Terrence Coleman 18110 Hayloft Dr. Derwood MD, 20855 Tcoleman042@gmail.com (301)-922-4147
Education: Professional Experience:
University of Maryland, College Park 2007-2012 Degree: BA Studio Art, Graphic Design Access Intelligence Fall 2012-2013, Freelance Designer Free Lance Designer Fall 2012-Ongoing University of Maryland Library Fall 2011, Assistant Designer Route One Apparel Fall 2009- Fall 2011,
General Dynamics Summer 2010, Engineering Technician Whitetail Ski Resort Winter 2008-2011, Snowboarding Instructor Ski Chalet Winter Seasonal 2007-2013, Ski and Snowboard Technician
Graphic Designer
Technical Skills: Design Skills:
About Me:
a
Adobe CS5: Photoshop, Illustrator, InDesign, Basics in DreamWeaver Microsoft Office: Word, PowerPoint, Excel Others: Basics in Final Cut Pro, HTML Coding, Prezi Presentation Service - Logo and Brand Identity Design - Page Layout Design - Ad Design - Photo Re-touching - Understanding of Sustainable Design
- Packaging Mock-ups - Computer Illustration - Technical Drawing - Hand Illustration - Working with different mediums
Played Club Lacrosse at University of Maryland Enjoys snowboarding Hardworking Driven to succeed A Team Player
Logos and Identities Chelsea’s Pops B L A C K B I R D NAVIGATION
Logo created for a Cake Pop Company. See Stationary (Page 3)
Logo concept for a company based around aware location technologies. See Stationary (Page 3)
MARYLAND F.C.
By Annie
Logo created for a homemade jewelry company.
A logo designed for an adult soccer league team. See Stationary (Page 3)
F R A M E GLOW M O L D O VA
Identity for Girls Leading Our World located in Moldova.
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A logo for a photographers online portfolio.
Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Logos and Identities
ROUTE O N E APPAREL Logo concept for University of Maryland company.
Word mark concept for high end boutique restaurant.
Logo concept for a prominent energy company.
f Italy Product o Word mark concept for an Italian wine company.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Stationery Business card concept for “Chelsea’s Pops”
Complete stationery set for Blackbird Navigation. Letterhead, Envelope and Business Cards.
Actual display of printed crests ready for jerseys. Jerseys printed to the right.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Promotional Mailer Sea Shepherd Society Non-Profit This project focused on using sustainable techniques to cut cost of the mailer while still creating a very original piece. My focus was on recycled paper and the use of folds to cut out adhesives.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Signage University of Maryland, Art Building Signage A school project where my class worked together as a team to produce the best solution to a long existing problem in our art building at the University of Maryland. The goal was to make the building easier to traverse by revamping the signage in a modern, yet easily navigable way.
Every piece was developed by a separate group within the whole team. The directory, floor signage, and faculty signage were developed within my group.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Signage University of Maryland, Art Building Signage Working together, this is the signage we came up for our specific pieces. I worked primarily on the faculty signage.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Signage University of Maryland, Art Building Signage
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Layout-Text and Image Curated Museum Project Layouts designed for a self curated museum of your choosing. The project had to follow the guidelines of one piece for any type of design, one modern artist, and a cliche of the Mona Lisa.
R et u r n o f t h e
As I enthusiastically revved the GT-86’s 2.0-liter, 200hp flat-four up to 5500 rpm, or about 2000 rpm shy of redline, I dropped the clutch, and, unlike any Toyota before, the tiny coupe lit up its rear tires as if they were Ground Bloom Flowers on July 4. It’s a good thing After 3 seconds of mellifluous tire screeching, the FT-86’s Michelins hooked up, and I proceeded to effortlessly flick the Miata-esque Aisin six-speed manual from gate to gate, glancing up at the rearview and watching the runway at the decommissioned El Toro Marine Base quickly fade into the horizon. Few cars have made me miss bachelorhood quite like the GT-86. The Lamborghini Aventador didn’t. Neither did the Ferrari 458 Italia. Why? Well, those Italian exotics are so expensive that, regardless of my marital status, they would require that I be filthy rich, which I’m not. The GT-86, on the other hand, is set to start at around $25,000 -- that’s downright reasonable. So if I were flying solo and free of such familial expenses as a mortgage and the kid’s college fund, the GT-86 would reside in my garage. And the Premium isn’t so base, what with standard HID headlamps, navigation, Bluetooth phone and audio, a leather-wrapped shift knob and steering wheel, and a Torsen limited-slip differential. Better still, the GT-86 treats the driver to all the MX5’s chassis greatness -- the direct, linear steering; the composed, taut ride with a touch of softness; the firm, reassuring brakes; the initial understeer that
The GT-86 is the more athletically capable younger brother of the AE-86, which was considered underpowered. The FT-86 boasts a 200 HP boxer engine.
For the design portion, I chose this car called the AE-86.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
transitions gently and predictably to controllable oversteer -- but adds a quiver-free fixed-roof body that communicates chassis behavior with even more precision. The GT-86 is undeniably superb. For the money, its grin-getting straight-line quickness, 22/30 mpg city/highway fuel economy (25/34 with the sixspeed automatic), seemingly extrasensory chassis response, seven-airbag passive safety suite, and straightforward and aesthetically Subaru’s most creative creation a force to be reckoned with.
The FT-86 has a boxer engine. This is because the car was engineered by Subaru.
Layout-Text and Image Curated Museum Project
T h e A r t o f Ta k a s h i Mu r a k a m i Takashi Murakami has been continuing to gain international acclaim with his outlandish theory dubbed Superflat. This term that he has labeled his art is not based solely on the fact that his art does have an inherent flatness to it, playing off of his traditional Japanese art roots as well as anime and manga style art, but the fact that this theory disguises and masks Murakami’s underlying depth of thought when creating these pieces. Murakami’s superflat style represents Japan’s fogged memory of what high art and low art are post World War II and how art has not
grown in Japan since then, but merely remained flat and thoughtless. However this is not the case at all as Murakami’s style has developed through these “kitschier” styles of art such as manga and anime, he continues to push what is actually considered “high art” and “low art” creating a beautiful intermediary style. Murakami has also utilized techniques that have been seen in earlier forms of Japanese art such as Ukiyou-e themes as well as production to bring his art to the masses as a product as well as an art form. Superflat as described by Dick
Hebidge “functions like the ancient Trojan horse to penetrate the art and fashion world’s defenses and to neutralize whatever vestiges remain in the age of the corporate sponsored art”(Hebidge, 24). This unique style that Murakami has created has an immediate ability to intrigue people regardless of who is looking at it. This in some cases can be argued as a Kitsch style of art where it is sold cheaply and produced quickly but Murakami has his eyes set on a
bigger goal. His pieces function as gateways to events that have occurred in the past but it takes a very trained eye to see these small reminiscent details of Japans rocky path with America. One of Murakami’s first and most prominent pieces was his advent of his mascot Mr. DOB who is described as “Mickey Mouse’s Asiatic cousin”. (Hebdige,32) The character has the same silhouette as Mickey, but is often disfigured or morphed into something more sinister. Other influences include a catlike robot character from a comic called Doraemon and Sonic the Hedge Hog who appears in a video game (Schimmel,65). What does this have anything to do with the piece that I have chosen to work on? Murakami’s original philosophy for the superflat movement was created by pre-existing ideas production and art in
popular culture. This is a huge driver in all of his art; that art does not have to be one thing or the other as long as the message is universal. This idea of universality has been present in Japanese art for years dating back to the Momoyama period, where the idea of beauty was thought to be based on the scars of the object itself, the history of it. Murakami alludes to this idea that, Japan’s history is now shaping its culture as well as the worlds and this could potentially be good as well as bad. The piece that I chose to do is Murakami’s Superflat First Love which is actually doubles as an ad campaign for designer brand Louis Vuitton. This may sound strange that I’m talking about a fashion brand and an artist, but the fact is that Murakami’s work still has that universality that I brought up before. The media of the work comes in a commercial art form called anime, a style that Murakami relies heavily on. This paired with a trending
For the modern artist portion, I chose Takashi Murakami and his SuperFlat art style.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
topic in Japanese society called Sado Cute which in contrast to the U.S. relies heavily on the fact that Japanese culture has seen a spike in the “female corporate executive” and distributes a more “equitable distribution of [femininity ] across the sexes (Hebdige,41). This in itself helps build a strong short story that ultimately helps sell bags for Louis Vuitton. The video starts out with the main protagonist if you will; standing in front of a Louis Vuitton store in an undisclosed city locale, my guess would be Tokyo as she is wearing the traditional Japanese school girl attire. This character could be considered a “kawaii which is a school girl from the Tokyo burbs”(Hebdige,41), who would be very into fashion as well as accessories that Louis Vuitton has to offer. As she is standing in front of the store, this Murakami creation called Panda walks by her. It has a similar aesthetic
Layout-Text and Image Curated Museum Project
Moni-manga! Manga: Japan’s Contemporary Art is an exhibition that is supposed to help bridge the gap between Japan’s rich art history and its contemporary counterpart, the SuperFlat movement through the manga connection. The focus of this exhibition includes works from some of Japan’s most famed artists and they include Hokusai, Osamu Tezuka and Takashi Murakami. This exhibit also includes some of Japan’s most popular manga and anime. Japan is rich in art; it is just a matter of what exactly is considered high art and what is considered kitsch. This exhibit is not supposed to not make a direct conclusion for separating the two, but allow the viewer to interpret what they believe is the correct right answer. My primary focus as a curator was to provide an engaging exhibition that will allow the viewers to use all of their senses to view the material provided. This includes televisions and mangas for the patrons to touch and listen too. As the curator I want the exhibition to feel as if the patron is walking through a manga that is entitled “Manga: Japan’s Contemporary Art”. The first thing considered when creating this exhibition is what exactly it was going accomplish as an exhibition? What themes was the viewer going to be trying to understand as they walked through? I weighed
these options and thought of theme that I have been trying to figure for awhile. I was curious to know how the characters in manga and anime got their personalities. I had concluded that it was based on a similar system as the archetypical hero found in Greek and Roman stories; the difference is that Japan would have not had any influence from these cultures. So I figured that the way the characters were created was rooted in Japanese culture in some way rather than being an imported creation. I wanted to get to the bottom of this and it turned out I was correct. My research lead me to a man named Osamu Tezuka. Regarded in Japan as the ‘God of Manga’(McCarthy), Osamu Tezuka was a prominent Manga artist from 1946-1989 when he died. He still highly regarded in Japan and has a ton of followers who continue his legacy. This artist to me was the heart of the show. He’s not only well known, but he was the first of his kind in the Manga genre making him an ideal candidate to base the exhibit around. With my ‘main artist’ established, I needed to generate an opening act that was not only related to manga, but would draw a more traditional crowd to the museum. The Freer and Sackler is known for having a wide array of traditional Japanese art. So, when considering artists I had to establish someone that was well known and had ties to manga in some way. Manga defined in contemporary terms means “humorous pictures”,but “traditionally denotes [the words] ‘incoherent’, ‘disjointed’, ‘confused’, or ‘casual’’.(Jocelyn Bouquillard) I found this quote researching one of the most famous Japanese artists by the name Katsushika Hokusai. Katsushika Hokusai was born in 1760, He was originally named Tetsuzo. It is well documented by him in his autobiography that his intention was to become an artist with a quote that reads “from the age of six, I had the habit of drawing all kinds of things.” (Forrer Pg 14) Hokusai was a prominent print artist during
late 1700’s to early 1800’s. He is most well known for his print series called The Thirty-Six Views of Mount Fuji. What many do not know about Hokusai is that he was originally a kabuki actor print maker. This style dealt with many different interpretations of people. His art of print making in the Ukiyo-e style was largely considered the consumer art of the time much like manga is today. Hokusai also received critical acclaim for his 15 volume series called Hokusai Manga. This series was Hokusai’s personal sketch book consisting of rough sketches of people, landscapes, the supernatural, plants and animals. Having Hokusai Manga as a basis to start the exhibit out with will help introduce people to Japanese stylistic approaches in drawing and how forms were considered. Hokusai was a pioneer because he was one of the first artists in Japan to use the western style perspective in some of his prints with Japanese stylistic approaches in terms of mark making and medium choice. The introduction of Hokusai would be a good way to draw crowds because he is more widely known as an artist in America then Osamu Tezuka. The second part of the exhibit focusing on Osamu Tezuka will give his biography along with his most famous characters, the ‘super stars.’ They include Astro Boy, Black Jack, Higeoyaji, Rock Holmes and Sapphire. Osamu had a particular way of choosing characters with the advent of the “star system” which was an idea that spawned from Hollywood and Takarazuka Performers. His actors (characters) each had different “talents who could reassure audiences in
familiar roles or surprise them in unusal ones”(McCarthy 38). This technique of casting characters was original to Tezuka. No other manga artist or writer had employed a technique like this.
For the cliche, I chose to make Mona Lisa in to a Manga Character.
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Access Intelligence Guidebook National Venues Guidebook designed for Access Intelligence.
Cover Shot
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Access Intelligence Guidebook
Specific layout worked on
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Access Intelligence Guidebook
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Product and Identity Design Flying Dog x Rome SDS Collaboration
Main beer label “Rome Snowboards and Flying Dog have long been pioneers in their respective fields. Both companies have stared into the eyes of The Grim and delightfully declined its notion of death. One sip of our Smoked Black IPA and you will want nothing more than to live for an eternity just to drink this delicious brew.” – Chas Guy
Neck label
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com
Product and Identity Design Flying Dog x Rome SDS Collaboration
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Terrence Coleman (301)-922-4147, Tcoleman042@gmail.com