Tony's portfolio

PortfolioTony RamosGraphic Design II (01D:120)Instructor Vinicius LimaTuesday/Thursday 10:30am-1:20pm

Table of ContentsPg. 1 -- Hierarchy ExercisePg. 2 -- Hierarchy ExercisePg. 3 -- CD PackagingPg. 4 -- Photograph of Mockup of CD BoxPg. 5 -- Photograph of CD BookletPg. 6 -- CD DesignPg. 7 -- CD Cover DesignPg. 8 -- Photograph of Mockup of CD Box (Back)Pg. 9 -- Photograph of Mockup of CD Box (Left/Right Sides)Pg. 10 -- CD Booklet DesignPg. 11 -- Poster, Ticket, EnvelopePg. 12 -- Poster DesignPg. 13 -- Photograph of Ticket (Front)Pg. 14 -- Photograph of Ticket (Back)Pg. 15 -- Photograph of Envelope (Front)Pg. 16 -- Photograph of Envelope (Back)Pg. 17 -- SymboliconPg. 18 -- SymboliconPg. 19 -- Stamp DesignPg. 20 -- Photograph of Stamp (Large)Pg. 21 -- Photograph of Stamp (Small)Pg. 22 -- Photograph of Stamp (Far/Close-Up On Envelope)Pg. 23 -- Stamp Design (20 Stamps)Pg. 24 -- MagazinePg. 25 -- Magazine Logo (Large)Pg. 26 -- Magazine Logo (Medium)Pg. 27 -- Magazine Logo (Small)Pg. 28 -- Magazine Logo (Black/White on White Background, Medium)Pg. 29 -- Magazine Logo (Black/White on Black Background, Medium)Pg. 30 -- Wireframe of Cover, Masthead, CreditPg. 31 -- Two Articles of ArtistsPg. 32 -- Magazine Cover PagePg. 33 -- Magazine Table of ContentsPg. 34 -- Magazine IntroductionPg. 35 -- Magazine Main Artist Spread #1Pg. 36 -- Magazine Main Artist Spread #2Pg. 37 -- Magazine Second Artist SpreadPg. 38 -- Magazine Second Artist Third PagePg. 39 -- Magazine Back PagePg. 40 -- Beverage Bottle and PackingPg. 41 -- Label a Beverage (Large and Normal)Pg. 42 -- Packaging DesignPg. 43 -- Two Photographs of Bottle and PackagingPg. 44 -- Photograph of Finished ProductPg. 45 -- Cropped Photographs That Enhance Details of the Product

I

Hierarchy ExerciseHierarchy Exercise

Pg. 1 -- Hierarchy ExercisePg. 2 -- Hierarchy ExercisePg. 3 -- CD PackagingPg. 4 -- Photograph of Mockup of CD BoxPg. 5 -- Photograph of CD BookletPg. 6 -- CD DesignPg. 7 -- CD Cover DesignPg. 8 -- Photograph of Mockup of CD Box (Back)Pg. 9 -- Photograph of Mockup of CD Box (Left/Right Sides)Pg. 10 -- CD Booklet DesignPg. 11 -- Poster, Ticket, EnvelopePg. 12 -- Poster DesignPg. 13 -- Photograph of Ticket (Front)Pg. 14 -- Photograph of Ticket (Back)Pg. 15 -- Photograph of Envelope (Front)Pg. 16 -- Photograph of Envelope (Back)Pg. 17 -- SymboliconPg. 18 -- SymboliconPg. 19 -- Stamp DesignPg. 20 -- Photograph of Stamp (Large)Pg. 21 -- Photograph of Stamp (Small)Pg. 22 -- Photograph of Stamp (Far/Close-Up On Envelope)Pg. 23 -- Stamp Design (20 Stamps)Pg. 24 -- MagazinePg. 25 -- Magazine Logo (Large)Pg. 26 -- Magazine Logo (Medium)Pg. 27 -- Magazine Logo (Small)Pg. 28 -- Magazine Logo (Black/White on White Background, Medium)Pg. 29 -- Magazine Logo (Black/White on Black Background, Medium)Pg. 30 -- Wireframe of Cover, Masthead, CreditPg. 31 -- Two Articles of ArtistsPg. 32 -- Magazine Cover PagePg. 33 -- Magazine Table of ContentsPg. 34 -- Magazine IntroductionPg. 35 -- Magazine Main Artist Spread #1Pg. 36 -- Magazine Main Artist Spread #2Pg. 37 -- Magazine Second Artist SpreadPg. 38 -- Magazine Second Artist Third PagePg. 39 -- Magazine Back PagePg. 40 -- Beverage Bottle and PackingPg. 41 -- Label a Beverage (Large and Normal)Pg. 42 -- Packaging DesignPg. 43 -- Two Photographs of Bottle and PackagingPg. 44 -- Photograph of Finished ProductPg. 45 -- Cropped Photographs That Enhance Details of the Product

1

graphic design Basic Concepts and PrinciplesIntroduction

Design may be considered as an instrum

ent of organization. It m

ust perform in response to hum

an needs. Design is an urgent requirem

ent, not a cosmetic addition. Graphic design can

save time by presenting inform

ation more clearly. It enhances com

munication, it helps

people to understand a given message andaccelerates learning. Design is �nding the best

solution to a problem within the lim

itations of the problem. “To design is m

uch more

than simply to assem

ble, to order, or even to edit; it is to add value and meaning, to

illuminate, to sim

plify, to clarify, to modify, to dignify, to dram

atize, to persuade, and perhaps even to am

use. To design is to transform prose into poetry. Design broadens

perception, magni�es experience, and enhances vision. Design is the product of feeling

and awareness, of ideas that originate in the mind of the designer and culm

inate, one hopes, in the m

ind of the designer and culminate, one hopes, in the m

ind of the new m

imespectator.” (Paul Rand, Form

+ Content)

The Graphic Design Process

Each design problem

has unique differences and an in�nite num

ber of possible visual solutions. T

he process to generate alternate visual solutions to a problem

can be described as follows:

De�nition of needs, criteria and lim

its of the design problem (problem

identi�cation), P

roduction of many prelim

inary sketches (thumbnails),

Re�nem

ent of selected sketches (roughs), Analysis of roughs,

Selection/decision, Im

plementation (and preparation for print).

After problem

identi�cation, the process follows a cyclic pattern. From

prelim

inaries through re�nement, analysis, and selection to

implem

entation. The process grow

s by constantly checking backwards.

In the design process, the establishment of priorities is essential.

Designers m

ust be able to judge and gauge the relative importance of

factors as they relate to one another. Priorities set the functional and

visual criteria in comm

unications.

Graphic designers com

municate and express them

selves in four distinct w

ays. They need to have a w

orking knowledge of typography, illustration,

photography/video, and symbolism

.

TypographyTypography is designing w

ith type, not the designing of type. It involves 1) choosing and

using type, and 2) the application of design principles to the setting of type: the arrangem

ent, style, and general appearance of matter printed

with type.

SymbolismA

symbol is a representation, verbal or visual, of

a concept, object, idea, etc., the meaning of

which is m

utually agreed upon. In graphic design, the effective use of sym

bolism, com

bining and relating symbols, enhances the expression of

ideas. It creates recognition, association and meaning.

Perception and Composition

Visual perception involves a com

plex interplay of both inborn and learned responses to visual stim

uli. The G

estalt law

s of Perception sum

marize tendencies that appear to be innate or

inherent in our biological heritage and which undoubtedly serve as the

basis for our concept of composition in visual art.

Figure-Ground:Tendency tow

ard �gure-ground: There

is a tendency to interpret visual data as objects against a background, or m

ore precisely, �gures against a ground.

SimilarityS

imilarity facilitates grouping: O

bjects which

resemble one another tend to be seen as

belonging together.

ProximityP

roximity facilitates grouping: O

bjects placed close together tend to form

a �gure.

ClosureTendency tow

ard closure: Missing visual

information is �lled in by the brain. T

he eye closes the open parts of a �gure because it w

ants to see a whole rather than a

collection of unrelated parts.

ContinuityTendency tow

ard continuity: An interrupted

linear �gure is similarly �lled in by the brain.

SpacingL

etters and words need to be spaced in a logical,

consistent manner to appear optically correct, and

achieve optimum

readability. In letter-spacing there are three standards. M

inimum

space is used between cursive (oo) letters, or

between inclined (xy) letters. M

edium space is used betw

een vertical and cursive letters (lo). B

etween vertical letters (ll) m

aximum

space is used. G

ood word-spacing is achieved by m

aking all space intervals betw

een words “look” the sam

e. Words m

ust not appear to run together or be spaced so w

idely as to appear to be separate units. One system

is to im

agine a lower case “n” betw

een words. T

his gives a moderate

word-spacing.

The GridT

he grid is an underlying structure organizing data. It articulates space according to a pattern

of oppositions: vertical and horizontal, top and bottom, rectangular and

diagonal, and left and right. If used well it provides perceptual

organization, coherence and consistency. A w

ell-conceived grid alone w

ill not ensure effective design. It is an organizational tool, and must

be used creatively to maxim

ize comm

unications potential. Grids can

help answer com

positional questions such as balance, proportion, sequence, unity/harm

ony, and contrast.

LayoutC

omposition w

ith Type and Images. L

ayout involves the follow

ing set of interrelated basic design principles.

BalanceB

alance is created by moving around “optical

weights”, big and sm

all items, dark and light item

s, varieties of shapes.

ProportionG

ood proportion is achieved by deciding on space betw

een image and type, betw

een type and the edge of the paper, betw

een columns of type, betw

een type-size, line- length and leading, betw

een different visual elements, etc.

SequenceS

equence is created by directing the viewer, for

example, through the use of lines, real or im

plied; by arranging im

ages in such a way that an edge or a force from

one �ow

s into an adjoining one. One does not leave to chance the order in

which the view

er perceives the items in the layout.

Unity/HarmonyU

nity and harmony are achieved by

“�tting” all visual elements, type,

illustrations, and photos into the style/mood of the layout.

ContrastC

ontrast is achieved through differentiation in size, color, and shape. G

iving the same graphic

emphasis to several elem

ents will m

ake them com

pete for attention.

The first project of the class, this hierarchy exercise has been improved from my first hand in.

2

CD PackagingPhotograph of Mockup of CD BoxPhotograph of CD BookletCD DesignCD Cover DesignPhotograph of Mockup of CD Box (Back)Photograph of Mockup of CD Box (Left/Right Sides)CD Booklet Design

3

Photograph of front of CD box mockup, second project.

4

Photograph of unfolded CD booklet, second project.

5

PDF of CD, second project.

6

Alice Cooper

School’s OutPDF of CD cover design, second project.

7

Photograph of back of CD box mockup, second project.

8

Photograph of sides of CD box mockup, second project.

9

1). School's Out:

Well we got no choice, All the girls and boysMakin all that noise, 'Cause they found new toys

Well we can't salute ya, Can't find a flagIf that don't suit ya, That's a drag

School's out for summerSchool's out foreverSchool's been blown to pieces

No more pencils, No more booksNo more teacher's dirty looks

Well we got no classAnd we got no principlesAnd we got no innocence, We can't even think of a word that rhymes

School's out for summerSchool's out foreverMy school's been blown to pieces

No more pencilsNo more booksNo more teacher's dirty looks

Out for summerOut till fallWe might not go back at all

School's out forever, School's out for summerSchool's out with fever, School's out completely

2). Luney Tune:

I slipped into my jeansLookin hard and feelin meanI took a spit at the moonIt's all in this luney tune

Just a little insane, A couple shotsI can't feel no pain, Hey, where have I been? And who are these scary men?

Is this all real? Is this all necessary?Or is this a joke?

Many know, I don't regret at allThey locked me up for good, Pinned me against the wall

I can't find the exit, I quit lookin for doorsI stole a razor from the commissary, I just couldn't take it no more

I'm swimmin in blood, Like a rat on a sewer floorNo longer insane, Just part of this crazy dream

3). Gutter Cats vs. The Jets:

I went out cat pussyfootin aroundTill the break of dawnFound me knocked out flat on my head

Some feline beauty, Waved her tail my wayI just had to stayI couldn't get the blood off my hands

She made my eyes bug out, Her tail stand upAnd I ain't even in heat for a month

House cat, You really got it madeSleepin all night, And perfect delight of day

Some feline beauty, Waved her tail my wayAnd I just had to stayI couldn't get the blood off my bed

She made my eyes bug out, Her tail stand upAnd I ain't even in heat for a month

Some bad cats from 4th StreetCome down to our alley, Well we say that's coolBut just stay away from me and my boys

Eyes clash, And claws slashAnd green-eyed fur goes flyinMidnight, Catfight, Neckbite, Die

When you're a Jet, You're a Jet all the wayFrom your first cigaretteTill your last dyin day

Here come the Jets, Like a bat out of hellSomeone gets in our waySomeone don't look so wellWhen you're a Jet, You - Stay - A - Jet

(Pow!)

When you're a Jet, Let 'em do what they canLittle boy, you got friends, You're a family manThe Jets are in gearThey're always well-respectedYou're never alone, When company's expectedYou're well-rotected

4). Street Fight:

(Instrumental and Fighting Noises)

5). Blue Turk:

(Blue), (Hot)

I'm lazy, You know itI'm ready for the second show, AmazinThing growin, Just waitin for the juice to flow

But you're so very picturesqueYou're so very coldTastes like roses on your breathBut graveyards on your soul

I'm hurtin, I'm wantinI'm achin for another goYou're squirmin wet, babyNothin bad comin very slowAnd it's burnin holes in me

You're so very picturesque, You're so very coldIt tastes like roses on your breathBut graveyards on your soul

(Whoa-oh-mmm), (Mm')

One spastic explosionTwo pressure-cookers go insaneIt makes me act crazyI shiver but I love this game

You're so very ordinary, You're so very lameTaste like whiskey on your lipsAnd earthworms rule your brain

6). My Stars:

My stars, So far, No one's callin me home

Space brain, Vagabond, Living on my own

Come on ye faithfulYou know all you people should come to meI'll make your arms workAnd I'll make your legs work, I'll make you see, Ladada dadada dadada dadada da da dumWhoa, yeah

Well I swear by the air, I'll be made to breatheYou'll pay very dear for this banishing deed, The power alone stored in my little handCould melt the Eiffel TowerTurn does Sphinx into sand

Oh no, Thar she blows, Spreadin crazy newsAll night, Cannonball, Loves to light the fuse

And everyone blows up and nobody grows upto fill Dad's shoes, But that doesn't mattercuz no little boys really wanted toLadada dadada dadada dadada da da dum

I stared at the squall lineI stared at the fault lineI see a funeral black thereI think I see a crack thereLandscapes alive, And it's movin my feetAll I need's a HolocaustTo make my day complete

If I keep my nose cleanI won't get my eyes shinedBut I'm proud to be, Public Animal Number Nine

License plates are runnin, Out of my earsI'd give a month of cigarettes

Tradin all his ball cardsAnd they promised him a gold starAnd they told him he could go far

Hey Mr. Bluelegs, Where are you takin me?I'm like a lifer, In the state penitentiary

For just a couple of lousy beersOr even a bottle of, Real cheap wineBut that's the price you pay to bePublic Animal Number Nine, Number Nine

Hey Mrs. Cranston, Where are you takin me?I feel like a lifer, In the state penitentiaryShe wanted an EinsteinBut she got a FrankensteinYeah, I'm proud to bePublic Animal Number Niiiirrrrrgh

Animal Number NinePublic Animal Number Nine NinePublic Animal Numbergh NiiiirrrrrghPublic Animal Nurrrgh Nirrrgh, Errrrrrrrrgh

7). Public Animal #9:

Me and G.B., We ain't never gonna confessWe cheated at the math testWe carved some dirty words in our deskWell now it's time for recessOld man waiting by the monkey bars

(Aaow!)Public Animal Number NinePublic Animal Number NinePublic Animal Number Nine NinePublic Animal Number Nine Number NineNumber Nine Number Nine

8). Alma Mater:

Rain is falling, Down my cheekSearching for the seaTomorrow, like the rain, I'll be back home again

Now I don't think Miss AxelrodWas much impressedNow I don't think Miss AxelrodWas much impressedWell I don't think Miss AxelrodWas much impressed

I watch, The bus, As it pulls out of viewSomeday like that bus, I will be leavin too

But you know, It breaks my heartTo leave you, Camelback, My high school

And now, Alone, Cryin in my beer'Cause old friends saidGoodbye, I guess I'll be leavin too

But you know, It breaks my heartTo leave you, Cortez, I'll miss you

Yes I will, Yes I will, You know I willYes I will, Yes I will, You know I will

Well so long, EverybodyI hope that I would see you again

Goodbye, Everybody, I finally grew upThey finally let me out of school

Hey, remember the time - 'member the timeWe took that snakeAnd put it down little Betsy's dress?

Oh, goodbye, EverybodyI hope that I would see you againSo long, Everybody, How do you like thatThey finally let me out of school, GoodbyeAh, I wanna get out of hereThey let me out of schoolHow 'bout that, uh?

Goodbye, Hey, goodbye, guys, Maybe I'll see -Maybe I'll see you around some time, uh?'Ey, don't make a stranger of yourself, uh?Remember the Coop, uh? May - I ho -I hope - you don't forget me or nothinGoodbye

9). Grande Finale:

(Instrumental)

Hey Alice

schools out,

isnt that great!!

have a great

summer, and see

you next year

Thank you for the memories, for the good times, and for picking up my spirits when I was sad. I know this sounds like I'm saying goodbye, but what I'm trying to say is enjoy your time off and party hard. Also, here is a list and the lyrics of songs we jammed out to. Your friend Tony, P.S. --

PDF of CD booklet, second project.

10

Poster, Ticket, EnvelopePoster DesignPhotograph of Ticket (Front)Photograph of Ticket (Back)Photograph of Envelope (Front)Photograph of Envelope (Back)

11

Alice Cooper: VocalsMichael Bruce: KeyboardsGlen Buxton: Guitar

Dennis Dun

away: B

ass

Neal Smith:

Drums

Release Ye

ar: 1972

1

2

3

4

5

NO more pencils NO more booksNO more teachers dirty looks

PDF of poster, group photo of Alice Cooper’s school’s out, third project.

12

Photograph of front of ticket, imaginary ticket for the concert school’s out, third project.

13

Photograph of back of ticket, imaginary ticket for the concert school’s out, third project.

14

Photograph of front of envelope, imaginary envelope for concert ticket, third project.

15

Photograph of back of envelope, imaginary envelope for concert ticket, third project.

16

SymboliconSymbolicon

17

A symbolicon illustration for the artist Roy Lichtenstein, fourth project.

18

Stamp DesignPhotograph of Stamp (Large)Photograph of Stamp (Small)Photograph of Stamp (Far/Close-Up On Envelope)Stamp Design (20 Stamps)

19

Photograph of a large stamp, a stamp design of the artist Roy Lichtenstein, fifth project.

20

Photograph of a small stamp, a stamp design of the artist Roy Lichtenstein, fifth project.

21

Photograph of a stamp on an envelope, from far away, for final.

Photographs of a stamp on an envelope, close-up, for final.

22

PDF of stamps, 20, fifth project.

23

MagazineMagazine Logo (Large)Magazine Logo (Medium)Magazine Logo (Small)Magazine Logo (Black/White on White Background, Medium)Magazine Logo (Black/White on Black Background, Medium)Wireframe of Cover, Masthead, CreditTwo Articles of ArtistsMagazine Cover PageMagazine Table of ContentsMagazine IntroductionMagazine Main Artist Spread #1Magazine Main Artist Spread #2Magazine Second Artist SpreadMagazine Second Artist Third PageMagazine Back Page

24

esign

PDF of Magazine logo, large 2-D/3-D design, sixth project.

25

n

esig

PDF of Magazine logo, medium 2-D/3-D design, sixth project.

26

esign

PDF of Magazine logo, small 2-D/3-D design, sixth project.

27

n

esig

PDF of Magazine logo, medium 2-D/3-D design black/white on white background, for final.

28

n

esig

PDF of Magazine logo, medium 2-D/3-D design black/white on black background, for final.

29

Credited by TIC (Tony Illustrated Company)

PDF of wireframe of cover page, normal size for Magazine, sixth project.

PDF of masthead, normal size for Magazine, sixth project.

PDF of credit, normal size for Magazine, sixth project.

30

Stan

Lee

Lee’s Birth and Birth Name

28, 1922, in New York City, New York.

Joan Lee and they were married December

together to this day.

Later in life

New York city, New York (1922).

Stanley Martin Lieber was born on December

and his nickname is The Man. Lee’s wife is

5, 1947. They had two children and are still

2 3

5

Early CareerAs a teenager Lee enjoyed reader and writing, and became a part-time employee writing obituaries and press releases for the loc news paper. He graduated high school early, at age sixteen in 1939, and joined the WPA Federal Theatre Project. A year later Lee’s uncle helped him get a job with Timely Comics which would evolve into Marvel Comics. While working with them his duties were to make sure

proofreading, and pencil marks were erased from the art

Same JobProving himself up to the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance,

horror and suspense. By the end of the decade, Lee had

Marvel Comics

Approached by publisher Martin Goodman, Lee stayed and created more lifelike superheros that would have bad

themselves, worried about paying their bills, impressing

perheros he designed were the Fantastic Four, Hulk, Iron Man, Thor and the X-Men; but his most successful character, which developed Marvel comics, was Spider-Man. Then by 1972, Lee became the head of Marvel comics.

As of Now

face for Marvel Comics. He made appearances at comic book conventions, lecturers at colleges, and several cameos in Marvel movies. His latest work has been hosting a 2010 History Channel documentary series called Stan Lee’s Superhumans. Last but not least, he has founded a foundation that focuses on literacy, education, and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.

4

7

t

the early yearsVictor Navone was born, November 2,1970, and raised in San Diego, California. He got a Fine Arts degree from the University of Calfornia and his talents became well known with his animation ‘Alien Song’, in 1999. This artwork went on a masvsive exposure of popularity through the Internet and caught the attention of Pixar, who hired him full time in 2000.

character animation

Navone has been involved in 3D prodution (design, effects, modeling, lighting, etc.) since 1994. However, it wasn’t until 1998 that he started teaching himself character animation on his spare time. Some of his inspiration, that helped with this task, was through his life and other artwork. The artist’s work he admired the most, in no particular order, were: Hayoa Miyazake, Brad Bird, John Lasseter, Tony Fucile, Doug Sweetland, John Kahrs, Milt Kahl, Ward Kimball, Glenn Keane, and countless others.

University of California

Brad Bird (top left), Doug Sweetland (bottom right), Glenn Keane (bottom left), Hayoa Miyazake (top right).

John Kahrs (bottom left), John Lasseter (bottom right),Tony Fucile (top left), Ward Kimball (top right).

6

Vicor navone

Navone has explained that, “Pixar is a dream job for an animator and the best place in the world to work.” He says that it is a casual, fun atmosphere, with has lots of talented and friendly people. He, also, explains that he gets to make some of the best movies ever. “I myself have worked on Monsters, Inc., Finding Nemo, The Incredibles and various short projects.” However, his talents do not stop there, because in 2006 through 2010 he worked on Cars, Wall-E, and Toy Story Three.

navone and Pixar

inspiring words

When asked if he had any advice for the aspiring Animators out there, he said, “Learn the traditional principles for animation. Read The Illusion of Life and The Animator’s Survival Kit.

Toy Story 3 Wall-E

Monsters Inc.

8

PDF of main artist spread, Stan Lee first spread, sixth project.

PDF of main artist spread, Stan Lee second spread, sixth project.

PDF of second artist spread, Victor Navone first spread, sixth project.

PDF of second artist extension, Victor Navone third page, sixth project.

31

esign

Credited by TIC (Tony Illustrated Company)

PDF of cover page, includes logo, masthead, and credit, sixth project.

32

TAB

LE O

F CO

NTE

NTS

PAG

E -- 1

Introdu

ction

PAG

ES

-- 2-3S

tan Lee

PAG

ES

-- 4-5S

tan Lee’s C

areer

PAG

ES

-- 6-7V

ictor Navon

e

PAG

E -- 8

Victor N

avone’s In

spiration

III

PDF of table of contents, identifies pages and displays photographs, sixth project

33

TH

E PA

ST A

ND

FUT

UR

E D

ESIG

NE

RS

AN

D ILLU

STR

AT

OR

S, WH

ER

E W

E

HA

VE

CO

ME

FRO

M A

ND

WH

ER

E W

E

AR

E G

OIN

G!

III1

PDF of Magazine introduction, introduction which includes first page, sixth project.

34

Stan

Lee

Lee’s Bir

th and

Bir

th Nam

e

28, 1922, in N

ew York C

ity, New

York.

Joan Lee an

d they w

ere married D

ecember

together to th

is day.

Later in

lif

e

New

York city, New

York (1922).

Stan

ley Martin

Lieber was born

on D

ecember

and h

is nickn

ame is Th

e Man

. Lee’s wife is

5, 1947. They h

ad two ch

ildren an

d are still

23

PDF of Magazine Main artist spread, information about Stan Lee, sixth project.

35

5

Early Career

As a teen

ager Lee enjoyed reader an

d writin

g, and becam

e a part-tim

e employee w

riting obitu

aries and press releases

for the loc n

ews paper. H

e graduated h

igh sch

ool early, at age sixteen

in 1939, an

d joined th

e WPA

Federal The

atre Project. A year later Lee’s u

ncle h

elped him

get a job w

ith Tim

ely Com

ics wh

ich w

ould evolve in

to Marvel C

omics. W

hile w

orking w

ith th

em h

is duties w

ere to make su

re

proofreading, an

d pencil m

arks were erased from

the art

Sam

e Jo

bProvin

g him

self up to th

e mid-1950s, by w

hich

time th

e com

pany w

as now

generally kn

own

as Atlas C

omics, Lee

wrote stories in

a variety of genres in

cludin

g roman

ce,

horror an

d suspen

se. By th

e end of th

e decade, Lee had

Marvel Com

ics

Approach

ed by publish

er Martin

Goodm

an, Lee stayed

and created m

ore lifelike superh

eros that w

ould h

ave bad

them

selves, worried abou

t paying th

eir bills, impressin

g

perheros h

e designed w

ere the Fan

tastic Four, H

ulk, Iron

M

an, Th

or and th

e X-M

en; bu

t his m

ost successfu

l char

acter, wh

ich developed M

arvel comics, w

as Spider-M

an.

Then

by 1972, Lee became th

e head of M

arvel comics.

As of Now

face for Marvel C

omics. H

e made appearan

ces at comic

book conven

tions, lectu

rers at colleges, and several cam

eos in M

arvel movies. H

is latest work h

as been h

osting

a 2010 History C

han

nel docu

men

tary series called Stan

Lee’s S

uperh

um

ans. Last bu

t not least, h

e has fou

nded

a foun

dation th

at focuses on

literacy, education

, and th

e arts. Its stated goals in

clude su

pporting program

s and

ideas that im

prove access to literacy resources, as w

ell as prom

oting diversity, n

ational literacy, cu

lture an

d the arts.

4

PDF of Magazine Main artist spread, more information about Stan Lee, sixth project.

36

7

tthe e

arly

years

Victor N

avone w

as born, N

ovember 2,1970,

and raised in

San

Diego, C

alifornia. H

e got a Fin

e Arts degree from

the U

niversity of

Calforn

ia and h

is talents becam

e well kn

own

w

ith h

is anim

ation ‘A

lien S

ong’, in

1999. Th

is artwork w

ent on

a masvsive exposu

re of popu

larity throu

gh th

e Intern

et and cau

ght

the atten

tion of Pixar, w

ho h

ired him

full

time in

2000.

character a

nim

atio

n

Navon

e has been

involved in

3D produ

tion

(design, effects, m

odeling, ligh

ting, etc.)

since 1994. H

owever, it w

asn’t u

ntil 1998

that h

e started teachin

g him

self character

anim

ation on

his spare tim

e. Som

e of his

inspiration

, that h

elped with

this task, w

as th

rough

his life an

d other artw

ork. The

artist’s work h

e admired th

e most, in

no

particular order, w

ere: Hayoa M

iyazake, B

rad Bird, Joh

n Lasseter, Ton

y Fucile, D

oug

Sw

eetland, Joh

n K

ahrs, M

ilt Kah

l, Ward

Kim

ball, Glen

n K

eane, an

d coun

tless others.

Un

iversity of Californ

ia

Brad B

ird (top left), Dou

g Sw

eetland (bottom

right),

Glen

n K

eane (bottom

left), Hayoa M

iyazake (top right).

John

Kah

rs (bottom left), Joh

n Lasseter (bottom

right),

Tony Fu

cile (top left), Ward K

imball (top righ

t).

6

Vic

or

navone

PDF of Magazine second artist spread, information about Victor Navone, sixth project.

37

Navone has explained that, “Pixar is a dream job for an animator and the best place in the world to work.” He says that it is a casual, fun atmosphere, with has lots of talented and friendly people. He, also, explains that he gets to make some of the best movies ever. “I myself have worked on Monsters, Inc., Finding Nemo, The Incredibles and various short projects.” However, his talents do not stop there, because in 2006 through 2010 he worked on Cars, Wall-E, and Toy Story Three.

navone and Pixar

inspiring words

When asked if he had any advice for the aspiring Animators out there, he said, “Learn the traditional principles for animation. Read The Illusion of Life and The Animator’s Survival Kit.

Toy Story 3 Wall-E

Monsters Inc.

8

PDF of Magazine second artist extending page, more information about Victor Navone, sixth project.

38

PDF of Magazine back cover, blank, sixth project.

39

Beverage Bottle and Packaging

Label a Beverage (Large and Normal)Packaging DesignTwo Photographs of Bottle and PackagingPhotograph of Finished ProductCropped Photographs That Enhance Details of the Product

40

15 Pounds

4 Gallons

2 Packs

1 Handful

PDF of beverage labels, large size and normal size that represent a homemade mead, seventh project.

41

PDF of beverage packaging design, wood create design, seventh project.

42

Photographs of bottle and packaging, bottle is inside of wood create, seventh project.

43

Photographs of finished product, 4 photographs of bottles, 8 photographs of, 3 photographs of them together, seventh product.

44

Photographs that are cropped, they are enhancing the details of the labels and packaging, seventh project.

45

Second Table of Contents

Pg. 1 -- Projects RedonePg. 2 -- Hierarchy ExercisePg. 3 -- Hierarchy ExercisePg. 4 -- SymboliconPg. 5 -- Symbolicon

II

Projects Redone

1

Hierarchy ExerciseHierarchy Exercise

2

graphic designBasic Concepts and Principles

Introduction: Design m

ay be considered as an instrument of

organization. It must perform

in response to human

needs. Design is an urgent requirement, not a cosm

etic addition. Graphic design can save tim

e by presenting information m

ore clearly. It enhances comm

unication, it helps people to understand a given m

essage andaccelerates learning. Design is �nding the best solution to a problem

within the limitations of the problem

. “To design is much m

ore than sim

ply to assemble, to order, or even to edit; it is to add value and m

eaning, to illum

inate, to simplify, to clarify, to m

odify, to dignify, to dramatize, to persuade, and

perhaps even to amuse. To design is to transform

prose into poetry. Design broadens perception, m

agni�es experience, and enhances vision. Design is the product of feeling and awareness, of ideas that originate in the m

ind of the designer and culminate, one

hopes, in the mind of the designer and culm

inate, one hopes, in the mind of the new

mim

espectator.” (Paul Rand, Form + Content)

The Graphic Design Process:

Each design problem

has unique differences and an in�nite num

ber of possible visual solutions. T

he process to generate alternate visual solutions to a problem

can be described as follows:

De�nition of needs, criteria and lim

its of the design problem (problem

identi�cation), P

roduction of many prelim

inary sketches (thumbnails),

Re�nem

ent of selected sketches (roughs), Analysis of roughs,

Selection/decision, Im

plementation (and preparation for print).

After problem

identi�cation, the process follows a cyclic pattern. From

prelim

inaries through re�nement, analysis, and selection to

implem

entation. The process grow

s by constantly checking backwards.

In the design process, the establishment of priorities is essential.

Designers m

ust be able to judge and gauge the relative importance of

factors as they relate to one another. Priorities set the functional and

visual criteria in comm

unications.

Graphic designers com

municate and express them

selves in four distinct w

ays. They need to have a w

orking knowledge of typography, illustration,

photography/video, and symbolism

.

Typography:Typography is designing w

ith type, not the designing of type. It involves 1) choosing and

using type, and 2) the application of design principles to the setting of type: the arrangem

ent, style, and general appearance of matter printed

with type.

Symbolism:A

symbol is a representation, verbal or visual, of

a concept, object, idea, etc., the meaning of

which is m

utually agreed upon. In graphic design, the effective use of sym

bolism, com

bining and relating symbols, enhances the expression of

ideas. It creates recognition, association and meaning.

Perception and Composition:

Visual perception involves a com

plex interplay of both inborn and learned responses to visual stim

uli. The G

estalt law

s of Perception sum

marize tendencies that appear to be innate or

inherent in our biological heritage and which undoubtedly serve as the

basis for our concept of composition in visual art.

Figure-Ground:Tendency tow

ard �gure-ground: There

is a tendency to interpret visual data as objects against a background, or m

ore precisely, �gures against a ground.

Similarity:S

imilarity facilitates grouping: O

bjects which

resemble one another tend to be seen as

belonging together.

Proximity:P

roximity facilitates grouping: O

bjects placed close together tend to form

a �gure.

Closure:Tendency tow

ard closure: Missing visual

information is �lled in by the brain. T

he eye closes the open parts of a �gure because it w

ants to see a whole rather than a

collection of unrelated parts.

Continuity:Tendency tow

ard continuity: An interrupted

linear �gure is similarly �lled in by the brain.

Spacing:L

etters and words need to be spaced in a logical,

consistent manner to appear optically correct, and

achieve optimum

readability. In letter-spacing there are three standards. M

inimum

space is used between cursive (oo) letters, or

between inclined (xy) letters. M

edium space is used betw

een vertical and cursive letters (lo). B

etween vertical letters (ll) m

aximum

space is used. G

ood word-spacing is achieved by m

aking all space intervals betw

een words “look” the sam

e. Words m

ust not appear to run together or be spaced so w

idely as to appear to be separate units. One system

is to im

agine a lower case “n” betw

een words. T

his gives a moderate

word-spacing.

The Grid:T

he grid is an underlying structure organizing data. It articulates space according to a pattern

of oppositions: vertical and horizontal, top and bottom, rectangular and

diagonal, and left and right. If used well it provides perceptual

organization, coherence and consistency. A w

ell-conceived grid alone w

ill not ensure effective design. It is an organizational tool, and must

be used creatively to maxim

ize comm

unications potential. Grids can

help answer com

positional questions such as balance, proportion, sequence, unity/harm

ony, and contrast.

Layout:C

omposition w

ith Type and Images. L

ayout involves the follow

ing set of interrelated basic design principles.

Balance:B

alance is created by moving around “optical

weights”, big and sm

all items, dark and light item

s, varieties of shapes.

Proportion:G

ood proportion is achieved by deciding on space betw

een image and type, betw

een type and the edge of the paper, betw

een columns of type, betw

een type-size, line- length and leading, betw

een different visual elements, etc.

Sequence:S

equence is created by directing the viewer, for

example, through the use of lines, real or im

plied; by arranging im

ages in such a way that an edge or a force from

one �ow

s into an adjoining one. One does not leave to chance the order in

which the view

er perceives the items in the layout.

Unity/Harmony:U

nity and harmony are achieved by

“�tting” all visual elements, type,

illustrations, and photos into the style/mood of the layout.

Contrast:C

ontrast is achieved through differentiation in size, color, and shape. G

iving the same graphic

emphasis to several elem

ents will m

ake them com

pete for attention.

PDF of hierarchy exercise, this was my first example I handed in for a grade, first project.

3

SymboliconSymbolicon

4

PDF of symbolicon, this was my first example I handed in for a grade, fourth project.

5