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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
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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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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
O
MODULIGHTOR
Fax
POSTER
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Comments:
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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
E
memo form were used in the
TOR
24 6 E a st 5 8 t h S t re e t N ew Yor k NY 10 0 2 2 Em ai l : sal e s@ m od u l i g ht or. com w w w. m od u l i g ht or. com
AT
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TO
it’s purpose of marketing and display In developing the Modulightor fax
IGH TOR MO DUL
M
In creating the Modulightor poster,
IN
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From:
IGH TOR MO DUL
LI
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Fax Number:
Te l : 1 (212 ) 371 0 3 3 6 Fax: 2 (212 ) 371 0 3 3 5
R
TO
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LI
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TO
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To:
Mo du l i g h t o r In c . C u s t o m i z e d Mo d e r n Li g h t i n g
17
MO DUL IGH
Number of pages including this page:
employed in the creation of the
stand alone and be separate..
16
LI
G
M
H
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
G
TO
FORM
MODULIGHTOR
LI
IllU
FAX
U
IGH TOR MO DUL
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dramatically left justified to make
R
M
TO
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LI
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bright yellow accent, with the president’s name being
M
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grouped and created under the
TO
R
IGH TOR MO DUL
TO
H
H
G
G
LI
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pertinent information was
APPLICATIONS
U
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yellow coloration, Modulightor’s
D
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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:
http://i4.photobucket.com/albums/y108/sukisalvador/April%202006/ vogue_cover.jpg http://newsgrist.typepad.com/underbelly/images/2007/11/18/cover.jpg http://newsgrist.typepad.com/underbelly/ images/2007/11/18/cover.jpg http://newsgrist.typepad.com/underbelly/images/2007/11/18/cover.jpg http://www.magazineline.com/ Many of the same things that helped form the basis of images/covers/KUbig.jpg the challenges in developing the Period Piece concept came out of researching things that had come before it. %\ FOHDUO\ GHĂ&#x20AC;QLQJ SUHGHFHVVRUV 3HULRG 3LHFH LV DEOH WR EH developed in a manor that more satisfactorily answers crucial questions such as â&#x20AC;&#x153;Who are we designing for and what competes for their attention?â&#x20AC;? and â&#x20AC;&#x153;How does the category engage creatively and how could we challenge this?â&#x20AC;?
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