EUNICE RO graphics portfolio - coursework
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EUNICE RO coursework Contact 112 Steeple Drive #B, Buffalo Grove, IL 60089 | 847.409.8854 [email protected] | eunicero.com | @roeunice RETIREMENT With 10,000 baby boomers turning 65 every day, is a life of leisure an attainable goal? the race to Page 5 Features e Daily Eunice now 15 30 retire retire in retire in years years Home Health Aide $45,760 Adult Day Health Care $16,770 Assisted Living $41,880 Nursing Home $54,750 Home Health Aide $95,132 Adult Day Health Care $34,864 Assisted Living $87,066 Nursing Home $113,821 Home Health Aide $197,772 Adult Day Health Care $72,479 Assisted Living $181,003 Nursing Home $236,626 Comparison of Annual Costs for Long-Term Care We tell clients who are (nearing retirement) that if they have the option to work two or three more years, that could be very beneficial when they’re in their late ‘80s. John Sweeney, executive VP of planning and advisory services at Fidelity Investments “ 36% Poor Economy 16% Lack of faith in so- cial security/government 13% Can’t afford to retire 15% Employment 10% Higher cost of living 10% Other Reasons among workers for delaying retirement 77 million baby boomers began turning 65 last year Working adults 75 or older: 2005 : 1.05 million 2011 : 1.31 million 2018 : the government estimates that 2 million, about 10%, will be working 2000’s 2010’s 2020’s 2030’s 2040’s 50 million 40 30 20 10 Growing Old The number of people ages 75 and older will grow dramatically in coming decades as baby boomers swell the ranks of seniors population projections for those 75 and older 48.4 NOT AT ALL SOMEWHAT NOT TOO VERY 50 50 50 50 50 50 50 50 50 50 How confident are workers that they will live comfortably in retirement? ’01 ’02 ’03 ’04 ’05 ’06 ’07 ’08 ’09 ’10 ’11 Sources : Bureau of Labor Statistics 2011, New York Times, Chicago Tribune and the Employment Benefit Research Institute 2011 Workers with little or no confidence in their retirement savings hit 50%, the highest it’s been since 1993 Alternative STory Telling Magazine design LOCAL— $68 CHAIN — $43 local chain THE IMPACT OF SHOPPING LOCAL 5.19 3.92 1.39 1.34 1.92 1.72 DIRECT IMPACT INDUCED and INDIRECT IMPACT the continued circulation of the first round the first round of local spending: wages, benefits, profits and charitable contributions *In millions of dollars THE RIPPLE EFFECT how much money stays in the local economy per $100 revenue local impact for every square foot occupied *data courtesy of the Andersonville Study of Retail Economics PULSE february 15, 2012 issue 4, vol. 3 onlinepulse.com Daft Punk and the “Tron” soundtrack Glee, T-Pain, Kanye, oh my! Bruno Mars The Future of AUTOTUNE Behind the scenes: This Age’s Digital Love next-generation 3D spectacle they hope will be the ultimate film thrill ride. Daft Punk, robot overlords of the digital disco, provide the soundtrack to this immersive vision of a futuristic electronic society – except, in typical Daft Punk style, nothing is quite what it seems. In an eminent Hollywood mastering studio, Thomas Bangalter relaxes on a sofa, smiling at the sounds filling the room. The door opens and Guy- Manuel de Homem-Christo enters, nodding a greet- ing. He expresses pleasure at the overall sound balance, and the engineer continues clicking her mouse, offering a breakneck overview of what this pair have spent the last two years working on. And one thing that is abundantly clear, notwithstanding snatches of crisply edited beats and haunting synth riffs, is that much of the music is orchestral. 17 years after they struck the UK dance scene like a glitterball comet, Daft Punk remain probably the most successful electronic music act in the world. As they discuss cutting a couple of reference CDs to take away, the film’s music mixer Alan Meyerson jokes that they don’t want to leave many of those lying around: “These guys have some pretty so- phisticated fans who will try anything to get hold of this.” Thomas laughs and relays a story about a fan who got in touch with sequel director Joseph Kosin- ski, claiming to be Thomas and asking him to send over all the tracks by email. Meyerson puts down his headphones: “And then there are the not so sophis- ticated.” The blacked-out BMW pulls into traffic, and their manager adjusts the volume of the music. “Daft Punk EQ’d my car stereo,” he smiles, sound- ing very much like the great LCD Soundsystem song that never was. Six weeks after Dazed first met up with them in London, as they were about to record with an orchestra at AIR Lyndhurst (built by Beatles producer George Martin in a Victorian chapel), Daft Punk are sitting in the back of the car, looking tired but relaxed. “We feel good,” shrugs Thomas. “There is more work to be done, but we’ve more or less fin- ished now.” “This project is by far the most challenging and complex thing we have ever been involved with,” he continues. “Coming from our background of mak- ing electronic music in a small bedroom, and end- ing up having our music performed by a 90-piece orchestra, with some of the best musicians in the world… We are lucky to have had the opportunity to experience some powerful moments artistically over the years, but recording this orchestra was a very intense experience.” A few days later, the completed soundtrack al- bum is played through at their studio, and Daft Punk’s skill as composers is clear. Dance has flirted with classical in the past, and composers from Hans Zimmer to original Tron scorer Wendy Carlos have incorporated electronic music into film themes, but this score is a new form of cybernetically enhanced organism, seamlessly merging emotional strings and horns with pulsing bass and sci-fi synth. There’s an electronic version of the main theme that fuses with the instruments so completely that it somehow seems to be originating from within that same high- domed Victorian chapel – it’s crazy and beautiful, a classical orchestra cutting shapes at a 90s ware- house rave. Thomas nods, saying they spent about six months just experimenting with the sound; re- cording was very pure, he adds, and they limited themselves to six or seven digital sounds, embed- ded like virtual instruments within the orchestra. He namechecks Max Steiner, Bernard Herrmann, John Carpenter, Vangelis and Maurice Jarre as soundtrack composers that have been inspirational to them. A gate glides open automatically and the car pulls into their studio base. In their upstairs pro- duction offices, one wall is covered in a giant space scene, a red electric guitar on the floor; a few people tap away at computers, sheltered from the oppres- sive heat. It’s a hint at the preparation needed to re- cord with an orchestra, not to mention the pressures of working with one of the world’s biggest film stu- dios – after all, Daft Punk are notoriously protective of their creative control. “The most pressure we feel is always from ourselves, even in a project like this,” says Thomas. “I think that is why we took so much time before we jumped on board, so we could guar- antee our freedom and room for experimentation in this environment – it’s a dream factory. Hollywood is at the corner of imagination and industry.” The roots of this particular journey lie in Daft Punk’s 2007 world tour, when director Kosinski and another producer met with them and asked if they would be interested in working on a Tron sequel. The film had not been approved at that point, but a shared affinity for the world of the original became clear. “As soon as we saw the filmmaker was not try- ing to copy the first, but expand it after almost 30 This project is by far the most challenging and complex thing we have ever been involved with. “ 22 | Pulse From DAFT, page17 the daft is back If you look closely at the back of a circuit board, that tightly packed grid of lines and soldering points looks a lot like a top-down view of a futuristic city. At least, it must have seemed that way to director Steven Lisberger in the late 1970s, around the time he moved his small animation studio to Los Angeles. Inspired by his experience of the first video game Pong, Lisberger had a vision of the future – a utopian virtual world that existed inside computer space, populated by avatars of programs and the people that created them, and enabled by a new form of animation that swapped paint- brushes for pixels. He called it Tron. Los Angeles, 2010. The world’s entertainment centre stretches out beneath the wings of the computer-controlled Airbus, continuing its automated descent to LAX. Around 18 million people live here in an area that runs to the horizon in a scarcely interrupted grid of light, their flow within it determined by a ceaseless, automated blinking – red, green, red. And somewhere in it sits a cluster of people busy reactivating the Tron universe for the first time since 1982, for a 16 | Pulse Pulse | 17 By ROD STANLEY Dazed Digital photos courtesy of creative commons How the French duo went from “Robot Rock” to à la mode See DAFT, page 17 For Media Design project on magazine design For Reporting in Diverse Communities project on shopping locally As a part of a final package for my Enterprise Report- ing in Diverse Communities class at Medill, this graphic illustrates the trends and research behind pushes for shopping in local economies, a campaign that has gained footholds in the Edgewater and Andersonville neighborhoods of Chicago. On top of conducting research and following up with local government officials and store owners, my final project ultimately gave a holistic overview of business news in Edgewater. This particular graphic was intended to break down the facts behind various claims that shopping locally is essential to economic revitalization. Using colors and careful font hierarchy, I not only place a wealth of infor- mation on one page, but I guided the reader through the most important pieces of research. With only the general requirement that our alter- native story form have a theme of “aging,” this project started with a few Chicago Tribune and Wall Street Journal articles featuring the same statistics from the US Census Bureau. However, while both publications focused on different aspects of the story, the com- mon denominator for the two was a mess of numbers and statistics, creating confusion for readers. I went back to the source and sifted through hun- dreds of pages of data and eventually selected, edited and illustrated the information I considered to be the most vital to telling the story. In addition, I called up a few insurance agencies to ask for numbers that could make the story relevant to younger generations as well as older ones. Following a lecture on feature spreads and color theory, my assignment for Media Design was to con- ceptualize and produce a magazine—complete with a persona, marketing strategies, color palette, logo and the cover, centerfold spread and jump page for the “first edition.” After settling on the popular DJ sensation, “Daft Punk,” I created the digital music magazine, “Pulse,” and used kuler by Adobe to further develop the look and feel of my imaginary publication. Battling typical problems with hierarchy, color coordination and visuals, my project allowed me to stretch myself beyond my comfort zone of news graphics and learn some valuable lessons about white space, crowding and even marketing. At the start of the assignment, I had little to no experience in magazine layouts and spreads. How- ever, the freedom to play with headlines, use photo- heavy spreads and come up with a style from scratch pushed me to think outside of the newsgrid and be more creative.
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EUNICE RO graphics portfolio - coursework
Transcript of EUNICE RO graphics portfolio - coursework
EUNICE RO courseworkContact112 Steeple Drive #B, Buffalo Grove, IL 60089 | [email protected] | eunicero.com | @roeunice
RETIREMENTWith 10,000 baby boomers turning 65 every day, is a life of leisure an attainable goal?
the race toPage 5Features The Daily Eunice
now 15 30retire retire in retire in
years years
Home Health Aide$45,760
Adult Day Health Care$16,770
Assisted Living$41,880
Nursing Home$54,750
Home Health Aide$95,132
Adult Day Health Care$34,864
Assisted Living$87,066
Nursing Home$113,821
Home Health Aide$197,772
Adult Day Health Care$72,479
Assisted Living$181,003
Nursing Home$236,626
Comparison of Annual Costs for Long-Term Care
We tell clients who are (nearing retirement) that if they have the option to work two or three more years, that could be very beneficial when they’re in their late ‘80s.
John Sweeney, executive VP of planning and advisory services at Fidelity Investments“
36% Poor Economy
16% Lack of faith in so-cial security/government
13% Can’t afford to retire
15% Employment
10% Higher cost of living
10% Other
Reasons among workers for delaying retirement
77 million baby boomers began turning 65 last year
Working adults 75 or older:2005 : 1.05 million2011 : 1.31 million 2018 : the government estimates that 2 million, about 10%, will be working
2000’s 2010’s 2020’s 2030’s 2040’s
50 million
40
30
20
10
Growing OldThe number of people ages 75 and older will grow dramatically in coming decades as baby boomers swell the ranks
of seniors
population projections
for those 75 and older
48.4
NOT
AT A
LLSO
MEW
HAT
NOT
TOO
VERY
50 50 50 50 50 50 50 50 50 50
How confident are workers that they will live comfortably in retirement?
’01 ’02 ’03 ’04 ’05 ’06 ’07 ’08 ’09 ’10 ’11
Sources : Bureau of Labor Statistics 2011, New York Times, Chicago Tribune and the Employment Benefit Research Institute 2011
Workers with little or no confidence in their retirement savings hit 50%, the highest it’s been since 1993
Alternative STory Telling
Magazine design
LOCAL— $68
CHAIN — $43
localchain
THE IMPACT OF SHOPPING LOCAL
5.19
3.92
1.39
1.341.92
1.72
DIRECT IMPACT
INDUCED andINDIRECT IMPACTthe continued circulation of the first round
the first round of local spending: wages, benefits, profits and charitable contributions
*In millions of dollars
THE RIPPLE EFFECThow much money stays in the local economy per $100 revenue
local impact for every square foot occupied
70%JUMP
CHAIN$105
LOCAL$179
PERCENT OF REVENUE SPENT ON LABOR
LOCAL : 28%CHAIN : 23%
OF 512 RANDOMLY SELECTED ANDERSONVILLE SHOPPERS...
70% said they preferred local businesses to chain stores with three or more locations
80% prefer Andersonville to other neighborhoods
*data courtesy of the Andersonville Study of Retail Economics
PULSEfebruary 15, 2012issue 4, vol. 3
onlinepulse.com
Daft Punk and the “Tron” soundtrack
Glee, T-Pain, Kanye, oh my!
Bruno MarsThe Future of AUTOTUNE
Behind the scenes:
This Age’s Digital Love
next-generation 3D spectacle they hope will be the ultimate film thrill ride. Daft Punk, robot overlords of the digital disco, provide the soundtrack to this immersive vision of a futuristic electronic society – except, in typical Daft Punk style, nothing is quite what it seems.
In an eminent Hollywood mastering studio, Thomas Bangalter relaxes on a sofa, smiling at the sounds filling the room. The door opens and Guy-Manuel de Homem-Christo enters, nodding a greet-ing. He expresses pleasure at the overall sound balance, and the engineer continues clicking her mouse, offering a breakneck overview of what this pair have spent the last two years working on. And one thing that is abundantly clear, notwithstanding snatches of crisply edited beats and haunting synth riffs, is that much of the music is orchestral.
17 years after they struck the UK dance scene like a glitterball comet, Daft Punk remain probably the most successful electronic music act in the world. As they discuss cutting a couple of reference CDs to take away, the film’s music mixer Alan Meyerson jokes that they don’t want to leave many of those lying around: “These guys have some pretty so-phisticated fans who will try anything to get hold of this.” Thomas laughs and relays a story about a fan who got in touch with sequel director Joseph Kosin-ski, claiming to be Thomas and asking him to send over all the tracks by email. Meyerson puts down his headphones: “And then there are the not so sophis-ticated.”
The blacked-out BMW pulls into traffic, and
their manager adjusts the volume of the music. “Daft Punk EQ’d my car stereo,” he smiles, sound-ing very much like the great LCD Soundsystem song that never was. Six weeks after Dazed first met up with them in London, as they were about to record with an orchestra at AIR Lyndhurst (built by Beatles producer George Martin in a Victorian chapel), Daft Punk are sitting in the back of the car, looking tired but relaxed. “We feel good,” shrugs Thomas. “There is more work to be done, but we’ve more or less fin-ished now.”
“This project is by far the most challenging and complex thing we have ever been involved with,” he continues. “Coming from our background of mak-ing electronic music in a small bedroom, and end-ing up having our music performed by a 90-piece orchestra, with some of the best musicians in the world… We are lucky to have had the opportunity to experience some powerful moments artistically over the years, but recording this orchestra was a very intense experience.”
A few days later, the completed soundtrack al-bum is played through at their studio, and Daft Punk’s skill as composers is clear. Dance has flirted with classical in the past, and composers from Hans Zimmer to original Tron scorer Wendy Carlos have incorporated electronic music into film themes, but this score is a new form of cybernetically enhanced organism, seamlessly merging emotional strings and horns with pulsing bass and sci-fi synth. There’s an electronic version of the main theme that fuses with the instruments so completely that it somehow seems to be originating from within that same high-domed Victorian chapel – it’s crazy and beautiful,
a classical orchestra cutting shapes at a 90s ware-house rave. Thomas nods, saying they spent about six months just experimenting with the sound; re-cording was very pure, he adds, and they limited themselves to six or seven digital sounds, embed-ded like virtual instruments within the orchestra. He namechecks Max Steiner, Bernard Herrmann, John Carpenter, Vangelis and Maurice Jarre as soundtrack composers that have been inspirational to them.
A gate glides open automatically and the car pulls into their studio base. In their upstairs pro-duction offices, one wall is covered in a giant space scene, a red electric guitar on the floor; a few people tap away at computers, sheltered from the oppres-sive heat. It’s a hint at the preparation needed to re-cord with an orchestra, not to mention the pressures of working with one of the world’s biggest film stu-dios – after all, Daft Punk are notoriously protective of their creative control. “The most pressure we feel is always from ourselves, even in a project like this,” says Thomas. “I think that is why we took so much time before we jumped on board, so we could guar-antee our freedom and room for experimentation in this environment – it’s a dream factory. Hollywood is at the corner of imagination and industry.”
The roots of this particular journey lie in Daft Punk’s 2007 world tour, when director Kosinski and another producer met with them and asked if they would be interested in working on a Tron sequel. The film had not been approved at that point, but a shared affinity for the world of the original became clear. “As soon as we saw the filmmaker was not try-ing to copy the first, but expand it after almost 30
This project is by far the most challenging and complex thing we have ever been
involved with.“
22 | Pulse
From DAFT, page 17
PULSE
the daft is backIf you look closely at the back of a circuit board, that tightly packed grid of lines and soldering points looks a lot like a
top-down view of a futuristic city. At least, it must have seemed that way to director Steven Lisberger in the late 1970s, around the time he moved his small animation studio to Los Angeles. Inspired by his experience of the first video game Pong, Lisberger had a vision of the future – a utopian virtual world that existed inside computer space, populated by avatars of programs and the people that created them, and enabled by a new form of animation that swapped paint-brushes for pixels. He called it Tron.
Los Angeles, 2010. The world’s entertainment centre stretches out beneath the wings of the computer-controlled Airbus, continuing its automated descent to LAX. Around 18 million people live here in an area that runs to the horizon in a scarcely interrupted grid of light, their flow within it determined by a ceaseless, automated blinking – red, green, red. And somewhere in it sits a cluster of people busy reactivating the Tron universe for the first time since 1982, for a
16 | Pulse Pulse | 17
By ROD STANLEYDazed Digital
photos courtesy of creative commons
How the French duo went from “Robot Rock” to à la mode
See DAFT, page 17
For Media Design project on magazine design
For Reporting in Diverse Communities project on shopping locally
As a part of a final package for my Enterprise Report-ing in Diverse Communities class at Medill, this graphic illustrates the trends and research behind pushes for shopping in local economies, a campaign that has gained footholds in the Edgewater and Andersonville neighborhoods of Chicago.
On top of conducting research and following up with local government officials and store owners, my final
project ultimately gave a holistic overview of business news in Edgewater.
This particular graphic was intended to break down the facts behind various claims that shopping locally is essential to economic revitalization. Using colors and careful font hierarchy, I not only place a wealth of infor-mation on one page, but I guided the reader through the most important pieces of research.
With only the general requirement that our alter-native story form have a theme of “aging,” this project started with a few Chicago Tribune and Wall Street Journal articles featuring the same statistics from the US Census Bureau. However, while both publications focused on different aspects of the story, the com-mon denominator for the two was a mess of numbers and statistics, creating confusion for readers.
I went back to the source and sifted through hun-dreds of pages of data and eventually selected, edited and illustrated the information I considered to be the most vital to telling the story.
In addition, I called up a few insurance agencies to ask for numbers that could make the story relevant to younger generations as well as older ones.
Following a lecture on feature spreads and color theory, my assignment for Media Design was to con-ceptualize and produce a magazine—complete with a persona, marketing strategies, color palette, logo and the cover, centerfold spread and jump page for the “first edition.”
After settling on the popular DJ sensation, “Daft
Punk,” I created the digital music magazine, “Pulse,” and used kuler by Adobe to further develop the look and feel of my imaginary publication.
Battling typical problems with hierarchy, color coordination and visuals, my project allowed me to stretch myself beyond my comfort zone of news graphics and learn some valuable lessons about
white space, crowding and even marketing.At the start of the assignment, I had little to no
experience in magazine layouts and spreads. How-ever, the freedom to play with headlines, use photo-heavy spreads and come up with a style from scratch pushed me to think outside of the newsgrid and be more creative.
