your images into 3d space, how objects work in relationship to the body, how to tell a story with objects, how to create an element of wonder in an everyday space. Simple gestures can go a long way.
UTOPIA INSTALLATION 50 DESIGN + METHODS
Nicole Killian
APRIL GREIMAN
51
DESIGN + METHODS
Nicole Killian
VISUAL LANGUAGE
52
Select a sentence or phrase to translate into your 4-6 word/symbol visual language
DESIGN + METHODS
VISUAL LANGUAGE
53
DESIGN + METHODS
“ The universe planted maps in all of us, maps that drives us insane or lead us to a place where our conscious presence is needed to build a chain of understanding that is passed on. Growing stronger and reaching further with each generation. ” — Amiyak
Nicole Killian
COHORT FLAG
DESIGN + METHODS
54
FRONT
BACK
Nicole Killian
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Spring 2015 Ern Bernhardi
GDES 213 Typography II Description
An intermediate exploration of typography as an expressive and functional communication vehicle. Emphasis is placed on defining effective design criteria to meet the reader’s needs, the communicator’s intent and the designer’s formal sensibilities. Course Objectives
This course provides an opportunity to build visual awareness of letter forms and their composition in space. Participants will gain an understanding of the material properties of type, of how typography fits into broader political and economic history. To investigate typographic pattern-forming (part-to-whole, part-to-part) which considers factors of format, visual hiearchy, sequencing, legibility, and color in the translation of message onto visual-verbal relationships. To manipulate form and content withing various contexts To apply the variables by which typographic contrast is achieved (style, posture, axis, size and weight). To examine a summary of two- and three-dimensional typographic systems such a structural and relational grids, primary and secondary division of space, and overall proportional relationships. To view typographic design as the ordering of information with special attention given to visual emphasis and sequencing
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HYBRID HISTORY
57
TYPOGRAPHY II
Ern Bernhardi
HYBRID HISTORY
58
TYPOGRAPHY II
Ern Bernhardi
HYBRID HSTORY
59
TYPOGRAPHY II
Ern Bernhardi
TYPOGRAPHY II
60
1926 /// FROM ST LOUIS TO FIFTY SECOND STREET IN SEARCH OF BIRD
1948 1955 /// OUT OF THE COOL INVENTION AND SELF LOATHING
/// Discography Kind of Blue Bitches Brew In a Silent way Birth of Cool Tutu Sketches of Spain On the Corner
1967
Milestones Roundabout Midnight] Cookin WIth the Miles Davis Quintet
/// MILES SMILES CONTROLLED FREEDOM
Walkin Boo-Dop If I Were a Bell Workin Get up WIth it
1971
Agharta Neferitti Big Fun
Big Fun Steamin with the Miles Davis
/// ON THE CORNER FUNK BEAT
Quintet E.S.P My Funny Valentine Miles Smiles Blue Moods Amandla Pangaea Four & More Star People
/// A STAR PEOPLE GLOBAL ICON
/// Awards Grammy Hall of Fame Award American Book Wards
Pablo Picasso “For me each painting is a study...But as soon as I start to finish it, it becomes another painting and I think I am going to redo it. Well, it is always something else in the end.”
1991
Miles Davis “The music we did together changed every fucking night... Even we didn’t know where it all was going to. But we did know it was going somewhere.”
Decoy Live- Evil
Pablo Picasso “In painting you can try anything. It is even your right. As long is as you never do anything ever again”.
1979
Blue Haze Miles Ahead
Miles Davis 1985 “I dont know about Picasso maybe in a way I change music and stuff...I do change it...but I cant help it you know.
COMPLEX COMPOSITIONS
Grammy Lifetime Achievement Award Grammy Award for Best R&B InstruWmentall AATCA ward for Best Original Music Score Grammy Award for Best Orginal Grammy Award for Best LArge Grammy Award
Ern Bernhardi
COMPLEX COMPOSITIONS
61
TYPOGRAPHY II
Miles Davis | Windsor Blue Printed Booklet | 7x10 in | 2015
Ern Bernhardi
WEEKLY PRACTICE
Week 01
Week 03
TYPOGRAPHY II
62
Week 02
Week 04
Ern Bernhardi
TYPE IN CONTEXT
63
TYPOGRAPHY II
Spring 2015 Sarah Baugh
GDES 216 Imaging II Description
A studio course focusing on the use of digital imaging techniques for the communication purposes. The processes and techniques for making and working with digital images are explored. Course Objectives
The goal of this course is to feel comfortable talking about and making images. As designers, our goal is to communicative, provoke, and discuss. In this class your objective is to identify and generate your own ideas, find the subject for the idea, and then find ways to frame it. Through conceptual thinking, discussion, making & critiquing, we will seek to answer the following questions: How can imaging be used to alter the meaning of an object entirely? What are the basic semiotic concepts & do they provide a means to evaluate & better understand images? How can we better understand the meaning of images used across cultures & through time, & how does that knowledge make us better designers & visual communicators? Major topics and subtopics will include: Aesthetic, semiotic & perceptual concerns in visual language (signification, semantics, syntactics & pragmatics). Evaluation of effectiveness of visual information in various environments Relationship of color properties to visual response Integration of type & image Relationships between form, structure & function Camera & computer as they relate to design practice Proficiency of software for capturing, viewing, & editing digital images
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WAYS OF SEEING
64
IMAGING II
WAYS OF SEEING
IMAGING II
65
You will each continue to use your original object, but you will now choose one additional object from the list of objects used by your classmates. Collect as many versions of the new object as possible. Study them, consider the signifiers that make them different from each other, and consider how those attributes may contribute to others. Record all of this information in your process book and be sure to note the object’s iconic, symbolic and indexical properties. The adjective will stay the same. Find one definition of your adjective to use for this portion of the project. Even though your adjective is the same your concept must change. Think of how the two objects form a relationship to conceptually and visually communicate your adjective.
Things to think about: Iconic properties of your object. Indexical properties of your object. Symbolic properties of your object.
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WAYS OF SEEING
66
IMAGING II
The objective of this assignment is to develop visual connections and to generate meaning based on conceptual thinking. We will explore how representations of any object can be shaped into various meanings through analysis and design. Using scale, distortion, repetition, color, texture, collage, composition and skillful manipulation, an artist/designer can visually make any image express a specific meaning. Each of you will be assigned an object, and be provided with a word bank of adjectives to choose from. Object: Q-Tip Adjective: Vulnerable
Sarah Baugh
OBJECT MEDIUM
67
IMAGING II
Childish Gambino , Because the Internet | Vinyl Record + Gloss | 12x12 in | 2015
Sarah Baugh
OBJECT MEDIUM
68
IMAGING II
Sarah Baugh
PYSCHOGEOGRAPHIC MAP
69
IMAGING II
Sarah Baugh
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/ / / / / 02 / \ 2 Years to go 4 Semesters to go
Sarah Baugh