GRAPHIC PHOTOGRAPHY INDUSTRIAL ARCHITECTURE
(Portfolio Design Sample)
The following pages are representations of works I have done over my years studying both graphic design and industrial design. (some pages include books layouts that I have published on Issuu.) I also study photography, but have decided not to include any of it due to the heavy load that carrys.
Made In Chicago Entertainment
Made in Chicago is a small company, based in Chicago, that deals with the release of mixtapes which include rap and hip hop artist as well as DJ artist in both the latin and Urban Hip Hop scene. The design had to have the chicago skyline in it, and the name in initials to resemble the name of name rapper and dj in the company.
Made In Chicago Entertainment
EMBA C Five
EMBA C Five
EMBA C Five was an upcoming clothing company from chicago that would have an urban feel to it, but also the company considered having a high class manner to it.
EMBA _C
The company was still in the works, and was unable to figure out what exactly “E M B A C” meant. But it was meant to be an acronym for something. I decided to brand the company in a hip hop manner, though I did suggest “classier“ logo types. Since Chicago was a main theme for them, and five was part of their name, I tried to add the 5 stars of the Chicago flag.
emba_c
CMSIAnnualConference’09 Chicago Public Schools Office of Math and Science
CMSIAnnualConference’09 is a logo designed to withstand years of Annual Conferences. It was made simple and straight to the point.
端bermart
端bermart was a design supermarket for industrial design products a professor of mine developed. It was only a concept, but extra credit was given for a student that would create a logo for it. I was the only student that attempted to do so.
Innovation Center University of Illinois at Chicago
Innovation Center
is a group of both graphic and industrial designers, and at times as well business and marketing students, that go beyond the norm to create products and information design that is both innovative and intuitive. The lead, Marcia Lausen, who helped in redesigning the American voting ballot system, is very keen in understanding information design and taught me a great deal about it. These logo types are from a series of concepts, including colour, image, and meaning, to create the UIC Innovation Center’s corporate identity.
The Switch In Style CTA Banner
For my ungraduate thesis project I decided I would create a series of CTA bus and train banner advertisements. I was able to develop a total of approximately 6 design per subject. There were 3 subjects, Design&Art, The Television, and Expressionism. Displayed are two of the concepts I was able to finalize print and install for a period of time.
American in Transision 1929-1960 The High Life The Art or The Design? Through The Glowing Box
America in Transition is a series of essays split into three categories: International Style, art and design, and the Colour Television. The idea behind the book was to convey a manner of separation, as each essay was it’s own, but also a feeling of unity, because they are all subheading one a larger topic. The International Style essay’s chapeter concept was to convey the idea of tall building with text. By using mainly verticle call outs, lines, and text that is justified I tied to show what the international style is physically. The Art and Design essay’s chapter concept was to use the typography to show a merging and intertwining relationship of both art and design as they at times overlap one another and cannot be defined as either or, or rather both. The Colour Televisions essay’s chapter concept was to give the reader a feel of colour entering a black and white world, per se. The small bits of colour at the beginning of every chapter is to represent the beginning or introduction of colour.
010 | International Style
International Style | 017
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International Style | 025
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03 invisible cities
029 invisible cities
030 invisible cities cities 30 invisible
03 invisible cities
Type
Type is Everywhere
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Erik Spiekermann and E.M. Ginger
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Type is Everywhere
Erik Spiekermann and E.M. Ginger
Unless, of course, you’re filling out your tax return, when they get what they ask for.
If you think about it, you’ll have to admit that business forms process a lot of information that would be terribly boring to have to write afresh every time. All you do is check a box, sign your name, and you get what you ask for. Unless, of course, you’re filling out your tax return, when they get what they ask for; or unless the form is so poorly written, designed, or printed (or all of the above) that you have a hard time understanding it.
Given the typographic choices avaliable, there is no excuse for producing bad business forms, illegible invoices, awkward applications, ridiculous receipts, or bewildering ballots. Not a day goes by without one’s having to cope with printed matter of this nature. It could so easily be a more pleasant experience. 007
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Type is Everywhere
Erik Spiekermann and E.M. Ginger
While onscreen forms offer a very reduced palette of typographic choices, they at least provide some automatic features to help with drudgery of repeatedly typing your credit card number.
Every PC user today knows what a font is, calls at least some of them by their first name (e.g., Helvetica, Verdana, and Times) and appreciates that typefaces convey different emotions. Although what we see on screen are actually little unconnected square dots that trick our eyes into recognizing pleasant shapes, we now expect all type to look like “print.�
Some of the most pervasive typographical messages have never really been designed, and neither have the typefaces they are set in. Some engineer, administrator, or accountant in some government department had to decide what the signs on our roads and freeways should look like. This person probably formed a committee made up of other engineers, administrators, and accountants who in turn went to a panel of experts that would have included manufacturers of signs, road safety experts, lobbyists from automobile associations, plus more engineers, administrators, and accountants.
Signage systems have to fulfill complex demands. In the past this issue has been largely neglected, partly because it would have been almost impossible to implement and partly because designers chose to ignore these problems, leaving them up to other people who simply weren’t aware that special typefaces could help improve the situation.
Typefaces have now been designed with a series of closely related weights to offer precisely the right one. There are no more excuses for badly designed signs, whether on our roads or inside our buildings.
While there is a tendency to overdesign everything and push technology to do things it was never intended to do, like printing onto raw eggs, at least we can continue our typographic training even when deciding whether the food we bought is nourishing or not.
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Display Type
Alex W. White
There are two kinds of type: display and text. Text is where the story is. Display is there to describe content and lure the reader through a sequence of typographic impressions so he can make an informed decision about committing to the first paragraph of text. At that point, the story is on its own and the designer’s job of revealing content is largely done.
Primary Type
Display type stops browsers as it describes the content. It leads directly to secondary type.
There are various opportunities for the designer to describe content and lure browsers. Primary type is usually a headline. Secondary type, intended to be read after the headline and before the text, includes subheads and decks, captions, department headings, breakouts, and pull quotes. Readers are accustomed to looking at big type first, but “display” is not necessarily large type. Nor is “text” necessarily small type. The real definitions are intentional: “display” is the type intended to stop the browser and to be read first; “text” is the destination to which the reader finds himself drawn.
Display type is not necessarily large: its intention is to be seen first. Its visibility is dependent on the surrounding type, so the focal point can be the element with the greatest contrast with its surroundings.
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Three headline styles: 1. Contrast of alignment and position: the headline is visible primarily by separating it from the text; 2. Contrasting typestyles: the headline is visible primarily by setting it in a different typeface; and 3. Type and image integration: the headline is visible primarily by blending the type and image into one impression.
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Alex W. White
Display Type
Headlines and the structure of a page create the personality of printed material. Primary type is used to draw attention to itself, to stop the browser and to lead to a specific piece of secondary type. The secondary type’s purpose, in turn, is to lead to the text. The text is always the final destination.
Headline treatments fall into three categories: alignment and position, contrasting type styles, and the integration of type and imagery. Regard-less of design treatment, a great headline is provocatively written and makes an immediate point.
Typographic Abstraction
There are places where playfulness with legibility is inappropriate. Text, for example, is simply too small to absorb abstraction without substantially losing legibility. But display type is tailor-made for unusual treatments that flirt with illegibility. Display type is meant to attract attention and it is usually big, so letterforms can be read even if they are “damaged.” There are an infinite number of ways to harm letter and word forms and they are all combinations of the nine typographic contrasts. Type abstraction simply pushes a normal contrast to an extreme. Some typefaces are inherently abstract and hard to read. With these, ordinary typesetting is all that’s needed to create an attention-getting abstracted message.
Typographic abstraction can be accomplished in infinite ways. Abstraction exploits the nine type contrasts: color (dark / light), character shape (serif / sans serif), character width (expanded / condensed), density (tight / loose, positive / negative, solid / outline), format (caps / lowercase), position (vertical / horizontal, top/bottom, front / back), size (small / large), stress (vertical / oblique), weight (heavy / light).
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Display Type
“Sometimes you have to compromise legibility to achieve impact.” Herb Lubalin (1918 –1981)
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Furniture Design Sakura Series Stone Series
Furniture Design Series: ever since I decided on learning industrial design I became fascinated, almost infatuated, with furniture design. I sketch up modern and contemporary designed chairs, sofas, tables, and beds while I sleep. The following series, the Sakura series, was to develop a set of furniture with only using 1 piece of material. The material I chose was polyurethane as it is flexible and quite versatile, allowing me to make hard and soft components. The idea of flat packing was also brought up, but the project was short, and there wasn’t enough time to research, sketch, and develop possibilities for flat packing, though the idea is subtle in the manner it’s modeled. The stone series, is a one material alternative that would compliment the sakura series. The material did not have to be made of stone, but of any single rock or rock synthetic material.
Segretto Series
In continuing with the idea of one material furniture, I advanced into the location and need. The location I decided was indoors and the need was the personal. Through research I became aware that many people, at least in Chicago and surrounding suburbs, have safe keeps, or areas of secrecy. I wanted to be able to use the furniture for these purposes. Aside from the bed with the drawer, most of the “hidden� compartments are simple and enhance the structure of the object, by adding support.
Project Red
Project Red was the final chapter of the one material product. After researching, learning, and even seeing first hand, IRT and RecTek technology that literally recycles any and everything creating a new material that is 100% recyclable in itself, I was able to go a different direction. The direction was easy, quick, and piecable homing.