Repository logo
 

Design - Student Works

Permanent link for this collection

Browse

Recent Submissions

Now showing 1 - 20 of 139
  • Item
    Exploration of human anatomy and fashion in digital illustration
    (2023) Ly, Long; Visscher, Alma
    The goal of this project is to explore human anatomy and fashion through the medium of digital illustration. Because society moves at such a rapid pace, individuals are less likely to appreciate the people or the world around them. As a result, one's appearance becomes a vital determining factor in people's perception of each other. The purpose is to look at how fashion changes a person’s first impression based on their clothing styles. A person's appearance could feel different based on the ratio, colour combinations, and texture of their clothes regarding their body shape. The core learning of this project comes from the Advance Fundamental Class by TB Choi, a character concept artist, through the support of Student Undergraduate Research Funding. With the guided exercises about three-dimensional form and poses, clothes wrinkles, face and hair, the class heavily emphasizes the attention to line weight's expression. By describing the subject clearly through lines, it speeds up the coloring and rendering process by solving the form and space questions before tackling the hue, brightness, and saturation of the subject. The progress of this project is shown through the artist's class exercise while it also reflects through different projects that occur during the time, which included human anatomy speed sketches, Charles Bargue's sculpture drawing study, tote bag contribution, and storytelling through images.
  • Item
    Film-to-Book Design
    (2023) Cayanan, Barbie; Pacher, Constanza
    Dead Poets Society is a movie directed by Peter Weir, written by Tom Schulman and a novel adaptation by N.H Kleinbaum. DPS follows the lives of the students of Welton Academy, balancing stressful classes and extracurriculars for a successful future. The rare opportunity of discovering their passions and identities arrives; a new English teacher has been hired and changed their teenage lives forever. The book's cover is reminiscent of the poetry book (Five Centuries of Verse) that the students read in their DPS meetings, from the textured font, the golden wreath and the wear and tear that's complimented with references, quotes, key items and visuals on the inside. Each chapter's beginning, midway or end has important details, evidence of teenagers messing with the book or overall time wearing down the quality after every use. DPS was set in 1959, and the novel uses serif typefaces (Miller Text), type with texture (the title and typewriter notes) and handwritten poems, quotes and doodles to put the reader in the mindset of a teenager in an old boarding school. All dark academia elements, visuals of wear and tear on the cover and each page, handwritten details, limited colour scheme and textured type create a cohesive message that separates the novel from the film. The redesign proves the book did not lazily copy scene by scene and line by line. It provides a different experience and different perspective of the story.
  • Item
    Light photography concept for the album design of Pipe Dreams by Jim Walker and The MacEwan Generations Big Band
    (2023) Hussein, Daenya; Pacher, Constanza
    The album Pipe Dreams by Jim Walker and The MacEwan Generations Big Band captures the fluidity and essence of Jazz and Big Band in one record. We hear notes of South American, East Indian, and Celtic vibes to start the unique record off. The fusion of Jazz and Big Band in the album has a mix of energy, excitement, and spontaneity in Jazz but the controlled discipline of Big Band. The concept for the album's design was to capture the two sensations of sound and movement into one cohesive creation. Light photography was used to display the feeling of movement and energy captured from the album. As a soft reminder of the tones used in the first three tracks, the use of dominant flag colours of Brazil, India, Wales, Ireland, and Scotland are displayed in the light painting. To keep a consistent tone, the typeface Abril Fatface is used to echo the feel of Big Band and Century Gothic for the secondary header to keep the balance. As the light painting streaks across the cover, it guides the viewer to the back with the title tracks and the continuation of the light painting. As we open the album, we slide out the record and insert to see the consistent use of light painting at a macro scale. The use of complementary colours, orange and blue, as subtle reminders of the colours in the light painting from the album cover.
  • Item
    Horoscope wheel for the Book of the Year 2022/23 - Everyone Knows Your Mother is a Witch by Rivka Galchen
    (2023) Hussein, Daenya; Pacher, Constanza
    The dark-humoured and satirical novel, Everyone Knows Your Mother is a Witch by Rivka Galchen is a historical fiction story of a German widow Katharina Kepler who is accused of being a witch. As a result, Katharina is taken to trial for her accused wrongdoings, and she is soon helped by her Imperial Mathematician son, Johannes Kepler. The inspiration to create a horoscope wheel came from the character of Johannes Kepler, an actual individual from the 17th century who was an imperial mathematician, astronomer, astrologer, natural philosopher, and writer of music. The concept was that Johannes created this wheel with horoscopes that foretold his mother's future. The horoscopes go back to the story and borrow the good and bad events that happened to Katharina Kepler. The primary colour of purple was inspired by the original cover for the book Everyone Knows Your Mother is a Witch, with hints of gold as accent colours and white and light purple to stay on a similar colour palette. The typeface Menuetto, created by the German typesetter Dieter Steffmann in 1994, is a modern twist on the old Gothic German type used for the primary type of the horoscope wheel. The horoscopes may only match Katharina Kepler, but it’s a fun idea and design to acquire someone’s interest in reading the novel Everyone Knows Your Mother is a Witch by Rivka Galchen.
  • Item
    Competition submission for the 'Pipe Dreams' album
    (2023) Onwudinjo, Jennifer; Pacher, Constanza
    Jazz is a genre that tends to pull its listener in. This is expressed by turning a two-dimensional surface into a three-dimensional experience. It visually draws the viewer into experiencing the album’s spirit and feeling. Creating this illusion of depth is done with the use of layers. Each layer represents a single note in music and when layered they make a beautiful composition.
  • Item
    A story told through recipes
    (2023) Onwudinjo, Jennifer; Pacher, Constanza
    The package design for herbal remedy flashcards. The design is centred on the relationship that exists between rumours and truth. The box is designed with a witch concept and leads users to believe what is inside has something to do with being a witch, but the user discovers that this is far from the truth and all the box contains are recipes for how to cure illnesses. In the same way, Katarina was only trying to help but was accused of being a witch. Rumours may say one thing, but the truth can be entirely different.
  • Item
    Unspeakable: a game adaptation of MacEwan's Book of the Year design series "How to Pronounce Knife"
    (2022) Tolentino, Kayla; Pacher, Constanza
    Language has a significant part in the book How To Pronounce Knife. Many of the characters from the book encounter challenges in their everyday lives that have to do with language but still embrace who they are, and they don’t try to be what societal norms are. This ideal and raw characteristic of the characters from the books is what inspired this card game. Unspeakable is a card game that challenges players to guess words and phrases based on the book how to pronounce knife. It is perfect for people who read the book. The game involves acting phrases or words from the book provided by the other team. The objective is to have your team guess the answer without talking and using gestures alone. The game is easy to play anywhere, requires less preparation but needs a lot of imagination. It is created to learn how to communicate with others without using a single word and get rid of language barriers, just like how the characters in the book show so many ways to communicate, not just by language but also through gestures and connections. The packaging design reflects the lightness of the short stories and how ferocious the characters are. Vibrant colours are used to demonstrate the character’s rich experiences and to break how society describes immigrants’ lives as sad and tragic. The primary colours are red, white, and yellow to unify it with the book still. The unique, minimalistic, and joyful shapes mirror the book’s artful blend of simplicity and sophistication. The wordmark logo represents fold pages to indicate how the game is based on a compilation of short stories. There are 100 cards with words or phrases from the book, a sand timer, a score-pad, and a game guide inside the box. The cards are also colourful to keep the dynamic feeling from the packaging to the inside. The words are bolded and have a page number beneath so the players can still reference where the word or phrase came from in the book. Overall, the design makes the packaging dynamic and whimsical, which associates with the book’s general feel.
  • Item
    Unspeakable: a game adaptation of MacEwan's Book of the Year design series "How to Pronounce Knife"
    (2022) Tolentino, Kayla; Pacher, Constanza
    Language has a significant part in the book How To Pronounce Knife. Many of the characters from the book encounter challenges in their everyday lives that have to do with language but still embrace who they are, and they don’t try to be what societal norms are. This ideal and raw characteristic of the characters from the books is what inspired this card game. Unspeakable is a card game that challenges players to guess words and phrases based on the book how to pronounce knife. It is perfect for people who read the book. The game involves acting phrases or words from the book provided by the other team. The objective is to have your team guess the answer without talking and using gestures alone. The game is easy to play anywhere, requires less preparation but needs a lot of imagination. It is created to learn how to communicate with others without using a single word and get rid of language barriers, just like how the characters in the book show so many ways to communicate, not just by language but also through gestures and connections. The packaging design reflects the lightness of the short stories and how ferocious the characters are. Vibrant colours are used to demonstrate the character’s rich experiences and to break how society describes immigrants’ lives as sad and tragic. The primary colours are red, white, and yellow to unify it with the book still. The unique, minimalistic, and joyful shapes mirror the book’s artful blend of simplicity and sophistication. The wordmark logo represents fold pages to indicate how the game is based on a compilation of short stories. There are 100 cards with words or phrases from the book, a sand timer, a score-pad, and a game guide inside the box. The cards are also colourful to keep the dynamic feeling from the packaging to the inside. The words are bolded and have a page number beneath so the players can still reference where the word or phrase came from in the book. Overall, the design makes the packaging dynamic and whimsical, which associates with the book’s general feel.
  • Item
    Unspeakable: a game adaptation of MacEwan's Book of the Year design series "How to Pronounce Knife"
    (2022) Tolentino, Kayla; Pacher, Constanza
    Language has a significant part in the book How To Pronounce Knife. Many of the characters from the book encounter challenges in their everyday lives that have to do with language but still embrace who they are, and they don’t try to be what societal norms are. This ideal and raw characteristic of the characters from the books is what inspired this card game. Unspeakable is a card game that challenges players to guess words and phrases based on the book how to pronounce knife. It is perfect for people who read the book. The game involves acting phrases or words from the book provided by the other team. The objective is to have your team guess the answer without talking and using gestures alone. The game is easy to play anywhere, requires less preparation but needs a lot of imagination. It is created to learn how to communicate with others without using a single word and get rid of language barriers, just like how the characters in the book show so many ways to communicate, not just by language but also through gestures and connections. The packaging design reflects the lightness of the short stories and how ferocious the characters are. Vibrant colours are used to demonstrate the character’s rich experiences and to break how society describes immigrants’ lives as sad and tragic. The primary colours are red, white, and yellow to unify it with the book still. The unique, minimalistic, and joyful shapes mirror the book’s artful blend of simplicity and sophistication. The wordmark logo represents fold pages to indicate how the game is based on a compilation of short stories. There are 100 cards with words or phrases from the book, a sand timer, a score-pad, and a game guide inside the box. The cards are also colourful to keep the dynamic feeling from the packaging to the inside. The words are bolded and have a page number beneath so the players can still reference where the word or phrase came from in the book. Overall, the design makes the packaging dynamic and whimsical, which associates with the book’s general feel.
  • Item
    Experimental type - The city by Ray Bradbury part I
    (2022) Tolentino, Kayla; Pacher, Constanza
    The City by Ray Bradbury is about an unpopulated planet far from the Earth. The city waited twenty thousand years for the men to arrive and designed to kill them to seek revenge because they were the enemies who abolished Taollans twenty thousand years ago. The first part mainly describes what the city looks like and how the men arrive. It started from a peaceful arrival that made the men keep going to see what was in the city. The city’s senses speak to each other, as the Ears and the Nose take in information about the visitors and ask the Eyes to watch them as they explore. One of the men senses something familiar about the place. The men begin to panic as the city fully awakens. The layout’s design pulls inspiration from the flow of the story. The first page reflects how the arrival of men is peaceful. The text is also left-justified to portray how everything is going evenly. It is where the city is trying to gain the men’s trust to stay longer. However, the second page talks about how the city lures the men and traps them. Some men have mixed feelings about the city, and the city’s senses are starting to wake up. The idea behind the bad rags and different placement of texts is to show the chaos happening to the story. The city’s dialogue is calmer, depicting its actions. It’s in a serif typeface to show that the city is old, and the men’s dialogue is more disorganized as they start to question and get a discernment that something is wrong with the city. It is in sans-serif to portray a modern feel. The city’s senses are in sans-serif and bold to highlight the city’s covert actions. Additionally, it has glitching background elements, mainly on the second page, describing the chaos and violence as the city traps and tries to wipe the men out.
  • Item
    Book design - A collection of short stories by Edgar Allan Poe
    (2022) Drouin, Ashley; Pacher, Constanza
    The goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.
  • Item
    Book design - A collection of short stories by Edgar Allan Poe
    (2022) Drouin, Ashley; Pacher, Constanza
    The goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.
  • Item
    Book design - A collection of short stories by Edgar Allan Poe
    (2022) Drouin, Ashley; Pacher, Constanza
    The goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.
  • Item
    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
  • Item
    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
  • Item
    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
  • Item
    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
  • Item
    Visual commentary on unseen characters in response to How to Pronounce Knife
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.
  • Item
    Visual commentary on unseen characters in response to How to Pronounce Knife
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.
  • Item
    Rationale for postcard series based on How to Pronounce Knife by Souvankham Thammavongsa
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.