PROCESS BOOK GRAPHIC DESIGN 221
Jinell Carslin | Spring 2016 Illu
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PROJECT 1:
DESIGN DEPARTMENT POSTER Based on the great tradition of SVA’s poster design, we were asked to create a poster for the Graphic Design Program at the University of Nebraska – Lincoln. Emphasis was placed on concept, establishing meaning, and playing with meaning.
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PROJECT BRIEF For my department poster I decided to do a play on words on the UNL motto “Go Big Red.”
Graphic Design
GO BIG IN EVERY COLOR
When I think of graphic design, I think of awesome illustrations and bold, bright colors. I wanted the Nebraska “N” to reflect those feelings and lead one to question, “How can I make something like that?”
PROJECT 2:
DESIGN OF DISSENT: A POSTER Design for Social Change is when designers apply their unique creativity, processes, tools, methodologies and skills to contribute to the needs of a larger society. Schools have begun offering majors, seminars and workshops and ultimately, students are developing solutions to humanitarian and social justice problems. The truth of the matter is that designers, artists and communicators have historically played an integral role in social change, revolution and social justice since the earliest times. But let us not forget, we have also played a role in communism, war, inequality and racism. As designers we must hold ourselves accountable for our communication.
It’s Happening Here, Too Overall homeless population in 2014: 578,424 Sex-trafficking cases reported in 2014: 3,500 Children who fall victim to sex-trafficking every year: 100,000 Hate crimes reported around the country: 8,152 Racially motivated hate crimes: 53.6% Children living in poverty: 15.5 million People who face hunger in the United States: 1 in 6 Deaths by firearms on U.S. Soil between 2001 and 2013: 406,496 Citizens killed due to domestic acts of terrorism: 3,030 Citizens killed overseas due to terrorism: 350
www.civilrights.org
PROJECT BRIEF For my social change poster I found it difficult to focus on just one issue. How could I hone in on a single social problem when there are so many plaguing us as a society nowadays? I chose to focus on a variety of issues that occur daily in our own country. I feel as though many people assume awful things only happen in other places, so I wanted a poster that showed that these aren’t just “over there” issues. I chose a triangular motif that almost seems broken or shattered. I wanted the viewer to get the feeling that they were catching a glimpse of these things but not the whole picture/ situation. A few broad topics I covered was homelessness, sex trafficking, hate crimes, hunger and poverty, and domestic terrorism.
PROJECT 3:
DEVELOP A BRAND IDENTITY As competition creates infinite choices, companies look for ways to connect emotionally with customers, become irreplaceable and create life-long relationships. A strong brand stands out in a densely crowded marketplace. People fall in love with brands, trust them, and believe in their superiority. How a brand is perceived affects its success, regardless of whether it is a start-up, a non-profit, or a product. Brand Identity is the core elements that make up a branding system. It unifies disparate elements into a whole system. At the heart is the brand mark, logotype or symbol.
PANTONE YELLOW- R:255 G:239 B:0
PMS 2597- R:120 G:43 B:144
SignPainter- HouseScript Myriad Pro Regular
PROJECT BRIEF For this project we created a pictorial mark/ symbol that became the core of the identity system of our company. I chose Speedway Motors, as I felt that an auto-parts store would be an interesting challenge. I also thought that their logo could greatly improve. I decided to just tweak their old logo into a more fluid, modernized design. I changed the typeface to a script font, as I felt that gave off a more trustworthy and “speedy” feeling. Finally, I chose to keep some of Speedway’s purple and yellow color system, as I felt that was a big part of the company’s identity. I created a circular illustration for around the words “Speedway” to imply movement.
Visit Us at Speedway Motors!
340 Victory Lane Lincoln, Nebraska 68528
1.800.979.0122
speedwaymotors.com
PROJECT BRIEF A huge compenent of Speedway Motors is their history. Ever since the founder of Speedway Motors, Speedy Bill, established the company in 1952, Speedway Motors has been all about embodying the image of a local, trustworthy and experienced auto parts dealer. Unfortunately, Speedy Bill recently passed away, leaving the company to his family. I felt as though a new style incorporating all of the company’s rich family history would be extremely fitting and appreciated. I used images from their website and created a look that emphasizes the store’s principles: giving car enthusiasts quality compenents at affordable prices with quick delivery and courteous service.
PROJECT 4: THE BROCHURE
With the economy being the way that it is, investing in a glossy, expensive, corporate brochure can tell the market and your competitors a lot. A brochure can show not only that your company is doing well, but that you have a motivated and engaged team working to make your image look great. A brochure has to be something that people will want to pick up and read. If they don’t, it becomes an extremely expensive coaster.
PROJECT BRIEF A huge compenent of Speedway Motors is their history. Ever since the founder of Speedway Motors, Speedy Bill established the company in 1952, Speedway Motors has been all about embodying the image of a local, trustworthy and experienced auto parts dealer. I chose to go with a classic trifold layout for Speedway’s brochure. I felt like this choice was the most realistic and would actually go into a brochure stand somewhere in town. I used imagery from their website and created a look that coordinates with the business cards and highlights Speedway’s history. I chose to portray the images in a swoop motif that mimics that of the logo. This draws your eye throughout the piece and also suggests movement.
PROJECTS 6 & 7:
DESIGNER POSTER, RESEARCH PAPER & PRESENTATION For project 6 we were required to write a research paper about a famous designer or artist that related to the history or evolution of the field of graphic design. The paper was to be 750-1000 words in length and had to include adequate visuals to illustrate any key concepts or ideas. A poster was to be designed to promote the research presentation in project 7. For Project 7 we were required to present a research presentation on the designer we were assigned for Project 6. The presentations were to include a slide show along with a verbal presentation of the researched material.
Jan Tschichold, Pages from Die Neue Typographie (The New Typography), 1928
PROJECT BRIEF
Open Lecture
On the Life and Achievements of Jan Tschichold April 11th 11:00 a.m. Woods Art Building, 208
PROMINENT TWENTIETH CENTURY GERMAN TYPOGRAPHER AND BOOK DESIGNER
For my final poster on Jan Tschichold (left), I decided to emulate his classic, Modernist style. The use of clean, geometric shapes and lines contrast nicely with the paper cut-out feel of the images of Tschichold. For my presentation on Tschichold (right), I chose to model each slide according to his many different styles. I tied together the changing layout with a bright orange that Tschichold often used, and also kept the font and background color consistent.
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PROJECT 8:
MAGAZINE AD SPREAD For Project 8 we were asked to create an original magazine. The target market was both male and female readers with an interest in the arts & design. The magazine was supposed to be a high-end magazine aimed at students, professionals, and amateurs who value informed awareness and knowledge of interenational contemporary design. The format of the magazine was up to us, and had to include in the region of 1,000 words. An original masthead had to be created for the magazine and applied to the front cover with other imagery and supporing text. The design systems we adopted must demonstrate scope so that the design solution can develop and function well for future issues of the magazine.
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PROJECT BRIEF
C LÓUR
For this project I created magazine (pronounced “color”). I wanted the magazine to have a hip, modern feel to it— characterized by engaging white space, interesting visuals, and short, to-the-point articles.
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For the magazine to fit my vision, I decided to do a special artists edition, where the magazine featured some interesting artists of today. I chose to do spreads on four artists whose style I felt matched that of the magazine. I also included work by Hajin Bae for the front and back covers. I chose to have an acute accent mark, an unnecessary “U,” and an “O” missing from the word “color” in the masthead. I chose to do this on purpose because people take art too seriously sometimes—I wanted to poke fun and not be so serious. I wanted to add and take away as many features from the word to make it something else but still recognizable. Eventually, with the popularization of the brand, people would just know that it is pronounced, “color.”
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