Denzel Boyd Sophomore Portfolio VCU

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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


01 /

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



02 /

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



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