VIVIFY by Eisuke Taki

/// SELEC TED WORK S OF EISUKE TAKI ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

1_415_630_0582

KB12779@GMAIL .COM

WEB

EISUKETAKI.COM

AC ADEMY OF ART UNIVERSIT Y 79 NEW MONTGOMERY S TREET SAN FR ANCISCO, C A 94105

DEPARTMENT DIREC TOR / INSTRUC TOR

MARY SCOT T COURSE

SENIOR PORTFOLIO

Without contrast, you’re dead. /// Paul Rand ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

004_005

CHAPTER

SEC TION

SUBJEC T

—

PROJEC T

TOC

—

VIVIFY

DEFINING COLORS

///006_007 ///

ORCHESTRATE

MEDIA EX TR AVAGANZA

///008_035 ///

ENCHANT

SENSUAL PAL ATE

///037_051 ///

UNCLOTHE

FURIOUS OBSESSION

///052_069 ///

REGENERATE

LUMINOUS SPIRIT

///070_085 ///

SPECULATE

ANALYZING ELOQUENCE

///086_107 ///

ENLIGHTEN

RITUAL MEDITATION

///108_119 ///

CONSTRUCT

MASCULINE GLEAM

///120_135 ///

ELABORATE

ADVANCED PHENOMENOLOGY

///136_155 ///

IDENTIFY

CODIFYING INTEGRIT Y

零

一

二

三

四

五

六

///156_169 ///

七

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

0.0

PROJEC T

INTRODUCTION

VIVIFY

VIVIF Y

DEFINING COLOR Design is the driving force in my life. Being a designer shapes and colors who I am today. I see this field is full of suf fering and struggle, but it becomes a huge pay of f when I find smiles from people through my work. Designers are challenged to respond any given visual problem, and they battle for the right answer until the very last second. This battle is important because I believe that great design should strike people’s heart. Real design should evoke all the senses of our body. In that sense, I see there is not much dif ference in art and design, both strive for becoming an inspiration and resolution to people. Design vivifies. Vivif y in this sense means to brighten, to sharpen and to enliven. It is the most important belief underlying my work. To judge whether a design is working, I try to see if the design has a personality—some unique quality that speaks to my soul. In this por tfolio, I selected some keywords that I learned to help bring my design to life. Each word also reflects the concept of each project I created in the past years. My goal is to become a power ful, insightful and thoughtful designer who can vivif y people’s lives. I design because of that one smile I get when the job is completed. To me, design is like the most addictive, “creative” legal drug I can never stop. I would like to thank everyone beforehand who had a chance to review this book. I was honored and pleased to have the opportunity to present my creation, and I really do hope you all enjoy it.

Eisuke Taki

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

008_009

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

1.0

ORCHESTR ATE

IDENTIT Y 2

VIACOM IDENTIT Y

BR ANDING

TODD HEDGPETH

SPRING 2009

1.0

A symbol is language at molecular level. /// Marty Neumeier ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

CHAPTER

SEC TION

零

一

SUBJEC T

1.1

二

三

四

PROJEC T

ST YLE BOARD

五

六

七

八

VIACOM IDENTIT Y

九

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

1.2

PROJEC T

TASK + BRIEF

VIACOM IDENTIT Y

ORCHESTR ATE

MEDIA EX TR AVAGANZA TASK

Redesign an identity system for one of the Fortune 100 companies, and build a style manual guidebook and several promotional items.

BRIEF

Short for “Video & Audio Communications” Viacom is an American media conglomerate with various worldwide interests in cable and satellite television networks (MT V networks, VH1 and BET ) and film production and distribution (Paramount Pictures and DreamWorks) . As an ardent viewer, their cutting-edge music clips and vivid footage have of ten been the inspiration of my work. However, there seems to be little recognition about Viacom itself although the company owns numbers of renowned channels. By approaching it from unrestrained views, the aim of the project was to redefine the Viacom brand by extracting the essence of a broadcast network, and market current and potential target audiences by conveying the idea of the company through power ful aesthetics. My goal was to advertise Viacom as one of the most influential and leading multi-media groups in the global network industry. Identity design requires all the asset available to a designer, such as printing, packaging, product and environmental design. All of these come together to establish an interactive system that communicates a philosophy of an organization or a company. Through this project, I have learned to develop and “orchesterate” a vision that maybe ef fective for the company’s future.

APPLIC ATIONS

IDENTIT Y SYSTEMS / ST YLE MANUAL / PROMOTIONAL ITEMS / ETC. TONE

CLE AR / INTER AC TIVE / VENTUROUS / DIGITAL / WIRED / VIVID /

零

T YPEFACES

SC ANNER

FF DIN / HTF ARCHER / INFINIT Y

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

EPSON HE AV Y WEIGHT

BINDERY

T-SHIRTS

C ALIFORNIA OFFICE SERVICE

MY TRICK PONY

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

PROCESS

LOGO DEVEOLPMENT: DIRECTION 1

PROCESS

LOGO DEVEOLPMENT: DIRECTION 2

014_015

CHAPTER

SEC TION

SUBJEC T

1.3

LOGO DEVELOPMENT

PROJEC T

VIACOM IDENTIT Y

PROCESS

DIRECTION 1: FINAL DESIGN

PROCESS

DIRECTION 1: FINAL DESIGN

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

016_017

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

018_019

CHAPTER

SEC TION

零

一

SUBJEC T

1.5

二

三

四

PROJEC T

ST YLE GUIDE

五

六

七

八

VIACOM IDENTIT Y

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

020_021

CHAPTER

SEC TION

零

一

SUBJEC T

1.6

二

三

四

SELECTED SPREADS

五

六

七

八

九

十

PROJEC T

VIACOM IDENTIT Y

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

022_023

CHAPTER

SEC TION

零

一

SUBJEC T

1.7

二

三

四

SELECTED SPREADS

五

六

七

八

九

十

PROJEC T

VIACOM IDENTIT Y

VERSION / 1.0

028_029

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

036_037

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

2.0

ENCHANT

PACK AGE DESIGN 2

HOWDY BBQ SET

PACK AGING

CHRISTINE GEORGE

SPRING 2009

1.5

Good looks attract people, but personality keeps them interested. /// David turner ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

038_039

CHAPTER

SEC TION

SUBJEC T

2.1

PROJEC T

TASK + BRIEF

HOWDY BBQ SET

ENCHANT

SENSUAL PAL ATE TASK

Design or Redesign a BBQ sauce brand and a set of three or more items appealing to various target audience.

BRIEF

How do I create a package design that has a strong shelf impact? How do I grab a consumer’s heart by its design? Howdy is an imaginary BBQ sauce brand I have invented for this project. When I received this assignment, I came across a cowgirl T-shirt’s graphic I have done for a previous freelance job few years ago. A glamourous, sexy bikini cowgirl illustration had a visible vintage personality that would per fectly fit to this project. The concept was built around its sensual quality of the illustration using this pin-up aesthetic, and I designed a series of stylized portraits of attractive cowgirls for each item, aiming to give depth to the product line. The goal was to design an enticing and appetizing BBQ brand that has a distinct presence in the grocery stores, and to generate a little interaction between consumers and products for spending a few more seconds to “meet” the sexy ladies I have invented. Through this project, I have learned the way to create an enchanting design that grabs attention in a limited time-frame.

APPLIC ATIONS

BBQ SAUCES / WOODCHIPS /BBQ TOOL SET TONE

SEX Y / HOT / SENSUAL / APETIZING /ENTICING / WIT T Y

零

T YPEFACES

SC ANNER

SERIFA / HTF KNOCKOUT

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

EPSON SEMI-GLOSS

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

PROCESS

HOWDY T-SHIRTS GR APHIC

042_043

CHAPTER

SEC TION

SUBJEC T

2.2

PROJEC T

PROCESS

HOWDY BBQ SET

PROCESS

COWGIRLS ILLUSTR ATION

•••••••••••••••••••• •••• •• ••• ••• •• •• •• •• • ••

•••••••••••••••••••• ••• •••• ••• ••• •• ••• •• •• •• •• •• •• •• •• • • ••

••••••••••••• •••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• • • • ••

••••••••••• ••••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••••••••••••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••••• •••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• • ••

•• •• ••

••••••••••••••••••••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••••• •••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• • • •

••••••••••••••••••••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••••• •••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• • • •

••••••••••••••••••••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••• ••••••• •••• •••• • ••• ••• •• •• •• •• • •

•• •• ••

••••••••••• ••••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

•••••••••••••••••••• •••• •• ••• ••• •• •• •• •• • ••

•• •• ••

••••••••••• ••••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

•• •• ••

••••••••• • • ••••••• • • ••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• • ••

••••••••••• ••••••• •••• •••• • ••• ••• •• •• •• •• ••

••••••••••• ••••••• •••• •••• • ••• ••• •• •• •• • • ••

••••••••••• ••••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

•• •• ••

••••••••• • • ••••••• • • ••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• • ••

••••••••••• ••••••• •••• •••• • ••• ••• •• •• •• •• • •

•• •• ••

••••••••••• ••••••• •••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

••••••••••• ••••••• •••• •••• • ••• ••• •• •• •• •• ••

•• •• ••

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

••••••••••••••••••••• •••• ••• ••• ••• ••• •• •• •• •• •• •• •• •• •• ••

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

046_047

CHAPTER

SEC TION

零

一

SUBJEC T

2.3

二

三

四

PROJEC T

BBQ SAUCE

五

六

七

八

HOWDY BBQ SET

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

048_049

CHAPTER

SEC TION

零

一

SUBJEC T

2.4

二

三

四

PROJEC T

BBQ TOOL SET

五

六

七

八

九

HOWDY BBQ SET

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

050_051

CHAPTER

SEC TION

零

一

SUBJEC T

2.5

二

三

四

PROJEC T

WOOD CHIPS

五

六

七

八

HOWDY BBQ SET

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

052_053

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

3.0

UNCLOTHE

T YPOGR APHY 4

ARCHER T YPEFACE

T YPOGR APHY + PRINT

FALL 2009

ARIEL GREY

1.0

Style > Good Design > Mass Market > Cliché > Embarssment > It’s Over. > Fetish > Revival > Interesting > Style > Good Design........ /// Lorraine Wild ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

零

一

SUBJEC T

3.1

二

三

四

PROJEC T

MOOD BOARD

五

六

七

八

九

ARCHER T YPEFACE

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

3.0

PROJEC T

TASK+BRIEF

ARCHER T YPEFACE

UNCLOTHE

FURIOUS OBSESSION TASK

Select a typeface and create promotional items for a type foundry, including type specimen book, CD, and poster.

BRIEF

Do you buy clothing and textile as much for fashion as for function? How much do you know about the life of your clothes af ter you throw them away? There is not much attention to environmental issues when consumers are obsessed with keeping up with their fashion trends. In this project, I researched the current dynamics of the Fast Fashion industry. Fast Fashion refers to large clothing retailers such as H&M, Forever 21, ZARA and so for th. These are places where they supply the most recent fashion with af fordable price points in swif t circulation. Featuring the Archer typeface from Hoefler & Frere-Jones type foundry, the task was to design an informative print piece that uncovers some truths about garment production by presenting various unknown facts and imagery. As for the execution, I used a compare-and-contrast method to interchangeably present positive and negative sides of fast fashion. Like a peel of f sticker, I placed some inserts in the page layouts that contain overlaying imagery and graphics which communicate the idea of changing clothes. My final goal was to raise consumer awareness about the fate of clothing through its life cycle. This awareness may help to promote sustainability within the fashion industry. Along with the research, I learned to experiment with dif ferent ways of using typefaces that may not have been originally fit for certain situations.

APPLIC ATIONS

T YPE SPECIMEN BOOK / T YPEFACE CD / PROMOTIONAL POSTER TONE

URBAN/ GL AMOUR / STARK / SWIF T / VIVID /QUALIT Y T YPEFACES

SC ANNER

HTF ARCHER/ HTF DIDOT / HTF GOTHAM COND.

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

EPSON HE AV Y WEIGHT

BINDERY

+++

COPYMAT

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

058_059

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

060_061

CHAPTER

SEC TION

零

一

SUBJEC T

3.2

二

三

四

PROJEC T

BOOK DESIGN

五

六

七

八

ARCHER T YPEFACE

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

062_063

CHAPTER

SEC TION

零

一

SUBJEC T

3.3

二

三

四

SELECTED SPREADS

五

六

七

八

九

十

PROJEC T

ARCHER T YPEFACE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

064_065

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

066_067

CHAPTER

SEC TION

零

一

SUBJEC T

3.3

二

三

四

SELECTED SPREADS

五

六

七

八

九

十

PROJEC T

ARCHER T YPEFACE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

068_069

CHAPTER

SEC TION

零

一

SUBJEC T

3.4

二

三

四

PROJEC T

PROMO POSTER

五

六

七

八

九

ARCHER T YPEFACE

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

070_071

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

4.0

REGENER ATE

PACK AGE DESIGN 2

EVER BODYC ARE

PACK AGING

CHRISTINE GEORGE

SPRING 2009

1.3

The word “new”, when applied to graphic design, does not mean “never before.” /// Steaven Heller + Mirko Ilic ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

072_073

CHAPTER

SEC TION

SUBJEC T

4.1

PROJEC T

TASK + BRIEF

EVER BODYC ARE

REGENER ATE

LUMINOUS SPIRIT TASK

Design a body-care product line for an apparel brand extension.

BRIEF

EVER is an L A-based apparel company known for comfortable luxury travel collections. It was launched in 2003. Their quality fabrics and along with their components, sophisticated and stylized print graphics have high reputations among fashion conscious individuals and celebrities in New York, London, Tokyo and Los Angeles. This packaging project required the discovering of new potential for the brand and the conceptualization of a body-care line that maybe added to their future collection. The goal of the project is to create a comfortable and refreshing packaging design that reflects the philosophy of the brand, “embracing progress yet timelesness, to travel and return home.”

During

the creative process, I have realized that revisiting their distinctive graphics and imageries seemed to have a stronger voice to retain the brand equity than creating a totally new one. I reinterpreted the artworks of Matt Maust and Felipe Dupouy, who are the key artists of the brand, and regenerated the design into the packaging system I built. Through this project, I have learned to create a design by absorbing and processing imagery that would become the core of the subject.

APPLIC ATIONS

SHAMPOO / CONDITIONER / HAIRST YLE WA X / TR AVEL KIT, ETC. TONE

CLE AR / REFRESHING / TR AVEL / COMFORTABLE /

零

T YPEFACES

SC ANNER

HELVETIC A NEUE

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

TOCHIMAN TR ACING PAPER

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

076_077

CHAPTER

SEC TION

零

一

SUBJEC T

4.2

二

三

四

PROJEC T

BODY SOAPS

五

六

七

八

EVER BODYC ARE

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

078_079

CHAPTER

SEC TION

零

一

SUBJEC T

4.3

二

三

四

PROJEC T

SHAMPOO, etc.

五

六

七

八

九

EVER BODYC ARE

十

VERSION / 1.0

080_081

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

082_083

CHAPTER

SEC TION

零

一

SUBJEC T

4.4

二

三

四

PROJEC T

TR AVEL KIT

五

六

七

八

EVER BODYC ARE

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

084_085

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

086_087

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

5.0

SPECUL ATE

T YPOGR APHY 3

MUSCLETONE PAPER

T YPOGR APHY + PRINT

FALL 2008

ARIEL GREY

2.0

The right word may be effective, but no word was ever as effective as rightly time pause. /// Mark Twain ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

零

一

SUBJEC T

5.0

二

三

四

PROJEC T

—

五

六

七

MUSCLETONE PAPER

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

5.2

PROJEC T

TASK + BRIEF

MUSCLETONE PAPER

SPECUL ATE

ANALYZING ELOQUENCE TASK

Create promotional brochure and items for a paper company using one of their paper selections.

BRIEF

One word, one phrase, and one speech can make a dif ference—A great speaker, for example, Martin Luther King Jr., has a power ful voice and great language. His “I have a dream”speech in 1963 has enlightened thousands of people and has lead the improvement of the entire social structure of America. His oratory is considered one of the best public speeches in history. Good communicators have ways to control their language skills, and they can change one’s perception and attitude about certain subject matters. However, misuse of words whether written or spoken, can create an irreparable damage on a personal or massive scale. Roughly speaking, I believe recent social, political and cultural conflicts in our world are the result of miscommunication and inaccurate language usage. One negative remark has a power to change things adversely. I came across a print design discussing verbal communication by correlating between the power of voice and one of French Paper’s product lines “Muscle Tone.” Along with the paper promotion, this project aims to raise an awareness about the importance of thoughtful language usage, and promote learning proper communication skills that enrich people’s lives. Beyond improving my typographic skills, this project taught me to speculate and visualize abstract and complex subject matter into ef fective graphic design.

APPLIC ATIONS

PAPER PROMOTION BROCHURE TONE

POWERFUL / HE AV Y / MA SCULINE / VISCER AL / BOLD T YPEFACES

SC ANNER

HTF KNOCKOUT

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

EPSON HE AV Y WEIGHT

BINDERY

+++

C ALIFORNIA OFFICE SERVICE

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

092_093

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

094_095

CHAPTER

SEC TION

零

一

SUBJEC T

5.3

二

三

四

PROJEC T

BROCHURE

五

六

七

八

MUSCLETONE PAPER

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

096_097

CHAPTER

SEC TION

零

一

SUBJEC T

5.4

二

三

四

PROJEC T

BOOK SPREADS

五

六

七

八

九

MUSCLETONE PAPER

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

098_099

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

100_101

CHAPTER

SEC TION

零

一

SUBJEC T

5.5

二

三

四

PROJEC T

INFO GR APHICS

五

六

七

八

九

MUSCLETONE PAPER

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

102_103

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

104_105

CHAPTER

SEC TION

零

一

SUBJEC T

5.6

二

三

四

PROJEC T

BOOK SPREADS

五

六

七

八

九

MUSCLETONE PAPER

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

106_107

CHAPTER

SEC TION

零

一

SUBJEC T

5.7

二

三

四

PROJEC T

PROMO POSTER

五

六

七

八

九

MUSCLETONE PAPER

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

108_109

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

6.0

ENLIGHTEN

—

EDIF YING POSTER

—

SPRING 2010

2.0

Creativity is, To create with open percepstion. /// Stefen Sagmeister ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

零

一

SUBJEC T

6.1

二

三

四

PROJEC T

MOOD BOARD

五

六

七

八

九

EDIF YING POSTER

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

6.2

PROJEC T

TASK + BRIEF

EDIF YING POSTER

INSPIRE

RITUAL MEDITATION TASK

Create an informative and inspirational poster based on personal values, experience and life.

BRIEF

Every time we face problems, we always fight with great fear and uncertainty. It is struggle and pain. When you are blocked, how do you find a way out? From books, T V programs, songs, poems, billboard ads and so for th, I always find some phrases that resonate with my heart, and I of ten write them on memo pads and stick them on walls. There many beautiful and inspirational words that encourage people. This project is a personal print piece revisiting and remixing some of my early works. The aim of this project was simple, to enjoy. I have retraced a MacKeller, Smiths & Jordan’s combination ornament sample, using its visual elements, and composed an intricate and decorative frame based on a golden section grid to achieve harmonious aesthetics. The ornaments are very flexible graphic tools that designers can use as frames, wall papers, gif t wrappers, end sheets for the book, etc. The ornament design has always been my inspiration. I continually fascinated by looking at those details, These poster designs will be ongoing projects that serve as my ritual meditation.

APPLIC ATIONS

POSTERS TONE

ENLIGHTENING / HABITUAL /DELIC ATE/DETAILED

零

T YPEFACES

SC ANNER

SABON / URW DIDONI / CUSTOMIZED T YPEFACE

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

EPSON HE AV Y WEIGHT

+++

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

114_115

CHAPTER

SEC TION

6.3

SUBJEC T

WALL PAPER SAMPLE

PROJEC T

EDIF YING POSTER

VERSION / 1.0

TYPESET YOUR FAVORITE QUOTES, POEMS, INSPIRTIONS, GOALS, MOANS, COMPLAINTS, ETC.

CHAPTER

SEC TION

SUBJEC T

6.3

ORNAMENT DESIGN

PROJEC T

EDIF YING POSTER

PROCESS

SERIES 8 RETR ACED

PROCESS

SERIES 7 RETR ACED

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

118_119

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

120_121

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

7.0

CONSTRUCT

PACK AGE DESIGN 1

G-STAR C ANDLE

PACK AGING

MEL ANIE HALIM

SPRING 2008

1.0

To construct, start with deconstruction. /// Rina De Maggio ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

004_005

CHAPTER

SEC TION

零

一

SUBJEC T

7.1

二

三

四

PROJEC T

MOOD BOARD

五

六

七

八

九

G-STAR C ANDLE

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

7.0

PROJEC T

TASK + BRIEF

G-STAR C ANDLE

CONSTRUC T

MASCULINE GLEAM TASK

Design a candle line and its packaging system as for a fashion brand promotion and extension.

BRIEF

G-STAR is a Dutch-based fashion brand which creates stylish apparel founded in 1989. The brand specializes in making high quality denims, and it has become a major influence on the jeans industry since the debut of G-STAR RAW in 1996. Inspired by vintage military fashion with untiring experimentation and product development, its rough, rudimentary, and raw characteristics of clothing lines categorize G-STAR as a cutting-edge fashion brand. This case study required designers to develop a sub brand which focuses on furniture and household items. Producing a candle line as a starter, the task was to create a practical packaging design that captures the essence of G-STAR’s industrial brand images. Since candles in general tend to appeal to female audiences, the challenge was to reinterpret and transform feminine beauty items into masculine gadgets by staying away from just using them as simple and clean gif t wrappers. Inspired by the film “The Transformers,” I have built a sustainable package design that would ”transform”either a container or an interior object. Unlike designing packaging structures with green materials, my definition of ”sustainable”in this particular project is based on Kenmei Nagaoka’s “The Long Life Design” principle, in which he explains “keep using durable and high quality goods that you never have to throw away.” This project taught me how to construct ideas that answer to problems by approaching them from various angles.

APPLIC ATIONS

C ANDLE GIF T BOXES TONE

MA SCULINE / INDUSTRIAL /STARK/ MACHINERY T YPEFACES

SC ANNER

CHOLL A SL AB

EPSON GT-F570

PRINTER

PAPER

EPSON ST YLUS PHOTO R1800

CR AF TED PAPER

RUBDOWNS

+++

PINK S COLOR TR ANSFERS

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

126_127

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

130_131

CHAPTER

SEC TION

零

一

SUBJEC T

7.3

二

三

四

PROJEC T

C ANDLE BOXES

五

六

七

八

九

G-STAR C ANDLE

十

VERSION / 1.0

132_133

CHAPTER

SEC TION

零

一

SUBJEC T

7.4

二

三

四

L ABELS + STRUCTURE

五

六

七

八

九

十

PROJEC T

G-STAR C ANDLE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

134_135

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

136_137

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

9.0

EL ABOR ATE

PACK AGE DESIGN 3

OBEY HOUSEWARE

PACK AGING

THOMAS McNULT Y

FALL 2009

1.0

Remixing with new voice, is creative practice. /// Shepard Fairey ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

011_012

CHAPTER

SEC TION

零

一

SUBJEC T

9.1

二

三

四

PROJEC T

MOOD BOARD

五

六

七

八

九

OBEY HOUSEWARE

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

9.2

PROJEC T

TASK + BRIEF

OBEY HOUSEWARE

EL ABOR ATE

ADVANCED PHENOMENOLOGY TASK

Design a set of houseware packaging structures for an existing brand extension and promotion.

BRIEF

OBEY, also known as Andre the Giant Has a Posse, is a street art campaign by Shepard Fairey that began in 1989 in Rhode Island. Fairey is a contemporary ar tist, illustrator, and graphic designer known for his Barack Obama “HOPE”poster during the 2008 U.S. presidential election. Having been influenced by his ar twork, I respect Fairey’s unique approach to convey his cultural, social and political insights through a method called“an experiment in phenomenology.” Along with his print projects, Fairey’s campaign has become more familiar as he launched OBEY Clothing in 2001, an urban and classic street style apparel brand aiming to communicate his ar t and philosophy towards a unique target audience. What if his experiments extend from fashion and print media to home appliances? What if we see his campaign in closer parameters, into daily items like chairs, tables, stereos, and other gadgets? This house hold packaging project aimed at finding a new possibility for representing Fairey’s vision by carefully applying his work into various platforms. My mission was to create a power ful and novel packaging system that supports the art campaign while maximizing the quality of Fairey’s masterpieces. Through this project, I have learned to stay true to the subject, and to elaborate and activate his voice through specific design choices. As I recalled Marshall McLuan’s quote “The medium is the message,” the project taught me we can use everything in our surroundings as mediums to form and send messages as long as they are honest and sincere to their subject matter.

APPLIC ATIONS

CHAIR / TABLE / L AMP / E ARPHONES / MP3 PL AYER TONE

PROPAGANDA / BOLD / PROGRESSIVE / URBAN / STREET T YPEFACES

SC ANNER

HTF KNOCKOUT

EPSON GT-F570

PRINTER

零

PAPER

ECO PRINT

C ANON MAT TE PAPER

+++

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

142_143

CHAPTER

SEC TION

零

一

SUBJEC T

9.3

二

三

四

ELECTRIC WARRIOR

五

六

七

八

九

十

PROJEC T

OBEY HOUSEWARE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

144_145

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

146_147

CHAPTER

SEC TION

零

一

SUBJEC T

9.4

二

三

四

PROJEC T

PEACE GUARD

五

六

七

八

九

OBEY HOUSEWARE

十

VERSION / 1.0

CHAPTER

SEC TION

零

一

SUBJEC T

9.5

二

三

四

PRESIDENTIAL SEAL

五

六

七

八

九

十

PROJEC T

OBEY HOUSEWARE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

150_151

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

152_153

CHAPTER

SEC TION

零

一

SUBJEC T

9.6

二

三

四

MP3 PL AYER GR APHIC

五

六

七

八

九

十

PROJEC T

OBEY HOUSEWARE

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

154_155

CHAPTER

SEC TION

零

一

SUBJEC T

9.7

二

三

四

PROJEC T

BL ACK PANTHER

五

六

七

八

九

OBEY HOUSEWARE

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

156_157

SUBJEC T

PROJEC T

COURSE

C ATEGORY

INSTRUC TOR

PALET TE

TERM

VERSION

CHAPTER

SEC TION

9.0

IDENTIF Y

—

VISUAL IDENTIES

BR ANDING

—

1.0

Good design is not learned, it is realized. /// Jesse von Glück ///

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

CHAPTER

SEC TION

零

一

SUBJEC T

9.1

二

三

四

PROJEC T

IDENTIF Y

五

六

七

八

VISUAL IDENTITIES

九

十

VERSION / 1.0

CHAPTER

SEC TION

SUBJEC T

9.2

PROJEC T

TASK +

VISUAL IDENTITIES

IDENTIF Y

CODIFYING INTEGRIT Y TASK

Design a visual and power ful identity system that reflects and communicate the spirit of companies, groups and individuals. “Companies need an identity, and the logo is the logical vehicle. But today, corporations have logos just because other corporations have logos. They are terrified of appearing dif ferent. DESIGNERS HAVE TO BE THE BRAVE PIONEERS.”—ART CHANTRY

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

162_163

CHAPTER

SEC TION

零

一

SUBJEC T

9.3

二

三

四

PROJEC T

QUAD

五

六

七

IDENTIT Y COLLECTION

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

164_165

CHAPTER

SEC TION

零

一

SUBJEC T

9.4

二

三

四

PROJEC T

AFRO 99

五

六

七

VISUAL IDENTITIES

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

166_167

CHAPTER

SEC TION

零

一

SUBJEC T

9.5

二

三

四

PROJEC T

IDENTIF Y

五

六

七

八

VISUAL IDENTITIES

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

168_169

CHAPTER

SEC TION

零

一

SUBJEC T

9.6

二

三

四

PROJEC T

IDENTIF Y

五

六

七

八

VISUAL IDENTITIES

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

+++

ACKNOWLEDGMENTS I would like to express my deepest gratitude to all of my family, friends, faculty, and services for challenging and supporting me. FACULUT Y

Mary Scott / Roland Young / Tom McNulty / Michael Osbourne / Jeff Ho / Ariel Grey / Todd Hedgpeth / Laura Milton / Kelly Conley / Christine George / Melanie Halim / Sami Saaud / Max Spector / Scott Rankin / Rose M. Hodges / Mark Reynolds / Claude Dieterich / Renée D’Arcy / Amy Broadbent / Emily Citaro / Mitchel Gibson / Susan Belau / John Dobson / Claudia Middendorf / Scot Crisp PORTFOLIANS

Rollin Chan / Lauren Forbes / Juan Henriquez / Tuyen Ho / Ellen Kang / Teddy Kurniawan / Rose Ma / Jonathan Patterson / Keely Reyes / Benjamin Rocha / Victoria Rodrigues / Rogemil Velasco / Chih-Han Wu FAMILY + FRIENDS

Yoshihiro Taki / Erinda H. Taki / Hiroe Tariga / Aurea S. Halog / Tamiko Taki / Taroo Taki / Jose M. Halog / Jose S. Halog / Ron Tariga / Kiara Tariga / Nellie Tariga / Raul Tariga / Nancy Tariga / Joy Schulke / Diana Halog / Nana Suzuki / Yutaka Noya / Ken Mamuro / Hiroo Nabata / Yusuke Izumi / Masahiro Sasagawa / Megumi Hinoyama / Aiko Iijima / Chiharu Tanaka / Shawn Hsu / Beth Wong / Vincent Lo / Nick McGinnis / Akiko Terasawa / Risaki Koyama / Ingrid Njono / Lisa Crawford / James Sanders SERVICES

Chum’s Design & Print / Key Printing and Binding / California Office Service / Copymat / Office Depot / Staples / Blick Art Materials / EcoPrint

172_173

CHAPTER

SEC TION

—

零

一

SUBJEC T

—

二

三

四

PROJEC T

THANK YOU

五

六

七

八

—

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

172_173

零

一

二

三

四

五

六

七

八

九

十

VERSION / 1.0

VIVIF Y /// SELEC TED WORK S OF EISUKE TAKI

+++

CREDIT ART DIREC TOR

MARY SCOT T GR APHIC DESIGNER / ILLUSTR ATOR

EISUKE TAKI PHOTOGR APHERS

EISUKE TAKI + KEIKO MORIYAMA + JAMES SANDERS COPY WRITERS

EISUKE TAKI + SCOT CRISP PRINTER

CHUM’S DESIGN & PRINT 582 MARKET S TREET SUITE 600 SAN FR ANCISCO, C A 94104 415_399_3834

BINDERY

THE KEY PRINTING & BINDING 5851 OCE AN VIEW DRIVE OAKL AND, C A 94618 510_595_3311 / thekeyprintingandbinding.com

C A SE STOCK

ARRESTOX B CLOTH BL ACK COVER STOCK

160 GSM C ANSON MI-TEINTES R A SPBERRY TEX T STOCK

230 GSM BRILLIANT SUPREME MAT TE PRINTER

EPSON ST YLUS PRO 3880 SC ANNER

EPSON GT F-570 C AMER A

PENTA X ist DL LIGHTING

SMITH-VIC TOR K T 1000 U COMPUTER

iMAC MINI 1.83 GHZ INTEL CORE DUO SOF T WARE

ADOBE CRE ATIVE SUITE 3 T YPEFACE

A XIS / VIVIFIED (CUSTOMIZED T YPEFACE )