HASSAN ABUABDALLAH
PART OF ALL YOU
THE WAY BACK HOME VIDEO – TRAVEL DOCUMENTARY
In this project I was tasked with making a simple travel documentary for a destination of my choice. I chose to go to the one destination I constantly want to go to: home. The excitement of traveling isn’t in the destination itself, but in the trip. It’s this combination of anticipation and and anxiety, the unpredictablity and set expectations. In this documentary, I combined footage from both my hometown (Qatif and Tarut Island in Saudi Arabia) and Rhode Island (Providence, Bristol, and Newport). I wanted to capture a surreal yet familiar experience, I wanted to inflict a sensation of Deja Vu, like I’m dreaming of somewhere familiar. I organized the clips in a way that you can’t tell apart Providence and Qatif, that home isn’t a physical location but a familiar idea of a place. Growing up on an island, home to me is where the water is; how lucky was I that I live in the ocean state? I took clips of major bodies of water in different locations to connect the two “homes,” whether it’s a river, sea, or lake, I’ll always know I’m home once I feel the humidity. Video can be found on Vimeo.com/hasaaa or on hassangraphics.com/portfolio.html/
DUCk duck goose ANIMATION– DIORAMA
My second attempt at animation was for a Diorama project , a single scene, with “memory” as our theme, we had a time limit of 20 seconds. Duck Duck Goose is not just a memory, but an abstract, vague retelling of memories. I wanted a cohesive style among all my elements, I aimed for a style that stands out from the ugliness and stiffness of vector art, so I opted for watercolor brush strokes to convey a sense of childhood, but the main characters, the chicken, contrast with the colorful, childlike environment by being realistic, monochrome photographs. The two chickens in the video are made from the same photo, but with some modifications. This is a memory not exclusive to myself, but something anyone can relate to. This is a memory of being outcast and replaced, a memory of being the same yet different, of growing up and moving on, and a memory of finding one’s new self. Video can be found on vimeo.com/hasaaa or hassangraphics.com/portfolio.html/
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In this project, we were to research a typeface and create an 11x17 poster that showcases its various attributes and fonts. I was assigned Frutiger at random, the very same font used for Flickr and Facebook’s logos. In my sketches, I based each and every sketch on a letter or number to model my poster after. The first poster (left) is based on a sideways letter H, I used a combination of negative space and solid color to create a subtle illusion of an H, I used the Z placement used in ads to create a flow tha grabs the attention of the viewers while simultaneously leading their eyes through the poster. The second poster is based on the number 8, I was inspired by an example my professor showed us for Rockwell but it was all over the place. In my iteration, I wanted to make something simple to read with obvious structure hierarchy, but at the same a little chaotic yet aesthetic. The color scheme itself is based on tigers, I wanted a minimalistic color scheme that was still vibrant and bold.
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Originally called Roissy, Frutiger is a sans-serif font designed by Adrian Frutiger for the Charles de Gaulle International Airport in Roissy, France, which needed a new directional sign system. Fruitger’s goal was to create a sans-serif with the rationality and cleanliness of Univers but organic and proportional like Gill Sans. It’s unique in its modern appearance and legibility at various angles, sizes, and distances. Ascenders and Descenders are very prominent, and apertures are wide to easily distinguish letters. The font was released in 1975.
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TYPE
TYPOGRAPHY BOOK
In TYPE, I decided to go to the very basics. I wanted it to to have nothing but the most basic of elements. Composed of 30 pages, I wanted every flip of the page to be unique, using a brand new color scheme for every spread. The bookâ&#x20AC;&#x2122;s primary audience was children, so I used short sentences and few words while making it visually appealing and unique. I used vibrant, saturated colors throughout the pages, uniform boxes for bulky information, and handmade-like highlights on smaller pieces of text. This book was perfect-bound after experimenting with saddle stitching.
GRAWLIX MAGAZINE PRINTâ&#x20AC;&#x201C; MINIZINE
In the Minizine project, we were to make an 8-page magazine about ourselves and our interests. Mine was a satirical lifestyle magazine with three articles and three ads. My intention for the magazine was to keep the pages neutral and simple -not too dissimilar to my usual style- while making the ads edgy and colorful. I meant for the magazine to be as ridiculous as possible, not too unlike The Onion. I kept the content aspect clean and professional, not too different from any magazine you would pick from the shelf. But the images I used are meant to catch the reader off-guard at first, only to matke sense of it as they read more and more. While the styles used for the ads and content are different, both styles are cohesive in intent and idea.
PULP FICTION MOTION GRAPHICS â&#x20AC;&#x201C; MOVIE CREDITS
In this project, we were to recreate the opening sequence of a movie of our choice using only sprites we made ourselves. My film of choice was Pulp Fiction, I felt the original intro doesnâ&#x20AC;&#x2122;t portray the movie for the upbeat vibrant adventure that it is. I chose highly contrasting colors, famous icons from the movie itself, and quick and rapid transitions to reflect the spirit of the movie itself. Plus, my version is synced to the rhythm of t he original soundtrack itself, the intensity of the animation goes higher the faster the background music goes. I took extra care to sync every movement and transition to match the beat and tempo of the background music, cutting no corners in delivering a piece that can keep up with the original work itself. I kept the original font used in the movie, but not for the title. Video can be found on Vimeo.com/Hasaaa or hassangraphics.com/portfolio.html/
DEVIL’S EGGS FOOD TRUCK BRAND
Devil’s Eggs is a counterculturist food truck aimed at millenials and teenagers. I aimed my focus on guilty pleasures, on making something that you crave all the time but try to resist. My brand deconstructs the original elements of restaurant design and repurposes them into the opposite of what they should be. The design is meant to be rough and edgy yet rich and of high quality. The diamond pattern was inspired by the tiles used in cheaper diners (either on the walls or the floor) to make it thrifty, but the gothic grey-on-grey colors gives it a modern, unu sual appeal. At the same time, I didn’t want my brand to be aggresive (despite calling gourmet food soulless), I wanted to keep the friendly vibe of the food truck, from the punny truck name to the menu items. The truck is currently on display at the Johnson & Wales University Culinary Arts Museum.
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CHARACTER ANIMATIONâ&#x20AC;&#x201C; DEMO
Animation had always been one of my goals, I had the chance to join a class in the fall term. I followed the steps I used when I made Duck Duck Goose only this time I traced a a few different models of a skeleton (and a man with a top hat and some dress shoes) then combined them together to make Calcium, the skeleton with 206 bones. In the first part of this production, Calciumâ&#x20AC;&#x2122;s bones fall one by one, then are put together by his arms. I animated each and every section of his body individually, then I had him combine into two halves that combine into one whole skeleton. In the second part, Calcium dusts himself off then drops a finishing punchline, as the project required the character to speak. The goal of this project was not only having a character that looks good, but to showcase everything we learned in animating limbs. Video can be found on Vimeo.com/hasaaa or hassangraphics.com/portfolio.hmtl/
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450 50,000 00 left what are you waiting for?
grab a gun. Donâ&#x20AC;&#x2122;t wait, save endangered species. Donate today. 1-800-EXTINCT www.EPIC.com Extinction Prevention International Center
epic The Fight for life starts with you
E.P.I.C.
DESIGN FOR GOOD CAMPAIGN I came up with E.P.IC. (Extinction Prevention International Center) for the Design For Good project. We were tasked with making up a non-profit organization, establish its brand, then launch a campaign for it. I wanted my brand to be for an animal rights group, I chose the elephant as my mascot because my dad is crazy about elephants. I wanted to make so mething minimalistic, vibrant, and aggresive. My focus was animals facing extinction because theyâ&#x20AC;&#x2122;re hunted and killed for their products such as ivory, fur, or leather. I wanted to create a memorable brand targeted at the higher class primarily, I wanted to make something so bold and accusatory anyone seeing it will instantly feel guilty, I wanted to build a brand that no one can ever ignore or look away from. Unlike my past works, this is my first photography-heavy project. I created a print ad, a billboard, and an interactive iPhone app with information and instructions.
epic
THE FIGHT FOR LIFE BEGINS WITH YOU
HISTORIA NUNTIUS PRINT â&#x20AC;&#x201C; CALENDAR
Historia Nuntius, or the history of news, is a calendar inspired by newspapers. Each and every page comes with a different style, fonts, and color scheme. Most of the pages are based on pre-existing newspapers, but a few of these designs were completely original. I tried to mix it up a little when it comes to color, most of the pages are black and white (then I treated the photos to make them look aged) and some are in color. I wanted the whole product to feel like a newspaper, so I used rice paper for its vintage properties, I trimmed the horizontal edges but not the vertical ones to keep it as rough and mass-produced as possible. I also added some smudges and a greyish background to the older newspapers I wanted to age while keeping the more modern ones clean.
PART OF ALL YOU You are a collection of experiences. Every person you spoke to, every piece of furniture you stubbed your toe on, every meal you tasted, and every picture you’ve seen. Everything your brain has ever proccessed is a part of your psyche, is a part of your body, is a part of your memory. The you that started viewing this portfolio is no more, you have become a new you who made it to the last page, not that the two yous are totally different people, but the now you is an extension of a now-ancient you. I can’t estimate how impressed you might be by my work, but I know for a fact it has become a part of you. The you that will walk away confused, the you that will strike up a conversation with me, and the you who will skip the last page altogether. Every single you has taken a unique experience and a memory of this generic metal case, I hope it contributed a small little part into completing you as a person. This is now a part of all you, every you to exist from this point on forward.
if you like what you see, just make some eye contact. I’m not going anywhere, unless it’s 3 pm in which case peace out. Seriously, grab a card or a resume.
HASSAN ABUABDALLAH