Chelsey Doyle Portfolio

C CHELSEY DOYLE COMMUNICATION DESIGNER PORTFOLIO

C CHELSEY DOYLE COMMUNICATION DESIGNER VANCOUVER, BC +01 604 771 2363 HELLO@CHELSEYDOYLE.COM CHELSEYDOYLE.COM

PROJECT LIST

PARADISE LOST?

MEMORY & DESIRE

MINDFUL TYPOGRAPHY

ANATOMY OF LETTERS

OBJECTIFIED

FRESH SHEET

KONGEÃ…EN

OPENSPACE

IN THE FOOTPRINT OF THE CROCODILE MAN

DETOUR

PARADISE LOST? INTERNSHIP MUSEUM OF ANTHROPOLOGY AT UBC 2013 Exhibition Design Exhibition Catalogue 8” x 10” The title, Paradise Lost?, acts as a pun, is it really disappearing? The artists in the exhibition are reflecting their interpretations on the way urban experience is changing traditional lifestyles in their countries. Some give the impression that paradise is flourishing where as others hold a much stronger opinion on the way indigenous people of the South Pacific are being displaced by economic development, lifestyle diseases such as diabetes that are becoming more relevant, and tourism redefining their traditional cultural values.

Award of Merit BC Museums Association Award of Outstanding Achievement Awarded to MOA curator Carol Mayer and the exhibition team for “Paradise Lost? Contemporary Works from the Pacific”.

October 2014

j

h

Exhibition wordmark.

Symbols designed for each artist based on their initials.

h Exhibition introduction banner at MOA.

h Exhibition introduction and artist label at Satellite Gallery downtown Vancouver.

g Sample object labels at MOA. Since the exhibition was split between MOA and the Satellite Gallery downtown, it was important to establish a visual language recognizable by visitors.

The artist symbols, use of bold colours, and font choice created the necessary continuity.

h Front of rack card.

W Pender St

g Back of rack card.

h Sample catalogue spreads.

MEMORY & DESIRE STUDENT WORK EDITORIAL DESIGN 2009 Publication 6” x 4½” closed | 14” x 18” open Publication on Abstract Expressionist painter, Cy Twombly (1928–2011).

g Demonstration on how this publication unfolds.

g Inside spread when completely unfolded (14" x 18").

OBJECTIFIED STUDENT WORK CORE DESIGN STUDIO III 2012 Transit Shelter Poster 48" x 67" Watching two films by Gary Hustwit, Objectified and Helvetica, the objective of this project was to design a promotional poster for one film, which would be placed in a transit shelter. The visual vocabulary of the poster communicates the essence of the film’s content and its art directional treatment.

j Transit shelter during the day and night, W 7th St. at Cambie St.

MINDFUL TYPOGRAPHY SELF-DIRECTED STUDENT WORK TYPOGRAPHIC COMMUNICATION 2012 Publication 8½" x 8" Reading four articles by Beatrice Warde, F.T. Marinetti, Jan Tschichold, and Herbert Bayer, the objective of this project was to design a publication layout that honors the content, even if it is also critical of it, with the use of a grid.

j Cover page with four circular die cuts.

CONCEPT Mindful Typography is a semi-annual journal, published spring and autumn. Each journal features four perspectives on typography, written by designers and typographers from around the world, each expressing their ideas, thoughts, and emotions involving typography.

I designed the four main article title page images to correspond to the design process and ideas of each designer. I also chose a decorative line style that abstractly represents each designer, which would be used throughout each article to help create designer specific aesthetics.

j Detail of inside page, printed on translucent vellum.

Detail of cover page with circular die cuts.

g

Opening spreads including contents page.

k

j Sample spread of F.T. Marinetti’s article, Destruction of Syntax.

j Sample spread of Jan Tschichold's article, New Life in Print.

j Sample spread of Beatrice Warde’s article, The Crystal Goblet.

j Opening spread of Herbert Bayer’s article, Towards a Universal Type.

FRESH SHEET STUDENT WORK COMPLEX TYPOGRAPHY 2013 Cookbook 7½” x 10½” This project challenged students to design harmonious spreads for a cookbook using only type and colour.

h Sample cookbook spreads.

KONGEÅEN CLIENT-DIRECTED STUDENT WORK SERVICE DESIGN IN DENMARK 2012 Service Design In collaboration with the Vejen municipality and local landowners we worked in groups to develop proposed solutions that improve the experience along a new public trail, running beside Kongeåen (the King’s River). The small river defines the border between Northern and Southern Jutland in Denmark running from Vejen to the west coast of Denmark and into the North Sea. Our focus was to create a coherent experience to encourage tourists visiting the Kongeå trail to gain information about the local history in a dynamic and personal way. The concept consists of a visual identity; the Chronicle, a journey map that shows both the north and south sides of Kongeåen; four touchpoint structures, to be spread out along the trail; and an interactive screen located at each touchpoint with information about the specific historical site.

Collaboration with Sarah Klingenberg and Maria Molbech.

Problem statement.

h

HOW CAN WE ENCOURAGE TOURISTS VISITING THE KONGEÃ… TRAIL TO GAIN INFORMATION ABOUT LOCAL HISTORY IN A DYNAMIC AND PERSONAL WAY?

User experience.

k

collect memories personal journey

physical experience

flow of the river

different eras of history

chronological

Project mood board.

g

Service elements.

k

identity

touchpoints

chronicle

screens

cards

signposts

IDENTITY The shape of the logo was developed from the geographic course of the river and the shape of a crown because Kongeåen translates to “the King’s river”. The final shape is divided into four parts, giving each touchpoint its own identity.

TOUCHPOINTS Four touchpoint structures are to be located along the river, nearby historic landmarks and commodities. The individual shapes found in the KongeĂĽen logo are used for the physical shapes of each shelter.

j

j

Touchpoint material inspiration and structure sketch.

Touchpoint structure mockup.

SCREENS Each touchpoint has an interactive screen allowing tourists to learn about the specific historical site and other relevant information.

Freedom Bridge History

Teasers

Learn about the history of the Freedom Bridge and the surrounding area.

FRIDAY 2 NOVEMBER

13:50 Photo Gallery

KongeĂĽen Information General information about the river, when to go, how to visit, accessibility, electronic devices, and more.

Weather

Local Culture Find out what is happening locally such as open markets, special events, educational days, and more.

CHRONICLE The Chronicle is a combined journey map and pocket for small souvenirs such as leaves and fact cards, which can be collected at select signposts. It encourages visitors to gather mementos such as leaves to take home and use as a basis for telling the story of KongeĂĽen to more potential visitors.

North side of the river.

k

front page

South side of the river.

k

introduction

river

touchpoint with information

trailway with cards + signposts

legend

j Chronicle opened (south side of river).

j Chronicle with card insert.

CARDS Fact cards can be collected at select signposts marked with the information icon along the trailway. The cards fit easily within the pocket areas and are die-cut to match the shape of the river.

18 6 4 –19 2 0 THE FREEDOM BRIDGE CO N N EC T I N G T WO CO U N T R I E S

h Example of front and back of card.

Only a few miles south of Skibelund thicket is The Fr e e d o m B r i d g e, t h e b r i d g e‘ s na me a rose in the period 18 6 4 –19 2 0, w h e n Ko n g e å e n was the border bet ween D e n m a r k a n d G e r m a n y. T h e old militar y walking path (H æ r v e j e n) c r o s s e s Ko n g e å e n a t T h e Fr e e d o m B r i d g e .

DETOUR CLIENT-DIRECTED STUDENT WORK CORE DESIGN STUDIO V 2013 Brand Identity Working with CityStudio and the City of Vancouver’s Sustainability Group, I had the opportunity of developing a proposed brand identity for the Vancouver Deconstruction Hub. The hub is a proposed facility that will divert construction and demolition waste from disposal in landfills.

Honourable Mention, Brand Identity GDC BC Salazar Awards May 2013

j Graphic element in logo.

RATIONALE The Detour brand identity was developed to be bold and engaging in its reflection of the deconstruction process. The distinctive logo is inspired by the closed loop concept on building materials, construction and renovation waste diversion from landfills, and material accessibility for reuse in future projects, forming the overall concept, pathway.

It portrays a social message that Detour will offer opportunities such as education and job training programs, community building, and innovative models for sustainable reuse to people who step inside. Once inside, if you are looking for inspiration or a product you can connect with it via this pathway, toward your construction or home building project.

To differentiate between various aspects of Detour (such as the warehouse, online store, workshops, etc.) the logo is used in different colours creating an easy to follow wayfinding system that coincides with the pathway concept. The concept, typography, colour palette, imagery, grid, hierarchy, and other components work together to reinforce a sense of community, loyalty, and growth throughout the brand identity.

Stacked Detour logo.

k

j Landscape Detour logo.

Secondary Detour logos.

g

Stationery, including business cards, postcards, letterhead, no.10 envelope, and staff badges, buttons, and brand identity guidelines.

k

ANATOMY OF LETTERS SELF-DIRECTED ADVANCED TYPOGRAPHY 2014 Typography, Letter Anatomy This project visually expands basic typographical terms in both text and display environments, highlighting various components that make up a letterform.

Playing off the clarity of overlays in human anatomy books, this project makes letter anatomy accessible by breaking down letterforms into layers. The reference book offers insight into 36 typographical terms, the triptych of layered Plexiglas highlights letterforms with various terms at a large, display scale, and the pocket reference provides a quick overview.

Finalist, Print Design GDC BC Salazar Awards May 2015 Student Award, Design (Series) Applied Arts July 2015

j The pocket reference provides a quick overview of 36 typographical terms.

h Sample spreads from the reference book. Each typographical term has two dedicated pages plus a clear overlay to assist with recognition.

j The triptych of layered plexiglas highlights four letterforms with various terms at larger scale. Each layer represents a different category of terms including the main parts, counters/negative space, and reference lines.

OPENSPACE: REFRESH, RECHARGE, REFOCUS SELF-DIRECTED CORE DESIGN STUDIO VI + VII SEPTEMBER 2014–APRIL 2015 Undergraduate Thesis Project During my final year at Emily Carr University of Art + Design, in partnership with the Health Design Lab at Emily Carr and the Maplewood Alternative High School, I investigated ways communication design can help develop tools that will enable and empower students with learning differences to maximize their individual potential within a typical classroom environment. Working with students, specifically grade eight and nine classes, I focused on two key problem space areas: 1 The lack of interventions appropriate for grade eight and nine students who are in the transition period between elementary and upper high school.

2 The limited amount of transition time between back-to-back classes, which can heighten stress and anxiety.

activity cards

calm

energize

challenge

display

booklet

create

collaborate

SYSTEM openspace: refresh, recharge, refocus offers a simple mindfulness-based intervention to students.

The rationale for this intervention is that by shifting attention away from a stress producing or anxietyprovoking stimulus, such as a math quiz, to a neutral point such as a breathing oriented activity card, students can gain increased control over behaviours.

By shifting the mind to concentrate on breathing, the individual is able to anchor the mind on an unrelated task and be in the present moment.

Students at Maplewood Alternative High School work extremely hard for the entire day, with seven blocks of class and tutoring. Having brief interventions throughout the day can help re-stimulate student minds so they can stay on track. Thoughts can be refreshed to help discover new solutions to a problem, see a situation through a different lens. Attention is shifted without having students lose total interest within the learning environment. The space and energy of the entire class becomes neutralized, allowing everyone to regroup.

The concept behind openspace is based on the notion of a pause, opening up a small space at the beginning of each class for students to regulate their minds and bodies for improved learning.

The primary component in the openspace toolkit includes a printed set of colour-coded activity cards that offer energy shifting strategies targeting three aspects of mindfulness: intention, attention, and attitude. The activity cards are categorized into five spaces: calm, energize, challenge, create, and collaborate. The suggested activities are short one to five-minute scenarios, allowing students enough time to refresh, recharge, and refocus, increasing behaviour, emotional, and cognitive engagement that positively affects his or her academic achievement.

Secondary components in the toolkit include a display for the cards that acts as a reference to guide activity selection, an information booklet for teachers and parents, and the packaging system.

Calm

j Calm, to relax minds and bodies. Activities centered around calmness help relax and center the minds and bodies of students through breath, visualization, and meditative movement, bringing awareness to the present moment, and letting go of unnecessary energy.

Energize

j Energize, to get the blood flowing to brains and bodies. Energizing activities provide simple, structured opportunities to stand up, stretch, and balance for physical relief from long periods of sitting. This helps to improve focus and maintain an efficient functioning body system.

Challenge

j Challenge, to activate minds for thinking. Activities that pose a challenge, activate minds for thinking by stimulating the brain to refresh thought process. Discover various solutions to a problem or see a situation through a different lens.

Create

j Create, to engage students in creative thinking patterns. Creativity helps eases the mind through wonder and exploration allowing students to better understand their creative thinking patterns, while relieving anxiety, stress, and built up energy.

Collaborate

j Collaborate, to build on communication and social abilities. Students interact with other classmates by sharing, discussing, or making something. They have the opportunity to learn something new about each other, building their collaborative skills without competition.

h Sample information booklet spreads for teachers and parents.

IN THE FOOTPRINT OF THE CROCODILE MAN MUSEUM OF ANTHROPOLOGY AT UBC 2015 Exhibition Design Exhibition Publication 8” x 10” This unique exhibition showcases the most comprehensive collection of contemporary Sepik art in North America for the first time. In addition to highlighting the exquisite carvings of Papua New Guinea’s latmul people, the exhibition delves into their economic, cultural, and spiritual connections to the river system, drawing urgent attention to the logging and mining operations that pose environmental threats to the region.

j

h

Exhibition wordmark.

Exhibition colour palette.

Exhibition green used in the wordmark and minimally used on the map, object labels, and panels.

Text colour used on the map, object labels, and panels.

Colour of the walls/curved walls.

Background colour used on the map, object labels, and panels.

j A large map of Papua New Guinea and the Middle and Lower Sepik River can be found near the beginning of the exhibition space.

h Sample spreads from the 90-page exhibition publication.

C CHELSEY DOYLE COMMUNICATION DESIGNER THANK YOU FOR REVIEWING!