SVA 3rd Year Portfolio

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“You know too much not to be good, your biggest fear now is being boring...” --Henry Sene Yee, Creative Director PICADOR NINA LOSCHIAVO SVA PORTFOLIO 2011
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My 3rd year design portfolio from the School of Visual Arts.

Transcript of SVA 3rd Year Portfolio

  • You know too much not to be good, your biggest fear now is being boring...--Henry Sene Yee, Creative Director PICADOR

    NiNa LoSchiavoSva PortfoLio 2011

  • EXPEct the UNEXPEctED

    AZ book / The Yellow Pages Book

    Taking the less obvious approach and finding a bal-

    ance between a conceptual and a visually stimulating

    piece. When faced with assignments that seem to have

    easily attainable solutions I attempt to step away from

    my work to find the answers no one was searching for.

  • When given the task to design an A-Z book, I knew the

    popular solution would be to find images that related direct-

    ly to that letter, or the shape of the letter. At first glance the

    alphabet is symbols that relates to language and sound, but

    when viewed as a whole it is a process that has a beginning

    and end. I saw A-Z as 26 steps through human life, each let-

    ter representing another moment in a persons memory. The

    images drawn from the New York Public Library Archives

    visually bring you from a young boys school years through

    to a mans struggle to stay alive after suffering from a stroke.

    AZ book

  • A B

    J

    R

    Z

    I

    Q

    Y

    C

    K

    S

    D

    L

    T

    digital representation, to be read from left to right across the entire spread

  • EN

    V

    M

    U

    F

    O

    W

    G

    P

    X

    H

  • When Peter Buchanan-Smith told us to make a 100 page

    book only from the New York City Yellow Pages, I wont

    lie, I was a bit mortified. After seeding through one clich

    idea after another I analyzed what the purpose of the Yellow

    Pages actually is. Its a book made up of primarily business

    numbers and advertisements, all attempting to get New York

    City to buy or do something. Doctors, lawyers, escorts and

    more, the Yellow Pages provides just about any service that

    you could imagine. Going off the idea that people open the

    Yellow Pages because they are looking for a solution, i.e. Im

    depressed where can I find a psychologist? Or my carpet

    is dirty who can clean it? The piece is an interpretation of

    peoples (emotional) reactions to consumer services, all that

    are essentially, shown in the New York City Yellow Pages.

    The Yellow Pages Book

  • digital representation, to be read from left to right across the entire spread

  • thErES No EXcUSES iN DESiGN

    Rose repackaging / Resistance pest control

    When I first came to art school my craft was far from perfect, and I still

    frequently use it as an excuse for running from packaging assignments.

    It was when Peter Buchanan-Smith told me that my pleas were a lack

    of resourcefulness that I stood back and re-tackled the two assignments

    I struggled the most with this semester, repackaging a dozen roses and

    branding any item found in a hardware store. Both assignments seemed

    out of my comfort zone seeing as I could barely cut a straight-line with an

    x-acto blade. Regardless I attempted to channel my lost resourcefulness

    to solve the assignment to the best of my abilities.

  • In an attempt to package roses in a useful way, I constructed

    a very simple device to hold flowers both right-side-up and

    upside-down. When shown right-side-up it is a decorative

    piece to give to a loved one. When flipped over it is a way to

    dry roses in a position that will not allow them to wilt. The

    stained wooden board also comes with instructions on how

    to dry your roses and is finished with two quotes relating to

    love (right-side-up) and memories (flip side).

    Rose Repackaging

  • When assigned to brand and repackage anything found at a

    hardware store, I attempted to connect with the assignment

    by choosing something that I would purchase. I found pest

    packages to be very scary looking; bright and not welcoming.

    I also find that just because you are clean doesnt mean you

    are going to escape pest problems. By sewing small canvas

    bags and creating very simple instructional cards I sought to

    achieve a less daunting looking package. It doesnt scream at

    you when you first see it, and it doesnt have a giant rat on

    the front, because who really wants to see that anyway? Its

    the reason why you are buying the product in the first place.

    Resistance pest control

  • Release copper handle and attach it to the yellow faux

    cheese on the opposite side to set the trap. Now that the trap is set be sure to keep away from yourself, your

    loved ones and animals not intended for capture.

    Place block bait out of the reach of children, pets and non-

    target wildlife. Dispose of unused or spoiled bait.

    Shake pebble poisonfrom bag onto the ground. Do

    not touch pebbles with your hands.If exposed, wash with soapand water immediately.

    P E B B L E P O I S O N

    S N A P T R A P S

    B LO C K B A I T

    RES I STANCE

    RES I STANCE

    RES I STANCE

    by

    by

    by

    P E B B L E P O I S O N

    S N A P T R A P S

    B LO C K B A I T

    p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

    p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

    p r o d u c t s f o r p r o t e c t i o n a g a i n s t p e s t s

    digital representation

    fronts backs

  • LEarNiNG thE roPES

    Music Video, Go Out and Love Someone

    Taking Graham Elliotts music video course allowed me to

    broaden my knowledge of using a camera. Go Out and Love

    Someone is a music video piece that I worked on second se-

    mester about a couple living in New York City who meets

    in a supermarket and bonds over their love for cooking.

  • haviNG MY firSt chiLD

    La Mia Famiglia, a short film

    When Richard Wilde described The Project course to an

    auditorium of sophomores as the biggest commitment

    you will make in your academic career, I simply (and ig-

    norantly), shrugged my shoulders and thought to myself,

    perhaps a the biggest commitment for someone who has

    a lack of understanding of dedication. Little did I know I

    could not have been more wrong. This, by far, was one of

    the most difficult endeavors I have ever taken on in my life.

  • La Mia Famiglia is a story of John, a level-headed young

    man, who is one of a three children in a Brooklyn Italian

    family. Upon arriving home for the Christmas holiday

    with his close friend from college he is accidentally out-

    ed as homosexual by his oldest brother. After a series of

    awkward silences and uncomfortable arguments you see

    a traditional family deal with their conflicting thoughts

    about modern values. John, both shocked and disap-

    pointed by his familys reaction finds some peace when

    his grandfather unexpectedly supports his individuality.

    La Mia Famiglia

  • When Bob Giraldi gave me the opportunity to tell a

    story that would be seen not only by SVA students and

    faculty but potentially, with the power of the internet,

    the rest of the worldI was a instantly stumped. To

    be working on a short film for an entire year you want

    to write a piece that is going to mean something to you

    beyond its completion. In 2010 the news was flooded

    with stories about homosexual bullying, regardless of

    your viewpoint on the subject, it was a sad reflection

    of the close-minded nature of people with a lack of

    understanding of others lifestyle choices. The film

    conveys the realistic message that although acceptance

    may not be simple for some, youth coming out today

    will find a voice of reason, and eventually as its been

    said many times before, things will get better.

    La Mia Famiglia

  • BaBYS firSt BooK

    Not A Happy Camper

    One of the first assignments in Peter Buchanan-Smiths graphic

    design communication class was to redesign any book from the $1

    shelves at Strand. I was in the least bit excited, I had never designed

    a book cover before, nor did I have any desire to. It wasnt until I

    wrapped my newly designed printed jacket around the book did

    I realize that I had a love for this realm of art. It was the way the

    jacket fit just the same as the original and looked and felt real. Af-

    ter getting such a great feeling of satisfaction from this assignment I

    continued to research the field of cover art and eventually got a job

    interning at St. Martins Press publishing company. The majority of

    my successful work became book covers and I had found something

    I could truly see myself doing for the rest of my life.

  • thE ELEMENt of SUrPriSE PLAY

    Arthur Miller book series

    Throughout the year I received a lot of critiques stating that my work

    was too predictable, too slick, too professional, or too serious. It was

    after I had watched Paula Schers TED talk that I realized that this

    poorly received work was far from serious, it was in fact quite solemn.

    Their was no marriage between the image and the type, some pieces

    had no idea, but most importantly I wasnt having fun. I was designing

    for the sake of getting the assignment completed, and not for the sake

    of being a designer who loves what they are doing. After many failed

    attempts at redesigning Arthur Millers Death of a Salesman, I turned a

    1950s illustration of a car upside-down on my laptop and John Gall

    stood behind me and said stop, thats great. There was an idea that

    related to the book, their was something interesting, I had played,

    and it was successful. I took a similar approach to the rest of series and

    consider these covers as some of my most successful work from this year.

  • arth

    ur m

    ille

    r

    Death of a Salesman

    digital representation

  • A View from the Bridge

    arth

    ur m

    ille

    r

  • digital representation

    The Man Who Had All the Luck

    arth

    ur m

    ille

    r

  • thErES tWo SiDES to EvErYthiNG

    How To Not Become Your Parents

    Working on How To Not Become Your Parents opened my eyes to taking

    two opposing approaches when working on an assignment. Typically

    I am conservative and organized with my type, I never think to pick

    up a pen and start creating my own. After delivering a very typical

    me type setting to John Gall he asked me to take an opposing

    approach and have fun. I find both covers to be successful for differ-

    ent reasons but having taken polar directions allowed me to expand

    my horizons and break my stubbornness with hand-type. A way of

    working that I attend on implementing in the future.

  • vs.B E C O M E

    not

    your

    PARENTS

    how to

    edith sexton

  • vErNacULar aND aSSociatioN

    Lake Overturn

    In an attempt to break the association that road signs can

    only appear on highways, I created a symbol altered from an

    original trailer indicator to convey the concept of Lake Overturn.

    Turning vernacular on its head while still having an idea to wed

    it with was a valuable design practice.

  • LEarNiNG froM YoUr MiStaKES

    Conquering Carin Goldberg

    I spent my entire first semester in Carins Goldbergs class with a lack of ability to focus.

    I struggled connecting with assignments, I didnt push myself hard enough and I didnt

    produce a single successful piece. I chose to not take a type course in the spring semester

    because of my fear of being unable to produce interesting work. If it wasnt for Carins

    harsh but honest criticism it would have never been brought to my attention that some as-

    signments I had set my mind to coast, and was only doing an assignment to finish it, not

    to push my limits. Under the instruction of John Ruggeri I made a fine art piece as a reflec-

    tion of my regret for dropping typography in the second semester. The two-sided collage is

    a statement about how overwhelmed I felt by my fear of typography. The Tudors displayed

    on the back side of the collage are a representation of judgemental eyes, those who thought

    less of me for walking away from studying under Carin. Im glad the decision has effected

    me so personally because it has truly made me a more thoughtful and serious designer.

  • BEiNG VERY aMBitioUS

    A resume, 10 years in the future

    Although Peter Buchanan-Smiths 10 year resume assignment can

    be easily discounted as a less important project, it was perhaps one

    of my favorites. When given the opportunity to jot down where Id

    like to see myself in 10 years, it allowed me to evaluate where I stand

    today and who and what has inspired throughout the past three years.

    I frequently dismissed how difficult it is to be an instructor, but seeing

    the dedication of SVA educators I have become obsessed with the

    idea of becoming a mentor in the field of design. Having worked in

    publishing as an intern for the past two semesters and working with

    John Gall, Vintage Books seemed like the perfect beginning to my

    hypothetical career. Being exposed to all of the best design firms in

    the world I was easily inspired by the work of Pentagram, and even

    more excited about their offices out of the US. To build relationships

    with designers around the world working for one of the most incred-

    ible firms would be nothing less than a dream come true.

  • n i n a lo s c h i avo

    g raph i c d e s i gner d i r ec tor

    www.n i nalosch i avo . come d u c at i o n

    s c h o o l o f v i s u a l a r t sb fa g r a p h i c d e s i g n , 2 0 1 2

    wo r k

    n i n a lo s c h i av o d e s i g nf o u n d e d w i n t e r 20 1 8a s m a l l f i r m b a s e d i n n ew yo r k c i t y t h at p r o d u c e s a l l r e a l m s o f p r i n t a n d v i d e o .

    s va , p o r t f o l i o i n s t r u c t o r 2020 - p r e s e n ti n s t r u c t i n g s va s t u d e n t s , a p o r t f o l i o c l a s s d e d i c at e d to b o o k d e s i g n , c ov e r

    d e s i g n , b r a n d i n g a n d d e s i g n w i t h i n v i d e o .

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    a n ew f o c u s o f a r c h i t e c t u r a l d e s i g n .

    p e n tag r a m - lo n d o n , d e s i g n e rs u m m e r 20 1 6 - s p r i n g 20 1 7t e m p o r a r i ly r e lo c at e d to lo n d o n

    l o c at i o n w i t h t h e s a m e f o c u s .

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    b r a n d i n g d e s i g n .

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    c l a s s i c r e d e s i g n s .

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  • The lesson is of more value than the time and money spent, and even the

    work produced. My 3rd year at SVA has been by far the most profound

    learning experience of my educational career. I feel truly privileged to

    have the opportunity to study under some of the greatest designers and

    design educators in the world of art. It is through these instructors and the

    connections Ive made in the field that I have been inspired to push myself

    beyond imaginable means just simply for the sake of creating something

    beautiful or telling a story all my own. It is those people whos lives have

    crossed mine to change my way of thinking eternally and have made the

    lesson much more valuable than any one piece featured in this book.

    iN coNcLUSioN... .

    So it seems --

  • Special thanks to my friends and family for the constant support, Biel Parklee (photographer), Peter Buchanan-Smith, Bob Giraldi, John Gall, John Ruggeri, Henry Sene Yee and Carin Goldberg.