Weixi Zeng 2016 Portfolio

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Portfolio, Junior Year.

2015-2016 Weixi Zeng

[SVA ID] [大三作品集]

1224933 第三次嘗試

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Cover

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32lbs paper

[This is the end sheet]

[Replace with patterns, graphics, textures, photographs or patterns and patterns.]

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T R Y HARDER

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“Concept”?

What is the concept of a

“Concept”?

[Some thoughts]

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PROCEED WITH CAUTION

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in this book, you will see: [This is the table of contents]

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[Table of contents]

10 18 34 66 90 Haiku Posters

Popular Science Magazine

Brooks Range Typeface

Saint Peter's Church Branding

Les 3 Brasseurs Beer Packaging

108 118 132 142 150

Malala Yousafzai Book Cover

New York City Fears

Fictional Restaurant Guide

Motion Graphics: The "Best" Survival Guide

Motion Graphics: Nightcrawler Movie Title Sequence

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Signature Number Two

Project included in this signature: Haiku Posters Popular Science Magazine Redesign

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Haiku Poster [Visualizing Japanese Poetry]

[Class] [Instructor] [Medium]

Typography Nic Taylor 24'�36' b&w Poster

[Rules]

No images. No graphic shapes.

No color. Only use typographic elements.

What would happen when a three line Haiku poem by Yosa Buson ( 與謝蕪村 ) was rendered with modern design solutions?

This assignment gave me a really interesting opportunity to explore the interactions between culture in design. The result is a black&white portrait poster with the poem written in costume designed black letters.

The black letter I designed wasn't a typical classic one; Instead they're highly geometric and are structured in a minimal way. I wanted to convert traditional thoughts, and religion behind the haiku; into a modern interpretation.

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[Process Sketches]

When black letter & eastern poetry clash

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釣 鐘 に

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と ま り て 眠 る

胡 て ふ 哉

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Popular Science [Magazine Redesign]

[Class] [Instructor] [Medium]

Typography Nic Taylor Perfect-Bound Book

A magazine redesign solution done in my junior year typography class with Nic Taylor. I envisioned the new Popular Science magazine to carry the heritage and essence of science. The masthead was developed using golden ratio; and a rigorous yet flexible grid system was used as navigation throughout the new magazine design.

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[Process Sketches]

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Masthead design based on

Geometric golden ratio

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A grid system designed to carry the heritage

and essence of science

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Signature Number Three

Project included in this signature: Brooks Range Typeface

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Brooks Range Font [A serif font inspired by Alaska's timeless landscapes]

[Class] [Instructor] [Medium]

Typography Nic Taylor Open Type Font, Robofont UFO File, 7.5Ă—9 Type Specimen Book

Our task was to locate somewhere we have never been to and would love to visit; research and create a font based on that location. Alaska has always been somewhere I dreamed about visiting, or even reside.

Its diverse sceneries and refreshing culture attracts me quite much. I decided to use this opportunity to create a typeface that express the timeless landscapes of Alaska. Read more in the following type specimen.

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[Initial Sketches]

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This typeface has a strong and stable structure; with moderate stroke contrasts. Aimed to reflect Alaska's

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sublime yet dynamic landscapes.

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[Proofs and Revisions]

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[Start of Specimen Book]

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A serif font inspired by Alaska's landscapes

Designed by Weixi Zeng Edition 1. April 2016

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Brooks Range is a serif font designed for both display and editorial purposes.

It re�ects Alaska's diverse landscapes and the transformation of geographic forms. It has diagonal thick and thin contrasts, with a combination use of bracket serifs and wedged terminals.

These details are visible at larger sizes when Brooks Range is used for display purposes; however Brooks Range is also suitable for smaller texts due to its firm, scribal structure. Either way, Brooks Range offers tasteful interpretations to Alaska's changing landscapes; with visually diverse yet coherent sets of glyphs.

Brooks Range Bold

First Edition April. 2016

Designer Weixi Zeng Instructor Nic Taylor Made with Robofont™

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A Upper case "A" 250 pt

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y Different case combinations 250 pt

Height Relations

Ascender Height

Cap Height

x Height

Baseline

Descender Height

Brooks Range font's ascender are stand tall from the x-height line, which symbolize the many mountains and peaks within the area. The descenders are much shorter, to help make the letters look more balanced and stable.

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n 64n Numerals

Brooks Range has lining figure numerals, that inherited the height from capital letters. However, their widths are more in lined with lower case letters. This mixed approach to numerals give them more characteristics from both sets of letters; at the same time solving the problem of readability in paragraphs.

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Ascender Height

Cap Height

x Height

Baseline

Descender Height

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Design Details

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aBbg 02

01

04

01

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Some letters have diagonal indents at the intersection of tails and bowls. Shown as in the bottom of this lowercase "a". This diagonal detail helps uniform the features, as well as creating some space around the tail area.

The ascending stems in lowercase letters are designed with a bracketed serif on one side, and a diagonal slant on the other side. This gesture was placed to reveal different forms of shapes to symbolize the diversity of Alaska's landscapes.

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Throughout some capital letters, there are indents (ink traps) on the top parts of the bowl connecting to the stem.

The thick and think contrast of strokes are most identifiable on the bottom right of each bowl. The curves on the inside are more drastic than the ones on the outside, making the letters having an elastic quality.

05 The slanted/indent gesture is also visible on the neck of the bottom part of "g" linking to the top.

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Ascender Height

gijkp

Cap Height

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x Height

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Baseline

Descender Height

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The dot in letter "i" & "j" isn't just a dot. The form was taken from the counter of "o" and was modified for better view at smaller sizes. It also has an unique cut through the bottom left side.

Similar to the top parts of ascenders, the intersection of the arm and the leg in letter "k" also use a combination of curves and diagonal lines.

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The terminals for letters with tails are also designed to have diagonal cuts which resonates with other diagonal gestures throughout the font.

For serifs on the descenders of letters with big asymmetry parts (f,p,q); the serif on one side is extended for a more stable look.

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68 째 08 '01 . 2"N 15 1 째 4 4'3 4 . 3 " W C O O R D I N AT I O N

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KODIAK Anaktuvuk Pass G AT E S O F T H E A R C T I C N AT I O N A L PA R K A N D P R E S E R V E

ANC

FLIGHT

AS109

SEA

Far to the North B E R I N G L A N D B R I D G E N AT I O N A L P R E S E R V E

Kobuk Valley Beyond the horizon of urban clutter there is a

Great Land beneath our �ag that can provide a new tomorrow for this century's huddled masses yearning to be free.

ANCHORAGE

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A B C D E F G H I J K L M NO P QRS T U V W X Y Z a b c d e f g h i j k l m n o p q rstuvwxyz 0123456789 {[(*,:.@'?!‘$%&’©®/)]}

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Ligatures and Alternative Letters

fi

fi

ffi

ffi

fb

fb

fh

fh

fj

fj

fk

fk

ff

ff

fl

ďż˝

ffl

fl

Th Th

j

j

q

q

l

l

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infinity brilliantly Thalassal jointless object fjeld affirm whifle

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Sample Text 1

24/28

Alaska Wilderness: Exploring the Brooks Range

By Robert Marshall, 1929

14/21

As we trudged up this great gorge of the north, we lost all sense of time. Every mile, or less, side streams came down over the rocks in great white leaps, some of the higher waterfalls... Seemingly pouring down from the clouds.

6/15 As we climbed higher, the valley, now behind us, be-

Against the most distant horizon, where fact and

came a deeper slit in the jumbled crust of the earth.

infinity merged, the sun was shinning brilliantly on

Here was a world of Grey limestone precipices,

countless lofty peaks without name, and beyond

among the unknown recesses of which many stream

scope of human knowledge. All around us were gorg-

valleys vanished through deep canyons.

es, thousands of feet deep, great snowbanks, bright green valleys, gaily colored rocks. All was peace,

The black and jagged mountains seemed to rise

and strength, and immensity, and coordination...

infinitely, into a world beyond the world. Under-

And freedom.

neath these great bounding walls, you dwarfed into nothing. It seemed to be the end of the earth, or, the

I was happy in the immediate presence of nature in

heart of another earth. Everything we looked upon

its most staggering grandeur, in living intimately

was unknown to human gaze. Civilization seemed

with something so splendidly immense, that all life

unreal, unbelievable. Our present situation seemed

seemed trivial in its presence.

also unreal, but that was the unreality of a freshness beyond experience.

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6/12 On some islands and parts of the Alaskan peninsu-

America's sea otter skins were coming from the

la, groups of traders had been capable of relatively

Sitka Sound area. In July 1799 Baranov returned

peaceful coexistence with the local inhabitants.

on the brig Oryol and established the settlement

Other groups could not manage the tensions and

of Arkhangelsk. It was destroyed by Tlingits in

perpetrated exactions. Hostages were taken, indi-

1802 but rebuilt nearby in 1804 and given the name

viduals were enslaved, families were split up, and

Novo-Arkhangelsk (New Archangel). It soon become

other individuals were forced to leave their villages

the primary settlement and colonial capital of Rus-

and settle elsewhere. In addition, eighty percent of

sian America. After the Alaska Purchase, it was

the Aleut population was destroyed by Old World

renamed Sitka, the first capital of Alaska Territory.

diseases, against which they had no immunity, during the first two generations of Russian contact.

In 1799, Shelikhov's son-in-law, Nikolay Petrovich Rezanov, acquired a monopoly on the Amer-

In 1784, Grigory Ivanovich Shelikhov arrived in

ican fur trade from Czar Paul I and formed the

Three Saints Bay on Kodiak Island, operating the

Russian-American Company. As part of the deal,

Shelikhov-Golikov Company. Shelikhov and his men

the Tsar expected the company to establish new

killed hundreds of indigenous Koniag, then founded

settlements in Alaska and carry out an expanded

the first permanent Russian settlement in Alaska

colonization program.

on the island's Three Saints Bay. By 1788 a number of Russian settlements had been established by

By 1804, Alexandr Baranov, now manager of the

Shelikhov and others over a large region, including

Russian–American Company, had consolidated the

the mainland areas around Cook Inlet.

company's hold on the American fur trade following his victory over the local Tlingit clan at the

The Russians had gained control of the habitats of

Battle of Sitka. Despite these efforts the Russians

the most valuable sea otters, the Kurilian-Kamchat-

never fully colonized Alaska. The Russian monopoly

kan and Aleutian sea otters. Their fur was thicker,

on trade was also being weakened by the Hudson's

glossier, and blacker than those of sea otters on

Bay Company, which set up a post on the southern

the Pacific Northwest Coast and California. The

edge of Russian America in 1833.

Russians, therefore, advanced to the Northwest Coast only after the superior varieties of sea otters

The Russian-American Company suffered because

were depleted, around 1788. The Russian entry to

of 1821 amendments to its charter which turned

the Northwest Coast was slow, however, due to

over management to the Imperial Russian Navy and

a shortage of ships and sailors. Yakutat Bay was

banned foreigners from participating in the Alas-

reached in 1794 and the settlement of Slavorossiya

kan economy. It soon entered into the Anglo-Rus-

was built there in 1795. Reconnaissance of the coast

sian Convention of 1825 which allowed British

as far as the Queen Charlotte Islands was carried

merchants to trade in Alaska. The Convention also

out by James Shields, a British employee of the Go-

settled most of the border between Alaska and

likov-Shelikhov Company. In 1795 Alexandr Baran-

British North America.

ov, who had been hired in 1790 to manage Shelikhov's fur enterprise, sailed into Sitka Sound, claiming it for Russia. Hunting parties arrived in the following years and by 1800 three-quarters of Russian

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The world beyond the world

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WO R D S BY

Robert Marshall, 1929 IM AGES BY

Dennis Witmer, 1997

In 2013, Expedition Arguk walked and packrafted across 300 miles of wilderness in the Alaska Arctic in order to report on Arctic issues and create public-use media from this far-off but increasingly important region. ‘The World Beyond the World’ was shot during the first third of our trip, which took place entirely in Gates of the Arctic National Park and Preserve. Gates of the Arctic is the second-largest US National Park, but its extraordinary remoteness and challenging weather mean that the Park sees relatively few visitors.

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A L A S K A

Secondary Type: Founders Grotesk Photography by Dennis Witmer from Far to the North, Photography from the Brooks Range.

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Signature Number Four

Project included in this signature: Saint Peter's Church Branding

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Saint Peter's Church [Branding redesign for NYC's Evangelical Lutheran Church]

[Class] [Instructor] [Medium]

Typography Nic Taylor Various Branding Collaterals, Website Prototype, and Signage Systems

A branding design aimed to bring Saint Peter's Church to more people in NYC. This central concept was based on the church's unique architecture design which uses sunlight as its main light source. Sun light is also highly symbolic of God. The logo was created from combining the sun rays that travel through the church each month in a year. The light paths were generated from a 3D program and then hand-illustrated to show a warm, friendly feel.

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[T:Drawings from the shadow paths] [R:Church's Shadow Analysis]

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[Subway Plaza Entrance Renewal Proposal]

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[New website design prototype]

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Signature Number Five

Project included in this signature: Les 3 Brasseur Beer Packaging Malala Yousafzai Book Cover

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Les 3 Brasseurs Beer Packaging [Craft beer series packaging for a French Canadian microbrewery chain.]

[Class] [Instructor] [Medium]

Typography Nic Taylor Six 16oz Glass Beer Bottles in a Cardboard Six-Pack

The 3 Brewers (Les 3 Brasseurs) is a French Canadian microbrewery restaurant chain based in QuĂŠbec and Ontario. One of their iconic product line is the "Neighborhood Beer" Series. This packaging design campaign aims to bring six of their unique tasting beers from local stores to a broader audience. The ultimate goal of this packaging design project is to refine the current brand and elevate the value of the product.

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[Research: Understand Les 3 Brasseurs' Craftbeer & Local Ideology]

My first step was to research and understand, what makes The 3 Brewers' Neighbourhood Beer unique. What are the culture heritages behind each of their neighbourhood beer flavors. I found out that The 3 Brewers first originated in France. Back in the 1980's, their founders were the first to brought the concept of microbrewery and craft beers to Canada.

The 3 Brewers believes that beers should be produced in small-batches; that way people can taste the care that's been put into each beer. They're also whimsical of the past where each village had their own beer crafters, and the taste of the beer would vary throughout different towns.

I then created a new logo for the brand [L]. The new design makes the brand feel more sophisticated. I got rid of the out-dated looking illustrations in the old logo; instead created a customized letter 3 to represent the "3 brewers" identity. I also picked a new typeface for the brand; and around the letter 3, developed a stamp-like brand mark.

[Ville de QuĂŠbec in the 1960s]

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Based on the storefront of each local chain, I traced and drew the building in the form of technical architectural line prints. The results are six detailed drawings that remind people of the past and the history of each neighbourhood

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For each location flavor, I also created a customized type Wordmark. They were all based on the same typeface (Heroic), but expressed through different weights, contrast, and style. Each of those type mark fits the historical background of each location, and uses a type style that best represents that Neighbourhood.

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To further differentiate each flavors, a stamp system was created to help customers distinguish the flavors more easily. The stamps features the address, city, and postal code for each Neighbourhood beer. Colors were also used as a categorizing tool.

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The labels for each bottle were designed in a fashion of how craft beer brewers would create labels and write down the flavors by hand.

It has a whimsical factory quality, as well as the feeling of independent manufacturers.

The edges were perforated, and the corners were quarter-cut. The highest thought were given on the details of type on the label, which reflects a sense of care through the process of brewing these Neighbourhood Beers.

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Eventually, A six-pack case was created to hold these six flavors from six of Les 3 Brasseurs' local microbreweries. The case was designed to show off the stamp of each location on the outside; which is also an indication for the customer the beers that's inside. The case was produced in black and white screen printing.

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Malala Yousafzai Book Cover [A book cover design for Malala's autobiography] [Class] [Instructor] [Medium] [Rules]

Typography Nic Taylor 7Ă—9 Hard Cover Book No Photography of the Person

A few dozen signatures were used on the cover of this book, including Malala Yousafzai's.

This youngest winner of the Nobel Peace Prize, has been an activist for women's education rights since she was 11. The signatures suggest an act of petition, and a demand for rights and changes. Malala is a fighter, and she will achieve her goal together with everyone else who's fighting for education rights.

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Malala isn't a hero, she is simply a fighter for her basic rights,

like many, many others.

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[Onion skin paper were used to imitate cheap notes paper, which is what grass-root activists like Malala used to petition and voice their opinions]

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Signature Number Six

Project included in this signature: New York City Fears Fictional Restaurant Guide

[Total page number of this signature]

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New York City Fears [Gross moments of NYC through everyday objects.]

[Class] [Instructor] [Medium]

Communication Design Jon Newman Various NYC Goodies

There are many things in NYC that will make us gross or have the sudden desire to throw up. I created three illustrations depicting three disgusting scenes in NYC. They were later applied on to daily items that are necessary to live in the city.

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[Item 1] [Plastic Bag] Generic Bodega White Plastic Bag with transferred graphics

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[Item 2] [Paper Coffee Cup] Illustration printed on to-go paper cup

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[Item 3] [Stickers] Circle & rectangle stickers on trash cans and trash bags

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[Item 4] [Sandwich Wrap] Patterns printed on translucent onion skin paper

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[Item 5] [Metrocards] Paper cards in the size of metrocards

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Fictional Restaurant Guide [Infographics Design] [Class] [Instructor] [Medium]

Infogaphics Kenton Powell 11'�17' Folded Map & Guide

TV shows and movies are a big part of our daily life. They're our major sources of entertainment and we rely on them to relax and create social bounds. We were asked to create an infographic about movies or TV shows. I decided that rather focusing on one, I'm going to create an extensive guide for restaurants that appeared in those shows.

I placed all those restaurants in a fictional city's map. Inside this guide, people can learn about the ratings and comments for each restaurant; as well as locate them on a map. It's an fan experience that many people would dream about coming true.

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A map gu

Featurin restaura movies & TV show

uide

ng ants in & ws

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Signature Number Seven

Project included in this signature: The Best Survival Guide Nightcrawler Title Sequence

[Total page number of this signature]

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The Best Survival Guide [Motion Graphics] [Class] [Instructor] [Medium]

Motion Graphics Ori Kleiner 1080p HD video

A witty short clip offering some obvious tips for staying safe in the wild. But our character failed to put those tips into practice every single time.

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[Character Action Designs]

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[Landscape Element Designs]

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[1]

[2]

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[Full Storyline] [Selected Frames]

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[Character Rigging in After Effects]

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Nightcrawler Title Sequence [Motion Graphics]

[Class] [Instructor] [Medium]

Motion Graphics Ori Kleiner 1080p HD video, 2.35:1

A title sequence designed for Nightcrawler; a movie by Jake Gyllenhaal about how an amateur freelance news reporter turned into a manipulative sociopath. The main design approach is to use all night scenes throughout to maximize the sense of eeriness. Red lights played an important role as a subtle symbol for the protagonist.

I also designed a new word mark for this movie, which resembles a broken neon sign glowing at night.

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[1]

[2]

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[5]

[6]

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[9]

[10]

[11]

[12]

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[Full Storyline] [Selected Frames]

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[Dashboard Construction] [3D Layering]

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[Car Bullet] [Transformation Build-up]

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[Wordmark Design] [Custom Type for Movie Title]

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I'm still trying to figu "real" graphic design

Is it typography? A to details? Or is it and popular trend

There never is "real" [Some more thoughts]

ure out what's n.

A sickness flashy colors ds?

" graphic design.

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[End of Portfolio]

Portfolio, Junior Year.

2015-2016

The End More to Come Next Year.

Special Thanks to: Pretty Much Everybody.

[Thank You] [Thank You]

Thank You Thank You

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Portfolio, Junior Year.

2015-2016 Weixi Zeng [Total Projects Included] [Total Page Number] [Numbers of Signatures]

C'est รงa!

[This Book is set in]

10 164 7 Tiempos Text Founders Grotesk