Naimi, Samir: Portfolio

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Thursday, November 15, 2012

Since the beginning of my training as a
graphic designer I have always been
interested in typography. I enjoyed
manipulating it in order to draw in the
audience’s eyes such as I have done in
the following piece. Taking something
as rigid as a calendar, and creating an
unconventional way of laying out the
days, to create a sense of chaos that
maintains order due to being embedded
into a grid system.


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I continued on the path of letting the
typography lead the viewer’s eyes in the
following poster for the typeface Goudy
Old Style. In this piece I wanted to
contrast the ﬂuid forms of the
ampersands in the background, with the
strict lines of the typography in
foreground in order to create a tension
that the viewer’s eyes transitions
between, complimenting the
typography’s natural soft curves against
its ﬁxed vertical lines.


ABCDEFGHIJKLMN

Goudy
OPQRSTUVWXYZ
1234567890
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Old Style

1915
Frederic W. Goudy
Goudy Old Style
was a Magazine, and is the standard There is also a strong calligraphic
typeface designed by Fredric W. text for Key Club Publications. quality, which is most apparent
Goudy in 1915 for the American Goudy Old Style is also the in the downward slanting curve
Type Founders (ATF). It was official typeface for the Emory under the Q.
Fredric’s first font created for University in Atlanta, Georgia, Due to the rising popularity of
ATF, and was his twenty-fifth Moravian College in Bethlehem, Cooper Black typeface, Lanston
typeface overall. Goudy Old Style, Pennsylvania, and Northwestern Monotype commissioned Fredric
which is also known as just University in Evanston, Illinois. Goudy to design heavy versions
Goudy, is an old-style classic serif It can be easily distinguished by of Goudy Old Style, Goudy
typeface. The typeface is one of the diamond-shaped dots on the Heavyface and Goudy Heavyface
the most popular typefaces ever i, j and the points found in the Italic were released in 1925, ten
created, and is often used in period, colon, question mark, years after the original release of
packaging and advertising. Its semi-colon and the exclamation the font. The gently curved,
versatility allows it to be used in point. Some other recognizable rounded serifs found on certain
both display settings such as on features include the elegant characters suggest an influence
posters, and in text format like in upward curve on the ear of the g from Venetian typefaces.
a paragraph. Places that the as well as on the base of the E
typeface has been used includes and the L, and the pointed,
the Ritz-Carlton logo, Bazaar upward slant of the hyphen.


My passion for typography has
continued to grow, and I have branched
out from purely digital works to create
hand made type. The following typeface
is one I created out of seashells as an
exploration of how natural forms can lend
themselves to be used in graphic design.


I have also begun to manipulate and
create my own digital typefaces as well,
such as the following, a typeface created
to be use for headers, inspired by the
work of Piet Mondrian.


Explorations with creating my own
typefaces have taught me that
typography has character, which is
something that I explored in my poster
for the unveiling of the William H. Hannon
Library. Typography is being used on the
primary level to display a title and text,
but is also being used as part of the
design aesthetic as a way to bring
meaning to something that would
otherwise just be ornamental like in the
banner across the top that describes the
features the library has to offer. The shift
in scale and weight of the typography as
well as the illustration of the building
creates a visual hierarchy to keep the
viewer interested. The color scheme and
repetition of shape is inspired by the
buildings architecture.


Exploring the different applications of
typography led me to using it to create
emotion and meaning. The following is
cover art I did for Passion Magazine’s
issue on depression linked with obesity,
and with using only cut out letter forms
from the magazines prior issues I was
able to create an image that was gestural
as well as informative, allowing the
typography to read on a literal level as
well as to illustrate a feeling.


I further explored how forms can convey
meaning in the following piece inspired
by a newspaper clipping describing the
increase of abandoned homes in Detroit.
I allowed the negative and positive
spaces to play with one another in order
to allude to the seclusion and emptiness
occurring in the city. The absence of the
letterforms parallels the absence of
residents in the homes.


r
Detroit Census Figures Confirm
A Grim Desertion Like No Other


I continued to use negative and positive
space in the brand identity created for
Dance Smart as a way to integrate the
name with the function of the program,
which teaches dance to elementary and
high school students. The challenge in
creating these logos was that they had to
bare resemblance to the companies
brother organization while still being
unique. The dancer amidst the black
background mimics a dancer captured
by a spotlight.


Practicing with negative and positive
space taught me how to allude to
symbols that may take a moment for the
viewer to visualize, like I created in this
piece of a lioness’ face created from ten
hexagons. The two gaps beneath the ﬁrst
row reveal the eyes; the next gap below
reveals the nose and the gap below that
reveals the mouth. This piece illustrates
how I derive inspiration from everything;
this work was inspired by patterns in tile.


I was able to take the concept of
alluding to images and incorporate it in a
competition I won to create the official
seal for Loyola Marymount University’s
Choruses. The individual elements
within the seal have also been chosen
as separate logos for the three choruses
on campus. An object found in nature
represents each chorus’s logo: a feather,
a butterfly and a shell. Within each of
these symbols, in black, there is a
reference to music made in the negative
space: a musical note, two treble clefs,
and a bass clef. Furthermore, all three of
these symbols are contained within a
black casing composed of the letters
LMU affixed to one another to create a
modern interpretation of a traditional
seal. Each piece adds a new layer of
purpose to the seal to create a unique
piece filled with meaning.


Each of the logos created for the
branding of Loyola Marymount
University’s Choruses can be seen
together in the form of the seal, or
individually which can be seen in
the following slide.


In my exploration of metaphor and
creating an image with the absence of a
shape I created this poster for ‘The
Simpsons’, letting the bite taken out of
the donut and the impression of the teeth
mark reveal a silhouette of Homer
Simpson, as donuts are his favorite food.
This piece was inspired by the apple logo
that contained Steve Jobs silhouette,
which gained much recognition after his
death. Simultaneous with the death of
Steve Jobs, Fox threatened to pass
severe pay cuts to the cast of the
Simpsons and there was serious concern
that this beloved series had reached its
end. This piece was created as a
commentary on what could have been
the death of the Simpsons franchise.


Creating posters of subjects I enjoy,
such as television shows, is something I
often do; the following is another
example of this that I created for
‘Breaking Bad’, a television show about
a crystal meth dealer. The poster is
composed of the drugs the character,
Heisenberg, makes, and they come
together to reveal his face. In this poster
I was challenging myself to use
repetition and let one repeating element
depict the form of the whole poster.


Friday, September 28, 2012


The next poster was created in order to
advertise a concert being held by Loyola
Marymount University’s dance
department. I created an abstracted
representation of a dancer that can be
found in the background and brought the
text to the foreground, varying the
weights and sizes to allude to movement.
The motion in the piece is seen through a
variety of elements including the
treatment of the text, position of the
dancer and stylized brush strokes. This
work illustrates my interest in creating
pieces that are not always obvious, but
draw the audience in and require some
attention before fully seeing what is
being illustrated. The poster allows the
text and the ﬁgure to come together and
merge with one another.


The following poster was chosen as the
winner in a competition to represent the
2011-2012 season for Loyola Marymount
University’s theatre program. In order to
create something that would properly
reflect the season I researched each of
the plays that were to be performed and
took key elements from their plot, affixing
them to one another to create this
unusual figure in motion. In creating this
piece I relied on the bizarre to attract
attention, forcing the audience to look
deeper in order to understand the
meaning of the image, which would
begin to become clearer after each
performance is viewed.


In the next poster I wanted to create a
marriage between the dancers and the
typography, in which the typography takes
the role of another character in the scene.
The dancers bodies create ﬂuid movement
around the hard lines of the typography as if
they are dancing in between one another. I
used the dancers body language to guide
the viewerʼs eyes throughout the poster.


The following is a one from a series of
posters I created from the “Do
Something” campaign made to
encourage various individuals take action
towards a cause they believed in. Moved
by the unfortunate plight of Baha’i’s in
Iran I created this piece to bring attention
to their situation. This is a human rights
issue in which Baha’i’s are being denied
their basic rights, including the right to
higher education. The ‘ED’ is in red to
showcase the importance of education
as it is the key to progress, and that
everyone must educate himself or herself
about the position of the world. The ﬁst
is a universal symbol that shows
resistance against oppression and
persecution, and alongside the logo it
reminds the viewer to do something and
encourages everyone to take a stance.
The ﬁgure is green to show solidarity
with the Iranian Green Movement. This
piece hits close to home, as I am a
Baha’i of Iranian decent.


When hired to create a poster for a
reading of ‘Trial By Fire’ a true story
about a boy and girl who were burned
alive while in their home, I knew I wanted
to incorporate the image of the children
in the poster in order to allow the viewers
to connect with the victims of the crime. I
physically burnt a frame with the two
children’s images as it could likely have
been seen on their mantle. This was
done so that the viewer could feel a
sense of what it may have been like in
the home, as well as to symbolize the
loss of the children’s childhood.


The following is a spread open view
of a quad-fold brochure that I created
for the Loyola Marymount University
Department of Theatre Arts and
Dance. The brochure was created in
order to outline their upcoming events
and bare similarity to Russian
Constructivism.


The next slide contains a brochure I
created for Art Smart, an organization
that teaches the arts to children. The
theme of the brochure is of a tree in
order to symbolize the grass roots
approach that is being taken by the
organization and how the effects of the
courses help the children branch out to
future career paths.


As the brochure is physically unfolded it
appears as if the trees branches are
growing. The following is the front and
back of the brochure fully opened.


Burgeoning from
the seeds planted ten
years ago, Loyola Marymount
University’s ARTsmart program has
flourished through the careful tending of
LMU faculty, staff, students, and sponsors. ARTsmart’s Mission
Stemming from the LMU mission, ARTsmart is
The dual mission of ARTsmart
the community service program of the Department
is, first, to provide underserved
of Art and Art History in the College of Communication
schoolchildren with an education
and Fine Arts. During LMU’s centennial year, ARTsmart in the arts that will provide both the
celebrates a decade of branching out into the lives of both instrumental and the intrinsic benefits
our LMU students and underserved youth. Rooted in the necessary to become well-rounded,
Jesuit and Marymount traditions emphasizing service to others, productive members of a rapidly changing
education of the whole person, and the encouragement of society. Second, ARTsmart is a leadership-
learning, the LMU ARTsmart program has worked to foster development program for LMU student
self-expression, confidence, and critical thinking in students mentors that incorporate teaching
from kindergarten to eighth grade. Today ARTsmart takes from in the arts and community service.
its past to grow its future. Student mentors from many
backgrounds continue to design and teach lessons and
projects in the arts, focusing on the visual arts while also
including dance and music. Every year, the trunk that is the
ARTsmart program gains a “ring” of experience and comes
nearer to closing the arts education gap in California.
- Emily Calles, LMU ’13

ARTSMART
CELEBRATES
Community Service Program
Department of Art & Art History
Loyola Marymount Univrsity
One LMU Drive
Los Angeles, California 90045
De
sig
ned
by S
amir
N aimi,
LMU 201
2
10 YEARS

ARTsmart Director
ARTsmart Donations
Terry Lenihan is a Los Angeles artist and educator. Professor
Provide a Strong Foundation Lenihan directs LMU’s art education program, which includes
ARTsmart. A committed advocate for arts education and a believer in the
Initially funded by a grant from the Conrad Hilton
power of art as a catalyst for social change, she focuses her research on
Foundation in 2001, ARTsmart continues to thrive as
K–12 and post-secondary art education, service learning, collaborative art,
we celebrate a decade of serving the community. Thanks
and social justice arts education. Terry Lenihan is a sculptor and
ARTsmart Artist Mentors
to ongoing support from alumni, parents, foundations,
corporations, and friends of the University, LMU and the installation artist known for monumental figurative sculptures The LMU student volunteers, known as artist mentors,
College of Communication and Fine Arts (CFA) have raised over that reference the individual’s struggle against constraints, and are undergraduate students from a variety of backgrounds and
$200,000 for ARTsmart. LMU recently received a generous gift from the power of celebration in the human gesture. In March disciplines (fine arts, graphic design, multimedia arts, art history, animation,
a family foundation to establish an endowment for ARTsmart. It is 2010, Governor Schwarzenegger appointed Terry dance, music, and liberal studies). Through their teaching experience in urban
hoped that, as it receives further contributions, the endowment will Lenihan to the California Arts Council, and classrooms, LMU students gain leadership and collaborative skills, self-confidence,
eventually ensure that this transformative community service program last Governor Brown reappointed her in and an understanding of the social justice perspective. After working in ARTsmart, many
in perpetuity. Because of the generosity of these donors, the College has February 2011. LMU students use their experience as a foundation to continue as leaders in their communities,
prepared its student mentors for lives distinguished by creative and and many are inspired to pursue careers in art education, community service, and related fields,
compassionate responses to a complex and needy world, while also ensuring both at LMU and in further graduate work.
that schoolchildren receive the finest in art education.
ARTsmart mentors collaborate to design a curriculum that fosters a passion for exploration and develops
In addition to the donations supporting the operating costs of the ARTsmart program, we 21st century skills. This contemporary arts education curriculum prepares students for our globally
have received over $100,000 in scholarship assistance for LMU ARTsmart mentors. These competitive work force by developing the abilities to innovate, communicate, and collaborate. They also
scholarships allow them to develop their academic, humanistic, and artistic capacities on the learn problem solving, critical and creative thinking, facility in dealing with ambiguity and complexity,
way to becoming leaders in their communities. integration of multiple skill sets, and the ability to perform cross-disciplinary work. Lessons also provide
opportunities for students to reach their full potential, focusing on transformative experiences,
Donor support ensures that LMU can continue to educate ethical, talented, and deserving empowerment, and what it mean to be a citizen and a healthy person in today’s global world.
students for generations to come. Your generosity, regardless of the size of your gift, will help LMU
continue to provide art education to the underserved children in our community. If you are
interested in supporting ARTsmart, please contact Tara Flynn Frates, director of development for
CFA, at 310.338.3093 OR tfrates@lmu.edu. You may also support ARTsmart by making an online
contribution at http://go.lmu.edu/cfa.

ARTsmart Partner School:
Westside Global Awareness K–8 Magnet School

In fall 2008 ARTsmart began its partnership with Westside Leadership
Magnet, a local K–8 school in the Los Angeles Unified School District. Then,
in fall 2010, the school was renamed Westside Global Awareness K–8 Magnet,
focusing on government/politics, science, and environment/ecosystems.
Westside has become a strong partner, given its focus on developing leadership
skills while promoting academic excellence and social justice. Approximately
80% of the families enrolled at Westside live below the poverty level, and its
students are from diverse backgrounds. In a short time, ARTsmart has made an
in-depth contribution to Westside students by providing thoughtfully
developed standards-based arts education as well as
ongoing mentoring services and support.


The following is a typical mailer piece
that I created for Santa Monica Inﬁniti in
order to reach out to customers or other
dealerships.


In working with Homeboy Industries, an
organization that rehabilitates gang
members and prisoners to release them
back into the working world, I created
an advertisement that was sent out in
the newspaper. I let the circles be the
source of color to focus the piece on the
individuals themselves and the work
that they were doing in order to
familiarize the viewers with what occurs
at the organization.


Want To Help?
Make a donation online
Have lunch at the Homegirl Café
Buy your bread at Homeboy Bakery
Order silkscreened clothing from our workshop
Purchase fresh products from our farmers market
Have your next event catered by Homegirl Catering
Contact Homeboy and find out how you can help

Homeboy Industries is a nationally
recognized successful gang-intervention
program that has provided jobs and free
support services to former gang members
and at-risk youth from more than half of
the 1,100 known gangs in Los Angeles
County. Homeboy businesses, including
Homeboy Bakery as well as Homegirl Café,
offer hands-on training and experience in
a safe work environment. The program
also offers mental health counseling, legal
Celebrate Homboy’s 24 years of service services, education, job counseling and
this year by supporting one of our six tattoo removal services, which offer hope
business. We are fully equipped with a and opportunity to participants. Homeboy
bakery, silkscreen and embroidery workshop, currently has a line of products in retail
farmers market, café and catering services, grocery stores including delicious chips
diner and lastly, storefront merchandise for and mouthwatering salsa. With your help
purchase. Through utilizing these services Homeboy can continue to change lives and
you will be doing your role in helping keep improve upon our community.
Homeboy Industries doors open. www.HomeboyIndustries.com 323.526.1254


My interests do not solely lie in graphic
design, I also create physical objects as
well; the following was created by
attaching a toy motor to LED lights and
afﬁxing it to cut up, inverted and
reattached trafﬁc cones. It can either be
viewed from a distance or close up as
the inside and outside are equally
interesting. It can be held in the viewer’s
hands and moved to create different
patterns of light on the walls. I created it
as a piece that would involve human
interaction as the more the viewer plays
with it, the more interesting the light cast
on the walls becomes.


The ﬁnal slides are a look at a data-
visualization that I made that tracks the
amount of incoming and outgoing text
messages I had with a friend during a
three-week period. This was created in
lieu of the phenomenon of compulsive
texting, and how people have become
addicted to texting one another
regardless of what they are doing. The
visualization breaks down the texts day
by day, then compiles them week by
week, and lastly compiles all text
messages as a whole.


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