Helen Stigge's Portfolio by HelenStigge

HELEN STIGGE

PROJECT 01: BAROQUE TODAY

PROJECT 01: OVERVIEW OVERVIEW For this project I wanted to combine my passion for Art History and Graphic Design. I decided to create a magazine that featured Contemporary art that was inspired by Baroque art. The focus of the magazine are the large pictures, which document the art; therefore, the text does not distract from the art, but aides in the understanding of it by being elegant and understated.

LEARNING OUTCOMES establish basic type hierarchy create an effective editorial system effective use of color show inDesign knowledge understand editorial design layouts

PROJECT 01: BAROQUE TODAY

November 2015

Venus Discovering the Dead Adonis Through the Looking Glass Feature: Tara Sellios

PROJECT 01: BAROQUE TODAY

PHASE 01

PHASE 02

PHASE 03

PROJECT 01: MASTHEAD PROCESS PHASE 01 When planning out the masthead, I knew that I would want to combine a san serif with a serif to bring together the ‘new’ and ‘old’ that the magazine is about. In the first phase, I was inspired by double letter mastheads like GQ. To combine the letters of the magazine, I used the serif typeface Didot for Baroque and the serif typeface Helvetica for today. However, I decided that the product looked too corporate and that it did not easily communicate the purpose of the magazine.

PHASE 02 For phase two, I dropped my previous idea and decided to combine the two words by having the lesser important word, today, placed on the vertical axis at a smaller point size. However, in order for the masthead to fit logically on a magazine cover, I had to change ‘today,’ to ‘now.’ I added a line under the word Baroque to give it an anchor point on the page, and I used Helvetica Neue Thin to match the line weight and create a cohesive logotype. I was yet again unsatisfied with the result; I felt that the diagonals of the ‘w’ and the ‘n’ were harsh and distracting.

PHASE 03 In the third phrase I decided to put both words on the horizontal axis. I had decided to keep the Didot Baroque with the thin line line underneath it. However, after some experimentation, I felt that the words Baroque Today had a flowed better together than Baroque Now, so I changed the second word back to ‘today.’ I then placed ‘today’ underneath the line and increased the tracking between the letters so that they would fill the space without becoming more dominant than Baroque. I also shortened the descender of the ‘q’ so that the letters of ‘today’ would have more space. These changes combined to become a logotype that represented the elegance in both Contemporary and Baroque art.

PROJECT 01: BAROQUE TODAY

ARTIST FOCUS

Tara Sellios I strive to create images that elegantly articulate the totality of existence, focusing heavily on the broad themes of life and death, with further emphasis placed on ideas of fragility, impermanence and carnality. Death has always possessed a significant presence within the history of art, ranging from altarpieces to the work of the Dutch still life painters. Manifesting melancholic themes with beauty and precision, as these artists did, results in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature. Through these images, I aspire to make apparent the restlessness of a life that is knowingly so temporary and vulnerable.

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SAMPLE â&#x20AC;&#x153;FEATURE PAGEâ&#x20AC;? SPREAD 01

A Studio Visit With Tara Sellios BY FRANCES JAKUBEK AND HELEN STIGGE

VANITAS ART HAS ENTHRALLED VIEWERS FOR of the stemware as the velocity of the streams increased. The table CENTURIES. The inherent juxtaposition of pure beauty became a wash of bloody burgundy, but the sunlight felt so soft. and unpleasant reminders of death leave the viewer in a state of conflict. They cannot seem to look away, but the more they look, the more terryifying the art becomes. Tara Sellios and I were to become good friends, but this was the first time she had asked me to create a photograph. One flight up, we reached her apartment and quickly stepped into her studio. I’m not sure if I expected some sort of dungeon with torches as the only source of light, but I was surprised to find a perfectly neat, bright white studio space in a quaint Somerville, MA, house. Crisp sunlight cascaded into the room, perfectly illuminating the tables covered in bones, paints, and years of drawings. Religious imagery and totems were scattered throughout, though there was no sense of hierarchy within the space. Delicate bird skeletons were balanced with platters of glistening props, and a mirror reflected back a wall of sketches, signifying the layered process Sellios works within. I looked at the singular table with a board painted red behind it; in my mind I pictured all of the trauma and beauty that had been created on this one tabletop. There were a few options of wine glasses sitting in pairs near the setup, seemingly hopeful to be included in today’s photograph. My personal constraint of not wanting to make a mess was tested when we began to shoot and Sellios had to remind me to let the wine pour in abundance. She disappeared beneath the black cloth of the camera to perfect the frame and set the exposure. I know under the shroud she is experiencing her creation. This image has existed in her mind and she now has the materials, light, and extra hands that she needs to bring it to fruition. So we pour. Between exposures we each open a new bottle.The floor was stained red, wine dripping from the drenched tablecloth…I watched the substance seep into the fresh white linen and take shape around the folds of the fabric and the outline of the glass. Merlot eddies formed around the base

Sellios creates exquisite and exaggerated still lifes that are comprised of animal parts, fish, wine, and luscious foods. Her work is reminiscent of late 17th century painters, resurrecting the vanitas style by incorporating elements of a feast and the remains. She first creates sketches, meticulously planning out her image, then later photographs the set up with a Zone VI 8x10 camera in her studio. Using only daylight to make the photographs, she controls every aspect of the set to mimic a baroque-style lighting scenario. The images are meticulously detailed, and when viewed up close, the display of wounds and deterioration of her subjects results, says Sellios “in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature.” Though she studied photography and The Art Institute of Boston, her inspiration and her interest lies in a broad range of art history. Altarpieces have influenced her use of multi-panel images, which allows the viewer to have more than one access point, and artists such as Walton Ford have added to the conversation of predator and prey.The influence of Dutch Golden Age painting is prominent in Sellios’s work. Still-life paintings in Northern European 17th century reflected the increasing urbanization of Dutch and Flemish society. Business was booming as ships brought exotic goods, and those who were able to afford such goods were eager to show off; soon, still-life paintings depicting lush flora, enticing foods, and extravagant goods became part of what Northern European artists were known for. However, there was also criticism in the face of such conspicuous consumption, and this commentary would also make its way into the still-life genre. These satires would depict the same objects as before, but with an unpleasant twist—rotting fruits, crawling bugs, and skulls were lurking amongst the seemingly rich atmosphere. Sellios’s interpretation of the still-life appears to follow the same line,

Right: Sketch for Untitled No. 1, from Impluses (2012) Left: Untitled No. 1, from Impulses (2012)

although the grotesque elements of her work are much more apparent. However, these disturbing elements exist in oddly perfect harmony with the absolute beauty of her arrangements. The viewer is aware of the unpleasant, but they are drawn into the composition nonetheless because of the soothing colors and symmetrical compositions.

SAMPLE CONTENT SPREAD 01

PROJECT 02: 01: TEXT–TO–CUBE

PROJECT 02: OVERVIEW OVERVIEW This project was centered around bringing private conversation into the public sphere. To do this, I designed six cubes that showcased various text conversations between myself and friends and family. I used different fonts and the variations within to convey the emotional tone of the message; size and shade were also utilized in this way to create a hierarchy on the boxes. Primary colors were used to aid in comprehension without distracting from the simplistic beauty of the typography. After designing the cubes, I made a poster that resembled an exhibition poster. The goal of the poster was to showcase key design elements of the cubes and make the audience want to see it in an exhibition. Because the cubes were the main focus, I chose to stack them in a pyramid, with the text arcing beneath it, but not detracting from the cubes.

LEARNING OUTCOMES establish basic type hierarchy ability to print, cut and document designs professionally effective use of color ability to use text to create art designing effectively on a multi-planar surface

PROJECT 02: TEXT–TO–CUBE

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PROJECT 02: TEXT–TO–CUBE

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SAMPLE SKETCH PHASE 02

And “totes”? Really?

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SAMPLE SKETCH PHASE 01

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SAMPLE SKETCH PHASE 03

PROJECT 02: PROCESS PHASE 01 The first phase of the cubes involved using no color or display fonts. During this iteration, I mostly kept the individual threads on one plane, and made them clearly legible. I used variations within the typefaces, as well as variations in scale, to show the tone of the message. Each side of the cube had a message that corresponded with another message on a single side of another cube.

PHASE 02 While designing the second set, I realized that by insisting that the text be as easy to read as possible, I had limited myself and the design. Therefore, I decided to take phrases or words in threads and separate them from the rest of their message, either by having them wrap around multiple sides or by removing them from their contextual phrase, thus allowing the individual word to convey its own meaning. At this stage, I also began to implement color; I was hesitant to include color because I did not want it to distract from the beauty that can be made by just using type, so I decided to include it sparingly. I chose bright colors (red, yellow, and green), and only applied color to single words or to a side of the cube that contained minimal text. By doing this, the color further established the importance of the utlization of the typographyâ&#x20AC;&#x2122;s form.

PHASE 03 Although in the second stage some transparency effects were used, I decided to exercise it further in the third iteration. I felt that most of the effects of the previous phases were well-considered, but I revisted several of them to make the entire composition be a study in using typography to create art rather than just to convey meaning.

PROJECT 03: 02: MEATER BRANDING

PROJECT 03: OVERVIEW OVERVIEW The Meater is a completely wireless meat thermometer that can monitor the temperature of your meat and send alerts to your phone when the meat is done cooking. The target consumers of the product are young, social people who rely on technology in their daily lives. Therefore, I decided the design of the logo should be modern and emphasize the technological aspect of the product. To do this, I created a wifi signal that was made of flames, representing the fire of a grill. The brand has a color scheme that reflects fire and echos the wifi flame; the brand is further established with minimalist use of text and large pictures. The typeface that is used is a san-serif called Aquawax. This typeface features several rounded edges that make the brand sleek and modern, which will attract the tech-savvy young consumers.

LEARNING OUTCOMES establishing a cohesive brand creating an effective logo successfully pairing image and text in a logo using print materials to make a product desirable identifying and targeting a specific audience

PROJECT 03: MEATER BRANDING

LOGO VERSION 01

BASE LOGO

LOGO VERSION 02

Charger

Probe

Store and charge your Meater

YOU CAN

Stainless steel construction Water resistant design Wireless up to 33 feet Meater Dual Sensor System Internal temperature sensor range: 212°F (100°C) Ambient temperature sensor range: 527°F (275°C) Rechargeable Battery: Lasts 48 hours or more of continuous cooking between charges

COOK THE JUICIEST MEATS PERFECTLY EVERY TIME.

SAMPLE BROCHURE SPREAD 01

WHAT DOES MEATER COME WITH?

App Monitor the internal and ambient temperature of your food Select the meat type, cut type, and desired cooking result - the app will automatically set the target temperature Receive audible and visual notifications when your food is ready! Finish Time: Provides a countdown timer or actual time when the food is expected to reach the target temperature. Add custom notifications and timers Enable Meater Link and Meater Cloud Available for iOS and Android smart devices

SAMPLE BROCHURE SPREAD 02

PROJECT 03: MEATER BRANDING

LOGO SKETCH 01

LOGO SKETCH 02

LOGO SKETCH 03

LOGO GREYSCALE

LOGO COLOR

LOGO NO COLOR

PROJECT 03: LOGO DEVELOPMENT PHASE 01 These logo sketches were my starting point for the brand design. They have three different impressions: the drumstick is comical, the second is based more on temperature based on color scales, and the third introduces the idea of technology. Although it was a close decision betwen the second and third sketches, I chose the wifi logo because I believed that it was more important to imply technology than temperature.

PHASE 02 Because the first sketch of the wifi logo felt flat and lifeless, I added a gradient that also mimicked the rise in heat of meat cooking. It was important to ensure that the logo would work in greyscale, as well as without any color, so these representations could show a client how their logo could work without the color.

PHASE 03 (Previous Page) The meater logo can be used in three ways: one version is just the wifi flame logo, another includes the wifi flame as the â&#x20AC;&#x2DC;aâ&#x20AC;&#x2122; in meater, in the last version the logo sits above the word meater. Because of the varying shapes, these iterations can be used for different situations to ensure that the logo is always present .

PROJECT 03: BRAND DESIGN PHASE 01 The design of the brand involved creating a logo, mood board, and product booklet. The product booklet was one of my most transformative projects that I have done. I decided that I wanted to create a trifold brochure that would open on each side consecutively. As shown in the sample draft spreads, my original design was minimal as was desired, but looked dated rather than modern and clean.

PHASE 02 To fix the issues of the first draft, I revisited product branding that I admired, especially that of Apple, Inc. I was inspired by Appleâ&#x20AC;&#x2122;s large images and bold, simplistic colors. I removed the images that were not specifically of the product, so that the sleek, elegant design of the Meater was a focal point. To add emphasis and remove monotony, I made entire pages orange with white, capitalized text; by using only short phrases intended as product lead-ins, interest in the rest of the booklet was created. The end effect of the trifold brochure was a much more modern, attractive booklet.

PROJECT 03: MEATER BRANDING

What Comes With Meater?

Have fun with your friends and family−let Meater monitor your food for you.

What does Meater Do?

Charger

Probe

Store and charge your Meater

Using the Meater and the Meater app, you can cook the juiciest steak, chicken, turkey, fish, or other meats perfectly every time.

BROCHURE SAMPLE SPREAD DRAFT 01

BROCHURE SAMPLE SPREAD DRAFT 02

Charger

Probe

Store and charge your Meater

YOU CAN

COOK THE JUICIEST MEATS PERFECTLY EVERY TIME.

FINALIZED SAMPLE BROCHURE SPREAD 01

WHAT DOES MEATER COME WITH?

FINALIZED SAMPLE BROCHURE SPREAD 02

PROJECT 04: 03: DON’T BE SHEEPLE

PROJECT 04: OVERVIEW OVERVIEW Based on the great tradition of SVA’s poster design, I was challenged to create a poster for the Graphic Design Program at the University of Nebraska, Lincoln. During the process of producing the poster, emphasis was placed on concept, establishing meaning, playing with meaning. This poster was intended to attract students to the graphic design major at UNL. The concept that I decided on was a play on my personal experience of living in a small town where everyone goes to the same university after graduation. For the sake of metaphor, these people are refered to as being “sheep people” or “sheeple.” Therefore, the person that the poster intends to attract is someone who wishes to be different, and not follow the herd.

LEARNING OUTCOMES combine form (image and letterform) with message (headline) establish basic type hierarchy ability to follow basic UNL brand guidelines communicate through writing the intended audience and creative approach

PROJECT 04: DONâ&#x20AC;&#x2122;T BE SHEEPLE

be unique

Hixon-Lied College of Fine and Performing Arts Department of Art & Art History

#DontBeSheeple

PROJECT 04: DONâ&#x20AC;&#x2122;T BE SHEEPLE

be unique be unique

Hixon-Lied College of Fine and Performing Arts, Department of Art & Art History

PHASE 01

Hixon-Lied College of Fine and Performing Arts, Department of Art & Art History

PHASE 02

#DontBeSheeple

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Hixon-Lied College of Fine and Performing Arts Department of Art & Art History

PHASE 03

#DontBeSheeple

PROJECT 04: PROCESS PHASE 01 I made the unique sheep the Nebraska Husker’s red to make it stand out and to make the point that Huskers are unique; it is also slightly larger than its purple counterparts The rest of the sheep are identical and have no importance over the others. The textured background is used to make the sheep feel more hand-drawn.

PHASE 02 For the second iteration, I flipped the red sheep so that it no longer faced the same direction as the purple sheep. Instead, it faces in a new direction, blatantly not following the rest of the herd. To correspond with this change, I also added a ‘call to action’ in the form of the hashtag “#DontBeSheeple.” This call to action could be used by recruiters and students alike.

PHASE 03 For the third and final version, I decided to get rid of the textured background; I felt that it was a distraction rather than a helpful addition. I also changed the font to Helvetica Rounded Bold. The new font gives the poster a more playful feeling.

PROJECT 05: 04: THE DEFINITION OF READING

PROJECT 05: OVERVIEW OVERVIEW The challenge of this project was to take the Wikipedia definition of â&#x20AC;&#x153;readingâ&#x20AC;? and create an interesting typographic art work with it. There are four iterations, and each builds on each other. The first uses only one typeface at 9 point size only and could only be typed along the x-axis. The second uses one typeface, but with 4-5 other point sizes and could be typed along the xand y-axis. The third iteration could use the variations and styles within one typeface and use the x-, y-, and z-axis. The fourth phase could use any typeface, style, axis, and point size. What I found most difficult during this project was ignoring the idea of legibility and proper reading structure to create an interesting composition. However, throughout various iterations, I began using leading and tracking, as well as the rules listed for each group, to my advantage to create a hierarchy within the composition and reinvent the meaning of reading according to my own interpretation.

LEARNING OUTCOMES establish basic type hierarchy pairing fonts effectively ability to use text to create art working within parameters effectively

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PROJECT 05: PROCESS PHASE 01 The first phase was restricted to one font at 9 point size, typed along the x-axis. In order to create interest under such parameters, I created varying â&#x20AC;&#x2DC;shadesâ&#x20AC;&#x2122; with the text by using different leading and tracking. I also experimented with creating shapes with the text, as well as the negative space; by doing this, the negative space is effectively utilized

PHASE 02 The second phase allowed for slightly more freedom with the addition of varying point sizes and the introduction of the y-axis. While the goal of the project was not legibility of all the words, I chose to pick up certain phrases or words and emphasize them by creating a hierarchy using point size and negative space.

PHASE 03 Phase three included the z-axis and variations of style within a type family. The style variations helped generate more shades of grey that add more interest to the composition. In addition, I experimented with allowing the text to run off the composition in certain areas, implying that the composition continues on beyond the boarders of the square.

PHASE 04 (Previous Page) The fourth phase was the least restricted, and possibly the most difficult. I struggled with all of the choices that I was allowed, but I referred back to previous phases to take techniques that I ahd found effective and use them in the final composition. By doing this, the phases work together as a cohesive series without being too similar and monotonous.

THE END, THANK YOU. For the sake of brevity, some works are featured in partial samples. For more work samples, please email me at helenstigge@gmail.com or visit my LinkedIn page, where designs such as Baroque Today are fully shown.