The Design Portfolio of Katherine Howell-Kiser by Katherine Howell-Kiser

Katherine Howell-Kiser a visual communicator & problem-solver

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Deﬁne

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Fin a l i z e

Katherine Howell-Kiser a visual communicator & problem-solver

a well-defined methodology is the most important tool of a designer

PROCESS-DRIVEN CONCEPT DEVELOPMENT

CELL

(864) 630-6589

katherinehowellkiser@gmail.com

CURRENT LOCATION

WEBSITE

Providence, RI open to national & international relocation

www.katherinehowellkiser.com

Katherine Howell-Kiser a visual communicator & problem-solver

EDUCATION

EXPERIENCE

Clemson University

Johnson & Wales University

August 2004 – May 2008 Bachelor of Arts in Architecture Minor in Fine Arts

Adjunct Professor, Fall 2010 – Spring 2013 I am responsible for the planning & teaching of multiple courses in the School of Technology including, but not limited to, Foundation Drawing, Typography, Imaging for Digital Media, Beginning & Intermediate Print Design.

The University of Kentucky August 2008 – May 2010 Master of Architecture Concentration in Visual Communication

Savannah College of Art & Design July 2011 – June 2013 Master of Arts in Graphic Design

STUDY & WORK ABROAD Universitat Polytecnica January – June 2007 Barcelona, Spain A six month long study abroad program through Clemson University that focused on architecture, urban planning, & history. The trip also consisted of multiple travel studies throughout Europe.

Space Group Arkitekter September 2008 Oslo, Norway A two week long urban design research charette program through the University of Kentucky based out of the ofﬁce of Gary Bates, our visiting professor & one of the parters at Space Group Arkitekter ﬁrm.

JDS Architects February 2009 Brussels, Belgium A two week long design typology charette through the University of Kentucky hosted by our visiting professor, Julien de Smedt, at his ﬁrm JDS Architects. We also toured ofﬁces in the Netherlands, including MVRDV and OMA.

SKILLS Adobe Creative Suite CS6 (Illustrator, Photoshop, InDesign & Dreamweaver), HTML5/CSS, AutoCAD, SketchUp, Rhino, V-Ray, iWork & Microsoft Ofﬁce Physical prototying, Model-making, Letterpress printing, hot foil stamping, & book-binding arts

PROVIDENCE, RI

Houston Center for Photography

HOUSTON, TX

Exhibition Department Intern, June 2012 – August 2012 My primary responsibilities included helping to plan and execute new exhibition designs, prepping gallery spaces for events, and creating analog and digital publications for both internal and external use.

Malcolm Grear Designers

PROVIDENCE, RI

In-house Freelance Designer, September 2010 – January 2011 I was hired by the renowned graphics ﬁrm to assist with the design and execution of the MIT Museum’s 150th Anniversary Exhibition. I helped to develop preliminary research, exhibition branding, analog and digital models, construction documents, environmental graphics, promotional print collateral, interactive installations & a custom website for the exhibition. I also worked on several other projects for well-known clients such as Brown University and LLB Architects.

Freelance Designer

PROVIDENCE, RI

Self-Employed, January 2010 – Present I have had clients ranging from small businesses to large companies, most recently these have included: The Rhode Island Sea Grant Institute, The Utopian Collection, Cueball, Inc. in conjunction with Harvard Business Press, & Kira-Kira, a Burunidian-based start up.

RECOGNITION Outstanding Intern Award Houston Center for Photography, Summer 2012

Educator Scholarship & eLearning Grant Savannah College of Art & Design, Summer 2011 – Spring 2013

Dean’s Award for Excellence in Architecture University of Kentucky College of Design, Summer 2010

Graduate Student Research Award University of Kentucky College of Design, Summer 2009

1 st Place, Annual Graphic Design Competition University of Kentucky College of Design, Summer 2010

MY CREATIVE TOOLKIT Process-Driven Concept Development A well-deﬁned methodology is the most important tool of a designer.

DESIGN INTERESTS

Professional Ethics

Identity & Branding, Print, Exhibition, Environmental Graphics, Information Visualization, & Responsive Web Design

Teamwork

Design can, and should, be used to foster positive change in the world.

A collaborative mindset is essential for personal & professional growth.

Analog & Digital Skills It is crucial to ﬁnd balance between design’s tactile roots & technology.

TABLE OF CONTENTS

identity & branding / print / exhibition / responsive web / environmental graphics / information visualization / identity & branding / print / exhib mental graphics / information visualization / identity & branding / print / exhibition / responsive web / environmental graphics / information visua print / exhibition / responsive web / environmental graphics / information visualization / identity & branding / print / exhibition / responsive web mation visualization / identity & branding / print / exhibition / responsive web / environmental graphics / information visualization / identity & br onsive web / environmental graphics / information visualization / identity & branding / print / exhibition / responsive web / environmental graphi identity & branding / print / exhibition / responsive web / environmental graphics / information visualization / identity & branding / print / exhib mental graphics / information visualization / identity & branding / print / exhibition / responsive web / 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“

The range of objects, as well as how they are displayed, offers a fresh and intimate view into MIT & demonstrates the interwoven nature of its campus and programs.” —Malcolm Grear

MIT 150 EXHIBITION

The MIT 150 Exhibition, which I helped design in conjunction with Malcolm Grear Designers, opened at the MIT Museum in Cambridge in January 2011. The exhibit showcases 150 objects and events from MITâ&#x20AC;&#x2122;s long influential history. The broad span of objects is organized into 10 themes and we developed a system of typographic and color treatments to distinguish them.

05 / MIT 150 Exhibition

DISPLAYING ONE HUNDRED & FIFTY YEARS OF RICH HISTORY

identity & branding / print / exhibition / environmental graphics / web / interactive

Gallery A: West Elevation

The entry hallway serves as a vibrant overview of the entire exhibit, featuring the most intriguing objects from all ten categories.

07 / MIT 150 Exhibition

15 141

One of my responsibilities was to categorize the objects and determine the optimum spatial layout by creating diagrams, a scale model, detailed plans and elevations. The drawings were used as installation blueprints.

In Metropolitan Boston, in Massachusetts, and in New England, we possess a unique juxtaposition of the resources which are creating and shaping the scientific revolution and which thus holds the greatest potential for enhancing the economic and industrial strength of this region - and the nation. James R. Killian,  MIT’s tenth president (1948-1958)

From Ellen Swallow Richards’ analysis of Boston’s water to the latest urban planning effort, the objects documenting MIT ’s Boston-based investigations reveal research that has shaped disciplines and global practices as much as the physical, economic, and regulatory landscape of the region.

Gallery A West Wall Elevation, originally 1/4-inch scale

identity & branding / print / exhibition / environmental graphics / web / interactive

I was personally able to design several of the installation pieces, including a bookcase that in the shape of the famous MIT Press logo.

09 / MIT 150 Exhibition

Each of the 150 object labels is color-coded to relate to its assigned category and features a QR code that, when scanned with a smart-phone, takes visitors to that itemâ&#x20AC;&#x2122;s page on the exhibition website.

identity & branding / print / exhibition / environmental graphics / web / interactive

SOUTH CAROLINA ARTS ALLIANCE CAMPAIGN

For my Graphic Design in Social Awareness course, I was asked to select a non-profit for which to develop a cohesive branding campaign. I decided to work with the South Carolina Arts Alliance (SCAA), to raise awareness about the importance of art in education and communities. The campaign revolves around the idea that everything in the State is connected and benefited by exposure to the arts. I wanted to make citizens aware of art events and venues in their area and throughout the state so I created a multifaceted system that works on 3 different scales: local, regional, and state-wide.

RAISING AWARENESS ABOUT THE IMPORTANCE OF THE ARTS IN OUR COMMUNITY It’s All Connected. SUPPORT THE ARTS, SUPPORT A VIBRANT SOUTH CAROLINA.

It’s All Connected. SUPPORT THE ARTS, SUPPORT A VIBRANT SOUTH CAROLINA.

The core of the campaign is composed of a unifying identity and tagline, 3 accordion style brochures, and a large-scale poster. The presence of multiples of three in the logo and brochures signifies the main regions of South Carolina: The Upstate, The Midlands, and The Low-country.

13 / South Carolina Arts Alliance Campaign

identity & branding / print / environmental graphics

In addition to the brochures and combined state-wide poster, the campaign consists of individual local event and venue posters, light post banners, social media pages, environmental graphics, apparel, and promotional paintbrushes to hand out at the campaign launch.

15 / South Carolina Arts Alliance Campaign

identity & branding / print / environmental graphics

THE PROBLEM: There are city guidebooks and tourism websites for just about all interests and travel styles. Want to make sure you hit the must-see destinations on your whirlwind trip? Rely on the knowledge of Arthur Frommer. Have a restricted budget and enjoy off-the-beaten-track destinations? Try Lonely Planet or Rick Steveâ&#x20AC;&#x2122;s. Longing to experience the beauty of mother nature and absorb local culture? National Geographic is your best bet. Love architecture and want to see all of the man-made wonders a place has to offer, both historic and modern? Youâ&#x20AC;&#x2122;re out of luck. As both an avid travel and design lover, this unfortunate dilemma has presented itself to me numerous times. So, when given the opportunity to self-direct one of my graduate projects at SCAD, I decided to come up with a viable solution.

THE SOLUTION: A responsive website viewable on all digital devices that takes users on step-by-step self-guided architecture tours in various cities around the world. I elected to use Barcelona as my prototype city since I knew it after studying there for six months during my undergraduate education. Developed using HTML5 and CSS3, the site takes advantage of parallax scrolling techniques and uses GPS navigation powered by Google Maps to guide users from site to site throughout the city.

BARCELONA BY DESIGN RESPONSIVE WEBSITE

Each page of the site features a different architectural landmark found in Barcelona. The proposed route takes travelers on a journey through the city and incorporates information about well-known sites and hidden gems.

19 / Barcelona By Design Responsive Website

GO ON A STEP-BY-STEP TOUR OF CATALAN ARCHITECTURE

identity & branding / responsive web

KIRA K CLOTH CO. BRAND

KIRA HING

DING

In the Eastern African country of Burundi, people are slowly but surely moving beyond the devastating effects of civil war. However the economy is still struggling because skilled artisans have nowhere but local markets to sell their goods due to the nationâ&#x20AC;&#x2122;s landlocked location. The textile industry is especially popular in Burundi and there are many schools throughout the country that

teach men, women, and children how to dye, sew, and tailor traditional kitenge fabric. Kitenge tells complex stories through patterns and colors and is a vibrant piece of East African heritage widely unknown to the rest of the world. Kira Kira, a clothing company started by several expats living in Burundi, seeks to draw attention to this little known cultural cornerstone.

HIGHLIGHTING THE CULTURE OF EAST AFRICA

23 / Kira Kira Clothing Co. Branding

By designing and commissioning simple yet refined clothing and accessories to be made by local textile schools, Kira Kira (which means “lovely” in Kirundi) hopes to both elevate kitenge and stimulate the East African economy. The hand-drawn logo and typeface used throughout Kira Kira’s branding reflects the tactile nature of the company’s mission, as does the use of kitenge and muslin fabric on the business cards, clothing tags, and within the look-book.

identity & branding / print

s part of Brown Universityâ&#x20AC;&#x2122;s Plan for Academic Enrichment initiative, â&#x20AC;&#x153;Building Brownâ&#x20AC;? is transforming the core campus, enhancing not only the quality of academic life, but the quality of community life as well. Malcolm Grear Designers was hired to create a wayfinding system for the duration of the project and, while working at the firm, I assisted in developing various environmental graphics, directional signs, and a hand-held map provided to students and visitors for easy campus navigation.

BROWN UNIVERSITY WAYFINDING

27 / Brown University Wayfinding

VISUALIZING A PATHWAY THROUGH BROWNâ&#x20AC;&#x2122;S CAMPUS

identity & branding / print / environmental graphics

Center Line

Locate artwork so that artwork is centered between the stainless fasteners (as shown)

34 3/4 in

Cut white vinyl

Small gray type is printed on

Postings must be approved by the Information and

top (overprint) of the white, match Pantone 424c.

Welcome Center located inside this building.

1 in

14 1/2 in

I was personally responsible for helping to develop the campus map and notice board, including construction documents.

STEPHEN ROBERT CAMPUS CENTER: REvISED ARCH GRAPHICS N O T I C E S A R E A : F U L L E L E vAT I O N

29 / Brown University Wayfinding

SCALE: NONE

The centerpiece of â&#x20AC;&#x153;Building Brownâ&#x20AC;? is the Faunce Tunnel. A new campus directory, dynamic environmental graphics, and an interactive notice board draw students and members of the community through the heart of the university.

identity & branding / print / environmental graphics

GENETICALLY MODIFIED FOODS CAMPAIGN

For my graduate level Graphic Design in Social Awareness course, I was asked to find an issue, cause, or organization to champion through an ad campaign. I decided to focus on the risks that genetically modified foods pose because there has been little to no testing done on their long-term effects to the human mind and body.

DRAWING ATTENTION TO AN OVERLOOKED ISSUE

33 / Genetically Modified Foods Campaign

Due to the experimental nature of the subject matter, I chose to create a system that subverted well-known caution signs and symbols. I made versions of established icons out of recognizable food items which became the crux of my campaign along with the logo and tagline. All of the pieces feature industrial textures and materials in order to convey a post-apocalyptic feel.

identity & branding / print / environmental graphics / interactive design

DONâ&#x20AC;&#x2122;T RISK IT.

DOWNLOAD

THE APP

In addition to the primary print campaign, I designed produce stickers and an ad specifically for grocery carts to alert unsuspecting shoppers to the risks posed by genetically modified foods. I also crafted the interface for a hypothetical app that would analyze bar-codes and denote foods as either safe or unsafe for consumption.

35 / Genetically Modified Foods Campaign

identity & branding / print / environmental graphics / interactive design

One of Houston Center for Photographyâ&#x20AC;&#x2122;s most diverse exhibitions of the year, the showcase seeks to highlight the photos of its national & international members.

HCP 30TH ANNUAL JURIED MEMBERSHIP EXHIBITION

As an Exhibition Department intern, I assisted with the space-planning and installation of the exhibit as well as the creation of the wall plaques and self-guided tour brochure.

39 / Houston Center for Photographyâ&#x20AC;&#x2122;s 30th Annual Juried Membership Exhibition

VIEWING THE WORLD THROUGH DIFFERENT LENSES

print / exhibition / environmental graphics

SKEWER’D MOBILE EATERY BRANDING & RESPONSIVE WEBSITE

SKEWER’D is a food truck based in Providence, Rhode Island started by two Johnson & Wales culinary graduates who shared a vision for a mobile eatery centered around one of the most classic street foods: the kebob. The chefs behind the kebobs, Andrew Simon and Talia Johnson, are Providence natives on a mission to promote a healthy alternative to fast food. By partnering with local farms, they are able to introduce fresh, seasonal menu items into the urban environment. The chefs requested that the aesthetic of SKEWER’D mirror their passion for all things sustainable while

still appearing vibrant enough to catch the attention of passersby on the street. They also asked that their concept slogan “Build Your Perfect Kebob” come across in all mediums. To this affect, I designed a system of colorful icons to represent the various ingredients offered by SKEWER’D. These icons combine to form the identity and can be configured in different ways to denote kebob combinations. In addition to a custom identity, business/loyalty cards, and to-go packaging, I developed a fully responsive website to reach customers on the go. All materials used are recyclable.

DELIVERING HEALTHY FOOD TO NEW ENGLAND, FAST CREATE A COMBO FROM OUR CURRENT SELECTIONS: MEATS

a providence, rhode island food truck

VEGETABLES

SAUCES

braised beef

vidalia onions

buffalo ranch

pork sausage

green peppers

sweet onion teriyaki

altantic cod

heriloom tomatoes

greek tzaziki

PLACE ORDER HERE:

portobello mushrooms

a providence, rhode island food truck

www.SKEWERD.com

43 / Skewerâ&#x20AC;&#x2122;d Mobile Eatery Branding & Responsive Website

@skewerdprovidence

identity & branding / print / responsive web

For my architecture Masters Project at UK, my graduate studio worked with the Obama administrationâ&#x20AC;&#x2122;s National Partnership for Sustainable Communities. This partnership works to coordinate federal housing, transportation, water, and other infrastructure investments to make neighborhoods more prosperous, allow people to live closer to jobs, save households time and money, and reduce pollution. The partnership agencies (the CDC, the EPA, & HUD) incorporate six principles of livability into federal funding programs, policies, and future legislative proposals. The National Partnership for Sustainable Communities asked us to assist them by developing a visual way to show residents of the United States how the Livability Principles can improve their communities and where they can find appropriate federal funding. To this effect, we created a loop matrix system which provides a set of unsustainable conditions found in

communities across America. Attached to each condition is a list of available federal resources to improve the condition as well as a hopeful outcome. The large-scale infographics we created highlight overlaps, gaps, and possibilities in the governmentâ&#x20AC;&#x2122;s strategy towards sustainability and are designed so that the average citizen can easily find government support for their community, regardless of scale. We presented these graphics at the 2010 National Livability Conference which was held in Louisville, KY as well as at Land of Tomorrow, a wellknown art and design gallery in Lexington, KY. Additionally, we produced a comprehensive publication containing our work that was distributed to all federal agency employees as well as select members of state and city governments.

THE MACROCOSM FOR AUTOCATALYTIC COMMUNITIES

(re)IMAGINE

(re)IMAGINE The Livability Principles

The Livability Principles

In addition to rebranding the conference and the agenciesâ&#x20AC;&#x2122; logos, we created a five minute video, slideshow, and interlocking cards to hand out to participants.

47 / The Macrocosm for Autocatalytic Communities

RELINKING THE GOVERNMENT & COMMUNITIES

identity & branding / print / exhibition / environmental graphics / motion graphics

49 / The Macrocosm for Autocatalytic Communities

As an elected project leader, I was personally responsible for developing the micro/ marco loops concept as well as the creation of the periodic table infographic.

identity & branding / print / exhibition / environmental graphics / motion graphics

LLB ARCHITECTS REBRAND

As an organization grows, it sometimes goes through a metamorphosis. The innate soul, or mission, is still intact but the physical characteristics must undergo an evolution.

VISUALIZING THE EVOLUTION OF AN ESTABLISHED COMPANY Kathleen A. Bartels, AIA Consulting Principle

st ia C h ri Pr in

n J.

ci pl e-

in -C

s, La d d ha rg

A IA

LLB

LLB B er La LL Le rn

dd s

Street 6 Hope 02 90 23 6 ce, RI iden Prov 42 40 1.

LLB Ladds Bartels, Inc. Lerner 236 Hope Street

Providence, RI 02906

In c. rt el s,

1. 77

T E L 401.421.7715 FAX 401.421.7718

kbartels @ LLBarch.com

TEL 77 18 42 1. m 40 1. FA X rc h. co

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LLB

rtels, Inc Ladds Ba Lerner t pe Stree 23 6 Ho 02 90 6 nce, RI Provide

LLB

Lerner Ladds Bar

236 Hope Street, Pro TEL 401.421.7715

info@ LLBarch.com www.LLBarch.com

While working at Malcolm Grear Designers, I was part of a team tasked with rebranding established Providence architecture firm Lerner Ladds + Bartels. Having become known by the nickname “LLB,” the partners requested a new corporate identity that featured this acronym.

53 / LLB Architects Rebrand

rtels, Inc.

ovidence, RI 02906

FAX 401.421.7718

LLB LLB

Rhode Island Division of Motor Vehicles

I was personally in charge of fine-tuning the signature & color palette as well as the design of the stationary & ephemera items.

Cranston, Rhode Island, 2010 Additional text explains the project in more detail. The copy is not real but would written well and so forth and so on. Additional text explains the project in more detail. This copy is not real but would be critically written and so forth and so on. Additional text explains the project in more detail. The copy is not the actual copy written well and so forth and so on. Additional text explains the project.

CLIENT FTP

Projects

News

About LLB

Contact

Date Name of Recipient Company Name Street Address City, State, Zip Code Salutation: A piece of stationery is obviously printed for the purpose of typing a letter. Therefore, when the letter is absent from the letterhead it is meaningless. A letterhead is one of the most used pieces of material that represents the organizationâ&#x20AC;&#x2122;s personality, and therefore, a system for typing should be established in the beginning of the process.

Rhode Island Division of Motor Vehicles Copy describes the project and additional copy will fill this space.

The preferred typeface chosen for all correspondence is Times New Roman, 11 point with 14 point line spacing. This face is readily available and does not compete with the signature or secondary information and reproduces well on laser prints, copies and fax sheets. When a smaller type size is preferred, the letter may be typed in 10 point with 13 point line spacing. Letters are typed block style, single space between lines, double space between paragraphs. Do not use indents. Double space between the last line of the letter and the complimentary close and 4 returns below the close to the typed signature. The left margin is 1.35 inches; the top margin to the date is 1.5 inches from the top edge; the bottom margin is 2.3 inch. The typing width may vary, depending on the length of the letter. The minimum typing width is 6 inches (with a right margin of 1.5 inches). The maximum typing width is 6.5 inches (with a right margin of 1 inch). For the #10 envelope, the address is typed 5.25 inches from the left edge and 2 inches from the top. Complimentary close,

Typed Signature Title Company Name

Lerner Ladds Bartels, Inc. 236 Hope Street, Providence, RI 02906 TEL 401.421.7715

FAX 401.421.7718

info@ LLBarch.com www.LLBarch.com

identity & branding / print / environmental graphics / web

ÂŠ Katherine Howell-Kiser, 2013