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Survey of Graphic Design
Final Book
Richard Iorio II
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Project one: More things change
the More they stay the saMe
The title of the series is MORE THINGS CHANGE, THE MORE THEY
STAY THE SAME. What the series of collages show is how we, as a species,
no matter our advancement, still resort to violence and conict. We still ght,
and still see violence as the only way to solve our problems. The goal of this
piece was to show the changing face of conict from our earliest time, to our
modern times. My objective was simple: show conict and the effect of it. To
do this I looked for images from throughout history that captured this conict.
I also wanted to mix color with black and white, so that there was a showing
of progression. I also wanted to employ layering and cutter, as well as doing
the layering both in Adobe PhotoShop and via paste-up.
Plate 1 is an example of the mixing of PhotoShop and paste-up. The
base image is from World War One and shows gassed masked soldiers
advancing. In PhotoShop I took a transparent image of a Minute Man, and
layered that in. To bring in a modern touch, as well as color, I took a oil wheel
on re, scaled it, and cut it out. I also took a modern solider wearing a gas
masked and placed it in. Plate 2 deals with the concept of war and suffering.
Layered in here are various scene of war showing how we have not changed.
This stands out among the other three scenes of suffering. Plate 3, the
past plate, is centered around death. The scene from Arlington Cemetery
anchors the ve small pieced which show death, pain or suffering. Of the
three this is the most symmetrical of the plates.
I feel I pulled off my goals in this project. I would not do anything different.
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Project two: historical Patterns
The period I choose for the PATTERN AND COLOR CULTURAL STUDIES
PROJECT is the Edo Period (or Tokugawa Period) of Japan. Starting in
1603 and ending in 1868, this is the period of Japanese history that saw
the country run by the Tokugawa family and the shoguns. During this period
the country went from an open society to a closed one, and due to the more
centralized power, the country became more stable
1
.
This period is known for the intricate patterns and color designs that
are associated with the kimonos and other textile arts. What I wanted to do
was to try and emulate the colors and patterns found in the textiles of this
pattern. The patterns found in this period rum the gamut from simple color
and geometric patterns, to the more complex landscape and scenes found on
some the royal kimonos.
My research into the colors turned up a limit pallet
2
, but this pal-
let turned out to be more than enough to use when creating the patterns.
Shapes were another thing I studied, and most of the shapes found in the
patterns consisted of circles, and lines
3
. I also wanted to play with stylized
versions of berries and cherry blossoms, so that they would work with the
more geometric designs.
Working on this project I found myself overwhelmed with the amount of
possibilities presented. I could have easily created triple the amount of pat-
terns due to the colors and the styles found.
1 Edo Period. http://en.wikipedia.org/wiki/Edo_period
2 Japanese Colthing Colors. http://www.sengokudaimyo.com/garb/garb.html
3 Patterns of Edo Komon. http://komonhirose.co.jp/e/e_patterns.html

a note on colors
Used
One of the rst things I realized in doing this
assignment, was the simple fact that I had to
make sure the color pallet I was working with
was as close as accurate as I could make it. This
was important, due to the fact that the patterns
I was going to create were going to be more
modern in tone.
Researching the colors was easier than I
thought, and I quickly discovered that the pallet
was going to be more earth tones, and appear
more muted.
Aiding me was a online source which gave the
RGB values for the Edo period dyes. I used
these to create CYMK equivalents, and used
them for all the patterns that appear.
Imayo Iro
Shiro
Usuki Moegi
Tsugu Hanada
Asaki Keshi M
Nibi Iro
Koki Ebi
Project color Pallet
Krozen
Asaki Hanada
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One of the simplest patterns of the Edo Period, it consists of a hori-
zontal or vertical dots that crisscross each other at right angles and
regular intervals.
Toshi means logical or to stick to an orderly procedure. It is one of the
oldest techniques used in Edo kimono.
Not only did I want to use Edo designs for my inspirations, I also
wanted to try and use the colors from that period as much as I could. I
researched the colors and made close approximations.
Toshi Pattern
Original Pattern
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Toshi Pattern
Known as the same pattern, this pattern consists of numerous semi-circles
laid upon each other, and when done gives the appearance of sharkskin.
The colors used were also colors found from the period. The green is known
as usuki moegi, and is used for the background. The blossoms are created
with white, or shiro, and pink, or imayo iro.
In Japan cherry blossoms not only symbolize clouds, but are a metaphor for
the ephemeral nature of life.
Taking the same pattern, and creating a more stylized geometric cherry
blossom. Thinking about the same pattern, I wanted to emulate blossoms
blowing through the area.
Blowing Blossom Pattern
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Original Pattern
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The cherry blossom on the left was ,my inspiration. Knowing that I
wanted to have more modern takes on the Edo patterns, I went
with a much more geometric take on the classic blossom. The blos-
som on the right is this take.
Blooming Blossom Pattern
This pattern is one that deals with a sequential pattern aligned along a four
direction axis.
The colors used were also colors found from the period. The background is in
asaki keshi m. The over lapping circle is made up of two colors, tsuga hanada
and shiro. The cherries is made up of nibi iro and koki ebi. The concentric
circles are done in shiro.
The pattern is considered to be one associated with good fortune.
Taking the same pattern, and creating a more stylized geometric cherry
blossom. Thinking about the same pattern, I wanted to emulate blossoms
blowing through the area.
Nagatsuki Pattern
Sources
Vintage Kimono. http://vintagekimono.com/index.php
Ysoku Kojitsu Ron: A History of Japanese Clothing
and Accessories Japanese Clothing -- Colors. http://
www.sengokudaimyo.com/garb/garb.html
Patterns of Edo Komon. http://komonhirose.co.jp/e/e_
patterns.html
Original Pattern
Close Up Detail
Circle Close Up
Cherry Close Up
Nagatsuki Pattern
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Project three: icons
For this project my goal was to create ve icons for use with a smart
phone or tablet device. What I wanted to accomplish was create icons that
were colorful, clear in their related application, and that carried the same
theme from one to another. In addition, since modern smart phones and tab-
lets have better resolution screens, and are now capable of displaying more
unique colors, I wanted to add a bit more color to the icons.
Al ve icons have two unifying properties that tie them into a cohesive
theme. The rst property is color, specically background color. I choose the
color green as the background, and created a slight bevel on it to give it
some dimension. The second property is art style. I wanted something that
was more whimsical, and went with rounded edges and more stylized cartoon
looks.
Icon One is a standard phone. I went with something that softer as well
as an image that was more classic in look. Icon Two is for a calendar ap-
plication, and again I kept it in the same classical look, and drew it to match
the phone somewhat. Icon Three is for a camera application, and keeping the
theme of classic, I went with a more 1970s style ash camera. Icon Four is
for a photo application, and again, went with a cartoon photo look. The nal
icon, Icon Five, is for a Twitter application, and this one, is the cartoonier of
the bunch. It still ts with the over all theme.
All ve images where hand drawn and measured before scanning these
drawings, and importing them into Illustrator. Once in Illustrator I used the
scans as the bases for the drawings. I feel I pulled off my goals, and I found
myself resisting the urge to draw more icons to cover other features of the
smart phone/tablet.
Original sketch of Icon 1. Done in ink, the icon was measured and then
scanned in order to be nished in Adobe Illustrator.
Finished version of Icon 1. The scanned drawing was used as a tem-
plate, and layers were built above it to allow for each element to be
created.
Original sketch of Icon 2. Done in ink, the icon was measured and then
scanned in order to be nished in Adobe Illustrator.
Finished version of Icon 2. The scanned drawing was used as a tem-
plate, and layers were built above it to allow for each element to be
created.
Original sketch of Icon 3. Done in ink, the icon was measured and then
scanned in order to be nished in Adobe Illustrator.
Finished version of Icon 3. The scanned drawing was used as a tem-
plate, and layers were built above it to allow for each element to be
created.
Original sketch of Icon 4. Done in ink, the icon was measured and then
scanned in order to be nished in Adobe Illustrator.
Finished version of Icon 4. The scanned drawing was used as a tem-
plate, and I hated how the phone looked. I decided to redraw it without
an image to base it off of. I went with a phone because it felt right for
the icon look.
Original sketch of Icon 5. Done in ink, the icon was measured and then
scanned in order to be nished in Adobe Illustrator.
Finished version of Icon 5. The scanned drawing was used as a tem-
plate, and layers were built above it to allow for each element to be
created.
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Project FoUr: graPhical rePresentation
oF statistics
The goal of this project was simple, take a set of statistics and repre-
sent them in a graphical way. In this piece I wanted to have some fun and
took a real world statistics and represented as I imagined Scrooge McDuck
would.
I took the year end average of the closing of the Dow Jones Industrial
Average (DJI) between the years of 2008 and 2010, and compared them
to the Scrooge McDuck Index (SDI).
Though there is no real SDI, the components that make it up are real.
What I did was calculate the year end average for the prices of gold, silver,
platinum, palladium and radium. This was done by taking the monthly closing
average of each one, then calculating the yearly closing average between the
years of 2008 and 2010.
The entire chart was created either by hand, or in Illustrator.
The McDuck Family crest drawn by hand in
SketchBook Pro.
The f0|thed cretf Wh|ch Wat
imported into Photoshop and
colored using a sepia tone so
that it would blend in with the
page image.
Money Vault which I drew in
Illustrator. This is the symbol
I came up for that I would use
for stocks.
Gold Bars which I drew in Illustrator.
This is the symbol I came up for that
I would use for stocks.
Paper image which I
made by hand. I took a
11x17 sheet of rice
paper and dyed it in a
diluted tea bath. Once
dried I used coffee to
darken the edges, as
well as bent a corner
by hand to give it a
distressed look.
This was then
scanned at 1800 DPI
so that I could ma-
nipulate the photo
further in PhotoShop.
Once in PhotoShop I
added more distress-
ing to make it look
even more well used.
All of this was done
in order to play up
the fact that Scrooge
McDuck would re-
use paper until it fell
apart so he could save
money.
Performance of DJI versus SDI 2008 to 2010
2010
2009
2008
Legend
Dow Jones = $1000
Scoorge McDuck Index = $100
Performance of DJI versus SDI 2008 to 2010
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a
gestalt theory Piece
Tracing its origins to the 1920s in Germany, Gestalt Theory deals with
the relationship of individual parts to a composition of the whole.
1
Roughly
translated, gestalt means whole or form, and originated withe philosopher
Christians von Ehrenfels and the psychiatrist Max Wertheimer.
2
Six laws, or
principles, make up this theory, and they are: proximity, similarity, prgnanz,
symmetry, common fate and closure.
3
With these laws, it becomes possible
to use this theory to describe how a person organized the visual stimulation
they receive into groups.
Due to the amount of confusion be it visual or other means persons
comes into contact with, the mind attempts to organize this by putting things
into groups. Knowing this, you are able to employ gestalt to make a stronger
design. The stronger the grouping, the stronger the gestalt. It is this group-
ing that contributes to the unity of design.
4
Reversely, you can break apart
these groupings in order to make an item unique and give to it a sense of
variety.
As for the rules, similarity occurs when objects look similar to each
other. When you have this you can then emphasis an object if it is dissimi-
lar anomaly from the others. Continuation occurs when the eye moves
through one object and into another. Closure takes place when an object is
not nished, or if enough of it is intact that the viewer nishes the rest of
the object. Proximity is simply placing elements together so that they ap-
pear to be one group. Prgnanz, or gure-ground, deals with how objects are
seen against a background. Symmetry deals with how objects are organized
in relation to each other. Finally, common fate is how we perceive objects or
items moving in the same direction, and they relate to one another.
5

1 Design Notes: Gestalt. James T. Saw. 2000. http://daphne.palomar.edu/design/gestalt.html
2 Gestalt Principles Applied in Design. Michael Tuck, August 17, 2010. http://sixrevisions.com/web_de-
sign/gestatlt-principles-applied-in-design/
3 Ibid.
4 Design Notes: Gestalt. James T. Saw. 2000. http://daphne.palomar.edu/design/gestalt.html
5 The Gestalt Principles. http://graphicdesign.spokanfalls.edu/tutorials/process.gestaltprinciples.
gestaltprinc.htm
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For an in class assignment we had to create a graphical
rcprcscn!z!|en ef s!z!|s!|rs, en||kc !hc fnz| zss|]nmcn!,
where we needed to use real statistics, we had freedom
in creating the statistics used. So, I created a chart
based on the Zombie Apocalypse. The above is the chart.
The zombie was drawn in a cartoony style, and the pie
chart was pulled away and made to look as if i t was
nibbled.
Based on the Zombie Apocalypse. The above is the chart.
The zombie was drawn in a cartoony style, and the pie
chart was pulled away and made to look as if i t was
nibbled.



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