Por tfolio Kristin Agnarsdottir
w w w.dot tirdesign.com
© Kristín Agnarsdóttir 2010 All rights reser ved. No part of this book may be used or reproduced in any manner without written permission from the author, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Written, designed and produced by: Kristín Agnarsdót tir kristinagnars@gmail.com Academy of Ar t University 79 New Montgomer y Street , San Francisco, CA 94105 Depar tment Director Phil Hamlett
Por tfolio Kristin Agnarsdottir
inside
Allt Gott A Master’s Thesis
6
Univers Typographic Analysis
40
Knoll Lumiere Paint Line Package Design
48
Neurotic* Woody Allen Film Festival
56
Æslandik sounds Pronunciation Ar tists Book
82
Nota Bird-feeder
90
Deadlines Editorial Experience
98
Puma Tur f Skin Care Packaging
112
Dear John Typographic/Origami Book
122
Hendr y Wine Package Design
132
Sur vival Guide Army Fields Sur vival Guide
140
See For Yourself Tourism Campaign
148
6
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
7
Allt Gott Export Collective
thesis
Date Category Class Instructor Deliverables Typography
Spring 2009 – Winter 2010 Academic Master’s Thesis Phil Hamlett , Jay Wilkinsson, Carrie Ann Plank and Ar vi Raquel-Santos Identity, Brand Guidelines, Print Promotions, Business Collateral, Packaging, Web Site, Animation, and Business Plan Eloquent , King’s Caslon, and Dr. Strangelove
Brief A thesis project is the persistent investigation of a topic. Both concept and content are used to make an original contribution to a certain field using graphic design as the medium to convey the message. Strategic thinking, conceptual solutions, innovation, successful typography and imagery, are among the many things mastered during the development of a graphic design thesis. Concept Allt Gott (e. All Good) is my MFA Graphic Design thesis. Allt Gott is a non-profit collective of Icelandic products and manufacturers. They operate under a common manifesto and share a common goal. The goal is to expand Iceland’s role within the global consumer economy and strengthen Iceland’s export brand. Iceland suffered an economic collapse in October 2008 and it is vital that Icelanders look forward and create new venues and opportunities for the country to survive. The collective functions as an aid to nurture the local manufacturing industry. To give existing companies a pathway to expor t, and new businesses a better chance at a sustainable grow th. Through cohesive visuals, marketing placement, and pooled logistical costs, the manufacturers will operate in a better economical climate and have a better chance at developing their products and customer base. My goal with this thesis is to create opportunities for new ideas.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
8
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
9
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
10
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
11
Shown Developing the aesthetics for Allt Gott made me excited to dive into more traditional methods. I began with pen and ink investigations of the textures that lie at the hear t of the Icelandic traditional icons and national stereotypes. To fur ther develop the aesthetics through the silk screen me dium was s o f i t t ing fo r a p roje c t of t his manner. Silk s c re en has t he small scale, handmade quality, of the lo -f i aesthetic that I felt that was at the hear t of the message of the Allt Gott brand.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
12
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
13
Shown A llt G ot t logo in English , I celandic , French , Spanish , and G er man . Logo architecture and rotation guides; the Allt Gott logo is frequently placed at a slight angle, or overlapping par ts of an illustration. The logo is designed to give a monogram stamp of approval to the products. The stamp inspiration is to communicate that this exists on top of another brand; the stamp of an umbrella brand. It unif ies, and assists what is existing.
-6°
9°
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
14
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
15
Class Master ’s Thesis Categor y Print , Identity, Web, Packaging
16
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
17
Shown I chose to combine the project into one book. I introduced the reader to the country before leading them into the idea, and the reasons behind the decisions made in the project. The second par t of the book talks about the business and f inancial planning and shows the economic viability o f t he c o l l e c t i v e . I n t h e t h i r d p a r t I i n t r o d u c e t h e b r a n d a n d g u i d e l i n e s . I showcase various collateral, for print and web, and f inally the design for the Allt Gott range of products.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
18
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
19
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
20
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
21
Shown To stay true to the economic theme of this thesis project , it was vital to develop a sound business and f inancial plan. A management case is presented, with a base case and down case included in the appendix.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
22
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
23
Shown Poster from series of promotional collateral.
24
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
25
Shown The promotional materials are considered as slight teasers or ‘sneak-peaks’ into the world of Allt Gott . A strong focus is on the heritage of the Icelandic language with quirky product names. One word, in this case ‘lamb’ is the same as the English word, and therefore gives the viewer a slight clue to the topic of the poster. Promotions end with the brand’s ‘sign- of f ’ of – It’s All Good.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
26
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
27
Shown Store front and trade show environmental graphics.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
28
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
29
Shown O nline Presence. T he web -site is a place where the consumer can f ind practical information as well as dive into the world of the Allt Gott brand. The main page follows the aesthetic of a local newspaper. Articles on the manufacturers, the products, and what their latest development s are, will be at the foref ront . C ontent will include infor mation on the produc t s and their his torical contex t within Icelandic culture, along with lighthear ted pieces, recipes etc. The Allt Gott web site also ser ves as a communit y board for the members of Allt Got t , as they are spread out all over the countr y and don’t share a common of f ice.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
30
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
31
Shown Animation scene. The site starts off with a short animation, where the folksy characters are introduced to the viewer. The characters of the Allt Gott brand can exist together in a scene. This is reserved for either digital animated use, or as a large environmental graphic. For instance on back walls of train platforms in the London underground, or on construction site barricades in metropolitan areas.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
32
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
33
Shown Allt Gott product line. A big par t of the thesis is strengthening the Icelandic ’country-of-origin’ brand. Apart from the promotional materials, the products are the strongest communicators. It is therefore integral to the package design to keep a strong focus on the background of the product. This is implemented to all Allt Gott products in the form of a ’reveal.’ Labels are opened, tags are f lipped, and bands are unwrapped. This interac t i ve pac kaging is us e d to e du c ate. F ir s t to tell t he s tor y of the company or the place of origin. Secondly to tell the stor y of the product, and it’s historical context within Icelandic culture.
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
34
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
35
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
36
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
37
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
38
Portfolio Krist铆n Agnarsd贸ttir
Title Allt Gott
39
Class Master ’s Thesis
Categor y Print , Identity, Web, Packaging
40
Portfolio Krist铆n Agnarsd贸ttir
Title Univers
41
Typographic Study & Experiments
univers
Date Category Class Instructor Deliverables Typography
Fall 2007 Academic Typography II Jennifer Sterling Type Studies, Slipcover box Univers
Brief An exercise in the precision of typography; students chose a typeface to analyze, study, emulate, and finally experiment with throughout the semester. The exercise of re-creating specimens from old typography books was refined. Rags and justifications were perfected, and typographic works from masters were emulated to achieve a better understanding of the attention to detail necessary in typography. Concept I chose Linotype Univers for its classic, modernist aesthetic, and depth of character weights. Throughout the course I emulated typographic exercises, by masters such as Wolfgang Weingart, tweaking classic typographic tables down to perfection. I worked every last detail until they could be held up to the light and were just ‘perfect.’ That was a very good feeling. The exercises, studies and experiments were then given a sophisticated housing worthy of this labour.
Class Typography II
Category Print , Typography
42
Portfolio Krist铆n Agnarsd贸ttir
Title Univers
43
Class Typography II
Category Print , Typography
44
Portfolio Krist铆n Agnarsd贸ttir
Title Univers
45
Class Typography II
Category Print , Typography
47
48
Portfolio Krist铆n Agnarsd贸ttir
Title Knoll Lumiere
49
Paint Packaging Design
knoll lumiere
Date Category Class Instructor Deliverables Typography
Fall 2009 Academic Package Design II Thomas McNulty Paint Containers in a Range of Sizes Helvetica Neue
Brief In this packaging class students were directed to redesign an existing architectural paint line. A second option was to choose a brand, or designer, and invent a paint line for them. Students were required to deliver a full range of products in that line. The range consisted of cans of various volumes, indoor/outdoor paints, paint brush, and spray can. Concept Based on a love for strong, simple, mid century designs, I chose Knoll as my manufacturer of a new line of paints. The name of the line is Lumiere, and means “light�. The idea is that they make a very select line of colors inspired by their textiles and distinctive color choices through the decades. If you turn to Knoll in matters of furniture design, why not also rely on them for the color of the walls that surround their furniture? For the domestic setting, and more economical design aesthetic, why not leave it to the masters of color to get the perfect red, black, white, gray etc.?
Class Package Design III
Categor y Packaging
50
Portfolio Krist铆n Agnarsd贸ttir
Title Knoll Lumiere
51
Shown Af ter exploring many of Knoll’s iconic designs, I focused on the tapered-square shape of Harr y Ber toia’s 1952 Diamond Chair base.
Class Package Design III
Categor y Packaging
53
54
Portfolio Krist铆n Agnarsd贸ttir
Title Knoll Lumiere
55
Shown Complete line of interior and exterior paint . Gallons, quar ts, spray can, and sample size.
Class Package Design III
Categor y Packaging
57
A Woody Allen Film Festival
neurotic*
Date Category Class Instructor Deliverables Typography
Fall 2008 Academic Integrated Communications Troy Alders Promotional, Web, DVD, Catalogue, Various Materials Centur y, Univers
Brief Conceptualize a film festival in a way that fully characterizes the chosen director. The various elements of the project had to be completely integrated. The communication materials developed were: poster, DVD packaging, catalogue, schedule, printed promotional materials, and an online presence. Concept My chosen director was Woody Allen, who is so prolific that I narrowed it down to the films where I feel he is at his best. His films from New York city in the late seventies and early eighties. The anhedonic characters of Woody Allen’s films in this period are deeply flawed, as Allen dislikes it when he feels he is being easy on his characters. But for all their flaws and foibles, they are never without words. As I watched the films I felt as though I was being encapsulated in a talk bubble. It was a world filled with tweed, jersey, chaotic apartments, gray New York skies, concrete, and yellow taxi cabs. As I was designing, this layered dialogue of anecdotes and neurotic freak-outs took a visual form.
Class Integrated Communications
Categor y Print , Identity, Web, Media
59
60
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
61
Shown Festival schedule with alternate poster on back.
Class Integrated Communications
Categor y Print , Identity, Web, Media
62
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
63
63
Class Integrated Communications
Categor y Print , Identity, Web, Media
64
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
65
Shown Festival catalogue including f ilmography, director inter views, f ilm synopses and histories.
Class Integrated Communications
Categor y Print , Identity, Web, Media
66
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
67
Class Integrated Communications
Categor y Print , Identity, Web, Media
68
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
69
Class Integrated Communications
Categor y Print , Identity, Web, Media
70
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
71
Shown Within the set of deliverables for the festival was a special edition DVD set with the featured movies. Presented in a hard slipcase complete with booklet of f ilmographies and f ilm backgrounds.
Class Integrated Communications
Categor y Print , Identity, Web, Media
72
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
73
Class Integrated Communications
Categor y Print , Identity, Web, Media
74
75
Shown Billboard and festival take -away. The pillbox take -away was inspired by Woody Allen’s many neurotic anti-heroes, where hypochondria and anti-anxiety medication play a big role.
Class Integrated Communications
Categor y Print , Identity, Web, Media
76
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
77
Shown Special edition DVD booklet .
Class Integrated Communications
Categor y Print , Identity, Web, Media
78
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
79
Class Integrated Communications
Categor y Print , Identity, Web, Media
80
Portfolio Krist铆n Agnarsd贸ttir
Title Neurotic*
81
Shown Festival website.
Class Integrated Communications
Categor y Print , Identity, Web, Media
82
Portfolio Kristín Agnarsdóttir
Title Æslandik Sounds
83
Pronunciation Artists Book
�slandik
Date Category Class Instructor Deliverables Typography Illustrations
Spring 2008 Academic Book Ar ts Macy Chadwick Ar tist Book Garamond Linda Ólafsdóttir
Brief Artist book project; construct a narrative, and find the appropriate scale, binding method, and materials. Conceptualize specifically on how the binding method can improve presentation of the content. An open-ended assignment where creativity was encouraged. Concept As the parameters of this project were open I was excited to create something educational about my home country. Icelandic is considered one of the top three most difficult languages in the world to speak, pronounce, and learn. I wanted to create a fun introduction into the pronunciation, but also the Icelandic culture. Borrowing from the world of flashcards I started with basic sounds paired with imagery. A ‘sound and sound in use’ type of exercise as in a grammar book, but simplified.
Class Book Ar ts
Categor y Print , Book Ar ts
84
Portfolio Kristín Agnarsdóttir
Title Æslandik Sounds
85
Shown On one side the character is shown alongside a shor t explanation of the pronunciation. For example, a double l sound is explained as a click at the back of the tongue. The f lip side of the page explains a word or concept about Icelandic culture, containing that par ticular sound, along with a drawing of the scene by illustrator Linda Ólafsdóttir.
Class Book Ar ts
Categor y Print , Book Ar ts
86
Portfolio Kristín Agnarsdóttir
Title Æslandik Sounds
87
Class Book Ar ts
Categor y Print , Book Ar ts
88
Portfolio Kristín Agnarsdóttir
Title Æslandik Sounds
89
Class Book Ar ts
Categor y Print , Book Ar ts
90
Portfolio Krist铆n Agnarsd贸ttir
Title Nota
91
Sustainable Materials BirdhouseDesign
nota
Date Category Class Instructor Deliverables Typography Carpentr y
Fall 2009 Academic Package Design II Thomas McNulty Bird Feeder / Packaging Garamond, Perla, Typographic Ornaments Ben Boothby, Kristín Agnarsdóttir
Brief Design and build a birdhouse, or bird feeder, using only recycled materials. Point of inspiration could be a certain brand, store, or existing designer. If the design was completely original in its inspiration, a clear concept of how the product would be used, and by whom, was required. The project forces the designer to think in three dimensions, and execute those ideas in actual materials. This shows how physical considerations change the design. Constraints of the project were about finding new uses for discarded objects, rather than starting from scratch with endless possibilities. Concept A key point of inspiration for this project is the image of a bird singing proudly with its chest puffed out. I focused in on the operatic tendencies of birds in song, and decided to build a feeder that was a proper stage for that grand energy. Looking at opera houses and symphony halls led me to the aesthetic of the more modern halls that integrate aspects of acoustic engineering into the architecture. It was important to me to stay true to this functionality, so that the feeder would amplify the bird’s voice. As the development of the project led to finding objects and materials to re-use I kept my eyes open for musical things. I considered piano keys, music stands, drums, gramophone, and various instruments. I was drawn to string instruments of the symphony, for their curves and warm wood tones. However, these were not usable as they are handmade with remarkable craftsmanship and are therefore infinitely repairable. The idea of destroying a usable instrument contradicted the whole point of the project. Guitars were the logical next step. There are many busted-up and unusable guitars out there that will never be played again. The concept behind the feeder is that it would be a flagship item in a benefit auction. The funds raised would go to the San Francisco Symphony’s program to bring classical music and education to urban audiences.
Class Package Design III
Categor y Sustainable, Print , Materials
92
Portfolio Krist铆n Agnarsd贸ttir
Title Nota
93
Class Package Design III
Categor y Sustainable, Print , Materials
94
Portfolio Krist铆n Agnarsd贸ttir
Title Nota
95
Shown The project was built from two guitars obtained from Subway Guitars, a legendary guitar store in Berkeley. They specialize in second hand and custom acoustic models. Both were beyond repair and the owner was glad to sell them for a tiny fee. He threw in some tuning knobs and latches for construction. The f loor is made up of old records on a cutting board, both from a junk-yard. The post s and other structural pieces are from a de - constructed magazine rack, from fore mentioned junk-yard.
Class Package Design III
Categor y Sustainable, Print , Materials
98
Portfolio Krist铆n Agnarsd贸ttir
Title Publications
99
Editorial Design Experience
deadlines
Date Category Client Deliverables Typography
2005 –2010 Professional Various Newsprint , Magazine, etc. Various
Brief A showcase of my experience in publication. Magazines and newsprint of various subjects and focuses. Since 2005, I have been the art director at Fréttablaðið, Iceland’s largest newspaper. After moving abroad in 2007 I continued to fulfill that role as much as possible, using vacation time in Iceland to work on special projects. Concept At Fréttablaðið I was responsible for both conceptualizing and the functional design of all new publications and sections. This was in addition to overseeing page design of existing sections, enforcing my style guide and design manuals, and maintaining the visual aesthetics of the paper throughout. Work for other publishing houses ranges from magazines to book covers. I have developed a deep sense of the publication world, and gained a lot of experience while constantly working on a tight deadline.
Client Various
Category Editorial, Print
100
Portfolio Krist铆n Agnarsd贸ttir
Title Publications
101
Shown Veggfóður, glossy interior monthly. Publisher : 365. Editors: Mar ta María Jónasdóttir & Júlía Margrét Alexanderdóttir.
Client Various
Category Editorial, Print
103
104
Portfolio Krist铆n Agnarsd贸ttir
Title Publications
105
Shown Sumar is a new quarterly magazine focusing on nature, family activities, organic gardening and cooking. Ever y issue is named af ter, and ref lects, t hat p a r t i c u la r s eas o n . Pu b l is h e r : Í B o ð i N át tú r u n na r. E d i to r : G uð b j ö rg Gissurardóttir. Design collaboration: Bergdís Sigurðardóttir.
Client Various
Category Editorial, Print
106
Portfolio Krist铆n Agnarsd贸ttir
Title Publications
107
Client Various
Category Editorial, Print
108
Portfolio Krist铆n Agnarsd贸ttir
Title Publications
109
Shown Monthly newsprint cultural magazine. Publisher : 365. Editor : Páll Baldvin Baldvinsson. Design collaboration: Silja Ástþórsdóttir. Monthly newsprint travel magazine. Publisher: 365. Editor: Anna Margrét Björnsson. Design collaboration: Arnór Bogason. Monthly newsprint sport magazine: Publisher: 365. Editor: Óskar Hrafn Þorvaldsson. Newsprint weekly. Publisher: Miðopna. Editor : Jón Kaldal. Design collaboration: Helgi Hilmarsson. Newsprint weekend magazine. Publisher: 365. Editors: Marta María Jónasdóttir, Óskar Hrafn Þorvaldsson. Design collaboration: Arnór Bogason, Silja Ástþórsdóttir.
Client Various
Category Editorial, Print
111
112
Portfolio Krist铆n Agnarsd贸ttir
Title Puma Turf
113
Puma Skin Care Packaging & Display
turf
Date Category Class Instructor Deliverables Typography
Spring 2010 Academic Package Design III Thomas McNulty Bottles, Packaging, Display Linotype Univers & Custom
Brief Conceptualize a cohesive skin-care line for an existing brand currently not in the skin-care market. Furthermore, students were to be mindful of the chosen brand’s target-audience, presence, and over-all aesthetic. The line was to consist of seven products, with the challenge of seeking out or designing the bottle shapes and create professional prototypes. The final element of the project was designing and building the display environment for the product line. Concept A skin care line was created for active young adults, a target audience of 20-35 years old. Puma Turf is for people who are urbanites, but very active and usually have a sports bag hanging on their shoulder. They don’t like little glass bottles that break. They are not persuaded by active ingredient promises. They prefer fresh scents, fresher colors, and have a modern, simple aesthetic. I chose to use square bottles for their efficient use of space, either in the gym bag or on the bathroom shelf. My choice of colors had to appeal to both sexes, focusing on energetic and crisp qualities rather than feminine florals or masculine musks.
Class Package Design III
Category Packaging, Display Design, Model Making
114
Portfolio Krist铆n Agnarsd贸ttir
Title Puma Turf
115
Class Package Design III
Category Packaging, Display Design, Model Making
116
Portfolio Krist铆n Agnarsd贸ttir
Title Puma Turf
117
Class Package Design III
Category Packaging, Display Design, Model Making
118
Portfolio Krist铆n Agnarsd贸ttir
Title Puma Turf
119
Class Package Design III
Category Packaging, Display Design, Model Making
120
Portfolio Krist铆n Agnarsd贸ttir
Title Puma Turf
121
Shown Display was inspired by urban spor t f ields. Materials used were Plexiglas for the frame and Puma emblem, and synthetic tur f for the base.
Class Package Design III
Category Packaging, Display Design, Model Making
122
Portfolio Krist铆n Agnarsd贸ttir
Title Dear John
123
Typographic / Origami Book
dear john
Date Category Class Instructor Deliverables Typography
Spring 2009 Academic Typography IV Jay Wilkinson Book Handdrawn Black-lettering, Clarendon
Brief Create a narrative while experimenting with typography usage and methods. Subject matter was open but students were encouraged to be concept driven and choose methods fitting the narrative. Concept I started playing with the Icelandic currency, at the time it was at an all time low following the dramatic collapse of the Icelandic economy. The 500 krona bill features Jón Sigurðsson, who led the Icelandic resistance to Denmark’s rule. He is a symbol of independence, as well as our pride of being a democratic nation. Back home issues were being raised about conver ting to another currency, or joining the European Union. I started wondering what that would mean for Iceland as a society, and mostly, for our self-identity. Our independence is such a strong part of the national character that I could not imagine what would happen if we gave it all away just to soften the blow. The book is written to Jón Sigurðsson, the fore mentioned founding father of the republic. It is a ‘dear John’ letter, thanking him for the good times, and the bad, as well as explaining why things must end as they will. The 500 ISK bill is being re-purposed throughout the book, creating anything from capitalist tokens, to hearts, or Christmas origami. The black lettering is bronze leafed.
Class Typography IV
Category Print , Typography
124
Portfolio Krist铆n Agnarsd贸ttir
Title Dear John
125
Shown Design inspiration came from the pattern design and complex foils found on European paper currency as well as from traditional patterns.
Class Typography IV
Category Print , Typography
126
Portfolio Krist铆n Agnarsd贸ttir
Title Dear John
127
Class Typography IV
Category Print , Typography
128
Portfolio Krist铆n Agnarsd贸ttir
Title Dear John
129
Shown Alternate uses for the 500 ISK bill, due to its decline. Including: The republican elephant , f lowers, wallpaper, Christmas trees, and mobiles.
Class Typography IV
Category Print , Typography
131
132
Portfolio Krist铆n Agnarsd贸ttir
Title Hendry
133
Wine Packaging
hendry
Date Category Class Instructor Deliverables Typography
Spring 2010 Academic Package Design III Thomas McNulty Wine bottles, gif t packaging. Bembo and Avenir
Brief Choose a winery and re-package their current line. A study of their history, current audience, and overall market placement was done before executing a new design. The re-design had to include a new identity, concept, two $20 bottles, and a $100 reserve bottle.
Concept For my chosen brand, Hendry Wines in Napa Valley, their family history and scientific approach were key to the concept. Respecting the specific qualities of the micro-climates and topography of their vineyards, they have marked off blocks of vines. Each block is a different grape, or else separated by vine ages. They refer to the wines by their block numbers and keep them separate throughout the wine making process. The purpose of this sectioning off is to be able to keep track of long term experiments. This active research is about which grape performs best in which micro climate, but also which clone of that grape. They have great patience with their experiments, and with their wine-making. When I met with the owner/wine maker George Hendry I was struck by his attention to every detail. His philosophy of taking the time to do things by the best method possible, combined with a constant drive to find a better way, shows in the quality of his wines. The winer y’s system of referring to ever y thing by block number became a major theme of my project. The best articulation of the blocks is as a map, or aerial photographs. I referenced punch cards, from the early days of computer technology, by die-cutting boxes out of the photographs. This brought in the element of their homegrown scientific approach.
Class Package Design III
Category Print , Packaging, Identity
134
Portfolio Krist铆n Agnarsd贸ttir
Title Hendry
135
Class Package Design III
Category Print , Packaging, Identity
137
138
Portfolio Krist铆n Agnarsd贸ttir
Title Hendry
139
Class Package Design III
Category Print , Packaging, Identity
140
Portfolio Krist铆n Agnarsd贸ttir
Title Survival Guide
141
Informational Book Design
survival guide
Date Category Class Instructor Deliverables Typography
Fall 2008 Academic Typography III Jeremy Stout Book Univers
Brief This challenge was to re-create an old survival guide. Students were given text from the U.S. Armed Forces; Army Field Survival Manual 21.76. The instructions were to re-conceptualize the book around the text, reorganizing, adding and subtracting info-graphics and images as necessary. Concept I felt the right direction was to create clear concise typographic systems based on color and placement. I modernized army colors for my palette. Tables, charts and info-graphic tools were very helpful in making the information more accessible to the reader. After all, the idea is that as a survival guide, you only pick it up when you need to.
Class Typography III
Category Print , Typography, Information Graphics
142
Portfolio Krist铆n Agnarsd贸ttir
Title Survival Guide
143
Class Typography III
Category Print , Typography, Information Graphics
144
Portfolio Krist铆n Agnarsd贸ttir
Title Survival Guide
145
Class Typography III
Category Print , Typography, Information Graphics
146
Portfolio Krist铆n Agnarsd贸ttir
Title Survival Guide
147
Class Typography III
Category Print , Typography, Information Graphics
148
Portfolio Krist铆n Agnarsd贸ttir
Title See For Yourself
149
Iceland Tourism Campaign
see for yourself
Date Category Class Instructor Deliverables Typography Illustrations
Fall 2009 Academic Design Outside The Box Roland Young Poster and Web Campaign Helvetica Alda Rose Car twright , Krist铆n Agnarsd贸ttir
Brief In this course, the objective was to communicate faster and be more memorable. Striking the right balance between shock value and the message was difficult at times. Students created a campaign that addressed a social or political problem. Developing a narrative that was fitting but evocative was critical to the project. Concept I chose to take a more humanist approach to a tourism campaign. I introduced a world of ancient, mythical, and traditional characters. By using these traditional characters in a comical context, there was more room for sarcasm. They were used, in this cynical manner, to evoke and comment on the Icelandic culture. The point is to say that Iceland is a different sort of destination, and to reach for the tourist that travels to experience and not just see.
Class Design Outside the Box
Category Print , Web
150
151
152
Portfolio Krist铆n Agnarsd贸ttir
Title See For Yourself
153
Shown Poster series of recommendations when visiting Iceland.
Class Design Outside the Box
Category Print , Web
154
Portfolio Krist铆n Agnarsd贸ttir
Title See For Yourself
155
Shown This poster is information on some lesser known facts of the Icelandic culture. The map is of some things that a tourist might not get pointed to on his travels.
Class Design Outside the Box
Category Print , Web
157
158
Portfolio Krist铆n Agnarsd贸ttir
Title See For Yourself
159
Shown Trifold pamphlet with lesser known facts of the Icelandic culture.
Class Design Outside the Box
Category Print , Web
160
Portfolio Krist铆n Agnarsd贸ttir
Title See For Yourself
161
Shown See For Yourself website. Home page shown. Ar ticles about Iceland and news in Iceland, weather forecast , and facts on icelandic culture.
Class Design Outside the Box
Category Print , Web
To my late grandmother, Auður Brynþóra Böðvarsdóttir especially. For everything always, in many ways. Back home for being there: Mom, dad, cousin Auður, and a good amount of friends that showed interest, faked interest , and talked on the phone at ungodly hours with me. And over here for being here: Ben, for so, so, much. My Academy of Art classmates: Mike, Elizabeth, Melissa, Lauren, Victor, Joe, Linda, and Jenny – for all group critiques, advice, and jibes. And of course, thanks to the lovely Texas for being such a good dog.
thanks
Paper : Finch 80lb Text Printer : Andresen, San Francisco Binder y: The Key, Oakland Typography: Tondo by DaltonMaag & Eloquent Italic by Veer Photography: Krist铆n Agnarsd贸ttir Technology: Adobe InDesign, Lightroom, Photoshop, Illustrator, Nikon D70s.