michael obeso's portfolio

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A portfolio I put together throughout my three years in bergen community college.

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Page 1: Michael Obeso's Portfolio
Page 2: Michael Obeso's Portfolio
Page 3: Michael Obeso's Portfolio

Illustrations made with only circles.

Page 4: Michael Obeso's Portfolio

DEL

TTh

e fo

urth

lett

er o

f the

Gre

ek a

lpha

bet.

In th

e sy

stem

of G

reek

num

eral

s it h

as a

val

ue o

f 4. I

t was

der

ived

from

the

Phoe

nici

an le

tter

Dal

et. L

ette

rs th

at

com

e fro

m d

elta

incl

ude

Latin

D a

nd C

yrill

i

Д.

A riv

er d

elta

(orig

inal

ly, t

he N

ile

Rive

r del

ta) i

s so

nam

ed b

e-

caus

e its

shap

e ap

prox

i-

mat

es th

e up

per-c

ase

lett

er d

elta

(the

sh

ape

is a

tri-

angl

e).

OMEGAOMEGA

OMEGA

OMEGA

OMEGAOMEGAOMEGA

OME

OMEGOMEGAOMEGA

OMEGA

OMEGOMEGA

OMEGA

OMEGOMEGA

OMEGAOMEGAOMEGA

OMEGA

OMEGAOMEGA

OMEGA

OMEGA

OMEGOMEGAOMEGA

DEL

T

The bottom 3 were the black and white roughs. I chose one to design in color.

The fourth letter of the Greek alphabet. In the system of Greek numerals it has a value of 4. It was derived from the Phoenician letter Letters that come from delta include Latin D and Cyrilli Д.A river delta is so named because its shape approximates the upper-case letter delta (the shape is a triangle).

Page 5: Michael Obeso's Portfolio

The fourth letter of the Greek alphabet. In the system of Greek numerals it has a value of 4. It was derived from the Phoenician letter Letters that come from delta include Latin D and Cyrilli Д.A river delta is so named because its shape approximates the upper-case letter delta (the shape is a triangle).

The fourth letter of the Greek alphabet. In the system

of Greek numerals it has a value of 4.

A river delta is so named

because its shape

approximates the upper-

case letter delta (the

shape is a triangle).

It was derived from the Phoenician letter. Letters that

come from delta include Latin D and Cyrilli Д.

Designs made with Greek Letters.

Page 6: Michael Obeso's Portfolio
Page 7: Michael Obeso's Portfolio

Kanye West: Flashing Lights Tour poster.

Page 8: Michael Obeso's Portfolio

The most significant event of the cen-tury—and one that dramatically affected the course of history—was Johannes Gutenberg’s invention of printing from individual pieces of cast type. The success of Gutenberg’s press was phenomenal. It is estimated that by the end of the century more than a thousand printing shops were operating in more than two hundred cen-ters, and that 40,000 editions, or 10 to 20 million books, had been printed—a total that represents more books than had ever been produced before Gutenberg’s time.

Insight and Innovation

Gutenberg’s genius was realizing that printing would be more efficient if, instead of using a single woodblock to print an entire page, the individual letters were cast as separate blocks and then assembled into pages. In this manner, pages could be made up faster, errors could be corrected more rapidly, and, after printing, the type could be cleaned and reused.

Using his knowledge of die making, Gutenberg created several pieces of type, not in wood but in metal. It was this process of printing from cast type and not the process of printing per se—which al-ready existed—that was Gutenberg’s great contribution to the graphic arts. Techni-cally speaking, Gutenberg’s invention, the letterpress, was so well conceived that it remained the dominant printing process for almost five hundred years.

With his chief assistant, Peter Schoeffer, and his financial backer, Johann Fust, Gutenberg was now ready to set up shop and embark on great masterpiece, the forty-two-line Bible, so called because its columns were forty-two lines long. It is a great irony that just before the publication of the forty-two-line Bible around 1455, Gutenberg seems to have lost control of his establishment for the nonpayment of his debt to Fust. The operation was then taken over by Fust and Schoeffer and

unfortunately, there is no evidence as to whether Gutenberg oversaw the completion of the job or gained any financial rewards for his efforts.

After the judgement, it is believed that Gutenberg set up another shop and continued printing books and other materials for another ten years. In 1465, he received a generous pension from the local archbishop but died three years later. According to an early source, he was buried in the Franciscan church at Mainz.

Printing in Germany

Johannes Gutenberg was born in Mainz, Germany, some time around 1397. Little is know about his early years, but it is clear that he was the right man, in the right place at the right time. Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a grow-ing market for books that could not be satisfied with the traditional handwritten manuscripts.

Handwritten manuscripts were made to order and were usually expensive. They were la-boriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals.

A relatively inexpensive means of producing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were transferred onto pa-per in multiples by rubbing or by the use of the screw press. Block books were believed to have been made for semiliterate, preaching friars who brought the word of God to the urban working class and the poor.

Continuing a Legacy

After Fust and Schoeffer took over Guten-berg’s shop, the first book they printed and published was the Mainz Psalter of 1457. This psalter was notable for a number of reasons: it was the first book with a colophon showing the printer’s name, location, date of publication, and printer’s mark or device. It was also the first book in which the display initials were printed in color rather than painted by hand. The partners printed a number of important books, two of which were the Latin Bible of 1462 and a Cicero of 1465. While on a book-selling trip to Paris in 1466, Fust died of the plague. After Fust’s death, Schoeffer continued publishing until his own death in 1502.

1 2

Portait of Gutenberg

City of Mainz

GRAPHIC ARTS

Casting type by hand

Following work showing layout.

Page 9: Michael Obeso's Portfolio

The most significant event of the cen-tury—and one that dramatically affected the course of history—was Johannes Gutenberg’s invention of printing from individual pieces of cast type. The success of Gutenberg’s press was phenomenal. It is estimated that by the end of the century more than a thousand printing shops were operating in more than two hundred centers, and that 40,000 editions, or 10 to 20 million books, had been printed—a total that represents more books than had ever been produced before Gutenberg’s time.

Handwritten manuscripts were made to order and were usually expensive. They were laboriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals.

A relatively inexpensive means of produc-ing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were transferred onto paper in multiples by rub-bing or by the use of the screw press. Block books were believed to have been made for semiliterate, preaching friars who brought the word of God to the urban working class and the poor.

With his chief assistant, Peter Schoeffer, and his financial backer, Johann Fust, Gutenberg was now ready to set up shop and embark on great masterpiece, the forty-two-line Bible, so called because its columns were forty-two lines long.

1 2

Peice of type

It is irony that just before the publication of the forty-two-line Bible around 1455, Gutenberg seems to have lost control of his establishment for the nonpayment of his debt to Fust. The operation was then taken over by Fust and Schoeffer and unfor-tunately, there is no evidence as to whether Gutenberg oversaw the completion of the job or gained any financial rewards for his efforts.

After the judgement, it is believed that Gutenberg set up another shop and continued printing books and other materials for another ten years. In 1465, he received a generous pension from the local archgreat bishop but died three years later. According to an early source, he was buried in the Franciscan church at Mainz.

Printing in Germany Johannes Gutenberg was born in Mainz, Germany, some time around 1397. Little is know about his early years, but it is clear that he was the right man, in the right place at the right time. Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a growing market for books that could not be satisfied with the traditional handwritten manuscripts.

Insight and InnovationGutenberg’s genius was realizing that print-ing would be more efficient if, instead of using a single woodblock to print an entire page, the individual letters were cast as separate blocks and then assembled into pages. In this manner, pages could be made up faster, errors could be corrected more rapidly, and, after printing, the type could be cleaned and reused. Using his knowledge of die making, Gutenberg created several pieces of type, not in wood but in metal. It was this process of printing from cast type and not the process of printing per se—which already existed—that was Gutenberg’s great contribution to the graphic arts. Technically speaking, Gutenberg’s invention, the letter-press, was so well conceived that it remained the dominant printing process for almost five hundred years.

GRAPHICARTS

Continuing a LegacyAfter Fust and Schoeffer took over Guten-berg’s shop, the first book they printed and published was the Mainz Psalter of 1457. This psalter was notable for a number of reasons: it was the first book with a colo-phon showing the printer’s name, location, date of publication, and printer’s mark or device. It was also the first book in which the display initials were printed in color rather than painted by hand. The partners printed a number of important books, two of which were the Latin Bible of 1462 and a Cicero of 1465. While on a book-selling trip to Paris in 1466, Fust died of the plague. After Fust’s death, Schoeffer con-tinued publishing until his own death in 1502.

Cas

ting

type

by

hand

Gutenberg’s shop

Spreads.

Page 10: Michael Obeso's Portfolio

Poster designed by Bierut for “Unfinished Modern, a lecture in two parts” given by Arthur Drexler of The Museum of Modern Art in New York

Yale school of architecture Posters, 2003-2006. Designers: Michael Bierut

and team/Pentagram.

Michael Bierut has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musee des Arts Decoratifs, Montreal.

in everyday life have been heard nationally on the Public Radio International program “Studio 360” and his appearance in Helvetica: A Documentary Film. Mi-chael is a co-founder of the weblog DesignObserver.com, and his book 79 Short Essays on Design was pub-lished in 2007 by Princeton Architectural Press.

Prior to joining Pentagram in 1990 as a partner in the firm’s New York office, Mi-chael Bierut worked for ten years at Vignelli Associates, ultimately as vice presi-dent of graphic design. His clients at Pentagram have included The New York Times, Saks Fifth Avenue, The Council of Fashion De-signers of America, Harley-Davidson, The Minnesota Children’s Museum, The William Jefferson Clinton Foundation, Mohawk Paper Mills, the New York Jets, Princeton University, the Brooklyn Academy of Music.

Michael Bierut is a partner in the New York office of the in-ternational consul-tancy Pentagram. His graphic design work has been collected by major museums around the world. He has served as the presi-dent of the AIGA’s New York chapter and of its national organization. He was elected to the Art Directors Hall of Fame in 2003. Fa-vored best designer of the year for 2006 and 2007.

The Design Mind award from the Cooper-Hewitt National De-sign Museum in 2008. He is a co-founder of the world’s big-gest design blog, DesignOb-server.com, the author of 79 Short Essays on Design from Princeton

BIERUT

GraphicDesigner

MICHAELThe identity for the Museum of Arts and Design uses a

beautiful custom typeface that was created specifically for this

project. After seeing it in person and applied to various mediums,

it’s hard to imagine another typeface working just as well in its place. How

often do you find yourself in a position where an existing typeface just won’t do

and you have to create an original typeface for a client?

With MAD, we started with the three-letter logo and then Joe Marianek drew out an entire alphabet based on those three let-ters. Because the Museum had a new name and a new location, we wanted something pretty agressive to make sure they’d get the attention they deserve. In other cases we custom design a typeface because we want to blend in.

Page 11: Michael Obeso's Portfolio

Poster designed by Bierut for “Unfinished Modern, a lecture in two parts” given by Arthur Drexler of The Museum of Modern Art in New York

Architectural Press, and on the faculty of Yale University’s School of Art and School of Management. Pentagram currently has 17 partners and probably just as mant retired partners or ex-partners. So there’s an enormous body of

Michael Bierut is a partner in the New York office of the in-ternational consul-tancy Pentagram. His graphic design work has been collected by major museums around the world. He has served as the presi-dent of the AIGA’s New York chapter and of its national organization. He was elected to the Art Directors Hall of Fame in 2003. Fa-vored best designer of the year for 2006 and 2007.

The Design Mind award from the Cooper-Hewitt National De-sign Museum in 2008. He is a co-founder of the world’s big-gest design blog, DesignOb-server.com, the author of 79 Short Essays on Design from Princeton

work that’s been done on Pentagram’s behalf by people working at Pentagram for the past 35 or so years. And because of that, our name is fairly well known, and a great deal of business comes from referrals.

Michael Bierut’s First Portfolio circa 1978 (via GraphicHug™)

The Architectural League of New York Light Years poster (1999)

One of the pictures from “Think about…” campaign Michael Beriut worked on.

The identity for the Museum of Arts and Design uses a

beautiful custom typeface that was created specifically for this

project. After seeing it in person and applied to various mediums,

it’s hard to imagine another typeface working just as well in its place. How

often do you find yourself in a position where an existing typeface just won’t do

and you have to create an original typeface for a client?

With MAD, we started with the three-letter logo and then Joe Marianek drew out an entire alphabet based on those three let-ters. Because the Museum had a new name and a new location, we wanted something pretty agressive to make sure they’d get the attention they deserve. In other cases we custom design a typeface because we want to blend in.

For the restoration of Lever House, a 1952 skyscaper of-fice building on Park Avenue by SOM’s Gordon Bunshaft, we wanted to match the building and the mid-century era perfectly.

Typefaces like Futura and Neutra would not do. So we commissioned Jonathan Hoefler and Tobias Frere-Jones to do one based on the original signs.

The exhibition is the first devoted to Bierut’s poster design and features 28 works from 1983 to the present for clients including the Architecture League of New York, the Yale School of Architecture, the New York State Council for the Arts and the University of Cincinnati. Bierut and his team are currently designing the environmental graphics for Syracuse’s Connective Corridor project linking the university to downtown.

Magazine about Michael Bierut.

Page 12: Michael Obeso's Portfolio

Keen attention to detail, precision, craft skills, system of education and technical training, a high standard of printing as well as a clear refined and inventive lettering and typoraphy laid out a foundation for a new movement that has been exported worldwide in 1960s to become an international style.

Markus Kutter/Karl Gerstner 1957

What is International Typography Style?

Despite that, people still refer to it as the Swiss Style or the Swiss Legacy.

This progressive, radical movement in graphic design is not concerned with the graphic design in Switzerland, but rather with the new style that had been proposed, attacked and defended in the 1920s in Switzerland.

The International Style, also known as the Swiss Style does not simply describe a style of graphic design made in Switzerland.It became famous through the art of talented Swiss graphic designers, but emerged in Russia, Germany & Netherlands in 1920’s.

This style in art, archi-tecture and culture became an ‘interna-tional’ style after 1950’s and it was produced by artists all around the globe.

Page 13: Michael Obeso's Portfolio

Keen attention to detail, precision, craft skills, system of education and technical training, a high standard of printing as well as a clear refined and inventive lettering and typoraphy laid out a foundation for a new movement that has been exported worldwide in 1960s to become an international style.

Markus Kutter/Karl Gerstner 1957

What is International Typography Style?

Despite that, people still refer to it as the Swiss Style or the Swiss Legacy.

This progressive, radical movement in graphic design is not concerned with the graphic design in Switzerland, but rather with the new style that had been proposed, attacked and defended in the 1920s in Switzerland.

The International Style, also known as the Swiss Style does not simply describe a style of graphic design made in Switzerland.It became famous through the art of talented Swiss graphic designers, but emerged in Russia, Germany & Netherlands in 1920’s.

This style in art, archi-tecture and culture became an ‘interna-tional’ style after 1950’s and it was produced by artists all around the globe.

De StijlKnown as neoplasticism, was a Dutch artistic move-ment founded in 1917. Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order.

Müller-Brockman Josef Müller-Brockmann was a Swiss graphic designer and teacher. He studied architec-ture, design and history of art at both the University and Kunstgewerbeschule in Zurich.Emerging from the modernist and constructivist ideals, the Swiss Style can be defined as an authentic pursue for simplicity – the beauty in the underlines of a purpose, not beauty as a purpose in itself.

As a consequence of this principle, most of the Swiss Style craft is devoted to the minimal elements of style such as typography and content layout rather than on textures and illustrations.

The principle “form follows function” became a battle-cry of Modernist architects after the 1930’s.

Style

International Typography Style Magazine.

Page 14: Michael Obeso's Portfolio

Fitted HatsOrganic wool fitted replica, flat visor, lofted logo, grey underneath with logo name.

Snapback HatsOrganic wool snapback replica, flat visor, lofted logo, and logo

name on back.

Cargo ShortsTan colored cargo shorts

$35.00

$40.00

$40.00

$30.00

Camo Cargo ShortsWoodland camo colored cargo

shorts

HoodiesWool made black sweater

with City vs Wild graphic on front

Shirts

City vs WildBlack T-shirt with City vs Wild

graphic on the front

Go Rilla Co.White T-shirt with Go Rilla Co.

Logo on the front

$40.00

$25.00 $25.00

Page 15: Michael Obeso's Portfolio

Established a year ago, this clothing line has been driven by the personal strength and energy that bore hip hop. Clothing made organically and is sold in clothing stores everywhere. The reason the name Go Rilla, was chosen was because the clothing is tough and organic. Be yourself and be strong; grab life, make it yours and climb above expectations, Go Rilla.

ABOUT CLOTHING LINE:

For e

very

quart

er, it

will add

30 min

, max i

s 2 h

ours.

Inse

rt co

in u

p above.

This

is g

over

nment p

roperty

If th

is d

evice

isn’t f

unctioning please

call

this

num

ber: 7

48-253-6679

Pay Phone Rules and Regulations

Informatio

n for

you to know:

Habadaba dirby

brum, blam didly

bram blamidy clat

da bomb diggity

skat do da boom

da boom

Your an idiot if you actually

sat through to read this. Your

an idiot if you actually sat

through to read this. Your an

idiot if you actually sat

through to read this. Your an

idiot if you actually sat

through to read this. >>

Thank You!

If you can sit here and read these small letters I’ll applaude you. I think I spelled applaude wrong. Whatever your never going to

read this anyway, the only people that will know these are actually words are probably going to be my friends since I show them my

work from time to time. They’ll probably wonder, “ Hey, what’s in those text areas?” I’ll respond with a, “Go ahead and read it, it’s

just gibberish really.” They’ll probably still be fascinated by it and continue to read even though there is no use in reading this

boring stu�. Whatever though, that’s what happens when your bored. Oh and your probably wondering why I’m doing this too. I

could us �ller text but then I gotta bring it to Indesign, that would take to long plus then I can’t hide it behind the phone. Then

again, I could use text from websites. Well I’m actually quite bored myself so why not reamble on like a lunatic. Everyone does it

Some rangom words from our sponsers:

There are no sponsers moron, you took your time read this just like every other paragraph

in all this small texts so I commend. Sorry about being harsh earlier, but that’s how I am, so

learn to love it. =]

1. When using this phay phone always pick up and say Cachiga

2. Then you pretend to be a robot and say Bop

3. Followed by a few Skaaats

4. Then start singing the sensational song Labamba

5. If that was fun, then go shoot yourself

Change

IsInserted

Here

Collect

Coins

Here

Coin Release

25INSERT

The title to this spectacular peice is. It d

oesn’t have a name and it’s

not spectacular, it’s okay. Anyone

could do this if they trie

d honestly. It took me a while, but when would it n

ot to anyone? Right? Am I

right? Eh, well this just a �ller so thank you for re

ading.

Blah ha ha

Text �ller here please

Text �ller here thank you

Spank you

Text �ller here there everywhere that you could think of, hold on

to your seat and hat because it is going to be a wild ride. Read this

please, if you don’t I shall wan you from the bottom of your heart

your missing out. Missing out on absolutely something so

incredably stupid that you’d want to hurt yourself because your

This is the same sentence as the one next to it be warned, ok.Text

�ller here there everywhere that you could think of, hold on to

your seat and hat because it is going to be a wild ride. Read this

please, if you don’t I shall wan you from the bottom of your heart

your missing out. Missing out on absolutely something so

I am writing nonsence here so

don’t read since you shouldn’t.

The writing should be so small

you can’t, but if you stretch it

out you could.

I am writing nonsence here so

don’t read since you shouldn’t.

The writing should be so small

you can’t, but if you stretch it

out you could.

14

8*

Go Rilla clothing catalog & shirt designs.

Page 16: Michael Obeso's Portfolio