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# Naimi, Samir: Portfolio

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### Naimi, Samir: Portfolio

1. 1. !"#\$%&"\$#\$(! !"#\$%"&"Thursday, November 15, 2012
2. 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. 3. may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hursday, November 15, 2012
4. 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. 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. 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. 7. Thursday, November 15, 2012
8. 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. 9. Thursday, November 15, 2012
10. 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. 11. Thursday, November 15, 2012
12. 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. 13. Thursday, November 15, 2012
14. 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. 15. r Detroit Census Figures Confirm A Grim Desertion Like No OtherThursday, November 15, 2012
16. 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. 17. Thursday, November 15, 2012
18. 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. 19. Thursday, November 15, 2012
20. 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. 21. Thursday, November 15, 2012
22. 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. 23. Thursday, November 15, 2012
24. 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. 25. Thursday, November 15, 2012
26. 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. 27. Friday, September 28, 2012Thursday, November 15, 2012
28. 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. 29. Thursday, November 15, 2012
30. 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. 31. Thursday, November 15, 2012
32. 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. 33. Thursday, November 15, 2012
34. 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. 35. Thursday, November 15, 2012
36. 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. 37. Thursday, November 15, 2012
38. 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. 39. Thursday, November 15, 2012
40. 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. 41. Thursday, November 15, 2012
42. 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