Emma deVries Graphic Design Course Portfolio

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Meaning thro ugh

Visual Form Emma deVries

University of Nebraska-Lincoln Department of Art and Art History Fall Semester 2013



Table of Contents Exercise 01

3

Project 01

5

9

Exercise 02

11

15

17

19

25

Project 02 Project 03 Exercise 03

Project 04 Exercise 04


Introduction This portfolio contains all of the exercises and projects from the fall semester class of Beginning Graphic Design, taught by Stacy Asher. Each assignment built upon the last, creating a visual progression of aaquired skills. This collection shows my growth as a graphic designer as I gain more experience and a better understanding of design techniques. We begin with trying to synthesize what graphic design. This conversation is furthered in Project 1 by finding examples of visual communication in the envrionment around me, I was able to fully appreciate how integrated design is within the context it is shown. Information can be communicated without the need for text, this was reenforced in project 3. A compnay’s brand must be able to represent itself and be immediately associated with the product. Through a process of disturbanc, disintegration, diffusion, re-collectin, and re0organization the evolution of a new symbol was completed. By completeting a succesion of iterations from an original form I learned how to arrive at a distinct icon that was reminisent of the original. The final project and exercise blended what I learned about text as form from exercise 1 and project 2 with my knowledge of visual form from exercise 3 and projects 1 and 3. Creating a series of layouts that despite including large componsents of text the design has depth and is visual imapct. This final project solidified for me the importance of text as form. Graphic design is not just illustrations it is communication through every visual element.

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Exercise 01 We are always surrounded by graphic design. Objects are imbued with messages and everyday we are exposed to many forms of communication. Exercise 01 explored the function of messages and the mode of communication that are being used.


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“artistic” graffiti

Project 01

meters walk signs

Urban Environment

Legislative health/safety government sponsored

drainage

signature

Community focus

signs

vandalism

Private business

Design

Individual posters

purpose Content Utilitarian application

What is graphic design? ‘90s graffiti

inviting

Stickers

Doors

discouraging

History

Form Buildings Cars/vehicles front design

plates


The only way to understand the nature of graphic design is to experience it in the environment for which it was designed. With this in mind I decided I wanted to focus on the urban environment. The general parameters were to collect data within a city block; the criteria I set for myself further restricted that to the exterior of buildings and along walkways. My goal was to capture graphic elements that were not original to the design but intentional by other forces.

Through my typologies--Urban Artscape, Urban Setting, and Graphic Design History--and my matrices--Lincoln Urban Art, International Urban Art, and Urban Art--I have successfully portrayed the variation in the visual landscape. By examining every element present in the area, I explored the rich characteristics and minute details that comprise the urban environment.

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I started on the corner of P St and Centennial Mall with the intention of capturing a diverse selection of material. I allowed myself to be guided by each photograph and tried to challenge myself with the possibilities of designed elements. My greatest find was a courtyard-like alley. Along each brick building was a collection of graffiti. Some of the graffiti can be considered art, while other aspects were fulfilling the vandalism stereotype. This juxtaposition between what is fulfilling a perceived expectation and what is challenging preconceptions was very fascinating. I attempted to explore the many aspects of the urban style of art, what it can be and how it is presented.


To find engaging similarities between and within forms, direct observation and the context the objects reside in is necessary.

Meaning

of Signs


Typology 02 Urban Setting In every cityscape there are buildings with access points that portray different messages. Some are clear exits, others entrance ways, and a few are caught in between.

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Typology 03 Graphic History Walking around the visual history of the urban environment became more evident. This typology focuses on the role of signage in a publically oriented area. With an emphasis on the visible historical elements ranging in scale and


Exercise 02 At our disposal were two valuable design books. Visible Signs by David Crow and Visual Research by Ian Noble and Russell Bestley. Exercise 2 tested the knowledge I gained from the books. Both books covered the use of graphic design and the compnents that make design successful. This was accomplished by explaining what language is and how it conveys meaning. These books provided many great examples of how designs were successful because of the application of known theories of communciation.

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Project 02 Instead of presenting the word as text, the design goals was to use image to convey the word’s meaning. In preparation, studies of words describing feelings, sensations and a range of emotions were done to better understand the process of symbolic communication.

Harmonious

Manic

Tension Calm

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Meaning=Image

Image=Word

Meaning of Signals


Line Studies

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The possible final design solution (no design problem is ever truly solved) included creating depth in the picture plane and fully integrating text as form.

ONSLAUGHT

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ONS LAUG HT


Project 03 Brands are something so integrated in society today that we uncounciously associate the product with the compnay. Creating a unique and memorable icon is essential in the business world. Through a transformation process I arrived at a unique logo but still relatable to the original icon.

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Meaning of Forms



17

Monochromatic

Complementary

Analogous

Triad


Exercise 03 Color is a powerful tool. Emotions, brands and movements are associated with specific colors. Utilizing these essential visual qualities can make the difference between a plain object and a meaningful one.

Contrasting pairs

Wildcard


Project 04 Project 2 focused on integrating type with visuals, Project 4 is soley type as form. After collecting 100 type samples I slected as many examples of unique typfaces to create a wide range of layouts. My goal was to show how type can be used as its own form of illustration.

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From my type samples I created a total of 15 designs. From this I selected 5 that best represented my collection. Using photoshop I digitally selected the type and manipulated the orientation to create a sense of depth. Each 8 by 8 inch layout illustrates how I combined type as form.

Meaning of Type


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Exercise 04 Graphic design has a very rich history. Exercise four focused on a single artist that had a influential impact on graphic art. El Lissitzky was a russian desinger and his economic, yet powerful designs were very inspiring.

El Lissitzky in a1914 self portrait.

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Experience My goal is to become an exhibit designer for musuems. This exercise allowed me to gain further knowledge on how to create this infographic with my newly aquired skill from this class. I have accomplished this because of my use of type and graphic integration and a consistent use of hierarchy to create visual interest. Overall this was a very valuable design project. The fast pace, only a single class time, to work on the project was very instructful of how a career in design would be like.


t oin

nt

nt

128

64

poi

32

poi

poi

16

poi

nt

nt

t

4p

oin

8p

The realist sans-serif typeface Univers designed by Adrian Frutiger in 1954 compliments the clean, economic layout of my portfolio. Throughout the semester I explored different methods of presenting information. I learned that meaning can be conveyed not only with words but with visual form.

Geometric sequence


Meaning Through Visual Form, was produced by Emma deVries at the University of Nebraska-Lincoln in Lincoln, Nebraska and was printed by the Digital Lab in Woods 208. The cover was desined by Emma deVries and incorporated one color design laser printed onto white background. Applied colors include full-color graphics where applicable. All pages were printed on cardstock. All body copy was set in Univers LT Std, Light Condensed. The final portfolio was produced using Indesign, by Adboe. Printed December 2013 Copywrite 2013 Emma deVries


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