PERFECTLY IMPERFECT Selected Works of Chad Palmer Designs
PERFECTLY IMPERFECT
This collection of projects features my best and proudest work. Even so, they remain imperfect and that is just fine with me. I think it is important to find beauty in the imperfections as long as it does not excuse slothful behavior. I have been fascinated with typography for years now. I recall as a young child this habit I had where I would draw words in place on my lap if I was sitting for a period of time, like in the car for instance. I believe this is where I started noticing words and letters more in depth and started appreciating good typography and hand lettering. I strive to push myself in different mediums and styles in order to not be stuck in merely one category, which is why I experiment with various type treatments as well as printing applications. The work featured in this portfolio includes many of my typographic projects, whether it be for personal, educational, or commercial use. Enjoy.
CHAPTER 1
CHAPTER 5
Black Oak Whiskey
Strongbow
CHAPTER 2
CHAPTER 6
AIGA San Diego’s 25th Anniversary
Chad’s Stache Kit CHAPTER 7
CHAPTER 3
Typefaces
APCOM Computer Consultants
CHAPTER 8
Extras CHAPTER 4
Loser Machine Company & Dark Seas Division
Chapter 1
BLACK OAK WHISKEY Branding, Packaging
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TITLE
DELIVERABLES
Black Oak Whiskey
Beverage Packaging Beverage Accessories Custom Typeface
CATEGORY
Branding, Packaging CREATIVE DIRECTOR
Min Choi
TERM
Spring 2014
OVERVIEW
Black Oak Whiskey provides young whiskey enthusiasts with a refreshing new spirit which draws from vintage roots throughout the design and ambiance of the brand, but with a slightly modern twist. While the label design remains simple and clean, the brand implements a vintage feel through the use of natural wood in packaging and accessories. This project features a custom typeface which was inspired by the brand’s final logotype and is implemented throughout the various products. The official logomark features a fox with antlers. This careful decision was due to the fact that the brand is targeting both male and female whiskey enthusiasts, so the fox symbolizes the caring, softer feminine audience while the antlers symbolize the tough, rugged masculine audience. With the use of screen printing, glass etching, image transferring, hot wax stamping, and laser engraving, this brand provides its customers with a hand-crafted product that is truly unique to each individual.
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BLACK OAK WHISKEY
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ALPINE HAND
PROVISIONS
KEY WORDS
A-Z, a-z
Simple
2 Weights (thin, heavy)
Clean
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Alpine Hand derives from my Black Oak Whiskey project. By taking the letters from that logotype, I systematically created an entire upper and lower case, and then from there expanded to both light and heavy weights. This monoline typeface features a clean, hand-written style of script and is meant to
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portray somewhat of a vintage aesthetic. Certain areas of the stroke were omitted from the uppercase letters to create a shadow effect which gives these characters a little bit of depth and makes this entire typeface truly one-of-a-kind.
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BLACK OAK WHISKEY
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BLACK OAK WHISKEY
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BLACK OAK WHISKEY
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BLACK OAK WHISKEY
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Chapter 2
AIGA SAN DIEGO’S 25TH ANNIVERSARY Advertisement
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TITLE
DELIVERABLES
AIGA San Diego’s 25th Anniversary
Web Banners Print Collateral Marketing Material
CATEGORY
Advertisement CREATIVE DIRECTOR
TERM
Spring 2015
Min Choi
OVERVIEW
I was asked by a member on the board of AIGA San Diego to create the graphics for their 25th Anniversary Member Bash. The graphics feature a hand-drawn logotype in order to create a more personal and fun appearance that all ages can appreciate and admire. I chose to use a white, black, and gold color palette since the 25-year mark is such a great milestone and should be celebrated with the classiest of colors.Various sized web banners were created for the event’s digital campaign and several different signs were printed to promote the event on location. In addition, other print collateral was created, such as food signs, a limited edition raffle ticket, and several party hats! Roughly 200 people attended this party, which became the largest turnout compared to any of AIGA San Diego’s prior events. Granted this was the 25th Anniversary of the chapter, but the final banners and signage for the event was highly acclaimed by both AIGA students and board members, as well as the general public who were new to what AIGA was all about.
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AIGA SAN DIEGO’S 25TH ANNIVERSARY
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AIGA SAN DIEGO’S 25TH ANNIVERSARY
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AIGA SAN DIEGO’S 25TH ANNIVERSARY
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AIGA SAN DIEGO’S 25TH ANNIVERSARY
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Chapter 3
APCOM COMPUTER CONSULTANTS Branding
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TITLE
DELIVERABLES
APCOM Computer Consultants
Branding Material Responsive Website Style Guide
CATEGORY
Branding CREATIVE DIRECTOR
TERM
Spring 2014
Patricia Couttolenc
OVERVIEW
APCOM is a local computer consulting company that specializes in rebuilding computers and fixing both hardware and software problems. Collaborating with another designer, Robert Felizardo, the two of us created an entire new branding system for APCOM which provided them with a more professional and unique brand presence PROBLEM
Other than a generic logotype, APCOM did not have an official branding system prior to meeting with Robert and myself. With little brand equity to work with, we had to turn to researching other successful businesses in the same line of work to draw inspiration and create something truly unique to this company. SOLUTION
Giving APCOM a custom logotype and graphic mark with an official color palette was key to starting them off the right way. We utilized a dark and bright blue to represent that the company is trustworthy and experienced. In addition to the print collateral we designed, I explored a responsive user-friendly website for the company. APCOM was extremely pleased with the results Robert and I created. They are currently using our designs in print collateral and soon to be in a digital presence.
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APCOM COMPUTER CONSULTANTS
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APCOM COMPUTER CONSULTANTS
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APCOM COMPUTER CONSULTANTS
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APCOM COMPUTER CONSULTANTS
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Chapter 4
LOSER MACHINE COMPANY & DARK SEAS DIVISION Branding
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TITLE
DELIVERABLES
Loser Machine Company & Dark Seas Division
Logotypes Illustrations Custom Typefaces
CATEGORY
Branding CREATIVE DIRECTOR
TERM
Summer 2014 - Spring 2015
Paul Nichols
OVERVIEW
Loser Machine Company was founded in 2008 by professional skateboarder Adrian Lopez and in 2010 the subdivision brand Dark Seas Division was formed. Since their beginnings, both companies have gained worldwide acknowledgment and support and have worked with companies such as Obey and Harley Davidson, as well as being a primary sponsor for BornFree, a notorious vintage chopper and motorcycle show in southern California. In the summer of 2014 I was approached by the creative director at Loser Machine and Dark Seas to create a series of graphics for their seasonal collections. STRATEGY
I had to submerge myself in the lifestyle that Loser Machine and Dark Seas represent in order to create graphics that were best suitable for the two companies. Although the two companies share a similar style, they both are very unique to the message they are conveying, which has proven to be a rewarding learning process. To bring Loser Machine and Dark Seas a truly unique identity, I created a typeface for each brand which were used for various apparel graphics. I was given free range when it comes to my typographic and illustrative style, and so far my graphics have been highly acclaimed by the team behind the brands. I consider it a unique and rewarding experience being able to work with these companies and to learn from professionals in the streetwear clothing industry.
LOSER MACHINE COMPANY & DARK SEAS DIVISION
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THE LETTER EVIL
PROVISIONS
KEY WORDS
A-Z, a-z
Horror
1 Weight (regular)
Grunge
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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OLD STYLE LOSER
PROVISIONS
KEY WORDS
A-Z
Blackletter
1 Weight (regular)
Monoline
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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LOSER MACHINE COMPANY & DARK SEAS DIVISION
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Chapter 5
STRONGBOW Advertisement
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TITLE
DELIVERABLES
Strongbow
Campaign Posters
CATEGORY
TERM
Advertisement
Winter 2014
CREATIVE DIRECTOR
Justin Hiew
OVERVIEW
This campaign utilizes a series of hand-drawn typographic posters to promote the “healthy” living of drinking Strongbow hard cider. I teamed up with copywriter Lisa Papada who created the headlines for this campaign, while my task was to execute the visuals. Her tagline spins off from the classic phrase “an apple a day keeps the doctor away.” Since Strongbow is a hard apple cider brand, the shortened phrase “An Apple a Day” became a perfect tagline for this series. To follow this concept, her headlines take on a healthy lifestyle connotation...as if Strongbow is playing the role of a doctor in your life. I created the concept of having bold, organic letters come out from the Strongbow bottle to complete each poster. This approach to the typography best illustrated the different headlines throughout this campaign. In addition to the organic headlines, I created a new Strongbow identity for this project, which also utilizes a bold and hand-drawn feel. Rather than creating a clean vector poster for each headline, I chose to create each of these posters by hand to give the overall project a more personal and unique feel.
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STRONGBOW
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STRONGBOW
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STRONGBOW
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STRONGBOW
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STRONGBOW
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Chapter 6
CHAD’S STACHE KIT Packaging
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TITLE
DELIVERABLES
Chad’s Stache Kit
Grooming Kit Marketing Materials
CATEGORY
Packaging CREATIVE DIRECTOR
TERM
Fall 2013
Min Choi
OVERVIEW
Chad’s Stache Kit is a product that provides young hipster males with all the essential mustache grooming supplies in one convenient and practical kit. This product contains mustache wax, a pair of scissors, and a small mustache comb. Also included is a button and five trading cards which feature a different mustache style and provide information about the origins of that particular style. Furthermore, I created three posters which serve as promotional marketing material. One highlights the top twenty mustache styles of the century, one educates the viewer about how the mustache wax, scissors, and comb were first created, and the final one serves as a lifestyle guide to being the common male hipster (such as fashion styles, music choice, and bars to hang out at). This kit was designed to be sold in the new downtown San Diego public library, so keeping the overall structure small and practical was essential. For every product sold, Chad’s Stache Kit would donate a dollar to UC San Diego Moores Cancer Center to help fight men’s prostate cancer. Mustaches for a cause! The entire kit (including the pouch, outer wrapper, posters, and cards) was custom designed and silkscreened by hand. The fabrication of the pouch (featuring the outer loop, inside pocket, and elastic holders) was entirely custom and created by hand and with a sewing machine.
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CHAD’S STACHE KIT
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CHAD’S STACHE KIT
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CHAD’S STACHE KIT
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CHAD’S STACHE KIT
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Chapter 7
TYPEFACES Typography
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TITLE
DELIVERABLES
Typefaces
Custom Typefaces
CATEGORY
TERM
Typography
Fall 2013 - Fall 2014
OVERVIEW
My personal love and admiration for typography evolved into wanting to create a series of my own typefaces. While each of these typefaces are distinct and different in style and classification, I very much wanted my personality to be expressed in each one. STRATEGY
One of the main goals for these typefaces was to not create something that’s already been done before, which is sometimes easier said than done. While some may have similarities to already existing typefaces, I focused on varying characteristics, styles, and weights to set them apart from their competitors. Designing these typefaces has been a challenging task. I have learned along the way that there are many rules to follow, such as the proportion between different characters, how the different weights are executed, and looking at the collection of characters as a whole and making sure all the characters share a unifying system throughout the board. Despite being a challenge, I find that designing typefaces is extremely rewarding. It’s the idea of creating the visual representation of a universal language that is most amazing to me.
TYPEFACES
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CAPE HORN
PROVISIONS
KEY WORDS
A-Z
Nautical
1 Weight (regular)
Strong
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The destination of Cape Horn is notorious for its rigorous and treacherous path for seafarers and sailors. This typeface reflects the strength and bravery of those who take on this voyage. Symbolizing the attitude of these travelers, this typeface is bold and unwavering. There are subtle, rounded serifs
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to bring some life to the strong, bold letters. Something that makes this typeface even more unique are the short legs on the R and the compactness of the G and Q. There is meant to be a “togetherness� in each letter, not allowing room for excessive negative space.
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TYPEFACES
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FUTURE CIRCUS
PROVISIONS
KEY WORDS
A-Z, 0-9
Experimental
4 Weights (thin, medium,
Geometric
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bold, bold inline)
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Future Circus is an experimental sans-serif typeface that is both bizarre, futuristic, and fun. This typeface consists of four weights that are all able to be used together for a complete and playful display of text. In addition to the thin, medium, and bold weights, there is one weight that really bring a fun
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personality to this typeface. The bold inline weight features a line of circles within each character to give it that circus-like feel and is best used for large display type.
TYPEFACES
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PROCESS
THIN
MEDIUM
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BOLD INLINE
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TYPEFACES
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AMERICAN GOTHIC
PROVISIONS
KEY WORDS
A-Z, 0-9, Special Characters
Gothic
1 Weight (regular)
Geometric
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American Gothic is a display typeface inspired by medieval lettering, but with a modern twist. Each character in this typeface is comprised of a combination of perfect geometric shapes, such as circles, rectangles, and squares. What also makes it unique is its confinement within the baseline and x-height,
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except for the occasional decorational “swoosh� and accent marks on select characters. The true beauty of American Gothic is most evident when used as display type or for large callouts, since the geometric nature of the characters can be more easily noticeable and appreciated.
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TYPEFACES
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IRONCLAD
PROVISIONS
KEY WORDS
A-Z, a-z, 0-9
Sailor / Nautical
2 Weights (regular, bold)
Handwriting
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The word “ironclad� means something is unbreakable or too strong to be doubted. Since both my father and grandfather served in the United States navy, I have the utmost respect and honor for their bravery. This personal connection is what inspired me to create this nautical, handwritten style typeface.
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Ironclad contains both upper case, lower case (resembling more of a small caps style in appearance but still distinctly different than the upper case) and numerals.
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Chapter 8
EXTRAS Logo Design, Hand-Lettering
EXTRAS
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TITLE
DELIVERABLES
Extras
Brand Identities Logotypes
CATEGORY
Logo Design Hand-Lettering
TERM
Summer 2011 - Spring 2015
OVERVIEW
This section contains a collection of brand logos and handlettering pieces that were not expanded into an entire project for this portfolio. These designs were created for school assignments, personal projects, and various client proposals. I have had the unique blessing of receiving a handful of my clients through word-of-mouth and even through social media. Surprisingly, a couple of my bigger clients have approached me to do designs for them because they saw some of my personal work on Instagram and were looking for someone with my style of lettering for their specific project. It has been a great learning experience over the past few years working on these projects and gaining professional insight from my professors and creative directors.
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EXTRAS
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THE APOSTLES’ CREED
This creed is one of three articles of faith which are held most commonly by reformed Christian churches.
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STRUCK BY MODERNISM
While serving as a graphic design intern for Mingei International Museum in Balboa Park, San Diego, California, I created all the graphics for the exhibition entitled “Struck by Modernism.” This exhibition was on display for the course of eight months and featured custom work by metalsmith C. Carl Jennings. In addition to the title wall, which featured the exhibition’s primary identity, mailers were created and sent out to the museums docents and members as a formal invitation to the exhibition. “Struck by Modernism” also featured a line of apparel, which was new for Mingei International Museum, and was sold out within the first month of the grand opening. The primary identity features a unique typographic style which was inspired by C. Carl Jennings’ own letters he created with metal to brand his work.
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“AND WE ARE ONE”
Initial Concept
This bench design was chosen among a small handful of others to be painted on a designated bench at San Diego State University. The concept of this bench is to represent the unity of the students on campus. Being one body of students, we are also one body of people. Just as we are one, however, each person is distinctly unique in his or her way. The ampersands in this design are all represented differently in style, size, and characteristics, yet they all mean the same thing. Just as we as people are all individually different, we are still all people and that unifies us as a whole. The ampersand is a distinct and aesthetically appealing and intriguing art form. The initial design is meant to draw people near to see the different styles of ampersands represented on the bench. As they draw near, they’ll notice the phrase “And We Are One” printed across the seat of the bench. It may be an abstract concept at first but I feel that by challenging the person to find the message, it completes the whole meaning behind the initial concept. Since SDSU is quite a diverse body of students, no matter who approaches the bench (regardless of age, gender, or race) they’ll be able to reflect on this statement and will hopefully learn to be more aware and appreciative of the different types of people around them. In the end, we are all one.
7” tall
8’ wide
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BAR CULTURE & SIGNAGE
This book serves as both a guide throughout some of San Diego’s most well-known bars as well as an educational piece by focusing on the different types of signage and materials that these bars use. In addition to the original photography for this book, I listed a favorite drink of mine for each of these locations. While enjoying a craft beer or spirited cocktail, you’ll be able to see the beautiful signage and decor at these bars and be able to take in the ambiance and overall experience that San Diego’s bar scene has to offer.
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TITLE
PERSONAL INFORMATION
Perfectly Imperfect
Chad Palmer 619 847 8629 Chad17x@gmail.com ChadPalmerDesigns.com
PRINTER & BINDERY
Clearstory BINDING STYLE
Hard Cover Perfect Bound COVER
Coal Black Verona PAPER
100# Matte FlexBind Cover SOFTWARE
Adobe Creative Suite 6 Illustrator, Photoshop, InDesign TYPOGRAPHY
DIN Bembo PHOTOGRAPHY
Matthew Clark Rogers Various
LEGAL INFORMATION
Š 2015 All Rights Reserved No part of this publication can be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the express permission of Chad Palmer.
THANK YOU
To everyone who has supported me throughout this journey. Mom, Dad, and Lindsey...your encouragement and support, both financially and mentally, has been the greatest blessing to me throughout my education and as I continue to grow. To all my professors and mentors...Min Choi, Gary Benzel, Beth Weeks, Patricia Couttolenc, Susan Merrit, Henry Hikima, Justin Hiew, and Paul Nichols...you have all greatly shaped me into the designer I am today. Thank you for pushing me in my craft and concepts throughout all the projects I’ve worked on with you. To all the amazing classmates I had the pleasure of getting to know and become friends with...you know who you are. I can’t say enough how much I appreciate all of you.