2012 Portfolio by Lita

LITA LEDESMA Digital Design Portfolio 2012

CONTENTS 4 Type + Print 30 Animation 38 Web 46 Branding 58 Mixed Media

Type + PRINT

Radiohead Event Poster Class: Typography I Instructor: Ramona Hutko II was inspired by the posters one often sees plastered all over city streets, which are frequently layered one on top of the other. To get this effect I printed, crumpled, photocopied, tore and then scanned the outermost layer of this collage, utlizing the natural shadows from the scanning process to give it a more three-dimensional effect.

total precision and deliberateness, by the time the viewer encounters it, it could have been radically changed. This is particularly the case with web sites. Even from one web browser to the next, or from one computer screen to the next, there are inconsistencies with display and layout, such that it is impossible to wield complete control over the end product. Ironically, the only true way to know that your viewers will experience your message in a consistent format is still via the printed page.

Designers who work in the digital age almost never interact with a typeface that is not digital. Their experience of typefaces is radically different from designers of even thirty years ago. Interestingly, right around the time that the internet/digital revolution took hold, there was a sudden explosion of “grunge” typefaces appearing in print and elsewhere. Magazines like Ray Gun intentionally obfuscated their typography, manipulating and

MORE IS MORE These late nineteenth century posters use a typographic technique of their era, with an emphasis on the mixing of bold, eye-catching typefaces. Many posters of this time used a broad selection of typefaces and weights to draw the viewer’s attention and to add drama.

__ 8 __

Typography From the Age of Industry to the Age of Information Class: Typography I I Instructor: Francheska Guerrero This book discusses the similarities between two pivotal points in typographic history: the industrial and technological revolutions.

Skeleton Key Final Poster I Class: Typography I I Instructor: Francheska Guerrero In this final design I created a collage of keys forming a spiral tunnel into a mysterious vortex, playing off the sense of mystery that accompanies this intriguing object.

Skeleton Key Final Poster II Class: Typography I I Instructor: Francheska Guerrero In this final design I created a collage of keys forming a skeleton, thus playing with the name of the object.

Skeleton Key Process Book Class: Typography I I Instructor: Francheska Guerrero

the

SKELETON KEY a study in form and function

designer: lita ledesma project: object project process package class: typography 2 instructor: francheska guerrero

the skeleton key {1}

This eighty-page book shows the process for the object project, from initial research to idea generation to poster comps.

digitalDIGITAL Class: Typography III Instructor: Francheska Guerrero This book compares the typographers Pablo Media and Zuzana Licko, focusing on their differing approaches to typeface design.

a STUDY in

cONTRA STS Zuzana Licko Pablo Medina

hers pograp B ot h ty owed from rr have bo ies-old e ur nt nd m ad the ce o n s of ha a re tw trad it io s, craf ti n g ed ina form at blo M odern ty pe d er th a s tt P le ce a nd stm ty pefa blis he t, L ic ko re nt po un ique and cu rren e esta Zuza na ica lly d iffe re ers wer h are fres nologies ca at d ra m rs whose lution. av ily st tech vo he te ne re la is ig l e des work h th ig ita ic ko’s ed w it wh ic h the d produc However, L l med iu m, afte r sa e. gita av ai labl ed by the di ak in g. She ha r he m nc in flue in her form approach to of th is e es ic is st us ec ri she , pr acte on the m at ic al th at is ch ar s m at he ed in a, e deeply proces age. M ar ar ti st ic ch nologica l faces wh ic h rmed te fo pe hi gh ly nd, craf ts ty r and are in ge and te ta ha ch arac et hn ic heri , ha ndot her ic istic in hi s orga n s hi s hu m an rn acul ar of an h it ve ve ence, w rk . He deri by the ri pe hi m, al ex s wo person proach to hi lture arou nd for ap e cu faces st yled from th ha nd m ade n io at al in spir g trad it ion in t rene w cu rren l use. in a are desi gn in g di gita d Med ly ic ko an e active ox im ately a B ot h L hers who ar pr rn ap ap y are been bo ty pogr s today. T he havi n g ce ter. e, L ic ko ty pefa t in ag n ine years la ar ap a ed in decade and M in 19 61

dig•i•tal (dj-tl) 1a. Relating to, or resembling a digit, especially a finger. 1b. Operated or done with the fingers. 2a. Expressed in discrete numerical form, especially for use by a computer or other electronic device.

They both began their careers as typographers after obtaining undergraduate degrees in design. Though ten years is a relatively brief period of time in general history, in the age of digital typography, a decade is a considerable span. The technological advancements from Licko’s first years as a type designer to Medina’s emergence are staggering. Despite this, of the two designers, it is Licko who seems more apparently modern in her approach to design.

a modest but intrepid publication intended to showcase the poetry and artwork of European expatriates such as themselves. Shortly thereafter in 1984, Apple released the Macintosh computer, the first true desktop publishing computer. Embracing this new tool with eagerness, Licko and her husband moved away from relying on photocopiers to vary their type and layouts. Licko set out to design typefaces for their magazine using the rudimentary software available to her at the time, finding motivation in this challenging and esoteric medium. On this aspect of working with such limited technology, Licko has expressed that she “enjoys things that are like puzzles; anything that is tremendously restrictive, where there are very few choices but you have

“Their pride for their country grows so much more by being here, because they don’t have what they used to have, so there’s this amplification of their culture.” - Pablo Medina

Licko’s professional career began in the early 1980s when she was studying graphic design at U.C. Berkeley, California. It was there that she met the photographer and designer, Rudy VanderLans. They bonded over their mutual interests and eventually married. Shortly after graduation, they established their arts magazine, Émigré,

Licko’s approach to design is logical, orderly, mathematical, and controlled – very much how one would characterize a “left-brain” thinker. In fact, she is left-handed. This caused problems for her when she took her least favorite class in college: calligraphy. Her lack of enthusiasm for the craft was in part because she was forced to use her right hand to draw the letterforms. It is possibly this frustrating experience that steered her even further away from considering a hand-formed style of type design when she became a typographer. Yet in side-stepping those traditional techniques, she flourished as a digital-typographer and her typefaces are uniquely her own, with an individual character that sets them apart from the designs of her contemporaries — a kind of “outsider artist” in the type realm. Though innovations in digital technology have now made it possible to have endless variations

modeled after the technical advances in laser printers.

in digital type design, Licko’s work has consistently retained a certain mathematical and restrained quality. Her sans-serif typeface, Solex, designed in 2000, has angular bowls and succinct brackets that are reminiscent of her earlier digital typefaces. It is this character in her work that made her reinventions of popular classic typefaces so interesting. For her creation of Filosofia, Licko worked from the centuries-old Bodoni. Licko described this effort as a demonstration of her “personal preference for a geometric Bodoni,”7 and to some, Filosofia seems an elegant bridge between the centuries. Licko again approached a classic redesign when she created a revival of the well-known typeface, Baskerville. She named her typeface after Baskerville’s wife and erstwhile mistress, Mrs. Eaves, in part because, as an innovative and thus somewhat controversial typographer, Licko had sympathy for the aura of scandal around her typeface’s namesake. Indeed, Mrs. Eaves was received with a strong mixture of praise and criticism. Many heralded her effort as a triumph, but others accused her of robbing the original letterforms of their humanistic grace. Regardless of its mixed reception among her peers, Licko managed to create one of her most popular typefaces to date. In contrast to Licko’s decidedly digital approach, Medina loves to draw and prefers this medium for type design as well. He does most of his type design sketching and drafting by hand, with very little refinement to his designs by the time he is ready to work on the computer. His process is all about the hand-made, not only in the way he conceives his letterforms, but in the inspiration for his concepts; most of his typefaces are derived from hand-made signage – such as with the painted bull-ring signs of Spain for his typeface, Sombra and the hand-cut mosaic tiles of the NYC subway system that inspired Union Square. Medina’s approach to design as a whole is far more organic and free form, with a deep emphasis on the imprint of humanness, and its

t as a effor nal d th is er s o r ibe ” er “p desc h don i, o f k o on L ic ic Bo ti tr g a nt a e tr m o ons a n ele r a ge dem em s ce fo ia se n f e o r s . r ies prefe , Filo tu e n m ce to so n the a nd twee ge be br id

were created.

Licko’s Citizen is

“I wanted my work to breathe of the hand — of the handmade. And I wasn’t seeing that; I was seeing machines in Helvetica. I was seeing machines in modernist design. I wasn’t seeing humans.” - Pablo Medina

Q Q

is based on a hand-painted restauraunt window in Medinas neighborhood.===

Vitrina

age, within the realm of the vernacular; all of his typefaces reference a time when computers did not play a dominant role in typography, and reference signage in cities of personal significance to him. One influence of this artistic path may be Medina’s formative years as a designer during the 1990s, which was a period of heavy experimentation and rule-breaking in the world of typography and design. Like other designers of his generation, Medina reacted against the precision and minimalism in Bauhaus and Swiss design ideologies in favor of the anarcho-punk ethos of the 90’s NYC arts and music scene. As Medina noted when I interviewed him, to him the modernist ideal “seemed very neutral and very bland. That was part of the rebellion against what I was

being taught. I wanted my work to breathe of humanity. I wanted my work to breathe of the hand — of the handmade. And I wasn’t seeing that; I was seeing machines in Helvetica. I was seeing machines in modernist design. I wasn’t seeing humans.”3

to his father’s literary talents might have informed his own artistic sensibilities. Medina uses snippets of poetic language to showcase his fonts on his website which, if not the words of his father, certainly evince similar moods. In doing so, Medina invites us, intentionally or not, to make parallels between the work of father and son.

After his graduation, Medina worked as a designer for various clients including major advertising agencies, and has since become an established typographer and designer. He has run his own design firm, Cubanica, since 2000. He continues to create typefaces, most recently designing a custom family of faces for ESPN that evokes the lettering of classic baseball cards. Zuzana Licko’s fondness for and comfort with implementing new technology isn’t all too surprising considering her background. Born in Bratislava, Czechoslovakia, Licko spent the first seven years of her life in a Communist nation, which she says imbued her with a tendency to challenge and question everything. 4 The rest of her years were spent growing up in California, where her mathematician father played a significant role in the shaping of her intellect. With his influence, Licko became familiar with computers at a very young age, playing with

mainframes and easily taking to complex programs such as Pascal. Her first typeface design was a simple electronic Greek face for her father, for use in mathematical calculations. This early introduction to designing with computers, particularly in such an analytical milieu, likely shaped Licko’s approach to type design as she grew older. While Licko’s father puzzled over formulas and equations, Pablo Medina Sr. crafted phrases. A successful poet, Medina’s father’s writing is rich in melancholy and nostalgia. It is easy to imagine how Medina’s exposure

Perhaps more significant to the shape of Medina’s aesthetic than his father’s profession is his ethnic background. As an American child born of immigrant parents, Medina longed for more exposure to the cultures of his Cuban father and Colombian mother, particularly as he matured:“My mother comes from Colombia and my father comes from Cuba. They came [to the United States] in the early 60s. There’s an inherent nostalgia to that sort of process; there’s a quality of looking back and learning about my culture; wondering about what could’ve been had as a culture, as a family, if we stayed. And so there’s a lot of that nostalgia. For better or for worse, part of my interests have been about rewinding time to see what I missed. Like, what is it that I missed by being born here and living here my whole life? I need to go back in time to relive all that stuff that my family and my parents lived that I didn’t. So that’s really where all that nostalgia comes from. I think it’s pretty typical of the family dynamics of immigrants; they get here and they miss their countries so much. Their pride

Cuba olombia

“I think that the one word that will connect all of my work is CULTURE, and my interest in just learning about people.” - Pablo Medina

LA MANO

sign painting. Whatever the culture may be, the great by-product of creating is the learning process; the learning about culture and people. And that really informs how all of my work gets connected.”8

inherent flaws and inconsistencies, in all aspects of his work. In one of his earlier typefaces, First Ave, a homage to the aging neon signage of the Lower East Side of Manhattan, the letterforms are highcontrast and textured images based on photographs, full of little imperfections that well-reflect the characters they were based upon. Medina underscored the clear importance of the human element of his work when I spoke with him: “I think that the one word that will connect all of my work is culture, and my interest in just learning about people; learning about people through a specific activity like baseball or

Zuzana Licko and Pablo Medina are two exciting contemporary typographers who have availed themselves of the benefits of the digital age in which their careers began. They continue to expand their horizons, expressing their distinctive artistic characteristics in their typography. Both designers were strongly influenced by their upbringing, most notably, Licko through her father’s anyaltical profession, and Medina through his ethnic identity. While both designers have always used digital technology to produce their typefaces, their techniques and styles contrast strongly with one another. Whether she is redesigning a popular classic typeface or inventing a modern font of her own, Licko’s work is largely informed by the methodologies available within her preferred medium of the computer, and the technological nature of her personal taste. Medina’s work is conceptually as far removed from the digital medium as can be, revitalizing the down-to-earth, flavorful letterforms from the vernacular of his personal experiences and heritage. He uses the simplest of tools – pencil and paper – before translating his designs to a digital format. Though the finished products of both designers are generated using the same software, the results are completely different and speak to their creators’ unique design styles.

Cited References 1. VanderLans, Licko, Gray, & Keedy. Emigre: Graphic Design into the Digital Realm. New York: Wiley, 1993. p18. 2. Vanderlans, Licko, Gray, and Keedy. p6. 3. Medina, Pablo. Personal interview. Telephone. 22 October 2011. 4. Reprinted from Pascal Béjean, Pascal. Étapes Magazine (France) on emigre.com. Web. 16 October 2011. 5. Medina. 22 October 2011. 6. Vanderlans, Licko, Gray, and Keedy. p5. 7. Friedl, Cees. Creative Type: a Sourcebook of Classic and Contemporary Letterforms. London: Thames & Hudson, 2005. 8. Medina. 22 October 2011. Typefaces Used Medina: 1st Ave, Calaveras, Cuba, Diablitos, North Bergen, Vitrina Licko: Base Mono, Citizen, Filosofia, Mrs. Eaves, Modula, Senator, Triplex, Variex Photograph & Illustration Credits p8 Puzzler wrapping paper, p17 Matrix collage and self-portrait, Zuzana Licko. p18 (both images) self-portrait, Medina. Designer: Lita Ledesma Course: Typography 3 Faculty: Francheska Guerrero November 2011

c ol

op h

on 25

Heroes Final Poster I Class: Typography III Instructor: Francheska Guerrero This poster project pairs the lyrics from the song â&#x20AC;&#x153;Heroesâ&#x20AC;? by David Bowie with imagery and type design. In this design direction I used a literal approach with my imagery, riffing on the iconic Superman figure.

Heroes Final Poster II Class: Typography III Instructor: Francheska Guerrero In this design direction I took an ironic approach, using imagery that is counterintuitive to the message in the song.

Heroes Process Book Class: Typography III Instructor: Francheska Guerrero In earlier investigations I created papercraft dioramas with letterforms. Pictured at left is one of the photographs from this exploration, which became my final process book cover. At right is an early poster exploration. On the following two pages examples of early type studies are shown.

POEM POSTER COMPOSITIONAL SEQUENCE

student

lita ledesma

class type III

instructor

francheska guerrero

HEROES david bowie

i will be king. and you, you will be queen. though nothing will drive them away, we can beat them, just for one day; we can be heroes, just for one day. And you, you can be mean, and I, I’ll drink all the time. Cause we’re lovers, and that is a fact. Yes, we’re lovers, and that is that.

I, I can remember standing by the wall and the guns shot above our heads and we kissed as though nothing could fall.

I, I wish you could swim. (Like the dolphins, like dolphins can swim.) Though nothing, nothing will keep us together. We can beat them, forever and ever. Oh we can be heroes, just for one day. I, I won’t be king; and you, you won’t be queen. Though nothing will drive them away, we can be heroes, just for one day. We can be us, just for one day. And the shame was on the other side. Oh we can beat them, forever and ever.

Though nothing will keep us together, we could steal time just for one day. We can be heroes forever and ever. What do you say?

Then we could be heroes, just for one day. We can be heroes. We can be heroes -- we can be heroes. Just for one day, we can be heroes. We’re nothing (and nothing will help us.) Maybe we’re lying; then you’d better not stay. But we could be safer, just for one day. We could be heroes just for one day.

p. 15 : denotative & content hierarchY / eXpreSSion

w i l l

t h e m,

b e j u s t

k i n g .

a n d

y o u,

y o u

w i l l

b e

q u e e n .

t h o u g h

n o t h i n g

w i l l

d r i v e

t h e m

a w a y

w e

c a n

b e a t

for one day. we can be heroes, just for one day. and you, you can be mean. and i, i’ll drink

all the time. cause we’re lovers, and that is a fac t. yes we’re lovers, and that is that. though nothing, will kee p us tog ether. we could s teal time, jus t for one day. we c an be heroe s, forever and ever. I, I will be king

what do you say? i, i wish you could swim. like the dolphins, like dolphins can swim. though

And you, you will be queen

nothing, nothing will kee p us tog ether we c an beat them, forever and ever. oh we c an be

Though nothing will drive them away

heroes, just for one day. i, i won’t be king and you, you won’t be queen. though nothing

We c a n b e a t t h e m , j u s t f o r o n e d a y

w i l l d r i v e t h e m aw ay. w e c a n b e h e ro e s, ju s t fo r o n e d ay. w e c a n b e u s, ju s t fo r o n e d ay. i, i c a n

We c a n b e h e r o e s , j u s t f o r o n e d a y

remember standing, by the wall and the guns, shot above our heads and we kissed, as though

AND YOU, YOU CAN BE MEAN AND I, I'LL DRINK ALL THE TIME CAUSE WE'RE LOVERS AND THAT IS A FACT YES WE'RE LOVERS AND THAT IS THAT

nothing could fall and the shame, was on the other side. oh we can beat them, forever and e v e r. t h e n w e c o u l d b e h e r o e s , j u s t f o r o n e d a y. w e c a n b e h e r o e s w e c a n b e h e r o e s . w e c a n b e h e ro e s. ju s t fo r o n e d ay. w e c a n b e h e ro e s w e’re n ot hi ng, a n d n ot hi ng w ill h e l p u s . m a y b e w e ’r e l y i n g , t h e n y o u ’ d b e t t e r n o t s t a y b u t w e c o u l d b e s a f e r, j u s t fo r o n e d ay. i, i w ill b e k i ng. a n d yo u, yo u w ill b e q u e e n. t h o ug h n ot hi ng w ill d r i ve t h e m aw ay w e c a n b ea t t h e m, ju s t fo r o n e d ay. w e c a n b e h e ro e s, ju s t fo r o n e d ay. a n d yo u, yo u c a n b e m ea n. a n d i, i ’ ll d r i n k all t h e t i m e. c a u s e w e’r e l o v e r s , a n d t h a t i s a f a c t . y e s w e’r e l o v e r s , a n d t h a t i s t h a t . t h o u g h n o t h i n g ,

Though nothing

w i l l ke e p u s to g e t h e r. w e c o u l d s t e a l t i m e, j u s t f o r o n e d a y. w e c a n b e h e r o e s ,

will keep us together

f o r e v e r a n d e v e r. w h a t d o y o u s a y? i, i w i s h y o u c o u l d s w i m . l i ke t h e d o l p h i n s , l i ke d o l p h i n s c a n s w i m . t h o u g h n o t h i n g , n o t h i n g w i l l ke e p u s to g e t h e r w e

I, I WISH YOU COULD SWIM LIKE THE DOLPHINS LIKE DOLPHINS CAN SWIM THOUGH NOTHING NOTHING WILL KEEP US TOGETHER WE CAN BEAT THEM FOREVER AND EVER OH WE CAN BE HEROES, JUST FOR ONE DAY

c a n b e a t t h e m, f o r e v e r a n d e v e r. o h w e c a n b e h e r o e s , j u s t f o r o n e d a y. i, i w o n’ t b e k i n g a n d y o u, y o u w o n’ t b e q u e e n . t h o u g h n o t h i n g w i l l drive them away. we can be heroes, just for one day. we can be us, just for one day. i, i can remember standing, by the wall and the guns, shot above our heads and we kissed, as though nothing could fall and the shame, was on the other side. oh we can beat them, forever and ever. then we could be heroes, just for one day. we can be heroes we can be heroes. we can be heroes. just for one day. we can be heroes we’re nothing, and nothing will help us. maybe we’re lying, then you’d better not stay but we could be safer, just for one day. i, i will be king. and you, you will be queen. though nothing will drive them away we can beat them, just for one day. we can be heroes, just for one day. and you, you can be mean. and i, i’ll drink all the time. cause we’re lovers, and that is a fact. yes we’re lovers, and that is that. though nothing, will keep us together. we could steal time, just for one day. we can be heroes, forever and ever. what do you say? i, i wish you could swim. like the dolphins, like dolphins can swim. though nothing, nothing will keep us together we can beat them, forever and ever. oh we can be heroes, just for one day. i, i won’t be king and you, you you won’t be queen.

just for one day We c a n b e h e r o e s forever and ever What do you say?

I, I won’t be king And you, you won’t be queen Though nothing will drive them away We c a n b e h e r o e s , j u s t f o r o n e d a y

though nothing will drive t h e m heroes • davId boWIE away. we can be heroes just for one day. wecanbeusju ,st foroneday.i,can remember standing, by thewalandthe guns, shot above our heads and weKISSED, ASTHOUGH NOTHING COULDFALL AND THESHAME,WAS ON THE OTHER SIDE. OHWECANBEATTHEM, FOREVER AND EVER. THEN WE COULD BE HEROES, JUST FORONEDAY.WECANBEHEROES WECANBEHEROES.YOUWILLBE MEAN. AND I, I’LL DRINK ALL THE TIME. CAUSE WE’RE LOVERS, AND THAT IS A FACT. YESWE’RELOVERS,ANDTHATISTHAT.THOUGH NOTHING, WILL KEEP US TOGETHER. WE COULD STEALTIME,JUSTFORONEDAY.WECANBEHEROES,FOREVER AND EVER. WHAT DO YOU SAY? I, I WISH YOU COULD SWIM.LIKETHEDOLPHINS,LIKEDOLPHINSCANSWIM.THOUGH NOTHING,NOTHINGWILLKEEPUSTOGETHERWECANBEATTHEM, FOREVERANDEVER.OHWECANBEHEROES,JUSTFORONEDAY.I,IWON’T BE KING AND YOU, YOU WON’T BE QUEEN. THOUGH NOTHING WILL DRIVE THEMAWAY.WECANBEHEROES,JUSTFORONEDAY.WECANBEUS,JUSTFORONE DAY.I,ICANREMEMBERSTANDING,BYTHEWALLANDTHEGUNS,SHOTABOVEOUR HEADS AND WE KISSED, AS THOUGH NOTHING COULD FALL AND THE SHAME, WAS ON THEOTHERSIDE.OHWECANBEATTHEM,FOREVERANDEVER.THENWECOULDBEHEROES, JUSTFORONEDAY.WECANBEHEROESWECANBEHEROES.WECANBEHEROES.JUSTFORONEDAY. WECANBEHEROESWE’RENOTHING,ANDNOTHINGWILLHELPUS.MAYBEWE’RELYING,THENYOU’D BETTERNOTSTAYBUTWECOULDBESAFER,JUSTFORONEDAY.WECOULD BE HEROES, JUST FOR ONE DAY.

P. 7 : WEIGHT

We c o u l d s t e a l t i m e

We c a n b e u s , j u s t f o r o n e d a y I, I can remember Standing, by the wall And the guns, shot above our heads And we kissed, as though nothing could fall And the shame, was on the other side Oh we can beat them, forever and ever Then we could be heroes, just for one day We can be heroes We can be heroes We can be heroes Just for one day We can be heroes

WE’RE NOTHING, AND NOTHING WILL HELP US MAYBE WE’RE LYING, THEN YOU’D BETTER NOT STAY BUT WE COULD BE SAFER JUST FOR ONE DAY

HEROES david bowie

P. 11 : TEXTURE / ToNE

HEROES

bowie

i, i will be king and you you will be queen though nothing will drive them away we can beat them, just for one day we can be heroes, just for one day and you, you can be mean and i, i’ll drink all the time ‘c au s e we ’re love r s and that is a fact

HEROES ye s we ’re love r s , a nd

I, I will be king. And you, you will be queen. Though nothing willdrive them away, we can beat them, just for one day.

THAT IS THAT

We can be heroes, just for one day. And you, you can be mean. And I, I’ll drink all the time.

Because we’re lovers. That is a fact. Yes we’re lovers, and that is that. Though nothing, will keep us together

though nothing

we could steal time, just for one day.

will keep us together we could steal time

We can be heroes.

just for one day we can be heroes

Forever and ever. What do you say? I, I wish you could swim. Like the dolphins, like dolphins can swim.

what do you say?

Though nothing, nothing will keep us together.

i, i wish you could swim

kissed as though nothing could

like the dolphins, like dolphins can swim

We can beat them.

though nothing, nothing will keep us together we can beat them, forever and ever

Forever and ever. Oh we can be heroes, just for one day. I, I won’t be king. And you, you won’t be queen.

oh we can be heroes, just for one day

Though nothing will drive them away, we can be heroes, just for one day.

I, I can remember standing, by the wall and the guns, shot above our heads and

We can be us.

FALL

Just for one day. I, I can remember standing by the wall. And the guns, shot above our heads.

And the shame, was on the other side

And we kissed, as though nothing could fall.And the shame, was on the other side.

Oh we can beat them, forever and ever

WE CAN BE HEROES WE CAN BE HEROES WE CAN BE HEROES

Oh, we can be heroes. Forver and ever. Then we could be heroes, just for one day. We’re nothing, and nothing will help us.

and

Maybe we’re lying. Then you’d better not stay. But we could be safer, just for one day.

nothing

NoTHING WIll HElP Us

just for one day

we are

Then we could be heroes, just for one day

David Bowie

Maybe we’re lying, then you’d better not stay but we could be safer, just for one day.

p. 10 : RHYTHM

P. 12 : sIZE / sCalE

URBEX Class: Typography IV Instructor: Francheska Guerrero This expressive typeface design is modeled after the letterforms of Helvetica, a ubiquitious font in the signage of city streets. Named after the term â&#x20AC;&#x153;urban exploration,â&#x20AC;? this typeface is a deconstructed, decayed expression of the entropy that one sees in buildings and in exterior signage in urban areas.

No Reservations Required Class: Sophomore Studio I Instructor: Robert McVearry This magazine layout project focuses on vintage motel signage. I incorporated my own photography and wrote the article as well.

animation

Self Promo Animation Class: After Effects I Instructor: Matt Guastafero For this animation project I recreated the look of early video games, namely RPGs and text adventures. Using my own illustrations, the narrative brings the viewer through a brief game simulation with a humorous twist.

Imaginarum Reimagined Class: Typography III Instructor: Francheska Guerrero For this animation project I recreated the opening titles for the Imaginarium of Doctor Parnassus, utilizing objects that are associated with the characters in the film.

Whodunit Class: After Effects II Instructor: Matt Guastaferro This animated short portrays the testimony of a suspect in a murder mystery in a classic whodunit story.

web

The Aliens Class: Interactive Web I Instructor: John Carmody For this CSS web design project I used my own photogrpahy to illustrate a poem by Charles Bukowski.

HUNTINGTON BEACH

INTERNATIONAL SURFING MUSEUM

714.960.3483 411 Olive Avenue Huntington Beach, CA 92648

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Web Redesign Project Class: Design Studio I Instructor: Robert McVearry For this project I redesigned the web site for the Huntington Beach International Surfing Museum, featuring a modular image grid.

HUNTINGTON BEACH

INTERNATIONAL SURFING MUSEUM

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EXHIBITS

FEATURED EXHIBITS

BROOK HALPIN

Billabong Odyssey Brook Halpin Surf Sirens Water, Wax, & Wood

New paintings from his series entitled Headline Surf opens Friday, November 17th

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SURF SIRENS: A PICTORIAL HISTORY On view through March 2011.

ALSO ON VIEW The Art of Rick Blake Legends of the Sea Dick Dale: Guitar God Endless Summer Walk of Fame

BILLABONG ODYSSEY

WATER, WAX & WOOD

Philip Bostonâ&#x20AC;&#x2122;s epic documentary on chasing the biggest waves on Earth. Now showing from the Film Collection.

Visit our broad collection of antique boards spanning over 100 years of surfing history.

714.960.3483 411 Olive Avenue Huntington Beach, CA 92648

HUNTINGTON BEACH

INTERNATIONAL SURFING MUSEUM

VISIT

EXHIBITS

EVENTS

SUPPORT

SHOP

BLOG

FEATURED EXHIBITS Billabong Odyssey Brook Halpin Surf Sirens Water, Wax, & Wood

ALSO ON VIEW The Art of Rick Blake Legends of the Sea Dick Dale: Guitar God Endless Summer Walk of Fame

SURF SIRENS: A PICTORIAL HISTORY California boasts a long line of lady surfers going back at least a century. These beautiful and athletic women leave a legacy of grace and prowess in their wake. Intense, independent, and just as capable as their male counterparts, female surfers have proven their ability to finesse even the most challenging waves. From our extensive archive spanning the past century, this exhibition pays homage to those women who risk their lives to dance on the water. [ see more photos from the exhibition ] 714.960.3483 411 Olive Avenue Huntington Beach, CA 92648

Flash Website Class: Intro to Flash Instructor: John Carmody For this project I designed an interactive website for a fictitious time travel site using Flash Catalyst. This site featured animated` interactive elements.

BRANDING

Science Club Class: Sophomore Studio II Instructor: Nathan Hill This identity design project involved redesigning an existing brand and creating a collateral package for the client, including stationery, merchandise, a web site, and animated web banner ads.

Public Awareness Poster Class: Design Sophomore Studio I Instructor: Robert McVearry This poster uses a compelling graphical language to highlight the dangers of foodborne illness as a means to encourage a healthy vegetarian diet.

Branding Campaign Class: Design Sophomore Studio III Instructor: John Carmody In this project I redesigned the identity for a non-profit organization devoted to preserving architectural landmarks. I designed an array of materials including an app, web site, direct mail materials and informational kiosks.

Branding Campaign Class: Design Studio IV Instructors: John Carmody & Sam Shelton This team project involved developing a campaign concept for increasing voter participation among Hispanic Americans. Our team designed the identity and collateral for the campaign. This project included two PSAs which I developed and animated.

Corcoran College of Art & Design | Junior Studio 2012

creeres.org @CreerEs on Twitter â&#x20AC;˘ facebook.com/creeres

Exhibtion Identity Design Class: Design Lab Instructor: Maria Habib This team project involved developing a identity and exhibition design concept for the Senior Thesis Exhibition. Our team developed the wordmark for the exhibition based on the concept of interweaving connections. In the latter half of the project development, I was tasked with developing the exterior signage with a member of my team.

AN RCOR O C 2 HE F 2 01 AT T SS O A NEXT L C Y 20 4 â&#x20AC;&#x201C; MA 1 L I PR A

MIXED MEDIA

The Journey Project Class: Design Studio III Instructor: John Carmody This multimedia sculpture examines the way in which walking to school or work can mean an encounter with wonderful details otherwise overlooked.

Cigar Box Promo Piece Class: Page Layout Instructor: Antje Kharchi This self-promo piece features double-sided mini postcards of my artwork in a small cigar box emblazoned with my brand. The recipient has to break the seal on the box just like imported cigars.

Designer: Lita Ledesma Corcoran College of Art + Design BFA Design Department Typefaces: Myriad Pro, Minion Pro, Nyxali Printer: Blurb.com

COLOPHON