Liberty

skate shop

Kathleen Fitzgerald Spring 2008 ART 496 Senior Project Mr. Murphy

Abstract

The following report composites all material relevant to the concept, design, and execution of the Liberty project. It is separated into two main parts: the foundation, which includes initial research, a list of objectives, and a calendar; and the narrative, which includes three progress reports, and a ďŹ nal evaluation.

Table of Contents

Abstract ......................................................... 2 Project Foundation Proposal ..................................................... 4 Objectives .................................................. 5 Calendar .................................................... 6 SigniďŹ cance ............................................... 7 Histories .....................................................8 Liberal arts ................................................. 13 Project Narrative ............................................ 15 Appendix ....................................................... 21 References ..................................................... 30 Bibliography .................................................. 32 Resume ..........................................................36

Proposal

For my project I am going to use Liberty Skateboarding Shop located in State College Pennsylvania. For the company I am going to design a logo, a business card, a letterhead, and an envelope. I am also going to design two shopping bags, a large one and a small one. I will also design a tee shirt for the employees at the store so that the customers easily recognize them.

4

Objectives

1. Research competitors, background and history 2. Identify and analyze problems 3. Solve problems independently 4. To develop a concept that suits the client needs 5. To design a uniďŹ ed corporate identiďŹ cation 6. Create a cohesive look that integrates all elements 7. Evaluate the progress of the project

5

Calendar

Week of: Jan. 28: research; logo thumbnails Feb. 4: continue research; logo thumbnails Feb. 11: continue research; logo roughs; start research and thumbnails for letterhead and envelope Feb. 18: choose 3 logos; continue research; progress report; continue letterhead and envelope Feb. 25: final logo; continue working on letterhead and envelope; start research and thumbnails on Business card Mar 3: final letterhead and envelope; continue work on business card; start research and thumbnails on bags Mar 10: final business card; start research on tee shirt; continue work on bags Mar 24: progress report; final bags; continue work on tee shirt Mar 31: final tee shirt; adjustments Apr. 7: adjustments Apr. 14: adjustments Apr. 21: final report; adjustments Apr. 28: Presentation prep

6

Significance

This project is significant to the Liberty store because it will enable the customer to correlate the corporate id with the store. This project is also significant to my education because it allows me utilize the skills I have learned, to produce a successful project.

7

History

The following pages contain reports on the history of subjects relative to the Liberty project they included: the history of skateboarding, Liberty’s competitors, tattoos in North America, retail, graphic design, corporate identity, logo design, and letterhead.

Skateboarding

The first skateboard was more like a scooter that featured roller-skating wheels attached to a two-by-four.

This invention was made in the early 1900’s. It was not until the 1950’s that kids dismantled the scooters and skateboarding began (Werner, 2000). During this time surfing was widely popular, and the skateboards gave kids the feeling of riding a wave. In 1958 Bill Richards, a California surf shop owner, worked with Chicago Roller Skate Company to make clay wheels for the skateboard. A year later Roller Derby Skateboards were for sale, and are still for sale today.

In the early 60’s skateboards became popular virtually overnight, and were manufactured at a high rate, in an effort to keep pace with the demand. At this time Larry Stevenson, and his company, Makaha, designed the first professional skateboard for a contest that was held in 1963 at Pier Avenue Junior School in Hermosa, California. “The May 1965 cover of Life magazine featured Pat McGee, National Girls’ Champion doing a handstand. The photo was captioned: The Craze and the Menace of Skateboards” (Werner, 2000). With the entire craze over skateboarding, and the poor quality of clay wheels, some cities started banning skateboarding. Experts came out against skateboarding stating it was unsafe, and urging stores not to sell them. This almost ended the sport overnight. (Skateboarding history) Just as quickly as it almost ended in the 1960’s it gained popularity in the 70’s. At this time urethane wheels were introduced, providing more traction and better speed. The new wheels allowed the skateboarders to explore the difficulty of new tricks, consequently new skate parks began popping up throughout the country.

With the skate parks vertical skating, which is done on ramps and in empty swimming pools, became very popular. In California, where the sport was most popular at the time, Wes Humpston and Kim Muir marketed the first line of boards decorated with graphics under the Dogtown Label. Soon after, almost all board manufacturers put graphics under their boards. (Warwick Books).

8

History

One of the most influential things to happen to skateboarding was when Alan Gelfand invented the ollie. A trick that Skatelog.com described as “the single most important trick in the evolution of skateboarding, next to the kickturn.” Even with this advance interest in tricks the sport started to die down again. The insurance for skate parks was too expensive so most ended up closing. However the hardcore skaters still stayed with the sport. The terrain moved from vert to the street, using everything from empty swimming pools, walls and benches, to homemade ramps (Brisick, 2004). “ Skateboarding is outside your door. It’s a wonderland outside your door. And the birth of street skating came from guys who looked at the world in a different way.

Like Salvador Dali’s dripping clocks, it took radical-minded thinking to translate that into their sport. — Jake Phelps” (Brisick, 2004 p.92).

Skateboarding popularity experienced another resurgence in the mid 80’s. Thrasher Magazine went into publication in 1981, to keep the hardcore skaters informed on the skateboarding scene. By the mid 80’s its popularity rose again; for the first time pro skaters could make enough money to skate for a living (Werner, 2000). With the popularity came the onset of merchandise. Special shoes for the sport began to become popular. By 1995 ESPN Network held the first Extremes Games, popularly known as the X-Games. This brought skateboarding and other extreme sports to a new level, giving the contestants more money as well as an increased fan base (Werner, 2000).

Competitors

Popularity of skateboarding brands may be based on the team that sponsors the brand and not solely on the quality of the products. It is difficult to find a good source that compares skateboarding brands, but on About.com, Steve Cave documents the results of comparison tests he conducted. Steve’s ranking of the top ten skating shoes, from highest to lowest, is the following: Fallen Footwear, Vans, Globe Shoes, DC, Osiris, Emerica, Adio, Nike SB, and Ipath. He based the ranking on their quality, style, innovative features, and durability. He also commented on whether the companies were socially conscious, and any downfalls that he found in the shoes. Cave also named the top 11 deck brands, not in any particular order: Zero, Habitat, Plan B Skateboards, Elements, Powell, Blind, Birdhouse and Blitz, Girl and Chocolate, Toy Machine, LIB Technologies, and Alien Workshop. One of the big differences in the boards was the quality of graphics on the bottom of the deck. The companies listed above are not cheap brands, but they are popular in part because of famous members on their teams (Cave, S.).

9

History

Tattoos in North America

The word tattoo comes for the Tahitian word “tatau” meaning “to mark something.” Tattoos began over 5000 years ago, with a very diverse history but for purposes of this paper the research focused on the history of tattoos in the United States. The first tattoo shop in the United States was located in New York City, in 1846.

It began as a place that tattooed civil war soldiers. The second shop opened soon after the invention of the first electric tattoo machine in 1891 (J. Phipps). Today tattoos are not only for military men or criminals. With the growing acceptance of tattoos, they are now included in advertising. Cadillac used a heavily tattooed musician in their advertisement. Camel cigarettes had a tattoo logo, and Captain Morgan rum has introduced a “tattoo” flavor (Schwarz).

Retail

It seems that people have always wanted more than a few luxuries. Kings were known to have many possessions; people have always wanted to have more than they need (Hine, 2002). “ For most of humanity’s past, artifacts tell us just about all we know about how people thought and behaved” (Hine, 2002). Markets are found everywhere in the world and some archeologists say that they have been around before cities. In medieval Europe markets opened every seventh day and the rest of the week was used to create the goods.

The retail trade was eventually divided into two groups: producers and peddlers (Klaffke 2003). Producers were those interested in selling the goods they had produced. Peddlers tended to be opportunistic people making a profit selling other people’s goods. The world’s first true department store opened in Paris in 1852, Bon Marche. This was the first of this kind because customers did not have to pay to get in, and they were not required to make a purchase; in fact Artistide Boucicaut, the owner actually encouraged browsing (Klaffke, 2003).

Over time different types of stores developed ranging from general stores to chains and franchises to specialty stores. A specialty store specializes in a specific range of merchandise appealing to a selected clientele. A specialty store tends to have a more intimate relationship with its customer base. The advantage of a specialty store is that they are more tailored to the needs of their customers (Hine, 2002)

10

History

Graphic Design

Graphic design, the process of communicating visually with images and typography, existed since the paintings of cave men. The explosion of graphic design began around the Industrial Revolution, which defined specialized steps for creating and printing graphic communications (Weill 2003). In the 1960s, after photo-type became prevalent, graphic designers were the specialists. Other specialists of this time were typesetters, production artists, camera operators, strippers, and press operators (Weill 2003). By the 1990s, with the advent of personal desktop computers, one would be able to do all of these skills without the aid of specialists. The advancement of digital technology and graphic art software packages expanded the creative potential of computer users (Meggs & Purvis 2006).

Corporate Identification

Corporate identity is the overall look and images used to identify a company. Corporate identity represents the personality or philosophy of a company. It can be the company’s way of distinguishing itself from competitors. Corporate identity can be communicated through a visual image, such as a logo or uniform, through communication such as commercials or through corporate behavior. A visual image may represent something that the company wants to be known for, such as luxury or speed. Companies want their logo to be something stamped into the consumer’s mind. “ A trademark, the visible part of the corporate identity program, helps to ‘humanize’ a company by presenting a face, a personality, in the form of a symbol” (Napoles, 1988, p.19).

Corporate identity started with the use of brands in the nineteenth century. When goods were to be produced in factories, the factories would brand their insignia on shipping barrels. Packaged goods producers were using brands to try to convince their buyers they could trust their products. Coca Cola, Campbell’s Soup and Aunt Jemima were some of the first companies in the U.S. to use brands as a form of corporate identity. Today, many companies pay a lot of money for an identity that is easily recognized and goes well beyond a visual image. (Corporate Identity Designer.)

11

History

Logo Design

Logos began in ancient times, when people decided they wanted a unique symbol for easy recognition.

Some of the best known logos of early times are religious symbols such as the Christian cross, Judaic Star of David, and the Islamic crescent moon. Medieval Kings and nobles were the first to place their logo on merchandise: clothing, flags and tableware (Brown & Miller 1998). In the last hundred years, a logo has been the key to identify a product. One of the first logos used this way was RCA’s dog sitting in front of a phonograph in 1920. That image is still used (Conlon, Grace.). “ An effective logo speaks directly and instantly. A logo, unlike a multi-page brochure or even a poster, must deliver the goods with minimal means.

Well-designed logos deliver the message and the essence of the business they represent” (Stoltze, 2001. p.7).

Effectiveness of Letterhead

A letterhead system allows the designer a wider breadth of possibilities: clever printing techniques and the use of paper distinguish the most unique and dynamic systems.” (Stoltze, 2001. p.7). Letterheads help to bring the name of a company immediately to the attention of the reader. They are another way for a company to establish its identity and promote the business. Most of the official correspondence of any company is done on letterheads whether it is a request for items, receipts, bills, or any other miscellaneous letter or line of communication (Print, 2000). A letterhead establishes a brand awareness that leads to publicity and attention. The information given and the style of the letterhead are important. The letterhead should stand out but if it takes up too much room it restricts the writing space. Full color letterhead designing is very popular as it not only adds color to the letterhead but also makes it more attractive and entices people to read whatever is written on it. (Edwards and Fabella, 2000)

12

Liberal Arts

This section contains reports on two liberal arts classes that have helped in the production of this project.

These classes include: Modern Art History, and Technology and Propaganda.

Modern Art History

Modern Art History provides one with an understanding of the different styles of modern art through the twentieth century. Understanding the different styles of modern art provided a foundation to use in creating an alternative logo.

Throughout the development of my logo design I tried many different styles to see what would work best for my application. As my progress continued I looked at 60’s posters and art nouveau works. Working with these styles concepts that I learned in the Modern Art History class became important. I was able to reference the Modern Art History textbook for examples. Art nouveau used organic styles, and whiplash lines, which is a distinctive use of double-curves. I was able to create an interesting logo by experimenting with the idea of a whiplash line.

During my research of art nouveau I found a few influential pieces. The painting that I feel helped me most was William Blake’s, The Great Dragon and the Woman Clothed with the Sun. This painting shows the use of the whiplash curves with a raw and natural feeling. The art nouveau style also possesses the same dark imagery that I was trying to incorporate into my logo. Beardsley’s, Salome with the Head of John the Baptist, was a good example of the strong use of bold lines to create very interesting graphic shapes. The strong bold lines suggested a good tool for creating a logo. The organic movement evoked a raw feeling along with a sense of fear, which is the feeling I wanted my logo to convey.

A latent benefit of the Modern Art History class in doing this project was that the class involved intensive writing. The class made me more aware of the fundamentals of writing and conducting intensive research.

This helped me tremendously with writing the progress reports and research methods for senior project.

13

Liberal Arts

Technology and Propaganda

A second class that was very influential to my project was Technology and Propaganda. This class demonstrated how culture and technology was related to propaganda. The class focused on the concept that the composition of the visual image carries a strong message to the viewer. Elements of a visual image such as color, tone, dimension, and proportion all contribute to how an image is interpreted by the viewer.

Color has the capacity to affect the human nervous system: different colors affecting different emotions. The direction and orientation of a line can also imply certain feelings. To exemplify this concept, curved lines imply quiet, calm and sensual feelings. Visual images impact people on a level below conscious awareness.

This class heightened my awareness of the impact of small details such as the shape of a line in conveying an idea or evoking an emotion with the viewer.

Technology and Propaganda teaches persuasion techniques that have been used since the early nineteenth century. The subconscious mind is a major influence on conscious decision-making. An image that appeals to the subconscious can influence a person’s decision making. Technology and Propaganda covered techniques that are used in graphic media to appeal to a target audience. It emphasized techniques used to appeal to different audiences based on attributes such as gender and age. I created a rough looking logo to appeal to a rough audience. During the research for the propaganda class one had to look at advertisements and analyze how the product was being sold. The class taught the importance of logo placement and logo size in producing an advertisement. A logo works best when it is alone and not cluttered by other elements. I employed this concept in designing a logo that is strong and stands out. By looking through many skateboarding and tattooing magazines, I was able to get ideas for images and graphics associated with these products.

14

Project Narrative

This section includes three reports written at different points in the semester. They describe the status of the project as it was at that point in time. It includes problems that were encountered, solutions and potential problems yet to come. Finally, there is final evaluation report that describes how I met my objectives.

Progress Report 1

February 19, 2008 I formulated the idea for this project in October of 2007 when Matt Eberhart asked if I would make a logo for a company he was starting. He is planning to open a skateboarding shop in Altoona, Pennsylvania in the spring of 2008. In conversations with the owner he expressed interest in having a logo that had a tattoo look.

This was an interesting idea that intrigued me very much. I began researching both skateboarding and tattoo to determine how to integrate the two concepts into a single design. Skateboarding information was easy to find and informative, but the tattoo research did not come as easily. It was not hard to find information on the history of tattoos, however it was hard to find tasteful imagery. The other problem that I have encountered with the look that my client wants is coming up with the cleanest logo possible since he has narrowed down the style. At this point in the project I am still trying to keep the client’s preferences in mind but I am also keeping my options open to different ideas that I can propose to the client as alternatives.

One way that I was trying to determine how to bring the tattoo influence to the logo is by comparing skateboarding magazines to tattoo magazines. There are similarities in both styles. They both have bright colors, not a lot of text, minimal white space, and a predominant use of black. There were two items that stood out in the skateboarding magazines that I would like to try to incorporate into the logo design. These are text on a slant and the use of a grid system. As a result of this research I am trying to use bold colors in contrast to black and trying to incorporate a grid system to the logo. To incorporate the grid system into a logo while keeping with a tattoo style is presenting some problems. To solve these problems I have been looking at Bauhaus posters and the W. Wong book.

Another concern that I had with using the tattoo style for the logo is that it may be something that is overused. I was able to find a few web sites and articles online about the usage of tattoo symbolism in

15

Project Narrative

advertisements. I spent time determining how different companies used the look in an effort to avoid overused styles. The most popular and overused style is the banner influence, which is found everywhere.

All my conceptual problems have not been limited to the logo design. I have had problems finding reliable sources on tattooing. The books that I have found on tattoos, are not tasteful and images a tacky presentation that does not appear reliable. I have used a lot of internet resources to find information on tattooing. Because the internet sources do not have acknowledged credibility, I went on multiple sites, to make sure that they all had the same information. While I was able to get the information that I wanted on tattoos, I have had trouble trying to find information on the history of retail. Unlike the tattoo information I have been able to find reliable sources but, they do not have much on the history of retail; their emphasis is on why women like to shop. This is especially problematic since women do not represent the demographic for my product.

Another problem with my project is that Matt is not sure when he will be opening the store, because of unforeseen problems one of which is a change of location. He has gone from State College to Altoona. Even though the location of the store is not finalized I will continue with the project.

Progress Report 2

April 1, 2008 The logo design is more difficult than expected. My intent was to design a logo that was unique, had a strong appeal to the target audience and would work well on different elements of the project. I tried many different ideas to incorporate these objectives, attempting to keep it modern with an alternative edge. The influences I considered in designing my logo ranged from tattooing to the Bauhaus School. By trying to keep with my client’s desire to have a tattoo style I was creating a look that was not working well and appeared dated.

To solve this problem, I looked into different styles that were related to tattoos and people who enjoy this lifestyle. I made a connection from tattooing to the 50’s style. This imagery did not fit the skateboarding look.

The 60’s was when skateboarding began; leading me to look at 60’s poster art. The strong and psychedelic style of these posters had an emphasis on the use of art nouveau. The art nouveau genre automatically appealed to me with its organic style and strong curves. The curves resembled the way a skater would ride up a ramp, make a smooth and easy looking turn and then go back down the ramp. Playing with the tattoo

16

Project Narrative

idea and the art nouveau together I was able to create an intriguing swirl with a modern look.

With the beginnings of a logo that captured the right style, the next step was to connect it to the skateboarding market. To do this I wanted to make the logo raw-looking, by trying to incorporate the scraping of the bottom of a skateboard. The bottom of a used skateboard represents the essence of what skateboarding can be. I tried many different ways to get this effect. However, my initial set of thumbnails did not achieve the look I was aiming to achieve. They felt too thought-out, and not organic enough. Different methods that I tried were: drawing on a skateboard and scanning an existing scratched skateboard. Finally I tried making a relief print which worked the best. The print exhibited an organic, rough image that evoked a sense of raw feeling.

After settling on the graphic I began working the problem of finding the right kind of font to work with the graphic. I needed a font that would portray the style of the skateboarding culture. The choice of font has a direct impact on the strength of the logo. With a raw logo it is hard to make a cohesive, look with a traditional font. For this logo a font that was modern and had a raw look was required. I tried working with another relief print to reproduce the same raw feeling as I had on the design of the logo image. It was difficult to find the right balance between attaining a raw look without having it appear unfinished. With the relief prints I worked with two different ways of dealing with the type. The first way was to use a font and carve it out nicely but still leaving room for rawness. I also used my own handwriting to create a more extreme way of dealing with the type. After printing the two different methods I thought my own handwriting

Progress Report 3

April 20, 2008 Once the logo was finalized I was ready to pull everything else together. The concept for the bag was complete and only needed to incorporate the final logo. The envelope and letterhead were easy to resolve, however the business card presented a challenge. There was little information being placed on the card, resulting in a card with large, awkward white spaces. I was able to resolve this by placing a red square on the card. This created another element in the design, and tied in the logo. Although the letterhead and

17

Project Narrative

envelope do not have the red square element, they coordinate with the business card through the use of the swoosh of my logo extending the length of the card.

While working with the client he informed me that he would like to have tee shirts to give to his customers, for the store opening, and for his employees to wear. I browsed skateboarding catalogs to see what designs were popular with the skateboarding crowd. I also paid particular attention to what the young alternative crowed was wearing. Shirts of the alternative style seemed to have strong designs on the bottom right corner of the shirt. The design of the shirts was not a problem although getting the design onto the shirt involved trial and error. I was using iron-on paper to transfer the graphic onto the shirt. It took several practice runs until I was able to perfect the transfer. The most disappointing aspect of the tee shirt design was trying to use a black shirt. Both the client and I were hoping to use black tee shirts. The iron-on for the dark shirts left a white outline around the logo, that did not look as reďŹ ned as the white tee shirts.

Final Evaluation

The following is a report on how I accomplished my objectives.

Research competitors, background and history Research was a huge part of my senior project. I did extensive research before even beginning my project on the history of skateboarding, and on the history of tattoo design. I wanted to better understand skateboard designs, so I researched it’s beginning, and all the way up to today. I also looked at products from skateboarding companies and compared them, so I could see which designs were more successful. The research provided me with a solid understanding of the culture associated with my market niche. This was especially helpful in my tee shirt design, because it gave me ideas of what was being sold and the kind of customers that were buying the items.

Identify and analyze problems Throughout the project I have encountered and successfully solved many problems. My biggest problem

18

Project Narrative

throughout the semester was the logo design. At first I wanted the logo to have a tattoo appearance, but it started to feel too dated. I decided to step away from my initial idea, and started making the logo feel more “raw.” I was able to accomplish this idea by using a print making technique I had learned in class. I made a raw and free cut out of linoleum that created a feeling of spontaneity. The result was much better than my previous idea. The raw edges of the new logo related more to the stores clientele. Using one of the oldest forms of printing I was able to achieve a modern looking logo. With the logo in place I designed a bag for the Liberty store. I decided to incorporate a dye-cut to add some interest to the bag. After talking to a professor I realized that I would have to cut the top of the bag, so it would have a smooth edge.

Solve problems independently Senior project requires you to work independently. I encountered many problems with my senior project, but I was able to solve these issues by trying different techniques, and using what I had learned in my previous classes. Due to my perseverance I achieved the product that I was looking for. Although I needed to come up with solutions on my own, I did look to peers and other faculty members for feedback on my ideas. I am pleased with my final look. All of my pieces are cohesive and relate well to the Liberty store. I do think I would change a few things about my final logo. Even though I believe it works for a skateboarding store, I am going to create the logo my client wanted.

To develop a concept that suits the client needs My initial concept was to design an identity for Liberty Skate Shop that had a tattoo feeling. In the end though, I felt that the tattoo feeling restricted my ability to produce a strong logo. With more processing I was able to design an identity for the company. The concept was to create a visually appealing logo that could be tied into stationary, t-shirts and bags. I incorporated the same colors throughout my pieces and the same swoosh element. Throughout the semester I kept in contact with my client showing him my progress. He was happy with my final result, but still felt that he wanted a tattoo-style logo. I am still working with him, and I am very confident that I will be able to design a successful identity for his store.

To design a unified corporate identification During the semester, I researched many corporate identity examples. I understood that I needed to design an image that would appeal to the target market. I believe that the effort I spent researching skateboarding businesses helped in the design of my project. I knew that a raw, more modern logo would be more appealing than clean cut and conservative look for the clientele. I was also effective in keeping a unified image in the different elements of my project. The letterhead, envelope, and business card all use a light

19

Project Narrative

gray swoosh that travels up the length of the substrate. Throughout the stationary the logo, font, and type size all remain the same. All of the pieces can stand on their own or they can also work together as part of a corporate identity.

Create a cohesive look that integrates all elements I spent the semester trying to design an identity that had a cohesive look. I successfully did this by incorporating elements from each piece into the others. All of the designs have the logo, and are using the swoosh from the logo as a repeating element. The letterhead and envelope have the swoosh with a light opacity in the background. The business card has a similar look, but has slight differences that tie into the design of the bags and tee shirts. The red square found on the business card is also found on the sides of the shopping bags. The color swoosh can be found on the bottom side of the tee shirt for the employees as well.

The only design that does not have the repeating swoosh is the customer’s t-shirt. To unify this design, the logo placement on both customer shirts and employee shirts is located at the same spot. From the beginning I knew I wanted everything to be very cohesive, so I made a conscious effort to coordinate the elements of the project. I am very satisfied with this aspect of my project.

Evaluate the progress of the project Throughout the semester I had many problems with my project. As I found different problems I was able to identify and solve them. I was able to look at my progress and decide what was working, and where I needed to make changes. To avoid falling behind I made numerous variations of letterheads, envelopes, and business cards. I wanted to have a design for these elements that worked with my finalized logo. Once I came up with my final logo I was able to enhance these designs. The end result was a unified project that met my objectives. As I stated earlier, I am pleased with the final outcome, however I would try to change a few things about the logo to suit my client. Overall I feel that the different pieces relate well to one another.

I did over 300 thumbnails for my senior project. I worked very hard, so I could achieve an appropriate look for Liberty Skate Shop.

20

Appendix

Expense Report

Target white & black tee shirts iron-ons 54.90 Borders books for research 42.40 Barnes & Nobles books for research 28.62 Staples business card holder 4.49 Total

130.41

21

Appendix

Thumbnails

22

Appendix

Thumbnails

23

Appendix

Thumbnails

24

Appendix

Letterhead

200 E. College Ave., State College, PA 16801

412. 849. 9265

skate shop

25

Appendix

Envelope and Business Card

200 E. College Ave., State College, PA 16801

skate shop

skate shop

Matt Eberhart 412. 849. 9265

2 0 0 E . C o l l e g e Ave S t a t e C o l l e g e , PA 1 6 8 0 1

26

Appendix

Shopping Bag

skate shop

27

Appendix

Tee Shirt

Employees

skate shop

28

Appendix

Tee Shirt

Customers

skate shop

29

References

(2008). Retrieved February 9, 2008, from Corporate identity design Web site: http://www.corporateidentitydesigner.com/corporate-identity.aspx Brisick, J (20004). Have board, will travel, The definitive history of surf, skate, and snow. New York, NY: HarperEntertainment.

Brown, J, & Miller, A (1998). What logos do, And how they do it. Gloucester: Rockport Publishers.

Cave, S (2008). Skateboarding. Retrieved January 26, 2008, from About.com Web site: http://skateboard. about.com/ Conlon, G (2003). Logos, a history. Retrieved January 24, 2008, from Logo Works Web site: http://www.logoworks.com/logos.html.

Edwards, D, & Fabella, T (2000). Identity. Gloucester: Rockport Publishers.

Hine, T (2002). I want that, How we became shoppers. New York, NY: HarperCollins Publishers.

Klaffke, P (2003). Spree, A cultural history of shopping. Vancouver: Arsenal Pulp Press.

Napoles, V (1988). Corporate identity design. New York, NY: Van Norstrand Reinhold.

Meggs, P, & Purvis, A (2006). Meggs’ history of graphic design. Hoboken: John Wiley & Sons, Inc. Phipps, J. (2008). The history of the tattoo in north america. Retrieved January 16, 2008, from Ezine Articles Web site: http://ezinearticles.com/?The-History-Of-_The-Tattoo-In-North-America&id=895727 Print, (2000). Print’s best letterhead & business cards, 6. New York, NY: RC Publications.

Schwarz, R. (2008). Tattoos as trendy ad gimmick. Retrieved January 19, 2008, from Bella Online Web site: http://www.bellaonline.com/articles/art48_799.asp.

Skateboarding history. Retrieved January 18, 2008, from Skatelog.com Web site: http://www.skatelog.com Stoltze Design, Letterhead & logo design, 6. Gloucester, MA: Rockport Publishers.

30

References

Warwick Books, The history of skateboarding in less than 1700 words. Retrieved January 16, 2008, Web site: http://pages.interlog.com/~mbrooke/histor_y.htm.

Weill, A (2003). Graphic design: A history. New York, NY: Harry N. Abrams, Inc. Werner, D., & Badillo, S. (2000). Skateboarder’s start-up, A beginner’s guide to skateboarding. San Diego, CA: Tracks Publishing.

31

Bibliography

(2008). Retrieved February 9, 2008, from Corporate identity design Web site: http://www.corporateidentitydesigner.com/corporate-identity.aspx This web site explains the importance of the image in building a corporate identity.

(2008, February). The Skateboard Mag, [47].

This is a magazine that seeks to maintain the independent nature of skateboarding.

(2008, February). Thrasher, [329] This magazine covers all aspects of skateboarding including clothing, skate parks, music and news.

(2008, February). Transworld Skateboarding, [26(2)] This magazine is one of most recognized and extensive skateboarding magazines.

Brisick, J (20004). Have board, will travel, The deďŹ nitive history of surf, skate, and snow.New York, NY: HarperEntertainment.

This book documents the history of surďŹ ng, skateboarding, and snowboarding. It discusses how they began, and all the different styles of the sports.

Brown, J, & Miller, A (1998). What logos do, and how they do it. Gloucester: Rockport Publishers.

This book explores the value of a logo, and their effectiveness in getting the attention of the customer.

Cave, S (2008). Skateboarding. Retrieved January 26, 2008, from About.com Web site: http://skateboard.about.com/ This web site covers everything from the best brands of skateboards to articles on professional skateboarders.

32

Bibliography

Conlon, G (2003). Logos, a history. Retrieved January 24, 2008, from Logo Works Web site: http://www.logoworks.com/logos.html.

This web site documents the history of logos and their use.

Dabner, D (2005). Graphic design school. Hoboken, NJ: John Wiley & Sons, Inc. This book explains how to make a good corporate logo, advertisement, and magazine design.

Edwards, D, & Fabella, T (2000). Identity. Gloucester: Rockport Publishers.

This book discusses corporate identity and depicts examples of letterheads, bags, and other paraphernalia that corporations use to display their logos.

Elam, K (2004). Grid systems. New York, NY: Princeton Architectural Press.

This book provides instruction on the use of a grid system to create an organized design.

Hine, T (2002). I want that, How we became shoppers. New York, NY: HarperCollins Publishers.

This book starts with the history of how markets began and then expands to discuss what motivates the consumer to buy.

Hoye, J (2003). Boards, The art and design of the skateboard. New York, NY: Universe Publishing.

This book is a collection of skateboard designs.

Klaffke, P (2003). Spree, A cultural history of shopping. Vancouver: Arsenal Pulp Press.

This book documents the history of markets and how shopping has expanded over time.

Napoles, V (1988). Corporate identity design. New York, NY: Van Norstrand Reinhold.

This book describes the steps needed to create a corporate identity that captures the attention of the customers.

33

Bibliography

Neuenschwander, B (1993). Letterwork creative letterforms in graphic design. New York, NY: Phaidon Press Limited.

This book illustrates the use of type in creating interesting designs and logos.

Meggs, P, & Purvis, A (2006). Meggs’ history of graphic design. Hoboken: John Wiley & Sons, Inc. This book delineates the history of graphic design from pictograms to modern times.

Phipps, J. (2008). The history of the tattoo in North America. Retrieved January 16, 2008, from Ezine Articles Web site: http://ezinearticles.com/?The-History-Of-_The-Tattoo-In-North-America&id=895727.

This web site relates the history of tattoo and the cultural changes related to the tattoo.

Pinchazo, E. (2007). Inked, [11(2)] This magazine is about the culture, style, and art of tattooing.

Print, (2000). Print’s best letterhead & business cards, 6. New York, NY: RC Publications.

This book showcases the winners of Print magazine’s national design competition.

Rivers, C (2004). Maximalism the graphic design of decadence & excess. Miles: Rotovision SA. This book is full of examples of bright and bold designs.

Schwarz, R. (2008). Tattoos as trendy ad gimmick. Retrieved January 19, 2008, from Bella Online Web site: http://www.bellaonline.com/articles/art48_799.asp.

This article describes how major companies are using tattoo images as a way to advertise their products.

Skateboarding history. Retrieved January 18, 2008, from Skatelog.com Web site: http://www.skatelog.com This web site outlined the history of skateboarding starting from 1950s and continuing to 2000.

34

Bibliography

Stoltze Design, Letterhead & logo design, 6. Gloucester, MA: Rockport Publishers.

This book is a collection of well designed logos, letterheads, and business cards.

Tinney, B. (2008, March). Tattoo, [223] This magazine is about tattooing, showing images of people who are highly tattooed.

Top Design Studio, (2003). Letterhead & logo design, 8. Gloucester, MA: Rockport Publishers.

This book is a collection of well designed logos, letterheads, and business cards.

Verlag, D (1999). Buro Destruct. Berlin: Medial Offset.

This book is full of designs that have chaos and stillness, to create bold bright designs from Switzerland.

Warwick Books, The history of skateboarding in less than 1700 words. Retrieved January 16, 2008, Web site: http://pages.interlog.com/~mbrooke/histor_y.htm.

This web site described the history of skateboarding form 1900’s to modern times.

Weill, A (2003). Graphic design: A history. New York, NY: Harry N. Abrams, Inc. This book covers the history of graphic design from the late-nineteenth-century to the early 1990s.

Werner, D., & Badillo, S. (2000). Skateboarder’s start-up, A beginner’s guide to skateboarding. San Diego, CA: Tracks Publishing.

This book provides a brief history of skateboarding, and then describes the basics of skateboarding form safety tips to tricks.

Wong, W. (1993). Principles of form and design. Hoboken, NJ: John Wiley & Sons, Inc. This book covers the principles of creating a two-dimensional design.

35

FITZGERALD

Kathleen Fitzgerald.

1746 W Whitehall Rd., State College, PA 16801

814.222.0017

Fitkat50@pct.edu

Objective

To obtain a graphic design position in a company with growth opportunities in print layout, where I can utilize my creative skills to help build a successful presence for the organization.

Education

Bachelor of Science, Graphic Design Pennsylvania College of Technology, 2008 An afďŹ liate of the Pennsylvania State University

Experience

May 2007-August 2007 Graphic Design Intern Barash Group State College, Pennsylvania -Designed ads for a local magazine -Designed billboards May 2004-January2007 Retail Uni Mart State College, Pennsylvania -Communication skills with customers, assisted with daily and weekly paper work

Technical Skills

Adobe CS3 (Photoshop, Illustrator, InDesign, Flash) Microsoft Word

Creative Skills

Layout and design of print advertising, professional point of purchase, corporate logo and identity design, page and poster layout, type design, direct mail and newsletter development, illustration

Activities

Volunteer for Special Olympics

Portfolio and Reference Available Upon Request