OUTPOUR » MISA INOUE
OUTPOUR Âť MISA INOUE
Dedicated to my parents who always give me their unconditional love and support.
OUTPOUR » MISA INOUE
002
PORTFOLIO
Introduction
TITLE
INSTRUCTOR
YEAR
PHOTOGRAPHER
Outpour
Mary Scott
Spring 2010
DESIGNER
CLASS
Misa Inoue
Senior Por tfolio
Misa Inoue Mikhail Averyaskin Anthony Toy
I have been expressing my sensitivity and ideas through art and design since I was a child. On first impression, people say that I am quiet, shy, or even mysterious. However everybody seems to be surprised by a gap between the first impression and what they soon discover. Despite my calm exterior, I’m actually thinking about funny, romantic, and crazy things all the time. I often cry, laugh, and get angry—outpour my emotion, but this happens inside and through my designs. I’m always true to my feelings. Honesty is my policy, and I believe that an honest and passionate message can reach everybody’s heart. I would like to impress people with my design and encourage them to act for peace. Graphic design is not just a visual communication tool, but also a strong problem-solving tool. Graphic design has power to change the world to be a better place.This book is a compilation of outpourings of my passion, ideas, messages, and hope.
003
Colophon
© 2010 MISA INOUE
All rights reserved. No part of this book may be reproduced in any form without permission from the designer Misa Inoue. www.misainoue4.com PHOTOGRAPHY
Misa Inoue Mikhail Averyaskin Anthony Toy ACADEMY OF ART UNIVERSITY
San Francisco, CA BFA: School of Graphic Design INSTRUCTOR
Mary Scott COVER MATERIAL
S.H. Frank Venice Cowhide Black TEXT STOCK
Neenah Paper Classic Crest 100lb Text END SHEETS
Stardream Metallic 81lb Text Antique Gold TYPEFACES
Din, Perpetua SOFTWARE
Adobe Creative Suite 4 CAMERA
Nikon D90 SCANNER
CanonScan 4400F PRINTER
Plotnet, San Francisco, CA www.plotnet.com BINDERY
The Key Printing & Binding, Oakland, CA www.thekeyprintingandbinding.com
OUTPOUR » MISA INOUE
004
Contents
INTRODUCTION
» 002
PROJECT 01
» 006
Mi Casa Su Casa PROJECT 02
» 016
Free Spirit PROJECT 03
» 028
Red Velvet Revolution PROJECT 04
» 042
His and Hers PROJECT 05
» 056
Sweet Chronology PROJECT 06
» 064
Seeds of Fortune PROJECT 07
» 080
Sun is shining PROJECT 08
» 098
Nature to Nurture PROJECT 09
» 114
Refuse PROJECT 10
» 128
Hand to Hand PROJECT 11
» 138
ACKNOWLEDGEMENT
» 144
Identity Collection
005
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PROJECT 01
Mi Casa Su Casa
CLASS
YEAR
KEYWORDS
TYPEFACE
Package Design 3
Spring 2009
INSTRUCTOR
CATEGORY
Univers Franklin Gothic
Thomas McNulty
Packaging
contemporary dynamic unconventional
Diesel is an innovative international design company, which was founded in 1978 in Italy. The objective of this project was to innovate the brand image by creating a packaging system for five household appliance items. The target audience is 20–50 year old, independent men and women who appreciate trends and pursue high-quality fashionable household products. I picked a turntable, espresso-maker, pillow, cocktail-shaker, and toaster, all of which expressed a minimalist-futurist style to match with the stylish and unique design of the Diesel fashion brand. Meanwhile, I also represented the dynamic, dignified, and unconventional feeling of the brand and store image by using wood textures and type treatment in their package design.
007
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008
PROJECT 01
Mi Casa Su Casa
009
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PROJECT 01
Mi Casa Su Casa
011
OUTPOUR » MISA INOUE
012
PROJECT 01
Mi Casa Su Casa
013
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014
PROJECT 01
Mi Casa Su Casa
015
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PROJECT 02
Free Spirit
CLASS
YEAR
KEYWORDS
TYPEFACE
Graphic Design 2
Spring 2008
INSTRUCTOR
CATEGORY
Clarendon Futura
Max Spector
timeless ar tistic eco-friendly
The first stage of the project was to create a new paper company, to establish its unique identity and personality, and to expand the identity into a set of paper swatchbooks. My company’s name is Turtle Paper Co., which has been developing papers that are environmentally responsible. I chose the name ‘turtle’ because ancient people were using turtle shells to write on before paper was invented. I used the typeface, Clarendon and Futura for the logotype to express a nostalgic and timeless feeling. I also made the identity handwritten and used the color brown and green to represent creativity and eco-friendliness. Since I’m very much into the music of the 1960’s, my concept of the swatchbooks was music and hippie culture. I used the colors, typefaces, and drawings to express each musician’s character and the unconventional 60’s culture. The overall design reflects the company’s personality, which is artistic and eco-friendly.
017
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MEDIA
PROJECT 02
Paper Swatchbook
Free Spirit
DIMENSION
5.75" x 7.75"
019
PROJECT 02
MEDIA
Free Spirit
Identity
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P A P E R
C O M P A N Y
021
PROJECT 02
Free Spirit
OUTPOUR » MISA INOUE
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023
PROJECT 02
Free Spirit
OUTPOUR » MISA INOUE
024
025
PROJECT 02
Free Spirit
OUTPOUR » MISA INOUE
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027
OUTPOUR » MISA INOUE
028
PROJECT 03
Red Velvet Revolution
CLASS
YEAR
KEYWORDS
TYPEFACE
Graphic Design 2
Spring 2008
INSTRUCTOR
CATEGORY
Franklin Gothic Futura
Max Spector
rhythmical ar tistic gorgeous
The second stage of the paper company project was to expand the visual identity of my company and design a series of event collateral; brand posters, a save-the-date poster, invitation, and takeaway piece. This event was intended to market and promote my new company to printers and graphic designers. I added French Bohemian and Moulin Rouge to my visual concept of the 60’s and hippie culture. The event is “A Night of Bohemian Wonder,” where people can enjoy music, French cancan, and an art and crafts exhibit. I did a lot of drawings and used fabric patterns and a curvy structure on a whole set of event invitations to represent the lively, unique, artistic, and gorgeous feelings of the event. I also used only recycled papers in order to communicate my company’s environmental message.
029
PROJECT 03
MEDIA
Red Velvet Revolution
Brand Posters DIMENSION
13" x 18"
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031
PROJECT 03
Red Velvet Revolution
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033
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MEDIA
PROJECT 03
Event Invitation
Red Velvet Revolution
DIMENSION
7" x 4.25"
035
PROJECT 03
Red Velvet Revolution
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037
PROJECT 03
MEDIA
Red Velvet Revolution
Takeaway Piece DIMENSION
7" x 7"
OUTPOUR » MISA INOUE
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039
PROJECT 03
MEDIA
Red Velvet Revolution
Save-the-date Poster DIMENSION
11" x 17"
OUTPOUR » MISA INOUE
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041
OUTPOUR » MISA INOUE
042
PROJECT 04
His and Hers
CLASS
YEAR
KEYWORDS
TYPEFACE
Typography 3
Fall 2008
INSTRUCTOR
CATEGORY
Ariel Grey
lively contemporary scientific
Din Perpetua DustDot
The objective of this project was to design a paper promotional book as well as swatch cards for a line of paper by an existing paper company. I chose a line of paper, Synergy by Fraser Papers Inc., which was established in 2004 in Toronto. From its name Synergy, my concept focused on the relationship between man and woman. If we know more about scientific and psychological facts about male and female hormones and brains, there may be more harmony between the sexes. I selected the strong typeface Din to represent males and the delicate typeface Perpetua to represent females. The ink images were the abstract representation of hormone movements in human bodies. The overall design and type treatment reflect the concept of man and woman are working together and producing a greater power than on their own.
043
PROJECT 04
MEDIA
His and Hers
Perfect Bound Book DIMENSION
7" x 9"
OUTPOUR » MISA INOUE
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045
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PROJECT 04
His and Hers
047
OUTPOUR » MISA INOUE
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PROJECT 04
His and Hers
049
PROJECT 04
MEDIA
His and Hers
Swatchcards DIMENSION
4.5" x 6.25"
OUTPOUR » MISA INOUE
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051
HO
OH
H HO
NH2
HO
3
1
OUTPOUR » MISA INOUE
O
1 H
C 1
O
C
1 C
O
9
O
O
C
9
H C
C
H
1
1
N O
C H
C
H O C N 9 1 3 H N H13NO H13NO3C9H13N H13NO3C9 O3C9H13NO3 C9H13NO3 H13NO3C9H13 C9H13N 9H13NO3C9H13NO H13NO3 C9H13C9H13NO3C9H13NO 9H13NO3C9H13NO3C9H13NO3C9H 9H13NO3C9H13 3C9H13NO3C9H1 O3C9H13NO3C9 NO3 C9H13NO3C9H13NO3C9H13NO3C 13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13N H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13N H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13N H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13N H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13N H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13N H13NOC9H13NO3C9H13NC9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13N
052
OH
H C
C H
9 N
CH3
H
1
C
1 O
9
9
O
9
O
3
3 3
O 9
O
H 3
9 O
C
1 3
H
1 C
9 N
9
3
H H 9
O O
3
H
C 1 N
H
9
a sex hormone. Mislabelled the “female”
C 3 C
CH3
C
hormone, it is also present in males.
H
N
CH3
H
Estrogen
H
O
OH
H
H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3 H13NO3C9H13NO3C9H13NO3 C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3C9H13NO3 H13NOC9H13NO3C9H13NO3C9H13NO C9H13NO3C H13NO3 C9H13NO3C9H13NO3C9H13NO3C NO3C9H13NO3C9H 3NO3 C9H1 NO3C9H13NO3C9H13NO3C9H13N 3C9H13N 3C9H13NO3 9H1 C9H13NOC9H13NO3H13NO3C9H13 O3C9H13NO CH13NO C9 3NO3C9H1 NO3C9H13NO3C9H 3C9H13NO3C9 13N O 1 3 9 O N H 1 9 O H 3 N C O 1 3 3 9 1 H N 1
CH3
H
HO
OH
OH
HO
(R)
NH2
H
H N
(R)
OH
H N OH a catecholamine-type hormone and
neurotransmitter.
Epinephrine (Adlenarine)
CHEMISTRY
CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO OOCH3OHCH3HOOCH3OHCH3HO CH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHC OOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HOOCH3OHCH3HO
PROJECT 04
OH
H
H
H
H
HO
HO
O
the principal male sex hormone and an
anabolic steroid.
STOCKING INFORMATION
119
1200
25 x 38
140
1000
80 Text
23 x 35
136
1100
118 g/m²
1000
25 x 38
160
100 Text
23 x 35
169
148 g/m²
25 x 38
200
750
80 Cover
8½ x 11
28.76
2000
216 g/m²
35 x 23
248
500
26 x 40
320
500
110 DT Cover 26 x 40
440
250
296 g/m²
900
• • • • • • • • • • • • • • • •
• • • • • • •
• • • • • • •
Refined Orange
23 x 35
• • • • • • •
Calm Green
104 g/m²
• • • • • • • • • • • • •
Tropical Green
4000
Citrus Green
1500
13.77
Tan
103
8½ x 11
Restful blue
5000
35 x 23
70 Text
Casual Pink
12
90 g/m²
Gray
M Sheets/ Weight Carton
Ivory
Size 8½ x 11
Natural
Basis Weight 24 Writing
White
Smooth Pure White
both vertebrates and invertebrates.
Dopamine
a hormone and neurotransmitter occurring
HO
HO
NH2
NH2
HO
NH2
HO
HO
HO
HO NH2
in a wide variety of animals, including
NH2
Testosterone
CH3
NH2
HORMONES
His and Hers
• • • •
• • • •
• • • •
• • • • •
• • • •
• • • •
• • • •
• • • •
•• •• • • •• • • • •• • • •• • • •
Hormone effects 3 • preparation for a new phase
HO
for offspring, menopause)
HO
of life (e.g., puberty, caring
For your nearest stocking merchant or samples, contact Fraser Papers. 1.800.543.3297 option 7 marketingservices@fraserpapers.com
• controlling the reproductive cycle
053
OUTPOUR » MISA INOUE
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PROJECT 04
His and Hers
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PROJECT 05
Sweet Chronology
CLASS
YEAR
KEYWORDS
TYPEFACE
Package Design 3
Spring 2009
Caslon
INSTRUCTOR
CATEGORY
Thomas McNulty
Package
precious lovely memorable
The project was about creating a package structure and graphics for a clock. The client was Bittersweet chocolate cafe, which is located in Fillmore, Oakland, and Danville, CA. The target audience is men and women who love chocolate and appreciate trends. The concept is to design a wall clock, “Bittersweet Chocolat Moment,� which ticks on bitter, sweet, and precious moments of your life. Almost everyone in the world loves chocolate: it has a magic that makes people happy. Every time you look at the clock, it brings you happiness like a bite of chocolate. I created the clock in cooperation with California Model and Design. As for the package, I made the structure simple like an actual chocolate box and used the color light green to match with their corporate colors.
057
PROJECT 05
Sweet Chronology
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059
PROJECT 05
MATERIALS
Sweet Chronology
Plastic, Glass DIMENSION
10" x 10" x 1.75"
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061
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PROJECT 05
Sweet Chronology
063
OUTPOUR » MISA INOUE
064
PROJECT 06
Seeds of Fortune
CLASS
YEAR
KEYWORDS
TYPEFACE
Print 2
Spring 2009
INSTRUCTOR
CATEGORY
Futura Garamond
Tom Sieu
craft hopeful sustainable
R3 is an organization founded by Tom Sieu that promotes sustainable design by identifying new product opportunities within emerging Green Design solutions.We were asked to design a sustainable product design book for R3. The objective was to examine how a product could affect our lifestyle and behavior as consumers. My product is a paper lantern, Bloom, which is made of bamboo sticks and 100 % recycled seeded paper. The lantern blooms like a flower when it is unfolded, and its petal-shaped lampshades are embedded with flower seeds. The seeds can be planted into the soil if the lamp is damaged. Since the light symbolizes healing or hope, I expressed my concept of warm light for the earth by type treatments, photographs, and drawings throughout the book. I used an actual seeded paper for the book cover and made the book Japanese fold and binding to reflect a handcrafted idea that promotes sustainability.
065
PROJECT 05
MEDIA
Seeds of For tune
Identity
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067
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068
MEDIA
PROJECT 05
Japanese Bound Book
Seeds of For tune
DIMENSION
6" x 8"
069
OUTPOUR » MISA INOUE
070
PROJECT 05
Seeds of For tune
071
OUTPOUR » MISA INOUE
072
PROJECT 05
Seeds of For tune
073
OUTPOUR » MISA INOUE
074
PROJECT 05
Seeds of For tune
075
OUTPOUR » MISA INOUE
076
PROJECT 05
Seeds of For tune
077
PROJECT 05
Seeds of For tune
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079
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080
PROJECT 07
Sun is shining
CLASS
YEAR
KEYWORDS
TYPEFACE
Graphic Design 3
Summer 2008
INSTRUCTOR
CATEGORY
Clarendon Garamond
Laura Milton
upbeat powerful spiritual
The scope of this assignment was to create a unified set of communications for a major museum exhibit. The design objective was to emphasize the creative and conceptual use of typography, imagery, and materials that would not only draw the public in, but educate them. I chose an exhibit, “Discovering Rastafari� at the Smithsonian Museum that featured rare photographs, artefacts, and ephemera, which introduced the origins and religious practices of the movement in Jamaica. Since Rastafari is essentially a resistance movement which advocates social equality and justice, as well as an emphasis on physical or spiritual return to Ethiopia/ Africa, I used vivid colors, rough textures, paintings, and handwritten texts to represent the deep roots of the Rastafarian culture and its strong beliefs and power that united a people.
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PROJECT 07
MEDIA
Sun is shining
Identity
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083
PROJECT 07
Sun is shining
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085
PROJECT 07
MEDIA
Sun is shining
Brochure Bag DIMENSION
11.25" x 11.25"
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087
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MEDIA
PROJECT 07
Perfect Bound Brochure
Sun is shining
DIMENSION
7.5" x 10"
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PROJECT 07
Sun is shining
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090
091
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092
PROJECT 07
Sun is shining
093
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094
MEDIA
PROJECT 07
Ticket
Sun is shining
DIMENSION
2" x 5"
095
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096
MEDIA
PROJECT 07
Poster
Sun is shining
DIMENSION
24" x 36"
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PROJECT 08
Nature to Nurture
CLASS
YEAR
KEYWORDS
TYPEFACE
Package Design 4
Summer 2009
INSTRUCTOR
CATEGORY
Thomas McNulty
Package
natural trustwor thy eco-friendly
Helvetica Neue Din Garamond
This project was about creating an entirely new retail store brand, product lines of three price points, and the new brand’s packaging system. My retail store sells beauty and health products for both women and men who pursue natural beauty and a better environment. The company uses only organic ingredients for all of the products and recyclable and biodegradable materials for the products’ packages. The brand name, Butterfly & Beetle, represents woman and man who have gained natural beauty after using Butterfly & Beetle’s products. I combined the upper and lower case of the typeface Perpetua to reflect the idea of being natural. I designed graphics and used typefaces, colors, and materials to match with each product line: Comfort as low-priced, Pleasure as medium-priced, and Glory as high-priced.
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100
PROJECT 08
Nature to Nur ture
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PROJECT 08
MEDIA
Nature to Nur ture
Identity
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B U tt e R f l Y & B ee t l e
103
PROJECT 08
Nature to Nur ture
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105
PROJECT 08
PRODUCT
Nature to Nur ture
Bath mitt Conditioner Shampoo
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Hair brush Foot massager
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PROJECT 08
Nature to Nur ture
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109
PROJECT 08
PRODUCT
Nature to Nur ture
Incense Body massager Shampoo
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110
Conditioner Hand soap Canvas bag
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PROJECT 08
PRODUCT
Nature to Nur ture
Body scrub Body lotion Women’s slippers
OUTPOUR » MISA INOUE
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Shampoo Conditioner
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OUTPOUR » MISA INOUE
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PROJECT 09
Refuse
CLASS
YEAR
KEYWORDS
TYPEFACE
Identity 1
Spring 2007
INSTRUCTOR
CATEGORY
Clarendon Meta
Hunter Wimmer
Identity
timeless retro sustainable
The design objective was to redesign the identity system of a company of our choice. Urban Ore is a company in Berkeley, CA that promotes and provides the service of recycling and reuse while being a profitable retail endeavour. Their purpose is to end the age of waste by advocating and developing total recycling. They receive unwanted but still useful goods and sell them at a low price for reuse. As the world’s resources are depleted, we should be more conscious of waste disposal and environmental issues. This type of eco-retail should get more attention of the public and needs a simple but effective logo. Urban Ore’s primary typeface is set in Clarendon Bold, selected for its legibility and timeless forms. I made the arrows look like wood and used the colors dark brown and green to reflect the idea of sustainability. Also the arrows and the type ‘RE’ represent not only ‘recycle’ but also a part of the company’s name.
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PHOTOGRAPHER
PROJECT 09
Paula K. Wir th
Refuse
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RE URBAN
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RE
PROJECT 09
Refuse
RE URBAN ORE
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MEDIA
PROJECT 09
Wire Bound Book
Refuse
DIMENSION
8" x 8"
121
URBAN ORE
URBAN ORE
Visual Identity Standards
Visual Identity Standards
timeless 01
Founded in 1983, Urban Ore is a company that provides the service of recycling in Berkeley, California. Our purpose is to end the age of waste by advocating and developing total recycling. We receive or buy unwanted but still useful things such as furniture, housewares, doors, windows, sinks, bricks, tiles, lighting, bikes, computers, art, etc, and sell them at a low price for reuse. We design disposal facilities for zero waste and publish technical papers. As the world’s resources are depleted, this type of for-profit eco-retail will likely become more common.
simplicity
URBAN ORE
04
Introduction
URBAN ORE
Visual Identity Standards
05
Color System The main colors for the Urban Ore printed logo are PMS Black 5 and PMS 350. When printing 4-Color process and an additional spot color is not available, use the CMYK conversion. Do not attempt to match these colors to those displayed on a computer display.
Visual Identity Standards
Incorrect Use of The Logo An important factor in creating and maintaining a visual identity is the consistent presentation of the identity elements. Therefore, the way the logo is displayed must be given careful attention. Shown on the right page are examples of incorrect or unacceptable uses of the Urban Ore symbol and logotype. Do not attempt to re-create our logo. Always use the approved artwork, and always refer to the standards when using it to ensure its consistent application.
RE
RE
RE
URBAN ORE
URBAN URB BAN O ORE RE
URBAN ORE
Don’t substitute other typefaces
Pantone/Spot/Solid
PMS Black 5
C: 0 M: 45 Y: 35 K: 87
R: 70 G: 37 B: 32
PMS 350
C: 79 M: 0 Y: 100 K: 75
R: 0 G: 72 B: 18
URBAN ORE
THE MUSIC LOVER marital status in a relationship
Don’t change the opacity
RE
RE
RE
RE
RE
RE
URBAN ORE
URBAN ORE
URBAN ORE
URBAN ORE
URBAN ORE
URBAN ORE
Don’t change the orientation of the arrows
Don’t change the proportions
Don’t change the colors
Don’t stretch the logo
Don’t use drop shadows
URBAN ORE
Visual Identity Standards
THE HARD WORKER marital status married, has 3 kids
Don’t use a colored background
THE HEAVY TV WATCHER marital status single
THE ORGANIZED PERSON
hometown San Francisco
hometown Seattle
hometown New York
occupation physician
occupation salesclerk at an apparel shop
occupation accountant
hobbies playing guitar, snowboarding
wish list Sony turntable, Gibson electric guitar recycle list 70’s LP player
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hobbies listening to jazz, reading, ancient history couldn’t live without jazz, sushi, red wine, family wish list luxury massage chair
recycle list Costes chair
hobbies watching tv, sewing couldn’t live without tv, chocolate, green tea wish list Toshiba HDTV
recycle list yellow tv
Visual Identity Standards
marital status single
hometown Los Angeles occupation college student couldn’t live without music, iPod, Coke
OUTPOUR » MISA INOUE
Don’t use a patterned background
RGB
CMYK
hobbies cleaning, yoga, video game couldn’t live without PC, Franklin Covey planner wish list file cabinet, Windows Vista
recycle list Rolodex card file
PROJECT 09
Refuse
URBAN ORE
02
URBAN ORE
Visual Identity Standards
03
The New Logo
Urban Ore’s primary typeface is set in Clarendon Bold, selected for its legibility and timeless forms. Clarendon was designed by Hermann Eidenbenz in 1953, based on the display face issued by the Fann Street Foundry in 1845. This font is effective for architectual and environmental applications, because the strong serif forms can be easily cut out and reproduced in three-dimensional media. Meta Normal is used as a secondary typeface. It should be used for body copy in letters, memos, faxes, etc.
The Urban Ore logo was not known as widely as it should have been. To make us stronger, we have to create a strong brand. Therefore, we renewed our company logo. The new logo better reflects our philosophy of recycling and eco-retail and our belief; simplicity is timeless. For ultimate visibility and impact, it’s important to retain a designated ‘clear space’ around the logo. The minimum clear area is shown below. This area is designated as being equal to the cap-height of the logotype. It should be kept free of graphics, text and other marks. The logo should never be used smaller than 1/2 inch in height.
RE
Clarendon Bold
1.27x
x
Visual Identity Standards
Type Specification
x
ABCDEFGHIJKLMNOPQRSTUV WXYZabcdefghijklmnopqrstuv wxyz1234567890!@#$%^&*()
RE x x
1.6x
URBAN ORE
x
URBAN ORE x
x
RE
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*()
URBAN ORE
URBAN ORE
06
Meta Normal
1 /2" Minimum size of reproduction
URBAN ORE
Visual Identity Standards
Visual Identity Standards
Audience Profiles The range of our target audience is broad. We are a disposal service so people can let go of unwanted but still useful goods without wasting them, and a retail store where other people can find things they want at a low price. Many people with deep environmental consciousness are reluctant to buy new merchandise if they can find what they need used. We serve the San Francisco Bay Area or as far as customers are willing to drive, which is sometimes a hundred miles or even more.
THE LONELY NIGHT OWL marital status single
hometown Berkeley, CA occupation housewife
hobbies listening to the radio, sketching couldn’t live without MacBook, coffee, noodles wish list iPhone, BMW, girlfriend recycle list 60’s radio
URBAN ORE
Visual Identity Standards
THE GOOD WIFE & WISE MOTHER marital status married, has 2 kids
hometown Tokyo, Japan occupation engineer
hobbies cooking, gardening, knitting couldn’t live without apple crisp, soy milk wish list Oster 12-speed blender
recycle list Philips blender
URBAN ORE
Visual Identity Standards
to end the age of waste 07
Applications of The Logo The examples of applications of the Urban Ore logo are an eco-bag, which is shown on the left page, and recycle bins, which are shown on the next page. There are many opportunities to apply the logo for decorative purposes. This may include the use of materials such as fabric, wood, plastic, and metal. Maintain the standards in all use to ensure the consistency.
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PROJECT 09
APPLICATIONS
Refuse
eco-bag
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PROJECT 09
APPLICATIONS
Refuse
recycle bins
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PROJECT 10
Hand to Hand
CLASS
YEAR
KEYWORDS
TYPEFACE
Print 3
Fall 2009
INSTRUCTOR
CATEGORY
Din KaiSho
Roland Young
spiritual cultural educational
The objective of this project was to create an introductory book about palm reading and a promotional poster. Palmistry has roots that can be traced to the ancient country, India, with a history spanning nearly 3000 years. From India, the art of palmistry spread to China, Tibet, Egypt, Persia, and to other countries in Europe. The basic framework for the most widely taught and practiced tradition of palmistry is rooted in Greek mythology. Traditional Chinese Medicine even uses palmistry to diagnose patients. We don’t need any special abilities like a sixth sense to study palmistry because it is a statistical science. Palmistry can help us gain a deeper understanding of ourselves and give us a direction in life. Due to the origin of palmistry, the overall design reflects the Indian and Chinese cultures. I used the colors purple, dark brown, and gold to express spirituality, mysteriousness, richness, and reliability. I used a simple design for the inside of the book to keep the message clear and to make it easy to read.
129
PROJECT 09
MEDIA
Hand to Hand
Perfect Bound Book DIMENSION
6" x 9"
OUTPOUR » MISA INOUE
130
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OUTPOUR » MISA INOUE
132
PROJECT 09
Hand to Hand
133
OUTPOUR » MISA INOUE
134
PROJECT 09
Hand to Hand
135
PROJECT 09
MEDIA
Hand to Hand
Poster DIMENSION
13" x 19"
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136
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PROJECT 11
Identity Collection
These are the identities that I designed for the projects that I didn’t include in this portfolio. A logo serves as the first impression about a company or organization, so it needs to be striking and timeless. I always carefully research a company and try to design a simple, unique, and memorable identity that reflects the personality of the company.
OUTPOUR Âť MISA INOUE
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PROJECT 11
CLASS
YEAR
Sally Hansen Redesign
Identity 1
Spring 2007
INSTRUCTOR
CATEGORY
Hunter Wimmer
Identity
SA LLY H ANSE N
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PROJECT 11
CLASS
YEAR
Magic Realism
Print 1
Fall 2008
INSTRUCTOR
CATEGORY
Jeremy Stout
OUTPOUR » MISA INOUE
140
PROJECT 11
CLASS
YEAR
Magazine Redesign
Print 1
Fall 2008
INSTRUCTOR
CATEGORY
Jeremy Stout
141
PROJECT 11
CLASS
YEAR
Nippon Airlines
Identity 2
Spring 2009
INSTRUCTOR
CATEGORY
Thomas McNulty
Identity
NIPPON AIRLINES
OUTPOUR » MISA INOUE
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PROJECT 11
CLASS
YEAR
On The Rocks
Identity 2
Spring 2009
INSTRUCTOR
CATEGORY
Thomas McNulty
Identity
143
Acknowledgements
I couldn’t have reached where I am now without all of you. Thank you so much for your love and support. I will keep creating to make the world a better place. Peace. FAMILY
Dad & Mom, Sister, Grandpa & Grandma, Patty FRIENDS
Kana & Phillip, Peizhu, Ingrid & Marco, Erik, Kike & Chin, Abel, Rich, Rose, Joanne, Eisuke, Yuka, Mai, Eti, Sylvain, Faïmano & Cedric, Kanako, Walter, Doug, Wu papa & mama, Jim & Vicki, Tori & Jordan, Yoshiko, Yuko, Won, Celia, Jup, Teddy, Irene, Stephanie Yuko, Debbie, Karen, Caitlyn, Cristina, Maya, Nicole, Jayde, Emily, Rogemil, Clara, Lauren, Emmy, Crystal, Charley, Adrian & Maria, Linda, Ge, Mari, Ryu, Azumi, Chris, Josh, Rion, Damin, Milo, Haru, Friends in Japan TEACHERS
Kumiko Yamane, Mototoshi Tsukinari, Mary Scott, Thomas McNulty, Scott Rankin, Hunter Wimmer, Max Spector, Melanie Halim, Jeremy Stout, Tom Sieu, RolandYoung, Laura Milton, Christine George, Ariel Grey, Renee D’ Arcy, Jim Canning, Amy C. Broadbent, Rose Hodges, Claude Dieterich, Mark A. Reynolds, Scot Crisp SPECIAL THANKS
Plotnet, Vadim Zaychik, Mikhail Averyaskin, Anthony Toy, The Key Printing & Binding, California Model & Design, Rami Geller, California Office Service, Copy Central
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