Final Book - Survey of Graphic Design

8/4/2019 Final Book - Survey of Graphic Design

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Survey o

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D esign:Fi

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Richard

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Survey of Graphic Design

Final Book

Richard Iorio II


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Collage


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Project one: More things change

the More they stay the saMe

The title of the series is MORE THINGS CHANGE, THE MORE THEY

STAYTHE SAME. What the series of collages show is how we, as a species,

no matter our advancement, still resort to violence and conict. We st ill ght,

and still see violence as the only way to solve our problems. The goal of this

piece was to show the changing face of conict from our earliest time, to our

modern times. My objective was simple: show conict and the effect of it. To

do this I looked for images from throughout history that captured this conict.

I also wanted to mix color with black and white, so that there was a showing

of progression. I also wanted to employ layering and cutter, as well as doing

the layering both inAdobe PhotoShop and via paste-up.

Plate 1 is an example of the mixing ofPhotoShop and paste-up. The

base image is from World War One and shows gassed masked soldiers

advancing. In PhotoShop I took a transparent image of a Minute Man, and

layered that in. To bring in a modern touch, as well as color, I took a oil wheel

on re, scaled it, and cut it out. I also took a modern solider wearing a gas

masked and placed it in. Plate 2 deals with the concept of war and suffering.

Layered in here are various scene of war showing how we have not changed.

This stands out among the other three scenes of suffering. Plate 3, the

past plate, is centered around death. The scene from Arlington Cemetery

anchors the ve small pieced which show death, pain or suffering. Of the

three this is the most symmetrical of the plates.

I feel I pulled off my goals in this project. I would not do anything different.


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Patterns

Project two: historical Patterns

The period I choose for the PATTERNAND COLOR CULTURAL STUDIES

PROJECT is the Edo Period (or Tokugawa Period) of Japan. Starting in

1603 and ending in 1868, this is the period of Japanese history that saw

the country run by the Tokugawa family and the shoguns. During this period

the country went from an open society to a closed one, and due to the more

centralized power, the country became more stable1.

This period is known for the intricate patterns and color designs that

are associated with the kimonos and other textile arts. What I wanted to do

was to try and emulate the colors and patterns found in the textiles of this

pattern. The patterns found in this period rum the gamut from simple color

and geometric patterns, to the more complex landscape and scenes found on

some the royal kimonos.

My research into the colors turned up a limit pallet2, but this pal-

let turned out to be more than enough to use when creating the patterns.

Shapes were another thing I studied, and most of the shapes found in the

patterns consisted of circles, and lines3. I also wanted to play with stylized

versions of berries and cherry blossoms, so that they would work with the

more geometric designs.

Working on this project I found myself overwhelmed with the amount of

possibilities presented. I could have easily created triple the amount of pat-

terns due to the colors and the styles found.

1 Edo Period. http://en.wikipedia.org/wiki/Edo_period

2 Japanese Colthing Col ors. http://www.sengokudaimyo.com/garb/garb.html

3 Patterns of Edo Komon. http://komonhirose.co.jp/e/e_patterns.html


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a noteon colors

UsedOne of the rst things I realized in doing this

assignment, was the simple fact that I had to

make sure the color pallet I was working with

was as close as accurate as I could make it. This

was important, due to the fact that the patterns

I was going to create were going to be more

modern in tone.

Researching the colors was easier than I

thought, and I quickly discovered that the pallet

was going to be more earth tones, and appear

more muted.

Aiding me was a online source which gave the

RGB values for the Edo period dyes. I usedthese to create CYMK equivalents, and used

them for all the patterns that appear.

Imayo Iro

Shiro

Usuki Moegi

Tsugu Hanada

Asaki Keshi M

Nibi Iro

Koki Ebi

Project color Pallet

Krozen

Asaki Hanada

Refere

nce

Ysoku

Kojits

uRon:

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eseClo

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Colors

.http:/

/www

.sengok

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com/ga

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One of the simplest patterns of the Edo Period, it consists of a hori-

zontal or vertical dots that crisscross each other at right angles and

regular intervals.

Toshi means logical or to stick to an orderly procedure. It is one of the

oldest techniques used in Edo kimono.

Not only did I want to use Edo designs for my inspirations, I also

wanted to try and use the colors from that period as much as I could. I

researched the colors and made close approximations.

Toshi Pattern

Original Pattern

Sources

VintageKimono.h

ttp://vintagekimono.c

om/index.p

hp

Y

sokuKojitsuRon:AHistoryofJap

aneseClothing

andAccessoriesJapaneseClothin

g--

Colors.h

ttp://

www.s

engokudaimyo.c

om/garb/g

arb.h

tml

PatternsofEdoKomon.h

ttp://komonhirose.c

o.jp

/e/e

_

patterns.h

tml


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Toshi Pattern

Known as the same pattern, this pattern consists of numerous semi-circles

laid upon each other, and when done gives the appearance of sharkskin.

The colors used were also colors found from the period. The green is known

as usuki moegi, and is used for the background. The blossoms are created

with white, or shiro, and pink, or imayo iro.

In Japan cherry blossoms not only symbolize clouds, but are a metaphor for

the ephemeral nature of life.

Taking the same pattern, and creating a more stylized geometric cherry

blossom. Thinking about the same pattern, I wanted to emulate blossoms

blowing through the area.

Blowing Blossom Pattern

Sources

Vinta

geKimono.http://vintagekimono.com/index.p

hp

Yso

kuKojitsuRon:AHistoryofJapan

eseClothing

andAccessoriesJapaneseClothing--Colors.http://

www.sengokudaimyo.com/garb/gar

b.html

Patte

rnsofEdoKomon.http://komonh

irose.co.jp

/e/e_

patterns.html

CherryBlossom.http://en.w

ikipedia.or

g/wiki/Cherry_

bl

ossom

Original Pattern


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This pattern is one that deals with a sequential pattern aligned along a four

direction axis.

The colors used were also colors found from the period. The background is in

asaki keshi m. The over lapping circle is made up of two colors, tsuga hanada

and shiro. The cherries is made up of nibi iro and koki ebi. The concentric

circles are done in shiro.

The pattern is considered to be one associated with good fortune.

Taking the same pattern, and creating a more stylized geometric cherry

blossom. Thinking about the same pattern, I wanted to emulate blossoms

blowing through the area.

Nagatsuki Pattern

Sources

Vintage Kimo no. http://vintagekimono.c om/index.php

Ysoku Kojitsu Ron: A History of Japanese Clothingand Acce ssories Japanese Clothing -- Co lors. http://www.sengokudaimyo.com/garb/garb.html

Patterns of Edo Komon . http://komo nhirose. co.jp/e/e_patterns.html

Original Pattern

Close Up Detail

Circle Close Up

Cherry Close Up


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Nagatsuki Pattern

Icons


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Project three: icons

For this project my goal was to create ve icons for use with a smart

phone or tablet device. What I wanted to accomplish was create icons that

were colorful, clear in their related application, and that carried the same

theme from one to another. In addition, since modern smart phones and tab-

lets have better resolution screens, and are now capable of displaying more

unique colors, I wanted to add a bit more color to the icons.

Al ve icons have two unifying properties that tie them into a cohesive

theme. The rst property is color, specically background color. I choose the

color green as the background, and created a slight bevel on it to give it

some dimension. The second property is art style. I wanted something that

was more whimsical, and went with rounded edges and more stylized cartoon

looks.

Icon One is a standard phone. I went with something that softer as well

as an image that was more classic in look. Icon Two is for a calendar ap-

plication, and again I kept it in the same classical look, and drew it to match

the phone somewhat. Icon Three is for a camera application, and keeping the

theme of classic, I went with a more 1970s style ash camera. Icon Four is

for a photo application, and again, went with a cartoon photo look. The nal

icon, Icon Five, is for a Twitter application, and this one, is the cartoonier ofthe bunch. It still ts with the over all theme.

All ve images where hand drawn and measured before scanning these

drawings, and importing them into Illustrator. Once in Illustrator I used the

scans as the bases for the drawings. I feel I pulled off my goals, and I found

myself resisting the urge to draw more icons to cover other features of the

smart phone/tablet.

Original sketch of Icon 1. Done in ink, the icon was measured and then

scanned in order to be nished in Adobe Illustrator.


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Project FoUr: graPhical rePresentation


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Project FoUr: graPhical rePresentation

oF statistics

The goal of this project was simple, take a set of statistics and repre-

sent them in a graphical way. In this piece I wanted to have some fun and

took a real world statistics and represented as I imagined Scrooge McDuck

would.

I took the year end average of the closing of the Dow Jones Industrial

Average (DJI) between the years of 2008 and 2010, and compared them

to the Scrooge McDuck Index (SDI).

Though there is no real SDI, the components that make it up are real.

What I did was calculate the year end average for the prices of gold, silver,

platinum, palladium and radium. This was done by taking the monthly closing

average of each one, then calculating the yearly closing average between the

years of 2008 and 2010.

The entire chart was created either by hand, or in Illustrator.

The McDuck Family crest drawn by hand inSketchBook Pro.

imported into Photoshop andcolored using a sepia tone sothat it would blend in with thepage image.


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g t P


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Apocrypha

gestalt theory Piece

Tracing its origins to the 1920s in Germany, Gestalt Theory deals with

the relationship of individual parts to a composition of the whole.1Roughly

translated, gestalt means whole or form, and originated withe philosopher

Christians von Ehrenfels and the psychiatrist Max Wertheimer.2 Six laws, or

principles, make up this theory, and they are: proximity, similarity, prgnanz,

symmetry, common fate and closure.3 With these laws, it becomes possible

to use this theory to describe how a person organized the visual stimulationthey receive into groups.

Due to the amount of confusion be it visual or other means persons

comes into contact with, the mind attempts to organize this by putting things

into groups. Knowing this, you are able to employ gestalt to make a stronger

design. The stronger the grouping, the stronger the gestalt. It is this group-

ing that contributes to the unity of design.4 Reversely, you can break apart

these groupings in order to make an item unique and give to it a sense of

variety.

As for the rules, similarity occurs when objects look similar to each

other. When you have this you can then emphasis an object if it is dissimi-

lar anomaly from the others. Continuation occurs when the eye moves

through one object and into another. Closure takes place when an object is

notnished, or if enough of it is intact that the viewer nishes the rest of

the object. Proximity is simply placing elements together so that they ap-

pear to be one group. Prgnanz, or gure-ground, deals with how objects are

seen against a background. Symmetry deals with how objects are organized

in relation to each other. Finally, common fate is how we perceive objects or

items moving in the same direction, and they relate to one another.5

1 Design Notes: Gestalt. James T. Saw. 2000. http://daphne.palomar.edu/design/gestalt.html

2 Gestalt Principles Applied in Design. Michael Tuck, August 17, 2010. http://sixrevisions.com/web_de-

sign/gestatlt-principles-applied-in-design/

3 Ibid.

4 Design Notes: Gestalt. James T. Saw. 2000. http://daphne.palomar.edu/design/gestalt.html

5 The Gestalt Principles. http://graphicdesign.spokanfalls.edu/tutorials/process.gestaltprinciples.

gestaltprinc.htm


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Incla

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Zomb

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For an in class assignment we had to create a graphicalwhere we needed to use real statist ics, we had freedomin creating the st atistics used. So, I created a chartbased on the Zombie Apocalypse. The above is the chart.The zombie was drawn in a cartoony st yle, and the piechart was pulled away and made to look as if it was

nibbled.


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Based on the Zombie Apocalypse . The above is the chart.The zombie was drawn in a cartoony style, and the piechart was pul led away and made to look as if it was

nibbled.


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Documents

Final Book - Survey of Graphic Design