In redoing my magazine design a few things were imperative; following the grid, picking the right typography, and aligning things in a logical way. I believe I did that successfully. I chose Helvetica fonts and variations of it. Because it is such a symmetrical and useable font, I thought it would balance well with the artwork included in the piece. The biggest challenge was allowing the artwork to be the main focus while not letting the typography over power the work. That’s why I used Helvetica in black and a darker red.
Also, I redesigned the cover of the magazine as well. I created a bigger and readable magazine name as well as aligning the the visual ad font properly. I feel as if this redo is much better than my original piece. Overall it makes much more sense graphically and I believe that is why it is successful.
In redoing my magazine design a few things were imperative; following the grid, picking the right typography, and aligning things in a logical way. I believe I did that successfully. I chose Helvetica fonts and variations of it. Because it is such a symmetrical and useable font, I thought it would balance well with the artwork included in the piece. The biggest challenge was allowing the artwork to be the main focus while not letting the typography over power the work. That’s why I used Helvetica in black and a darker red.
Also, I redesigned the cover of the magazine as well. I created a bigger and readable magazine name as well as aligning the the visual ad font properly. I feel as if this redo is much better than my original piece. Overall it makes much more sense graphically and I believe that is why it is successful.
This logo was designed by Milton Glaser, one of the pioneers of graphic design as we know it. Click on the logo and be redirected to a website of Glaser’s work. It’s worth a few minutes.
In changing my poster I wanted to make everything a bit more believable. With that being said I worked on the ice texture with filters and layering of color. Also. I needed to add typography that was readable. I chose Arial Black for this. I felt that it meshed well with the font I drew out. Besides that I had a few minor compositional changes; making the bear smaller, and having lines lead into the focal point. To create these foal lines I positioned icebergs in the background leading up to the foreground. Overall I feel like the new and improved piece trumps the former. Gods’ Speed!
This poster is first and for most the reflection of the style of the Artist Guy Burwell. As much as Burwell is known for his angular, elongated cartoon figures, his sense of design is reflected well in this Piece. We are drawn in by the Typography, and its placement below the faces of the members of the band. Style drives most of this piece, yet the overall design of the poster is balanced and unified. The Figures have a realistic posture and attitude while existing as cartoons. Graphically this piece is alluring. You pay attention to it immediately, and then investigate it for it’s subtleties.
I don’t know how appropriate this font would be for a resume, unless of course you happen to be a botanist. Overall, pretty original though.
It takes some balls to successfully re-do any classic. Whether it be a song, movie, or piece of literature, we live in a culture that is constantly reconstructing and redistributing classics. In more cases than not, re-interpretations are awful. Has anyone seen Wolfman?.. Me neither. However, once in a blue moon a reconstructed classic meets and even exceeds expectations. This example is a re-illustrated book cover to the classic Lord of the Flies written by William Golding and re-illustrated by Sam Weber. Weber captured the essence and overall intensity of the classic novel with a simplicity of shape, color, and form. This is a prime example of how it is the job of the Graphic Designer/Artist to lose more than he/she adds. This piece is a gauge of how simple yet powerful a graphic really can be
