Kate Dembowski

This project allowed me to design conceptual work that represents a famous figure from a surrealist perspective. The assignment was to choose a famous person and conduct a vast amount of research. I chose to research Marilyn Monroe and conducted in-depth research about her lifestyle and the way she was seen within American pop culture. After conducting this research, I was instructed to design a series of twelve two-sided cards that represent a variety of topics and analogies created about Marilyn Monroe.  I chose to create a series of handwritten, vintage postcards to represent the lack of stability and various ideas that Monroe was constantly striving for, but never quite reached. Each of these postcards contains a personal, handwritten message about the analogy presented within each card. The imagery is composed from a series of halftoned images that aim to represent an emotional disconnect between Monroe’s portrayed self and her actual self. The mail stamps on the back of the cards overlap with Monroe’s personal postage stamps to represent a metaphorical mask she often wore to preserve her image across the media. The color palette was chosen after deriving important imagery from a mood board of ideas that represent Marilyn Monroe’s essence, and the colors I chose aim to represent feelings she had of love, happiness, instability, depression, and passion. Overall, I was able to create a successful system of designed cards that serve a meaningful purpose of displaying analogies.

The goal of this project was to create a successful layout design for John Maeda’s book, The Laws of Simplicity. I was instructed to select one singular font at random from a list and was given the font Futura PT to work with. I initially became inspired by the geometric features highlighted within the Futura PT typeface. In addition to this, I was fascinated by the series of graphics within The Laws of Simplicity that I was required to incorporate into my design. I aimed to create a powerful juxtaposition between thin and bold type, an unconventional yet functional read path pattern, and show a new perspective on the use of graphic art by allowing the graphics to bleed off the page.   To start this process, I created a master page document with a universal grid to organize the different typographic elements. The book is organized into a series of ten chapters, one representing each law. These laws are designed to be distinct from one another with the use of a black page and white text, as seen below. I continued this process while allowing myself to explore a sense of playfulness while adhering to a typographic system within my design. The final book measures at 8” x 10” and is printed and bound with a length of 88 pages in 44 spreads. I chose a pale green paper stock for the front and back covers to represent a sense of simplicity within nature, as well as the peacefulness and grounding aspects of simplicity within our daily lives.  

For this project, I created a title sequence of an important part of my morning routine. I chose to explore a theme of mindfulness and wanted to represent the physical and psychological aspects of a morning meditation. To do this, I effectively shot my own photo and video footage and presented it in a manner that highlights the change my energy while I meditate. I incorporated handwritten typography with motion into my sequence to help viewers understand that it is a more personal piece, and that I am passionate about this part of my morning routine.  

This project was intended to expand my knowledge on the concept of semiotics in design, as well as demonstrate an adequate balance between typography and photography. To start this project, I was instructed to select a sentimental object that could be photographed in black and white. I decided to choose my clarinet because I have a vast history in music, marching band, and expression related to playing clarinet. I conducted hours of research and connected a series of ideas to one another using several mind maps on subjects involving the clarinet.   Once my information was documented and categorized, the next step was to take an incredibly deep dive into the photographic qualities of my clarinet. I was able to successfully create a variety of professional-grade photos throughout my explorations using dynamic lighting, props, angle experimentation, and macrophotography. I worked in several sizes to create versatility and visual hierarchy within my designs. Lastly, I successfully integrated typography into my designs by using handwritten words and phrases to show the personal connections and expressive qualities tied to my clarinet. The juxtaposition of image and typography work together to successfully create a system of meaningful designs that show the expressive spirit of my clarinet.

This project allowed me to explore the subject of designing for the user interface and experience. I was asked to choose a relevant news article and design a website prototype that successfully presented the issues in the news article. After careful research, I selected an article about the state of California aiming to discontinue gas-powered cars by 2035. I felt it was important to highlight and present this information because of the ongoing global warming, pollution, and traffic problems seen in the densely populated areas of California.   I addressed this issue carefully by creating an interactive home page with several options to learn about the state’s legislation, shop for electric cars, and shop for hybrid or gas-powered cars. I used a standard grid and took much of my inspiration from electricity itself, which is seen throughout the pages using animated lightning bolts, a bright and simple color palette, and a black background across all of my pages. These qualities allowed my work to become unified within an easily navigated web system that effectively presents information.

The outcome of this project was to create a typographic system and book design for Ellen Lupton’s essay Thinking with Type. I was assigned the two typefaces Acumin Pro and Curve to create my book with. After careful analysis and consideration, I created a versatile grid that allowed me to organize text in juxtaposition with the typographic images. This 20-page book was carefully designed with the use of grids, typographic color and texture, as well as deliberate image placement.   My images and inspiration are derived from geometry and right angles. The stark contrast in a bolded Curve typeface and a light Acumin Pro typeface intersecting created a dynamic relationship between body text and pull quotes. I was initially very drawn to more natural images due to my love of natural and fluid design, but quickly became interested in a more high-contrast aesthetic. Several images with bolded or playful typography are seen throughout this book, as well as a few subtler images to create a dynamic juxtaposition. Throughout this project, I was able to express my playful ideas while following guidelines effectively.