Visually Enhanced Quotes

The first postcard (JPEG-1) is a great way that symbolizes my quote. A thought bubble with a light bulb in the middle is a great way to show the power of the human brain. It shows that humans use their brain and without it we don’t exist.

The second image shows the innovation of the thought process of the human brain. Humans are very innovative when it comes to solving problems. We are constantly using our brains to figure where we fit in this cruel world.


Showing the use of both side of the brain is excellent way to show how the human brain works. Our brain is split into two half. Each half of the brain has its purpose and combine together shows the true power of the human brain. If the brain doesn’t work anymore then we as a human will eventually fade out of existence.

Stefan Sagmeister Research Paper.


Richard Rohoman

Prof. Bauer

Digital Media Foundations COMD 1112, D105

Nov. 20, 2019


Stefan Sagmeister


                      Stefan Sagmeister is a renowned Austrian-born US based contemporary

graphic designer and typographer. He is the co-founder of the famous design firm,

Sagmeister & Walsh, which he established in partnership with Jessica Walsh. His

intriguing and provocative designs redefined the status of graphic designers. Some of

his notable designs are showcased on the album covers of The Rolling Stones, Pat

Metheny, David Byrne and OK Go. I choose Stefan Sagmeister because he’s an amazing

Graphics Designer. He strives to be a better designer by finding inspiration in things

that he does. He’s not a quitter when it came to pursuing his career as a graphics

designer. I am majoring in either Computer Animation or Graphic Design. Learning

about Stefan Sagmeisterhas helped me to continue to pursue what I want.


                     On August 6, 1962, Stefan Sagmeister was born in Bregenz, Austria. After

graduation from high-school, he enrolled himself in an engineering college. However,

he later changed his mind and opted for graphic designing course. Since an early age,

Sagmeister had a passion for designing, thus it is as not surprising that he began his

designing career at the age of 15. He worked for an Austrian left-wing youth

magazine, Alphorn. While he was covering Alphorn’s Anarchy issue, he had an

ingenious idea to exercise the D-I-Y graphic for the first time. He persuaded his fellow

students to lie down on the playground forming the letter A, and took a picture from

school roof for the poster of the magazine. At the age of 19, he applied for the

University of Applied Arts Vienna to study graphic designing. Although, at first, he was

refused the admission on the basis of his amateur drawing, his application was

accepted on second attempt. In 1987, owing to his remarkable performance, he

earned a Fulbright scholarship for the New York based Pratt Institute.


                    For mandatory military services, Sagmeister returned to Austria after

three years of studies in United States. He chose to do community service for refugee

center instead and afterwards remained in Austria for a while. There he continued to

pursue graphic designing and then moved to Hong Kong in 1991. He landed a job

as a typographer in an advertising agency. In 1992, the agency was asked to design a

poster for the 4As advertising awards ceremony. Sagmeister had a strange sense of

humor and never took issues of propriety into consideration. So, when he presented

an inappropriate and unethical poster for the event he was lambasted by the

audience. A few months later, he decided to move back to New York City. In New York,

Sagmeister briefly worked at M&Co studio, which sponsored his green card

application. As the studio was closed and moved to Rome, he set out to establish his

own studio.


                     Having keen interest in music, he decided to work on music graphics but

only endorsing the music, he prefers. In 1993, he founded the Sagmeister Inc. At first

none of the record labels approached him for the album cover designs. So, when his

friend was about to launch his album he seized the opportunity to design the CD cover

for Zinker’s Mountains of Madness. Using the optical illusion, he made the CD cover

more tantalizing for the consumers, and his incredible zeal for innovative designs

earned him four Grammy nominations for the cover. Inspired by his work, Lou Reed

requested him to design cover for his album, Set the Twilight Reeling, in 1996. It was

followed by the cover he designed for David Byrne’s album Feelings featuring the GI

Joe-style doll.


                      After forming Sameister Inc., Stefan Sagmeister promoted brands,

music and entertained a diverse range of clients such as the Guggenheim Museum,

HBO, AIGA, Rolling Stones and Time Warner with his captivating designs. For his

stellar achievements he was awarded the Grammy Award thrice and the National

Design Award. He is a long-standing artistic collaborator with musicians David Byrne

and Lou Reed. He is the author of the design monograph “Made You Look” which was

published by Booth-Clibborn editions. His works has been mounted in Zurich,

Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul. He teaches in

the graduate department of the School of Visual Arts in New York and has been

appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York. His

motto is “Design that needed guts from the creator and still carries the ghost of these

guts in the final execution.” He goes on a year-long sabbatical around every seven

years, where he does not take work from clients. He is resolute about this, even if the

work is tempting, and has displayed this by declining an offer to design a poster for

Barack Obama’s presidential campaign. Stefan spends the year experimenting with

personal work and refreshing himself as a designer. Several years ago, he decided to

dedicate 25% of his work to the art world, things like books and publications for

galleries, another 25% to the scientific community, 25% to social causes, and the

remaining quarter has stayed dedicated to the music industry.


                      Stefan Sagmeister received a Grammy Award in 2005 in the Best Boxed

or Special Limited-Edition Package category for art direction, once in a Lifetime box

set by Talking Heads. He received a second Grammy Award for his design of the David

Byrne and Brian Eno album Everything That Happens Will Happen Today in the

Grammy Award for Best Recording Package category on January 31, 2010. In 2005,

Sagmeister won the National Design Award for Communications from the Cooper-

Hewitt National Design Museum. In 2013 Sagmeister was awarded the Golden Medal

of Honor of the Republic of Austria.


                       In conclusion, Stefan Sagmeister is an incredible graphic designer whose

works are well knowing in the graphic designing world as well as around the world 

through his vision and uniqueness to designing. His style is ingenious and is sought

after from clients that are well known in the entertainment industry and as well as

the business world. He has won many accolades for his outstanding work in graphic

design in the entertainment industry. I respect the fact that he is willing to donate

some of his funds through shows that he has for social issues and the arts. He is a

wonderful artist.




“Stefan Sagmeister: Biography, Designs and Facts.” Famous Graphic Designers,


“Stefan Sagmeister.” Wikipedia, Wikimedia Foundation, 9 Oct. 2019,


“Work – Sagmeister Inc.” Work – Sagmeister Inc.,


“Work – Sagmeister & Walsh.” Work –,





UEFA Research Logo Paper.

COMD 1112, Section D105                                                                                      9/15/19

Professor Bauer                                                                                                          Richard Rohoman    



                                                                UEFA Logo History Report



                        The Union of European Football Associations or UEFA was founded on 15

June 1954 in Basel, Switzerland after consultation between the Italian, French, and

Belgian associations. UEFA is the administrative body for association football, futsal

and beach soccer in Europe. UEFA represents the national football associations of

Europe, runs nation and club competitions including the UEFA European

Championship, UEFA Nations League, UEFA Champions League, UEFA Europa League,

and UEFA Super Cup, and controls the prize money, regulations, and media rights to

those competitions.


                         First played in 1955 (then known as the European Cup), UEFA Champions

League is the top-tier annual football competition in Europe with the top clubs of each

European league competing for the ultimate European bragging rights. I will be

discussing who design the UEFA logo. What was the thought process in developing the

logo? Whether the logo has influenced other logos? What are the typeface and colors

of the logo?


                          The UEFA Champions league is one of the most prestigious club football

competition in the world. It has been paving a way for club football around the world.

Because of the success of the game the UEFA governing body wanted the logos to pop

out to grab the fans attention every year when the competition is being held. To

further bring out the branding of the UEFA logo, the company has reached out to a few

designers to help make the branding of the logo more spectacular. In 1991, UEFA

asked its commercial partner, Television Event and Media Marketing (TEAM), to help

“brand” the Champions League. This resulted in the anthem, “house colors” of black

and white or silver and a logo, and the “starball”. The starball was created by Design

Bridge, a London-based firm selected by TEAM after a competition. TEAM gives

particular attention to detail in how the colors and starball are depicted at matches.


                        According to TEAM, “Irrespective of whether you are a spectator in Moscow

or Milan, you will always see the same stadium dressing materials, the same opening

ceremony featuring the ‘starball’ center circle ceremony, and hear the same UEFA

Champions League Anthem”. Based on the research it conducted, TEAM concluded

that by 1999, “the starball logo had achieved a recognition rate of 94 percent among

fans”. Over the last 12 years, the brand had evolved, but the core focus had remained

similar. For UEFA, the question was how can the competition continue to set the

precedent for global sport, while living up to its promise of being ‘the best of the best

on the ultimate stage’. The brand needed to evolve to further inspire and captivate the

audiences around the world. By working with Design Studio, UEFA chose to amplify

the brand and signal a bold step forward for club football’s most prestigious



                          When it came to the thought process of designing the logo. Designers

wanted to push the brand’s visual language, while remaining true to what was loved

by so many fans. They wanted to make sure that the new brand identity introduces

vibrant, contemporary design principles that signal a bold step forward for club

football’s most prestigious competition. Branding and graphics agency DesignStudio

have worked with UEFA to rebrand the entire Champions League visual identity, using

light as its core design device. Working with the icon of the football association’s

existing branding, the “starball”, DesignStudio has adapted its aesthetic to appear as

if it’s “crafted from light”, making it luminescent, translucent, and gradated in tone.

This device has then been rolled out across all the identity’s details and applications,

using a gradient of light as a unifying design system in all TV graphics. The starball

behavior and qualities influence every aspect of the brand. The light is the catalyst for

movement and inspires their approach to motion principles across the broadcast

graphics. The approach was to focus on ‘the moments that make the ultimate stage’ –

to hero legendary feats of ability, brilliance and skill on the pitch, while providing

teams and partners a platform to inspire beyond the stadium. In collaboration with

their CGI partners, they designed and built a bespoke stadium and sprawling

metropolis that takes inspiration from the European cities that host the competition.


                            The UEFA logo has influenced the major impact of European Football.

The purpose of the logo is to give UEFA EURO 2012 a personality of its own, with the

visual identity to be applied across a range of promotional applications from tickets

to web banners. The objective is to help promote the tournament – one of the world’s

biggest sporting events – by providing an easily recognizable identity with a flavor of

the host nations. The logo takes its visual lead from ‘wycinanka’, the traditional art of

paper cutting practiced in rural areas of Poland and Ukraine, as a tribute to the fauna

and flora of the region. Because of its influence the Euro Bloom logo was created to

make European Football stand out from the club football competition compared to

nation against nation in football European Cup competition. The ‘bloom’ logo has a

flower representing each of the co-host nations and a central ball symbolizing the

emotion and passion of the competition, while the stem denotes the structural aspect

of the competition, UEFA and European football. Nature has inspired other features of

the visual identity, with woodland green, sun yellow, aqua blue, sky blue and

blackberry purple being the crucial tones of the palette of colors to figure in official

tournament branding.


                            Since Soccer is the biggest sporting event in the world every major

company wants to advertised with UEFA. Some of the companies that sponsor the

competition has had there company logo side by side with the UEFA logo in

commercial for promotional use. The combination of the UEFA logo with company

logo has compliment the over style of branding for commercial use. Heineken is the

number sponsor of the UEFA competition in Europe. Heineken theme music starts the

competition when you are watching at home on TV. UEFA European football is the

second biggest competition next to FIFA World Cup. Every major company wants to

advertise with UEFA because of the broad spectrum of audience that it reaches every

year or every four years. Reaching the fans is most important for companies to get

there products out to the fans. The starball allows sponsors to proudly align to the

UEFA Champions League world whilst remaining true to their individual brands.


                            The Typeface and colors have helped to highlight the brilliance of the

logo. The color palette inspired by a vivid European night sky, with rich accents that

add drama and flair. Typography reflects the precision and elegance of elite club

football. An additional weight of the existing Champions brand typeface has been

crafted to mirror the accuracy and finesse of the world’s best players. This new

version, Champions Light, is centred with wider tracking, aims to “express the

grandeur and scale of the competition.”Upper case titles are centered with wide

tracking, emphasizing the grandeur and prestige of the competition. Dynamic

graphics and titles are led by beams of light that reflect the movement of the starball.

UEFA and design agency Radiant Studios asked Fontsmith to begin exploring the

potential for a bespoke font family for the UEFA Champions League brand identity.

The tournament’s logotype uses a traditional serif font style with a bold and elegant

football that is suggested by a pattern of stars. These elements serve their purpose as

a symbol of the world’s best club football competition. The challenge for us was to

maintain and carry over this prestige into a typographic personality whilst subtly

modernizing and injecting energy into the brand. The new typeface was intended to

be used throughout all Champions League brand communications from publishing,

exhibitions, conferences and onscreen tournament and match infographics.

Fontsmith needed to create a bespoke type design that complemented the existing

identity so they began by playing with several possibilities and questioning sans serif,

serif and brushstroke styles, drawing type into context and over the top of other

brand imagery. They kept returning to the football logo and explored the angles on

the points of the stars to see if they could incorporate them into the letterforms. A lot

of time was spent designing the lowercase ‘g’. We wanted something quirky and

dynamic. It was an important character because it’s in the word ‘League’ and

therefore would be key for brand recognition when the ‘g’ was used in other words.

The final result is a quirky and decidedly European sans serif typeface, crisp and

sometimes spiky. A distinctive look for the numerals was also of prime importance,

and a Cyrillic character set complements the standard Latin alphabet in all fonts.

Champions Regular, Bold, Extra Bold and Headline fonts are exclusive to UEFA and will

further strengthen the brand across all communications.


                            So, in conclusion the UEFA has been a big impact on the football

competition of the world. The logo has been a big influence on the different style of

branding to help promote European Football whether its club competition or just

nation against nation. The bold typeface and colors have help distinguish the brand

from other logos while maintaining its own style and elegance.








“UEFA Champions League.” Wikipedia, Wikimedia Foundation, 25 Nov. 2019,


“Design-Studio.” Design Studio,


“UEFA Champions League 2018-21.” UEFA Champions League 2018-21,


“DesignStudio Rebrands UEFA Champions League, Using Light as Its ‘Centrepiece.’” It’s Nice That, 8 June 2018,


“UEFA Champions League – Custom Font Design.” Boutique Type Foundry – Font Foundry London, “UEFA Official Sponsors and Partners.”,





















































Field Trip

COMD 1112, Section D105                                                                                                          11/24/19

Professor Bauer                                                                                                                            Richard Rohoman


Topic: Print and Production Process


I have learned that to be a good designer you have to know what the production process is like. A lot of things goes into the production process. You have to talk witht the designers to get the proper file and make sure that the dimensions is right when it comes to the printing process. If you are communicating well with the rest of the department, then the production design process will be executed well. Mechanical or chemical steps used to create an object, usually repeated to create multiple units of the same item. Generally involves the use of raw materials, machinery and manpower to create a product. The processes and methods used to transform tangible inputs (raw materials, semi-finished goods, subassemblies) and intangible inputs (ideas, information, knowledge) into goods or services. Resources are used in this process to create an output that is suitable for use or has exchange value.

The printing process is very important to the production process. There is a lot to learn when it comes to designing for print. A print designer deals with a whole different set of questions and issues than a web designer. It is important to understand the various terms that relate to the printing process and to choose the appropriate printing method and printer for a job. Designing for print media versus designing for the web can be a completely different experience. To better understand these differences, the two can be compared in major topic areas: types of media, audience, layout, color, technology, and careers. Remember we’re looking at the graphic design side of web design, not the technical side.

The main industrial printing processes are:

Offset lithography


Digital printing: inkjet & xerography


Screen printing

Additional printing techniques were developed for very specific applications. These include flock printing, letterpress, intaglio, pad printing, and thermography.