+ T H E W O R K O F B R A D L E Y PAY N E
ELECTRIFIED
+ T H E W O R K O F B R A D L E Y PAY N E
ELECTRIFIED
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 004
+
S E C . _ 0 0 . 2
T H I S B O O K I S F O R YO U
SELECTED DESIGN WORKS
H E L L O ,
S I T
B A C K ,
R E L A X
A N D
E N J O Y.
ELECTRIFIED DESIGN SOLUTIONS
to all those who have GUIDED me along this incredible journey, Cheers! This book is dedicated to my loving family for always supporting me and never giving up on me. This book is for you.
--
_ D E D I C AT I O N S . _ 0 2 .
Enjoy with imagination!
P. 005
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 006
+
S E C . _ 0 0 . 3
TA B L E O F C O N T E N T S
SELECTED DESIGN WORKS
H E L L O ,
S I T
B A C K ,
R E L A X
A N D
E N J O Y.
ELECTRIFIED DESIGN SOLUTIONS
BUCKMINSTER FULLER EXHIBIT S . F. M O M A E X H I B I T D E S I G N PA G E S 0 1 0 – 0 2 3
AN INTERCONNECTION R E G U L A R T Y P E FA C E P R O M O T I O N PA G E S 0 2 4 – 0 4 1
MARTINELLI’S HARD CIDER B O T T L E & PA C K A G E D E S I G N PA G E S 0 4 2 – 0 5 3
M O G WA I U . S . T O U R B O O K M U S I C P U B L I C AT I O N S PA G E S 0 5 4 – 0 6 5
C O MM U N I T E A M S K I C K B A L L L E AG U E IDENTITY & BRANDING PA G E S 0 6 6 – 0 8 1
O R G A N I C VA L L E Y M I L K PA C K A G E D E S I G N & B R A N D I N G PA G E S 0 8 2 – 0 9 3
S E L E C T E D LO G O S A VA R I E T Y O F L O G O T Y P E S PA G E S 0 9 4 – 1 0 1
--
_ TA B L E O F C O N T E N T S . _ 0 1
SELECTED FINE ART PIECES M I X E D M E D I A PA I N T I N G S & P R I N T S PA G E S 1 0 2 – 1 1 1
P. 007
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 008
+
S E C . _ 0 0 . 4
I N T R O D U C T I O N PAG E S
SELECTED DESIGN WORKS
Q U O T E
B Y
N I K O L A
T E S L A
ELECTRIFIED DESIGN SOLUTIONS
The progressive development of man is vitally dependent on invention. INTRODUCTION Creating art is an interesting process. A process of meditation,
destruction, and creation. Design, however, is it’s own process that pulls from the best practices of art creation and makes it simple in order to speak to people on their own level. Design should be clear, focused, and have the same amount of power, if not more, than any art piece has. My hopes are that my designs, which are a combination of fine art, conceptual design, due diligence and simplicity will electrify my audience through cathartic motives and thought. My goal is to get people to see the power of design through a process of electrification. Think about it, destroy it and then build it from the
--
_INTRODUCTION._01
ground up. This is my process and this is what I have created with it.
P. 009
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 1 .1
Q U O T E
B Y
R .
B U C K M I N S T E R
F U L L E R
E L E C T R I F I E D
N
We are called to be architects of the future, not it’s victims. BRIEF What inspires us as designers? How can the greatness of the past apply to the
future of design? Seeing museum shows is always a great place to go for inspiration. But are the promotional materials that highlight the show as powerful as the show it’self? They should be. If the show is powerful, the collateral promoting it must be just as powerful and thought provoking. SOLUTION The aim is to highlight the power of Buckminster Fuller’s work. Show
what inspired him, his thoughts, dreams, and ambitions. Do all of that while keeping the design within the context of his era. After all is thought out, the solution then becomes to create something even R. Buckminster Fuller would be awe struck by. PERSPECTIVE Buckminster Fuller was the genuine article. A writer, thinker,
designer, philosopher, mathematician, scientist and engineer. A pure genius at heart, he knew very well what was to dictate the future of design. Through his work many of the great designers of his day became inspired to create functional designs that in turn changed the world. My dream is to do the same, all the while inspiring others
--
_SEC._01
to do so as well, just as Bucky Fuller did.
P. 010
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
I N S T R U C TO R _ R O L A N D YO U N G
PROJECT _BUCKMINSTER FULLER EXHIBIT
o N SECTION NUMBER
P. 011
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 1 . 2
I N S T R U C TO R _ R O L A N D YO U N G
PROJECT _BUCKMINSTER FULLER EXHIBIT
--
_SEC._01
B U C K M I N S T E R
F U L L
S F
M O M A
E X H I B I T
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
P. 013
– T H E W O R K O F B R A D L E Y P AY N E
u
topian Impulse & The Bay Area…
Buckminster Fuller
E L E C T R I F I E D
P. 014
+
S E C . _ 0 1 . 3
I N S T R U C TO R _ R O L A N D YO U N G
31-29
San Francisco Museum of Modern Art
PROJECT _BUCKMINSTER FULLER EXHIBIT
March, April, May, June, & July
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
P. 015
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 016
+
S E C . _ 0 1 . 4
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
I N S T R U C TO R _ R O L A N D YO U N G
PROJECT _BUCKMINSTER FULLER EXHIBIT
P. 017
– T H E W O R K O F B R A D L E Y P AY N E
y
utopian Impulse & The Bay Area…
Buckminster Fuller
E L E C T R I F I E D
P. 018
+
S E C . _ 0 1 . 5
3
San Francisco Museum of Modern Art
31-29
Marc
PROJECT _BUCKMINSTER FULLER EXHIBIT
July
I N S T R U C TO R _ R O L A N D YO U N G
March
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
P. 019
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 1 . 6
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
I N S T R U C TO R _ R O L A N D YO U N G
PROJECT _BUCKMINSTER FULLER EXHIBIT
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 024
+
S E C . _ 0 2 .1
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
I N T E R C O N N E C T I O N S
T Y P E F A C E
P R O M O
COURSE_TYPOGRAPHY FOUR
IN THE BEAUTY OF THE FINEST DETAILS EVERYTHING IS INTERCONNECTED. BRIEF If a typeface could talk what would it say? What would it sound like? What
would it’s tone be? These are the preliminary questions asked at the start of the project. After that consideration, the aim is to give visual guidance to a powerful typeface by making it come to life, using it’s full range as well as complimentary faces and graphic elements. If this promotion is done correctly the typography will then become anything but regular. SOLUTION A typeface by the name of Regular, designed by Nik Thönen in Germany,
was chosen to convey a clear voice. It was created as an extension of Germany’s roadway type signage which happens to be consistently regular. However if we look at the smallest intricacies within this typeface we see that it’s true beauty lies in it’s details and that everything, as regular as it may appear to be at first, is interconnected just like Germany’s roadways. PERSPECTIVE By peering into our surrounding world we are able to see that as
everything may appear different on the surface things are actually quite the same if we look at their details. Everything then, when viewed through this lens becomes
--
_SEC._02
interconnected. Out of chaos comes order.
P. 025
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 026
+
S E C . _ 0 2 . 2
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
+8
+8
-16
I N T E R C O N N E C T I O N S
T Y P E F A C E
P R O M O
COURSE_TYPOGRAPHY FOUR
-8 -16 +8 S +8
-24
-8
-8 -12
-4
+16 -1 -8
-20
0
-8
-8 -8
+24
N
a
INTER
-8
-1
+8 -8
--
_SEC._02
-8
P. 027
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 028
+
S E C . _ 0 2 . 3
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
--
_SEC._02
I N T E R C O N N E C T I O N S
T Y P E F A C E
P R O M O
COURSE_TYPOGRAPHY FOUR
P. 029
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 030
+
S E C . _ 0 2 . 4
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
--
_SEC._02
COURSE_TYPOGRAPHY FOUR
P. 031
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 032
+
S E C . _ 0 2 . 5
COURSE_TYPOGRAPHY FOUR
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
P. 033
The Director opened a room, very bright and the southern wall was nurses, trousered and
door. They were in a large bare sunny; for the whole of a single window. Half a dozen jacketed in the regulation white
viscose-linen uniform, their hair aseptically hidden
under white caps, were engaged in setting out bowls of roses in a long row across the floor. Big bowls, packed
tight with blossom. Thousands of petals, ripe-blown and silkily smooth, like the cheeks of innumerable little
cherubs, but of cherubs, in that bright light, not
exclusively pink and Aryan, but also luminously Chinese, also Mexican, also apoplectic with too much blowing of celestial trumpets, also pale as death, pale with the posthumous whiteness of marble.
P.
The nurses stiffened to attention as the D.H.C. came in. “Set out the books,” he said curtly. In silence the nurses obeyed his command. Between the
034
rose bowls the books were duly set out–a row of nursery quartos opened invitingly each at some gaily coloured image of beast or fish or bird.
“Now bring in the children.” They hurried out of the room and returned in a minute or two, each pushing a kind of tall dumb-waiter laden, on
all it’s four wire-netted shelves, with eight-month-old babies, all exactly alike (a Bokanovsky Group, it was evident) and all (since their caste was Delta) dressed
in khaki.
13
divided into two; mo some eight; all w incubators, where develop; then, after tw chilled, chilled and ch the buds in their tur budded were dosed alcohol; consequent and having budded–b bud–were thereafter generally fatal–left t which time the origina to becoming anything six embryos– a prodig will agree, on natur not in piddling twos old viviparous days, “Put them down on the floor.”
26
S E C . _ 0 2 . 6 + – T H E W O R K O F B R A D L E Y P AY N E E L E C T R I F I E D
DECONSTRUCTION/ SF
He pointed. On a ver a rack-full of test-t large metal box, a emerging. Machinery eight minutes for the he told them. Eight m being about as much A few died; of the rest
COURSE_TYPOGRAPHY FOUR
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
ry slowly moving band tubes was entering a another, rack-full was faintly purred. It took e tubes to go through, minutes of hard X-rays h as an egg can stand. t, the least susceptible
RE=
ost put out four buds; were returned to the the buds began to wo days, were suddenly hecked. Two, four, eight, rn budded; and having almost to death with tly burgeoned again bud out of bud out of r–further arrest being to develop in peace. By al egg was in a fair way g from eight to ninetygious improvement, you re. Identical twins–but and threes as in the , when an egg would
P. 035
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 036
+
S E C . _ 0 2 . 7
COURSE_TYPOGRAPHY FOUR
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
P. 037
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 2 . 8
+8
P. 038
COURSE_TYPOGRAPHY FOUR
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
SFO
SYSTEMATIC ANALYSIS EVERYTHING CAN BE DECONSTRUCTED
415 P. 039
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 040
+
S E C . _ 0 2 . 9
COURSE_TYPOGRAPHY FOUR
I N S T R U C T O R _ A R I E L G R AY
PROJECT _INTERCONNECTIONS
P. 041
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 042
+
S E C . _ 0 3 .1
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
M A R T I N E L L I ’ S
H A R D
C I D E R
P A C K A G I N G
C O U R S E _ PAC K AG E D E S I G N T H R E E
The aim is not to make new things, but instead, make things new. BRIEF Can you teach an old dog new tricks? If you can where would a project like
that have the potential to go? By focusing on the historical aspect of a brand like Martinelli’s, with a lot of brand equity, the goal quickly becomes not to make new things but instead to make things new. The premise is, what if an old brand like this entered into the up and coming world of ready to drink alcoholic beverages? SOLUTION These questions are important, as are the acts of celebration, relaxation
and libations. All of these things are something that S. Martinelli’s & Co. knows very well. However, they have something missing from the their product lineup that has the potential to generate huge profit’s and attract a younger audience back to the Martinelli’s brand. Hard Cider then becomes that new trick for the old dog. PERSPECTIVE Martinelli’s has always been an admirable brand that many of us
have fond memories of. Memories of getting an apple shaped bottle for a great pairing with an after school snack or popping the top off the sparkling cider just in time for the New Year’s Eve count down to begin. Dick Clark’s rockin’ voice rambling on in the background, oh what great times. Martinelli’s has alway been with us to make our celebrations a perfect hit. With the introduction of the Hard
--
_SEC._03
Cider campaign, everyday can be a cause for a celebration.
P. 043
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 044
+
S E C . _ 0 3 . 2
C O U R S E _ PAC K AG E D E S I G N T H R E E
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
P. 045
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 046
+
S E C . _ 0 3 . 3
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
--
_SEC._03
M A R T I N E L L I ’ S
H A R D
C I D E R
P A C K A G I N G
C O U R S E _ PAC K AG E D E S I G N T H R E E
P. 047
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 048
+
S E C . _ 0 3 . 4
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
--
_SEC._03
C O U R S E _ PAC K AG E D E S I G N T H R E E
P. 049
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 3 . 5
--
_SEC._03
M A R T I N E L L I ’ S
H A R D
C I D E R
P A C K A G I N G
E L E C T R I F I E D
P. 050
C O U R S E _ PAC K AG E D E S I G N T H R E E
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
P. 051
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 052
+
S E C . _ 0 3 . 6
C O U R S E _ PAC K AG E D E S I G N T H R E E
I N S T R U C T O R _ PA U L K A G I WA D A
PROJECT _MARTINELLI’S HARD CIDER
P. 053
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 054
+
S E C . _ 0 4 .1
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
M O G WA I
U . S .
T O U R
B O O K
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
A CONCERT IS FAR MORE EXPERIENTIAL THAN JUST SEEING A BAND PLAY. BRIEF A concert is an experience that has the potential to get us up out of our seats
and shake us awake. Just as concerts can shake us up with the sounds we hear the same can be said for a design that is executed correctly. In order to harness this power of design for the purpose of promoting a band we must be able to make what we hear have just as much visual power as the concert did. SOLUTION Mogwai is a band with an incredibly powerful stage presence even
though most of their songs have no words. The solution for promoting a band like Mogwai is to listen to their songs, close your eyes and visualize the sounds as they are being preformed. The goal of all this is to create a visual system that is based purely off of what you are hearing in the moment. The design then, in this context, has the potential to becomes just as harmonious as the performance it’self. PERSPECTIVE In order to give a band’s promotional tour book power it has to fit in
the context of what the band sounds like. The way you get there is to actually listen and learn from what you are hearing at present and then make it visual. This is the
--
_SEC._04
insight gained from the Mogwai U.S. Tour Book.
P. 055
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 056
+
S E C . _ 0 4 . 2
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
--
_SEC._04
M O G WA I
U . S .
T O U R
B O O K
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
P. 057
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 058
+
S E C . _ 0 4 . 3
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
P. 059
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 060
+
S E C . _ 0 4 . 4
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
--
_SEC._04
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
P. 061
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 062
+
S E C . _ 0 4 . 5
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
--
_SEC._04
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
P. 063
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 064
+
S E C . _ 0 4 . 6
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T W O
I N S T R U C TO R _ T R OY A L D E R S
P R O J E C T _ M O G WA I U . S . T O U R B O O K
P. 065
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 066
+
S E C . _ 0 5 .1
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
Q U O T E
B Y
M A R T I N
L U T H E R
K I N G
J R .
COURSE_IDENTITY TWO
Returning violence for violence ONLY CREATES TO MORE violence. BRIEF Last year there were 1,787 violent assaults on Muni. Muni passengers
and drives alike know how dangerous Muni can become. However senseless this violence may seem to be there is actually a reason behind it. Here in San Francisco many people and cultures are mixed with one another with no outlet for venting simple day to day frustrations. SOLUTION The solution to all of this violence is to create an organization that
people can join in order to have a bit of friendly competition. Communiteams is that organization, a municipal kickball league where passengers can go to blow off steam while playing with the people they may be mixed together with. All of this is designed to give people a sense of camaraderie through friendly competition. United we stand, divided we fall. PERSPECTIVE The moment we start to see other people as different from
ourselves is the moment we become isolated. Through this process of self loathing and isolation we are struck by a mentality of me verse them. This mentality can become the grounds for people to lash out and has to be curbed if we are to live in a functioning global society. All that said, it is true that we can only know ourselves
--
_SEC._05
by knowing other people first.
P. 067
– T H E W O R K O F B R A D L E Y P AY N E
+
S E C . _ 0 5 . 2
--
_SEC._05
C O MM U N I T E A M S
K I C K B A L L
L E A G U E
E L E C T R I F I E D
P. 068
COURSE_IDENTITY TWO
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
P. 069
E L E C T R I F I E D
+
– T H E W O R K O F B R A D L E Y P AY N E
X
2X
X
1/2 X 5X
1/2 X
P. 070
3 1/2 X
X
S E C . _ 0 5 . 3
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
--
_SEC._05
C O MM U N I T E A M S
K I C K B A L L
L E A G U E
COURSE_IDENTITY TWO
P. 071
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 072
+
S E C . _ 0 5 . 4
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
C O MM U N I T E A M S
K I C K B A L L
L E A G U E
COURSE_IDENTITY TWO
P. 073
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 074
+
S E C . _ 0 5 . 5
COURSE_IDENTITY TWO
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
P. 075
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 076
+
S E C . _ 0 5 . 6
COURSE_IDENTITY TWO
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
P. 077
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 078
+
S E C . _ 0 5 . 7
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
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COURSE_IDENTITY TWO
P. 079
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 080
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S E C . _ 0 5 . 8
COURSE_IDENTITY TWO
I N S T R U C T O R _ D A R R E L L H AY D E N
PROJECT _COMMUNITEAMS
P. 081
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 082
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S E C . _ 0 6 .1
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
O R G A N I C
VA L L E Y
M I L K
P A C K A G I N G
C O U R S E _ PAC K AG E D E S I G N T WO
NOSTALGIA, the LONGING FOR a ONCE Great past, hoping for it’s’ return. BRIEF Can you remember the days when the milkman use to come to the doorstep
and leave a nice morning gift? For some people that was the highlight of their day, seeing those beautiful milk glass glimmering on the porch. Why is it that in today’s world we are so impersonal that we want nothing to do with friendly interactions of this nature? How can we design better things in order to create a more personalized human experience? SOLUTION The answer to all of these questions is in one simple word that carries
with it a great deal of meaning. Nostalgia, a hallucination of wanting a great past to return once more. This is the aim of The Organic Vally Milk Campaign as it seeks to engage people on a personal level. All this is designed to bring back that personal interaction by way of receiving three beautiful bottles of milk on your doorstep that are poured just for you. The goal is to make it personal. PERSPECTIVE One of the many reasons why people of today are so antisocial
is because they are not having personal interactions with anyone anymore and if they are, they keep them very brief. As a designer the first goal should always be to engage and talk to people on a personal level and what better way to do that than
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with a nice bottle of milk on your doorstep delivered to you by a friendly face.
P. 083
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 084
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S E C . _ 0 6 . 2
C O U R S E _ PAC K AG E D E S I G N T WO
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
P. 085
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 086
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S E C . _ 0 6 . 3
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
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O R G A N I C
VA L L E Y
M I L K
P A C K A G I N G
C O U R S E _ PAC K AG E D E S I G N T WO
P. 087
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S E C . _ 0 6 . 4
PRODUCED WITHOUT ANTIBIOTICS, SYNTHETIC HORMONES, OR PESTICIDES ON THE AZEVEDO FAMILY FARM.
GRADE A ORGANIC TWO PERCENT MILK 1/2 GALLON.
PRODUCED WITHOUT ANTIBIOTICS, SYNTHETIC HORMONES, OR PESTICIDES ON THE AZEVEDO FAMILY FARM.
GRADE A ORGANIC ONE PERCENT MILK 1/2 GALLON.
PRODUCED WITHOUT ANTIBIOTICS, SYNTHETIC HORMONES, OR PESTICIDES ON THE AZEVEDO FAMILY FARM.
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O R G A N I C
VA L L E Y
GRADE A ORGANIC WHOLE MILK 1/2 GALLON.
M I L K
P A C K A G I N G
E L E C T R I F I E D
P. 088
C O U R S E _ PAC K AG E D E S I G N T WO
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
P. 089
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 090
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S E C . _ 0 6 . 5
C O U R S E _ PAC K AG E D E S I G N T WO
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
P. 091
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 092
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S E C . _ 0 6 . 6
INSTRUCTOR_CHRISTINE GEORGE
P R O J E C T _ O R G A N I C VA L L E Y M I L K
O R G A N I C
VA L L E Y
M I L K
P A C K A G I N G
C O U R S E _ PAC K AG E D E S I G N T WO
P. 093
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
SECTION NUMBER
P. 094
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S E C . _ 0 7.1
I N S T R U C T O R _ VA R I O U S
P R O J E C T _ VA R I O U S L O G O S E L E C T I O N
Q U O T E
B Y
C A R L
J U N G
COURSE_IDENITY & BRANDING
The symbol is the greatest TOOL of mankind transformation. BRIEF It is only through the use of symbols that we are able to understand our
outside world. Symbols and logos are small allusions to something greater at play. They are small representations of greater concepts and should be able to speak as such. They should be able to tell a story with the fewest words possible. SOLUTION As designers we are visual story tellers, although instead of using
words and paragraphs we use line, shape, scale, contrast, with a combination of pictorial images and letters in order to convey our stories. These stories we hope will electrify our audience with their power and simplicity. PERSPECTIVE After creating many logos and symbols you come to the realization
that in order for anything small to have a great deal of power it needs to be meaningful. If a logo is created with the lack of a concept or an allusion towards
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something it will lack power and will not stand on it’s own.
P. 095
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S E C . _ 0 7. 2
VA R I O U S
S E L E C T I O N
O F
L O G O S
E L E C T R I F I E D
RAY/BAN
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STANDARDS MANUAL 2009 EDITION
P. 096
COURSE_IDENITY & BRANDING
I N S T R U C T O R _ VA R I O U S
P R O J E C T _ VA R I O U S L O G O S E L E C T I O N
P. 097
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 098
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S E C . _ 0 7. 3
INSTRUCTOR_MICHAEL OSBOURNE
P R O J E C T _ A E R O R E TA I L D E S I G N
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A E R O
R E TA I L
P A C K A G I N G
L O G O S
C O U R S E _ PAC K AG E D E S I G N F O U R
P. 099
E L E C T R I F I E D
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– T H E W O R K O F B R A D L E Y P AY N E
G
P. 100
S E C . _ 0 7. 4
I N S T R U C TO R _ R O L A N D YO U N G
P R O J E C T _ G U R U W AY - F I N D I N G A P P.
G U R U
A U G M E N T E D
R E A L I T Y
L O G O
C O U R S E _ V I S U A L C O M M U N I C AT I O N S T H R E E
G
G
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G
G
P. 101
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
o N SECTION NUMBER
P. 102
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S E C . _ 0 8 .1
I N S T R U C T O R _ M E , M Y S E L F, & I
PROJECT _PRINTS & FINE ART
S E L E C T E D
P R I N T S
&
F I N E
A R T
W O R K S
COURSE_LIFE
FINE ART SERVES NO PURPOSE OTHER THAN It’s OWN CATHARTIC MOTIVES. BRIEF What is it about fine art that entraps the human spirit? Is it the ability to
change our perspective? To show us things we may have not noticed before? Or is it through a cathartic experience that we are able to see a bit of ourselves in what others have created. All of the above is true for fine art. Fine art should inspire, captivate, enthrall, upset and even excite. If it does so correctly all of these things are attainable and will show themselves through a variety of medias. SOLUTION Fine art just happens sometimes. It’s what comes out after not having
done anything about certain situations. It’s also about learning how to see, how to see that outside influences have great effects on our day to day lives. While in the moment we may not be able to see how these certain things will effect our futures, fine arts goal is to bring these unknowns into the light in order to share with and inspire other people. PERSPECTIVE Art holds no purpose other than it’s own cathartic motives. This is
one of the many truths of art. Through the process of catharsis we are shown how things could have been, how things will be and how things actually are. That is the
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job of art, to show us the past, present and our own potential future.
P. 103
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 104
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S E C . _ 0 8 . 2
TITLE_HOMAGE TO WOMEN & CHAOS
D AT E C R E AT E D _ M A R C H 2 0 0 9
M E D I U M _ M I X E D M E D I A O N C A N VA S
P. 105
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 106
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S E C . _ 0 8 . 3
T I T L E _ D O N Q U I OX E
D A T E C R E A T E D _ M AY 2 0 1 1
M E D I U M _ S C R E E N P R I N T O N PA P E R
P. 107
E L E C T R I F I E D
– T H E W O R K O F B R A D L E Y P AY N E
P. 108
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S E C . _ 0 8 . 4
TITLE_MOTHER EARTH
D AT E C R E AT E D _ J A N U A R Y 2 0 1 2
M E D I U M _ M I X E D M E D I A O N C A N VA S
P. 109
THANK YOU ALL FOR BELIEVING IN ME AND SHOWING ME MY TRUE POTENTIAL. MOM I would like to dedicate this book first and foremost to my dear Mother. Mom,
for after all the bullshit we’ve been through we deserve the good life. I remember singing Billy Joel’s For the Longest Time with you at the top of my lungs in our living room, remember that? I will always be your baby... So I thank you for helping me become the man I am today, for without you, none of this would even have been possible. This is for you. DAD I thank my Dad for always supporting me, and instilling discipline within
me. You have always been there for me and I thank you for that. Even at my lowest of lows you have always been the hand pulling me up from the cliff. Just like Sean Connery pulling Harrison Ford up in the Last Crusade. I love you Dad. DONNA Thank you Donna for always giving me the best moral support. You are
the best step mom a guy could ask for and I thank you for always believing in me. RAY Thank you Ray for loving me unconditionally as well as treating me as one of
your own. You are one of the strongest people I know and I thank you for always encouraging me to discover my own greatest potential. You are a rock. NANNY Thank you Nanny for your loving support and for always believing in me
even when you may have had your doubts. Without you I would know nothing of unconditional loving kindness. PAPA Thank you Papa for showing me what it means to be a true gentleman. Young,
handsome, debonair, and good looking. I will never forget all the hard work we did on those houses, those were some of the brightest times in one of the darkest parts of my life. You know what I like about you... Not a F@$% thing. Ha! CANDACE To my beautiful wife, shall I compare thee to a summers day. For thou
art more lovely. You have been my everything and I don’t know what I would do without you. Thank you for always picking me up when I am down, clinking my glass in times of celebration, and showing me what it actually means to truly love somebody. I Love you. I love you all. This book is for you.
FURTHER CONSIDERATIONS CASEY FRANCO TIFFANY FRANCO NICK PAYNE ERIN PAYNE DAN GABRIELSON SPECIAL THANKS TO JOSHUA GIROUX ROLAND YOUNG, YOU’RE THE MAN... MICHAEL GEIGER, WHEREVER YOU ARE MARY SCOTT DARRELL HAYDEN ARIEL GRAY MICHAEL OSBOURNE MARK COLEMAN, FOR GIVING ME A CHANCE JOHN PARAMAN, FOR SPIKING YOUR NYQUIL WITH SCOTCH KYLE FAST AARON KAPP OR TIGGER & THOMAS
BINDERY THE KEY, OAKLAND CA. PRINTER GRAPHIC IMAGERY, SOUTH SAN FRANCISCO PAPER NEENAH IO-TONE, 100 LBS TEXT TYPE FACES G OTHOM, HOEFLER & JONES MERCURY, HOEFLER & JONES EAMES CENTURY MODERN, HOUSE INDUSTRIES PHOTOGRAPHY BRADLEY PAYNE (SONY ALPHA A100X)(ROLLEIFLEX 3.5 TLR) JOSH GIROUX (NIKON 5D) LOCATION SAN FRANCISCO, CA LOS ANGELES, CA PROJECT ACADEMY OF ART UNIVERSITY P ORTFOLIO CLASS OF MARY SCOTT SCHOOL OF GRAPHIC DESIGN FIN!
A L L R I G H T S R E S E R V E D B R A D L E Y PAY N E 2 0 1 3 .
E L E C T R I F I E D
H E R I TA G E
M O M & DA D C I R C A 1 9 8 3
ELECTRIFIED DESIGN SOLUTIONS
T H A N K YO U F O R LO O K I N G
H O P E YO U E N J OY E D I T
+ T H E W O R K O F B R A D L E Y PAY N E