COMMUNICATION DESIGN PORTFOLIO Joao Infante
My name is João Infante and I am a Portuguese communication designer living in London. I’m searching for a creative and thrilling environment to improve my skills, meet new people, and do what I like to do most.
Phone number
Email address
07506 740239 joaoainfante@gmail.com
Address Flat 9 Albany Court 18 Plumbers Row London E1 1EP
Table of Contents Skills, Software & Language Spoken Qualifications & Experience
7 8
Marina Willer Graffiti Sessions Extending Empathy Fusion Graffolution
11 16 18 20 22
Posters Brands & Logos
24 26
SKILLS, SOFTWARE & LANGUAGES SPOKEN QUALIFICATIONS & EXPERIENCE
Printing Digital Typography Branding Advertising
Strategy Social Media Video Photography Event Prod.
Illustrator Photoshop Indesign Premiere After Effects
Audition Solidworks Office Pack iWorks OS X
English Portuguese Italian Spanish French
Arts College
MA Architecture
BA Design
Porto, Portugal
Aveiro, Portugal 14/
FAUP (incomplete)
Aveiro, Portugal 19/20
2008
2009
Universidade de Av
2010
2011
Corda Magazine
Beta Experience
Party
Porto, Portugal
Lisbon, Portugal
Avei
Opinion Article
Comm Design
DLC rebranding Comm Design
Aveiro, Portugal
BA Comm Design
veiro
/20
Politecnico di Milano Milan, Italy 27/30
2012
Central Saint Martins London, UK
2013
Monsters
Larus Exhibition
iro, Portugal
Aveiro, Portugal
VJ & LJ
MA Comm Design
Event design
Int. Conference of Illustration
2014
2015
Internship Comm Design Design Against Crime London, UK
Event production Aveiro, Portugal
Academic Qualifications
Erasmus Exchange Program Professional Internship Freelance professional projects
Marina Willer Academic Project Feb 2013 Branding Identity Strategy
This project was the only and largest project developed while in exchange at Politecnico di Milano. It is the final project of the BA in Communication Design. The brief asked for the strategy and graphics of a cultural institution and the creation of an exhibition about a female designer. The outcome included the logo and the communication system for the museum, the identity of the exhibition as well as a billboard, a poster, a catalogue and an invitation as well as the website for both. The chosen identity reflects a modern image and an approach to a young public while maintaining a joyful ambience. The set of outcomes for Marina Willer exhibition features inspiration from her most famous projects (Southbank Centre and Tate Gallery), both while working at Wolff Olins.
The sample pages of the catalogue feature three projects from Marina Willer while working for Wolff Olins (International Amnesty, Oxfam and Tate Gallery). Typography, colour palette and general layouts were reproduced in order to somehow show the designer’s influences and path. The text was mostly based on quotes from Marina Willer or biographical data. ď ľ
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‘WHAT DOES THE WORLD NEED? WHAT’S SPECIAL ABOUT YOU?’
Several support materials were created to communicate the event including printed newspaper adverts and large scale banners. ď ą
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The website was thought to be simple, easy to navigate and aesthetically pleasant. The black background contrasts with the white typography and the grey images. Accordingly to the museum strategy, the right column features the present and future exhibitions. For each one of these, a special secondary website
is to be created with a new graphic language inspired by the featured designer or theme. The orange titles are customizable by the user, allowing the experience to be more personal. Social media is highlighted throughout the homepage as a way of creating an interactive space for guests.
Graffiti Sessions Internship Project Jan 2015
Website Communication Recording The Graffiti Sessions comprised a three-day series of talks, workshops and panel debates exploring the evolving roles of graffiti and street art in the urban environment and gathered a wide group of experts to debate issues surrounding graffiti. The event was co-hosted by Design Against Crime, UCL and Southbank Centre. My role within the project was to develop communication materials, including the website and a promotion leaflet, as well as recording the event and the video speeches. The Guardian created a piece on the event and I was credited for video edition. Further info on www.graffitisessions.com
the art & justice of Sociable Cities 3 - 5 December 2014 London | UK www.graffitisessions.com @graffsessions
The website was based on an identity system previously created. The recordings were made with professional equipment and the youtube channel has about 2000 views altogether whereas the The Guardian piece has about 400 shares. ď ľ
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Extending Empathy Academic Project Feb 2014 Concept Empathy Strategy
This project was made as part of the MA Communication Design with Design Against Crime Research Centre and Michael Wolff (from Wolff Olins). This proposal was made in a group of three people, me being responsible for the concept and the direction of the proposal. For this sensitive project about Assisted Suicide, the group decided not to take sides. The main goal was to be impartial, and give space to each individual to reflect about the subject, and retrieve his or her own conclusions. The main goal is most of all to create discussion, a public debate, we believe we created an easy and quick way of people to share their insights, to give an instant response, get involved in the debate, and become more aware of the issues around them.
Three stages of the project going from the conceptual background to the expected outcome. ď ľ
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T h e Co n ce pt The Brief “Step outside of your comfort zone to deliver design communication strategies that will help promote understanding of [assisted suicide].�
The Agenda Convey information on the subject emphatically, regardless of the group opinion. Promote discussion and make people think engaged and personally.
The Target Young adults living in London (~20 to 35yo). Message with no political, cultural, religious or economic agenda in order to reach a larger percentage of the demographic group.
T h e Me d i u m The Poster First point of contact. Meant to engage people by creating interaction. A full version of dynamic posters is also available. Tube stations, bus stops, public spaces.
The Video The full discussion based on three moments: 1. Emotional engagement 2. Argumentation 3. Response. Online access, public spaces.
The Feedback Online use #greenlight or #redlight for an opinion on assisted suicide. Use of twitter as a platform for discussion. Live barometer on a public place.
T h e O u tco m e The Website Platform that connects all the data from the project and gathers all the statistics from the several objects of communication.
The Hashtags Way of quickly identifying the campaign and be able to quickly feedback on the subject as an informed decision.
The Feedback Create a significant response from the target to this question based on the twitter poll.
Fusion Academic Project Feb 2013
Editorial Product Communication This brief included the creation of a catalogue and the design of a graphic concept for a new product by LoveTiles. The concept of this new product relates the appearance of wooden floors with the comfort of the best ceramic tiles. Fusion mimics materials and sensations and the catalogue tries to replicate different environments where this product can be used. A different approach of the traditional catalogue for this set of product was tried with the different layers combining photography, full surfaces of colour and images of the product. A bold image was combined with veneer finishing over the physical printing.
The mood-boards for the catalogue defined not only the main colour and the set of inspirations bus also the emotion that each set provides. The different rooms are the starting point for the whole production. ď ť
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cinza
15 x 75
branco
beige
cinza chumbo
creme
castanho
© Copyright Gres Panaria Portugal S.A. Os produtos e marcas referidos ou representados neste catálogo são propriedade da GRES PANARIA PORTUGAL, S.A., estando as marcas, desenhos, fotografias ou textos devidamente protegidos por lei. É expressamente proibida a cópia, imitação, alteração, no todo ou em parte, de qualquer elemento constitutivo ou representativo das marcas, designadamente palavras, símbolos, cores ou outros, bem como dos logótipos, desenhos, layouts de catálogo, ambientes de design ou decoração nele representados graficamente, sem autorização escrita da GRES PANARIA PORTUGAL, S.A.. A violação de alguma das disposições previstas nesta declaração poderá acarretar responsabilização civil e criminal do infractor.
All rights reserved. The products and brands mentioned or represented in this catalogue are property of GRES PANARIA PORTUGAL, S.A.. All brands, drawings, photographs and texts are protected by law. It is strictly prohibited to copy, imitate or modify in its whole or partially any element inherent to the representation of the brands, namely words, symbols, colours or others, as well as logotypes, drawings, catalogue layout, design atmospheres or decoration graphically represented in the catalogue, without prior written consent of GRES PANARIA PORTUGAL. The infringement of the dispositions defined in this declaration may result in the civil and criminal responsabilization of the infractor.
Les produits et les marques mentionnés ou représentés dans ce catalogue sont la propriété de l’entreprise Gres panaria Portugal, S.A. Les marques, les dessins, les photographies ou les textes sont dûment protégés par la loi. Toute reproduction, imitation ou modification partielle ou totale de mots, symboles, couleurs ou autres éléments tout comme les logotypes, dessins, mise en page des catalogues, ambiances de design ou décoration représentées au niveau graphique, sont strictement interdites, sauf sur autorisation écrite au préalable de l’entreprise Gres panaria Portugal, S.A.. La violation d’une de ces dispositions prévues dans cette déclaration sera de la responsabilité civile et criminelle du transgresseur.
Продукты и бренды, упомянутые или представленные в данном каталоге, являются собственностью GRES PANARIA PORTUGAL, S.A..; фирменные марки, рисунки, фотографии или тексты надлежащим образом защищены законом. Запрещается копирование, подражание, поправки, полностью или частично, любого составляющего элемента фирменных марок, в том числе слов, символов, цветов и других, а также логотипов, рисунков, макета каталога, его оформительного дизайна и соответствующих графических декоративных элементов, без письменного разрешения GRES PANARIA PORTUGAL, S.A... Нарушение любого из положений этого заявления может привести к гражданской и уголовной ответственности правонарушителя.
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Graffolution Internship Project Sep 2014
Identity Communication System Graffolution is a research project that is currently being developed by several universities across Europe. It is focused on graffiti, street art and public transport systems. While I was an intern at Design Against Crime Research Centre (Central Saint Martins, London), I developed a proposal for the identity for both internal and external documents, and to be further adapted to all necessary forms of communication within the project. My proposal tries to make an empathic approach to the notion of street art, creating several versions for the logotype, as well as a supporting graphic system to be used based on a set of rules in defined or new contexts as needed.
The project fact sheet was one of the documents that were created. Further internal and external documents were created by partners based on this. ď ť The conceptual premises for Graffolution were designed for easier and more efficient communication. ď ľ
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Bibliography Project Graffolution aims at counteracting the increase of
Awareness and prevention solutions against graffiti vandalism in public areas and transport
Background European city administrators, public
transport services, law enforcement agencies and other stakeholders spend enormous amounts of money attempting to tackle graffiti vandalism. For example Berlin, London and Madrid spend millions each year, cleaning and preventing illegal graffiti in public areas. In parallel transport and other public authorities fight to keep illegal sprayers off their property, linked to safety as well security issues. Besides economic factors, sprayers can risk the lives of citizens consciously or inadvertently, when they paint over safety signs or labels (e.g. particularly on trains). Graffiti vandalism is linked to changing European contexts. For example the “Broken windows theory” (Kelling and Wilson, 1982) is now being reviewed by some of its original promotors, such as Malcom Gladwell (2000). Multiple and different publics are also indicating the increased value of some kinds of illegal graffiti related practice, some of which are now seen to “regenerate” rather than simply to “degenerate” (Young, 2014; Iveson, 2007). Relevant stakeholders in the field of graffiti prevention are also indicating more limited resources today than before, thus reducing possibilities to learn from each other or collaborate to maximise efficiency of their efforts. All this change demands a new focus. An effective and holistic approach to fight illegal graffiti is needed, including a community resource to help understand vandalism problems whilst at the same time sharing and innovating new protocols and responses. Here the value of artistic expression that does not compromise public or private property, in relation to stakeholder experience or safety is anticipated, in relevant contexts, as part of future graffiti management.
Project Facts Duration
03/2014 – 02/2016 Theme
FP7-SEC-2013-1 Project reference
608152
graffiti vandalism in public areas and transportation networks by focusing on smart awareness and positive prevention solutions for all affected stakeholder groups, including those who have utilised street art as part of city regeneration and placemaking strategies. The project will work to deliver an extensive set of “Collaborative Tools and Resources” that would include (a) a secure space for duty holders, with cases studies and other methods of evidencing successful practice, to empower city administrations, public transport services and law enforcement agencies, to share knowledge and more widely promote best practices. Additionally, Graffolution will develop (b) an interactive “Open Information Hub” addressing local communities, citizens and sprayers to strengthen public awareness and enforce the prevention of illegal spraying activities, using effectual tools and visualisations. Social media features and channels will also be integrated to reach young people, graffiti writers and other connected publics.
_BBC NEWS. (2013) David & Goliath. The Culture Show 2013/14, Jon Ronson meets Malcolm Gladwell - Beware the Underdog [Online] Available from: http://www.bbc. co.uk/programmes/p01hykfz [Accessed: 16th April 2014]. _Gladwell, M. (2000): The Tipping Point: How Little Things Can Make a Big Difference. New York: Little Brown. _Iveson, K. (2007) Publics and the City. Oxford: Wiley- Blackwell. _Wilson, J., and Kelling, G. (1982): Broken Windows: The Police and Neighborhood Safety. Atlantic Monthly. _Young, A. (2014) Street art, public city: law, crime and the urban imagination. Illustrated Ed. Abingdon, Oxon Routledge.
Consortium
SYNYO GmbH – Austria (Coordinator) University of Barcelona - Spain University of Arts London - UK Sine -Institute gGmbH - Germany Ferroccarrilis de la Generalitat de Catalunya - Spain London Borough of Islington - UK Union Internationale des Chemins de Fer - France
Contact Details Email
office@graffolution.eu Website
www.graffolution.eu
This project has received funding from the European Union’s Seventh Framework Programme for research, technological development and demonstration under grant agreement no 608152.
Dissemination of ideas & knowledge Dialogue, Speech, Communication
Dissemination of innovative capacity Sharing, Learning, Activity
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Posters
Auditorio da Reitoria da Universidade de Aveiro 7 Junho 2012 18h00
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Michael Rock Design as Author
5 Understand the relation between authorship and reading experience 4 Explore the possible distribution channels
Create fiction on male erotica
Writer
Illustrator Photographer Visual Artist Curator
Editorial Designer
3 Meet the object and the target
Talking Impossible. London, 2014 And the winner is... Aveiro, 2012 Communication Design. London, 2013 Glassberries. Aveiro, 2013 Hackers vs. Frackers. London, 2014 This way up #8. London, 2014 Shared Authorship. London, 2015.
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Brands & Logos
Dona Raiva product identity 2013 Beta Exp start-up identity 2010 Chron TV channel 2013 26
Comma museum of design 2012 7º product identity 2013 ForLinguas Language School 2011