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“The details are not the details. They make the design.” – Charles Eames When I was seven, my mom trained me to write in French cursive. She would often tell me, “If you can’t write properly, how can you expect to do anything else?” She would make me write the same paragraph over and over until I reached perfection—all strokes identical, every slant and loop crafted with perfect posture. Annoyed as I was, this experience gave me a deep rooted appreciation for well constructed letterforms and attentive details. In college, I fell in love with design and typography. I admire how the old masters used the golden ratio to construct Roman letters. I’m obsessed with Jan Tschichold’s Canon of Page Construction. I love the striking simplicity, yet elegant touch of Armin Hofmann’s posters. I believe that typography is a mystery religion with many devoted followers. The core values that define good typography—simplicity, unity, restraint—are the same values thats drive me as a designer and as a person. Type has a special power that I have come to respect. It not only has the ability to make or break a design, it grants physicalness to all our ideas and knowledge.
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CONTENTS 07 / 20
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L E T T E R S M I T H P A P E R I E / Branding, Packaging
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S P U R B Y R E I / Interactive
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L A C V I E T H O T E L / Branding, Packaging
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A I G A S D U N I T E 2 0 1 7 / Art Direction, Advertising
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A Q U A G R O W / Branding, Interactive
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G L U T E N E X P L A I N E D / Infographic, Interactive
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C U R I O S Æ A N A T O M I A / Editorial
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FI V E C H A I R S D E V E LO PM E N T / Branding, Interactive
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T H E B O R G I A S / Packaging
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E X T R A S / Branding, Typography 6
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PROJECT / LetterSmith Paperie
LETTERSMITH PAPERIE Fine Stationery Rooted In History CHALLENGE ART DIRECTORS
Sean Bacon, Gary Benzel
CATEGORIES
Branding, Packaging
TYPEFACES
Neutraface Text, Adobe Jenson
LetterSmith is an upscale stationery boutique store located in Boston. The store celebrates a slow method of communication by focusing on the added personal touch of handwriting and handmade craftsmanship. LetterSmith has a wide range of offerings including imported writing supplies, luxury paper, and calligraphy workshops. Because LetterSmith targets stylish, upper-middle class clients, ages 28-45, who appreciate chic and classy hand-crafted goods, the brand language needed to reflect the Victorian vintage influence that was rooted in the origins of traditional calligraphy as well as Boston’s historic culture. SOLUTION
In order to showcase LettersSmith’s commitment to hand-crafted goods, I paid special attention to materials. Specialty paper and finely textured wood, finished with threaded details and wax seals give packaging and collateral a premium feel with plenty of human character. Supple hand lettering and detailed line-work is used evoke the golden period in England where graphics were blooming. LetterSmith’s logo and monogram emblem were carefully drawn to reflect the vintage and hand-crafted quality of the brand. I mirrored the charm of England in the color palette of bright red with hints of golden brown. Adobe Jenson was chosen for its sophistication and was balanced with Neutraface for its clean geometry.
CATEGORIES / Branding, Packaging
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Don’t find customers for your products, find products for your customers.
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– Seth Godin
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PROJECT / LetterSmith Paperie
DESIGN THINKING
CUSTOMER EXPERIENCE Competition in the retail market is fierce. Consumers are often overwhelmed with choices. In order to attract new customers and retain their loyalty, a brand needs to provide compelling experiences that truly set them apart from competitors. Every customer interaction must be viewed as an opportunity. A new stationery store in Boston needed to carefully address all of its brand touchpoints—from the storefront, to the service, to the product packaging—to effectively wow their customers. N AMIN G
The right name should be timeless, easy to remember, capture the imagination and connect with the target audience in an authentic way. The final name, ’Lettersmith,’ is like a carpenter, except that he/she writes letters instead of carving wood. This name evokes a sense of craftsmanship and sends a clear picture of the store’s offerings. PRODUCT DESIGN & PACKAGIN G
There’s a special satisfaction you get when you purchase a well designed product and a special joy that comes from its unboxing. This special feeling is key to the marketing strategy for LetterSmith. The store sets itself apart through its unique offerings. For instance, the calligraphy kit that provides basic tools for beginners—a handmade oblique pen holder, imported ink, and a calligraphy nib booklet—all packaged with incredible attention to detail; the booklet was made out of stacked cardboard pieces with slots that perfectly fit the tiny stems of the nibs. CUSTOMER IN TERACTION
LetterSmith’s monthly calligraphy workshops are a great way to gain and retain customer loyalty. It creates a sense of informal community, an opportunity to attract new curious customers, and bridge the gap between new beginners and experienced hobbyists. DESIGN IMPLICATION S
LetterSmith requires an identity that is in line with its personality: elegant, vintage, and committed to craftsmanship. The LetterSmith monogram emblem is used throughout store display and collateral. The LetterSmith logotype is used for packaging. The brand uses organic materials like kraft paper, wood, cotton threads, and wax seals for all of its collateral and packaging to mirror the hand-crafted characteristics.
CATEGORIES / Branding, Packaging
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LOGO
MONOGRAM
LOGOTYPE
ATTRIBUTES
Elegant Timeless Classy
TYPOGRAPHY
European Hand-crafted
COLORS
Neutraface Text ABCDEFGHIJKLMN OPQRSTUVWXYZ Adobe Jenson ABCDEFGHIJKLMN OPQRSTUVWXYZ
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PROJECT / LetterSmith Paperie
CATEGORIES / Branding, Packaging
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PROJECT / LetterSmith Paperie
CATEGORIES / Branding, Packaging
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PROJECT / LetterSmith Paperie
CATEGORIES / Branding, Packaging
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PROJECT / LetterSmith Paperie
CATEGORIES / Branding, Packaging
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PROJECT / Spur by REI
SPUR BY REI Adventure Gear Rental & Delivery CHALLENGE ART DIRECTORS
Sean Bacon, Bradford Prairie UX DESIGNER
Kira Wilson CATEGORY
Interactive
TYPEFACES
Interstate, Roboto
CATEGORIES / Interactive
With more and more retailers closing in the first three months of 2017 than in 2016 as a whole, REI needed to continue to stay competitive with online retailers and the on-demand trend brought about by apps such as Uber, Postmates, and Amazon Prime. Merely expanding online retail would not be enough—the high price tag of sports equipment causes consumers to be cautious with their purchases. As more and more retail dollars are being spent on experiences rather than possessions, how could REI grow their business? SOLUTION
A gear rental delivery service managed by a native mobile app that integrates with REI’s existing apps. REI’s new app, Spur, with improved user flow and interface, aims to service a target audience, men and women, ages 26-41, who do not have extensive gear or a desire to own equipment, but still need to be outfitted for exciting outdoor adventures. Spur of the moment gear for the spur of the moment adventure.
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PROJECT / Spur by REI
DESIGN THINKING
BRAND EXTENSION Spur will tether to existing REI digital assets including The Adventure Project and the REI Co-op shopping app. The integration of Spur will enhance these apps’ value and add additional features to the brand experience. CUSTOMER ATTITUDE
The target market is men and women, ages 26-41, who do not own extensive gear but still want to experience outdoor activities. They are cautious about spending lots of money to buy gear that they feel they will rarely use. VOICE & PERSON ALITY
Spur is friendly and to-the-point, using short phrases and bold photography to bring the focus to the subject: the awaiting adventures. Spur’s simplicity connects to REI’s mood and voice, reinforcing the parent brand’s approachability and consumer focused approach. DESIGN IMPLEMEN TATION S
Spur’s user interface is greatly improved compared to other REI Project Adventure apps like below. With bold, lively graphics, spontaneous colors, and straight-to-the-point navigation, the app makes large steps forward while staying in line with REI brand. The “Go Back” button, lacking in The Adventure Project App, was added for ease of navigation. The Roboto typeface was used for body text for its modern look and strong legibility at all sizes.
Original REI Project Adventure app
CATEGORIES / Interactive
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PROJECT / Spur by REI
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PROJECT / Spur by REI
CATEGORIES / Interactive
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PROJECT / Lac Viet Hotel
LAC VIET HOTEL
Vietnamese Retreat with Cultural Authenticity CHALLENGE ART DIRECTORS
Sean Bacon, Gary Benzel
CATEGORIES
Branding, Packaging
TYPEFACES
Futura, Sabon
Vietnam Essence is a hospitality group that operates two hotels in Hanoi, Vietnam. The company is expanding to Central Vietnam by opening a new hotel in Hoi An. The new hotel, Lac Viet, was named after the original Vietnamese indigenous culture that colonized the northern region. Lac Viet caters to middle aged, between 35-55, upper class guests with a taste for high end hospitality. This sophisticated boutique hotel with exceptional service and modern architecture, has much to offer tourists who seek to experience Hoi An, especially during mid-autumn festival season. It needed a brand expression that would honor its traditional roots while reflecting its modern characteristics and luxury hospitality. SOLUTION
To differentiate with other hotels in the region, I approached the brand with a minimalistic and modern style. The logotype, inspired by simplified traditional Vietnamese calligraphy, was drawn in a vertical format with geometric forms. The mark, which comes from an abstract interpretation of the the Lac Bird, was drawn in a modern, line style. Icons and illustration for branded packaging were also executed in the same manner. The typeface Futura was chosen for its modern, minimal feel and was balanced with Sabon, an elegant serif. The brand’s minimal palette of black and white is elevated with touches of gold foil.
CATEGORIES / Branding, Packaging
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When eating fruit, remember who planted the tree; when drinking clear water, remember who dug the well.
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– Vietnamese Proverb
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PROJECT / Lac Viet Hotel
DESIGN THINKING
POSITIONING A successful brand is built on an in-depth understanding of the market: the competitors, the customer’s needs and the ongoing trends. Lac Viet, a new hotel in Hoi An, needs to address its positioning carefully in terms of style and price point to be successful in the saturated market. CULTURAL IN FLUEN CE
Hoi An is an ancient city by the central bay with more than 2000 years of history. It is well known for being a melting-pot of culture. Hoi An’s character is well reflected in the Lac Viet identity, a balanced mix of traditional and modern aesthetics. TARGET MARKET
Lac Viet caters to wealthy guests, ages 35-55, with a taste for high-end hospitality. Ideal guests are those who seek an authentic experience of Hoi An, especially during mid-autumn festival season. AUTHEN TIC CUISIN E
The cuisine of central and southern Vietnam, which is greatly admired for its balance between fresh herbs, meats, and precise use of spices, will be offered at The Lantern Cafe—the hotel’s onsite restaurant. This will help drawing in exotic dinning enthusiasts. SEASON AL TRAVEL
Tet Trung Thu, or the Mid-Autumn Festival, is a wonderful ancient event that is held annually on the 15th of Lunar August in Hoi An. It is the most charming and picturesque night of the year and a huge point of attraction for tourists. Lac Viet offers special cultural and dining opportunities during this time to cater to these specific tourists. HOSPITALITY
What makes Lac Viet unique is its exceptional hospitality service. During festival season, the guests will receive complementary tea and mooncake from the hotel as a way to promote the hotel and show customer appreciation. With luxury packaging and delectable treats, the guests are more likely to come back, bring their friends, or even leave positive reviews on TripAdvisor.
CATEGORIES / Branding, Packaging
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MAIN LOGO
ABBREVIATED LOGO
PACKAGING LOGO
ATTRIBUTES
Cultural Luxurious Minimalist
TYPOGRAPHY
Sophisticated Modern Professional
COLORS
Futura ABCDEFGHIJKLMN OPQRSTUVWXYZ Sabon ABCDEFGHIJKLMN OPQRSTUVWXYZ
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PROJECT / Lac Viet Hotel
CATEGORIES / Branding, Packaging
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PROJECT / Lac Viet Hotel
CATEGORIES / Branding, Packaging
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PROJECT / Lac Viet Hotel
CATEGORIES / Branding, Packaging
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PROJECT / Lac Viet Hotel
CATEGORIES / Branding, Packaging
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PROJECT / AIGA San Diego Unite 2017
AIGA SD UNITE 2017
Skill Building Workshops for Student Designers CHALLENGE ART DIRECTORS
Sean Bacon, Bradford Prairie CATEGORIES
Art Direction, Advertising
TYPEFACES
Avant Garde, Elementa
CATEGORIES / Art Direction, Advertising
UNITE is an annual design event hosted by the San Diego AIGA student chapters where students and professionals come together for food, drinks, and ideas. UNITE 2017, an evening of inspiring workshops with local designers, needed a new fresh aesthetic to appeal to the target audience of design students, ages 19–29. Print and digital collateral needed to engage with students and inspire them to attend the event. SOLUTION
Student designers looking to find their place in the industry, can all relate to shared struggles of selfconfidence, authority, and self-worth. The act of coming together inspires us to collaborate, grow, learn, and build. To attract design students to attend the event, I created bold and edgy visuals through a layering of color, type, and illustration in a style reminiscent of Swiss design. Typographic “we” statements, set in Avant Garde, and striking imagery of hand gestures, a symbol of communication, drive the aesthetic. The vibrant and eye-catching color palette helps the posters stand out on a typical campus bulletin board.
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PROJECT / AIGA San Diego Unite 2017
CATEGORIES / Art Direction, Advertising
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PROJECT / AIGA San Diego Unite 2017
CATEGORIES / Art Direction, Advertising
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PROJECT / Aquagrow
AQUAGROW
Sustainable Agriculture Through Aquaponics CHALLENGE ART DIRECTOR
Sean Bacon, Patricia Cue
UX DESIGNER
Kira Wilson
CATEGORIES
Branding, Interactive
Aquagrow is a biotech start-up based in San Diego, specializing in midscale aquaponic farming. The mission of Aquagrow is to promote sustainable farming by efficiently reducing the resources consumed in the process. They are targeting mid-size, specialty farmers in drought sensitive regions of the southwest where they believe the conversion to the aquaponics would have the most impact. To launch the product, it is critical for them to have a professional look that conveys trust and reflects their values and mission. SOLUTION
TYPEFACES
Brandon Grostesque, Heimat Sans, Meta Serif
CATEGORIES / Branding, Interactive
In order to establish a compelling brand that sends a clear message of efficiency, I created the logo in a simplified line style to represent the characteristics of aquaponics—layers of plants and water. The brand uses flat icons and simple illustrations drawn in a unified line style for a modern look. The color palette of a rich blue, contrasted by a bright green, was chosen to convey freshness and sustainability. Brandon Grotesque was used as the primary typeface for its soft-spoken modernism and subtle rounded corners that complement the logo and icon system. The website was created with interactive opportunities for each farmer to input their personal information and receive compelling data, personalized to their situation. The goal was to combat common hesitations that farmers have when considering making an investment in Aquagrow.
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If a picture is worth 1000 words, then a prototype is worth 1000 meetings.
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– Tom & David Kelley
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WEBSITE USER FLOW
CLICK HOME
HOME
WAT C H VIDEOS
GOOGLE AQUAGROW
QUESTION: “ W H AT I S
HOME
“I WA N T TO LEARN ABOUT PRICING”
CLICK BUSINESS PA G E CHOOSE OPTION 1
INPUT QUESTION INTO PROMPT BAR
CHOOSE OPTION 1
W H AT I S AQUAPONICS?
B U S I N E S PA G E
“I WA N T T O SEE HOW M Y FA R M
SYMBOL KEY
Start and end points
User inputs
User needs/wants
User action
Web Pages
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PROJECT / Aquagrow
PLAN
C O N TA C T REP
DESIGN THINKING
THE BIG IDEA The best brands are built around a set of core values rather than specific products or services. A brand’s big idea—a distillation of a brand’s purpose, values, mission, and other key drivers—is what customers connect to. To kickoff the brand strategy for Aquagrow, a big idea was developed. WHAT ARE THE GOALS/MISSION S?
To promote sustainable farming by facilitating efficiency and success for our customers in reducing the resources consumed in the farming process. WHO IS THE TARGET AUDIEN CE?
Aquagrow targets mid-size specialty farmers in drought sensitive regions of the southwest where they believe the conversion to the aquaponics would have the most impact. HOW DOES AQUAGROW REACH THIS GOAL?
The website drives conversions through interactive elements that allow farmers to input their information in exchange for personalized data and information. Farmers are then compelled to schedule an on-site visit. Aquagrow operates a travel truck across cities that showcases aquaponic prototype systems. With a user-centered design system, traditional farmers get a taste of the efficient farming that the company has to offer. WHAT IS AQUAGROW’S COMPETITIVE ADVAN TAGE?
Aquagrow is the first company that offers a unique experience for farmers with its web tool that plans and prototypes farm models. BRAN D BIG IDEA
Grow Smarter
CATEGORIES / Branding, Interactive
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LOGO
ALTERNATIVE LOGO
ATTRIBUTES
Innovative Efficient Eco-friendly
Accessible Professional
TYPOGRAPHY
COLORS
Brandon Grostesque
Primary
ABCDEFGHIJKLMN OPQRSTUVWXYZ Heimat Sans ABCDEFGHIJKLMN OPQRSTUVWXYZ
Secondary
Meta Serif ABCDEFGHIJKLMN OPQRSTUVWXYZ
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Aquagrow
CATEGORIES / Branding, Interactive
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PROJECT / Gluten Explained
GLUTEN EXPLAINED
Campaign to Fight Gluten Misconceptions CHALLENGE ART DIRECTORS
Sean Bacon, Scott Wyss
CATEGORIES
Infographic, Interactive
TYPEFACES
Rockwell, Futura, Smoothy
With the gluten-free food trend rapidly growing in popularity and sales of gluten-free products continuing to grow in double-digits, many misconceptions about gluten have taken hold in the public. In order to help wheat growers and food manufacturers regain some of the marketshare they have lost, the U.S. Wheat Associates (USWA), wanted to create a campaign that would address some of the false fears that the public has with gluten products. The campaign targets grocery shoppers, ages 22-39, that are easily influenced by social media trends. SOLUTION
Gluten Explained is in-depth digital and print campaign that helps people make informed choices about their food and lifestyle. To reach the target audience, I choose to tackle the problem with lighthearted humor and a friendly personality. Quirky flat illustrations were used to tone down the seriousness of the subject. A pastel color palette, accompanied by a hand lettered headlines give design a human-look that is more approachable. The campaign is marketed through social media and a dynamic website with many interactive elements.
CATEGORIES / Infographic, Interactive
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Fears of carbs, of gluten, of everything—we’ve distanced ourselves from the beauty of food, the art of it...
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– Olivia Wilde
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PROJECT / Gluten Explained
CATEGORIES / Infographic, Interactive
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PROJECT / Gluten Explained
CATEGORIES / Infographic, Interactive
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PROJECT / Gluten Explained
CATEGORIES / Infographic, Interactive
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PROJECT / Curiosæ Anatomia
CURIOSÆ ANATOMIA
Handmade Book Exploring Anatomical Art
ART DIRECTOR
Nicci Van
CATEGORY
Editorial
TYPEFACES
Baskerville, Atlas Grotesk, Atlas Typewriter
Growing up in a family with a medical background, I was always interested in human anatomy. Created as a passion project, Curiosae Anatomia (Latin for Curious Anatomy), is a one-of-a-kind human anatomy atlas that pays homage to the great masters that created anatomical art. To showcase how art and language are reflected in science, I researched the history of anatomical drawing and provided brief bibliographies of many notable anatomists. Anatomical terms—of mostly Greek or Latin origin—were translated into English and supported with literary texts. The goal of this book was to emphasize the beautiful side of the human anatomy, the imagination and wit within anatomical language, and the harmonious intertwined connection between art and science. The final book is a unique take on illustrative anatomy, combining science texts, historical texts, and fictional literature. Each chapter introduces a system of the human body structure such as bones, muscles, or the nervous system. Chapters start with an introduction explaining the system’s general function, which is followed by a series of translations for specific anatomical terms. The golden ratio was applied for the book size. The layout was set with manuscript grid. Baskerville was paired with Atlas Typewriter, a monospace sans serif, to reflect the connection between Old World art and science. The book is hand finished with an artful coptic bind and red thread.
CATEGORY / Editorial
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Art is I, science is we.
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– Claude Bernard
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PROJECT / Curiosæ Anatomia
CATEGORY / Editorial
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PROJECT / Curiosæ Anatomia
CATEGORY / Editorial
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PROJECT / Curiosæ Anatomia
CATEGORY / Editorial
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PROJECT / Curiosæ Anatomia
CATEGORY / Editorial
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PROJECT / Five Chairs Development
FIVE CHAIRS DEVELOPMENT Visionary Real Estate Development Firm CHALLENGE ART DIRECTOR
Jeremy Backo
CATEGORIES
Branding, Interactive
TYPEFACES
Ingra Wide, Pitch, Founders Grotesk
Five Chairs Development (FCD) is a hospitality and commercial real estate firm based in Hollywood. Founded by Richard Heyman and Grant King in 2009, the firm has focused on creating destinations, including hotels, business spaces, and entertainment venues. For seven years, FCD has been operating under an outdated branding system and a website that did not represent the firm’s values and what they have to offer. Now, as the company is expanding toward luxury residential real estate, they need to refresh their brand in order to appeal to future property investors. SOLUTION
A dynamic lettermark was created with curved lines and forward movement, representing possibility and growth. The logo is accompanied by the Ingra typeface for its modern, clean lines. A contemporary color palette of mint and gray gives the brand a fresh feel and differentiates it from other, more conservative firms. Throughout the branded collateral, bold architectural photography is layered with color and type for a dramatic look. Founders Grotesk, a tall condensed sans serif was paired with Pitch, a monospace slab, to mirror the feeling of luxury high rises. The website was revamped with a modern and edgy style, simple navigation, and parallax scrolling that highlights FCD’s best projects.
CATEGORIES / Branding, Interactive
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picture s worth a housand ords.
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– English Idiom
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PROJECT / Five Chairs Development
DESIGN THINKING
BRAND REFRESH A brand refresh maintains a visual connection to how the brand identity was seen before, but the “new suit” makeover is up-todate, vibrant and designed to bring recognition from new target audiences. BRAN D OBJ ECTIVE
The firm needed a shorter derivation logotype of their names and materials that coul provide a foundation for future marketing needs. FCD also wanted a unifying creative direction for using imagery throughout the brand collateral and gallery website. WEBSITE OBJ ECTIVE
FCD needs to replace the old flash-based, unresponsive website that could not showcase the firm’s skill and offerings. The website should send a clear message that FCD has a great vision for exciting LA projects in residential, high-rise, and hospitality. A N EW MARKET
Primary audience: Real estate investors and private equity fund decision makers that are interested in investment opportunities in Los Angeles. Secondary audience: Partners in real estate development such as property operators, construction partners, designers/architects, etc. These companies and entities have no awareness of FCD, or they believe that FCD is a hospitality development firm and not the best choice for their large scale investment or project needs. RISK FACTORS
Los Angeles is one of the world’s most media savvy marketplaces. Brand differentiation is required to be memorable. With a refreshed identity and a sleek website, FCD will be able to enter a new market while retaining equity from its current brand as visionary, modern and established.
CATEGORIES / Branding, Interactive
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LOGO
ALTERNATIVE LOGO
ATTRIBUTES
Ambitious Professional Modern
TYPOGRAPHY
Visionary Established
COLORS
Ingra Wide ABCDEFGHIJKLMN OPQRSTUVWXYZ
Founders Grotesk ABCDEFGHIJKLMN OPQRSTUVWXYZ Pitch ABCDEFGHIJKLMN OPQRSTUVWXYZ
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PROJECT / Five Chairs Development
CATEGORIES / Branding, Interactive
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PROJECT / Five Chairs Development
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PROJECT // Five Five Chairs ChairsDevelopment Development
CATEGORIES / Branding, Interactive
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PROJECT / Five Chairs Development
CATEGORIES / Branding, Interactive
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PROJECT / The Borgias
THE BORGIAS
Premium Wine Inspired by Roman Capitals CHALLENGE ART DIRECTORS
Sean Bacon, Candice Lopez
CATEGORY
Packaging
TYPEFACES
Kuenstler Script, Requiem
Giacosa Fratelli winery, located in the Piedmont province of Italy, dates back hundreds of years—a family history, steeped in values, handed down from father to son. Generation after generation, those at the helm of the winery had two core values: naturalness and quality. To celebrate 130 years of producing great wine, the owner wanted to release a special edition line of their most high-quality, rare wines: Barolo and Arneis. The packaging for this special wine should tell a compelling story that sets them apart from the saturated Italian wine market. SOLUTION
The Piedmont region is famous for its Nebbiolo grapes, a variety that originated during the Renaissance—the packaging design takes inspiration from this era. The name ‘The Borgias,’ a powerful noble family of the Vatican during the late 15th century, was chosen to market to the target audience of middle aged, wealthy wine enthusiasts, ages 45–65. The name of the wine is set in a custom typeface inspired by classical Roman capitals, finished with gold foil. To evoke the artistic feeling of the High Renaissance, the label and the box were designed to reminisce the title page and spine of a codex from that period. Engraved illustrations of Cesare and Lucrezia Borgia complete the label with fine detail in an Old World style.
CATEGORY / Packaging
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PROJECT / The Borgias
DESIGN THINKING
DIFFERENTIATION The current wine market in Italy is saturated with options. Wines that don’t stand out on the shelves are ignored by consumers. Giacosa Fratelli required a compelling concept for their special products that would set them apart. STORYTELLIN G
To attract the target audience of wealthy, wine snobs, ages 45–65, I choose to tell the story of the Borgias—a noble family of the Vatican during the late 15th century, notorious for power grabs and many suspected crimes. This story connects to Giacosa’s brand—wine fit for royalty with a divine taste that feels almost sinful. HISTORICAL IN FLUEN CES
To enhance the storytelling, the label and the box were designed to reminisce the title page and the spine of a Renaissance book. The use of materials, ragged paper, and wax seal, also magnify the Old World personality of the packaging. Cesare Borgia was portrayed on the label for the Barolo wine and Lucrezia Borgia was portrayed for the Arneis wine. These selections relate to the complicated relationship between Lucrezia and Cesare—the Arneis grape is often used by wine maker to soften the tannins and harshness of Nebbiolo grape in Barolo. MAKIN G A TYPEFACE
To match the nobility of the wine, I crafted a custom typeface inspired by Roman capitals. The fonts, used in display sizes on the labels, make the packaging unique. Unlike other Roman capitals letters used widely on other wine labels, the Borgias typeface possesses calligraphic, organic details influenced by a calligrapher’s flat brush. Each letter is carefully drawn and designed with the same ratio and calculation that was used by David Lance Goines in A Constructed Roman Alphabet.
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PROJECT / The Borgias
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PROJECT / The Borgias
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PROJECT / The Borgias
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EXTRAS
A Collection of Logos & Typographic Works
ART DIRECTOR
Various
CATEGORIES
Branding, Typography
TYPEFACES
Various
CATEGORIES / Branding, Typography
During my senior year of college, I started to take on side projects as a creative outlet to do the things that I really love—typography and lettering. It’s a fun and challenging way for me to push myself to continually grow as a designer. Last year, I experimented with a series of ampersands. This year, I participated in the 4th edition of the 36 Days of Type on Behance—the challenge celebrates type and inspires creativity by inviting artists to express their own take on the letters and numbers of our alphabet.
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Williams & Gray Law Firm
Sustainable Lighting Solutions
Russian Waxing Products
Jewelry Line
Urban Restaurant
Electric Racing Team
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PROJECT / Extras
Luxury Vietnamese Hotel / Sub-brand Logotype
CATEGORIES / Branding, Typography
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Anti-extremism Campaign
Pet Resort
Premium German Wine
Bauhaus Textiles Studio
Women’s Skincare Line
Emergency Kit
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PROJECT / Extras
Boutique Stationery Store / Alternative Logotype
CATEGORIES / Branding, Typography
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G R AT I T U D E To Mom and Dad, thank you for your support, patience and for always being there for me no matter what. I couldn’t have done this without you two. This book is for you. To Sophie, thank you for all the printing help and for being the best sister I can ask for. To Chase, thank you for your unwavering love and all the laughter we shared that got me through this whole journey. You’re the light of my life. To Sean and Bradford, you two are such extraordinary mentors. I have grown so much as a designer during my one year at City College. You inspired and pushed me to always do my best. Thank you for all your crazy ideas, genuineness, passion, and dedication to students. To all my teachers at SDSU, thank you for passing on your knowledge and giving me a solid foundation in graphic design. To Kira, thank you for your contribution on Spur and Aquagrow. You’re a very talented strategist. I’m so glad I get to work with you. To all my friends at SDSU and City College, thank you for sharing your knowledge and friendship.
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DESIGNER N I C C I V A N Phone: (619) 718 0409 Email: niccivandesign@gmail.com Web: www.niccivan.com San Diego City College Spring 2017
CREDITS Stock photos from Adobe Stock, Alamy Stock, Shutter Stock, and Unsplash.com Artwork by Juan Gatti (page 75/76)
PRINTING Red River 60lbs Polar Matte Double Sided Printed with Canon Pixma Pro 100 Coptic Bound
PHOTOGRAPHY Bradford Prairie Jason Reimer TYPEFACES Ambroise, Brandon Grotesque, Walbaum Text
COPYRIGHTS (C) 2017 All rights reserved. No portion of this book may be used or reproduced in any matter without the written permission of Nicci Van.
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