waldemar swierzy

JUNIOR REVIEW
PROCESS SKETCH BOOK
Compiled by Justin Bastock
Editor | Designer | Typographic Boffin
Justin Bastock | thewanderingangel.
com
Year of Publication
© 2013 | Printed at Folk Hall
All rights reserved.
This process/sketchbook was made
for
Junior Review - Fall 2013
taken at the Myers School of Art.
The main text of this book
was set in Univers. Header text
was set in Glypha45-Light
Special Thanks To:
Chris Wallenhorst, Kayla Hull, Matt
Weiss, Andrew Krigline, and Danielle
Lowery,
Katie Timperio, Brittyn DeWerth,
Janice Troutman,Vlada Vukadinovic,
and so many more at the Myers
School of Art!
Contents
Typography 2:
History of Graphic Design Poster
Type Specimen Booklet
Production 1:
Image Translation Project
Typography 3:
Design for Good - Community Gardening
Illustration:
Projects 1 & 2 - Contrasts/Phobias
Out of Class Project
History of Graphic
Design Poster
TYPOGRAPHY 2
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ThE
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ConCEpTual ImagE
1. Armando Testa, poster for Pirelli, 1954.
The strength of a bull elephant is bestowed
on the tire by the surrealist technique of
image combination.
19. Milton Glaser, Bob Dylan poster, 1967.
Transcending subject and function, this
image became a symbolic crystallization of
its time.
2. Armando Testa, rubber and plastics
exhibition poster, 1972. A synthetic hand
holds a plastic ball in a distinctive and
appropriate image for this trade exhibition.
20. Milton Glaser, Dada and surrealism
exhibition poster, 1968. The smaller table
isolates the word real within the longer
word surrealism.
34. Paul Rand, cover design for Modern
Art in Your Life, 1949. With this MoMA
publication Rand makes modern art seem
as accessible as a daily meal. As Steven
Heller aptly stated in his superb biography
of Rand, published in 1999, “Rand’s jackets
and covers were both mini canvases and mini
posters. He composed the limited image area
for maximum impact.”
48. David Lance Goines, classical film
screening poster, 1973. The directness
of image and composition gains graphic
distinction from a poetic sense of color and
sensitive drawing.
3. Tadeusz Trepkowski, antiwar poster, 1953.
21. Milton Glaser, Poppy Records poster,
35. Lou Danziger, “American Paintings
serigraph, 1967.
A passionate statement is reduced to just
one word: No!
1968. A poppy blooming from a granite cube
symbolizes a new, independent company
breaking through the monolithic conventions
of the recording industry.
from the Metropolitan Museum of Art”
poster, 1966.
4. Henryk Tomaszewski, football poster for
the Olympic Games in London, 1948.
5. Henryk Tomaszewski, poster for the play
Marie and Napoleon, 1964. Tomaszewski led
Polish graphic design toward colorful
and artistic expression.
6. Jerzy Flisak, cinema poster for
Rzeczpospolita Babska, undated. Bright
colors and informal shapes convey
the delightful resonance of the
1950s Polish poster.
7. Roman Cieslewicz, circus poster, 1962.
Collage elements superimpose the word cyrk
and a clown on a high-contrast photograph
of an elephant.
8. Franciszek Starowieyski, Warsaw Drama
Theater poster, 1962. The cube drawn in
perspective transforms the flat page into
deep space, forcing the strange complex
above it to float.
9. Jan Lenica, Warsaw Poster Biennale
poster, 1976. Meandering arabesques
metamorphose into a winged being.
10. Jan Lenica, poster for Alban Berg’s
Wozzeck, 1964. As with many of Lenica’s
posters, the spirit of art nouveau is evident.
11. Waldemar Swierzy, Ulica Hanby poster,
1959. The painterly lettering becomes an
extension of the lipstick.
12. Waldemar Swierzy, Jimi Hendrix poster,
1974. The electric vitality of gestural strokes
on the cobalt blue portrait suggests the
vigorous energy of hard-rock music.
13. Roman Cieslewicz, poster for Vertigo,
1963. A target on the forehead of a skull, also
alluding to the film’s title, is combined with a
fingerprint in this enigmatic interpretation of
the Polish version of Hitchcock’s film.
14. Roman Cieslewicz, Zezowate Szczescie
(Bad Luck) movie poster, 1959. As with many
posters by Cieslewicz,the viewer is left with
the task of interpreting the image.
15. Jerzy Janiszewski, Solidarity logo, c.
1980. Crude letter forms evoke street graffiti,
and the crowded letters are a metaphor for
people standing solidly together in the street.
16. Marian Nowinski, political poster, 1979. A
book bearing the name of Chilean poet Pablo
Neruda, whose works were banned and
burned by the Pinochet regime, is closed by
large metal spikes.
17. Reynolds Ruffins, illustration for Amtrak
Express magazine, 1983. Decorative color
and abstracted forms typify Ruffins’s work
over half a century.
22. Milton Glaser, “Art Is” poster, 1996.
Suggesting a painting by Magritte, visual and
verbal meanings are explored by manifesting
a hat as a photograph, a shadow, a word, a
pictograph, and a written definition.
23. Seymour Chwast, Judy
Garland poster, c. 1960. The vibrant flat
colors aptly express the resonance of her
singing. Chwast uses his own typeface Blimp
for the title.
24. Seymour Chwast, album cover for The
Threepenny Opera, 1975. Diverse inspirations
combine to capture the resonance of the
renowned German play.
25. Seymour Chwast, moving announcement
for Elektra Productions, c. 1965. Walking,
riding, or propelled by locomotive power, the
client’s name travels to its new location.
26. Seymour Chwast, poster protesting
the bombing of Hanoi, 1968. A mundane
advertising slogan gains new life when
combined with a blue woodcut and offset
printed green and red areas.
27. Seymour Chwast, display typeface
designs. Chwast playfully echoes Victorian,
art nouveau, op art, and art deco forms.
28. Barry Zaid, book jacket for Bevis Hillier’s
Art Deco, 1970. Decorative geometry of the
1920s is reinvented in the context of the
sensibilities of a half-century later.
29. Barry Zaid, cover for the Australian
Vogue, 1971. The rotund geometric forms of
Léger and modernist pictorial art are evoked.
30. James McMullan, Anna Christie poster,
1977. McMullan often calls attention to the
physical properties of the medium; the red
background changes into painterly strokes
and then becomes lettering.
31. Paul Davis, poster for The Threepenny
Opera, c. 1975. A sinister portrait of Mack the
Knife is placed in front of a hanging yellow
sheet on which the title is painted in blood.
32. Henrietta Condak (art director) and
Richard Hess (illustrator), album cover for
Charles Ives: The 100th Anniversary, 1974. A
complex Victorian poster format frames many
images from the composer’s time.
55. Gunter Rambow (designer/
photographer) and Michael van
de Sand (photographer),
S. Fischer–Verlag poster, 1976.
The portability of the book is
conveyed in
memorable fashion.
49. Corita Kent. Feelin’ Groovy,
serigraph, 1967.
56. Gunter Rambow (designer/
photographer) and Michael van de
Sand (photographer), S. Fischer–
Verlag poster, 1980. The book and the
concept of reading as a window on the
world gain intensity from the luminous
sunlight streaming
from this volume.
50. Corita Kent. Handle with Care,
51. Gunther Kieser, “Alabama Blues”
concert poster, 1966. A concert
announcement becomes a potent
symbol of the longing for freedom and
justice contained in the music.
36. Lou Danziger, poster for The New York
School: The First Generation, 1966.
37. Herbert Leupin, poster for Tribune de
Lausanne, 1955.
57. Gunter Rambow (designer/
photographer), Gunter Rambow and
Gerhard Lienemeyer (typographers), poster
for the play Antigone, 1978. Pathos and
isolation are conveyed by the burning chair
photographed from a low
vantage point at dusk.
52. Gunther Kieser (designer) and
38. Raymond Savignac, poster for
Gitanes, 1954.
39. John Berg, record album cover for the
William Tell Overture, 1963. Complex visual
organization was replaced by the simple
presentation of a concept.
40. John Berg (art director) and Virginia Team
(designer), record album cover for the Byrds’
Byrdmaniax, 1971. An enigmatic image
transcends normal portraiture as masklike
faces emerge from an oily fluid.
41. Woody Pirtle, logo for Mr. and Mrs.
Aubrey Hair, 1975. In this graphic pun, the
comb relates to the client’s name, which is
spelled by the comb’s teeth.
42. Woody Pirtle, poster for Knoll furniture,
1982. A hot pepper becomes a red and green
chair, signifying the availability of Knoll’s “hot”
furniture in Texas.
Hans Hartmann (photographer),
Frankfurt Jazz Festival poster,
1978. Symbolic fabrications
are disseminated through
photographs of sculpted objects.
53. Willy Fleckhouse (art
director), cover for Twen, 1970.
Graphic communications often
become political symbols
in the struggle between
alternative value
systems and generations.
58. Gunter Rambow, poster for the play Die
Hamletmaschine, 1980. A chilling sense of
anonymity is produced by this self-inflicted
act of vandalism.
59. Gunter Rambow, poster for Othello,
1978. The pathos of the play is expressed by
an image within an image: a tattered poster
hanging on a wire fence in front a bleak
apartment complex.
54. Willy Fleckhouse (art
director), pages from
Twen, 1970. Sensitive
cropping, a full-page
photographic symbol,
and white space
create a dynamic and
expansive layout.
60. Gunter Rambow (designer/
photographer) and Michael van de
Sand (photographer), theater poster
for Südafrikanisches Roulette, 1988. A
bandaged hand with a bloodstain
shaped like Africa conveys the
pathos of suffering and revolution.
61 through 64. Robert Massin (designer)
and Henry Cohen (photographer), cover and
double-page spreads from Eugene Ionesco’s
La cantatrice chauve, 1964. The pictorial
directness of the comic book is combined
with the expressive typography of
futurist poetry.
65. Robert Massin, pages from Eugene
Ionesco’s Délire à deux, 1966. The words
leap and run and overlap and smear into
inkblots in a calligraphic homage to the
nonrepresentational, surreal ideas of Ionesco,
a master of the theater of the absurd.
66. Grapus, exhibition poster, 1982. A
layering of emotionally charged graphic
symbols contradict each other
and unsettle viewers.
67. Raúl Martínez, poster honoring the
Cuban people, c. 1970. Leaders and workers
are cheerfully depicted in a comic book
drawing style and bright, intense color.
68. Artist not identified, poster for COR,
1967. Clouds part to reveal an orange sun,
symbolizing the ill-fated 26 July 1953 assault
on the Santiago army barracks, which
launched the Cuban Revolution.
69. Elena Serrano, “Day of the Heroic
Guerrilla” poster, 1968. An iconographic
image of Che Guevara transforms into a
map of South America in a radiating image
signifying revolutionary victory.
43. Wes Wilson, concert poster for The
Association, 1966. Lettering becomes an
image, signifying a cultural and generational
shift in values.
44. Wes Wilson, concert poster for the
Grateful Dead, Junior Wells Chicago Blues
Band, and the Doors, 1966. Hand-drawn line
art is printed in intensely vibrating colors.
45. Victor Moscoso, poster for the Chambers
Brothers, 1967. The vibrant contrasting
colors and Vienna Secession lettering inside
of the sunglasses implies the drug culture of
the period.
46. Victor Moscoso, concert poster for the
Miller Blues Band, 1967. The shimmering
nude female figure in the center of the poster
reflects the uninhibited atmosphere
of the 1960s.
47. Peter Max, “Love” poster, 1970. Max’s
split fountain printing resulted in colors
lyrically dissolving into one another.
33. Arnold Varga, newspaper advertisement
for Joseph P. Horne, c. 1966. The joys of food
and cooking are conveyed. (Reproduced
from a proof not showing the Horne
logo and text at the bottom of the page.)
6
3
18. Milton Glaser, record album cover for The
Sound of Harlem, 1964. In this early example
of Glaser’s contour line and flat color period,
the figures are weightless shapes flowing in
musical rhythm.
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6
SKETCHES
7
CONCEPT SKETCHES
The first step in any proj ect i s to generate
as many sketches as possi bl e. Whi l e at the
beginning I may not have thought m uch about
the concept for my conceptual i mage poster I
eventually buckl ed down and bel ted out qui te a
few sketches here and there w hi ch l ed m e to my
final design.
I thought about what an i dea i s and w hat the
“main idea” of the chapter w as that I had been
assigned.
A concept is def i ned as
“ an ab st r a ct i dea; a general noti on.”
O nce I had decided on m y i dea of desi gni ng
a simplistic poster wi th very basi c geom etri c
shapes I got down to work generati ng
composition ideas.
THE ASSIGNMENT
Gr ap h ic De sign H i story Poster- (4 weeks)
D evelop concepts to make graphi c desi gn
history easier to com prehend and rem em ber.
D esign a poster w hi ch sum m ari zes an assi gned
chapter from Meggs’ H i story of G raphi c
De sig n . Read assi gned chapter and take notes
summariz ing the text and and answ eri ng study
guide questions.
Scan images and retype capti ons and pl ace
into the grid pro vi ded based on hi stori c ti me
sequence while incorporati ng styl i sti c devi ces.
Index captions to i mages.
A ll images and capti ons shoul d be used.
Print production: I nDesi gn, ful l -col or, 20” x 32”
vertical format.
8
COMPOSITIONS
P R OC ESS
T h e n e x t s t e p in my project was to start
p r o t o t y p i n g d i fferent compositions. I finally
s e t t l e d o n t h i s pencil and jaggy shaped design
w h i c h I ’ m p r e t ty proud of as it happened
i n a s e r e n d i p i t ous moment.
9
10
CON C L U S I O N
W ith the f i nal desi gn cri ti qued and approved
I moved on to the tedi ous process of adj usti ng
type, fixin g i m ages, addi ng capti ons and maki ng
sure everythi ng l ooked good.
This project, al though i t took a very l ong
time, was enj oyabl e and fun. I thi nk i t was a
challenge for my creati ve m uscl e si nce I w as
forced to i ncl ude al l the i m ages and capti ons,
I do think more creati vi ty coul d’ ve happened
with less im ages but you work wi th what you’ ve
got to please the cl i ent. I n thi s case the cl i ent
being my p rofessor and cl assm ates.
FINAL 11
Typographic
Specimen Booklet
TYPOGRAPHY 2
14
SKETCHES
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CON CE P T S K E T C H E S
This project was an i nteresti ng one. We had to
create a type dom i nant desi gn based off of a
word we needed to defi ne. I n thi s com posi ti on
I was given the words Expanded and Condensed
type and D ingbats. I started out by defi ni ng the
word.
Then I played around w i th fonts l ooki ng for a
legible one that al so fi t the cri teri a of expanded
and condensed. I m oved the type around, added
the graphic elem ent of bars to further em phasi ze
the height and wi dth of the type.
T HE ASS I G N M E N T
T yp e S p e cimen B ookl et- (4 Weeks)
D esign an 8-12 page, ful l -col or brochure.
Research the history of a typeface and
write a 300 word essay descri bi ng hi stori cal
classification an d techni cal devel opm ents.
Indicate earmarks ( l etters of parts of l etters
which help to identi fy the typeface) . Fi nd
examples of histori cal usage and current
examples as well .
D esign cover pag e, page w i th compl ete
character set of each font styl e, page of
earmarks, pages wi th hi stori cal and current
examples, and co l ophon page l i sti ng producti on
software and devi ces.
D evelop page composi ti on concepts w hi ch
reference historical page dynami cs from the
time the typeface w as ori gi nal l y created.
Recontextualiz e to address current approaches.
P r in t p r o d u ct ion: Desi gn i n I nDesi gn. 5-1/8”
wide x 7-5/ 8” ta l l .
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COMPOSITIONS
B
P R OC ES S
I n t h i s c o m p o s i t i o n I was given the magnificent subject
o f D I N G B AT S ! I s tarted out by defining the word and
t h e n l e a r n i n g t h a t it’s basically an infinite number of
c h a r a c t e r s a n d p r inters marks.
T h e n I p l a y e d a r o und with fonts, settling on W ingdings
a n d F u t u r a . I w a s inspired by D avid Carson’s design in
a m a g a z i n e c a l l e d RayG un. H owever I did not want to
m i m i c h i s i d e a b ut I liked the idea of mirroring copy
i n t w o d i f f e r e n t t ypefaces. I tried to carry that theme
t h r o u g h o u t . A s i f looking in a mirror to a world made of
s y m b o l i c g i b b e r i s h.
17
Pages of the 3rd rough layout
for the booklet design. As
you can see they’re not fully
r e a lize d y e t .
18
T h e f inal bookle t
d e si gn spre ads
FINAL 19
CON C L U S I O N
W ith th e fi nal desi gn cri ti qued and approved
I moved onto the tedi ous process of adj usti ng
type, fixi ng i m ages, addi ng capti ons and maki ng
sure everythi ng l ooked good.
This proj ect, al though i t took a very l ong ti m e,
was en j oyabl e and fun. I thi nk i t was
a challenge for my creati ve m uscl e si nce
I was forced to i ncl ude al l the i m ages and
caption s, I do thi nk m ore creati vi ty coul d’ ve
happen ed wi th l ess i mages but you work
with what you’ ve got to pl ease the cl i ent.
In this case the cl i ent bei ng my professor
and classmates.
Image Translation
PRODUCTION 1
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IMAGE TRANSLATION
Application: Adobe Illustrator
Size: Sketches must be rendered
a 7x7 page size.
Due: January 25, 2012
:
For this assignment we had to take
photographs of an object of our
choice and draw four geometric
stylized thumbnail images of it.
Then we had to pick one of the
rough drawings, scan it into Adobe
Illustrator at 300dpi and then
7x7 image.
23
The previous semseter I made a trip to the Akron Zoo and had
taken some photos of the animals there. I knew I wanted to use
one of them in this project and eventually settled on a flamingo.
In class I made some inital sketches as shown on the right. I like
to call it rambling on a page as I mostly just hold a conversation
with myself pouring the ideas that spring forth onto the page
regardless of what they look like.
I tried to figure out not only an interesting composition but also
what exactly makes a flamingo a flamingo.
A little bit of playing around with basic shapes in Illustrator I
managed to develop something I was happy with and was
unashamed to turn in. I like how it turned out simple and basic
and could easily see this turned into a logo or some sort of
stuffed animal.
PG 15
Design for Good
TYPOGRAPHY 3
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26
X
X
X
X
X
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This project started with the idea that I would be making
a comprehensive campaign for the local community gardens
to draw attention to them and the wonderful opportunities
they present to the community of Cuyahoga Falls.
First I decided upon my target audience, of which I wanted to include
younger children in the age range of 8-15. I figured the best way
to go about appealing to this audience was through the use of quirky
cartoon animals that would provide an open and friendly atmosphere
for people to identify with. I picked animals that you would normally
find in a suburban setting such as a rabbit, a fox, and a raccoon.
Next on the docket was figuring out the layout and overall style
of the illustrations. This was by far the most challenging part and
looking back on the process I still can find things to improve upon.
Compromises were made in the interest of time. After all, I would
nitpick over style till the cows come home but something has to get
done after all.
The next few pages are examples of sketches I produced over the
course of the project and various notes I made on the subject matter
and execution of the project.
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29
30
31
32
INITIAL SKETCH FOR POSTER
33
COLOR RENDER FOR POSTER
MAGAZINE AD 1
MAGAZINE AD 2
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MAGAZINE AD 3
37
TRANSPORTATION/BILLBOARD MOCKUP
38
WEBSITE
HOMEPAGE
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“EXTRA” ITEM - PLOT REPRESENATION
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41
The final ideas in hindsight are a bit “cookie cutter” but at the same
time I do feel there’s enough variation so as not to become boring.
As mentioned previously, time has been immensely short during this
project and bouts of depression mixed with poor time management
as a result did not make any of this easy.
An example of what “will” be done, should this campaign actually
exist and be funded would be the construction of 4 identical 25ft x 25ft
planters that would be placed in key locations around the city to draw
attention to the scale of how large a plot you can get at the community
gardens. By doing this it will give the average audience a playful
interactive piece that will interrupt their day, and, combined with the
colorful cartoon characters will draw attention to the plots. Flowers
planted in these planters will help to improve the atmosphere of the
surrounding area and allow for a comfortable atmosphere that the
posters already encapsulate.
All in all I want to continue to pursue this project as a portfolio item for
my senior portfolio but time constraints inhibit any real progress before
Junior Review.
Contrasts & Phobias
ILLUSTRATION
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Justin Bastock