Kelsey AxlineGraphic Design II Fall 2010Final Portfolio

Con

tent

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Project 4: Symbolicon

Project 5: Stamp Design

Project 6: MagazineProject 7: Bottle & Packaging

Project 1: Hierarchy Exercise

Project 2: CD Packaging

Project 3: Poster, Ticket, & Envelope

Hierarchy ExercisePRO

JEC

T 1:

Hierarchy Exercise

GRAPHIC DESIG

NBasic Concepts & Principles

IntroductionDesign may be considered as an instrument of organization. It must perform in response to human needs. Design is an urgent requirement, not a cosmetic addition. Graphic design can save time by presenting information more clearly. It enhances communication, it helps people to understand a given message and accelerates learning. Design is finding the best solution to a problem within the limita-tions of the problem.

Graphic designers communicate and express themselves in four distinct ways. They need to have a working knowledge of typography, illustration, photog-raphy/video, and symbolism.

The Graphic Design ProcessEach design problem has unique differences and an infinite number of possible visual solutions. The process to generate alternate visual solutions to a problem can be described as follows:

Definition of needs.Criteria and limits of the design problem.(Problem Identification)Production of many preliminary sketches.(Thumbnails)Refinement of Selected Sketches.(Roughs)Selection/Decision.Implementation. (And Preparation for Print)

After problem identification, the process follows a cyclic pattern from prelimi-naries through refinement, analysis and selection to implementation. The process grows by constantly checking backwards. In the design process, the establishment of priorities is essential. Designers must be able to judge and gauge the relative importance of factors as they relate to one another. Priori-ties set the functional and visual criteria in communications.

Perception and CompositionVisual perception involves a complex interplay of both inborn and learned responses to visual stimuli. The Gestalt laws of perception summarize tenden-cies 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 toward figure-fround: There is a tendency to interpret visual data as objects against a background, or more precisely, figures against a ground.

SIMILARITY. Similarity facilitates grouping: Objects which resemble one an-other tend to be seen as belonging together.

PROXIMITY. Proximity facilitates groupiing: Objects placed close together tend to form a figure.

CLOSURE. Tendency toward closure: Missing visual information is filled in by the brain. The eye closes the open parts of a figure because it wants to see a whole rather than a collection of unrelated parts.

CONTINUITY. Tendency toward continuity: An interrupted linear figure is simi-larly filled in by the brain.

TypographyTypography is designing with type, not the designing of type. It involves:1) Choosing and using type2) The application of design principles to the setting of type: The arrangement, style, and general appearance of matter printed with type.

SpacingLetters 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. Minimum space is used between cursive (oo) letters, or between inclined (xy) letters. Medium space is used between vertical and cursive letters (lo). Between vertical letters (ll) maximum space is used.

Good word-spacing is achieved by making all space intervals between words “look” the same. Words must not appear to run together or be spaced so widely as to appear to be separate units. One system is to imagine a lower case “n” between words. This gives a moderate word-spacing.

The GridThe grid is an underlying structure organizing data. It articulates space ac-cording 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 well-conceived grid alone will not ensure effective design. It is an organiza-tional tool, and must be used creatively to maximize communications poten-tial.

Grids can help answer compositional questions such as balance, proportion, sequence, unity/harmony, and contrast.

Layout: Composition with Type and ImagesLayout involves the following set of interrelated basic design principles:

BALANCE. Balance is created by moving around “optical weights,” big and small items, dark and light items, varieties of shapes.

PROPORTION. Good proportion is achieved by deciding on space between image and type, between type and the edge of the paper, between columns or type, between type-size, line-length and leading, between different visual elements, etc.

SEQUENCE. Sequence is created by directing the viewer, for example, through the use of lines, real or implied; by arranging images in such a way that an edge or a forche from one flows into an adjoining one. One does not leave the chance the order in which the viewer perceives the items in the layout.

UNITY/HARMONY. Unity and Harmony are achieved by “fitting” all visual ele-ments, type, illustrations, and photos into the style/mood of the layout.

CONTRAST. Contrast is achieved through differentiation in size, color, and shape. Giving the same graphic emphasis to several elements will make them compete for attention.

SYMBOLISM. A symbol is a representation, verbal or visual, of a concept, ob-ject, idea, etc.. The meaning of which is mutually agreed upon. In graphic de-sign, the effective use of symbolism, combining and relating symbols, enhanc-

“To design is much more than simply to assemble, to order, or even to edit; it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dig-nify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design broadens perception, magnifies experience, and enhances vision. Design is the product of feeling and awareness, of ideas that originate in the mind of the designer and culminate, one hopes, in the mind of the spectator.” (Paul Rand, Form + Content)

PRO

JEC

T 2:

CD Packaging

HYPERCRUSH

CD Packaging

PRO

JEC

T 3:

Poster, Ticket & Envelope

AYOTHE ARCADEKEEP UPSEX AND DRUGSDISKTRONCANDY STORE

ROBO TECH

FUTURE

INFINITE YOUTH

SLOW MOTIONTHIS IS MY LIFE

TWISTEDBOOM BOX

ACID HOUSE

F.U.H.A.T.E.RSHE’S A FREAKDISCO TECH

CRUSH

Poster, Ticket & Envelope

SymboliconPRO

JEC

T 4:

Symbolicon

Stamp Design

Kelsey Axline402 S. Gilbert St.Iowa City, IA 55240

Return AddressPR

OJE

CT

5: D23 ESIGN

Stamp Design

PRO

JEC

T 6:

Magazine

D23 ESIGN

FeaturingARCHAN NAIR& KARIM RASHID

FeaturingARCHAN NAIR& KARIM RASHID

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NAIRARCHANAgnamus essitatiis alit fugi-tiones et voluptae odit ipitias siti reperis simil evenisseque quis dole-nimus voluptis as am unt dolorist, cupide dolendi asitatis di dolenim essed qui omnihil lignis dolor sitas ellupitiorit eum lacimint expero te con nam eos ea sundest, ipic te etus re conse nullab ius.Es erume corehent is dolor soluptis sendenimil is nobis sunt aboremp orumenient, arum rest, sum fugia-tur, ut quatent.Totas dio. Alitectenis con et volores naturiam, odi quo mos escidictat.Musae. Ipienim usanitiaes ex-periore deressi nveliquam unt exceraerci di con rest, te comnis et hilit fugiatur magnisciti ommoIc tem dolorro delit, tem sitatiae ex-

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“Archan’s passion and love for the creative process

and expressing himself has opened a whole new journey,

where he is exploring the beautiful essence of life.”

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“We no longer live in a world that is speared by race, color, creed, reli-gion, borders...We now live in one ever-vast beautiful shrinking digital age, where the only thing that differentiates us is our fingerprints, our indi-

viduality, our DNA. ”

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PRO

JEC

T 7:

Bottle& Packaging

Bottle& Packaging

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Top

Front

Neck of Bottle comes out lid

Back

Bottom

Side

Front