Brink

brink* * In the creative process there is an inevitable wall that awaits —unmoving and unforgiving.

At this wall a designer is forced to make a choice: quit, or push through. It’s this tipping point that separates the cowardly from the fearless. To push through is to discover what lies beyond the wall, to celebrate overcoming the impossible. I’m on the brink and I’m pushing through.

katie king rumford

brink*

portoflio of katie king rumford

brink*

a portfolio by katie king rumford Written and Designed by Katie King Rumford

Masters of Fine Arts Graphic Design Graduate student of the Academy of Art University 79 New Montgomery Street Fifth Floor San Francisco, California 94108 USA

Find katie on the web at www.katiekingrumford.com To contact, please send a note to: katie@ katiekingrumford.com Copyright Š 2012 by Katie King Rumford

Printed and bound in the United States of America ALL RIGHTS RESERVED. copyright Š 2012 katie king rumford no portion of this book may be used or reproduced in any manner without prior written consent of katie king rumford.

j.r.r. tolkien

“ The greatest adventure is what lies ahead. Today and tomorrow are yet to be said. The chances, the changes are all yours to make. The mold of your life is in your hands to break.�

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contents

007

00 brink*

what’s in a name 009

01 revolution urban cycling 027

02 transformation visual timeline 037

03 collaboration future of suburbia 053

04 extinction

sahara: a conceptual rebranding 077

05 transition MetaDesign: real world 091

06 exhaustion mock film festival 125

07 anticipation close your eyes 139

08 perdition rinse. sin. rinse. repeat.

159

09 celebration

826 valencia & miette bakery 171

10 culmination counter intuition

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standing at the edge

w h a t ’s i n a n a m e ?

Being on the brink of something generally connotes change, remaining unknown, terrifying and exciting, all at once. I am on the brink of change—graduate school is behind me and the future before me is as much a mystery to you as it is to me. I am on the brink of change, on the brink of discovery, and most importantly, I’m on the brink of adventure. I do not see the future as something to brace for but something to embrace. I do not know what this change looks like, but no one ever does and it’s quite comforting to know that. Change is inevitable, so it’s the attitude one takes that makes the difference. I am still being refined—I have much to learn, mistakes to make and successes to revel in, but that’s what the rest of my life is for. The following pages are filled with my work, imperfected but beautiful. A designer’s work is never done, but I must close this door and move forward.

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title revolution

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revolution urban cycling

v i c t o r h u g o , Les MisĂŠrables

“ Revolutions spring not from accident, but from necessity. A revolution is a return from the factitious to the real.

It takes place because it must.�

c our s e visual communications lab

instructors phil hamlett & hunter wimmer

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design brief

Think of this like a mini-thesis project that devotes an entire semester to a single topic, problem and objective. Research and design a book that proposes change and solves the problem using graphic design.

design thinking

design solution

The topic I chose was urban cycling—not because I knew so much

The end of the road for this particular class was a 6” x 9” book. This

or had a lot of experience—actually it was quite the opposite. Before

book has every bit of research from the ten previous projects, but

selecting my topic I had purchased a road bike in San Francisco just

integrated into the narration, infographics and style of the book. The

a few weeks before. I was just beginning to see what biking in a big

purpose of the book is to get people not only to read about the topic,

city looked like. I was curious, and so it began.

but to become curious, invested and want to make the change with me.

This project was focused on research with small projects each

I proposed multiple design solutions in order to make San Francisco

week, including a map, throwing an event and inviting people to

more bike friendly. I was lucky in a sense, because at the time I was

come and speak on the topic, a self-portrait, a web of intercon-

doing my research there was a big push from the city to improve

nectivity between audience profiles, postcards, etc. The projects

the streets, biker viability, cyclist safety and overall awareness.

were meant to push our research and to try research methods,

My efforts felt as if they were instantly doubled, and people were

unfamiliar to us. The timeline was difficult, a finished piece each

interested in my research and the opportunities I found for design.

week including hours upon hours of research—but the research

Some of the opportunities included a campaign for both cyclists and

was what informed the design. The strategy was to create a look

riders, free bike stations throughout the city, biking meet ups and

and feel that was modern, urban and mobile. The ultimate goal

networking, and a bike rack art and design competition to include

was to rid the fear of riding in the city by providing solutions to

local artists. A digital version of the book can be seen here: issuu.

ease fear, better communication between driver and cyclist and

com/katiekingrumford/docs/urbancycling.

to start an urban cycling revolution.

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hand-crafted The case bound book and slip case were printed on my Epson 3800 on printable book cloth. The book was hand bound, the slip case hand constructed and finished.

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transformation visual timeline

laurie dunnavant

“ We understand that you can’t transform people who don’t have drive and desire to create. But we also know it doesn’t work to urge people to think outside the box without giving them the tools to climb out.”

cour se visual literacy

instructor hunter wimmer

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design brief

Create a visual timeline without the mention of time. Come up with alternative increments that communicate the passing of time. Use a unique format that suits the topic.

design thinking

design solution

This was one of the more frustrating projects that I completed

Lucky for both sides, the pushing and prodding was much needed. It

during my graduate work. Not because the format was so difficult or

was with this problem and solution that I hit my stride. I realized that

because I couldn’t figure out the type, but because of the opposition

I could do it! It was a complete and utter transformation of mind and

I faced. This piece was a process in and of itself. I wanted to create

work. I wouldn’t say I was completely confident moving forward, but

and tell the romantic story of my surprise marriage proposal in

I knew that if I pushed hard enough and worked with my mind, heart

Venice, Italy and was stuck on the idea of using the umbrella that we

and hands, that I could make this happen.

used that night in the rain as the vessel for the design. The problem with the umbrella was that the format was difficult to work with and the fabric, next to impossible to print on without damaging.

I scrapped that idea a few weeks in and started with the scroll.

The scroll came out beautifully as well. I coffee stained the 12” x 36” long sheet of paper and ran it through my printer. The timeline infographic was detailed and told the story of the engagement through heartbeats (both Peter’s and mine), thoughts, conversa-

The concept for the scroll goes back to the Venetian artwork and

tions, bridges, and kisses. The format of the scroll worked in this

arching shape of the bridges. I was inspired by my surroundings

case as a natural way to show the passing of time. The unfurling of

and I was sure that I could make it work, I just didn’t know quite

a scroll naturally shows a progression and a moving forward, thus

how. Never in my life had I been challenged so much as with this

I didn’t need to mention time with the format of a scroll. The piece

project. I was told in week fourteen (out of fifteen weeks, mind you)

was hand-sewn by me and the scroll bars and end pieces were

to scrap the whole thing and start over—and not with a scroll. They

hand drilled and crafted. This project was a revelation—I didn’t

either had no confidence in me and my work, or they were pushing

have to stay on the computer to create design and covetable

me to see how far I could go.

pieces. Design is also about craft.

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the bridge of sighs I had no idea that a proposal was coming my way, so when Peter knelt down in the pouring rain under the Bridge of Sighs, I was speechless. The best part of the story, used in our wedding is that the Bridge of Sighs in Venice is the bridge that the prisoner takes to go from the palace to the dungeon—it was their last glimpse of freedom.

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title collaboration

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collaboration future of suburbia

k i r b y f e r g u s o n , TED speaker

“ We are not self-made. We are dependent on one another. Admitting this to ourselves isn’t an embrace of mediocrity and derivativeness, it’s a liberation from our misconceptions.”

cour se typography systems

i n s t r u c t o r s b r e n d a n c a l l a h a n & a r v i e r a q u e l- s a n t o s

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design brief

In groups of three, choose a single topic and create a series of three books on different aspects of the topic. The content, voice and design should look and feel cohesive yet be able stand on its own.

design thinking

design solution

This project began as a smal book, an assignment that each student

As a group we choose to bind our own books and to create a cor-

researched a topic of their choice. The twist came when our pro-

rugated cardboard applied cover, something none of us had done

fessors counted us off into groups of three, and we had to decide

before. We also built out the housing for the three books. Although

between the three of us to choose a single topic and create a three-

I couldn’t get hold of the other two books, the set was cohesive

book series on the single topic. Joel Hawkins, Padcha Supanimit and

and powerful.

were a group. Joel and I had actually done research on suburban America, so it seemed reasonable to choose a mutual topic.

major problems (pollution and transportation, housing sprawl,

We split the topic up into three parts—Padcha did the history of

lack of community and community spaces, etc.) and came up

and the future state of American suburbs; Joel did a negative spin

with solutions to address the problems. Common use spaces,

on the future of Suburbia; and I did took the future of Suburbia and

community gardens, parks and rec buildings, public transportation,

gave it a positive spin. The books had to be cohesive in voice, design

solar energy and modern loft style living were some of the urban

and content, but they also had to stand on their own. This project

amenities brought to Suburbia. At the beginning of this project

was the first time that I had a chance to work with my peers and I

I was on Joel’s side—I didn’t think the Suburbs had a future and

can say with confidence that I had the best group. It was a learning

it was the worst place I could end up. By the end of the project,

experience and we each pulled our own weight, supported and

through research and collaboration, the suburbs were looking like a

encouraged one another. I learned that design is better with a

nice place to settle down.

strong team.

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With the positive spin on the future of Suburbia, I focused on the

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we are the future The future of suburbia is still undecided. With the strong contrast between the second book (the negative spin designed by Joel Hawkins, no included here), and the positive message of the third, we hope to change the outlook and perspective of those who have the power to make a difference.

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extinction

sahara: a conceptual rebranding

t.s. elliot

“ Only those who will risk going too far can possibly find out how far one can really go.�

cour s e nature of identity

instructors gaston yagmourian & hunter wimmer

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design brief

Take a dead, dying or defunct brand and rebrand it. Going beyond a new logo, what could the company be? What other sectors could it logically go into? Create brand guidelines in a comprehensive brand book.

design thinking

design solution

The brief was to find a dead, dying or defunct brand and bring it back

I took the liberty of expanding not only Sahara’s history, but I took

to life. I went out of my comfort zone and chose a company that had

it from a hotel and casino to a full-blown luxury company. The new

glitz and glam—the Sahara Hotel & Casino in Las Vegas. The hotel

mission statement was “Sahara invites you to limitless escape”. Taking

had been shut down just a few months prior in March of 2011. This

the term “escape” and pushing it as fas it could go. Sahara still had the

project could have been a simple branding exercise, identify the

hotel and casino—luxurious, sophisticated, intimate, powerful—but

target audience, create a new look and feel, a new logo, slap it on a

there is so much more that one can escape from. Luxury travel by car,

business system and that’s that. But I wanted to defy extinction and

private jet or yacht, whever you need, whenever you need.

bring it back to life in a way no one ever would have expected.

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I created something called the PharmaSpa, a perfect mix of the preci-

I went back to the root of the word “Saharha”, (meaning desert),

sion and power of a Pharmacy and the relaxation and rejuvenation of

and focused on a specific culture in the Sahara desert—Egypt. I was

a Spa. Combined, the possibilies are limitless—one can have a pill to

inspired by hierglyphics and the beliefs in the afterlife. At one point

unlock their brain to its full capacity, a pill to erase specific memories,

I decided to make Sahara a secret society that killed it’s patience

anti-aging serums, escaping the now-so-inevitable aging process, and

and brought them back to life—the ultimate gamble—but I was told

so many more. But with the PharmaSpa there was a need for a luxury

that was going too far. I learned that going too far isn’t a bad thing,

Detox and Rehab center. Sahara is there for whatever your escape de-

although it may seem like it at the time. It’s knowing where the line

sires may be. But what if you could live forever with Sahara’s crygenic

is, and being able to walk up to it—but where to stop.

freezing? The possiblities are endless, you decide how far to go.

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the original logo The original logo for the Sahara Hotel & Casino was outdated and irrelevant for my new vision for the company. Ironic, that when I was showing my portfolio to a professor of mine, Rod Dyer, he had designed the original Sahara logo. Much to my surprise he liked the new logo.

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h o w fa r c a n yo u e s c a p e?

The concept behind the new Sahara was to take escape to a new level—beyond what others thought possible. Offering methods of escape ranging from temporary to permanent and physical to psychological Sahara has something for everyone, as long as you can afford it. A luxury resort in every sense of the word, it is out of this world.

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2 5 3 5 L A S V E G A S B LV D S O U T H _ L A S V E G A S _ N E VA DA 8 9 1 0 9

ALEXANDER BLACK ESCAPE SPECIALIST SAHARA. LAS VEGAS

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D A M O N R U H L Q U I S T, E S Q .

O N E M A R K E T S T R E E T, S T E . 2 2 0 0 SAN FRANCISCO, CA 94105

Dear Mr. Ruhlquist, We have received your request for a key. Unfortunatley for you, that request has been denied. We hold the highest of standards for our members and are seeking only the superb human specimen. Your physical, emotional, and psychological testing showed flaws in your character as well as your phsyical well-being, disqualifying you from Sahara membership.

We do not allow re-testing and are kindly requesting that you cease communication with Sahara on the topic of membership. Should our standards change in the future, we will keep your file in our database and seek you out if we see fit.

We apologize for any inconvenience that this may have caused you. To compensate you for your time and efforts, we would like to offer you a seven-night stay at our most exclusive, non-member, Oasis Villa. The spa, pool, hotel, casino and pharmacalogical playland will be awaiting your arrival. We can offer you transportation to and from the airport, but getting there is up to you. Please let us know if you should you like to accept our offer. This offer is only good for three months from the date above.

After that, should you deny communication about this offer we will remove you from our database.

We hope to gain your business, whether for business or pleasure on future travels. Again, we apologize for the denial of membership, but please be assured that only .01% of applicants that are accepted and you are not alone in this. We hope you enjoy your future stay. We look forward to serving you and your need for escape from your everyday life.

Sincerely,

ALEXANDER BLACK

CFO & Partner Escape Specialist

ESCAPE SPECIALISTS 2 5 3 5 L A S V E G A S B LV D S O U T H L A S V E G A S _ N E VA DA 8 9 1 0 9

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transition

MetaDesign: the real world

mother teresa

“ Life is an opportunity, benefit from it.

Life is beauty, admire it. Life is a dream, realize it. Life is a challenge, meet it.

Life is a struggle, accept it. Life is an adventure, dare it.�

internship metadesign

creative director stan zienka

client inktank / ceph

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design brief

Create an integrated brand system that includes an identity for Ceph as well as a complimentary identity and system for its parent company, Inktank.

design thinking

design solution

Interning at MetaDesign was one of the highlights of my graduate

My design solution came from an open and airy moodboard, with

work, not just because of the name, but because of the team. Stan

graphic shapes and overlays. I wanted a specific looking typeface

Zienka, the Creative Director brought me on board and fully immersed

but couldn’t find one to my liking so I produced a custom typeface,

me into the design team immediately. I became part of the team,

rounded, friendly and approachable. The friendly type was in contrast

holding my own weight and expectations, presenting my work for

to the images with hard edges, lines and angles. The colors were

clients and creating work that I was proud of.

chosen because they were youthful, but away from the competitors

Inktank, an online storage company, was launching a product called “Ceph”. Our design brief was to create an identity that was modern, edgy, passionate, idealistic and empowering. We had word cloud brainstorms as a team, we then moved to visual mood boarding for inspiration, and then ultimately designing the system and mark side by side. The client wanted two systems, one for Ceph that was a bit more vibrant, as well as a system for Inktank that would be a bit more subdued. The two identities and systems had to work side by side as well as on their own.

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color boards, a but unexpected. I anticipated the client to veto the colors, but they loved them. The images that were paired with the type were open, airy and high contrast black and white. Inktank was more austere structures because it is the structure that holds Ceph. And Ceph’s imagery were open, often abstracted images of technology. Making and the beauty all about the details. This concept was one of two final directions chosen by the client—it was not the chosen direction.

All pieces designed while interning at Meta Design.

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exhaustion mock film festival

kurt vonnegut

“ Laughter and tears are both responses to frustration and exhaustion. I myself prefer to laugh, since there is less cleaning up to do afterward.�

cour s e integrated communications

instructor christopher morlan

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design brief

Choose a director and create a mock film festival. Concept, design and create an integrated design system compelled from a commen thread throughout the films— expand it across multiple platforms.

design thinking

design solution

Alfred Hitchcock—the master of suspense—was the director I

The photography, excepted of course the film stills, are all my own.

choose for the mock film festival. It should be said, I am not a fan

I had never worked with such a blatant feminine color palette before

of scary movies, the imagery stays with me and I have nightmares

and decided to challenge myself in that way as well. Choosing a min-

for weeks. I also had never seen an Alfred Hitchcock film prior

imal color palette and black and white films, the festival was a hit.

to this semester. But I am happy to say that I am now a lover of Hitchcock’s films. He is a master at his craft and was quite taste in his direction. I developed a brand and integrated system based on a single thread in his films—voyeurism. Using the vantage point of a spy or someone peeking in I developed my visual style and identity.

The overall set that was designed for the festival included: a housing for the film festival (built by my wonderful father, Dave), a DVD set with custom box and 5 DVDs as well as a DVD catalog. There were tickets, posters, advertising, a schedule, a website, a disguise kit, packaging items including a secret serum set, and a how to spy

The entire semester is like running a marathon at a sprinting pace.

guide with a disguise kit (wigs, mustaches, hearing pieces, x-ray

Each week we’re terrified of our critique and never have enough. I

glasses and binoculars), a film festival catalog highlighting the lo-

was constantly tired yet constantly excited to be working on some-

cation of the film (Hollywood Cemetery & Paramount Studios), the

thing so consuming. I decided during this period of insanity that I

history, the characters and the director, and last but not least was

loved design and I didn’t mind that I was always thinking about it. I

an all-encompassing process book. I finished the race, had never

rather loved being so taken with something. The design was all-con-

been so exhausted before in my life, but I can proudly say that I did

suming though, everything that I did, I was looking for inspiration of

it and I survived.

shapes and forms, structures and type.

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GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

THE ART OF OBSERVATION GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

OBSERVAtION GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

of

of

GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

observation OBSERVATION

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

GUILE AND NAIVETÉ IN THE FILMS OF

ALFRED HITCHCOCK

OBSERVATION THE ART OF OBSERVATION GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

observation

OBSERVAtION GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK

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voyeurism in a mark The desperate desire to cover up our own iniquities yet uncover the imperfections of others inspired the mark for The Art of Observation.

The slicing, inspired by Psycho, harsh angles signify different perspectives and masks we show to different people. The shift occurs when we are inevitably discovered and it shifts the ground we stand upon without our consent.

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title anticipation

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anticipation close your eyes

alfred hitchcock

“ There is no terror in the bang, only in the anticipation of it.�

cour s e experimental typography

instructors stan zienka

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design brief

Create a book of experimental typography on the topic of your choice. You must take and use your own original photography.

design thinking

design solution

The purpose of this project was to let our creativity run wild. We

The project was all about dreams, but it was also about anticipation.

simply had to tell a story using type and images. I was inspired by

In dreams there is a sense of urgency and dread, of anticipation and

a book I found that had a man chasing a red balloon. It reminded me

awe. I wanted to reflect this in the photography. After my model no

of the surrealist painter Salvador Dali. I loved the idea of hearkening

showed, I asked my husband to take some shots. I art directed and

the surreal but staying within the realm of the real world. It sounds

stood in as the model while he took direction and took the shots. To

odd, but it was a way for me to explore dreams. I have always had

tie in the element of the surreal I used India Ink and painted some of

vivid dreams and I usually remember them upon waking. I often

the scenes from the photos, sometimes adding the hidden element

have recurring dreams, these tend to be nightmares.

unseen in the daylight, but visible in dreams. I painted with the ink

I wanted to visit both the light and the dark side of dreams. This project told the tale of a dreamer but through words that aren’t their own. In dreams I often feel as though I’m not the one telling the story, but an onlooker—so I used lyrics and poems to narrate the book.

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on vellum, scanned it in and reversed out the illustration and placed it on top of the photographs. It created an eerie and mysteriousness that I wanted.

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india ink & water With so many steps, creating the layered images was a muti-step process and a personal constraint.

Step 1: take photograph. Step 2: Using india ink and brush, paint the focal point of photograph.

Step 3: Scan painting. Step 4: Reverse out type. Step 5: place on top of photograph.

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title perdition

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perdition rinse. sin. rinse. repeat.

m a h a t m a g a n d h i , On the Seven Deadly Sins

“ Wealth without work, pleasure without conscience, science without humanity, politics without principle, commerce without morality, knowledge without character, worship without sacrifice.�

course typography three

instructor ariel grey

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design brief

Choose a paper company and specific line to create a paper promotion piece including a sample book, swatch cards and a website for the paper.

design thinking

design solution

New Leaf’s Reincarnation paper was my inspiration for this project.

The final book was accompanied with a poster as well as swatch

I was taking this class at the same time as Nature of Identity—the

cards of the Seven Deadly Sins showing off Reincarnations different

Sahara conceptual rebranding project—and had afterlife on the

papers. A unique feature of this book was the laser cutting of the

brain. Reincarnation itself is an interesting concept, a rebirth, a new

numerals. Each chapter, and therefore sin, received its own numerals

beginning, death, a laying to rest. With inspiration from a mind map

which were carefully laser cut to show the layers underneath, expos-

and brainstorming I cam up with the concept of reincarnating the

ing the under layer. Much like sin, there are always many layers and

Seven Deadly Sins.

depths unseen. So often we try to hide it, but it’s still there.

This project was quite outside my comfort zone, this was a semes-

With the dark and sinister images a twisted grid needed to be

ter of stretching myself in ways that I was uncomfortable with. It

constructed. I worked with an axial grid, black letter, a humanist

is very dark and sinister, dealing with grotesque images and sinful

and sans serif type pairing where juxtaposition was key. The book

thoughts. We often think the Seven Deadly Sins have gone away,

is meant to make the reader squirm a bit and to continue turning

but the opposite has occurred, they have transformed and have

the page.

become much graver and sinister sins. Anger transformed and strengthened into racism, envy turned to polygamy, gluttony to obesity, greed became hoarding, lust turned to human trafficking, sloth became global warming, and vanity turned to anorexia. The sins aren’t gone, they’re worse.

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laser cut cards In order to give the paper sample cards a bit of an edge I created dies for each card with the roman numeral laser cut out of the cards. They were cut and placed inside of a faux Bible box with cutout tabs on the side to replicate the feeling of paging through the Holy Book. The gritty images in juxtapose the sacred wholesomeness of the card housing.

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title perdition

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then desire when it has conceived gives birth to sin, and sin when it is fully grown brings forth death.

RACISM

RACISM

RACISM

NEW LEAF PAPERNEW LEAF PAPER

paper

Matte 70# text

RACISM

NEW LEAF PAPER

Opacity: 93.0; Caliper: 4.2

oldold

then desire when it has conceived gives birth to sin, and then desire sin when when it it is fully grown has conceived brings forth gives death. birth to

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116Street, New Montgomery Ste. 830 Street, Ste. 830 San Francisco, CA San 94105 Francisco, CA 94105 888.989.5323 888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to

©New Leaf Paper.©New All rights Leafreserved.

Paper. All rights reserved.

Please help us preserve Pleaseour helpplanet. us preserve If you our choose planet. not Iftoyou choose not to

keep this swatch card, please place it in a recycling bin.

keep this swatch card, keep please this swatch place card, it in aplease recycling placebin. it in a recycling bin.

NEW LEAF PAPER

NEW LEAF PAPER NEW LEAF PAPER

paper

paper paper

Matte 80# text

Matte 80# text Matte 80# text

Opacity: 94.0; Caliper: 4.9

POLYGAMY

POLYGAMY

POLYGAMY

Opacity: 94.0;Opacity: Caliper:94.0; 4.9 Caliper: 4.9 POLYGAMY

design process

Katie King Rumford

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 NewStreet, Montgomery Ste. 830Street, Ste. 830 San Francisco,San CA 94105 Francisco, CA 94105 888.989.5323 888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. ©New AllLeaf rights Paper. reserved.

All rights reserved.

Please help usPlease preserve helpour usplanet. preserve If our you planet. choose If not you tochoose not to

keep this swatch card, please place it in a recycling bin.

keep this swatch keep card, thisplease swatchplace card,itplease in a recycling place it in bin. a recycling bin.

NEW LEAF PAPER

NEW LEAF PAPER NEW LEAF PAPER

paper

paper paper

Matte 105# text

Matte 105# text Matte 105# text

Opacity: 96.0; Opacity: Caliper: 7.5 96.0; Caliper: 7.5

design process

design design process process

OBESITY

OBESITY

OBESITY

Katie King Rumford Katie King Rumford

4-color process 4-color with spot process colorwith varnish spotand color dievarnish cut and die cut OBESITY

Katie King Rumford

4-color process with spot color varnish and die cut

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 New Street, Montgomery Ste. 830 Street, Ste. 830 San Francisco, CA San94105 Francisco, CA 94105 888.989.5323 888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

©New Leaf Paper. ©New All Leaf rightsPaper. reserved.

All rights reserved.

Please help us preserve Please help ourusplanet. preserve If you ourchoose planet.not If you to choose not to keep this swatch keep card, this please swatch place card, it in please a recycling place itbin. in a recycling bin.

NEW LEAF PAPER

NEW LEAF PAPER NEW LEAF PAPER

paper

paper paper

Matte 130# dtc

Matte 130# dtcMatte 130# dtc

Opacity: 100.0; Caliper: 16.0

Opacity: 100.0;Opacity: Caliper: 100.0; 16.0 Caliper: 16.0

design process

design design process process

HOARDING

HOARDING

HOARDING

Katie King Rumford Katie King Rumford

4-color process 4-color with spot process colorwith varnish spotand color dievarnish cut and die cut

HOARDING

Katie King Rumford

4-color process with spot color varnish and die cut

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 New Street, Montgomery Ste. 830 Street, Ste. 830 San Francisco, CA San94105 Francisco, CA 94105 888.989.5323 888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

©New Leaf Paper. ©New All Leaf rightsPaper. reserved.

All rights reserved.

Please help us preserve Please help ourusplanet. preserve If you ourchoose planet.not If you to choose not to keep this swatch keep card, this please swatch place card, it in please a recycling place itbin. in a recycling bin.

NEW LEAF PAPER

NEW LEAF PAPER NEW LEAF PAPER

paper

paper paper

Matte 80# cover

Matte 80# cover Matte 80# cover

Opacity: 99.0; Caliper: 10.3

Opacity: 99.0;Opacity: Caliper:99.0; 10.3 Caliper: 10.3

design process

design design processprocess

HUMAN TRAFFICKING

HUMAN TRAFFICKING

HUMAN TRAFFICKING

Katie King Rumford Katie King Rumford

duotone colorduotone process with color spot process color with varnish spot color and die varnish cut and die cut

HUMAN TRAFFICKING

Katie King Rumford

duotone color process with spot color varnish and die cut

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 NewStreet, Montgomery Ste. 830 Street, Ste. 830 San Francisco,San CA Francisco, 94105 CA 94105 888.989.5323888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

©New Leaf Paper. ©NewAll Leaf rights Paper. reserved.

All rights reserved.

Please help usPlease preserve helpour us planet. preserveIfour youplanet. chooseIfnot youtochoose not to keep this swatch keepcard, this please swatchplace card,itplease in a recycling place it in bin. a recycling bin.

NEW LEAF PAPER NEW LEAF PAPER

NEW LEAF PAPER

paper paper

paper

Matte 95# cover Matte 95# cover

Matte 95# cover

Opacity: 100.0; Opacity: Caliper: 100.0; 13.0 Caliper: 13.0

Opacity: 100.0; Caliper: 13.0

design design processprocess

design process

GLOBAL WARMING

GLOBAL WARMING

GLOBAL WARMING

Katie King Rumford Katie King Rumford

duotone colorduotone process color with spot process color with varnish spot color and die varnish cut and die cut

GLOBAL WARMING

Katie King Rumford

duotone color process with spot color varnish and die cut

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 NewStreet, Montgomery Ste. 830 Street, Ste. 830 San Francisco,San CA Francisco, 94105 CA 94105 888.989.5323888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

©New Leaf Paper. ©NewAll Leaf rights Paper. reserved.

All rights reserved.

Please help usPlease preserve helpour us preserve planet. Ifour youplanet. chooseIfnot youtochoose not to keep this swatch keepcard, this please swatchplace card,itplease in a recycling place it in bin. a recycling bin.

NEW LEAF PAPER

NEW LEAF PAPER NEW LEAF PAPER

paper

paper paper

Matte 95# cover

Matte 95# cover Matte 95# cover

Opacity: 100.0; Caliper: 13.0

Opacity: 100.0; Opacity: Caliper: 100.0; 13.0 Caliper: 13.0

design process

design design processprocess

ANOREXIA

ANOREXIA

ANOREXIA

Katie King Rumford Katie King Rumford

duotone colorduotone process color with spot process color with varnish spot color and die varnish cut and die cut

ANOREXIA

Katie King Rumford

duotone color process with spot color varnish and die cut

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

New Leaf Paper New Leaf Paper 116 New Montgomery 116 NewStreet, Montgomery Ste. 830 Street, Ste. 830 San Francisco,San CA Francisco, 94105 CA 94105 888.989.5323888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

©New Leaf Paper. ©NewAll Leaf rights Paper. reserved.

All rights reserved.

Please help usPlease preserve helpour us preserve planet. Ifour youplanet. chooseIfnot youtochoose not to keep this swatch keepcard, this please swatchplace card,itplease in a recycling place it in bin. a recycling bin.

Parent Parent SheetSheet SizesSizes cover: 80# Cover Opacity: 99.0; Caliper: 10.3 95# Cover Opacity: 100.0; Caliper: 13.0

26x40, 80#18x12 Cover 80# Cover 19x25, 20x26,19x25, 23x35,20x26, 26x40,23x35, 28x40, 18x1228x40, 26x40, 19x25, 20x26,19x25, 23x35,20x26, 26x40,23x35, 28x40, 18x1228x40, 95#18x12 Cover 95# Cover

text: 70# Text Opacity: 93.0; Caliper: 4.2 80# Text Opacity: 94.0; Caliper:4.9 105# Text Opacity: 96.0; Caliper: 7.5 130# dtc Opacity: 100; Caliper: 16.0

INFO

INFO

INFO

New Leaf Paper 116 New Montgomery Street, Ste. 830 San Francisco, CA 94105 888.989.5323 www.newleafpaper.com

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to keep this swatch card, please place it in a recycling bin.

19x25, 23x25,19x25, 25x38,23x25, 28x40,25x38, 12x18,28x40, 24x36 12x18, 70#24x36 Text

70# Text

19x25, 23x25,19x25, 25x38,23x25, 28x40,25x38, 12x18,28x40, 24x36 12x18, 80#24x36 Text

80# Text

24x36 19x25, 23x25,19x25, 25x38,23x25, 28x40,25x38, 12x18,28x40, 24x36 12x18, 105# Text

105# Text

26x40

INFO

INFO

INFO

design design processprocess

Katie King Rumford Katie King Rumford

duotone color duotone process with colordie process cut with die cut

©New Leaf Paper. All rights reserved.

Please help us preserve our planet. If you choose not to

Opacity: 96.0; Caliper: 7.5

then desire when it has conceived gives birth to sin, and sin when it is fully grown then brings desire forth when it death. has conceived gives birth to sin, and sin when it is fully grown brings then forth desire death. when it has conceived gives birth to sin, and sin when it is fully grown then brings desire forth when death.it has conceived gives birth to sin, and sin when it is fully grown brings forth death.

paper

design design process process

Katie King Rumford Katie King Rumford duotone color process duotone withcolor spot color process varnish with spot and color die cutvarnish and die cut

4-color process with spot color varnish and die cut

sin, and sin when it is fully grown brings forth death.

paper

Matte 70# text Matte 70# text

Opacity: 93.0; Caliper: Opacity: 4.2 93.0; Caliper: 4.2

design process

Katie King Rumford 4-color process with spot color varnish and die cut

26x40 130# dtc

130# dtc

New Leaf PaperNew Leaf Paper 116 New Montgomery 116 NewStreet, Montgomery Ste. 830Street, Ste. 830 San Francisco, San CA 94105 Francisco, CA 94105 888.989.5323 888.989.5323 www.newleafpaper.com www.newleafpaper.com

©New Leaf Paper. ©New AllLeaf rights Paper. reserved.

All rights reserved.

Please help usPlease preserve help our usplanet. preserve If you our planet. choose If notyou to choose not to keep this swatch keep card, thisplease swatchplace card,itplease in a recycling place it bin. in a recycling bin.

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p r o j e c t 01 02 03 04 05 06 07 08 09 10

title perdition

india ink & water With so many steps, creating the layered images was a muti-step process and a personal constraint.

Step 1: take photograph. Step 2: Using india ink and brush, paint the focal point of photograph.

Step 3: Scan painting. Step 4: Reverse out type. Step 5: place on top of photograph.

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title celebration

p r o j e c t 01 02 03 04 05 06 07 08 09 10

celebration

826 valencia & miette bakery

maya angelou

“ People will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

internship 826 valencia design

instructor maría inés montes

client meg ray / miette bakery

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design brief

Create and illustrate a book that balances the playful style of 826 Valencia and the sophistication of Miette Bakery using the children’s writing as inspiration.

design thinking

design solution

After interning over the summer with 826 Valenica, a San Francis-

The book was a hit! It was sold in the 826 Valencia Pirate Store,

co non-profit that offers educational support for elementary and

online as well as at Miette and online at Miette. The illustrations

junior highers, I was asked to come back on to volunteer on “food

were all hand drawn, inspired by the childrens’ stories. To celebrate

related” project. My thesis, which you will learn more about in the

the release, 826 Valencia and Miette threw a book reading and

next chapter deals with food, and María knew this and wanted me

cake eating party. It was such a joy to get to see the kids see their

on this project specifically. The brief was to create a book using the

work published for the first time and for them to get on stage with

writings from the children’s writing workshop. The topic of discus-

beaming smiles to read their work and be applauded for it. It was a

sion for the month was dessert—what a treat, literally. Miette Bak-

time for celebration both for the students and for those who made

ery, and owner Meg Ray, sponsored the writing event and supplied

it happen.

delicious goodies for the kids, and volunteers of course.

The inspiration was easy—dessert. The illustrations, type pairing and layout were tricky. The book was to be small, 5” x 5” so it would fit in Miette’s 2011 Holiday Basket, and had to be on brand, but also on brand for 826 Valencia—two very different styles. I used the illustration to reflect the playfulness of 826 Valencia and used the type pairings to reflect the sophistication of Miette.

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title celebration

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p r o j e c t 01 02 03 04 05 06 07 08 09 10

title celebration

dessert & design The playful spirit of the kids’ writings inspired my illustrations. I could not have done it without them, nor without the help of María and Meg. One of the greatest pleasures of illustrating and designing this book was seeing the utter satisfaction on the face of the kids. It has also been fun seeing it in stores all around California.

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food & design created by a designer who happens to love food

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title culmination

thesis*

a culminating project

standing at the precipice It comes as no surprise that people are unfamiliar with what a “design thesis” entails. I was blissfully unaware until I began the process. A graphic design thesis is a graduate student’s culminating project that is meant to showcase all of the skills that they have cultivated over the course of the program—from research methods to type setting and composition.

A graphic design thesis is different from a typical project by the time, effort and scope of the project. Mine took about a year and a half to complete—all the while maintaining a full course load as well as working full-time at various internships. A thesis project identifies a problem and a single objective. Through the course of extensive research, design thinking and problem solving, the designed deliverables offer solutions to address the problem in a visually compelling manner. My thesis aims to demystify cooking for the novice home cook.

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title culmination

p r o j e c t 01 02 03 04 05 06 07 08 09 10

culmination counter intuition

katie king rumford

“ I am standing at the precipice — the end of something life altering and the beginning of an unknown adventure— ready to jump with open eyes, a joyful heart and an ever curious mind.

project graduate thesis

advisors jenny ji, chris riggs & gaston yagmourian

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design brief

Choose a single topic to pursue and perform extensive research. Define your audience, objective and goals, record your process.

Find the opportunity gaps where you can create visual solutions to solve and support your main objective.

design thinking

design solution

A thesis is unlike any other project that I’ve taken on as a graduate

The food arena is saturated with attempts to reach different

student. It is wider, deeper and entirely more consuming than any

audiences, but this particular audience was skipped. Children

other project. It is a beast of it’s own. I chose the topic of cooking,

these days are getting a better education in the culinary arts,

something I’m passionate about and have some experience in.

grandparents tend to have their habits set in stone and young

The issue at hand was the decline in home cooking in adults ages

parents often don’t have the time or patience to take on some-

twenty to thirty five. There is an odd gap in that population that

thing like this with young children. Aiming to reach this population

missed a cooking eduction.

before they make life threatening eating habits, my thesis gives

In generations prior, cooking was taught from parent to child through

p a g e 1 74

them a way in to the kitchen.

tradition and hands-on experience. But with an increase in single-

What makes mine different from what’s out there? My inspiration,

parent families and two-working parent homes, children of this era

my approach as well as my aesthetic. Taking inspiration from

often missed the culinary education of earlier generations. In order

unexpected places like IKEA building instructions, paint by number

to fully comprehend the grandiosity of my topic and understand

exercises and the more traditional Cook’s Illustrated, I created a

the problem I would attempt to solve, I performed countless hours

visual voice and system that makes cooking approachable, break-

of research, data collecting, interviews, dinner parties, etc. The

ing down the barrier of entry. There are many reasons to cook, but

decline is mainly due to three primary issues: a lack of knowledge,

people need inspiration, a bit of a push and access to a larger cook-

limited available time and fear of failure. The culmination of my

ing community—which I have provided through printed materials,

design education, I aim to address the issues at hand, using what

illustrated manuals, a fresh approach to recipes, interactive pieces

I’ve learned.

and even a video. Bon appétit!

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when the tough gets going The tough gets...written down in a moleskin, pondered over, doodled over and recorded. I carried a journal with me everywhere I went—in case I heard something I needed to jot down, saw something I needed to sketch, or simply to write down notes when inspiration came to me. I filled six journals, but surely I could have continued to fill many more with all my inspirations and findings.

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user-based content This book, 25 Things No One Told You About Cooking brings to light some of the “secrets” of cooking.

For those of us that cooking isn’t intuitive, this book is like a cliffnotes foThe content of this book was not just my own response but words from the larger community of home cooks. I asked people who cook already, what they wished they had known when they were just starting out in the kitchen. I got quite a few responses, some of them a bit too colorful for this book, but insightful nonetheless. A special thanks to all those that responded and inspired the book.

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surrounded by inspiration It can be hard to remember when you’re in the midst of cooking a meal that the process is enjoyable. It’s important to surround oneself with things that remind them that there is joy in the process, and that it’s just cooking. By having posters, postcards and other inspiration materials, you’ll be laughing at yourself in no time.

Gwyneth Paltrow | A C T R E S S S & H O M E C O O K

Harriet Van Honre | A M E R I C A N J O U R N A L I S T

Julia Child | P I O N E E R O F H O M E C O O K I N G

Truman Capote | A M E R I C A N W R I T E R

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packaging & supplies Every new cooks needs to fill their kitchen, whether they’re starting from scratch and need tools and utensils or they have the basics and need some help filling in the blanks, Counter Intuition’s packaging line offers piece for everyone and for every need.

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redesigning a visual recipe Recipes are great, but for some, simply reading instructions isn’t enough. By rethinking the form of a recipe and going back to the basic need and desire of the home cook, this piece was created.

Inspired by IKEA’s furniture building instructions, taking simple drawings help to break down the complex process of cooking and makes it simple.

It also references the paint by number inspiration and partners with the mise en place bowls. The starter kit starts with the five easy recipes that one could easily make their own: drinks, tacos, pasta, pizza, and cake.

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art directing a video Here are a few process shots of the video shoot for the Taco Video. A visual recipe, and another way to reach the visual and auditory learners.

The filming took about 8 hours, while the prep took countless hours. A special thanks goes out to Eric Slatkin (videographer), Abby Stolfo (food stylist, see on left), Josh Gruetzmacher (photographer), Mary Lowe (friend & fellow designer), John & Kristin Walcott for the beautiful kitchen and home to cook in, and last but not least, a big thanks to my patient superhero husband for helping out wherever I needed. This couldn’t have happened without this amazing team.

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the finished piece I have transformed in the kitchen from a timid non-cook, to a culinary student, to a joyfully comfortable home cook. That’s me on the right, filming the tacos video.

Watch the video on the website or on Vimeo www.vimeo.com/53715392

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food-sharing platform Think of Counter Intuition’s app like an Instagram meets FoodSpotting but for the sole use of sharing home cooked meals. There is no rating, no pressure to perform. It is a photo-sharing platform for home cooks. Instantly users can see what others are cooking, follow links to recipes, see cooking process of the same recipes, maintain personal recipe libraries, have access to tips, tricks, videos, and most importantly share what you’re cooking. By partnering with Instagram, we immediately have access to their millions of users who are already comfortable with their photo-sharing platform.

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to my beloved family (you always believed) My family is a rare breed. If you read the first chapter, you know a tiny portion of the story. There is so much more to them than I could share in this book. My family is large. We’re loud, competitive, supportive, we’re energetic, we’re emotional and we love each other unconditionally. We’re the best teammates you could ask for. I always knew I could call any one of you in distress and just hearing your voice would ease my hears and remind me that life isn’t about school­—life is about people and connecting with ones you love. I can never repay you for what you’ve done and how you’ve supported me, but know that I am forever grateful and if it’s even possible, I love each and every one of you more.

to my friends (you challenged me and cheered me on) I literally could not have done this without you. So much of what I was doing relied on participation and interaction with my peers.

To Abby Stolfo for the amazing food styling. To Eric Slatkin for the fantastic video. To each and every one of you who participated in my many food escapades and testing. To John and Kristin Walcott for a beautiful house to shoot in. To my classmates—we made it out alive. Thanks to Mary Lowe, Whitney Clarke, Dara Weinberg, Carey Ordway and the countless others who sustained me. Cheers!

to my advisors & professors (you gave me guidance & words of wisdom) Jenny Ji, thanks for getting me started. Your words of encouragement and constant challenging me made me stronger as a designer as a passionate person. Chris Riggs, thank you for your eye and careful critiques. Hope this final project is a bit shocking from the last state you saw it. Gaston Yagmourian, I couldn’t have finished without you. You helped to keep me grounded when I was freaking out and you had the wisdom to tell me when something was good enough to move on. We crossed the finish line together and I’m forever grateful for you patience and imagination. Hunter Wimmer and Phil Hamlett, what can I say except thank you. You two have walked with me through school, you know my story, you know my work and somehow you believed in me.

to my husband (my best friend & partner in crime) Last but most definitely not least, thank you to my babe. I don’t know how you handled life with me these past three and a half years, but I’m forever grateful for you. You stood by my side, brainstormed with me, proofread work, gave me critiques (and I apologize if I didn’t heed your helpful advice), challenged me to keep going and to give it my best, you encouraged me and supported me. Thank you for being you and for loving me.

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a portfolio by katie king rumford

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Carefully crafted by a lover of design & food ALL RIGHTS RESERVED. copyright Š 2012 katie king rumford no portion of this book may be used or reproduced in any manner without prior written consent of katie king rumford.