Graphic Design Process Book by Noel Jovany Castro Corona

GRAPHIC DESIGN

PORTOFOLIO

PROJECTS PROJECT 1: FORM AS IDENTITY PROJECT 2: BOOK JACKET PROJECT 3: DESIGN HISTORY PROJECT 4: MAGAZINE

PROJECT 1 FORM AS IDENTITY Program: Adobe Illustrator

NESILC 2

Creative Brief Assignment: The assignment is to design a corporate identity for NESILC. The logo has to represent the interest and mission of the company. Concept: This corporate identity represent NESILC through the use of the color blue as an accent, the color blue is the color used for the international symbol access. Aditionally, the color blue is used on the abstract person

on a wheel chair that was illustrated. The person in the wheel chair is raising itâ&#x20AC;&#x2122;s arms signifiying that NESILC makes disabeled people happy. About NESILC: The mission of the Nebraska Statewide Independent Living Council, Inc. (NESILC) is to partner with the Independent Living Network to promote Independent Living and facilitate systemic change that promotes independence, inclusion, non-discrimination, and dignity for all people with disabilities in Nebraska.

LOGO PROGRESSION

1st Entry

COLOR PALETTE

NESILC Final Entry

PROJECT 2 BOOK JACKET Program: Adobe Photoshop

Assignment: The assignment is to design a cover for the book “Culture of Politics: “The Story of Native Land Claims in Alaska” written by Dr. Kirk Dombrowski. The book cover must be designed after reading the first chapter of the book, which was provided by the instructor. The ultimate goal is to design a cover that will attract readers that also gives the readers an idea of what the story is about. Concept: The cover is suitable for the book because the story is mainly about the conflict between religion and culture. The victims are the natives who are leaving behind their culture. That is why their is man observing as a totem pole and the culture he is trying to leave behind, burns away.

About Culture of Politics “The Story of the Native Land Claims in Alaska: Author Kirk Dombrowksi roots tensions in a history of misunderstanding and exploitation of native life, including, most recently, the consequences of the Alaska Native Claims Settlement Act of 1971. He traces the results of economic upheaval, changes in dependence on timber and commercial fishing, and differences over the meaning of contemporary native culture that lie beneath current struggles. His cogent, highly readable analysis shows how these local disputes reflect broader problems of negotiating culture and Native American identity today. Revealing in its ethnographic details, arresting in its interpretive insights, Against Culture raises important practical and theoretical implications for the understanding of indigenous cultural and political processes.

Sketches as I read

Intermediate sketches

Final Product

PROJECT 3 DESIGN HISTORY Program: InDesign

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David Carson’s boundary-breaking typography in the 1990s, in Ray Gun magazine and other pop-cult books, ushered in a new vision of type and page design -- quite simply, breaking the traditional mold of type on a page and demanding fresh eyes from the reader. Squishing, smashing, slanting and enchanting the words on a layout, Carson made

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DESIGN

CONTRAST

DAVID

I AT ENT L O ISCORD

solemn” “good design is serious not David Carson’s boundary-breaking typography in the 1990s, in Ray Gun magazine and other pop-cult books, ushered in a new vision of type and page design -- quite simply, breaking the traditional mold of type on a page and demanding fresh eyes from the reader. Squishing, smashing, slanting and enchanting the words on a layout, Carson made the point, over and over, that letters on a page are art. You can see the repercussions of his work to this day, on a million Flash intro pages (and probably just as many skateboards and T-shirts).

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FAILED

SCHER PAULA

The tag “rock star” is recklessly applied to everyone from bloggers to biochemists, but in Paula Scher’s case it couldn’t be more appropriate. As a rock star designer, she’s cooked up everything from Boston album covers to Elvis Costello posters, pausing somewhere in between to trash the ubiquitous visual authoritarianism of Helvetica. She’s also created some of design’s most iconic images, like the Citibank logo. She is a partner in the renowned design firm Pentagram, and in 2001 received the distinguished AIGA medal.

Creative Brief Assignment: The assignment is research period or artist and then create a PDF presentation on the research. Aditionally an infographic poster has to be designed, presented to class and hung on the design floor. Concept: This poster succesfully portrays Paula Scher’s unique style of designing. Aditionally if briefly gives an introduction to postmodernism. The kid is given the voice of postmodernism. About Postmodernism and Paula Scher: Postmodernism is a late 20th-century style and concept in the arts, architecture, and criticism that represents a departure from modernism and

has at its heart a general distrust of grand theories and ideologies as wellas a problematical relationship with any notion of “art”. The tag “rock star” is recklessly applied to everyone from bloggers to biochemists, but in Paula Scher’s case it couldn’t be more appropriate. As a rock star designer, she’s cooked up everything from Boston album covers to Elvis Costello posters, pausing somewhere in between to trash the ubiquitous visual authoritarianism of Helvetica. She’s also created some of design’s most iconic images, like the Citibank logo. She is a partner in the renowned design firm Pentagram, and in 2001 received the distiguished AIGA medal.

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Inspiration

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PO ST M P LA O Y D FU L ER N IS M

CARSON

emn” good design is serious not sol DAVID “David Carson’s boundary-breaking typography in the 1990s, in Ray Gun magazine and other pop-cult books, ushered in a new vision of type and page design -- quite simply, breaking the traditional mold of type on a page and demanding fresh eyes from the reader. Squishing, smashing, slanting and enchanting the words on a layout, Carson made the point, over and over, that letters on a page are art. You can see the repercussions of his work to this day, on a million Flash intro pages (and probably just as many skateboards and T-shirts).

SCHER PAULA

Color Pallete

Final Product

PROJECT 4 MAGAZINE Programs: Adobe Indesign, Illustrator, Photoshop

Architecture today

$ 18.99 December 2013

DESIGN FOR QATAR 2022 WORLD CUP STADIUM

architecturetoday.com

PEAK PERFORMANCE OUT FROM THE MASTER SHADOW

Creative Brief Assignment: The assignment is to design choose a magazine and design a front and 2 articles. Consistent design elements are essential. Concept: The front cover and articles are examples of what architecture magazines are composed. This specific cover and articles are succesful as a result of a complex grid and modern design style.

Architecture today Architecture today

ARCHITECTURE

today

$ 18.99

architecturetoday.com

1st Entry

DESIGN FOR QATAR 2022 WORLD CUP STADIUM PEAK PERFORMANCE OUT FROM THE MASTER SHADOW

Transition

architecturetoday.com

December 2013

PEAK PERFORMANCE OUT FROM THE MASTER’S SHADOW

December 2013

$ 18.99

$19.99

DESIGN FOR QATAR 2022 WORLD CUP STADIUM

DESIGN FOR QATAR 2022 WORLD CUP STADIUM PEAK PERFORMANCE OUT FROM THE MASTER SHADOW

Final Product

Architecture Today

December 2013

ESSENCE OF THE DHOW

Al Wakra Stadium

Image courtesy of ZHA

Qatari heritage with the design and materials inspired by the traditional dhow boat.’ Hassan Al Thawadi, Secretary General, Qatar 2022 Supreme Committee, added: ‘We are at an advanced stage in our planning. Al Wakrah is the first of six stadiums already in the latter stages of the design process. Our committee has issued ten major tenders to the market encompassing project and design managers and stadium-operation consultants.’ After a rigorous design process, undertaken by the Qatar 2022 Supreme Committee, in coordination with its stakeholders, the local construction market will see real work and progress. Works will begin to be visible on stadium sites. In 2014, tenders will be issued for early works, enabling works and main contractors for five stadiums. These stadia will be in different construction stages by the fourth quarter. ll construction contracts for the stadium will be issued in line with the Qatar 2022 Supreme Committee’s Workers’ Charter and

Al Wakra, Qatar

ZHA ARQUITECTS

Image courtesy of ZHA

standards – developed in consultation with international human rigts organizations – which will enforce best practice, in line with the government’s vision for worker welfare, and cement the tournament as a catalyst to the improvement of workers’ welfare within Qatar and the region. AECOM Chairman and Chief Executive Officer John M. Dionisio said: ‘AECOM is pleased to play a part in the global launch for the Al Wakrah Stadium Project and Congratulates the Qatar 2022 Supreme Committee on reaching this important milestone in its delivery programme and to support the Qatar 2022 Supreme Committee in reaching its vision. This is an exciting time for Qatar, and our global team of forward thinking sports experts is well equipped to take on the innovative challenges that a project of this caliber will demand.’ Zaha hadid added: ‘We are excited to be working on Al Wakrah Stadium. The design expresses its context, establishing a relationship with the city and its surrounding landscape.’ Image courtesy of ZHA

Architecture Tofay

December 2013

ESSENCE OF THE DHOW

ZAHA HADID Director of ZHA Architects AA Dipl, RIBA, ARB, BDA, AIA Profile:

Zaha Hadid, founder of Zaha Hadid Architects, was awarded the Pritzker Architecture Prize (considered to be the Nobel Prize of Architecture) in 2004 and is internationally known for both her theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary exploration and research in the interrelated fields of urbanism, architecture and design. Hadid’s interest lies in the rigorous interface between architecture, landscape and geology as her practice integrates natural topography and human-made systems, leading to experimentation with cutting edge technologies. Such a progress often results in unexpected and dynamic architectural forms. Education: Hadid Studied architecture at the Architectural Association from 1972 and was awarded the Diploma Prize in 1977.

Teaching:

She became a partner of the Office for Metropolitan Architecture, taught at the AA with OMA collaboators Rem Koolhaas and Elia Zenghelis, and later led her own studio at the AA until 1987. Since then she has held the Kenzo Tange Chair at the University of Illinois, School of Architecture, Chicago; guest professorships at the Hochschule fur Bildende Kunstein Hamburg; the Knolton School of Architecture, Ohio and the Masters Studio at Columbia University, New York. In addition, she was made Honorary Member of the American Academy of Arts and Letters, Fellow of the American Institute of Architecture and Commander of the British Empire, 2002. She is currently Professor at the University of Applied Arts in Vienna, Austria and was the Eero Saarinen Visiting Professor of Architectural Design at Yale University, New Haven, Connecticut.

Awards:

Zaha Hadid’s work of the past 30 years was the subject of critically acclaimed retrospective exhibitions at the New York’s Solomon R. Guggenheim Museum in 2006, London’s Design Museum in 2007 and the Pallazzo della Ragione, Padua, Italy in 2009. Her recently completed projects include the MAXXI Museum in Rome; which won the Stirling award in 2010. Hadid’s outstanding contribution to the architectural profession continues to be acknowledged by the world’s most respected institutions. She received the prestigious ‘Praemium Imperiale’ from the Japan Art Association in 2009, and in 2010, the Stirling Prize – one of architecture’s highest accolades – from the Royal Institute of British Architects. Other recent awards include UNESCO naming Hadid as an ‘Artist for Peace’ at a ceremony in their Paris headquarters last year. Also in 2010, the Republic of France named Hadid as “Commandeur de l’Ordre des Arts et des Lettres’ in recognition of her services to architecture, and TIME magazine included her in the 2010 list of the ‘100 Most Influential People I the World’. This year’s ‘Time 100’ is divided into four categories: Leaders, Thinkers, Artist and Heroes – with Hadid ranking top of the Thinkers category.

ZHA projects:

Zaha has played a pivotal role in a great many Zaha Hadid Architects projects over the past 30 years. The MAXXI: National Museum of 21st Century Arts in Rome, Italy; the BMW Central Building in Leipzig, Germany and the Phaeno Science Center in Wolfsburg, Germany are excellent demonstrations of Hadid’s quest for complex, fluid space. Previous seminal buildings such as the Rosenthal Center for Contemporary Art in Cincinnati, USA, have also been hailed as architecture that transforms our vision of the future with new spatial concepts and bold, visionary forms. Currently Hadid is working on a multitude of projects worldwide. Image courtesy of ZHA

Architecture Today

December 2013

PEAK PERFORMANCE

Tylorean Festival Hall

Erl, Austria

DELLUGAN MEISSL ASSOCIATED ARCHITECTS 91

Tylorean Festival Hall │ Erl, Australia │ Delugan Meiss │ Associated Architects

PEAK PERFORMANCE A concert Hall carves its own niche in the Austrian Alps while bowing to the neighboring midcentury playhouse and the breath taking landscape beyond.

BY TRACY PHOTOGRAPHY BY BRIGIDA GONZALEZ

Architecture today

December 2013

PEAK PERFORMANCE

In the picturesque Austrian village of Erl, just east of the German border, where the rugged Alps seem to descend from the heavens to meet the undulating valley below, a striking, angular structure, the Tyrolean Festspielhaus, or Festival Hall, pierces the landscape that inspired it. “We conceived of the building as tectonic plates shifting over one another,” says Sebastian Brunke, one of the project architects (along with Jörg Rasmussen), of the Viennese firm Delugan Meissl Associated Architects (DMAA). “The opening between the two plates forms the foyer, which glows at night and through which the Alpine landscape flows like a carpet.” Reflecting the mountains above, the upper volume’s sharply pointed cantilever juts out almost 100 feet. Its radical design juts out, too, in Erl–a typical Tyrolean town of traditional wood chalets with flowerboxes full of geraniums. The new concert hall, with its horizontal orientation and stern, thrusting forms, is also a counterpoint to its predecessor, the adjacent Passionsspielhaus, or Passion Playhouse, a swooping white performance space by Tyrolean architect Robert Schuller. Built in the late 1950s to host a Passion play once every six years (a local tradition that dates back to the early 17th century), the uninsulated, nautiluslike building is only able to operate during the warmer months. Thanks to the new venue, the Tyrolean Festival organization, with its own orchestra and choir academy, is now able to extend its program of opera and classical music into the winter. “In order to wrap a volume like this, with its two intersecting planes,” explains the 33-year-old Brunke, “we broke the envelope down into elements whose pattern does not have a discernable direction.” Lending

Tylorean Festival Hall

Erl, Austria

a reptilian texture to the sleek, origami-like form, a skin of charcoal-colored fiber cement panels shrouds the building and takes on various shades of black and gray depending on the angle of the sun. The surface is composed of modules, each consisting of four panels—two chevron-shaped pieces and two irregular quadrilaterals—mounted on metal frames secured to the building’s steel structure as if part of an elaborate jigsaw puzzle. The influence of the Alpine topography continues past the concert hall’s sculptural exterior. Inside, the double-height foyer narrows and widens, reflecting the nature of the site in its 3 percent slope up from west to east. Traversing the building means feeling the sensation of moving up or down that gradient. This is emblematic of the architects’ larger design approach, where expanding and contracting spaces guide visitors through their buildings, causing them to experience the dimensions of the architecture in a more conscious way. The lobby’s acutely angled walls mirror the dark facades beyond, as well as to the surrounding mountainous landscape, which seeps in through strategic slashes in the walls. Inserted into this public space are a bar, cloakroom, and ticket counter whose darkly hued interiors contrast with the bright white of the lobby.

DELLUGAN MEISSL ASSOCIATED ARCHITECTS

hued interiors contrast with the bright white of the lobby. Beyond the foyer, visitors enter the 732-seat concert hall, the heart of the building. The space is relatively square; the architects altered the original competition-winning design, which was longer and narrower, to cut costs by minimizing excavation into the hillside behind. Even so, a massive quantity of stone and soil had to be removed to anchor the building in the slope. Adjusting the concert hall’s proportions also brings the audience closer to the stage, creating a more intimate experience. This “folded cave,” as Brunke describes the hall, is lined in oiled acacia panels installed with impeccable workmanship. Flexibility was key to the design. The orchestra pit can be raised mechanically to the same level as the front of the hall, making it possible to add 130 chairs. And it can be raised farther, to the level of the stage, to hold a full orchestra. Movable wood panels in the wings can alter the width of the stage from 59 to 69 feet, to accommodate anything from chamber music to opera. Offices, rehearsal areas, and dressing rooms are tucked into the irregular “leftover” spaces between the rectangular hall and the assertive facade.

THE HILLS ARE ALIVE Anchored in a grasssy slope, the new building holds an unlikely dialogue with the adjacent Passionpielhaus, which has hosted Passion plays (acted out by the towns people) once every six years since the 1950’s.

THANK YOU!