Sonny Nguyen SFMOMA ProcessBook

Poster Project Part 1
ELEMENTS OF DESIGN:
- Shape
- Line
- Value
- Texture
- Color
ART 130 - INTRO TO GRAPHIC DESIGN
- Time (mostly applicable in motion graphics
and interactive design.)
PRINCIPLES OF DESIGN:
CATEGORY 1: UNITY AND VARIETY

- Grouping
- Containment
- Repetition
- Proximity
- Alignment Use this template to present your research and sketches for this project. Make
- Lost & Found sure you include all of the major elements that were required and also make
CATEGORY 2: DEPTH sure that you include as much visual research as possible.
- Linear Perspective
- Atmospheric Perspective
- Overlapping Include images for each part of research, text only will not suffice. SHOW
- Size Variation
- Definition
US examples from the news of the day, photos of the world where they lived
- Location during the time they lived, headlines or images of major social, economic or
CATEGORY 3: VISUAL PACE political news during their life etc
- Pattern
- Movement
- Visual Pace / Rhythm Look at the context, content and the form: CONTEXT is the state of the world
and their specific environment that might have influenced them. These are
CATEGORY 4: BALANCE
- Visual Weight outside influences that we cant necessarily see in their work. CONTENT is
- Gravity
- Symmetrical Balance
what their work contains message-wise. What images and shapes and photos
- Asymmetrical Balance and words and messages did their work contain? FORM is the physical way
CATEGORY 5: SCALE AND PROPORTION
they built the work or the physical form it took. Is it cut paper, lithography, film,
- Scale architecture, photography etc? What makes its form unique? What technology
- Proportion
was available to them when they made their work and how did they use this in
CATEGORY 6: EMPHASIS interesting ways etc.?.
- Focal Point
- Contrast
- Isolation
- Hierarchy
SONNY NGUYEN
1 BY U - IDA H O Art Dept. | w w w.by ui.e du
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POSTER PROJECT PART 1:
What I found to be challenging about this project is abstract thinking. I am
kind of abstract but not really in depth of it. I tend to be forward about what
it is. I am also struggling between coordinating the relativeness between the
between a collage in visual communications and graphic design. I always
thought a collage was just a bunch of pictures put together like family
albums. I learned I like my designs clean with a lot of white space and not
to visually exciting. My abilities in my sketches still is improving, never been
a great drawer is definitely furthering away. I am not good at research at all
always lose myself getting lost or off subject, English was always my worse
subject in school. Things involving essays or research I tend to not
comprehend well. I did receive and read into Noguchis book in the library.
LEARNING SUMMARY:
1. How did the research help your sketching?
It gave me a better connection and helped me get in the artists
perspective, for example Would I make this? Would I like this? Would I be
okay with this?
2. What did you learn by analyzing the artists work? What about the poster
examples pdf?
I learned that this was going to become a challenge because his art is
3D and physical and I am not sure how to fully portray it yet. The poster
examples helped a bit but there were only a few examples, I still felt like a
lacked the basic knowledge of it.
3. What makes your artists work unique?
Noguchi does sculptures instead of graphic design.
4. How old was your artist when they were doing their work?
I believe it is in his mid to late 20s.
5. What do you think about your artist after learning about their background

and more about their work?
I definitely feel like he is a honorable legend to the Japanese Americans
and second generation (nisei) artists. I feel I can also relate to him because
of my background identity confliction and both leaving medical studies to
pursue the art route.
EVERYTHING IS SCULPTURE.. ANY MATERIAL, ANY IDEA
WITHOUT HINDRANCE BORN INTO SPACE, I CONSIDER
SCULPTURE
ISAMU NOGUCHI

BRIEF BIOGRAPHY OF ISAMU NOGUCHI | SONNY NGUYEN
Remember to include both text and images. Organize it how
you see fit. But SHOW US what it looked like in that day.
A timeline of significant events/work is helpful here as well.
Isamu Noguchi (19041988)

1904 He was born in Los Angeles, California, as an illegitimate son to the Japanese poet, Yonejirou
Yone Noguchi, who was living in Japan at the time, and Leonie Gilmour, an American educator,
editor, and journalist.
1906 With his mother, he went to Japan to meet and join Yone and then again separated. He then lived
in Japan with his mother for the next twelve years.
1918 He was sent back to the America, where he took education in Indiana. He graduated from La
Porte High School under the name Sam Gilmour and after he started to study medicine at
Columbia University in New York.
1924 Left Columbia University to concentrate on sculpting.
1927 Won a Guggenheim Fellowship, a grant for those whose demonstrated exceptional capacity. This
allowed him to travel to Paris, where he assisted the sculptor, Constantin Brancusi.
1929 He then returned back to New York. There, he became friends with Buckminster Fuller, author
and designer, and Martha Graham, modern dancer. He helped design a car with Fuller.
1930 Noguchi traveled back to Paris, then to Beijing and Japan for a time duration of two years. He
sought to meet Yone again. They met up only twice during his time in Japan.
1933 His mother, Leonie died.
1935 He began to do stage designs for Martha Graham. Their collaboration continued on for 30 years.
1937 He designed the Zenith Radio Nurse intercom, his first mass-manufactured product,
1941 After the attack on Pearl Harbor, Noguchi campaigned to stop the internment of Japanese
Americans and to prove the loyalty of the Japanese Americans.
1947 - His father, Yonejiro died
1950 Returns to Japan, designed a memorial garden at Keiou University dedicated to Yone.
1951 Noguchi married the Japanese movie star, Yamaguchi Yoshiko. In New York, he then collaborated
with Gordon Bunshaft and designed a garden for Lever House.
1956 Begun to work on a Japanese stone garden for UNESCO headquarters in Paris.
1960 Worked on a sunken garden at Yale and a sculpture garden at the Israel Museum in Jerusalem.
1961 Transformed a factory on Long Island City into a studio and home and further though the years
into the Isamu Noguchi Garden Museum.
1968 Published his autobiography, A Sculptors World. Until his death, Noguchi focused and continued
to work on large-scaled sculptures and sculptural gardens.
1985 Opened up the Isamu Noguchi Garden Museum.
1988 Visited Sapporo for the first time and designed his last project for the design of Moerenuma Park.
Isamu Noguchi passes away in New York at the age of 84.
WE ARE A LANDSCAPE OF ALL WE HAVE SEEN .

ISAMU NOGUCHI
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IMPACT OF SOCIAL CLIMATE ON ISAMU NOGUCHI | SONNY NGUYEN
you see fit. But SHOW US what the social climate looked like
in that day...
Isamu Noguchi struggled with himself to whether or not to declare him-

self a Japanese American. I believe that he as a hafu or half has helped
the role and confidence to the rest of the nisei or second generations.
Surrounded by modernism, anything that enter his life became part of
the influential circle. His style would change according to the trend or
like the trend. For example, when he started working with the dancer
Martha Graham, he developed special sculptures that matched her
modern dance and its appearance of it.
What is happening in the world during this time?
The Russo-Japan war was going on during his birth and childhood.
During is late 20s, the faced the Great Depression and what came along
with the aspect of art.
He also faced the consequences of the attack of Pearl Habor, showing the
WWII happened.
IT IS THE WEIGHT THAT GIVES MEANING TO WEIGHTLESSNESS .

ISAMU NOGUCHI
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HOW THEIR WORK REFLECTED/REACTED TO POLITICAL, SOCIAL & ECONOMIC ISSUES | SONNY NGUYEN
Remember to include both text and images. Organize it how you see fit. But SHOW US by comparing their work to events, other work, past artist work that influenced them etc.
The Japanese attack on Pearl Harbor led and Noguchi was to stapled to
his identity and the convictions it came with. Isamu Noguchi formed the
antifascist group, Nisei Writers and Artists for Democracy, which helped
influence officials to stop the confinement and internment of the Japa-
nese Americans. From his help and influence, many Japanese Americans
lives were overall improved. He eventually came to see what he did for
them and see the Japanese Americans as his people and his on kind.
He has also been involved in the design of the Dymaxion 1933 with
Buckminster Fuller. Although the car, didnt go well, it brought attention
to a new unique style.
Noguchi also designed a piece for the memorial of Benjamin Franklin, it
didnt get recognize until much later.
In New York, he created and displayed one of the most iconic sculpture
pieces of modernism - The Red Cube. With its bold red color, cylindrical
center, and corner-edge balance gives it amazing integument and
interest.
YOU CAN FIND OUT HOW TO DO SOMETHING AND THEN DO IT OR

DO SOMETHING AND THEN FIND OUT WHAT YOU DID .
ISAMU NOGUCHI
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MY THOUGHTS/INSIGHTS ON ISAMU NOGUCHI | SONNY NGUYEN
you see fit. But SHOW US what you think...
I really like his modernism in his projects and design. You can really
notice his transition from his smaller projects into wanting to form big-
ger large-scaled ones. His work is also a great mix of different cultural
styles, from European, to American, and to Japanese and Chinese as well.
I also feel like struggle of his own personal identification is really
expressed in his designs, between his Japanese background and his
American surroundings. I personally feel like I can relate to him from his
struggle of personal identification. Noguchi also has worked extremely
hard for the people of Japan, from playgrounds, gardens, and his final
project in Sapporo; he also made a sculptures for the Japanese
Americans in Little Tokyo.
I AM ALWAYS LOOKING FOR A NEW WAY OF SAYING THE SAME

THING.
ISAMU NOGUCHI

WORK OF ISAMU NOGUCHI | SONNY NGUYEN
AS MUCH AS POSSIBLE!!! REFORMAT AS NECESSARY.
1928 Leda 1929 Buckminster Fuller 1930 Peking Brush Drawing 1931 The Queen
1931 Tsuneko-san 1931 Uncle Takagi 1940 News 1942-43 The World is a Foxhole
1945-65 Cave of the Heart 1947 Noguchi Table 1948 Magic Chef Building Ceiling 1950 Bell Child
WORK OF ISAMU NOGUCHI | SONNY NGUYEN.
1950 Policeman 1950-51 Mu 1950-60 Tea Cups with Saucers 1950-86 Bell Tower
1952 Daruma 1852 Marriage 1952 Mr. One Man 1952 Tiger
1952 Work 1952 Yoshiko-san 1956-58 Landscape of the Cloud 1957 Prismatic Table
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1958 Orpheus 1959-1973 Humpty Dumpty 1960s Akari Light Sculpture 1962 The Cry
1968 Red Cube 1969 Black Sun 1969 Skyviewing Sculpture 1970 Unmei
1972 Twin Sculpture 1973 Sentinel 1976 Intretre 1977 Sky Gate
1979 Playscape 1980-82 California Scenario 1964 Bolt of Lightning 1985 Helix of the Endless
1988 Black Slide Mantra 2005 Moerenuma Park - Aqua Plaza 2005 Moerenuma Park - Cherry Forest 2005 Moerenuma Park - Glass Pyramid
2005 Moerenuma Park - Music Shell 2005 Moerenuma Park - Play Mountain 2005 Moerenuma Park - Tetra Mound
SKETCHES: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF {TYPE PRINCIPLE HERE] | SONNY NGUYEN
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SKETCHES: ISAMU NOGUCHI, ARTIST STYLE/PHILOSOPHY | SONNY NGUYEN
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Illustrator Competency Test
INSTRUCTIONS
You must earn a 100% on this test to receive a passing grade in the class.
You may repeat this test until you answer all questions correctly.
There are several art boards below that contain tasks for you to complete
(18 tasks total).
Please read and follow the directions carefully for each task.
You may look for information on-line to help you complete each task.
Save a PDF file of this document. Make sure to save all the art boards in
your file. Use your full name as the file name. Make sure that the Preserve
Illustrator Editing Capabilities check box is selected in the Save options
and then upload via the Illustrator Competency Test assignment link.
S O N NY N G U YE N A R T 130 | INT R ODUC T I ON TO G R APHI C DESI G N PAGE 01

The Pen Tool
1. Basic Pen Tool forms: 2. Trace the outside of the butterfly shape using the pen tool. Use as few
anchor points as possible. Match your pen tool lines as close to the
a. Create the wave shape below using only 4 anchor points butterfly shape edges as possible. Ignore the dot pattern in the image.
Do not use the livetrace or livepaint tool. Please create a .5pt black
stroke around your pen tool outline.
b. Create the curve below using only 2 anchor points
S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 02

The Scale Tool
3. Select each of the following objects below and enlarge them so they 5. Using the scale tool, scale the pattern within the T-shirt down 25%
fill the box that surrounds them. Have each object touch all four sides without changing the size of the object itself.
of its surrounding box. You do not need to move the objects to
complete this task, simply make them larger.
Down 25%
Or to 25%
4. Using the scale tool, scale the shoe graphic up 300% making sure the
stroke and effects are also scaled with the object.

The Alignment Palette
6. Align the following sets of objects 7. Align the chairs below vertically on a center axis. Distribute the chairs
evenly.
a. Please distribute the objects below so there is equal space between
them without moving the left-most and right-most objects.
b. Please distribute the objects below so they are all perfectly centered
to each other

Checking Spelling and the Eye Dropper Tool
8. Use the tools provided in Adobe Illustrator to check the following 9. Modify the shark artwork below on the right to match the example
paragraph for spelling errors. provided.
Be strong. Live the gospel faithfully even if others

around you don't live it at all. Defend your beliefs with
courtesy and with compassion, but defend them. A Example
long history of inspired voices, including those you
will hear in this conference and the voice you just
heard in the person of President Thomas S. Monson,
point you toward the path of Christian discipleship. It
is a straight path, and it is a narrow path without a
great deal of latitude at some points, but it can be Artwork to modify
thrillingly and successfully traveled, with stead-

fastness in Christ, a perfect brightness of hope, and
a love of God and of all men. In courageously pursu-
ing such a course, you will forge unshakable faith, you 10. Use the eye dropper tool and the type menu to match the text of the
will find bottom line to the example text.
Elder Jeffrey R. Holland T H E QU ICK FOX J U M PE D OV ER T H E L A Z Y DOG

Example
T H E QU ICK FOX J U M PE D OV ER T H E L A Z Y DOG

Artwork to modify

The Type Tool
11. Please use the type tool, paths, and the text provided to recreate the 12. Make the text below look like the sample text by adjusting the size of
two examples below: the font as well as the tracking:
Use the following text:

One of the purposes of mortal life is to prove to God
that we will keep His commandments Example:
Your text: COMMANDMENTS
Example:
One o e is to prov
f th t al lif et
e o r o
pu
Your text: r p oses of m
13. Change the font for the word below to a decorative or display
typeface. Then turn the text to outlines (Hint: this doesnt involve the
Stroke control).
to
to prove God tha
s tw
ei
l lif
ew
poses of morta
ill ke
ep His Comm
pur
an
e
th
me
of nts
One
Example: Your text:

Clipping Masks and Outlining Type
14. Use the chair artwork below to create a clipping mask over the photo 15. Type the word HELP in all caps using a bold sanserif typeface like
of the wood grain. Helvetica Bold or Avenir Bold. Set the text at 200 pts and the create
outlines. Select the outlined text and create a compound path and
then use the text to mask the image below you should create some-
thing like the image below when you are done:
When you are finished, your image should look something like this:
(Hint: Create a Compound Path before making a mask)
Please use the image below for this task:

The Layers Palette
16.The car artwork below sits on a layer labeled The Car. Below that is a The wheel rims look like this:
layer labeled Wheel Rims that contains the wheel rim artwork for the
car. Please move the wheel rims from the Wheel Rims layer to the
Target Wheel Rim layer above the car layer without moving their
position or x, y coordinates. (Hint: use the layers panel to do this.)

The Color Palette, Swatches Palette, and Blending Modes
17. Follow the steps to replicate the shapes below. 18.Using the eye dropper tool, color each of the six squares a color from
the photo provided. Then make six new color swatches from the colors
a. Use the rotate tool to copy this circle so that you have 3 perfectly that you have just selected. Put these swatches into a new color group
overlapping circles. Make one circle 100% cyan, make another 100% labeled paint bucket in the Swatches Palette.
One of the purposes of mortal life is to prove to God that we will keep His commandments
magenta and leave the original at 100% yellow.
Begin with this circle Place your circles here
b. Now, move a copy of that set of circles here and change the blending
mode to multiply. You should end up with something that looks like
the example below:
End with circles that look like this Place your circles here Your swatches

ELEMENTS OF DESIGN:
- Shape
- Line
- Value
- Texture
- Color

- Grouping
- Containment
- Repetition
- Proximity
- Alignment Use this template to present your additional research, sketches, experiments,
- Lost & Found and font choices for this project. Make sure you include all of the major
CATEGORY 2: DEPTH elements that were required and also make sure that you include as much
visual research as possible.
- Overlapping
- Size Variation
- Definition
Include images as many images as you can. Feel free to duplicate pages or go
- Location above and beyond where appropriate and relevant to your project.
CATEGORY 3: VISUAL PACE
- Pattern All phases this week are important, but special emphasis can be placed on
- Movement
- Visual Pace / Rhythm sketching and experiments. Think of the building the insect/reptile with random
things collected from around your home. What can you experiment with
CATEGORY 4: BALANCE
- Visual Weight visually that will relate to each of the different poster types you are required to
- Gravity
make for this exhibit at the SFMOMA?
- Asymmetrical Balance

- Scale
- Proportion SONNY NGUYEN
CATEGORY 6: EMPHASIS
- Focal Point
- Contrast
- Isolation
- Hierarchy

During this phrase, I felt that choosing just one theme for all of the posters
was quite impossible. I was able to get a theme for each individual poster,
but eventually I need to pick one theme to work on. I also struggled with
photography poster. I dont really have an imagination that helps me create
things that are realistic. I still a little clueless of what to really do for my pho-
tography poster. I am only good and research to what I have to begin with. I
have a book of him for research but to create something from something like
plus a targeted theme, I think I lose track of what to search for. My current
weakness is making my ideas real and not just pull a crazy one out of the
hat. My current strength is laying out things. I can having a good time think-
ing where should text and type should go.
LEARNING SUMMARY:
1. How did the research help your sketching?
Well, I had a theme I was going for and it was giving better angles or posi-
tions of certain design Noguchi created, so I do have create to same one
over and over again, but I think I might drop that for the theme I am going for.
2. What did you learn through your visual experiments?
That is hard to make something out of random items. Getting supplies was
also kind of hard to fit in my schedule.
3. What makes your artists work unique?
Noguchi created statues and gardens instead actual drawings or paintings.
5. What did you learn about fonts as you really looked closely at them and
why they are relevant to your artist?
I was looking towards something Japanese feel and something ambiguous
that worked well for both Japanese characters and the English alphabet
because of his citizenship influence. I also looked into fonts that had bulkier
and one that were really fine to work with my light and heavy theme.

ADDITIONAL RESEARCH FOR [ISAMU NOGUCHI] | SONNY NGUYEN
Remember to include both text and images. Organize your
findings and try to make sense of what you are finding.
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SKETCHES: [ISAMU NOGUCHI], EMPHASIS ON PRINCIPLE OF {T YPE PRINCIPLE HERE] | SONNY NGUYEN
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SKETCHES: ISAMU NOGUCHI, ARTIST ST YLE/PHILOSOPHY | SONNY NGUYEN
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SKETCHES: ISAMU NOGUCHI, MY VISUAL CONCEPT/PERSPECTIVE | SONNY NGUYEN

VISUAL EXPERIMENTS [ISAMU NOGUCHI], PRINCIPLE OF {T YPE PRINCIPLE HERE] | SONNY NGUYEN
Show your process here too... photos of you making the thing
would help if possible.
PROCESS WORK HERE
FINAL EXPERIMENT
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VISUAL EXPERIMENTS [ISAMU NOGUCHI], ARTIST ST YLE/PHILOSOPHY | SONNY NGUYEN
PROCESS WORK HERE
FINAL EXPERIMENT
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VISUAL EXPERIMENTS: ISAMU NOGUCHI, MY VISUAL CONCEPT/PERSPECTIVE | SONNY NGUYEN
PROCESS WORK HERE
FINAL EXPERIMENT
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FONT SELECTIONS | SONNY NGUYEN
VISUAL EXAMPLES OF T YPE FROM ARTIST
OPTION 1:
FONT FOR DESIGN PRINCIPLE POSTER
ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [nagayama kai]
[KouzanBrushFontGyousyoOTF ]
abcdefghijklmnopqrstuvwxyz !@#$%^&*
OPTION 2:
ABCDEFGH
ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [Hiragino Kaku Gothic StdN] abcdefghij
OPTION 3: FONT FOR ARTIST STYLE POSTER
ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [Keifont ] [pigmo]
ABCDEFGH
OPTION 4:
ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [KouzanBrushFontGyousyoOTF ]
abcdefghij
FONT FOR MY VISUAL CONCEPT/
OPTION 5: PERSPECTIVE
[HatsuyumeScape ] [HatsuyumeScape]
!@#$%^&*
OPTION 6 :
ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [pigmo ]
abcdefghijklmnopqrstuvwxyz !@ #$%^&*
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FONT SELECTION LEARNING
SUMMARY:
I really felt he was really into Japanese styles because when he signed his
designs he signed in Japanese and for the rest he doesnt really use typog-
raphy in his design at all. Other artists represent him and his design with
decorative fonts that are not subject to the normal or organized.
LEARNING SUMMARY:
I looked through many various fonts.
After trying them all in another document of just Isamu Noguchis name
over and over, I tried to limit down to the 6, but still have other ones in
mind in case they dont really work well.
I didnt really sketch my fonts. I drew the design and left space to see
what could work or not.
After looking at the results, I do like some of the fonts I selected for the
visual experiments, it could always be better.

Module 10
If you want to be as good as [Paul] Rand,
dont look at Rand; look at what Rand looks
at.
Helmut Krone
YOUR NAME
Sonny Nguyen ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 1

AC T I V I T Y | A D O B E PH OTO S H O P: FI L E R E S O LU T I O N PA R T 01
Directions:
1. Open the m10_activity_01_resolution_small
file in Adobe Photoshop.
2. Access the Image Size pop-up window by
navigating to Image > Image Size in the drop-
down menus above.
Directions: 3. Check to make sure the Width and Height

fields are linked together (there should be a
1. Select View > Display Performance > High small dark gray link icon to the left of these
Quality Display from the drop-down menus fields).
above
4. Check to make sure the Resample check box is
2. Place the m10_activity_01_resolution_large checked.
file inside this image frame.
5. Type 5.94 in the Height field (the Width field
Note: This image is a high resolution image (300 pixels per inch) should automatically change to 4.475 inches).
built to the size of this image frame.
6. Save your photoshop file.
7. Place your modified m10_activity_01_
resolution_small file inside this image frame.
8. Select this frame with the Selection Tool and
then select Object > Fitting > Fit Content
Proportionately from the drop-down menus
above.
Place the m10_activity_01_resolution_large.psd file in the image frame above. Place the m10_activity_01_resolution_small.psd file in the image frame above.
YOUR NAME
AC T I V I T Y | A D O B E PH OTO S H O P: FI L E R E S O LU T I O N PA R T 02
After completing the activity on the

previous page describe what you have
learned about image resolution:
What is a pixel?
A square or rectangle of color or part of an image that is
the unit that is what images are usaully comprised of.
What does pixels per inch (ppi) mean?

It means for every inch there is a series of numbers of
pixels that lies within it.
How is the image of the camera on the right different

from the image of the camera on the left (Note:
both images began as the same original digital
photograph)?
The picture of right has less pixels in some much after
enlarging it, those pixels become more visiible and
noticiable.
What happens to an image when you scale it up

(increase the number of pixels per inch or increase
the size of the file using the same number of pixels
per inch) from its original image resolution?
It increases te size of files using the same number of
pixels per inch from its original image resolution.
YOUR NAME

AC T I V I T Y | A D O B E PH OTO S H O P: L AY E R S PA L E T T E
Directions:
1. Open the m10_activity_03_resolution_small file in
Adobe Photoshop.
2. Access the Layers palette for this file. You may
need to access the Layers palette by navigating to
Windows > Layers from the drop-down menus.
3. Rearrange the layers for this file so that Layer 0 is on
the bottom, Layer 1 above it, Layer 2 above it, and
Layer 3 as the top layer
5. Place your modified m10_activity_03_layers file
inside the image frame on the left.
Proportionately from the drop-down menus above.
Place the m10_activity_03_layers.psd file in the image frame above.
Sonny Nguyen
YOUR NAME ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 4
AC T I V I T Y | A D O B E PH OTO S H O P: A DJ U S T M E N T L AY E R S
Directions:
1. Open the m10_activity_04_
adjustment_layers file in Adobe
Photoshop.
2. Access both the Layers palette and the
Adjustments palette for this file.
3. Add a Curves Adjustment Layer to this
file and set new black and white points
for the file.
4. Further adjust the curve for this file
to add more darks at the low end and
more lights at the high end.
5. Add a Hue and Saturation Adjustment
Layer to the file and use the Master
adjustment slider to eliminate the
green tint to the image.
7. Place your modified m10_activity_04_
adjustment_layers file inside this
image frame.
8. Select this frame with the Selection
Tool and then select Object > Fitting
> Fit Content Proportionately from the
drop-down menus above.
The m10_activity_04_adjustment_layers.psd file before layer adjustments are made. Place your modified m10_activity_04_adjustment_layers.psd file in the image frame above.
Sonny Nguyen

AC T I V I T Y | A D O B E PH OTO S H O P: L AY E R M A S K S
Directions:
1. Open the m10_activity_05_layer_masks file in
Adobe Photoshop.
2. Access the Layers palette for this file.
3. Select the layer that contains the image of the letter
a on a wood grain background.
4. Add a layer mask to that file and mask out the
wood grain background of the image.
6. Place your modified m10_activity_05_layer_masks
file inside the image frame on the left.
Proportionately from the drop-down menus above.
Place the m10_activity_05_layer_masks.psd file in the image frame above.
Sonny Nguyen

ELEMENTS OF DESIGN:
- Shape
- Line
- Value
- Texture
- Color

- Grouping
- Containment
- Repetition
- Proximity
- Alignment Use this template to present 2 more visual experiments, along with 2 digital
- Lost & Found versions for each poster direction.
CATEGORY 2: DEPTH
Include the sketch you based your digital version on for reference as well as a
- Overlapping few typographic references next to your poster comp. You should be creating
- Size Variation
- Definition
your posters in Illustrator at this point and at full size (11 x 17). You will place the
- Location illustrator file in this document the same way you would a photo. You will shrink
CATEGORY 3: VISUAL PACE the image to fit without distorting or stretching the image in any way (you
- Pattern should scale it proportionally).
- Movement
- Visual Pace / Rhythm
If you havent taken the previous parts of this assignment seriously, it will
CATEGORY 4: BALANCE
- Visual Weight become painfully obvious at this point. Good research, sketching and
- Gravity
experiments lead to good poster comps. Double check that all required
- Asymmetrical Balance information is included in your poster comps.
- Scale
- Proportion
CATEGORY 6: EMPHASIS SONNY NGUYEN

- Focal Point
- Contrast
- Isolation
- Hierarchy

The challenging about this project is that this project uses things that arent
just makable in the illustrator. We are using a images and experiments to cre-
ate it, which is hard to make things to look correct or not or realistic or not.
I am still trying to work on how to represent Noguchis style. Sometimes I
believe I got his style, but then I think I lost it. Executing my ideas, not so
great, I tend to find little random spurts of inspiration in the middle of creating
them, not that grand. Method of creating my images icludes taking photos,
creating images through illustrators from photos. With my idea of weight and
light, my method has to be through the computer because things would tend
to get crushed or destroyed because of weight issues. I would still want to
use Real Japanese typefaces but it hard to see which one is more modern
to fit him exactly.
LEARNING SUMMARY:
Write a summary of learning in this area. Simply replace this description with
your own summary of what you learned about the principles as you complet-
ed this assignment. You may find it helpful to answer the following questions
in your learning summary:
1. How did the experiments help you think through your poster ideas?
They helped me see what I can possibly use for the poster that is capable
and what isnt. There is a lot I can not do yet. It does however give me inspi-
ration to work with editing the image to make it look real.
2. What limitations does the computer present?
There isnt much limitations with the computer, but limitations of my own abil-
ity with the computer programs. I cant recreate my stetches into digital form
to be exactly how I wanted it to be.
3. What typographic details did you pickup on from your research?
I was mostly looking over the classic modernism fonts such as futura, hel-
vetica, and avenir. For other others I looked specifically for Japanese ones
and shape like ones, but some just didnt work out well.
5. What have you learned by looking at the work from your classmates?
I learned that everyone thinks of different concepts and are innovative for
other styles. Some can do theres much faster and better quality (well opi-
nonated of course), but I know we are all learning at similar rates from this
project.

VISUAL EXPERIMENT 2: ISAMU NOGUCHI | SONNY NGUYEN
November 3 - December 31 San Francisco Museum of Modern Art

Artist Reception on Saturday, November 3, 6-9pm 151 Third Street (between Mission and Howard Streets)
RSVP for reception to 800 235 8456 or exhibits@sfmoma.com San Francisco, CA 94103
NOGUCHI Light and Heavy

PROCESS WORK HERE
FINAL EXPERIMENT


PROCESS WORK HERE
FINAL EXPERIMENT

ADDITIONAL SKETCHING AS NEEDED FOR ISAMU NOGUCHI | SONNY NGUYEN
5 43 BY UBYU
- IDA- IDAHO
Dept. w w.by
w w. byui.e
ui.e dudu
DIGITAL COMP: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF {TYPE PRINCIPLE HERE] | SONNY NGUYEN
Digital Poster 1 Typographic Style/Treatment Reference

Sketch the comp was based upon
NOGUCHI
Light and Heavy
6 44 BY U -BYU
IDA- H
IDAHO
O Art Art Dept.
Dept. | w| www.by
w w. byui.e
ui.e dudu
DIGITAL COMP: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF {TYPE PRINCIPLE HERE] | SONNY NGUYEN
November 3 - December 31
Artist Reception on Saturday, November 3, 6-9pm
RSVP for reception to 800 235 8456 or exhibits@sfmoma.com
San Francisco Museum of Modern Art

151 Third Street (between Mission and Howard Streets)
San Francisco, CA 94103
Light and Heavy Sketch the comp was based upon
NOGUCHI
7 45 BY UBYU - IDAHO
- IDA H O ArtArt Dept.| | wwwww.by
Dept. w. byui.e du
ui.e du
DIGITAL COMP: ISAMU NOGUCHI, ARTIST STYLE/PHILOSOPHY | SONNY NGUYEN

Light and Heavy

8 46 BY U -BYU O Art Dept.

IDA-HIDAHO | w| www.by
Art Dept. w w. ui.e du du
byui.e

I S A MU

DIGITAL COMP: ISAMU NOGUCHI, MY VISUAL CONCEPT/PERSPECTIVE | SONNY NGUYEN


DIGITAL COMP: ISAMU NOGUCHI, MY VISUAL CONCEPT/PERSPECTIVE | SONNY NGUYEN

11 49 BY U - BYU
IDA H O Art Dept.
- IDAHO | w|ww
Art Dept. w.by
w w.ui.e du du
byui.e
ELEMENTS OF DESIGN:
- Shape
- Line
- Value
- Texture
- Color

- Grouping
- Containment
- Repetition
- Proximity
- Alignment Use this template to present 2 more visual experiments, along with 2 digital
- Lost & Found versions for each poster direction.
CATEGORY 2: DEPTH
Include the sketch you based your digital version on for reference as well as a
- Overlapping few typographic references next to your poster comp. You should be creating
- Size Variation
- Definition
your posters in Illustrator at this point and at full size (11 x 17). You will place the
- Location illustrator file in this document the same way you would a photo. You will shrink
CATEGORY 3: VISUAL PACE the image to fit without distorting or stretching the image in any way (you
- Pattern should scale it proportionally).
- Movement
- Visual Pace / Rhythm
If you havent taken the previous parts of this assignment seriously, it will
CATEGORY 4: BALANCE
- Visual Weight become painfully obvious at this point. Good research, sketching and
- Gravity
experiments lead to good poster comps. Double check that all required
- Asymmetrical Balance information is included in your poster comps.
- Scale
- Proportion
CATEGORY 6: EMPHASIS SONNY NGUYEN

- Focal Point
- Contrast
- Isolation
- Hierarchy

I am currently going back and forth between Japanese fonts and modern
fonts because of the only thing he wrote was in Japanese but his style was
f course modern. I am limited to resources, although I can easily go online
and take pictures, but I try to find free sources of take them myself. I started
using simple original ideas and try mentally create my own deisgn virtually fior
inspiration. After looking at the typhography I am fairly content with my type,
it isnt to wild as before. I learn to make it look clean ans possible as I can.
LEARNING SUMMARY:
1. How did the experiments help you think through your poster ideas?
The experiments really gave me inspirations to push myself into the com-
puter and play around with illustrator on my own terms.
2. What limitations does the computer present?
Taking exact photos of what I want or need.
3. What typographic details did you pickup on from your research?
I was mostly looking over the classic modernism fonts such as futura, hel-
vetica, and avenir. For other others I looked specifically for Japanese ones
and shape like one.
5. What have you learned by looking at the work from your classmates?
How about by making the video critique for them?
I learn we are all on differnt paces? I would make a video for them if they let
me and if I have time.

Karui to Omoi
November 3 - December 31 San Francisco Museum of Modern Art Work by Isamu Noguchi
Artist Reception on Saturday, November 3, 6-9pm 151 Third Street (between Mission and Howard Streets) Exploring the role of path of bring light and life from heaviness

Karui to Omoi
Work by Isamu Noguchi
Exploring the role of path of bring light and life from heaviness

NOGUCHI
NOGUCHI
Light and Heavy
3 53 BY U -BYU
IDA-HIDAHO Art Dept.
O Art Dept. | w| www.by
w w. ui.e
byui.e
du du

Karui to Omoi
Exploring the role of path of bring light and life from heaviness)


ADDITIONAL SKETCHING AS NEEDED FOR ISAMU NOGUCHI | SONNY NGUYEN
5 55 BY UBYU
- IDA- IDAHO
Dept. w w.by
w w. byui.e
ui.e dudu
6
56
Digital Poster 1
BY U - IDA H O Art Dept. | w w w.by ui.e du

BYU - IDAHO Art Dept. | w w w. byui.e du

November 3 - December 31 Karui to Omoi San Francisco Museum of Modern Art
Artist Reception on Saturday, November 3, 6-9pm Work by Isamu Noguchi 151 Third Street (between Mission and Howard Streets)
RSVP for reception to 800 235 8456 or exhibits@sfmoma.com Exploring the role of path of bring light and life from heaviness) San Francisco, CA 94103
DIGITAL COMP: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF ALIGNMENT
|

Typographic Style/Treatment Reference
SONNY NGUYEN
DIGITAL COMP: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF ALIGNMENT | SONNY NGUYEN

Karui to Omoi

7 57 BY UBYU
- IDA H O ArtArt
- IDAHO Dept.
Dept.| | wwwww.by ui.e du
w. byui.e du
DIGITAL COMP: ISAMU NOGUCHI, EMPHASIS ON PRINCIPLE OF ALIGNMENT | SONNY NGUYEN

I S A MU
8 58 BY UBYU H O Art Art

- IDA- IDAHO Dept.
Dept.| |w w
w w.by ui.e dudu
w w. byui.e
Light and Heavy
NOGUCHI
9 59 BY U -BYU
IDA- H O Art Art
IDAHO Dept. | w
Dept. | www.by ui.e dudu
w w. byui.e

byui.e

Karui to Omoi


byui.e

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Poster Project Part 1

CATEGORY 1: UNITY AND VARIETY

1 BY U - IDA H O Art Dept. | w w w.by ui.e du

1 BYU - IDAHO Art Dept. | w w w. byui.e du

2 BY U - IDA H O Art Dept. | w w w.by ui.e du

2 BYU - IDAHO Art Dept. | w w w. byui.e du

Isamu Noguchi (19041988)

WE ARE A LANDSCAPE OF ALL WE HAVE SEEN .

Isamu Noguchi struggled with himself to whether or not to declare him-

IT IS THE WEIGHT THAT GIVES MEANING TO WEIGHTLESSNESS .

YOU CAN FIND OUT HOW TO DO SOMETHING AND THEN DO IT OR

I AM ALWAYS LOOKING FOR A NEW WAY OF SAYING THE SAME

6 BY U - IDA H O Art Dept. | w w w.by ui.e du

S O N NY N G U YE N A R T 130 | INT R ODUC T I ON TO G R APHI C DESI G N PAGE 01

b. Create the curve below using only 2 anchor points

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 02

14 BYU - IDAHO Art Dept. | w w w. byui.e du

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 03

15 BYU - IDAHO Art Dept. | w w w. byui.e du

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 04

16 BYU - IDAHO Art Dept. | w w w. byui.e du

Be strong. Live the gospel faithfully even if others

thrillingly and successfully traveled, with stead-

Elder Jeffrey R. Holland T H E QU ICK FOX J U M PE D OV ER T H E L A Z Y DOG

T H E QU ICK FOX J U M PE D OV ER T H E L A Z Y DOG

S O N NY N G U YE N A R T 130 | INT R ODUC T I ON TO G R APHI C DESI G N PAGE 05

17 BYU - IDAHO Art Dept. | w w w. byui.e du

Use the following text:

Your text: COMMANDMENTS

Example: Your text:

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 06

18 BYU - IDAHO Art Dept. | w w w. byui.e du

Please use the image below for this task:

S O N NY N G U YE N A R T 130 | INT R ODUC T I ON TO G R APHI C DESI G N PAGE 07

19 BYU - IDAHO Art Dept. | w w w. byui.e du

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 08

20 BYU - IDAHO Art Dept. | w w w. byui.e du

Begin with this circle Place your circles here

S O N NY N G U YE N A R T 130 | INTR ODUC T I ON TO G R APHI C DESI G N PAGE 09

21 BYU - IDAHO Art Dept. | w w w. byui.e du

CATEGORY 1: UNITY AND VARIETY

CATEGORY 5: SCALE AND PROPORTION

1 BYU - IDAHO Art Dept. | w w w. byui.e du

22 BYU - IDAHO Art Dept. | w w w. byui.e du

23 BYU - IDAHO Art Dept. | w w w. byui.e du

3 24 BYU -BYU - IDAHO

6 BYU - IDAHO Art Dept. | w w w. byui.e du

PROCESS WORK HERE

PROCESS WORK HERE

8 29 BYU - IDAHO Art Dept.

PROCESS WORK HERE

9 30 BYU -BYU - IDAHO

VISUAL EXAMPLES OF T YPE FROM ARTIST

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 [Keifont ] [pigmo]

11 BYU - IDAHO Art Dept. | w w w. byui.e du

33 BYU - IDAHO Art Dept. | w w w. byui.e du

Directions: 3. Check to make sure the Width and Height

After completing the activity on the

What does pixels per inch (ppi) mean?

How is the image of the camera on the right different

What happens to an image when you scale it up

35 BYU - IDAHO Art Dept. | w w w. byui.e du

Place the m10_activity_03_layers.psd file in the image frame above.