GRAPHIC
DESIGN GLORIA MENDOZA
GLORIA MENDOZA
CEDEﾃ前 GR AP HIC DESIGNER
P OSTERS
September 10-11, 2014
Internet Censorship Symposium
11in x 17in Collage and photography. Typography project that promotes the symposium at Aberystwyth Univesity using the concept of “void”. 2014
Sponsord by
Angels in America
11in x 17in Poster made for Bergen stages at Bergen Community College to promote the play Angels in America. 2013
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
Monsieur PerinĂŠ
11in x 17in Collage of gouache painting, embroidery thread, and digital manipulation. 2013
Derechos Humanos
(Human rights) 11in x 17in Collage of drawings and digital manipulation. 2009
POSTERS
E DITORIAL
Women in Pastoral Office
6.125in x 9.25in Jacket designed during summer internship at Oxford University Press. 2013
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.
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1
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. 2013
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. 2013
LUMINO
IDENTITY
L AYOUT
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
JOSEF JOSEF
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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. 2013
L AY O U T
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Rondanini Pietà–Michelangelo “Every block of stone has a sculpture inside it and it is the task of the sculptor to discover it”
Synergy
9in x 12in Publication project that seeks to integrate type and image in an imaginative way and move through content expression. 2014
L AY O U T
1 $ $ 23 * 4 ' * # . ( 3 & 56 Paul Klee. 7 4 # * %( &5 6 &Annie Murphy Hall
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an emotional exchange between characters.
Stories, this research is showing, stimulate the brain and even change how we act in life. !"#"$%&'"%#('$)"(*+,-(.,+/,(0'$0(0'"!"#$%&&'#%$1(*$,-2$-"( %"-3+,#4(*3."(()*#%+&($%"$($,5(,-).'#/-+&!$%"$4($%"( 3,)+*)"5(3,('+/(0'"(6%$3,(3,0"%7%"0#(/ % 3 0 0 " , ( / + % 5 # 8 (
What scientists have come to realize in the last few years is that narratives activate many other parts of our brains as well, suggesting why the experience of ; , ( $ ( = > > ? ( # 0 2 5 @ ( 7 2 6 * 3 # ' " 5 ( 3 , ( 0 ' " (
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The way the brain handles metaphors has also received extensive study; some scientists simply
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month, however, a team of researchers from Emory University reported in
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What Happens in our Brain as we Read
L AY O U T
$Cn a study led by the cognitive scientist Véronique Boulenger, of the Laboratory of Language Dynamics in France, the brains of participants were scanned as they read sentences like
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. What’s more, this activity was concentrated in one part of the
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!"n a study led by the cognitive scientist Véronique Boulenger, of the Laboratory of Language Dynamics in France, the brains of participants were scanned as they read sentences like
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. What’s more, this activity was concentrated in one part of the
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among fictional characters as something like real-life social encounters.
L AY O U T
about an
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ytpography
A 1998 study testing fonts on the screen revealed conflicts between
how users performed and what N2*&(")'#&0/5'65'S-&")#*2'-2/'B%2C")'&"#&"/'&"2'/%,,")"2&',*2&#3' they said they liked. An %2+.0/%21'&)-/%&%*2-.3'#")%,"/',-+"#'-#'D"..'-#'&("'#-2#'#")%,'Z-6".' interdisciplinary team at Carnegie Mellon University compared Times [%&"3'&("'4*2*#$-+"/'N4")%+-2'B5$"D)%&")3'-2/'&("'/"2#".5' Roman with Georgia, a serif font designed for the screen.3 /"+*)-&"/3'2"*=4"/%"7-.'@.*%#&")'G.-+C8Q'\2.5'&("'.-#&'&D*' Although the team found no objective difference, users ,*2&#<B5$"D)%&")'-2/'@.*%#&")<+-0#"/'-25'#%12%,%+-2&'/%$'%2' preferred Georgia, which they judged sharper, more pleasing, and )"-/%21'#$""/8'B("'-0&(*)#]'+*2+.0#%*2^'TB5$"',-+"#'_#%+`'%2' easier to read. A second test compared Georgia with Verdana, a +*44*2'0#"'-)"'"a0-..5'."1%6."U'>VObA8'J+%"2+"'."-7"#'&("' sans serif face designed for on-screen viewing. In this case, /"#%12")'4*)"'*)'."##'-&'#"-'%2'&")4#'*,',*2&'+(*%+"8 users expressed a slight “subjective preference” for Verdana, but they performed
better reading Georgia. Once again, N'OPPW'#&0/5'&"#&%21',*2&#'*2'&("'#+)""2')"7"-."/'+*2,.%+&#' the study concludes with no definitive guide. 6"&D""2'(*D'0#")#'$"),*)4"/'-2/'D(-&'&("5'#-%/'&("5'.%C"/8' How is typographic efficiency judged? “Legibility” concerns the ease with which a letter or word
L AY O U T
I NFORMATION GRAPHICS
March Madness Workout Bracket
Infograph created for DailyBurnâ&#x20AC;&#x2122;s blog: Life. It illustrates the workout flow to be followed during this month as the National Championship of Football progresses. 2014
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
Dâ&#x20AC;&#x160;RAWINGS
Life Drawing 1
18in x 24in Charcoal over newsprint paper. 2014
Life drawing 3
18in x 24in Pastel chalk over newsprint paper. 2014
D R AW I N G S
Tâ&#x20AC;&#x160;YPOGRAPHY
Shampoo Alphabet
Typeface made of shampoo photographs, and digital manipulation. 2013
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 Johnstonâ&#x20AC;&#x2122;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. 2013
Unicorns
8in x 8in Digital collage of images and typography. 2012
TYPOGRAPHY
Ens e n ad a ,
B a j a
C a lifor ni a ,
M exico
M a k ing
S p ac e
Te c hnolog y
Acc e s ible
a nd
Af for d a ble
O
20-23 / October / 2014
Ensenada, Baja California, Mexico O
20-23 / October / 2014
SYMPOSIUM
Making Space Technology Accesible and Affordable oosa.unvienna.org Organized by the United Nations Office for Outer Space Affairs
Organized by the United Nations Office for Outer Space Affairs
Center for Scientific Research and Higher Education
Center for Scientific Research and Higher Education
SYMPOSIUM
Knowledge / oosa.unvienna.org
Making knowledge and progress sustainable
Making Space Technology Accesible and Affordable.
18in x 24in Poster set that promotes space technology investigation and usage. The goal was to make each piece work independently as well as a group. 2014
TYPOGRAPHY
M a k ing
S p ac e
Te c hnolog y
Acc e s ible
a nd
Af for d a ble
M a k ing
S p ac e
Te c hnolog y
Acc e s ible
a nd
Af for d a ble
SYMPOSIUM
Progress /
20-23 / October / 2014
oosa.unvienna.org
20-23 / October / 2014
Ensenada, Baja California, Mexico O
Ensenada, Baja California, Mexico
SYMPOSIUM
/ Sustainability / oosa.unvienna.org
Organized by the United Nations Office for Outer Space Affairs Center for Scientific Research and Higher Education
rganized by the United Nations Office for Outer Space Affairs Center for Scientific Research and Higher Education
TYPOGRAPHY
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