GRAPHIC
DESIGN GLORIA MENDOZA
GLORIA MENDOZA
CEDEﾃ前 GR AP HIC DESIGNER
P  OSTERS
Monsieur PerinĂŠ
11in x 17in Collage of gouache painting, embroidery thread, and digital manipulation.
Derechos Humanos
(Human rights) 11in x 17in Collage of drawings and digital manipulation.
POSTERS
Angels in America
11in x 17in Poster made for Bergen stages at Bergen Community College to promote the play Angels in America. BERGEN COMMUNITY COLLEGE PRESENTS THE BERGENSTAGES PRODUCTION OF
ANGELS IN AMERICA PART ONE: MILLENNIUM APPROACHES
By Tony Kushner
Directed by Thomas O’Neill Ciccone Theatre
Dec. 6, 7, 12, 13* & 14 at 7:30 PM Dec. 7 & 14 at 2:00 PM * A special signinterpreted performance. $10.00 General Admission $10.00 BCC & Seniors (65+) $ 5.00 Students
Tickets available in room A-130 or online at http://tickets.bergen.edu
b
POSTERS
E DITORIAL
JOSEF JOSEF
r2 r2 l 1 lg1e g3e 3 Bil rBuilti runtni an4n 45 5 ax aanxF anfmFa hfm se hasnen ann M rM i rHi o HLo Lm o m n. c. k ck Ad mAind m d iP rBdroP Bro r r r A hAa ha. . 6 6 Ric seRficMsenf dM n7d 78 8 a Jo uJl oR uldRear doeldr old u h Pa iPl aR ilhRic hich sc Tsc Em n ETm n Ja Ja
TheThe International International Typographic Style Typographic Style Joseph Müler Brockmann
8.5in x 11in Cover and table of contents design inspired by Brockmann’s work.
Women in Pastoral Office
6.125in x 9.25in Jacket designed during summer internship at Oxford University Press.
M
schaefer
ary M. Schaefer offers a groundbreaking examination of the church of Santa Prassede in Rome. Rebuilt by Pope Paschal I in the early ninth century, the church was named in honor of Saint Praxedes, identified by some seventeenthand eighteenth-century sources as a presbytera or female priest. Schaefer gives an in-depth and wide-ranging account of the history of the church and of women officeholders in the West—particularly diaconas, presbyteras, and episcopal abbesses—from the first through the twelfth centuries.
Mary M. Schaefer was Professor of Liturgy at the Atlantic School of Theology in Halifax, Nova Scotia.
Gary Macy, John Nobili,
SJ Chair of Theology, Santa Clara University
“This book could not have come at a better time. The historical question of women’s ordination has been studied more seriously in the past thirty years than ever before. Professor Schaefer’s use of the architecture and imagery in the Church of Santa Prassede in Rome as a source for re-examining women in church orders is very much at the cutting edge of research and results in an original and significant contribution to the larger picture. Scholars will respect the immense care for detail and context Schaefer uses to develop her argument, and less specialized readers will connect particularly with her chapters on the evidence for women’s ordination.”
Susan K. Roll, Associate Professor of Liturgy and Sacraments, Saint Paul University
“In this important work, the liturgical scholar Mary Schaefer presents an engaging interdisciplinary appraisal of women as pastoral officeholders in antiquity and the early Middle Ages. Schaefer’s magisterial scholarship is wide-ranging: using the early Roman basilica of Santa Prassede, and its titular saint, Saint Praxedes, as starting points, she weaves together precise and insightful analyses of an impressive array of primary sources (biblical, liturgical, and artistic) to offer a fresh, comprehensive assessment of women’s official roles in the church during its first thousand years.”
Joanne M. Pierce,
Professor, Department of Religious Studies, College of the Holy Cross
Women in Pastoral Off ice
“This careful work of scholarship combines the most complete history yet of women’s role in ministry with a delightful unraveling of the mystery of the beautiful ninth-century church of Santa Prassede. More than a fascinating plunge into the past, the book, in its own words, ‘invites us to a renewed way of being church’ in the present.”
Women in Pastoral Office shows how the liturgy as well as the vita of Praxedes and her sister Pudentiana shaped the church’s architecture and its wealth of mosaics and interior art, one of the largest intact programs of church decoration in Rome up to 1200. Though Santa Prassede has been studied intensively in recent years, Schaefer’s study is the first to address the significance of the balanced male and female imagery throughout the church, with its depictions of men and women disciples, Praxedes and Pudentiana as house church leaders in the post-apostolic period, and Pope Paschal’s mother Theodora, titled episcopa.
MARY M. SC HAEFER
Women in Pastoral Off ice The Story of Santa Prassede, Rome
www.oup.com Cover image: Apse mosaic: left side detail. Santa Prassede, Rome. Holly Hayes / Art History Images.
2
1
E D I TO R IA L
Drawing on a wide variety of scholarly disciplines, Schaefer investigates the church’s scriptural and liturgical sources and reconsiders its foundation myth. Her book provides a critical view into the “golden age” of women’s work in ecclesial ministries, explores feminist claims, and challenges the official Roman position that women have never been ordained in the Church of Rome.
Five Cities, Five friends, five years
“Our world lives, loves, suffers and triumphs by myth, often unseen and unconsidered. In the tradition of Carl Jung and Joseph Campbell, Gloria Mendoza makes myths come alive; she helps us in the desperately important task of reimagining our way.” —Jack Kornfield, author of A Path With Heart and Teachings of the Buddha “Gloria Mendozaʼs Madness At The Gates Of The City explores how Euripidesʼ Bacchae, written to warn his late 5th century Athenian compatriots of the internal destructive forces threatening their beloved city, might help us look more honestly at the false innocence that sustains our illusions about the American dream and prevents our acknowledging its dark underside. Yet, the book ends with a beautifully voiced “story that could be true”: we could lift these repressive blinders, we could learn to hear and heed an archetypal cry for initiation into a way of being in the world that honors the life-giving energies the Greeks called by the name Dionysos.” —Christine Downing, author of The Goddess: Mythological Images of the Feminine and Gods in Our Midst: Mythological Images of the Masculine -- A Woman's View
Jacket Design: Gloria Mendoza Autor photo: Gloria Mendoza
FIVE CITIES
“Gloria Mendozaʼs book is a strikingly imaginative rumination on our society, reaching back into Greek mythology to illuminate the world today. It is a fascinating blend of literature, history and myth, and while we have had many critiques of contemporary America, his is unique in the way it draws upon the Greek gods to examine, with devastating accuracy, our present deities of war and greed. This is truly an original work.” —Howard Zinn, author of A Peopleʼs History of the United States
five friends, five years
Gloria Mendoza is a Graphic Design Student at Bergen Community College in New Jersey. Her books include Five Cities, Five Friends, Five Years, a autobiography. Her literary and culiurally criticism has appeared in the Boston Globe, The American Scholar, and the Oxford American
Mendoza
King Pentheus of Thebes with his cousin, the god Dionysus – who shows up at the gates of the city with the liberating blessings of madness as a stranger who is no stranger at all – as the paradigm for a devastating psychoanalytical critique of contemporary Americaʼs attitudes towards the imagined outsider. The power of myth is that it is eternal, and Mendoza not only offers much to contemplate about todayʼs society, but also new perspectives upon an ancient classic, Euripidesʼ tragedy of the Bacchants.
FIVE CITIES
9.5in x 6.5in Jacket designed for Graphic Design class based on personal memoir.
writen by
GLORIA MENDOZA CEDENO
www.oup.com
E D I TO R IA L
Five friends, five years.
FIVE CITIES, FIVE FRIENDS, FIVE YEARS
I
grew up in Monteria, a small livestock town 518 miles away from Bogota, Colombia. My family had this big library in the house, and I used to dedicate all my spare time after school browsing shelf by shelf each day. The Divine Comedy, and greek myths became my favorite pieces and eventually nourish my liking of foreign cultures. Communications in all its forms has always been my favorite subject. As of today, I study continuously german language, and I try to learn bits of other languages because I believe that you can reach a deeper connection with other people if you make an effort and speak to them in their native language. Time after I graduated from high school I attended to Universidad Autonoma del Caribe enrolled in the Graphic Design program, but did not made it to graduation because I moved to states right before. However, I enjoyed pretty much my journey there. I became much more familiar with art, and classic art movements, especially Russian Constructivism which I highly admire. In addition to art, film was another subject I found enjoyable. French cinema is my favorite kind I must say; mostly by directors such as Goddard, Truffaut, and Philippe Garrel–more contemporary.
I    D E N T I T Y Lumino.
Identity project based on a made up product. This product was a lamp company named Lumino. The final result consisted on logo, package, website and mobile application designs.
LUMINO
IDENTITY
THE
OF GRAPHIC DESIGN
Gavin Ambrose and Paul Harris
FUNDAMENTALS
L AYOUT
Table Of Contents Contents 4 How to get the most out of this book 6 Introduction 8
1 2
3
4 5 6
Graphic design as a discipline The graphic design process What is graphic design? What is a graphic designer? Group structures and working methods
10 72 12 14 16
Graphic design today
22
Influences and creative elements Graphic design: art or craft? Industrialisation Technology Typography
24 26 28 32 38
Consumerism Identity and branding Social responsibility Modernism and postmodernism Nostalgia and rhetoric Semiotics Vernacular
44 46 56 58 64 66 70
The graphic design process The brief Articulating design Sources of inspiration Design as problem solving
72 74 76 78 80
Creative thinking Wit and humour Layers of meaning Development and experimentation Art direction Prototyping Commissioning art
84 86 90 92 96 98 102
Delivering the Message Print Direct mail Information design Packaging
110 110 116 118 120
Screen design Environmental design
122 126
Procuring Work Self-promotion Portfolios
138 140 146
The production process Basic tools Specialist colour File formats
148 150 156 160
Print finishing
162
What is Graphic Design?
Index
Graphic design is a creative visual arts discipline that encompasses many areas. It may include art direction, typography, page layout, information technology and other creative aspects. This variety means that there is a fragmented landscape for design practice within which designers may specialise and focus.
THE EVOLUTION OF GRAPHIC DESIGN
G
aphic design developed from the printing and publishing industry, with the term itself first used in the 1950s. At that time there was a clear demarcation within the different stages of the print production process, with specialist professionals or trades performing each one. These stages involved printers, scanners, photographic reproduction, graphic design, typesetters, print buyers, film, proofreaders and production managers. The consumer economy that emerged in the western world following the Second World War brought with it the emergence of bright and attractive packaging as competition between products inten-
sified. The number of magazines also began to increase, resulting in greater demand for visually appealing designs. These coincided with developments in print technology and opened up new production possibilities that designers were well placed to take advantage of. The success of graphic design helped to make it even more indispensable.
design conventions 15
intaglio 28 internal communications 112
development of designs 92–5,
international design groups 17
103
Internet see electronic
die-cutting 162, 180
communications; web design
3 Deep Design 13, 24, 25, 97,
digital files 152, 160–1
internships 16
113
digital type foundries 35
irony 70
3D displays 106
digital typefaces 34–7
italic typeface 42–3, 184
account handlers 19
direct mail 116–17
Jog Design 29, 81, 85, 91, 93,
Adbusters magazine 45
drawing skills 94
117, 167
additive primaries 156–7
drawing tablets 153, 159
JPEG files 161
aesthetics 14, 120
duotone images 180
juxtaposition 87, 183
agencies 17–18, 20, 56, 145
duplexing 180
kerning 36, 183
analogies 178
DVDs 144, 152
KISS (Keep it simple, stupid) 84
annual reporting 23, 115
eclectic design 115
lateral thinking 83
anti-consumerism 45
electronic communications
layers of meaning 90–1
appropriation 70–1, 178
144–5
layouts 183
art
empirical problem-solving 83
leading 36, 183
commissioning 102–7
endorsed identities 46
legibility 185
graphic design as 26–7
endpapers 176, 180, 181, 186
letraset 153
influencing design 78
engraved illustrations 27
letterpress 29, 110, 168
art direction 96–7
environmental design 126–37
letterspacing 36
art papers 174–5
EPS files 161
light typeface 42
asymmetrical grids 61, 178
ethics 56–7
limited liability 21
baseline, grids 63
exhibition design 100, 134–5
line casting 28
belly bands 165, 178
experimentation 92–5
lithography 168, 183
beta versions 101
‘exquisite corpse’ 181
local design groups 17
binding 162, 163–5, 178, 179
extended typeface 42
logos/logotypes 47, 52, 91, 119
bitmap files 160–1, 178
extent of publication 181
loose-leaf portfolios 146–7
blackletter typefaces 43
external storage 159
loupes 151
Blast designs 75, 81–2, 85, 87
Faydherbe/De Vringer 17, 33,
bleed 179
164,
blogs 144
166, 170, 180, 182
boldface type 42
file formats 152, 160–1
bolt-on brands 52
finishing 162–76, 181
bottom-up problem-solving 83
first impressions 140
bound portfolios 146, 147
flaps 181
brand development 52–3
flexography 168
brand guidelines 55
flipping 37
branded identities 46, 53
flood colour 114
branding 44, 46–55
foil-blocking 162, 181
the brief 14, 19, 74–5
folding 181
brightness 157
fonts 34–43, 59, 68, 184, 188,
broadside text 179
189
built environment 31, 78–9
see also
Büro X 23, 49, 114, 134, 169
typefaces/typography
calibration of colour 158
formal brief 74
calliper of stocks 179
found items 70
CDs 144, 152
four-colour black 181
centrefolds 63
freelance work 20, 21
charity work 56, 57
As the power of colorful visual communication became widely appreciated, graphic design grew from the need to provide visual communication to the consumer world and spread throughout different sectors of the economy, while continuing to harness the technological developments that progress brought forth.
French curves 152
choice 44–5, 76–7
Frutiger, Adrian 59
chunking 83
Garamond font 43, 184, 188,
clients 16–17, 19, 44, 56, 145
189
clustering 83
GIF files 161
CMYK colour space 156
glyph switching 37
cognition 68, 69
graphic design
collages 179
definition 12
collectives 21
evolution 12–13, 22
colour 81, 156–9, 179, 181, 186,
today’s situation 22–3
188
graphic designer’s role 13–15,
colour fall 179
56,
Technological development, particularly in the digital age, has revolutionized and rationalized the processes of print production. Trades such as typesetting and artwork preparation have become obsolete, as they can now be performed by a designer. As a consequence, graphic design has developed into a multi-functional role that sees the designer playing a pivotal role in the production process. This demands great versatility and the need to communicate effectively with many different professionals. In the past, designers would have undertaken all aspects of a job from the generation of ideas to hand-drawing type for headings and layout.
colour spaces 156
96–7
internal 112
hierarchical structures 18–19,
public-facing 113
182
Technological development has placed designers at the heart of the creative process. Often, a graphic designer manages the design process and coordinates the work undertaken by other creative disciplines as part of a job. As such, the scope of a designer’s responsibilities now includes print buying, website programming, photography, page layout, materials selection, art direction, freehand illustration, computer generated illustration (CGI), project management, client account management, storyboarding, editing and pre-press production.
company profiles 74
homage 87
condensed typefaces 42
HTML mailers 144–5
columns, grids 63
grids 58–63, 178, 182, 188
commissioning work 26, 27,
group structures 16–21
102–7
gutter, grids 63
communication 15, 19, 26, 76–7,
halftone images 182
125
handwriting font 59
direct 116–17
Helvetica font 59, 184, 188, 189
electronic 144–5
hero images 97
consumerism 32, 44–5
hue 157
conventions of design 15
human form in design 126
counter space 180
humour 86–9, 108, 109
craft 24, 25, 26–7, 47, 92
icons 66, 67, 118, 119
creative thinking 84–5
identity 40, 46–55
creep 180
idents 123, 124
Appendix
177
cultural influences 78
illustration commissions 104
culture jamming 45
Glossary Index Acknowledgements Appendix Glossary
178 190 192 177 178
images 22, 71, 160, 161, 180
curators 134
Imaginary Forces designs 123
cutting mats/rules 150
imposition plans 182
Index Acknowledgements
190 192
De Vringer see Faydherbe/De
indexes 66, 67
Vringer
individual responsibility 57
deconstruction 14, 15, 24
industrialisation 28–31
denotative meanings 68, 69
informal brief 74
design brief 14, 19, 74–5
information design 118–19
design choices 76–7
What is graphic design? What is a graphic designer?
IV
inks 57, 151, 182
design groups 16–19 detailing 176, 188
Page numbers in italics denote illustrations.
12
The Fundamentals of Graphic Design Index
CXC
The Fundamentals Of Graphic Design
5 7/8in x 16 1/2 School excercise that requiered laying out the spreads of a book . As designers of the layout, we had freedom to choose a theme that would suit the content provided.2013
Massimo Vignelli
8in x 8in Brochure spreads that summarize the life and creative work of the Italian designer..
“I like design to be semantically correct, syntactically consistent, and pragmatically underdstandable. I Iike it to be visually powerful, intelectually elegant, and above all t i m e l e s s ”
D E S I G N CORPORATE IMAGE
POSTER DESIGN
FURNITURE DESIGN
THE VIGNELLI CANON The famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice — from product design via signaletics and graphic design to Corporate Design. By doing this he is making an important manual available to young designers that in its clarity both in terms of subject matter and visually is entirely committed to Vignelli’s modern design.
W O R K
LOGO DESIGN
INTERIOR DESIGN
“THE RELATIONSHIP BETWEEN THE SIZE OF TYPE AND THE SPACE AROUND IT IS ONE OF THE MOST DELICATE AND PRECIUOS ELEMENTS OF A COMPOSITION”
THE VIGNELLI CANON
It is not the formula that prevents good design from happening but lack of The famous Italian designer Massimo Vignelli allows us a glimpse of his knowledge of the complexity of the Design profession. It’s up to the brain usedesign the in this book, its rules and criteria. He uses understanding of to good numerous examples to convey applications in practice — from product design via proper formula to achieve the desired result. The Vignelli canon. Grids, signaletics and graphic design to Corporate Design. By doing this hemargins, is making an important manual available to young designers that in its clarity both in terms columns, and modules
“With great pleasure I look back to all the moments when I learned something new in typography, either from a Master or from fellow practitioners. To have learned about disciplined design from my Swiss fellows, to have learned about the white space from my American fellows, to have learned about the forceful impact of type my German fellows, to have earned about AROUND wit from my English fellows, and “THE RELATIONSHIPfrom BETWEEN THE SIZE OF TYPE AND THE SPACE IT IS ONE OF then even more from fellows everywhere. That beautiful feeling of enrichment that THE MOST DELICATE AND PRECIUOS ELEMENTS OF A COMPOSITION” comes from new discoveries, new ways of doing the same thing better than before. It is my hope book may that feeling, or in any casenew confirm and “Withthat greatthis pleasure I look backprovide to all the moments when I learned something in typography, either fromwe a Master or fromlove fellowto practitioners. To have learned reaffirm those guidelines that designers set for ourselves.” about disciplined design from my Swiss fellows, to have learned about the white -Massimo Vignelli space from my American fellows, to have learned about the forceful impact of type
of subject matter and visually is entirely committed to Vignelli’s modern design. It is not the formula that prevents good design from happening but lack of knowledge of the complexity of the Design profession. It’s up to the brain to use the proper formula to achieve the desired result.
SIGNAGE
The Vignelli canon. Grids, margins, columns, and modules
from my German fellows, to have earned about wit from my English fellows, and then even more from fellows everywhere. That beautiful feeling of enrichment that comes from new discoveries, new ways of doing the same thing better than before. It is my hope that this book may provide that feeling, or in any case confirm and reaffirm those guidelines that we designers love to set for ourselves.” The Vignelly canon. -Massimo Vignelli
The Vignelly canon. Layout
Design for the Washington subway system by Massimo Vignelly
Design for the Washington subway system by Massimo Vignelly
The Vignelly canon is a guide for designers in topics such as typography, color, and page layout
“DESIGN EVERYDAY “DESIGN EVERYDAY REGARDLESS OF WHAT IT REGARDLESS OF WHAT IT MAY BE: TWO OR THREE MAY BE: TWO OR THREE The Vignelly canon is a guide for DIMENTIONAL, DIMENTIONAL, LARGE OR LARGE OR designers in topics such as SMALL, RICH OR POOR. typography, color, and page layout SMALL, RICH OR POOR. DESIGN IS ONE!” DESIGN IS ONE!”
L AY O U T
Layout
T YPOGRAPHY
Shampoo Alphabet
Typeface made of shampoo photographs, and digital manipulation.
TYPOGRAPHY
TYPOGRAPHY
Gill Sans Typeface Specimen
Gill Sans is a sans-serif typeface design by Eric Gill in 1926. Gill later on developed it into a complete font family.
Erbar, Futura and Kabel were the families combating Gill Sans. This font became popular in 1929.
Gill Sans was used for the London and North Eastern Railway in all the posters and publicity material.
1926
The capital M from Gill Sans is based on the propotions of a square with the middle strokes meeting at the center of the square.
The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura.
ill
Its proportions derive from the Roman tradition. The carolingian influence is noticeable in the two lower case a and g.
ans Eric Gill was a well established sculptor, graphic artist, and type designer, and the Gill Sans typeface takes its inspiration from Edward Johnston’s Johnston typeface for the London Underground.
Gill worked on the London Underground while he apprenticed to Johnston. Eric Gill attempted to make
the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. Because Gill died in 1940, in most parts of the word the typeface became part of the public domain in 2011. In countries where typefaces are not copyrightable -like in the us- is possible to freely use this typeface for any purposes.
TYPOGRAPHY
11in x 17in Poster created to showcase all the weights and variations of the Gill Sans typeface.
Unicorns
8in x 8in Digital collage of images and typography.
TYPOGRAPHY
I NFORMATION GRAPHICS
March Madness Workout Bracket
Infograph created for DailyBurn’s blog: Life. It illustrates the workout flow to be followed during this month as the National Championship of Football progresses.
Get Ready For Summer
Series of banners created for DailyBurn to promote our free trial for the season. The designs are displayed in different platforms that include Xbox, Roku and the web. 2014
I N F O R M AT I O N G R A P H I C S
D RAWINGS
Life Drawing 1
18in x 24in Charcoal over newsprint paper.
Life Drawing 2
18in x 14in Pastel chalk over newsprint paper.
D R AW I N G S
Life drawing 3
18in x 24in Pastel chalk over newsprint paper.
D R AW I N G S
THANK YOU