TABLE OF CONTENTS
Motion
Green Screen Animation 6
Quote Animation
9
Narrative Animation
12
Infographic
15
Two Typographers Animation 18
Movie Title Sequence
21
Public Awareness Campaign
26
Magazine Article Design
29
Design Fundamentals
32
Timeline Book
35
Song Compositional Sequence
38
Expressive Typeface Design
41
Branding
Branding Project
46
Thesis Project
50
Next 2016
56
MOTION
GREEN SCREEN
Title
Mini Sugar Humans
Designer
Mark Delboy
Instructor
Matt Guastaferro
Above Style frames for the Green Screen animation Opposite Page Still from the animation
We were asked to create a narrative that would enable us to explore green screen techniques. Green screen not only allows for new situations and environments that cannot be done in normal film, but the green screen enables exploration of new techniques. For such a project, the easiest route would have been to use backgrounds and designs made in Illustrator. With the Green Screen animation, I took the opportunity to challenge myself and explore working with 3D environments and objects in After Effects. The project not only afforded 3D exploration, but also rotoscoping, image recoloring, and new masking techniques. The Green Screen animation also allowed me to work on my script and editing skills. With the goal of testing my abilities, I decided to create a cereal commercial for a fake ceral brand called Mini Sugar Humans. I wanted the animation to relect the commercials I saw in my youth, which is why the design was similar to Ren & Stimpy and cartoons of the 1950s. The final Green Screen animation is a successful experiment and homage to animation that inspired me.
MOTION 8
QUOTE ANIMATION
Title
Del Preston’s Ozzy Story
Designer
Mark Delboy
Instructor
Matt Guastaferro
For the Quote project, we had to use a audio file to guide the design of a type-driven animation. I immediately knew that I wanted to use Del Preston’s monologue from Wayne’s World II. From the beginning, I knew that the type and animation would have to reflect the feeling of the ludicrous monologue. Playful kinetic typography was used as a means to create visual interest and enhance the narrative of Preston’s story. I also had red text pop onto the animation to highlight Preston’s off kilter self-editing. I decided to include character animations in order to heighten the comedic aspect of the story. Since animation was type-focused, I wanted to emphasize that the characters were often supplemental by designing and animating the characters like puppets. The Quote animation was a great project in developing a fundamental understanding of type and characters in animation storytelling.
Above Still from the Quote animation Opposite Page Styleboards for the animation
MOTION 11
NARRATIVE ANIMATION
Title
Beach Foam Lubricants
Designer
Mark Delboy
Instructor
Matt Guastaferro
MOTION 13
For the
Narrative Animation, we were asked to create an
animation based on group guidelines that included: an individual’s first day of the job, a dramatic event occurs, and the individual gets fired. To tie the three guidelines together, I decided to create a training video of a fake company named Beach Foam Lubricants. The training video followed an individual on their first day while also explaining to the audience how to succeed at the company. The individual doesn’t follow the rules of the company and, by the end of the animation is run out of the building. I was very interested in Risograph printing and thought the aesthetic of printing would fit with the story of an office space. I had initially wanted the visual aesthetic of Risograph blue and pink overprinting, but for the final animation I only maintained the colors. The minimal lines of characters, backgrounds and a logo of the company were chosen in order to parallel the visual language of modern companies. The narrative animation allowed me to experiment with visual aesthetics, type and motion integration, and balancing a clear storyline with project directions.
Above Still from the Narrative animation Opposite Page Styleboards for the animation
INFOGRAPHIC
Title
The Game of Sex Life
Designer
Mark Delboy
Instructor
Matt Guastaferro
We were tasked with designing an animation that conveyed information to the audience. The first hurdle was to figure out a subject that had enough factual information for an animation narrative. In my research I found a plethora of out-of-date and irrational regulations on Americans’ sex lives. Thus I decided that United States sex laws would be a great topic. The next issue was how to convey the information in the animation. I thought that relating the laws to The Game of Life board game would be a good way to move from scene to scene. Looking at old boxes of The Game of Life, I thought of the UPA animation studio and thus used their work as basis for my designs. Based on the board game concept, I wanted scene transitions to not only be playful but to feel like pieces being moved around a board. Thus I had the environment snap together and come apart in a systematic and yet arbitrary way. By using The Game of Life as a template, I could convey the silliness of American Sex Laws while also developing new aesthetic approaches.
Above Stills from the Infographic animation Opposite Page Styleboards for the animation
TWO TYPOGRAPHERS ANIMATION
Typographers
Brody & Barnbrook
Designer
Mark Delboy
Instructor
Francheska Guerrero
Above Style frames for the Two Typographers animation Opposite Page Still from the animation
We were offered a project where two type designers of different aesthetics, design practices, and time periods had to be compared in an animation. While Neville Brody and Jonathan Barnbrook both developed in similar time periods in Britain, they still had very different approaches to typeface design. For the narrative of the animation, I chose to focus on their similarities while acknowledging their differences. Brody and Barnbrook were both expressive in their typeface designs, broke the rules of graphic design, and influenced by British culture. The graphic languages of both designers were blended together in each scene to further demonstrate the connections between Brody and Barnbrook. The designers’ typefaces were intermingled in the animation in order to create interesting visual contrasts and represent the designers’ similarities and differences. The typography was also used as motion components and unexpected kinetic typography was used to convey the rebellious nature of the designers. The Two Typographer animation conveyed not only the history of Neville Brody and Jonathan Barnbrook’s typefaces, but also the edgy and punk nature of their work.
MOTION 20
MOVIE TITLE SEQUENCE
Movie
Ex Machina
Designer
Mark Delboy
Instructor
Francheska Guerrero
With the Movie Title Sequence project, we were instructed use typographic and graphic research guide our conceptual design of a opening credits sequence. I sought to use my research and visual design to create a title sequence that reflected the theme and the main character of the movie Ex Machina. Glitches and flutters of light are used as transitions to emphasize the disruption and tension that occurs through the course of the film. After extensive research, the Gridnik typeface was chosen because the letterforms reflected the hexagons that are so predominant on the main character, Ava, and throughout the animation. Since the movie has a minimal, machine aesthetic, I decided to use simple, geometirc illustrations for the title sequence. Ex Machina relied on reds to highlight moments of danger while blues were linked to the lights on the Ava. Thus I kept my simplistic forms to red and blue to reflect the events of the movie. The movie delves into themes of creation, technology, control, and identity. I designed a narrative that started from a single cell until the creation of a full functional ‘organism’ in order to parallel the themes of Ex Machina. The Title Sequence animation was designed to reflect the organic and inorganic nature of Ava while also insinuating the topics of creation and survival.
Above Stills from the Movie Title Sequence animation Opposite Page Styleboards for the animation
MOTION 23
PUBLIC AWARENESS CAMPAIGN
Title
Identity Theft
Designer
Mark Delboy
Instructor
Robert McVearry
PRINT 27
For the Public Awareness Campaign project, we were tasked to create a cohesive series of posters that catch the viewers attention and convey our point of view in a meaningful way. To inform viewers of the damaging effects of pet surgeries, I compared the results of these procedures to the loss an individual would feel if they were to lose a particular ability. For example, declawing was compared to the loss of limbs to a basketball player. I wanted to connect pet surgeries to human activity in order to drive empathy for pets in these situations. The language of paper cut-outs was used to draw attention to the location of the pet surgeries while also emphasizing the surgical process. Identity theft is a hot topic in our current digital age that is linked to stealing data but also to taking over an individuals identity. I used the phrase ‘Identity Theft’ to underscore what the pet surgeries do to animals. Although the PAC was not conceptually creative in terms of implementation, the series of posters used a collective of creative concepts to impact the viewers’ perception.
Above One of the three PAC posters Opposite Page Potential application of PAC posters
MAGAZINE ARTICLE DESIGN
Title A Slow Track to Nowhere Designer
Mark Delboy
Instructor
Robert McVearry
With the Magazine Article project, we were instructed to create spreads based on any researched topic. The most difficult aspect of the project was the conception of the topic but through research, I was able to narrow down options. I ultimately settled on the topic of streetcars. I had the goal of using the article to convey that the revival of these outdated vehicles is a waste of monetary resources. Images of modern streetcars with historic black and white photos were created in order to portray that these vehicles are outdated. The graphic language of train maps were used to lead the eye through the text while railroad signs were used to emphasize my belief that streetcars are nonessential. The Magazine Article project extended my knowledge in page layout, research and conceptual design.
Above Opening spread of Magazine Article Opposite Page Additional spreads of Magazine Article
PRINT 31
DESIGN FUNDAMENTALS
Project
Gestalt Theory
Designer
Mark Delboy
Instructor
Johan Severtson
PRINT 33
In Design Fundamentals, we were taught the concepts of the Gestalt Theory. We were asked to create compositions, only using shapes and greyscale, based on the Gestalt principles of close-edge, touch, overlap, combine, and continuance. While the task seemed simple, I knew that making compositions in which individuals could clearly distinguish each principle used would be difficult. Thus I started every composition with the goal of clearly communicating the specific principle. I also sought to connect all of the compositions which led to a series that appears to be progressively moving. During the design of the compositions, I often thought of work by Piet Mondrian and industrial architecture. My interests in shapes, dynamic compositions and animation were developed from the Gestalt Theory studies in Design Fundamentals.
Above Potential application of Gestalt Theory composition Opposite Page Gestalt Theory compositions
TIMELINE BOOK
Title
Typological Access
Designer
Mark Delboy
Instructor
Francheska Guerrero
We were instructed to create a French-Fold Booklet depicting the evolution of typography from the nineteenth century to the twentyfirst century. For the book, I focussed on the type development from the industrial revolution through the twenty-first century. The selection of time periods impacted the development of the layout and aesthetic of the book. A rough halftone texture was used over images and in the background to play with the visual language of the print process that has been developed and employed throughout type history. With the Timeline Book project, I challenged myself to try new approaches for type setting and have quotes interact with body text. The project enhanced my knowledge of type history and developed my skills in page layout and book design.
Above Cover of Timeline Book Opposite Page Additional spreads of Timeline Book
PRINT 37
SONG COMPOSITIONAL SEQUENCE
Song
Haemoglobin
Designer
Mark Delboy
Instructor
Francheska Guerrero
The objective of the Song Compositional Sequence project was to choose a favorite song or poem and produce a poster through typographic studies and experimentation. The first hurdle for the project was the typographic research as several weeks were reserved for testing different type setting approaches and compositions until final compositions were chosen. The chosen song, Haemoglobin by Placebo, touches on the subjects of oppression, strength and resurgence while also using the idea of blood as a point of human connection. For the final composition, I wanted to create a layout with texture, movement, and pattern. I also wanted to use text movement to relate to the theme of blood and resurgence. When images were added to the compositions, one final poster felt like a horror film poster while the other felt like a 1970s movie poster. The associations from these images were enhanced by manipulation of text that might occur in each poster setting. Blurring, cutting, and changing the perspective of text were also used to create depth, visual interest and to emphasize the subject of blood and strength against oppression. The Song Compositional Sequence project created a series of successful practices in type setting and expressive type that could be used for future projects.
Above Final poster design for Song Compositional Sequence Opposite Page Potential application of the final poster design
PRINT 40
EXPRESSIVE TYPEFACE DESIGN
Typeface
Encrypted Sans Typeface
Designer
Mark Delboy
Instructor
Francheska Guerrero
We were given the project of designing an expressive typeface. Initially, I was interested in designing a simplified Blackletter or modular typeface. From the research of modular typefaces, a circle and line design led to the concept of a Morse Code-based typeface. The final typeface, Encrypted Sans, blends the modern letterforms of Franklin Gothic with the simple language of Morse Code. Morse Code is a system in which letters are represented by combinations of long and short signals often illustrated as dots and dashes. The phrases of distress and common transmission lingo are embedded in each letter of the typeface. By rounding the dashes and playing with space between forms, Encrypted Sans creates a futuristic font that is reminiscent of text in digital displays. Encrypted Sans was designed with two versions. Encoded is the lightweight version whose delicate forms are best suited for large displays. While Heavily Encoded is the bold version ideal for smaller printed works. Much like the Morse Code that inspired it, Encrypted Sans is versatile font that is both technological and connective. The demanding aspect of the project was designing each letterform and punctuation within the shape and morse code language constraints. The most rewarding deliverable for the project was designing the potential applications and usages of the typeface in the real world. The Expressive Typeface Design project enhanced my systems design techniques as well as built upon my skills of conceptual development.
Above A letterform example of the Encrypted Sans typeface Opposite Page Potential application of typeface for an AIGA Conference
BRANDING
BRANDING PROJECT
Company
Duplex Diner
Designer
Mark Delboy
Instructor
Robert McVearry
After being assigned a DC-based business, we were tasked with designing the company’s logo and branding. I was assigned Duplex Diner, a fun and comfortable local restaurant. The logo concept and design was quickly developed while the application of branding proved to be more of a challenge. The logo was conceived from the idea that Duplex Diner is unique and treasured restaurant. The logo combines the D of Duplex Diner with the diamond, a precious gemstone. I initially had difficulty finding a brand application that would harken back to the logo but emphasized the quirkiness and uniqueness of the restaurant. The application of brand was developed using 1930s and 1950s images combined with the visual language of lines and geometric shapes of modernism posters. The overlapping and connected shapes assert the stability and strong bonds of the Duplex Diner community. By employing different colored triangles, I highlighted the diversity that the Duplex Diner nurtures. The branding project developed my knowledge in logo development, type and branding as well as enhancing the charateristics of my design approaches—playfulness and dynamism.
BRANDING 47
Above Logo development for Duplex Diner Opposite Page Potential posters and website for Duplex Diner
THESIS PROJECT
Title
The Cult of the Ugly,
the Branding of Anti-Design
Designer
Mark Delboy
Instructor
Matt Guastaferro
Above Still from Jagermeister animation
The only restriction of the thesis project was to find a
final draft. The Jagermeister Minimal rebranding focused on the
cultural problem and offer a solution through design. The
key components of the current logo —the deer, cross and circle.
thesis project provided two obstacles, the first was in
The Yuengling Minimal rebranding took the eagle and barrels of
determining the scope of the project. Conceiving and deciding
the current logo and adjusted the icons to be more circular to
on a topic that proved challenging and interesting enough, took
recall the barrel shape and the letter Y. The second challenge
weeks of research and brainstorming. Finally, I chose to focus
was the Anti-Design approach. After thorough research, all
on the topic of applicability of Anti-Design to current design
designs were sketched within the computer while using historic
practices. The desire for accessibility and functionality has
designers Anti-Design techniques. The work of David Carson was
guided current designers towards a minimalist aesthetic. But
the inspiration for the Jagermeister Anti-Design approach.
Anti-Design can also communicate to viewers and thus has a
The current Jagermeister logo’s type was broken up and used
place commercially. Minimalist designers follow standard rules
to redesign the new logo. The design approaches of Wolfgang
for effective design solutions. However, individuals who used
Weingart were used to create the Yuengling Anti-Design logo
Anti-Design, whether it be postmodernism, deconstructionism or
that defies the rationality and legibility of logo and type. The
‘ugly design,’ have been condemned by minimalists for breaking
logo and design approach were then used to create four animated
design “rules.” For the project, I rebranded Yuengling and
commercials. Although the thesis arguement is debatable, I have
Jagermeister in Minimalist and Anti-Design aesthetics. The
learned the fundamental role of research for design as well as
process of the minimal aesthetic went quickly from sketches to
new approaches to the design process.
BRANDING 52
E S T. 1 8 2 9
YUEN G LIN G
Above Process for the Minimalist Logos Opposite Page Final Minimalist Logos
BRANDING 54
YUENGLING
YUENGLING
Above Potential application of Yuengling logo to a product Opposite Page Process for Anti-Design logos
NEXT 2016
Company
Corcoran School of the Arts & Design
Designer
Mark Delboy
Instructor
Francheska Guerrero
The NEXT Branding is a comprehensive branding program for the Corcoran School of the Arts & Design Thesis Exhibition. The theme for the 2016 NEXT Thesis Exhibition was collaborative collage. Collaborative Collage was created by pulling apart the various weights of the typeface Avenir and putting them back together to create a new word mark with the N-E-X-T letterforms. The wordmark’s reconstructed look conveys the collaborative nature of the school, and its interdisciplinary approach. I worked with a team of student designers to complete sets of deliverables including strategy, messaging, word mark, banners, signage, murals, microsite, app, gallery guide, invitation, digital and print advertisements, merchandise, and a seating system which functioned as a freestanding sculpture. The intensive branding process refined my skills in print and motion design as well as designing in a group environment.
BRANDING 57
BRANDING 58
Above Interior sculpture displays Opposite Page Interior banner and doorway signage
COLOPHON
Designer
Mark Delboy
Degree
BFA Digital Media
Corcoran School of the Arts & Design
at the George Washington University
Typefaces
Menlo, ITC Officina Serif
Paper Stocks
Hard Cover, Image Wrap; Proline Uncoated
Printer
Blurb.com