Naimi, Samir: Portfolio

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  • 1. !"#$%&"$#$(! !"#$%"&"Thursday, November 15, 2012
  • 2. Since the beginning of my training as a graphic designer I have always been interested in typography. I enjoyed manipulating it in order to draw in the audience’s eyes such as I have done in the following piece. Taking something as rigid as a calendar, and creating an unconventional way of laying out the days, to create a sense of chaos that maintains order due to being embedded into a grid system.Thursday, November 15, 2012
  • 3. may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hursday, November 15, 2012
  • 4. I continued on the path of letting the typography lead the viewer’s eyes in the following poster for the typeface Goudy Old Style. In this piece I wanted to contrast the fluid forms of the ampersands in the background, with the strict lines of the typography in foreground in order to create a tension that the viewer’s eyes transitions between, complimenting the typography’s natural soft curves against its fixed vertical lines.Thursday, November 15, 2012
  • 5. ABCDEFGHIJKLMN Goudy OPQRSTUVWXYZ 1234567890 !@#$%^&*()_+=-­``?><,./”:[]{} Old  Style 1915 Frederic  W.  Goudy Goudy  Old  Style                                                                          was  a   Magazine,   and   is   the   standard   There  is  also  a  strong  calligraphic   typeface   designed   by   Fredric   W.   text   for   Key   Club   Publications.   quality,   which   is   most   apparent   Goudy  in  1915  for  the  American   Goudy   Old   Style   is   also   the   in   the   downward   slanting   curve   Type   Founders   (ATF).   It   was   official   typeface   for   the   Emory   under  the  Q.   Fredric’s   first   font   created   for   University   in   Atlanta,   Georgia,        Due  to  the  rising  popularity  of   ATF,   and   was   his   twenty-­fifth   Moravian   College   in   Bethlehem,   Cooper   Black   typeface,   Lanston   typeface  overall.  Goudy  Old  Style,   Pennsylvania,   and   Northwestern   Monotype  commissioned  Fredric   which   is   also   known   as   just   University  in  Evanston,  Illinois. Goudy   to   design   heavy   versions   Goudy,  is  an  old-­style  classic  serif        It  can  be  easily  distinguished  by   of   Goudy   Old   Style,   Goudy   typeface.   The   typeface   is   one   of   the  diamond-­shaped  dots  on  the   Heavyface  and  Goudy  Heavyface   the   most   popular   typefaces   ever   i,   j   and   the   points   found   in   the   Italic  were  released  in  1925,  ten   created,   and   is   often   used   in   period,   colon,   question   mark,   years  after  the  original  release  of   packaging   and   advertising.   Its   semi-­colon   and   the   exclamation   the   font.   The   gently   curved,   versatility  allows  it  to  be  used  in   point.   Some   other   recognizable   rounded  serifs  found  on  certain   both   display   settings   such   as   on   features   include   the   elegant   characters   suggest   an   influence   posters,  and  in  text  format  like  in   upward  curve  on  the  ear  of  the  g   from  Venetian  typefaces.   a   paragraph.   Places   that   the   as   well   as   on   the   base   of   the   E   typeface   has   been   used   includes   and   the   L,   and   the   pointed,   the   Ritz-­Carlton   logo,   Bazaar   upward   slant   of   the   hyphen.  Thursday, November 15, 2012
  • 6. My passion for typography has continued to grow, and I have branched out from purely digital works to create hand made type. The following typeface is one I created out of seashells as an exploration of how natural forms can lend themselves to be used in graphic design.Thursday, November 15, 2012
  • 7. Thursday, November 15, 2012
  • 8. I have also begun to manipulate and create my own digital typefaces as well, such as the following, a typeface created to be use for headers, inspired by the work of Piet Mondrian.Thursday, November 15, 2012
  • 9. Thursday, November 15, 2012
  • 10. Explorations with creating my own typefaces have taught me that typography has character, which is something that I explored in my poster for the unveiling of the William H. Hannon Library. Typography is being used on the primary level to display a title and text, but is also being used as part of the design aesthetic as a way to bring meaning to something that would otherwise just be ornamental like in the banner across the top that describes the features the library has to offer. The shift in scale and weight of the typography as well as the illustration of the building creates a visual hierarchy to keep the viewer interested. The color scheme and repetition of shape is inspired by the buildings architecture.Thursday, November 15, 2012
  • 11. Thursday, November 15, 2012
  • 12. Exploring the different applications of typography led me to using it to create emotion and meaning. The following is cover art I did for Passion Magazine’s issue on depression linked with obesity, and with using only cut out letter forms from the magazines prior issues I was able to create an image that was gestural as well as informative, allowing the typography to read on a literal level as well as to illustrate a feeling.Thursday, November 15, 2012
  • 13. Thursday, November 15, 2012
  • 14. I further explored how forms can convey meaning in the following piece inspired by a newspaper clipping describing the increase of abandoned homes in Detroit. I allowed the negative and positive spaces to play with one another in order to allude to the seclusion and emptiness occurring in the city. The absence of the letterforms parallels the absence of residents in the homes.Thursday, November 15, 2012
  • 15. r Detroit Census Figures Confirm A Grim Desertion Like No OtherThursday, November 15, 2012
  • 16. I continued to use negative and positive space in the brand identity created for Dance Smart as a way to integrate the name with the function of the program, which teaches dance to elementary and high school students. The challenge in creating these logos was that they had to bare resemblance to the companies brother organization while still being unique. The dancer amidst the black background mimics a dancer captured by a spotlight.Thursday, November 15, 2012
  • 17. Thursday, November 15, 2012
  • 18. Practicing with negative and positive space taught me how to allude to symbols that may take a moment for the viewer to visualize, like I created in this piece of a lioness’ face created from ten hexagons. The two gaps beneath the first row reveal the eyes; the next gap below reveals the nose and the gap below that reveals the mouth. This piece illustrates how I derive inspiration from everything; this work was inspired by patterns in tile.Thursday, November 15, 2012
  • 19. Thursday, November 15, 2012
  • 20. I was able to take the concept of alluding to images and incorporate it in a competition I won to create the official seal for Loyola Marymount University’s Choruses. The individual elements within the seal have also been chosen as separate logos for the three choruses on campus. An object found in nature represents each chorus’s logo: a feather, a butterfly and a shell. Within each of these symbols, in black, there is a reference to music made in the negative space: a musical note, two treble clefs, and a bass clef. Furthermore, all three of these symbols are contained within a black casing composed of the letters LMU affixed to one another to create a modern interpretation of a traditional seal. Each piece adds a new layer of purpose to the seal to create a unique piece filled with meaning.Thursday, November 15, 2012
  • 21. Thursday, November 15, 2012
  • 22. Each of the logos created for the branding of Loyola Marymount University’s Choruses can be seen together in the form of the seal, or individually which can be seen in the following slide.Thursday, November 15, 2012
  • 23. Thursday, November 15, 2012
  • 24. In my exploration of metaphor and creating an image with the absence of a shape I created this poster for ‘The Simpsons’, letting the bite taken out of the donut and the impression of the teeth mark reveal a silhouette of Homer Simpson, as donuts are his favorite food. This piece was inspired by the apple logo that contained Steve Jobs silhouette, which gained much recognition after his death. Simultaneous with the death of Steve Jobs, Fox threatened to pass severe pay cuts to the cast of the Simpsons and there was serious concern that this beloved series had reached its end. This piece was created as a commentary on what could have been the death of the Simpsons franchise.Thursday, November 15, 2012
  • 25. Thursday, November 15, 2012
  • 26. Creating posters of subjects I enjoy, such as television shows, is something I often do; the following is another example of this that I created for ‘Breaking Bad’, a television show about a crystal meth dealer. The poster is composed of the drugs the character, Heisenberg, makes, and they come together to reveal his face. In this poster I was challenging myself to use repetition and let one repeating element depict the form of the whole poster.Thursday, November 15, 2012
  • 27. Friday, September 28, 2012Thursday, November 15, 2012
  • 28. The next poster was created in order to advertise a concert being held by Loyola Marymount University’s dance department. I created an abstracted representation of a dancer that can be found in the background and brought the text to the foreground, varying the weights and sizes to allude to movement. The motion in the piece is seen through a variety of elements including the treatment of the text, position of the dancer and stylized brush strokes. This work illustrates my interest in creating pieces that are not always obvious, but draw the audience in and require some attention before fully seeing what is being illustrated. The poster allows the text and the figure to come together and merge with one another.Thursday, November 15, 2012
  • 29. Thursday, November 15, 2012
  • 30. The following poster was chosen as the winner in a competition to represent the 2011-2012 season for Loyola Marymount University’s theatre program. In order to create something that would properly reflect the season I researched each of the plays that were to be performed and took key elements from their plot, affixing them to one another to create this unusual figure in motion. In creating this piece I relied on the bizarre to attract attention, forcing the audience to look deeper in order to understand the meaning of the image, which would begin to become clearer after each performance is viewed.Thursday, November 15, 2012
  • 31. Thursday, November 15, 2012
  • 32. In the next poster I wanted to create a marriage between the dancers and the typography, in which the typography takes the role of another character in the scene. The dancers bodies create fluid movement around the hard lines of the typography as if they are dancing in between one another. I used the dancers body language to guide the viewerʼs eyes throughout the poster.Thursday, November 15, 2012
  • 33. Thursday, November 15, 2012
  • 34. The following is a one from a series of posters I created from the “Do Something” campaign made to encourage various individuals take action towards a cause they believed in. Moved by the unfortunate plight of Baha’i’s in Iran I created this piece to bring attention to their situation. This is a human rights issue in which Baha’i’s are being denied their basic rights, including the right to higher education. The ‘ED’ is in red to showcase the importance of education as it is the key to progress, and that everyone must educate himself or herself about the position of the world. The fist is a universal symbol that shows resistance against oppression and persecution, and alongside the logo it reminds the viewer to do something and encourages everyone to take a stance. The figure is green to show solidarity with the Iranian Green Movement. This piece hits close to home, as I am a Baha’i of Iranian decent.Thursday, November 15, 2012
  • 35. Thursday, November 15, 2012
  • 36. When hired to create a poster for a reading of ‘Trial By Fire’ a true story about a boy and girl who were burned alive while in their home, I knew I wanted to incorporate the image of the children in the poster in order to allow the viewers to connect with the victims of the crime. I physically burnt a frame with the two children’s images as it could likely have been seen on their mantle. This was done so that the viewer could feel a sense of what it may have been like in the home, as well as to symbolize the loss of the children’s childhood.Thursday, November 15, 2012
  • 37. Thursday, November 15, 2012
  • 38. The following is a spread open view of a quad-fold brochure that I created for the Loyola Marymount University Department of Theatre Arts and Dance. The brochure was created in order to outline their upcoming events and bare similarity to Russian Constructivism.Thursday, November 15, 2012
  • 39. Thursday, November 15, 2012
  • 40. The next slide contains a brochure I created for Art Smart, an organization that teaches the arts to children. The theme of the brochure is of a tree in order to symbolize the grass roots approach that is being taken by the organization and how the effects of the courses help the children branch out to future career paths.Thursday, November 15, 2012
  • 41. Thursday, November 15, 2012
  • 42. As the brochure is physically unfolded it appears as if the trees branches are growing. The following is the front and back of the brochure fully opened.Thursday, November 15, 2012
  • 43. Burgeoning from the seeds planted ten years ago, Loyola Marymount University’s ARTsmart program has flourished through the careful tending of LMU faculty, staff, students, and sponsors. ARTsmart’s Mission Stemming from the LMU mission, ARTsmart is The dual mission of ARTsmart the community service program of the Department is, first, to provide underserved of Art and Art History in the College of Communication schoolchildren with an education and Fine Arts. During LMU’s centennial year, ARTsmart in the arts that will provide both the celebrates a decade of branching out into the lives of both instrumental and the intrinsic benefits our LMU students and underserved youth. Rooted in the necessary to become well-rounded, Jesuit and Marymount traditions emphasizing service to others, productive members of a rapidly changing education of the whole person, and the encouragement of society. Second, ARTsmart is a leadership- learning, the LMU ARTsmart program has worked to foster development program for LMU student self-expression, confidence, and critical thinking in students mentors that incorporate teaching from kindergarten to eighth grade. Today ARTsmart takes from in the arts and community service. its past to grow its future. Student mentors from many backgrounds continue to design and teach lessons and projects in the arts, focusing on the visual arts while also including dance and music. Every year, the trunk that is the ARTsmart program gains a “ring” of experience and comes nearer to closing the arts education gap in California. - Emily Calles, LMU ’13 ARTSMART CELEBRATES Community Service Program Department of Art & Art History Loyola Marymount Univrsity One LMU Drive Los Angeles, California 90045 De sig ned by S amir N aimi, LMU 201 2 10 YEARS ARTsmart Director ARTsmart Donations Terry Lenihan is a Los Angeles artist and educator. Professor Provide a Strong Foundation Lenihan directs LMU’s art education program, which includes ARTsmart. A committed advocate for arts education and a believer in the Initially funded by a grant from the Conrad Hilton power of art as a catalyst for social change, she focuses her research on Foundation in 2001, ARTsmart continues to thrive as K–12 and post-secondary art education, service learning, collaborative art, we celebrate a decade of serving the community. Thanks and social justice arts education. Terry Lenihan is a sculptor and ARTsmart Artist Mentors to ongoing support from alumni, parents, foundations, corporations, and friends of the University, LMU and the installation artist known for monumental figurative sculptures The LMU student volunteers, known as artist mentors, College of Communication and Fine Arts (CFA) have raised over that reference the individual’s struggle against constraints, and are undergraduate students from a variety of backgrounds and $200,000 for ARTsmart. LMU recently received a generous gift from the power of celebration in the human gesture. In March disciplines (fine arts, graphic design, multimedia arts, art history, animation, a family foundation to establish an endowment for ARTsmart. It is 2010, Governor Schwarzenegger appointed Terry dance, music, and liberal studies). Through their teaching experience in urban hoped that, as it receives further contributions, the endowment will Lenihan to the California Arts Council, and classrooms, LMU students gain leadership and collaborative skills, self-confidence, eventually ensure that this transformative community service program last Governor Brown reappointed her in and an understanding of the social justice perspective. After working in ARTsmart, many in perpetuity. Because of the generosity of these donors, the College has February 2011. LMU students use their experience as a foundation to continue as leaders in their communities, prepared its student mentors for lives distinguished by creative and and many are inspired to pursue careers in art education, community service, and related fields, compassionate responses to a complex and needy world, while also ensuring both at LMU and in further graduate work. that schoolchildren receive the finest in art education. ARTsmart mentors collaborate to design a curriculum that fosters a passion for exploration and develops In addition to the donations supporting the operating costs of the ARTsmart program, we 21st century skills. This contemporary arts education curriculum prepares students for our globally have received over $100,000 in scholarship assistance for LMU ARTsmart mentors. These competitive work force by developing the abilities to innovate, communicate, and collaborate. They also scholarships allow them to develop their academic, humanistic, and artistic capacities on the learn problem solving, critical and creative thinking, facility in dealing with ambiguity and complexity, way to becoming leaders in their communities. integration of multiple skill sets, and the ability to perform cross-disciplinary work. Lessons also provide opportunities for students to reach their full potential, focusing on transformative experiences, Donor support ensures that LMU can continue to educate ethical, talented, and deserving empowerment, and what it mean to be a citizen and a healthy person in today’s global world. students for generations to come. Your generosity, regardless of the size of your gift, will help LMU continue to provide art education to the underserved children in our community. If you are interested in supporting ARTsmart, please contact Tara Flynn Frates, director of development for CFA, at 310.338.3093 OR tfrates@lmu.edu. You may also support ARTsmart by making an online contribution at http://go.lmu.edu/cfa. ARTsmart Partner School: Westside Global Awareness K–8 Magnet School In fall 2008 ARTsmart began its partnership with Westside Leadership Magnet, a local K–8 school in the Los Angeles Unified School District. Then, in fall 2010, the school was renamed Westside Global Awareness K–8 Magnet, focusing on government/politics, science, and environment/ecosystems. Westside has become a strong partner, given its focus on developing leadership skills while promoting academic excellence and social justice. Approximately 80% of the families enrolled at Westside live below the poverty level, and its students are from diverse backgrounds. In a short time, ARTsmart has made an in-depth contribution to Westside students by providing thoughtfully developed standards-based arts education as well as ongoing mentoring services and support.Thursday, November 15, 2012
  • 44. The following is a typical mailer piece that I created for Santa Monica Infiniti in order to reach out to customers or other dealerships.Thursday, November 15, 2012
  • 45. Thursday, November 15, 2012
  • 46. In working with Homeboy Industries, an organization that rehabilitates gang members and prisoners to release them back into the working world, I created an advertisement that was sent out in the newspaper. I let the circles be the source of color to focus the piece on the individuals themselves and the work that they were doing in order to familiarize the viewers with what occurs at the organization.Thursday, November 15, 2012
  • 47. Want To Help? Make a donation online Have lunch at the Homegirl Café Buy your bread at Homeboy Bakery Order silkscreened clothing from our workshop Purchase fresh products from our farmers market Have your next event catered by Homegirl Catering Contact Homeboy and find out how you can help Homeboy Industries is a nationally recognized successful gang-intervention program that has provided jobs and free support services to former gang members and at-risk youth from more than half of the 1,100 known gangs in Los Angeles County. Homeboy businesses, including Homeboy Bakery as well as Homegirl Café, offer hands-on training and experience in a safe work environment. The program also offers mental health counseling, legal Celebrate Homboy’s 24 years of service services, education, job counseling and this year by supporting one of our six tattoo removal services, which offer hope business. We are fully equipped with a and opportunity to participants. Homeboy bakery, silkscreen and embroidery workshop, currently has a line of products in retail farmers market, café and catering services, grocery stores including delicious chips diner and lastly, storefront merchandise for and mouthwatering salsa. With your help purchase. Through utilizing these services Homeboy can continue to change lives and you will be doing your role in helping keep improve upon our community. Homeboy Industries doors open. www.HomeboyIndustries.com 323.526.1254Thursday, November 15, 2012
  • 48. My interests do not solely lie in graphic design, I also create physical objects as well; the following was created by attaching a toy motor to LED lights and affixing it to cut up, inverted and reattached traffic cones. It can either be viewed from a distance or close up as the inside and outside are equally interesting. It can be held in the viewer’s hands and moved to create different patterns of light on the walls. I created it as a piece that would involve human interaction as the more the viewer plays with it, the more interesting the light cast on the walls becomes.Thursday, November 15, 2012
  • 49. Thursday, November 15, 2012
  • 50. The final slides are a look at a data- visualization that I made that tracks the amount of incoming and outgoing text messages I had with a friend during a three-week period. This was created in lieu of the phenomenon of compulsive texting, and how people have become addicted to texting one another regardless of what they are doing. The visualization breaks down the texts day by day, then compiles them week by week, and lastly compiles all text messages as a whole.Thursday, November 15, 2012
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  • 53. Thursday, November 15, 2012