Graphic Design Portfolio of

BriefThe design for this publication is to create a magazine around the chosen lifestyle theme, ‘The Source’. This topic would focus on the target audience of 18-25 year old people and making it appeal for them to read.

ConceptThe Source publication was a project where the class were treated as a design studio. I was assign as an extra content manager in which my task were to develop the layouts of the editorial, user guide, extra data gallery and about us sections. It also required myself to be in charge of any other extra content that would be require throughout the development process such as retrieving content that would be required and designing illustrations for the sections. The final product of this issue is an interactive ipad publication.

Lifestyle Magazine Publication

Transhuman

BriefThe design for this illustrative poster will convey to the message to the target audience that there is something more to the Western areas then its typical recognised by it’s stereotypes.

ConceptThe client required from the students of the Rabbit Hole studio to creatively explore the ‘Westies’ label into a positive light. The concept development for this design is based on deconstructing and exploring the stigma of the term of Westies. With the stereotypes found I used to promote the area of Western Sydney as something more then just what it portray through the media. As a place to be rediscovered to find its true colours.

Explore: West Exhibition

True Colours

Nepean, Westmead, Blacktown; Mt Druitt Hospitals

02 9881 7752

wslhd-fmu@health.nsw.gov.au

ForensicMedicalUnit

DOMESTIC VIOLENCE & SEXUAL ASSAULT

Forensic Medical Unit is a team of doctors and nurses who help victims of sexual assault or domestic violence. We provide a free and confidential service that can document and interpret physical injuries before evidence is lost, allowing patients time to decide on a course of action.

RECOGNISEIf you are a victim of sexual assault or injury inflicted by your partner, ex-partner, immediate family member or blood relative where there is a power imbalance, contact us for help.

RECORDWe will organize a time for you to attend our clinic and if you wish, document your injuries on diagrams or photograph your injuries.

REPORTWe can also prepare an ‘expert certificate’ for police or court, and appear in court if required. However, we will not release documents to anybody without your permission.

Phone 9881 7752 any time, and we will respond during our service hours 8.30am-5pm Mon-Fri.

Need to talk? Contact Domestic Violence Advice Line (02) 8745 6999 or Lifeline 131 114.

DOMESTIC VIOLENCE & SEXUAL ASSAULT

Forensic Medical Unit is a team of doctors and nurses who help victims of sexual assault or domestic violence. We provide a free and confidential service that can document and interpret physical injuries before evidence is lost, allowing patients time to decide on a course of action.

RECOGNISEIf you are a victim of sexual assault or injury inflicted by your partner, ex-partner, immediate family member or blood relative where there is a power imbalance, contact us for help.

RECORDWe will organize a time for you to attend our clinic and if you wish, document your injuries on diagrams or photograph your injuries.

REPORTWe can also prepare an ‘expert certificate’ for police or court, and appear in court if required. However, we will not release documents to anybody without your permission.

Phone 9881 7752 any time, and we will respond during our service hours 8.30am-5pm Mon-Fri.

Need to talk? Contact Domestic Violence Advice Line (02) 8745 6999 or Lifeline 131 114.

ForensicMedicalUnit

Domestic Violence Get Help Now.

ForensicMedical

Unit

Forensic Medical Unit is a team of doctors and nurses who help victims of domestic violence. We provide a free and confidential service that can document and interpret physical injuries before evidence is lost, allowing patients time to decide on a course of action.

If you are a victim of injury inflicted by your partner, ex-partner, immediate family member or blood relative where there is a power imbalance, contact us for help.

Phone 9881 7752 any time, and we will respond during our service hours 8.30am-5pm Mon-Fri.

It’s NEVER your fault.Domestic violence is a crime, and there is help available.

Crisis (24 hour services) Police 000 Domestic Violence Line 1800 65 64 63 Rape Crisis 1800 42 40 17 Lifeline 131 114 Interpreter Service 131 450Legal Law Access 1300 888 259 Domestic Violence Advocacy Service 8745 6999Child Protection Child Protection Helpline (24 hrs) 132 111 Child Abuse Prevention Service 1800 688 009Support/Counselling Women’s & Girl’s Health Centre 9831 2070 Immigrant Women’s Speakout 9635 8022 Domestic Violence Advice Line 8745 6999Community Health Centres Blacktown 9881 8700 Doonside 9881 8650 Mt Druitt 9881 1200 Sexual Assault Service 9881 8700

BriefThe design concept for this visual branding for the client is that it should be raise the awareness of what this unit does to the staff and patients with the hospital system and to the police which are their main referrers.

ConceptThe Forensic Medical Unit came to the Rabbit Hole studio with a need of their visual identity to be updated. Working together with a student within the Rabbit Hole this design pitch was develop through the concept of the symbolic medical use of the dandelion. It’s main message for this design would be to invite a warm and friendly atmosphere. The items that were designed for the client was the logo for the unit, the business card, flyers and the posters that would inform the patients and future visitors.

Visual Identity Branding

Forensic Unit

BriefThe criteria for these designs is to create visually appealing products that would appeal and relate to the students at University of Western Sydney. This is so that the client would be able to sell these designs in their stores on campus.

ConceptThe UWS Connect client’s situation was that they were in need of branded products that would reflect the university but that isn’t an uniform. Working within a small team in the studio the design concept were based on popular culture and student life. The pitch that was designed based on making these design relatable to the students while having the illustrations visual appealing as marketable shirt design. All the illustrations that I’d designed are center around student life at university that are exaggerated to be amusing and eye catching.

UWS Connect Shops

Shirt Designs

BriefThis project is to design and illustrate a book cover for the client for the Giovane Holden Literacy Prize of 2014. ConceptThe client from the publishing house required a new cover spread for their eight edition of this book which would contain the literacy content from their finalists. The design of this project is based from the inspiration from the publishing house’s name which is related towards the work of J.D Salinger’s The Catcher in the Rye.

Book Cover Design

Premio Letterario Giovane Holden

Page Page20 21

G

wont'

readt h i s

robablyd

raphic

By Mr Keedy

But

esigners

. . .

. . .

This essay was first published in 1993 in the book Emigre: Graphic Design into the Digital Realm.

How do you write about a magazine that has had a tremendous impact on graphic design, but very few graphic designers have actually read it? When designers ask if you have seen the latest issue of Emigre, that’s exactly what they mean, have you seen it. When asked if they have read Emigre, the response is usually “I haven’t had time to get to it yet,” (how long does it take?), or “It’s too hard to read” - a curious excuse coming from someone who is presumably “visually literate.” The illiterate graphic designer has become an unfortunate stereotype (like wearing all black and being overworked and under-valued [stop whining]). I don’t think it’s true that designers don’t read, it’s just that they don’t read about design. Most design essays stink (I hope this is an exception). Design essays are usually written by some hack who wrote about lawn care products last week, or designers who haven’t worked in so many years that they can’t remember where they put their waxers, press-type, and T-squares. Emigre is written for, by, and about graphic designers, like a mirror that presents designers in their own words, “warts and all.” Unlike most design magazines with slick production values that frame designers in glamorous and uncritical fashion, Emigre has never had the luxury of beautifully printed, full-color

reproductions and professional journalists and editors. What the magazine lacks in refinement, it makes up for in being relevant. This is due to Rudy VanderLans’s genuine passion for new and interesting developments in design. Rudy’s point of view is not the only factor in the editorial and curatorial bias of the magazine. There are whole issues and many sections of the magazine that are determined by a guest editor/designer. This guarantees that the design and content fully embrace the subject. Rudy often functions as an editor/art director, carefully orchestrating the talents of many different designers (why don’t other design magazines try this?). Speaking as one of the many contributors to Emigre, I think it’s Rudy’s contagious enthusiasm for others that compels one to go beyond pure egoism and try to do something of relevance for your fellow Emigre readers, I mean lookers. Past contributors have been from America, Great Britain, Holland, Switzerland, and Germany and have included design schools and educators (something American design magazines have little interest in). Most of the contributors are not “rebellious kids” right out of design school but are more typically mid-career professionals struggling to sustain an interesting practice. Critics and proponents of Emigre often cite the “wildness”

or lack of restraint in the magazine, but Emigre only appears “wild” in the context of the mostly vapid design magazines that preceded it. The exaggerated claims of “wildness” marginalize its important role as an outlet for exciting new ideas. Ideas that are routinely ignored or completely misunderstood by the mainstream design press. The fact is, the most original ideas and intelligent work in graphic design today first appear in Emigre. One thing that most clearly established Emigre as an “original” was its typefaces. New computer software like Fontographer made it possible for anyone (with a lot of time and patience) to create a typeface. Zuzana Licko, Rudy’s wife and partner, designed typefaces like Oakland, Modula and Matrix that put Emigre at the forefront of the new “independent” font companies. At a time when most type designers were put off by the limitations of the computer and its inability to exactly replicate existing technology, Zuzana was intrigued and inspired by the digital environment, working within limitations as if they were assets.

Because her early bitmapped fonts were of low resolution, and Zuzana likes to design within very strict parameters, her work could be misread as simplistic or crude. Zuzana’s typefaces are, on close inspection, anything but crude. Wether she is working within strict confines of technically inspired forms, like Modula, Citizen or Matrix, or within an equally restrictive conceptual framework like Totally Gothic or Journal, Zuzana’s mastery of a limited pallet is quite elegant. To consider Zuzana Licko’s type design as crude or illegible (non-functional), weird or radical, would be incredible shortsighted and historically ignorant. Her preference for reductivist strategies in form and her expressions of form that follows the functioning of the computer, put her in the category of “classic modernist,” not radical reactionary.

There have been so many different and conflicting opinions expressed in Emigre, that if you think the work is homogeneous you are not looking very closely or reading at all. There are some common concerns, characteristics and even weaknesses that some of the Emigre contributors share, but to lump them all into one “style” is overly simplistic and superficial. Graphic designers are the “scouts” of visual culture, looking ahead of the rest of the pack. Eventually “scouting” can wear you out. That’s why some designers collapse into a “timeless” stasis or retreat back into nostalgia. In this state of exhaustion, we often oversimplify or overlook the obvious. In my varied career as a designer I have been labeled as working in the “New Wave, Cranbrook, Deconstructivist,

Computer, Emigre, and CalArts,” styles. I don’t object to the labeling and categorizing; a vocabulary has to be established to have a meaningful dialogue. What I don’t like is the lack of a critical criteria or context for these “styles” to be discussed with any validity. What you get instead is an uninformed opinion - “I don’t know much about that kind of design (because I don’t bother to read or find out), but I know what I like, and I don’t like that.

It is significant that Emigre magazine is not located in New York city, which has always had a stranglehold on the design press in America. Much of the redundancy and provincialism in design magazines in America is due to the fact that they are all geographically and ideologically located in New York’s modernist dogma. Since the émigré’s from Europe first came to New York and started dictating their modernist ideology to America, New York has proclaimed itself the center of American design. The very idea of a “design capitol” is even more antiquated than an “art capitol” in these post industrial, post modern times. There have been several efforts on the part of “the powers that be,” or perhaps it would be more accurate to say “the powers that were,” to belittle the little magazine with big ideas. Time marches on; their time is past. Emigre’s time is now.

Located on the “other coast” Emigre looks outward and forward, a magazine that ignores boundaries, while other’s vainly try to claim territory. Founded in Berkeley, and later moved to Sacramento, Emigre is more an attitude than the product of a place and could have been located anywhere (except New York). Although Rudy is by nature an “outsider” or émigré himself (emigrating to the U.S. in 1981 from Holland), he has never been actively involved in any of the many design organizations (he even declined an opportunity to join Alliance Graphique International). However, through his magazine, he has established a sizable network of dedicated individuals with diverse ideologies. Emigre is the only truly progressive and pluralistic graphic design magazine that is a locus for a decentralized discourse on design. It is an international meeting place for people interested in exploring and expanding the borders of design practice and theory. The only prerequisite is an interest in new design and an open mind. Intolerance for different ideas is the biggest obstacle in these proscribed and dogmatic times. With the mind-numbingly dull 1970s and 80s behind us, designers are waking up and starting the next millennium. Emigre is documenting where graphic design is going. And it’s going to be interesting.

http://www.emigre.com/Editorial.php?sect=3&id=6

Emigre is written for, by, and about graphic designers, l ike a mirror that presents designers in their own words, "warts and all". “ ”

BriefThis project is to design a layout base on a selected choice of article. This is so that the article itself can influence the design of the spread without the use of illustrations.

ConceptThe A3 spread was designed with the inspiration of the essay article of ‘Graphic Designers probably won’t read this but...’. With the use of colour in the title and its placement would make it the article appealing.

Magazine Article Spread

Graphic Designer

 

 

 

 

BriefTo design a short picture book that is based on a chosen piece of written text such as a short story, poetry, lyrics in which it had to be illustrated for it’s chosen target audience.

ConceptThe text that was chosen for this project is the lyrics of ‘Still Dream’ by Renee Flaming. Each stanza of the lyrics was illustrated based on its key words to create an inspirational dream like adventure. It was a digital illustrated media, printed on to 300gsm gloss A3 paper to create and A4 size book. This inspirational book, target audience is the adults so that they can be immersed within the story and take the words to heart.

Illustrative Narrative Story

Still Dream

 

 

 

 

BriefThe project was to produce an editorial caricature illustration using only the traditional media of black ink with a minimal colour to draw about an Australian political figure.

ConceptThe figure that was chosen for the caricature is Kevin Rudd in which has the most recognised features such as his round head, glasses and his smile. This illustration was done with the use of base sketch of pencil that is outline with black ink onto 250 gsm paper.

Australian Political Illustration

Kevin Rudd

 

 

 

 BriefThis project is the produce an editorial illustration from a recent lifestyle article. In which the illustration had to be limited to the style of that chosen magazine and make the illustration appealing to the target audience.

ConceptThe article that was chosen was base on the issue of digital dating and how to pursue to the next level which is taking it off the screen and into reality.

This illustration is done through the combination of both traditional and digital media. The message that is convey through this is to be aware of how a relationship shouldn’t continue through a screen but in reality with face to face connect so that a connection can be built between them

Lifestyle Editorial Illustration

Digital Dating

 

 

 

 

BriefThis project is to produce an illustrated poster of the alphabet with the topic inspired by a dictionary/encyclopaedia chosen by the student. It is to promote the content of the book in an illustrated design.

ConceptThe chosen book that used for this poster design is ‘The Element Encyclopedia of Magical Creature’. Each of the alphabet design the creatures are inked with black ink and painted with gouache on 250gsm paper. The design of the letter are the silhouettes of the mythical creatures as it position to along side the letter itself.

Alphabet Illustration Poster

Mythical Creature

Email:mishadestinyrose@gmail.com

Mobile No:0421179752

Linkedin:au.linkedin.com/pub/michelle-pantoja/a2/781/181/

The Loop:http://www.theloop.com.au/MishaRPantoja/portfolio

Artblogs:destiny-faithangel.deviantart.commisha-destiny-rose.tumblr.com

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