helen stigge's portfolio

HELEN STIGGE

PROJECT 01: BAROQUE TODAY

PROJECT 01: OVERVIEW

For this project I wanted to combine my passion for Art History and Graphic Design. I decided to create a magazine that featured Contemporary art that was inspired by Baroque art. The focus of the magazine are the large pictures, which document the art; therefore, the text does not distract from the art, but aides in the understanding of it by being elegant and understated.

OVERVIEW

establish basic type hierarchy

create an effective editorial system

effective use of color

show inDesign knowledge

understand editorial design layouts

LEARNING OUTCOMES


19

Feature: Tara Sellios

November 2015

Through the Looking Glass

Venus Discovering the Dead Adonis


PHASE 01 PHASE 02 PHASE 03

PROJECT 01: MASTHEAD PROCESS

When planning out the masthead, I knew that I would want to combine a san serif with a serif to bring together the ‘new’ and ‘old’ that the magazine is about. In the first phase, I was inspired by double letter mastheads like GQ. To combine the letters of the magazine, I used the serif typeface Didot for Baroque and the serif typeface Helvetica for today. However, I decided that the product looked too corporate and that it did not easily communicate the purpose of the magazine.

PHASE 01

For phase two, I dropped my previous idea and decided to combine the two words by having the lesser important word, today, placed on the vertical axis at a smaller point size. However, in order for the masthead to fit logically on a magazine cover, I had to change ‘today,’ to ‘now.’ I added a line under the word Baroque to give it an anchor point on the page, and I used Helvetica Neue Thin to match the line weight and create a cohesive logotype. I was yet again unsatisfied with the result; I felt that the diagonals of the ‘w’ and the ‘n’ were harsh and distracting.

PHASE 02

In the third phrase I decided to put both words on the horizontal axis. I had decided to keep the Didot Baroque with the thin line line underneath it. However, after some experimentation, I felt that the words Baroque Today had a flowed better together than Baroque Now, so I changed the second word back to ‘today.’ I then placed ‘today’ underneath the line and increased the tracking between the letters so that they would fill the space without becoming more dominant than Baroque. I also shortened the descender of the ‘q’ so that the letters of ‘today’ would have more space. These changes combined to become a logotype that represented the elegance in both Contemporary and Baroque art.

PHASE 03


8 9

Tara SelliosI strive to create images that elegantly articulate the totality of existence, focusing heavily on the broad themes of life and death, with further emphasis placed on ideas of fragility, impermanence and carnality. Death has always possessed a significant presence within the history of art, ranging from altarpieces to the work of the Dutch still life painters. Manifesting melancholic themes with beauty and precision, as these artists did, results in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature. Through these images, I aspire to make apparent the restlessness of a life that is knowingly so temporary and vulnerable.

ARTIST FOCUSUntitled No. 7, from Im

pulses (2012)

SAMPLE “FEATURE PAGE” SPREAD 01

10 11

VANITAS ART HAS ENTHRALLED VIEWERS FOR CENTURIES. The inherent juxtaposition of pure beauty and unpleasant reminders of death leave the viewer in a state of conflict. They cannot seem to look away, but the more they look, the more terryifying the art becomes.

Tara Sellios and I were to become good friends, but this was the

first time she had asked me to create a photograph. One flight up,

we reached her apartment and quickly stepped into her studio. I’m

not sure if I expected some sort of dungeon with torches as the only

source of light, but I was surprised to find a perfectly neat, bright

white studio space in a quaint Somerville, MA, house. Crisp sunlight

cascaded into the room, perfectly illuminating the tables covered in

bones, paints, and years of drawings. Religious imagery and totems

were scattered throughout, though there was no sense of hierarchy

within the space. Delicate bird skeletons were balanced with platters

of glistening props, and a mirror reflected back a wall of sketches,

signifying the layered process Sellios works within. I looked at the

singular table with a board painted red behind it; in my mind I pic-

tured all of the trauma and beauty that had been created on this one

tabletop. There were a few options of wine glasses sitting in pairs near

the setup, seemingly hopeful to be included in today’s photograph.

My personal constraint of not wanting to make a mess was tested

when we began to shoot and Sellios had to remind me to let the wine

pour in abundance. She disappeared beneath the black cloth of the

camera to perfect the frame and set the exposure. I know under the

shroud she is experiencing her creation. This image has existed in

her mind and she now has the materials, light, and extra hands that

she needs to bring it to fruition. So we pour. Between exposures we

each open a new bottle.The floor was stained red, wine dripping

from the drenched tablecloth…I watched the substance seep into

the fresh white linen and take shape around the folds of the fabric

and the outline of the glass. Merlot eddies formed around the base

of the stemware as the velocity of the streams increased. The table

became a wash of bloody burgundy, but the sunlight felt so soft.

Sellios creates exquisite and exaggerated still lifes that are

comprised of animal parts, fish, wine, and luscious foods. Her

work is reminiscent of late 17th century painters, resurrecting the

vanitas style by incorporating elements of a feast and the remains.

She first creates sketches, meticulously planning out her image,

then later photographs the set up with a Zone VI 8x10 camera

in her studio. Using only daylight to make the photographs, she

controls every aspect of the set to mimic a baroque-style lighting

scenario. The images are meticulously detailed, and when viewed

up close, the display of wounds and deterioration of her subjects

results, says Sellios “in an image that is seductive, forcing the view-

er to look, despite its apparent grotesque and morbid nature.”

Though she studied photography and The Art Institute of Boston,

her inspiration and her interest lies in a broad range of art history.

Altarpieces have influenced her use of multi-panel images, which

allows the viewer to have more than one access point, and artists

such as Walton Ford have added to the conversation of predator and

prey.The influence of Dutch Golden Age painting is prominent in

Sellios’s work. Still-life paintings in Northern European 17th century

reflected the increasing urbanization of Dutch and Flemish society.

Business was booming as ships brought exotic goods, and those

who were able to afford such goods were eager to show off; soon,

still-life paintings depicting lush flora, enticing foods, and extravagant

goods became part of what Northern European artists were known

for. However, there was also criticism in the face of such conspicuous

consumption, and this commentary would also make its way into

the still-life genre. These satires would depict the same objects as

before, but with an unpleasant twist—rotting fruits, crawling bugs,

and skulls were lurking amongst the seemingly rich atmosphere.

Sellios’s interpretation of the still-life appears to follow the same line,

although the grotesque elements of her work are much more apparent.

However, these disturbing elements exist in oddly perfect harmony

with the absolute beauty of her arrangements. The viewer is aware

of the unpleasant, but they are drawn into the composition nonethe-

less because of the soothing colors and symmetrical compositions.

A Studio VisitWith Tara Sellios

BY FRANCES JAKUBEK AND HELEN STIGGE

Right: Sketch for Untitled No. 1, from Impluses (2012)Left: Untitled No. 1, from Impulses (2012)

SAMPLE CONTENT SPREAD 01

PROJECT 01: TEXT–TO–CUBEPROJECT 02: TEXT–TO–CUBE


This project was centered around bringing private conversation into the public sphere. To do this, I designed six cubes that showcased various text conversations between myself and friends and family. I used different fonts and the variations within to convey the emotional tone of the message; size and shade were also utilized in this way to create a hierarchy on the boxes. Primary colors were used to aid in comprehension without distracting from the simplistic beauty of the typography. After designing the cubes, I made a poster that resembled an exhibition poster. The goal of the poster was to showcase key design elements of the cubes and make the audience want to see it in an exhibition. Because the cubes were the main focus, I chose to stack them in a pyramid, with the text arcing beneath it, but not detracting from the cubes.

OVERVIEW


ability to print, cut and document designs professionally

effective use of color

ability to use text to create art

designing effectively on a multi-planar surface

LEARNING OUTCOMES

PROJECT 02: TEXT–TO–CUBE

Text Messaging Building BlocksDesign + Documentation | Text as Images/Text as Typography | Mediating Typographic Space | Typographic Form + Communication | Research + Typographic Space

Designed by H

elen Stigge

PROJECT 02: TEXT–TO–CUBE

So can we go see the hobbit or something

I don’t really care, I just want to see you before I leave for Ireland!

And “totes”?

When have you

not????

Yea,

ar

ts

y

ta

t

an

d

al

lSu

nday

?

Great! :)

SimonReally?

SAMPLE SKETCH PHASE 01 SAMPLE SKETCH PHASE 02 SAMPLE SKETCH PHASE 03

?

And “totes”?

Sunday

When

have

you

not??

??

ar

ts

y

ta

t

an

d

al

l

Grea

t!

Simon

:)Really?


So can

we g

o see the h

obb

it or someth

ing

Yea

,

And “totes”?

?Su

nday

When h

ave yo

u

not????

o

tat

an

d a

ll

Gre

at!

:)Simon

o

Really?


ca

n w

e g

o se

e th

e h

ob

bit o

r som

eth

ing

Yea

,

Soo o

a r t s y

PROJECT 02: PROCESS

The first phase of the cubes involved using no color or display fonts. During this iteration, I mostly kept the individual threads on one plane, and made them clearly legible. I used variations within the typefaces, as well as variations in scale, to show the tone of the message. Each side of the cube had a message that corresponded with another message on a single side of another cube.

PHASE 01

While designing the second set, I realized that by insisting that the text be as easy to read as possible, I had limited myself and the design. Therefore, I decided to take phrases or words in threads and separate them from the rest of their message, either by having them wrap around multiple sides or by removing them from their contextual phrase, thus allowing the individual word to convey its own meaning. At this stage, I also began to implement color; I was hesitant to include color because I did not want it to distract from the beauty that can be made by just using type, so I decided to include it sparingly. I chose bright colors (red, yellow, and green), and only applied color to single words or to a side of the cube that contained minimal text. By doing this, the color further established the importance of the utlization of the typography’s form.

PHASE 02

Although in the second stage some transparency effects were used, I decided to exercise it further in the third iteration. I felt that most of the effects of the previous phases were well-considered, but I revisted several of them to make the entire composition be a study in using typography to create art rather than just to convey meaning.

PHASE 03

PROJECT 02: MEATER BRANDINGPROJECT 03: MEATER BRANDING


The Meater is a completely wireless meat thermometer that can monitor the temperature of your meat and send alerts to your phone when the meat is done cooking. The target consumers of the product are young, social people who rely on technology in their daily lives. Therefore, I decided the design of the logo should be modern and emphasize the technological aspect of the product. To do this, I created a wifi signal that was made of flames, representing the fire of a grill. The brand has a color scheme that reflects fire and echos the wifi flame; the brand is further established with minimalist use of text and large pictures. The typeface that is used is a san-serif called Aquawax. This typeface features several rounded edges that make the brand sleek and modern, which will attract the tech-savvy young consumers.

OVERVIEW

establishing a cohesive brand

creating an effective logo

successfully pairing image and text in a logo

using print materials to make a product desirable

identifying and targeting a specific audience

LEARNING OUTCOMES

PROJECT 03: MEATER BRANDING

LOGO VERSION 01 BASE LOGO LOGO VERSION 02

YOU CAN

COOK THE

JUICIEST MEATS

PERFECTLY

EVERY TIME.

SAMPLE BROCHURE SPREAD 01

ProbeStainless steel construction

Water resistant design

Wireless up to 33 feet

Meater Dual Sensor System

Internal temperature sensor range: 212°F (100°C)

Ambient temperature sensor range: 527°F (275°C)

Rechargeable Battery: Lasts 48 hours or more of continuous

cooking between charges

AppMonitor the internal and ambient temperature of your food

Select the meat type, cut type, and desired cooking result

- the app will automatically set the target temperature

Receive audible and visual notifications when your food is

ready!

Finish Time: Provides a countdown timer or actual

time when the food is expected to reach the target

temperature.

Add custom notifications and timers

Enable Meater Link and Meater Cloud

Available for iOS and Android smart devices

ChargerStore and charge your Meater

»

»

»WHAT DOES MEATER COME WITH?

SAMPLE BROCHURE SPREAD 02


LOGO SKETCH 01 LOGO SKETCH 02 LOGO SKETCH 03

LOGO GREYSCALE LOGO COLOR LOGO NO COLOR

PROJECT 03: LOGO DEVELOPMENT

These logo sketches were my starting point for the brand design. They have three different impressions: the drumstick is comical, the second is based more on temperature based on color scales, and the third introduces the idea of technology. Although it was a close decision betwen the second and third sketches, I chose the wifi logo because I believed that it was more important to imply technology than temperature.

PHASE 01

Because the first sketch of the wifi logo felt flat and lifeless, I added a gradient that also mimicked the rise in heat of meat cooking. It was important to ensure that the logo would work in greyscale, as well as without any color, so these representations could show a client how their logo could work without the color.

PHASE 02

The meater logo can be used in three ways: one version is just the wifi flame logo, another includes the wifi flame as the ‘a’ in meater, in the last version the logo sits above the word meater. Because of the varying shapes, these iterations can be used for different situations to ensure that the logo is always present .

PHASE 03 (Previous Page)

PROJECT 03: BRAND DESIGN

The design of the brand involved creating a logo, mood board, and product booklet. The product booklet was one of my most transformative projects that I have done. I decided that I wanted to create a trifold brochure that would open on each side consecutively. As shown in the sample draft spreads, my original design was minimal as was desired, but looked dated rather than modern and clean.

PHASE 01

To fix the issues of the first draft, I revisited product branding that I admired, especially that of Apple, Inc. I was inspired by Apple’s large images and bold, simplistic colors. I removed the images that were not specifically of the product, so that the sleek, elegant design of the Meater was a focal point. To add emphasis and remove monotony, I made entire pages orange with white, capitalized text; by using only short phrases intended as product lead-ins, interest in the rest of the booklet was created. The end effect of the trifold brochure was a much more modern, attractive booklet.

PHASE 02


What does Meater Do?

Using the Meater and the Meater app, you can cook the juiciest steak, chicken, turkey, fish, or other meats perfectly

every time.

BROCHURE SAMPLE SPREAD DRAFT 01

Have fun with your friends and family−let Meater monitor

your food for you.Probe

Stainless steel construction












ready!



temperature.





What Comes With Meater?

»

»

»

BROCHURE SAMPLE SPREAD DRAFT 02

YOU CAN

COOK THE

JUICIEST MEATS

PERFECTLY

EVERY TIME.

FINALIZED SAMPLE BROCHURE SPREAD 01

ProbeStainless steel construction












ready!



temperature.





»

»

»WHAT DOES MEATER COME WITH?

FINALIZED SAMPLE BROCHURE SPREAD 02

PROJECT 03: DON’T BE SHEEPLEPROJECT 04: DON’T BE SHEEPLE


Based on the great tradition of SVA’s poster design, I was challenged to create a poster for the Graphic Design Program at the University of Nebraska, Lincoln. During the process of producing the poster, emphasis was placed on concept, establishing meaning, playing with meaning. This poster was intended to attract students to the graphic design major at UNL. The concept that I decided on was a play on my personal experience of living in a small town where everyone goes to the same university after graduation. For the sake of metaphor, these people are refered to as being “sheep people” or “sheeple.” Therefore, the person that the poster intends to attract is someone who wishes to be different, and not follow the herd.

OVERVIEW

combine form (image and letterform) with message (headline)


ability to follow basic UNL brand guidelines

communicate through writing the intended audience and creative approach

LEARNING OUTCOMES

PROJECT 04: DON’T BE SHEEPLE

Hixon-Lied College of Fine and Performing ArtsDepartment of Art & Art History

be unique

#DontBeSheeple

PROJECT 04: DON’T BE SHEEPLE

Hixon-Lied College of Fine and Performing Arts, Department of Art & Art History #DontBeSheeple

be unique

Hixon-Lied College of Fine and Performing Arts, Department of Art & Art History

be unique

Hixon-Lied College of Fine and Performing ArtsDepartment of Art & Art History

be unique

#DontBeSheeple


PROJECT 04: PROCESS

I made the unique sheep the Nebraska Husker’s red to make it stand out and to make the point that Huskers are unique; it is also slightly larger than its purple counterparts The rest of the sheep are identical and have no importance over the others. The textured background is used to make the sheep feel more hand-drawn.

PHASE 01

For the second iteration, I flipped the red sheep so that it no longer faced the same direction as the purple sheep. Instead, it faces in a new direction, blatantly not following the rest of the herd. To correspond with this change, I also added a ‘call to action’ in the form of the hashtag “#DontBeSheeple.” This call to action could be used by recruiters and students alike.

PHASE 02

For the third and final version, I decided to get rid of the textured background; I felt that it was a distraction rather than a helpful addition. I also changed the font to Helvetica Rounded Bold. The new font gives the poster a more playful feeling.

PHASE 03

PROJECT 04: THE DEFINITION OF READING PROJECT 05: THE DEFINITION OF READING


The challenge of this project was to take the Wikipedia definition of “reading” and create an interesting typographic art work with it. There are four iterations, and each builds on each other. The first uses only one typeface at 9 point size only and could only be typed along the x-axis. The second uses one typeface, but with 4-5 other point sizes and could be typed along the x- and y-axis. The third iteration could use the variations and styles within one typeface and use the x-, y-, and z-axis. The fourth phase could use any typeface, style, axis, and point size.What I found most difficult during this project was ignoring the idea of legibility and proper reading structure to create an interesting composition. However, throughout various iterations, I began using leading and tracking, as well as the rules listed for each group, to my advantage to create a hierarchy within the composition and reinvent the meaning of reading according to my own interpretation.

OVERVIEW


pairing fonts effectively

ability to use text to create art

working within parameters effectively

LEARNING OUTCOMES

PROJECT 05: THE DEFINITION OF READING

T h e r e a d i n g p r o c e s s r e q u i r e s c o n t i n u o u s

p r a c t i c e , d e v e l o p m e n t , a n d r e f i n e m e n t .

F ER EConsumers of literature make

ventures with each piece, innately

deviating from literal words that

make sense to them in the unfamiliar

places the texts describe. Reading

is a complex process, it cannot be

controlled or restricted to one or two

interpretations. There are no concrete

laws in reading, but rather allows

readers an escape to produce their

own products introspectively.

CREATIVITYc r i t i c a l

TRANSLATEs y m b o l s

R e a d i n g

i s a c o m -

p l e x c o g n i -

t i v e p r o c e s s

o f d e c o d -

i n g s y m b o l s

i n o r d e r t o

c o n s t r u c t

o r d e r i v e

m e a n i n g .

R e a d e r s m a y

u s e c o n t e x t

c l u e s t o

o f u n k n o w n

w o r d s .

Readers use a variety of reading strategies and comprehension.

vis

ua

l rep

res

en

tatio

ns

of s

pe

ec

h

create images

as

sis

t with

de

co

din

g (in

to s

ou

nd

s)

communication

It is a means of language acquisition, sharing information and ideas Like aLL Language

i t i s a c o m p l e x i n t e r a c t i o n b e t w e e n t h e t e x t a n d

w h i c h i s s h a p e d b y t h e r e a d e r ’ s p r i o r k n o w l e d g e ,

the reader

e s c a p e

T h i s p r o m o t e s d e e p e x p l o r a -t i o n o f t e x t s d u r i n g i n t e r p r e -t a t i o n . O t h e r t y p e s o f r e a d i n g a r e n o t s p e e c h b a s e d w r i t i n g s y s -t e m s , s u c h a s m u s i c n o t a t i o n o r p i c t o g r a m s . T h e c o m m o n l i n k i s t h e i n t e r p r e -t a t i o n o f s y m -b o l s t o e x t r a c t t h e m e a n i n g f r o m t h e v i s u -a l n o t a t i o n s o r t a c t i l e s i g n a l s ( a s i n t h e c a s e o f B r a i l l e ) .

identifythe meaning

(reading comprehension)

PROJECT 05: THE DEFINITION OF READING


( r e a d i n g c o m p r e h e n s i o n )

construct

or derive meaning. Readers may use

READERS USE A VARIETY OF READING STRATEGIES TO ASSIST WITH DECODING (TO TRANSLATE SYMBOLS INTO SOUNDS OR VISUAL REPRESENTATIONS OF SPEECH) AND COMPREHENSION.

CREATIVITY ANALYSISThe reading process requires continuous practice, development, and refinement. In addition, reading requires and critical .

F R E E

Consumers of literature make ventures

with each piece, innately deviating

from literal words to create images that






laws in reading, but rather allows readers

an escape to produce their own products

introspectively.

I D E N T I F Y T H E M E A N I N G

It is a means of language acquisition,

sharing information and ideas.

O F C O M M U N I C A T I O N ,

A N D O F

Reading (pRocess)

which is shaped by the reader’s pr ior knowledge, exper iences, a tt i tude, and language communi t y which is culturally and socially situated.

COMPLEX INTERACTION BETWEEN THE TEXT AND THE READERLike all language, it is a

f r a m e w o r k o f

k n o w l e d g e o r

s c h e m a

T h i s p r o m o t e s d e e p e x -p l o r a t i o n o f t e x t s d u r i n g i n t e r p r e t a t i o n . O t h e r t y p e s o f r e a d -i n g a r e n o t s p e e c h b a s e d w r i t i n g s y s t e m s , s u c h a s m u s i c n o t a t i o n o r p i c t o -g r a m s . T h e c o m m o n l i n k i s t h e i n t e r p r e t a t i o n o f s y m b o l s t o e x t r a c t t h e m e a n i n g f r o m t h e v i s u a l n o t a t i o n s o r t a c t i l e s i g -n a l s ( a s i n t h e c a s e o f B r a i l l e ) .

o f u n k n o w n

w o r d s . R e a d e r s

i n t e g r a t e t h e w o r

d s t h e y h a v e r e a

d i n t o t h e i r

e x i s t i n g

Reading is a complex cognitive process of decoding symbols in order to

context clues to

FRom Wikipedia, the encyclopedia

( s c h e m a t a t h e o r y ) .

i t

i s a c o m p l e x i n t e r a c t i o n b e t w e e n t h e t e x t a n d t h e r e a d e r w h i c h i s s h a p e d b y t h e r e a d e r ’ s p r i o r k n o w l e d g e , e x p e r i e n c e s ,

a t t i t u d e , a n d l a n g u a g e c o m m u n i t y w h i c h i s c u l t u r a l l y a n d s o c i a l l y s i t u a t e d .

( r e a d i n g c o m p r e - h e n s i o n )

R e a d i n g

i s a c o m -

p l e x c o g n i -


o f d e c o d -

i n g s y m b o l s

i n o r d e r t o

c o n s t r u c t

o r d e r i v e

m e a n i n g .

R e a d e r s m a y

u s e c o n t e x t

c l u e s t o

o f u n k n o w n

w o r d s .

Readers use a variety of reading strategies to assist with decoding (to

into sounds or visual

representations of speech) and comprehension.

CREATIVITY ANALYSISThe reading process requires continuous practice, development, and refinement. In addition, reading requires and critical .

T h i s p r o -m o t e s d e e p e x p l o r a t i o n o f t e x t s d u r i n g i n -t e r p r e t a -t i o n . O t h e r t y p e s o f r e a d i n g a r e n o t s p e e c h b a s e d w r i t -i n g s y s -t e m s , s u c h a s m u s i c n o t a t i o n o r p i c -t o g r a m s . T h e c o m -m o n l i n k i s t h e i n t e r -p r e t a t i o n o f s y m b o l s t o e x t r a c t t h e m e a n -i n g f r o m t h e v i s u a l n o t a t i o n s o r t a c -t i l e s i g -n a l s ( a s i n t h e c a s e o f B r a i l l e ) .

Consumers of literature make ventures

with each piece, innately deviating

from literal words to create images that






laws in reading, but rather allows readers

an escape to produce their own products

introspectively.

It i

s a

me

an

s o

f la

ng

ua

ge

acq

uis

itio

n,

sha

rin

g i

nfo

rma

tio

n a

nd

id

ea

OF

C

OM

MU

-N

IC

AT

IO

N,

A

ND

O

F

F R E E identify the meaning

R e a d e r s i n t e g r a t e t h e w o r d s t h e y h a v e r e a d

i n t o t h e i r e x i s t i n g f r a m e w o r k o f k n o w l e d g e o r

s c h e m a ( s c h e m a t a t h e o r y ) .Reading (process) From Wikipedia, the encyclopedia

T R A N S L AT E S Y M B O L S

Lik

e

aL

L

L

an

gu

ag

e

F ER E identify the meaning

Consumers of literature make

ventures with each piece, innately

deviating from literal words that






laws in reading, but rather allows

readers an escape to produce their

own products introspectively.

es

ca

pe

CREATIVITYThe reading process requires continuous

practice, development, and refinement.

In addition, reading requires and critical

TRANSLATEs y m b o l s

R e a d i n g

i s a c o m -

p l e x c o g n i -


o f d e c o d -

i n g s y m b o l s

i n o r d e r t o

c o n s t r u c t

o r d e r i v e

m e a n i n g .

R e a d e r s m a y

u s e c o n t e x t

c l u e s t o

o f u n k n o w n

w o r d s .

Readers use a variety of reading strategies and comprehension.

v i s u a l r e p r e s e n t a t i o n s o f s p e e c h

create images

a s s i s t w i t h d e c o d i n g ( i n t o s o u n d s )

( r e a d i n g c o m p r e - h e n s i o n )

communication

It is a means of language acquisition, sharing information and ideasThis pro- motes deep ex- ploration of texts during in- terpreta- tion. Other types of reading are not speech based writing sys- tems, such as music notation or pictograms. The com- mon link is the interpretation of symbols to extract the meaning from the visual no- tations or tactile sig-

Like aLL Language

i t i s a c o m p l e x i n t e r a c t i o n

b e t w e e n t h e t e x t a n d

w h i c h i s s h a p e d b y t h e

r e a d e r ’ s p r i o r k n o w l e d g e ,

the reader

PROJECT 05: PROCESS

The first phase was restricted to one font at 9 point size, typed along the x-axis. In order to create interest under such parameters, I created varying ‘shades’ with the text by using different leading and tracking. I also experimented with creating shapes with the text, as well as the negative space; by doing this, the negative space is effectively utilized

PHASE 01

The second phase allowed for slightly more freedom with the addition of varying point sizes and the introduction of the y-axis. While the goal of the project was not legibility of all the words, I chose to pick up certain phrases or words and emphasize them by creating a hierarchy using point size and negative space.

PHASE 02

Phase three included the z-axis and variations of style within a type family. The style variations helped generate more shades of grey that add more interest to the composition. In addition, I experimented with allowing the text to run off the composition in certain areas, implying that the composition continues on beyond the boarders of the square.

PHASE 03

The fourth phase was the least restricted, and possibly the most difficult. I struggled with all of the choices that I was allowed, but I referred back to previous phases to take techniques that I ahd found effective and use them in the final composition. By doing this, the phases work together as a cohesive series without being too similar and monotonous.

PHASE 04 (Previous Page)

THE END, THANK YOU.For the sake of brevity, some works are featured in partial samples. For more work

samples, please email me at [email protected] or visit my LinkedIn page, where designs such as Baroque Today are fully shown.

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