+RESUME
(916) 271-7017 hydeawilloughby@gmail.com hydeawilloughby.myportfolio.com
hydea willoughby
EXPERIENCE AUGUST 2019 - PRESENT Freelance Graphic Designer • Designed logos, signage, other printed materials
for various small, local businesses • Created graphics for use on retail products • Led the visual re-brand effort for the non-profit organization Neighborhood’s Network Solution • Designed apparel for CSUS Higher Education Leadership Society event, raising over $800 in the annual fundraising effort AUGUST 2018 - MAY 2019 CSU Sacramento - Associated Students, Inc. Graphic Designer • Designed and produced promotional material for
on campus events and student services
• Created original designs from conception through
to final production, publication, and installation • Updated and revised existing designs for reoccurring ASI and campus events • Completed in-house print production, saving the department an average of $125 per project on outside production costs • Designed effectively within the constraints of an established visual brand identity • Engaged in timely communication with department leadership regarding project progress
REFERENCES NOVEMBER 2017 - JANUARY 2018 CSU Sacramento - SSWD Graphic Design Tutor • Provided private tutoring and homework assistance
Photoshop, Indesign, Illustrator • Familiarity with AfterEffects, Adobe XD, and Dimension • Knowledge of Mac and Windows operating systems, including some ability to troubleshoot problems unique to each • Understanding of HTML and CSS • Knowledge of web design and UI principles • Research and process driven design • Experience in typographic, layout, and brand design
Phone: (916)278-2113 Email: k.michalec@csus.edu
• Critiqued class design projects and suggested
edits to achieve more effective design solutions • Worked in conjunction with student’s graphic
design professor to provide sufficient support • Acted as mentor and provided info on where to
obtain design inspiration and how to stay up to date on design trends SEPTEMBER 2014 - MAY 2019 CSU Sacramento - Department of Design: Instructional Student Assistant • Instructed 120-student class in the use of
various Adobe programs
ANGELA JACKSON CSU Sacramento - Department of Design Phone: (916)397-5597 Email: angela.jackson@csus.edu
WILLIAM MCDOUGALD Personal Phone: (916)572-0711 Email: mcdougaldw@saccounty.net
• Assisted students with class and
homework projects
• Graded and corrected students’
homework projects
• Proctored in-class quizzes and exams
SKILLS • Proficient w/ Adobe Creative Suite:
KALENA MICHALEC CSU Sacramento - Associated Students, Inc. SEO
• Adept working knowledge of Microsoft Word,
Powerpoint, Excel
• Detailed knowledge of pre-press best practices • Operated various sign making production tools
and machines
• Collaborative team-worker • Clear, concise written and verbal communication • Productive multitasking and efficient time
management
EDUCATION MAY 2019 Bachelor of Science, Graphic Design California State University Sacramento 3.5 GPA, Dean’s Honor List, Elected Secretary of GRIDS (Graphic Resource Information Design Society)
ALEJANDRO TORRES-MARTINEZ Personal Phone: (916)284-0346 Email: atorresmartinez95@gmail.com
Minimo—Artisan Pizza Branding
This collaborative project was produced with the goal of building and branding a new, fictional retail business. Minimo is an original pizza restaurant that crafts gourmet pizzas inspired by classic recipes with a minimalistic attitude toward the ingredients used, menu items offered, to the amount of waste created. Minimo features an distinctive illustration style throughout its products and packaging that is unique among gourmet restaurants. This emphasis on illustration demonstrates that a dining establishment can offer high quality ingredients while still being able to have a more fun and playful aspect.
Minimo | Spring 2019
About the Logo The mark for Minimo is a statue bust, alluding to the brand’s Italian roots and traditional recipes and the time-tested nature of those recipes. The statue represented within the mark is of Edesia, the Roman goddess of feasting. Furthermore, the logotype has a classic scripted and brushlike quality symbolizing Minimo’s ideology that making great pizza is a work of art. The culmination of the various layers of symbolism is a mark that fully embodies Minimo’s tag-line, “A Modern Tradition”.
Minimo | Spring 2019
Minimo’s illustration style is expressive and sketchy with a hand drawn feel that add a flavor of traditional drawing and painting techniques. The Illustrations are always somewhat rough, abstract, a blend of brush techniques, and a general imperfect nature when it comes to color and the sketch itself.
This approach to illustration allow us to communicate a wide range of ideas, products, and merchandise while maintaining a consistent image, voice, and style.
Minimo | Spring 2019
Minimo’s pervasive style and tone is also present in its other consumer interactive and outreach touchpoints. This is important to solidify the brand in the eye of the audience as these are the most frequent point of access of most consumers.
Minimo | Spring 2019
Walker Evans—The Aperture Masters of Photography Brochure Publication
This brochure showcases a prominent black & white photographer including a short biography, chronology, and selected works. This issues features Walker Evans. Evans is as an American photographer and photojournalist best known for his work for the Farm Security Administration (FSA). His work there consisted of documenting the effects of the Great Depression. The crux of this project was to work in a limited amount of space with a relatively large amount of information. A major goal was adhering to a certain level of informational hierarchy as to give structure and direction to the typographic material. That hierarchy, as well as a system of grids and flow lines, was utilized to keep information organized and easily read all while properly exhibiting the photographic work.
Photography Brochure | Spring 2018
The color overlays were used to give the different sections a consistent theme across every panel of the brochure. More importantly they allowed for the inclusion of more of the photographers work while not becoming cluttered or overwhelming the reader.
Photography Brochure | Spring 2018
Underline Magazine Publication
Underline magazine has an individual voice that truly showcases the careers and lives of Sacramento State Graphic Design Alumni. The goal of this publication is to capture the experiences of those Sac State alumni and show how those experiences combined with their unique opportunities after graduation have shaped their paths. Every alumni Underline magazine has interviewed has had a single underlying theme that motivated them and tied together each answer they gave. This revelation inspired the name for this magazine. Underline is a word play off of underlying. The word underline is also heavily associated with the typographic element and further hints at the magazine’s content and audience. In this issue alumni Hans Bennewitz, Becky Rath, and Rob Martin give some insight into their daily lives and their underlying driving force as designers and creatives.
As the audience of Underline magazine is mainly graphic design students beginning their educational journey or students looking into graphic design as a major and future career choice the cover aims to subtly teach. Each theoretical cover features a basic design principal and/or style. This cover uses interval as the design principal and hints toward a Bauhaus style in some of the typographic elements. Underline Magazine | Fall 2019
Each interview has its own distinctive style and graphic elements that serve to embody that particular alumnus’ personality or an aspect of their preferences. A reader should get a sense of interviewee’s personality without even reading the body of the article. Throughout this particular interview Sac State alumnus Rob Martin, continually expressed his interest in Hip Hop music—creating it, producing designs for that community, and even as inspiration for the name of his design studio, Major Minor. Various visual and typographic elements were used to evoke certain elements reminiscent of a street art style. This particular style is often closely associated with the Hip Hop genre.
Despite the stylistic differences between articles, the layout of type and image adheres to a system of grids and columns that persists across them.
How do you balance your work with doing freelance, working for a corporation? We also saw that you have a band with your wife. Yeah we record an album every four years. So that’s the band. We’ve done two albums. That urge to write songs kind of just came back again. So it kind of leaves and it’s like I’m I’ll be in the car and I’ll have an idea and I’ll record it on the sound recorder on the phone. And then I come up with the chorus of hers and then I’ll play the guitar that I’ll come up with the drums I’ll teach my wife the guitar part and then she’ll play the rhythm. So yeah both are on Itunes and one is on Spotify. So it’s like one of those things that really if you pay a certain amount of money anyone can get one those. So it’s a lot less special than you think. You know. It’s Fun. Just to throw it up there and I actually do get a royalty check. I play for three bucks after like 10 years. So that was kind of funny. I just assumed I wasn’t going to see anything. So what we found mostly interesting about you, is that you work at two companies; VSP Global, and Mode Design. And you’ve been working at Mode Design for 14 years. So that’s my freelancing. So I do both and I’ve always done both for the most part. Sometimes clients you know they don’t want you to freelance or sometimes they did say you could do freelance. But then at the same time they really didn’t want you to. So just because you don’t want that conflict of interest like you know you know if you’re working for an agency you know the agency doesn’t want you working with another agency that’s. Similar and you know they’re your places having to pay your health insurance then all that stuff at the same time well they don’t get you for a fraction of the cost. So yeah. So I’ve been doing freelance pretty much since I just kind of started designing and for me I’ve been lucky enough to work on a project and I haven’t really had to put my stuff out there too much. So I just have been designing since then doing side work in what I can. That’s been a pretty nice outlet because a lot of times when you’re working at a more corporate setting that you know is more and pays a little better you’re going to need another outlet. Just you know you can do more illustration or something like that. Sometimes you can get both. But in Sacramento I’ve noticed a little bit tougher. Getting that perfect job fills everything.
What was your first big project? Fuel Creative Group which was like an agency where you can kind of do get to do everything. I didn’t code or anything like that but we touched web sites often designed the Web site and then they coded around that. So I guess the first big one that I worked on through fuel was Hot Italian. We all got to sketch logos for that, mine got chosen. And so then I got to do all the identity stuff from that. The cool part is, from that once I left Fuel because I was there for four years on and off because I left after a year and I came back two. It’s one of those things once I left Fuel I ran to into her at the state fair and I said hey if you need anyone working on stuff because I remember that they kind of discontinued working with the studio too and I didn’t know she had anyone she was working with. So I said hey here’s a card of mine if you want to work together let me know. And I think I heard a couple months later so I would do stuff regularly for Hot Italian and now I’m doing stuff for Solomon’s deli which is coming up on J Street and in Davis too. It was kind of funny because the first thing that I remember getting recognized that I know I had a few projects in Print Magazine through Fuel and I think I had two or three things in there that I’d like worked on and kind of helped lead for that whoch was exciting but I remember that after I left Fuel. I wanted to make my own business card. And I was in the thing where I was art directed for so long I couldn’t wait to
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make my own stuff. So from that, I came up with my business card system and I wanted to get it on this blog called Pound. But it’s like for apps and I don’t even know it’s a thing anymore or if it’s down. But basically it accumulated all of the design from around the web. I wanted to get on that. So I noticed there is a site that they took a lot of work from, so I submitted to that site and they said they liked the business card. And I had a letter pressed and it was one color so super easy budget. I think for like 100 cards, one color for letterpress was like $200 bucks. So that’s not too bad. I mean it’s a lot of money still. I really knew what I wanted and so I sent it in and they said well do you have an identity system for that? I was like oh yeah just let me photograph this weekend and so I came up with it that weekend. So that was cool. Then made it on there. And then Howe actually saw it on there and asked me if they were doing something on like Letterheads are not dead yet. So they asked for that. That got indirectly into Howe magazine. It was kind of a kind of a cool moment but it was kind of weird like sometimes you’ll design something that just catches the appeal of some people and you don’t know why and it’s like a cultural. Guys kind of thing you know we’re just people like a personalize and then it resonates with people and you don’t know why you’re like I thought my life’s work was just as good as this but everyone doesn’t think so. So it’s just this weird kind of thing. Do you think that’s the way you have learned the most? Or what have you learned the most from for example any project? You know it’s one of those things that successes are cool but the things that really suck sometimes are the failures like that you have that you kind of know that you should’ve done better. Not that you didn’t try but that you didn’t give the required amount that you thought you would. I was working and I got asked because I knew someone to do some sketches. I think it was like Uber but it’s like it was like an NDA kind
of thing and I couldn’t say what they wanted the U and I don’t know if I can say. But I guess I did say. And so I was sketching and they asked if I could do it. And I was on the on the road to Disneyland with the family on a trip. So I’m like I could do it on the weekends I didn’t have my computer but I had an iPad and I could sketch. Basically I put a lot of time into it. The amount of time that they requested but in the end I don’t feel like it met my standards and they kind of were like “Oh that’s what you sent in?” and I’m like “oh”. It was one of those things where sometimes taking everything because for me like I would just say yes to everything. So taking things on you got to be more selective about what you take on what you can do. Know what you can accomplish and at the same time like say yeah you can do it. But if you have the time. And to go to the question like How do you do side work, the family and all that is I just don’t sleep. Yeah I luckily like only need like six hours. Five or six hours of sleep. So basically after not after about nine once like my son goes to bed and stuff and it’s like okay and then I kind of dive into work most nights not out not every night but every other night. That’s just kind of how I found that works for me because the nice part about it so my wife she doesn’t have to do. I have a job where she can be home with our 8 year old now. And so it worked out pretty well. Because it’s one of those things that she had worked data entry and like pharmacy stuff all of that was just not her passion. So you know staying home. She wanted to stay home with him and raise our son. I also found out that if I’m at work and I don’t have my creativity kind of where you don’t feel like totally creatively satisfied because you know a lot of times the work it’s like this is the job. And sometimes it’s not creative and sometimes it is creative and you know you kind you’ve just got to get the job done. So sometimes there’s a lot of factors that you might not know about it. You just got to get it done.
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Underline Magazine | Fall 2019
The Hidden Disability Alliance Corporate Identity
The task was to create an identity system and campaign for a public service or non-profit organization or re-brand an existing one. The Hidden Disability Alliance is an original non-profit organization that aims to provide individuals the tools, resources, and platform to openly speak about their hidden disability. Among the goals of the organization is to create a long lasting and impactful awareness movement. The Yellow Asterisk Project was created in the voice of the organization to bring the topic of unseen disabilities to forefront of peoples minds.
The photographic style of the Hidden Disability Alliance consists of various black & white portraits representative of individuals with hidden disabilities. The subjects are looking straight on plainly, as to be as open and unconcealed as possible. They are looking at the viewer as a way to have people confront a typically unspoken topic. This style of photography is used to emphasize the Hidden Disability Alliance’s person first ideology. Below are some further examples of the type of photography that could be used.
Hidden Disability Alliance | Spring 2019
The HDA’s tone is bold and uncompromising with its bright, flat swathes of color and heavy typeface. This particular design style for this type public service organization is not typical and stands out among the rest for it.
HIDDEN DISABILITY ALLIANCE
Hidden Disability Alliance | Spring 2019
Wearables
Yellow Asterisk Project The Yellow Asterisk Project is the HDA’s main awareness campaign and is representative of the organizations overarching goal of destigmatizing hidden disabilities. The yellow asterisk can be worn to signal to others that one may need extra assistance, time, or access to accessibility services because of their hidden disabilities.
The asterisk symbol itself was chosen to symbolize that there is more to a person than their disability as well as a call for people to look further. In this regard, it’s function is like that of foot note which is the asterisk’s main typographic function and most people’s primary association. Picking a typographic symbol in a primary yellow also allows for individuals to be able to produce it fairly accurately themselves.
Hidden Disability Alliance | Spring 2019
Wallet Cards
The Yellow Asterisk Wallet cards can be used in conjunction with the symbol to assist people with hidden disabilities with speaking about their disability. The goal is to make speaking about and living with hidden disabilities easier and less of a stigma. The cards are the same size as a standard business card. This form factor was chosen to facilitate ease of use and maximize portability while still having space for the pertinent information.
I have
Post Traumatic Stress Disorder
Here’s a fact about people like me:
I need to use accessibility services and
may need assistance.
ATIC R M U A R E POST STS DISORD STRE
I have
ned heighte ses me ility services u a c It r. sib disorde to use acces hiatric a psyc xiety. I need is D S n a PT nce. ns and reactio y need assista a m d n a
Hidden Disability Alliance | Spring 2019
Neighborhood’s Network Solution Corporate Identity
The Neighborhood’s Network Solution is a non-profit organization whose goal is to address the many dimensions of poverty within disenfranchised communities by empowering individuals by assisting them in building their strengths and abilities within the context of family to forge a healthier community. The task was to design a brand new logo to represent the organization and develop an identity system from that which would more closely align with the goals of the organization. The bold Proxima Nova type family and punchier colors are used to appeal to a younger audience that would benefit the most from the services and programs that Neighborhood’s Network Solution Provides. The colors, though vivid, are professional and can be used in a sparing manner for a more subdued design or liberally for a more striking one.
NNet Solution | August 2020
Horizontal - Full Color
About the Logo The goal was to create a new logo based on the original; keeping the basis of what was working and interesting about it and discarding what was not.
Stacked - Full Color
Horizontal - Single Color
Stacked - Single Color
The first step was simplifying the original logo in terms of form, legibility, and number of colors. The redesigned logo is in a more traditional icon + logotype format that lends a higher level of credibility to the organization. This layout also increases legibility as it uses standard left-to-right reading principles. The number of colors was reduced to two to aid in printing processes. Next was to reimagine the established icon. The stacked N’s icon was a strong part of the original logo. Some negative space was added around the letters to abstract the form. The resulting negative space is the derivation of the arrow form that is a major graphic element of the identity.
Original Neighborhood’s Network Solution logo. This version of the logo is in a circular seal format, features too many and lifeless colors, and a too bold and extended typeface that is hard to read. All of these elements are drastically improved with the redesign.
NNet Solution | August 2020
Licentious Branding
WARNING: MILD MENTIONS OF SEX AND SEX ACTS Licentious is a brand of BDSM inspired products that does not discriminate on the basis of color, orientation, gender, or physical appearance. Licentious aims to evoke change within the sex industry and brands that profit from gender discrimination and cultural appropriation. This project was an exercise in building a brand system based on an existing small business. The goal was to redesign the logo, as well as to establish a color palette and typography, and more fully integrate the already established photography.
Licentious | May 2021
Yellow adds a striking pop of color to spark interest and catch the eye. This yellow also introduces the symbolism of an electric zing of sexual pleasure. The other dominant color in the palette, purple, brings an overall feeling of intrigue any mystery to the Licentious brand. The photographic style lends Licentious a more fringe aesthetic and somewhat illicit feel. This imagery, when paired with the color palette, alludes to the industry and what products Licentious sells without being obscene.
The photographic style of Licentious consists of dark, low key photos focused on imagery depicting aspects of BDSM, bondage, and other similar subjects. The images can be used in black and white or as processed with the brand color palette overlayed.
Licentious | May 2021
Licentious Branding
Maple Black is the typeface used in the logo as well as throughout the branding. It is not a typeface that many would recognize, so it is not overused in other brands designs and remains unique. The Maple Black font is a san serif typeface which is more modern than the serif typeface of the original logo. Using this font style brings Licentious a more contemporary feel and ultimately attract more of the target audience. Lastly, it also has a bold and commanding weight symbolizing an aspect of BDSM ideology. The Gotham type family used for the remainder of the type needs. Because it is a fairly neutral san serif typeface, it pairs well with the more stylistic Maple Black. Its inherent readability means it can be used in more type heavy applications.
Maple Black
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Gotham Type Family
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Color Palette
Licentious | May 2021
CMYK: 0 10 100 0
CMYK: 80 75 0 0
RGB: 255 225 0
RGB: 76 82 163
Pantone Solid: 107 C
Pantone Solid: 7456 C
Pantone CMYK: P 4-8 C
Pantone CMYK: P 99-7 C
CMYK: 75 100 15 5
CMYK: 40 0 100 0
RGB: 105 44 122
RGB: 178 210 53
Pantone Solid: 2613 C
Pantone Solid: 389 C
Pantone CMYK: P 92-7 C
Pantone CMYK: P 160-8 C
Black
White
Full Color Logotype
/
About the Logo The graphic element within the logo is based off the Figure 8 knot. This knot is an aesthetically pleasing as well as functional knot. This mirrors how bondage knot tying is about the artistry of the knot tying as much as it is about the physical restraint. The Figure 8 knot inspired graphic is also, perhaps more obviously, used as a typographic element, replacing the letters c and e in the brand name.
Original Logo The redesigned logo removes any connotation or allusion to gender signifiers present in the original. The lipstick print in the original logo, while not necessarily gendered in and of itself, does hold gendered meaning culturally and therefore may come across to some as exclusionary. The shift to an abstraction of bondage rope imagery brings the logo more in line with the core tenants and ideals of Licentious while still alluding to the industry.
Licentious | May 2021
Associated Student Inc. Promotional
Crayon Therapy Night Crayon Therapy Night is an outreach event presented by the non-profit organization The Giving Gallery to promote mental health awareness through art therapy. A crayon rubbing of the color spectrum is used in combination with the simple brain graphic as an abstraction of mental health as well as to express creativity and imagination. The main graphic is hung up against flat neutral background and displayed as if in a modern art gallery to reflect the name of the hosting organization.
Crayon Therapy Night | 2018 -2019
Queer Prom Queer Prom is a dance and music event hosted by the CSUS Pride Center as the culminating event of Sac State's annual Pride Week. The campaign exhibits an original illustration depicting a view of flying over the city at dusk. This scene along with the use of colors that could be found in the sky at sunset were used to reflect the theme "Buzz Above the Clouds".
Queer Prom | 2018 -2019
Associated Student Inc. Promotional
KSSU: Be Yourself KSSU is CSU Sacramento's entirely student run radio station. Its goal is to improve student involvement by hosting innovative and engaging events across campus, providing air time to involved DJs to express their ideas and creativity, and to provide an outlet for alternative and culturally diverse music formats and talk shows not readily available elsewhere in Sacramento. The Be Yourself campaign aims to reflects the station's mission in an outreach effort to Sac State's wider student body. A series of fliers, posters, and postcards were developed to mirror the campaign's main slogan "Be a DJ, Be a Listener, Be Involved". Each provided information on how to get your own DJ show, how to listen to broadcasts, and how to attend KSSU hosted events. KSSU seen a marked rise in number of volunteer student DJs as well as increased listener-ship since the launch of the Be Yourself campaign.
KSSU: Be Yourself | 2018 -2019
The bright colors, the weaving geometric lines, and brush-like script typeface are playful and expressive creating an open and approachable voice for KSSU. This style is paired with darker overlayed images for a more edgy feel. These seemingly contrasting aesthetics aim reflect the varied experiences and unique individualities of Sacramento State student DJs and listeners. Other promotional materials such as stickers, apparel, and event wrist bands were created to identify event DJs, increase outreach, and further promote the radio station.
KSSU: Be Yourself | 2018 -2019
Logofolio
Various Industries
A collection of logos and marks representing various businesses and organizations across numerous industries. The marks compiled here are comprised of both real and fictional brands.
Logofolio | 2015-2021
Logofolio | 2015-2021
Logofolio
Logo Development Process A condensed mood board consisting of some of the resulting images, colors, type treatments, etc. gathered from the research phase.
Nature Souls Process Highlight Nature Souls is a boutique brand of natural, hand made hair and skin care products. These few images and a brief process description are here highlighting some key steps in the development of the Nature Souls mark. A word association map and initial sketches are among the first steps in the process. This level of ideation happens before the research phase. The words, images, and ideas developed here are the basis of the research terms used in the creation of a new mark. In the case of Nature Souls, visual and conceptual research as well as a competitive audit was conducted to come up with the building blocks of the final mark. Those blocks are then synthesized into a cohesive visual language.
An initial word association map is derived from the name of the company and any key words and ideas from the client creative brief. Quick concept sketches of ideas pulled directly from the word association map. This stage is a play with the first images that come to mind and to develop rudimentary iconography and how type might interact with them. Further associated words are added from the sketches.
Logo Development Process | January 2021
Full Signature
Logotype + Byline
About the Logo Beats from popular contemporary art styles such as flat geometric forms and gestural/single-line drawings became the cornerstone of the Nature Souls mark. The abstracted form of a face alludes to beauty and skin care. The geometric form behind that represents the waxing moon which symbolizes renewal and growth. Beauty nature, renewal, and growth are all positive ideas that can be associated with hair and skin care and by extension the Nature Souls brand. The rough, natural lines of the face and the clean, simple form of the moon create and interesting contrast yet aren’t at odds with one another avoiding any undue tension.
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Key frames illustrating the initial digital development of the mark in the Procreate app on iPad. Logo Development Process | January 2021
THANKS!
(916) 271-7017 hydeawilloughby@gmail.com hydeawilloughby.myportfolio.com