Graphic Design Process Book

GRAPHIC DESIGN PORTOFOLIO

PROJECTSPROJECT 1: FORM AS IDENTITY

PROJECT 2: BOOK JACKET

PROJECT 3: DESIGN HISTORY PROJECT 4: MAGAZINE

PROJECT 1FORM AS IDENTITY

Program: Adobe Illustrator

ILCNES2

3

Creative Brief

Assignment: The assignment is to design a cor-porate identity for NESILC. The logo has to represent the interest and mission of the company.

Concept: This corporate identity represent NE-SILC 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 it’s arms signifiying that NESILC makes disabeled peo-ple happy.

About NESILC: The mission of the Nebraska State-wide 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-dis-crimination, and dignity for all people with disabilities in Nebraska.

4

ILCNES

LOGO PROGRESSION

COLOR PALETTE

1st Entry

Final Entry

PROJECT 2BOOK JACKET

Program: Adobe Photoshop

7

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 Dombrows-ki.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 de-sign 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 na-tives who are leaving behind their cul-ture. 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 misunder-standing 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 up-heaval, changes in dependence on timber and commercial fishing, and differences over the meaning of contemporary native culture that lie beneath current struggles. His co-gent, highly readable analysis shows how these local disputes reflect broader problems of negotiating culture and Native American identity today. Revealing in its ethnograph-ic details, arresting in its interpretive insights, Against Culture raises im-portant practical and theoretical implications for the understanding of indigenous cultural and political processes.

8

Sketches as I read Intermediate sketches Final Product

PROJECT 3DESIGN HISTORY

Program: InDesign

10

POST

MODERN

ISM

SCHER

CA

RSON

DAVID

PAULA

PLAYFU

L

MESSY

70s80s

CONFUSING

“good design is serious not solemn”

SLIPERRY

DESIGN

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 well as a problematical relationship with any notion of “art”.

Typical features of post modern design include delibarate mixing of different artistic styles and media, the self-conscious use of earlier styles and conventions, and of the incorporation of images relating to the consumerism and mass communication of late 20th century postindustrial society.

modernism.FAILED

POSTMODERN

ARCHITECTURE

Serio

us d

esig

n is

spo

ntan

eous

, car

eles

s,ne

w, in

nova

tive

and

mak

es n

o se

nse.

Solemn design is m

ore comm

on, perfect and socially correct.

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 distin-guished AIGA medal.

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).

difficultIR

RITA

TING

LESS IS

MORE

bore

LUDWIG Mies van der Rohe

DESIGN

ASKING WHY...

VIOLATING the GRID

layered

SURREAL

DECO

NST

RUCT

FRUSTRATING

DISCORDENT

CONTRASTPOST

MODERN

ISM

SCHERC

ARSON

DAVID

PAULA

PLAYFU

L

MESSY

70s80s

CONFUSING


SLIPERRY

DESIGN



modernism.FAILED

POSTMODERN

ARCHITECTURE

Serio

us d

esig

n is

spo

ntan

eous

, car

eles

s,ne

w, in

nova

tive

and

mak

es n

o se

nse.

Solemn design is m

ore comm

on, perfect and socially correct.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 distin-guished AIGA medal.


difficultIR

RITA

TING

LESS IS

MORE

bore


DESIGN

ASKING WHY...

VIOLATING the GRID

layered

SURREAL

DECO

NST

RUCT

FRUSTRATING

DISCORDENT

CONTRASTPOST

MODERN

ISM

SCHERC

ARSON

DAVID

PAULA

PLAYFU

L

MESSY

70s80s

CONFUSING


SLIPERRY

DESIGN



modernism.FAILED

POSTMODERN

ARCHITECTURE

Serio

us d

esig

n is

spo

ntan

eous

, car

eles

s,ne

w, in

nova

tive

and

mak

es n

o se

nse.

Solemn design is m

ore comm




difficultIR

RITA

TING

LESS IS

MORE

bore


DESIGN

ASKING WHY...

VIOLATING the GRID

layered

SURREAL

DECO

NST

RUCT

FRUSTRATING

DISCORDENT

CONTRAST

11

Creative Brief

Assignment: The assignment is research pe-riod or artist and then create a PDF presentation on the research. Adi-tionally 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 design-ing. Aditionally if briefly gives an intro-duction 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, archi-tecture, 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 appropri-ate. As a rock star designer, she’s cooked up everything from Bos-ton album covers to Elvis Costello posters, pausing somewhere in between to trash the ubiquitous visual authoritarianism of Helvet-ica. She’s also created some of design’s most iconic images, like the Citibank logo. She is a partner in the renowned design firm Pen-tagram, and in 2001 received the distiguished AIGA medal.

12

POST

MODERN

ISM

SCHER

CA

RSON

DAVID

PAULA

PLAYFU

L

MESSY

70s80s

CONFUSING


SLIPERRY

DESIGN



modernism.FAILED

POSTMODERN

ARCHITECTURE

Serio

us d

esig

n is

spo

ntan

eous

, car

eles

s,ne

w, in

nova

tive

and

mak

es n

o se

nse.

Solemn design is m

ore comm




difficultIR

RITA

TING

LESS IS

MORE

bore


DESIGN

ASKING WHY...

VIOLATING the GRID

layered

SURREAL

DECO

NST

RUCT

FRUSTRATING

DISCORDENT

CONTRAST

Color Pallete

Inspiration Sketch

Final Product

PROJECT 4MAGAZINE

Programs: Adobe Indesign,

Illustrator, Photoshop

14

Architecture

$ 18.99 Decem

ber 2013 architecturetoday.com

PEAK PERFORMANCE

OUT FROM THE MASTER SHADOW

DESIGN FOR QATAR 2022WORLD CUP STADIUM

today

33

15

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 exam-ples of what architecture magazines are composed. This specific cover and articles are succesful as a result of a complex grid

and modern design style.

16

DESIGN FOR QATAR 2022WORLD CUP STADIUMPEAK PERFORMANCE

Architecture


$ 18.99 D

ecemb

er 2013 architecturetod

ay.com

today

33

Architecture

$ 18.99 Decem

ber 2013 architecturetoday.com

PEAK PERFORMANCE


DESIGN FOR QATAR 2022WORLD CUP STADIUM

today

33

1st Entry Transition Final Product

DESIGN FOR QATAR 2022 WORLD CUP STADIUM

PEAK PERFORMANCEarc

hite

ctu

reto

da

y.co

mD

ec

em

be

r 2013

OUT FROM THE MASTER’S SHADOW

$19.99

53

ARCHITECTUREtoday

standards – developed in consultation with international hu-man 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. Dioni-sio 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 Qa-tar, 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 relation-ship with the city and its surrounding landscape.’

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 plan-ning. 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 manag-ers 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

Image courtesy of ZHA



86 87 Al Wakra Stadium Al Wakra, Qatar ZHA ARQUITECTS Architecture Today December 2013 ESSENCE OF THE DHOW

Director of ZHA ArchitectsAA 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 natu-ral 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 Asso-ciation 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 collaboat-ors 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 pro-fessorships 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 Com-mander of the British Empire, 2002. She is currently Professor at the University of Applied Arts in Vienna, Austria and was the Eero Saarinen Visiting Profes-sor 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 exhibi-tions 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 archi-tectural 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 proj-ects worldwide.

ZAHA HADID


88 Architecture Tofay December 2013 ESSENCE OF THE DHOW

17

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

BY TRACY PHOTOGRAPHY BY BRIGIDA GONZALEZ

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

90 91

PEAK PERFORMANCE

Architecture Today December 2013 PEAK PERFORMANCE Tylorean Festival Hall Erl, Austria DELLUGAN MEISSL ASSOCIATED ARCHITECTS

In the picturesque Austrian village of Erl, just east of the German bor-der, 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, thrust-ing forms, is also a counterpoint to its predecessor, the adjacent Pas-sionsspielhaus, 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 ele-ments whose pattern does not have a discernable direction.” Lending

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

a reptilian texture to the sleek, origami-like form, a skin of char-coal-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 build-ing’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 gradi-ent. 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.

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 minimiz-ing 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 propor-tions 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. Of-fices, rehearsal areas, and dressing rooms are tucked into the irregular “leftover” spaces between the rectangular hall and the assertive facade.

Photo © Brigida Gonzalez

Photo © Brigida Gonzalez Photo © Brigida Gonzalez

92 93 Architecture today December 2013 PEAK PERFORMANCE Tylorean Festival Hall Erl, Austria DELLUGAN MEISSL ASSOCIATED ARCHITECTS

18

THANK YOU!

Graphic Design Process Book

Documents

Transcript of Graphic Design Process Book