yumpu

t r a c k i n g

progress

tracking progress

nikka bacalzo april 2020

gra 322 technology for design II

visual communication design

arizona state university

contents

1

gra 121 : design principles I

13 – 41

2

gra 122 : design principles II

43 – 77

3

gra

220 : design drawing

79 – 145

4

gra

221 : letterform

147 – 219

5

gra

6

gra

7

gra

8

gra

222 : visual communication I

gra 321 : technology for design I

221 – 293

9 511 - 573

223 : typography

gra 362 : visual communication IV

295 – 351

10 575 – 653

224 : visual communication II gra 322 : technology for design II

353 – 423

11 655 – 723

361 : visual communication III

425 – 509

12

covid - 19

727 – 735

10

Dedicated to my parents who have

supported me with materials, provided

critique, mental stabilization (!!!!),

incalculable boba fuel, and for letting

me stay in school for way too long.

Thank you to Laura for being my go-to

design support first year, Daniella for always

helping me look on the bright side of

things, and Matt for encouragement and

more than you could ever know.

I would not be here without any of you!

Thank you to my instructors who have put

up with my nonsense and helped

navigate me through my time at The Design

School; Nathan Finden, Jessica Scott,

Paul Howell, Nicole Dahlin, Jennifer Brown,

Eric Montgomery, Lisa Peña, Scott

Curtis, Marsha Minniss, Al Sanft, and Kyle Larkin.

Lastly to all my peers who have

motivated, supported, and offered their

two cents when it was needed.

11

1 design principles I

12

This course will introduce first year graphic

design students to fundamental

principles of graphic design in preparation

for further study. Students will

explore and hopefully discover largely unknown

phenomena in the interaction

of form including two and three dimensions.

This course remains experimental.

13

14

black and white

interaction

Through translating the following simple

project with Plaka and the computer the

student will gain hand skills and sensitivity

to optical change along with computer

experience. Each of the following are to be

first translated on Bainbridge 172 board

cut to 22cm square, see format. 4.4cm black

square (area 2) centered within an overall

13.2cm pencil line (area 1) square centered

on the 22cm format. Keep the pencil

line as consistent in value and weight as

possible. 2 White on Black 4.4cm white

square (area 2) centered within an overall

13.2cm black square (area 1) centered

on the 22cm format. 3 Computer/ Evaluation

it is recommended to measure the final

boards to see that the measurements

remain 4.4cm and 13.2cm square. If there is

any more than 1mm of variation the

boards need to be repainted. Once

accuracy has been achieved draw step

1 and 2 in Adobe Illustrator at 100%, print,

trim to 22cm, and do not mount.

15

black and white interaction

16

testing tape

design principles I

trials

17


18

hand made board : 22 x 22cm

design principles I

illustrator board

19


20

magic hello kitty tape

design principles I


21

22

line interaction

Through translating the following

project into form the student will gain

sensitivity in the areas of rhythm

and composition. Divide the

13.2cm square (area 1 and 2) with

twelve parallel lines either vertically,

horizontally, or both with cut black

paper or black Plaka on 22cm square

photocopy paper. Lines and

spaces may be any weight. All lines

must be equal and all spaces must be

equal. Make 5 variations, choose

one with instructor, and paint/rule on

Bainbridge 172 board with Plaka.

Then draw in Adobe Illustrator at 100%

and print on laserwriter.

23

line interaction

24

pen variations

design principles I

outlined then filled

25

line interaction

26


design principles I

illustrator board

27

28

three dimensional

interaction

Student will gain sensitivity in the

consideration of materials, light, and actions.

This project is to be sketched in the

following way. (1) Drawings. (2) Prototypes.

(3) Full scale prototypes. (4) Full scale

final material: metal, wood, etc. It is helpful

to make a list of materials during the

drawing stage. Black and White Interaction.

Translate the two parts of ‘Black and

White Interaction’ into three dimensions without

any variation in color or type of material.

Light and dark areas may only be made with

light and shadow. This three dimensional

translation can be made an any scale.

Photograph full scale final project in a

professional manner (consider lighting and

background) so that the translation of

the two parts of project 1 are evident and print

both so the intended 22cm square on the

model is 13.2cm. The background should then

bleed off the edge of the 22cm format. All

edges must be square. Then photograph

and print the project in 3/4 view. The model

should more or less cover the 13.2cm area.

29

three dimensional interaction

30

copy paper and 110lb

design principles I

trying textures

31


32

used laser cutter

design principles I

final assembly

33


34

folding transformation

design principles I

final cube : 4 x 4 x 4in

35


36

transformation pt 2

design principles I

white on black

37


38

adhesive : paper cement

design principles I

white on black

39


40

black on white

design principles I

inspired by magic cube toys

41

2 design principles II

42

This class will introduce students to

fundamental principles of letterform design

in preparation for further study in

Typography. Students will explore

and discover largely unknown phenomena

in the drawing and writing of signs.

43

44

uppercase

letterform studies

By translating uppercase signs with Plaka and/

or black paper students will further develop

hands skills and become sensitive to optical

adjustments. As the project continues, students

will continue to gain sensitivty in the problems

of spacing.

45

uppercase letterform studies

46

10 hand made H’s

design principles II

varying weight and width

47


Height : 100mm

Width : 70mm

Vertical weight : 7mm

Horizontal weight : 7mm

Counter : 55.5mm

48

the chosen H


crossbar thickness

49


Height : 100mm

Width : 70mm

Vertical weight : 7mm

Horizontal weight : 7mm

Counter : 55.5mm

50

cross bar weight : 7mm


crossbar position

51


52

crossbar raised : .5mm


kerning

53


54

kerned : 55.5mm


hand made E’s

55

comparing to H’s


56

shortening arm


middle arm : 53mm

57


58

kerning


kerned : 49.5mm

59


60

hand made A’s


the chosen A

61


62

comparing forms


kerning E and A

63


64

considering counters


65


66

kerning : 32.2mm


hand painted O’s

67

plaka and copy paper


68

the chosen O


adjusting kerning

69


70

kerning : 27mm


optically centered composition

71


72

slab serif variations


comparing crossbars and serifs

73


74

H leading matrix


final composition : 11 x 17in

75


76

kerning and leading



77

3 design drawing

78

This course will introduce second

year graphic design students to

fundamental principles of graphic design

in preparation for further study.

Design drawing explores translation.

Translation is made up of a tool

and its language derived from human

interaction. The most direct form of

translation today is drawing. This class

will introduce students to

fundamental principles of drawing.


79

80

line/elipses

It is recommended that all drawings

be made standing up. If this is not possible

please see the instructor for options.

Desks may be raised to students’ level.

The desk surface is most helpful

when tilted at a 45 degree angle to the

floor. All lines are to be drawn with

the body at an arms length from the paper.

At no time will the hand or arm rest

on the drawing. This allows the entire body

to help with the drawing.

81

line/elipses

82

establishing a “grid”

24 x 36”

design drawing

defining shape

83

line/elipses

84

darkening for depth

design drawing

dabbing with eraser but not erasing

85

line/elipses

86

darks weren’t dark enough

design drawing

trying to lighten for more depth

87

line/elipses

88

lightning at intersections

trying to define shape

design drawing

final composition

89

90

plane












91

plane

92

overhead view

design drawing

defining perspective

93

plane

94

struggling with angles

design drawing

due to my height, perspective is sharp

95


96

ellipse contact points were flat

design drawing

darkening for depth

97


98

fixing up elipse

design drawing

final composition

99

plane

100

drawing extensions from points

struggling with verticals

design drawing

defining planes and intersections

101

plane

102

points were not lining up

design drawing

final composition

103

104

sleeping cylinder












105

sleeping cylinder

106

transferring drawing to new paper

design drawing

choosing direction of cylinder

107


108

seeing if points will line up

adding depth

design drawing

connecting bases

109

sleeping cylinder

110

trying to clean up lines

design drawing

final composition

111

112

sphere












113

sphere

114

angled elipse was wobbly

design drawing

darkening for depth

115

sphere

116

struggling with gradient

design drawing

drawing overhead key

117

sphere

118

elipses aren’t always touching

design drawing

final composition

119

120

simple object

containing

cylinder and/or

sphere

Drawings one through four must be complete

by the end of the semester. Drawing

five must have enough information to be

at an understandable level by the

end of the semester. If necessary drawing five

may be completed in the spring

in GRA 224 Visual Communication II.

121

simple object

122

establishing set up for rest of semester

design drawing

finding all the levels in bulb

123

simple object

124

discovering my ratios are wrong

design drawing

fixing cross section

125

defining points in the swirl

simple object

126

determining proportions

*angle of bulb isn’t always consistent in class

design drawing

points in middle weren’t correct

127

simple object

128

working on angles

defining coils and proportions

design drawing

last attempts with ice cream cone look

129

adding more elipses for shape

simple object

130

defining my box and proportions

design drawing

30-something planes

131

simple object

132

defining centers of planes

design drawing

finding base of bulb

133

simple object

134

coil vs pointed bulb at bottom aren’t proportional

bottom is too long

design drawing

defining points for coil

135

simple object

136

adding lines for top and bottom of ridges

design drawing

realizing I made too many

137

simple object

138

trying to define lines

design drawing

starting on coils

139

simple object

140

defining front coils

design drawing

drawing “back” coils

141

simple object

142

realizing things aren’t connecting

design drawing

trying to fix the shape

143

simple object

144

finishing adding depth

*realizing how horribly shaped this is, 5.2.2020

design drawing

final composition

145

4 letterform

146


fundamental principles of letterform design

in preparation for further study in

Typography. Students will explore and discover

largely unknown phenomena in the

drawing, history and writing of letterforms.

This course is empirical. The work made

directly by the student will hopefully increase

understanding of theories in aesthetics

including relationships and proportion.

147

148

pen studies

Through a series of writing exercises,

students learn to recognize and

practice consistency, rhythm, spacing,

intersection and form with the pen. As the

project continues, students are

introduced to the development and

history of various writing systems. Find an

examples from the suggested books

and write the given text on the given

format in the following systems: (1)

Capitalis Rustica, and (2) Roman Uncial.

149

pen studies

150

final pen studies 1st year

letterform

symbol studies

151

14 x 17in

pen studies

152

letter studies

letterform

greek studies

153

pen studies

154

experimenting with pressure

letterform

working on verticals

155

pen studies

156

simplified forms

letterform

forms are too narrow

157

pen studies

158

focusing on curves

letterform

trying to get consistent values

159

pen studies

160

trying to get height right

letterform

working on spacing

161

pen studies

162

Roman Uncials

letterform

Capitalis Rustica

163

11 x 14in

164

lowercase

letterform studies

Consider the final upper case H from GRA 122.

Select an appropriate x height and sketch the letter

n on photocopy paper that makes sense together

with the H. Repeat this process with the

following letters in this sequence: n, o, m, a, e,

p, i, t, and r. Beginning with the H and n, each letter

must be sketched next to the previous letters

with letter spacing and counterform proportional

to the H lower counterform. (Hnnomiaply:

the second ‘n’ helps understand the letterspace/

counterform relationship. As sketchs are

painted, draw in Adobe Illustrator at 100%.

Measure letter spacing from sketch and compose

a page showing nnnn and onon with proportional

spacing on 11 x 14” portrait paper with no

less than a 2” margin. Compose a page showing

‘Experimentation’ with proportional spacing

on 11 x 14” portrait paper with no less than a 2”

margin. Compose another 11 x 14” portrait page with

five lines of four to eight characters repeating

n, o, m, a, e, p, i, t, and r with no less than

a 2” margin. n, o, m, a, and e due at midterm.

165

lowercase letterform studies

166

trying to figure out arch and stem

letterform

working on outer curve

167


168

sketch vs. paint

letterform

approved n, width : 53mm

169


170

comparing to former H

letterform

comparing counterforms to kern

171


172

tried drawing equal segments

letterform

tried to get consistent weight

173


174

tried to get clean inside with sharpie pen

letterform

approved o, width : 54mm

175


176

comparing counterform with spacing

letterform

adjusting arch height

177


178

approved m, width : 95mm

letterform

changing arm and bowl

179 #

*the most difficult letter of my set


180

a was looking “too full”

letterform

shortening and lowering bowl

181


182

tried different connectors

letterform

comparing to n

183


184

approved a, width : 71mm

letterform

trying to balance counters

185


186

approved e, width : 53mm

letterform

stem connection wasn’t smooth

187


188

approved p, width : 53mm

letterform

picking tittle

189


190

approved i, height : 90mm

letterform

trying to mach arm with n

191

trying different arm cut-off angles


192

thickness of r arm was difficult

letterform

approved r, width : 33mm

193


194

one arm is thicker than other

connection in middle is offset

letterform

approved x, width : 60mm

195


196

much confusion with t leg

letterform

approved t, width : 43mm

197

r/l arm : 17mm, 15mm


198

matching counterforms with kerning

*discovering thin letters are terrible

letterform

n paragraph spacing

199

fixing leading in relation to letters


200

approved nnnn spacing

letterform

kerning for all letters

201

11 x 14in


202

too much leading

letterform

letters are too small

203


204

still unbalanced

letterform

letters are too big

205


206

process of kerning

letterform

approved paragraph

207


208

kerning, paying attention to x

letterform

209


210

having difficulties with a kerning

letterform

order of letters

211


212

approved lowercase letters

letterform

approved letters with E from 1st year

213

*E is too heavy as seen on 5.2.2020

214

paragraph project

Together with letterspacing and leading,

students now begin to explore more advanced

problems such as word spacing,

punctuation spacing, and rag in an entire

paragraph. Consider previous studio

courses including Design Principles I and II,

Design Drawing, Letterform I,

Typography I,and Visual Communication I

and II. Write a 100 word paragraph stating a

specific area of research. The paragraph

is divided into three parts: personal fascination/

design, principle/fascination and principle

combined. This paragraph will be the starting

point for the research project in the Spring.

Typeset paragraph at no less than 20

point type size on 11 x 14 inch paper (portrait

format). The following must be considered

carefully: ligatures, letter spacing, word spacing,

punctuation spacing, and leading. Make an

active, proportional rag based on column

width. This must be done by cutting existing

paragraph and moving text by hand.

Once a proportional rag has been composed,

typeset this paragraph on the computer.

215


216

adjusting leading by hand

copy paper, scissors, tape

letterform

11 x 14 in

217


218

extreme leading testing

letterform

final submission

219

*done in last week of class

5 visual

communication I

220


fundamental principles of visual

communication in preparation for further

study. Students will explore and

discover largely unknown phenomena

in looking and adjusting form to

make space. Concurrently, digital

technical skills will be developed both

for digital display and print.

221

222

dynamic and static

compositions

Note: It is not only how squares relate

to edges, but it is also that the organization of

squares themselves must be either

dynamic or static. With three 4cm black square

pieces of paper, demonstrate two good

static compositions each on a 22cm white

square piece of paper. With three 4cm

black square pieces of paper, demonstrate two

good dynamic compositions each on

a 22cm white square piece of paper. Measure

final sketches, draw them in Adobe Illustrator at

100%, print, trim to 22cm, and do not mount.

223

dynamic and static compositions

224

22cm copy paper square

4cm construction paper square

visual communication I

discovered we can “cut off” squares

225

dynamic and static compositions

226

trying to convey falling


approved compositions in illustrator

227

228

defining space

through value and

placement

This exercise works with space, depth and

multiple spatial planes. The objective

is to distinguish between distance as between

elements on the surface plane or depth

through different spatial planes. It is critical in

design to understand all the nuances

of depth, space and dimension. To help students

better understand how space can be shown

by the placement of elements. To illustrate

how positioning and interval relate to

space. With four 4cm squares of varying values

of gray to black make a spatial composition

on a 22cm white square piece of paper.

Relationship of corners, interval, and overlapping

are all considerations. Make another

variation where the distances relate to the first

variation on a 22cm black squre piece of

paper. With three 4cm black square pieces of

paper, demonstrate spatial definition

through placement of the squares on a 22cm

white square piece of paper. Measure final

sketches, draw them in Adobe Illustrator at 100%,

print, trim to 22cm, and do not mount.

229

defining space through value and movement

230

choosing greys


determing “steps” between greys

231

had to use two differen sets of grey


232

color matching


approved illustrator compositions

233


234

had to picture them three dimensionally


approved illustrator composition

235

236

tension to achieve

optical balance

Tension is a very important design tool

that has numerous interpretations. An old

painter once described tension as

‘a very important something between two

points where there is nothing’. Tension

exists in color, drawing, relationship of shapes,

and it is extremely important in any

kind of composition typographic or otherwise.

Tension is a principle that is adapted for

numerous effects or purposes. The following

exercise will introduce students to

tension. With three 4cm black square pieces

of paper and one 1 cm red circular piece

of paper, activate a 22cm white format with

tension. Arrange squares into an

unbalanced format, and then make an optical

balance with the red dot; at the same

time, activating the entire picture plane.

It works best if the red dot is slid up

or down the edges. Follow step one with

two red dots. Follow step one with

three red dots. Measure final sketches, draw

them in Adobe Illustrator at 100%,

print, trim to 22cm, and do not mount.

237

tension to achieve optical balance

238

lined up dots with points extending from squares


trying to surround the dot

239


240

working with two dots


trying to cram one dot in nooks

241


242

putting two dots on the squares vs in white space



243

244

expanding upon

the fibonacci

sequence

The objective is to distinguish between

distance and between elements on the given

surface plane. To help students better

understand how space can be shown through

the placement of form. Centered on a

22cm white square piece of paper, divide

a 10cm black square piece of paper into

six sections vertically by the Fibonacci

Series. Separate the sections with only the

thickness of the scalpel blade. On a

separate 22cm white square piece of paper,

expand the sections with the same series.

On a separate 22cm white square piece of paper,

expand the sections with the same

series inversely. On a separate 22cm white

square piece of paper, expand the

sections in any sequence to make tension.

On a separate 22cm white square piece

of paper, position the sections in any way

to show depth. Measure final sketches,

draw them in Adobe Illustrator at 100%, print,

trim to 22cm, and do not mount.

245

expanding upon the fibonacci sequence

246

black construction paper


trying to define rhythm

247


248

trying to picture bars as music notes


249


250

showing depth


trying to avoid making a curve

251


252



253

254

activating figure

ground to make

multiple planes

The interaction between figure and ground is

critical in all aspects of graphic design including

letterforms. This exercise extends the figure

ground principle into spatial planes rather than

as a shape to increase students’ sensitivity of

space. With 21mm circles cut from black

paper, make a composition showing four simple

planes on a 22cm white square piece of paper.

This is layer one. Scan and print. From white paper

cut circles with the same or varying scale as

layer one and place over layer one to make four

more planes. It helps to bridge planes from

layer one. Scan and print. Layer three is made

again of four planes of black circles with

again the same or varying scale as layer one and

two. Continue adding as many layers of four

planes as possible back and forth from black to

white keeping layer one visible. It is suggested

to begin with a grid lightly drawn in pencil.

Remember to avoid checkers. Count planes from

step one. Choose that many colors where the

range varies through a minimum of three hues and

from dark to light or light to dark. Following

the same process as step 1, make a composition

where each plane is a different color.

255

activating figure ground to make multiple planes

256

22mm circles from copy and construction paper


initial static compositions vs dynamic

257


# 258

finalizing angled “bases”

trying to get white planes to show up


adding black planes

259 #

white planes didn’t overlap much


260



bringing out the swatch collection

261


262

sample of my collection


looking for a 16 step gradient

263


264



final composition

265

266

leaf gradation study

Leaf studies may be made with leaves as

well as color paper. The leaves are a key to which

color paper will be selected. During the

first weeks of the semester be aware of leaves

changing color. As the semester progresses

collect at minimum 200 different leaves,

press, and bring to class. BEWARE OF POISON

IVY, OAK, SUMAC, ETC! Together with the

instructor select two hue groups with

varying value of at least 50 leaves. Begin the

exercise by placing each group of chosen

leaves on a separate 22cm white square piece of

paper (bristol). Place in a way that shows

a gradation in value from one leaf to the next.

Leaves may be cut or ripped. Scan each group.

Choose color paper to bridge and soften

the value change in each group. Color paper

may be cut or ripped. Project is more successful

when enough leaves exist that no color

paper is needed. Make a composition where

one gradation covers an entire 22cm page in

one direction and the second covers a14cm

square centered within the first in the opposite

direction. Ideally the two gradations meet

in the center with no visible change in value.

267


268

collecting in Broomfield, CO

trying glycerin


pressing with towels and wax paper

269


270

realizing glycerin sped up the dying process


collection of leaves found/bought

271


272

dead leaves were too dark


bright leaves bought on etsy

273


274

matching gradient line wasn’t even


approved leaf composition

275

276

a comparison of form

Through exploring formal relationships of

otherwise unrelated photographs a higher level

of formal awareness will be developed.

Cut a cardboard template from compressed

cardboard (paper pad backing) 22 x 22cm.

In the center of the template cut out

an 7cm square. Looking through the template

at magazines, search for as many simple

forms as imaginable. Once a form is discovered

cut it out of the magazine. When a similar

form is discovered begin to make at least

5 pairs of the following: shape, texture,

line continuation (possible to work with entire

22cm format with 7cm centered within),

and letterform (single). Look for details within

form to make specific pairs. While working

on this project with magazines in class students

must also search on the internet and

with their own camera/phone outside of

class. Each group of pairs must be broken

down with the following ratio 2 self-made with

camera: 3 found in magazine/internet.

Double Scotch tape chosen pairs on 8.5 x 11

inch paper. If more than a pair

is discovered, include the entire group.

277


278

magazines taken from abandoned shelf


ripped out pages with potential

279


280

my template


all magazine cutouts

281


282

trying to find simpler forms and textures


looking on stock sites

283


284

textures weren’t close enough

letterforms didn’t look the same


angles and shading were different

285


286

approved letter compositions

i is personal photo, z&h are from magazine


z is from magazine, u is personal photo

287


288

approved shape compositions

circle is personal photo, others are from internet


stop sign is personal photo, others are internet

289


290

cracked paint is from magazine, others are internet


bread is from magazine, others are internet

291


292

approved line continuation compositions

dog & street boy are magazine, others are internet


vulture is magazine, others are internet

293

6 typography

294

This class is based on further education through

research of formal problems in Typography.

295

296

book cover

typography

Set the following text solid in 24 point in

three typefaces with no returns: Pioneers of

Modern Typography by Herbert Spencer

The MIT Press Cambridge Massachusetts El

Lissitzky Theo van Doesburg Kurt

Schwitters H.N. Werkman Piet Zwart Paul Schuitema

Alexander Rodchenko Lazlo Moholy-Nagy

Herbert Bayer Jan Tschichold. Decide on one

typeface together with instructor and set

in 7 point, 9 point, 12 point, 14 point, 18 point,

24 point, 36 point, 48 point, and 72 point

with no returns. Tape three pieces of 8.5 x 11

inch white paper to cutting mat with inexpensive

clear tape on desk in portrait format

horizontally with 1 cm space between. With one

type size move cut text by hand on each

piece. Review with instructor and tape with

inexpensive clear tape. Make three

solutions. Repeat with two type sizes. Repeat with

three type sizes. Together with instructor

select one sketch from each set of three (one, two,

and three type sizes). Typeset sketches

on computer and print. Select one. Introduce

rules with pen for emphasis on 6 copies. Together

with instructor select three and typeset.

297

book cover typography

298

varying pt sizes of serifa std

8.5 x 11

typography

trying smaller type to not overwhelm

299


300

more dynamic variations (which didn’t work)

typography

approved 1 size compositions

301


302

2 pt sizes

trying to establish hierarchy

typography

trying to emphasize names vs title

303


304

leading extremes

typography

changing orientation was a headaches

305


306

trying to segment information

typography


307


308

getting too cluttered

typography

trying extreme variation of size

309


310


typography

adding rules with sharpie pen

311


312

illustrator variations

typography

approved rule compositions

313

314

book cover

typography

continued

Print three final typesettings (without

rules) in reverse (white on black). With three

copies of black on white final selection

taped to desk, cut white on black in various ways

and introduce on top of black on white for

emphasis. Review with instructor and tape with

inexpensive clear tape. Repeat. Try going

back and forth with black and white. Select

three good ones with instructor and

typeset. With CMYK values print six variations

of final typesetting. Tape three to desk and

introduce the other three for emphasis.

Repeat so that six sketches are made. Select three

good ones with instructor and typeset.

315


316

want to emphasize title

typography

looking too much like jail

317


318

approved field composition

typography

fields of color with transparency

319

trying not to decorate


320

trying strange color combinations

typography

refining three compositions

321


322

approved color composition

typography

hard cover mockup

323


324


typography

hard cover mockup

325


326


typography

hard cover mockup

327

328

paragraph

research

Sketch research based on the final paragraph

from Letterform GRA 221. Research may

be based on drawing, photography, or directly

on existing paragraph with collage. Make

no less than ten versions showing alterations.

Decide on one and continue the process

by making variations of decided version.

Together with instructor make selection from

these as the final variation. The sketching

process will be presented at final reviews in

three ring binder. Final selection may

be shown on 11 x 14 inch paper as per last

semester or bound into a booklet.

329

paragraph research

330

approved paragraph from letterform

typography

vellum snowflake prototypes

331

7.5 x 10in

paragraph research

332

using fibonacci sequence to make snowflake

typography

fractal research

333

paragraph research

334

subtracting from text and adding in composition

varying the snowflake visual

typography

varying how text looks when letters are subtracted

335

paragraph research

336

binding my first book (poorly)

before I knew there was proper glue

typography

vellum has snowflakes where letters are subtracted

337

paragraph research

338

final book submission

typography

fibonacci steps to subtract, place holders, then snow

339

340

paragraph research

typography

final composition with letters subtracted

341

342

the calendar

A calendar is a tool for measuring time.

The goal of this project is to organize the time

information on the given space and show

an idea that changes that information with the

passage of time within one, two, or three

months of a calendar. Hopefully the idea is

visible without a title. It is critical not

to illustrate. Make a list of at least 10 events and/or

phases that change and/or changed over

he course of one, two, or three months. Choose

one with instructor. Set the calendar type

in the same manner as project 2, step 1: This can

include the day numbers, days of the week,

month title(s), year, and any other important

information. Tape three pieces of 11 x 17

inch white paper to cutting mat with inexpensive

clear tape on desk in either landscape or

portrait format. To show that this is a spread of two

8.5 x 11 inch pages draw a light pencil line

through the middle accordingly. Starting with the

numbers organize the information on each

given space. Make 10 variations. What day of

the week does the week begin? Do weeks exist?

Choose 1 variation and typeset in Illustrator.

343

the calendar

# 344

decided on planet orbit calendar

typography

representing the orbit shape vs orbits in calendar 345 #

the calendar

346

trying to show depth in orbits

typography

shape of orbits isn’t communicating

347

the calendar

348

cutting elipses from calendar numbers

typography

adding white for emphasis (looks like wifi?)

349

the calendar

350

chose black to represent space

typography

final calendar submission

351

27 x 18in

7 visual

communication II

352

This class will further students’ understanding

in the fundamental principles of visual

communication. Students will explore and

discover largely unknown phenomena

in color, drawing, looking, and painting by

hand as well as on the computer.

353

354

complex object

translations

Design is an indication. How much information

is necessary when translating an object

into a drawing or painting? The following

exercises allow the student to explore

varying amounts of form in relation to space.

Bring final drawing and object from Design

Drawing to class for instructor approval.

Complete drawing if necessary. Scan and

draw in Illustrator with solid lines for existing

form and dotted for all help lines on

11 x 14 inch page. Set up object in the same

manner as was in drawing. With 11 x 14 inch

print of Illustrator drawing as a guide,

paint in black and white Plaka to translate

the objects light and shadow. It works best

to tape a blank piece of paper over the

Illustrator drawing when painting. Once

painted, scan draw again in Illustrator, print,

and refine with Plaka on the print. Repeat.

355

complex object translations

356

*forgot to document start of process

struggling once again with coil

visual communication II

having difficulty with the plane angle

357

capturing swirls in front but looks flat


358

doubling coils for ridges

made the bottom “cone” too long


figuring out how to do the coil

359


360

taking a break to work on the sphere

had trouble with getting right amount of ridges


inconsistent thicknesses

361


362

still looking flat


adding cross section indicators

363


364

adding angle cross section to look full


adding dimension to coils at bottom

365


366

“approved” final composition

*bottom and top are at different angles


light box and light table for painting

367


368

gestural approach

how little can I get and still get shape?


attempting with pencil and different lighting

369


370

too many small lines

not getting enough reflections


pencil attempts before paint

371

starting to get some roundness


372

trying to get one continual shape through coil


straight on view to focus on shapes

373

starting to digitize


374

scanned and overlaid painting for illustrator


“approved” final submission

375

376

advanced

transparency

This project will continue to develop

sensitivity in value, hue, and depth through

transparency. Fold five 22cm square

pieces of paper twice. Tape folded papers

to a flat 22cm piece of paper so that no

corners of folded paper touch flat

edges. Select one with instructor. Photocopy.

Trace all lines on folded paper on

photocopy. Introduce varying grey values into

the folded composition in ways to

show transparency in two ways: 1. Mechanically

change values from background to foreground,

light to dark respectively. 2. Optically change

values from background to foreground,

dark to light respectively. Start by selecting

three sets of two 5cm square colors of

varying hue and value from color-aid pack and

found paper. Select one with instructor.

Print a 22cm square piece of paper with the two

colors, one on each side, and fold the

same way as above. Place on white 22cm square

paper with darker valued color plane on

top. Translate composition with optical

value steps above. All sketches to be made

with color-aid pack and found paper.

377

advanced transparency

378

22cm folded tracing paper


initial guesses in computer to start

379


380

softening middle thin triangles


manipulating back fold

381


382



started with reversed colors of former composition

383


384



choose two colors and print double sided to start

385


386

initial guesses to start

darkening “main” triangle


changing hue of segment in front of upper teal

387


388

original paper



389

390

gesture drawings

Ideas can be developed through drawing.

This project will explore various tools, materials,

and methods of gesture drawings in order

to help students develop ideas in the

future. Bring three simple organic objects to

class for instructor approval such as a fruit

or vegetable. Decide on one. Set the object on

a platform in the same manner as in Design

Drawing. Draw the object in 10 seconds with

charcoal on 24 x 36 inch newsprint.

Repeat on another sheet up to ten times.

Each drawing is made on a separate

sheet of paper. Draw standing up. When every

stroke is clear the drawing is successful.

No smudging. Repeat with each drawing being

aware of the following: light, shadow,

form, space, texture, value, hue, etc... Try

subtracting charcoal with an eraser in a drawing

manner. Try other tools and materials. Increase time

on these drawings as semester progresses.

391

gesture drawings

392

warm ups


too many strokes

393

gesture drawings

394

varying line quality for more shape


attempting to practice at home (fail)

395

gesture drawings

396

lime, apple, artichoke, mango


visualizing inner structure for more form

397

gesture drawings

398

this marks my banana drawing endeavors


need to represent small details differently

399

gesture drawings

400

capturing bulbous shape with circles


attempting to outline with squiggles

401

gesture drawings

402

initial thumbnails


experimenting with cross hatching

403

gesture drawings

404

segmenting planes for more form


outlining shape beforehand helps a lot

405

gesture drawings

406

*got tips from a student in another class


more erratic definition

407

gesture drawings

408

realizing that adding shadow adds more dimension


light outlines underneath then define planes

409

gesture drawings

410

too much shading

not enough shading


lighter approach

411

*using a different graphite

gesture drawings

412

the first page I was proud of!


trying to exaggerate values

413

gesture drawings

414

drawing the same banana different ways


the “best” attempt from former batch

415

gesture drawings

416

not giving much attention to stem


varying stroke length for darker section

417

gesture drawings

# 418

the second page I was proud of!


outline vs “finished” 419 #

gesture drawings

420

still ignoring stem


trying to define stem

421


422

*no smudging involved


final submission : 24 x 36in

423

8 visual communication III

424

To develop advanced skills and knowledge

in visual language. To apply acquired

skills and knowledge in the methodologies

of visual communication design

through various projects and assignments.

425

426

message design :

visual comparison

To realize and understand formal,

conceptual and semantic similarities that exist

in visual recording such as photographs.

These properties used to develop dynamic

design concepts. To develop and

understand the application of visual search

and research in popular medium such as

posters, adopting semiotic principles.

To realize the effectivity of such products.

427

semiotics poster series

428

decided against a “deep” quote

visual communication III

pondering if christmas cookies are necessary

429


430

royal icing sugar cookies


testing compositions in studio

431

*eleven cookies do not fit


432

using Rudolph vcr from Goodwill


compositions aren’t proportional

433


434

photoshopping vcr is a bad idea

compositions aren’t balanced


background colors aren’t consistent

435


436

*final is still a wip, 5.2.2020


final compositions : 9 x 18in

437

438

visual display

using qualitative/

quantitative

analysis

As visual communicators, we need to understand

how to display data so that the visual

content is easily deciphered by viewers. We

must find ways to educate viewers

through simple, yet powerful visualizations.

To make sense of data, a visual system

is required. Through your system, viewers

can interpret the message you are sharing. Your

task is to analyze a collection of objects,

by means of qualitative methods, and present

the solution as clear as possible to the viewer.

439

visual display organization

440

using my dad’s collection!


organizing by color and content (columns, rows)

441


442

narrowing down color options


separating by color

443


444

trying to organize on my art board


organizing by color

445


446

dynamic composition didn’t work


boring title for midterms

447


448

narrative of space

and time

This project relates to researching,

learning, and teaching others about the

major health issues at a local,

national, or global scale. Display where

your data is relevant, in terms of

location, time period, and space (geography).

We will investigate various subtopics

and many more aspects that we

discover through extensive research.

449

infographic

450

collecting research on possible topics

original file got corrupted so I have screenshots


creating chart junk

451

infographic

452

using too many data representations


using both orientations for data which is confusing

453

infographic

454

bars are too long


bars are still too long

455

infographic

456

no cohesive color scheme


midterm submission : 16 x 27in

457

infographic

458

spring final composition : 16 x 30in


design excellence nominee fall 2019

459

460

recipe

Designed to teach others how to prepare

a recipe using a visual system, this

project will help you develop a visual processes

without relying on words. For years,

people have depended on cookbooks and/or

recipe cards to create meals. Often,

ingredients are added incorrectly as the

user relies on primarily reading the

process and seeing an image of the final

outcome. Your task is to visually communicate

the step-by-step process of creating a

meal. While the process may seem simplistic,

the method to successfully visualize

the meal may not be as straightforward.

461

recipe

462

making the horribly difficult bread

tucking ends too much caused bulge


initial sketches, hands are severed

463

recipe

464

needing more steps

struggling with braiding


studio view on some weekends

465

using hair braiding visuals for reference

466

recipe


467

recipe

468

hands look cut off

repetitive steps aren’t necessary


scale of items are off

469

recipe

470

successfully made a fist


confusion about the flour

471

recipe

472

attempt 1782394 it seems at the braid


pan is too flat

473

recipe

474

designed cat version for studio night for fun


final spring cat recipe app

475

recipe

476

making a variation of the 8 plait


finally gave the cat more personality

477

recipe

478

inspired by simon’s cat (and my own)


inception of previous final bread

479

recipe

480

the cat represents me when designing this


incorporated the human for difficult tasks

481

482

packaging

Research a product’s packaging. Evaluate it

for its successes and flaws. Make note

of the required information and warnings

on the packaging along with any brand

content, images, colors, illustrations, etc.

Once you have successfully completed

your thorough analysis and documented your

findings, you will develop a new package

design. Your final solution must incorporate

inclusive design elements to meet

the needs of users with varying abilities.

483

packaging

484

found at Walmart


all the copy

485

puncturing bottle idea

packaging

486

punching mechanism to open was not successful

realizing that the medicine is packets


too many parts and flaps

487

packaging

488

tabs aren’t inclusive friendly


spring : “locking” top for a one flap open

489

packaging

490

first time designing for a 3D product


type is too tight overall

491

title

packaging

492

round tabs are too hard to insert and close product


spring : updated packaging, monochrome palette

493

packaging

494

moon is too kid-friendly


final composition : 3 x 3 x 4in

495

Europa Bold, Regular, 12/10

496

self – promotional

project

Research how designers market

themselves for prospective jobs/clients.

Develop a Self Promotional piece

that highlights who you are as a person

as well as your design philosophy.

This piece must be inexpensive,

easy to (re)produce, and mail-ready.

497

self-promotional project

498

inspired by mosaics


deciding on symbols I want to include

499


500

paper exploration : 80lb cardstock

4 x 4in


designed in illustrator cut on silhouette

501


502

designing for acrylic

deciding on amount of detail for key


prototype with wood

503


504

first acrylic prototype

has no dimension, boring


updated four layer laser cut files

505


506

paper vs filter vs acrylic prototypes


finding a box at crate and barrel (unsuccessful)

507

more process is trapped in studio (covid-19)


508

opaque, clear, and colored acrylic : 4 x 2 x 4in


vellum fold out explanation : 4 x 10in

509

9 technology for

design I

510

This course will introduce first year graphic

design students to fundamental

principles of graphic design in preparation

for further study. Students will

explore and hopefully discover largely unknown

phenomena in the interaction

of form including two and three dimensions.


511

512

business system

Design a professional typographic business

system for your academic/personal use.

You are expected to investigate and explore

a broader professional perspective that

can be applied to a business or institution of

any size. The system must be created

from an existing typeface using your name(s),

You may not use a trademark (symbol,

mark, monogram, logotype) or image of any type.

513

business system

514

initial 100 business cards

technology for design I

emphasis was too bold

515

business system

516

right align obsession for a few variations


emphasizing with all caps is too aggressive

517

business system

518

emphasis with rules did not produce good results


finally trying color emphasis

519

business system

520

attempting to make it more friendly


front and back compositions, 8pt

521

business system

522

accidentally made a logo


Europa Bold, Poppins becoming main types

523

business system

524

deciding between Poppins and Europa


looking like lego

525

business system

526

still making logos


too much like ikea

527

business system

528

adjusting leading


before realizing 12pt looks ginormous

529

business system

530

header section is too choppy


trying an outline but circle is distracting

531

business system

532

flat lay of envelope


final envelope chosen

533

business system

534

prototype 1


prototype 2

535

10 prototypes are trapped in studio (covid-19)

business system

536

final folder submission : 9 x 12in


sent vs clean envelope

537

538

business system

booklet

Using the template below for sequencing,

produce an 8 x 10 inch,

12-page signature (three sheets of paper),

pamphlet-stitched booklet

with the business system as your content.

539

business system booklet

540

displayed in front-back printing order


541

542



543

544



real booklet is trapped in studio (covid-19)

545

546

letternumber

This is primarily a form project. To begin,there

is no criteria imposed on the symbol

design other than combining to create good

form. Your task is to create/design

an innovative symbol combining existing

letter/letter, letter/number, or number/

number that function as one. Once the symbol

is designed, a fictitious company name

will be selected that connects the norms of that

industry with the look and feel of the symbol.

Time permitting, design a symbol, or letter/

image, number/image, that could be an alternative

direction or alternative to the existing system.

547

letternumber

548

selected q, r, 9/6


playing with counters unsuccessfully

549

letternumber

550

q in the 6 ends up being final logo


files for process got corrupted

551

letternumber

552

deciding on terminals for both forms


grey doesn’t fit the 6q

553

letternumber

554

colored options look wrong for brand


cinema indicates a place

555

letternumber

556

literal film reel is unnecessary


logo on business card is too big

557

letternumber

558

information is too crammed in one area


oren jous (based on oren aks)

559

letternumber

560

final business system : 11 x 17in


mock-up

561

letternumber

# 562

movie poster deliverable


billboard deliverable for movie

563

564

symbol motion

Utilizing your LetterNumber symbol only and/

or signature, develop a 7–10-second motion

sequence that best visually communicates/

interprets the industry, and the company vision/

mission. Decipher from your symbol and/or

name/industry what is being communicated.

List all, and the key elements that need to be

communicated. In thumbnail form, sketch ideas

to communicate the key elements. Design at

least 2–3 different alternatives for the same idea/

concept. Sketch as many different movements

and analyze what works best. Storyboard, flip

book, sequence key frames for presenting

concepts. Translate into computer. Initially, you

may use any software, ideally AfterEffects will

be the best to finalize in. It will be 720HD format

which is 1280px X 720px. (subject to change)

All motion sequences must be no less than 7

seconds, and no more than 10 seconds.

This will allow for numerous test sequences.

565

letter number motion

566

7 second animation final boards


logo is too big and off centered

567

568

charlie’s website

Using html and css, design and code a

responsive charlie’s cafe website (1 page) for

someone to browse the menu, hours,

location, full menu with seasonal drinks. Design

should also be compatible for mobile.

569

charlie’s web page

570

learning to code


charlie’s sketches

571

charlie’s web page

# 572

hero image view


sections of charlie’s homepage

573

10 visual

communication IV

574

To develop fundamental skills and

knowledge in visual language, and address

client projects. To apply acquired abilities

in the process of visual communication through

several required “units” of the course that

focus on strategic visual communication design

planning and internship preparation.

575

576

interdisciplinary

cluster

competition

This ten-day long competition challenges

students to imagine ASU’s physical

and digital infrastructures as environments

that fosters innumerable interpersonal

connections that accrue into an

overall sense of community and what that

community might look and feel like

if enhanced, revealed, challenged, or

changed. As current students are

considered ‘digital natives’, we ask them

to imagine what a “smarter” campus,

one that is more inclusive and “connected”

would feel and look like. And

how would they unite the physical and

the digital to accomplish their goals.

577

interdisciplinary cluster competition

578

brainstorming an educational and fun third place


renderings done by Haley Smith

579

movable cube for studying and games


580

final poster submission : 24 x 72in


web prototype with trivia, chat, and tutoring

581


582

instagram promotional video, 5 sec


variation 2

583


584

synced to music


585


586

changed type to demi gothic to match space

changed music to match longer geobrain footage


transitions synced to music

587

588



589

590



591

592

MLK campaign

As a team, determine the best solution(s)

for helping the Martin Luther King, Jr. Committee

to promote student leadership and

volunteerism for all ASU campuses + skysong.

Produce a visual strategy demonstrating

your research, proposed designs,

budget, and schedule to the client for the

semi-final presentations. Provide the

client with the necessary information and present

the work in a professional manner.

593

MLK campaign

594

inspirational leadership vocab


iconic sketches, not dynamic

595

MLK campaign

596

poster ideas focusing on servant leader icons


bookmarks, too vague

597

MLK campaign

598

postcards to be sent to a servant leader you know


too plain

599

MLK campaign

600

final team deliverables

looks like subway icons to judging panel


shirt design is high on back

601

MLK campaign

602

proposed poster with icons making up figure


judge Sonia Sotomayor for justice icon

603

MLK campaign

604

new layout inspired by newspaper

working with teammate Paloma Delgado


experimenting with color in photoshop

605

MLK campaign

606

Malala Yousafzai, justice icon

David Ho, medical icon


icon is redundant on both sides

607

black background to focus on figure

MLK campaign

608

variations of color and icon placement


*final is currently a wip (5.2.2020)

609

610

Earnest & Humble

Coffee

Earnest&Humble is a startup eCommerce

brand that believes in respecting our planet and

being kind to one another. E&H Co was

created to be an aspirational brand that believes

in being earnest in what you stand for and

humble in your appreciation for those that

are different from you. I’d like to tell a story in

our packaging that reflects our values

which are, the power of connection, connecting

to our past and connecting to each other

in the present. Valuing humanity and

the hands that seed, grow and harvest; as

well as the idea that every human has a

story to tell and we are stronger together.

611

Earnest & Humble Coffee

612

trying to figure out what the client wants from

patterns for side of coffee bag


trying a pixelated pattern

613


614

icons for bag to tell a story


lacking information on his brand

615


616

initial deliverable, unable to print on sides


updated bag sticker to wrap around

617


618

final bag deliverable, too plain for client


coasters with information on origin

619


620

k pods type readability is inconsistent


subscription box sticker to blend in

621

622

currency redesign

This is an individual project. You are tasked

with redesigning two U.S. currency bills.

You may choose from the following: $1, $5, $10,

$20, $50, and $100. The two denominations

selected are up to you. The currency

must remain the same size as current bills,

include all necessary information, and

you must provide front + back views. When

you complete your redesign, display

your final design printed portrait on 11” X 17”

(create a class template so the bills are

placed at the same position on your page).

623

currency redesign

624

choosing theme between music, theatre, and hosts


horizontal sketches, traditional

625

currency redesign

626

Jim Henson images that were used/considered


Fred Rogers images that were used/considered

627

currency redesign

628

defined a varying weight wavy line pattern

defined threshold then applied pattern accordingly


detail is lost in his face

629

currency redesign

630

blue overlay, darks are too dark


backgrounds for character, NY, PA

631

currency redesign

632

shouldn’t change orientations


type gets lost at bottom

633

currency redesign

634

got rid of “engraving” look as test, did not prefer


too much color contrast

635

currency redesign

636

big bird gets lost

either duplicate or get rid of pattern strip


too many lines in characters

637

currency redesign

638

characters need a background


characters are getting lost behind gradient

639

currency redesign

640

uv security features


first attempt with Fred Rogers

641

currency redesign

642

too many lines in face


need to get rid of vertical lines in face

643

currency redesign

644

punishing the type, losing visibility


shapes are dark in castle

645

currency redesign

# 646

raised/lowered colored bars


shapes in castle are still dark

647

currency redesign

648

final composition : 2.61 x 6.14in


uv features with signature cookie

649

currency redesign

650

final composition : 2.61 x 6.14in


uv features with signature cardigan

651

currency redesign

652

what you would see on your phone to pay


view when you open the piggy bank

653

11 technology for

design II

654

To develop sensitivity to type, image and

other design elements as it relates to

the appropriate technology for the subject

matter. Emphasis is on typography, the

appropriate size, weight, style, color, contrast,

leading, kerning, letter spacing, column

width, voice, with and without images,

on-screen/paper, etc. To become skilled

at utilizing systems for sequential

design, consistent to the visual language

yet flexible, allowing for dynamics.

655

656

kinetic typography

To create an engaging animation that uses only

typography, point, line, plane, and color to

bring a 25–30 second audio clip to life. A 25–30

second animation with audio. The animation

can use only: Typography, Points, Lines, Planes,

Color. No illustration, photography, or video.

657

kinetic typography

# 658

storyboards not detailed enough

technology for design II

at least 30 boards for 5 seconds

659

kinetic typography

660

having hard time showing movement


file with illustrator storyboards got corrupted

661

kinetic typography

662

first 5 seconds for critique, not very kinetic


switched type to Europa

663

kinetic typography

664

adding more motion with dialogue


final submission : 31 sec

665

kinetic typography

666

court is too illustrative


manipulating size for more dynamics

667

kinetic typography

668

spent the most time on the letters scattering


static section

669

kinetic typography

670

trying to indicate speakers with background


orange is strange overall

671

672

kinetic typography


673

674

typography study

Design and produce a bound booklet with the

following examples within the formats given

further below. In addition, bring into studio two

award winning or well designed books

that show examples of the items listed below.

1 Type sizes / consider characters per

line, flush left 2 Leading with preferred type

size(s) 3 Tracking, examples of 4

Running: heads, shoulders, and footers / page

numbers (recto/verso) 5 Paragraph

indications, x8 6 Heads, subheads, 5 levels

deep indicating hierarchy 7 Widows

and orphans, examples of 8 Emphasizing text

within a column of text. At least one

spread. 9 Image with text, how to align

675

typography study

676

final book : 8 x 10in


defining live area

677

finding proportional pt size

678

kinetic typography


8.5pt, finding leading

679

680

kinetic typography


681

typography study

682

8pt, 12.7 leading, 58 tracking


running headers

683

typography study

684

running footers


running shoulders

685

686

typography study


687

688

typography study


689

typography study

690

widows and orphans


691

typography study

692

paragraph indicators


693

typography study

694

hanging indent

attempt at levels of hierarchy


emphasis

695

typography study

696

image placement

titles


697

698

kinetic typography


bound book is trapped in Al Sanft’s office (covid-19)

699

700

vcd alumni

website

For your final assignment you will be

designing a website for VCD alumni to connect,

share work, and keep in touch. The site

will act as a directory of all past alumni, and

allow folks to search for alumni by name,

year graduated, geographic location, place of

employment, and or area of focus. Each

alumni will have a single page directory listing

that includes all of their information.

701

vcd alumni website

702

no clear home page indicator


type size variations

703

vcd alumni website

704

need footer


filter is too narrow

705

vcd alumni website

706

need more search results


visuals are too big on homepage

707

vcd alumni website

# 708

both page visuals are overpowering


final web and mobile home page 709 #

vcd alumni website

710

made home page design smaller overall


about page

711

712

vcd alumni website


713

kinetic typography

# 714

have a redundant upload icon and button


mobile filter is currently a wip, 5.2.2020 715 #

vcd alumni website

716

trying to make the page not a dead-end


currently a wip 5.2.2020

717

718

program book

The Program Book is one of the staple

projects of the VCD program, and has been

well accepted by professionals, academics,

and peers throughout the country. It will

showcase your work, your design expertise,

sensitivity to typography, the page, and

the VCD curriculum. The key to successful

completion of this project is to stay on

track, completing each milestone on time,

even pushing ahead when appropriate.

During the design and testing phase, explore

as many alternatives, directions, concepts,

as quickly as you can, printing out examples of

spreads to evaluate at full-size. It is

imperative to have more than one design

direction to compare against another.

You never know how good it is unless you

have something to literally

hold, and evaluate one against another.

719

program book

720

12 x 8in spreads, challenging to fit content


721

program book

722

over designing


7 x 8in pages

723

program book

724

6.5 x 8in pages


725

726

This program book was designed during

COVID-19, otherwise known as

Coronavirus. As Arizona, and most of the

country went into quarantine, it left

us with headlines of increasing deaths,

shortages, risks, too many briefings,

and seemingly no end in sight. However,

this epidemic showed how the

human spirit deals with a crisis like this,

and the good that we’re capable of

when it’s needed. The following shows

how we’ve come together,

supported, and coped during this time.

727

the coronavirus outbreak

728

March 16 - 21


March 22 - 27

729


730

March 28 - April 2


April 3 - 8

731


732

April 9 - 15


April 15 - 20

733


734

April 21 - 26


April 27 - May 2

735

736

final words

As I have advanced through the vcd program,

not only have I learned more about

design than I could imagine, I learned

what I’m capable of. This program

has taught me how to work in a team, present

my work, present myself, how to work

smarter (not always harder), look at a design

critically, provide feedback in a kind

way, and most importantly, how to work hard.

Although I have my fair share of bad

days and experiences with The Design School,

I’m happy that after two prior years

of school, my dad encouraged me to dive

into the Visual Communication program.

I would’ve never thought that my obsession

with scrapbook paper, glitter,

stickers, stamps and hand-made cards would

have lead me here but I’m glad it did.

737

colophon

typefaces

Avenir Next Rounded Std Demi

Regular 10/16/17

Regular 8/9.6/30

Regular 7.5/9/50

Bold 28/35/40

Bold 10/16/40

Both bold #cd4097

pt size / leading / tracking

machine

MacBook Pro 16inch, 2019 2.6 GHz

Processor 6-Core Intel Core i7

Memory 16 GB 2667 MHz DDR4

630 1536 MB C02ZR0LUMD6P serial

Graphics AMD Radeon Pro

5300M 4GM Intel UHD630 1536

MB graphics

738

photos

iPhone 8 version 13.4

MQ742LL/A F4GVX1JGJC6F

Resolution 750 x 1334 pixels,

16:9 ratio

scanner

HP Color LaserJet Pro MFP M177fw 2

scan speed letter p to 7.5 ipm (b&w),

up to 5.5 ipm (color) [14] Scan speeds of up

to 7.5 ipm (b&w), up to 5.5 ipm (color)

measured from ADF

programs used

InDesign, Illustrator, After Effects, XD,

Photoshop, Acrobat

designed at

8410 S 20th Place

Phoenix AZ 85042

739

yumpu

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