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STATEMENT Ossiris Avalos is a student at the Art Institute of California–San Francisco. She is in pursuit of a Bachelor’s of Science in Graphic & Web Design, scheduled to graduate December 2015. This portfolio focuses on her work as a graphic designer. Concept is her strongest skill which is why she throughly explains her thinking process and execution methods with each project showcased. Attentiveness to detail and quality to further enhance clarity is portrayed. The purpose of this book is to promote Ossiris Avalos as an intern candidate to expand her knowledge of the field by working in a professional environment.
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C I F SSI
A GING L C T CKA C A P E J O P R TERFACEN IN
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DESI
WEB ENT M P ELO V E D
AL R E T LA SIGN L O C DE
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IN S I T ER
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ON I T A LIC
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PUB
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T N O
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P. 20 BE ADO PAIGN CAM
P. 6 HITECT ARC IBITION EXH P. 58 TYPE ZEN OK E-BO P. 48 DAY MAY DE PARA
P. 76 DORA PAN UAL ANNORT REP
P. 34 X TYP AZINE MAG
P. 68 Y 3D OGRAPH TYP
P. 84 & FASTIOUS 7 FUR
1
No.
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H C R A
T C E IT
I H EX
N O I BIT
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PHASE 1: ARCHITECT POSTERS
PHASE 2: EXHIBITION BROCHURE
PHASE 3: MUSEUM WEBSITE
BRIEF
Promoted architectural exhibitions. In the first phase, designed a poster for Frank
OBJECTIVE
Lloyd Wright, one for John Lautner and one for Alvaro Siza. In phase 2, designed a brochure for John Lautner’s exhibitions which stemed from the poster. In phase 3 redesigned the A&D’s logo and website and added John Lautner as one of the exhibitors featured. Poster imagery needed to communicate the architect’s style. The brochure included
CHALLENGE
an overview of the exhibition. The A&D website logo represented the museum’s identity. The website was visually interactive and movement among the different pages was developed.
RESEARCH
Frank Lloyd Wright believed in designing structures which were in harmony with humanity and it’s environment, a philosophy he called “Organic Architecture”. John
BACKGROUND
Lautner’s architectural palate the resulted in glamorous structures in Hollywood that demonstrate his intellectual breadth. Alvaro Siza is recognized internationally for his bold, modern and urban design located in Portugal. The audience for this exhibition collateral was architecture enthusiasts, architects,
AUDIENCE
and museum spectators. The material needed to demonstrate briefly the endeavors of each architect and the exhibition featured.
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THE POSTERS ASPIRE TO CAPTURE THE ARCHITECT’S STYLE...
Alvaro Siza
John Lautner
Frank Lloyd Wright
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C: M: Y: K:
0 0 0 50
C: 22 M: 53 Y: 100 K: 5
C: M: Y: K:
44 87 82 69
C: 0 M: 0 Y: 0 K: 100
C: 0 M: 0 Y: 0 K: 100
C: M: Y: K:
41 32 61 4
C: M: Y: K:
56 65 74 64
C: M: Y: K:
41 32 61 4
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PHASE 1: ARCHITECT POSTERS
PHASE 2: EXHIBITION BROCHURE
PHASE 3: MUSEUM WEBSITE
IDEATION
C: 22 M: 53 Y: 100 K: 5
C: M: Y: K:
41 32 61 4
C: 0 M: 0 Y: 0 K: 100
C: M: Y: K:
56 65 74 64
The Wright and Siza posters played with active space and simplified vector imagery. The color palette was chosen based on each of the designer’s structures. Siza’s architecture has predominately white exteriors, and Wright’s most famous house “falling water” captures organic essence through pale brown, with certain areas highlighted in rustic burgundy. The geometric shapes that surrounded Wright’s
CONCEPT
poster simulate the overhanging stories of the house. The John Lautner poster on the other hand opposed white space. To enhance the imagery, body copy was placed beneath and center aligned leading the audience’s eye straight down the poster. The brochure and the Lautner Poster had a similar aesthetic sense. John Lautner’s futuristic glamour was displayed through a diagonal use of geometry, a combination of sturdy display type and a light and narrow typeface for the body copy. The dimensionality and positioning of the images was set to create vivid space and volume.
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PHASE 1: ARCHITECT POSTERS
PHASE 2: EXHIBITION BROCHURE R: 130 G: 130 B: 128
PHASE 3: MUSEUM WEBSITE
R: 255 G: 255 B: 61
R: 255 G: 255 B: 255
The Architecture and Design Museum website has a basic color palette of black and a flourescent yellow, but utilizes the color saturation of its the imagery for contrast.
PROCESS
The redesigned logo is an asymmetrical and geometric “A & D”. The triangular A sits forward and well balanced which represents the foundations of a building, while the D’s direction is diagonal creating a more abstract appeal for the initial of design.
SOLUTION
The designed collateral focused on revealing the message with a visual interface and formal integrity. The composition relies on page sequence and rhythm. This
IMPLEMENTATION
project uncovers content in a logical and continuous way. Hierarchy, motion, balance and alignment are elements that are promoted frequently and embellish the communication and visual aesthetics of each piece.
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2
No.
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M A C E B O D A
N G I PA
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AD 1: PAULA SCHER
AD 2 & 3: SHEPARD FAIRY
C: 0 M: 99 Y: 98 K: 0
AD 4&5: STEVE JOBS
BRIEF
C: 0 M: 0 Y: 0 K: 100
Produced a corporate campaign for Creative Cloud, an addition to Adobe Systems.
OBJECTIVE
The proposed media was primarily printed spreads for magazines. The vision was to develop a cohesive campaign that marries the power of creativity and the infinite design possibilities that Adobe and the Creative Cloud together possess. Promoted Creative Cloud as a service. Demonstrated Adobe’s corporate identity.
CHALLENGE
A quote concerning creativity was required in the primary copy. The dimensions available for layout were 17.5x11 inches. The campaigns key elements were relevance and cohesiveness.
RESEARCH BACKGROUND
AUDIENCE
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Adobe Systems is an essential software and tool for designers; its fundamental mission is to unite data and design. Competition is minimal. Their latest release, Creative Cloud Suite, allows access to all Adobe software through the internet. The campaign catered to designers, particularly students. The goal was to inform the audience and establish a connection that catalyzed further creative interest.
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AD 1: PAULA SCHER
AD 2 & 3: SHEPARD FAIRY
AD 4&5: STEVE JOBS
IDEATION
The “Connecting Time & Timeless� slogan emerged from analyzing the core desires of designers. The Adobe name is well known in as a technology leader, and therefore it evokes the notion of responsibility for how we live today and how we
CONCEPT
will strive to make tomorrow better. Designers need to remain ahead of the curve. Timeless is the ultimate goal of design. Creating work that lives beyond current trends is a lifetime achievement, and Adobe is a tool that can assist in this process. The quotes were chosen based on designers whose work qualified as timeless.
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This imagery was a merger of designers: timeless design and 14 adobe icons. The icons were placed side-by-side forming a wallpaper-texture; they were assembled in a non-systematic format to avoid color patterns that could distract from the hero
PROCESS
image. The wallpaper was masked to the hero image and manipulated to fit as a see through layer. Bold quotation marks accompany the quote to contrast the imagery and create balance on the left side of the spread. The logo, slogan and call of action (URL) were placed on a red tag, for focus.
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TIMELESS, AT ITS CORE, IS THE GOAL OF DESIGN...
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AD 1: PAULA SCHER
AD 2 & 3: SHEPARD FAIRY
AD 4&5: STEVE JOBS
SOLUTION
After the necessary display format was met it became evident that the layout was flexible and could expand the campaign to other media sources. Billboards,
IMPLEMENTATION
posters, and advertising banners became a possibility. This ad campaign seeks to capture the attention of its target audience with its colorful imagery, however the inspiration delivered through the core message was the focus and obtained goal of this project.
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3
No.
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AG M X P Y T
E N I AZ
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PHASE 1: MASTHEAD
PHASE 2: PRINT VERSION
PHASE 3: DIGITAL VERSION
BRIEF
Entertain and inform through the production of a monthly magazine called TYPX. TYPX, short for typography and pixels, provides comprehensive data and trends of the graphic design trade. Its aesthetic value, competence and expertise prioritize
OBJECTIVE
the increase of readers with every publication. The overall goal was to design a complete front to back magazine that accentuates the graphic design industry syntactically, pragmatically and semantically. Additionally, a magazine that was up to date with it’s market and it’s environment. A printed and digital version of every volume was to be available for the reader. The
CHALLENGE
magazine would be concise in design. Advertising would please the target audience of TYPX. TYPX must differentiate itself from competition through the creation of a unique and easily recognizable masthead.
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PHASE 1: MASTHEAD
PHASE 2: PRINT VERSION
PHASE 3: DIGITAL VERSION
RESEARCH BACKGROUND
C: 44 M: 86 Y: 100 K: 1
C: M: Y: K:
9 7 46 39
C: 0 M: 0 Y: 0 K: 100
C: 72 M: 15 Y: 100 K: 2
In order for TYPX to be created a very important detail had to be taken into consideration and solved; a unique selling point. In this day and age graphic designers are steering in an array of directions. TYPX’s unique selling point was to gather all of these areas of expertise and deliver them to the readers in an informative way. After defining a niche for TYPX, the target audience was obtained through research of demographics focused on profession, age group, income levels and geographic location. Furthermore, potential consumers were depicted based on professional
AUDIENCE
levels, technical usage of devices and applications, interests and hobbies. TYPX was a magazine produced for graphic designers from novices to experts, ages 22 to 30, with a basic knowledge of computer devices, social media, typography, design principles and the graphic design market.
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A MAGAZINE THAT ACCENTUATES THE GRAPHIC DESIGN INDUSTRY SYNTACTICALLY, PRAGMATICALLY & SEMANTICALLY...
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IDEATION CONCEPT
TYPX tackled relevant topics such as: typography, imagery, craftsmanship, photography, packaging, software and applications. It was pivotal that content always be factual and informative.
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LAYOUT WAS INSPIRED BY A PAINTING FROM 1936...
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Foremost the masthead was illustrated, revised and edited until appropriate for the look and feel of TYPX, with its permanent position on the cover in the top left corner. The identity color of the magazine is a “pumpkin” orange, however the masthead is subject to change colors to synchronize with layout. The orange represents the empowering, adventurous, sociable and extroverted personality of the brand. The masthead illustration constitutes a combination of sans serif and serif
PROCESS
type, it seemed only natural to convey that design strategy within the internal content. Paratype (serif and sans serif) and Outrage were used as the primary typefaces of this magazine. Paratype is used as display and body copy, while Outrage is used only for display type purposes. A painting by the American painter Burgoyne Diller called, “Second Theme #272,” inspired the layout of TYPX. The layout is an asymmetrical modular grid and also plays a part in the visual aesthetics of the magazine. The movement of each page consists on the redirection of images, body copy and use of color within the modular grid.
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PHASE 1: MASTHEAD
PHASE 2: PRINT VERSION
PHASE 3: DIGITAL VERSION
SOLUTION
The main articles for the first edition of TYPX were crucial in determining composition of it’s front cover as well as the debut of this publication. Furthermore, the layout phase of the digital publication volume encompassed the rearrangement of elements on each page. Vertical and horizontal dimensions were created. The magazine catered to its audience in content and aesthetics. It was informative in a way that successfully displayed imagery in color and resolution. The typefaces
IMPLEMENTATION
chosen were both readable and legible and pair well with the content. The covers fit the overall brand identity of TYPX and equally displayed appropriate imagery and intriguing article titles.
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4
No.
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E D A AR
M
P Y A AY D
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PHASE 1: ILLUSTRATIONS
PHASE 2: POSTER
PANTONE 3155 U
PHASE 3: COLLATERAL
PANTONE 7714 U PANTONE 179-16 U
BRIEF
Promoted “A Lesson in Romantics,” the album debuted by the punk-rock band Mayday Parade. Through conceptual imagery, tone and cohesive marketing demon-
OBJECTIVE
strated the band’s identity and represented the content of their products. Marketing collateral consisted of 1) a 13x19 poster 2) a screen printed T-shirt 3) a concert ticket design and 4) CD packaging. The design and integration of the marketing collateral resulted in a brand that is well bound across fragmented media. Portrayed Mayday Parade’s style of music,
CHALLENGE
the ambiance created through their sound and the aesthetics of it’s members. The design elements featured an illustration and hand-lettering. Three color palette limit. Implementing pre-/post-press production methods such as screen printing for T-shirt designs, and linoleum carvings for illustration and hand lettering.
RESEARCH BACKGROUND
Mayday Parade is an American rock band from Tallahassee, Florida. “A Lesson in Romantics” was released in 2007 after the band signed with Fearless Records. There are 5 band members: Derek Sanders (Lead Vocalist), Alex Garcia (Lead Guitar), Brooks Betts (Rhythm Guitar), Jeremy Lenzo (Bass Guitar) and Jake Budrick (Drums).
AUDIENCE
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The target audience for this bands marketing material is Mayday Parade fans; fans of kinetic pop-punk with an outpour of real rock energy and teenage punks.
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PHASE 1: ILLUSTRATIONS
PHASE 2: POSTER
PHASE 3: COLLATERAL
IDEATION
“A Lesson in Romantics” is an album which presents a teen melancholic essence with a hint of punk “emo” energy . It hits you with a variety of electric and acoustic romantics songs and the occasional angry adolescent vibe. The tone of the marketing material was inspired by the bands emotional songs, like “Miserable at Best,” and
CONCEPT
“Terrible Things.” Heartbreak is the overall concept. The 3 main design principles used in the imagery were: rhythm, texture and color . The Hand lettering developed was a bold san-serif with a grungy appeal, and ventured to fit the identity of Mayday Parade. Additionally, organic patterns of triangles were used abstractly as cliffs to create a symbolic dangerous surrounding for the illustration. A 2-spot Pantone color scheme was selected; Process black and dark turquoise. Black represented the emo-punk mysterious energy of the band. Dark turquoise
PROCESS
was chosen due to its warm yet vivid aesthetic appeal. Given the dark imagery of the heart falling surrounded by flames, the color turquoise decreased the threatening and alarming notion of the illustration.
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PHASE 1: ILLUSTRATIONS
PHASE 2: POSTER
PHASE 3: COLLATERAL
SOLUTION
The poster layout was revised several times after printing until the hierarchy was well balanced and placed. The pitch-black background made the duotone turquoise pop, giving it a 3-5 color range. The lightest shade of turquoise appeared almost fluorescent. The triangle decoration was decreased significantly until it not longer
IMPLEMENTATION
competed with the copy. The poster design made the rest of the components fall into place. All design elements of the poster were implemented in the rest of the collateral. The T-shirt was a light blue tone and was screen-printed with black fabric paint to ensure legibility. Each element of the final product matched the designated theme and fulfilled the requirements of the design challenge.
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TICKET NO.001
VANS WARPED TOUR presents
MAYDAY PARADE
$49.50
VANS WARPED TOUR presents
..............................................
MAYDAY PARADE
Mountain View, CA
Shoreline Amphitheatre General Admission Sat. June 21,2014 11am
Shoreline Amphitheatre General Admission
Sat. June 21, 2014 11am No refunds/No exchanges
TICKET NO.001
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...A TEEN MELANCHOLIC ESSENCE WITH A HINT OF PUNK-EMO ENERGY
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5
No.
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T N E Z
E E YP
K O -B O
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PHASE 1: DIGITAL
PHASE 2: PRINT
R: 127 G: 115 B: 91
BRIEF
R: 0 G : 0 B : 0
The production of an E-book that comprises typographic and design principles. This book is an instrument towards the study of fundamentals of typography and must
OBJECTIVE
be revealed in a technical and creative manner. The primary displayed media is tablet. Vertical and horizontal dimensions must be designed as such without affecting the communication strategy. Apply and understand type principles as the primary convergent theme and si-
CHALLENGE
multaneously integrate a divergent (second) theme. Define principles and demonstrate examples using the divergent theme. The merger must create a unique and relatable experience for the reader.
RESEARCH AUDIENCE
This book was written for beginning graphic designer’s and readers that seek the fundamentals of typography. It was designed to exemplify such rudimentary principles in order for the audience to learn with a visual and interactive method.
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ZenType Typography Design Inspired by Zen Wisdom
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ZENTYPE IS A RESULT OF COMBINING A CONVERGENT AND A DIVERGENT THEME TO EXEMPLIFY CONTENT...
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IDEATION CONCEPT
The divergent theme of Zen manifested itself upon the idea that sometimes learning a new trade can be overwhelming, challenging and cause distress. The purpose of Zen is to alleviate negative energy and to make typography seem inviting; aspiring to incite the reader to learn about design. An imperative part of designing Zentype was the creation of a grid system that was flexible enough to be used vertically and horizontally. Page proportions were considered when preparing imagery. A full range of black and a pale shade of brown
PROCESS
construct the color palette. Imagery was desaturated to convey emotion and complement the color scheme. Body copy was written and then edited various times to ensure effective communication of each topic. Typefaces were studied to determine the look and feel of this book. The chosen typefaces had to deliver a readable and legible functionality yet coordinate well with the theme.
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PHASE 1: DIGITAL
PHASE 2: PRINT
SOLUTION
Zentype aims to alleviate the overwhelming sensation of learning a new trade through relaxing imagery. It is a result of combining a convergent and a divergent theme to exemplify content. Each page showcases the use of motion and page flow,
IMPLEMENTATION
and maintains design sequence. The complex grid structure allows each page to be displayed fully in both horizontal and vertical directions. When the requirements of this project were fulfilled, the book evolved to a print version. The overall page structure remained consistent in all of its displayed forms.
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6
No.
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Y T 3D
R G PO
Y H AP
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PHASE 1: BOOK JACKET
PHASE 2: PACKAGING
C: 17 M: 0 Y: 100 K: 0
BRIEF
C: 0 M: 0 Y: 0 K: 100
The production of a book jacket design for “3D Typography�. The book featured over
OBJECTIVE
one-hundred designers who implemented art and creativity in the construction of three-dimensional letters. The book jacket required relevance to the subject in addition to embellishing the craft of typography. This project required the handmade assembly of its title. Two to three foot letters had to be hand-built. The twelve three-dimensional letters were to be photo-
CHALLENGE
graphed in an outdoor scene relevant to the material used. The front cover was a display of the best photograph. The back cover was an extension of the front cover, physically or conceptually.
RESEARCH BACKGROUND
To successfully construct 3D letters it is important to have a clear concept of the message, the audience, the displayed media and placement. Setting is the pivotal aspect of 3D Type. This is a book about art, design and craft. Consequently the book jacket must cater
AUDIENCE
to an audience that consists of typographers, graphic designers, artists, sculptors and students and teachers of design. The audience will comprise a full range of typography users and creators, from beginners to experts.
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SETTING IS A PIVOTAL ASPECT OF 3D TYPE...
IDEATION CONCEPT
After the creation of a complex mind-map, construction became the obvious theme. The site was an apartment complex in mid completion. The loose dirt, the wood structures and the heavy machinery brought the concept to life. The letters were made of cardboard boxes. Each box had a dimension of 6 inches
PROCESS
square. The letters requirements were roughly 3ft. tall making the height of each letter 6 boxes tall. A total of 125 small boxes were assembled to create the book’s title. To accentuate the theme the letters were wrapped in yellow “caution construction” tape. With site permission, the letters photographed at the construction scene.
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PHASE 1: BOOK JACKET
PHASE 2: PACKAGING
SOLUTION
The desaturation of the busy background had a significant effect on the title of the book; it enabled hierarchy. To further extend this project packaging was created.
IMPLEMENTATION
For online purchases of this item the ascetics of the packaging were taken into consideration. The box for is packaged in “caution construction” tape to accentuate the concept and theme of this coffee-table display book.
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No.
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7
PA N
A R DO
E R L A U N AN
T R PO
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PHASE 1: COVER
PHASE 2: CONTENT
BRIEF
C: M: Y: K:
86 60 18 2
C: 100 M: 97 Y: 29 K: 49
C: M: Y: K:
0 0 0 50
C: 79 M: 4 Y: 0 K: 48
To develop a re-designed publication for the Pandora Internet Radio 2013 Annual
OBJECTIVE
Report. The overall goal was to communicate the corporation’s financial performance. It was important to highlight influential data and make this publication browse-efficient. The brand identity of Pandora had to be portrayed in all aspects of this annual report. To create a conceptual cover of the annual report. This cover had to match the cor-
CHALLENGE
porate identity and communicate information to the audience in an interactive way. Infographics tied in aesthetically and tables were scaled to ensure readability.
RESEARCH BACKGROUND
Pandora is a company that pioneered a new form of radio, called the Music Genome Project. It identifies your taste of music based on the artist, song, composer or genre entered into their database.
AUDIENCE
The re-designed Pandora Annual Report was intended to be viewed by Pandora shareholders, potential investors, CEO’s and with less focus on the company’s competitors, auditors, employees, Pandora listeners, and potential listeners.
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PHASE 1: COVER
PHASE 2: CONTENT
IDEATION
A Bob Marley quote inspired the theme of this annual report, “In this bright future you can’t forget your past”. “Old vs. New,” was the vision for this project. Pandora
CONCEPT
was the pioneer of Internet Radio but it was based on a classic concept, radio. This report paid tribute to the classics, each chapter reflecting an original forms such as a record or tape. The cover was built to simulate an old wooden radio, transcending the generations to the beginning. Incorporating the traditional parts of an annual report and employing design details such as typographic sensibilities, harmonious relationship of type and space, and the finer points of typesetting were deeply considered and evaluated. The brand identity of Pandora and the concept of the annual report were represented in the composition of infographics, icons and folios. The color palette was formed with Pandora’s identity colors: a metallic light shade of blue, midnight blue and a
PROCESS
50% tint of black. After typefaces were studied to determine which one fit the look and feel of Pandora, Universe (light, bold condensed, bold and black) was a clear winner. Images were manipulated to fit the identified color palette. The production stage of the annual report was challenging to accomplish. A radio was disassembled completely in order to retrieve the parts required for the cover. The wood was cut and sanded to fit the pages properly. The content of the book was printed, then drilled for binding. Two post screws fasten the annual report together.
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A BOB MARLEY QUOTE INSPIRED THIS CONCEPT; “IN THIS BRIGHT FUTURE YOU CAN’T FORGET YOUR PAST”... | 82
SOLUTION
Consideration for the conceptual and typographic possibilities of combining images and text was significant in making this annual report successful. Although production of the annual report cover would be challenging to mass produce, it fit the overall identity of Pandora in an abstract way. It created a unique and entertaining
IMPLEMENTATION
form of delivering financial data to its audience. Conceptually it reached its goal. The content is organized and not visually overwhelming. The charts were easy to skim through, allowing the audience to find and understand important information. The infographics became an interactive form of communication, which made the facts easier to remember. Overall this re-designed version of Pandora’s 2013 Annual Report allowed the viewer to fully grasp company’s performance.
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8
No.
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I R U F & T S A F
7 S OU
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PHASE 1: POSTERS
PHASE 2: WEBSITE
PHASE 3: DVD CASE
BRIEF
C: M: Y: K:
12 20 84 1
C: 29 M : 10 0 Y: 97 K: 37
C: M: Y: K:
0 0 0 69
C: 0 M: 0 Y: 0 K: 100
The elaboration of marketing material for the future release of “Fast and Furious 7�. Four posters were designed to advertise the premier date. To further expand on
OBJECTIVE
the collateral of FF7 an informative website was developed. This one-page scrollable website focused on movement and stems from the design tone of the three posters. In addition, a 10-panel DVD case and jacket was designed to portray the story and theme of this Hollywood sequel. The purpose of this design project was to create anticipation and excitement for the 7th follow-up motion picture. The application of appropriate solution to the design problem through exploring various means of indicating, placing and manipulating visual elements in page design and interactive media was vital to the result of this project. The systematical
CHALLENGE
development of strong and creative solutions by means of cumulative, conceptual design process was implemented. Capturing the essence and tone of the Fast and the Furious brand and portraying its personality among the designed collateral was essential to the development of the campaign.
RESEARCH AUDIENCE
The anticipation of the 7th sequel was projected to skyrocket revenue. Fans are eager to find out how the story will unravel. The Target Audience for this movie is: Fast & Furious Fanatics, Street racing aficionados, Vin Diesel fans, movie critics, adventurous and adrenaline junkies, executive movie producers, and Hollywood.
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IT VENTURES TO CREATE ANTICIPATION AND EXCITEMENT FOR THE 7TH FOLLOW–UP MOTION PICTURE...
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PHASE 1: POSTERS
PHASE 2: WEBSITE
PHASE 3: DVD CASE
IDEATION CONCEPT
Due to the city-theme that every Fast & Furious movie has offered thus far, this marketing material displayed aspects that relate to Abu Dhabi. Imagery of muscle cars racing though waves of sand is utilized to display the action of the city. The initials F.F.7 replaced the hierarchy of the movie title, creating a logo. The logo was used as a visual design element that connected all material created. The design principles applied to the FF7 logo was symmetry, movement and contrast. By reflecting the second F off the first F horizontally, movement is portrayed, this was also achieved through a shift forward in indentation of the second F. Contrast was noted through color. The basis of the layout was a modular grid formulated with the Fibonacci sequence. The objective was to carve into the active space
PROCESS
in a technical and measured way. Every element was aligned systematically. Thirty-four columns and fifty-five rows composed the grid. The creation of the website and DVD case stemmed from the overall concept and design of the posters. The DVD case was a procedure that was physically calculated since its nature steered away from the standard DVD case. Several mock-ups were created to ensure that the panels were evenly proportioned, fit the size of the layout and functioned effectively. The DVD case material featured a leather-like wrap to simulate leather seats in a muscle car.
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PHASE 1: POSTERS
PHASE 2: WEBSITE
PHASE 3: DVD CASE
SOLUTION
The execution of the revision phase entailed adding movement to the tagline by using non-objective lines, cleaning up images that were pixelated, ensuring overall legibility, creating contrast between background, middle and foreground, and most importantly keeping the message as simple as possible by eliminating unnecessary details and limiting competing elements in each composition. The promotional material for this film showcased the action, adventure and adrenaline that this film springs. The collateral material sought to promote the story.
IMPLEMENTATION
The website was responsive for multi-platform display. The DVD case, performed adequately. It primarily protected the DVD, it fit the design of the previous design collateral, communicated the endeavors of the story and foremost it distinguished itself from other DVD cases through material and form.
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To evoke emotions without words is why I design, I want to practice the art of communicating to the senses.
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