If you don\’t see an animation here, your browser is not displaying Flash content.

This is my very first attempt at animation in Flash. I went for rough and loose, hoping that the expressiveness would make up for these being only stick figures. I was also interested to see if I could suggest sound through movement and color alone. The Flash timeline is organized by frames, so putting my changes at equal intervals is how I kept them all on ‘tempo.’

I had to google walk cycles to figure out how to make my characters convincingly walk onto the stage. The movements of the musicians, however, were super easy for me to figure out from memory. I found it ironic that I know what my arms have to do when I play violin, but apparently not what my legs need to do to walk.

Adobe Flash never made any sense to me in the past, but as I begin to understand the needs and processes of animators (so very different from graphic designers), I start to see why the software works the way it does. I just have to adjust my thinking and my processes too. In this class, we’ll be animating traditional walks, bounces, and character takes, as well as watching documentaries about Disney and video tutorials from animators. It’s going to be a fun glimpse into a new field!

As our final project in Publication Design, we each chose a social issue to be the topic of a 28-page magazine. I went with globalization, choosing stories that I feel give respect to the internationally responsible worldview I want to promote.

None of writing is mine, but all of the illustrations are. And of course I designed it — made all the choices about the type, page numbers, table of contents, etc. etc. I recommend reading the whole thing! But in the event that you’re short on time, check out at least the editor’s letter, reproduced below.

Over the past two decades, a popular article on world demographics has circulated that begins, “if the world was a village of 100 people…”

Author Donella Meadows brought new dimension to dry statistics, startling many. But more and more are finding her interpretation to be a reflection of the way they already think: the world certainly is their village, and every culture is like a person with a distinct personality.

Satellite is written for those of you who think of the entire world as your own. But unlike the exploitative empires of old, you regard international affairs with curiosity that trumps timidity, compassion sans guilt, and insight that cuts through perplexity. Here, we celebrate your bird’s-eye view and aim to stimulate your open minds with things you might not know about your village.

A word about the graphics: we chose Satellite’s look and feel to suggest the spacious outlook of a mind free from nationalistic attitudes and artificial boundaries. If you are like us, you have been inundated with travel photography, much of which has become cliché and reinforces unhelpful generalizations. Satellite hopes its simple line drawings will inform in a way that allows room for readers’ individual perceptions of the nations and issues being discussed. Your own experiences are what give meaning to this publication, and we probably don’t have photographs of those.

Welcome to Satellite: What’s new with us. We invite you to engage with your world in a fresh way as you travel our pages.

Rachel Leigh
Editor & Creative Director

In addition to packaging, 3D Design is also a class about endowing public spaces with the same graphic consideration that we bestow upon two-dimensional surfaces, sometimes known as environmental graphic design.

All quarter long, each of us in the class developed a trade show booth design for a local company. I chose the William Baker Co., a manufacturer’s representative for the commercial construction industry. Their job is to promote certain products to architects and contractors who specify the materials for building projects.

I learned from them that one of the events they regularly work is the AIA | CSI Trade Fair. Currently, most companies that exhibit never go beyond the skirted table and poster board display. I wanted to design something for the William Baker Co. that would stand out in a huge hall full of… skirted tables and poster board displays.

The important thing is to promote first and foremost the products that William Baker Co. represents, yet also helping people remember them as the reps. I decided to use the materials themselves in the construction of the booths, while featuring William Baker Co.’s lovely logo as often as possible.

Two product lines that they typically feature at a show like this are Lumicor and Accel-E. Lumicor makes resin panels that can be used for countertops, light fixtures, dividers , etc. and come in an endless variety of colors, textures, and inlays. Lots of fun to show off. Accel-E are energy-efficient wall panels that combine steel framing with expanded polystyrene. Less attractive, but still a great idea and very useful.

I created each brand to have its own little structure. These could be put together and rearranged in different configurations, but would together fit easily in a 10×10′ exhibit area.

Our instructor, Scott Chenoweth, worked hard to get a group of graphic designers excited about creating scale models. I discovered the world of styrene, Krylon brand spray paint, superglue, and the many properties of foam core board.

To top it off, I made a document with the floor plans and elevations.

… also known as Chinese Lantern Plants.

… also known as my last assignment in Oil Painting class. From life.

Somehow, I got through three years of graphic design courses before ever having to attempt a cylindrical package design. I’m not sure how that happened, but I know how awkward it felt trying to determine how much of the design was going to be visible from a given angle!

My goal was to update Creamette’s feel and move the design forward from its original cardboard box. This repackaging assignment was part of a class called 3D Design.

AND, by using a cylinder (a Pringles can made a perfect prototype), I could implement a new kind of dispenser lid ( which I am not showing in case I decide to patent it one day. Really.)

Our second project in Publication Design was to create a college viewbook for a school of our choice. I chose to invent a school that I would have liked to attend: The Royal Conservatory of Glasgow. It was fun trying to make this piece as authentically Scottish as possible.

Here the real challenge in oil painting begins:  painting an actual object from life. To keep things simpler, our instructor restricted our palette to mixed black (Burnt Sienne + Ultramarine Blue) and white.

Unfortunately, I didn’t capture the progressive stages of this painting, but it was a long process. We first chose our subjects and set them up on a table. Then, we tried out different compositions in our sketchpads. It’s difficult for me to adjust the scale of what I see and make it fill up the whole canvas, but finally doing so made the painting more interesting!

We also tested out simple value patterns (where the dark and light areas would be in the painting). According to my instructor, it is the value pattern that a person notices first in a painting. If you don’t have an interesting composition in that respect, the painting will be never be really good. So she held our sketchpads about ten feet away from each of us so we could appreciate (or not) our value patterns.

Once satisfied, I moved to the canvas and blocked in major areas of value. The result was what I might see if I really blurred my eyes looking at the subject.

Then little by little, I adjusted the forms and brought in more and more details and value shifts that I saw on the leather boot and purse.

My last step (and the most difficult one) was incorporating the wing designs at the end!

If you want to see more, this person’s blog does a good job of illustrating the steps of oil painting.

This little sculpture was a warm-up challenge for 3D Design class. I used found objects to express the essence of a brand that I like: the Hoefler & Frere-Jones type foundry. I think they are defined by excellence, purpose, intelligence, and wit.

Hence, the feel of this sculpture. I learned that bobby pins have elegance, you just have to know how to draw it out of them.

My first thoughts when I signed up for my requisite oil painting class? Sounds slow, expensive and intimidating! The class was all of those things… but I was surprised to discover how fun and satisfying it could be at the same time. I have this first assignment to thank for much of that realization.

To help us relax and explore the dynamics of the paint (Windsor & Newton water-soluble oils), our instructor announced that we would spend a couple weeks working on an abstract emotional piece. To provide a little framework, we each received a nebulous photocopy that looked something like this. We each reproduced its major lines in pencil onto our canvases, then examined them from all angles until an idea came.

The answer to “how did you ever come up with this?”

I knew almost instantly that I wanted a white rectangle on its side, with illusions of depth, contrasting pure hues near the white, and deeper tones toward the edges. I’ve learned to begin creative work with whatever part I feel most sure about. The other details always make themselves known eventually.

What is this canvas about? To me, it feels like a momentary self-portrait of my soul… a place of happiness and mystery. But I’d love to know what you read into it!

Use all of the copy, and stay away from primary colors and kid scribbles! These were the main stipulations given to us by our Publication Design instructor, who used to be a primary school teacher herself. Apparently people who work with children receive too many communications that look as if they were designed for children.

Every year, the Leukemia and Lymphoma Society encourage schools to participate in a fundraiser. These accompanying manuals are distributed to teachers and administrators. Our class was given the text to be included and and a copy of last year’s manual (to make sure we actually improved upon it). This is my take on a few of the spreads.