Portfolio

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Vatsa Heera | vatsaheera@gmail.com | 816.283.6373


1/2 pg magazine AD

1/2 pg magazine AD

LABOR DAY WEEKEND

Kansas City

WOODLANDS 9 1 3 . 5 5 5 . 5 2 9 9

THE

@

SEPT 4 & 5

$ 17.50

1/2 pg magazine AD

W W W. K C B L U E S A N D J A Z Z F E S T. C O M

Festival ACTS

OVER 25 IN TWO

DAYS

SOME OF THE BEST

LO C A L A N D N AT I O N A L

BLUES AND JAZZ

PERFORMERS ANYWHERE

full pg magazine AD

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

1/4 pg newspaper AD

Blues & Jazz Campaign | Print and Environmental ads


poster

bus stand AD

billboard AD

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

T-shirt front

T-shirt front

T-shirt back

Blues & Jazz Campaign | Print and Environmental ads


Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Series of proverb posters


Why Soy? USAGE OF INKS AMONG

COMMERCIAL PRINTERS

Petroleum 71 %

cons

SUSTAINABLE

pros

REDUCE POLLUTION

Production of soy-based inks has lower levels of VOC’s (Volatile Organic Compounds), reducing air pollution.

70 %

25%

SOY

SOY Soy oil for the soy-based inks can be produced easily and the production of the soy crop is gentler on the environment.

NON RENEWABLE

Petroleum based ink is made from non renewable source.

POLLUTING

Petroleum based inks produces VOC’s, which reduces indoor quality of the air.

UNHEALTHY

BRIGHTER

Soy oil is clearer, allowing for brighter inks and requiring less pigments.

Absorbtion of VOC’s can have negative short- and longterm health effects.

75%

DIFFICULT TO RECYCLE

PETROLEUM

CHEAP Soy-based inks are cheaper to produce.

NON HAZZARDOUS

By products of the of the soy-based ink production are not hazardous and can be easily treated.

RECYCLING

Soy-based inks are removed easily for more efficient paper recycling.

PANTONE

Soy-based inks are also available in Pantone® colors.

LESS INK

Paper printed with petroleum based inks are difficult to deink and this makes process of recycling difficult.

EXPENSIVE Petroleum based inks donot spread enough, therefore, they are required more in quantity. This makes the cost of printing expensive.

Soy-based inks spreads better, therefore, requiring use of less ink.

SMALL SCALE

Soy-based inks cannot be used in home printers or ball point pens and taint sensitive material.

PRINTERS

29 %

pros

Soy-based ink takes time in drying due to its lack of solvent in the form of VOC’s.

30%

cons

WET

METALLIC COLORS Only petroleum based inks are capable of producing metallic colors

DRY EARLY

Petroleum based inks have evaporative solvents in the form of VOC’s, which makes them dry early.

Soy-based ink require significant equipment change as they need special greener printers for printing.

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Infographics on Soy-based Ink


Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Herbert Bayer exhibition poster


“ ...someone that can

MAKE CONNECTIONS

someone that can

DRAW A CONCLUSION

and then tell it

BACK TO THE WORLD.”

RAMONA TODOCA Interview & Design by Vatsa Heera

LEARN as much as you can!

What kind of challenges you faced in your initial stage of career... The biggest challenge is finding who you are as a designer, identifying your strengths and learning to present them in a cohesive manner. I am still learning that, and I think it’s a continuous process, as one’s career unfolds.

“the more you

...little bit about your creative design process... I work with my partner, who is a copywriter. We get a creative brief, then brainstorm for some days, then meet up with our Creative Directors to present our initial concepts. We get their feedback (sometime brainstorm some more with them). Some concepts die, others stay alive as we move forward to a formal presentation that includes comps and copy. We typically meet again with our Creative Directors and the account team before we present it to the client. From there, we start the process of reviewing and refining, which then turns into production as soon as the work is approved.

THINK

the more you

ANSWER...

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

...and something about your favorite project? It’s difficult to choose, as they are all very different and I enjoyed different parts of their process... But if I’d have to choose, I love my experimental books, there is something so wild and authentic in every single one of them. Although they are quite different from my other design work, I consider them the foundation of my practice.

...the more you

ANSWER

the more you

QUESTION”

Advice for young designers.

Whenever you get a project, learn as much as you can about the thing you are branding/promoting/ packaging, and what they/you are communicating. If you have to choose the project, wonder why you’re choosing it, and it can’t be just because you like it, why is it important, what does it do (again!), what does it change... what does it say? A lot of questions, but the more questions you have, the more you think, and the more you think, the more you answer, and the more you answer, the more you question again, and on and on and on. It can get unhealthy, trust me, but it’s good.

READ, Read, read!

QUESTION everything!

MAKE it look smart!

Read about the world, about the US, about Antarctica, about chemistry, geography, computers and cooking. Read about the different cultures; read The Economist, The New York Times, Good magazine, and Wired. Read their tech section, their healthcare, their opinion. Listen to TED lectures, choose topics that you are not familiar with. This might seem daunting and unrelated to design, but it’s huge because even if they don’t teach you anything about design, they broaden your pool of knowledge. Think about it like taking your brain to the gym. The synapses of your brain will learn to make connections that you’re not going to use immediately, but they will shape your understanding of the world little by little, and eventually bleed into your design practice.

Whenever you see something you like on design blogs, ask yourself why you like it, what does it do, what does it change, how is it different from everything you’ve seen before, why is it a certain way and not another? If it’s packaging for baby food, why is it pink or blue, and how would those colors differ in a different country or culture where they associate completely different colors with boys and girls? And is it even right to have those stereotypes? Could a girl wear blue or a boy wear pink? ( silly example, I know, but I thought it might make more sense). Question why something must be sexy to sell or be attractive, wonder if smart can be sexy, or sexy can be smart.

Try to never think about just making it look good. That is actually the very last thing I ever think about, how to make it look good. Make it look smart, make it communicate, make it compelling, make it hard, and only after you have made it all those things, make it sexy. The looks are only the icing on the cake, never the foundation. In my humble opinion, a designer or a visual communicator is someone that can think about the world and about whatever the brief is in very complex ways, someone that can make connections, someone that can draw a conclusion and then tell it back to the world. This is hard and takes time and patience and effort beyond software and tools and what’s sexy right now. But that is why there are so few amazing designers that make it, and so many others that are pixel pushers... (nothing wrong with that, again, but only if that is your choice).

Design Speak | Ramona Todoca | Book spreads


The Johnson County Community College Department of Music and Theatre presents

Nov. 9-10, 16-17 7:30 pm

Nov. 10-11, 17-18 2:00 pm

Polsky Theatre, Carlsen Center

By Rupert Holmes Directed by Chris McCoy Musical Direction by Ron Stinson

FREE

admission First come, first seated No reservations

Produced by special arrangement with Tams-Witmark Music Library, Inc. The Friday Nov 16th performance will be interpreted for the hearing impaired. For information, contact 913-469-3245

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

TMO_Edwin_Drood.indd 1

Theatre poster | The Mystery of Edwin Drood

10/16/2012 11:41:31 PM


Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Menu design | Chai Shai restaurant


Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Package design | Tum Yum | Dog Treats


positions. There is a demand for artists with above average talents and graphic

12345 College Blvd.

competitive for both salaried and freelance

Overland Park, KS 66210-1299

The Graphic Design field is highly

Associate of Applied Science Degree

Graphic Design

arts skills. Opportunities in the field range from entry-level layout and production to art director positions. Demonstrated abilities are most often the key to obtaining a position in the graphic design field. JCCC has structured its graphic design program to help the student develop a comprehensive portfolio. The student’s work will be critiqued by a team of professionals working in the field along with the faculty. A students’ skills will be developed in creative problem solving, use of materials, processes, tools, and equipment. Outstanding studio and computer facilties are available for working on class projects. The two-year curriculum consisting of 68 credit hours leads to an associate of applied science degree.

Johnson County Community College

Students enrolling in the Qualifier Semester will enroll in the CDTP sections identified in the credit class search as a Graphic Design Qualifier Semester section. The content of these CDTP sections places emphasis on the Graphic Design career specific application of the Adobe Creative Suite to industry standards of print production and is reserved for students enrolling in the Qualifier Semester courses. It is recommended that you enroll in these five week CDTP classes in the sequence shown in the Qualifier Semester.

Qualifier Semester

Fourth Semester

ART 124 Design 2D *

3 Cr.

Technical/Studio Elective **

1 Cr.

GDES 120 Introduction to Graphic Design

3 Cr.

Science/Math

3 Cr.

CDTP 145 Desktop Illustration I: Illustrator

1 Cr.

GDES 236 Electronic Production (S) *

3 Cr.

CDTP 135 Desktop Photo Manipulation I: Photoshop

1 Cr.

GDES 244 Communication Systems (S) *

3 Cr.

CDTP 140 Desktop Publishing I: InDesign

1 Cr.

GDES 245 Advanced Design Practice (S) *

3 Cr.

9 Cr.

GDES 272 Professional Preparation *

3 Cr. 16 Cr

First Semester ENGL 121 Composition I

3 Cr.

ART 129 Design Color *

3 Cr.

GDES 130 Drawing and Media Methods 1 *

3 Cr.

GDES 132 Typography *

3 Cr.

GDES 140 Technical Processes *

3 Cr. 15 Cr.

Second Semester Humanities/Arts

3 Cr.

Econ/Social Science

3 Cr.

ART 127 Design 3D *

3 Cr.

GDES 131 Drawing and Media Methods 2 *

3 Cr.

GDES 134 Layout Design (S) *

3 Cr. 15 Cr.

Third Semester Humanities/Arts

3 Cr.

Physical Education

1 Cr.

GDES 230 Drawing and Media Methods 3 (F) *

3 Cr.

GDES 231 Advanced Typography (F) *

3 Cr.

GDES 235 Production Methods (F) *

3 Cr. 13 Cr.

Total Credit Hours: 68 Working knowledge of CWEB 105-Introduction to Web Pages: Dreamweaver is required for successful performance in and completion of the third and fourth semester courses in the Graphic Design curriculum. It is recommended that you enroll in CWEB 105 in the previous spring or summer semester or in the first five weeks of the fall semester in which you are enrolled in GDES 231. NOTE: Students cannot complete the GDES program by attending night and Saturday classes only. Courses in the fourth semester are taught by professionals in the industry and are scheduled as evening courses due to their professional work schedules. (F) Course offered in Fall semester only (S) Course offered in Spring semester only * The student must have completed all required studio courses in the GDES Program prior to the semester for which he/she is enrolling in Professional Preparation OR is co-enrolled in all fourth semester studio courses. ** See list of technical/studio elective courses http://www.jccc.edu/catalog/credit/ fall-2012/degrees-certificates/graphic-design-aas.html. A graphic design major may apply for the GDES 275 Graphic Design Internship course if he or she is also enrolled in or has completed the third or fourth semester studio courses.

Notice of Nondiscrimination Johnson County Community College does not discriminate on the basis of sex, race, color, national origin, disability, age, religion, marital status, veteran’s status, sexual orientation, or other factors that cannot be lawfully considered in its programs and activities as required by all applicable laws and regulations. Inquiries concerning the college’s compliance with its non-discrimination policies may be referred to the Dean of Student Services or Director of Human Resources, Johnson County Community College, 12345 College Blvd, Overland Park, KS 66210, 913-469-8500; or to Office for Civil Rights, 8930 Ward Parkway, Suite 2037, Kansas City, MO 64114, 816-268-0550. For more detailed information regarding the graphic design program, go to http://www.jccc.edu/graphicdesign/ For questions call 913-469-8500, ext. 3703 or email jlane@jccc.edu

Vatsa Heera | vatsaheera@gmail.com | 816.283.6373

Brochure | JCCC Graphic Design Program


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