graphic design ii portfolio
DESCRIPTION
Catalogue of designs created by Griffin Van Dyke in Graphic Design II instructed by VInicius Lima at the University of Iowa.TRANSCRIPT
griffin van dyke
graphic design II // portfolio
university of iowa
PORTFOLIO
TABLE OF CONTENTS
METAMORPHOSIS..............................................................................................................1HIERARCHY.................................................................................................................................2CD PACKAGING....................................................................................................................3TOUR POSTER & TICKET.............................................................................................4POSTAGE STAMP..................................................................................................................5ALCOHOL PACKAGING..............................................................................................6DESIGN MAGAZINE.........................................................................................................7
INTROGraphic Design II allows for more in-depth study and exploration of the principles of graphic design as a problem solving tool of visual communication by synthesizing, combining, and emphasizing visual, pictorial, and typographic elements. Students will implement knowl-edge gained in Graphic Design I and Typography through real world studio projects requiring the successful integration of type and image.
METAMORPHOSIS
“Continuing on your graphic design studies, this time we are going to approach this assignment considering that the produced images are de-
pendent on each other and should work together to achieve the serial com-ponent of the project. This is an exercise in working with abstractions and
identifying the visual elements that are going to be key during your process.”
“Transform any lowercase letter into an object that starts with the same letter. For example, a “c” into a “cat”, or an “a” into an “apple”. Choose a typeface of your choice. Consider your typography knowledge. Develop the meta-morphosis of your typeface in seven steps. Consider the negative space in conjunction with the positive, as well as the gestalt principles. Start working by hand on this project. Use pencils, markers, rulers, on layout or tracing paper. You must then transfer the final symbols to the computer for the final presentation. Each step of the metamorphosis should be presented centered in a 2” x 2” white square. Consider the proportion between the figure and the background. The composition should be black over a white background.
“Transform a lowercase a into a lowercase k. Choose a typeface and a of your choice. Consider your typography knowledge. Develop the metamorphosis of your typeface in seven steps. Consider the negative space in conjunction with the positive, as well as the gestalt principles.Start working by hand on this project. Use pencils, markers, rulers, on layout or tracing paper. You must then transfer the final symbols to the computer for the final presentation. Each step of the metamorphosis should be presented centered in a 2” x 2” white square. Consider the proportion between the figure and the background.The composition should be black over a white background. No gray values are allowed.“
METAMORPHOSIS I METAMORPHOSIS II
METAMORPHOSIS I
METAMORPHOSIS
METAMORPHOSIS II
HIERARCHY
“This assignment deals with the use of typography to create an organized visual informational hierarchy. Graphic Design involves communicating and presenting conceptual or practical information in visual form. This requires an understanding of the information in order to present it in an organized and understandable manner. One way to do this is to build a hierarchy of the material in order of importance. One can delineate these different kinds of information typographically with the use of layout, graphic elements, font choices and variation, point size, placement and spacing. For this project, you will be given a text that has been typed with no variation in presentation and design a piece for it. Your job is to figure out the different kinds of informa-tion in the text, build a hierarchy in terms of both content and importance, and create a typographic layout that allows the viewer to easily read and utilize the information. You must use Adobe InDesign for this project.”
HIERARCHY 11“x17”
HIERARCHY
GRA
PHIC
DES
IGN
conc
epts
&pr
inci
ples
Des
ign
may
be
cons
ider
ed a
s an
inst
rum
ent o
f org
aniz
atio
n. It
mus
t per
form
in re
spon
se to
hum
an n
eeds
. Des
ign
is a
n ur
gent
requ
irem
ent,
not a
cos
met
ic a
dditi
on. G
raph
ic d
esig
n ca
n sa
ve ti
me
by p
rese
ntin
g in
form
atio
n m
ore
clea
rly. It
enh
ance
s com
mun
icat
ion,
it h
elps
peo
ple
to u
nder
stan
d a
give
n m
essa
ge a
nd a
ccel
erat
es le
arni
ng. D
esig
n is
find
ing
the
best
sol
utio
n to
a p
robl
em w
ithin
the
limita
tions
of t
he p
robl
em. G
raph
ic d
esig
ners
com
mun
icat
e an
d ex
pres
s th
emse
lves
in fo
ur d
istin
ct w
ays.
They
nee
d to
hav
e a
wor
king
kno
wle
dge
of ty
pogr
aphy
, illu
stra
tion,
ph
otog
raph
y &
vid
eo, a
nd s
ymbo
lism
.
The
Gra
phic
Des
ign
Proc
ess
Each
des
ign
prob
lem
has
uni
que
diffe
renc
es a
nd a
n in
finite
num
ber
of p
ossi
ble
visu
al s
olut
ions
. The
pro
cess
to g
ener
ate
alte
rnat
e vi
sual
sol
utio
ns to
a p
robl
em c
an
be d
escr
ibed
as
follo
ws:
Pobl
em Id
entifi
catio
n
S
ketc
h Pr
oduc
tion
Refin
emen
t
A
naly
sis
S
elec
tion
Im
plem
enta
tion
Perc
eptio
n &
Com
posi
tion
Visu
al p
erce
ptio
n in
volv
es a
com
plex
inte
rpla
y of
bot
h in
born
and
lear
ned
re-
spon
ses
to v
isua
l stim
uli.
The
Ges
talt
law
s of
per
cept
ion
sum
mar
ize
tend
enci
es th
at
appe
ar to
be
inna
te o
r inh
eren
t in
our b
iolo
gica
l her
itage
and
whi
ch u
ndou
bted
ly
serv
e as
the
basi
s fo
r our
con
cept
of c
ompo
sitio
n in
vis
ual a
rt.
Aft
er p
robl
em id
entifi
catio
n, th
e pr
oces
s fo
llow
s a
cycl
ic p
atte
rn fr
om p
relim
inar
ies
thro
ugh
refin
emen
t, an
alys
is, a
nd s
elec
tion
to im
plem
enta
tion.
The
pro
cess
gro
ws
by c
onst
antly
che
ckin
g ba
ckw
ards
. In
the
desi
gn p
roce
ss, t
he e
stab
lishm
ent o
f pri-
oriti
es is
ess
entia
l. D
esig
ners
mus
t be
able
to ju
dge
and
gaug
e th
e re
lativ
e im
por-
tanc
e of
fact
ors
as th
ey re
late
to o
ne a
noth
er. P
riorit
ies
set t
he fu
nctio
nal a
nd v
isua
l cr
iteria
in c
omm
unic
atio
ns.
Figu
re -
Gro
und
Tend
ency
tow
ard
figur
e-gr
ound
: The
re is
a te
nden
cy to
inte
rpre
t vis
ual d
ata
as o
b-je
cts
agai
nst a
bac
kgro
und,
or m
ore
prec
isel
y, fi
gure
s ag
ains
t a g
roun
d.
Sim
ilarit
ySi
mila
rity
faci
litat
es g
roup
ing:
Obj
ects
whi
ch re
sem
ble
one
anot
her t
end
to b
e se
en
as b
elon
ging
toge
ther
.
Prox
imity
Prox
imity
faci
litat
es g
roup
ing:
Obj
ects
pla
ced
clos
e to
geth
er te
nd to
form
a fi
gure
.
Clos
ure
Tend
ency
tow
ard
clos
ure:
Mis
sing
vis
ual i
nfor
mat
ion
is fi
lled
in b
y th
e br
ain.
The
eye
cl
oses
the
open
par
ts o
f a fi
gure
bec
ause
it w
ants
to s
ee a
who
le ra
ther
than
a c
ol-
lect
ion
of u
nrel
ated
par
ts.
Cont
inui
tyTe
nden
cy to
war
d co
ntin
uity
: An
inte
rrup
ted
linea
r figu
re is
sim
ilarly
fille
d in
by
the
brai
n.
Typo
grap
hyTy
pogr
aphy
is d
esig
ning
with
type
, not
the
desi
gnin
g of
type
. It i
nvol
ves fi
rst c
hoos
-in
g an
d us
ing
type
, and
then
the
appl
icat
ion
of d
esig
n pr
inci
ples
to th
e se
ttin
g of
ty
pe: t
he a
rran
gem
ent,
styl
e, a
nd g
ener
al a
ppea
ranc
e of
mat
ter p
rinte
d w
ith ty
pe.
Spac
ing
Lett
ers
and
wor
ds n
eed
to b
e sp
aced
in a
logi
cal,
cons
iste
nt m
anne
r to
appe
ar o
pti-
cally
cor
rect
, and
ach
ieve
opt
imum
read
abili
ty.
In le
tter
-spa
cing
ther
e ar
e th
ree
stan
dard
s. M
inim
um s
pace
is u
sed
betw
een
curs
ive
(oo)
lett
ers,
or b
etw
een
incl
ined
(xy)
lett
ers.
Med
ium
spa
ce is
use
d be
twee
n ve
rtic
al
and
curs
ive
lett
ers
(lo).
Betw
een
vert
ical
lett
ers
(ll) m
axim
um s
pace
is u
sed.
Goo
d w
ord-
spac
ing
is a
chie
ved
by m
akin
g al
l spa
ce in
terv
als
betw
een
wor
ds “l
ook”
the
sam
e. W
ords
mus
t not
app
ear t
o ru
n to
geth
er o
r be
spac
ed s
o w
idel
y as
to a
ppea
r to
be
sepa
rate
uni
ts. O
ne s
yste
m is
to im
agin
e a
low
er c
ase
“n” b
etw
een
wor
ds. T
his
give
s a
mod
erat
e w
ord-
spac
ing.
The
Grid
The
grid
is a
n un
derly
ing
stru
ctur
e or
gani
zing
dat
a. It
art
icul
ates
spa
ce a
ccor
ding
to
a pa
tter
n of
opp
ositi
ons:
ver
tical
and
hor
izon
tal,
top
and
bott
om, r
ecta
ngul
ar a
nd
diag
onal
, and
left
and
righ
t. If
used
wel
l it p
rovi
des
perc
eptu
al o
rgan
izat
ion,
coh
er-
ence
and
con
sist
ency
. A w
ell-c
once
ived
grid
alo
ne w
ill n
ot e
nsur
e eff
ectiv
e de
sign
. It
is a
n or
gani
zatio
nal t
ool,
and
mus
t be
used
cre
ativ
ely
to m
axim
ize
com
mun
ica-
tions
pot
entia
l. G
rids
can
help
ans
wer
com
posi
tiona
l que
stio
ns s
uch
as b
alan
ce,
prop
ortio
n, s
eque
nce,
uni
ty/h
arm
ony,
and
con
tras
t.
Layo
ut: C
ompo
sitio
n w
ith
Type
&Im
ages
Layo
ut in
volv
es th
e fo
llow
ing
set o
f int
erre
late
d ba
sic
desi
gn p
rinci
ples
.
Bala
nce
Bala
nce
is c
reat
ed b
y m
ovin
g ar
ound
“opt
ical
wei
ghts
”, bi
g an
d sm
all i
tem
s, da
rk a
nd
light
item
s, va
rietie
s of
sha
pes.
Prop
ortio
nG
ood
prop
ortio
n is
ach
ieve
d by
dec
idin
g on
spa
ce b
etw
een
imag
e an
d ty
pe,
betw
een
type
and
the
edge
of t
he p
aper
, bet
wee
n co
lum
ns o
f typ
e, b
etw
een
type
-si
ze, l
ine-
leng
th a
nd le
adin
g, b
etw
een
diffe
rent
vis
ual e
lem
ents
, etc
.
Sequ
ence
Sequ
ence
is c
reat
ed b
y di
rect
ing
the
view
er, f
or e
xam
ple,
thro
ugh
the
use
of li
nes,
real
or i
mpl
ied;
by
arra
ngin
g im
ages
in s
uch
a w
ay th
at a
n ed
ge o
r a fo
rce
from
one
flo
ws
into
an
adjo
inin
g on
e. O
ne d
oes
not l
eave
to c
hanc
e th
e or
der i
n w
hich
the
view
er p
erce
ives
the
item
s in
the
layo
ut.
Uni
ty &
Har
mon
yU
nity
and
har
mon
y ar
e ac
hiev
ed b
y “fit
ting”
all
visu
al e
lem
ents
, typ
e, il
lust
ratio
ns,
and
phot
os in
to th
e st
yle/
moo
d of
the
layo
ut.
Cont
rast
Cont
rast
is a
chie
ved
thro
ugh
diffe
rent
iatio
n in
size
, col
or, a
nd sh
ape.
Giv
ing
the
sam
e gr
aphi
c em
phas
is to
seve
ral e
lem
ents
will
mak
e th
em c
ompe
te fo
r att
entio
n.
Sym
bolis
mA
sym
bol i
s a
repr
esen
tatio
n, v
erba
l or v
isua
l, of
a c
once
pt, o
bjec
t, id
ea, e
tc.,
the
mea
ning
of w
hich
is m
utua
lly a
gree
d up
on. I
n gr
aphi
c de
sign
, the
effe
ctiv
e us
e of
sy
mbo
lism
, com
bini
ng a
nd re
latin
g sy
mbo
ls, e
nhan
ces
the
expr
essi
on o
f ide
as. I
t cr
eate
s re
cogn
ition
, ass
ocia
tion
and
mea
ning
.
“To d
esig
n is
muc
h m
ore
than
sim
ply
to
asse
mbl
e,
to
orde
r, or
ev
en
to
edit;
it is
to
add
valu
e an
d m
eani
ng,
to i
llum
inat
e, t
o si
mpl
ify,
to c
larif
y,
to m
odify
, to
dig
nify
, to
dra
mat
ize,
to
per
suad
e, a
nd p
erha
ps e
ven
to
amus
e.
To
desi
gn
is
to
tran
sfor
m
pros
e in
to p
oetr
y. D
esig
n br
oade
ns
perc
eptio
n,
mag
nifie
s ex
perie
nce,
an
d en
hanc
es v
isio
n. D
esig
n is
the
pr
oduc
t of
fe
elin
g an
d aw
aren
ess,
of i
deas
tha
t or
igin
ate
in t
he m
ind
of t
he d
esig
ner
and
culm
inat
e, o
ne
HIERARCHY 11“x17”
CD PACKAGING
“In this project, you will be taking the first step on integrating typography, imagery and composition principles being asked to design a CD for an art-ist/group of your choice. Another learning objective of this assignment is to prepare you to design a multi-page piece in a small size and scale and all the limitations the size and the shape of the layout will impose. The successful project will be the one that stays away from the usual idea of a CD. Listen to the CD you are going to be designing. From the music, define the main values you believe must be conveyed. Examples could be femininity, eccen-tricity, happiness, solitude, loneliness, sadness, darkness, smoothness. Make sketches while listening to the CD. Pay attention to the high and low points of the songs. These can bring you an idea for the layout. Consider how basic visual elements and compositional principles can be integrated. Consider cropping and image manipulation carefully. You are welcome to pursue any sort of image treatment you see fit to your project. However, it is expected that you use these with reasons to do so and with appropriate taste.”
COVER FRONT COVER BACK
CD PACKAGING
INSIDE COVER
PACKAGE FULLY OPEN
CD PACKAGING
BOOKLET COVER BOOKLET INSIDE
BOOKLET INSIDE TWO
CD PACKAGING
CD LABELS
DEAR FATHERWARM BLOOD RUSH
WAVES CRASH, CLOUDS ROLLEMPTY GLASS
NO KIND OF HOMEWHITE KNUCKLESCEMETARY WALLS
QUIET THE LONGINGAT PEACE
WHITE OAK DOORS
BUT BREATHINGBROTHERS
I DON’T MINDHEADSTONE
EMPTY DAYS
SLEEPLESS NIGHTS
PACKAGING DESIGN
CD PACKAGING
CD LABELS DETAIL BOOKLET DETAIL
BRIDGE NINE RECORDS
BRIDGE NINE RECORDS
He put their father into the ground. Watching his mother cry over the man that provided for the three of them cut into him. Made him into the working man he was.
TOUR POSTER & TICKET
“In this project, you will complement the CD you have just finished by de-signing a poster, an event ticket and an envelope for the ticket for the same artist/group of your choice. Keep in mind that all three pieces must be visually related to the CD you designed. Consider cropping and image ma-nipulation carefully. You are welcome to pursue any sort of image treatment you see fit to your project. However, it is expected that you use these with reasons to do so and with appropriate taste.”
TOUCHÉ AMORÉ
THE WONDER YEARS
TITLE FIGHT
LIVING WITH LIONS
GE
NE
RA
L A
DM
ISSI
ON
$20
DOORS AT 5PM
OCTOBER 26 THE PICADOR
TOUR TICKET TICKET ENVELOPE
TOUR POSTER & TICKET
TOUCHÉ AMORÉTHE WONDER YEARS
TITLE FIGHT
LIVING WITH LIONS
OCTOBER 26
20$DOORS AT FIVE
330 E WASHINGTON ST
IOWA CITYTHE PICADOR
TOUR POSTER
POSTAGE STAMP
“For this project we will be designing a stamp for a designer. Youmust choose a designer that is part of the design history.Working with the stamp format requires careful attention toscale. Similar to issues involved in designing a mark or logo, thefinal image is small. How does one create a powerful design withlimited graphic elements that works on a small scale?”
STAMP ENLARGED ACTUAL SIZE
POSTAGE STAMP
ENVELOPE STAMP SHEET
ALCOHOL PACKAGING
“We are going to develop the graphic pieces for an alcoholic beverage of your choice. You must come up with a name for your beverage and design the pieces for it accordingly. The graphic pieces that are part of this project are: The label/cap of the piece (if applicable). and a packaging for it. The packaging type will vary depending upon the type of beverage you choose to design. If wine, whisky, vodka a box is more suitable. If beer, a 4 or 6-pack sounds more fitting.The packaging, is often the best and last chance to at-tract a viewer/consumer. Design the packaging for your product. Think of all the items mentioned above and how you can use your design expertise to pair the technical aspects with the conceptual ones. Consider shapes that can be suitable for your project.”
BOTTLE LABEL BOTTLECAP LABEL BRAND LOGO
ALCOHOL PACKAGING
PACKAGING DIELINE
PACKAGING FRONT SIDE
ALCOHOL PACKAGING
BOTTOM PACKAGING TOP
FINISHED PRODUCT // BOTTLES
ALCOHOL PACKAGING
DESIGN MAGAZINE
“For this project you are going to be asked to design the new design maga-zine named 2D/3D. In your project, you are going to design the logo, 2 op-tions for the cover (front and back), the masthead, the contents page and the articles for the 2D and for the 3D Designer. One of the chosen designers must be chosen as the main article and the other, by consequence. will be the secondary. The main article must have at least 3 spreads and the sec-ondary article at least 2 full spreads.”
LOGO COLOR
GR
IFFI
N V
AN
DY
KE
MA
GA
ZIN
E LO
GO
DESIGN MAGAZINE
LOGO BLACK&WHITE
GR
IFFI
N V
AN
DY
KE
MA
GA
ZIN
E LO
GO
A.M. CASSANDRE
ISSUE 2412/01/12
ISSUE 2412/01/12
COVER OPTION ONE
ISSUE 2412/01/12
A.M. CASSANDRE
ISSUE 2412/01/12
COVER OPTION TWO
MAGAZINE WIREFRAME
DESIGN MAGAZINE
MASTHEAD TABLE OF CONTENTS
ARTICLE ONE
DESIGN MAGAZINE
ARTICLE TWO
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