The dance in the design Selected works of Cleo Ledet
The dance in the design
Selected works of Cleo Ledet
dedication For my parents. From dance to design, thank you for trusting me.
I couldn't have done it without you.
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Foreword As long as you're dancing you can break the rules. Sometimes breaking the rules is just extending the rules.
Sometimes there are no rules.
— Mary Oliver
My first love – before graphic design, back before I can even remember – was ballet. I started dancing when I was two years old. By the time I was ten, I was sure that I would be a professional ballet dancer. When I was fourteen I left home to study ballet at the North Carolina School of the Arts, and at eighteen my dance career brought me out to study in San Francisco. I learned so much from dance. I learned about hard work and self discipline, about taking criticism and direction, about the creative process, about line, motion, and space. Though my path in life has taken me away from a career as a dancer, my dance experience will always be the lens through which I see the world. Over the past four years, as I have learned more about design, it has been a joy to notice that dance and design are not so different. In both disciplines an artist begins with a big, intangible idea – a set of values, an emotion, a gut feeling – and through their creative process they give the intangible idea a physical form. It's a magical thing to create something real from something that you imagined. I am in love with this process. On the following pages I explore the dance in graphic design. I hope it makes you want to get up, move, and create.
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Développé Public Spot Lamp p.16
Chaînés Avidly p.32
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Pas de cheval PRCA p.42
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Cabriole Waffle House p.60
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Relevé Folk & Fiction p.74
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Tombé Follow the #FFFFFF Rabbit p.86
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Pas de deux Four Barrel p.104
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Emboité Pleasure Crafts Co. p.118
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En Pointe Selected Identities p.170
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PUBLIC SPOT LAMP
Développé [dayv-law-PAY] Developed.
high into the air.
A smooth unfolding of the leg and extended One leg is peeled off the ground,
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Public Spot Lamp
Packaging, Product
Choose an established retail brand that doesn't currently sell home furnishings, then develop a lamp that will fit into their brand aesthetic, and appeal to their existing customer base.
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Packaging 3
Public is a bicycle company based in San Francisco. Their bicycles are designed with style in mind, and their target consumer is a fashion conscious city dweller. Public is a lifestyle brand, and they have a strong and specific aesthetic voice. Part of the challenge of this project was to design a product and packaging system that was loyal to that voice. Color, pattern, and the careful choice of materials helped to achieve consistency with the brand. Finding a balance between style and practicality was also important. The lamp design mimics the shape of a bicycle frame. It can be disassembled and flat-packed for shipping.
category
instructor Thomas McNulty
audience
the dance
Stylish men & women ages 30 - 60
The développé is a common movement in ballet. It is done over and over again in every ballet class. Even so, it is not easy to do well. It requires strategy and finesse. One must be aware of their audience.
typefaces Jeunesse Sans, Caecilia
k e y w o rd s Stylish, functional, fun
Extending a brand into a new space is similar. It is done often, and it is necessary to do if a brand is to grow to its full potential. Like a dancer executing a développé, when a designer is tasked with helping a brand move into a new space, they must stay aware of the audience, use strategy and technique, and employ finesse in order to be successful.
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A V I D LY
Chaînés [sheh-NAY]
Chains, links. A series of quick turns on two feet. Moving across the room
or in a circle.
project title
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Avidly
Identify a difficulty that people face in their day to day lives, then design an iPhone app that will help them to alleviate the problem.
category UX, UI
course
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Melissa Kelley
These days, many of us do a significant amount of reading on our mobile phones. While the phone can be a convenient way to find content, it can be hard to keep track of that content once you’ve found it, and the small screen can make reading difficult. Avidly presents content in a way that makes reading more comfortable, and provides the user with tools to help them read more, retain more of what they’ve read, and return to content later if they desire.
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Young professionals, older smart phone users
Doing chaînés is about staying aware of where you are in space. You move quickly across the floor, spinning as you go. It is easy to get dizzy, or veer off in the wrong direction. You have to learn to be aware of the links between all of your body parts, and you have to learn to stay aware of these links as they move around in space. I think that designing in the digital space requires a similar awareness. You have to design a path through space that makes sense, you have to know where you are, and you have to communicate this to the user.
Graphic Design 3
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typefaces Avenir, Georgia
k e y w o rd s Clean, convenient, smart
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Pas de cheval [pawh duh sheh-vawl] Horse’s step. A small, elegant movement of the leg like a horse striking at the ground with one hoof.
project title
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PRCA
Rebrand an existing sports organization. Create a graphic standards manual for the new brand identity.
category Identity design
course Identity 2
instructor Thomas McNulty
t h e e xe c u t i o n The PRCA, or Professional Rodeo Cowboy’s Association is the oldest and the largest rodeo sanctioning body in the world. They are widely known and well respected, however their current brand looks dated, and it is used inconsistently. The goal of this rebrand was to create an identity for the PRCA that would attract a new, young audience without alienating loyal rodeo patrons. The PRCA is based in Colorado, and the symbol of the Rocky Mountains was incorporated with a rearing bull. Conventions of cow branding and belt buckle designs were considered in developing this mark.
audience
the dance
Millenials, cowboys and their families, Nascar fans
The pas de cheval is one of several steps in ballet that imitates the movement of an animal. When trying to move like a horse, it's a good idea to go out and see how real horses move. In the case of this design it was important to get as much information as possible about the sport of rodeo: to understand how the horse moves, how the people move, and how they interact with their world. In dance and in design, it is important to research and understand the subject before you start to create.
typefaces Clarendon, Din Schrift, Franchise
k e y w o rd s Rugged, traditional, active
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WAFFLE HOUSE
Cabriole
[ka-bree-AWL] Caper.
A playful jump in which the legs beat together in the air. Can be done with the body angled over the legs, or with the legs thrown up above hip level.
project title
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Waffle House
Rebrand an existing retailer. Design the brand identifier, and supporting graphics, and show how they will be applied.
category Identity design
course Identity 2
instructor Thomas McNulty
t h e e xe c u t i o n I chose to rebrand Waffle House. Waffle house is a chain of fast service diners in the South East US. They were founded in Georgia in 1955, and they now have 2,100 locations in 25 states. Waffle House is well known in the south, and has a loyal cult following. They are known for being involved in local communities, and they have an outstandingly high rating for disaster preparedness. Waffle House's current brand is iconic in its own way, but feels dated and doesn't do justice to the company's rich history. I designed a brand identity that plays up Waffle House's heritage with colors, patterns and typefaces that are reminiscent of the 1950s. I also introduced a character that will appeal to families, and help Waffle House stay competitive with other fast food chains.
audience
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Families, seniors, younger adults 17-30
A cabriole is playful. It's fancy. It's flashy. It's fun to do, and fun to watch. It also requires good technique, and attention to detail. Rebranding Waffle House required me to design with more flash, decoration, and playfulness than any project that I had done previously, and it required more attention to detail, and more technique, too.
typefaces American Typewriter, Adobe Caslon
k e y w o rd s Playful, quirky, nostalgic, inviting, familiar
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FOLK & FICTION
RelevĂŠ [ruh-luh-VAY] Raised. or the tips of pointe shoes, the balls of the feet from flat feet to like you're trying to reach The top shelf.
A controlled lifting of the body
project title
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Folk & Fiction
Create a music festival to promote a cause. Design the poster, iPad app, website homepage, and tickets.
category Print, UI
course Visual Systems 1
instructor Troy Alders
t h e e xe c u t i o n I chose to create a music festival to promote women's literacy. The festival would feature prominent female folk artists. One of the interesting challenges of this project was to design a poster for a cause about women, without being tempted to fall back on visual stereotypes like florals, or bright pinks. Another challenge was finding a way to make the visual language of books and reading communicate the excitement and energy of a music festival. The final product uses bright color, and a burst of glyphs and letterforms to show motion, joy, and the possibilities that come with reading.
audience
the dance
Adults 21-40
The relevĂŠ is one of the most basic steps in ballet. It is a fundamental concept of the form: rising up, getting taller, finding a level beyond the ground we walk on every day. Raising something up to the next level is a fundamental part of design as well. In order to design this promotion, I got to really consider what made the cause great, what makes reading great, what makes music great, and then I got to elevate those things through the design of the materials.
typefaces Hoefler text, Univers
k e y w o rd s Energetic, educational, optimistic, entertaining.
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COLD SPECKS ALELA DIANE AMELIA CURRAN SERA CAHOONE LAURA GIBSON A music festival to promote women’s literacy.
A music festival to promote women’s literacy.
The Great American Music Hall 859 O’Farrell
December 8th + 9th at 8pm
December 8th + 9th at 8pm
The Great American Music Hall 859 O’Farrell (at Polk) P
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December 8th + 9th Great American Music Hall 859 O’Farrell
A MUSIC FESTIVAL TO PROMOTE WOMEN’S LITERACY folkandfictionfest.com
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P A music festival to promote women’s literacy.
The Great American Music Hall 859 O’Farrell
December 8th + 9th at 8pm
December 8th + 9th Great American Music Hall 859 O’Farrell
A MUSIC FESTIVAL TO PROMOTE WOMEN’S LITERACY folkandfictionfest.com
A music festival to promote women’s literacy.
COLD SPECKS ALELA DIANE AMELIA CURRAN SERA CAHOONE LAURA GIBSON December 8th + 9th at 8pm
The Great American Music Hall 859 O’Farrell (at Polk)
FOLK & FICTION
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FOLLOW THE #FFFFFF RABBIT
TombĂŠ
[TOM-bay] fallen. The action of falling.
Shifting weight to begin a new step.
project title
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Follow the #FFFFFF Rabbit
Design a book and poster to promote a line of paper.
category
t h e e xe c u t i o n
I chose to promote a line of paper by Gmund called digital. The paper's bright, psychedelic colors lend themselves to a fantasy story, and the promotion explored the idea of Alice falling down a modern rabbit hole into a digital world. I used Kettler (a monospaced font designed as a tribute to Howard 'Bud' Kettler, the designer behind Courier) in combination with Dorchester Script to create a slightly disorienting juxtaposition. The type in the book swirls, and bends to give the reader the feeling of falling into a page of code, and a world of vivid colors.
course Type 3
instructor Ariel Grey
audience
the dance
Designers, printers
A tombĂŠ is a controlled fall. It is a fall that takes place by choice, and hopefully you catch yourself at the bottom. This project was literally about falling down a rabbit hole, and the process of experimenting with typography in order to make it felt like a fall in itself. It required me to leave my comfort zone, take risks, jump off the cliff, and enjoy the open air beyond that edge, out where anything can happen.
typefaces Dorchester Script, Kettler
k e y w o rd s Psychedelic, digital, curious
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FOUR BARREL
Pas de deux [pah duh duh] Step for two. In classical ballet: a structured five part dance that describes the romance between two characters.
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Four Barrel
Design a new packaging system for a company that sells coffee or tea.
category Packaging
course Packaging 1
instructor Katherin Blatter
t h e e xe c u t i o n Four Barrel Coffee is a young, San Francisco based coffee roaster that values quality, positive relationships with growers, and great customer service in stores. In their mission statement, they describe coffee as a beautiful, enchanting woman. I created coffee packaging that plays with this idea. Each coffee is a female archetype: the rebel, the girl next door, or the femme fatale. The boxes are shaped like hour glass figures, and feature pin up illustrations, and patterns appropriate to the archetype they represent.
audience
the dance
Hipsters, coffee lovers
This project was completed fairly early on in my time at AAU, but it has remained one of my favorite projects, because it was so much fun to design. Just like a pas de deux, this packaging got to tell a definite story. In a great pas de deux, every small step can express an aspect of the larger relationship, and in great design, every small detail can help to communicate a piece of the larger story.
typefaces Adobe Caslon, Franchise
k e y w o rd s Rich, hip, tongue-in-cheek
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PLEASURE CRAFTS CO
EmboitĂŠ [ahm-bwah-TAY] Fitted together, boxed. A series of small jumps from one leg to the other.
Sometimes done as a traveling step.
Sometimes done while turning.
project title
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Pleasure Crafts Co.
Create a concept for a new retail store. Design the brand identities and packaging systems for the store's in-house product lines.
category Identity design, packaging
course Packaging 4
instructor Thomas McNulty
t h e e xe c u t i o n For more than a decade now, there has been a movement of young people embracing DIY and crafting. Crafting is coming to be associated with style, entrepreneurship, Internet commerce, and even political and social movements like feminism, non-violent protest, and environmentalism. The branding and packaging prevalent in the industry doesn't reflect the demographic shift. It is dated, and lacks imagination. Pleasure Crafts Co. is a craft store to appeal to young, style-conscious consumers. The store would carry five in-house product lines. I chose to create an identity system for all of the product lines that uses simple icons in a consistent lock-up with the parent brand. The typefaces used, and the other look and feel choices vary among the different product lines.
audience
the dance
millenials, women, and young parents
Doing a series of turning emboitĂŠs can feel a bit like knitting: it seems at any moment like your legs might tangle, but if you can keep track of your knees and hips and ankles, then you can make a beautiful, woven picture. This project involved designing a wide range of products that would exist as individuals, and as a part of the larger system. It was important to be aware of the individual threads, or steps, or products, as well as aware of the larger picture. The success of the system depended on every element fitting into the right place.
k e y w o rd s Simple, unaffected, stylish, contemporary
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product lines
product line
product line
Crafts
Arts
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Women 15-35, young parents, millenials, makers
Men and women 15-55
key adjectives
key adjectives
Joyful, unique, tactile, cool
Elegant, subtle, high-quality
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Sewing, jewelry making, knitting, paper crafts
Drawing, painting, drafting, sculpture and modeling
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product line
product line
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Home
DĂŠcor
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Children 12 and under, parents of young children
Men and women 15-55
Women 25-70
key adjectives
key adjectives
key adjectives
Bright, playful, visual, organic
Practical, efficient, high-end
Contemporary, fashionable, minimal, feminine
product categories
product categories
product categories
Kids' craft supplies, kids' art supplies, toys and books
Tools, fixtures, lighting, plumbing, paint, lumber
Furniture, home decorating, accessories
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SELECTED IDENTITIES
En pointe [ahn poyn-t] On the tips of the toes.
The dancer supports their weight on the tip of a fully extended foot. With training and practice they appear weightless.
project title
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Selected Identities
Create a memorable mark that communicates the key values and services of a brand.
category Identity design
t h e e xe c u t i o n The following is a selection of brand identifiers that I have designed for a variety of projects and courses during the past four years at AAU.
the dance Pointe work requires skill and precision. It is one of the most challenging technical elements of ballet, and also one of the most fun. Similarly, designing a logo is one of the most challenging tasks a graphic designer faces, and also one of the most rewarding. There is nothing like the feeling of satisfaction when you find the right concept, and can communicate a big idea with a very simple mark.
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a c k n ow l e d g m e n t s
Reverence [rev-air-AHNS] Bow or curtsy.
At the end of a ballet class, or performance dancers bow
to show their respect for the teacher, and the audience.
to my mom and dad From dance to design and everything in between, you have been endlessly supportive of me. Thank you for trusting me, for helping me to trust myself, and for encouraging me to do whatever I needed to do to make my dreams realities. I feel so lucky to have both of you in my life. I love you.
to my teachers Troy Alders, Kathrin Blatter, Christine George, Ariel Grey, David Hake, Darrell Hayden, Melissa Kelley, Thomas McNulty, Mary Scott, and so many others, thank you for sharing all of your passion, knowledge, and experience. Thank you for expanding my horizons, and pushing me far beyond what I believed I could achieve.
to my classmates Congratulations! I can't wait to hear about all of the wonderful things you do. Thank you for being supportive, sympathetic, and honest. I have learned so much from watching all of you grow.
to my friends My chosen family. Thank you for making me feel heard and understood, for laughing and commiserating, for inspiring me with all of your successes, and just for being there, always, no matter what.
SIRONA
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cleo ledet
summer
THE DANCE IN THE DESIGN
Colophon
designer
bindery & printer
Cleo Ledet
Blurb blurb.com
email cleoledet@gmail.com
text stock
website
Mohawk Superfine Eggshell Ultrawhite
cleoledet.com
phone
photographer Cleo Ledet
720 635 6611
copy editor Lisa Ledet
school
book title
Academy of Art University School of Graphic Design
The Dance in the Design
course
typefaces
Senior Portfolio
Adobe Garomond Scala Sans
instructor
s o f t w a re
Mary Scott
Adobe CC 2014
Copyright Š 2015 by Cleo Ledet All rights reserved. No part of this publication may be reproduced without express permission from Cleo Ledet.
2015