PROCESS \ Selected Works of Rika Putri

Page 1

S E L E C T E D WO R K S 0 6 – 1 0 \ R I K A S . P U T R I

R

P

E

S S

O

C

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

S E L E C T E D WO R K S 0 6 – 1 0 \ R I K A S . P U T R I

R

I

A K

V. 01 P.

< 000 001>

A

PR

O C

E

SS

selected works of rika putri \ 06 –10

A PROCESS

\ colophon \ 00

CO LO PHO N C LASS senior portfolio INST RUC TOR mary scott AUT H OR myself ED ITOR scot crisp T Y P EFAC E S titles/neutra text bold folio/neutra text light body copy/the mix light plain P H OTOG RAP H Y composition/myself lighting/cowboy studio camera/canon rebel xt

coptic binding

B INDING exposed-sewn spine

B INDER the key bindery

PAP ER STOC K finch fine 100 lb text

FOR MAT 7in X 9.5in

P R INT ER giant horse printing

photography/adobe photoshop

P R OG RAM layout /adobe indesign

LIES BEHIND EVERY RESULT.

V. 01

P P.

< 002 003>

PR

O C

E

selected works of rika putri \ 06 –10

SS

R

O

\ table of content \ 00

S SE L ECT E D WO R K S 06 –10 01

“lively up yourself ”

S

02 kiss waste goodbye

03 illuminating taste

04 bringing closure

05 re-channeling a vision

E

06 find your fortune

07 much in store

08 splice of life

09 gallery of shouts

10 methodical marks

C

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 0 04

005 >

DELIV E RAB LE S packaging

x6

collateral

x1

identity

x1

digital media

TASK redesign a label for an existing beer brand, including bottle, can and 6 -pack carrier. selected brand: Red Stripe.

INST RUC TOR thomas mcnulty

C LASS package design 3

T ER M spring 09

“ L IVE LY U P YO U R SE L F”

01 P ROJ NØ.

\ package design iii _ “lively up yourself ” \ proj. 01

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

compeitors research ladder history/company’s background

product /cultural information

P.

< 006 007>

concept exploration cultural

design brief mood board culture board type board pencil sketches digital drafts mock-ups

style

\ proj. 01

COHESIVENESS

\ package design iii _ “lively up yourself �

mood

final presentation

design approach/execution:

bottled lager bottled light beer can 6 -pack carrier

\ 360 o process

O BJECT IVE The assgignment is to select an existing beer, and redesign its label. Other deliverables are a newly designed canned beer as well as a six-pack bottle carrier with a more exciting and less generic approach. My idea for the new Red Stripe brand reflects the imaginable Jamaican spirit, including bold colors and lively culture.

T H O U G H TS

I have integrated different textures, materials, illustrations and specific colors to achieve that tone. I want to give Red Stripe more of a decorative and conceptual label so that a peeled-off label could become a keepsake.

In its look right now it doesn’t feel Jamaican at all. What a shame! I’ll make it happen!

Because Red Stripe has been around for so long, this is the perfect opportunity to re-visit and re-design the brand. My inspiration comes ultimately from street murals from the town of Kingston, Jamaica. The sandy texture comes from the Jamaican beaches.

I think Red Stripe has all it takes to be wrapped in a bad ass label. After all, it’s Jamaican! You know? Rob Marley, marijuana, colors, beaches, vibe. You name it.

00 \ set up

V. 01 P.

< 010 011>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 01

\ package design iii _ “lively up yourself �

\ mood-images

00 \ set up

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 016 017>

\ red stripe light beer can

\ proj. 01

\ package design iii _ “lively up yourself �

\ bottled lager & light

V. 01 P.

< 018 019>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 01

\ package design iii _ “lively up yourself �

\ vector outlines \ close-up label details

V. 01 P.

< 02 0 021>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 01

\ package design iii _ “lively up yourself ”

V. 01 P.

< 02 2 023>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 01

\ package design iii _ “lively up yourself �

\ wrapped around labels & hangtags

V. 01 P.

< 02 4 025 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 01

\ package design iii _ “lively up yourself ”

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 02 6

027>

DELIV E RAB LE S packaging

x1

collateral

identity

x1

digital media

project 2 : invent a sustainable replacement that addresses the problems caused by the first object . brand the new product .

TASK project 1: do extensive research into a non-sustainable object and write a compelling book about your findings.

INST RUC TOR tom sieu

C LASS print 2

T ER M fall 09

K I SS WAST E G O O DBY E

02 P ROJ NĂ˜.

\ print ii _ kiss waste goodbye \ proj. 02

V. 01 P.

< 0 04 005 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 030 031>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

V. 01 P.

< 032 033>

PR

O C

E

SS

selected works of rika putri \ 06 –10

O BJECT IVE The R3 project is divided into two parts. The first focuses on research regarding an everyday product that is not sustainable and causes harm to the environment. Whether the product is non-biodegradable, non-recyclable or produced toxic chemicals by nature, these harmful characteristics are identified and highlighted. Desire talks about the environmental reality behind lipsticks in a narrative that reflects femininity through profiles of women and their lipstick needs. The book is highly saturated, impactful and graphical. The second part of the R3 project required us to think about what could be possibly done to address the problem in the first part of the project. I designed Tulip, a canister that carries a re-tractable lipstick case which can hold two interchangable lip pomades. The Tulip lipstick pomades are held in seeded, biodegrable paper containers dyed with colors from natural materials. This solution not only helps reduce waste, but reduces the amount of toxic chemicals produced on the planet.

T H O U G H TS There is no way that women would give up on lipstick entirely for environmental reasons. Sure, there are eco-savvy consumers who purchase natural lipsticks, but even their containers are made out of non-recyclable plastic cases that cannot biodegrade. There has to be another solution that would help eliminate the waste.

\ proj. 02

\ print ii _ kiss waste goodbye

\ book spreads from Desire

V. 01 P.

< 034 035 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

\ lipstick toxicity research map

V. 01 P.

< 036 037>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

\ lipstick mugshots \ book cover

V. 01 P.

< 038 039>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

V. 01 P.

< 0 04 005 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 04 2 043>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

\ sketch of Tulip \ Tulip canister, tube and pomades

V. 01 P.

< 04 4 045 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 02

\ print ii _ kiss waste goodbye

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 046

047>

DELIV E RAB LE S packaging

x3

collateral

x1

identity

x1

digital media

TASK invent a working lamp for an existing brand or subject .

INST RUC TOR thomas mcnulty

C LASS package design 3

T ER M spring 09

I L LU MINAT ING TAST E

03 P ROJ NĂ˜.

\ package design iii _ illuminating taste \ proj. 03

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

P.

< 048 049>

01

development

overcoming complications 1

absolut vodka brand

raw surface [physical research]

brand connection > concept development

\ proj. 03

\ package design iii _ illuminating taste

03

3-D mock-up model/

fabrication

proposal to california model & design

overcoming complications 3

3.5 in

02

TUBE THRE E 5.0 in

2.5 in

finalization TUBE TWO 4.0 in

projection/ end result

1.5 in

TUBE ONE 3.0 in

overcoming complications 2

0.125 in

0.125 in

0.875 in

0.125 in

0.875 in

0.25 in

TOP BASE RAISE 4.75 in

2.0 in

TOP BASE 5.5 in

2.0 in

2.25 in

2.25 in ROD 1.5 in

0.5 in 0.25 in BOTTOM BASE 6.0 in

\ 360 o process

V. 01 P.

< 050 051>

PR

O C

E

SS

selected works of rika putri \ 06 –10

O BJECT IVE I chose to work with Absolut Vodka and design a lamp for that brand because I was drawn to its array of its vodka flavors. This idea of variety is reflected onto the design of the lamp with a spectrum of colors shot through cyan, magenta and yellow tubes that are inter-changeable. This lamp is user interactive, allowing the owner of the lamp to set different vibes for each mood that he or she is experiencing that very moment .

T H O U G H TS Drinking creates mood. I believe that forms of lighting are able to set different moods and emotions. Naming this lamp wasn’t too hard, because all of the flavors start with “absolut”. but I don’t want it to sound like a drink. The name I finally came up with is Absolut Aura, which derives from aurora of the northern lights.

\ proj. 03

\ package design iii _ illuminating taste

\ preliminary lamp sketches

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 052 05 3>

\ mood images

055 >

SS

1/8 in

slot for a “lock & twist” (opposite side of tube)

E

clear acr ylic top

2 in

width fits rubber tubing

2.25 in

O C

clear acr ylic

21.5 in

2 in

< 054

6.25 in

P.

0.25 in

6.5 in

V. 01

PR selected works of rika putri \ 06 –10

1.0 in

0.5 in

6.5 in

6.25 in

1. 0 in

0. 5 in

0.5 0.25 in i n

0.5 in

6. 5 in

6.25 in

0.5 in

0.5 in

tra ns l us c e nt bl ue (a s i n s a m pl e )

cl e a r a c r y l i c

21.5 in

1. 0 i n

0. 5 i n

transluscent blue (as in sample)

6. 5 in

6. 5 i n

6. 25 i n

2 in

in 1/8 in

1/8 in

s l o t fo r a “ l oc k & tw i s t” (oppos i te s i de of tube )

s c r e w (dr i l l e d i nto oppos i te s i de s of bas e )

1/8 in

screw (drilled into opposite sides of base)

cl e ar ac r y l i c to p

1/ 8 i n s c re w (dri l l ed i nt o o ppo si t e si de s o f ba se )

1/ 8 i n

s l ot for a “ l o c k & t w i st ” ( o ppo si t e si de o f t ube )

t r an s l u s c e n t b l u e ( as i n s am p l e )

cl e ar ac r y l i2c

cl e a r a c r y l i c top

0. 5 i n

wi dth fi ts rubbe 0. 5r i ntubi ng

2. 25 i n

6. 25 i n

21. 5 i n

\ proj. 03 \ package design iii _ illuminating taste

\ lamp dimensions \ cmy tubes

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 056 057>

\ process colors

k0 m100 c0

y0

m0 c0

y100 k0

m0 c100

y0

k0

pure cyan, yellow and magenta

\ proj. 03

\ package design iii _ illuminating taste

3.5 in

T UB E T H R E E 5.0 in

2.5 in

T UB E T WO 4.0 in

1.5 in

T UB E O NE 3.0 in

0. 125 i n

0. 125 i n

0. 875 i n

0. 125 i n

0. 875 i n

0. 25 i n

T O P B A S E R A I S E 4.75 in

2.0 in

T O P B A S E 5.5 in

2.0 in

2.25 in

2.25 in R O D 1.5 in

0.5 in 0.25 in B O T T O M B A S E 6.0 in

< 058 059>

O C

E

SS

selected works of rika putri \ 06 –10

ABSOLUT Country of Sweden AURA

V. 01 P.

PR

\ outer packaging label

DESIGNED AND PACKAGED IN AHUS, SWEDEN BY THE ABSOLUT COMPANY A DIVISION OF V&S VIN&SPRIT AB

IMPORTED

25 W/BULB (110–230 VOLT )

This is Absolut Aura, a Limited Edition Lamp specially designed for Absolut to celebrate the 400 years of Swedish tradition and success.When illuminated, Absolut Aura will project a spectrum of colors which represents both the established Absolut flavors and the rich history of Absolut. \ proj. 03 \ package design iii _ illuminating taste

V. 01 P.

< 060 061>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 03

\ package design iii _ illuminating taste

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 062

063>

DELIV E RAB LE S packaging

x1

collateral

identity

x1

digital media

x25

TASK revisit the ziploc brand and design a new identity system with a design manual for the company.

INST RUC TOR todd hedgpeth

C LASS identity 2

T ER M fall 08

B R ING ING CLOSU R E

04 P ROJ NĂ˜.

\ identity ii _ bringing closure

\ proj. 04

V. 01 P.

< 064 065 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ pencil & digital sketches \ final development of mark

V. 01 P.

< 068 069>

PR

O C

E

SS

selected works of rika putri \ 06 –10

O BJECT IVE The corporate identity of Ziploc has not changed much over the longevity of the brand. ZIploc has never undergone a facelift or chosen to show excitement in its aesthetics. I see this as an opportunity for a redesign! The new Ziploc mark optically shows an invisible zipper swooshing its way through the type and closing the letters that make up the wordmark. The concept is as simple as bringing the brand and consumer together as a unit. With the newly branded Ziploc, there are more innovations aside from just the updated plastic bags and containers, including items such as a beverage cooloer canister, the Ziploc store and lounge, a fresh herb keeper, and others.

T H O U G H TS With many competitors on the shelf, Ziploc has the potential to be the brand that stands out in the crowd visually. I feel that Ziploc is creative in its product line, but it would be quite a pity if these products aren’t packaged to reflect this. By changing its mark and coming up with a new tagline, Ziploc has already rebranded itself. The brand sets a new target, while retaining the history and equity built of many years.

\ proj. 04

\ identity ii _ bringing closure

V. 01 P.

< 070 071>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ spreads from the brand guide

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ spreads from the brand guide (continued)

V. 01 P.

< 0 74 075>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ table of content for the brand guide

V. 01 P.

< 076 077>

PR

O C

E

SS

REFRIGERATION I had the idea of using a refrigerator for the identity style guide because a fridgeis the ultimate in keeping things fresh and cold, protected from moisture and heat. I divided the fridge into 3 sections—top storage, mid storage and bottom freezer. The top consists of a chapter that explains how the brand came about, Ziploc’s history and the company’s background as well as competitors and inspiration for the new design approach. The mid storage contains the redesigned brand design and style. This is where the new identity system comes in. It stores the logo specs, color palette, typography, usages and so on. The bottom freezer is to keep items that would last longer. This is where the new identity is built out into different applications that are provided for the market.

selected works of rika putri \ 06 –10

g 346 r 240

b 069

g 145 r 079

b 205

g 137

b 041

\ identity ii _ bringing closure

r 246

\ proj. 04

\ graphic from brand guide cover

V. 01 P.

< 078 079>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ the Ziploc store \ parking sign \ structure map

V. 01 P.

< 080 081>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ all zipped up t-shirt

V. 01 P.

< 082 083>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ store banners \ shuttle bus stop \ visitor pass

V. 01 P.

< 084 085>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 04

\ identity ii _ bringing closure

\ new packaging \ bag dispenser

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 08 6

087>

DELIV E RAB LE S packaging

x1

collateral

identity

x2

digital media

x1

x3

R E- CHANNE L ING A VI SI O N T ER M spring 08 C LASS graphic design 3 INST RUC TOR pedro freitas TASK work with an existing tv station and design its station identifier for heir new spring season.

P ROJ NĂ˜.

\ graphic design iIi _ re-channeling a vision \ proj. 05

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

competitors

P.

< 088

research

15

30

10

45

089>

\ proj. 05

\ graphic design iIi _ re-channeling a vision

station ids overcoming complications 2

posters standard manual lower thirds menu lineups

re-channeling

concept / explorations

solidifying equity

re-structuring

\ 360 o process

delivering final system

V. 01 P.

< 090 091>

PR

O C

E

SS

selected works of rika putri \ 06 –10

O BJECT IVE This project required me to select an existing television network and work with their current identity to create a newly designed motion-based station idenfier for the spring season. The deliverables for this project include a series of stills of the network’s station IDs, theme posters, system manual, lowerthirds, station bugs, and menu lineups. I came up with the concept of (Re)Experience, which gives a new life to the old NBC. The network has been around for quite sometime and when it comes time to be renewed, the design had better to be revolutionary. I kept NBC’s equity by retaining the colors taken from the peacock feathers of its current logo, but have updated the rest. The swooshes are designed to create motion and swiftness to reflect how the company has been running for many years. They also show how NBC continues to return with even more force than ever.

T H O U G H TS NBC lands itself with such a great looking, iconic mark, but sometimes a mark itself won’t do a company justice. What it needs is a well-written message that reflects thought all their media, like their website for example.

\ proj. 05

\ graphic design iIi _ re-channeling a vision

V. 01 P.

< 092 093>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 05

\ graphic design iIi _ re-channeling a vision

\ station id concept explorations

V. 01 P.

< 0 94 095>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 05

\ graphic design iIi _ re-channeling a vision

\ station id concept explorations (continued)

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ re-experience nbc evening poster

\ proj. 05

\ graphic design iIi _ re-channeling a vision

P. < 096

097>

V. 01 P.

< 098 099>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 05

\ graphic design iIi _ re-channeling a vision

\ web pages

V. 01 P.

< 100 101>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 05

\ graphic design iIi _ re-channeling a vision

\ nbc posters

V. 01 P.

< 1 04 105>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 05

\ graphic design iIi _ re-channeling a vision

\ spreads from the network guide

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

P.

< 102 103>

\ spreads from the network guide (continued)

\ proj. 05

\ graphic design iIi _ re-channeling a vision

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 106

107>

DELIV E RAB LE S packaging

x1

collateral

identity

x1

digital media

x25

TASK brand and position a country by designing the country’s logo, identity system, and tourism materials.

INST RUC TOR darrell hayden

C LASS identity 3

T ER M spring 10

FI ND YO U R FO RT U NE

06 P ROJ NØ.

\ identity iIi _ find your fortune \ proj. 06

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

perceptions research ladder history of myanmar

people/cultural information

P.

< 108 109>

concept exploration cultural

design brief mood board culture board type board identity sketches digital drafts tourism system

direct visual comprehension

\ proj. 06

\ identity iIi _ find your fortune

world recognition

country’s reputation

tourism improvement

mood

system development

design approach/execution:

venerated colors iconic scripture

\ 360 o process

final presentation

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

WIPE THE SLATE CLEAN

P.

< 0 04 005 >

BO

00 \ set up

OLD FLAVORS SIT, TALK & LAUGH WITH US

V. 01 P.

< 112 113>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 06

\ identity iIi _ find your fortune

\ preliminary identity sketches

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 114 115>

\ final identity

\ proj. 06

\ identity iIi _ find your fortune

OBJECT IVE In the senior identity class we were required to rebrand a nation. Myanmar has so much potential to grow and further develop, but it needs help in clarifying its values, brand essence and unique characteristics. The branding process started with gathering relevant inspiration and designing the mark. The mark holds a double meaning: at first glance, it appears to be a rising sun of a growing nation. But the ultimate idea is derived from the pagoda, taken from an overhead angle, suggesting you look at Myanmar from a different perspective. The colors selected are not only derived from the idea of “the golden land” but they are the colors taken from the country’s venerated monks’ robes. The logotype is specially designed to embrace the existing style of the Burmese script as well as to ground the identity in a natural and raw texture.

T H O U G H TS After doing all the research on Myanmar, I am mostly surprised at how magical this country actually is as compared to how it is perceived internationally. I want a mark to distinguish itself from other generic pagoda icons, yet I want a pagoda to be part of its mark and I wanted it to be a timeless design.

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 116 117>

\ stationery system

\ proj. 06

\ identity iIi _ find your fortune

V. 01 P.

< 118 119>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 06

\ identity iIi _ find your fortune

V. 01 P.

< 120 121>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 06

\ identity iIi _ find your fortune

\ spreads from the brand guide

V. 01 P.

< 122 123>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 06

\ identity iIi _ find your fortune

\ spreads from the brand guide (continued)

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 124 125>

\ secondary graphic spread

\ proj. 06

\ identity iIi _ find your fortune

\ hot air balloons

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

\ country banners \ tour bus

\ proj. 06

\ identity iIi _ find your fortune

\ water bottles \ umbrella \ straw hats

V. 01 P.

< 128 129>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 06

\ identity iIi _ find your fortune

\ national stamps

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 130

131>

DELIV E RAB LE S packaging

collateral

identity

digital media

TASK reposition the kmart brand by creating sub-brands that are appropriately stratified for the company’s target markets.

INST RUC TOR michael osborne

T ER M fall 09

MU CH IN STO R E

07 P ROJ NĂ˜.

\ package design iv _ much in store \ proj. 07

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

home & kitchen

new logo

P.

< 132

research

food

objective: to bring the kmart brand to the level of the target brand.

15

30

10

45

133>

fusion

\ proj. 07

\ package design iv _ much in store

pets

ready!

red yellow blue

habitat

bliss

clothing

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ RedYellowBlue conventional milk

\00 proj. \ set07 up

\ package design iv _ much in store

OBJECT IVE This is a collaborative project that includes the rebranding of Kmart and redesigning its new packaging and other aesthetics. In working with Jayde Cardinalli, Ingrid Njono, Teddy Kurniawan and Clara da Silva, we broke out the Kmart customer base into three target markets with specific demographic characteristics. Then we designed ideniities and packaging for sub brands that would cater to each of these markets. The Kmart Red Yellow Blue sub brand would serve families’ basic needs. The products in this line include pantry items, kitchen necessities, bathroom products and pet supplies. The READY! sub brand caters to on-the-go individuals that need products that can serve many functions. Items sold in this brand include instant coffee, stackable bowls, prepared sandwiches and other space-saving products. The Habitat sub brand is targeted to eco-conscious consumers that are concerned with the production and after-life of their products. Products in this line include free-range organic eggs, non-toxic powdered milk-derived paint and ecofriendly cleaning items. The Bliss sub brand offers more luxurious products for the refined home. Products in this line include expensive bed sheets, drink mixers and bath products.

P.

T H O U G H TS The first thing that came into my head while walking into kmart for this project was how disorganized everything is placed and the fact that the store is gloomy and lack of positive energy. My groupmates and I immediately came to our senses that the new Kmart would focus on improving its weakness, with addition to creating sub brands to target different groups of audience.

< 134

135>

V. 01 P.

< 136 137>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 07

\ package design iv _ much in store

\ RedYellowBlue pots and pans

V. 01 P.

< 0 04 005 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 140 141>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 07

\ package design iv _ much in store

\ Habitat shampoo collage

V. 01 P.

< 148 149>

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 144 145>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 07

\ package design iv _ much in store

\ Habitat non-toxic milk paints

V. 01 P.

< 146 147>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 07

\ package design iv _ much in store

\ Habitat organic eggs

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 148

149>

DELIV E RAB LE S packaging

x1

collateral

identity

x1

digital media

x20

TASK design a brochure, poster and swatch cards for smart paper company.

INST RUC TOR ariel grey

T ER M fall 08

SPL ICE O F L IFE

08 P ROJ NĂ˜.

\ typography iii _ splice of life \ proj. 08

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

P.

< 150 151>

Yy

yX

xX

consider an issue to be addressed.

Xx

research

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

01

\ proj. 08

\ typography iii _ splice of life

03 0 SP

LI

C

85

final deliverables

o

E

development

\ 360 o process

Xx

cloning as the 8th creation

Xy

final concept:

Yy

yX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

Yy

refining stage

yX

xX

Xx

Xy

Yy

yX

xX

Xx

progression

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

Yy

yX

xX

xX

Xx

Xy

Yy

yX

xX

Xx

Xy

02

V. 01 P.

< 152 153>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 08

\ typography iii _ splice of life

O BJECT IVE The goal of this project was to design a brochure, poster and set of swatch cards for a paper company. The brochure is the densest part of the project and the topic selected should be an issue relevant to current events. Given that I was working with Smart Paper Company, I chose to research and write about cloning. This scientific process is often called the eighth creation of the planet . Therefore, the book, titled On the Ei8th Day, covers the cloning issue, debating whether it is unethical or instead an imporant asset for the scientific community.

T H O U G H TS I want this book to have as many details as possible, both in the chapters as well as the applied design elements. After all, this is a topic that people are most aware of, and most pay good attention to. It’s a challenge to take actual shots of clones, so I gathered up abstract photographs that are scientifically relevant to the topic.

V. 01 P.

< 154 155 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 08

\ typography iii _ splice of life

\ spreads from the ei8ht day

V. 01 P.

< 156 157>

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 1 58 159>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 08

\ typography iii _ splice of life

\ spreads from the ei8ht day (continued)

V. 01 P.

< 160 161>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 08

\ typography iii _ splice of life

V. 01 P.

< 0 04 005 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01 P.

< 164 165 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 08

\ typography iii _ splice of life

\ promotional swatch cards

V. 01 P.

< 166 167>

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 168

169>

DELIV E RAB LE S packaging

prints

identity

digital media

INST RUC TOR megumi kiyama tom sieu roland young

T ER M fall 06 –spring 10

GAL L E RY O F SHO U TS

09 P ROJ NØ.

\ gallery of shouts _ showcase of posters \ proj. 09

V. 01 P.

< 1 70 171>

PR

O C

E

SS

O BJECT IVE I believe that posters are designed for multiple reactions. They are to be engagingly informative, provocative, impactful, offensive, touching , humorous, merciless, got you thinking , or you name it . At the end of the day, no matter what or who the audience is, a poster is designed to send a message or to tell a story. The Gallery of Shout showcases some of my selected posters that are designed either for part of an assignment, or of an assignment . They are meant to shout and grab your three-second reaction. Please enjoy.

selected works of rika putri \ 06 –10

BEWARE,

\ proj. 09

\ gallery of shouts _ showcase of posters

THESE FLATS SHOUT.

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

P.

< 1 72 173>

columbia p ictures by a film

KU BR IC K ST AN LE Y

or

ST

ld w I shou Ho

\ Dr. Strangelove movie poster instr. Roland Young

OP

w

o

r

& Love

r

th

y

e

i

n

g

m b b o

\ proj. 09

\ gallery of shouts _ showcase of posters

swissbikes.com/foldablex50

\ Swiss Bikes X50 product poster \ instr. Roland Young

V. 01 P.

< 0 04 005 >

PR

O C

E

SS

selected works of rika putri \ 06 –10

00 \ set up

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

HELP

HEAL

P.

< 1 76 177>

T H E H A I T I P O S T E R P R O J E C T 2 01 0

\ H3 (Help Heal Haiti) Haiti poster project instr. Roland Young

\00 proj. \ set09 up

\ gallery of shouts _ showcase of posters

THE HAITI POSTER PROJECT 2010

V. 01

PR

O C

E

SS

selected works of rika putri \ 06 –10

P.

< 1 78 179>

\ Rods & Cones musical poster instr. Roland Young

\ proj. 09

\ gallery of shouts _ showcase of posters

\ SF Weather Graph informational poster instr. Craig Griffith

V. 01 P.

< 180 181>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 09

\ gallery of shouts _ showcase of posters

\ Co-existence Urban Forest Project instr. Tom Sieu

V. 01

PR

O C

E

selected works of rika putri \ 06 –10

SS

} PRIME CUTS

PORTION CHART DOMESTIC SHEEP

Lamb is a sheep less than a year old. There are eight basic primal cuts in a lamb. They are neck, shoulder, foreshank, breast, rib, loin, leg, and shank.

30% 15% 55%

P.

YIELDS

< 184 185>

34%

8%

36%

17% 7417 40–75 lbs

7406 7421

564

A lamb carcass generally weighs 40–75 lbs The primal lamb shoulder is a relatively large cut accounting for 36% of the carcass weight.

% BREAK DOWN

PMS Pantone Matching System. Indicates primal cuts in lamb, categorizing each area of tenderness with each color— pms 7417 groups the tenderest cuts in beef, pms 7406 groups the least tender cuts and pms 7421 groups meats with medium tender.

RACK {of lamb}

PERCENTAGE BREAKDOWN 28% CHOPS 30% ROASTS 22% GROUND/STEW MEAT 20% FAT BONE SHRINGKAGE

Percentages used: 28%

7417 100% 80%

65%

50%

35%

75%

70%

50%

65%

40%

10%

The primal lamb rack is also known as the hotel rack. It is located between the primal shoulder and loin. Containing eight ribs and portions of the backbone, it accounts for approximately 8% of the carcass weight.

30% 22%

7406 100% 80%

The rack is valued for its tender rib eye muscle. The hotel rack is usually split in half and trimmed so that each set of ribs can be easily cut into chops. The split racks can then be grilled, broiled or roasted as racks or cut into single or double rib chops before cooking.

7453

7421 100% 70%

20%

10%

100%

15%

5%

} TENDERNESS OF MEAT The areas of the animal that got a lot of exercise will be less tender than those that did little or no work.

} hind portion of animal

The rib area of the lamb is, like prime rib in beef, very tender and flavourful. This portion of the lamb is either cut into little rib chops or left as a whole rack of lamb (with seven or eight ribs). The rib cut has an outer layer of fat which can be trimmed off but, if left on during cooking, melts and bastes the meat. Ribs and loins are best cooked by dry-heat cooking.

The most versatile cut in a lamb is the leg. The lamb leg is in a league of its own. the leg of lamb is tender and very versatile. However, only the two hind legs produce the cut referred to as “leg of lamb”.

} RETAIL CUTS

} RETAIL CUTS LOIN

RIB

Roast/broil/grilling

“Frenched”

Loin chops T-Bone steak Toploin chops Tenderloin chops {Filet Mignon}

Rib chops Rack of lamb Crown roast {Delmonico}

lowest priced

mid-priced

premium priced

} rib area of animal

150

Medium

140

Med-Rare

135

Rare

o

This front area of the animal provides the toughest meats, but the most flavorful, and less expensive. The cuts are shoulder, shank, breast and neck.

} RETAIL CUTS

LEG

LEG STEAK

Roasting/grilling

The whole, bone-in leg can weigh from 5-to-9 pounds and may be American style {boneless} French style {shank bone-on}

Large/small roast Kabob meats Rolled/netted steak Stuffed rolled leg

} front portion of animal

SHOULDER

SHANK

BREAST & NECK

Dry roasting/slow-braising

Braising

Braised

Shoulder roast

osso buco

Ground/minced Crosswise slices Lamb sausages Lamb burgers

boneless/bone-in

Shoulder chops Stewed lamb

2 hind shanks + 2 fore shanks

F

PANTONE ® and other Pantone, Inc. trademarks are the property of Pantone, Inc. PANTONE Colors displayed here may not match PANTONE-identified standards. © Pantone. Inc., 2008 All rights reserved.

PANTONE ®

™

\ proj. 09

\ gallery of shouts _ showcase of posters

} PRIME CUTS

PORTION CHART

There are a total of four sections in pork. A pork carcass is generally split into two sides of pork, each consisting of four primal cuts— shoulder, loin, belly, and ham.

FARM-RAISED PORK

15% 35% 50%

7417 7406 7421

564

OTHER CUTS

PMS Pantone Matching System. Indicates primal cuts in pork, categorizing each area of tenderness with each color— pms 497 groups the economical cuts in pork, pms 717 groups the other cuts and pms 1795 groups the premium loin cuts. Percentages used: 65%

50%

A pig’s head can be boiled and boned to make head cheese. The jowls (pig’s cheeks) are rich in flavor and can be cured like bacon and are used to flavour dishes.

265 lbs Live pig

Organ meats are used in various ethnic cuisines. The small intestines are used as sausage casings.

497 100% 80%

YIELDS

Head, Jowl, Snout, Ear, Tail, Innards

20%

717 100% 80%

75%

70%

50%

65%

50%

20%

389

1795 100% 70%

100% 23%

8%

} CUTS AND PRICES

23%

11%

14%

11%

25%

Areas of the pork are divided into two main parts—premium cuts and economical cuts.

Typical market pig. A 265 lbs commonly weighed farm raised pig can produce a 200 lbs carcass: 265 lbs....................Live weight

premium priced

200 lbs....................Carcass weight

midpriced

0.7 in...................... Backfat

} center portion of animal

} loin cuts of animal

6.6 sq in..................Loin eye area 54 pct......................Fat-free lean meat 108 lbs.................... lean meat

The loin is the most tender and expensive part of the pig. Loin cuts are fairly lean and should be cooked carefully, usually with high heat dry methods, to a temperature of no more than 150°F (65°C), leaving the meat slightly pink and still juicy.

} RETAIL CUTS CENTER CUT Most expensive

SIRLOIN END Closest to the leg

BLADE END/RIB Closest to shoulder

This center portion of the animal are the most economical cuts in pork. They are the shoulder cuts, leg/ham cuts and belly cuts. The meats from this area are mostly flavorful, but contains the highest amount of fats for slow cooking.

} RETAIL CUTS SHOULDER

HAM

BELLY

Slow cooking—braising

Mostly smoked

Fresh/smoked/cured

Shoulder chops Shoulder butt roast Stewing pork Picnic Roast

Cutlets Ham roasts

Spareribs

bone-in/boneless fresh/smoked

Fresh ham

30% less expensive than Backribs from the Loin section.

Belly

marinated/crusted roast fresh ham

Loin Roast Loin Chops Butterfly Chops Tenderloin Baby Back Ribs Sirloin Steaks Sirloin Roast Peameal Bacon

PANTONE ® and other Pantone, Inc. trademarks are the property of Pantone, Inc. PANTONE Colors displayed here may not match PANTONE-identified standards. © Pantone. Inc., 2008 All rights reserved.

\ Saturated Cuts Pantone series posters instr. Megumi Kiyama

PANTONE ®

™

selected works of rika putri \ 06 –10

SS E O C V. 01

PR

360˚ PROCE SS SPECTRUM

P.

< 186

187>

DELIV E RAB LE S packaging

prints

identity

digital media

INST RUC TOR pedro freitas ariel grey darrell hayden todd hedgpeth jeff ho laura milton tommcnulty michael osborne megumi kiyama scott rankin tom sieu hunter wimmer roland young

T ER M fall 06 –spring 10

ME T HO DICAL MAR K S

10 P ROJ NĂ˜.

\ methodical marks _ showcase of logos \ proj. 10

V. 01

PR

O C

E

SS

TH

EI8 DAY P.

< 188 189>

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

TH

EI8 DAY

ei8th day / type 3_Arial Grey | READY!/ pack 4_Michael Osborne | Written On the City/ lic_Jeff Ho

V. 01 P.

< 190 191>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

kmart/ pack 4_Michael Osborne | Habitat / pack 4_Michael Osborne | Bliss/ pack 4_Michael Osborne

V. 01 P.

< 192 193>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

Dollar Rent-a-Cart / print 3_Roland Young | All Stars/ lic_Jeff Ho | RIKAmbigram/ neck tattoo_self

V. 01 P.

< 1 94 195>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

Myanmar/ id 3_Darrell Hayden | Red Stripe/ pack 3_Tom McNulty

V. 01 P.

< 196 197>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

Koji Osakaya Bistro/ gd 1_Scott Rankin | Written On the City/ lic_Jeff Ho | SF Playhousey/ id1_Hunter Wimmer

V. 01 P.

< 198 199>

PR

O C

E

SS

selected works of rika putri \ 06 –10

\ proj. 10

\ methodical marks _ showcase of logos

Putriology/ identity_self | Cala Foods/ id1_Hunter Wimmer | Ziploc / id2_Todd Hedgpeth

V. 01 P.

< 200 201>

PR

O C

E

SS

selected works of rika putri \ 06 –10

TO ALL OF

\ special thanks \ 00

SP EC IAL T H ANK S TO ALL OF YOUR SUP P ORT IN SC H OOL instructors/ mary scott roland young jeff ho darrell hayden michael osborne tom sieu tom mcnulty todd hedgpeth ariel grey christine george laura milton pedro freitas scott rankin doris harrison amy broadbent mark reynolds michael kilgore claude dietrich rose hodges chris rolik liza brown personal thanks to/

many thanks also to all those unmentioned, some how, some ways, you all have played a part in this journey.

strong immunity system

to sightglass, bluebottle, & donut world for serving coffee and espressos to keep me awake through the night .

amazing pescetarian diet

to max my only bike in the world who has been my best buddy.

to the constant inspirations that come at the least expected moments.

my undefeatable energy

my family and friends

MY VERY SPECIAL ONES.

V. 01

P P.

< 0 04 005 >

PR

O C

E

selected works of rika putri \ 06 –10

SS

R

O

00 \ set up

C E

S S

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.