Industrial Design & Graphical Presentation
Name: Xinyu Zheng Nation: China Language: Chinese/English Software: Rhino, Alias, Photoshop, Illustrator, Keyshot Education: Industrial Design Engineering, Chalmers University of Technology
Montage Several elements from different pictures are extracted to synthesis as one single picture.
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A practice of shading and detailing.
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Make use of selecting techiques in Photoshop, the illusion picture was made based on the pictures of myself and other pictures as well.
The Illusion
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A fast rendering practice of a cellphone.
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Making use of the “copy n’ paste” techiques allows fast variant generation.
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Given the vi guides of Volvo Group, a graphical design for a racing boat is required. The design should fit in the visual language and DNA of Volvo. Therefore, a brief study of colors and principles in Volvo’s design is conducted. The visualisation is done by Illustrator.
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Smart Objects Making use of smart obejcts to edit vector elements in Photoshop. The practice includes making variants of logo.
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3D Effect By revolve 3d effect, it is possible to make the volume quickly.
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“
I’ve come to think that Helvetica was never intended to be the cold, perfect, rational typeface it’s portrayable to be. There is a subtle warmth in the shapes that was lost over the years.” - Christian Schwartz
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Neue Haas Grotesk’s original development in the 1950s is a story of collaboration and creative marketing.
I’ve come to think that Helvetica was never intended to be the cold, perfect, rational typeface it’s portrayable to be. There is a subtle warmth in the shapes that was lost over the years.”
The Birth of A Giant
By the mid-1950s, the Haas typefoundry in Switzerland recognized a decrease in sales of
Work on Neue Haas Grotesk began early in the fall of 1956. Over the following months Miedinger
Berthold’s Akzidenz-Grotesk, which was especially popular in the emerging “International Style” of graphic design. President of the company, Eduard
The most distinctive features of the new typeface were consistently horizontal stroke terminals, large x-height, and extremely tight spacing. These features
their sans serif (“grotesk”) typefaces. Their classic designs were less favored than competitors like
Hoffmann, saw an opportunity and commissioned former Haas salesman and designer, Max Miedinger, to design a new Haas Grotesk.
Deviations over time
- Christian Schwartz
and Hoffmann diligently exchanged drawings, proofs, and comparisons with the old grotesks.
together resulted in the typeface’s characteristically dense and vigorous texture.
The immediate success of Neue Haas Grotesk and
Helvetica put pressure on Haas and Stempel to issue additional weights and styles as quickly as possible. Older typefaces were hastily tweaked and renamed to meet the demand for a larger family, leading to many inconsistencies in design and proportions
between the various fonts.salesman and designer, Max Miedinger, to design a new Haas Grotesk.
A Proper Revival
In 2004 Christian Schwartz was commissioned to digitize Neue Haas Grotesk. The project, which he refers to as a restoration, was completed in
2010. With “as much fidelity to the original shapes and spacing as possible”, he carefully redrew the typeface to match Miedinger’s original forms.
Schwartz divided the family into two groups – display styles, which retained the characteristically tight spacing of the original’s larger sizes, and text styles, slightly sturdier and spaced more loosely for smaller sizes. Additionally, he incorporated alternative glyphs, like the straight-legged R which had been available in pre-digital formats. Other amenities like
an Ultra Thin weight, drawn by Berton Hasebe, and additional numeral sets were added, but the essence of Neue Haas Grotesk was preserved throughout.
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Thank you.