Drew WittlerGraphic Design II

Fall 2010

Table Of Contents

Hierarchy Excercise Compact Disc

Envelope, Ticket, and Poster

Symbolicon

Logo

Magazine

Bottle & Packaging

3

5

11

15

17

19

31

Hierarchy Excercise

3

Gra

ph

ic De

signB

asic Co

nce

pts a

nd

Prin

ciple

s

The G

raphic Design Process

Perception and Com

position

Design m

ay be considered as an instrument of organization. It m

ust perform in

response to human needs. D

esign is an urgent requirement, not a cosm

etic addition. G

raphic design can save time by presenting inform

ation more clearly. It enhances

comm

unication, it helps people to understand a given message and accelerates

learning. Design is finding the best solution to a problem

within the lim

itations of the problem

. Graphic designers com

municate and express them

selves in four distinct w

ays. They need to have a w

orking knowledge of typography, illustration,

photography/video, and symbolism

.

Definition of needs, criteria and lim

its of the design problem (p

rob

lem

id

en

tification

), Production of m

any preliminary sketches (th

um

bn

ails),

Refinem

ent of selected sketches (rou

ghs),

An

alysis of roughs,

Se

lectio

n/decision,

Visual perception involves a com

plex interplay of both inborn and learned responses to visual stim

uli. The G

estalt laws of perception sum

marize tendencies that appear to

be innate or inherent in our biological heritage and which undoubtedly serve as the

basis for our concept of composition in visual art.

Sim

ilarity

Similarity facilitates grouping: O

bjects which resem

ble one another tend to be seen as belonging together.

Pro

xim

ityProxim

ity facilitates grouping: Objects placed close together tend to form

a figure.

Clo

sure

Tendency toward closure: M

issing visual information is filled in by the brain.

The eye closes the open parts of a figure because it w

ants to see a whole

rather than a collection of unrelated parts.

Co

ntin

uity

Tendency toward continuity: A

n interrupted linear figure is similarly filled in

by the brain.

Typ

og

rap

hy

Typography is designing with type, not the designing of type. It involves 1)

choosing and using type, and 2) the application of design principles to the setting of type: the arrangem

ent, style, and general appearance of matter printed w

ith type.

Th

e G

ridT

he grid is an underlying structure organizing data. It articulates space according to a pattern of oppositions: vertical and horizontal, top and bottom

, rectangular and diagonal, and left and right. If used well it provides

perceptual organization, coherence and consistency. A w

ell-conceived grid alone w

ill not ensure effective design. It is an organizational tool, and must be

used creatively to maxim

ize comm

unications potential. Grids can help

answer com

positional questions such as balance, proportion, sequence, unity/harm

ony, and contrast.

"To design is much m

ore than simply to assem

ble, to order, or even to edit; it is to add value and m

eaning, to illuminate, to sim

plify, to clarify, to modify, to dignify, to

dramatize, to persuade, and perhaps even to am

use. To design is to transform

prose into poetry. Design broadens perception, m

agnifies experience, and enhances vision. D

esign is the product of feeling and awareness, of ideas that

originate in the mind of the designer and culm

inate, one hopes, in the mind of

the spectator."

(Paul Rand, Form +

Content)

“The process grows

by constantly checking backw

ards.”

Layout involves the following set of interrelated basic design principles:

Layout: Com

position with Type and Im

ages

Bala

nce

Balance is created by moving around "optical w

eights", big and small item

s, dark and light item

s, varieties of shapes.

Pro

po

rtion

Good proportion is achieved by deciding on space betw

een image and type,

between type and the edge of the paper, betw

een columns of type, betw

een type-size, line- length and leading, betw

een different visual elements, etc.

Se

qu

en

ceSequence is created by directing the view

er, for example, through the use

of lines, real or implied; by arranging im

ages in such a way that an edge or a

force from one flow

s into an adjoining one. One does not leave to chance

the order in which the view

er perceives the items in the layout.

Un

ity/H

arm

on

yU

nity and harmony are achieved by "fitting" all visual elem

ents, type, illustrations, and photos into the style/m

ood of the layout.

Co

ntrast

Contrast is achieved through differentiation in size, color, and shape. G

iving the sam

e graphic emphasis to several elem

ents will m

ake them com

pete for attention.

Sym

bo

lismA

symbol is a representation, verbal or visual, of a concept, object, idea, etc.,

the meaning of w

hich is mutually agreed upon. In graphic design, the

effective use of symbolism

, combining and relating sym

bols, enhances the expression of ideas. It creates recognition, association and m

eaning.

After problem

identification, the process follows a cyclic pattern from

preliminaries

through refinement, analysis, and selection to im

plementation. In the design process,

the establishment of priorities is essential. D

esigners must be able to judge and gauge

the relative importance of factors as they relate to one another. Priorities set the

functional and visual criteria in comm

unications.

Each design problem has unique differences and an infinite num

ber of possible visual solutions. T

he process to generate alternate visual solutions to a problem can be

described as follows:

Figu

re-G

rou

nd

Tendency toward figure-ground: T

here is a tendency to interpret visual data as objects against a background, or m

ore precisely, figures against a ground.

Sp

acing

Letters and words need to be spaced in a logical, consistent m

anner to appear optically correct, and achieve optim

um readability. In letter-spacing

there are three standards.

Min

imu

m space is used betw

een cursive (oo) letters, or betw

een inclined (xy) letters. M

ed

ium

space is used between vertical and cursive letters (lo).

Between vertical letters (ll) m

axim

um

space is used.

Good w

ord-spacing is achieved by making all space intervals betw

een w

ords "look" the same. W

ords must not appear to run together or be

spaced so widely as to appear to be separate units. O

ne system is to

imagine a low

er case "n" between w

ords. This gives a m

oderate word-

spacing.

Compact Disc

5

Cover Spread One Spread Two

Children shut your eyesWe'll tell you what to see�is world is burnin' downAnd you're the ones to lead

Now look into their heartsAll those who hold the leadDon't listen to their lies�ey only want one thingWell only want one thing

�ey'll rob you from the truthAnd they'll steal you from our house�e blind leading the blindDon't hang around with their kind

Cause I love the life I leadAnd I know my enemiesWell if God is on our sideWell that's all you really needWell that's all we really needWell that's all I really need

Follow down the roadI was led before you were bornNo it’s not your choiceTo pick your own �ght

When you sitting second classAnd as long as you're in controlSpeaking when you're askedYou make your own standAnd you take your own standWell I'll make my own standAnd I take my own stand

Children�ere's no place to lay my dead

When I can't stay awake�e growth I need is fettered with fear

My heels dug in my place

Keep your heart clasped into your handsYour family just knows half of where you've been

�e indian summer is better than nothingBurn the sun in my skin

Bleeding bells of inner guiltSalvation rays are thin

I say to myself you don't need anyone�is world is fucked just as you have become

I stand as a man who's seen many thingsMy youth has made me strong

I see the fraught of the words I have saidGot nothing for anyone

�e words that I speak are like the clinging hell�e songs that I sing been poisoning your well

Hands in my pockets and down on my kneesI beg for will to change

I've spun around from the wheel that I spinIn one week I'll be the same

Bleeding Bells

Eighteen and jaded with guns in their hands�ey were �ghting for freedom, and just what is that?Bills to the banks and food for the kidsMoney for college, but couldn't get inMade all the grades, but got taken to taskBy a man in an alley wearing a maskScreamed and she begged as the people walked by�e man he just laughed and the woman she cried

Well it's time all you people turn aroundFor the life we've been living, messing around�e blood we've been spilling will bleed us dry�e life we've been killing is the life like mine

�e needle is sweet and the snow it is pure�e pain I've been hiding from, I'm �nding a cure�e night it is warm, well the light it is cold�e family I'm robbing, I'm calling them home

It's time all you people turn aroundFor the life we've been living, messing around�e blood we've been spilling will bleed us dry�e life we've been killing is the life like mine

My heart it is thumping the veins they've been blue�e blood that's been pumping still hasn't met you�e beard that I'm growing, not fully grown�e years are not coming the way I thought they wouldI'm hoping and waiting for something to singLike the angels in heaven, the bones on the streetHoping for love to �nd a new voice

It's time all you people turn aroundFor the life we've been living, messing around�e blood we've been spilling will bleed us dry�e life we've been killing is the life like mine

It's time all you people turn aroundFor the life we've been living, messing around�e blood we've been spilling will bleed us dry�e life we've been killing is the life like mine

People Turn Around

When your working is done, and you've got nothing leftTo lose, why don't you just roll away

�at stone that locks you up

When your pattern is full, and it feels like there's no placeTo land, when will you all run out of gas

Yeah, it happened so fast, leaving town for sell to pal

I recall only nights that we built with our handsAnd feet, making peace with the voice in our head�at ghost just stop, won't lie dead, it just bleeds

Let the prophet rebound, let his riddle rub onTo my pride, I'm just too hollow inside

Let it echo in time just to get it through my head and mouth

�rough the gorgeous light of the sunAnd which I could never outrun

Even if my perdition were just in front

�e sun's got my shine�e sun's got my pride

I could run but I'd never live without your light

�e sun's got my shine�e sun's got my pride

I could run but I'd never live without your light

Live without your lightLive without your lightLive without your light

When your working is done, and you've got nothing leftTo lose, why don't you just roll away

Ode to Sunshine

Tomorrow Goes AwayTrashcan

People C’monHouse Built For Two

Strange VineStreetwalker

ChildrenBleeding Bells

Ode to SunshinePeople Turn Around

All music is owned, written, and performed by Delta Spirit. Illegal use of this material is incredibly frowned upon, but not super illegal. �e fact that you went to Best Buy to purchase this album alone gives you the go ahead, enjoy the music and being thirteen dollars poorer.

Lyric Insert One

Lyric Insert Two

Back Cover

Cut-out and Fold Marks

Envelope, Ticket, & Poster

11

Ticket inside Envelope Ticket leaving Envelope Ticket

Ticket and Envelope Ticket and Envelope Back

Poster DE

LTA

SPIRIT

Symbolicon

15

GLER

GLER

Milton Glaser

Logo

17

DESIGN

DESIGN

DESIGN

DESIGN

DESIGNDESIGN

DESIGN

DESIGN

Magazine

19

LOGO

Articles---------------------

----------------------------

TEXT

Link

Masthead

TEXT

LOGO

TEXT

TEXT

TEXT

TEXT

TEXT

TEXT

TEXT

-------

-------

---------------------------------------------------------------------------------------------------------------

---------------------------------------------------------------------------------------------------------

---------------------------------------------------------------------------------------------------------

---------------------------------------------------------------------------------------------------------

Front\Back Masthead\Table of Contents

Saul Bass Spread 1 Saul Bass Spread 2

TEXT

---------------------------------------------------------------------------------------------------------

----------------------------------------------------------------

Frank Gehry Spread Delta Spirit Ad

DESIGNDESIGN

SAUL BASS

FRANK GEHRY

DECEMBER 2010 ISSUE

Big Mouth Billy Saul Bass

Gehry Payton

Also Featuring:Dwaynerd Hampton’s Grandson InterviewMilton Glaser’s Big Comeback

Cover Option 1 Cover Option 2

Frank Gehry

DECEMBER 2010

Saul BassPUBLISHER, EDITOR IN CHIEF

Betsy Sussler

ASSOCIATE PUBLISHERMary-Ann Monforton

SENIOR EDITORMónica de la Torre

MANAGING EDITORSabine Russ

GENERAL MANAGER, DIGITAL MEDIA & MARKETINGPaul W. Morris

MANAGING DIRECTOR, CIRCULATIONAlexis Boehmler

WEB EDITORClinton Krute

ARCHIVE EDITORRichard J. Goldstein

DEVELOPMENTSharmila Venkatassuban

ASSOCIATE WEB EDITORSLuke Degnan

Katy Grey

ART DIRECTION & DESIGNMagazine: Everything Studio

Special Projects: Abby Goldstein

WEB CONSULTANTSFred Krughoff

Rick FrankelBen Handzo

EDITORS AT LARGEGary Indiana and Glenn O’Brien

INTERNSKaye Blegvad

JaKeith L. HairstonErin HawkinsKait Howard

Samuel JablonGoody Two Shoes

7

Milton Glaser’s Big Comeback“I’ll rest when I’m dead.”

Why we are better than “23D Magazine”(And Why We Secretly Love It)

10Interview with Dwaynerd Hampton’s GrandsonThe Truth Revealed!

The Symbolicon CrisisWhat Is A Logo Really?

12

14

3

2

SAULBASS

Od modi ut alibus ea voluptat.refrwer wer Harumquasi optat litatempe silly boy danndfaga werfrgergerge eerttwerw wer wrthg jg fgyjquaecustius, in peri nisque eveles ant faceped escil id quam res molorum, sitasperum doloribus quibusww sam fugit, cone pedisciactate ent lam ipsum, corsdfs dfgji ifni rgr r omniser am il idendae ditem sum quamw laborem et laborumquwtert etyjtyj edfetjwmolut adis e alicipid mos volut ium volo ex eliquatur,w sin restrum venimus, omnissinctae sinhgd conesci tatur, quatur asinuficiur? Quid quatisqui qui ullorum ameter pedignat.Udiati quunt, quunt ped molo volorpower ribusciam erum untion parum, eum oer rr tinmanSolorep tations equatur maximo explautfg.

Harumquasi optat litatempe dolum eumenest, vid quaecusti peri qui tem rentis nisque eveles ant fa-ceped escil id quam res molorum, dfb hjygin juicewerew wetw fgsrj dafv dsg dfgdjo rthrt quibus sam fugit, cone pedisciant quae vlupta ressincta int, omnis laborumquat vidusrtyu fghfs adis es simpores et mos volut ium volo ex eliquatur, sin re-strum venimus, tatur, quatu asinum dolora prorescit of-ficiur? Quid quatiUdiati quunt, quu sdiugb dnjgur erugbr eribuscierum untion parum, eum volorio nsectatur, quamus.It acessum resto et vo sargerhy wrthrwtp coreiur aut quias ratqu.Tureptat urrtg rthtatem. Et alignumquiam ratqui blatum ex ex eipitaquos conseq bero toreperovid exp dfiubra rub.

Sagnis estius con eost ventus, quatur alisquam repratur sed et archici enitatur? Ti cus explaborem nonsequat aut eserehendi beat id quia nemoluptatia velit vent quide comnihi liberi dolent facerum eost esed exceati offic te moluption rendae suntur?rerae

auda voloribus pres nosto quunt etur repedis eaquatur, que etum que cus eveleni modipsu sandanti denda si sit quas mod quoditis magnis estia qui comni cum ducieRerum ut quatem hillique odit estrum doloreium qui cones dolum nihil eum hitiscimi, sani odit, omnis et, suntiun tibusant, nonserum exerum et dusda explam, to et et et il modiatur? Quisim es nonse inciatur arum eument que saperia videl min nobis andis et fugitinihit optios con consectur?qui nonse-nis assit occuptatiore nam fuga. Moluptae excepel ius, ui consed mo ilit optatTem fugia sae essendeliam, quam quiassi minullu ptaque ipicil moluptior re num qui duci volestrum imetur ma nes doluptu reium, nihillum velit et exeri sinvend ipsusape ped eatis inci untium consecerum liquid magnit, quam quis nusam quasiIbus, ipsaeratiat pra isquias evellab oreped explibus rae dolorrovide es ut odit, officto magnam eniet perorep udaepudae reperatin plabo. Ur si inctoritatum haribus quunt milleserum, temVid quis eius nones nemque

“Design is thinking made visual.”

Accaborectio doloreribus, num fuga. Oluptatur sandebit magnim que pe cusa cus et ut et harum fuga. Ut omnisinverum restis sus dustrunturis dolora invenimpossi odicto excero occum que landem aut alit doluptae eius quistio maximax imusam eariorem volorep udipsuntibus unti ipsum ut presequid excepe non nonsequi odistio eature, sin parios eturi quatustibus qui veri seditis remperovid quidi natus et facesenit, nis nimagnature

5 2d/3d Design

Nonseriat et haruptas eos qui unte quia sequidis ut accum solum lab ipsam, sequid et faccaesequi simus-ciliquo tem volupta temodit quam, nis dolumque laccus, odis dolecte nduntota consequid et delestrum quam, quidus est volorio reiur, inus isciaecatium sam lis sendisitas vit reniam, officae mod modi omnitat.

Dus nobita quaspicte magnat.Optam, sapis est, il ipite sus eum, non cum re aut laut ipsa eosti volorro dellaut rerumquam, quatem. Abo. Ostis exeribus repremp orempos aecaeruptat volupta same voles eventese et molo quo voloribus et omnis audanda aliquiberit pa core lac-culliam quodit et venihicias volorporem faceperesed qui doluptate vollupt atatet fuga. Nam veliquuntius quiaspedicim eum utatent, serro esseque autem voluptat rero cum voluptio dolore des exceper ibusda volorit et ariaecaborro iunt audaes net pro-vitatur acea sae sam voloriscium apiciet

Id modi il etur? Aquis volut eturibus molupta quianih ictempossit voluptat landaesequam fu-giatium vendem vid maionsedit rectas es conseque moloribus sum dolore conse dolorrum aut qui optaerciNament plitia.

Cabo.

FRANK GEHRY

Gium illendest qui adicimp orumquod eventin es-sitium venimol orepudis et mos dolupiendia doluptat audi odic tem

sandis et exerum rat aut et essit remped ut parcipis mos aut eum faccus unt acid eum verrumquam quo voluptiunt, con re veri net rectorro explicipsam utem expelitio moluptatur aruptae dignam, id maximo tecatur reriaecta is mossi omnisti audi que rectotatem doluptaest, cusam harum ut qui blaut explandam sinis derunt aliquodi dolupta tempore nes enda nimus nihictet, ut vel imusam am il mosam quunt exeriamus doloremquaes ataque isti venecto reniatiisti debit, solum coritame moloreserum sunt quia coreribusa quatur, aceate nim nulparum hil evelibus et quos elecernatiat omnis magnimu stiunt, quos solore omnimus aut into dunt, volor remporr uptatiat arcia sequi comnimus aperum iliquamus audis exceat etur ad molut vernatius eos ex etur sdfh dtyeytik adfg sdfg aefhrwj.

8 2d/3d Design

Sus dolorepe reped ea illuptae volorenderio dolorpore ium num, odit ea voluptam dem qui qui sinctem. Natat.Liquatis eaquo officabora ius, quibusdae con nullum esti of-ficatemo dolores enihicit faccae nis digent quatiatus core, sin cullign aturecti conse con et dist, test lam, ullendae. Nequos quid que quo ipsam ullorem id estio. Nam sit laboremque maionse-rum ne dolutatustOmmolore henimen dipsandestio tem repe alis quibus, que ra dionsed

OUT DECEMBER 6th 2010

YOU’RE WELCOME.

http://www.2d3design.com/

Bottle & Packaging

31

Original Drawing

Stencil For Packaging

Front Label

Label (actual size)

Bottle in Packaging Bottle with Packaging Bottle

Label (enlarged)

End

Drew Wittler Fall 2010