Junior Portfolio - Leo Porto

06 NYT BOOK REVIEW 12 CRAZY SEXY COOL 12 SWISS 24 WOODTYPE 38 HOMEPOLISH 52 PICTURE DICTIONARY 60 NYC PIZZA GUIDE 76 THE LITTLE PRINCE 76 BOOK 86 INFOGRAPHIC 94 MUSEUM 126 OVERALL MURALS 140 MAREOL 142 MAGIRUS 148 MOMA POSTERS

158 FRANNY AND ZOOEY 160 JAMES TURREL 162 SERIF / SANS-SERIF 164 PROJECTIONS 166 UNIQUE BOARD 170 B612 192 I HATE ____________.

194 PROCRASTINATION 200 COMPUTER CRASH 206 COMMUTING 218 MUSEUM OF GLASS 242 OBJECT: RUBBER BAND 248 HYDOR TEA 252 LEMON MAGAZINE 278 LALOULA

N ew Yor k T i m es B ook R evi ew R ed esi gn I n str u ctor C ar i n G ol d b erg 5

N ew Yor k T i m es B ook R evi ew R ed esi gn I n str u ctor C ar i n G ol d b erg 7

N ew Yor k T i m es B ook R evi ew R ed esi gn I n str u ctor C ar i n G ol d b erg 9

C r azy S exy C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 11

C r azy S ex y C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 13

C r azy S exy C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 15

C r azy S exy C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 17

C r azy S exy C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 19

C r azy S exy C ool S wi ss R ed esi g n I n str u ctor C ar i n G ol d b erg 21

C r azy S exy C ool Wo d d typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 23

C r azy S exy C ool Wo d d typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 25

C r azy S exy C ool Wo od typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 27

C r azy S exy C ool Wo od typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 29

C r azy S exy C ool Wo od typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 31

C r azy S exy C ool Wo od typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 33

C r azy S exy C ool Wo od typ e R ed esi gn I n str u ctor C ar i n G ol d b erg 35

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 37

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 39

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 41

Homepolish is an interior design start-up based in

working for clients with different styles

high-priced, commission-based interior designer. The

had to be strong without overpowering

New York that was conceived as an alternative to the company’s goal is to flip the interior design industry on its head by making premium design services

available to everyone — residential and commercial — no matter the budget.

My task was to redesign their visual identity, as their previous one was not cohesive with the company’s nature. The main concern was that their original

logo was too generic and “editorial-chic”, when their attitude was “easy and affordable”. They wanted

to separate themselves from the high-end interior

designers. So the challenge was to create something

that wasn’t too luxurious but didn’t look cheap either.

Another part of the challenge was the fact that the

Homepolish team consists of more than 100 interior designers with different styles and perspectives,

and perspectives. The logo and brand

the interior design work, functioning as a canvas on which to showcase their

design variety. So the logo had to be neutral enough

to hold up to any king of imagery and design aesthetic

— but could not look generic or

unoriginal. It had to be a mark that would relate to Homepolish in a

memorable way, while still being simple enough to work in small applications

such as web and social media icons.

The solution was a minimal geometric mark that abstractly portrays the

company’s initials “H” and “P”, while also illustrating a simple floorplan.

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 43

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 45

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 47

H om ep o l i sh Vi su al I d en ti ty D esi gn P er son al P roj ect 2013 49

M y F i r st P i ctu re Di cti o n ar y I n str u ctor C ar i n G ol d b erg 51

M y F i r st P i ctu re Di cti o n ar y I n str u ctor C ar i n G ol d b erg 53

M y F i r st P i ctu re Di cti o n ar y I n str u ctor C ar i n G ol d b erg 55

M y F i r st P i ctu re Di cti o n ar y I n str u ctor C ar i n G ol d b erg 57

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This guide was brought to you by Google.

This project is a Complete Guide to Pizza in Manhattan’s Lower East Side. It is an obsessive analysis of pizza-

N ei g h b or h o od Guide

related statistics and maps in that region.

The aim of this guide is to help tourists as well as New York residents to find out more about all the different pizza options the neighborhood has to provide. From 99c slices to $80 pies, there are numerous places ready to be explored.

Some of the collected data and statistics used to make this guide include: Price per slice

Nationality

Exterior Design

Location

Waiting time

Signage

Favorite Toppings

Closing hours

Typography

Inspection Rating

Dog Policy

Logo & Color

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N ei g h b or h o od Guide I n str u ctor N atash a J en 67

N ei g h b or h o od Guide I n str u ctor N atash a J en 69

L i ttl e P r i n ce B o ok E d i to r i al D esi gn I n str u ctor N atash a J en 75

The Little Prince by Antoine de Saint-E xupér y is one of the most famous books in the world.

It is a poetic tale about a lit tle prince and his expedition in out ter space. The book has a fantastical, surrealist qualit y to it and its pages are filled with rich watercolour illustrations by the same author.

Throughout the novel, the Little Prince criticizes the “grown-ups” for their lack of imagination and free-spirit. While reading the book, however, I came to realize that although Saint-Exupér y’s illustrations were beautiful to look at, they were in a way obstructing my ability to use my imagination and to instigate my creativity. The ver y same lack of imagination and free-spir t he criticizes in the book seemed to be contradictor y to his use of illustration in The Little Prince.

Thus, when faced with the challenge of redesigning the book, it seemed right to remove all the illustrations from the book and to keep placeholder boxes and captions in their original places. This way, readers would have total freedom to imagine what a par ticular scene or character looks like rather than getting a predetermined image.

“He carefully cleaned out his active volcanoes.”

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L i ttl e P r i n ce B o ok E d i to r i al D esi gn I n str u ctor N atash a J en 83

L i ttl e P r i n ce B o ok E d i to r i al D esi gn I n str u ctor N atash a J en 85

A

This infographic is an insert that will go inside the

Throughout the novel, the Little Prince

The Little Prince . Its function is to explain the basic

criticizes “grown-ups” and their lack of

chronological structure of book, including all of the

imagination and free-spirit. The idea that

asteroids and planets visited by the Little Prince

all grown-ups care about is numbers and

throughout his journey. The infographic includes the

money is a strong theme in the book.

asteroid’s relative sizes, the characters that live in

Being a grown-up myself, I had the idea

each of the asteroids as well as the number and kinds

to utilize a scientific vernacular and

of objects and plants he encountered in each of

technical approach to the design, as to

these environments. The information is presented in a

represent the Little Prince’s perspective

very straightforward and technical manner.

of what a grown-up like me would do.

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Little Prince Book Editorial Design Instructor Natasha Jen 91

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The Little Prince Museum is a museum of art and design that showcases Surrealist works from all over the world.

The museum is named after The Little Prince book, by Antoine De Saint-Exupery, in honor of the book’s surrealist plot and fantastical illustrations.

The Little Prince Museum will be located in the Red Rock Desert, Nevada, USA. The location was decided based on the fact that the desert is an important, reoccurring setting in The Little Prince, as well as a common setting for classic and contemporary Surrealist paintings from artists like Salvador Dali, Vladimir Kush, Yves Tanguy, and Félix Labisse.

The museum’s minimalist architecture is intended to contrast with the natural shapes of the rocky mountains of the desert, similarly Surrealist visuals.

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01. Super Studio

03. The Little Prince Book

05. RenĂŠ Magritte

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Room B-325 Video & Interactive

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Room B 326 Photography

3 Room B 327 Collage

2 Room B 328 Contemporary Paintings

1 Room B-612 Classic Paintings

B-329 Café Café & Restaurant

Room B-330 Workshop & Lecture Space

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littleprince.com 410 W 26th Street 10010 NYC

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front

back

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Miguel Padura

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Admit 1 General Admission $ 20 Thursday March 7th, 2013 3:41 PM Enjoy your visit! lpmuseum. com

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Home

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Gallery

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Contact

Alex Gross USA, 2008 The Mandolin Oil on Canvas

Le Faux Miroir presents an enormous lash

a luminous cloud-swept blue sky filling th

an opaque, dead-black disc for a pupil. The

provided by the Belgian Surrealist writer Pa seems to insinuate limits to the authority of

a mirror provides a mechanical reflection, b

is selective and subjective. Magritte’s singl functions on multiple enigmatic levels: the looks through it, as through a window, and

it, thus seeing and being seen simultaneousl

photographer Man Ray, who owned the wor

to 1936, recognized this compelling duality

memorably described Le Faux Miroir as a pa “sees as much as it itself is seen.”

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125 P er son al P roj ect 2013 Over al l M u r al s E d i to r i al D esi gn

A

Overall Murals represents a new generation of sign painters who are driven by contemporary visual culture, graphic design, graffiti, and street art. This book is a compilation of some of Overall Mural’s best hand-painted advertising projects in NYC.

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Over al l M u r al s E d i to r i al D esi gn P er son al P roj ect 2013 135

Over al l M u r al s E d i to r i al D esi gn P er son al P roj ect 2013 137

M ag i r u s L o go Desi g n D esi g n ed at C h er m a yeff & G ei sm ar & H avi v 141

Founded in Ulm, Germany in 1864, Magirus manufac-

The new visual identity, an ar ticulated

tures and outfits firefighting equipment and trucks.

“M�, suggests the ladders for which the

A trusted manufacturer and leader in innovation,

company is known. It recalls elements of

Magirus invented and patented the first turntable

the historic Magirus-Deutz logo, which

ladder. For most of the 20th century, the brand has

combined a stylized M with the sharp

been owned by parent companies—first by Deutz,

spire of the cathedral in Ulm where the

a German engine manufacturer, and since 1975, by

company has been located for some 150

Iveco, an Italian truck manufacturer. In 2012, with

years. This new mark can hold its own

the permission of its holding company, Magirus decid-

next to the chassis manufacturer logos

ed to relaunch as an independent brand to solidify

and can be used everywhere to identify

its market position as one of the finest quality

the independent Magirus brand and carry

firefighting equipment manufacturers in the world.

it into another century.

M ag i r u s L o go Desi g n C o m p l eted at C h er mayeff & G ei sm ar & H avi v 143

M ag i r u s L o go Desi g n C o m p l eted at C h er mayeff & G ei sm ar & H avi v 145

147 I n str u ctor C ar i n G ol d b erg M o M A P oster s P r i n t Desi g n

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This project consists of a series of fictitious posters

Total of six MoMA Exhibitions:

for the MoMA in New York. My solution to the assignment was to create system where the poster’s

1. Fluxus

4. Deconstruction

typography remained static across all posters and the

2. Dada

5. Swiss Design

content around it be the only thing that changes.

3. De Stilj

6. Minimalism

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M o M A P oster s P r i n t Desi g n I n str u ctor C ar i n G ol d b erg 157

F r an n y an d Z ooey B ook C o ver I n str u ctor P au l S ah re 159

J ames Tu r rel P oster I n str u ctor P au l S ah re 161

Aug 26th James Turrell

TT

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WE WISH YOU A WONDERFUL NIGHT. LOVE, NEIGHBORS

15 FEET For Paul Sahre’s Typography on the Streets project, I par tnered with Pedro to spread some love within our community by wishing our neighbors a “wonder ful night.”

We projected the large-scale love message onto our own building for pass-byers to see it. It was all beautiful until the cops showed up.

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Background: The Neiman Marcus Group retails high end and luxury apparel, shoes, accessories, jewelry, cosmetics, furniture, antiques, rare books, and decorative home items. Its target market is consumers who are in the top 2% of the income bracket in the U.S. and equally wealthy people around the world. According to the company’s website, its average customer has an advanced degree, is well-traveled and sophisticated.

B 612 R eb r an d i n g

The problem: The current Neiman Marcus visual identity not reflect the sophisticated target audience that they seek. Formally, the proportions of the hand-lettering are visually unpleasing and the roughness of the letters don’t help establish a high-end look.

The solution: Create a unified typographic system that establishes rules and specifications as to how typography should be used and treated in different applications, as well as an unified system that establishes how imagery should be used and treated in different applications.

The logo: Taking inspiration from the strong lines that are reoccurring in fashion, the suggested logo consists of two minimal linear elements that are dynamic and adaptable to different formats and applications while remaining recognizable in its simple form. The wordmark for B612 was a custom drawn. Primary typography for the identity is the Graphik Family.

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Headline Typeface

Graphik Semibold A B C D E F G H I J K L M a b c d efg hijklm NOPQRSTUV WXYZ nopqrstuvwxyz

B 612 R eb r an d i n g

Body Text Typeface

Graphik Regular

A B C D E FG H I J K L M abcdefghijklm N O P Q R S T U V W X Y Z nopqrstuv w x y z

Text Layout Example

Headline Text goes here Ique pelest eat dempor as ventem quisit, alutus exeri blaut auda dici ut essumquas maxima nimilluptur mori soluptaquid etusdaestrum assequo eicatur aut parit uptur? Ped que lis es exo explitius magnihillat monlot hilloribere, tem quidem conseque odit.

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PANTONE 2935 C C:100 M:50 Y:0 K:0 R:0 G:90 B:255 #005aff

PANTONE PROCESS BLACK U C:50 M:40 Y:40 K:100 R:0 G:0 B:0 #000000

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Leo Porto Sales Associate

t. 646.745.0857 f. 214.854.1568 l e o @ b 6 1 2 .c o m

b 612.com

410 West 26th Street 10010 NYC b612.com

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D e s i g n e rs

Wo m e n’s A p p a re l

Shoes

Handbags

J

Jewelr y

Christmas Book Subscription Order today an d be on e of th e f irst to receive our legendar y Ch ristmas Book, full of un believable fant a sy gif ts as well as little in dulgen ce s for ever yone on your list. We will sh ip th e book in the beginnin g of th is fall.

T his item cannot be sh ipped secon d-day or next-day. Durin g ch eckout, ple ase select th e st a ndard deliver y as your sh ippin g option .

Acc e s s o r i e s

Beauty

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Bag (0) Logout

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I hate______

I hate procra and when m 2 freezes . Yu having to co

___________.

astinating my computer uval hates 3 ommute .

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Procrastination Poster Instructor Natasha Jen 197

Procrastination Poster Instructor Natasha Jen 199

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If New York City were to have a museum solely dedicated to glass art and glassmaking, this is how I envision its identity to look like.

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Research

A

Founded in 1951 by Corning Glass Works as a gift

which also offers year-round courses in all

to the nation for the company’s 100th anniversary,

different levels of glassmaking.

The Corning Museum of Glass is a not-for-profit museum dedicated to telling the story of a single

The Museum is a center for glass schol-

material: glass.

arship. It boasts the Rakow Research Library, which is the world’s largest and

The concept seems so simple. How much can you

foremost archive and reference collection

say about glass? Actually, quite a lot. Glass is a

on the history of glassmaking. The Muse-

versatile, ancient material that is still being explored

um also regularly publishes journals, edu-

and understood by artists, scientists, and historians

cational videos, and scholarly publications

today. The story of glass is a story about art, history,

– all which you can access on their online

culture, technology, science, craft and design. And

page. The Corning Museum of Glass is

we tell that story at The Corning Museum of Glass.

a dynamic institution that continues to actively collect, educate, preserve, and

The Corning Museum of Glass cares for and displays

share the experience of glass to visitors

the world’s best collection of art and historical glass.

from all over the world.

When you visit, you’ll see more than 3,500 years of

B

histor y displayed in the Glass Collection Galleries,

Vision statement: To be the international

from a glass portrait of an ancient Egyptian pharaoh

leader in the pursuit and dissemination of

to contemporary glass sculptures.

knowledge about the art, history, science, and technology of glass and glassmaking.

You can learn about the science and the technology behind innovations in glass through hands-on exhibits in the Innovation Center. There, you can explore the concepts behind optics, vessels, windows, and meet

Target audience: Very diverse audience.

Anyone that appreciates art. Points to consider:

the innovators who have literally changed the world using glass. Glass is brought to life through several

Local residents and families.

live, narrated glass-making demonstrations, offered

American and international tourists.

all day, every day. For the people that can’t make it

Different languages

to the museum in New York, they also offer live Hot

School trips / kids of ages.

Glass Shows on three Cruise ships. The museum

Elderly groups.

also hosts a traveling design program, the GlassLab, which aims at helping designers explore glass as their work material.

If interested in glassmaking, the guests can also take part in the daily Make Your Own Glass sessions for beginners. For a more intensive experience, visitors can also take our glassmaking school, “The Studio”,

Keywords Art

Science

Science

History

Knowledge Technology Education Science Non-Profit Culture

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M u seu m of G l ass I d en ti ty Desi gn I n str u ctor E r i c B ak er 233

M u seu m of G l ass I d en ti ty Desi gn I n str u ctor E r i c B ak er 237

M u seu m of G l ass I d en ti ty Desi gn I n str u ctor E r i c B ak er 239

M u seu m of G l ass I d en ti ty Desi gn I n str u ctor E r i c B ak er 241

M u seu m of G l ass I d en ti ty Desi gn I n str u ctor E r i c B ak er 243

R u b b er B an d P oster I n str u ctor N atash a J en 249

H yd or Tea I d en ti ty Desi gn P er son al P roj ect 2014 251

H yd or Tea I d en ti ty Desi gn P er son al P roj ect 2014 253

L emon M agazi n e E d i to r i al D esi gn I n str u ctor N atash a J en

255

257 Instructor Natasha Jen Lemon Magazine Editorial Design

LEMON MAGAZINE

An magazine solely dedicated to Lemon and all things related, Lemon Magazine is divided into three different features: Lemon as Food, Lemon as Scent and Lemon as Art. My approach was to design each spread differently, while still keeping certain unifying elements in order to keep some sort of consistency throughout the magazine.

Lemon Magazine Editorial Design Instructor Natasha Jen

259

Lemon Magazine Editorial Design Instructor Natasha Jen

261

Lemon Magazine Editorial Design Instructor Natasha Jen

263

Lemon Magazine Editorial Design Instructor Natasha Jen

265

Lemon Magazine Editorial Design Instructor Natasha Jen

267

Lemon Magazine Editorial Design Instructor Natasha Jen

271

Lemon Magazine Editorial Design Instructor Natasha Jen

273

Lemon Magazine Editorial Design Instructor Natasha Jen

275

Lemon Magazine Editorial Design Instructor Natasha Jen

277

Lemon Magazine Editorial Design Instructor Natasha Jen

279

L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 281

L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 283

Laloula is an online subscription service of 100% organic tampons and pads for the independent, fashionable, young woman. Subscribers will receive a beautiful package every month for their personalized needs together with a small gift.

L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 285

X

X

X

287 P er son al P roj ect 2014 L al ou l a L o go & P ack ag i n g

Laloula Designers Virginia Martinez Pedro Sanches Luisa Alcantara Henry Nuhn Enle Li Joe Hollier Yuval Cohen

289 P er son al P roj ect 2014

Organic Tampons 100% Cotton

L al ou l a L o go & P ack ag i n g

1 Month Supply

Contains 4 heavy, 2 regular 2 light and 4 pads

January

by Leo Porto L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 291

February

by Joe Hollier

March

by Virginia Martinez L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 293

June

by Leo Porto

August

by Leo Porto L al ou l a L o go & P ack ag i n g P er son al P roj ect 2014 295

January

by Pedro Sanches

297

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

L al ou l a L o go an d P ack agi n g D esi g n

P er son al P roj ect 2014

1 Month Supply

1 Month Supply

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

Contains

Contains

4 heavy, 2 regular

4 heavy, 2 regular

2 light and 4 pads

2 light and 4 pads

Organic Tampons

Organic Tampons

100% Cotton

100% Cotton

1 Month Supply

1 Month Supply

©2013

THE TIME MACHINE

B Y

G. H. WELLS

COVER AND

BOOK DESIGN

LEO PORTO

WILDER

PO

PUBLICATIONS, INC

BOX 632

F L O Y D V A

24091

ISBN 12:

978-1-62755-398-8

8 7 6 5

2013-2014

PORTFOLIO

THANKS TO: NATASHA JEN CARIN GOLDBERG PAUL SAHRE SHAWN HASTO DEVIN WASHBURN ERIC BAKER CHERMAYEFF & GEISMAR & HAVIV & COLLEAGUES JACK MARIUCCI PEDRO SANCHES

VIRGINIA MARTINEZ LUISA ALCANTARA ENLE LI HENRY NUHN JOE HOLLIER YEARBOOK CREW MY FAMILY AND FRIENDS AND CLIENTS AND SVA AND NEW YORK