a collection of work as stories. — Huyen T. Do
a collection of work as stories. — Huyen T. Do
before we start.
Growing up, I was always obsessed with stories. Against the confines of my own physical body and the tiny corner of the world in which I inhabited, stories gave my mind room to stretch and grow and experience entire lives that I would never get the chance to live. I wanted to know what it felt like to be a teenager growing up in New York City, an old fisherman in Reykjavik, a Tibetan monk, or a war photographer on the Gaza strip. It was through stories that I got to look through other people’s eyes, regardless of how briefly or imperfectly, and it made me feel a little less alone in the world. Storytelling comes in different shapes and sizes, and it is through design that I can best tell my own stories. The projects in this book are a visual storyboard; they tell the tales of how I navigated through unique sets of challenges to arrive at a final design solution. Each has been mindfully considered and crafted with love—sit back and enjoy.
Š 2016. Huyen T. Do. All rights reserved. No part of these pages, either text or image, may be used or reproduced by any means without prior permission from the designer.
For Mom and Dad.
projects.
10
raise a glass to great women. HER—Beer Packaging
28
remember what matters. NOTED—Product Collateral
42
chance encounter. THE BIG APPLE—Board Game
58
brutally honest. BETON BRUT—Typographic Cards
70
#hangrynomore. EDIBL—iPhone App
88
entrepreneurial spirit. ENTREPRENEUR—Publication Redesign
102
from the tropics, with love. NAMNAM—Chocolate Packaging
116
brain lock. JUST RIGHT—Book Design
134
elevating the mundane. GILLETTE—Rebrand & Packaging
Project 01
HER—Beer Packaging
10
raise a glass to great women.
01
HER
CATEGORY
INSTRUCTOR
Beer Packaging
Branding, Packaging
Christine George
CLASS
SEMESTER
Packaging 3
Spring 2016 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
Female friendships have always been a constant source of comfort and inspiration in my life. They are special, unique bonds that can’t quite be compared to anything else. HER beer is a concept born out of a deep appreciation for the women that I’ve come to know and love, who are smart, funny, complicated and endlessly fascinating. HER is the antithesis to the ultra-sexualization of female forms in mainstream product marketing. The brand aims to serve as a reminder that women are so much more than their bodies—they have been and will continue to be amazing artists, designers, writers, politicians, scientists, and philanthropists—who move and shake the world and inspire generations to do the same.
Project 01
HER—Beer Packaging
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A Collection of Work as Stories
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Project 01
HER—Beer Packaging
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A Collection of Work as Stories
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Project 01
HER—Beer Packaging
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Project 01
HER—Beer Packaging
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Project 01
HER—Beer Packaging
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Project 01
HER—Beer Packaging
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Project 01
HER—Beer Packaging
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Project 01
HER—Beer Packaging
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Huyen T. Do
A Collection of Work as Stories
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Project 02
NOTED—Product Collateral
28
remember what matters.
02
NOTED
CATEGORY
INSTRUCTOR
Product Collateral
Branding, Print
Thomas McNulty
CLASS
SEMESTER
Graphic Design 2
Spring 2015 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
Individuals with photographic memory have always been the object of my extreme curiosity. What does it feel like to vividly recall anything you see or hear with minimal to zero effort? What is it like to live without the constant struggle of forgetting people's names and irregular verb conjugations? When asked to dream up a product concept that we wish existed, I immediatedly knew. Noted. is a semi-futuristic product line of audio-wearables that allows people to consciously and systematically commit things they hear or see into long-term memory. Even though the products are quite technologically advanced, I wanted the promotional materials to dwell less on the mechanics and more on the actual experience, invoking a certain nostalgic quality that we usually associate with memory and the past.
Project 02
NOTED—Product Collateral
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Project 02
NOTED—Product Collateral
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Project 02
NOTED—Product Collateral
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n o t e d
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Project 02
NOTED—Product Collateral
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A Collection of Work as Stories
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Project 02
NOTED—Product Collateral
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A Collection of Work as Stories
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Project 03
THE BIG APPLE—Board Game
42
chance encounter.
03
THE BIG APPLE
CATEGORY
INSTRUCTOR
Board Game
Packaging, Game
Christine George
CLASS
SEMESTER
Packaging 3
Spring 2016 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
It's easy to fall in love with New York City as a young person. The city is a giant grey canvas that can make the teeniest detail pop. Nothing beats the subway ride home with friends on New Year's Eve, or the way the city gets really quiet when it snows. New York fills you with a sense of possibilities—anything can happen! People write books, sing songs and make TV shows about New York. I made a board game. The game is educational as well as competitive. As your game character navigates their way through the different boroughs, you will learn about the city beyond the most touristic view. Whether you’re a New Yorker or someone who’s never been to the city, the Big Apple will surely prove to be a delight. You might never guess what’s just around the corner!
Project 03
THE BIG APPLE—Board Game
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Project 03
THE BIG APPLE—Board Game
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Project 03
THE BIG APPLE—Board Game
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Project 03
THE BIG APPLE—Board Game
CHANCE
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Project 03
THE BIG APPLE—Board Game
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Project 03
THE BIG APPLE—Board Game
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Project 03
THE BIG APPLE—Board Game
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Project 04
BETON BRUT—Typographic Cards
58
brutally honest.
04
BETON BRUT
CATEGORY
INSTRUCTOR
Typographic Cards
John Nettleton
CLASS
SEMESTER
Typography 2
Fall 2014 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
I've always been drawn to things that are slightly off, or just downright strange. Needless to say, Brutalism tops my list. A post-war architectural style of exposed concrete and heavy, oppressive form—at first glance, Brutalism just seems like a terrible idea. Upon looking closer, however, I think there's a certain beauty and grace in its simplicity and clean, strong geometric lines. Beyond its form, Brutalism also acts as an important reminder of a painful stretch of human history that we are sometimes so quick to forget. BÊton brut is a typographic cardset that attempts to interpret Brutalism through the use of Futura. Each individual card draws a parallel between architecture and typography; the set as a whole was designed to inform, delight and entertain an audience who find themselves fascinated by both disciplines.
Project 04
BETON BRUT—Typographic Cards
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A Collection of Work as Stories
Salk Institute, La Jolla, California, USA, 1965 by Louis Kahn. Image courtesy of © Benjamin Antony Monn/Artur Images
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BETON BRUT—Typographic Cards
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Project 04
BETON BRUT—Typographic Cards
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Project 04
BETON BRUT—Typographic Cards
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:savagely violent (a brutal attack)
béton brut Brutalism
béton brut Brutalism
brütªl adjective
Brutalist buildings can be of substantial mass, and even take on an intimidating presence. With strong geometric forms, divulged structural materials, functional spatial design, Brutalist architecture was a manifestation of social progressivism and became the preferred style for public architecture of its time.
B RU TA L I M
:punishingly harsh (brutal weather) :direct and lacking any attempt to disguise unpleasantness — Oxford English Dictionary
S
typeface Futura
designer Paul Renner
foundry Bauer, 1927
typeface Futura
03
designer Paul Renner
foundry Bauer, 1927
06
anti-beauty anti-bourgeois aggressive imposing solemn stunning light
1
béton brut Brutalism
béton brut Brutalism
book
2
3
medium
4
5
— Le Corbusier
h e av y n e w
1. The o appears a perfect circle 2. Upper half of s is smaller than its lower half 3. Lower case a is single-story 4. The f has a very short terminal 5. The period dot is the same size as the letter dot
bold
extra bold
typeface Futura
designer Paul Renner
foundry Bauer, 1927
typeface Futura
designer Paul Renner
foundry Bauer, 1927
Huyen T. Do
A Collection of Work as Stories
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04
Architect: Louis Kahn La Jolla, Calif.
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete lef t unfinished after pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure of structural materials, and functional spatial design, brutalist architecture was an expression of social p ro gre s s i v is m and b e c am e a favored s t yle for public architecture of the time. Raw concrete, a direct translation \
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished af ter pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure of structural materials, and functional spatial design, brutalist architecture was an expression of social progressivism and became a favored style for of the French term “béton brut,” is architectural concrete left exposed
foundry Bauer, 1927
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished after pouring and left exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be often a
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete lef t unfinished after pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure
typeface Futura
02
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished af ter pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure of structural materials, and functional spatial design, b r u t a l i s t a rc h i t e c t u re wa s a n expression of social progressivism and became a favored style for public architecture of the time. Raw concrete, a direct translation
designer Paul Renner
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished after pouring and left exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure of structural materials, and functional spatial design, br u t alis t arc hi t e c t ure was an expression of social progressivism and became a favored style for public architecture of the time. Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished after pouring and left exposed visually. It flourished as a
Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished af ter pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s. Brutalist buildings can be of sizable mass, and take on a hulking, even intimidating presence. Characterized by bold geometries, the exposure of structural materials, and functional spatial design, b r u t a l i s t a rc h i t e c t u re wa s a n expression of social progressivism and became a favored style for public architecture of the time. Raw concrete, a direct translation of the French term “béton brut,” is architectural concrete left unfinished af ter pouring and lef t exposed visually. It flourished as a part of Brutalist architecture of the 60s and 70s.Characterized by bold geometries, aprogressivism and became architecture of the tabcedf
y
w ä
z ø
foundry Bauer, 1927
typeface Futura
07
x ö ç
ð û
§
p t
s v
ñ æ
o
r u
h l
k n
m q
g
f j
i
d
béton brut Brutalism
béton brut Brutalism
designer Paul Renner
Salk Institute
c
b e
Futura became a huge international success, and in turn inspired a variety of new geometric sans-serif typefaces, such as Avenir, Kabel and Century Gothic. Futura’s been used in countless corporate logos, commercial products, films and advertisements over the years. Many foundries have since then released their own variations of Futura. This cardset uses Futura ® EF by Elsner+Flake.
typeface Futura
09
a
béton brut Brutalism
19 27 Inspired by Bauhaus design philosophy, Futura was created by German type designer Paul Renner from 1924 to 1926, and commercially released in 1927 by Bauer foundry. Derived from geometric forms (near-perfect circles, triangles and squares,) with strokes of near-even weight and contrast, Futura looks like pure efficiency: standardized, legible, stylish without any overt “style.”
12
‡
designer Paul Renner
foundry Bauer, 1927
10
W Vertical symmetry
typeface Futura
designer Paul Renner
foundry Bauer, 1927
S harp apex
“Brutalism was never just an architectural style. It was a political aesthetic, an attitude, a weapon dedicated to the precept that nothing was too good for ordinary people.” — Owen Hatherley Futura ® EF Bold Condensed 23/26pt Align: Left Kerning: Optical
Futura’s sharp and clean geometric forms closely resembles that of Brutalist structures. Both were designed with a focus on efficiency and functionality, to an extent that the outward appearance is devoid of any intrinsic aesthetic motif.
typeface Futura
designer Paul Renner
foundry Bauer, 1927
béton brut Brutalism
FFFF FFFF
béton brut Brutalism
béton brut Brutalism
Brutalism boasted massive concrete structures, unadorned, unfettered by concerns over style or grace. A brutally honest approach to architecture that demanded form follow function and resisted unnecessary ornamentations. It asserted the right to be ugly.
typeface Futura
designer Paul Renner
foundry Bauer, 1927
Project 04
BETON BRUT—Typographic Cards
68
Huyen T. Do
A Collection of Work as Stories
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Project 05
EDIBL—iPhone App
70
#hangrynomore
05
EDIBL
CATEGORY
INSTRUCTOR
iPhone App
Branding, UI
Colin Hoell
CLASS
SEMESTER
Graphic Design 3
Fall 2015 DURATION
15 weeks
Huyen T. Do
A Collection of Work as Stories
When you live in a city like San Francisco, eating out and all the hassle that comes with it becomes a significant part of life. The line is always too long, and the bill takes forever to process. I wanted to channel this personal source of frustration into the design of a mobile application that will solve this massive time-suck and offer a more seamless and stress-free dining experience. Edibl is an app for city dwellers who instinctively reach for their phone whenever they want food. Main features include: seat picking, pre-ordering, paying and tipping. With a bold and fun yet streamlined UI design, Edibl aims to become the new go-to for millenials on a food mission. This project extended beyond the scope of a conventional visual exercise. The better chunk of the 15 weeks was spent conducting market research and user testing. It was an eye-opening experience—a big shout out to our instructor Colin for giving us a real taste of what it's like to be a UI designer.
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 05
EDIBL—iPhone App
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Project 01
HER—Beer Packaging
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Huyen T. Do
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Project 06
ENTREPRENEUR—Publication Redesign
88
entrepreneurial spirit.
06
ENTREPRENEUR
CATEGORY
INSTRUCTOR
Publication Redesign
Print, Editorial Design
John Nettleton
CLASS
SEMESTER
Typography 2
Fall 2014 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
Entrepreneurship has become an especially major theme in the San Francisco Bay Area. At the same time, the culture of design has become more and more ingrained in businesses, with major successes of companies like Apple, Airbnb and Pinterest. Entrepreneur is a magazine that caters to this specific demographic of people—young entrepreneurs in the Bay Area who are design and tech-savvy business owners. My goal in redesigning the publication is to provide readers with a more pleasant reading experience, by presenting information in a curated, user-focused way. More white space is utilized, with fewer distracting ads and a better flow to the overall layout. I believe this will set Entrepreneur apart from the average business magazine found at the newstands.
Project 06
ENTREPRENEUR—Publication Redesign
90
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Project 06
ENTREPRENEUR—Publication Redesign
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Project 06
ENTREPRENEUR—Publication Redesign
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Project 06
ENTREPRENEUR—Publication Redesign
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Meet the Man
with
Yves Béhar sits in the sunlit conference room of his San Francisco design agency Fuseproject, a massive white board behind him. On the table in front of him is a leather-bound sketchbook, its pages a crazy quilt of random notes, rough sketches and other embryonic concepts, all visible to anyone within proximity. Some design superstars might guard their ideas and insights like they were state secrets, but not Béhar. Fuseproject, it seems, is just one big open book. “Nothing is secret here,” the mop-topped designer says, his voice betraying the faintest trace of his native French. “The walls are covered with work that’s in progress, which allows senior and junior people from different practices to see everything that’s going on. There are no hierarchical barriers or layers. You have the constant pulse of the work we’re doing.” “Yves’ work is easy to understand, but in its simplicity, there’s an insane boldness,” says Scot Herbst, partner at design studio Herbst Produkt and creative director at Bay Area household products firm Slice, a Béhar client. “Something like the Jambox is inescapable on shelves. There’s such a strong point of view there.”
06
“When we started working with Yves, we couldn’t afford to build a world-class design organization in-house, but we were able to create a structure where he could become a partner in the business. It turned out to be a really great model for us,” says Jawbone co-founder and CEO Hosain Rahman. “We’ve been able to leverage all the resources and talents at a studio like [Fuseproject] in a very cost-effective manner, and they realize outsize returns when things go well—much more than they would get from the typical fee-based consultancy. It’s a win-win.” But Béhar is more than a disruptive creative force; he’s redefining the basic tenets of the design business, eschewing the gun-for-hire model in favor of an aggressively entrepreneurial, venture-based approach that splices Fuseproject directly into its startup partners’ DNA. While most design studios work on a flat-fee, per-project basis, Fuseproject establishes integrated, long-range relationships in exchange for an equity stake in the client’s future, a strategy rooted in Béhar’s commitment to collaboration and openness. “I felt I needed a different business model to serve companies in ways that would create a lot of value for them and for us,” Béhar says. “That integrated approach requires a lot of man hours—it’s a lot of people working on a project, but that’s also how the outcomes turn out so much better. To me, working with entrepreneurs on long-term design work makes the work more important.” Fuseproject’s partner portfolio spans more than 24 early stage startups across a host of verticals. In the case of Jawbone, the technology firm behind the Jambox and UP activity tracker, Béhar has served as chief creative officer for more than a decade; at August, which makes an internet-connected home lock system, Béhar is a full-fledged co-founder whose input and influence shape all facets of business.
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the Midas Touch “The reason why we see designers succeeding in entrepreneurial roles is that we have a very sophisticated customer who is not going to tolerate friction—who will pay for ease of use and things that are more in line with their aesthetic aspirations. They prefer companies that speak to them in a new way.”
07
Project 06
ENTREPRENEUR—Publication Redesign
98
Huyen T. Do
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99
Project 07
NAMNAM—Chocolate Packaging
100
from the tropics, with love.
07
NAMNAM
CATEGORY
INSTRUCTOR
Chocolate Packaging
Branding, Packaging
Beau Monroe
CLASS
SEMESTER
Packaging 1
Spring 2014 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
Every design student will, at some point, have a project that's dedicated to his or her own culture. Namnam is mine. All design elements were derived from an existing visual library in my head of the place where I was born and spent the better years of my life. A fictitious artisan chocolate brand, Namnam pairs unexpected tropical flavors with traditional European-style chocolate. The brand embodies characteristics of “another” Vietnam—a place of genuine warmth, hospitality and liveliness—conveyed through vibrant colors, quirky typography, fun and light-hearted illustrations.
Project 07
NAMNAM—Chocolate Packaging
102
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Project 07
NAMNAM—Chocolate Packaging
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Project 07
NAMNAM—Chocolate Packaging
Inspiration for the project. Image courtesy of ©_blackscorpion_
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Project 07
NAMNAM—Chocolate Packaging
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Project 07
NAMNAM—Chocolate Packaging
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Project 07
NAMNAM—Chocolate Packaging
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Project 08
JUST RIGHT—Book Design
114
brain lock.
08
JUST RIGHT
CATEGORY
INSTRUCTOR
Book Design
Print, Editorial Design INSTRUCTOR
Ariel Grey
Ariel CLASS Grey
SEMESTER
Typography 3
Fall 2015
DURATION
15 weeks
DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
One of the most common traits of people with obsessive compulsive disorder is the incessant need to keep doing something till it feels “just right.� Despite popular belief, however, OCD isn’t simply about being a perfectionist or having cute, harmless quirks. OCD is a multi-faceted psychological disorder that proves debilitating for many. The project is a visual scientific study of the disorder: what it is, its various manifestations, possible causes and available treatments. The making of this book has been a means for me to process and make sense of my own experience struggling with OCD as a child.Although the topic may seem dark, I wanted to infuse hope in the book and ultimately inspire a change in attitude toward mental health by starting a conversation around it.
Project 08
JUST RIGHT—Book Design
116
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Project 08
JUST RIGHT—Book Design
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Project 08
JUST RIGHT—Book Design
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Project 08
JUST RIGHT—Book Design
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Project 08
JUST RIGHT—Book Design
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JUST RIGHT—Book Design
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Project 08
JUST RIGHT—Book Design
130
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Project 09
GILLETTE—Packaging
132
elevating the mundane.
09
GILLETTE
CATEGORY
INSTRUCTOR
Rebrand & Packaging
Branding, Packaging
Michael Osborne
CLASS
SEMESTER
Packaging 2
Fall 2015 DURATION
7 weeks
Huyen T. Do
A Collection of Work as Stories
I'm always interested in the idea of putting a new spin on the mundane everyday object and giving it a new, enhanced experience. Razors are one of these objects. Gillette has long been a trusted household name when it comes to shaving needs. However, their current branding runs the risk of being too generic at best, and uninspiring at worst. I wanted to give the brand a look that’s fresh yet remains true to its honest-to-goodness, all-American heritage. The rebrand was inspired by the design of early 20th century North American tickets to the "ball game�, as well as the typography popular in the same era.
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GILLETTE—Packaging
134
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Project 09
GILLETTE—Packaging
GILLETTE
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GILLETTE
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Project 09
GILLETTE—Packaging
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Project 09
GILLETTE—Packaging
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Project 09
GILLETTE—Packaging
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Project 09
GILLETTE—Packaging
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Behind the Scenes
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a million thanks.
Mom and Dad: Thank you for your stubborn, unyielding love and support. I wouldn’t be here (literally) without you. This book is all yours. My second family—Sara, Andreas, Ivan, Eric, Nadia, Geoff, Suzette, Raphael, Carl, Alex, Edwin, Jenny, Maria, Hanh: Thank you for collectively inspiring me to be a better human being, and consequently a better designer. Thank you for cool typefaces and cute notes and fun adventures. Thank you for being the occasional much-needed shoulder to cry on. My teachers—Phil, Mary, John, Christine, Beau, Scott, Colin, Tom, Amy, Michael: Thank you for your wisdom and tough love. Thank you for tirelessly pushing me to do better than what I thought was possible. I promise to always hang my punctuations and never indent the first paragraph.
colophon.
COVER STOCK
GF Smith Colorplan Bright Red 270gsm TEXT STOCK
Mohawk Superfine Eggshell Ultrawhite 80lbs PRINT & BINDING
Moquin Press 555 Harbor Blvd. Belmont, CA 94002 TYPEFACES
Domaine by Klim Foundry Graphik by Commercial Type PHOTOGRAPHY
Eric Park Huyen T. Do Canon EOS 5D Mark II CONTACT
Huyen T. Do hi@huyentdo.com +1 415.802.4425