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Drawing for Graphic Design by Timothy Samara

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189
Theater Poster
/
The subtly dimensional
icon of a postman set in motion with a
slight blur and a flurry of letters define
a simple structure of diagonals and
verticals in tandem with titling and text
typography. Studio Apeloig France
Logo Proposal
/
A smart offering for
a redesign of the U.S. space program
identity juxtapose authoritative,
technologically-inspired custom
letterforms with the dynamic liftoff
of a rocket, accomplished through the
deft use of figure/ground reversal.
Topos Graphics United States
Environmental Branding
/
A heritage
of Mexican sign and wall painting
informs the exterior and interior
branding of this eatery, drawing on
vibrant, sometimes jarring vernacular
color and letter-drawing languages.
AdamsMorioka, Inc. United States
Promotional Mailer Series
/
Collaged
letterforms lend pictorial detail and contrast
to simple icons of the animals that represent
aspects of the Chinese zodiac; the animals come
alive as pop-ups in the greetings of the new
year, embellished with gold and vivid red ink.
Gee+Chung Design United States
Drawing
/ for Graphic
Design
Artifacts
Showcase
of Real-World
Projects
Institutional Brochure
/
Careful
attention to the weights of lines
and dots helps distill a complex
area map to nearly Zenlike clarity.
Smaller, inset maps provide macro-
and micro-level orientation, as well
as restate the language of the logo.
Decorative patterns soften the
diagrammatic intensity of the map
and add cultural context.
Hinterland United States
Music Packaging
/
This CD’s
design mixes numerous drawing
languages—pen-scrawled
lettering, paint drips, cut/paste
collage, tape, and altered fonts
for a lively expression of a diverse,
kinetic urban narrative.
[ths] Thomas Schostok Design
Germany
190
/
191
Design Conference Identity
/
Inventively arranged lines of text
form the name of a conference
devoted to typography, kinetically
expressing the particular thematic
focus of that year’s meeting.
Under Consideration United States
Educational Video
/
A boldly illustrative
animation, designed to teach children
to count, uses transitions between posi-
tive and negative forms in a number to
reveal kinetic scenes of animals in their
habitats; second in a series of ten.
Pettis Design United States
Promotional Ad
/
Neutral, informa-
tional text makes way for a playful and
surreal deconstruction of a fish into a
type form in this poster for a dance club
venue. BAI.S Design Office China
Drawing
/ for Graphic
Design
Artifacts
Showcase
of Real-World
Projects
Environmental Design
/
Illuminated,
glass ovoid forms installed in a grid
formation below the ceiling in a corporate
environment translates the luminous,
gestural rhythm of a school of fish into
ever-changing, animated, sculptural
drawing. Troika United Kingdom
Public Awareness Ad
/
Various
icon languages of architectural and
environmental subjects are bound
into a spherical configuration that
conveys the integrated strategy of
an eco-conscious urban planning
organization.
Post Typography United States
Advocacy Poster
/
Custom type
forms, generated from the shapes
of found stones, integrate with the
diagram language of topographical
notation to raise awareness of an
environmental initiative.
Andrew Scheiderich, SUNY Purchase
United States
192
/
193
Editorial Illustration
/
In this
titling element that introduces
the new look of Imperial College
Magazine, each layer of the
exploded object diagram relates
to the content of a different
feature article inside.
Post Typography United States
Advocacy Poster
/
The interplay
of hand print and animal forms in
positive and negative—merged
with the French curves used by
architectssuggests the mutual
influence of human activity and the
environment in this poster.
Yuri Surkov Russia
Custom Type Manipulation
/
A found typeface acts as a frame-
work for circular elements, carefully
scaled and positioned to evoke
bubbles filtering up from the deep
a clever narrative about the client
organization’s oceanic activities.
Isela Archenti, SUNY Purchase
United States

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