Portfolio Claudia Rico by Claudia

Claudia Rico

GRAPHIC DESIGNER

PORTFOLIO

VISUAL IDENTITY MANUAL

CLIENT

PROJECT

Corporate Design Class

‰

ELEMENT: Combination Mark for the pharmaceutical company Biotyx.

‰

Mary Schiller Yang Marketing Manager Phone: 416-123-4567 Fax: 416-123-4568 Email: mschi@biotyx.com 123 Main St. Toronto, ON A1B 2C3

Phone: 416-123-4567 Fax: 416-123-4568

Address: 123 Main St. Toronto, ON A1B 2C3 Web site: www.biotyx.com

‰

123 Main St. Toronto, ON A1B 2C3

ELEMENT: Biotyx Stationery: Business cards, envelopes, folder and pen.

‰

VISUAL IDENTITY MANUAL

CLIENT

PROJECT

Corporate Design Class

ELEMENT: Cover page and sample spread of the Biotyx Visual Identity Manual.

Visual Identity Manual

www.biotyx.ca

Introductory message from the president

Proper identity standards usage Colour Background

Biotyx, a pharmaceutical company dedicated to research and developing organic-based medicine, is proud to introduce its new Corporate Image to the world. In this Visual Identity Manual you will find the proper usage of our image in different colour environments and media, incorrect usage or application and all the essential elements required by our Image Policy.

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company

The primary colours Name: Biotyxof the combination mark are grey and green. With the purpose of maximizing the clarity and legibility of Biotyx, the colour of the background must always be solid and allow enough contrast. The combination mark must be used horizontally and never hyphenated or in more than a single line. To preserve the legibility it must never be reproduced smaller than 12 mm (½ inch) in height.

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Through the image of “Biotyx” our goal is to communicate the benefits that our products offer to society. We believe that technology has to preserve well-being; that is why the human figure is presented as a center of the design, stressing the concept of protection and growth.

Protected Space Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

To ensure the combination mark is not confused with other text or graphics it must be surrounded by a zone of clear space. The space required in all sides should be at least the width of the letter X.

x x x

General Considerations

If the use of a different background is needed, the colour value of the background will determine the use of the combination mark in positive or negative. (For proper colour values and permitted colours please follow the directions in the Corporate Colour Standards Section of this manual).

Biotyx Ltd. Visual Identity Guide

The social media system General guidelines

Biotyx Ltd. Visual Identity Guide

Promotional Material

The use of the Biotyx Combination mark in any Social Media must be in compliance with the visual identity standards. When present in a Website developed for the Company, it should use the same background of the Company Stationery which is 5% black. When used on a different background it should be placed according to the instructions detailed for placement, colour and space. The company will allow the use of the logo in outside social media with previous This Visual Identity Manual can be located on authorization of the Marketing department.

www.biotyx.ca/visualmanual

For clarification or advice on the visual identity, please contact the Marketing Office of Biotyx

Applications

Tshirts for the the Sale Department

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Phone: 146-222-3333

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

fax: 146-555-4444

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Email: marketing@biotyx.ca Biotyx Combination mark on.

Biotyx Combination mark on Twitter.

Digital on-line banner Promotional material

Proper and improper use on banners

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Do not add an additional background

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Ideal placement on a solid background

ELEMENT:

Biotyx Ltd. Visual Identity Guide

Page samples of the Visual Identity Manual.

Do not place on a busy background

Claudia Rico - 011551116 Combination Mark - Stage 5 Pharmaceutical Company Name: Biotyx

Placement on a busy background.

Distribution Vehicle

Biotyx Ltd. Visual Identity Manual

INTEGRATED MARKETING CAMPAIGN

CLIENT

PROJECT

Graphic Design IV Class

ELEMENT: Combination Mark for the Hair dye “Expressions”

ELEMENT: Kit product “Expressions” include ready formula and Conditioner for the hair, instructions and box for the product.

INTEGRATED MARKETING CAMPAIGN

CLIENT

PROJECT

Graphic Design IV Class

Express and impress. Be yourself.

Try any of our four beautiful colours and feel free to change your world naturally.

“Expressions” is the best organic hair colour for you and for the environment. With an ammonia free formula, it takes only 15 minutes to get the exact same result as the colour you’ve always dreamt of. The colour is ready to use and safe to use during pregnancy with 100% grey coverage and stays without any changes for at least eight weeks.

Opalescent Red

A great product that comes in a stunning 100% recyclable aluminum package that is reusable and perfect for collection.

Ash Blonde

Express and impress. Be yourself.

Try any of our four beautiful colours and feel free to change your world naturally.

ELEMENT: Posters introductory campaign for “Expressions”

Deep Burgundy

A great product that comes in a stunning 100% recyclable aluminum package that is reusable and perfect for collection.

Mahogany Copper

ELEMENT: Packaging for the four colours of Expressions and Web Banners

YOPLAIT WEBSITE AND APP

CLIENT

PROJECT

Interactive Design

ELEMENT:

Home Page designed for the Yoplait brand.

ELEMENT:

Mobile App for Yoplait

Graphic Design - Editorial Class CLIENT

PROJECT

MAGAZINE REDESIGN

ELEMENT: Cover design for Wired and Sample of a spread.

Start 25

W I R E D

The Forgetting Pill How a new drug can target specific memories-and erase them forever.

CONTENT MARCH 2012

by Jonah Lehrer

“PTSD is a disease of memory.The problem isn’t the trauma — it’s that the trauma cant be forgotten.”

Cultivating genius

Now every scientist will want an airship

Most Dangerous Object: North Face Avalanche Safety backpack

Mr Know-it-all on chinesse air pollution and jury duty etiquette

What’s Inside: Tap water

The international heroes of the Internet

Dr. Seuss’ Lorax, redux

Clive Thompson on saving the planet

Test 43

Who the Hell is Bob Lefsetz? The guy couldn’t make it in the music business - until he started ranting about the way it shold be run. by Bryan Raftery

Letters to the Editor

45 Red Scarlet-x hi-def videocam 46 Universal remotes

The Hacker Hist0rian

48 Windows phones

George Dyson talks about the first computer, digital organisms, and his new book, Turing’s Cathedral.

Play Pirates 55

Interview by Kevin Kelly.

Mission to Mars From Nemo to Wall-E, Andrew Staton made animated characters we love. Can he make the leap to a liveaction universe?

106

The Wallace & Gromit guys do pirates

Prototype: Captain Morgan

Recomendation Engine: Rums for landlubbers

The 48-hour Starup

Gale Anne Hurd. genre queen

Welcome to the hackathon, where blearly engineers run on zero sleep and series A-dreams to build a company in two days. May the best code Win.

A physcological profile of Captain Hook

Botleg radio: Not dead yet

How to write a sea shanty

Mary H.K. Choi on the allure of pirates

by Steve Daly

by Steven Leckart

112

The God Complex Why do so many visitors to Jerusalem Suddenly believe they are the Messiah? by Chris Nashawaty

On the cover: Photograph by Dwight Eschliman. Grooming by Veronica Sjoen/ Artist United

Who the

Hell is

Target: Taylor Swift Attack: After Swift’s offkey Grammy performance in January 2010, Lefsetz— an early supporter of the country star—writes, “Taylor Swift can’t sing,” and that she “shortened her career last night.”

this guy? ILLUSTRATIONS BY BONEFACE

Counterattack: The 2010 Swift song “Mean” is rumored to have been written about Lefsetz. By the late ’80s, the Letter had become popular enough that Lefsetz could make a living at it, at one point charging more than $100 for a yearly subscription. Then, in 2000, he dropped the fee and put the Letter online. (He has never taken advertising and instead has earned money from syndication deals, speeches, and occasional consulting gigs.) The timing for Lefsetz’s digital debut couldn’t have been better: Mainstream music mags were more interested in artist profiles than industry gossip, blogs barely existed, and “pop-culture pundit” had yet to become a widely held vocation.

Bob Lefsetz coundn’t make it in the music business until he started ranting about how it should be run.

Even better for Lefsetz, Napster was just getting started. If any single issue has helped accelerate Lefsetz’s career and burnish his cred, it’s the war over online music. Lefsetz spent the early ’00s haranguing the labels for trying to shut down Napster, arguing that file-sharing was not only an inevitability but a necessity. In retrospect, this stance may not seem especially shocking. But within the record industry, it was utterly seditious. “I got a certain amount of heat from the usual suspects, i.e., the label people,” Lefsetz says. “But the tide was turning, and people needed someone to explain the new world to them.” By taking up Napster’s cause so fervently, Lefsetz not only earned himself a reputation as a quasi futurist, he also lucked into an irresistible—and renewable— narrative, one that frequently casts the label heads he music industry has long been(and sometimes the artists) the villains and the music lovers as the victims. It’s an ideological tactic Lefsetz has employed ever since, whether it means assailing artists for high ticket prices or bemoaning the endless procession of roboto-perfecto pop singers. These are, for Lefsetz, highly personal causes; he has devoted so much of his life to music—it’s both his love and his livelihood—that the industry’s missteps feel like betrayals. And he’s not alone. Lefsetz’s columns tap into a populist rage that resonates with several species of music lovers all at once: the indie-minded purists who think the major-label game is rigged, the technocrats who want music digitally available to everyone, and the aging listeners who can’t understand why anybody would rather listen to Ke$ha than Derek and the Dominos.

BY BRIAN RAFTERY A lot of the time, the hate mail Bob Lefsetz receives is simple and succinct, stuff like “You are a fucking shithead” or “You are an amazing douche.” But once in a while, the put-downs get more elaborate, as was the case when Kid Rock lashed out at Lefsetz in a 2007 email. “Your a failed musician with a big mouth,” wrote the rapper-singer, his typing fingers undoubtedly damaged by years of devil-

horn gesticulations. “You do NOTHING but talk. See you on the streets you punk ass mother fucker!!” Lefsetz is the author of the Lefsetz Letter, an online record-biz op-ed that mixes analysis, rants, boomer-rock reveries, and the odd bit of futurism. Like most music bloggers, Lefsetz posts frequently and verbosely; unlike most music bloggers, he has actually gained the interest

Lefsetz is a digital-era pamphleteer, posting manifestos that call for revolt, for sanity, and for a deeper appreciation of jackson browne.

of the music industry, so much so that even Lefsetz’s most casually tossed-off missives get noticed. The line that irked Rock: A simple “Fuck Kid Rock”—just the sort of low-grade blogenspiel that a star of Rock’s stature would normally shrug off. But Rock was compelled to respond, as are many of the musicians, managers, and producers Lefsetz calls out (or, on occasion, praises effusively) in his

Lefsetz’s truths—that the labels blew it with Napster, that artists are better off on their own—are not all that radical. But consider the powers to which they speak. The music industry has long been resistant to change, and even today there’s the sense that a few stubborn lifers are still trying to put on a united-denial front: We’re gonna be fine, really! All we need is for everyone to stop pirating music. Oh, and for Michael Jackson to be alive again, and then to die again. In the meantime, would you like to buy this new Christina Aguilera/will.i.am single? It’s called “Pork Product,” and it sounds like Ethel Merman deflowering a Commodore 64. To those still hoping for a last-minute return to the industry’s heyday, the Letter is an oft-unwelcome reality check. “You get two groups of people pissed at you,” Lefsetz says. “The people running the old game, and the people who want to be the last ones to get in on the old game. His first listen of “I Want to Hold Your Hand” .They say, ‘Hey, don’t write about the major labels, because I want to get signed. I wanna get paid.’”

Target: Irving Azoff Chairman, Live Nation Attack: In April 2011, Lefsetz assails the seven-figure salaries of several Live Nation executives, calling the company’s recent performance Counterattack: Azoff, a longtime friend of Lefsetz, disputes the figures. (“I wanted him to do his fucking research,” Azoff tells Wired.) After a frosty period, the two appear to have reached a détente.

Windows Phones Nokia’s first high-end Windows phone is a dazzler. From the unusual color options

terface looks the same on every device. And compared with the static home screens of Apple's iOS, Windows' "live tile" menus are a Mardi Gras of activity. Animated squares cascade down as you scroll through a column of options, all continually updated with photos from Twitter, Facebook, and the phone's memory.

(including cyan and magenta) to the sleek, buttonless facade, the Lumia is as easy on the eyes as it is in the hand. Though relatively skimpy by 2012 standards, the 512MB of RAM offered ample support for the screaming 1.4GHz Snapdragon processor, which zipped in and out of apps seamlessly. And the Carl Zeiss lens on its 8MP camera made snapshots look nearly as good as the phone itself. The AMOLED screen rendered the deepest blacks in our test.

Are there many apps available? How many do you need? The Windows app selection pales in comparison with the hundreds of thousands available for iOS and Android. But Microsoft's Marketplace has quickly swelled to more than 50,000 titles. And the essentials — Facebook, Netflix, Angry Birds — are all there. Will Windows Phone play nice with the web services I use daily? Yes, but not in the way you'd think. The OS is focused on people rather than apps. For instance, when you select a contact, Windows Phone serves up your entire interaction history, from Gmail conversations to Facebook chats. The What's New feature streams real-time social network updates, serving up the latest tweets and check-ins. And with Exchange, Office, and XBox Live support built in, Windows phones are perfect for those already hooked into Microsoft's application suite.

With a chassis crafted from a single piece of aluminum and scratch-resistant Gorilla Glass screen protection, the Radar can take more than its share of skinned knees and drops. (And take our word for it, we were really clumsy.) As with Nokia’s Lumia, the 512MB of RAM outperformed expectations, causing almost no delays in multitasking tests. And the 1GHz Snapdragon processor kept apps likeFruit Ninja humming along without a stutter.

WIRED Metal armor on its backside. Fast performance from the 1GHz Snapdragon. TIRED Disappointing keyboard. Muddy display. Middling battery life (seven hours under heavy use).$100 with two-year AT&T contract | LG Quantum

Nokia Lumia 800

THE BASICS

HTC Radar 4G

For smartphone users who miss physical buttons, LG tried tucking a slide-out

keyboard under the Quantum’s 3.5-inch touchscreen display. It didn’t work. The keys aren’t raised enough to provide much tactile feedback, resulting in typo-laden texts. The slider adds unnecessary bulk, and LG wasted real estate by sticking its logo right in the middle of the home keys. As a result, the Quantum feels both too heavy and too small.

As iOS and Android duel for supremacy and BlackBerry struggles to hang on, Microsoft’s unique mobile platform makes its move.

What does the Windows Phone OS have over Android and iOS? Consistency, for one thing. Unlike the myriad flavors of Android, Microsoft's in-

LG Quantum

WIRED Only phone we tested to come with a front-facing camera. HSPA+ radio for a faster data connection. Entry-level sticker price for premium hardware. TIRED S-LCD screen lacks the vibrant warmth of AMOLED displays. No SD card slot means that you’re stuck with the 8GB of onboard storage. $100 with two-year T-Mobile contract | HTC Radar 4G

WIRED Nokia maps and navigation software rival Google’s. Polycarbonate unibody take lots of abuse. TIRED Not offered by any U.S. carriers, so available here only at an unlocked price. Disabled internet sharing is a major letdown. 650.

BUYING ADVICE If you're happily running Windows on your computer, there's no reason to hesitate. Windows Phone is a solid mobile choice. Before buying a handset, think about what you'll do with it. Movie buffs and YouTubers will want a crisp AMOLED screen. Shutterbugs need a camera with at least 5 megapixels (top-of-the-line models boast 8MP). In terms of overall performance, ignore any smartphone with a processor slower than 1GHz. And remember, a new Windows phone without version 7.5 (aka Mango) isn't a new phone at all.

Samsung Focus The Focus’ Super AMOLED screen delivered the brightest, most vivid colors in our test. And with an expansive four inches of viewable pixels, it easily became our favorite media player. It’s svelte to boot — about 0.4 inch thick — and slides easily into hipster-tight jeans. Sadly, the flimsy plastic build typical of so many Samsung phones is a real turn-off. While a light body may sound good at the gym, we’d like a little more meat on our phone’s bones.

ELEMENT:

Samples of pages of the redesigned magazine.

WIRED Amazing screen sheathed in Gorilla Glass. MicroSD slot. TIRED Plasticky. Massive screen eats batteries. $50 with two-year AT&T contract.

TYPOGRAPHIC BROCHURES

CLIENT

PROJECT

Graphic Design - Editorial Class

ELEMENT: Typography brochure designed for Slab serif typefaces: Archer, Clarendon and American Typewriter.

“ABCDEFGHIJKLMNO123456789 Lining figures, standard in all editions of Archer, are designed around the shapes of the uppercase. While lining figures are always recommended when setting in all caps, Archer’s lining figures have been designed to a proportion that makes them attractive and useful in upper- and lowercase setting as well — especially useful in newsier contexts where old-style figures might seem quaint.

Claudia Rico Urquieta Graphic Design II

Archer is the ideal typeface for a magazine that serves all who aspire to a do-it-yourself lifestyle of perfection.

ARCHER

Archer uses ball terminals in both the lower and uppercase forms, creating “a font that’s friendly without being silly, and attractive without being flashy, easy to work with, and inviting to read,” according to its designers.

SERIF “abcdefghijklmnopqrstuvwxyz” GRA 310

SLAB

Uses

“abcdefghijklmnopqrstuvwxyz” History

Archer is a slab serif style digital typeface designed in 2001 by Hoefler & Frere-Jones. The face is unique for combining the geometric structure of twentieth century European slabserifs but imbuing the face with a domestic, less strident tone of voice.

Designers

The company creates a custom type font faces to satisfy all customers needs. They have clients from all fields like newspapers and magazines: The New York Times, The Guardian, The Sun, The Times, Esquire and so forth.

“ABCDEFGHIJKLMN Archer was originally commissioned by Martha Stewart Living magazine in 2000. Hoefler & Frere-Jones combined elements of two opposing type styles: the plainness of antique serifs and the modernity of geometrics.

Hoefler & Frere-Jones (H&FJ) is an influential type foundry in New York City, run by designers Jonathan Hoefler and Tobias Frere-Jones. Both Hoefler and Frere-Jones met in 1989 working alone. Founded in 1989 (as "The Hoefler Type Foundry"), H&FJ develops fonts for both the retail market and for individual clients.

Because Archer’s graceful forms shine at large sizes, we’ve outfitted the font with a delicate Extra Light, a diaphanous Thin, and an impossibly fine Hairline.

HI I’M ARCHER

Jonathan Hoefler was the recipient of the 2002 Prix Charles Peignot for outstanding contributions to typeface design. In 2006, Tobias Frere-Jones received the Gerrit Noordzij Prize, an award given by The Royal Academy of Art (The Hague) to honor innovations in type design. In 2009, they became the first typeface designers to be recognized by the National Design Awards.

“ABCDEFGHIJKLMN

HI I’M ARCHER

Archer was originally commissioned by Martha Stewart Living magazine in 2000. Hoefler & Frere-Jones combined elements of two opposing type styles: the plainness of antique serifs and the modernity of geometrics.

Because Archer’s graceful forms shine at large sizes, we’ve outfitted the font with a delicate Extra Light, a diaphanous Thin, and an impossibly fine Hairline.

“abcdefghijklmnopqrstuvwxyz” History

Designers

Uses

“abcdefghijklmnopqrstuvwxyz” SLAB SERIF

Lining figures, standard in all editions of Archer, are designed around the shapes of the uppercase. While lining figures are always recommended when setting in all caps, Archer’s lining figures have been designed to a proportion that makes them attractive and useful in upper- and lowercase setting as well — especially useful in newsier contexts where old-style figures might seem quaint.

GRA 310

ARCHER

“ABCDEFGHIJKLMNO Graphic Design II

Claudia Rico Urquieta

CURRIER

Slab / Serifs ARCHER

ROCKWELL /CURRIER

History of the Category

Archer is the ideal typeface for a magazine that serves all who aspire to a do-it-yourself lifestyle of perfection.

123456789

Archer on Display

Diagonal vertical No braket

Ondg NEW/EGYPTIENNE / APEX AMERICAN Serif same weight as stroke

TYPEWRITER /

Following/Napoleon’s Egyptian campaign and dissemination of images and descriptions via publications like Description de l’Égypte (1809) an intense cultural fascination with all things Egyptian followed. While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called Egyptians, and many early ones are named for the subject: Cairo, Karnak, and Memphis.

CALVERT /

GUARD-

The common metonym “Egyptian” is derived from a craze for Egyptian artifacts in Europe and North America in the early nineteenth century, which led type founders producing Slab Serifs after Figgins’ work to call their designs Egyptian. However, the term Egyptian had previously been used to describe sans-serif types in England, so the term ‘Antique’ was used by British and American type founders. The term Egyptian was adopted by French and German foundries, where it became Egyptienne.

MUSEO SLAB / NILLAND/ CURRIER / CUR/ IAN EGYPTIAN

ELEMENT:

ARCHER

(48pt)

BERTHOLD CITY /

CHOLLA SLAB / CLARENDON The exact origin of the slab-serif letterforms is unknown. According to James Mosley however, no reliability dated examples exist before the debut of the first Egyptian printing type by Figgins. The first slab-serif typeface called ‘antique’ appeared in a supplement to an 1815 type specimen published by Vincent Figgins in 1817. It had only capitals, with serifs that where as a thick as the main strokes.

(36pt)

Brochure design for the typeface Archer

Font styles

ARCHER HAIRLINE ARCHER THIN ARCHER EXTRALIGHT ARCHER LIGHT ARCHER BOOK ARCHER MEDIUM ARCHER SEMIBOLD ARCHER BOLD

Mache e-Magazzine

The Slab Serif was born in Britain and was an unmistakably invention that was first triggered by the need to communicate with a large, bold lettering on posters and bills, facilitating the booming economy and the prospering manufacturing industries at the beginning of the nineteenth century. Despite its young age, the Slab Serif is a category that has been subjected to scores of rises and falls of typographic fashion, and has been constantly reinventing itself to adapt to the needs and aesthetics of particular periods. The term Slab Serif is hence used as a general term that encompasses all typefaces that have prominent square cut, slab-like serifs.

ARCHER

Packaging, scent diffusers

Stroke Uniform Thrughout

Reverse Type

The Bay Magazine

CURRIER

Applications

It is an ode to the invention that shaped It is an ode to the invention that shaped reading habits and the idea of legibility, the reading habits and the idea of legibility, the typewriter. A compromise between the rigidity typewriter. A compromise between the rigidity of its ancestor and the expectations of the of its ancestor and the expectations of the digital age, ITC American Typewriter retains digital age, ITC American Typewriter retains the typical typewriter alphabet forms, lending the typical typewriter alphabet forms, lending the font a hint of nostalgia. the font a hint of nostalgia.

CLIENT

Graphic Design - Editorial Class This face was never made as foundry type, This face was never made as foundry type, but appeared first as cold type and has but appeared first as cold type and has subsequently been made into digital type. subsequently been made into digital type.

Tony Stan was born 1917 and died 1988. Tony Stan was born 1917 and died 1988. He created the following fonts: ITC American He created the following fonts: ITC American Typewriter™ (1974, with Joel Kaden), ITC GaTypewriter™ (1974, with Joel Kaden), ITC Garamond™ (1977), ITC Cheltenham® (1978), ramond™ (1977), ITC Cheltenham® (1978), ITC Century® (1980), ITC Berkeley Old Style™ ITC Century® (1980), ITC Berkeley Old Style™ (1983). (1983).

“ABCDEFGHIJKLMN “ABCDEFGHIJKLMN what you what you seesee is what you get. is what you get. (wysiwyg) (wysiwyg)

American Typewriter was created in 1974 American Typewriter was created in 1974 by by Kaden and Tony Stan for International Joel Joel Kaden and Tony Stan for International Typeface Corporation based on the form Typeface Corporation based on the form andand monospaced feature of early the early Sholes’s monospaced feature of the Sholes’s patent of typewriter. the typewriter. adapted patent of the TheyThey adapted the the friendliness immediacy of this friendliness and and immediacy of this stylestyle intointo the proportionally spaced the proportionally spaced font.font.

PROJECT

TYPOGRAPHIC BROCHURES

American designer Joel Kaden designed 1974 1974 American designer Joel Kaden designed the font ITC American Typewriter™ together the font ITC American Typewriter™ together withTony TonyStan. Stan.Based Based on on the the form form and and monomonowith spacedfeature featureof ofthe theearly earlyChristopher Christopher Latham Latham spaced Sholes’spatent patentof ofthe thetypewriter typewriter Sholes’s

“abcdefghijklmnopqrstuvwxyz” “abcdefghijklmnopqrstuvwxyz” Designers Designers

History History

Uses Uses

SLAB SLAB SERIF SERIF

“abcdefghijklmnopqrstuvwxyz” “abcdefghijklmnopqrstuvwxyz” American American

“ABCDEFGHIJKLMNO printing types. Monospaced typefaces, printing types. Monospaced typefaces, thatthat those designed every letter takes is, is, those designed so so every letter takes up up same amount of space, were a more thethe same amount of space, were a more practical alternative and soon replaced practical alternative and soon replaced printing types. This waswas by by no no means thethe printing types. This means first type to to imitate type writing. Foundry first type imitate type writing. Foundry catalogues of of thethe latelate nineteenth century catalogues nineteenth century were already offering them andand press were already offering them press manufacturers even made press sizesize ribbons manufacturers even made press ribbons so so that letters looking as as if they hadhad been that letters looking if they been typed could be produced wholesale. typed could be produced wholesale.

Claudia Rico Urquieta

This typeface can be used for business correspondence or any other place in which an old-fashioned style is The ‘A’ faces are identical to the regular ones, except for alternate versions of the following characters: &, $, R, e. The typewriter was patented in 1868 by Christopher Latham Sholes, who sold his rights to the Remington Arms Company in 1873. The first typewriters were initially thought to be replacements for printing and so typewriter key bars utilized

123456789

Thistypeface typefacecan canbebeused usedforforbusiness business This correspondenceororany anyother otherplace place correspondence in in whichan anold-fashioned old-fashionedstyle styleis isThe The faces which ‘A’‘A’ faces are except areidentical identicaltotothe theregular regularones, ones, except for foralternate alternateversions versionsofofthe thefollowing following characters: was characters:&,&,$,$,R,R,e.e.The Thetypewriter typewriter was patented Latham patentedinin1868 1868bybyChristopher Christopher Latham Sholes, Remington Sholes,who whosold soldhis hisrights rightstotothe the Remington Arms typewriters ArmsCompany Companyinin1873. 1873.The Thefirst first typewriters were initially thought to be replacements forfor were initially thought to be replacements printing and so typewriter key bars utilized printing and so typewriter key bars utilized printing types. Monospaced typefaces, that is, those designed so every letter takes up the same amount of space, were a more practical alternative and soon replaced printing types. This was by no means the first type to imitate type writing. Foundry catalogues of the late nineteenth century were already offering them and press manufacturers even made press size ribbons so that letters looking as if they had been typed could be produced wholesale.

“ABCDEFGHIJKLMNO ABCDEFGHIJKLMNO123456789 123456789 Graphic Design II

Typewriter Typewriter GRA 310

American Typewriter GRA GRA310 310

Graphic GraphicDesign DesignIIII

SERIF “abcdefghijklmnopqrstuvwxyz” Claudia Claudia Rico RicoUrquieta Urquieta

SLAB

Uses

“abcdefghijklmnopqrstuvwxyz” History

American Typewriter was created in 1974 by Joel Kaden and Tony Stan for International Typeface Corporation based on the form and monospaced feature of the early Sholes’s patent of the typewriter. They adapted the friendliness and immediacy of this style into the proportionally spaced font.

Designers

American designer Joel Kaden designed 1974 the font ITC American Typewriter™ together with Tony Stan. Based on the form and monospaced feature of the early Christopher Latham Sholes’s patent of the typewriter

“ABCDEFGHIJKLMN

CURRIER

History of the Category

Slab / Serifs ARCHER

ROCKWELL /CURRIER Diagonal vertical No braket

CURRIEROndg NEW/EGYPTIENNE / APEX AMERICAN Stroke Uniform Thrughout

TYPEWRITER /

Following /Napoleon’s Egyptian campaign and dissemination of images and descriptions via publications like Description de l’Égypte (1809) an intense cultural fascination with all things Egyptian followed. While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called Egyptians, and many early ones are named for the subject: Cairo, Karnak, and Memphis.

BERTHOLD CITY /

CHOLLA SLAB / CLARENDON

CALVERT /

The exact origin of the slab-serif letterforms is unknown. According to James Mosley however, no reliability dated examples exist before the debut of the first Egyptian printing type by Figgins. The first slab-serif typeface called ‘antique’ appeared in a supplement to an 1815 type specimen published by Vincent Figgins in 1817. It had only capitals, with serifs that where as a thick as the main strokes.

GUARD-

MUSEO SLAB / NILLAND/ CURRIER / CUR/ IAN EGYPTIAN

ELEMENT:

Applications

American Typewriter

Serif same weight as stroke

American Typewriter on Display

Brochure design for the typeface American Typewriter

American Typewriter (48pt)

Reverse Type

American Typewriter Font styles

ITC American Typewritter Light ITC American Typewritter Regular ITC American Typewritter Bold ITC American Typewritter Light Condensed ITC American Typewritter Condensed ITC American Typewritter Bold Condensed

Poster for Stand comedy

This face was never made as foundry type, but appeared first as cold type and has subsequently been made into digital type.

Tony Stan was born 1917 and died 1988. He created the following fonts: ITC American Typewriter™ (1974, with Joel Kaden), ITC Garamond™ (1977), ITC Cheltenham® (1978), ITC Century® (1980), ITC Berkeley Old Style™ (1983).

Materiology book cover

It is an ode to the invention that shaped reading habits and the idea of legibility, the typewriter. A compromise between the rigidity of its ancestor and the expectations of the digital age, ITC American Typewriter retains the typical typewriter alphabet forms, lending the font a hint of nostalgia.

T-Shirt design

what you see is what you get. (wysiwyg)

(36pt)

Due to its popularity, Besley registered the typeface under Britain’s Ornamental Designs Act of 1842. The patent expired three years later, and other foundries were quick to copy it.

Clarendon is considered the first registered typeface, with the original matrices and punches remaining at Stephenson Blake and later residing at the Type Museum, London. They were marketed by Stephenson Blake as Consort, though some additional weights were cut in the 1950s.

Besley joined the Fann Street Foundry in 1838. The Fann Street Foundry was also home of typographer William Thorowgood, creator of Grotesque.

“AB EFGHIJKLMN

WANTED, REWARD!

Clarendon is an English slab-serif typeface that was created in England by Robert Besley for The font was published in 1845 after Besley, an employee of the foundry since 1826, was made a partner in the firm.

Robert Besley (1794–1876) was an English typographer, creator of Clarendon in 1845 and the Lord Mayor of London in 1869.

He then went on to become Sheriff of the City of London in 1863 and the Lord Mayor of London in 1869. When Besley created Clarendon he had it patented, as England just passed a bill allowing that. The typeface became so popular, though, that the copyright was soon broken by people creating knock-offs. Still known as the first Registered typeface.

“abcdefghijklmnopqrstuvwxyz” History

Designer

Uses

“abcdefghijklmnopqrstuvwxyz” SLAB SERIF

“ABCDEFGHIJKLMNO Clarendon GRA 310

Clarendon was used by the United States National Park Service on traffic signs, but has been replaced by NPS Rawlinson Roadway. In 2008, the typeface was utilized extensively by the Ruby Tuesday restaurant chain in the re-launch of their corporate identity. Via, the travel magazine of the American Automobile Association, uses the typeface for its logo and headline copy.

Clarendon can also be seen in the logotypes of corporations such as Sony, Pitchfork Media, Wells Fargo, the Spanish newspaper El País and the Swedish house manufacturer Älvsbyhus. Fortune, or Volta, a typeface based on Clarendon designed by Konrad F. Bauer and Walter Baum in 1956, was used for the wedge spaces on the Wheel of Fortune dollar amount wheel.

123456789

“ABCDEFGHIJKLMNO Clarendon GRA 310

Graphic Design II

Claudia Rico Urquieta

SERIF “abcdefghijklmnopqrstuvwxyz” Graphic Design II

Claudia Rico Urquieta

123456789

SLAB

Uses

“abcdefghijklmnopqrstuvwxyz” History

Designer

When Besley created Clarendon he had it patented, as England just passed a bill allowing that. The typeface became so popular, though, that the copyright was soon broken by people creating knock-offs. Still known as the first Registered typeface.

“AB EFGHIJKLMN

CURRIER

Slab / Serifs ARCHER

ROCKWELL /CURRIER

History of the Category

Diagonal vertical No braket

Ondg NEW/EGYPTIENNE / APEX AMERICAN CURRIER Stroke Uniform Throughout

Serif same weight as stroke

TYPEWRITER /

Following /Napoleon’s Egyptian campaign and dissemination of images and descriptions via publications like Description de l’Égypte (1809) an intense cultural fascination with all things Egyptian followed. While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called Egyptians, and many early ones are named for the subject: Cairo, Karnak, and Memphis.

BERTHOLD CITY /

CHOLLA SLAB / CLARENDON /

CALVERT /

GUARD-

MUSEO SLAB / NILLAND/ CURRIER / CUR/ IAN EGYPTIAN

ELEMENT:

Brochure design for the typeface Clarendon

Besley joined the Fann Street Foundry in 1838. The Fann Street Foundry was also home of typographer William Thorowgood, creator of Grotesque.

Clarendon on Display Reverse Type

Applications

CLARENDON

(36pt)

CLARENDON

CLARENDON (48pt)

Font styles

CLARENDON LIGHT

Sony Logo

Due to its popularity, Besley registered the typeface under Britain’s Ornamental Designs Act of 1842. The patent expired three years later, and other foundries were quick to copy it.

Robert Besley (1794–1876) was an English typographer, creator of Clarendon in 1845 and the Lord Mayor of London in 1869.

CLAREDON REGULAR CLARENDON BOLD CLARENDON EXTRABOLD

People Magazine

He then went on to become Sheriff of the City of London in 1863 and the Lord Mayor of London in 1869.

CLARENDON BOLD CONDENSED Logos

WANTED, REWARD!

Typography Class CLIENT

PROJECT

ANNE FRANK BOOK COVERS

“One of the greatest books of the century” Guardian “A modern classic” The Times “Rings down the decades as the most moving testament to the persecution of innocence” Daily Mail “Astonishing and excruciating. Its gnaws at us still” New York Times

The Diary of a Young Girl

he Diary of a Young Girl is a timeless true story to be rediscovered by each new generation. For young readers and adults it continues to bring to life Anne’s extraordinary courage and struggle throughout her ordeal.

Anne Frank

ELEMENT: Book cover for Anne Frank’s book.

of y r dia

E N N A ANK R F

The

irl g g n u o y a

Anne Frank

he Diary of a Young Girl is a timeless true story to be rediscovered by each new generation. For young readers and adults it continues to bring to life Anneâ&#x20AC;&#x2122;s extraordinary courage and struggle throughout her ordeal.

The Diary of a Young Girl

ELEMENT: Book cover for Anne Frankâ&#x20AC;&#x2122;s book, second version

rank F e

Ann The

of y r dia

the diary of a young girl

ACADEMY AWARDS

CLIENT

PROJECT

Design Production Class

The

th 84 ACADEMY

AWARDS KODAK THEATRE FEBRUARY 26TH, 2012

ELEMENT:

Oscar Poster designed in Illustrator with gradient Mesh

t e k c i t ticke t th

ticket

ACAD

EMY

AWYA R M E DS D A AC S D R AWA FEBR KODA UARY 26 T K TH EATR H, 2012 E

, 2012 RY 26THE A U R B E F HEATR KODAK T

th ACADEMY

AWARDS

ACADEMY

AWARDS ELEMENT:

FEBRUARY 26TH, 2012 KODAK THEATRE Event Invitation / Ticket & Bus Advertising

ticket

FEBRUARY 26th KODAK THEATRE

ACADEMY AWARDS

CLIENT

PROJECT

Web Design Class

ELEMENT:

Oscar Website, main page.

ELEMENT:

Sample of pages on the website

RESTAURANT WEBSITE

CLIENT

PROJECT

Web Design Class

ELEMENT: Redesign of the Web page Restaurant Burrito Boyz

ELEMENT: Sample of pages of the website

ANNUAL REPORT

CLIENT

PROJECT

Design Production Class

ELEMENT: Cover and a spread of the Samsung Annual Report

Enriching brand value with astute marketing

Message from the CEO

Around the world, the Samsung Electronics brand is gaining strength and value. By launching judicious and consistent marketing campaigns, particularly with sports promotions and social contributions, we have elevated the brand. We expect to add further value to the Samsung brand by launching market-specific innovative products that deliver new and exciting customer experiences. In addition, our sponsorships at the London 2012 Olympics will provide strong profile and brand power.

Dear Samsung electronics Stakeholder: In 2011, Samsung Electronics achieved record-breaking sales despite the worldwide recession and increased pressure from competitors. We realized sales revenue of KRW 165 trillion and operating profit of KRW 16 trillion and maintained a strong financial structure, with a liability ratio of 32.1% and capital adequacy ratio of 75.7%.

Well loved by customers and partners alike The vitality of the Samsung Electronics brand comes from the continued trust and appreciation of our customers, from shared social values and our companywide ethical principles. We believe in “shared growth.” Guided by “right path” management, we are committed to making Samsung loved and respected by our customers, employees and communities.

Robust performances across our business areas Last year, we maintained strong synergy between our set and component business areas while also expanding market share with differentiated premium product lines in our core areas, including mobile phones, TVs and memory chips. Led by growth in the AP and sensor segments, we also saw good performances in our emerging business lines, such the System LSI Business.

In 2012, Samsung Electronics will continue to bring greater value to our customers, families, communities and employees. Our ultimate goal is to build more prosperity and a brighter future for everyone.

The stellar Samsung GALAXY S II sold more than 10 million units worldwide, helping us to achieve the No. 1 global market share for smartphones. In addition, we sustained the top share in the worldwide TV market for the sixth year in a row. In the Memory Business, we developed a 20-nano-class product and expanded our line of highly profitable products, such as DRAMs for mobile devices and servers, again securing our number one market share position.

Thank you.

Geesung Choi Vice Chairman & CEO Samsung Electronics

We expect to continue our dominance while maintaining robust growth and performance.

From cutting-edge hardware to strengthened software capabilities Having achieved unmatched global competitiveness in hardware, we have been focusing on enhancing our software capabilities in user interface, user experience, design, usability and brand awareness. Those efforts are paying off. Samsung again won the German if Design Awards and a total of seven IDEA 2011 awards from the Industrial Designers Society of America. We also ranked second on the list of top US patent assignees, registering a total of 4,894 patents in 2011. Looking ahead in 2012, we expect to further enhance our software capabilities, develop additional competitive business models and offer a trendsetting range of content for business and consumer solutions and services by building distinctive platforms and ecosystems.

2 / Samsung Electronics

Samsung Electronics / 3

Notes to the Consolidated Financial Statements

Telecommunication Systems Business As a leader in the mobile broadband international market, Samsung Electronics has also solidified during this year its

position as the next generation mobile network systems 2. Summary of Significant Accounting Policies

trailblazer and as the Telecommunications Business. a single source of fair value measurement and disclosure

2.1 Basis of Presentation

requirements for use The requirements, which Through product development and across marketIFRSs. expansion, we are The Company first adopted the International Financial are largelyofaligned between IFRSs and US GAAP, do not driving standardization the two major 4G technologies, Reporting Standards as adopted by the Republic of Korea extend the use of Mobile fair value accounting but provide guidance Long-Term Evolution (LTE) and WiMAX. In 2010, (“Korean IFRS”) from January 1, 2010. International Financial on how should be appliedLTE where its use is already required Samsung deployed theit first commercial service Reporting Standards (IFRS) have been adopted by the permitted standards network in theorUS. In 2011, by weother established the within world’sIFRSs first or US GAAP. Korean Accounting Standards Board as Korean IFRS based The Company to assess commercial TD-LTE networkistoyet Saudi Arabia.K-IFRS 1113’s full impact and on standards, amendments and interpretations published by intends to adopt K-IFRS 1113 no later than the accounting the International Accounting Standards Board. period beginning 1, 2013. LTE That same year we built Korea’sJanuary first commercial network. As a result, we are leading markets in North The principal accounting policies applied in the preparation K-IFRS 1019,4G ‘Employee benefits’ America and Asia where LTE demand is greatest. In of these consolidated financial statements are set out below. addition, we provide optimized and customized network The main impacts on the Company will be that the corridor These policies have been consistently applied to all the years solutions to mobile carriers with a multi-standard base approach will no longer be applied and instead all actuarial presented, unless otherwise stated. station that simultaneously provides telecommunication gains and losses will be recognized in OCI as they occur; including GSM, WCDMA, CDMA and 4G New standards, amendments and interpretations issuedtechnologies, but all past service costs will be immediately recognized, and services such as LTE and Mobile WiMAX. not effective for the financial year beginning January 1, 2011 interest cost and expected return on plan assets will be and not early adopted are set out below : replaced with a net interest amount calculated In 2012, relying on the robust technological capabilities we by applying the experience, discount ratewetowill thecontinue net defined benefit liability (asset). gained from field to pioneer K-IFRS 1012, ‘Deferred Tax : Recovery of Underlying Assets’ The lead Company is still in the process ofmobile assessing the impact new markets and the way to next-generation of the amendment on the consolidated financial statements. network technologies and standards. The amendment addresses the measurement of deferred tax liabilities and deferred tax assets to reflect the tax 3. Critical Estimates and Judgments consequences that would follow from the manner in which The preparation of consolidated financial statements the entity expects, at the end of the reporting period, to requires management to exercise significant judgment recover or settle the carrying amount of its assets and and assumptions based on historical experience and other liabilities. The amendments to the standard are mandatory the sluggish PCexpectations market, we have sustained factors,mobile including of future events that are for the first time for the financial year beginning JanuaryDespite 1, growth by focusing on to must have technological innovations believed be reasonable under the circumstances. 2012. The Company expects the impact of this amendment and distinctive premium design. In the first half of 2011 we on the consolidated financial statements to be immaterial. entered the premium PC market with the Notebook Series 9. concerning The Company makes estimates and assumptions the future. The resulting accounting estimates will, by K-IFRS 1107, ‘Disclosures—Transfers of Financial Assets’ In the latter half, we released more innovative products, definition, seldom equal the related actual results. The including the upgraded Series 7 Chronos and the highThe amendments will help users of financial statements estimatesSlate and PC, assumptions a significant risk of performance portable achieving that saleshave increases of evaluate the risk exposures relating to transfers of financial causing a material to the carrying amounts 28% compared to 2010. In 2012,adjustment we will launch Ultrabook assets and the effect of those risks on an entity’s financial of 9 assets andasliabilities the nextthe financial year are and New Series models we movewithin to dominate position and will promote transparency in the reporting premium slimaddressed below.PC category. and lightweight of transfer transactions, particularly those that involve In the printer sector, we are concentrating on the consumer A) Revenue recognition securitization of financial assets. The amendments to the market with a full line of eco-friendly and cost-effective standard are mandatory for the first time for the financial mono-laser printers and multifunctional copiers. Our highThe Company uses the percentage-of-completion method in year beginning January 1, 2012. The Company expects the end printers are poised forforgreater growth in the corporate accounting its fixed-price contracts to deliver installation impact of this amendment on the consolidated financial and small business markets. to develop a new line method services. Use ofWe theplan percentage-of-completion statements to be immaterial. of A3-size andrequires business color printers that offer a wide the company to estimate the services performed to choice of printdate management solutions. as a proportion of the total services to be performed. K-IFRS 1113, ‘Fair value measurement’ Revenues and earningsare aresuited subject to significant change, Samsung systems and applications to any The standard aims to improve consistency and reduce business and provide effectedthe by early steps in a long-term projects, perfect solution to any problem youchange in complexity by providing a precise definition of fair valuemight and have. From scope of aofproject, cost, period, and plans of the customers. front house requirements in Hotels and Leisure Centres to call recording and reporting applications.

IT Solutions Business

B) Provision for warranty

F) Legal contingencies

The Company recognizes provision for warranty at the point of recording related revenue. The company accrues provision for warranty based on the best estimate of amounts necessary to settle future and existing claims on products sold as of each balance sheet date. Continuous release of products, that are more technologically complex and changes in local regulations and customs could result in additional allowances being required in future periods.

Legal proceedings covering a wide range of matters are pending or threatened in various jurisdictions against the Company. Provisions are recorded for pending litigation when it is determined that an unfavorable outcome is probable and the amount of loss can be reasonably estimated. Due to the inherent uncertain nature of litigation, the ultimate outcome or actual cost of settlement may materially vary from estimates.

C) Fair value of derivatives and other financial instruments

4. Cash and Cash Equivalents

The fair value of financial instruments that are not traded in an active market is determined by using valuation techniques. The Company uses its judgement to select a variety of methods and make assumptions that are mainly based on global market conditions existing at the end of each reporting period.

Cash and cash equivalents include cash on hand, deposits held at call with banks, and other short-term highly liquid investments (MMDA and etc.) with original maturities of less than three months.

D) Pension benefits

(In millions of Korean won)

Cash and cash equivalents as of December 31, 2011 and 2010, consist of the following :

2012 2011 The present value of the pension obligations depends on a Cash on hand ￦ 16,042 ￦ 5,897 number of factors that are determined on an actuarial basis using a number of assumptions. The assumptions used in Bank deposits, etc. 14,675,719 9,785,522 determining the net cost (income) for pensions include ￦ 14,691,761 ￦ 9,791,419 Total the discount rate. Any changes in these assumptions will impact the carrying amount of pension obligations. The Company determines the appropriate discount rate at 5. Financial Assets Subject to Withdrawal the end of each year. This is the interest rate that should Restrictions be used to determine the present value of estimated Financial instruments subject to withdrawal restrictions as future cash outflows expected to be required to settle of December 31, 2011 and 2010, consist of the following : the pension obligations. In determining the appropriate (In millions of Korean won) discount rate, the Company considers the interest rates of high-quality corporate bonds that are denominated 2012 2011 in the currency in which the benefits will be paid to all Short-term financial instruments ￦39,770 ￦46,371 of their representatives, and that have terms to maturity Other non-current assetsthe terms ofexcellence the relatedand pension obligation. Byapproximating developing technological superior design, Samsung Electronics

Visual Display Business

long-term financial instruments 16 26 has earned the No. 1 global market share across all TV product lines every year 2011 Global Market Share E) Estimated impairment of goodwill for Flat Panel TVs since 2006, including flat-panel TVs, LCD TVs, smart TVs and 3D TVs. Last year we continued that blistering pace. In 2011, we achieved sales of 47.69 million TV units, a The Company tests at the end of each reporting period 5.7% increase over 2010, confirming our unparalleled market leadership. whether goodwill has suffered any impairment in 26.8% No.1 accordance with the accounting policy described in Note Customized and region-specific marketing and an expanded premium product lineup 2.11. The recoverable amounts of cash generating units have fueled our impressive sales and profit increases. In 2012, we expect to lead the smart been determined based on value-in-use calculations. These TV market with innovative features - such as Smart Interaction, featuring Voice calculations require the use of estimates. Control, Motion Control and Face Recognition; Smart Content, a customized service for consumers and their families; and Smart Evolution, a future-proof feature that Source: Display Search renews your television every year.

4 / Samsung Electronics 16 / Samsung Electronics

Samsung Electronics / 17 Samsung Electronics / 5

AnnualReport_Final.indd Spread 4 of 10 - Pages(4, 17) AnnualReport_Final.indd Spread 5 of 10 - Pages(16, 5)

28/05/2013 2:05:47 PM 28/05/2013 2:05:48 PM

Consolidated Statements of Financial Position

Samsung Electronics Co., Ltd. and its subsidiaries

(In millions of Korean won, in thousands of U.S. dollars (Note 2.27))

Notes

December

2012 KRW

2011 KRW

2012 USD

2011 USD

18,509,490

6, 13

Liabilities and Equity Current liabilities Trade and other payables

16,049,800

16,049,155

13,916,414

9,653,722

8,429,721

8,370,521

7,309,218

Advance received

1,450,733

883,585

1,257,897

(In millions of Korean won, in thousands of U.S. dollars (Note 2.27))

Withholdings

1,715,070

1,052,555

1,487,098

912,646

December

Accrued expenses

7,823,728

7,102,427

6,783,775

6,158,352

2012 KRW

2011 KRW

2012 USD

2011 USD

1,094,943

Short-term borrowings

Notes

Current Assets Cash and cash equivalents

4, 6

14,691,761

9,791,419

12,738,889

8,489,915

Short-term financial instruments

5, 6

11,529,905

11,529,392

9,997,316

9,996,872

Available-for-sale financial assets Trade and other receivables Advances

6, 7 6, 8

655,969 24,153,028 1,436,288

1,159,152 21,308,834 1,302,428

568,776 20,942,537 1,245,372

1,005,074 18,476,402 1,129,305

Prepaid expenses Inventories

Other current assets

Total current assets

2,329,463

2,200,739

2,019,824

1,908,210

15,716,715

13,364,524

13,627,603

11,588,072

988,934

746,101

857,483

646,928

71,502,063

61,402,589

61,997,800

53,240,778

1,262,798

2,051,452

6, 13, 14

30,292

1,123,934

26,265

974,537

3,514,536

2,917,919

3,047,374

2,530,061

Other current liabilities

358,645

333,328

310,973

289,021

Total current liabilities

44,319,014

39,944,721

38,428,001

34,635,152

Current portion of long-term borrowings

6, 7

3,223,598

3,040,206

2,795,108

2,636,093

1,778,767

Non-current liabilities Debentures

6, 14

587,338

1,109,966

Long-term borrowings

6, 13

3,682,472

634,381

3,192,987

550,057

1,024,804

1,072,661

888,584

930,080

Long-term other payables

1,280,124

509,267

Retirement benefit obligation

418,486

597,829

362,860

518,364

Deferred income tax liabilities

2,333,442

1,652,667

2,023,274

1,432,990

Provisions

363,223

295,356

314,942

256,096

Other non-current liabilities

Total liabilities

Non-current assets Available-for-sale financial assets

Income tax payables Provisions

Assets

766,136

364,366

154,700

315,934

134,137

53,785,931

44,939,653

46,636,548

38,966,143

Equity attributable to owners of the parent

Associates and joint ventures

9,204,169

8,335,290

7,980,724

7,227,339

Preferred stock

Property, plant and equipment

62,043,951

52,964,594

53,796,888

45,924,386

Common stock

778,047

674,627

Intangible assets

3,355,236

2,779,439

2,909,248

2,409,988

Share premium

4,403,893

3,818,515

Retained earnings

97,542,525

85,014,550

84,576,888

Other reserve

Deposits

Long-term prepaid expenses Deferred income tax assets Other non-current assets

Total assets

791,863

655,662

686,606

568,509

3,454,205

3,544,572

2,995,062

3,073,417

1,614,077

1,124,009

1,399,529

974,602

442,092

442,383

383,329

383,580

155,631,254

134,288,744

134,944,294

116,438,692

Non-controlling interests Total equity Total liabilities and equity

119,467

(5,244,167)

4,245,558 101,845,323 155,631,254

119,467

(4,726,398)

3,759,532 89,349,091 134,288,744

103,587

(4,547,097)

3,681,226 88,307,746 134,944,294

103,587

73,714,168 (4,098,152)

3,259,804 77,472,549 116,438,692

The accompanying notes are an integral part of these consolidated financial statements.

12 / Samsung Electronics

ELEMENT:

Samples of pages of the Annual Report

Samsung Electronics / 13

Environmental Design Class CLIENT

PROJECT

EXHIBITION EVENT

ELEMENT: The Art of Architecture poster

60 inches

NOV 9, 2013 − MAR 15, 2014

www.ago.net

18 inches

NOV 9, 2013 − MAR 15, 2014

OPENING GALA

Exhibition Preview & Reception Friday, November 8, 2013, 7:00 p.m.

RSVP by November 1st, 2013 to: FosterPartners@ago.net or call (212) 708-940

Complimentary gift to all attendees to the

exhibition.

Art Gallery of Ontario - 317 Dundas St W, Toronto,O

www.ago.net/theartofarchitecture

ELEMENT:

Opening Gala Invitation and Gift Banners and Bus shelter poster

NIAGARA FALLS SIGNAGE SYSTEM

CLIENT

PROJECT

Environmental Design Class

ELEMENT:

Combination mark application

Information

Restaurant

Washrooms

Picnic Pavilions

Tennis Courts

Bruce Trail

Children's Playground

ELEMENT:

Park Signage & Logo (positive and reversed) and Banner design

One wonder after another One wonder after another

One wonder after another

Queenston Heights

One wonder after another

CYBERBULLYING CAMPAIGN

CLIENT

PROJECT

Design Production Class

TEXT LIKE NO NOEVIL EVIL

SHARE TEXT NO EVIL EVIL

Cyberbullying is the is use of theofInternet Cyberbullying a form violence to deliberate harm people. that can do lasting harm to young people.

Cyberbullying is a type of harassment intended Cyberbullying is the use of the Internet to harm, to embarrass, or slander someone. deliberate harm people.

Don’tDon’t standstand by. Visit: by. Visit: www.stopbullying.ca www.stopbullying.ca

Don’tstand standby. by.Visit: Visit: Don’t www.stopbullying.ca www.stopbullying.ca

LIKE NOLIKE EVIL NO EVIL SHARESHARE NO EVIL NO EVIL TEXT NO EVIL NO EVIL TEXT

LIKE NO EVIL

berbullying is a form of violence n do lasting harm to young people.

Don’t stand by. Visit: www.stopbullying.ca

NO EVIL

SHARE NO EVIL

TEXT NO EVIL

LIKE LIKE NO NO EVIL EVIL

SHARE SHARE NO NO EVIL EVIL

TEXT TEXT NO NO EVIL EVIL

TEXT NO EVIL Cyberbullying is the use of the Internet to deliberate harm people.

Don’t stand by. Visit: www.stopbullying.ca

LIKE NO EVIL

SHARE NO EVIL

TEXT NO EVIL

ELEMENT: Introductory Posters (Three different versions) for the anti bullying campaign : Like No evil, Share no evil, Text no evil

SHARE NO EVIL

Cyberbullying is a type of harassmen to harm, embarrass, or slander so

Don’t stand by. Visit: www.stopbullying.ca

LIKE NO EVIL

SHARE NO EVIL

TEXT N

ELEMENT:

Bus Shelter Posters (Three different versions)

CYBERBULLYING CAMPAIGN

CLIENT

PROJECT

Design Production Class

Upload a poster, video or animation to our website and help us fight Cyberbullying

YOU have the power to stop Cyberbullying www.stopbullying.ca/share

Join us to know more about our campaign LIKE NO EVIL

ELEMENT: Poster Contest. Part of the Campaign Share no Evil.

SHARE NO EVIL

TEXT NO EVIL

Information about the contest and prizes at: www.stopbullying.ca/share

your talent

ELEMENT:

Samples of pages of the website of the organization Stop Bullying Canada.

INTERACTIVE MOVIE SITE

CLIENT

PROJECT

Interactive Design Class

ELEMENT: Interactive design for the promotion of the movie Snatch

ELEMENT:

Samples of pages of the Interactive site.

QUEEN CD COVER

CLIENT

PROJECT

Software Training Class

ELEMENT:

CD and CD case for the “A night at the Opera” by Queen

VI) Ltd (B

Records Ltd unde r exc lusiv e lic enc e

fr o

Sw ed is

aH afi M e us

in g s old

QUEEN hi

o ss

d un

o rec

d by EMI owne s i g rdin

A night at the opera

CD Front and Back Cover

g is

d owne

A night at the opera

QUEEN

3:43 1:08 3:05 2:50 3:25 4:01 2:13 8:17 3:38 3:26 5:55 1:11

din

Freddie Mercury Mercury Roger Taylor John Deacon Brian May May Mercury May Mercury May Mercury Traditional, arr. May

QUEEN

Length

by EMI Records Ltd under ex clusi ve l ic

E M I ©1 99 4

op yr

Death on Two Legs Lazing on a Sunday Afternoon I’m in Love with My Car You’re My Best Friend 39 Sweet Lady Seaside Rendezvous The Prophet’s Song Love of My Life Good Company Bohemian Rhapsody God Save the Queen

1991 Hollywood Records bonus tracks

ELEMENT:

Th ec

i gh t

Writer(s)

A night at the opera

Title

Graphic Design III Class CLIENT

PROJECT

BLACK CREEK PIONEER BROCHURE

ELEMENT:

Brochure design for Black Creek Pioneer. Photography production.

Admission Per person

March Break Fun! Special Rates

Adult, Seniors, Students

$10.00

Child

$7.50

Per person

Price

Adult (Age 16-59)

$15.00

Child (Age 5-15)

$11.00

Infant (Age 4 and under)

We invite you to travel back in time, and above all, have fun.

Free

Senior (60+)

$14.00

Student (16+ with ID)

$14.00

Group Rates

Self guided groups of 20 or more 15% discount per person

Memberships:

Black Creek Pioneer Village is located in

Individual

$60.00

Family

$95.00

Directions Toronto’s north-west at 1000 Murray Ross Parkway, M3J 2P3 (near the intersection of Steeles Avenue and Jane Street)

Driving Directions The Village is located one set of lights east of Jane Street, on the South side of Steeles Avenue (follow the Village signs). It is easily accessible from Highways 400, 401 and 407.

The Village is open every day including holidays from May 1st to Dec 23rd.

www.blackcreek.ca

Weekdays

Weekends / Holidays

March Break 12-20

10:00 a.m. - 4:30 p.m.

11:00 a.m. - 4:30 p.m.

May - June

9:30 a.m. - 4:00 p.m.

11:00 a.m. - 5:00 p.m.

July to Labour Day

10:00 a.m. - 5:00 p.m.

11:00 a.m. - 5:00 p.m.

After Labour Day to December 19, 2011

9:30 a.m. - 4:00 p.m.

11:00 a.m. - 4:30 p.m.

December 20 to December 23, 2011

10:00 a.m. - 4:30 p.m.

11:00 a.m. - 4:30 p.m.

1000 Murray Ross Parkway Toronto, Ontario M3J 2P3 416 736-1733 bcpvinfo@trca.on.ca

Photography: Claudia Rico

EXPERIENCE

How the Village Came to Be Following the devastation of Hurricane Hazel in 1954 laws were

In 1958 the MTRCA expanded the agricultural museum to include

passed prohibiting construction in river flats, and the city of Toronto

the Stong farm originally settled in 1816 and decided to establish a

Many museums and other historical resources descri-

artifacts. In the buildings, surrounding gardens, and

began acquiring land alongside waterways. One of these areas, on

‘living history’ museum by creating a 19th century village around the

be the past; Black Creek Pioneer Village brings it to

farmyards visitors meet interpreters and trades people

the northeast corner of Jane Street and Steeles Avenue included the

farm. In 1960 Black Creek Pioneer Village opened to the public. Over

life. Spanning more than 30 acres of pristine country

in period clothing who demonstrate, and explain, how

Dalziel Barn, a magnificent Pennsylvania German log barn built in

the following two decades the MTRCA added historical buildings

landscapes, the Village includes 40 heritage buildings

people lived, worked, and played in mid 19th century

1809. The Humber Valley Conservation Authority restored the buil-

until the Village reached its present size.

from communities across south central Ontario fully

rural Ontario.

ding, local families donated antique farming tools and equipment,

furnished from a collection of over 50,000 historical

and the Dalziel Pioneer Park Museum was opened in 1957.

Bring the Past to The Present

The Village Today before stores, a tavern, and a blacksmith shop were built

Today smoke still curls from the chimney of the original Stong

The Village also includes an Event Pavilion where concerts and

rural. Although the Steam Age had begun and was

nearby. Houses, churches and a school quickly followed.

homestead, now the heart of Black Creek Pioneer Village.

performances are presented, a Gift Shop, and extensive facilities

Visitors come to escape the modern world, and experience

for hosting private functions on site.

already changing the world, where we live the primary source of mechanical power was still water.

In the century and a half since those times most people moved from the country into the cities, leaving behind a

Communities formed around the mill where the grain

way of life that defined early Ontario. This is the world

from the surrounding farms was ground. It wasn’t long

recreated at Black Creek Pioneer Village.

EXPLORE

Life in nineteenth century Ontario was predominantly

LEARN

Living history museum

Ontario’s rich heritage. Guided tours and a rich palette of activities for visitors of all ages are available. Some simply choose to wander through the Village at their own pace, stopping in at homes and workshops which interest them.

JOIN

ELEMENT:

Brochure, front and back

Claudia Rico

GRAPHIC DESIGNER