#svad

[omg-sugoi]

I’m not sure if I’ve ever posted my face on tumblr before but I just wanna share

I had the absolute pleasure of having my thesis film on display at the UCF Gallery during Art Knight and it was one of the best moments of my 2023. I talked with so many people who love animation and lots of future animators who had questions about the program I’m in. It was an absolute JOY to be there and I wish it could’ve gone all night (at one point a gathering of people clapped when my film finished and I couldn’t take it man) :’)))

(My thesis film)

[orderchaoslove]

sᴄᴀʀʟᴇᴛᴠɪsɪᴏɴ ᴀᴘᴘʀᴇᴄɪᴀᴛɪᴏɴ ᴅᴀʏ

[fenixbandcacak]

DJORDJE I FENIX BAND CACAK-BENDOVI ZA SVADBE LAZAREVAC ORKESTAR 06537183...

[puppetmaster13u]

I redid my Loki & Svad Centaur Designs

Also have closeups & a bonus sketch of the kids under the cut

And have: Sleipnir, Hel, Jor, & Fenrir

[c-mccormick-svad-2022-2025]

(ARTS345) Project #1 Completion, Project #2: AIGA DESIGN FOR DEMOCRACY POSTERS, & Skillshare Videos #1 and #2

Week Four

Project #1: Manifesto Poster Completion

This past week was quite busy with deadlines for projects and the start of new projects in both my visual and verbal design course and my interaction design course. In my visual and verbal design course, the Manifesto Poster project was due at the beginning of class on Monday. Students had to submit an 11"x17" poster and a 1080x1080 pixel social media post for the official SVAD design Instagram. We were told to trim the white edges of the poster for uniformity with bleed. While I was getting my poster trimmed at Gambrell (down the street from McMaster) downstairs in their computer lab, I had a close call with a car that ran through a red light before making it to Gambrell. Thankfully, no one got hurt. After trimming my Manifesto poster, I returned to McMaster, where Professor Valdes displayed everyone's posters in the hallway to showcase the graphic designers in the program. Although I was relieved to have completed Project #1, I wished I had spent more time on my poster and Instagram post. While I am satisfied with the final project, I wish I had come up with more ideas for posters before the project was due. It's frustrating that these ideas came to me only after turning in everything and not during the critique phase. I can always explore these ideas in the future, but it's unfortunate timing.

Here is a link to the social media post:

View this post on Instagram

A post shared by GD+I at SVAD (@uofsc_design)

Project #2: AIGA Design For Democracy Posters

After submitting everything for the first project on Monday, we were given the creative brief for Project #2. For this project, we need to create a poster and social media post design to submit to Queens University in October for the Design for Democracy Pop-Up Gallery. Design for Democracy is based on the idea that good design makes your choices clear. When I first heard about this project, I knew instantly that I wanted to focus on typography to convey the importance of voting. I came up with several sketches that all delivered the same message: "Get Out and Vote." Although I plan to experiment with more messages, I decided to start with a bold, direct approach for my initial sketches. On Wednesday, we were divided into groups of three to showcase our ideas and approaches to the project. For my sketches, I focused on mark-making and experimented with various styles of pens, markers, and pastels to create interesting textures and design directions. After showing my sketches to two other students, everyone seemed drawn to Idea #6, which featured the message "Go Out and Vote" in capital letters, bold, and various types of lines going in different directions. Given this feedback, I decided to further experiment with my typography and used this idea as inspiration for finding Skillshare videos for the week. I plan to continue experimenting with this concept as we move on to creating mood boards next week.

Skillshare Video #1: Hand Lettering Practice: 3 Easy Steps to Explore New Typography Styles by Illustrator and Letter Artist Vinitha Mammen

Here is a link to the original video:

While searching for inspiration for Project #2, I stumbled upon a hand lettering video tutorial by illustrator and letter artist Vinitha Mammen. Before watching the video, I decided to do some additional research on the artist. I found out that Vinitha is not only an illustrator but also has a background in Mechanical Engineering and Fashion Design. Her favorite subjects to create art around are feminism, women empowerment, gender equality, body-positivity, and self-love, and she has a bold use of colors and clean, precise aesthetics. What I find most inspiring about her is that she creates art for the sake of creation, something that I often struggle with and hope to overcome throughout the semester. Here is a link to her Instagram to learn more about her and her incredible artwork: https://www.instagram.com/vinithamammen?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

In her course, the main goal was to teach how to develop unique lettering styles by practicing and exploring different variations of each letter and number. Vinitha explained a 3-step process for building letters using nine variations of the letter "J" as an example. This process can be used to create variations of all uppercase letters (A-Z) and numerals (0-9). Vinitha emphasized the importance of practice, suggesting embracing the process and not being afraid of making mistakes or feeling frustrated when practicing.

What does "Lettering Style" mean? Lettering style refers to the typeface, angles, mood, line weight, and detail elements that collectively make up a specific style of lettering. The process of creating a lettering style involves three main steps. First, it's important to establish the proportions of characters by setting guidelines for drawing. Trying out different proportions helps to understand how this step can affect the overall typeface. Second, it's crucial to explore and understand the basic shape that forms each letter. Finally, adding unique touches such as serifs, flourishes, or weights gives personality and balance to each letter. The key takeaway from the video is that daily practice is essential for improving lettering skills and developing a library of styles. Understanding the three main steps (proportions, shapes, and details) is crucial when creating your own letters. By practicing, I'll be able to develop a personal library of lettering styles for future projects. The class encourages me to experiment more with typography and to be less afraid of making mistakes. Practice is key!

Skillshare Video #2: Matchbox Label Techniques: Typography, Vintage Fonts & Text Arrangement

Here is a link to the original video:

The second Skillshare video I decided to watch was a typography technique course taught by Di Ujdi, also known as Nina, an illustrator and surface pattern designer. Nina is an incredibly talented artist who loves floral and natural themes and enjoys depicting the world in a colorful, fun, and naive way. She is known for her stylized illustrations and bold floral patterns. Here is a link to her Instagram to learn more about her and her incredible artwork: https://www.instagram.com/diujdi?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

In this particular video, Nina discusses the specific style of matchbox label typography. While this video may not be directly related to my project #2, I found the topic intriguing and decided to give it a watch. Here are some of the main takeaways:

Sure, here's the rewritten text: This video is part of Nina's series on vintage design, focusing on matchbox label typography and design. The aim is to explore vintage typefaces, replicate vintage text arrangements, and introduce techniques to achieve a vintage look through errors, misprints, and textures. It starts with typography inspiration from various vintage font styles commonly used in matchbox labels, including old style, humanist, and traditional. These font styles are then arranged to replicate classic vintage layouts using Adobe Illustrator and Adobe Photoshop. To enhance the vintage aesthetic and layout, common issues seen in old prints, such as misprints and imperfections, are replicated to create a more authentic look. Texture papers that replicate the old, antique look are also crucial for achieving the desired vintage aesthetic. Incorporating other details like ink smudges or faded areas gives the work a realistic vintage feel. In terms of tools, Adobe Illustrator is used for creating and arranging the core elements of the label, such as vector illustrations and text arrangements. Meanwhile, Photoshop is primarily used for adding textures and finishing effects to the design, along with techniques for replicating errors and adding imperfections to give the design an authentic, weathered look. While this video was a unique and interesting approach to vintage-inspired typography, I'm not entirely sure that this video will be helpful in completing my work for project #2. Nonetheless, it was a fun and informative watch, and I look forward to watching her other videos in my own time.

[fortunetellersdilettante]

modi rat, andharaman rame che ane mara bahupashaman wakin chhokara, tu hamesa mara hridayaman rahis ane (mara hridayaman raho, oh, baby) hu matr anubhavathi bolu chu tamara pratham sacha premni sathe koi pan vastuni tulana n thai shake tethi hu asha rakhu chu ke aa tamne yaad apavashe jyaare te vastavik mate hoy, tyare te kayam mate hoy che tethi amara vishe bhulasho nahin jyaare tamne mari jarur hoy tyare tame mane phakt tya rahevanun kaho cho (oh hah) ane tame j aekla cho mane dodato kon banave che "karan ke tane shu madyu che? sarakhamanithi ghanu agal che, oh ane te madh jevu j che (ha) jyaare tamaro dev (jyaare tamaro dev) mara per avi jay che (mari upar ave che) oh, baby, mane ek paradhinata mali che hamesa bahar strung out karo tamara madhana bija svad mate (oh) jyaare te mara upar dhovai jay che tyare te madh jevu che tame jano cho ke khand kyarey aatali mithi nahoti ane hu tara mate mri rhayo chu ya mate radvu (radvu) hu tamne dev karun chu tamara premni ek hite mane asar kari (ha) ane priye, hu tara per tuti padyo chu. tame jota nathi (dararoj ratre) dararoj rat ane divas hu bhagye j rah joi saku chu madhana bija svad mate oh, hu tamari sathe prapanchi n rahi saku madh (mane te game che) "karan ke te nishcit chemodi rat, andharaman rame che ane mara bahupashaman wakin chhokara, tu hamesa mara hridayaman rahis ane (mara hridayaman raho, oh, baby) hu matr anubhavathi bolu chu tamara pratham sacha premni sathe koi pan vastuni tulana n thai shake tethi hu asha rakhu chu ke aa tamne yaad apavashe jyaare te vastavik mate hoy, tyare te kayam mate hoy che tethi amara vishe bhulasho nahin jyaare tamne mari jarur hoy tyare tame mane phakt tya rahevanun kaho cho (oh hah) ane tame j aekla cho mane dodato kon banave che "karan ke tane shu madyu che? sarakhamanithi ghanu agal che, oh ane te madh jevu j che (ha) jyaare tamaro dev (jyaare tamaro dev) mara per avi jay che (mari upar ave che) oh, baby, mane ek paradhinata mali che hamesa bahar strung out karo tamara madhana bija svad mate (oh) jyaare te mara upar dhovai jay che tyare te madh jevu che tame jano cho ke khand kyarey aatali mithi nahoti ane hu tara mate mri rhayo chu ya mate radvu (radvu) hu tamne dev karun chu tamara premni ek hite mane asar kari (ha) ane priye, hu tara per tuti padyo chu. tame jota nathi (dararoj ratre) dararoj rat ane divas hu bhagye j rah joi saku chu madhana bija svad mate oh, hu tamari sathe prapanchi n rahi saku madh (mane te game che) "karan ke te nishcit cheમોડી રાત, અંધારામાં રમે છે અને મારા બાહુપાશમાં વાકિન છોકરા, તું હંમેશા મારા હૃદયમાં રહીશ અને (મારા હૃદયમાં રહો, ઓહ, બેબી) હું માત્ર અનુભવથી બોલું છું તમારા પ્રથમ સાચા પ્રેમની સાથે કોઈ પણ વસ્તુની તુલના ન થઈ શકે તેથી હું આશા રાખું છું કે આ તમને યાદ અપાવશે જ્યારે તે વાસ્તવિક માટે હોય, ત્યારે તે કાયમ માટે હોય છે તેથી અમારા વિશે ભૂલશો નહીં જ્યારે તમને મારી જરૂર હોય ત્યારે તમે મને ફક્ત ત્યાં રહેવાનું કહો છો (ઓહ હહ) અને તમે જ એકલા છો મને દોડતો કોણ બનાવે છે "કારણ કે તને શું મળ્યું છે? સરખામણીથી ઘણું આગળ છે, ઓહ અને તે મધ જેવું જ છે (હા) જ્યારે તમારો પ્રેમ (જ્યારે તમારો પ્રેમ) મારા પર આવી જાય છે (મારી ઉપર આવે છે) ઓહ, બેબી, મને એક પરાધીનતા મળી છે હંમેશા બહાર સ્ટ્રંગ આઉટ કરો તમારા મધના બીજા સ્વાદ માટે (ઓહ) જ્યારે તે મારા ઉપર ધોવાઈ જાય છે ત્યારે તે મધ જેવું છે તમે જાણો ��ો કે ખાંડ ક્યારેય ��ટલી મીઠી નહોતી અને હું તારા માટે મરી રહ્યો છું યા માટે રડવું (રડવું) હું તમને પ્રેમ કરું છું તમારા પ્રેમની એક હિટે મને અસર કરી (હા) અને પ્રિયે, હું તારા પર તૂટી પડ્યો છું. તમે જોતા નથી (દરરોજ રાત્રે) દરરોજ રાત અને દિવસ હું ભાગ્યે જ રાહ જોઈ શકું છું મધના બીજા સ્વાદ માટે ઓહ, હું તમારી સાથે પ્રપંચી ન રહી શકું મધ (મને તે ગમે છે) "કારણ કે તે નિશ્ચિત છે

મોડી રાત, અંધારામાં રમે છે અને મારા બાહુપાશમાં વાકિન છોકરા, તું હંમેશા મારા હૃદયમાં રહીશ અને (મારા હૃદયમાં રહો, ઓહ, બેબી) હું માત્ર અનુભવથી બોલું છું તમારા પ્રથમ સાચા પ્રેમની સાથે કોઈ પણ વસ્તુની તુલના ન થઈ શકે તેથી હું આશા રાખું છું કે આ તમને યાદ અપાવશે જ્યારે તે વાસ્તવિક માટે હોય, ત્યારે તે કાયમ માટે હોય છે તેથી અમારા વિશે ભૂલશો નહીં જ્યારે તમને મારી જરૂર હોય ત્યારે તમે મને ફક્ત ત્યાં રહેવાનું કહો છો (ઓહ હહ) અને તમે જ એકલા છો મને દોડતો કોણ બનાવે છે "કારણ કે તને શું મળ્યું છે? સરખામણીથી ઘણું આગળ છે, ઓહ અને તે મધ જેવું જ છે (હા) જ્યારે તમારો પ્રેમ (જ્યારે તમારો પ્રેમ) મારા પર આવી જાય છે (મારી ઉપર આવે છે) ઓહ, બેબી, મને એક પરાધીનતા મળી છે હંમેશા બહાર સ્ટ્રંગ આઉટ કરો તમારા મધના બીજા સ્વાદ માટે (ઓહ) જ્યારે તે મારા ઉપર ધોવાઈ જાય છે ત્યારે તે મધ જેવું છે તમે જાણો છો કે ખાંડ ક્યારેય આટલી મીઠી નહોતી અને હું તારા માટે મરી રહ્યો છું યા માટે રડવું (રડવું) હું તમને પ્રેમ કરું છું તમારા પ્રેમની એક હિટે મને અસર કરી (હા) અને પ્રિયે, હું તારા પર તૂટી પડ્યો છું. તમે જોતા નથી (દરરોજ રાત્રે) દરરોજ રાત અને દિવસ હું ભાગ્યે જ રાહ જોઈ શકું છું મધના બીજા સ્વાદ માટે ઓહ, હું તમારી સાથે પ્રપંચી ન રહી શકું મધ (મને તે ગમે છે) "કારણ કે તે નિશ્ચિત છે

[thecgbros]

A CGI 3D Short Film: "Wishful Thinking" - by SVAD | TheCGBros

[mmccarthygd-i]

Blog 10

I have officially reached the end of Strategic Creativity. Even though I don't particularly enjoy sitting down and reading assigned text I thought that this book was pretty good overall. I feel like it had a lot of odd things throughout it to keep the reader interested (like that one fun fact about Nike). This week we read chapters 7 and 8. I feel like the beginning of chapter 7 slightly explains what process and systems was as a class, because we could choose whatever we wanted to do for the projects, in a way they were all kind of passion projects. We picked things that we were interested and we ran with it. Chapter 8 was "Building a Culture for Results" and I feel like that sums up all of my SVAD classes in general. I feel like it is always an environment where you can experiment and try anything and that is the way you get good results in design or art in general.

[4gspeed]

Các nhà nghiên cứu Nhật Bản đã phát hiện cách ngủ này làm tăng nguy cơ đột quỵ do cổ bị cong khi ngủ, theo tờ Asahi Shimbun (Nhật).Các nhà khoa học từ Trung tâm Não và Tim mạch Quốc gia Nhật đã nghiên cứu các trường hợp bóc tách động mạch đốt sống tự phát (sVAD), vỡ mạch máu sau gáy gây đột quỵ, với chiều cao gối khi ngủ của bệnh nhân. Nghiên cứu mới đã phát hiện tác hại khôn lường của việc ngủ với gối caoNhìn chung, sVAD gây ra khoảng 2% số ca đột quỵ. Nhưng đối với lứa tuổi từ 15 đến 45, tỷ lệ này tăng lên 10%.Nghiên cứu mới bao gồm 53 người từ 45 đến 56 tuổi bị sVAD tại Trung tâm Não và Tim mạch Quốc gia Nhật từ năm 2018 đến năm 2023.Những người tham gia được so sánh với 53 người nhập viện vì đột quỵ hoặc xuất huyết não do các nguyên nhân khác trong cùng thời gian.Cụ thể, nghiên cứu tập trung vào giới tính, độ tuổi và chiều cao của gối.Dựa trên ý kiến của các chuyên gia trong ngành, nhóm nghiên cứu đã phân loại gối theo chiều cao như sau: Gối cao từ 12 cm trở lên là "cao"; Gối cao từ 15 cm trở lên là "cực kỳ cao".Kết quả đã phát hiện có đến 34% bệnh nhân sVAD đã sử dụng gối từ 12 cm trở lên, so với chỉ 15% ở nhóm đối chứng, theo Asahi Shimbun.Ngoài ra, cũng có 17% bệnh nhân sVAD đã sử dụng gối từ 15 cm trở lên, so với chỉ 1,9% ở nhóm đối chứng.Nhóm nghiên cứu cho biết, gối càng cao càng có nguy cơ cao bị sVAD.Ngủ với gối cao làm tăng nguy cơ đột quỵ do cổ bị cong khi ngủNghiên cứu kết luận rằng gối cao làm tăng độ uốn cong của cổ, hạ cằm về phía ngực. Tư thế này có thể làm rách mạch máu nếu xoay cổ trong khi ngủ.Thành viên nhóm nghiên cứu, ông Tomotaka Tanaka, bác sĩ giải phẫu thần kinh, cho biết: Nên hạn chế sử dụng gối cao quá 15 cm vì dù gối có mềm cũng gây ra hiện tượng cong cổ nghiêm trọng.Các tác giả đã đặt tên cho căn bệnh này là "hội chứng gối tướng quân". Ở Nhật, từ thế kỷ 17 đến thế kỷ 19, gối cao tới 12-16 cm, được gọi là "gối tướng quân", do các tướng quân, samurai (chiến binh) và geisha sử dụng rộng rãi loại gối cao này để duy trì kiểu tóc truyền thống cần được chăm sóc.Một số bài tiểu luận được xuất bản vào giữa thế kỷ 19 đã chỉ ra rằng gối cao khoảng 12 cm là thoải mái. Tuy nhiên, gối thấp khoảng 9 cm sẽ tốt hơn cho tuổi thọ, báo cáo cho biết, theo Asahi Shimbun.

[shahananasrin-blog]

[ad_1] enol Gne ynetimindeki Beikta, yaz transfer dneminde kadrosuna katt yldz futbolcular ile dikkat ekti. Siyah beyazl ekibin kurmaylar, imdi de takm ii operasyonu iin kollar svad. Kara Kartal, iki tecrbeli futbolcunun szlemesini uzatmak iin harekete geti.YERLLERDE SIKI PAZARLIKBeikta'ta yaz transfer dneminin kapanmasnn ardndan, takmdaki yldzlarn szlemelerinin uzatlmas iin harekete geilmiti. Daha nce Necip Uysal'la 2 yllk yeni anlama yapan ynetim, szlemesinin bitmesine 1 yl kalan kaleci Mert Gnok'la masaya oturup, tecrbeli eldivenin kontratn 2025 sezonu sonuna kadar uzatmt.Gedson Fernandes'in szlemesi de, cretinde nemli bir art yaplarak 1 yl daha uzatlmt. imdi ise gzler, Kara Kartal'n Milli yldzlar Cenk Tosun ve Salih Uan'a evrildi. Her iki oyuncuyla yeniden anlama yapmak isteyen Beikta ynetimi ile bu iki futbolcunun istedii cretler konusunda henz ortak noktada buluulamad.ARADA BRAZ FARK VAR...Alnan bilgiye gre kontratlar bu sezon sonunda bitecek Salih ve Cenk'e, en son 2 yllk anlama iin 30'ar milyon TL civarnda bir cret nerildi. Ancak her iki oyuncunun menajerleri tarafndan bu rakam an itibaryla kabul grmedi. 29 yandaki orta saha Salih senelik 40 milyon, 32 yandaki golc de 45 milyon TL istiyor. Ancak gelen bilgilere gre ynetim, Beikta'ta olmaktan dolay mutlu olan oyuncularyla mutlaka anlamann salanacana inanyor. Taraflar arasndaki grmelerin devam ettii ve devre arasna kadar olumlu ekilde sonulanaca dnlyor. [ad_2]

[proximofan]

#next #thenext #nextofficial #allaboutnext #everythingnext #proximo #próximo #pròximo #upcoming https://www.instagram.com/p/Cpn_MR-SvAD/?igshid=NGJjMDIxMWI=

[fenixbandcacak]

DJORDJE I FENIX BAND CACAK-BENDOVI ZA SVADBE I RODJENDANE U POZAREVCU ...

[mboylstonsvad-gd]

January 27, 2023

This was a special week—USC’s SVAD had the privilege of hosting the multi-talented illustrator & educator Kate Bingaman-Burt. She brought a library of zines, a super cool collection of supplies like washi tape and Crap Hound magazines, and a great enthusiasm for teaching and storytelling. Kate kicked off her tour of Columbia with a full dive into her zine workshop on Monday. We spent the better half of the day browsing her zine library, creating our own, and then reproducing our creations. Her traveling library was impressively big for it to be the traveling collection! One that caught my eye was a B&W zine; it was amongst a sea of loud and colorful designs, yet it stood out. As a mini case study on the copyrightability of collages, I was immediately super interested in the topic. But also, there was a simplicity that I really admired—I’m including images below. Type was handled in a light and airy way, while the collaged pages were intense and bold which created a lovely juxtaposition as I turned the pages. 

Another composition that caught my eye, but for a different reason, was an informative zine comprised of weird facts about Chuck-E-Cheese. It was absurd, hilarious, and ridiculous in all the best ways. I laughed so much while reading through it and my favorite pages are the two shown below. 

While the first zine gave me a beautiful example of how to handle type and imagery, the second zine gave me permission to be more ridiculous and carefree when I create. The look of a clean aesthetic is so appealing to me, but it has proven in the past to limit my ability to think outside the box. So even though I gained different insights from these zines, I gained so much inspiration from both. I took to creating my own zine once I got inspired from browsing Kate’s collection. My first composition was based on a recipe that has been at the forefront of my mind lately—egg custard pie that came from the Joy of Cooking, but I associate it with my grandmother because I’ve literally never met another person who has made/consumed it. The zine that became of this recipe was a how-to guide on making the pie. And, to provide context, it also became a small introduction to my grandmother. I thoroughly enjoyed making it, and reproducing was just as good because of the repetitive, meditative nature of the process. On day two of Kate’s visit to the school, I could only catch the very last hour of her workshop because of work, but I was able to compose another zine. I approached this one with a much more carefree attitude than I did the day before because time was of the essence, and I was just in a sillier, goofier mood. Pulling entirely from Kate’s Crap Hound magazines, I created this nonsensical zine using cutout imagery and then embellished with some washi tape, googly eyes, and caution tape. To my surprise, I much prefer my quick, out-of-context zine over my sentimental and well-thought-out zine. This feels like a testament to the notion that I need to be less careful in my art. I pasted the flat of the weird zine in my sketchbook as a reminder of this experience and the conclusion it led me to.

As a conclusion to her time in Columbia, Kate spoke at the Museum of Art Tuesday evening and it was a treat to attend. She provided insight into her business and, ironically, talked a good bit about her grandmother. Her relationship with art was based heavily on the way her grandmother worked, which was maximalist and colorful. However, I found it very interesting to hear that Kate was not always such an avid illustrator. Instead, her relationship with illustration has been a slow-burn from really not liking it at all, to forcing herself to do it as punishment for racking up credit card debt, to maybe not hating it completely, to finding herself actually enjoying it, to where she is now as a prolific illustrator and educator on the topic. Some advice I took really seriously was that there is no better way to improve other than to keep creating, and there is nothing stopping me from creating except my own inhibitions. Since her talk, I have picked back up a neglected sketchbook and started making marks with one of my favorite utensils (a bright Posca paint pen) to give myself an opportunity to simply enjoy putting marks on a blank page. I ended up hating what I drew, but the practice was impactful, and I felt the tiniest bit more creative than I had before so it was effective. I got some souvenirs from Kate’s visit to commemorate the experience—here they are pictured below.

I feel very grateful to have been given these opportunities to interact with and learn from Kate. She is, to put it plainly, an inspiration.

[c-mccormick-svad-2022-2025]

(ARTS345) Project #1: Manifesto Posters & Shepard Fairey Exhibit @ McKissick Museum

Week Two

NOTE: There was no Blog Post for Week One, as students were required to create a website on any platform (WIX, Squarespace, AdobePortfolio, etc.) and post the link to basecamp. Here's the Link to my website.

Project #1: Manifesto Poster - Creative Brief, Written Manifesto & Polaroid Photographs

This week marked the beginning of Project #1 for my visual and verbal design course with Professor Valdes. It's hard to believe that this is my final class with Professor Valdes at USC. Time sure flies by quickly, but I'm looking forward to continuing our partnership as I begin my work as a graphic design intern at SVAD. This semester and next, I'll have the opportunity to collaborate with him and the other design professors.

The first project for this course involves designing a Manifesto poster. The creative brief defines a manifesto as a published verbal declaration of the issuer's intentions, motives, or views, whether an individual, group, political party, or government. Manifestos typically either endorse a previously published opinion or public consensus or promote new ideas with recommendations for effecting changes that the author deems necessary. They are often political or artistic and can also express an individual's perspective. In the context of this course, the Manifesto project aims to articulate why I want to be a graphic designer and what graphic design means to me. I can discuss my design influences, heroes, goals, where I see myself in the design world, what aspects of design excite me the most, where I seek design knowledge outside of school, what excites me about my design education, what I fear the most, what brings me the most happiness, and what I believe personally. These are a few topics to consider on my journey to pursue my BFA in graphic design (which I will receive in the Spring of 2025!). But the most critical question to ponder is this - why am I in this major? From writing this design brief, I will create an 11x17 poster that includes a primary visual, secondary visual, third level, fourth level, and fifth level.

The primary visual will be a Polaroid photograph in class or during my free time. In my case, I initially took a black and white Polaroid photograph in front of the McKissick Museum during our class field trip to the Shepherds Ferry Exhibit. However, as the photograph was too dark to see myself clearly, I decided to take new pictures at my apartment complex. Fortunately, my roommate's boyfriend, Reese, kindly allowed me to borrow his Polaroid camera, and I purchased 20 color film cards from the store. I first tested my shots in my bedroom before the window. While these shots were nice, the background was dull, and the lighting wasn't as dramatic as I'd hoped. Then I went outside into the parking lot on a cloudy day. Although the new images appeared somewhat dark, I managed to get a clearer profile photograph of myself, which I would eventually use in my initial poster drafts.

As for the other visuals, the secondary visual is my first and last name, and the third level visual would be a tagline that describes my overall manifesto. The fourth level visual is my shortened and edited manifesto, reduced to one solid paragraph. The fifth and final level is the GD+| logo that is posted on Basecamp. Ultimately, I'm pleased with how my polaroid photographs turned out, and I'm looking forward to incorporating them into my final poster design.

Shepherd's Ferry Exhibit @ The McKissick Museum

This month, The McKissick Museum opened a new exhibit titled "Facing the Giant-3 Decades of Dissent: Shepard Fairey." According to the museum's website, the exhibit showcases 30 silkscreen and mixed media prints by renowned street artist Shepard Fairey from Charleston, SC. The exhibition aims to display some of his most influential pieces that address critical historical issues, calling for societal and political change and empowering others to evaluate issues of oppression, civil rights, and abuse of power. The exhibition was organized by the Landau Traveling Exhibitions in Los Angeles, CA, in association with OBEY GIANT ART. Before visiting the exhibit, Professor Valdes showed us a documentary on Shepard Fairey titled "Obey the Giant," released in 2017. This documentary provided a brief background of the artist responsible for the iconic OBEY artwork. Prior to the documentary and exhibit, I knew very little about Shepard Fairey and had only seen his work in passing. However, after visiting the exhibit, I gained a newfound respect for the artist and his process. My new favorite work of his is the iconic "Make Art Not War" poster. I also learned that his process includes not only screen printing with ink and paper but also a variety of collage elements to create various textures. Overall, Shepard Fairey is an incredibly talented artist and activist, and I am grateful for the opportunity to see his artwork up close and personal in this exhibit. It's so inspiring, and I look forward to applying this inspiration to my first project in visual and verbal design.

[fortunetellersdilettante]

Conseguiu un neno de volta a casa en Michigan E ten gusto como Jack cando son bico' Entón díxenlle que nunca me gustou moito aos seus amigos. Agora xa se foi, e el é chamado de novo unha puta Hai un tipo que vive no estado do xardín E díxome que o faríamos "til nos graduamos. Entón díxenlle que a música valería a espera Pero quéreme na cociña cun prato de cea Creo, creo, creo, creo que Que pretendemos ser Pero celos, celos, celos, celos Obtén o mellor de min Mire, non me refiro a frustrar, pero eu Comete sempre os mesmos erros, si Cometer sempre os mesmos erros "causa

Mal amor (ooh-ooh) Pero non me podes culpar do tryin' Xa sabes que eu diría lyin' Ti eras o único (ooh-ooh) Iso finalmente podería arranxarme Mira' a miña historia Estou mal en prometer Ten unha rapaza cos ollos de California E pensei que realmente podería ser a desta vez Pero nunca tiven a oportunidade de facela miña Porque namorouse de pequenas liñas brancas delgadas Rapaza de Londres con

pire ena agori pisso sto spiti sto michigan kai echei geusi shan ton tzak otan ton philao etc the eipa what pote den mou aresan pragmatic oi filoi the tora echei fygei, kai mé apokalei skila xana yparchei enas types pou zei steni politeia the kipou kai mou eipe what t ta cataferume mechri na apofitisoume. etc the eipa what iii muzik t aksize tin anamoni allow mé thelei steni kouzina mé ena piato pisteyo, pisteyo, pisteyo, pisteyo what imaste grafto na imaste allow zilia, zilia, zilia, zilia apoktiste ton kalytero eayto mou koita, den thelo na apogoitefso, allow ego panta na canete ta idia lathi, nai panta na canete ta idia lathi »aetia eimai kakos steni agapi (ooh-ooh) allow den mporeis na mé katigoriseis pou prospathisa» xeris what t elega psemata isoun its (ooh-ooh) auto t mporouse telika na mé diorthoses kitazontas tin istoria mou eimai kakos sto na yposchomai pire ena koritsi mé matia steni california kai skeftika what t mporouse pragmatic na einai auti to phora allow pote den eicha tin eucaeria na tin kano diki mou epeidi eroteytike mikres leptes leukes grammes londrese koritsi mé

mishiganaman ghare pacho ek chokro malyo ane jyaare hu tene chumban karun chu tyare teno svad jack jevo che tethi men tene kahu ke mane tena mitro kyarey gamata nathi have te chalyo gayo che, ane tene mane farithi kutari bolavyo che tya ek vyakti che jay bagicani sthitiman rahe che ane tene mane kahu ke jya sudhi aapde snatak nahin thai tya sudhi aapde tene banavishun. tethi men tene kahu ke sangeet rah jova yogy rehse parantu te mane rasodaman dinner plate sathe icche che hu manun chu, hu manun chu, hu manun chu, hu manun chu ke aapde banva mate j banya chie parantu irshya, irshya, irshya, irshya, irshya maru shreshth melavo zuo, maro kahevano earth nirash karvano nathi, pan hu hamesa ekani ek j bhulo karo, ha hamesa ekani ek bhulo 'karan' karo hu premma kharab chu (oh-oh) parantu tame prayas karva mate mane doshi theravi shakta nathi' tun jane che ke hu aevu kahto hoish ke hu aavu kahto hoish' tame j hata (oh-oh) te akhare mane theek kari shake che mara itihas taraf juo hu vahan apavaman kharab chu keliphorniyani ankhovali chhokri mali ane men vicharyu ke te kharekhar a vakhate ek hoi shake che parantu mane kyarey tene mari banavavani tak mali nathi karan ke te thodi patali safed rekhao sathe premma padi gai hati landanani chhokri satheમિશિગનમાં ઘરે પાછો એક છોકરો મળ્યો અને જ્યારે હું તેને ચુંબન કરું છું ત્યારે તેનો સ્વાદ જેક જેવો છે તેથી મેં તેને કહ્યું કે મને તેના મિત્રો ક્યારેય ગમતા નથી હવે તે ચાલ્યો ગયો છે, અને તેણે મને ફરીથી કૂતરી બોલાવ્યો છે ત્યાં એક વ્યક્તિ છે જે બગીચાની સ્થિતિમાં રહે છે અને તેણે મને કહ્યું કે જ્યાં સુધી આપણે સ્નાતક નહીં થઈએ ત્યાં સુધી આપણે તેને બનાવીશું. તેથી મેં તેને કહ્યું કે સંગીત રાહ જોવા યોગ્ય રહેશે પરંતુ તે મને રસોડામાં ડિનર પ્લેટ સાથે ઇચ્છે છે હું માનું છું, હું માનું છું, હું માનું છું, હું માનું છું કે આપણે બનવા માટે જ બન્યા છીએ પરંતુ ઈર્ષ્યા, ઈર્ષ્યા, ઈર્ષ્યા, ઈર્ષ્યા, ઈર્ષ્યા મારું શ્રેષ્ઠ મેળવો જુઓ, મારો કહેવાનો અર્થ નિરાશ કરવાનો નથી, પણ હું હંમેશા એકની એક જ ભૂલો કરો, હા હંમેશા એકની એક ભૂલો 'કારણ' કરો હું પ્રેમમાં ખરાબ છું (ઓહ-ઓહ) પરંતુ તમે પ્રયાસ કરવા માટે મને દોષી ઠેરવી શકતા નથી' તું જાણે છે કે હું એવું કહેતો હોઈશ કે હું આવું કહેતો હોઈશ' તમે જ હતા (ઓહ-ઓહ) તે આખરે મને ઠીક કરી શકે છે મારા ઇતિહાસ તરફ જુઓ હું વચન આપવામાં ખરાબ છું કેલિફોર્નિયાની આંખોવાળી છોકરી મળી અને મેં વિચાર્યું કે તે ખરેખર આ વખતે એક હોઈ શકે છે પરંતુ મને ક્યારેય તેને મારી બનાવવાની તક મળી નથી કાર�� કે તે થોડી પાતળી સફેદ રેખાઓ સાથે પ્રેમમાં પડી ગઈ હતી લંડનની છોકરી સાથે

Πήρε ένα αγόρι πίσω στο σπίτι στο Μίσιγκαν Και έχει γεύση σαν τον Τζακ όταν τον φιλάω Έτσι του είπα ότι ποτέ δεν μου άρεσαν πραγματικά οι φίλοι του Τώρα έχει φύγει, και με αποκαλεί σκύλα ξανά Υπάρχει ένας τύπος που ζει στην πολιτεία του κήπου Και μου είπε ότι θα τα καταφέρουμε μέχρι να αποφοιτήσουμε. Έτσι του είπα ότι η μουσική θα άξιζε την αναμονή Αλλά με θέλει στην κουζίνα με ένα πιάτο Πιστεύω, πιστεύω, πιστεύω, πιστεύω Ότι είμαστε γραφτό να είμαστε Αλλά ζήλια, ζήλια, ζήλια, ζήλια Αποκτήστε τον καλύτερο εαυτό μου Κοίτα, δεν θέλω να απογοητεύσω, αλλά εγώ Πάντα να κάνετε τα ίδια λάθη, ναι Πάντα να κάνετε τα ίδια λάθη »αιτία Είμαι κακός στην αγάπη (ooh-ooh) Αλλά δεν μπορείς να με κατηγορήσεις που προσπάθησα» Ξέρεις ότι θα έλεγα ψέματα Ήσουν αυτός (ooh-ooh) Αυτό θα μπορούσε τελικά να με διορθώσει Κοιτάζοντας την ιστορία μου Είμαι κακός στο να υπόσχομαι Πήρε ένα κορίτσι με μάτια στην Καλιφόρνια Και σκέφτηκα ότι θα μπορούσε πραγματικά να είναι αυτή τη φορά Αλλά ποτέ δεν είχα την ευκαιρία να την κάνω δική μου Επειδή ερωτεύτηκε μικρές λεπτές λευκές γραμμές Λονδρέζικο κορίτσι με

Habe einen Jungen zu Hause in Michigan bekommen Und es schmeckt wie Jack, wenn ich ihn küsse Also sagte ich ihm, dass ich seine Freunde nie wirklich mochte Jetzt ist er weg und nennt mich wieder eine Schlampe Es gibt einen Mann, der im Garden State lebt Und er sagte mir, dass wir es bis zum Abschluss schaffen würden. Also sagte ich ihm, dass sich das Warten auf die Musik lohnen würde Aber er will mich mit einem Teller in der Küche haben Ich glaube, ich glaube, ich glaube, ich glaube Dass wir dazu bestimmt sind Aber Eifersucht, Eifersucht, Eifersucht, Eifersucht Hol das Beste aus mir heraus Schauen Sie, ich will nicht frustrieren, aber ich Mach immer die gleichen Fehler, ja Machen Sie immer die gleichen Fehler, denn Ich bin schlecht in der Liebe (ooh-ooh) Aber du kannst es mir nicht verübeln, dass ich es versucht habe Weißt du, ich würde lügen, wenn ich sagen würde." Du warst derjenige (ooh-ooh) Das könnte mich endlich reparieren Ein Blick auf meine Geschichte Ich bin schlecht darin, etwas zu versprechen Hab ein Mädchen mit kalifornischen Augen Und ich dachte, dass sie dieses Mal wirklich die Richtige sein könnte Aber ich hatte nie die Chance, sie zu meiner zu machen Weil sie sich in kleine dünne weiße Linien verliebt hat Londoner Mädchen mit

მიჩიგანში ბიჭი დაბრუნდა და ეს გემოვნება ჯეკს ჰგავს, როდესაც მას ვკოცნი ასე რომ, მე ვუთხარი, რომ არასდროს მომწონდა მისი მეგობრები ჟვდა ვ თჱფვჱნალ, ა რჲი მთ ჟვ ჲბაეთ ჲრნჲგჲ. თმა ფჲგვკ, კჲირჲ ზთგვვ გ დპაეა. თ მთ კაჱა, ფვ ღვ დჲ ნაოპაგთმ, ეჲკარჲ ნვ ჱაგყპქთმ. ასე რომ, მე ვუთხარი, რომ მუსიკა ღირდა ლოდინი ნჲ რჲი თჟკა ეა მვ გ კსჳნწრა ჟ გვფვპწ. მე მჯერა, მე მჯერა, მე მჯერა, მე მჯერა რომ ჩვენ უნდა ვიყოთ მაგრამ ეჭვიანობა, ეჭვიანობა, ეჭვიანობა, ეჭვიანობა მიიღეთ საუკეთესო ჩემგან გთზ, ნვ თჟკამ ეა ჟვ პაჱჲფაპწ, ნჲ აჱ. ყოველთვის გააკეთეთ იგივე შეცდომები, დიახ ყოველთვის გააკეთეთ იგივე შეცდომები მე ცუდი ვარ სიყვარულში (ოჰ-ოჰ) ნჲ ნვ მჲზვქ ეა მვ ჲბგთნწგაქ ჱა ჲოთრაი. ჱნავქ, ფვ ღვ კაზა. შენ იყავი ერთი (ოჰ-ოჰ) ამან საბოლოოდ შეიძლება გამომისწოროს შეხედე ჩემს ისტორიას ცუდი ვარ პერსპექტიული მივიღე გოგონა კალიფორნიის თვალებით და მეგონა, რომ ის ნამდვილად შეიძლება იყოს ამ დროს მაგრამ მე არასდროს მაქვს შანსი, რომ მისი ჩემი იმის გამო, რომ მას შეუყვარდა პატარა თხელი თეთრი ხაზები ლონდონის გოგონა

Omwana bamusaddaase ne bamuggyamu omukwano E Michigan.. Ate kiwooma nga Jack bwe mmunywegera N'olwekyo, nnamugamba nti nnali saagala mikwano gye O zaman artık gitmiş ve tekrar beni çiğnmiş. Waliwo omusajja abeera mu mbeera y'olusuku Ve bana şunu söyledi ki, biz lisans derecesimizi üste edemeyeceğimizi söyledi. Namugamba nti ennyimba zandibadde za mugaso nnyo Naye ayagala nkole mu ffumbiro nga nnina ekyapa ky'ekijjulo Nzikiriza, nzikiriza, nzikiriza, nzikiriza Kitegeeza nga bwe tulina okubeera Naye obuggya, obuggya, obuggya, obuggya Get the best of me bye bye bye Laba, saagala kutawaanya, naye nze Bulijjo kola ensobi ze zimu, yee Bulijjo kola ensobi ze zimu ' cause I'm bad at love (ooh-ooh) bye bye Naye toyinza kunnenya olw'okugezaako' Okimanyi nti nja kuba bulimba' Ggwe oli omu (ooh-ooh) Ekyo kiyinza okuntereeza Tunula mu byafaayo byange Ndi mubi nnyo mu kusuubiza. Nfunye omuwala alina amaaso ga California Ve ben de bu semanın o kadar iyi olduğunu düşündüm. Naye saafuna mukisa kumufuula wange Kubanga yayagala nnyo layini enjeru London girl with

[lkimball02svad]

Week 3

Last week, we began our Dogs! project. Let me tell you it was very fun to do. I always love projects like these because they have such a simple goal yet it takes a bit of work to get it done. From my sketches, I chose to go with an angle where the cocker spaniel is facing forward. I chose this because I saw this as the best way to show off a cocker spaniel's distinctive features like their faces and their long floppy ears. We took our sketches into Adobe Illustrator and made the magic happen. Here is my final project for Dogs! I absolutely loved how it turned out. Doing the letter C was a bit of a challenge to fit in all of the right features to make the cocker spaniel still look recognizable. I think I figured it out.

This week, us SVAD students at USC got the privilege of meeting Kate Bingaman-Burt and joined her for some zine workshops and a lecture at the Columbia Museum of Art. Kate was such a lovely person and seems like a fun person to be around. I am glad I got to learn a little bit from her while she was here. I got to make my very first zine on Tuesday and it definitely will not be my last.

Speaking of zines, we started our third project today. We are making zines based off a Dr. Seuss poem or portion of a book of our choosing. I was thinking of doing "Green Eggs and Ham" just because it is a classic and I think I can do a lot coming from the typographic standpoint.

In this week's reading, the author wrote about legibility and how important it is in the typography/design world. The main goal of graphic design is to create something visually appealing to send some sort of message to the viewers. Designing something that is visually appealing is easy to do if done right, but typography is a huge factor in how we allow the viewers to convey the message we are sending out. Therefore, it has to be legible. The author put it in good words when he said that the letterforms should have good contrast, proportion, and simplicity, so it would be easier for the viewers to read it without confusion.