mariah farrens graphic designintro process book

DE

SIG

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GRAPHIC InspireM

aria

h Fa

rren

s

B k oo Dream

Mariah Farrens

Advertising & Public Relations MajorArt Minor | English MinorUniversity of Nebraska–Lincoln

Beginning Graphic Design/GRPH 221Process Design BookProfessor Stacy Asher

Contents Design Work

Define: G

raphic Design?

Form as: Typology

Form as: Language

Form as: Identity

Form as: System

1 3 9 13 17

diary

COMMUNICATIONA

STORY

Typo

grap

hy

Colla

bora

tion

Old

Brain

Jolt

Craf

ting

Solu

tion

Joyf

ulN

ewop

timist

ic

POW

ERFULLjoyful

digital

hand-made

typography

crafting

read

expressive

emotional CHANGE

grandConsonance

unity

symmetryteamwork

FREEPassion

A Messagewhite space

cayosimagine

brain jolt

| The power of self discovery |

Graphic Design

Inspiring passion

happy sadread problem solving collaboration

an ideadesign solutions

CREATIVE

Elementsrhythm

movement harmony

colorsize

shape

Hierachy

1

Thinking beyond brain storming

Acknowledgments: Typeface used: Garamondconsidered to be one of the most legible typefacesVisible Signs 2nd edition: Author: David CrowVisible Research: Authors: Ian Noble and Russell Bestley

Objective: Relate the message of what graphic design means to you. Using black text

only on a solid white billboard.

Exercise 1Billboard

2Mariah Farrens |Design Book

Define Visual Literacy: Understanding the inter-relationship between principles signs- form- content it is how an object

creates meaning. Visual Research page 26

Objective: Design a system for making a meaning out of designed artifacts. Gathering form, organizing content, and creating effective visual communication.

Denotative

Objective

Subjective

Core

Index

Sign

Micro

Macro Metaphor

Connotative

Chevrolet

Graphic Design has been the heart of an ever-changing culture for centurys. When this project was assigned the objective was to create a collection of “like” images that represented an aspect of our culture and that also represented a topic of passion for each of us. The design problem for me was deciding on what topic and direction to take this project. The first step required that we were to go out and take pictures in a one-block radius, so I chose to wonder around South Point Mall in Lincoln, Nebraska. By doing this I came up with a random grouping of images of: car logos, signs, and magazine advertisements. I then narrowed it down to focus solely on the car logos. I was slowly getting to become excited about this project because I have always had an appreciation of cars from my dad, Henry.

The weekend of September 14th I went back home to Tekamah, Nebraska and I asked my dad if he had any car memorabilia/ graphic designed artifacts that I could look at and take photos of for this assignment. From doing this, I hit a break through with the direction and my passion behind Project 1; I decided that I was only going to include Chevrolet cars. After rummaging through his piles of graphically design magazines and car manuals I figured out my design solution. I would dedicate this project to my dad and give it to him as a gift. I got news that there was the annual car show in West Point the Sunday on the 15th of September. I planned out all of my pages and attended the show with my dad to capture the old Chevy photos that I needed for this project.

TypologyForm As:

3Image Matrix

Macro

Objective

Core

Sign

Index

Chevrolet

Connotative

Subjective

Micro

Denotative

Metaphor

4Image Matrix Mariah Farrens |Design Book

5

Once I had all of my classic car images o

f C

heby

’s, I

deci

ded the three matrices fi rst. My design process was to include a single matrix dedicated to my dad’s Monte

Car

lo. I

then

look

ed at

my i

mag

es an

d gr

oupe

d th

em to

ge

ther based on logo and subject matter. I found it adruous to come u p w

ith d

iffer

ent e

mot

ions for the matrices besides just

For the vcover page I

crea

ated

a c

ollage of my dad’s car and magazines to give my project a unique twist.I examin

ed h

ow C

heve

rolet

’s car models have altered over the years. T e graphics and design proc

ess b

ehin

d th

ese cards is


using images over and over. Once the matrices were com

plete I began to arrange my classic images together on the typology page. I tried to keep it consist ant by using the front bumpers of the cars. T en I decided that I would edit each image in Photoshop and make all of the background black and w

hite. So that the car was only in color.

astonding as it represents the Am

erican dream. Being with family and friend and having your heair blow in the open breexe. I am m

ost proud of the end result because it was customed designed for my dad, Henry. H

ighlighting alhis things.

Image Matrices and picture collection

The Classics

7

The New Age

8Mariah Farrens |Design BookChevrolet Car Typology

Objective: Find printed materials of images that

represent your chosen word. How can you translate your word into image.

9

When one reads a word there is an automatic image that comes to mind for that person. Words are subjective and their meanings are embedded with deep emotional and physical memories. The goal of Project 2 was to effectively connect text and image and have them unified on a page. Consonance was the word that I had to work with. I began my creative exploration by searching for printed materials that visually showed what consonance meant to me.

Define Consonance: Harmony, Unity, Compatibility

I faced many challenges-tried many techniques to reach text/image relationship harmony. My first attempts were to use each letter of the word as a blank slate for one image. I thought that by doing this I would incorportate all of the different messages into one. What I came up with was very confusing as it did not translate well in black and white. My second attempt I tried to completely sway away from the computer digital relm. I printed out my images and crafted a collage with my hands and my exacto knife. My goal was trying to merge the negative and positive space as one with all ten images. The end product turned out to represent the antonym of my word, dissonance.I was feeling a little discouraged from this failed attempt and was not sure what to do next. We were then instructed that we no longer had to use all ten images and that we could use as few as we wanted. - Continued page on 12

Form As:Language

11

SON

E

CANC

ON

1st final

CON SO NAN CE

Final Poster Design 12Mariah Farrens |Design Book

So my final exploration and end product was the result of my favorite image

that represented the definition: compatibility of the word, consonance. In

the end I found harmony with the negative and positive space. I also feel

that the acutall image itself is subjective as not everyone notices that it is a

silhouette of two figures kissing.

13

This project challnged me to learn how to use the pen tool in Adobe Illustrator. The craft and

attention to detail was a painstaking challenge and really showed in the end result the time spent on perfection. Trial and error and playing with the lines over and over again really was the

key to the success of this assignment. Logo design is a mountain to tackle head on. By taking the logo through multiple steps allowed for complete exploration.

The different stages of explotation were: disturbance, diffusion, disintegration, re-collection, re-organization. The goal was to take the logo and show it

being put through these different stages. To me, I took the dennotative definition of each word and put the logo through the full force of

each word. Through creative exploration I decided the best way was to fully use each word to its meaning and break the logo

apart completely.

I came up with some sketches trying to decipher where and what this new logo was going to

look like. I decided the best way to figure this out was to print off the original

logo and start cutting it apart and seeing where that took me.

IdentityForm As:

Objective: Re-draw the original logo and take it

through differnt stages of disturbance and re-create a new logo that correlates with the original logo.

Original Logo

Re-organization

Re-C

olle

ctio

n

Diffuse

Disi

nteg

rateDisturbance

New Logo 14Mariah Farrens |Design Book

Color exploration

�oresent vs. dull lucky vs. unlucky hyper vs. calmdiaphonous vs. harsh

�oresent vs. dull lucky vs. unlucky hyper vs. calmdiaphonous vs. harsh

Color

15

Exercise 3

�oresent vs. dulllucky vs. unluckyhyper vs. calm diaphonous vs. harsh





Just a small slice of m

y type collection

T e p

ower

of t

he g

rid

Collection of cut out type

17

SystemForm As:


y far this this was my favorite project as I really got to work with my hands and explore the endless oceans of possibilities of typography. I felt that this project I fully exhausted my possibilities by endless trials and exploration. By being able to get away from the digital mode that graphic designers are so accostumed to these days, I felt as I was able to have more creative freedom and thoroughly enjoyed this craft. The goal of this assignment was to stick to a grid and experiemnt with different layouts utilizing the grid pattern. Was a knowledge of the grid was understood we are able to break the grid and really have some fun.

My first couple trials I did not take to the computer at all to digitally enhance them. I simply scanned my glued samples and then printed them out.By doing this and seeing them hung up on the wall though, I saw that I needed to “tweak” a few things. I needed to create more depth, more layers, and more sense of hierachy and value. After making twelve different physical examples I decided it was not time to experiment with what I could do with these on the computer. I found that by making each section a different layer I was able to uncover a hidden potential in the forms. My focus on this project was to really relay the elements of design and create depth and flow.

First, I had to draw with pencils lines on a grid pattern by varing the line weight, density to get different looks. By doing this I was amazed to see how many ways one could organinize information by utilizing a grid pattern. After this step was done it was time to collect as many exampmles of type that I could get my hands on. The type had to be printed materials and it had to be black text on a white background.My first five trials were meticulously cut out and glued onto an 8X8 piece of white paper. I really got into this assignment as I was best-friends with my x acto-knife. I got so involved into cutting out type that I needed a few envelopes to hold all of my cut out letters and words.

1st round-pinned up

Trials

19

Define the 3 sign categories:firstness- the initial gut reaction/mood or emotionsecondness- the physical relation-the fact of knowledgethirdness- mentally analize the imagery & the signs. Visible Signs page 32

Mariah Farrens |Design Book 20

Final five 21

Constructivism Movement(1919- 1922)Constructivism was an

artistic and architectural

philosophy that originated

in Russia beginning in 1919,

which was a rejection of the

idea of autonomous art. The

movement was in favour of art as a practice for social

purposes. Constructivism had a great effect on modern

art movements of the 20th century, influencing major

trends such as Bauhaus and the De Stijl movement.

Its influence was pervasive, with major impacts upon

architecture, graphic and industrial design, theatre, film,

dance, fashion and to some extent music.

After the Revolution(1930- 1950)

After the Revolution, Stepanova worked in the

Museums office of the Department of Fine Arts and

she taught at the Academy of Social Education.

Along with many avant-garde

artists, Stepanova produced

works in a variety of mediums

ranging from traditional painting

to decorative designs for public

spaces. She also contributed to

journals and together Rodchenko

extensively experimented with

photography.

http://www.moma.org/collection/artist.php?artist_id=5643

Unofficial language has not undergone this

institutional process of control; it is internally

driven by its own independent logic. Visible Signs (86)

“Language is used as in instrament of control”

Visible Signs (89)

Russian painter and designer of Lithuanian

birth. She

trained at

the Kazan’

School of Art

(c. 1910–11)

In 1912 she

moved to

Moscow where

she attended

the Stroganov

School

(1913–14) and

studied with

Konstantin

Yuon and

Il’ya Mashkov.

Her work

consists of non-

objective

visual poetry,

thus began

to experiment

with new

languages that

both revealed and served the multitude such as designs

for clothing that were then reproduced on an industrial

scale and commercialised through popular publications

such as Zhurnal Levogo Fronta Iskusstv.

http://www.museothyssen.org/en/thyssen/ficha_artista/542

Varvara(1894–1958)

Stepanova

Constructivism Movement(1919- 1922)

Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.

After the RevolutionAfter the Revolution,

Stepanova worked in the Museums office of the

Department of Fine Arts and she taught at the Academy of

Social Education.

Along with many avant-garde artists, Stepanova produced

works in a variety of mediums ranging from traditional painting to decorative designs

for public spaces. She also contributed to journals and together Rodchenko extensively

experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643

Varvara Russian painter and designer of Lithuanian

birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs

for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542

Stepanova

(1894–1958)

Unofficial language has not undergone this institutional process of control; it is internally drien by its own independent logic. Visible Signs (86)


Trials

Constructivism Movement(1919- 1922)Constructivism was an artistic and architectural

philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in

favour of art as a practice for social purposes.

Constructivism had a great effect on modern

art movements of the 20th century, influencing

major trends such as Bauhaus and the De Stijl

movement. Its influence was pervasive, with

major impacts upon architecture, graphic and

industrial design, theatre, film, dance, fashion

and to some extent music.

After the Revolution(1930- 1950)After the Revolution, Stepanova worked in the Museums office of the

Department of Fine Arts and she taught at the Academy of Social Education.Along with many avant-garde

artists, Stepanova produced works in a variety of mediums

ranging from traditional painting to decorative

designs for public spaces. She also contributed

to journals and together Rodchenko extensively experimented with photography.


Stepanova


institutional process of control; it is internally driven by its own independent logic. Visible Signs (86)


Visible Signs (89)

Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov

School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with

new languages that both revealed and served

the multitude such as designs for clothing that

were then reproduced on an industrial scale and

commercialised through popular publications

such as Zhurnal Levogo Fronta Iskusstv.


Varvara(1894–1958)



After the Revolution

(1930- 1950)After the Revolution,



Social Education.


works in a variety of mediums ranging from traditional painting to decorative

designs for public spaces. She also contributed to journals and together Rodchenko extensively


Unofficial language has not undergone this institutional process of control; it is internally


“Language is used as in instrament of control”Visible Signs (89)

Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with

new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542

Varvara(1894–1958)

Stepanova

Objective: Design a poster that highlights a graphic designers work and showcase their designs. Quickly summarize their importance in d

esign

hist

ory.

Use t

he F

ibon

nacc

i seq

uenc

e.

23

Graphic Design History & AuthorismExercise 4




(1930- 1950)After the Revolution,



Social Education.


works in a variety of mediums ranging from traditional painting to decorative

designs for public spaces. She also contributed to journals and together Rodchenko extensively





Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14) and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with

new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.http://www.museothyssen.org/en/thyssen/ficha_artista/542

Varvara(1894–1958)

Stepanova

Constructivism

Movement(1919- 1922)

Constructivism was an artistic and architectural

philosophy that originated in Russia beginning in

1919, which was a rejection of the idea of autonomous

art. The movement was in favour of art as a practice

for social purposes. Constructivism had a great e� ect

on modern art movements of the 20th century,

in� uencing major trends such as Bauhaus and the De

Stijl movement. Its in� uence was pervasive, with major

impacts upon architecture, graphic and industrial

design, theatre, � lm, dance, fashion and to some extent

music.


(1930- 1950)


Museums o� ce of the Department of Fine Arts and


Along with many avant-garde artists, Stepanova

produced works in a variety of mediums ranging

from traditional painting to decorative designs for

public spaces. She also contributed to journals and

together Rodchenko extensively experimented with

photography.


Uno� cial language has not undergone this


driven by its own independent logic.

Visible Signs (86)


Visible Signs (89)


birth. She trained at the Kazan’ School of Art (c. 1910–

11) In 1912 she moved to Moscow where she attended

the Stroganov School (1913–14) and studied with

Konstantin Yuon and Il’ya Mashkov.Her work consists of

non-objective visual poetry, thus began to experiment

with new languages that both revealed and served the

multitude such as designs for clothing that were then

reproduced on an industrial scale

and commercialised through

popular publications such as

Zhurnal Levogo Fronta Iskusstv.

http://www.museothyssen.org/en/thyssen/� cha_

artista/542

Varvara(1894–1958)

Stepanova

Constructivism Movement

(1919- 1922)

Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement

was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art

movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence

was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion


After the Revolution(1930- 1950)

After the Revolution, Stepanova worked in the Museums office of the Department of Fine Arts and she taught at the Academy of Social Education.

Along with many avant-garde artists, Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces. She also contributed to journals and together Rodchenko extensively experimented with photography. http://www.moma.org/collection/artist.php?artist_id=5643




Russian painter and designer of Lithuanian birth. She trained at the Kazan’ School of Art (c. 1910–11) In 1912 she moved to Moscow where she attended the Stroganov School (1913–14)

and studied with Konstantin Yuon and Il’ya Mashkov.Her work consists of non-objective visual poetry, thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv.


VarvaraStepanova (1894–1958)

Constructivism

Movement(1919- 1922)

Constructivism was an artistic and architectural philosophy

that originated in Russia beginning in 1919, which was a

rejection of the idea of autonomous art. The movement

was in favour of art as a practice for social purposes.

Constructivism had a great effect on modern art

movements of the 20th century, influencing major trends

such as Bauhaus and the De Stijl movement. Its influence

was pervasive, with major impacts upon architecture,

graphic and industrial design, theatre, film, dance, fashion



(1930- 1950)


Museums office of the Department of Fine Arts and


Along with many avant-garde artists, Stepanova

produced works in a variety of mediums ranging

from traditional painting to decorative designs for

public spaces. She also contributed to journals and

together Rodchenko extensively experimented with

photography.




driven by its own independent logic.

Visible Signs (86)


Visible Signs (89)


birth. She trained at the Kazan’ School of Art (c.

1910–11) In 1912 she moved to Moscow where

she attended the Stroganov School (1913–14)

and studied with Konstantin

Yuon and Il’ya Mashkov.Her

work consists of non-objective

visual poetry, thus began to

experiment with new languages

that both revealed and served

the multitude such as designs

for clothing that were then

reproduced on an industrial scale

and commercialised through

popular publications such as

Zhurnal Levogo Fronta Iskusstv.


VarvaraStepanova

(1894–1958)

Final Poster 24Mariah Farrens |Design Book

GRAPHIC Inspire

Mar

iah F

arren

s

B k oo Dream

DE

SIG

N

The story will continue...

mariah farrens graphic designintro process book

Documents

design problem

car logos

car manuals

annual car

principles signs form

visual research page

topic of passion

legible typefacesvisible