Digital Design

Creating a set of designs that both look similar, yet distinct can be challeging. I used a small, but intentional color palette to unify the look across the posters, as well as reusing the same simple shapes to increase the unity. However, by changing certain varibles of the colors used and shapes size you can get a distict, yet unified set.

These posters represent (from left to right) the design principles of hierarchy, balance and repetition. I took inspiration from cold-war era propaganda posters. The color scheme is from a 1930s magazine cover.

In my book, being able to research how a certain design should look is as important as being able to design it.

For example: I reseached the Bauhaus Movment in interwar Germany. I learned what the movment was doing and why it was doing it. I then took a look at bauhaus poster designs; paying close attention to the colors and layout. After reseaching the Bauhaus typeface, I was able to carefully produce a poster about bauhaus font that was in the style of a Bauhaus Movment poster.

Harmony and Tetrad derive their names from the color schemes that were used to create them. Harmony uses a harmonous color scheme, and Tetrad uses a tetrad color scheme. These works were created for a fictional jazz quartet.

Self Image is a bit of a double entendre, as it is literally an image of myself, but it’s also a statement on personal self-image and how we see ourselves. I used a variety of brushes to create this expressionist painting of myself with a ghoul in the corner, that may represent the negative aspect of my self-image.

This poster elegantly embraces the Futura typeface, channeling a style that resonates with its original era of development. A true embodiment of its time, the design encapsulates the font's historical essence while effectively conveying its significance to the viewer.