PortfolioK a y l a S z c z e p a n i k

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Artist Statement

ThisisaportfoliofilledwithallofwhatIhaveproducedthisse-mesterinmygraphicdesignclass.NotonlyhaveIlearnedanumerousamountof information frombothmyprofessorandclassmates,but Ihavelearnedalotaboutmyself.Ihavefoundwithmuchresearchcomesgreatdesigns that containbothmeaningandprocessbehind them. Ittakestimetogetadesignlookingfantasticandtheyarealmostnevercompletelyfinished,alwausneedingconstanteditingandchangesmadetothem.IhopethatyouenjoymybodyofworkandlearnalittlebitaboutwhoIamasadesigner.

Artist Statement

TableofContents

Scale is a very important factor when it comes to graphic de-sign. During the critique in our last class, I noticed that my design was lacking this. I learned by exploring other students’ designs and reading “Graphic Design: The New Basics”, how successful designs can be when they utilize this sense of scale. It allows for a broader variety and also creates that strong sense of manipulation of the original logo that we are looking for. I am planning on incorporating the cropping to imply scale technique into my work. This is when objects on the page bleed off, creating an illusion of the object being very large. I found that the reading allowed me to explore this technique more and learn how to be successful in my own work when utilizing it. One part that I found easily to identify with was when it talked about the first printing usually being unpleasantly surprising. Seeing things on a computer screen usually never look exactly as they would when printed. It gave an example of using a small point font that would eas-ily be seen on a computer screen, however when printed it would look rather small and menacing. I have definitely learned in this graphic de-sign course that it takes many drafts and prints to find the best design and layout for a final piece.

// Scale

template 01 complimentary

AdvantagesJAVASCRIPT

Code is executed on the user’s processor instead of the web server, thus saving bandwidth and strain on the web server

saving bandwidth + strain

06 14 18 24 32 36 46

Project 01

Exercise 01

Project 02

Project 03

Exercise 02

Project 04

Exercise 03

Alexey Brodovitch1898-1971

Work

Roots of Modern American Design1925-1950

“We learn by making mistakes. We must be critical of ourselves

and have the courage to start all over again after each failure. Only then do we really absorb,

really start to know.”-Alexey Brodovitch

Alexey Brodovitch is best known for his 25 year contribute as an art director for Harper’s Bazaar Magazine. Originally from Russia, Brodovitch moved to Paris when he was 22. There he designed for restaurants and created poster ad-vertisements. When he came to the United States in 1930 he decided to bring his knowledge of modern style that he had learned with him. He trained many students the art of design that was going on in Europe. A huge part of Brodovitch’s designs dealt heavily with photography. Some of his favorite photographers to work with included Leslie Gill, Richard Avedon, and Hiro. His main focus was making designs that lacked boringness. If someone presented something that did not interest him, he hated it. Howev-er, when something engaged him, even if it was not the best craft, he enjoyed it. Not only did he work for Bazaar, Brodovitch also worked on a magazine known as Portfolio. The magazine contained articles on outstanding artists and Brodovitch was in charge of the design and finding the content for it. Although only 3 issues were distributed, Portfolio left a lasting impression. Alexey Brodovitch may have had a very succesful career, however his family life was opposite. Many said he was very unhappy. In the 1950’s he also had a string of house fires that destroyed much of his work including his pait-ings, archives, and expansive library. He continued to teach his knowledge of design, however left Bazaar in 1958 and retreated back to France where he later died just over a decade later.

Influential Photographers

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hard

Av

edon

Hiro

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01 Alexey Brodovitch. (n.d.). AIGA. Retrieved April 28, 2014, from http://www.aiga.org/medalist-alexeybrodovitch/02 Saturday’ s quote! | marilou. (n.d.). marilou. Retrieved April 28, 2014, from http://www.lillyspapillon.com/2012/04/saturday-s-quote.html

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Exercise 04

Project 05

Project01

WiththeadditionoflightsandgraphicdesignintotheRailyardthispastyear,theblockofconstructionwastransformedintoahipandlively atmosphere that somanyenjoy today.ByusingGooglemaps, IwasabletolocatetheblockofareathatIdesiredtostudy,allowingmetocloselyobservethearealikeIhadneverdonebefore.Ihavealwaysthoughtofmyselfasapersonwho isobservanttohersurroundings,howeverthisprojectchallengedmetobemoreobservantthanever. Duringmystudy,Iidentifiedmanyuniquepiecesofgraphicde-sign and began to understand the different aspects and history thatbelongedtothespecificblock.Thisgotmethinking,notonlyabouttheblockIwasstudying,butalsoalltheotherblocksinthecityandhowthegraphicdesigninthosewerespecifictothatblock. SincetheblockthatIchosetostudywassorecentlyconstruct-ed, aperfect ideawascreatedbehind it, this ideaof“Lightingup theRailyard”.Toexpress this theme, Idecidedto focuson lightupsigns,printsigns,andlightpolestoprovehowmuchgraphicdesignplaysonpopulating a certain area and it is becauseof these designs that theRailyardisaslivelyasitistoday.Byshowcasingthisthemeof“Lightingup theRailyard” by showcasing the lights, the theme is easily identi-fied, creating a great solution to the above stated problem. Becausetheproblemwasidentified,lotsoftimewentintoobservation,andanoverallsolutionwasfound,thisprojectwassuccessful.

Form as a Typology /What is Graphic Design?

Project01Location - The Railyard in Lincoln, NE

Subheading 26pt

Project01

index

Light Up Signs

mataphor core connotative

micro macro denotative

subjective objective

sign

Final Matrices

Light Up Signs

connotative core metaphor index

denotative macro micro

subjective objective

sign

Light Up Signs

connotativecoremetaphorindex

denotativemacromicro

objective subjective

sign

Project01Final Typologies- Street Lights

Final Typologies- Print Signs

Exercise01Outlining of Chapters in “Graphic Design: The New Basics”

Scaleisaveryimportantfactorwhenitcomestographicdesign.Duringthecritiqueinourlastclass,Inoticedthatmydesignwaslackingthis.Ilearnedbyexploringotherstudents’designsandreading“GraphicDesign:TheNewBasics”,howsuccessfuldesignscanbewhentheyutilizethis senseofscale. Itallows forabroadervarietyandalsocreates thatstrongsenseofmanipulationoftheoriginallogothatwearelookingfor.Iamplanningonincorporatingthecroppingtoimplyscaletechniqueintomywork.Thisiswhenobjectsonthepagebleedoff,creatinganillusionoftheobjectbeinglarge. Ifoundthatthereadingallowedmetoexplorethistechniquemoreand learnhowtobe successful inmyownworkwhenutilizing it.OnepartthatIfoundeasilytoidentifywithwaswhenittalkedaboutthefirstprintingusuallybeingunpleasantlysurprising.Seeingthingsonacomputerscreenusuallyneverlookexactlyastheywouldwhenprinted.Itgaveanexampleofusingasmallpointfontthatwouldeasilybeseenonacomput-erscreen,howeverwhenprinteditwouldlookrathersmallandmenacing.Ihavedefinitely learnedinthisgraphicdesigncoursethat ittakesmanydraftsandprintstofindthebestdesignandlayoutforafinalpiece.

// Scale Scale is a very important factor when it comes to graphic de-sign. During the critique in our last class, I noticed that my design was lacking this. I learned by exploring other students’ designs and reading “Graphic Design: The New Basics”, how successful designs can be when they utilize this sense of scale. It allows for a broader variety and also creates that strong sense of manipulation of the original logo that we are looking for. I am planning on incorporating the cropping to imply scale technique into my work. This is when objects on the page bleed off, creating an illusion of the object being very large. I found that the reading allowed me to explore this technique more and learn how to be successful in my own work when utilizing it. One part that I found easily to identify with was when it talked about the first printing usually being unpleasantly surprising. Seeing things on a computer screen usually never look exactly as they would when printed. It gave an example of using a small point font that would eas-ily be seen on a computer screen, however when printed it would look rather small and menacing. I have definitely learned in this graphic de-sign course that it takes many drafts and prints to find the best design and layout for a final piece.

// Scale

TimeandMotionaretwoprinciplesthatareimportanttotheproj-ectthatwearecurrentlyworkingoninclass.Itisonethingtocreateanin-terestingnewlogo,howevertomakeanevolutionfromtheoriginaltothenewlogoisdefinitelychallenging.Inthereading,Ifounditveryhelpfulwhenitwasdiscussingabouttheimportanceofstoryboarding.Theyalsotalkedaboutspendingjustasmuchtimeonthemiddleframesastheonesinthebeginningandend.ThisisoneproblemthatIdefinitelyneedtoaddressandworkoninordertomaketheframesinbetweenasvisuallyinterestingasthebeginningandendframes. Tomakemymotiongraphicinteresting,Ihavebeenworkingwiththe changes in position, rotation, and scale.Utilizing the three of thesechangeswillallowformyevolutiontobemorevisuallyinterestingandcon-tainastrongamountofvariety.IdonotplanonusingthechangeinshapeeffectbecauseIwanttostickwiththesimilarstyleoftheoriginallogo.Ibelievethatusingthesetechniquestocreatetimeandmotionwillallowmyevolutiontobeverysuccessful.

// Time and Motion

Exercise01Outlining of Chapters in “Graphic Design: The New Basics”

FigureGroundrelationship is the techniqueofutilizingboth thepositiveandnegativespace inadesign.Designsthatkeepabalancebe-tweenthepositiveandnegativespacearemostofthetimeverysuccessfulbecausetheyhelpstimulatetheeyesoftheviewer.Theykeepthemwon-deringand interested inwhattheyare lookingat.Viewersbecomeveryattractedtothedesignwhentheycanputtogetherpatternsandcomposewithformsthatarecreatedinthenegativespace. UtilizingboththepositiveandnegativespaceisonetechniquethatItrytoworkwithinmanyofmydesigns.Ilovetheideaofcreatinginterestinthenegativespacebecauseitfeelsalmostrewarding.Inprojectthree,Iutilizedmorenegativespacetobalanceoutmylogobyseparatingtheonesquarefromtheoriginalintofoursmallersquares,leavingnegativespaceinbetweentocreatethatimpliedline.OverallIbelievethatthenewlogothatIcreatedstillreflectsthatoftheoriginalhoweverIwasabletorebalanceitinanewandexcitingway.

// Figure Ground

Project02

Presentedwiththisassignment,therewasavastamountofva-riety.Thefirstcalltoactionwasfindinginterestingmaterialsthatwouldcome together tomake a unique and eye catching piece.With littlerestrictions, Ifirstsoughtoff tofindprintmaterialsat theUniversityLibrary.Themostluckcamewithlookingthroughbooksofphotogra-phers,especiallyolderimagery.Thisreallyinterestedme.Myideacameaboutafter I foundagreatphotographofavacantparkwithvibrantgreensandahillsideinthebackground.Whensketching,Ialsobecamefascinatedby thedesigns Iwascreatingusing sharpieasmymaterial.Byaddingthetwoelementstogetheroftheparkandasharpiedrawncityscape,athemewascreated,this ideaofbuildingsandcitiestakingovertheparksandlandoftheworld. Tomakethepointmoreintense,protestorswereaddedintotheforeground,creatingahighcontrastbetweenthecolorofthelandscapeand theblack andwhitephotosof thepeople.This created a strongtensionbetweenthemesofthisideaofmovingforwardwithbuildingsbeingconstructedandtheideaofkeepingnature’slandsimplisticandbeautiful.Theaudiencethisbookistargetingisthatofthosewhoareenvironmentallycautiousandlovethebeautyofnaturethatislesscivi-lized.Thisprojectwasasuccessbecausenotonlydothelayeringofel-ementscreateabeautifulcomposition,butthereisalsoastrongthemetogoalongsideitthattellsastoryandkeepstheviewerinterested.

Form as Language/Designing Visual Communications

Elements of the Design (Scanned, found, and drawn)Project02

Landscape Design

Project02Final Book Design

Taking Over

Taking OverWhitfield

Calvin Whit� eld, born and raised on the outskirts of NYC in New Rochelle, has written a raw and inspirational story about a sub-urban paradise, and the social in-� uences that perpetrated its de-struction. Whit� eld gives a unique and compelling perspective into

the life of his childhood while growing up in an environment that re� ects the values of a utopian community. By con-

trast, he gives powerful insight into the issues of drug use, domes-

tic violence, building construction, and the system of welfare,

that would even-tually transform his life, those of his communi-

ty, and forev-er change their way

of living.

“What a great story of a time in our lives when we lived in a place that seemed isolated from the rest of the world. City Park for me was straight out of a Norman Rockwell painting and that’s the im-age and memory that’s etched in my mind, and that’s what this book reminds me of.” -Derryck Bailey; Childhood friend

“From the heart, Calvin Whit� eld has written an honest, straight-forward memoir about growing up during a transformative era in the history of New Rochelle, NY - and America. His reminiscences of his childhood years provide a unique glimpse into the post World War II culture that was fostered by the people and the setting of the MacLeay (“City Park”) Municipal Housing Proj-ects, while also relating a personal perspective that is � lled with engaging details and keen perspectives. Taking Over serves as a genuine testament to the power of a strong community, and the life-altering in� uence of sagacious, caring mentors.” -Barbara Davis; City of New Rochelle Historian

Mockup

Project03

Project 3 took a whole lot of trial and error. In the reading,thisconceptofseeingthingsonacomputerscreenandthemdifferingwhenprintedwascrucial.Manyprintswereneededtoensurethattheevolutionwassuccessfulandutilizingtheforcesactingonthesymbolto ultimately form a brand new logo. In the first attempts, I focusedmostlyonmovement,howevernoticedthattokeepviewersinterested,itwasnecessary formetoaddchange inscaleandutilizethe frame.Thesetechniquesaddedmoremovementthroughouttheevolutionandinterest.Many trials tookplace tofind thefinalevolutionbecauseofthelargeamountofvarietythatcouldbecreatedwithinthosesevenframes. OnethingthatIkeptinmindwaskeepingsimilarcharacteristicstotheoriginalsymbol.SomethingthatIreallywantedtoutilizeintothenewsymbolwastheuseofmorepositiveandnegativespace.Byseper-atingtheonesquarefromtheoriginalintofourseperatesegments,thenewsymolwasabletoformmanyimpliedlines,creatingvisualinterest.Accordingtothereading,whenpeopleareabletomakeuseofnegativespace,theyfindenjoymentandlikingtowardsthedesign.Italsoaddeddepth and variety to the final symbolwhichmade it very successful.Keepingbothlogosthesameweightwasalsoimportanttoshowtheirconsistency.Overall,Ithinkthatthefinallogoandevolutionweresuc-cessful.Theyshowlotsoftrialanderrorandalsoastrongcompositionthatmanywillfindinterestingandwillkeepthemlooking.

Form as Identity /Logo Transformation

new logo

Project03Original Logo

1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol

Sketches

Redesigned LogoProject03

1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol

Evolution Process

Final Design of EvolutionProject03

1. icon [as is] redrawing it using Illus-trator2. Disturbance3. Disintegration4. Di�usion5. Re-collection6. Re-organization7. Evolution of a new symbol

Exercise02Color Theory

template 01 monochromatic

template 01 analogous

template 01 complimentary

template 01 triadtemplate 01 contrasting pairs of conditions

Exercise02Color Theory

template 01 complimentary template 01 custom

Project04

Inthisproject,muchresearchandexploringtookplace,focusingconstantlyonthegridsystem.Themostimportantstepinthebeginningwasfindingagreatvarietyoftypefacesinfoundobjectssuchasmag-azinesandlibrarybooks.Itwasimportanttofindbodytext,headingsbothbigandsmall,andtextthatwasalsouniqueandeyecatching.Byputtingalotofresearchandeffortintofindingthese,theultimatede-signbecamemoreandmoresuccessful. Ifoundbalancetoalsobeveryimportantbecauseinpagedesigntheeyefindsalikingintheentirepagebeingbalancedthroughoutit.Inthefirststageofpinningitup,Ifoundittoalsobeimportanttohavecleanedgesthroughoutthetextandalsocleanupthebackgroundsothatitwaspurewhite,notcreatinganydistractions.Also,elminatingthereadingofactualwordsonthepageswasawaytokeeptheviewerfromgettingdistractedandwanttostartreadingastheywerelookingatthedesign. Another large factor that I did not think about early onwassequencing.Theorderofthe8x8designswascrucialtocreatingalargebodyofworkthatflowedthroughoneanotherandlookedcohesive.BythinkingaboutthislateronIknewIwasgoingtoneedmoremockupstoaddintosomeoftheonesIalreadyhadinordertocreatethissenseofflow.Overall,Ibelievethatthefinalpieceswereverysuccessfulwithmuchresearchandtheamountofprocessthattookplacetoproducethem.

Type + Image /Page Layout and the Grid

Project04The Grid

Sketches

Project04Found Type

Project04Mock-Ups Using the Grid

Project04Final Design

Exercise03Language of Inter-Activity

AdvantagesJAVASCRIPT

Code is executed on the user’s processor instead of the web server, thus saving bandwidth and strain on the web server

saving bandwidth + strain

Foraclassexercise,wewerepairedupandgivenatopicfromalistofinter-activitylanguage.Wehadalittlelessthanonehourtore-searchourtopicandmakeapowerpointthatwasvisuallyappealing.Wehadslidesof informationasaresource,howevertheywerecompiledwithtoomuchinformationoneachpageandlackedanysortofimageorgraphic. Mypartnerand Idecided tokeep the sameorganization thattheresourceinformationwasin,howeverwemadesuretospreadthepointsoutontoseveraldifferentslides.Wealsoknewweneededtoaddfungraphicstogetthepointacrossandgrabtheaudiencesattention.Wechoseasimplesansseriftypefaceandkeptallofourtextualinfor-mationalignedleft. ThelastpartoftheassignmentwastofindacoupleexamplesthatusedJavascritsuccessfully.Oneofourfavoritesiteswasthatofaportfoliowebsite thatusedcreative scrollingeffects andallowed theviewer to play around and be entertained.The assignmentwas veryuseful inlearninghowtoputasmallamountof informationtogetherinastrongvisuallycompellingwaywithlittletime.Italsowasbeneficialgettingtoworkwithapartnerandlearningthebestwaystosplituptheworkloadandpresentitalltogethersuccessfully.

Javascript

Exercise03Language of Inter-Activity

What is it?JAVASCRIPT

JavaScript [JS], is a computer programming language.

common in server-side programming, game development and the creation of desktop apps

useful with on screen visual effects

AdvantagesJAVASCRIPT

Code is executed on the user’s processor instead of the web server, thus saving bandwidth and strain on the web server

saving bandwidth + strain

AdvantagesJAVASCRIPT

Easy to learn

Close to English

DOM Model

Prewritten functionality to the various objectives on pages, it’s a breeze to develop a script to solve a custom purpose

Awesome ExamplesJAVASCRIPT

http://www.narrowdesign.com/http://highrise.nfb.ca/https://www.pinterest.com/http://www.drawastickman.com/

AdvantagesJAVASCRIPT

Easy to learn

Close to English

DOM Model

Prewritten functionality to the various objectives on pages, it’s a breeze to develop a script to solve a custom purpose

AdvantagesJAVASCRIPT

Updates are seen almost instantly on the web

Doesn’t hog up memory

Exercise04Graphic Design History / Authorship

Alexey Brodovitch1898-1971

Work

Roots of Modern American Design1925-1950

“We learn by making mistakes. We must be critical of ourselves

and have the courage to start all over again after each failure. Only then do we really absorb,

really start to know.”-Alexey Brodovitch

Alexey Brodovitch is best known for his 25 year contribute as an art director for Harper’s Bazaar Magazine. Originally from Russia, Brodovitch moved to Paris when he was 22. There he designed for restaurants and created poster ad-vertisements. When he came to the United States in 1930 he decided to bring his knowledge of modern style that he had learned with him. He trained many students the art of design that was going on in Europe. A huge part of Brodovitch’s designs dealt heavily with photography. Some of his favorite photographers to work with included Leslie Gill, Richard Avedon, and Hiro. His main focus was making designs that lacked boringness. If someone presented something that did not interest him, he hated it. Howev-er, when something engaged him, even if it was not the best craft, he enjoyed it. Not only did he work for Bazaar, Brodovitch also worked on a magazine known as Portfolio. The magazine contained articles on outstanding artists and Brodovitch was in charge of the design and finding the content for it. Although only 3 issues were distributed, Portfolio left a lasting impression. Alexey Brodovitch may have had a very succesful career, however his family life was opposite. Many said he was very unhappy. In the 1950’s he also had a string of house fires that destroyed much of his work including his pait-ings, archives, and expansive library. He continued to teach his knowledge of design, however left Bazaar in 1958 and retreated back to France where he later died just over a decade later.

Influential Photographers

Lesl

ie G

ill

RIc

hard

Av

edon

Hiro

01

01 Alexey Brodovitch. (n.d.). AIGA. Retrieved April 28, 2014, from http://www.aiga.org/medalist-alexeybrodovitch/02 Saturday’ s quote! | marilou. (n.d.). marilou. Retrieved April 28, 2014, from http://www.lillyspapillon.com/2012/04/saturday-s-quote.html

02

AlexeyBrodovitchisbestknownforhis25yearcontributeasan art director forHarper’sBazaarMagazine.Originally fromRussia,Brodovitchmoved to Paris when he was 22.There he designed forrestaurantsandcreatedposteradvertisements.WhenhecametotheUnitedStates in1930hedecided tobringhisknowledgeofmodernstylethathehadlearnedwithhim.HetrainedmanystudentstheartofdesignthatwasgoingoninEurope. AhugepartofBrodovitch’sdesignsdealtheavilywithphotog-raphy.SomeofhisfavoritephotographerstoworkwithincludedLes-lieGill,RichardAvedon,andHiro.Hismainfocuswasmakingdesignsthat lackedboringness. If someonepresentedsomething thatdidnotinteresthim,hehatedit.However,whensomethingengagedhim,evenif itwas not the best craft, he enjoyed it.Notonly did hework forBazaar,BrodovitchalsoworkedonamagazineknownasPortfolio.ThemagazinecontainedarticlesonoutstandingartistsandBrodovitchwasinchargeofthedesignandfindingthecontentforit.Althoughonly3issuesweredistributed,Portfolioleftalastingimpression. AlexeyBrodovitchmayhavehadaverysuccesfulcareer,how-everhisfamilylifewasopposite.Manysaidhewasveryunhappy.Inthe1950’shealsohadastringofhousefiresthatdestroyedmuchofhisworkincludinghispaitings,archives,andexpansive library.Hecontin-uedtoteachhisknowledgeofdesign,howeverleftBazaarin1958andretreatedbacktoFrancewherehelaterdiedjustoveradecadelater.

Alexey Brodovitch

Exercise04Graphic Design History / Authorship

Alexey Brodovitch1898-1971

Work

Roots of Modern American Design1925-1950

“We learn by making mistakes. We must be critical of ourselves

and have the courage to start all over again after each failure. Only then do we really absorb,

really start to know.”-Alexey Brodovitch

Alexey Brodovitch is best known for his 25 year contribute as an art director for Harper’s Bazaar Magazine. Originally from Russia, Brodovitch moved to Paris when he was 22. There he designed for restaurants and created poster ad-vertisements. When he came to the United States in 1930 he decided to bring his knowledge of modern style that he had learned with him. He trained many students the art of design that was going on in Europe. A huge part of Brodovitch’s designs dealt heavily with photography. Some of his favorite photographers to work with included Leslie Gill, Richard Avedon, and Hiro. His main focus was making designs that lacked boringness. If someone presented something that did not interest him, he hated it. Howev-er, when something engaged him, even if it was not the best craft, he enjoyed it. Not only did he work for Bazaar, Brodovitch also worked on a magazine known as Portfolio. The magazine contained articles on outstanding artists and Brodovitch was in charge of the design and finding the content for it. Although only 3 issues were distributed, Portfolio left a lasting impression. Alexey Brodovitch may have had a very succesful career, however his family life was opposite. Many said he was very unhappy. In the 1950’s he also had a string of house fires that destroyed much of his work including his pait-ings, archives, and expansive library. He continued to teach his knowledge of design, however left Bazaar in 1958 and retreated back to France where he later died just over a decade later.

Influential Photographers

Lesl

ie G

ill

RIc

hard

Av

edon

Hiro

01

01 Alexey Brodovitch. (n.d.). AIGA. Retrieved April 28, 2014, from http://www.aiga.org/medalist-alexeybrodovitch/02 Saturday’ s quote! | marilou. (n.d.). marilou. Retrieved April 28, 2014, from http://www.lillyspapillon.com/2012/04/saturday-s-quote.html

02

Project05

Whenbrainstorminghow todesign thisportfolio, I lookedatmanyexamplesonboth IssuuandPinterest togetmymindworking.OnestrongcommonfactorthatIfoundinportfoliosthatworkedverywellwastheirsimplicity.Byincorporatingverylittleelementsandkeep-ing all fonts andplacement similar, the viewer is notdistracted awayfromtheworkandismuchmoreengaged. FormydesignIdecidedtousethetypefaceGillSansfromthelist.RightawayIlikedthelookandfeelofitandthoughtthatitwouldmatchmy design verywell. It has amodern look to it.When I re-searchedmoreaboutthetypefaceIfoundoutsomeevengreaterrea-sonsastowhyitwouldworkwellinmyportfolio.GillSanswascreatedin1928byadesignerwhowentbythenameofEricGill.Hewasaverycreativeindividual,likemyself.Therootsofthetypefacearetracedbacktoateacherofhisthatcreatedanadvertisementforanundergroundrailroad1918.AfterreadinguponthehistoryIknewitwouldbegreatformyportfoliobecauseIamcurrentlypersuingacareerinadvertising. ForthelayoutaspectoftheportfolioIdecidedtotryandspreadoutmyworkontonumerouspages.Havingallwhitepageswithasimpleheaderatthebeginningofeachsectionofworkallowsfortheviewertonotget lost in thedesignof theportfoliobut instead lookat thework.Thegridthatworkedbestforthiswasthatoffourcolumnssplithorizontallyinthemiddle.OverallIbelievethatthisportfoliowasverysuccessful.IbelievethatIallowedfortheviewertohaveanenjoyableexperienceandputtheirmainfocusonmywork.

Form + Content =Designed Portfolio KS

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Thank you for your timeTheEnd