Mariah Farrens
DESIGN
Inspire GRAPHIC Dream
B ook
Advertising & Public Relations Major Art Minor | English Minor University of Nebraska–Lincoln
Mariah Farrens Beginning Graphic Design/GRPH 221 Process Design Book Professor Stacy Asher
Form as: System
Form as: Identity
Define: Graphic Design?
Form as: Typology
Form as: Language
Contents diary Design Work 1 3 9 13 17
p hap r py s assion Inspir prob ead ing ad an i lem d solv e desi bra ing gn s a in coll o jol l u tion t abo ratio s n
color size movement harmony shape
Hierachy
Graphic Design
Passion
digital typography A Message teamwork white space joyful symmetry
hand-made read cayos imagine FREE
L
Old Brain Jo Crafting lt Solution Joyful New optimist ic
| The power of self discovery |
POW E R F U L
Typogra phy Collabo ration
rhythm
N IO AT
AS TO RY
COMM UN IC
Elements
y unit sive pres E x e G N CHA ing ance al craft tion Conson o m e d gran
C RE A T I V E
Thinking beyond brain storming
Acknowledgments: Typeface used: Garamond considered to be one of the most legible typefaces Visible Signs 2nd edition: Author: David Crow Visible Research: Authors: Ian Noble and Russell Bestley
1
Billboard
Exercise 1
Objective: Relate the message of what graphic design means to you. Using black text only on a solid white billboard.
Define Visual Literacy: Understanding the inter-relationship between principles signs- form- content it is how an object creates meaning. Visual Research page 26 Mariah Farrens |Design Book
2
Typology Form As: Objective: Design a system for making a meaning out of designed artifacts. Gathering form, organizing content, and creating effective visual communication. Graphic Design has been the heart of an ever-changing culture for centurys. When this project was assigned the objective was to create a collection of “like� images that represented an aspect of our culture and that also represented a topic of passion for each of us. The design problem for me was deciding on what topic and direction to take this project. The first step required that we were to go out and take pictures in a one-block radius, so I chose to wonder around South Point Mall in Lincoln, Nebraska. By doing this I came up with a random grouping of images of: car logos, signs, and magazine advertisements. I then narrowed it down to focus solely on the car logos. I was slowly getting to become excited about this project because I have always had an appreciation of cars from my dad, Henry.
Micro
Core
Chevrolet
The weekend of September 14th I went back home to Tekamah, Nebraska and I asked my dad if he had any car memorabilia/ graphic designed artifacts that I could look at and take photos of for this assignment. From doing this, I hit a break through with the direction and my passion behind Project 1; I decided that I was only going to include Chevrolet cars. After rummaging through his piles of graphically design magazines and car manuals I figured out my design solution. I would dedicate this project to my dad and give it to him as a gift. I got news that there was the annual car show in West Point the Sunday on the 15th of September. I planned out all of my pages and attended the show with my dad to capture the old Chevy photos that I needed for this project.
Sign
Connotative
Objective
Subjective
Denotative
Macro
Metaphor
Index
Image Matrix
3
Index
Subjective
Connotative
Metaphor
Objective
Denotative
Macro
Chevrolet Core
Image Matrix
Sign
Micro
Mariah Farrens |Design Book
4
5 ded the three matrices first. My design process was to include a single matrix dedicated to my dad’s M
ont eC
a
ag e s an
hev ero let’ sc
my im
how C
loo ked at
mi ned
arlo .It hen
ge I creaated a c
ges of Cheby’s, I deci
Once I had all of my classic car ima
For the vcover pa
ollage of my dad’s car and magazines to give my project a unique twist.I exa
r ou ped
ocess behind the
dg
h e graphics and design pr r models have altered over the years. T
the m tog e
p wit h diff erent emot
ther based on logo and subject matter. I found it adruous to come u
se cards is
ions for the matrices besides just
atrices were compl
using images over and over. Once the m
ant by
ete I began to arrange my classic images together on the typology page. I tried to keep it consist
usin gt h e fron t
nts the American
astonding as it represe
b u m per s o f the c a r s. T h en Id e c ide dt
of the end result because it was customed designed for my d
hat
ad, Henry. Hig
nb re e x e. I a m mo st p r oud
dream. Being with family and friend and having your heair blow in the ope
I would edit each image in Photoshop and make all of the backgrou
nd black and whit
Image Matrices and picture collection Mariah Farrens |Design Book 6
hlighting alhis things.
e. So that the car was only in color.
The Classics
7
The New Age
Chevrolet Car Typology Mariah Farrens |Design Book
8
Language Form As:
Objective: Find printed materials of images that represent your chosen word. How can you translate your word into image.
When one reads a word there is an automatic image that comes to mind for that person. Words are subjective and their meanings are embedded with deep emotional and physical memories. The goal of Project 2 was to effectively connect text and image and have them unified on a page. Consonance was the word that I had to work with. I began my creative exploration by searching for printed materials that visually showed what consonance meant to me. Define Consonance: Harmony, Unity, Compatibility I faced many challenges-tried many techniques to reach text/image relationship harmony. My first attempts were to use each letter of the word as a blank slate for one image. I thought that by doing this I would incorportate all of the different messages into one. What I came up with was very confusing as it did not translate well in black and white. My second attempt I tried to completely sway away from the computer digital relm. I printed out my images and crafted a collage with my hands and my exacto knife. My goal was trying to merge the negative and positive space as one with all ten images. The end product turned out to represent the antonym of my word, dissonance. I was feeling a little discouraged from this failed attempt and was not sure what to do next. We were then instructed that we no longer had to use all ten images and that we could use as few as we wanted. - Continued page on 12
9
Mariah Farrens |Design Book
10
CON
SO NAN CE
1st final
11
AN ON S N CO
e image e result of my favorit th as w t uc od pr d ion and en onance. In So my final explorat ty of the word, cons ili tib pa m co : on iti feel e defin positive space. I also d that represented th an e tiv ga ne e th that it is a rmony with t everyone notices the end I found ha no as e tiv ec bj su is e itself that the acutall imag ures kissing. silhouette of two fig
CE
Final Poster Design
Mariah Farrens |Design Book
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Form As:
Identity
Objective: Re-draw the original logo and take it through differnt stages of disturbance and re-create a new logo that correlates with the original logo. This project challnged me to learn how to use the pen tool in Adobe Illustrator. The craft and attention to detail was a painstaking challenge and really showed in the end result the time spent on perfection. Trial and error and playing with the lines over and over again really was the key to the success of this assignment. Logo design is a mountain to tackle head on. By taking the logo through multiple steps allowed for complete exploration. The different stages of explotation were: disturbance, diffusion, disintegration, re-collection, re-organization. The goal was to take the logo and show it being put through these different stages. To me, I took the dennotative definition of each word and put the logo through the full force of each word. Through creative exploration I decided the best way was to fully use each word to its meaning and break the logo apart completely. I came up with some sketches trying to decipher where and what this new logo was going to look like. I decided the best way to figure this out was to print off the original logo and start cutting it apart and seeing where that took me. 13
e
anc
rb istu
D
te isin
g ra
te
D
Diff
use
Reo
rga
niz
atio
Re-Coll ec
tion
n
Original Logo
New Logo
Mariah Farrens |Design Book
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Color Exercise 3
Color exploration
floresent vs. dull
lucky vs. unlucky
diaphonous vs. harsh
hyper vs. calm floresent vs. dull
lucky vs. unlucky
diaphonous vs. harsh
15
hyp
mlac .sv repyh
mlac .sv repyh
mlac .sv repyh
hsrah .sv suonohpaid
hsrah .sv suonohpaid
mlac .sv repyh ykculnu .sv ykcul
ykculnu .sv ykcul
hsrah .sv sluluodno.shvptaniedserofl
ykculnu .sv ykcul
hsrah .sv suonohpaid
ykculnu .sv ykcul
llud .sv tneserofl
llud .sv tneserofl
Mariah Farrens |Design Book
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System Form As:
Just a s m a ll slice of my typ
Collection of cut out type
e collec
h e pow er of th e gr
id
tion
17
y far this this was my favorite project as I really got to work with my hands and explore the endless oceans of possibilities of typography. I felt that this project I fully exhausted my possibilities by endless trials and exploration. By being able to get away from the digital mode that graphic designers are so accostumed to these days, I felt as I was able to have more creative freedom and thoroughly enjoyed this craft. The goal of this assignment was to stick to a grid and experiemnt with different layouts utilizing the grid pattern. Was a knowledge of the grid was understood we are able to break the grid and really have some fun.
First, I had to draw with pencils lines on a grid pattern by varing the line weight, density to get different looks. By doing this I was amazed to see how many ways one could organinize information by utilizing a grid pattern. After this step was done it was time to collect as many exampmles of type that I could get my hands on. The type had to be printed materials and it had to be black text on a white background. My first five trials were meticulously cut out and glued onto an 8X8 piece of white paper. I really got into this assignment as I was best-friends with my x acto-knife. I got so involved into cutting out type that I needed a few envelopes to hold all of my cut out letters and words.
My first couple trials I did not take to the computer at all to digitally enhance them. I simply scanned my glued samples and then printed them out. By doing this and seeing them hung up on the wall though, I saw that I needed to “tweak� a few things. I needed to create more depth, more layers, and more sense of hierachy and value. After making twelve different physical examples I decided it was not time to experiment with what I could do with these on the computer. I found that by making each section a different layer I was able to uncover a hidden potential in the forms. My focus on this project was to really relay the elements of design and create depth and flow. Mariah Farrens |Design Book
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Define the 3 sign categories: firstness- the initial gut reaction/mood or emotion secondness- the physical relation-the fact of knowledge thirdness- mentally analize the imagery & the signs.
Trials
Visible Signs page 32
1st round-pinned up
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Mariah Farrens |Design Book
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Final five
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Mariah Farrens |Design Book
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Graphic Design History & Authorism
Exercise 4
Unofficial language has not undergone this institutional process of control; it is internally drien by its own independent logic. Visible Signs (86)
Varvara Stepanova
Unoffic ial langua institu ge has tional not proces s of contro undergone driven this l; it is by its interna own indepe lly ndent logic. Visible Signs (86)
Varvara Stepan o
(1894–1958)
(1894–
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov. Her work consists of nonobjective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.
Russian
painter
1958)
va
and desi
gner birth. She of Lithuanian trained Kazan’ at the Sch 1910–11) ool of Art (c. to Mos In 1912 she cow whe moved attende re she d School the Strogan ov (1913–14 studied with Kon) and Yuon and stantin Her wor Il’ya Mashko k v. objective consists of non new lang visual beg poe the mul uages that bothan to experime try, thus titud nt with revealed were then e such as and serv designs commer reproduced ed for clot cialised on an such industria hing that thro http://w as Zhu l scal rnal Levough popular ww.mu seothy publicat e and ssen.o go Fron rg/en/t ions hyssen ta Isku /ficha_ sstv. artista /542
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Constructivism Movement (1919- 1922)
Unoffi instit cial langu ution al proceage has not ss of drive contr undergon n by its own ol; it e this indep is internally ende nt Visib le Signslogic. (86)
Constru ct Movem ivism ent 1922
(1919-
After the Revolution After the Revolution, Stepanova worked in the Museums office of the Department of Fine Arts and she taught at the Academy of Social Education. Along with many avant-garde artists, Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces. She also contributed to journals and together Rodchenko extensively experimented with photography.
“Lang uage is used as Visible Signs (89) in instram ent
http://www.moma.org/collection/artist.php?artist_id=5643
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After th Revolut e ion (19
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(1894 “Language is used as in instrament of control”
Trials
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(1930-
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Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov. Her work consists of nonobjective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.
e Rev oluti
on
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(1894–1958) Constructivism Movement (1919- 1922)
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
sho wc ase
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rd
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Quickly summarize their importance
Stepanova After the Revolution (1930- 1950)
After the Revolution, Stepanova worked in the Museums office of the Department of Fine Arts and she taught at the Academy of Social Education. Along with many avant-garde artists, Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces. She also contributed to journals and together Rodchenko extensively experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
“Language is used as in instrament of control” Visible Signs (89)
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Const ru Move ctivism me 1922 nt )
Unofficial language has not undergone this institutional process of control; it is internally driven by its own independent logic. Visible Signs (86)
in d esi gn
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
23
Unofficial language has not undergone this institutional process of control; it is internally driven by its own independent logic. Visible Signs (86)
this gone ally not under intern l; it is age has t logic. cial langu ss of contro enden (86) Unoffi proce own indep Signs tional its Visible institu driven by
uanian of Lith of Art (c. igner ool re and des Kazan’ Sch w whe painter the Mosco 3–14) Russian trained at moved to ool (191 stantin She birth. 1) In 1912 she ganov Sch r with Kon 1910–1 nded the Stro studied Mashkov.He ive and ject she atte and Il’ya of non-ob to Yuon s consist thus began uages work lang poetry, visual ent with new served and igns experim h revealed as des that botltitude such e then e t wer ial scal the mu tha hing industr for clot on an through uced reprod mercialised s such as . and com publication ta Iskusstv popularl Levogo Fron 2 rnan/ficha_artista/54 Zhuthysse g/en/ sen.or
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va ra Varva 58) Stepano 4–19 (189
ism ructiv Const vement Mo 19- 1922) (19
phy l philoso a itectura ch was and arch in 1919, whi vement artistic mo ng was an sia beginni us art. The purposes. ctivism in Rus autonomo for social dern art e Constru originated on mo idea of as a practic ds that effect major tren n of the art e great rejectio in favour of had a influencing Its influenc ism was ctiv ent. ture, tury, Constru 20th cen Stijl movem n architec ion the acts upo the De ce, fash ents of movem Bauhaus and major impatre, film, dan nt music. with exte such as pervasive, ign, the to some ial des and was industr c and graphi
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olutio the Rev After- 1950)
the ked in Arts and va wor Stepano ent of Fine on. artm olution, Educati the Rev ce of the Depy of Social After dem ms offi anova Museu ght at the Aca sts, Step ging arde arti iums ran she tau for y avant-gety of med designs and man a vari with orative Along ed works in ting to dec d to journals with ed ute produc itional pain contrib experiment also from trad ces. She extensively spa public Rodchenko =5643 tist_id er hp?ar rtist.p togeth raphy. tion/a collec photog.moma.org/
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e this has not undergon language control; it is internally Unofficial of ent logic. al process institution its own independSigns (86) Visible driven by
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/ficha_artista/542
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ment
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Varvara
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(1894–1958)
Stepanova
Varvara Stepanova –1958) (1894
vism Constructi nt Moveme 2) (1919- 192
ctural and archite ning in an artistic ism was Russia begin omous Constructiv originated in that idea of auton ce philosophy a rejection of the of art as a practi ect was in favour a great eff 1919, which ent was ism had ry, art. The movemses. Constructiv of the 20th centu purpo ents the De for social rn art movem as Bauhaus and major on mode such with major trends was pervasive, industrial g uence influencin graphic and ent. Its infl extent Stijl movem ts upon architecture, n and to some music. fashio , impac e, film, dance design, theatr
Constructivism Movement
volution
the Re After195 0) (1930-
the worked in and Stepanova Fine Arts Revolution, Department of tion. After the the Social Educa office of Museums at the Academy of t she taugh , Stepanova garde artists ms ranging many avantof mediu for designs Along with a variety works in decorative and produced onal painting to journals buted to with mented from traditi s. She also contri experi extensively public space Rodchenko together _id=5643 php?artist y. ion/artist. rg/collect photograph w.moma.o
(1919- 1922)
http://ww
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
t of control” in instramen is used as
e “Languag (89) Visible Signs
After the Revolution (1930- 1950)
After the Revolution, Stepanova worked in the Museums office of the Department of Fine Arts and she taught at the Academy of Social Education. Along with many avant-garde artists, Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces. She also contributed to journals and together Rodchenko extensively experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
“Language is used as in instrament of control” Visible Signs (89)
Final Poster
Mariah Farrens |Design Book
24
DESIGN
Mariah Farrens
Inspire GRAPHIC Dream
B ook
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