Work samples 1210

GRAPHIC

DESIGN GLORIA MENDOZA

GLORIA MENDOZA

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P OSTERS

Monsieur PerinĂŠ

11in x 17in Collage of gouache painting, embroidery thread, and digital manipulation.

E DITORIAL

Five Cities, Five friends, five years

´2XU ZRUOG OLYHV ORYHV VXÓ˝ HUV DQG WULXPSKV E\ P\WK RIWHQ XQVHHQ DQG 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.â€? Âł-DFN .RUQÓž HOG author of : IZma Pbma A^Zkm Zg] M^Z\abg`l h_ ma^ ;n]]aZ ´*ORULD 0HQGR]D¡V 0DGQHVV $W 7KH *DWHV 2I 7KH &LW\ H[SORUHV KRZ (XULSLGHV¡ 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 trueâ€?: 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.â€? —Christine Downing, author of Ma^ @h]]^ll3 Frmaheh`b\Ze BfZ`^l h_ ma^ ?^fbgbg^ Zg] @h]l bg Hnk Fb]lm3 Frmaheh`b\Ze BfZ`^l h_ ma^ FZl\nebg^ && : PhfZg l Ob^p

Jacket Design: Gloria Mendoza Autor photo: Gloria Mendoza

www.oup.com

FIVE CITIES

´*ORULD 0HQGR]D¡V ERRN LV D VWULNLQJO\ LPDJLQDWLYH UXPLQDWLRQ RQ RXU VRFLHW\ 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 : I^hie^ l Ablmhkr h_ ma^ Ngbm^] LmZm^l

Ăš n] ^ja]f\k$ Ăš n] q]Yjk

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 RI FRQWHPSRUDU\ $PHULFD¡V DWWLWXGHV WRZDUGV WKH LPDJLQHG RXWVLGHU 7KH SRZHU RI P\WK LV WKDW LW LV HWHUQDO DQG 0HQGR]D QRW RQO\ Rӽ HUV PXFK WR FRQWHPSODWH DERXW WRGD\¡V VRFLHW\ EXW DOVR QHZ SHUVSHFWLYHV XSRQ DQ DQFLHQW FODVVLF (XULSLGHV¡ WUDJHG\ RI WKH %DFFKDQWV

FIVE CITIES

9.5in x 6.5in Jacket designed for Graphic Design class based on personal memoir.

FIVE CITIES, FIVE FRIENDS, FIVE YEARS

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? D G J A 9 MENDOZA CEDENO

Five friends, Ăš n] q]Yjk&

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 DQ HÓ˝ RUW DQG VSHDN WR WKHP LQ WKHLU 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 adPLUH ,Q DGGLWLRQ WR DUW Óž OP ZDV another subject I found enjoyable.

French cinema is my favorite kind I must say; mostly by directors such DV *RGGDUG 7UXӽ DXW DQG 3KLOLSSH Garrel–more contemporary.

Massimo Vignelli

8in x 8in Brochure spreads that summarize the life and creative work of the Italian designer..

L AYOUT

“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

LOGO DESIGN

;/, =0.5,330 *(565 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 PG TVCKFDU NBUUFS BOE WJTVBMMZ JT FOUJSFMZ DPNNJUUFE UP 7JHOFMMJ T NPEFSO EFTJHO

W O R K 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�

;/, =0.5,330 *(565

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 LOPXMFEHF PG UIF DPNQMFYJUZ PG UIF %FTJHO QSPGFTTJPO *U T VQ UP UIF CSBJO UP VTF UIF understanding of good design in this book, its rules and criteria. He uses 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. *U JT NZ IPQF UIBU UIJT CPPL NBZ QSPWJEF UIBU GFFMJOH PS JO BOZ DBTF DPOmSN BOE “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 SFBGmSN UIPTF HVJEFMJOFT UIBU XF EFTJHOFST MPWF UP TFU GPS PVSTFMWFT w 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

PG TVCKFDU NBUUFS BOE WJTVBMMZ JT FOUJSFMZ DPNNJUUFE UP 7JHOFMMJ T NPEFSO EFTJHO

It is not the formula that prevents good design from happening but lack of LOPXMFEHF PG UIF DPNQMFYJUZ PG UIF %FTJHO QSPGFTTJPO *U T VQ UP UIF CSBJO UP VTF UIF 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. *U JT NZ IPQF UIBU UIJT CPPL NBZ QSPWJEF UIBU GFFMJOH PS JO BOZ DBTF DPOmSN BOE SFBGmSN UIPTF HVJEFMJOFT UIBU XF EFTJHOFST MPWF UP TFU GPS PVSTFMWFT w 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!�

Layout

T YPOGRAPHY 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.

D RAWINGS

Life Drawing 1

18in x 24in Charcoal over newsprint paper.

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