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Tasha Ray PORTFOLIO
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I am a confident, motivated designer who believes in perceptive, simple design. Currently, I’m a third year student on BA Visual Communication at the Arts University College at Bournemouth.
This portfolio showcases my work- pieces that are not only successful, but also examples of areas of work I hope to expand on. I’m especially interested in editorial design, experimental and traditional typography and business identities.
Introduction
For further work please do not hesitate to find me at;
http://blue-kid.tumblr.com or you can contact me on;
07780767982 or
3204523@live.aucb.ac.uk
BUSINESS IDENTITY G R E TA G A R B O This brief was to create a business identity for Greta Garbo. Garbo’s identity focuses on her golden years; silent movies and black & white films. The business card is a cinema ticket stub with patterns from the Art Deco era. The patterns are from screen-printing borders, which were then vectored and created into a unique design. This final design was then laser-cut and screen-printed on textured off-white stock. This style allows for glamour and traditional techniques to combine, but also the familiarality that Garbo’s fans felt for her. Although a famous recluse, Garbo’s name is still held in high regard today for her superb acting and strong emotional pieces.
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OPPOSITE PAG E : Printing detail of compliment slip (designed to look like a silent movie dialogue screen) TOP R I G H T: Letterhead design, using the same textured stock as the business cards BOTTOM R I G H T: Detail of cinema stubs in numerous strips
B O O K C OV E R D E SIG N GRAHAM GREENE This brief was to re-design six covers of Graham Greene’s novels. Greene uses a number of different themes through his books, with little poetry. His style is clean and effective, which inspired me to create these collectable special edition hardbacks. The stripes represent the themes running through the novel and the colours are appropriate to the subject. These were printed on textured off-white stock, and the typography would have a spot varnish. These are different from most covers I’ve seen, and give an impact on viewing.
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OPPOSITE PAG E : Back of covers, including blurb and review quote TOP R I G H T: Cover design for ‘The Quiet American’ by Graham Greene BOTTOM R I G H T: Cover design for ‘Getting to know the General’ by Graham Greene
EDITORIAL DESIGN M AG A Z I N E A R T I C L E - PAU L A S C H E R This brief was to design a magazine article, interviewing Paula Scher, a New York grahic designer and fine artist. The interview is from TypeRadio, which was transcribed and then edited by myself. The design rationale was to give a more personal approach to Paula Scher. The hand-drawn illustration was a part of this. as was the typography. The body needed to be legible, but the header and quotes could add to the ‘sketchbook’ feel of the interview. The layout of the interview is both interesting and readable.
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OPPOSITE PAG E : Detail of fonts for second page spread TOP R I G H T: Full layout of the first page BOTTOM R I G H T: Full layout of the second page
LETTERPRESS& SCREEN-PRIN TING I am inspired by traditional methods of print. Creating a modern design with a classic method, can give it new depth and audience connatations. I enjoy to experiment with typography and letterpress. The following letterpress pieces are experimental ways of communicating the words ‘boundary’ and ‘freedom’. The piece opposite was inspired by Alan Kitching’s work.
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OPPOSITE PAG E : ‘Freedom’ letterpress design TOP R I G H T: ‘Boundary’ letterpress design BOTTOM R I G H T: Lasercut stamp for Greta Garbo’s ‘With Compliments’ slip; a part of the previous business identity project
E X P E R I M E N TA L T Y P O G R A P H Y R I C K Y T O M L I N S O N N E W S PA P E R This newspaper explores whether words in print can have the same impact as the spoken word, using Ricky Tomlinson’s speech at the 2009 Shrewsbury Rally. I am greatly interested in the English language and the evolution of speech and words in print. I also used laser-cut MDF and letterpress to create the red stripes. This was printed as a newspaper to appeal to a wider audience across classes. It breeds familiarity as it uses the same colours as English tabloids. It eases access of old ideas in a new format.
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OPPOSITE PAG E : Typographic illustration of clapping TOP R I G H T: Example page BOTTOM R I G H T: Back cover of newspaper with final words by Tomlinson
A3 POSTER P RO M O T I N G B A V I S UA L C O M M U N I C AT I O N The brief was to promote the course BA Visual Communication at the Arts University College at Bournemouth in the form of an A3 poster using your own style of working. I created an MDF stamp that I would usually use to then letterpress the final product. However, I left it as a piece of MDF to convey that visual communication can be anything and can be anywhere. The design is traditional with floral borders and serif typography but it encourages guriella promotion in the form of ‘graffiti’ using this poster as a stamp. It’s very open-ended.
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OPPOSITE PAG E : Detail of serif type TOP R I G H T: Birds-eye view of poster (without floral borders) BOTTOM R I G H T: Detail of overlapping text
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