2D + 3D DESIGN

This page highlights my graphic design for visual communication and applied functional craft. My early design education began with analog tools and processes such as darkroom film processing, mechanical drafting with french curves, hand lettering with Rapidograph pens, airbrushing, precise cutting of amberlith and preparing wax paste-ups, offset printing, silkscreen printing, and drypress mounting. I quickly transitioned to a mostly digital workflow for desktop publishing related design work. The speed of creating variations of a concept and empowerment to alter imagery with the option of undoing a step was undeniable, but the shift of working with a keyboard and mouse while staring at a screen for hours at a time had drawbacks. For me, there was a sense of loss to switch from using a variety tools that required hand-eye coordination and movement to a stationary tool where material and texture was only emulated. Now, as technology has evolved and I have accumulated additional skills, my tendency is to think about design more broadly, and in a way that can fuse digital tools with physical materials. This makes it harder to neatly summarize what I do, but being multi-disciplinary is both an asset for me as an individual and for clients. I am a holistic, creative thinker with experience that excels at attention-orientented technical work.

Process: CD Cover Imagery

As a designer, I reject the notion of being merely a mixer of existing elements supplied by stock companies (or AI). Instead, I think of what I can create, and that is how I tap into motivation. This is especially true when it comes to imagery for music, literature, and entertainment. My process isn’t simply an application of steps and rules, but of discovery. Efficiency is far less important than engagement with imagination.

The images above show the evolution of the cover and disc graphics for Between the Rising Ocean and the Collapsing Sky. 1. Photograph I took at Joshua Tree National Park. 2. Digital prep an inversion for nagative transparency needed for cyanotype photo developing. 3. Developed cyanotyp on watercolor paper with toner and colored pencil. 4. Vector spiral lines. 5. Final composite ready for typography.

The images below show the designed layout for the Digipak packaging and marketing materials.

Content © by M. Frantz. All rights reserved.