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Despite my love for the magical and lighthearted, I never owned a princess outfit for playing dress up. I was Medusa for Halloween, with black eyes and braided wires in my hair. As an adult, I still enjoy watching old musica ls (when I'm not hav ing a horror mov ie marathon). I am dual parts whimsy and macabre, which is the fuel for all of my creative endeavors. When considering my dream job, I always bounced between Disney Imagineer and video game designer. It was all about the experience; unlike other amusement parks, Disneyla nd cou ld t a ke me to different lands and eras. Video games transported me to towering cities under the ocean and postapocalyptic realms I could never encounter in the real world.
When I reached graphic design, I realized it was my emotional response that attracted me to those career choices in the first place; each could be explained by breaking down the visual into its most basic components. The meticulous choice of typography, color and shape are what make the areas of Disneyland and the stories of video gaming believable. With graphic design I am able to transform the core of an idea, whether it's playful or peculiar, into a tangible creation.
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·Sugar Pop·
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Instructors Sean Bacon
Typography Core Circus, Univers
Category Branding, Packaging Illustration
Sugar pop is a small bakery and candy boutique that specializes in the highest end of confectionery cuisine. Aimed towards patrons with a more refined palette, Sugar Pop combines childhood favorites like cotton candy and peppermint sticks with sophisticated flavors such as lavender and cardamom. T he logot y pe created for t he brand is rounded and playful, with Victorian influence. Instead of the large bags candy is normally distributed in, the packaging for
Sugar Pop is compartmentalized a nd sma l l to f u r t her ex press the quality. The illustrations of women created for the brand are done in watercolor with a pastel palette reflective of the candy. In each i l lust rat ion , a n ever y day item is replaced by the candy being sold in the package. The comprehensive bra nd is bot h fem i n i ne a nd upsca le.
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·Sugar Pop·
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Instructors Sean Bacon Candice Lopez
Typography Brandon Grotesque, Outage
Category Branding, Environmental, Illustration
·Hayden Planetarium·
Located in the Rose Center for Earth and Space, the Hayden Planetarium houses a 429 seat theater with advanced technology designed to give museum guests a close and personal look into outer space. The planetarium currently lacks its own branding, so the goal was to create an identity reflective of the theater's redesign in 2000 while paying tribute to its 80 years of history. Patrons, including families, students and tourists, will find that the Hayden carries on its legacy of making scientific discoveries accessible to the general public. The mark
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draws its circular shape from the architecture of the building and the planets that can be viewed in the auditorium. The lines and dots reflect constellation maps of the past, tying the logo in to the theater's historical past. Outage and Brandon Grotesque were chosen for their subtly rounded edges, as well as their modern look. The illustrations spread throughout the brand combine the digital elements of the planets with the handwritten look of maps and charts created by original astronomers. The overall effect is both modern and classic.
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·Hayden Planetarium·
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·Hayden Planetarium·
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·Midnight Manor·
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Instructors Sean Bacon Candice Lopez
Typography Abraham Lincoln Core Circus
Category Branding, Typography
Midnight Manor is an upscale, exclusive horror event in which applicants are added to an online waiting list and, if chosen, sent an invitation to dinner. MM mixes the thrill of haunt festivals with the theatrics and experience of a murder mystery dinner. Guests enjoy a gourmet meal followed by a five hour scare experience throughout the manor. The brand is inspired by ornate, turn of the century french design that evokes the eerie
and sophisticated aesthetic of classic horror films. Midnight Manor's logo has a unique, structural shape that subtly references the manor itself, and the crest stays true to its lavish inspiration. A dark, refined color palette is applied to each application, and is accentuated by ornately patterned paper. The photography further emphasizes the supernatural theme with aging effects and victorian ghosted figures.
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·Midnight Manor·
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·Redwood Cove·
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Instructors Sean Bacon Candice Lopez
Typography LunchBox Slab, Festivo
Category Branding, Illustration
Redwood Cove is a seaside inn and cabin resort in Mendocino, California. Young, adventurous men and women can stay in secluded cabins by Big River with access to a bike and canoe rental service. Redwood Cove blends the organic, natural feel of the woods with a high end hotel ex per ience. T he brand fuses watercolor and
hand-done illustrations with a sophisticated look and offers a more personal touch with their amenities. The typography is playful but combined with the imagery has a refined presence. The combination mark for Redwood Cove is split apart and applied across various cabin items to reinforce the brand.
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·Redwood Cove·
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Instructors Sean Bacon Candice Lopez
Typography Quarca, SimianDisplay
Category Illustration, Packaging
One of the newest trends in beverages is a cold brewed, never heated coffee drink. Nautilus is a cof fee bra nd created for consu mers i n t hei r t went ies and thirties that are part of this expanding market. Named after t he subma r i ne f rom Twent y Thousand Leagues Under the Sea, Nautilus derives its branding from the atmosphere and creatures of the deep. The coffee drink is bottled in a dark, matte black finish to echo the lack of light in
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the depths of the ocean, and the bright label adds a pop of color to reflect the intended audience. Vector illustrations of a giant squid and eels interact with the package by entwining themselves a rou nd t he label. T he t y pe chosen for the package, Quarca, has a modern, cold look inspired by the ominous notion of the sea.
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·Nautilus·
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·Deadeye Collective·
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Instructors Sean Bacon Candice Lopez Arzu Ozkal
Typography Alianza, Hagin Caps, Trend, Brandon Printed
Category Branding, Packaging
Credits Drew Vereen
Deadeye Collective is a lifestyle brand for 25-40 year old men who value adventure and quality. For this project, I collaborated with a colleague to create a line of high end accessories for the modern gentlemen. T he i l lust rat ive logo is a combination of a cat skull and antlers, to allude to both hunter and prey. The name Deadeye Collective references the professional sportsman, and is portrayed in Brandon Printed: a textured font that gives it a rustic tone. Because the brand covers a large array of items, it is tied
together with font, pattern, color and material. Trend is used for copy text to keep the products looking modern and clean, and a hand-done arrow pattern was created to reference nat u re. Each item has a limited, neutral color palette and the materials used to house t he produc t s keep the brand raw and include leat her, wool, a nd g rey ch ip boa rd . Ma ny of t he pack ages are reusable for storage, and the throwing knife package unfolds into a knife roll and a target.
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·Deadeye Collective·
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·Deadeye Collective·
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·Arts Across the Nation·
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Instructors Sean Bacon Candice Lopez Scott Wyss
Typography Bree Serif, Duke, Haymaker, Mission Script
Category Illustration, Web
A rts Across the Nation is a nonprofit organization that strives to keep high school students and their parents informed on the importance of the arts. There is a huge struggle to keep the arts from being cut out of the high school curriculum, and getting vital statistics and information about the difference the arts makes out to families is essential for keeping programs alive. The branding for A AN was inspired by doodles in notebooks created by students. Essential facts are made more appealing and easier
to grasp with doodled diagrams and handwritten titles. Sketches f i l l t he logo a nd bleed onto each page of the website, which paired with bright playful colors ref lect the subject matter and audience. The body copy is set in a friendly serif to keep the site welcoming and photos of various school related supplies are used as tools to further push the education theme.
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·Arts Across the Nation·
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·Adventure Collection·
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Instructors Sean Bacon Candice Lopez
Typography Futura
Category Illustration, Packaging
This Blu-ray Collector's Set is a special edition compilation of three of Wes A nderson's films: Moonrise Kingdom, The Darjeeling Limited, and The Life Aquatic. Wes Anderson has a very specific, quirky style that makes him completely unique i n h is f ield . Ci nematog raphy and design play an exaggerated role in his films, and the box set builds off of his already polished aesthetic. Each blu-ray case and design relates specifically to the theme of its film, but all three are tied together with the use
of illustration. Objects are a generous contributing factor to Anderson's stories, and each disc design is built around drawings of the most important items from each designated film. Colors and typography are pulled directly from the films themselves and a re used to create a nu mber of extra collectible items and ephemera for each Blu-ray case.
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·Adventure Collection·
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·Adventure Collection·
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Instructors Sean Bacon Candice Lopez
Typography Aeolian, League Gothic, Baskerville, IFC Railroad, Kirsty, Abraham Lincoln
Category Typography, Layout, Illustration
Aeolian is a typeface designed for a Steampunk lifestyle magazine. Steampunk is a style of retro-futurism which fuses steam-powered machinery of the industrial age, the style of the Victorian era and the future of science fiction. The display face draws inspiration from Victorian type, exhibiting pointed edges combined with curved extensions, as well as decorative elements found in typography of that era. An illustration was created for the cover of the magazine that combines the machinery of
·Aeolian·
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the industrial age with a flying contraption that could not exist outside of the imagination. The composition portrays adventure and the encompassing effect reflects steampunk as a whole. The interior of the magazine combines a modern layout with references to Victorian typography. Pull quotes immitate type specimens and photography is edited to look aged.
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·Aeolian·
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Non-profit Institute Personal Identity Mark Bakery & Candy Shop
Boutique Coffee House New York Planetarium Hungarian Spice Company
Halloween Horror Event Luxury Vodka Brand Sea & Riverside Cabins
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Student
Pamela Mabrey
pamelisemabrey@gmail.com
Class
Portfolio 路 Spring 2014
School
San Diego City College
Instructors
Sean Bacon 路 Candice Lopez
漏 Pamela Mabrey 2014
Photography Adrienne Armstrong
Binding
Heber Miranda
Typeface
Chronicle 路 Affair (hand-drawn)
Software
Adobe Creative Suite CS6
One year ago I graduated college with a bachelors degree in Art, with an emphasis in Graphic Design. Despite having physical proof of competence in the field, I felt reluctant to call myself a designer. Numerous sleepless nights, seven completely new projects and 12 months later I not only feel confident in myself as a designer but also as a person. I could not have completed this life altering journey without the help and support of family, friends and mentors. To my family, you are the greatest role models any designer could ask for. Thank you for encouraging me to experience multiple art forms and supporting me financially through each creative endeavor I pursued. Your passion for the arts as a whole has shaped me as a person. To Heber Miranda, Adrienne Armstrong, Leanna Jones, Cynthia Vereen and all of my fellow classmates, thank you for helping me make this book a reality.
To Drew Vereen, you are the reason I fell in love with design. Thank you for spending all of those hours with me shopping just to look at packaging and snap photos of typography. Without you I never would have made it to the finish line. You are a constant inspiration to me, and I love you. Finally, to Sean Bacon and Candice Lopez, there are no words to explain how grateful I am for all of your support. I have never felt so appreciated and encouraged, and your belief in me kept me going through all of the times I lost faith in myself. You helped me build my style as a designer and confidence as a person, and I will always be thankful.
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