coexist unite evolve grow to exist in mutual tolerance despite different ideologies or interest

(1)

Project: Coexist poster Course: Visual Systems Year: Fall 2007

Design: Michelle LaHam

coexist

gr

ow

evolve

unite

(2)

Project: Quench Publication: Why Wheatgrass Course: Typography III

(3)

Project: Full-Page Text Layout

Course: Typpography II

Year: Fall 2007

(4)

Project: Panacea business system Course: Advanced Problems Year: 2008

(5)

Project: Panacea website Course: Advanced Problems Year: 2008

In efforts to expand Hemp Industries Association’s audience, I designed a new system of icons to move away from common imagery and to help educate the public.

(6)

Project: Phoenician alphabet poster Course: Cultural Context of Graphic Design Year: Spring 2008

----

-- --

- - -

- - - -

- -

-- -- -- -- -- -- -- ----

----

-

--

-

-- -- -- --

_{- - - -}

- - -

-- --

----

-PHOENICIA

1000 B.C.

PHOENICIA

EGYPT

3200 B.C. 3

G

EGYPT

GREECE

G

GREEC

_{800 B.C.}

C

--

-

-- -- --

_{- - - -}

- -

-- --

- - -

- - - -

---

-Q.

_{WHAT TYPE OF SOCIETY RESU}

LTED IN THE DEVELOPMENT O

_{F AN ALPHABETIC SYSTEM}

NEEDED FOR RECORD KE

_{EPING DURING THE SECOND}

MILLENIUM B.C. IN PHOENIC

_IA?

A. MERCHANT

B. FARMING

C. MILITARISTIC

D. SCHOLARLY

Known for their ship-building skills

, the Phoenicians were famous for being the fi

rst seafaring marketeers, trading wth nearly ever

y coast in the Mediterranean_{. They needed}

to efficiently record business transactions which led to

the development of the phonetic alphabet

. Because these signs were connected to spok

en sound instead of pictorial meanin

g, this system was easily adapted and applied to other languages

.

(7)

Project: Morris F. Benton poster

Course: Cultural Context of Graphic Design Year: Spring 2008

(8)

Project: CD packaging

Client: Mark Duval & Two-Track Mind Year: 2008

(9)

Project: Radiohead In Rainbows CD packaging Course: Design Applications

Year: Spring 2008 Design: Michelle LaHam

(10)

Project: Annual Student Exhibition announcement and modular poster Client: Richmond Center for Visual Arts

(11)

Project: AIGA’s Suuppaa Pop! Package Design From Japan announcement and exhibition design Client: Richmond Center for Visual Arts

Year: Fall 2008

(12)

Project: Freitag design-a-truck contest Course: Typography III

Year: Spring 2008

Submission to an international contest for the design of truck-tarps. Freitag, which is the name of the company, also means “Friday” in German. Taking inspiration from the name I used the idea of getting through the work week. “Montag. Dienstag. Mittwoch. Donnerstag. Kommen Sie hier.” in German means “Monday. Tuesday. Wednesday. Thursday. Arrive Here.”

(13)

Project: Typographic clock face Course: Type I

(14)

Project: Communicate postcard Communicate: AIGA Student Exhibition Year: Fall 2008

An AIGA student show organized by Western Michigan’s chapter. Participants designed and mailed communication inspired postcards to other Michigan chapters, culminating in an exhibition at Devries Student Gallery.

(15)

Project: Letterform anatomy stamp collection Course: Visual Systems

Year: Fall 2007

(16)

Project: Snowboard flash animation Course: Special Topics

Year: Fall 2008

A flash animation utilizing layerings of animated vector graphics, photography, video, and sound. Total length is 60 seconds.

(17)

NEW

BAUHAUS

SCHOOL FOUNDED

IN CHICAGO

1937

1919

BAUHAUS

SCHOOL

OPENS IN

WEIMER

GERMANY

_N

E

W

B

A

U

H

A

U

S

Walter Gropius influenced by the ideas of William Morris, he established the Arts and Crafts School in Weimar, which became the world-famous Bauhaus. He became the director and had a genius to picking staff of leading and individualis-tic Modernists. He intented to bring a unity to all the arts and sought to solve problems of visual design created by industrialism.

Wassily Kandinsky beleived in the autonomy and spiritual values of color and form led to the coura-geous emancipation of his painting from the motif and from representational elements. Kandinsky taught the basic design class for beginners, the course on advanced theory as well as conducting painting classes and a workshop where he completed his color theory with new elements of form psychology.

László Moholy-Nagy was central to the school’s shift to a functionalist material-based approach to design. He proved himself to be an impressive graphic designer, exploiting his facility with photo-graphic processes to stunning effect. He also designed most of the Bauhaus books which helped spread the school’s ideas. His passion for typography and photogra-phy inspired a Bauhuas interest in visual communications and led to important experiments in the unification of these two arts. He saw graphic design, particularly the poster, as evolving toward typophoto. He called this objective integration of work and image to communicate a message with immediacy “the new visual literature.”

Ludwig Mies van der Rohe As a trained stonemason as well as apprentice to Peter Behrens, he became interested in expression-ism in architecture and furniture design. He became involved in the International Modern movement and coined the saying “less is more”. imitated worldwide, Mies became arguably the most influential architext. Mies advocated a "spatial implementation of intel-lectual decisions", which effectively meant an adoption of his own aesthetics.

After the Bauhaus was finally shut down by the Nazis the educational principles found fertile soil in the United States. Several former members of the Bauhaus emigrated to the United States where they were able to give full scope to their artistic ideas. László Moholy-Nagy founded the New Bauhaus in Chicago with expectations to attract students from all over the world. Their goal was to establish a school of design that would meet the needs of industry and reintegrate the artist into the life of the nation. The ideas and principles rooted at the Bauhaus in Germany has impacted modern design, architecture, and visual communications trends through-out the world. A modernist approach to visual education was developed, and the faculty’s class-preparation and teaching methods made a major contribution to visual theory.

19

30

Hannes Meyer is removed as Bauhaus director because of his involvement in left wing political activities Temporary closure of the Bauhaus due to student protest and unrest Ludwig Mies van der Rohe accepts the position as Director of the Bauhaus. Marcel Breuer pioneers the use of the bent-metal chair

19

32

Local Dessau parliament, now con-trolled by National Socialists, decide to close the Bauhaus Mies decides to continue the school as a private institution in Berlin Bauhaus moves to Berlin The Dessau buildings are used as training school for members of the National Socialist party

19

25

Bauhaus moves to Dessau ‘Young Masters’ are appointed to Her-bert Bayer, Marcel Breuer, Hinnerk Scheper, Joost Schmidt and Gunta Stölz

Herbert Bayer teaches visual commu-nication and established a lowercase san-serif type making significant contributions to the typographic revo-lution.

The first Bauhaus book appears

19

22

Wassily Kandinsky is appointed to teaching the Preliminary Course and becomes Master of Form in the Wall-Painting Workshop

19

23

László Moholy-Nagy is appointed Master of Form in the Metal Workshop and takes over the Preliminary Course, assisted by Josef Albers Josef Albers becomes the first student appointed to the staff as a ‘Young Master’

The Bauhaus attract international attention from a week of special activi-ties including lectures, theatrical performances and concerts

19

26

Bauhaus moves into new buildings designed by Gropius

19

27

Hannes Meyer is appointed to teach the new architecture department

19

28

Gropius resigns as director and moves to Berlin

Mies van der Rohe is offered director-ship but declines Hannes Meyer becomes Gropius’s successor

Free painting classes are given by Klee and Kandinsky for the first time

19

33

Adolf Hitler becomes German Chancellor 32 students are arrested by police and storm-troopers

Bauhaus cis closed on July 20th

TH

E

B

A

U

H

A

U

S

The Bauhaus was the logical

conse-quence of a German concern for design in industrial society that began in the opening years of the century. Charac-terized by the utopian desire to create a new spiritual society, the early Bauhaus sought a new unity of artists and crafts-men to build for the future. The main objectives of the Bauhaus was to unify art, craft, and technology. Ideas from all the advanced art and design move-ments were explored, combined, and applied to problems of functional design and machine production at the German design school. Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged.

Wassily Kandinsky László Moholy-Nagy Herbert Bayer Walter Gropius Hannes Meyer Marcel Breuer Ludwig Mies van der Rohe Ludwig Mies van der Rohe

NEW

BAUHAUS

SCHOOL FOUNDED

IN CHICAGO

1937

1919

BAUHAUS

SCHOOL

OPENS IN

WEIMER

GERMANY

_N

E

W

B

A

U

H

A

U

S

Walter Gropius influenced by the ideas of William Morris, he established the Arts and Crafts School in Weimar, which became the world-famous Bauhaus. He became the director and had a genius to picking staff of leading and individualis-tic Modernists. He intented to bring a unity to all the arts and sought to solve problems of visual design created by industrialism.

Wassily Kandinsky beleived in the autonomy and spiritual values of color and form led to the coura-geous emancipation of his painting from the motif and from representational elements. Kandinsky taught the basic design class for beginners, the course on advanced theory as well as conducting painting classes and a workshop where he completed his color theory with new elements of form psychology.

László Moholy-Nagy was central to the school’s shift to a functionalist material-based approach to design. He proved himself to be an impressive graphic designer, exploiting his facility with photo-graphic processes to stunning effect. He also designed most of the Bauhaus books which helped spread the school’s ideas. His passion for typography and photogra-phy inspired a Bauhuas interest in visual communications and led to important experiments in the unification of these two arts. He saw graphic design, particularly the poster, as evolving toward typophoto. He called this objective integration of work and image to communicate a message with immediacy “the new visual literature.”

Ludwig Mies van der Rohe As a trained stonemason as well as apprentice to Peter Behrens, he became interested in expression-ism in architecture and furniture design. He became involved in the International Modern movement and coined the saying “less is more”. imitated worldwide, Mies became arguably the most influential architext. Mies advocated a "spatial implementation of intel-lectual decisions", which effectively meant an adoption of his own aesthetics.

After the Bauhaus was finally shut down by the Nazis the educational principles found fertile soil in the United States. Several former members of the Bauhaus emigrated to the United States where they were able to give full scope to their artistic ideas. László Moholy-Nagy founded the New Bauhaus in Chicago with expectations to attract students from all over the world. Their goal was to establish a school of design that would meet the needs of industry and reintegrate the artist into the life of the nation. The ideas and principles rooted at the Bauhaus in Germany has impacted modern design, architecture, and visual communications trends through-out the world. A modernist approach to visual education was developed, and the faculty’s class-preparation and teaching methods made a major contribution to visual theory.

19

30

Hannes Meyer is removed as Bauhaus director because of his involvement in left wing political activities Temporary closure of the Bauhaus due to student protest and unrest Ludwig Mies van der Rohe accepts the position as Director of the Bauhaus. Marcel Breuer pioneers the use of the bent-metal chair

19

32

Local Dessau parliament, now con-trolled by National Socialists, decide to close the Bauhaus

Mies decides to continue the school as a private institution in Berlin Bauhaus moves to Berlin The Dessau buildings are used as training school for members of the National Socialist party

19

25

Bauhaus moves to Dessau ‘Young Masters’ are appointed to Her-bert Bayer, Marcel Breuer, Hinnerk Scheper, Joost Schmidt and Gunta Stölz

Herbert Bayer teaches visual commu-nication and established a lowercase san-serif type making significant contributions to the typographic revo-lution.

The first Bauhaus book appears

19

22

Wassily Kandinsky is appointed to teaching the Preliminary Course and becomes Master of Form in the Wall-Painting Workshop

19

23

László Moholy-Nagy is appointed Master of Form in the Metal Workshop and takes over the Preliminary Course, assisted by Josef Albers

Josef Albers becomes the first student appointed to the staff as a ‘Young Master’

The Bauhaus attract international attention from a week of special activi-ties including lectures, theatrical performances and concerts

19

26

Bauhaus moves into new buildings designed by Gropius

19

27

Hannes Meyer is appointed to teach the new architecture department

19

28

Gropius resigns as director and moves to Berlin

Mies van der Rohe is offered director-ship but declines

Hannes Meyer becomes Gropius’s successor

Free painting classes are given by Klee and Kandinsky for the first time

19

33

Adolf Hitler becomes German Chancellor 32 students are arrested by police and storm-troopers

Bauhaus cis closed on July 20th

TH

E

B

A

U

H

A

U

S

The Bauhaus was the logical conse-quence of a German concern for design in industrial society that began in the opening years of the century. Charac-terized by the utopian desire to create a new spiritual society, the early Bauhaus sought a new unity of artists and crafts-men to build for the future. The main objectives of the Bauhaus was to unify art, craft, and technology. Ideas from all the advanced art and design move-ments were explored, combined, and applied to problems of functional design and machine production at the German design school. Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged.

Wassily Kandinsky László Moholy-Nagy Herbert Bayer Walter Gropius Hannes Meyer Marcel Breuer Ludwig Mies van der Rohe Ludwig Mies van der Rohe

Project: Bauhaus timeline poster & books Course: Design Applications

(18)

Project: AH HA! - BFA in Graphic Design Exhibition & Invitation/Poster

Course: Graduation Presentation

Year: Spring 2009

Name: Michelle LaHam

A collaboratively curated exhibit with the graduating class. The theme “AH HA!” refers to the moment of realization in visual communication for both the interpretor as well as the translator.

(19)

Project: Alehaus modular posters Course: Typography III

Year: Spring 2009

(20)

Project: University Theatre promotional posters

Client: Western Michigan University Theatre Department Year: 2009

9 PARTS

OF DESIRE

CHICAGO

(21)

Project: Shed the Light Process Book Course: Senior Thesis

Year: 2009