graphic designer & illurator
Hi - my name is Aviva I have ju finished a graphic design course at design alive, but don't think that means I don't have any experience... because i have been designing and drawing since I was old enough to hold a pencil! Please look through my portfolio to see a few of the things I can do, and I look forward to working with you soon!
harvest
Most people go into a restaurant and use the menu to order what they want to eat, I believe its great entertainment too! The colours were picked from a calming and natural palette. The text is laid out in a clean and minimalistic look, and the illustrations have a flowing feeling. Bon appetite.
organic restarant
This menu was created for a clean and rustic restaurant that serves freshly picked organic produce among their dishes. The menu, like the restaurant was designed with colours, design and texture to enhance that feeling and help provide a calming and relaxing feeling to the diner while the illustration are there for the fun.
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harvest est organic restarant tarant
organic restarant
Campfield Arcade Liverpool Road, Manchester Tel: 0161 831 9130 www.harvest.co.uk
Campfield eld Arcade Liverpool pool Road Manchester Tel: 01611 831 9130 www.harvest.co.uk rvest.co.uk
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Harvest is an organic restaurant in the heart of manchesters. It commits itself to selling high quality seasonal, organic cuisine ranging from delicious entrees, soups, fish, main dishes, and desserts.
Saul Bass was a hero and legend in the design world he is mo known for movie title sequences and his incredible logos , that on average have a life span of over 34 years! Presented are two poers and a short biography of his life designed in his unique and bold yle of design. Saul is also often quoted for his design phrases such as this
Design is thinking made visible!
saul bass
Saul Bass , Jewish, Born in New York in 1920 was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos.
During his 40-year career Bass worked for some of Hollywood›s most prominent filmmakers,. Among his most famous title sequences are the animated paper cut-out of a heroin addict›s arm for Otto Preminger›s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock›s North by Northwest, and the disjointed text that races together and apart in Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System , AT&T›s Continental Airlines› United Airlines, tulip logo, Quakers and is among some of the most recognized logos today.
Before the advent of Bass’s title sequences, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the movie started.
He began by designing print advertisements for films, this then lead him to produce the title sequence as well. He saw the opportunity to create a title that would enhance the experience of the audience and contribute the mood and the theme of the movie within the opening moments. He was one of the first to realize this.
Film titles Bass became widely known in the film industry after creating the title sequence for Preminger’s The Man with the Golden Arm (1955). he film was about a musician’s struggle to overcome his heroin addiction, a taboo subject then. Bass created an innovative title sequence to match the film’s subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. As he hoped, it caused quite a sensation.
‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”.
Bass described his title sequences as a way of getting the audience to see familiar parts of their world in an unfamiliar way.
Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for a Man with a Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist›s struggle with heroin addiction. Bass’s iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.
His last commissioned film poster was created for Steven Spielberg’s Schindler’s List (1993), but it was never distributed. His poster work spanned five decades and inspired numerous other poster and graphic desigers. Bass’s film posters are characterized by a distinctive typography and minimalistic style.
In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers. He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences. In 1962 he illustrated his only children’s book, Henri’s Walk to Paris
Symbolize and summarize.
Film making
In 1995 Spike Lee›s film Clockers was promoted by a poster that was strikingly similar to Bass’s work. The Designer claimed that it was made as an homage, but Bass regarded it as theft. Many film posters since have been considered to be homages to Saul Bass’s posters.
Bass was asked by directors and producers to produce not only title sequences for their films, but also to visualize and storyboard key scenes and sequences within them. Bass has the unusual credit of “visual consultant” . It is said that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene. Hitchcock had asked Bass to design and produce storyboards for the shower murder scene and for some other scenes in the film. For this, Bass received a credit as Pictorial Consultant as well as Title Designer. Hitchcock followed his storyboard precisely.
Design is
thinking made
visible Logos Bass was responsible for some of the best- remembered, most iconic logos in North America, including both the Bell Telephone logo, AT&T, United Airlines, Avery International, United way, Continental Airlines, Minolta, Girl Scouts of the USA, Quaker, Kleenex and Warner Communications. An analysis of a sample of Bass’s corporate logos in 2011 found them to have an unusual longevity. The most common cause of the end of a Bass corporate logo was the demise or merge of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo is more than 34 years.
There is nothing
glamorous in what I do. I’m a working man. Perhaps I’m luckier than most in that I receive considerable
satisfaction from doing useful work which I, and sometimes others, think is
good.
On May 8, 2013, Bass’s 93rd birthday was celebrated by a Google Doodle
ADS In this project we were asked to create an ad campaign for a dental oďŹƒce that specializes in teeth whitening. I created the phrase:
The dierence between white and wrong The campaign targets the everyday person who would highly benefit from whiter teeth both in their personal life as well as their professional one. Example of ad addressed to a bride: At Oakley Dental we help you have that perfect white smile to match your perfect white dress!
ADS The full campain.
Don’t judge a book by its cover... which is true... but if the cover doesn’t catch your eye you won’t pick the book up anyway. In this project I designed three different illustration options.
The magazine project included laying out a few of articles ,a cover page, page of contents and a logo. I created a magazine geared to mothers with busy lives. The name of the magazine is
RMOM
SUPE
Supermom magazine is a clean modern looking magazine targeting the modern mother that juggles way too much... between the house, the family ,her job and trying to find time to look after herself too. The design has a clean look with very clean lines and bold colours, but also softer coulours to give it a feminine mother look.
Continued...
Letters and word are more powerful than we think. In the left poster I created for the word a visual with that same meaning. and on the right poster I created patterns using just one letter for each pattern
The client: Famous Fried Fish
Who are they? A heimishe home-business looking to expand and attract customers whilst promoting a professional aura. We sell Fried Fish for individual families and kiddushim as well as other simchas etc.
What do they want their logo to say: Tasty, Delicious, Nostalgic, Oneg Shabbos, Tempting, Family, Simcha, Cute, “Give them a try “!!!
The main challenge: Design a professinal yet cute logo to attract clients to a new bussiness.
..and this is what they picked.
FRIE US
D
FISH
FAMO
Some of the options that were oямАered to the client
FAMOUS FRIED FISH
FAMOUS FR
ISH DF IE
FAMOUS FRIED FISH
famous fried fish
FAMOUS FRIED FISH
FAMOUS
FRIED FISH
FAMOUS FRIED FISH
FAMOUS FRIEDFISH
FAMOUS FRIED FISH
FAMOUS FRIED FISH
FAMOUS FRIED FISH
H
F
R
FAMOUS FRIED FISH
O AM US
IE D FI
S
F
FAMOUS FRIED FISH
FAMOUS FRIED FISH
FAMOUS FRIED FISH
This brochure was created for a Travel Agent called:
bonage voy Their targeted clients are young adults, university student and college graduates that have a little money and want to travel to Europe.
The design is a fun looking, cool pop art design. The colours are young, the font is funky and the pictures tures were given a modern twist to make you feel like-- go to Europe, have fun, and it won’t cost you a lot of money !
Who doesn’t love chocolate??? The client: Astor Chocolates The product: A new line of chocolate covered orange, strawberry and ginger. The design: In my mind chocolate peel is delicious but something I would think of buying my grandma. I wanted to open up their targeted audience to show that its cool to buy chocolate peel for your friends too. I created characters from each of the flavors who are normal everyday characters that the chocolate helps taken them to a special place. I added 2D texture to the design and gave it a more modern feel while still keeping it respectable.
Over the past couple of months I have been lucky to have been designing logos for different people. Here are some examples.
A logo has such power. It represents a brand, a person, a product, a business. It needs to be minimal. meaning... you see it- you get it I enjoy the thinking process of logo design and coming up with options to fit the clients wants and needs and sometimes even surprising him with directions he didn’t even know existed
Let me design your logo!
This year I entered into a competition for Yad Vashem. Each year it looks for talented designers to design the yearly Holocaust day national poster. (I didn’t win.) The topic this year was the tear in life for the survivors that survived the horrors and lost their home but had no where really to go back to. I took the star of David to represent a Jews life. The grey triangle pointing down is the life before the release. the colours are cold, and it symbolizes the running, the hiding, the train journey, the camps, the march and for some death. the blue triangle is the hope, ending in Eretz Yisrael, building a new home, but remembering the family lost. The triangles are designed in an optical illusion demonstrating the uncomfortable place the survivors are in.
This month I was lucky to be asked to design & illustrate a children’s siddur for 2-3 year olds. The children are in a kindergarten (that although is religious all come from a wide spectrum of religion. )They wanted a siddur that all kids would open and not something "ordinary" and the rest they left to me. I picked a calming coluor palette and brought in many different 2D textures to the illustrations. to add interest and a deeper meaning to the images.
Did i mention already how I love to illurate? well... I do! Here are a few of the things I did in the pa couple of months for articles, bat mitzva invitations and children's english workbooks.
graphic designer & illurator aviva78@gmail.com
972-544-718-882