tag:blogger.com,1999:blog-81843794581618084902024-03-12T19:07:06.873-07:00All Designs by AliciaAll design by Alicia is a brief tour of the different types of inspirational designs.Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-8184379458161808490.post-12492908544150664462015-08-08T22:26:00.000-07:002016-09-23T13:05:57.694-07:00"Somorrah" (Som-mor-ah)<div style="text-align: center;">
<span style="font-size: large;"> "Somorrah"</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-size: small;">(Som-mor-rah)</span> </span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">I've made some edits!!</span></div>
<br />
Hello,<br />
<br />
My name is Alicia L. Perry, I'm a local graphic designer in Toledo, Ohio.<br />
I am evolving in 2-D and 3-D animations. I have a great story line.<br />
The project I'm working on is called "Somorrah".<br />
It's a drama/suspense cartoon.<br />
My hopes for my project, once it is successful, is to have victimize people share their story,<br />
with their own custom character and plot, making their story come to life. Also.<br />
I want to open a homeless shelter in my community, also implement a "work to stay" where if staying longer than 30 or 60 days, they have to take care of the grounds, facilities and each other. This is a re-launched of my project, but I'm determine not to give up on my dreams.<br />
<br />
Thank you and I appreciate your time.<br />
<br />
Alicia L. Perry<br />
alldesignsbyalicia@yahoo.com<br />
<a href="http://alldesignsbyaliciaportfolio.blogspot.com/">http://alldesignsbyaliciaportfolio.blogspot.com/</a><br />
<a href="https://twitter.com/alicialperry">https://twitter.com/alicialperry</a><br />
<a href="https://www.facebook.com/AllDesignsbyAlicia">https://www.facebook.com/AllDesignsbyAlicia</a>Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0tag:blogger.com,1999:blog-8184379458161808490.post-54266320352188996362012-05-13T00:17:00.002-07:002013-04-20T18:24:27.384-07:00Kazimir Malevich (Kasimir Malevich) 1878-1935<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DuvZXw__8MjVjsezgwd5c9fMS6a7jz8368IKyaGfwpYHyJIJ1crJpDJ9FTiWrJDbSlxPgA7VqZE4lWaeA7jt-yLznONHMkmmtPrMz6Rdy2846g3gV8wO4BjGqZ_odnlXJAOdkEYBsRI/s1600/malevich.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DuvZXw__8MjVjsezgwd5c9fMS6a7jz8368IKyaGfwpYHyJIJ1crJpDJ9FTiWrJDbSlxPgA7VqZE4lWaeA7jt-yLznONHMkmmtPrMz6Rdy2846g3gV8wO4BjGqZ_odnlXJAOdkEYBsRI/s320/malevich.gif" width="187" /></a></div>
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<span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">Russian painter and designer, the
most important pioneer of</span><span style="background: none repeat scroll 0% 0% white; font-family: "Times New Roman","serif";">,<span style="font-size: large;"> </span></span><span style="font-family: "Times New Roman","serif";">geometric abstract art, originator
of Suprematism. Born near Kiev; trained at Kiev School of Art and Moscow
Academy of Fine Arts; 1913 began creating abstract geometric patterns in style
he called suprematism; taught painting in Moscow and Leningrad 1919-21;
published book, <i>The Nonobjective World</i> (1926), on his theory; first to
exhibit abstract geometric paintings; strove to produce pure, cerebral
compositions; famous painting <i>White on White</i> (1918) carries suprematist
theories to absolute conclusion; Soviet politics turned against modern art, and
he died in poverty and oblivion. </span></span></div>
<div class="MsoNormal" style="color: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">He began working in an unexceptional
Post-Impressionist manner, but by 1912 he was painting peasant subjects in a
massive `tubular' style similar to that of Léger as well as pictures combining
the fragmentation of form of <a href="http://www.ibiblio.org/wm/paint/glo/cubism/"><span style="text-decoration: none;">Cubism</span></a> with the
multiplication of the image of <a href="http://www.ibiblio.org/wm/paint/glo/futurism/"><span style="text-decoration: none;">Futurism</span></a> (<i>The Knife
Grinder</i>, Yale Univ. Art Gallery, 1912). Malevich, however, was fired with
the desire `to free art from the burden of the object' and launched the
Suprematist movement, which brought abstract art to a geometric simplicity more
radical than anything previously seen. He claimed that he made a picture
`consisting of nothing more than a black square on a white field' as early as
1913, but Suprematist paintings were first made public in Moscow in 1915 and
there is often difficulty in dating his work. (There is often difficulty also
in knowing which way up his paintings should be hung, photographs of early
exhibitions sometimes providing conflicting evidence.)</span><span style="background: none repeat scroll 0% 0% white; font-family: "Times New Roman","serif";">
</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: white; font-size: large;"><span style="font-family: "Times New Roman","serif";">Malevich moved away from absolute
austerity, tilting rectangles from the vertical, adding more colors and
introducing a suggestion of the third dimension and even a degree of painterly
handling, but around 1918 he returned to his purest ideals with a series of <i>White
on White</i> paintings. After this he seems to have realized he could go no
further along this road and virtually gave up abstract painting, turning more
to teaching, writing, and making three-dimensional models that were important
in the growth of Constructivism. In 1919 he started teaching at the art school
at Vitebsk, where he exerted a profound influence on Lissitzky, and in 1922 he
moved to Leningrad, where he lived for the rest of his life. He visited Warsaw
and Berlin in 1927, accompanying an exhibition of his works and visited the
Bauhaus. In the late 1920s he returned to figurative painting, but was out of
favor with a political system that now demanded Socialist <a href="http://www.ibiblio.org/wm/paint/glo/realism/"><span style="text-decoration: none;">Realism</span></a> from its artists
and he died in neglect. However, his influence on abstract art, in the west as
well as Russia, was enormous. The best collection of his work is in the
Stedelijk Museum, Amsterdam. </span></span><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0tag:blogger.com,1999:blog-8184379458161808490.post-47108827546036036752010-10-13T08:17:00.000-07:002010-10-13T08:22:14.958-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfFpPn4zDOWqHkcJZJOcCq_e814OW6fsJj99mc-ZrixH-eBxu2S_38_KR_3NrcrT1AFVWZsqyxuUYgxNmPzgByDhnt2mSFirBuh-q-2Ehk3x0_5qKDO-pmKSIaJ1E9mq2eVfo7nOoN-8/s1600/alexey+brodovitch+before+leaving+russia.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" bx="true" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfFpPn4zDOWqHkcJZJOcCq_e814OW6fsJj99mc-ZrixH-eBxu2S_38_KR_3NrcrT1AFVWZsqyxuUYgxNmPzgByDhnt2mSFirBuh-q-2Ehk3x0_5qKDO-pmKSIaJ1E9mq2eVfo7nOoN-8/s200/alexey+brodovitch+before+leaving+russia.jpg" width="200" /></a><br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><b><span style="color: #990000; font-size: large;">Alexey Brodovitch</span></b> created influential editorial designs emphasized and sought “a musical feeling” in the flow of text and pictures. He had a fascination for white space and sharp type on clear open pages. Elements inserted on colored and rough-textured papers contrast with smooth coated white paper. The use of cropping, the enlargement plus juxtaposition of images, and the rhythm environment of open space was energized by art and photography, he commissioned from major European artists. He saw contrast as a dominate tool in editorial design and often used repetition as a design device. Alexey Brodovitch was exposed to a number of influential designs including the European designs and artists. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Russian designer, Alexey Brodovitch (1898-1971), immigrated Russia and became the leading contemporary designer in Paris. Established in America, he became the art director of Harper’s Bazaar, teacher at the New School for Social Research and served as faulty at Yale University School of Art.</div>Alexey Brodovitch rethought the approach to editorial design and was partially responsible for the spread of editorial design in the 1950’s. He taught at the New School for Social Research and out of his home. The seeds for an expansive, design-oriented period of editorial graphics were sown in these classes. In addition, he educated on how to utilize photography and students learned to examine each problem thoroughly, develop a solution from the resulting understanding and then search for a brilliant visual presentation. Also, he developed an exceptional gift for identifying and assisting new talent. <br />
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</div><div class="separator" style="clear: both; text-align: center;"><strong><span style="color: #990000; font-size: large;">Saul Bass</span></strong></div>One of the New York School’s pioneers, an acknowledged master of film titles and graphic designer, Saul Bass (1919-96) had the ability to express the nucleus of a design with images that became glyphs or elemental pictorial signs and exerted great graphic power. With the mastery of elemental forms, he pioneered an organic process of forms that appear, disintegrate, reform and transform in time and space, this combination, recombination and synthesis of form was carried over into the area of printed graphics. <br />
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Saul Bass broke the traditional portraits of actors and actresses promoting films plus the mediocre garish typography for film titles. By unifying both print and media graphics, he introduced the first comprehensive design program for motion picture film and titles. In addition to directing a number of films from short films to featured-length motion pictures, he created numerous corporate identity programs and embraced corporate visual identification. With iconic, widely imitated trademarks produced by Saul Bass, furthermore believed a trademark must be readily understood yet posses elements of metaphor and ambiguity that will attract the viewer again and again. <br />
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He approached each individual item as a unique communications problem resulted in the simplicity and directness of the designs enabled the viewer to interpret the content immediately. By means of utilizing irregular forms cut from paper with scissors or drawn with a brush, frequently simplified images to minimal statements and/or reduced messages to simple pictographic images lacking the exactness of measurement or structure that could make them determined. <br />
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Equally, Saul Bass and Paul Rand had a large amount of exposure from European designs while Paul Rand’s designs are dominantly influenced by constructivism. Saul Bass’ designs do not completely suggest constructivism even though; his designs are largely influenced by Paul Rand’s use of shapes and asymmetrical balance.<br />
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</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WakuB86mDgqji3yBQARYb2VbVt3XglFxtznRfC3FC6REdggKaZRjM-6rYWmEspreVjz0YkTnMIMGOWEdDTJHlCiJ39mdp9Jaat1dGBi5OpZw00cr1QaBKt-kDJ1wLgv3mFaY_e2KSOs/s1600/4_saul_bass_logos233.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ex="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WakuB86mDgqji3yBQARYb2VbVt3XglFxtznRfC3FC6REdggKaZRjM-6rYWmEspreVjz0YkTnMIMGOWEdDTJHlCiJ39mdp9Jaat1dGBi5OpZw00cr1QaBKt-kDJ1wLgv3mFaY_e2KSOs/s320/4_saul_bass_logos233.jpg" width="297" /></a></div>Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0tag:blogger.com,1999:blog-8184379458161808490.post-15782232134758583552010-06-22T00:08:00.000-07:002010-07-21T20:34:09.095-07:00Thoughts from Paul RandProbably no contemporary American graphic designer has had a greater influence on international design than Paul Rand. The broad range of his talent and influence has extended to include promotional graphics, corporate identity, books, publications, and advertising design. From 1941 to 1954, Paul Rand served as art director of an advertising agency and his fresh approach to persuasive graphics served as an inspiration to a generation of advertising art directors.<br />
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It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling. For sales, and not design are the raison d’etre of any business organization. Unlike the salesman, however, the designer’s overriding motivation is art: art in the service of business, art that enhances the quality of life and deepens appreciation of the familiar world. Design is a problem-solving activity. It provides a means of clarifying, synthesizing, and dramatizing a word, a picture, a product, or an event. Design is a way of life, a point of view. It involves the whole complex of visual communication: talent, creative ability, manual skill, and technical knowledge. <br />
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One of the more common problems, which tend to create doubt and confusion, is caused by the inexperienced and anxious executive who innocently expects, or even demands, to see not one but many solutions to a problem. These may include a number of visual and/or verbal concepts, an assortment of layouts, a variety of pictures and color schemes, as well as a choice of type styles. He needs the reassurance of numbers and the opportunity to exercise his personal preferences. He is also most likely to be the one to insist on endless revisions with unrealistic deadlines, adding to an already wasteful and time-consuming ritual.<br />
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DZV7A786BP3AAlicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0tag:blogger.com,1999:blog-8184379458161808490.post-92022828350395238242010-06-11T19:20:00.000-07:002016-09-23T12:52:53.622-07:00All Designs by Alicia Website<div style="text-align: center;">
<span style="font-size: x-large;"><span style="color: #990000;"><span style="font-size: medium;"><b><span style="color: #cc0000;"> </span><span style="color: #cc0000; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Different Designs for Differe<span style="font-family: "georgia" , "times new roman" , serif;">nt </span>People</span></span></b></span><span style="color: #cc0000; font-size: x-small;"><b style="font-family: Georgia,"Times New Roman",serif;"> </b></span></span></span></div>
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<tr><td class="tr-caption" style="color: #990000; font-family: Georgia,"Times New Roman",serif; text-align: center;"><a href="http://www.alldesignsbyalicia.blogspot.com/"><span style="font-size: large;">www.alldesignsbyalicia.blogspot.com</span></a></td><td class="tr-caption" style="text-align: center;"><br />
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<br />Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0tag:blogger.com,1999:blog-8184379458161808490.post-38259034914679871302010-05-25T12:34:00.000-07:002013-04-20T18:18:57.504-07:00Typographic designis a complex area of human activity, requiring a broad background for informed practice. Letterforms are the fundamental components of all typographic communications. The alphabet is a series of elemental visual signs in a fixed sequence, representing spoken sounds. Each letter signifies only one thing: its elementary sound or name.<br />
The twenty-six characters of our alphabet can be combined into thousands of words, creating a visual record of the spoken language. This is the magic of writing and typography, which have been called “thoughts-made-visible” and “frozen sounds.”<br />
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<tr><td class="tr-caption" style="text-align: center;">Parts of letterforms</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Alicia L. Perryhttp://www.blogger.com/profile/01544560328413410179noreply@blogger.com0