Joshua Weintraub

Graphic Design IIPortfolio

HierarchyMatamorphosisCD CaseStampTicket & PosterBeveragesExtensions & Reflections2D3D

Hierarchy

Graphic Design

Basic Concepts and Principles

Design 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 fi nding the best solution to a problem within the limitations of the problem.

“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 dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design broadens the perception, magnifi es 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)

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

The Graphic Design ProcessEach design problem has unique differences and an infi nite number of possible visual solutions. The process to generate alternative visual solutions to a problem can be described as the following;

After problem identifi cation, the process follows a cyclic pattern from preliminaries through refi nement, analysis, and selection to implementation.

The process grows by constantly checking backwards. In the design procxess, the establishment of priorities is essential. Designers must be able to judge and guage the relative importance of factors as they relate to one another.

Priorities set the functional and visual criteria in communications.

Introduction

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

SimilaritySimilarity facilitates grouping: Objects which resemble one another tend to be seen as belonging together.

ProximityProximity facilitates grouping: Objects placed close together tend tor form a fi gure.

ClosureTendency toward closure: Missing visual information is fi lled in by the brain. The eye closes the open partys fo a fi gure because it wants to see a whole rather than a collection of unrelated parts.

ContinuityTendency toard continuity: An interrupted linear fi gure is simillarly fi lled in by the brain.

TypographyTypography is designing with type, not the designing of type. It involves 11 choosing and using type, and 21 the application of design principles to the setting of type: the arrangement, style, and general appearance of matt 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 (oolletters, or between inclined (xylletters. Medium space is used between vertical and cursive letters (lol. Between vertical letters (II) 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 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 well-conceived grid alone will not ensure effective design. It is an organizational tool, and must be used creatively to maximize communications potential.

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

Proportion is achieved by deciding on space between images and type, between type and the edge of the paper, between columns of type, between type-size, line-length and leading, between different visual elements, etc.

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 force from one fl ows into an adjoining one. One does not leave to chance the order in which the viewer percieves the item in the layout.

Unity and Harmony are achieved by “fi tting” all visual elements, type, illustrations, and photos into the style/mood of the layout.

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

Symbolism- A symbol is a representation, verbal or visual, of a concept, object, idea, etc., the meaning of which is mutually agreed upon. In graphic design, the effective use of symbolism, combining and relating symbols, enhances the expression of ideas. It creates recognition , association and meaning.

-Definition of needs, criteria and limits of the design problem (problem identification)

-Production of many preliminary sketches (thumbnails)

-Refi nement of selected sketches (roughs)

-Analysis of roughs

-Selection/Decision

-Implimentation (and preparation for print)

Metamorphosis

CD Case

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WALK THE M N

WALK THE M N QUESADILLALISA BABYNEXT IN LINEANNA SUNTIGHTROPEJENNYSHIVER SHIVERLIONSISCARIOT FIXIN’I CAN LIFT A CAR

walkthemoonband.comtwitter: @walkthemoonbandfacebook.com/walkthemoon

rcarecords.com

I must’ve tumbled out of a planeCause I free-fell all yearMy chute is blooming out like springAnd I’m nowhere now, but here

But I’ve seen your long hair come downIt turned my head inside outAnd I want you, I want youI still do

Your wrists were bound in my handsWater washed around our naked feetYour blue jeans over in the sandAnd we were wrestling in our picnic blanket sheets

But I’ve seen your long hair come down(seen your long hair come down)It turned my head inside out(turned my head inside out)

And I want you, I want youI still doI still, I still do

I’ve seen your long hair come downAnd it turned my head inside outWhen I’ve seen your long hair come downTurned my head inside out

QUESADILLAWhen my baby is a messMy baby is a dancing queenWhen my baby wears a dressIt’s like she’s not even a human being

Nobody elsenobody elseNobody elseHas you down, but me

I behold the beautyBut the beauty got a hold on meWith all the other boys in the runningNever thought this could happen at 20

Nobody elseNobody elseNobody elseHas you down, but me

When my baby is a messMy baby is a dancing queenWhen my baby wears a dressIt’s like she’s not even a human being

Nobody elseNobody elseNobody elseHas you downHas you downHas you down, but me

Singing a ooooohhhhI’ve been singing a ooooohhhhhI’ve been singing a ooooohhhhh

LISA BABY

My eyes are on the roadBut my mind is on your bodyMy hand is on the stick shiftAnd your hand is on my hand

My eyes are on the roadBut my mind is on your bodyMy hand is on the stick shiftAnd your hand is on my hand

Well push me honey to the up and rightWe've been waiting but we're next in lineI said, the stick shift push it to the up and rightWe've been waiting but we're next in line

City in the rear viewAnd nothing in the distanceWe laugh at all the talkWhat do you think of getting lost?What do you think of you and me?This lion is in the gardenLet's go way back whenBefore this ever started

Well push me honey to the up and rightWe've been waiting but we're next in lineI said, the stick shift push it to the up and rightWe've been waiting but we're next in line

When the city shines like the sun at nightAnd I feel it in my heart and my hips, I feel itWon't you stay shot gun until the day I die?Stay shotgun until the day I die

I'll stay by youI'll stay by you oh ohI'll stay by youI'll stay by you oh oh

Well push me honey to the up and rightWe've been waiting but we're next in lineI said, the stick shift push it to the up and rightWe've been waiting but we're next in line

When the city shines like the sun at nightAnd I feel it in my heart and my hips I feel itWon't you stay shot gun until the day I die?Stay shotgun until the day I die

Why don't you stay shotgun until the day I die?Why don't you stay shotgun until the day I die?Why don't you stay shotgun until the day I, day I,Why don't you stay shotgun until the day I die?

NEXT IN LINE

Stamp

Otl Aicher

Otl Aicher1922-1991, Germany

In 1946, when the war ended, Aicher studying sculpture at the Academy of Fine Arts Munich. In 1947, he opened his own studio. Aicher was heavily involved in branding and designed the logo for Lufthansa Airlines in 1969. Aicher became the lead designer for the 1972 olympic games in Munich. Much of his work was based on Iconography. The style he developed was a vertical double-square format with geometrical divisions. He saw his work as problem-solving, Aicher had a life-long search for ‘a comprehensive interaction between life and design’.

49¢ USAOtl Aicher

49¢ USA

Otl Aicher

49¢ USA

Otl Aicher 49¢ USAOtl Aicher 49¢ USAOtl Aicher49¢ USAOtl Aicher

Poster & Ticket

WALK THE M N

Friday July 25 2014 8:00PMFirstMerit Bank Pavilion

Northernly Island, Chicago

WALK THE M N

WALK THE M N

Section:08Row:01PSeat:14

35.00Event C

ode:01D120

FirstMerit Bank PavilionNorthernly Island, ChicagoJuly 25 2014 8:00PM

Section:08Row:01PSeat:14

SPONSORS

July 25 20148:00PMSection:08Row:01PSeat:14

WALK THE M N

Event Code:01D120 35.00

WALK THE M N

FirstMerit Bank PavilionNorthernly Island, Chicago

Flights

GOVERNMENT WARNING: (1) According to the Surgeon General, women should not drink alcoholic beverages during pregnancy because of the risk of birth defects. (2) Consumption of alcoholic beverages impairs your ability to drive a car or operate machinery, and may cause health problems.

Fl

igh

ts

Fl

igh

ts

8% alc./volume

Flights

REDEYE P.A. JET LAGER TRAVALER AIR PORTER

Flights Brewery, Oshkosh WI

9% alc./volume5% alc./volume 6% alc./volume8% alc./volume

Flights

REDEYE P.A.JET LAGERTRAVALERAIR PORTER 9% alc./volume 5% alc./volume6% alc./volumePORTERALELAGERI.P.A.

Flights Brewery, Oshkosh WI

PORTER ALE LAGER I.P.A.

Extensions & Reflections

2D3D Magazine

Redo Originals

Otl Aicher

Otl Aicher1922-1991, Germany

In 1946, when the war ended, Aicher studying sculpture at the Academy of Fine Arts Munich. In 1947, he opened his own studio. Aicher was heavily involved in branding and designed the logo for Lufthansa Airlines in 1969. Aicher became the lead designer for the 1972 olympic games in Munich. Much of his work was based on Iconography. The style he developed was a vertical double-square format with geometrical divisions. He saw his work as problem-solving, Aicher had a life-long search for ‘a comprehensive interaction between life and design’.

49¢ USAOtl Aicher

49¢ USA

Otl Aicher

49¢ USA

Otl Aicher 49¢ USAOtl Aicher 49¢ USAOtl Aicher49¢ USAOtl Aicher