COLLEGE PORTFOLIO

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Gabriele Dutz Portfolio

GD S TAT E M E N T O F I N T E N T

Gabrielle Dutz Portfolio

Presented here is a body of work completed during my time at Parsons: The New School for Design earning a BBA in the Design and Management program, a unique approach to earning a business degree.

My studies allowed me to simultaneously earn management knowledge in addition to art and design proficiencies .

I believe the projects displayed in this portfolio represent my expansive range of competencies, which lie at the crossroads of business and design. My hybrid of creatively-ceneterd execution paired with analytical thinking has allowed me to be a part of a wide range of projects, each of which I feel accomplishment in completing, having played a diverse role in every one.

My ultimate strength lies in my versatility as well as my capability to adapt to a number of conditions, thriving in whatever capacity is needed. The following work illustrates the best that I have to offer and I hope you find value in this exploration.

GD TA B L E O F C O N T E N T S

Gabrielle Dutz Portfolio

ADVERTISING Barnums Animal Crackers Peeps Candies The Innocence Project DESIGN ‘Red Money’ Design Brief EDITORIAL Elite Model Test Shoot Omnia Magazine GRAPHICS 2 Marks of Corporate Identity Texting: A Communicative Narrative Dylan’s Return To The Village Press Kit INTERNSHIPS Barneys NY Interview Magazine Tom Ford International MARKETING EMI Music Campaign RESEARCH ‘Period Piece’ Creative Brief

WRITING Fashion History Old Weird America: Creative Writing/Music Journalism Publicizing Creative Work

Gabriele Dutz Portfolio

ADVERTISING

ADVERTISING Completed for an ‘Advertising Concepts’ course in the Spring of 2010, the following campaigns done for Barnums Animal Crackers, Peeps Candies, and The Innocence Project, display the competencies of copywriting and art direction, respectively, and show attempts at brand revitalization and unconventional messaging strategies through the device of pairing novel image and text.

It’s not as much fun to eat your other toys

It’s just as fun to eat the mess as it is to make it

Animal Crackers It’s Just More Fun

Some friends really like it when you bite their heads off

Animal Crackers It’s Just More Fun

Animal Crackers It’s Just More Fun

BARNUM’S ANIMAL CRACKERS TARGET AUDIENCE: MOTHERS OF SMALL CHILDREN, AGES 4-8 DON’T PARTY WITHOUT YOUR PEEPS

PEEPS MARSHMELLOW CANDY TARGET AUDIENCE: COLLEGE STUDENTS, AGED 18-25 Losing everything because “experts”

exaggerated on the stand

Freeing those haunted by the demon of error

Death Row

So scared

because an overburdened public defender forgot about your court date

Freeing those haunted by the demon of error

THE INNOCENCE PROJECT NONPROFIT ORGANIZATION TARGET AUDIENCE: AGE NONDESCRIPT, ESSENTIALLY AN AUDIENCE COMPLETELY UNAWARE OF THE ORGANIZATION

that you start to believe what they’re saying about you is true Freeing those haunted by the demon of error

Gabriele Dutz Portfolio

DESIGN BRIEF

DESIGN BRIEF The following is a design brief completed for the Spring 2011 course ‘Design On The Edge’, a lecture series curated and led by Business Week editor Bruce Nussbaum. Developed within the parameters of forming a project that explored people’s relationship with money, a collaborative design brief was created examining the relationship between emotion and finances. The result was the conceptualization of a business entitled ‘Red Money’, a three-tier financial consultation service marketed towards couples. This brief was heavily based on the results of ethnographic research conducted, in part, using the Ideo Human-Centered Design Toolkit.

PRELIMINARY RESEARCH

OPPORTUNITY MATRIX

Design At The Edge Lecture

Finance

People Technology (Desirability) (Feasability) Business (Viability)

Car Loans

Life Insurance

401K

Student Loans

Home Loans

Bill Moggridge

Mortgage

Credit Cards

Checks

People

Social Environmental

Stocks

Bg hk]^k mh [^ ^__^\mbo^% p^ aZo^ mh Zld jn^lmbhgl hg Z fn\a [khZ]^k [Zlbl'

Love Marriage

Girlfriend

Separation

Sometime Sharer

Boyfriend

IRAs Debit Cards

Joint Account

Engaged

Straight Gay

Living Together

Union

DEBT

Bills

Divorce

Relationship

Financial Communication Planning

Bill Moggridge

*' Ma^ GZkkZmbo^ Ikh[e^f +' Ma^ Ikh\^ll Ikh[e^f ,' Ma^ <ZiZ[bebmr Ikh[e^f

Investment Portfolio

Common Potters

Valerie Casey

Payment Services

Financial Consultation

ATMs

Electronics Transactions

Fees

Tim Brown

Mobile Banking

Wealth Management

Banking

RESEARCH MAP Preliminary Research

-Simmel -Design At The Edge Lectures -NYT â&#x20AC;&#x153;How Debt Can Destroy A Budding Relationshipâ&#x20AC;?

-This American Life Podcasts -NYT â&#x20AC;&#x153;Adam Smith, Marriage Counselorâ&#x20AC;?

-â&#x20AC;?Managing Your Moneyâ&#x20AC;?

-â&#x20AC;?People Prefer Online, But Prefer Branches For Servicesâ&#x20AC;?

Third Party Help Dispute Resolution

Therapy Anger Fear Worry

Imbalance

Mediation

PROJECT ABSTRACT @bo^g ma^ iZkZf^m^kl h_ k^]^Ă&#x203A;gbg` ma^ phke] l k^eZmbhglabi pbma fhg^r bg lhf^ pZr%

K^] Fhg^r bl Z ikhc^\m maZm ^qZfbg^l ma^ k^eZmbhglabi [^mp^^g fhg^r Zg] ^fhmbhg% Zg] ahp Z [hg] [^mp^^g mph i^hie^ bg eho^ bl mkner Zg] fhk^ \hg\k^m^er _hkf^] pa^g ma^r fZd^ ma^ ]^\blbhg mh iZkmZd^ bg hg^ Zghma^k l ebo^l Ă&#x203A;gZg\bZeer' LmZmblmb\l h_ lmZ``^kbg` ]bohk\^ kZm^l Zk^ ab`aer in[eb\bs^]' Fhg^r&k^eZm^] blln^l bg Z k^eZmbhglabi Zii^Zk mh [^ \^gm^k^] Zkhng] Z ihp^k lmkn``e^ Zg] Z blln^l h_ \hgmkhe% pab\a h_m^g k^lneml bg l^o^k^ bg^jnZebmb^l' Bg e^Zkgbg` Z[hnm ma^ \hfieb\Zmbhgl h_ fZbgmZbgbg` Z a^Zemar k^eZmbhglabi makhn`a ma^ e^gl h_ Ă&#x203A;gZg\^% Z f^]bZmbhg l^kob\^ ^gmbme^] K^] Fhg^r pZl ]^o^ehi^] bg pab\a Z mabk] iZkmr phne] Zllblm \hnie^l bg Zee lmZ`^l h_ Z chnkg^r mZd^g bg hk]^k mh `Zbg Ă&#x203A;gZg\bZe lZgbmr' ;r k^fhobg` ma^ ^fhmbhgZe Zli^\m h_ ma^ k^eZmbhglabi% K^] Fhg^r pbee a^ei \hnie^l Ă&#x203A;g] a^Zemab^k f^mah]l h_ \hffngb\Zmbg` Z[hnm fhg^r Zg] fZd^ lfZkm^k Ă&#x203A;gZg\bZe \ahb\^l' Mabl l^kob\^ bl ghm Z[hnm a^eibg` i^hie^ bg\k^Zl^ ma^bk p^Zema bg ma^ _nmnk^% [nm kZma^k% e^Zkg fhk^ ^__^\mbo^ f^mah]l h_ fZgZ`bg` ma^ fhg^r ma^r aZo^ bg ma^ ik^l^gm'

=>LB@G JN>LMBHGL

Primary Research

-Interviews -Survey -Observation -Rajesh Bilimoria of Continuum Lecture -Ideo Human-Centered Design Toolkit Exercises -Interview Sheets -Identifying A Design Challenge Exercise -Recognizing Existing Knowledge Exercise

Analysis

BGBMB:E JN>LMBHG PaZm bl ma^ k^eZmbhglabi [^mp^^g fhg^r Zg] ^fhmbhg8 LN;L>ML H? MA> JN>LMBHG Bl fhg^r ln\a Z ihp^k_ne _Z\mhk maZm bm \Zg \hfie^m^er \hkknim eho^8

Bl fhg^r cnlm Z f^mZiahk _hk ihp^k Zg] \hgmkhe8

=h^l hg^ i^klhg ZepZrl aZo^ mh [^ ]hfbgZgm hk \Zg mph i^hie^ [^ bg Z k^eZmbhglabi pbma Zg ^jnZe Zfhngm h_ ihp^k8

Secondary Research

-Lantern Financial -Planet Money -Slate Magazine,â&#x20AC;&#x153;Our Newlywed Money Dilemmaâ&#x20AC;? 5 Part Series -Spousonomics -Financial Planning Association - Finance Management for Gen Y

=h^l fhg^r hk ^fhmbhg ik^oZbe bg lmkZm^`r Zg] ]^\blbhg&fZdbg`8

<Zg Zg hnmlb]^ Znmahkbmr k^Zeer bgĂ&#x153;n^g\^ Z i^klhg l ]^\blbhgl% ^li^\bZeer pa^g bm \hf^l mh eho^8

Ahp \Zg Z k^eZmbhglabi [^ ^fihp^k^] [r Ă&#x203A;gZg\^ bglm^Z] h_ ]^lmkhr^] [r bm

â&#x20AC;&#x2DC;RED MONEYâ&#x20AC;&#x2122;

DESIGN BRIEF PRELIMINARY RESEARCH I^hie^ ;Zgd Hgebg^% ;nm Ik^_^k ;kZg\a^l ?hk L^kob\^% The Financial Brand.com

41.4% Online 32.6% Branches 23.3% ATMs 1.5% Mobile 1.3% Telephone

78.7% Branches 18.5% Internet 2.5% Telephone 0.3% Iphone

Even though consumers trust online banking, mobile banking still lacks mainstream acceptance

H; L

>K O: MBH GL

<:K= LE:FF>KL

Hg^ i^klhg% pbmahnm ehhdbg` Zm ma^ [bee% cnlm leZfl ]hpg Z \k^]bm hk ]^[bm \Zk] hgmh ma^ mZ[e^% pbma g^bma^k i^klhg [^bg` mhh iZkmb\neZker \hg\^kg^] Z[hnm ikb\^

<:NMBHNL >Q:FBG>KL

Pa^g ik^l^gm^] pbma Z [bee% ^Z\a mhhd mnkgl \Zk^_neer ehhdbg` ho^k paZm ^Z\a i^klhg hp^]' Hg^ i^klhg phne] ik^l^gm Z \Zk] pabe^ ma^ l^\hg] i^klhg phne] `bo^ ma^ \Zk] ahe]^k \Zla hk iZr _hk Z mbi

When conducting major transactions

L>I>K:M> >GMBMB>L 60% Branch 34% Phone 6% Online

Consumers most often wanted to speak with a person when they had an account issue

INTERVIEW SHEETS

Ma^ bgm^kob^p la^^ml _khf ma^ anfZg \^gm^k^] ]^lb`g dbm k^Zeer a^ei^] nl mh inee hnm k^e^oZgm bg_hkfZmbhg _khf hnk ln[c^\ml pbmahnm Zldbg` ]bk^\mer' AZobg` ma^f Ûee hnm ma^ la^^ml fZ]^ ma^ bgm^kob^p fhk^ bg_hkfZe Zg] k^eZq^] Zg] a^ei^] nl `^m \ehl^k mh hnk ln[c^\ml' Ma^ ab`aeb`am la^^ml p^k^ iZkmb\neZker a^ei_ne [^\Znl^ ihlm bgm^kob^p p^ \hne] hk`Zgbs^ hnk mahn`aml Zg] k^Ü^\m hg ma^ lb`gbÛ\Zgm Ûg]bg`l bg ma^ bgm^kob^p'

IDENTIFYING A DESIGN CHALLENGE

H[l^koZmbhg h_ \hnie^ l [bee iZrbg` [^aZobhk Zg] bgm^kZ\mbhgl Zm fhob^ ma^Zm^k mb\d^m dbhldl Zg] k^lmZnkZgml

<e^Zk lb`gl h_ eho^ Zg] Z__^\mbhg lahpg ]nkbg` ma^ f^Ze hk l^e^\mbhg h_ Z fhob^ [nm o^kr ZiiZk^gm Zg] \e^Zk ]boblbhg h_ _bgZg\^l pa^g ma^ \a^\d \Zf^'

RECOGNIZING EXISTING KNOWLEDGE

Nlbg` ma^ f^mah]heh`r h_ _k^^ phk] Zllh\bZmbhgl p^ fZii^] hnm hnk ^qblmbg` dghpe^]`^ hg ma^ \aZee^g`^l h_ eho^ Zg] fhg^r' P^ lmZkm^] [r pkbmbg` ]hpg hg ihlm&bml ma^ Ûklm mabg`l maZm \Zf^ mh fbg] pa^g ikhfim^] pbma hnk mhib\ !p^ Zelh aZ] _kb^g]l \hf^ Zg] Z]] mh bm Zl p^ee lh p^ \hne] `^m Z pb]^k oZkb^mr h_ ob^pl"' P^ ma^g hk`Zgbs^] Zee ma^ ihlm bml bgmh \hg\^imnZe `khnil mh l^^ paZm ma^ \hffhg lmkZbgl [^mp^^g ^o^kr[h]r l mahn`aml p^k^' P^ _hng] maZm ma^k^ p^k^ [hma o^kr ihlbmbo^ Zg] o^kr g^`Zmbo^ `khnil h_ mahn`am hg ma^ mhib\' Ma^ iZkZ]hq pZl maZm fhg^r pZl l^^g Zl Z _hk\^ maZm \Zg [kbg` k^eZmbhglabil _hkpZk] Zg] Zm ma^ lZf^ mbf^ Z o^kr ]^lmkn\mbo^ iZkm h_ Z k^eZmbhglabi' Mabl ]bl\ho^kr a^ei^] nl mh ng]^klmZg] ahp \kbmb\Ze hnk lhenmbhg bl Zg] Zelh ahp bm g^^]^] mh [^ [Zl^] bg ghm hger a^eibg` bg fZgZ`bg` ÛgZg\^l [nm Zelh fhobg` mhpZk]l k^pZk]l Zg] fbe^lmhg^l'

MABL =H<NF>GM P:L <K>:M>= USING ADOBE CS5 InDESIGN I:GMHG> -1. < ;>EHP BL LHF> H? MA> @KHNI L IKH<>LL PHKD BG HK=>K MH @BO> : FHK> <HFIK>A>GLBO> OB>P H? K>= FHG>R L =>LB@G MABGDBG@ IKH<>LL

;kZbglmhkfbg` ma^ ]^lb`g \aZee^g`^l Zg] ihllb[e^ abg]kZg\^l a^ei^] nl bg _kZfbg` hnk ]^lb`g lhenmbhgl fhk^ k^Zeblmb\Zeer' P^ phkd^] pbma Z mabk] iZkmr \hee^Z`n^ pah phkdl Zm ma^ hgebg^ \hfiZgr @BEM @KHNI Zg] a^ a^ei^] nl Zelh ng]^klmZg] ma^ _Z\mhkl maZm \hgmkb[nm^ mh ma^ ln\\^ll h_ hgebg^ l^kob\^l'

‘RED MONEY’

DESIGN BRIEF PHYSICAL PROTOT YPE ONE FIRST MEETING

+' BgbmbZe ?bgZg\bZe IeZggbg` F^^mbg`% k^ob^pbg` ma^ k^lneml h_ ma^ lnko^r k^lihgl^l

K^`neZk \hglnemZmbhg l^llbhgl ]nkbg` \eb^gml _bklm , fhgmal h_ f^f[^klabi &=^o^ehif^gm Zg] k^\h`gbmbhg h_ _bgZg\bZe f^gmZebmr Zg] ikZ\mb\^l &:gZerlbl h_ ^qblmbg` Z\mbobmb^l

FHGMA *

&=bl\nllbhg h_ \hffngb\Zmbhg blln^l bg m^kfl h_ _bgZg\bZel &=^o^ehif^gm h_ Zk\abobg` lrlm^f [Zl^] hg ^qblmbg` aZ[bml &=^m^kfbgbZmbhg h_ bfihkmZgm `hZel Zg] ^o^gml _hk ma^ \hnie^

,' @h makhn`a Z mrib\Ze p^^d h_ ^qi^gl^l Zg] ]bll^\m blln^l hg ik^obhnl ]^\blbhgl maZm aZo^ [^^g fZ]^ Zg] pa^k^ fbl\hffngb\Zmbhgl aZo^ h\\nkk^]

-' :ld \hnie^ mh ]^o^ehi Zg Zk\abobg` lrlm^f _hk ma^bk ^qi^g]bmnk^l [hma chbgm Zg] l^i^kZm^

PHYSICAL PROTOT YPE ONE OVERALL PL ANNING SCHEDULE *' K^ob^p ma^ Zk\aobg` lrlm^fl maZm p^k^ \k^Zm^] lbg\^ ma^ ik^obhnl l^llbhg

Mbf^ebg^

*' L^i^kZm^ BgbmbZe <hglnemZmbhg

PHYSICAL PROTOT YPE ONE TIME LINE

FHGMA +

;Zl^] hg `hZel ma^ \hnie^ oZen^l Zg] ^o^gml maZm Zk^ mZdbg` ieZ\^ bg ma^bk eb_^% ma^ \hnie^ [^`bgl ik^iZkbg` _hk ma^l^ ^o^gml Zg] mZdbg` lm^il g^\^llZkr [Zl^] hg ma^ phkd [^bg` ]hg^ pbma Z _bgZg\bZe ieZgg^k

FHGMA ,

&<hnie^ bl Zld^] mh fZd^ Z lb`gb_b\Zgm _bgZg\bZe ]^\blbhg Zg] ]bl\nll ahp ma^r Zk^ aZg]ebg` _bgZg\bZe ]^\blbhgl ghp \hfiZk^] mh iZlm ^qi^kb^g\^l' <aZg`^l bg \hffngb\Zmbhg Zk^ \e^Zker hnmebg^] bg ma^ ahi^l h_ fZbgmZbgbg` mabl g^p e^o^e h_ hi^kZmbg`' &MkZglbmbhg _khf iarlb\Ze l^llbhgl mh hgebg^ _bgZg\^ fZgZ`^k' :_m^k ma^ , fhgma fZkd% \hnie^l pbee ik^]hfbgZm^er hi^kZm^ pbma hnk l^kob\^ hg Z ]b`bmZe e^o^e% hger nlbg` ma^ iarlb\Ze l^llbhg hg Z i^k&g^^] [Zlbl'

PHYSICAL PROTOT YPE ONE IE :GGBG@ <A><DEBLM

Ik^&P^]]bg` <a^\deblm *' Bl ma^k^ ]^[m8 +' :k^ ma^k^ bgo^lmf^gml

+' =bl\nll Z eblm h_ fZchk ^o^gml maZm Zk^ bfihkmZgm mh ma^ gZkkZmbo^ h_ ma^ \hnie^ !maZm pab\a pbee _hkf ma^ [Zlbl h_ _nkma^k \hngl^ebg` l^llbhgl"'

,' Pa^k^ pbee p^ ebo^8 -' Ahp pbee p^ aZg]e^ ma^ fhg^r8 .'PaZm Z[hnm bglnkZg\^8 /' PaZm Z[hnm ^lmZm^ blln^l8 0' Bl ma^k^ Z [n]`^m8 1' PaZm Z[hnm k^mbk^f^gm8

,' Phkd hg Z fhk^ \hfik^a^glbo^% [nm \nlmhfbs^] Zk\abobg` lrlm^f [Zl^] hg ma^l^ eb_^ ^o^gml' <^gm^k mabl lrlm^f Zkhng] ma^ \hnie^ l li^\b_b\ \hffngb\Zmbhg g^^]l'

2' PaZm Z[hnm mZq lmZmnl8 *)' =h^l ma^k^ g^^] mh [^ Z ik^gnimbZe Z`k^^f^gm8

‘RED MONEY’

Gabriele Dutz Portfolio

EDITORIAL

EDITORIAL

Below is a freelance test shoot done for Elite Model Management .

Stylist: Gabrielle Dutz Photographer: David Wang Model: Lauren Brown

L ELITE MODEL TEST SHOOT

EDITORIAL

Currently serving as fashion editor of Omnia Magazine, an experimental publishing concept in which readers are invited to contribute content, my focus has been streetstyle explored through the medium of collage HEAThens: A STREET STYLE PIECE FOCUSING ON BAD TOURIST FASHION

HEAt ens h

WHY ARE WE ALL KIDDING OURSELVES? NO ONE. NO ONE..LOOKS GOOD DURING THE SUMMER. WITH GLOBAL WARMING THROWING OUR URBAN SUMMERS FURTHER INTO THE THROES OF HELL, MOST OF US ARE JUST FIGHTING THE URGE NOT TO GET ON THE TRAIN NAKED. SINCE WE HAVE BEEN THROWING ON TOMS AND THE MOST FLOWING LIGHTWEIGHT THINGS IN OUR CLOSET, HOW DARE US THROW OUT SARTORIAL ADVICE?

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OMNIA MAGAZINE

EDITORIAL

HEAThens: A STREET STYLE PIECE FOCUSING ON BAD TOURIST FASHION

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DISENGAGE WITH TRANSIENT CHIC

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OMNIA MAGAZINE

EDITORIAL OBSESSIONS: BRIGID BERLIN

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OBSESSION BRIGID BERLIN

Warhol’s under the radar art star heiress speed freak that was equal parts artistic muse and collaborator

OMNIA MAGAZINE

Gabriele Dutz Portfolio

GRAPHICS

GRAPHICS

Entitled ‘2 Marks of Corporate Identity’, this book features original graphic design, copy, and art direction centering around branding work done for two drastically different firms. Completed in Fall 2010 as part of a Corporate Design class, this book is comprised of work for one fictional company, an international moving firm, UNIPORT, and an actual NYC-based architectural lighting firm entitled MODULIGHTOR, the work of which was presented in front of the clients and based on their personal specifications. This project is a centered around logo design and is a compilation of an entire semester’s worth of work, which included packaging, business cards, letterhead, marketing posters, and other corporate materials.

TABLE OF CONTENTS About this book

3

ABOUT THIS BOOK

Uniport International Relocations Corporation

UNIPORT

- Symbol

5

- Typography & Color

6

- Applications: * Business Card * Letterhead * Personal letterhead for the President * Envelope * Truck

7 8 9 10 11 12

Modulightor - Logotype

14

- Typography & Color

15

rebranding of corporate entities graphically. In

- Applications * Business Card * Letterhead * Personal letterhead for the President * Envelope * Memo form * Fax form * Poster * Packages

16 17 18 19 20 21 22 23 24-26

going through the process of creating a visual

This book is an exploration of the creation and

Production Notes

image for a company, one learns how to carefully craft and design a crucial message for an audience and in doing so simultaneously develops skills to create a signature voice for oneself, an imperative tool for success.

27

3

UNIPORT

UNIPORT UNIPORT

TYPOGRAPHY & COLOR

SYMBOL

BACKGROUND

UNIPORT CMYK 0 0 0 100% RGB 39 37 37 PANTONE BLACK 2 PC

UNIPORT INTERNATIONAL RELOCATIONS CORPORATION In developing this symbol for Uniport, factors that were considered in the design process included the transition

Uniport is a full service international

that one actually makes when

transportation company that needs to

UNIPORT

Garamond (a 16th century serif type created for French royalty) was made because

moving and the “order-chaos-

establish a big company image.

it is a very bold and classic

order” shift that takes place in

typeface that represents

one’s life. Also, a key factor in

The company moves individuals and

classicism and dependability,

this symbol’s design was the

companies locally, within your state,

two qualities that exemplify

stressing of Uniport’s efficiency

across the country or around the world.

responsible for people’s lives so

in their operations which lead

main offices in London, Paris, Berlin,

to the use of cube shapes that

Hong Kong, and Tokyo.

CMYK 0 0 0 10% RGB 230 230 230 PANTONE VAPOROUS GRAY 12-4302 TPX

Uniport. Uniport is literally

and systematic precision

It’s headquarters is in New York City with

CMYK 0 0 0 40% RGB 153 153 153 PANTONE PURITAN GRAY 15-4702 TCX

The typographic choice of

APPLICATIONS

the strength of this typeface

UNIPORT

shows the durability of the

externally represent moving

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

company’s services. The three

boxes but metaphorically

gray colors were chosen to

represents uniformity and order.

express movement and functionality.

4

6

5

UNIPORT

7

UNIPORT

BUSINESS

CORPORATE

CARD

LETTERHEAD

Leland Barnum President Email: lbarnum@uniport.com

UNIPORT

UNIPORT www.uniport.com Email: sales@uniport.com Uniport International Relocations Corp.

86 Trinity Place New York NY 10006

Uniport International Relocations Corp.

86 Trinity Place New York NY 10006

Tu e s d ay D e c e m b e r 1 4 , 2 0 1 0

Tel: 1 (212) 206 5030 Fax: 1 (212) 206 5031

Gabrielle Dutz Student Parsons: T he New School for Design 318 East 15th Street N e w Yo r k , N Y 1 0 0 0 3

Tel: 1 (212) 206 5030 Fax: 1 (212) 206 5031

D e a r M s. D u t z This letter demonstrates the solid block typewriting for mat which has been adopted as a standard for all corresondence i s s u e d by U n i p o r t I n t e r n a t i o n a l Re l o c a t i o n s C o r p.

The left margin is indicated by a gray printed dot. The first letter of the date covers the dot and sets the allignment f o r t h e m a r g i n o f t h e e n t i r e l e t t e r.

T he inside address is single spaced two lines below the date.

The salutation is single spaced below the folding line printed o n t h e r i g h t e d g e o f t h e p a p e r.

For Uniport’s business card, a design system was developed around 2 principles: right

The body of the letter is double spaced below the salutation.

Parag raphs are single spaced and double spacing is used between p a r a g r a p h s w i t h n o i d e n t a t i o n s.

UNIPORT For Uniport’s corporate

justification which gives the

letterhead, the right justification

information a strong stylistic

design system continues to be

influence (while maintaining

implemented, as the bundles of

visual clarity) and grouping

C o r d i a l l y,

Leland Barnum President

information are placed directly

bundles of information based

under the symbol. To express

around a hierarchy of pertinent

and maintain Uniport’s functional

information. This accounts for the

and reliant qualities, the type

president’s name being the only

treatment of the company’s

thing in bold which is followed by

office documents were created

a logical grouping of title and

with this performance-based ideal

contact information , which is

in mind. A somber uniformity is

then succeeded by the other necessary information.

The complimentar y close is double-spaced below the last p a r a g r a p h o f t h e l e t t e r . L e a v e f o u r s p a c e s f o r t h e s e n d e r ’s s i g n a t u r e ; t h e s e n d e r ’s n a m e a n d t i t l e , s o i n c l u d i n g t h e a u t h o r ’s title should not be typed in the signature block on personalized letterheads

maintained to show Uniport’s

8

fuctional proficiency.

9

2 M A R K S O F C O R P O R AT E I D E N T I T Y

GRAPHICS MODULIGHTOR

MODULIGHTOR

TYPOGRAPHY & COLOR

LOGOTYPE

CMYK 0 0 100% 0 RGB 255 242 45 PANTONE YELLOW HC

MODULIGHTOR The typographic choice of Futura (a sans serif typeface

CMYK 0 0 42 0% RGB 255 248 172 PANTONE TRANSPARENT YELLOW 11-0617 TCX

based on geometric shapes In devising the symbol for

and inspired by the Bauhaus)

Modulightor, the most critical

was chosen to create

factor when designing this

Modulightor’s logotype for it’s

logotype was the fact that it was

clean lines and clarity. The two

a fully established company that has been in existence for many

different shades of yellow are a

MODULIGHTOR

subtle play on graphic

years. Thus, its new identity should

representations of light.

not be too flamboyant or radical

Simultaneously, these juxtaposition

because they are a very distinct

of colors are a smooth and

company with a fully developed

pleasing transition to arrive at the

signature. Thus, the logotype

word ‘light’ within the logo,

should be created according to

helping new viewers get an

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

important sense of what

their voice and their message of chic design.

Modulightor is about.

14

15

MODULIGHTOR BUSINESS MODULIGHTOR

CARD

MODULIGHTOR

MODULIGHTOR Ernst Wagner President ernst@modulightor.com

Modulightor Inc. Customized Modern Lighting

246 East 58th Street New York NY 10022 Tel: 1 (212) 371 0336 Ext.15 Fax: 1 (212) 371 0335 Cell: 1 (917) 498 5827

Modulightor.com

CMYK 0 0 42 0% RGB 255 248 172 PANTONE TRANSPARENT YELLOW 11-0617 TCX

For Modulightor’s business card, emphasis was placed on

MODULIGHTOR Customized Modern Lighting

Showroom hours: 9am-5:30pm Monday-Friday

creating a system around the ‘light’ portion of the Modulightor

MO DUL IGH

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MODULIGHTOR

Fax

POSTER

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to industry peers loomed heavy in the

M

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design choices. Playing with angles, the point of light developed out of

Modulight or Inc. Cust omized Moder n Lighting

type, much in the same way that the

design of the fax form. However,

logo is a play on what graphically

246 East 58t h S tree t N ew Yor k NY 10022

dut to functionality reasons, the fax

comes to mind when one thinks of

www.Modulight or.com

form is viewed in black and white,

light and sun. By featuring the word

an intriguing litmus test of the

‘illuminate’, the poster maintains the

logotype. Even with the absence

company’s classic modernism

of its vibrant yellow color, the mark

aesthetic by being minimal in its

R TO H G LI U D O M M

elements but thoughtful in its

still proves to be successful and functional.

MODULIGHTOR

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memo form were used in the

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AT

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it’s purpose of marketing and display In developing the Modulightor fax

IGH TOR MO DUL

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In creating the Modulightor poster,

IN

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From:

IGH TOR MO DUL

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Fax Number:

Te l : 1 (212 ) 371 0 3 3 6 Fax: 2 (212 ) 371 0 3 3 5

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To:

Mo du l i g h t o r In c .

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17

MO DUL IGH

Number of pages including this page:

employed in the creation of the

stand alone and be separate..

16

LI

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Date:

form, the same devices that were

the most important piece of information clearly and distinctly

R M O D U MODULIG HTOR L I HTOR MODULIG HTOR MODULIG HTOR MODULIG HTOR G MODULIG HTOR MODULIG H MODULIG HTOR MODULIG HTOR TO R M O D U LI G H TO R M O D U LI G H TO R M O D U LI G H TO R

IGH TOR TOR MO DUL

MODULIGHTOR

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FORM

MODULIGHTOR

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dramatically left justified to make

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bright yellow accent, with the president’s name being

M

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grouped and created under the

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pertinent information was

APPLICATIONS

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yellow coloration, Modulightor’s

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background to heighten the

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246 East 58th Street New York, NY 10022

logotype. Set against a gray

22

creation.

23

MODULIGHTOR PACKAGING

MODULIGHTOR

MODULIGHTOR

S P OT

PACKAGING

MODULIGHTOR

FLOOD

Modulightor’s packaging is a crucial piece of communication and branding, as the entire basis of the operation relies on the products they are selling; www.modulight or.com

246 East 58t h S tree t N ew Yor k NY 10022

Modulight or Inc. Cust omized Moder n Lighting

246 East 58t h S tree t N ew Yor k NY 10022

create a compulsory part of a spatial

www.modulight or.com

realm and go above and beyond to

Modulight or Inc. Cust omized Moder n Lighting

products that far exceed their physical

experience. With that in mind, the packages are metaphorical: abstract representation of what lies beneath, the experience, which is much more valuable.

24

25

2 M A R K S O F C O R P O R AT E I D E N T I T Y

GRAPHICS

Below are a series of igraphics completed for a semester-long project focusing on the development of information graphics. The project, which focuses on mobile phone use patterns of classmates features the expression of data, which I recorded, culminated, and analyzed. The final product , which focuses on exting, is intentded to be viewed as a brochure, but can also be broken down into seperate pieces.

â&#x20AC;&#x2DC; T E X T I N G : A C O M M U N I C AT I V E N A R R AT I V E â&#x20AC;&#x2122;

GRAPHICS

Given the parameters of developing an event based around a New York City neighborhood, the following are select pieces of a press kit based around the premise of Bob Dylan returning to his Greenwich Village roots and giving a concert to celebrate the release of a new album.

Pieces, including invitation, poster, and moodboard, are meant to be exercises in typography and grid structure and illustrate the ability to work within the parameters of theme, keeping each project novel and different.

MOODBOARD

‘DYLAN’S RETURN TO THE VILLAGE’ PRESS KIT

GRAPHICS INVITATION

CONCERT POSTER

‘DYLAN’S RETURN TO THE VILLAGE’ PRESS KIT

Gabriele Dutz Portfolio

INTERNSHIPS

INTERNSHIPS In the summer of 2009, I completed a full time internship at luxury department store Barneys New York, working in the marketing department. Because Barneys does all of their creative in-house, projects focused on the fiscal logistics of the advertising department in addition to research assignments centering around event planning in newly lauched locations. Tasks included managing press binders tracking competitors in addition to Barneys’ own advertising presence, generating lists using the customer database for special events (such as trunk shows and a collaboration with American Express), conducting media analyses , working with the accounting team on the creation of the ‘mailer’ and other print material. The following is a presentation created at the end of the internship presented to Barneys’ executives, summing up the experience. This concept is based around marketing and other departments in the company ‘SUPPORTING THE GLAMOUR’ that takes place externally at retail locations and with the clientele.

BARNEYS NY

MARKETING

INTERNSHIPS

BARNEYS NY

MARKETING

INTERNSHIPS For six months, beginning in the fall of 2009 and ending in the spring of 2010, I worked as an intern in the fashion closet at Interview magazine. A sharp contrast to my previous internship, which was more business-centered, I got a taste of creativity through the styling and editorial world. Something that makes Interview unique to other magazines is the fact that the editorials are not just the product of an in-house team but are predominately the result of many collaborations with freelance stylists. In addition to working with editors Karla Martinez and Miguel Enamorado, this internship also included frequently working in tandem with Creative Director Karl Templer and his team, which resulted in working on many intense projects simultaneously. Responsibilities included trafficking and checking-in samples, organizing garments and accessories, clerical work, communicating with public relations firms and designers, and assisting in fashion week logistics for editors, creating itineraries and managing show and event invites.

ISSUES AND EDITORIALS WORKED ON

OCTOBER 2009 DECEMBER 2009 FEBRUARY 2010 Floyd Mayweather December 2009

MARCH 2010 Sasha Pivovarova February 2010

APRIL 2010

MAY 2010 Jesus Luz February 2010

INTERVIEW MAGAZINE

FASHION CLOSET

INTERNSHIPS MASTHEAD

INTERVIEW MAGAZINE

FASHION CLOSET

INTERNSHIPS

For over a year, beginning in April 2010, I have been working as an intern at the archive of former Gucci and Yves Saint Laurent designer Tom Ford. In addition to preserving his older work from those well-known and respected labels, the archive also inventories and maintains a comprehensive collection of work done for his own Tom Ford label in addition to other individual products and categories including beauty, advertising, film and theater projects, and art direction. Duties include inventorying and labeling all collections, dressing and photographing garments and accessories, clerical work, packing garments for conservation purposes, and other archival tasks on a need basis. Major projects I have worked on there included organizing and itemizing all press dating from the 1980s to the present and packing and preparing the archive for a space move. Vastly different from my first two internships, working as an archiving intern has exposed me to a whole different realm of the fashion industry and has taught me numerous things about textile composition and conservation.

T O M F O R D I N T E R N AT I O N A L

ARCHIVE

Gabriele Dutz Portfolio

MARKETING

MARKETING

Completed in the Spring of 2009 as part of a compulsory Marketing course, this project explores new marketing strategies for the EMI Music conglomerate, which is of particular relevance due to the economic downturn and the state of flux the music industry is currently in due to the prevalence of music piracy. This project examines the companyâ&#x20AC;&#x2122;s history, its current state and some different approaches to reengage and effectively communicate with consumers by creating demand with novel products and services that would entice consumers to invest in the music industry once again.

Labels

Artists

Industry Issues

EMI Issues

!! Global music sales fell by more than 8% to 18.42 billion dollars in 2008

!! Due to Terra Firma takeover, long time chairman Tony Wadsworth was replaced by Guy Hands, who planned drastic changes for the overall direction of the company

!! Sales of physical music formats such as cds and vinyl dropped 15% globally and 31% in the US alone

!! The prevalence in pirated music from the internet also plays a key role in the decline of music sales !! Only 10.3 million records were downloaded in the UK in 2008

!! Many artists in the organization expressed concern and discontent with the companyâ&#x20AC;&#x2122;s new direction and some even severed ties all together !! EMI also experienced difficulties in bringing spending in line with a smaller revenue basis

New Music Issues !! Division unprofitable for some time !! Signing too many unprofitable artists !! Insufficiently rigorous in dealing with creative under-performance !! Misallocation of marketing and promotional spending, taking focus away from profitable and more commercial artists !! Failed to keep up to date with evolving consumer taste

EMI MUSIC

MARKETING Purpose of the Plan To build a strong, diverse talent roster under a new corporate structure in an effort to increase profits, attract new consumers and build a positive public image for EMI

Situational Analysis !! Conduct thorough analysis of EMIâ&#x20AC;&#x2122;s macro and micro environments. !! Micro Analysis: Factors close to EMI with potential to affect the success of marketing product to the client !! Macro Analysis: Larger social and societal factors that affect micro environment.

Micro Environment !! Product Situation: Promote and establish a new diverse talent roster for clients who donâ&#x20AC;&#x2122;t listen to popular mainstream artists. !! Distribution Situation: Host a concert series with a constantly changing list of performers.

Opportunity and Issue Analysis SWOT Analysis

Marketing Strategies

Target Market With our marketing plan we aim to become the number one consumer-led global music company which we will achieve by successfully segmenting the market through genres, consumersâ&#x20AC;&#x2122; attitudes towards music, and purchasing habits. Through artist development, we seek to reach different types of music consumers, planning promotional spending and creating events that most concretely bring together the fans and the artists (something financial)

!! Using a segmented strategy, having different offerings in a variety of musical genres with the intention of creating higher sales an and a stronger position within each market, we are using a demographic segmentation and targeting youth consumers, ages 20-34, specifically students and young professionals who have a pulse on pop culture, are avid music lovers who will be fiercely loyal and willing to develop a relationship with new artists, and those who are financially stable enough to purchase concert tickets and music

EMI MUSIC

MARKETING Good/Service “Factory Fresh”

Financial Analysis !! Ticket Pricing

!! A continuous music “festival” exclusively featuring newly signed EMI artists and acts as a platform for the artist and consumer to interact

Fixed costs (band salary, stage & light, rent) = $168,000 Variable costs (security & employees) = $86,400 Total production cost = $254,400

!! Opening act slot chance for A&R to check out local talent !! Each ticket purchase entitles the concertgoer to a certain amount of EMI artist download credit

Mark-up price = $254,400 / .5 Initial profit = $254,400 Retail price = $28.26

!! Fans given opportunity to voice opinions about artists directly at venue

10% proceeds donated to Global Music Project Remaining profit = $228,960

!! Lineup constantly changing and can reflect either a certain genre or an eclectic mix

Financial Analysis

Marketing Mix

!!Break-even Analysis

!! Promotion: Materials that will be used for selling, promotion, public relations and publicity, direct marketing, advertising, sponsorship, packaging, merchandising, and establishing the brand.

In volume = $168,000 / ($28.26 – ($3.20 + $1.60)) = $7,162 In dollars = $168,000 / (1 – ($4.80 / $28.26) = $202,166.07

Financial Analysis 500 400 Thousands of Dollars

300

Total Costs Revenues

200 Fixed Costs

100 2

4

6

8

10

12

Sales Volumes in Thousands of Units

EMI MUSIC

Gabriele Dutz Portfolio

RESEARCH

RESEARCH

Period Piece is a web-based vintage magazine service. While not mandated to complete a thesis project in the Design and Management program, this concept, formulated in the Spring of 2010 as part of a course labeled â&#x20AC;&#x2DC;Design Developmentâ&#x20AC;&#x2122;, is the closest project that I have completed during my time at Parsons that mirrors a comprehensive thesis, in that I conceived, researched and prototyped it in the most extensive and thorough manor. Also, while this class was originally intended to be a group-based course, students received the option of developing individual projects. Because I worked on this in all stages from conception to design brief, I feel a greater connection to it and feel accomplishment in the amount of detail I attempted to create with this project. I am a great admirer of fashion photography and I believe this illustrates my creativity in a most personal manor.

The Process of Development Initial Concepts

The Process of Development Project Opportunities User Benefits

Branding/ Marketing -Pop-up shops -Cross-Promotional advertising with current books -Collaborate with other existing initiaves such as Flea Markets and used selling merchandise such as E-Bay -Hold events during fashion week and other related times

Publishing -re-spark interest in publishing and thus make it more relevant again -make publishing more appealing by revisiting its golden era while simultaneously incorporating online content that people currently prefer -allow people to get a unique, encompassing access to printed materials that were never available to them

Period Piece

-allow people to develop a personal and all-encompassing system of organization for their inspiration -Allow people to develop and maintain personal as well as professional inspiration -Allow people to order prints ad issues of vintage magazines -Allow users to commit their own level of interest to the site and have a well-designed website to communicate their need through

User Interaction -Allow people to develop a portfolio of images -the ability to order prints and issues online and overall account management -a feature which allows users to be connected to physical vintage dealers in their area -offer a range of titles in different artistic areas such as fashion, music, photography, art, and advertising

Research Methodology

The Process of Development

Period Piece Overview Web-based vintage magazine service that offers users the ability to order prints and issues as well as the feature of developing a portfolio of images and a unique method of arranging and storing them

PERIOD PIECE

RESEARCH The Process of Development

Initial Ideas

Prototype I

Critique Notes

The Process of Development

Peer Critique Notes

Prototype II

PERIOD PIECE

RESEARCH

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The Challenge

Piece concept, certain challenges were found. In clearly GHĂ&#x20AC;QLQJ WKHVH VDLG FKDOOHQJHV WKH LQWHQWLRQ LV WR OHDUQ IURP SUHYLRXV PLVWDNHV RU GLIĂ&#x20AC;FXOWLHV DQG FUHDWH D VHUYLFH WKDW SURSHUO\ DQG HIIHFWLYHO\ IXOĂ&#x20AC;OOV D QHHG LQ WKH SXEOLVKLQJ market. These challenges include practical considerations such as:

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The Competition

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Schedule

WLRQ WKDW ZDV SURYLGHG WKHUH D VHFRQG Ă&#x20AC;YH ZHHN SODQ ZDV developed. While mindful of the importance of scheduling and preparation, the fact is that most of what was planned out will be addressed in the brief. Primarily, the objective of the project at this point is to prepare it for examination and consumption by outside parties.

However, to illustrate the tasks that need to be executed, EHORZ LV WKH UHYLVHG Ă&#x20AC;YH ZHHN VFKHGXOH

Overview of

Deliverables Needed In order to successfully execute Period Piece, the following must be produced/completed:

Many of the same things that helped form the basis of the challenges in developing the Period Piece

The Project is...

A way for people to become even more connected to their inspirations. Period Piece allows its users to more HIĂ&#x20AC;FLHQWO\ DQG PHDQLQJIXOO\ FUHDWH SHUVRQDO QDUUDWLYHV through imagery. Period Piece is also a means for the publishing industry to become relevant once again, as it taps the unparalleled artistic expression that has been produced in the medium throughout its existence and frames it in the context of technology, making it more accessible and appealing to current consumers.

PERIOD PIECE

RESEARCH The Process of Development

The Process of Development

Storyboard Tentative Schedules, Lists, and Outlines

Prototype III

The Project as it stands today

Final Prototype

PERIOD PIECE

RESEARCH Period Piece As It Stands Today

Period Piece As It Stands Today!

PERIOD PIECE

Gabriele Dutz Portfolio

WRITING

WRITING

The following is a link to a digital platform that contains an archive of all of my projects that have been completed during my time at Parsons. As with most academic institutions, writing is a significant and necessary part of coursework. As of late, I have become interested in developing my own personal writing projects as a creative outlet. While I have submitted countless writing assignments during my academic career, the projects below highlight short works that use writing in that creative and unique way and exhibit my competencies in terms of written communication.

www.gabrielledutzportfolio.wordpress.com

FASHION HISTORY The following are a series of exhibit reviews completed in the spring of 2010 as part of a fashion history course. By critiquing not only traditional costume exhibits but also fine art and design institutions, discussing their work through the perspective of fashion, I was able to gain a more comprehensive understanding of the history of garments and their role in constructing culture.

FIT MUSEUM “AMERICAN BEAUTY” EXHIBIT REVIEW FIT MUSEUM “NIGHT AND DAY” EXHIBIT REVIEW COOPER HEWITT NATIONAL DESIGN MUSEUM “QUICKTAKE: RODARTE” EXHIBIT REVIEW BROOKLYN MUSEUM “WHO SHOT ROCK N ROLL” EXHIBIT REVIEW

OLD WEIRD AMERICA In all honesty, the most unconventionally brilliant class I’ve ever taken, Old Weird America is a course that examined the history and herritage of early forms of popular music (blues, jazz,etc.) that played a roll in shaping rock and roll. Taken in the fall of 2009 and led by renowned music journalist Greil Marcus, many classes featured live music performances, and we explored music in terms of historical events taking place at the time of the music’s creation. Predominately a creative writing course, pieces produced included poetry and song lyrics in the form of reinterpretation of existing songs, murder ballads, and literature-inspired songs. As someone who has always taken a deep interest in music history, this was a wonderful combination of passion and creativity.

MUDDY WATERS POEM ‘ROMAN’ MURDER BALLAD ‘BARBARA ALLEN’ INTERPRETATION “MY BABY’S LOVIN” SONG LYRICS

P U B L I C I Z I N G C R E AT I V E W O R K A class that explored the basics of journalism through the lens of writing for art and design publications, ‘Publicizing Creative Work’, a course taken in the Spring of 2011, was unique in that the assignments gave an overview of what it is like to work as a journalist by providing core skills and knowledge for pitching stories to editors with the intent of atempting to really get work published. Some projects tackled in this course included formal interviewing and transcription skills, the development of story proposals, art critiques, and the development of a press release. All of these projects were extremely useful to cultivate, as they can be applied to many facets of the professional world. Additionally, these projects stand out due to their subject matter being rooted in the alternative cultures of art and design.

ARTIST STATEMENT SOUNDHAUS: DEATH OF THE LABEL FOUNTAIN ART FAIR REVIEW ISLAND PARTY PRESS RELEASE

GD PRODUCTION NOTES

Gabrielle Dutz Portfolio This portfolio was created using Adobe Creative Suite (Adobe, InDesign, and Photoshop). It employs the Helvetica Neue Family of typefaces.

All documents used to comprise this document can be viewed on publishing website Issuu.

The digital version of this portfolio can also be viewed at www.gabrielledutzportfolio.wordpress.com http://cargocollective.com/gabrielledutzportfolio