O F
A
G R A P H I C
D E S I G N E R
COLOPHON SCHOOL Academy of Art University DEPARTMENT Graphic Design STUDENT Caitlyn Gibbons PHONE 914 275 5201 WEBSITE caitlyn gibbons.com EMAIL caitlyngibbons@gmail INSTRUCTOR Mary Scott PRINTER Progressive Solutions 2170 Martin Ave. Santa Clara, CA 95050 BINDER The Key Printing and Binding PHOTOGRAPHY Caitlyn Gibbons and Ryan Wang TITLE Confessions of a Graphic Designer COVER STOCK Black Leather TEXT STOCK Neenah Environment PC 100 80 lb text TYPEFACES Requiem, Gotham Narrow, Edwardian Script SOFTWARE Adobe CS4 ©2010 ALL RIGHTS RESERVED. Absolutely no part of this publication can be reproduced without express permission from Caitlyn Gibbons. So don’t even think about it.
In memory of my grandmother, Carolyn DuPont Gibbons
CONFESSIONS
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GRAPHIC DESIGNER
C A I T LY N G I B B O N S
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108 p
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No 1
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No
3
6
10
I WISH I COULD COMMAND+Z…
4 / INSPIRE
3 / B L AC K C A B C O M PA N Y
2 / B E TA - B E T
1 / BETSEY JOHNSON HOME
No
8 / BETTY CROCKER FIRST AID
7 / S A I L B AY A R E A
6 / KMART REDESIGN
No
No
MY MOST BRILLIANT IDEAS…
9
5 / H A Y, S T I C K S , B R I C K S
No
No
I H AV E A K I T C H E N T I M E R O N …
I SHOP AT TRADER JOE’S…
8
No
No
No
I H AV E A S E C R E T O L D - M A N C R U S H …
SOMETIMES WHEN PEOPLE TALK…
I H AV E F L AT- O U T R E F U S E D …
7
N /A / I N T R O D U C T I O N
5
I H AV E W O R N T H E S A M E O U T F I T …
WHY I AM CONFESSING
CONFESSION
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136 p
152 p
160
No
THANK YOU
No
10 / PERSONAL WORKS
N /A / A C K N O W L E D G E M E N T S
No
9 / WHACKED
I S T I L L H A N D D R AW M Y PA R E N T ’ S …
MY NEW YORK ACCENT…
CONFESSIONS
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C A I T LY N G I B B O N S
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W HY I A M C O N F E S S I N G T O YO U A confession is a secret willingly revealed; a guilty conscience seeking clarity, absolution or assistance. An intimate detail that hopes to be forgiven, but not the first thing you want your mother-in-law to know. My portfolio concept is Confessions of a Graphic Designer. I confess I am not a graphic designer. I don’t fit the stereotype of a snide-remarking, chain-smoking, Helvetica-obsessed twit in horn-rimmed glasses and skinny jeans. I may scoff at Comic Sans, but who doesn’t? As I reveal in the following pages, I am a sailor and a seamstress, a doting auntie and a deal-hunting student. My projects reflect my interests, passions and questions. Each assignment is an excuse for me to dive in and scratch the itch of my deepest curiosities. These pages do not show three years worth of Moleskine notebooks, late nights cursing at my Epson, and the jitters caused by too many cups of coffee. Those I will keep hidden, but they have been as much a part of my education as what I learned in the classroom. In this book I am sharing the brutally honest personality traits that have revealed themselves through my time at the Academy. My hope is that you, my audience, can read this book with an equally honest open mind to be intrigued, entertained, offended, or simply reminded of what it is to be a typography-obsessed art student. These are my confessions.
10 9 8 7 6 5 4 3 2 1
No CONFESSION
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CONFESSIONS
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C A I T LY N G I B B O N S
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PE R SONA L CON N EC T ION The student lifestyle easily lends itself to casual attire. During finals (but not exclusively), I wake up, pull on a hoodie and settle in front of my computer. While I am attempting to build my wardrobe to include more blouses and slacks, those “professional� items my father would a p p rove o f, I c o n f e s s t h a t o n e o f t h e re a s o n s I c h o s e d e s i g n a s a career was because jeans are not limited to Casual Fridays. For graphic designers, every project is a chance to strip naked and shed past designs and expectations. We work with the client to build an outfit, from foundation to accessories, that communicates a mood to an audience. While occasion and comfort levels are taken into consideration, some of the best ensembles come from scrapping the familiar and matching leather with lace. Literally.
FLIRTY / PUNK / REBEL
K EY W O R D S TYPEFACE
FA R AO BETSEY JOHNSON HOME
TITLE INSTRUCTOR
T O M M c N U LT Y
CLASS
PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #1
11
of A CONFESSIONS
TIMELINE
BUDGET
H O M E A P P L I A N C E PAC K AG I N G
7 WEEKS
$$$$
DES IG N OBJ EC T IVE
GRAPHIC DESIGNER
p
ASSIGNMENT
T h e g o a l o f t h i s p ro j e c t wa s t o d e s i g n a l i n e o f h o m e a p p l i a n c e packaging for punk-rock fashion designer Betsey Johnson. I wanted to package items for Betsey’s store that she would have in her own home: a hot pink swing-back chair, electric guitar, zebra patterned hair dryer, hairbrush, mirrored pillow, and a phone that looks like a pair of giant red lips. Combining Betsey’s own drawings and handwriting with her irreverent clothing designs and kitschy storefront pushed the packaging to an level that required innovation — and resulted in a box with a zipper.
CONFESSIONS
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #1
p
12 T O M M c N U LT Y
INSTRUCTOR
TITLE BETSEY JOHNSON HOME
TYPEFACE FA R AO
K EY W O R D S FLIRTY / PUNK / REBEL
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #1
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15 INSTRUCTOR T O M M c N U LT Y
BETSEY JOHNSON HOME
TITLE
TYPEFACE FA R AO
K EY W O R D S FLIRTY / PUNK / REBEL
CONFESSIONS
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #1
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17 INSTRUCTOR T O M M c N U LT Y
BETSEY JOHNSON HOME
TITLE
TYPEFACE FA R AO
K EY W O R D S FLIRTY / PUNK / REBEL
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #1
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18 INSTRUCTOR T O M M c N U LT Y
TITLE BETSEY JOHNSON HOME
TYPEFACE FA R AO
K EY W O R D S FLIRTY / PUNK / REBEL
FLIRTY / PUNK / REBEL
K EY W O R D S TYPEFACE
FA R AO BETSEY JOHNSON HOME
TITLE INSTRUCTOR
T O M M c N U LT Y
CLASS
PAC K AG E D E S I G N 3 PROJECT #1
MAPLE FRETBOARD • SINGLE COIL PICKUPS designed by Betsey Johnson herself • agathis body
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hot lips phone LAST NUMBER REDIAL • RECEIVER VOLUME designed by Betsey Johnson herself • net wt 18 oz
zebra hairdryer SUPER ION TECHNOLOGY • 2 SPEEDS • 1875 WATTS designed by Betsey Johnson herself • 15 oz • 8 ft cord
www.betseyjohnson.com
www.b etseyjohnson.com
ULTRA SOFT UPHOLSTERY • CHROME METAL LEGS designed by Betsey Johnson herself • 27"L x 17"W x 33"H
chandalier pillow
HYPO-ALLERGENIC • 100% COTTON • RHINESTONES d e s i g n e d b y B e t s e y J o h n s o n h e r s e l f • 10 ” W x 10 ” H 6 o z
www.b etseyjohnson.com
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PERSONAL CONNECTION
I honestly don’t know how to further explain myself here.
CONFESSION
No 1
2
3
4
5
6
7
8
9
10
P O N T I F I C AT E V S D I R E C T H O N E S T Y
K EY W O R D S TYPEFACE
HANDWRITING B E TA - B E T
TITLE INSTRUCTOR
JENNIE HINCHCLIFF
CLASS
BOOK ARTS 1
C A I T LY N G I B B O N S
PROJECT #2
25
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ASSIGNMENT
TIMELINE
BUDGET
ALPHABET BOOK
1 WEEK
$
DESIGN OBJECTIVE My Book Arts class required small weekly assignments to practice structures and comping skills. With the objective to create an alphabet book, my imagination quickly went past the “A is for Apple” idea and toyed with communication as a whole. A believer that the truth requires few words, I am constantly struck with how people use them as fluff to disguise what they really mean. I created a cut-to-the-chase alphabet, or a Beta-Bet, to translate when communication becomes too roundabout. The Alphabet naturally took the structure of pen and ink calligraphy while the Beta-Bet became blocky, 1980’s computer type letterforms.
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CLASS BOOK ARTS 1
C A I T LY N G I B B O N S
PROJECT #2
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26 INSTRUCTOR JENNIE HINCHCLIFF
TITLE B E TA - B E T
TYPEFACE HANDWRITING
K EY W O R D S P O N T I F I C AT E V S D I R E C T H O N E S T Y
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of A
GRAPHIC DESIGNER
CLASS BOOK ARTS 1
C A I T LY N G I B B O N S
PROJECT #2
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29 INSTRUCTOR JENNIE HINCHCLIFF
B E TA - B E T
TITLE
TYPEFACE HANDWRITING
K EY W O R D S P O N T I F I C AT E V S D I R E C T H O N E S T Y
CONFESSIONS
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GRAPHIC DESIGNER
CLASS BOOK ARTS 1
C A I T LY N G I B B O N S
PROJECT #2
p
31 INSTRUCTOR JENNIE HINCHCLIFF
B E TA - B E T
TITLE
TYPEFACE HANDWRITING
K EY W O R D S P O N T I F I C AT E V S D I R E C T H O N E S T Y
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32 CONFESSION
No 1
2
3
4
5
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9
10
PERSONAL CONNECTION The accent, the devilish charm, those eyebrows ... For me, Sean Connery in Goldfinger will always be THE James Bond. He had the complete package: the suit, the watch, the gun, and the Aston Martin with an ejector seat. That car was my first taste of industrial design mixed with the magic of Hollywood. Unrealistic? Yes. Campy? Of course. Did I want one? Still do. That ‘sky’s the limit’ attitude is encouraged in school. In preparation for unpredictable clients, we’re pushed to combine two unrelated ideas into a solution that answers the question “what if..?” Bound only by the imagination, my experience at The Academy has led me to create projects that could give Bond’s Q a run for his money. Complete with a cheesy tagline.
K EY W O R D S
JAMES BOND MEETS THE GEEK SQUAD ARCHER / DIN
TYPEFACE TITLE
B L AC K C A B C O M PA N Y T O M M c N U LT Y
INSTRUCTOR CLASS
IDENTITY 2
C A I T LY N G I B B O N S
PROJECT #3
35
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ASSIGNMENT
TIMELINE
BUDGET
I D E N T I T Y S TA N DA R D S M A N U A L
7 WEEKS
$
DES IG N OBJ EC T IVE What if there was a taxi company that combined 007 with the Geek Squad? Aimed at San Francisco business commuters, these sleek, quiet hybrid taxis, modeled after London’s own Black Cabs, offer outlets to charge flagging iPhones and back seat flat screens with USB ports to finish up any last minute work. Driven by smartly dressed, knowledgeable chaps who’ve had to pass a series of navigation tests to get behind the wheel (and bowtie), these modern taxis chauffeur us into a new era of Cabs. Black Cabs.
CONFESSIONS
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GRAPHIC DESIGNER
CLASS IDENTITY 2
C A I T LY N G I B B O N S
PROJECT #3
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36 INSTRUCTOR T O M M c N U LT Y
TITLE B L AC K C A B C O M PA N Y
TYPEFACE ARCHER / DIN
K EY W O R D S JAMES BOND MEETS THE GEEK SQUAD
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GRAPHIC DESIGNER
CLASS IDENTITY 2
C A I T LY N G I B B O N S
PROJECT #3
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39 T O M M c N U LT Y
INSTRUCTOR B L AC K C A B C O M PA N Y
TITLE
TYPEFACE ARCHER / DIN
K EY W O R D S JAMES BOND MEETS THE GEEK SQUAD
K EY W O R D S
JAMES BOND MEETS THE GEEK SQUAD
(800) BLACK CAB
32
BLACK CAB BLACK CAB
(800) BLACK CAB
32
B L AC K C A B C O M PA N Y
K CAB
BLACK CAB
BLACK CAB
BL AC K
CA
B
T O M M c N U LT Y
INSTRUCTOR
BLAC
K CAB
TYPEFACE
ARCHER / DIN
TITLE
3232 BLACK CAB BLAC
BLACK CAB BLACK CAB
BLACK CAB
CABS. CABS.
BLACK CAB
BLACK CAB BLACK CABS.
BLACK CABS.
BLACK CAB CABS. BLACK CABS (800) BLACK CAB
CK BLA
CAB
41 BLACK
BLACK CAB
p
CAB
BL AC K
B
CAB CAB CAB CAB CAB CAB BLACK BLACK BLACK BLACK BLACK BLACK
CONFESSIONS
BLACK CAB
BLACK CAB
BLACK CAB
BLACK CAB
BLACK CAB
BLACK CAB
BLACK CAB
IDENTITY 2
CAB CAB CAB CAB CAB CAB BLACK BLACK BLACK BLACK BLACK BLACK BLACK CAB
BLACK CAB
BLACK CAB
CAB CAB CAB CAB CAB CAB BLACK BLACK BLACK BLACK BLACK BLACK
CABS. BLACK CABS. (swipe card to pay fare)
CABS. CABS. BLACK BLACK CABS. CABS.
(800) BLACK CAB blackcabsf.com 232 Market St. SF, CA 94103
(swipe (swipe cardcard to pay to fare) pay fare) (800)(800) BLACK BLACK CAB CAB blackcabsf.com blackcabsf.com 232 Market 232 Market St. SF,St.CA SF,94103 CA 94103
BLACK CAB
PROJECT #3
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GRAPHIC DESIGNER
C A I T LY N G I B B O N S
CLASS
BLACK BLACK CABCAB
BLACK CAB CABS. BLACK CABS (800) BLACK CAB
CA
10 9 8 7 6 5 4 3 2 1
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CONFESSIONS
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PERSONAL CONNECTION Ah, procrastination — every student’s best friend and worst enemy. I admit (not proudly) that I would get nothing done if not for deadlines. In a desperate attempt to better manage my time, I went out and bought a $3 kitchen timer. The idea was to force myself to get work done in a specific time frame. In reality, it sits on my desk, beeping at 10 minute intervals, pissing off my roommates. Since I always have to re-set the timer, it beeps a lot. And it’s ugly. But I refuse to get rid of it because it’s the only way I can remind myself, however abruptly, that I am spending way too long on layouts.
ASSIGNMENT
TIMEFRAME
BUDGET
CLOCK DESIGN
6 WEEKS
$$$$
DES IG N OBJ EC T IVE Clocks are physical objects that measure an intangible idea: time. This may sound silly, but it’s important, as time is our most precious commodity — one we make, keep, manage and spend. Yet, in this day and age, who wears a watch anymore? We’ve reduced an all-important task to a tacked-on function of other gadgets. With this perceived irrelevance, I was not excited about creating a clock. But then I realized that the most profound thing a timepiece could do was make its observer forget that she is gazing upon a simple tool and hopefully, like great music, perhaps even make a few moments slip by unnoticed. The New York Philharmonic Orchestra’s 45th anniversary of Concerts in the Park provided the inspiration and occasion to create a clock that is classic, but also reflects the progressive spirit of one of the most revered orchestras in the world.
CONFESSIONS
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GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #4
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45 INSTRUCTOR T O M M c N U LT Y
INSPIRE
TITLE
TYPEFACE GARAMOND
K EY W O R D S RESPECT / CLASSIC / TIMELESS
CONFESSIONS
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #4
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46 INSTRUCTOR T O M M c N U LT Y
TITLE INSPIRE
TYPEFACE GARAMOND
K EY W O R D S RESPECT / CLASSIC / TIMELESS
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #4
14.7”
49 1.35” 2.80”
engraved circle
NewYork Philharmonic
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CONFESSIONS TITLE INSPIRE
INSTRUCTOR T O M M c N U LT Y
TYPEFACE GARAMOND
4”
f-holes cut out
cut circle
9.15”
f-holes cut out engraved circle
K EY W O R D S RESPECT / CLASSIC / TIMELESS
CONFESSIONS
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GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #4
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50 INSTRUCTOR T O M M c N U LT Y
TITLE INSPIRE
TYPEFACE GARAMOND
K EY W O R D S RESPECT / CLASSIC / TIMELESS
CONFESSIONS
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CLASS PAC K AG E D E S I G N 3
C A I T LY N G I B B O N S
PROJECT #4
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53 INSTRUCTOR T O M M c N U LT Y
INSPIRE
TITLE
TYPEFACE GARAMOND
K EY W O R D S RESPECT / CLASSIC / TIMELESS
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54 CONFESSION
No 1
2
3
4
5
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10
PERSONAL CONNECTION My 4 year-old niece refuses to fall asleep until she has heard at least one bedtime story. I love helping out with this routine not just because I adore squeezing into bed next to her while her lids grow heavy, but because I am curious to see the newest interpretations of my childhood fairy tales. Books like The Eleventh Hour and Where the Sidewalk Ends were my favorites not just for the stories, but for the rich illustrations and lettering that showed just how beautiful words could be. I would get lost in those letters and be happily carried away into dreamland by their counters and serifs. On my last visit, my niece handed me her bedtime book as she crawled under the covers and announced it was the Three Little Pigs. I looked down expectantly but frowned at the cover. Instead of a thoughtfully typeset title, I was looking at a distressed version of Comic Sans. And I couldn’t open the book. They say that the more you study design, the uglier the world gets. But when this ugliness crept into the dream time of my loved ones, I decided to create my own version of a classic fairy tale.
K EY W O R D S
T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N D I N , M R S . E AV E S
TYPEFACE TITLE
H A Y, S T I C K S , B R I C K S ARIEL GREY
INSTRUCTOR CLASS
TYPOGRAPHY 3
C A I T LY N G I B B O N S
PROJECT #5
57
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ASSIGNMENT
TIMELINE
BUDGET
PA P E R P R O M OT I O N B O O K
14 WEEKS
$$
DES IG N OBJ EC T IVE The story of the Three Little Pigs was a perfect fit for a promotion book for French Paper ’s ‘Construction’ line. To create a book that appealed to both children and adults, I took the traditional fairy tale a step further with a psychoanalysis of each pig’s personality. The content applies Freud’s theories of the Id, Ego, and Super Ego and their relationship with the Pleasure and Pain principles in each of the three pigs, as well as a Meyers-Briggs personality test. Starting with the First Little Pig, the book reflects a loose grid construction based on straw, tightens a little through the Second Little Pig and his sticks, but ends with a strong visible grid layout of the Third Little Pig and her chosen material — bricks. The muted color palette reflects a mature nursery rhyme and leaves the reader with the knowledge that careful planning overcomes hasty or lazy decisions.
CONFESSIONS
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GRAPHIC DESIGNER
CLASS TYPOGRAPHY 3
C A I T LY N G I B B O N S
PROJECT #5
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59 ARIEL GREY
INSTRUCTOR H A Y, S T I C K S , B R I C K S
TITLE D I N , M R S . E AV E S
TYPEFACE
K EY W O R D S T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N
CONFESSIONS
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CLASS TYPOGRAPHY 3
C A I T LY N G I B B O N S
PROJECT #5
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61 ARIEL GREY
INSTRUCTOR H A Y, S T I C K S , B R I C K S
TITLE D I N , M R S . E AV E S
TYPEFACE
K EY W O R D S T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N
CONFESSIONS
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CLASS TYPOGRAPHY 3
C A I T LY N G I B B O N S
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62 ARIEL GREY
INSTRUCTOR H A Y, S T I C K S , B R I C K S
TITLE D I N , M R S . E AV E S
TYPEFACE
K EY W O R D S T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N
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CLASS TYPOGRAPHY 3
C A I T LY N G I B B O N S
PROJECT #5
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64 INSTRUCTOR ARIEL GREY
TITLE H A Y, S T I C K S , B R I C K S
TYPEFACE D I N , M R S . E AV E S
K EY W O R D S T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N
W
O W
W
O
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 3
C A I T LY N G I B B O N S
PROJECT #5
O
L
B
B
L
B
L B
B
O
W
O
O
TITLE H A Y, S T I C K S , B R I C K S
TYPEFACE D I N , M R S . E AV E S
K EY W O R D S
O
W
O
W
W
T E C H N I C A L / FA I R Y TA L E / D E C O N S T R U C T I O N
W
O
W
O
O
L
L OO
B
O
B
B INSTRUCTOR ARIEL GREY
W
W
of A
66
L
CONFESSIONS
L
p
W O
O
W
O
W
1
2
3
4
5
6
7
O
W
W L W
W
O
O
L L
OUSE
W
O
W
O
OL
O
O W
O
L
O
L
O
O
O
O
W
O
W O
O
O L
W
W
W
LL
W
O
O WL W
O
W
O
The Wolf declared that he would eat up the little Pig, and that he would get down the chimney after him. When the little Pig saw what was about, he hung on the pot full of water, made up a blazing Fire, and just as the wolf was coming down, took off the cover of the pot and in fell the Wolf. And the little Pig put on the cover again in an instant, boiled him up and ate him for supper...
10 9 8 7 6 5 4 3 2 1
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PERSONAL CONNECTION I know they serve it as a marketing ploy, but it works and I take full advantage of it. Most of the time I have my little mini-cup (cream, no sugar) when I’m grabbing items in that general area, but there have been occasions when I’ve beelined from the entrance of the store to that warm, aromatic, self-serve carafe. Most of those occasions occurred during Package Design 4: the only group project I’ve had at The Academy. With marathon meetings 2x a we e k o u t s i d e o f c l a s s , i t i s a l s o t h e o n e t h a t g ave m e a t a s t e o f working on teams, negotiating designers’ egos and the importance of staying caffeinated.
ASSIGNMENT
TIMELINE
BUDGET
REDESIGN KMART
14 WEEKS
$$$$
DES IG N OBJ EC T IVE Michael Osborne runs Pack 4 the same way he runs his studio. Teams are established on the first day when the assignment is given. Our assignment: elevate Kmart to the level of Target. We had 14 weeks to redesign one of the biggest retailers in the country with no syllabus, just each other and our design knowledge. Our research revealed how desperate Kmart is just to get people in the door, so my team of 4 asked ourselves: what if Kmart offered child care as a way to entice new, and keep loyal, customers? We went after Target’s demographic of late-20s to 50 year-old, stylish, busy women who shop with, or for, their children. We established 2 price points: Vida offers higher quality items for home, food, health and beauty, and K offers an economical alternative. An organic line spun off of the K line and Onezees are offered as dollar samples of some Vida, K and K Organic products. Full Belly Bistro, a Kmart-endorsed, kid-friendly cafÊ, offers a place for moms to enjoy a healthy post-shopping snack with their children.
CONFESSIONS
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GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
73 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
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GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
74 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
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GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 5
C A I T LY N G I B B O N S
PROJECT #6
p
77 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
TYPEFACE VA R I O U S
mart t he good life
B
O I S T R
mart
mart t he good life
mart
B
O I S T R
mart
m t he
mart
B
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
79 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 5
C A I T LY N G I B B O N S
PROJECT #6
p
80 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
82 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
84 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
87 INSTRUCTOR MICHAEL OSBORNE
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
TYPEFACE VA R I O U S
TITLE KMART REDESIGN
mart t he good life
B
mart O I S T R
mart
mart t he good life
mart
B
O I S T R
mart
mart t he good life
mart
B
mart
O I S T R
mart
m
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
88 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
90 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
93 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
94 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
mart t he good life
mart
B
O I S T R
mart
m
th
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
97 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
99 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
100 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
103 INSTRUCTOR MICHAEL OSBORNE
KMART REDESIGN
TITLE
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
105 TITLE KMART REDESIGN
INSTRUCTOR MICHAEL OSBORNE
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
TYPEFACE VA R I O U S
mart t he good life
B
mart
B I S T R O
O I S T R
mart
mart t he good life
mart
B
O I S T R
mart
mart t he good life
mart
B
O I S T R
mart
mart t he good life
mart
B
mart
O I S T R
mart
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 4
C A I T LY N G I B B O N S
PROJECT #6
p
106 INSTRUCTOR MICHAEL OSBORNE
TITLE KMART REDESIGN
TYPEFACE VA R I O U S
K EY W O R D S SIMPLE / SMART / HONEST / FRESH
CONFESSIONS
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
p
108 CONFESSION
No 1
2
3
4
5
6
7
8
9
10
PERSONAL CONNECTION For some, it’s the shower. Others, a long run. For me, it’s the magical combination of sun on my face, wind in my hair and salt spray on my lips that seems to make all of my problems solve themselves. Growing up on an island that built America’s Cup boats and having a father with salt water in his veins, I was lucky enough to get my sea legs at an early age. Sailing, with its elements of nature, skill, and luck, offer an escape and a fresh perspective when I’m hitting my head against my iMac desktop. Designers are paid to be creative on demand. I’m learning that for every one time the ideas flow effortlessly, there are five when there is a deadline looming and every trick I use makes the problem worse. Just before I throw my computer out the window, I step away. Taking a break, a walk, or ideally a dose of salt water, allows me to come back with fresh eyes and usually reveals the obvious solution.
ASSIGNMENT
TIMELINE
BUDGET
CONVENTION
14 WEEKS
$$$
DES IG N OBJ EC T IVE With the opportunity to create my own convention, I wanted to share my passion for the ocean and those ancient vehicles of competition, commerce and grace: sailboats. Distilling my favorite elements of sailing into three words led me to structure, competition and freedom. The graphic elements in the brochure and the convention organization all speak to the structure of the boats themselves, the skills required to have a competitive edge, and the sheer joy of a full sail on the open ocean. The convention is aimed at landlubbers and salty old timers alike to learn skills, share stories and get a fresh perspective on what is too often seen as an uptight, elitist sport.
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
111 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
112 INSTRUCTOR JEREMY STOUT
TITLE S A I L B AY A R E A
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
115 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
116 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
119 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S
PROJECT #7
p
120 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS GRAPHIC DESIGN 3
C A I T LY N G I B B O N S PROJECT #7
p
122 INSTRUCTOR JEREMY STOUT
S A I L B AY A R E A
TITLE
TYPEFACE H E LV E T I C A N E U E
K EY W O R D S FREEDOM / STRUCTURE / COMPETITION
10 9 8 7 6 5 4 3 2 1
No CONFESSION
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
126
CONFESSIONS
p
PERSONAL CONNECTION Not the whole thing — just those rare occasions when I realize I just stabbed myself with an X-Acto, or I start printing on the wrong side of the good paper, or I say the wrong thing in front of my boyfriend’s mom. “Undo” (command + Z) is arguably the most popular action in all of Adobe’s Creative Suite and is for now, unfortunately limited to the digital domain.
COMFORT / INFORM / CHEEKY
K EY W O R D S TYPEFACE
BODONI / THE SANS BETTY CROCKER FIRST AID
TITLE INSTRUCTOR
CHRISTINE GEORGE
CLASS
PAC K AG E D E S I G N 2 PROJECT #8
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
129
CONFESSIONS
p
ASSIGNMENT
TIMELINE
BUDGET
FIRST AID KIT
4 WEEKS
$$
DES IG N OBJ EC T IVE Since most accidents occur in the kitchen, I approached the first aid kit with warmth, comfort, and a little cheeky humor with help from 1950’s cooking icon Betty Crocker. The kit contains all necessary items with first aid instructions as well as Betty’s helpful secondary uses. All contained in burpless tupperware, the Betty Crocker First Aid Kit has everything a modern homemaker needs to keep blood pressure from rising, soufflés from falling, wounds and turkeys dressed and cuts and counter tops clean.
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 2
C A I T LY N G I B B O N S
PROJECT #8
p
130 INSTRUCTOR CHRISTINE GEORGE
TITLE BETTY CROCKER FIRST AID
TYPEFACE BODONI / THE SANS
K EY W O R D S COMFORT / INFORM / CHEEKY
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 2
C A I T LY N G I B B O N S
PROJECT #8
p
133 INSTRUCTOR CHRISTINE GEORGE
BETTY CROCKER FIRST AID
TITLE
TYPEFACE BODONI / THE SANS
K EY W O R D S COMFORT / INFORM / CHEEKY
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS PAC K AG E D E S I G N 2
C A I T LY N G I B B O N S
PROJECT #8
p
135 INSTRUCTOR CHRISTINE GEORGE
BETTY CROCKER FIRST AID
TITLE
TYPEFACE BODONI / THE SANS
K EY W O R D S COMFORT / INFORM / CHEEKY
10 9 8 7 6 5 4 3 2 1
No CONFESSION
136
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
PERSONAL CONNECTION
CONFESSIONS
p
Growing up in The Bronx, attitude was everything. I literally had to tawk the tawk to be taken seriously by my peers. After hanging out on The Avenue with my friends in grade school, my New York accent was thick and rude. My mother would pretend not to understand what I was saying until I annunciated my words clearly. Alas, some words (like water and coffee) are innately tied to my NYC upbringing and will be forever ingrained in my speech. I’m learning that typefaces have voices, complete with accents and attitudes. When presented with a type specimen book project, I was immediately drawn to Gotham, not only for our parallel NYC origins, but because I could examine the stereotypes of the NYC attitude and their embodiment in the Mafia. What is it about Marlon Brando saying “I’ll make him an offer he can’t refuse...” that’s created a cult following?
G R I T T Y / H O N E S T / AT T I T U D E
K EY W O R D S TYPEFACE
GOTHAM NARROW WHACKED
TITLE INSTRUCTOR
ARIEL GREY
CLASS
TYPOGRAPHY 4 PROJECT #9
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
139
CONFESSIONS
p
ASSIGNMENT
TIMELINE
BUDGET
TYPE SPECIMEN BOOK
14 WEEKS
$$$
DES IG N OBJ EC T IVE I wanted to get dirty with this project. The Mafia is a vile organization and I wanted to show gritty pages with type that reflected the skewed perceptions of a Mobster lifestyle. Whacked aims to draw the reader in with the allure of celebrity Mafioso characters like John Gotti and juxtapose that perceived glory with crime scene images and death toll statistics. Additionally, quotes taken from family of convicted mobsters reveal a loss of innocence and a propensity for the criminal lifestyle. I wanted to create a New Yorker ’s brutally honest analysis of the Mafia’s attraction and leave the reader with a sense of the harsh reality that faces any wannabes.
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
140 INSTRUCTOR ARIEL GREY
TITLE WHACKED
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
143 INSTRUCTOR ARIEL GREY
WHACKED
TITLE
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
144 INSTRUCTOR ARIEL GREY
TITLE WHACKED
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
146 INSTRUCTOR ARIEL GREY
WHACKED
TITLE
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
148 INSTRUCTOR ARIEL GREY
TITLE WHACKED
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS TYPOGRAPHY 4
C A I T LY N G I B B O N S
PROJECT #9
p
151 INSTRUCTOR ARIEL GREY
WHACKED
TITLE
TYPEFACE GOTHAM NARROW
K EY W O R D S G R I T T Y / H O N E S T / AT T I T U D E
10 9 8 7 6 5 4 3 2 1
No CONFESSION
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
152
CONFESSIONS
p
PERSONAL CONNECTION W h i l e m y f i n g e r s k n ow t h e C S 4 key b o a rd s h o r t c u t s by m e m o r y, they still welcome a chance to put good old fashioned pencil to paper. Close friends and family are the recipients of birthday cards decorated with everything from Sharpie to colored pencils to glitter pens. Over the past three years my drawings have evolved to reflect a designer ’s appreciation for type and proportions but their place of honor is still between a magnet and my parents’ Frigidaire. I start every design project with pencil sketches in my Moleskine. It is a part of my process that allows me to maintain hand skills and work through design issues faster than anything else.
L I B E R AT I O N / F R O M / C O M P U T E R
K EY W O R D S TYPEFACE
HANDWRITING PERSONAL WORKS
TITLE INSTRUCTOR
BRANDIE GROGAN
CLASS
SILKSCREEN PROJECT #10
of A
GRAPHIC DESIGNER
C A I T LY N G I B B O N S
155
CONFESSIONS
p
ASSIGNMENT
TIMELINE
BUDGET
SILKSCREEN POSTERS SANS COMPUTER
7 WEEKS
$$
DESIGN OBJECTIVE Seeking the kind of raw, honest design that simply cannot come from an inkjet printout, I challenged myself to take a silkscreen class and not use the computer. At all. Everything from the artwork to the registration marks to pulling the squeegee was done by my hand. That slim, unpredictable margin of error meant that my final pieces rarely matched my initial sketches, but I was thrilled with the outcome of all of those happy accidents.
CONFESSIONS
of A
GRAPHIC DESIGNER
CLASS SILKSCREEN
C A I T LY N G I B B O N S
PROJECT #10
p
157 INSTRUCTOR BRANDIE GROGAN
PERSONAL WORKS
TITLE
TYPEFACE HANDWRITING
K EY W O R D S L I B E R AT I O N / F R O M / C O M P U T E R
T H A N K YO U FOR TEACHING ME TO LOVE DESIGN Scott Rankin, Jenny Ji, Melanie Halim, Christine George, Megan Adie, Ariel Grey, Tom McNulty, Michael Osborne and Mary Scott. FOR SEEING WHAT I COULDN’T Ryan Wang, Ilene Hoffman, Natalie Kuo, Jayde Cardinali, Benjamin Rocha, Maya Ostrander, Derek Smith, Cristina Rotundo, Nicole Berman, Renata Gandha and Pete Holland. FOR PUTTING UP WITH ME Liam Rose, Erik Bidenkap and Pete Holland. FOR EVERYTHING Mom & Dad. FOR MAKING IT THIS FAR You.