Current Portfolio

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TerrenceColeman18110 Hayloft Dr.Derwood MD, [email protected](301)-922-4147

Education:

Professional Experience:

Technical Skills:

Design Skills:

About Me:

University of Maryland, College Park 2007-2012Degree: BA Studio Art, Graphic Design

Adobe CS5: Photoshop, Illustrator, InDesign, Basics in DreamWeaverMicrosoft Office: Word, PowerPoint, ExcelOthers: Basics in Final Cut Pro, HTML Coding, Prezi Presentation Service

- Logo and Brand Identity Design- Page Layout Design- Ad Design- Photo Re-touching- Understanding of Sustainable Design

- Packaging Mock-ups- Computer Illustration- Technical Drawing- Hand Illustration- Working with different mediums

Access IntelligenceFall 2012-2013, Freelance DesignerFree Lance Designer

Fall 2012-Ongoing

University of Maryland LibraryFall 2011,

Assistant DesignerRoute One ApparelFall 2009- Fall 2011,

Graphic Designer

General DynamicsSummer 2010, Engineering Technician

Whitetail Ski ResortWinter 2008-2011,

Snowboarding Instructor

Ski ChaletWinter Seasonal 2007-2013,

Ski and Snowboard Technician

Played Club Lacrosse at University of MarylandEnjoys snowboardingHardworkingDriven to succeedA Team Player

Terrence Coleman (301)-922-4147, [email protected]

Logos and Identities

Chelsea’sPops

By Annie

GLOWM O L D O VA

B L A C K B I R DNAV IGA T I ON

MARYLAND F.C.

FRAME

Logo created for a Cake Pop Company. See Stationary (Page 3)

Logo created for a homemade jewelry company.

Identity for Girls Leading Our World located in Moldova.

Logo concept for a company based around aware location technologies.See Stationary (Page 3)

A logo designed for an adult soccer league team. See Stationary (Page 3)

A logo for a photographers online portfolio.


Logos and Identities

Product of Italy

ROUTE APPARELONELogo concept for University of Maryland company.

Word mark concept for high end boutique restaurant.

Logo concept for a prominent energy company.

Word mark concept for an Italian wine company.


StationeryBusiness card concept for “Chelsea’s Pops”

Complete stationery set for Blackbird Navigation. Letterhead, Envelope and Business Cards.

Actual display of printed crests ready for jerseys. Jerseys printed to the right.


Promotional Mailer

This project focused on using sustainable techniques to cut cost of the mailer while still creating a very original piece. My focus was on recycled paper and the use of folds to cut out adhesives.

Sea Shepherd Society Non-Profit


Signage A school project where my class worked together as a team to produce the best solution to a long existing problem in our art building at the University of Maryland. The goal was to make the building easier to traverse by revamping the signage in a modern, yet easily navigable way.

Every piece was developed by a separate group within the whole team. The directory, floor signage, and faculty signage were developed within my group.

University of Maryland, Art Building Signage


Signage

Working together, this is the signage we came up for our specific pieces. I worked primarily on the faculty signage.

University of Maryland, Art Building Signage


SignageUniversity of Maryland, Art Building Signage


Layout-Text and ImageLayouts designed for a self curated museum of your choosing. The project had to follow the guidelines of one piece for any type of design, one modern artist, and a cliche of the Mona Lisa.

Return of theAs I enthusiastically revved the GT-86’s 2.0-liter, 200-hp fl at-four up to 5500 rpm, or about 2000 rpm shy of redline, I dropped the clutch, and, unlike any Toyota before, the tiny coupe lit up its rear tires as if they were Ground Bloom Flowers on July 4. It’s a good thing After 3 seconds of mellifl uous tire screeching, the FT-86’s Michelins hooked up, and I proceeded to effortlessly fl ick the Miata-esque Aisin six-speed manual from gate to gate, glancing up at the rearview and watching the runway at the decommissioned El Toro Marine Base quickly fade into the horizon.

Few cars have made me miss bachelorhood quite like the GT-86. The Lamborghini Aventador didn’t. Neither did the Ferrari 458 Italia. Why? Well, those Italian exotics are so expensive that, regardless of my marital status, they would require that I be fi lthy rich, which I’m not. The GT-86, on the other hand, is set to start at around $25,000 -- that’s downright reasonable. So if I were fl ying solo and free of such familial expenses as a mortgage and the kid’s college fund, the GT-86 would reside in my garage. And the Premium isn’t so base, what with standard HID headlamps, navigation, Bluetooth phone and audio, a leather-wrapped shift knob and steering wheel, and a Torsen limited-slip differential.

Better still, the GT-86 treats the driver to all the MX-5’s chassis greatness -- the direct, linear steering; the composed, taut ride with a touch of softness; the fi rm, reassuring brakes; the initial understeer that

transitions gently and predictably to controllable oversteer -- but adds a quiver-free fi xed-roof body that communicates chassis behavior with even more precision.

The GT-86 is undeniably superb. For the money, its grin-getting straight-line quickness, 22/30 mpg city/highway fuel economy (25/34 with the six-speed automatic), seemingly extrasensory chassis response, seven-airbag passive safety suite, and straightforward and aesthetically Subaru’s most creative creation a force to be reckoned with.

The FT-86 has a boxer engine. This is because the car was engineered by Subaru.

The GT-86 is the more athletically capable younger brother of the AE-86, which was consid-ered underpowered. The FT-86 boasts a 200 HP boxer engine.

For the design portion, I chose this car called the AE-86.

Curated Museum Project


T h e A r t o f Ta k a s h i Mu r a k a m iTakashi Murakami has been continuing to gain international acclaim with his outlandish theory dubbed Super� at. � is term that he has labeled his art is not based solely on the fact that his art does have an inherent � atness to it, playing o� of his traditional Japanese art roots as well as anime and manga style art, but the fact that this theory disguises and masks Murakami’s underlying depth of thought when creating these pieces. Murakami’s super� at style represents Japan’s fogged memory of what high art and low art are post World War II and how art has not

grown in Japan since then, but merely remained � at and thoughtless. However this is not the case at all as Murakami’s style has developed through these “kitsch-ier” styles of art such as manga and anime, he continues to push what is actually considered “high art” and “low art” creating a beautiful intermediary style. Murakami has also utilized techniques that have been seen in earlier forms of Japanese art such as Ukiyou-e themes as well as production to bring his art to the masses as a product as well as an art form. Super� at as described by Dick

Hebidge “functions like the ancient Trojan horse to penetrate the art and fashion world’s defenses and to neutralize whatever vestiges remain in the age of the corporate sponsored art”(Hebidge, 24). � is unique style that Murakami has created has an immediate ability to intrigue people regardless of who is looking at it. � is in some cases can be argued as a Kitsch style of art where it is sold cheaply and produced quickly but Murakami has his eyes set on a

bigger goal. His pieces function as gateways to events that have occurred in the past but it takes a very trained eye to see these small reminiscent details of Japans rocky path with America. One of Murakami’s � rst and most prominent pieces was his advent of his mascot Mr. DOB who is described as “Mickey Mouse’s Asiatic cousin”. (Hebdige,32) � e character has the same silhouette as Mickey, but is often dis� gured or morphed into something more sinister. Other in� uences include a catlike robot character from a comic called Doraemon and Sonic the Hedge Hog who appears in a video game (Schimmel,65). What does this have anything to do with the piece that I have chosen to work on? Murakami’s original philosophy for the super� at movement was created by pre-existing ideas production and art in

popular culture. � is is a huge driver in all of his art; that art does not have to be one thing or the other as long as the message is universal. � is idea of universality has been present in Japanese art for years dating back to the Momoyama period, where the idea of beauty was thought to be based on the scars of the object itself, the history of it. Murakami alludes to this idea that, Japan’s history is now shaping its culture as well as the worlds and this could potentially be good as well as bad. � e piece that I chose to do is Murakami’s Super� at First Love which is actually doubles as an ad campaign for designer brand Louis Vuitton. � is may sound strange that I’m talking about a fashion brand and an artist, but the fact is that Murakami’s work still has that universality that I brought up before. � e media of the work comes in a commercial art form called anime, a style that Murakami relies heavily on. � is paired with a trending

topic in Japanese society called Sado Cute which in contrast to the U.S. relies heavily on the fact that Japanese culture has seen a spike in the “female corporate executive” and distributes a more “equitable distribution of [femininity ] across the sexes (Hebdige,41). � is in itself helps build a strong short story that ultimately helps sell bags for Louis Vuitton. � e video starts out with the main protagonist if you will; standing in front of a Louis Vuitton store in an undisclosed city locale, my guess would be Tokyo as she is wearing the traditional Japanese school girl attire. � is character could be considered a “kawaii which is a school girl from the Tokyo burbs”(Hebdige,41), who would be very into fashion as well as accessories that Louis Vuitton has to o� er. As she is standing in front of the store, this Murakami creation called Panda walks by her. It has a similar aesthetic

For the modern artist portion, I chose Takashi Murakami and his SuperFlat art style.

Layout-Text and ImageCurated Museum Project


Moni-manga!Manga: Japan’s Contemporary Art is an exhibition that is supposed to help bridge the gap between Japan’s rich art history and its contemporary counterpart, the SuperFlat movement through the manga connection. The focus of this exhibition includes works from some of Japan’s most famed artists and they include Hokusai, Osamu Tezuka and Takashi Murakami. This exhibit also includes some of Japan’s most popular manga and anime. Japan is rich in art; it is just a matter of what exactly is considered high art and what is considered kitsch. This exhibit is not supposed to not make a direct conclusion for separating the two, but allow the viewer to interpret what they believe is the correct right answer. My primary focus as a curator was to provide an engaging exhibition that will allow the viewers to use all of their senses to view the material provided. This includes televisions and mangas for the patrons to touch and listen too. As the curator I want the exhibition to feel as if the patron is walking through a manga that is entitled “Manga: Japan’s Contemporary Art”. The first thing considered when creating this exhibition is what exactly it was going accomplish as an exhibition? What themes was the viewer going to be trying to understand as they walked through? I weighed

these options and thought of theme that I have been trying to figure for awhile. I was curious to know how the characters in manga and anime got their personalities. I had concluded that it was based on a similar system as the archetypical hero found in Greek and Roman stories; the difference is that Japan would have not had any influence from these cultures. So I figured that the way the characters were created was rooted in Japanese culture in some way rather than being an imported creation. I wanted to get to the bottom of this and it turned out I was correct. My research lead me to a man named Osamu Tezuka. Regarded in Japan as the ‘God of Manga’(McCarthy), Osamu Tezuka was a prominent Manga artist from 1946-1989 when he died. He still highly regarded in Japan and has a ton of followers who continue his legacy. This artist to me was the heart of the show. He’s not only well known, but he was the first of his kind in the Manga genre making him an ideal candidate to base the exhibit around. With my ‘main artist’ established, I needed to generate an opening act that was not only related to manga, but would draw a more traditional crowd to the museum. The Freer and Sackler is known for having a wide array of traditional Japanese art. So, when considering artists I had to establish someone that was well known and had ties to manga in some way. Manga defined in contemporary terms means “humorous pictures”,but “traditionally denotes [the words] ‘incoherent’, ‘disjointed’, ‘confused’, or ‘casual’’.(Jocelyn Bouquillard) I found this quote researching one of the most famous Japanese artists by the name Katsushika Hokusai. Katsushika Hokusai was born in 1760, He was originally named Tetsuzo. It is well documented by him in his autobiography that his intention was to become an artist with a quote that reads “from the age of six, I had the habit of drawing all kinds of things.” (Forrer Pg 14) Hokusai was a prominent print artist during

late 1700’s to early 1800’s. He is most well known for his print series called The Thirty-Six Views of Mount Fuji. What many do not know about Hokusai is that he was originally a kabuki actor print maker. This style dealt with many different interpretations of people. His art of print making in the Ukiyo-e style was largely considered the consumer art of the time much like manga is today. Hokusai also received critical acclaim for his 15 volume series called Hokusai Manga. This series was Hokusai’s personal sketch book consisting of rough sketches of people, landscapes, the supernatural, plants and animals. Having Hokusai Manga as a basis to start the exhibit out with will help introduce people to Japanese stylistic approaches in drawing and how forms were considered. Hokusai was a pioneer because he was one of the first artists in Japan to use the western style perspective in some of his prints with Japanese stylistic approaches in terms of mark making and medium choice. The introduction of Hokusai would be a good way to draw crowds because he is more widely known as an artist in America then Osamu Tezuka. The second part of the exhibit focusing on Osamu Tezuka will give his biography along with his most famous characters, the ‘super stars.’ They include Astro Boy, Black Jack, Higeoyaji, Rock Holmes and Sapphire. Osamu had a particular way of choosing characters with the advent of the “star system” which was an idea that spawned from Hollywood and Takarazuka Performers. His actors (characters) each had different “talents who could reassure audiences in

familiar roles or surprise them in unusal

ones”(McCarthy 38). This technique of casting characters was original to Tezuka. No other

manga artist or writer had employed a technique like this.

For the cliche, I chose to make Mona Lisa in to a Manga Character.

Layout-Text and ImageCurated Museum Project


Access Intelligence GuidebookNational Venues Guidebook designed for Access Intelligence.

Cover Shot


Access Intelligence Guidebook

Specific layout worked on


Access Intelligence Guidebook


Product and Identity Design

“Rome Snowboards and Flying Dog have long been pioneers in their respective fields. Both companies have stared into the eyes of The Grim and delightfully declined its notion of death. One sip of our Smoked Black IPA and you will want nothing more than to live for an eternity just to drink this delicious brew.” – Chas Guy

Main beer label

Neck label

Flying Dog x Rome SDS Collaboration


Product and Identity DesignFlying Dog x Rome SDS Collaboration

Documents

Current Portfolio