Final Approach by Anton Schulz

Final Approach

Anton Schulz Design Por t folio

Final Approach

Anton Schulz Design Portfolio

FINAL APPROACH

No part of this publication is allowed to be reproduced without the expressed permission from the copyright holder stated above.

ANTON SCHUL Z

DESIGN PORTFOLIO

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

I dedicate this portfolio to my mom and dad, who has always supported me in the search for my dreams, wherever in the world it would take me.

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

Arrivals

I am a graphic designer, visual artist, life explorer and world traveler. I am passionate about pushing the limits of design and widen my knowledge further for every new challenge I take on. For me, graphic design is not only a visual expression, it is a solution to a problem and a way to communicate in a multicultural world. As I am about to make my final approach for this part of my journey, Iâ&#x20AC;&#x2122;m excited to see where the next departure will take me. Living for what I do not yet know I am hoping that one of my dreams will never come true, so that I will always have something to strive for during the rest of my life.

FINAL APPROACH

ANTON SCHUL Z

Directory

DESIGN PORTFOLIO

U.S. Open

BR ANDING / PRINT

Chain Reaction C A M PA I G N / P R I N T

Clarendon PRINT

Cleanse PRINT / WEB

Agentry PR

WEB

Norrsken

P R O D U C T / PA C K A G I N G

Eco:Engines D I G I TA L

Republic Of Tea PA C K A G I N G

Thiel Consulting B R A N D I N G / WEB

Timetrotter D I G I TA L

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

The Ultimate Branding Challenge

Let’s be honest. I’m not a sports kinda guy. Which is why I was surprised to find myself one day standing in quiet suspense watching, live and on location, the final ball being hit on the course of the U.S. Open Golf Tournament last summer.

U.S. OPEN

COURSE IDENTIT Y 2

SEMESTER S U M M E R 2 012

PROJECT U.S. OPEN

INSTRUCTOR T O M M C N U LT Y

FOCUS BR ANDING / PRINT

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

U.S. OPEN

TONE S O P H I S T I C AT E D / M O D E R N / S P O R T Y DELIVERABLES S T Y L E G U I D E / S TAT I O N E R Y / D I G I TA L T Y P E FA C E DESSAU / DIN NE X T / DIN NE X T ROUNDED PHOTOS I S T O C K P H O T O S .C O M

OBJECTIVE

The U.S. Open Golf Tournament has a rich history and an important legacy that is recognized as the ultimate challenge within golf. However, it is a very traditional institution where change is not easily accepted. The challenge in this project was to create a timeless and unique identity system that reflects the heritage of the tournament and the power of the sport, all presented in a comprehensive style guide. FINAL APPROACH

With these challenges in mind, it was important to make a logo that was simple and flexible, a logo that could stay recognizable for all the future tournaments to come without looking dated. It should be straightforward and bold and have a friendly approach. To accompany the logo there are colors, graphics and applications that represent the excitement of the sport, the heritage of the game and the openness of the golf community.

FINAL APPROACH

PMS 803

ANTON SCHUL Z

DESIGN PORTFOLIO

U.S. OPEN

P M S 575

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ANTON SCHUL Z

DESIGN PORTFOLIO

DIN NEXT

DIN NEX T ROUNDED

Aa Aa

U.S. OPEN

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

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U.S. OPEN

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U.S. OPEN

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U.S. OPEN

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U.S. OPEN

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U.S. OPEN

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U.S. OPEN

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U.S. OPEN

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A Self Empowering Solution

One of the best things about being back home in Stockholm during the summer is that I can take my bike anywhere. At the end of the day, biking home during a warm summer night is the best way to experience the city.

CHAIN RE ACTION

COURSE PRINT 2

SEMESTER FA L L 2 012

PROJECT CHAIN RE ACTION

INSTRUCTOR TOM SIEU

FOCUS C A M PA I G N / P R I N T

PA R T N E R ELENA MISK A

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

CHAIN RE ACTION

TONE B O L D / C O L O R F U L / F R I E N D LY DELIVERABLES I N F O G R A P H I C / B O O K / S TAT I O N E R Y / P I N S T Y P E FA C E AV E N I R PHOTOS 12 3 R F.C O M

OBJECTIVE

The question we asked was straightforward. How can we improve Muni? With research uncovering issues going much deeper then seen on the surface, the challenge grew with each new revelation. Failing budgets, an aging vehicle park, understaffed services and unhappy riders required multiple solutions. FINAL APPROACH

A small step in the right direction is to get the riders motivated to push for a better Muni that is more about solutions and not problems. One such solution this integrated campaign is promoting is the implementation of a bike sharing system. To get such a project going, San Francisco would need both the citizens and the politicians in the City Hall on board. The mediums to communicate this campaign were created to spark enthusiasm and action in both audiences and get them biking for a more efficient public transportation.

FINAL APPROACH

ANTON SCHUL Z

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CHAIN RE ACTION

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CHAIN RE ACTION

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CHAIN RE ACTION

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CHAIN RE ACTION

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CHAIN RE ACTION

Once you have reached the area of your destination and a nearby bike sharing station, just park your bike at a open dock and wait a few second for the bike to get locked.

PARK

Detached the assigned bike from the station and start your journey to the closest bike sharing station at your destination. Use maps at docking stations or your phone.

GOLDEN GATE

SAUSALITO

RICHARDSON BAY

SAN FRANCISCO BAY

ANGEL ISL AND

SAN FRANCISCO BAY

AT R

The heart of San Francisco is Union Square, with many hotels and attractions. This is a start out point for many tourists, which makes for a great example of a larger downtown station.

Not only a tourist spot but also a popular transit location for people coming off the ferries or getting off BART and going into the city. This is a great location for a larger bike sharing station that would support last mile commuters.

There are many popular tourist spots around the city, such as Fishermanâ&#x20AC;&#x2122;s Wharf that attracts many people every day of the week. This location could host a larger station or multiple ones around the area.

Example of a bike sharing station at Market Street and other major streets. Would be situated close to BART and Muni station exits for an easy transition between the transportation modes.

With a larger bike sharing station next to the AT&T Park stadium, the system would be a great way to get to and from the games and ease the pressure on other transportation options during a game.

With the museums, hotels and the huge convention center around the Yerba Buena Park, this location could host multiple stations around the park and in the area.

Locations that are further away from the center of the bike sharing system but still a great destination that would attract many recreational bicyclists.

DESTINATIONS

Together with the Academy of Sciences and other attractions nearby, this area is a great location for one or more bike sharing stations that would be popular amongst both locals and tourists.

MUSEUMS

Caltrain station is a perfect example of a last mile commuter transit location which would host a larger bike sharing station for the high number of passengers coming in from the South Bay.

TRAIN STATIONS

The political center of San Francisco is Civic Center. It is also the destination spot museums, art centers and the public library.

POLITICAL CENTERS

TREASURE ISL AND

These are popular destinations almost any day of the week for both locals and tourists and are great examples for bike sharing stations. One station in each end of a park would be preferable.

CIT Y PARKS

SAN FRANCISCO BAY

There are many hospitals in the city and the largest one being UCSF Medical Center employs and educates a large number of people. Because of that there are many commuters in this area and bike sharing would fit in perfectly.

Thanks to the bike friendly environment in the larger parks around the city it is a great opportunity for many bike sharing stations that could be placed next to or close by main attractions.

14 HOSPITALS

13 L ARGER PARKS

Many students do not own a car and rely on public transportation as their main form of getting around, which is why campuses are a prime areas for bike sharing.

An example of a location for the most common stations. Close to a transportation corridor and in local neighborhoods with many commuters in the mornings and during the evenings.

Stations next to important landmarks would become popular destinations for both locals and tourists. A bike sharing station at the Golden Gate Bridge is one such example.

CAMPUSES

10 RESIDENTIAL AREAS

09 L ANDMARKS

MAIN STREETS

06 SPORTS STADIUMS

05 CONVENTIONS

CIT Y SQUARES

02 FERRY TERMINALS

01 TOURIST SPOTS

This infographic works as a simplified map to point out the possible locations of bike sharing stations in San Francisco. It is integrated with the extended public transportation options to show how the systems overlap and connect. In reality there would of course be hundreds more stations placed out throughout the city.

LOCATIONS

RICHMOND

ANTON SCHUL Z

BIKE

At the bike sharing station, if you have an account sign in with your personal code or tag your Clipper card to pay and unlock a bike. You may also sign up for a account.

PAY

Bike sharing stations will be located all over the city and it will be easy to spot one, especially when getting of the Muni and other transportation hubs.

LOCATE

If your journey starts outside the bike sharing zone or from another nearby city, catch the Muni or another transit option for the first part of your trip.

TRAVEL

Set up an account and pay a deposit online, at a bike sharing station or through a vendor. Your account can be connected to your Clipper card for easy transfers.

Using the bike sharing system should be very simple and quick. The more integrated to the existing public transportations system the bikes are the more attractive they will be to use. These are the steps of how a user would experience and interact with the bike sharing system.

USAGE

THE BIKE SHARING INITIATIVE SAN FRANCISCO

GOLDEN GATE BRIDGE

CHAIN REACTION

FINAL APPROACH DESIGN PORTFOLIO

OCEAN BEACH

SUNSET DISTRICT

12 GOLDEN GATE PARK

RICHMOND

PRESIDIO

GLEN PARK

CASTRO

PACIFIC HEIGHTS

05 06 07 08 09

FERRY ROUTES

CALTRAIN LINE

Y BA

BART LINE

MUNI LINES

MISSION

L AKE MERCED PARK

01 10 CHAIN RE ACTION

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CHAIN RE ACTION

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CHAIN RE ACTION

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CHAIN RE ACTION

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DESIGN PORTFOLIO

Smallest Reasons For A Typeface

Science has always been an interest that has fascinated me. For as long as I can remember, I have spent a lot of time reading, exploring and thinking about how our universe comes to life, how it progresses and where it is headed.

CL ARENDON

COURSE T YPOGR APHY 2

SEMESTER S P R I N G 2 011

PROJECT CL ARENDON

INSTRUCTOR SAMI SA AUD

FOCUS PRINT

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

CL ARENDON

TONE SCIENTIFIC / MEDICINAL / FRESH DELIVERABLES CARD SET / POSTER T Y P E FA C E CL ARENDON

OBJECTIVE

Clarendon is both bold and beautiful; however, it might not come off as modern or scientific. In this project the goal was to present the typeface with a contrasting concept while explaining the history and properties of the font throughout a series of printed materials. FINAL APPROACH

While Clarendon might mostly be used as a display face, what would be more of an opposite than some of our tiniest building blocks? The human cells are invisible to the naked eye, yet together they create a larger whole. The same idea can be applied to letters where different parts come together to create a completed character that we can read and understand.

ANTON SCHUL Z

FINAL APPROACH

DESIGN PORTFOLIO

03 04 05 06 08 09

Reasons for a ty peface Desig ner Rober t Besley Releaser Fann Street Foundr y

The English typographer Robert Besley created the Clarendon typeface during 1845 for the Fann Street Foundry in London, England. A foundry established by the English punchcutter and typefounder Robert Thorne in 1794, who was active until his death in 1820. Clarendon fast became highly popular and Besley registered the typeface under Britainâ&#x20AC;&#x2122;s Ornamental Design Act of 1842, and it was the first font to be patented. However, the patent was not respected and by the time when the patent expired three year later other foundries where not slow on created copies of the typeface. Clarendon is a slab serif typeface, characterized with its thick serifs; thou unlike many other slab serifs, Clarendon have some bracketing on its serifs. The typeface was named after the Clarendon Press that printed the Oxford university publication in Oxford. Because of its bold appearance Clarendon is often used as display type, however, newer version with different weights and styles has made it suitable for text as well.

Clarendon

01 10 CL ARENDON

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DESIGN PORTFOLIO

CL ARENDON

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ner R ob er t B e sley er Fa n n Str e et Fou nd r y

ANTON SCHUL Z

Clarendon

D e sig ner R ob er t B e sley R ele a s er Fa n n Str e et Fou nd r y

Clarendon

DESIGN PORTFOLIO

D e sig ner R ob er t B e sley R elea s er Fa n n Str e et Fou nd r y

Clarendon

D e sig ner R ob er t B e sley R elea s er Fa n n Str e et Fou nd r y

Clarendon

Rea sons for a ty pefa ce

The Clarendon typeface is featured in the different weights of Roman, Light, and Bold. But there are also other versions in the set designed and developed later.

Ligatures are two or more characters linked together as one unit, as the letters fi and ff. The ampersand is a ligature orginating from the French et (and).

Serifs are short strokes that extend from and at an angle to the upper and lower ends of the main strokes. With its heavy serifs Clarendon is a slab-serif font.

Counters are the negative spaces that are fully or partially enclosed by a letterform. Because of Clarendonâ&#x20AC;&#x2122;s prominent strokes the counters are a highly visual feature.

D R

D e sig ner R ob er t B e sley R ele a s er Fa n n Str e et Fou nd r y

Clarendon

D e sig ner R ob er t B e sley R ele a s er Fa n n Str e et Fou nd r y

Clarendon

CL ARENDON

D e sig ner R ob er t B e sley R elea s er Fa n n Str e et Fou nd r y

Clarendon

D e sig ner R ob er t B e sley R elea s er Fa n n Str e et Fou nd r y

Clarendon

Rea sons for a ty pefa ce

Contrast is the relationship between the thinnest parts of a letter and the thickest parts. The visual contrast of the Clarendon typeface is very low.

Ascenders and decender are strokes on lowercase letterforms in a typeface that extends from the baseline or the x-height. These strokes for Clarendon are short.

The stress of a letter is a prominent visual axis that results from the relationship between thick and thin strokes. In the Clarendon typeface this angel in vertical.

Kerning is the spacing between each individual letterform. It is important observe this space when it comes to l font sizes as Clarendon often is set.

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

CL ARENDON

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ANTON SCHUL Z

DESIGN PORTFOLIO

An Unwanted Gut Feeling

I’m an enormous fan of performance art. The fleeting and unexpected interactions within a show combine to add a layer of suspense and surprise. It leaves me with a feeling of having been a part of the whole experience as if I’m part of the show.

CLEANSE

COURSE GR APHIC DESIGN 2

SEMESTER FA L L 2 011

PROJECT CLEANSE

INSTRUCTOR ANDREW JOHNSON

FOCUS PRINT / WEB

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

CLEANSE

TONE FUN / PROVOKING / ENERGE TIC DELIVERABLES B O O K L E T / P O S T E R / F LY E R / W E B S I T E T Y P E FA C E GOTHAM / GOTHAM ROUNDED

OBJECTIVE

Millie Brown is anything but a typical performance artist. Her acts can be seen as vulgar and disgusting or experimental and creative. So, the exhibition identity and program for one of her shows will need to be something unexpected and blunt. FINAL APPROACH

The look and feel of this project came out of the four simple colors used in the artist’s performance that is set against a white and minimalistic stage. The purpose of the final design is to make the viewers curious without having the message being thrown in their face and at the same time make a bold statement true to the artist’s ideas.

FINAL APPROACH

ANTON SCHUL Z

DESIGN PORTFOLIO

CLEANSE

ANTON SCHUL Z

DESIGN PORTFOLIO

THE ACT OF MILLIE BROWN

CLEANSE

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1 5 0 M I N N A S T. S A N F R A N C I S C O W W W. C C L A R KG A L L E R Y. C O M I N F O @ C C L A R KG A L L E R Y. C O M

PERFORMANCE 0 6 1412 4 PM E XHIB ITION 0 6 15 12 – 0 81412 T U E . – S AT. 1 1 A M – 6 P M

CATHARINE CLARK GALLERY

01 02 03 04 05 06 07 08 09 10 CLEANSE

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CLEANSE

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CLEANSE

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CLEANSE

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CLEANSE

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Meeting With A True New Yorker

Growing up in a city, it is easy for me to feel at home in any urban chaos I find myself in. Wherever I am in the world there are always new experiences and people to meet around every street corner.

AGENTRY PR

CLIENT AGENTRY PR

FOCUS WEB

BUSINESS FA S H I O N P R

D U R AT I O N FA L L 2 011

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ANTON SCHUL Z

DESIGN PORTFOLIO

AGENTRY PR

TONE U R B A N / C O R P O R AT E / S I M P L E DELIVERABLES WEBSITE T Y P E FA C E H E LV E T I C A

OBJECTIVE

The client in this freelance project was looking for a website that would represent the simplicity in the logotype and the attitude of the company. FINAL APPROACH

Being a well established PR company in New York and Los Angeles, Agentry PR focuses on the U.S. fashion industry. The website created for them conveys a continental and professional look that can represent any client the agency takes on.

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AGENTRY PR

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AGENTRY PR

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AGENTRY PR

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Timing A Scandinavian Experience

The first time I experienced the Northern Lights was up in the far north country side of Finland visiting my relatives during a very cold winter. It was one of the strongest and most widespread phenomenas of its kind ever recorded. The entire sky was covered in shifting colors that clear night, an experience I will never forget.

10 6

NORRSKEN

COURSE PA C K A G E D E S I G N 3

SEMESTER S U M M E R 2 012

PROJECT NORRSKEN

INSTRUCTOR T O M M C N U LT Y

FOCUS P R O D U C T / PA C K A G I N G

PROTOT YPE GEMMITI MODEL ART

10 7

FINAL APPROACH

NORRSKEN T Y P E FA C E BY A N T O N S C H U L Z

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ANTON SCHUL Z

DESIGN PORTFOLIO

NORRSKEN

TONE CONTEMPOR ARY / SOOTHING / DIMENSIONAL DELIVERABLES P R O D U C T / PA C K A G I N G T Y P E FA C E DIN / NORRSKEN

OBJECTIVE

Much of our everyday lives revolves around time and owning some form of timepiece is essential. The clock is an important design piece that has to be beautiful to look at and blend in to an interior. Creating such an object based on a natural phenomena together with a packaging was the challenge of this project. FINAL APPROACH

One of the most beautiful natural phenomenas in the world is the Aurora Borealis, commonly known as the Northern Lights. The changing colors and shapes is what inspired this table clock combined mood lamp, named after the Swedish translation of the phenomena, Norrsken. The design is also an interpretation of Scandinavian nature and minimalism.

10 9

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NORRSKEN

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NORRSKEN

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NORRSKEN

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NORRSKEN

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Driving For A Clean Future

Not having a driving license can actually have its perks. You are never the designated driver and you never have to do any favors picking up and dropping of friends, family or pets around town. Instead I can be the one asking for these favors.

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ECO ENGINES

COURSE PRINT 1

SEMESTER S P R I N G 2 012

PROJECT ECO ENGINES

INSTRUCTOR T R OY A L D E R S

FOCUS D I G I TA L

119

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12 0

ANTON SCHUL Z

DESIGN PORTFOLIO

ECO ENGINES

TONE TECHNICAL / FUTURISTIC / CLE AN DELIVERABLES E-NEWS LET TER T Y P E FA C E A L P H AV I L L E / D I N

OBJECTIVE

Something as simple as a e-news letter still needs an efficient design. The goal in creating this digital mailer was to pair a subject of an environmental agenda with a contemporary design. FINAL APPROACH

With all the varying information and messages being bombarded to the public today it is important to keep it simple and straightforward. The approach of this e-news letter is to give a feeling of fresh and clean air and at the same time be very informative.

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the right turn for sustainability

THE MONTHLY UPDATE ON SUSTAINABLE DRIVING

eco:ENGINES 06.14.12

ISSUE

2001

2002

$0.00

$1.00

$2.00

$3.00

$4.00

$5.00

The most common vehicles we drive today release over 1.7 billion metric tons of greenhouse gases (GHGs) into the atmosphere each year—mostly in the form of carbon dioxide (CO2)—contributing to global climate change. Each gallon of gasoline you burn creates 20 pounds of CO2. That’s about 6 to 9 tons of CO2 each year for a typical vehicle. It seems impossible that a gallon of gasoline, which weighs about 6.3 pounds, could produce 20 pounds of carbon dioxide (CO2) when burned. However, most of the weight of the CO2 doesn’t come from the gasoline itself, but the oxygen in the air. When gasoline burns, the carbon and hydrogen separate. The hydrogen combines with oxygen to form water (H2O), and carbon combines with oxygen to form carbon dioxide (CO2). A carbon atom has a weight of 12, and each oxygen atom has a weight of 16, giving each single molecule of CO2 an atomic weight of 44 (12 from carbon and 32 from oxygen). Therefore, to calculate the amount of CO2 produced from a gallon of gasoline, the weight of the carbon in the gasoline is multiplied by 44/12 or 3.7. Since gasoline is about 87% carbon and 13% hydrogen by weight, the carbon in a gallon of gasoline weighs 5.5 pounds (6.3 lbs. x .87). We can then multiply the weight of the carbon (5.5 pounds) by 3.7, which equals 20 pounds of CO2! Sustainable energy use is energy use that meets the needs of the present without compromising the ability of future generations to meet their energy needs. Achieving sustainable energy use requires that the energy, powering our future cars, be developed from renewable resources, produced by cleaner, more efficient technologies, or used more efficiently and with greater conservation. Almost all of the cars and trucks we drive run on fuels derived from oil, which is non-renewable. While there is some debate as to how long this resource will last, it will run out, and we will eventually have to find new ways to power highway vehicles. Researchers around the world are already hard at work exploring new fuels and vehicle technologies for the consumer market. 2007

2008

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US Hybrid Sales

US Gasoline Price

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ECOENGINES.COM

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ECO ENGINES

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For Mind, Body And The Republic

One of my many world adventures took me to the middle of a large tea field on the island of Sri Lanka. Amazed by the vast, beautiful and lush landscape, it made me appreciate tea in a new way.

12 6

REPUBLIC OF TE A

COURSE PA C K A G E D E S I G N 2

SEMESTER FA L L 2 011

PROJECT REPUBLIC OF TE A

INSTRUCTOR CHRISTINE GEORGE

FOCUS PA C K A G I N G

12 7

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12 8

ANTON SCHUL Z

DESIGN PORTFOLIO

REPUBLIC OF TEA

TONE E A R T H Y / WA R M / S T R A I G H T F O R WA R D DELIVERABLES CANISTERS / BOT TLES / BAGS T Y P E FA C E ARCHER

OBJECTIVE

With the local Bay Area tea company Republic of Tea looking for inspiration to their brand and products the goal was open for interpretation on how the future could look for a variety of products while keeping it cohesive within the concept. FINAL APPROACH

Staying true to the brand and its heritage this design approach uses pure materials that are close to nature without compromising on quality and design. Labels printed on canvas and craft paper conveys the warmth and earthy feel that tea has. This concept was chosen together with a selected group to be presented to the owners of the company at their headquarters.

12 9

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REPUBLIC OF TE A

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REPUBLIC OF TE A

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REPUBLIC OF TE A

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REPUBLIC OF TE A

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Leaving An Everlasting Mark

Meeting new people is probably the one ultimate adventure for me. You never know what stories they hold or what impression they might leave, and hopefully you might be able to do the same to them.

13 8

T H I E L C O N S U LT I N G

CLIENT T H I EL C O N S U LT I N G

FO C U S B R A N D I N G / WEB

BUSINESS FAS H I O N PR

D U R AT I O N S PR I N G 2011

13 9

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14 0

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DESIGN PORTFOLIO

T H I E L C O N S U LT I N G

TONE MINIMALISTIC / EDITORIAL / AIRY DELIVERABLES L O G O / S TAT I O N E R Y / W E B S I T E / TAT T O O T Y P E FA C E JOHNSTON

OBJECTIVE

The challenge of this freelance project was to create a strong and personal identity for a client starting up a new business that would convey style, experience and professionalism at a competitive market. FINAL APPROACH

With an already known name in the industry the choice to use the clients last name in a logotype was simple. It ultimately turned into a condensed version that represented all letters in a bold word. To convey a exclusiveness the look of the brand was kept simple and elegant, topped of with a tattooed version of the logotype on the client himself.

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ANTON SCHUL Z

DESIGN PORTFOLIO

Anton Schulz 890 Bush Street

June 14, 2012

San Francisco, CA 94018

Dear Mr Schulz, On behalf of the management at Thiel Consulting I would like to thank you for taking time out of your very busy schedule to meet with me. The meeting was a pleasant and professional experience. Thiel Consulting are very much appreciates your invitation for a face to face meeting and the experience was a very positive one. We learned a great deal about your vision and the important projects that are currently under way with regards to your research and development. I sincerely hope that you enjoyed our presentation. Based on what I learned about your project, I feel that our products compliment each other in the research and development departments. As you know, Thiel Consulting is very much committed to providing top quality research products to specialized firms. Our service has been recognized by industry experts as being one of the most dependable and professional in the market. I hope that both of our projects can benefit from a mutual and rewarding relationship. Best regards,

Joe Thiel President

116 JOHN STREET, SUITE 1515, NEW YORK CIT Y, NY 10038 / JOE@WE ARETHIEL .COM / 917.687.5332 THIEL CONSULTING / MARKETING, PR AND BR ANDING THIEL CONSULTING / MARKETING, PR AND BR ANDING 116 JOHN STREET, SUITE 1515, NEW YORK CIT Y, NY 10038 / JOE@WE ARETHIEL .COM / 917.687.5332

Anton Schulz 890 Bush Street San Francisco, CA 94018

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T H I E L C O N S U LT I N G

THIEL CONSULTING

JOE THIEL

116 JOHN STREET, SUITE 1515, NEW YORK CIT Y, NY 10038 JOE@WE ARETHIEL .COM / 917.687.5332

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ANTON SCHUL Z

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T H I E L C O N S U LT I N G

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T H I E L C O N S U LT I N G

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Getting Ready For Take Off

My very first memories that I can recall in life are from a foreign country, far away from home. It defined me to become the explorer I am today. Hungry for new experience, always wanting a little more and never settling for where I am, physically and mentally is my constant.

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COURSE GR APHIC DESIGN 2

SEMESTER S P R I N G 2 012

PROJECT TIME TROT TER

INSTRUCTOR JENNY JI

FOCUS D I G I TA L

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TONE N O S TA LG I C / I N S T R U M E N TA L / F R I E N D LY DELIVERABLES S M A R T P H O N E A P P L I C AT I O N T Y P E FA C E GEORGIA / DIN / L ABELLE

OBJECTIVE

Designing applications for smart phones creates new challenges in size and layout; however, it also creates new opportunities in user experience and innovation. The goal for this project was to create an application that would tell time in an appealing way. FINAL APPROACH

Common situations where the idea of time can get very confusing and disorienting is while flying on a jet plane. Flights can be long, boring and cross multiple timezones making it almost impossible to know what time it is or how long the flight will last for. This application lets the user input a flight number and when turned back on, up in the air in flight mode, it will tell the user how much time is left of the flight and the local time of the destination.

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Logopedia

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LOGOPEDIA

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LOGOPEDIA

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PRODUCTION NOTES SCHOOL ACADEMY OF ART UNIVERSIT Y COURSE SENIOR PORTFOLIO D E PA R T M E N T C H A I R MARY SCOT T DESIGN ANTON SCHUL Z COPY ANTON SCHUL Z PHOTOGRAPHY ANTON SCHUL Z T Y P E FA C E H E LV E T I C A N E U E BOOK CLOTH A R R E S T OX G R O U P B BY G A N E B V-19 9 9 0 B L A C K V E L L U M T E X T PA P E R F I N C H PA P E R F I N C H F I N E I D 10 0 L B T E X T E N D PA P E R C A N S O N M I -T E I T E S S T YG I A N B L A C K 9 8 L B C O V E R S O F T WA R E A D O B E C R E AT I V E S U I T E 6 CAMER A N I KO N D 510 0 STOCK PHOTOS I S T O C K P H O T O S .C O M PRINTING GIANT HORSE PRINTING 13 3 6 S A N M AT E O AV E N U E S O U T H S F, C A 9 4 0 8 0 P H O N E ( 6 5 0 ) 875 -7137 BINDING THE KE Y PRINTING & BINDING 5 8 51 O C E A N V I E W D R I V E O A K L A N D, C A 9 4 618 P H O N E ( 510 ) 5 9 5 - 3 311

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C O N TA C T PHONE +1 (415 ) 3 21- 0 5 3 6 E-MAIL H E L L O @ A N T O N S C H U L Z .C O M WEBSITE A N T O N S C H U L Z .C O M

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Thank You

The years of work that lead up to this portfolio would not have been possible without the support from my family, friends, colleagues, mentors and instructors. I would like to give a special thank you to Mary Scott, Sami Saaud, Darrell Hayden, Tom McNulty, Christine George, Chamindri Wijemanne, and Ariel Grey for all the knowledge and support in my projects and for always pushing me forward the very extra mile. Many special thanks to Lotta Blomberg, Clas Von Sydow and Catherine Pettersson. Many thanks to my favorite clients Erin Hawker and Joe Thiel. Thanks to my friend and colleague Elena Miska for an awesome teamwork. Thanks to all my dear friends AndrĂŠ Perez, Rebecka Ramstedt, Isabella Alstrom, Emelie Litwin, Gabriella Svensk, Carolina Ivarsson, Millen Belay, Jen Cuevas, Farid Safaie, Erica Olsson, Carrie Barber, Andrew Lewis, Victoria Herrera and Jessica Giboin. Last but not least I would once again like to thank my mom; Elina, and dad; Markus, for making my dream to become a graphic designer come true.

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DESIGN PORTFOLIO