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DE
SIG
N
GRAPHIC InspireM
aria
h Fa
rren
s
B k oo Dream
Mariah Farrens
Advertising & Public Relations MajorArt Minor | English MinorUniversity of Nebraska–Lincoln
Beginning Graphic Design/GRPH 221Process Design BookProfessor Stacy Asher
Contents Design Work
Define: G
raphic Design?
Form as: Typology
Form as: Language
Form as: Identity
Form as: System
1 3 9 13 17
diary
COMMUNICATIONA
STORY
Typo
grap
hy
Colla
bora
tion
Old
Brain
Jolt
Craf
ting
Solu
tion
Joyf
ulN
ewop
timist
ic
POW
ERFULLjoyful
digital
hand-made
typography
crafting
read
expressive
emotional CHANGE
grandConsonance
unity
symmetryteamwork
FREEPassion
A Messagewhite space
cayosimagine
brain jolt
| The power of self discovery |
Graphic Design
Inspiring passion
happy sadread problem solving collaboration
an ideadesign solutions
CREATIVE
Elementsrhythm
movement harmony
colorsize
shape
Hierachy
1
Thinking beyond brain storming
Acknowledgments: Typeface used: Garamondconsidered to be one of the most legible typefacesVisible Signs 2nd edition: Author: David CrowVisible Research: Authors: Ian Noble and Russell Bestley
Objective: Relate the message of what graphic design means to you. Using black text
only on a solid white billboard.
Exercise 1Billboard
2Mariah Farrens |Design Book
Define Visual Literacy: Understanding the inter-relationship between principles signs- form- content it is how an object
creates meaning. Visual Research page 26
Objective: Design a system for making a meaning out of designed artifacts. Gathering form, organizing content, and creating effective visual communication.
Denotative
Objective
Subjective
Core
Index
Sign
Micro
Macro Metaphor
Connotative
Chevrolet
Graphic Design has been the heart of an ever-changing culture for centurys. When this project was assigned the objective was to create a collection of “like” images that represented an aspect of our culture and that also represented a topic of passion for each of us. The design problem for me was deciding on what topic and direction to take this project. The first step required that we were to go out and take pictures in a one-block radius, so I chose to wonder around South Point Mall in Lincoln, Nebraska. By doing this I came up with a random grouping of images of: car logos, signs, and magazine advertisements. I then narrowed it down to focus solely on the car logos. I was slowly getting to become excited about this project because I have always had an appreciation of cars from my dad, Henry.
The weekend of September 14th I went back home to Tekamah, Nebraska and I asked my dad if he had any car memorabilia/ graphic designed artifacts that I could look at and take photos of for this assignment. From doing this, I hit a break through with the direction and my passion behind Project 1; I decided that I was only going to include Chevrolet cars. After rummaging through his piles of graphically design magazines and car manuals I figured out my design solution. I would dedicate this project to my dad and give it to him as a gift. I got news that there was the annual car show in West Point the Sunday on the 15th of September. I planned out all of my pages and attended the show with my dad to capture the old Chevy photos that I needed for this project.
TypologyForm As:
3Image Matrix
Macro
Objective
Core
Sign
Index
Chevrolet
Connotative
Subjective
Micro
Denotative
Metaphor
4Image Matrix Mariah Farrens |Design Book
5
Once I had all of my classic car images o
f C
heby
’s, I
deci
ded the three matrices fi rst. My design process was to include a single matrix dedicated to my dad’s Monte
Car
lo. I
then
look
ed at
my i
mag
es an
d gr
oupe
d th
em to
ge
ther based on logo and subject matter. I found it adruous to come u p w
ith d
iffer
ent e
mot
ions for the matrices besides just
For the vcover page I
crea
ated
a c
ollage of my dad’s car and magazines to give my project a unique twist.I examin
ed h
ow C
heve
rolet
’s car models have altered over the years. T e graphics and design proc
ess b
ehin
d th
ese cards is
6Mariah Farrens |Design Book
using images over and over. Once the matrices were com
plete I began to arrange my classic images together on the typology page. I tried to keep it consist ant by using the front bumpers of the cars. T en I decided that I would edit each image in Photoshop and make all of the background black and w
hite. So that the car was only in color.
astonding as it represents the Am
erican dream. Being with family and friend and having your heair blow in the open breexe. I am m
ost proud of the end result because it was customed designed for my dad, Henry. H
ighlighting alhis things.
Image Matrices and picture collection
The Classics
7
The New Age
8Mariah Farrens |Design BookChevrolet Car Typology
Objective: Find printed materials of images that
represent your chosen word. How can you translate your word into image.
9
When one reads a word there is an automatic image that comes to mind for that person. Words are subjective and their meanings are embedded with deep emotional and physical memories. The goal of Project 2 was to effectively connect text and image and have them unified on a page. Consonance was the word that I had to work with. I began my creative exploration by searching for printed materials that visually showed what consonance meant to me.
Define Consonance: Harmony, Unity, Compatibility
I faced many challenges-tried many techniques to reach text/image relationship harmony. My first attempts were to use each letter of the word as a blank slate for one image. I thought that by doing this I would incorportate all of the different messages into one. What I came up with was very confusing as it did not translate well in black and white. My second attempt I tried to completely sway away from the computer digital relm. I printed out my images and crafted a collage with my hands and my exacto knife. My goal was trying to merge the negative and positive space as one with all ten images. The end product turned out to represent the antonym of my word, dissonance.I was feeling a little discouraged from this failed attempt and was not sure what to do next. We were then instructed that we no longer had to use all ten images and that we could use as few as we wanted. - Continued page on 12
Form As:Language
10Mariah Farrens |Design Book
11
SON
E
CANC
ON
1st final
CON SO NAN CE
Final Poster Design 12Mariah Farrens |Design Book
So my final exploration and end product was the result of my favorite image
that represented the definition: compatibility of the word, consonance. In
the end I found harmony with the negative and positive space. I also feel
that the acutall image itself is subjective as not everyone notices that it is a
silhouette of two figures kissing.
13
This project challnged me to learn how to use the pen tool in Adobe Illustrator. The craft and
attention to detail was a painstaking challenge and really showed in the end result the time spent on perfection. Trial and error and playing with the lines over and over again really was the
key to the success of this assignment. Logo design is a mountain to tackle head on. By taking the logo through multiple steps allowed for complete exploration.
The different stages of explotation were: disturbance, diffusion, disintegration, re-collection, re-organization. The goal was to take the logo and show it
being put through these different stages. To me, I took the dennotative definition of each word and put the logo through the full force of
each word. Through creative exploration I decided the best way was to fully use each word to its meaning and break the logo
apart completely.
I came up with some sketches trying to decipher where and what this new logo was going to
look like. I decided the best way to figure this out was to print off the original
logo and start cutting it apart and seeing where that took me.
IdentityForm As:
Objective: Re-draw the original logo and take it
through differnt stages of disturbance and re-create a new logo that correlates with the original logo.
Original Logo
Re-organization
Re-C
olle
ctio
n
Diffuse
Disi
nteg
rateDisturbance
New Logo 14Mariah Farrens |Design Book
Color exploration
�oresent vs. dull lucky vs. unlucky hyper vs. calmdiaphonous vs. harsh
�oresent vs. dull lucky vs. unlucky hyper vs. calmdiaphonous vs. harsh
Color
15
Exercise 3
�oresent vs. dulllucky vs. unluckyhyper vs. calm diaphonous vs. harsh
�oresent vs. dulllucky vs. unluckyhyper vs. calm diaphonous vs. harsh
�oresent vs. dulllucky vs. unluckyhyper vs. calm diaphonous vs. harsh
16Mariah Farrens |Design Book
�oresent vs. dulllucky vs. unluckyhyper vs. calm diaphonous vs. harsh
Just a small slice of m
y type collection
T e p
ower
of t
he g
rid
Collection of cut out type
17
SystemForm As:
18Mariah Farrens |Design Book
y far this this was my favorite project as I really got to work with my hands and explore the endless oceans of possibilities of typography. I felt that this project I fully exhausted my possibilities by endless trials and exploration. By being able to get away from the digital mode that graphic designers are so accostumed to these days, I felt as I was able to have more creative freedom and thoroughly enjoyed this craft. The goal of this assignment was to stick to a grid and experiemnt with different layouts utilizing the grid pattern. Was a knowledge of the grid was understood we are able to break the grid and really have some fun.
My first couple trials I did not take to the computer at all to digitally enhance them. I simply scanned my glued samples and then printed them out.By doing this and seeing them hung up on the wall though, I saw that I needed to “tweak” a few things. I needed to create more depth, more layers, and more sense of hierachy and value. After making twelve different physical examples I decided it was not time to experiment with what I could do with these on the computer. I found that by making each section a different layer I was able to uncover a hidden potential in the forms. My focus on this project was to really relay the elements of design and create depth and flow.
First, I had to draw with pencils lines on a grid pattern by varing the line weight, density to get different looks. By doing this I was amazed to see how many ways one could organinize information by utilizing a grid pattern. After this step was done it was time to collect as many exampmles of type that I could get my hands on. The type had to be printed materials and it had to be black text on a white background.My first five trials were meticulously cut out and glued onto an 8X8 piece of white paper. I really got into this assignment as I was best-friends with my x acto-knife. I got so involved into cutting out type that I needed a few envelopes to hold all of my cut out letters and words.
1st round-pinned up
Trials
19
Define the 3 sign categories:firstness- the initial gut reaction/mood or emotionsecondness- the physical relation-the fact of knowledgethirdness- mentally analize the imagery & the signs. Visible Signs page 32
Mariah Farrens |Design Book 20
Final five 21
22Mariah Farrens |Design Book
Constructivism Movement(1919- 1922)Constructivism was an
artistic and architectural
philosophy that originated
in Russia beginning in 1919,
which was a rejection of the
idea of autonomous art. The
movement was in favour of art as a practice for social
purposes. Constructivism had a great effect on modern
art movements of the 20th century, influencing major
trends such as Bauhaus and the De Stijl movement.
Its influence was pervasive, with major impacts upon
architecture, graphic and industrial design, theatre, film,
dance, fashion and to some extent music.
After the Revolution(1930- 1950)
After the Revolution, Stepanova worked in the
Museums office of the Department of Fine Arts and
she taught at the Academy of Social Education.
Along with many avant-garde
artists, Stepanova produced
works in a variety of mediums
ranging from traditional painting
to decorative designs for public
spaces. She also contributed to
journals and together Rodchenko
extensively experimented with
photography.
http://www.moma.org/collection/artist.php?artist_id=5643
Unofficial language has not undergone this
institutional process of control; it is internally
driven by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”
Visible Signs (89)
Russian painter and designer of Lithuanian
birth. She
trained at
the Kazan’
School of Art
(c. 1910–11)
In 1912 she
moved to
Moscow where
she attended
the Stroganov
School
(1913–14) and
studied with
Konstantin
Yuon and
Il’ya Mashkov.
Her work
consists of non-
objective
visual poetry,
thus began
to experiment
with new
languages that
both revealed and served the multitude such as designs
for clothing that were then reproduced on an industrial
scale and commercialised through popular publications
such as Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/ficha_artista/542
Varvara(1894–1958)
Stepanova
Constructivism Movement(1919- 1922)
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
After the RevolutionAfter the Revolution,
Stepanova worked in the Museums office of the
Department of Fine Arts and she taught at the Academy of
Social Education.
Along with many avant-garde artists, Stepanova produced
works in a variety of mediums ranging from traditional painting to decorative designs
for public spaces. She also contributed to journals and together Rodchenko extensively
experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
Varvara Russian painter and designer of Lithuanian
birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs
for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542
Stepanova
(1894–1958)
Unofficial language has not undergone this institutional process of control; it is internally drien by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”
Trials
Constructivism Movement(1919- 1922)Constructivism was an artistic and architectural
philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in
favour of art as a practice for social purposes.
Constructivism had a great effect on modern
art movements of the 20th century, influencing
major trends such as Bauhaus and the De Stijl
movement. Its influence was pervasive, with
major impacts upon architecture, graphic and
industrial design, theatre, film, dance, fashion
and to some extent music.
After the Revolution(1930- 1950)After the Revolution, Stepanova worked in the Museums office of the
Department of Fine Arts and she taught at the Academy of Social Education.Along with many avant-garde
artists, Stepanova produced works in a variety of mediums
ranging from traditional painting to decorative
designs for public spaces. She also contributed
to journals and together Rodchenko extensively experimented with photography.
http://www.moma.org/collection/artist.php?artist_id=5643
Stepanova
Unofficial language has not undergone this
institutional process of control; it is internally driven by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”
Visible Signs (89)
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov
School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with
new languages that both revealed and served
the multitude such as designs for clothing that
were then reproduced on an industrial scale and
commercialised through popular publications
such as Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/ficha_artista/542
Varvara(1894–1958)
Constructivism Movement(1919- 1922)
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
After the Revolution
(1930- 1950)After the Revolution,
Stepanova worked in the Museums office of the
Department of Fine Arts and she taught at the Academy of
Social Education.
Along with many avant-garde artists, Stepanova produced
works in a variety of mediums ranging from traditional painting to decorative
designs for public spaces. She also contributed to journals and together Rodchenko extensively
experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
Unofficial language has not undergone this institutional process of control; it is internally
driven by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”Visible Signs (89)
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with
new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542
Varvara(1894–1958)
Stepanova
Objective: Design a poster that highlights a graphic designers work and showcase their designs. Quickly summarize their importance in d
esign
hist
ory.
Use t
he F
ibon
nacc
i seq
uenc
e.
23
Graphic Design History & AuthorismExercise 4
Constructivism Movement(1919- 1922)
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
After the Revolution
(1930- 1950)After the Revolution,
Stepanova worked in the Museums office of the
Department of Fine Arts and she taught at the Academy of
Social Education.
Along with many avant-garde artists, Stepanova produced
works in a variety of mediums ranging from traditional painting to decorative
designs for public spaces. She also contributed to journals and together Rodchenko extensively
experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
Unofficial language has not undergone this institutional process of control; it is internally
driven by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”Visible Signs (89)
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with
new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542
Varvara(1894–1958)
Stepanova
Constructivism
Movement(1919- 1922)
Constructivism was an artistic and architectural
philosophy that originated in Russia beginning in
1919, which was a rejection of the idea of autonomous
art. The movement was in favour of art as a practice
for social purposes. Constructivism had a great e� ect
on modern art movements of the 20th century,
in� uencing major trends such as Bauhaus and the De
Stijl movement. Its in� uence was pervasive, with major
impacts upon architecture, graphic and industrial
design, theatre, � lm, dance, fashion and to some extent
music.
After the Revolution
(1930- 1950)
After the Revolution, Stepanova worked in the
Museums o� ce of the Department of Fine Arts and
she taught at the Academy of Social Education.
Along with many avant-garde artists, Stepanova
produced works in a variety of mediums ranging
from traditional painting to decorative designs for
public spaces. She also contributed to journals and
together Rodchenko extensively experimented with
photography.
http://www.moma.org/collection/artist.php?artist_id=5643
Uno� cial language has not undergone this
institutional process of control; it is internally
driven by its own independent logic.
Visible Signs (86)
“Language is used as in instrament of control”
Visible Signs (89)
Russian painter and designer of Lithuanian
birth. She trained at the Kazan’ School of Art (c. 1910–
11) In 1912 she moved to Moscow where she attended
the Stroganov School (1913–14) and studied with
Konstantin Yuon and Il’ya Mashkov.Her work consists of
non-objective visual poetry, thus began to experiment
with new languages that both revealed and served the
multitude such as designs for clothing that were then
reproduced on an industrial scale
and commercialised through
popular publications such as
Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/� cha_
artista/542
Varvara(1894–1958)
Stepanova
Constructivism Movement
(1919- 1922)
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement
was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art
movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence
was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion
and to some extent music.
After the Revolution(1930- 1950)
After the Revolution, Stepanova worked in the Museums office of the Department of Fine Arts and she taught at the Academy of Social Education.
Along with many avant-garde artists, Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces. She also contributed to journals and together Rodchenko extensively experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643
Unofficial language has not undergone this institutional process of control; it is internally
driven by its own independent logic. Visible Signs (86)
“Language is used as in instrament of control”Visible Signs (89)
Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14)
and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/ficha_artista/542
VarvaraStepanova (1894–1958)
Constructivism
Movement(1919- 1922)
Constructivism was an artistic and architectural philosophy
that originated in Russia beginning in 1919, which was a
rejection of the idea of autonomous art. The movement
was in favour of art as a practice for social purposes.
Constructivism had a great effect on modern art
movements of the 20th century, influencing major trends
such as Bauhaus and the De Stijl movement. Its influence
was pervasive, with major impacts upon architecture,
graphic and industrial design, theatre, film, dance, fashion
and to some extent music.
After the Revolution
(1930- 1950)
After the Revolution, Stepanova worked in the
Museums office of the Department of Fine Arts and
she taught at the Academy of Social Education.
Along with many avant-garde artists, Stepanova
produced works in a variety of mediums ranging
from traditional painting to decorative designs for
public spaces. She also contributed to journals and
together Rodchenko extensively experimented with
photography.
http://www.moma.org/collection/artist.php?artist_id=5643
Unofficial language has not undergone this
institutional process of control; it is internally
driven by its own independent logic.
Visible Signs (86)
“Language is used as in instrament of control”
Visible Signs (89)
Russian painter and designer of Lithuanian
birth. She trained at the Kazan’ School of Art (c.
1910–11) In 1912 she moved to Moscow where
she attended the Stroganov School (1913–14)
and studied with Konstantin
Yuon and Il’ya Mashkov.Her
work consists of non-objective
visual poetry, thus began to
experiment with new languages
that both revealed and served
the multitude such as designs
for clothing that were then
reproduced on an industrial scale
and commercialised through
popular publications such as
Zhurnal Levogo Fronta Iskusstv.
http://www.museothyssen.org/en/thyssen/ficha_artista/542
VarvaraStepanova
(1894–1958)
Final Poster 24Mariah Farrens |Design Book
GRAPHIC Inspire
Mar
iah F
arren
s
B k oo Dream
DE
SIG
N
The story will continue...