PORTFOLIO graphic design II // portfolio griffin van dyke university of iowa
TABLE OF CONTENTS METAMORPHOSIS..............................................................................................................1 HIERARCHY.................................................................................................................................2 CD PACKAGING....................................................................................................................3 TOUR POSTER & TICKET.............................................................................................4 POSTAGE STAMP..................................................................................................................5 ALCOHOL PACKAGING..............................................................................................6 DESIGN MAGAZINE.........................................................................................................7
INTRO Graphic Design II allows for more in-depth study and exploration of the principles of graphic design as a problem solving tool of visual communication by synthesizing, combining, and emphasizing visual, pictorial, and typographic elements. Students will implement knowledge gained in Graphic Design I and Typography through real world studio projects requiring the successful integration of type and image.
METAMORPHOSIS “Continuing on your graphic design studies, this time we are going to approach this assignment considering that the produced images are dependent on each other and should work together to achieve the serial component of the project. This is an exercise in working with abstractions and identifying the visual elements that are going to be key during your process.�
METAMORPHOSIS I
METAMORPHOSIS II
“Transform a lowercase a into a lowercase k. Choose a typeface and a of your choice. Consider your typography knowledge. Develop the metamorphosis of your typeface in seven steps. Consider the negative space in conjunction with the positive, as well as the gestalt principles. Start working by hand on this project. Use pencils, markers, rulers, on layout or tracing paper. You must then transfer the final symbols to the computer for the final presentation. Each step of the metamorphosis should be presented centered in a 2” x 2” white square. Consider the proportion between the figure and the background.The composition should be black over a white background. No gray values are allowed.“
“Transform any lowercase letter into an object that starts with the same letter. For example, a “c” into a “cat”, or an “a” into an “apple”. Choose a typeface of your choice. Consider your typography knowledge. Develop the metamorphosis of your typeface in seven steps. Consider the negative space in conjunction with the positive, as well as the gestalt principles. Start working by hand on this project. Use pencils, markers, rulers, on layout or tracing paper. You must then transfer the final symbols to the computer for the final presentation. Each step of the metamorphosis should be presented centered in a 2” x 2” white square. Consider the proportion between the figure and the background. The composition should be black over a white background.
METAMORPHOSIS METAMORPHOSIS I
METAMORPHOSIS II
HIERARCHY “This assignment deals with the use of typography to create an organized visual informational hierarchy. Graphic Design involves communicating and presenting conceptual or practical information in visual form. This requires an understanding of the information in order to present it in an organized and understandable manner. One way to do this is to build a hierarchy of the material in order of importance. One can delineate these different kinds of information typographically with the use of layout, graphic elements, font choices and variation, point size, placement and spacing. For this project, you will be given a text that has been typed with no variation in presentation and design a piece for it. Your job is to figure out the different kinds of information in the text, build a hierarchy in terms of both content and importance, and create a typographic layout that allows the viewer to easily read and utilize the information. You must use Adobe InDesign for this project.�
HIERARCHY HIERARCHY 11“x17”
Refinement Implementation
The grid is an underlying structure organizing data. It articulates space according to a pattern of oppositions: vertical and horizontal, top and bottom, rectangular and diagonal, and left and right. If used well it provides perceptual organization, coherence and consistency. A well-conceived grid alone will not ensure effective design. It is an organizational tool, and must be used creatively to maximize communications potential. Grids can help answer compositional questions such as balance, proportion, sequence, unity/harmony, and contrast.
The Grid
Letters and words need to be spaced in a logical, consistent manner to appear optically correct, and achieve optimum readability. In letter-spacing there are three standards. Minimum space is used between cursive (oo) letters, or between inclined (xy) letters. Medium space is used between vertical and cursive letters (lo). Between vertical letters (ll) maximum space is used. Good word-spacing is achieved by making all space intervals between words “look” the same. Words must not appear to run together or be spaced so widely as to appear to be separate units. One system is to imagine a lower case “n” between words. This gives a moderate word-spacing.
Spacing
Typography is designing with type, not the designing of type. It involves first choosing and using type, and then the application of design principles to the setting of type: the arrangement, style, and general appearance of matter printed with type.
Typography
Tendency toward continuity: An interrupted linear figure is similarly filled in by the brain.
Continuity
Tendency toward closure: Missing visual information is filled in by the brain. The eye closes the open parts of a figure because it wants to see a whole rather than a collection of unrelated parts.
Closure
Proximity facilitates grouping: Objects placed close together tend to form a figure.
Proximity
Similarity facilitates grouping: Objects which resemble one another tend to be seen as belonging together.
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To design is much more than simply to assemble, to order, or even to edit; it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design broadens perception, magnifies experience, and enhances vision. Design is the product of feeling and awareness, of ideas that originate in the mind of the designer and culminate, one
A symbol is a representation, verbal or visual, of a concept, object, idea, etc., the meaning of which is mutually agreed upon. In graphic design, the effective use of symbolism, combining and relating symbols, enhances the expression of ideas. It creates recognition, association and meaning.
Symbolism
Contrast is achieved through differentiation in size, color, and shape. Giving the same graphic emphasis to several elements will make them compete for attention.
Contrast
Unity and harmony are achieved by “fitting” all visual elements, type, illustrations, and photos into the style/mood of the layout.
Unity & Harmony
Similarity
Figure - Ground
Tendency toward figure-ground: There is a tendency to interpret visual data as objects against a background, or more precisely, figures against a ground.
Sequence
Good proportion is achieved by deciding on space between image and type, between type and the edge of the paper, between columns of type, between typesize, line- length and leading, between different visual elements, etc.
Proportion
Balance is created by moving around “optical weights”, big and small items, dark and light items, varieties of shapes.
Balance
Layout involves the following set of interrelated basic design principles.
Layout: Composition with Type&Images
Sequence is created by directing the viewer, for example, through the use of lines, real or implied; by arranging images in such a way that an edge or a force from one flows into an adjoining one. One does not leave to chance the order in which the viewer perceives the items in the layout.
Visual perception involves a complex interplay of both inborn and learned responses to visual stimuli. The Gestalt laws of perception summarize tendencies that appear to be innate or inherent in our biological heritage and which undoubtedly serve as the basis for our concept of composition in visual art.
Perception & Composition
After problem identification, the process follows a cyclic pattern from preliminaries through refinement, analysis, and selection to implementation. The process grows by constantly checking backwards. In the design process, the establishment of priorities is essential. Designers must be able to judge and gauge the relative importance of factors as they relate to one another. Priorities set the functional and visual criteria in communications.
Poblem Identification Sketch Production Analysis Selection
Each design problem has unique differences and an infinite number of possible visual solutions. The process to generate alternate visual solutions to a problem can be described as follows:
The Graphic Design Process
Design may be considered as an instrument of organization. It must perform in response to human needs. Design is an urgent requirement, not a cosmetic addition. Graphic design can save time by presenting information more clearly. It enhances communication, it helps people to understand a given message and accelerates learning. Design is finding the best solution to a problem within the limitations of the problem. Graphic designers communicate and express themselves in four distinct ways. They need to have a working knowledge of typography, illustration, photography & video, and symbolism.
GRAPHIC DESIGN concepts&principles
CD PACKAGING “In this project, you will be taking the first step on integrating typography, imagery and composition principles being asked to design a CD for an artist/group of your choice. Another learning objective of this assignment is to prepare you to design a multi-page piece in a small size and scale and all the limitations the size and the shape of the layout will impose. The successful project will be the one that stays away from the usual idea of a CD. Listen to the CD you are going to be designing. From the music, define the main values you believe must be conveyed. Examples could be femininity, eccentricity, happiness, solitude, loneliness, sadness, darkness, smoothness. Make sketches while listening to the CD. Pay attention to the high and low points of the songs. These can bring you an idea for the layout. Consider how basic visual elements and compositional principles can be integrated. Consider cropping and image manipulation carefully. You are welcome to pursue any sort of image treatment you see fit to your project. However, it is expected that you use these with reasons to do so and with appropriate taste.�
CD PACKAGING COVER FRONT
COVER BACK
INSIDE COVER
CD PACKAGING PACKAGE FULLY OPEN
BOOKLET COVER
BOOKLET INSIDE
CD PACKAGING BOOKLET INSIDE TWO
CD LABELS
CD PACKAGING PACKAGING DESIGN
EMPTY DAYS WARM BLOOD RUSH DEAR FATHER WAVES CRASH, CLOUDS ROLL EMPTY GLASS NO KIND OF HOME WHITE KNUCKLES CEMETARY WALLS QUIET THE LONGING AT PEACE WHITE OAK DOORS
SLEEPLESS NIGHTS BUT BREATHING BROTHERS I DON’T MIND HEADSTONE
CD LABELS DETAIL
BOOKLET DETAIL He put their father into the ground. Watching his mother cry over the man that provided for the three of them cut into him. Made him into the working man he was.
RDS ECO INE R GE N ID R B
RDS ECO INE R GE N BRID
TOUR POSTER & TICKET “In this project, you will complement the CD you have just finished by designing a poster, an event ticket and an envelope for the ticket for the same artist/group of your choice. Keep in mind that all three pieces must be visually related to the CD you designed. Consider cropping and image manipulation carefully. You are welcome to pursue any sort of image treatment you see fit to your project. However, it is expected that you use these with reasons to do so and with appropriate taste.�
TOUR POSTER & TICKET
OCTOBER 26
TOUCHÉ AMORÉ
THE PICADOR DOORS AT 5PM
TITLE FIGHT LIVING WITH LIONS
$20
THE WONDER YEARS
TICKET ENVELOPE
GENERAL ADMISSION
TOUR TICKET
OCTOBER 26
TOUR POSTER
S R EA
Y R E ND
O W HE
T
T H G I F
É E R L O T M I T ÉA H C U O T
H T I GW
N I V I L
20$
S N LIO
THE PICADOR 330 E WASHINGTON ST
IOWA CITY
DOORS AT FIVE
POSTAGE STAMP “For this project we will be designing a stamp for a designer. You must choose a designer that is part of the design history. Working with the stamp format requires careful attention to scale. Similar to issues involved in designing a mark or logo, the final image is small. How does one create a powerful design with limited graphic elements that works on a small scale?�
POSTAGE STAMP STAMP ENLARGED
ACTUAL SIZE
ENVELOPE
STAMP SHEET
ALCOHOL PACKAGING “We are going to develop the graphic pieces for an alcoholic beverage of your choice. You must come up with a name for your beverage and design the pieces for it accordingly. The graphic pieces that are part of this project are: The label/cap of the piece (if applicable). and a packaging for it. The packaging type will vary depending upon the type of beverage you choose to design. If wine, whisky, vodka a box is more suitable. If beer, a 4 or 6-pack sounds more fitting.The packaging, is often the best and last chance to attract a viewer/consumer. Design the packaging for your product. Think of all the items mentioned above and how you can use your design expertise to pair the technical aspects with the conceptual ones. Consider shapes that can be suitable for your project.�
ALCOHOL PACKAGING BOTTLE LABEL
BOTTLECAP LABEL
BRAND LOGO
PACKAGING DIELINE
ALCOHOL PACKAGING PACKAGING FRONT
SIDE
BOTTOM
PACKAGING TOP
ALCOHOL PACKAGING FINISHED PRODUCT // BOTTLES
DESIGN MAGAZINE “For this project you are going to be asked to design the new design magazine named 2D/3D. In your project, you are going to design the logo, 2 options for the cover (front and back), the masthead, the contents page and the articles for the 2D and for the 3D Designer. One of the chosen designers must be chosen as the main article and the other, by consequence. will be the secondary. The main article must have at least 3 spreads and the secondary article at least 2 full spreads.�
GRIFFIN VAN DYKE MAGAZINE LOGO
DESIGN MAGAZINE LOGO COLOR
GRIFFIN VAN DYKE MAGAZINE LOGO
LOGO BLACK&WHITE
COVER OPTION ONE
. M . A
E R D N
A S S A C
ISSUE 24 12/01/12
COVER OPTION TWO
A.M. CASSANDRE ISSUE 24 12/01/12
DESIGN MAGAZINE MAGAZINE WIREFRAME
MASTHEAD
TABLE OF CONTENTS
DESIGN MAGAZINE ARTICLE ONE
ARTICLE TWO
griffin van dyke Layout & Images Š 2012 Griffin Van Dyke