JOHN CELIS

JOHN CELISBergen Community College

A.A.S. Graphics Design

APPEARING AT

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1 April 2013 Madison Square Garden3 April 2013 Prudential Center5 April 2013 PNC Bank Arts Center6 April 2013 Starland Ballroom

POSTERMotley Crue Spring Break Tour

ILLUSTRATIONLeague of Legends Money

POSTERThe Black Phantom

ILLUSTRATIONIllustrating a random sentence

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“SMART, SIMPLE, AND TIMELESS.”-Morgan Freeman

Praesent vel porta ante. Nunc ornare turpis sed arcu congue faucibus. In id lacus vel lorem mattis pharetra. Pellentesque non massa quis magna accumsan luctus in vel tellus. Nulla facilisi. In accumsan dolor non erat dapibus eget laoreet augue mollis. Sed vitae eros sit amet turpis suscipit pellentesque vel a leo. Mauris tortor nibh, sagittis vel euismod non, luctus quis nulla. Mauris turpis justo, condimentum non posuere nec, mattis sed neque. Maecenas ornare varius diam, sit amet feugiat lacus rhoncus nec. Duis et lectus ipsum. Phasellus suscipit molestie mauris, id facilisis mi commodo in. Fusce eu orci ut diam rutrum varius. Sed nec dolor ligula. Quisque ultricies risus ut ante rutrum volutpat.

“BRIEF...ATTRACTIVELY PUT TOGETHER,AND A GREAT SOURCE OF INSPIRATION.”

-New York Times

VIVAMUS MATTIS, orci nec ornare

fringilla, nunc velit pellentesque massa,

sit amet pulvinar quam nulla dictum

ipsum. Curabitur pharetra ipsum in

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JOHN CELIS is a graphics

designer. Suspendisse potenti. Ut

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BOOK JACKETDistant Worlds, Greater Goals, Determined Soul

ANNUAL REPORTUnion Settlement Association

1

Founded in 1895, Union Settlement Association is the oldest and largest social service agency in East Harlem. Our programs foster leadership and self-su� ciency by helping our neighbors build better lives for themselves and their families. We reach more than 13,000 people each year with e� ective programs in education, childcare, youth development, senior ser-vices, and mental health. In addition, we bring public health resources, job training, arts programs and community development support to East Harlem. Our services are more than the sum of their parts: taken together, Union Settlement o� ers the support of an extended family and a lifeline to our community.

EAST HARLEM:HOME TO MANY OF THE NEEDIEST NEW YORKERS•74% of east Harlem children are born into poverty

•45% of residents receive some kind of public assistance

•East Harlem has highest rate of pediatric asthma in new York City

•Adult unemployment is 17%, twice the rate of Manhattan

•17% of adults 25 and older did not complete 8th grade, another 16% did not graduate from high school, and only 14% have graduated from college

•32% of east Harlem residents over 65 receivefood stamps

•55% of rental units in east Harlem are subsidized

2

FROM THE EXECUTIVEDIRECTOR

When you turn to the next two pages in this re-port, you will see a timeline of the history of Union Settlement’s work here in East Harlem. It starts with our founding by Union Theological Semi-nary alumni in 1895, and continues through more than a century of accomplishments. Indeed, our history of service to the East Harlem community was recently acknowledged when New York City re-named East 104th Street between Second and Third Avenues – where Union Settlement’s main headquarters have been since 1895 – as “Union Settlement Way.”

Throughout our history, Union Settlement has been a pillar of strength for East Harlem families, especially during periods of � nancial downturns. Unfortunately, the current economic statistics are bleaker than they have been in decades. About 20% of New York residents – 1.6 million individuals – and 30% of our children live below the poverty lev-el. And those are city-wide numbers, so the statistics in East Harlem clearly are much worse.

As we have in the past, Union Settlement con-tinues to provide vital assistance to those in need during these di� cult times. Each day, Union Set-tlement allows hundreds of East Harlem parents to seek and maintain employment by providing child care and after-school educational services for their children. We help high school students prepare for college and the world of work, o� er English literacy and citizenship classes to recent immigrants, and provide GED classes to those who never complet-ed high school but seek a diploma to improve their job prospects. We provide counseling to both adults and children struggling to overcome the emotion-al challenges they face; o� er � nancial services to thousands of local residents and businesses striving to succeed; and provide life- enhancing activities

and meals to hundreds of seniors. And so much more.

This is the core of our mission – pro-viding essential services and programs to the hard-working residents of East Har-lem, thereby allowing them to build better lives for themselves and their families. This has been, and always will be, the “Union Settlement Way.”

We hope that you enjoy reading about our work in the pages that follow. It is your support that makes all of this possible. Thank you so much.

Maxine L. Rocko� Executive Director

5

FY11 PROGRAMHIGHLIGHTS

150 East Harlem middle school stu-dents took part in sexual literacy program-ming, including pregnancy and parenting simulation, and life skills workshops. of those who completed the parental simula-tion module, 85% reported feeling more comfortable dealing with peer pressure around sex. 100% of the participants have avoided pregnancy and remained in school since the launch of the sexual literacy pro-gram in 2004.

399 low-income, predominantly mi-nority high school seniors applied to col-lege and gained acceptance at such schools as new York university, Carnegie Mellon university, St. John’s university, Brown uni-versity, Cornell university and Skidmore College. Many of these young people are the � rst in their family to attend college. one student received a full scholarship to trinity College through the posse Founda-tion.

102 academically struggling teens gained summer and/or part-time em-ployment and career-building internships as well as ongoing mentorship and guid-ance. this is almost double the number served in the last � scal year. 78% of these participants were placed in summer jobs and 84% of the high school seniors in the program graduated on time and 100% are enrolled in post-secondary education.

100% of young men, classi� ed as “disconnected” because they were out of school and out of the work force and who completed over 200 hours of instruction at union Settlement, have increased their scores by 1.72 grade levels in math and 1.6 grade levels in reading.1,975 East Harlem youth ages 5 to 24 accessed union Settle-ment’s youth development programs. they

bene� ted from academic support, arts programming, counseling, recreation, and many other services and resources target-ed to help them overcome challenges and to thrive.

85 noncustodial fathers ages 16 to 24 came to union Settlement for individual and family counseling, parent skills work-shops, job readiness training and place-ment, visitation assistance/court advocacy, and more.

• 100% fathers have contact with their child/children at least 2-3 times a week. • 42% are now able to provide consistent � nancial support for their children. • 27 fathers are actively interviewing for full-time jobs and 31—twice the number from last year—have acquired long term or temporary employment with restau-rants, security � rms, maintenance depart-ments and other businesses. • 30 have enrolled in pre-Ged classes.

27 disconnected youth—who are nei-ther employed nor in school—enrolled in our green jobs training program in part-nership with StRIVe.

• 90% improved their reading and/or math Ged scores by 1.5 grades after 100 hours of instruction. • 55% improved their scores by 3 grades.More than

1,460 low-income, prospective � rst-generation college students in 6 public high schools and 3 middle schools received college preparatory and � nan-cial aid counseling through union Settle-ment.

6

SENIORS

José and Egda constante have been married for 61 years and have seven children. They immigrated to the United States from Ecuador 42 years ago and have lived in East Harlem ever since. José worked as a chef for many years and when the business moved he joined the Parks Department as a caretaker in local parks.

Now, José and Egda spend most weekdays to-gether at Union Settlement’s lively Je� erson Senior Center.

“We made so many friends here,” says José. Egda agrees, “My friends are here.”

They participate in many of the activities from sharing lunch with their friends, to celebrating birthdays and holidays. They attend parties and love to dance. Egda takes part in games and volunteer activities and José likes to play domi-nos. They also use the transportation services to go shopping and enjoy trips to Atlantic City and Heckscher State Park. “We come every day,” ex-plains José. The center is the focus of their social lives and where they feel comfortable. “We come to have a good time,” notes Egda. “We have fun and the day goes by quickly while we are here.”

TEXTBOOKThe Fundamentals of Graphic Design

Gavin Ambrose + Paul Harris

12 The Fundamentals of Graphic Design

The evolution of graphic design

Graphic design developed from the printing andpublishing industry, with the term itself fi rst used in

the 1950s. At that time there was a clear demarcationwithin the different stages of the print productionprocess, with specialist professionals or tradesperforming each one. These stages involved printers,scanners, photographic reproduction, graphic design,typesetters, print buyers, fi lm, proofreaders andproduction managers.

The consumer economy that emerged in thewestern world following the Second World Warbrought with it the emergence of bright and attractivepackaging as competition between productsintensifi ed. The number of magazines also began toincrease, resulting in greater demand for visuallyappealing designs. These coincided withdevelopments in print technology and opened up newproduction possibilities that designers were wellplaced to take advantage of. The success of graphicdesign helped to make it even more indispensable.

As the power of colourful visual communicationbecame widely appreciated, graphic design grewfrom the need to provide visual communication tothe consumer world and spread throughout differentsectors of the economy, while continuing to harnessthe technological developments that progressbrought forth.

Technological development, particularly in thedigital age, has revolutionised and rationalisedthe processes of print production. Trades such as

typesetting and artwork preparation have becomeobsolete, as they can now be performed by adesigner. As a consequence, graphic design hasdeveloped into a multifunctional role that sees thedesigner playing a pivotal role in the productionprocess. This demands great versatility and theneed to communicate effectively with manydifferent professionals. In the past, designerswould have undertaken all aspects of a job fromthe generation of ideas to hand-drawing type forheadings and layout.

What is graphic design? 13

What is graphic design?Graphic design is a creative visual arts discipline that encompasses many areas.

It may include art direction, typography, page layout, information technology and other creative aspects.This variety means that there is a fragmented landscape for design practice within which designers may specialise and focus.

Technological development has placeddesigners at the heart of the creative process.Often, a graphic designer manages the designprocess and coordinates the work undertaken byother creative disciplines as part of a job. As such,the scope of a designer’s responsibilities nowincludes print buying, website programming,photography, page layout, materials selection,art direction, freehand illustration, computergeneratedillustration (CGI), project management,client account management, storyboarding,editing and pre-press production.

Monza 1948 (far left)Max Huber designed thisposter to advertise motorracing at Monza, Italy in1948. It incorporates variouselements, such as typography,imagery and colour, topresent the concept of motorracing. Although no car ispictured, the design capturesthe essence of speed andcompetition through the useof coloured arrows andangled, diminishing type.

Revolutions (left)Pictured is a poster createdby 3 Deep Design that hassimilarities to the adjacentMonza poster, made in thepre-computer age, despitethe fact that they werecreated using differenttechnology. Both featuretype and images that tell amessage and create visualimpact. Technology may alterhow designs are created andproduced, but good designalways goes beyond this viathe effective application ofdesign principles.

171 Print Finishing

Paper size tablesThe tables below show some of the standard paper size systems used in di erent parts of the world,such as North America, the UK and Japan.

ISO A series

A0 841 x 1189A1 594 x 841A2 420 x 594A3 297 x 420A4 210 x 297A5 148 x 210A6 105 x 148A7 74 x 105A8 52 x 74A9 37 x 52A10 26 x 37

ISO B series

B0 1000 x 1414B1 707 x 1000B2 500 x 707B3 353 x 500B4 250 x 353B5 176 x 250B6 125 x 176B7 88 x 125B8 62 x 88B9 44 x 62B10 31 x 44

ISO C series

C0 917 x 1297C1 648 x 917C2 458 x 648C3 324 x 458C4 229 x 324C5 162 x 229C6 114 x 162C7 81 x 114C8 57 x 81C9 40 x 57C10 28 x 40

USA & Canadian

USAANSI A 216 x 279ANSI B 279 x 432ANSI C 432 x 559ANSI D 559 x 864ANSI E 864 x 1118

Canadian standard CAN 2-9.60MP1 560 x 860P2 430 x 560P3 280 x 430P4 215 x 280P5 140 x 215P6 107 x 140

Japan JIS B series

0 1030 x 14561 728 x 10302 515 x 7283 364 x 5154 257 x 3645 182 x 2576 128 x 1827 91 x 1288 64 x 919 45 x 6410 32 x 4511 22 x 3212 16 x 22

Poster sizes

Foolscap 432 x 343Post 489 x 394Crown 381 x 508Music demy 508 x 394Demy 445 x 572Medium 457 x 584Royal 508 x 635Double foolscap 686 x 432Super royal 699 x 521Elephant 584 x 711Double crown 762 x 508Imperial 762 x 559Double post 800 x 495Double large post 838 x 533Quad foolscap 686 x 864Double demy 572 x 889Quad crown 762 x 1016Quad demy 889 x 1143Double quad crown 1524 x 1016

Appendix 190

Page numbers in italics denoteillustrations.

3 Deep Design 13, 24, 25, 97, 1133D displays 106

account handlers 19Adbusters magazine 45additive primaries 156–7aesthetics 14, 120agencies 17–18, 20, 56, 145analogies 178annual reporting 23, 115anti-consumerism 45appropriation 70–1, 178art commissioning 102–7 graphic design as 26–7 in­ uencing design 78art direction 96–7art papers 174–5asymmetrical grids 61, 178

baseline, grids 63belly bands 165, 178beta versions 101binding 162, 163–5, 178, 179bitmap � les 160–1, 178blackletter typefaces 43Blast designs 75, 81–2, 85, 87bleed 179blogs 144boldface type 42bolt-on brands 52bottom-up problem-solving 83bound portfolios 146, 147brand development 52–3brand guidelines 55branded identities 46, 53branding 44, 46–55the brief 14, 19, 74–5brightness 157broadside text 179built environment 31, 78–9Büro X 23, 49, 114, 134, 169

calibration of colour 158calliper of stocks 179CDs 144, 152centrefolds 63charity work 56, 57choice 44–5, 76–7chunking 83clients 16–17, 19, 44, 56, 145

clustering 83CMYK colour space 156cognition 68, 69collages 179collectives 21colour 81, 156–9, 179, 181, 186,188colour fall 179colour spaces 156columns, grids 63commissioning work 26, 27, 102–7communication 15, 19, 26, 76–7,125 direct 116–17 electronic 144–5 internal 112 public-facing 113company pro� les 74condensed typefaces 42consumerism 32, 44–5conventions of design 15counter space 180craft 24, 25, 26–7, 47, 92creative thinking 84–5creep 180cultural in­ uences 78culture jamming 45curators 134cutting mats/rules 150

De Vringer see Faydherbe/DeVringerdeconstruction 14, 15, 24denotative meanings 68, 69design brief 14, 19, 74–5design choices 76–7design conventions 15design groups 16–19detailing 176, 188development of designs 92–5, 103die-cutting 162, 180digital � les 152, 160–1digital type foundries 35digital typefaces 34–7direct mail 116–17drawing skills 94drawing tablets 153, 159duotone images 180duplexing 180DVDs 144, 152eclectic design 115

electronic communications 144–5empirical problem-solving 83endorsed identities 46endpapers 176, 180, 181, 186engraved illustrations 27environmental design 126–37EPS � les 161ethics 56–7exhibition design 100, 134–5experimentation 92–5‘exquisite corpse’ 181extended typeface 42extent of publication 181external storage 159

Faydherbe/De Vringer 17, 33, 164,166, 170, 180, 182� le formats 152, 160–1� nishing 162–76, 181� rst impressions 140­ aps 181­ exography 168­ ipping 37­ ood colour 114foil-blocking 162, 181folding 181fonts 34–43, 59, 68, 184, 188, 189 see alsotypefaces/typographyformal brief 74found items 70four-colour black 181freelance work 20, 21French curves 152Frutiger, Adrian 59

Garamond font 43, 184, 188, 189GIF � les 161glyph switching 37graphic design de� nition 12 evolution 12–13, 22 today’s situation 22–3graphic designer’s role 13–15, 56,96–7grids 58–63, 178, 182, 188group structures 16–21gutter, grids 63

halftone images 182handwriting font 59Helvetica font 59, 184, 188, 189hero images 97

hierarchical structures 18–19, 182homage 87HTML mailers 144–5hue 157human form in design 126humour 86–9, 108, 109

icons 66, 67, 118, 119identity 40, 46–55idents 123, 124illustration commissions 104images 22, 71, 160, 161, 180Imaginary Forces designs 123imposition plans 182indexes 66, 67individual responsibility 57industrialisation 28–31informal brief 74information design 118–19inks 57, 151, 182intaglio 28internal communications 112international design groups 17Internet see electroniccommunications; web designinternships 16irony 70italic typeface 42–3, 184

Jog Design 29, 81, 85, 91, 93, 117,167JPEG � les 161juxtaposition 87, 183

kerning 36, 183KISS (Keep it simple, stupid) 84lateral thinking 83layers of meaning 90–1layouts 183leading 36, 183legibility 185letraset 153letterpress 29, 110, 168letterspacing 36light typeface 42limited liability 21line casting 28lithography 168, 183local design groups 17logos/logotypes 47, 52, 91, 119loose-leaf portfolios 146–7loupes 151

Index

Solar Charging Station

E-LIGHT

LOGOE-Light Solar Charging Station

LOGOAC/DC Logo Rendition

FINAL FANTASY

FINAL FANTASY

FINAL FANTASY

FINA

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PLAYING CARDSFinal Fantasy Playing Cards and Box Design

q

q

Warrior of Light - Final Fantasy I

Warrior of Light - Final Fantasy I

A

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BRANDINGImpulse Sunglasses

S U N G L A S S E S

SU

NG

LA

SS

ES

SU

NG

LA

SS

ES

MISCELLANEOUSClock Design

PHOTOGRAPHYGeorge Washington Bridge