Dare To Grow
Katie Hawkins The Big Book of Process August 2018 – May 2020 GRA 322 Technology for Design II Visual Communication Design Arizona State University
A Short Disclaimer
Coronavirus (COVID-19)
From December 2019 onward, the creeping influence of COVID-19, or more commonly known as coronavirus, was steadily increasing. Starting after spring break in March 2020, ASU transitioned into solely online courses. At the time I’m writing this, the 2019–20 coronavirus pandemic is an ongoing event. Recommended preventative measures include hand washing, maintaining distance from other people, wearing a face mask in public, and self-isolation. This pandemic has caused a severe global disruption that we’re still enduring. But, it’s been amazing to me to see the ways the creative community has come together. And how flexible humans are, how we are so capable to adapt.
Thank You
This Book Wasn’t Possible Without You
I am so grateful to my family who have supported me throughout this crazy design journey. And for the funds to keep fueling my copious coffee cravings. This family extends beyond people I’m related to, but also to my best friends who I’ve come to know in the past few years. Especially my graphic design family who have been my go to people for motivation and support. A big thank you to my professors for their guidance and patience throughout my design journey: Nathan Finden, Jessica Scott, Paul Howell, Nicole Dahlin, Marsha Minniss, Eric Montgomery, Lisa Peña, Scott Curtis, Alfred Sanft, and Kyle Larkin. A special thanks to Ashley Evans and Phoebe Randall for being there for me when I needed you most. You might not be in Arizona anymore, but that didn’t stop you from caring about me. I’m so grateful to you for putting up with and fueling my weirdness.
Table of Contents
Fall 2018
Spring 2019
GRA 220
GRA 223
Design Drawing I
9
Typography
127
Object Drawing
11
Fascination Paragraph Project
129
Complex Object Drawing
21
Book Covers
163
Daily Sketches
27
Calendar
185
GRA 221
GRA 224
Letterform
31
Visual Communication II
197
Pen Pages
33
Complex Object Translation
199
Lowercase Letterform Studies
39
Advanced Transparency
215
Fascination Paragraph
77
Gesture Drawing
223
GRA 222 Visual Communication I
81
Exploring Space
83
Leaf Gradation Study
107
Form Matching
113
Fall 2019
Spring 2020
GRA 321
GRA 322
Technology for Design I
231
Technology for Design II
391
Business System
233
Kinetic Typography Animation
393
Letter Number Form
245
Diving Deeper into Coding
401
HTML and CSS
269
Program Book
413
GRA 361
GRA 362
Visual Communication III
279
Visual Communication IV
419
Team Branding
281
Interdisciplinary Cluster Competition
421
Semiotic Poster Series
291
2021 Dr. Martin Luther King, Jr. Celebration
429
Collection Series
301
Earnest & Humble Co.
449
Data Visualization
315
Currency Redesign
465
Recipe
329
Health Packaging
363
Self Promotion
375
8
Fall 2018
9
GRA 220 Design Drawing I
Thank you to Marsha Minniss for teaching this course. Your hand connects to your arm which connects to your shoulder which connects to your eyes. But with practice, the connection between the eyes and the hand becomes the most direct connection. Through drawing, you can explore translation. Translation of a physical form onto paper becomes a form of communication.
10
Design Drawing I
Fall 2018
Simple Object Drawing
Understanding the relationship of form and the relationships between forms, otherwise known as space, comes from a connection between the hand and eye. Using my entire body to help draw strengthened that connection, allowing my hands to directly translate what my eyes observed.
11
12
Design Drawing I
Ellipses Getting a smooth shape was essential for this exercise. Using my entire arm and connecting with my shoulder helped to develop hand-eye coordination.
Simple Object Drawing
Fall 2018
13
14
Design Drawing I
Plane The straight lines of the plane proved to be a more difficult challenge. I referenced a physical square to draw the shape of the plane.
Simple Object Drawing
Fall 2018
15
16
Design Drawing I
Cylinder Sleeping Each step in the simple object drawing process built on top of each other. I extended the plane vertically to create a proportional cube and a cylinder within.
Simple Object Drawing
Fall 2018
17
18
Design Drawing I
Sphere The next complex shape was a sphere. Three ellipses inside the structure of a cube provided the backbone of the sphere. The most outer shape fleshed out the sphere.
Simple Object Drawing
Fall 2018
19
20
Design Drawing I
Fall 2018
Complex Object Drawing
The complex object looked so overwhelming when looked at as a whole. But after a lot of observation, I could discern the simple, individual forms that the jar is composed of. Together, these simple forms result in a complex whole.
21
22
Design Drawing I
Complex Object This form is based on a glass jar with a lid. Each time the edge changes direction, I added a new plane. The object was complex but when it was broken down, it became a series of simple shapes.
Complex Object Drawing
Fall 2018
23
24
25
26
Design Drawing I
Fall 2018
Daily Sketches
It was imperative to make a daily effort to observe and practice my developing hand eye coordination. Any objects containing a cylinder and/or sphere made for the best practice. After a time, my mind could see a complex object and break it down into simple elements.
27
28
Design Drawing I
Daily Sketches
Fall 2018
29
30
Fall 2018
31
GRA 221 Letterform
Thank you to Paul Howell for teaching this course. They’re everywhere. You’re looking at a lot of them now. Can you see their secret designs? That’s right, letterforms. Something that I was very familiar with but had yet to seriously explore and discover. Focusing on the most minuscule proportion and structure changes developed my sensitivity to letterforms. I even learned a few of their secrets.
32
Letterform
Fall 2018
Pen Pages
Continuing from the pencil pages the previous semester, through this series of writing exercises, I learned to recognize and practice consistency, rhythm, spacing, intersection, and form with a pen. As the project continued, I was introduced to the development and history of various writing systems. I observed how these writing systems are composed of a set of strokes. When a certain number of strokes are written in the correct order, they work together to form a recognizable character, and eventually word.
33
34
Letterform
Capitalis Rustica The forms of the letters became easier with practice, but I still had difficulty remaining consistent with each curve, and vertical strokes as well.
Pen Pages
Fall 2018
35
36
Letterform
Uncials I struggled to gain more consistency with the curved forms. I found it became easier with practice, but still difficult. I still had issues with maintaining an optical letter spacing throughout the page.
Pen Pages
Fall 2018
37
38
Letterform
Fall 2018
Lowercase Letterform Studies
The meat of the semester. Taking the HEAO from the previous semester, I developed a set of lowercase letterforms which inherited their characteristics. While it was easy to focus solely on the individual characters, I quickly learned otherwise. It was also important to consider how the forms will look as a whole when refining them.
39
40
Letterform
n form The most difficult part of shaping the n was maintaining a consistent curve throughout the shoulder of the letterform. I also had to keep in mind the visual tension that is created between the left stem of the n and the start of the shoulder.
Lowercase Letterform Studies
Fall 2018
Computer Transition Making the transition into Illustrator, the width of the n appeared too wide, so much so that the counterform of the n appeared brighter than the lower counterform of the H. To compensate for this, I made the n more narrow.
The remaining letterforms should all feel like a family. Each next form would inherit from the previous.
41
42
Letterform
m form The difficulty with designing the m was finding a visual balance for the letterform. That perfect balance was between too narrow and two shoulders of n stuck together.
Lowercase Letterform Studies
Fall 2018
43
44
Letterform
a form This was the most difficult letterform so far. It was hard to ensure the bowl was not too bright and the shoulder was not too heavy.
Lowercase Letterform Studies
Fall 2018
45
46
Letterform
Lowercase Letterform Studies
e form I continually made adjustments to the eye and the tail
the e letterform appeared too wide when printed, so I
of the e, it was just difficult to maintain a visual balance
had to adjust the curves around the e to ensure it still
between the top and bottom counterforms while
looked related to the previous letterforms.
ensuring there was not an overbite on the e. At first,
Trying to maintain a balance across the eye and the tail of the e was even more difficult than the a letterform.
Fall 2018
47
48
Letterform
p form The problem with the p was an optical balance between the counterform of the letter and how low the drop of the stem is.
Lowercase Letterform Studies
Fall 2018
49
50
Letterform
i form The stem of the i was inherited from the x-height but the diameter of the tittle needed to be slightly larger compared to the stem to optically compensate for its circular shape.
Lowercase Letterform Studies
Fall 2018
51
52
Letterform
t form Determining the optical balance of the t’s cross stroke was pretty difficult. It was a matter of optically balancing the left and right sides of the letterform, remembering the terminal’s weight too.
Lowercase Letterform Studies
Fall 2018
53
54
Letterform
r form The curve of the r is similar to the shoulder of the n but slightly thicker. The angle of the terminal is related to the t’s terminal.
Lowercase Letterform Studies
Fall 2018
55
56
Letterform
x form Through trial and error, I discovered the x is not a set of true diagonal strokes, the intersection of each stroke is slightly staggered. It’s important to maintain a balance between all 4 counterforms of the x.
Lowercase Letterform Studies
Fall 2018
57
58
Letterform
Bonus Letterforms While exploring the k letterform, I applied the knowledge that the meeting of two diagonal strokes is not a true diagonal intersection, the lines are slightly staggered to appear optically as a diagonal.
Lowercase Letterform Studies
Fall 2018
59
64
Letterform
nnnn onon Paragraph The line spacing was a ratio of the overall x-height, which ensured an optical relationship throughout.
Lowercase Letterform Studies
Fall 2018
65
66
Letterform
Random Lowercase Letterform Composition Using the visual relationships I had established earlier, I worked to kern each letter pair throughout the random letter paragraph.
Lowercase Letterform Studies
Fall 2018
67
68
Letterform
Uppercase Experimentation Composition Basing the spacing of Experimentation from the Hnnom resulted in a word whose letters were drifting apart. So a slightly tighter kerning was a more effective solution.
Lowercase Letterform Studies
Fall 2018
69
70
Letterform
Lowercase Experimentation Composition The lowercase experimentation also felt like a word that was being stretched, or drifting apart with wide kerning. The most difficult part was the kerning between the ex letter pair.
Lowercase Letterform Studies
Fall 2018
71
72
Letterform
Bonus Compositions Similar to the lowercase version of experimentation, the kerning pair of ex was the most difficult to determine. I was also trying to make both compositions optically balanced.
Lowercase Letterform Studies
Fall 2018
73
74
Letterform
Lowercase Letterform Studies
Fall 2018
75
76
Letterform
Fall 2018
Fascination Paragraph
Considering the previous studio course and my own interests, the original fascination paragraph I wrote focused on transparency and the interaction of light through sheer substances. This paragraph was to be the starting point for a research project in the following semester.
77
78
Letterform
Fascination Paragraph
Paragraph Rag When setting up the rag for the paragraph, I tried
content helped to create a proportionately active
following a line length pattern of 2341. This pattern
rag. As with designing the individual letterforms
was difficult to follow with longer words without
for experimentation, designing a good rag was a
hyphenation. I found that slightly modifying the
challenging act of balance.
Fall 2018
79
80
Fall 2018
81
GRA 222 Visual Communication I
Thank you to Nicole Dahlin for teaching this course. In preparation for further study, this course introduced my design brain to the fundamental principles of visual communication. Whether or not I realize it consciously, the concepts I explored during this semester appear and affect each and every piece of design. This course is described as primarily empirical, or any information achieved through the senses. All the work made directly by my hands increased my understanding of theories in aesthetics including the relationships of proportion and space.
82
Visual Communication I
Fall 2018
Exploring Space
A simple series of demonstration problems helped me understand what is meant in design theory by certain keywords such as: dynamic and static, depth, tension, value, and placement. Each project considered the 22 cm plane and the squares as elements to play with inside the composition. Understanding the relationships and the changes in those relationships between these elements was a key to decoding space.
83
84
Visual Communication I
Static Composition The question for this project was how to take the words static and dynamic and represent them visually using only 3 squares.
Exploring Space
Fall 2018
Dynamic Composition
85
86
Visual Communication I
Defining Space Through Placement Similar to a flat picture of a staircase, the use of 3 squares can simulate 3D perspective in a 2D image. The illusion was all about using the space and alignment between each square to define that perspective.
Exploring Space
Fall 2018
87
88
Visual Communication I
Defining Space Through Dark Value
Exploring Space
Fall 2018
Defining Space Through Light Value
89
90
Visual Communication I
One Red Dot Tension is an essential tool of design. It can activate an otherwise static composition with a point of interest. Much like in music, tension and release creates rhythm. This helps to move the eye through a piece by adding hierarchy.
Exploring Space
Fall 2018
91
92
Visual Communication I
Two Red Dots Adding another red dot was a more challenging balancing act. The difficult part was creating a composition that had just the right amount of tension. Too much tension would pull the eye in all directions at once and hurt the design.
Exploring Space
Fall 2018
93
94
Visual Communication I
Three Red Dots Multiple shapes introduces new forces and a new dynamic. Overlapping the shapes releases the tension of the space in between them but sets up another level of tension: depth. The perspective is changed from 2D to 3D.
Exploring Space
Fall 2018
95
96
Visual Communication I
Contracted Fibonacci The Fibonacci Sequence is a series of numbers with the pattern of each number being the sum of the previous two. The sequence can go on indefinitely. This design concept can be used to create visually appealing proportions.
Exploring Space
Fall 2018
Expanded Fibonacci Space can be shown through the placement of form. The space between each form here is also based on the Fibonacci Sequence.
97
98
Visual Communication I
Inverse Fibonacci The spaces here are the same as the Expanded Fibonacci, just reversed. It creates a light to dark gradient when viewed from far away.
Exploring Space
Fall 2018
Tension
99
100
Visual Communication I
Depth Similar to the principle of showing defining space with three squares, the placement of each form and the space in between creates perspective. As the forms are placed closer or farther away from each other, the sense of perspective is magnified.
Exploring Space
Fall 2018
101
102
Visual Communication I
Black and White Planes The interaction between figure and ground is critical in all aspects of graphic design, especially letterforms. Alternating the layering of black and white planes created the illusion of depth.
Exploring Space
Fall 2018
103
104
Visual Communication I
Color Planes There are 17 hues in total. As the value changes from dark to light, each plane as a different shade helps to add a deeper sense of depth to the same composition as before. It almost feels like the planes are fading into the background.
Exploring Space
Fall 2018
105
106
Visual Communication I
Fall 2018
Leaf Gradation Study
A design student’s autumn. This project was the closest experience to fall in Arizonian could hope for. To explore and understand the subtle changes in value, leaves are a perfect option. Each hue is beautiful and unique but when arranged can reveal a gradient autumn hues. In a sense, this project was like a jigsaw puzzle. What arrangement of autumn leaves could reveal a smooth gradient?
107
108
Visual Communication I
The Leaf Hunt Because of the desert environment of Phoenix, it was difficult to find any real leaves for the project. So I trekked up north to Flagstaff for a grand leaf hunt. I wished I could have stayed longer to enjoy the cooler weather but with my leaves in hand, it was back home to dry and press them flat.
Leaf Gradation Study
Fall 2018
109
110
Visual Communication I
Gradient Process Unfortunately, the aspen leaves I got from Flagstaff were too small to create a gradient. The gradient composition was made possible from leaves I ordered online (and a trusty pair of tweezers for arrangement).
Leaf Gradation Study
Fall 2018
111
112
Visual Communication I
Fall 2018
Form Matching
Before moving forward, have you ever considered what a hummingbird would look like with chopsticks for a beak? Thinking about weird combinations of form was the key for this project. Matching perspective and cropping images in a certain way can reveal strange and otherwise unknown pairs. In doing so, you might even find a new species of bird.
113
114
Visual Communication I
Matching Process Looking closely at many seemingly unrelated objects, I discovered similarities in their forms and cropped them in such a way that would create a visual pair. Prompted by shape, texture, line continuation, and letterform, the search was on. I used existing photos found online and pictures I took myself to find the matches.
Form Matching
Fall 2018
115
116
Visual Communication I
Form Matching
Fall 2018
117
118
Visual Communication I
Shape It was important to remember not to overthink each pair. Writing a list of simple shapes and what shape could be as an object was helpful.
Form Matching
Fall 2018
119
120
Visual Communication I
Texture The shape and varying forms created from texture are all around us. It was important to carefully observe each texture and think about what other surfaces were similar, and to keep an open mind when looking for inspiration.
Form Matching
Fall 2018
121
122
Visual Communication I
Line Continuation This was the most fun, but challenging prompt to follow. When a pair of images might work, the perspective had to be the same across both. Selecting a single edge with a lot of contrast to continue between each pair made the search easier.
Form Matching
Fall 2018
123
124
Visual Communication I
Form Matching
Letterform Pareidolia is a psychological phenomenon that causes
the English alphabet because I’m so familiar with them.
people to see patterns in a random stimulus. As a
It was the easiest to find letterforms in the world that are
designer, I’m especially sensitive to seeing letterforms
composed with simple lines and shapes, such as X, H, L, etc.
in ordinary objects. Especially the forms that make up
Fall 2018
125
126
Spring 2019
127
GRA 223 Typography
Thank you to Marsha Minniss for teaching this course. Exercises in the spatial and textural qualities of type lead to a better understanding of type as a graphical element. Type as a graphical element is an essential communication tool. When arranged in a certain way, type can create tension through activation and balance.
128
Typography
Spring 2019
Fascination Paragraph Project
Considering a personal interest, how could design principles be applied through discovery and research? The medium that research took was open to drawing, photography, or directly on the existing paragraph with collage. I wanted to represent the meaning of those words through the research, to experiment and play with texture. Ultimately expressing humor with graphic elements.
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130
Typography
From Transparency to Texture Although I appreciate transparency in design, I changed my fascination to texture because my favorite designs are ones that are gritty and tactile. Every texture tells a different story and I wanted to explore this idea further.
Fascination Paragraph Project
Spring 2019
131
132
Typography
Texture Process Creating a print from a tree slice captures a year-by-year record of its experience. Trees follow a growth pattern that results in alternating hard and soft growth rings. By burning and wiping away the softer material, the remaining rings and ridges are raised and can be transferred to paper.
Fascination Paragraph Project
Spring 2019
133
134
Typography
Tree Ring Print Gallery The rich history in each tree’s growth is captured in this gallery here. Even though I used the same slice of tree for multiple prints, no two prints were alike. I find their nuanced shapes are absolutely mesmerizing. It’s fun to wonder what could’ve happened in the tree’s history to leave such marks.
Fascination Paragraph Project
Spring 2019
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Typography
Fascination Paragraph Project
Spring 2019
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Typography
Fascination Paragraph Project
Spring 2019
139
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Typography
Fingerprint Gallery Visually similar to the texture of the previous prints, I wanted to play around with mixing the two identities of finger and tree prints. I found that our histories are mirrored, each scar tells a story of some event in the past. For example, I could tell the story of the cooking tray incident which led to the scar found on this fingerprint to the right.
Fascination Paragraph Project
Spring 2019
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Typography
Fascination Paragraph Project
Spring 2019
143
144
Typography
Fascination Paragraph Project
Spring 2019
145
146
Typography
Fascination Paragraph Project
Tree Ring and Fingerprint Book Making Originally, I wanted the format of the book to be
would get too long once folded out. With a regular book,
able to fold out so the reader could see all the prints
I could design each spread as a composition that would
together. But with the number of prints, the book
be a visual pun just using the interaction of textures.
Spring 2019
147
148
Typography
Identify Book Spreads The content of the book is laid out in such a way that the order of the spreads plays off the previous one. Such as the comparison of size between the fingerprint and tree slice. One spread shows the actual size between the two prints and the following spread shows the prints at the same scale.
Fascination Paragraph Project
Spring 2019
149
150
Typography
This spread was inspired by the Form Matching project for Visual Communication I. Scaling the prints up or down and moving them around created the illusion that they were one texture.
Fascination Paragraph Project
Spring 2019
151
152
Typography
Fascination Paragraph Project
Spring 2019
153
154
Typography
Tree Ring and Fingerprint Book Gallery Each spread features some interaction of texture and identity. The message behind the design is a record of the form, embodying the changes in the surroundings that happened.
Fascination Paragraph Project
Spring 2019
Seeing the detail of the tree ring print makes this my personal favorite spread. It is so simple but makes something you don’t pay attention to everyday visible at a new scale.
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156
Typography
Fascination Paragraph Project
Spring 2019
157
158
Typography
Eye Exam Poster I wanted to add a second part to the Fascination Project that played on the viewer’s understanding of each print. Like with an eye exam chart, the smaller the form, the harder it becomes to discern.
Fascination Paragraph Project
Spring 2019
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160
Typography
Fascination Paragraph Project
Spring 2019
161
162
Typography
Spring 2019
Book Covers
I found through this project that by limiting the methods to iterate a design, my mind was forced to come up with unique solutions. Given a full amount of freedom, it’s easy to become overwhelmed by all the possibilities. But by setting a few constraints, there is an opportunity to get creative.
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164
Typography
Typeface Selection The typeface I chose is Lasiver, a personal favorite. Also, the counterforms of the letters and the variety of weights in the typeface family had the potential for plenty of contrast.
Book Covers
Spring 2019
165
166
Typography
One, Two, and Three Point Sizes The most challenging aspect of this project was trying to create hierarchy on the book covers with a constraint of limited point sizes.
Book Covers
Spring 2019
167
168
Typography
Book Covers
Spring 2019
169
170
Typography
Rules The composition was starting to get interesting in this stage, as the rules could add or remove attention from varying areas.
Book Covers
Spring 2019
171
172
Typography
Book Covers
Spring 2019
173
174
Typography
Book Covers
Black and White Fields Inverting black and white as fields introduced emphasis on
Specifically, in the composition where the field
my selection of type to create hierarchy. It was helpful to
surrounding the book title is slightly angled.
add a subtle nudge to certain fields to add more meaning.
Spring 2019
175
176
Typography
Book Covers
Spring 2019
177
178
Typography
Color Fields Color can be used for emphasis, an invaluable asset for a designer’s toolbelt. With multiple colors, I was able to design a composition with multiple levels of hierarchy.
Book Covers
Spring 2019
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180
Typography
Book Covers
Spring 2019
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Typography
Spring 2019
Calendar
If you think about it, a calendar is just a tool to measure time and time involves rhythm. The passage of time can be conveyed with typographical and graphical elements organized in a way that demonstrates movement and rhythm. It was helpful to approach this project with that mindset. I remember asking myself how the composition and arrangement of elements could tell the story of an event over time.
183
Typography
Calendar
Concept Research The devastation of a forest fire can be what is left behind. The fire itself is gone but the event left a record of the change over time. The Thomas wildfire in California had the most impact on the land and people of the region from December 2017 onwards.
119°8'W
119°6'W
119°4'W
119°2'W
119°0'W
118°58'W 118°56'W 118°54'W
34°40'N
34°40'N
119°42'W 119°40'W 119°38'W 119°36'W 119°34'W 119°32'W 119°30'W 119°28'W 119°26'W 119°24'W 119°22'W 119°20'W 119°18'W 119°16'W 119°14'W 119°12'W 119°10'W
34°36'N 34°34'N 34°32'N
Jameson Lake
Matilija Reservoir
Montecito
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192
150
Lake Casitas
12/05 63,033 ac 12/06 32,938 ac 12/07 34,624 ac
34°24'N
12/08 17,461 ac
Santa Paula
34°20'N
(GIS acres by date)
12/09 14,435 ac 12/10 60,820 ac
34°22'N
225
Thomas Progression
34°26'N
34°28'N
34°28'N
34°18'N
34°18'N
101
50,000
40,000
4,265 ac 4,835 ac
12/17
2,766 ac
12/18
1,532 ac
12/19
237 ac
12/20
288 ac
12/21
30,000
34°16'N
Ventura
35,000
5,595 ac
12/13
12/16 10,889 ac
60,000 55,000
7,462 ac
12/12
12/15
34°20'N
126
12/11
12/14 10,813 ac
23
ICP H-2 3 A
118
25,000
770 ac
12/22
13 ac
12/24
9,019 ac
20,000
232
34°14'N
15,000 10,000 5,000
December -05 -06
-07
-08
-09
-10
-11
-12
-13
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Date
-15
-16
-17
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Camarillo
-24
Oxnard
119°42'W 119°40'W 119°38'W 119°36'W 119°34'W 119°32'W 119°30'W 119°28'W 119°26'W 119°24'W 119°22'W 119°20'W 119°18'W 119°16'W 119°14'W 119°12'W 119°10'W
119°8'W
0
34
119°6'W
119°4'W
119°2'W
119°0'W
118°58'W 118°56'W 118°54'W
34°12'N
34°26'N
Santa Barbara
34°22'N
34°24'N
December 26, 2017
34°30'N
34°30'N
34°32'N
Gibraltar Reservoir
Acres
34°16'N
Thomas Incident
34°38'N
34°38'N 34°36'N 34°34'N
33
45,000
34°14'N
PROGRESSION MAP CA VNC 103156
1
34°12'N
184
1
2 Miles 12/2 5/2 017 @ 13:57 NAD 83
4
Spring 2019
The fire began and spread throughout December 2017. The dates in which the fire spread the most are represented with a higher frequency of numbers. The area of the fire is represented by the shape the numbers form.
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Typography
Layout Process I varied the size of the numbers depending on how much the fire spread that day. But I found that I wanted to show the impact of the fire with the medium of the calendar itself.
Calendar
Spring 2019
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Typography
The Impact of Fire What is left from the paper is a representation of how much the fire spread on that date. Depending on how much impact the fire had that day, more or less of the paper is burned away.
Calendar
Spring 2019
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Typography
A Change in Medium To reinforce the idea of a forest fire, I wanted the medium of the calendar to be closer to the source. The dates where the fire burned the most is conveyed by a greater degree of destruction. A series of three months shows the time before, during, and after the fire.
Calendar
Spring 2019
191
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Typography
Calendar
196
Spring 2019
197
GRA 224 Visual Communication II
Thank you to Eric Montgomery for teaching this course. This course continued the transition from theoretical to applied problems, with an emphasis on the refinement of visual skills. Each project brought a chance to understand the relationship between forms, otherwise known as space. I learned to ask the question, how much is necessary? How much information is necessary when translating an object into a drawing or painting?
198
Visual Communication II
Spring 2019
Complex Object Translation
Taking the complex object from the previous semester, I considered how much form was necessary to communicate the form below. The addition or subtraction of just black and white could convey complex forms. It’s fascinating to consider how much detail our brains fill in about the shape and contours of an object with just a hint of light and dark.
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Visual Communication II
Wireframe Taking my complex object drawing and the physical object as a reference, I translated its form into the computer. It was helpful to start with the jar’s 2D profile and build its form from the bottom up.
Complex Object Translation
Spring 2019
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Visual Communication II
Complex Object Translation
Spring 2019
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Visual Communication II
Complex Object Translation
Spring 2019
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Visual Communication II
Complex Object Translation
Shadow Painting With the wireframe as a guide, I painted with only black
of light and dark first, then slow refinement in the
and white to translate the object’s light and shadow. It
computer. The foot of the jar was the most difficult as
worked best to work quickly to develop the large areas
the thickness of the glass created many refractions.
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Complex Object Translation
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Advanced Transparency
In contrast to the black and white values used to define the complex object, transparency becomes an active design element. Its value is somewhere between 0 and 100 percent. By playing with these values, transparency creates a sense of depth in design. Instead of keeping design elements separate, you can layer them. This creates depth and a more visually interesting design.
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Folding the Square My understanding of transparency was put to the test in this test of sensitivity to value, hue, and depth. Folding a square piece of paper provided plenty of layers to be defined with depth.
Advanced Transparency
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Mechanical Transparency This step was only the beginning but the folded square acted as a physical reference to help me understand which planes were on top of each other.
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Optical Transparency Imagining the shape as a translucent piece of material, I further defined the order of each plane with varying values of gray.
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Hue Transparency The optical steps in value throughout the previous composition acted as a guide for adding color. I picked two complementary colors, one on each side of the square, and imagined what the resulting shape would look like if it was folded in the same way as before.
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Gesture Drawing
Compared to last semester, the freedom of gesture drawing was a welcome change of pace. This project helped me to understand how to define a form through varying texture and pressure. Communicating changes in form with the movement of gesture drawing can help create the illusion of a living, breathing object.
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Organic Shapes Using charcoal and newsprint paper, I explored how differences in pressure and placement of the charcoal could create differences in light, shadow, form, space, texture, and value.
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Gesture Drawing
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Gesture Drawing
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GRA 321 Technology for Design I
Thank you to Alfred Sanft and Kyle Larkin for passing along their design knowledge during this course. This semester was a turning point in the program. In the words of Al, “This third year is a transition between theory-based exercises, and upcoming semesters focused on research/application-based projects. It is very important to recall and utilize the knowledge of design principles and techniques learned from previous semesters in the program.� To become skilled at setting type and images, it was important to continue thinking about them as design elements. Each comes with its own set of textural and spatial qualities which differ when applied in the context of traditional and new technologies. Studio became something like an educational laboratory, complete with testing and researching different methods.
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Business System
Turning to a professional perspective, a typographic business system can be applied to a business or institution of any size. Much like the design of book covers in Typography, I was intentionally given narrow limitations to design within those constraints. Exploring all possibilities from simple to complex gave me a sturdy base to explore the rest of my system.
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Business Card The first component of a system that would identify who I am as a designer. Originating with the business card design, I expanded the system to the letterhead, resume, and envelope.
Business System
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Letterhead I referenced the selected design of my business card, keeping in mind where the name of the recipient of the letter would fall when the paper is folded.
Business System
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Resume This portion of my system inherits the design from the letterhead but still also feels like it is part of a family.
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Envelope Incorporating the stamp as a design element helped to balance the composition. When laying out the content, I needed to keep in mind where the information from the post office would lie.
Business System
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Envelope Folding This style of envelope folding is a nod to my love of Japanese culture, which often inspires my designs.
Business System
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Fall 2019
Letter Number Form
This was a form project. There was no criteria imposed on the symbol, other than combining to create good form. It was imperative to take the given set of characters and numbers and explore all possibilities. First by pencil (yes actual pencil), sketching weird and wacky combinations of form led me to explore the qualities of each shape.
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Letter Number Form
Symbol Concept Given a random combination of either letter/letter,
with the look and feel of the symbol. My characters
letter/number, or number/number, I created a fictitious
were j, i, and 4. Finding similar characteristics in all the
company that connects the norms of that industry
forms was key to making them work together.
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I thought this design was the most effective because of the flexibility of geometric shapes. The lines of the letterforms could easily apply to other company collateral as patterns or texture
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j and i Symbol Development I layered the two letterforms within the symbol to convey the intersection of two very different industries: coffee and letterpress printing.
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java + ink Symbol The combination of the geometric forms “j” and “i” inspired from the typeface Futura, helps java + ink to appeal to modern coffee and print enthusiasts (including yours truly).
Letter Number Form
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Letter Number Form
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Letter Number Form
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Letter Number Form
java + ink Business System Carrying over the design elements to a business system, this fictitious company starts to feel like a real one.
kimberly west creative director
javaink.com hello@javaink.com 3485 union avenue seattle, wa 98101
kimberly west creative director
3485 union avenue seattle, wa 98101
javaink.com hello@javaink.com
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Letter Number Form
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java + ink Animation Storyboards In conjunction with the symbol, this animation helps invite fellow coffee and print lovers to drop by.
Letter Number Form
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java + ink Animation To add a handcrafted feel to the animation, I animated each drop that moves around by hand. This motion sequence helps to abstractify the qualities of coffee and ink as playful drops of liquid.
Letter Number Form
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See the Action Point your phone at the QR Code to see the animation in action. To get the full effect of the hand drawn elements, you have to see them in motion.
Letter Number Form
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HTML and CSS
Yes, coding. The bane of my existence as a designer, but also strangely addicting. The learning curve to understanding HTML and CSS was especially steep for me because my brain doesn’t think in text. I need visual elements to move and explore. But with the guidance of Kyle, coding slowly became easier. Starting simple and slowly adding elements helped my understanding.
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Basic Web Building Diving in the world of coding had a steep learning curve but working step by step was the best way to start understanding.
HTML and CSS
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Charlie’s Cafe: Mobile A familiar favorite of The Design School students, Charlie’s Cafe was digitized for easy access.
HTML and CSS
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Charlie’s Cafe: Desktop Throughout this project, I quickly learned that designing for mobile is the essential first step. What might work on a desktop site would not be feasible on your phone.
HTML and CSS
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GRA 361 Visual Communication III
I’m very grateful to Lisa Peùa, Scott Curtis, and Nathan Finden for passing along their design knowledge during this course. It would not have been the same without you. Continuing to build on the momentum of the previous two years, this course was an opportunity to grow, jam-packed with challenges. At first, it was so strange and unusual to have freedom again in design. With an open-ended design brief, it was up to me to explore and push all ideas to find the best solution. But I could not have done it without the guidance of the professors.
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Team Branding
The power of one designer is great, but four are unstoppable. This emulated what it was like to work in a studio. Together, we explored what it meant to be a team and progress we made as designers. But our first challenge was to define our common passions as designers through a team brand.
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The Team Effort of Storytelling The four of us: Ashley Cameron, Hope Kiesling, Scott Murray, and I worked together to brand ourselves. We wanted to communicate that our passion for using storytelling in graphic design was one of our defining features. This is communicated through our name: Lore.
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Team Branding
The Color of Storytelling We knew that we were a vibrant team and wanted to show that through the colors of our brand.
STUDIO LORE
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Team Branding
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Semiotic Poster Series
In 140 characters or less, this was a problem solving project. Specifically focusing on how the applications of design principles with emphasis on message design can tell a story. Exploring how signs and symbols can be interpreted to give meaning was at the focus of this project. I investigated how meaning is created and how meaning is communicated through different frames: symbolic, iconic, and indexical.
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Series Process Terry Guillemets said, “Clutter smothers. Simplicity breathes.� Taking this quote as inspiration, I designed a set of posters where a story unfolded across each panel as a dynamic design.
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Initially, I interpreted this quote as a series of cluttered thoughts. When my thoughts clutter around my head, it can feel like I’m drowning.
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I wanted to push the idea of drowning in cluttered thoughts with an illustration. In the last poster, the concept of room to grow is expressed with the budding plant.
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Semiotic Poster Series
The previous drafts were a little too abstract. So I took a more literal approach with the next iteration. When I’m busy working during the semester, the clutter of everything on my to do list can become overwhelming. But when the work is done, I can finally clean. And finish my coffee.
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Final Series The story of clutter smothering everything beneath it in contrast to simplicity unfolds across the final poster series.
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Collection Series
To understand a complex set of data, a visual system is required. Educating through simple and powerful visual content helps ensure the message can easily be interpreted by the viewer. As a visual communicator, it’s imperative to be able to analyze and organize a given set of data and present the solution as clear and possible to the viewer. The challenge for this design was to choose then analyze a collection of objects through qualitative means.
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Collection Selection I wanted to choose a collection of objects that I had a large number of to show their variety across qualitative categories. Leaves were also easy to translate into the computer, by scanning then cutting out each leaf shape individually in Photoshop.
Collection Series
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Many, many leaves. There are 112 leaves in total. Trying to balance all of these was a strain on my computer and my brain. The leaves are to scale in relation to each other.
Collection Series
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Organization There are two different variables that the leaves are organized by: size and hue. With these categories, there is an underlying structure to the presentation of data.
Collection Series
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Collection Series
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The solution started taking shape when I drew inspiration from a color wheel.
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The Final Arrangement The wheel of leaves shows their hue while leaves of the same color radiate out from large to small.
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Data Visualization
Representing data can take over multiple dimensions, and extensive research into different subtopics can show depth to a visual display of data. Ultimately, this can reveal unexpected connections within the information which otherwise couldn’t be seen. This project relates to researching, learning, and teaching others about major health issues at a local, national, or global scale. I decided to investigate food deserts within Baltimore, Maryland.
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Data Visualization
Food Deserts in Baltimore A food desert is an area where it’s difficult to access
of healthy food access. By researching these layers of
affordable, nutritious foods like fruits, vegetables, and
information, in combination with other analysis sources,
whole grains. Especially in Baltimore, differences in
I found patterns that revealed different impacts on a
age, ethnicity, and income all compound the disparities
resident’s access to nutrition.
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Booklet Process The format of an accordion folded booklet would allow me to fit a large amount of visual data in a size that was easy to handle. Not to mention, it became easier to tell the story in a book format.
Data Visualization
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Adding beige colors evoked and reinforced a dry, empty feeling.
Data Visualization
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Final Gallery It was helpful to approach this project like telling a story, with an introduction, body, and conclusion. The order of each graphic also helped to tell the story of food deserts affecting the population of Baltimore.
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Looking at the Detail A tactile map of Baltimore, Maryland is etched into the cover of the booklet. The dryness of the wood also helps to reinforce the desert feeling.
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Recipe
The emphasis for this project is on the underlying development and interpretation of the process. How can you communicate the step-by-step process of creating a meal using only images? A detailed and consistent visual system was key throughout this problem. I found that establishing the visual key in the ingredients and utensils helped to maintain this understanding from the beginning of the design.
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Black and White Concept While the steps of a recipe might seem simplistic, the method to successfully communicate the order was not so straightforward.
Recipe
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Recipe Book Format The recipe book has a fold out panel so the cook can see the ingredients throughout making the Apple Danish Braid. While illustrating, it became painfully clear to me just how 1000 pictures is worth a single word.
Recipe
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Recipe
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Recipe
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Recipe
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Studio Night Display This project was deeply inspired by my late grandparents’ love for cooking and crafting. The wooden box is a dedication to Grandpop, who loved working with his hands and who always had a way to make you laugh. The paper and recipe chosen are a dedication to Grammie, who first showed my tastebuds the wonders of pastry with her rustic flair.
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Adding Color The visual system evolved from using only black and white to including multiple colors to aid the cook in comprehending each step.
Recipe
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Recipe
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Recipe
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Final Gallery The numerous components of this project are best shown in a series of pictures. The book itself is housed in a box which features a recipe stand for the book.
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Recipe
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Recipe
The Designer's Cookbook Inspired by the design of Buzzfeed’s Tasty app, I wanted to make the recipe into a digital format. I use my phone all the time when I’m cooking so why not combine the existing illustrations for the braid with the convenience of an app?
Once you've collected the ingredients you need, just cross them off the list.
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Recipe
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There is navigation for each step while cooking the recipe.
Working one step at a time might be easier for some cooks.
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Recipe
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Health Packaging
Developing an empathetic approach to design and challenging design norms is essential to address varying user needs and abilities. I was challenged to take an existing health product’s packaging then adjust the design to be more accessible. But the original content of the package was required to stay the same. I could only change the hierarchy of the design, while maintaining any brand content including images, colors, illustrations, etc.
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Band-Aid Packaging Redesign A new take on Band-Aid packaging, one that incorporates inclusive design elements to meet the needs of users with varying abilities.
Health Packaging
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Final Packaging To make the package more organized and accessible to users with limited hand mobility, I divided each type of bandage into three smaller sections. This way, the user also doesn’t have to dig through the entire box for the bandage they’re looking for. Similar to sticky notes that have glue on alternating sides, the bandage can be pulled out with one hand.
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Final Packaging Gallery Just as there are many sides to the package, a number of photos helps to show all the aspects of the new and improved design.
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Health Packaging
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Health Packaging
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Self Promotion
Can you easily define yourself into a visual representation? This project challenged me to identify how to highlight my strengths as a designer by creating a 2D or 3D mail-ready item that quickly shared my story, knowledge, and talents. Ultimately, it was a very difficult task and required many sessions of brainstorming.
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Pin Points of Creation The self promotion piece would market who I am as a designer for prospective jobs and clients. But how do you visually represent something that is “you?� My solution combines typography and humor in a physical object.
Self Promotion
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Inside and Outside Promotion The inside slip details what the phrases of each pin mean to me. And the content itself is not without puns too. I used the opportunity of each phrase to communicate all aspects of my story as a designer.
The typography of each pin is a pillar of my design philosophy as a short phrase, including a visual pun because I love to incorporate my humor into my designs when I can.
Self Promotion
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Final Gallery I am thoroughly obsessed with enamel pins so I found the solution to visually represent “me� as a set of three wooden pins enclosed in a box. The medium of wood also helped to convey my love of working with my hands.
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Self Promotion
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Spring 2020
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GRA 322 Technology for Design II
Thank you to Alfred Sanft and Kyle Larkin for passing along their design knowledge during this course, and for being so flexible during the coronavirus pandemic. This semester was a continuation of the fall counterpart, with all exercises and applied work using traditional and digital technologies. And a special emphasis on digital technologies because of the limitations of face-to-face contact because of the coronavirus. The key to surviving this semester due to the volume and complexity of projects was keeping track of scheduled milestones. And many to-do lists. And cups of coffee.
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Spring 2020
Kinetic Typography Animation
I’m used to designing only in two dimensions, a flat page. But the introduction of timing and anticipation opened a new realm of possibilities. Just like with coding, Adobe After Effects was initially the bane of my existence because of its steep learning curve. But with time and patience, it soon became a favorite program within the Creative Cloud.
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Storyboards I wanted the attitude of the audio to show through in the animation with bold typography. Shia LaBeouf is literally shouting at you to make your dreams come true.
Kinetic Typography Animation
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JUST DO IT Animation I brought the short clip of Shia LaBeouf’s speech to life with fiery colors, bold typography, and simple shapes. Exploring timing and anticipation in combination with traditional design principles helped me design this bold solution.
Kinetic Typography Animation
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See the Action Point your phone at the QR Code to see the animation in action. Viewing the typography movement with the sound is the best way to experience their impact.
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youtu.be/Rk5Kb0vxOkY
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Spring 2020
Diving Deeper into Coding
Keeping it nerdy, my journey into the world of coding was getting drastically deeper. I touched on JavaScript and experimented more with UX and UI design through Adobe XD. Thinking about how the user would interact with a given environment was essential to consider when moving forward, then and now!
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Responsive Magazine Layout Using a mix of flexible grids and layouts, this exercise increased my knowledge in understanding that design should respond to the user’s behavior based on changes in the environment.
Diving Deeper into Coding
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The Design School Alumni Network: Mobile This website allows alumni from The Design School to connect, share work, and keep in touch. Users can be found by name, year graduated, geographic location, place of employment, or area of focus.
Diving Deeper into Coding
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Diving Deeper into Coding
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I wanted to keep the search easy and clean to use. The search bar is right above the options to filter or sort through different alumni.
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The Design School Alumni Network: Desktop Learning from last semester, working through the design of mobile first gave me a framework for translating the content to a desktop format.
Diving Deeper into Coding
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Diving Deeper into Coding
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Spring 2020
Program Book
In the words of Al, “The Program Book is one of the staple projects of the VCD program, and has been well accepted by professionals, academics, and peers throughout the country. It will showcase your work, your design expertise, sensitivity to typography, the page, and the VCD curriculum.” The big book is a culmination of my blood, sweat, and tears throughout the past two years in the design program. Just as with all of the other projects so far, it was imperative to test and explore more than one design direction to find the best solution. I didn’t find this answer without being shaken by the impact of the coronavirus. Who would’ve thought how well humans can adapt to such a change! Definitely not me until I experienced it.
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Program Book
The Grid Process Puns from The Matrix aside, the grid needed to be
While a larger book would give me the space needed
flexible in order to handle that variety of shapes and
to fit a lot of process, I didn’t have access to a printer that
sizes of projects I’ve worked on during my studies.
could handle paper larger than a standard letter size.
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Program Book
Columns vs. Squares Originally, I wanted to be able to fit all of my work into
their better flexibility. The 12 column span across each
squares but this format would only work for a small
spread could be divided into 2, 3, 4, or 6 on each page.
number of projects. I decided on columns because of
This system held up very well for all of my projects.
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GRA 362 Visual Communication IV
I’m very grateful to Lisa Peùa, Scott Curtis, and Nathan Finden for their design guidance and for passing along their amazing knowledge during this semester. And of course for being so patient and flexible during the coronavirus pandemic. Full of client-oriented projects, the problems I encountered during this semester were certainly the most challenging so far. These problems were multifaceted and required solutions that emphasized the continuity of design in more than one medium and format. Not to mention working with a team involved the ability to develop, plan, and create team goals while also developing interpersonal skills for team-based programs. This course was a unique challenge physically and mentally and proved my ability to adapt and grow.
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Spring 2020
Interdisciplinary Cluster Competition
This competition is an annual event held within The Design School that fosters cross-disciplinary collaboration among third year students. The theme was to use technology to help facilitate the idea of a third space. We defined this place as where the feel of home and work meet. Specifically, we were asked to think about what opportunities there are to create smart third places on ASU physical and virtual campuses. I worked with Marissa Mayne, Harrison Reich, Mina Vargas, and Yatong Xie for this competition.
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Interdisciplinary Cluster Competition
NichĂŠ: A Virtual Community Our solution for the competition was NichĂŠ, an app that creates an online and offline community that will transform the way we navigate social connections through the utilization of technology and underused spaces.
When signing up for the app, you will select interest areas. The app will match you with others that share your passions. Declaring what goals or aspirations you have will help connect and grow momentum.
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There is a pop-up cafe for people
Similar to Snapchat, the location
to meet in order to discuss goals or
of people you're connected with
different projects.
are visible on the app.
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Niche: A Virtual Community Threads are a popular way to gather information by asking questions and getting the word out there. The app utilizes this as the primary way for you to connect. Assigning tags to each thread will help others connect with you and grow a lot of momentum.
Interdisciplinary Cluster Competition
Spring 2020
The menu is also on the app just in case you get hungry while discussing different projects.
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NichÊ: A Physical Community Our concept presents not just a virtual presence, but also a physical presence. The mobile pop-up cafe is built from recycled shipping containers. The overall structure requires less material than a permanent building. And it's adaptable with the ever changing construction of ASU's campuses and the Phoenix area. When you’ve found your niche using the app, visit the pop-up cafe for provisions and a comfortable setting to meet and learn with others. Just like actions are not static, the cafe can move around to the underutilized areas of campus and act as a hub for catalyzing change.
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Spring 2020
2021 Dr. Martin Luther King, Jr. Celebration
The Dr. Martin Luther King, Jr. Committee at Arizona State University worked with our studio class to produce a visual strategy to encourage the continuation of Dr. King’s legacy. Each team presented to the committee, went through rounds of revisions, and 5 out of 11 teams were chosen for a final presentation. As a member of Lore, I continued to work with Ashley Cameron, Hope Kiesling, and Scott Murray for this project.
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Brainstorming Concepts Taking inspiration from key words and phrases from Dr. King’s speeches, we voted on which phrases we felt would make the best campaign and developed our ideas from there.
2021 Dr. Martin Luther King, Jr. Celebration
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Radiating ASU Gold ASU’s bright and clean color palette helped us convey a strong and bold concept through Rise and Radiate.
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Running With Courage With the words Courage Over Comfort, we wanted to inspire others to step outside their comfort zone to try something new. The wordmark highlights courage as it rests over comfort.
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Courage Over Comfort: Imagery When you choose courage over comfort, you are embarking and provoking change. Our campaign focused on impactful moments of courage.
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2021 Dr. Martin Luther King, Jr. Celebration
Courage Over Comfort: Animation The animation puts the concept of breaking out of the box, or comfort zone, into motion. Courage literally comes down over comfort and breaks the comfort zone box into a pair of brackets that change to now frame moments of courage.
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Courage Over Comfort: Social Media The square and rectangular forms of our campaign are a universal fit for all social media platforms. Each post includes the campaign title, as well as a secondary tagline.
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Courage Over Comfort: Bookmark We kept the design of the bookmark very simple to highlight the artwork of the students. The contest winner’s designs take up most of the bookmark.
2021 Dr. Martin Luther King, Jr. Celebration
Spring 2020
Courage Over Comfort: Collateral The names of the competition winners on the back of the t-shirt are formatted in the shape of a box, but deconstructed. The square pin shape complements the wordmark.
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Courage Over Comfort: Website The website carries the campaign’s use of powerful imagery. Each design allows photos to take center stage but not without using the campaign’s simple color palette of orange, black, and white.
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Courage Over Comfort: Evite The layout of the evite is straightforward like the website, starting with our most powerful photo to carry the imagery of the campaign. Any essential information is highlighted in the campaign’s orange.
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Spring 2020
Earnest & Humble Co.
Earnest & Humble Co. is a startup eCommerce brand that believes in respecting our planet and being kind to one another. E&H was created to be an aspirational brand that believes in being earnest in what you stand for and humble in your appreciation for those that are different from you. Lore worked with Earnest to tell a story through packaging that reflects E&H’s values: the power of connection, connecting to our past, and connecting to each other in the present. As a team, we were inspired by the company’s mission to inspire humanity to respect our planet and be kind to one another.
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Experimentation with Patterns We drew inspiration for our initial designs from the boldness of African patterns. Each flavor and roast would be associated with a color and pattern.
Earnest & Humble Co.
Spring 2020
451
452
Visual Communication IV
A Tactile Approach Because of the human touch of E&H, we wanted to convey that through a stamp on a label attached to the bag which would tell the story of Earnest.
Earnest & Humble Co.
Spring 2020
453
454
Visual Communication IV
Earnest & Humble Co.
A New Label We redesigned the front of the bag to better represent
white sticker. The roast date is located on a sticker that
the clean, sleek look of the brand with a playful twist.
features a coffee pun, paying homage to Earnest’s sense
The new ampersand becomes a focal point of the larger
of humor. Each flavor is associated with a brand color.
Inside the counterforms of the ampersand are a coffee bean and a coffee cup.
Spring 2020
455
The icons for each brew method are hand drawn to communicate the friendliness of the brand.
456
457
458
Visual Communication IV
A New Box Label Carrying the new design of the label, each subscription box has a coffee pun sticker and the date shipped.
Earnest & Humble Co.
Spring 2020
459
460
Visual Communication IV
A New K-Cup To bring a smile to a tired-no-coffee-zombie in the morning, we included a random coffee themed pun on the new k-cup design.
Earnest & Humble Co.
Spring 2020
461
462
Visual Communication IV
A Latte of Puns A sticker sheet found inside the subscription boxes helps tie together the box and the bag as a fun system. The hand drawn illustration style is clean but also has a human touch.
Earnest & Humble Co.
Spring 2020
463
464
Visual Communication IV
Spring 2020
Currency Redesign
The currency system of the United States was in desperate need of an overhaul in the design department. The concept behind this redesign is something probably close to you right now: our best furry friends. It was important to consider how the design of the currency would be a representation of American culture to the world. And how a simple design would be easy to counterfeit. This called for a reflection of how the new design needed to serve multiple purposes.
465
466
Visual Communication IV
Currency Layout Since the bills of the United States have looked more or less the same for years, I wanted to modernize their design with a sans serif typeface. It was a challenge to balance the necessary information while leaving room for an image.
Currency Redesign
Spring 2020
467
468
Visual Communication IV
A Dog Dedication With close ties to American culture, dogs of service are our best friend’s and often saviors. I wanted to pay tribute to their efforts with this redesign.
Currency Redesign
Spring 2020
A subtle wave texture over the illustrations adds a level of security to the design to make illegal reproduction difficult.
469
470
Visual Communication IV
Currency Redesign
Currency Gallery On the back of each bill, there is an illustration of the dog
each illustration is foiled for added security. A foil strip as
in the context of their moments of service as well as an
well as the stamped foil number and seals help to prevent
underlying map of where they served. The area beneath
counterfeit currency.
Spring 2020
471
The digital format of the bills are akin to debit cards inside a virtual wallet.
Colophon
Software
Hardware
Adobe After Effects
Computer
Adobe Dimension Adobe Fresco Adobe Illustrator Adobe InDesign Adobe Lightroom Adobe Photoshop
macOS Mojave MacBook Pro (15-inch, 2017) 2.9 GHz Intel Core i7 16 GB 2133 MHz LPDDR3 Intel HD Graphics 630 1536 MB
Adobe Premiere Adobe XD Coffee
Photography
Procreate
Sony Alpha 6500
Rough Animate
iPhone XS Max
Spotify Zoom
Typeface
Production
Lasiver Family
Arizona
size / leading / tracking
Flagstaff
Lasiver Regular
Gilbert
8 / 13 / 5
Mesa
14 / 22 / 5
Tempe
Lasiver Medium 8 / 13 / 5 10 / 14 / 5 Lasiver Bold 10 / 13 / 5 21 / 30 / 3
California San Diego San Francisco