See
think
do
Rachel Galindo Portfolio
See
think
do
Rachel Galindo Portfolio
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INTRODUCTION
See
think
do
Design is a continuous process, that when fully appreciated, expands beyond the walls of the discipline. SEE/THINK/DO is a chronicle of such a design process. It is a synthesis of my design observations, explorations, and visualizations. Coveted analytical skills such as these not only enrich my design process, but also enable me to critically examine the world beyond the studio. A refined and thorough process, SEE/THINK/DO is not just my approach to design, it is a perspective for taking in the world.
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00 see / think / do Introduction p. ii–01
05 skin / technology / growth Project 05: Synthetic Skin p. 54–65
01 sustainable / sewn / initiatives 06 fashion / glamour / elegance Project 01: Nordstrom CSR Report p. 04–15
02 lingerie / feminine / sensual Project 02: Frederick’s of Hollywood p. 16–27
03 self / concept / abstraction Project 03: Big Ideas / Smart Design p. 28–37
04 vibrant / modern / luxury Project 04: Hotel Valencia p. 38–53
Project 06: Glamourista p. 66–77
07 light / writing / experiment Project 07: Writing with Light p. 78–89
08 type / nuance / study Project 08: Univers Type Study p. 90–101
09 Graffiti / craft / collection Project 09: Street Art p. 102-113
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See Sustainable efforts. As the impact we have on the earth becomes increasingly apparent, corporations are taking the initiative to be socially responsible up and down the production lines. Nordstrom is a company with a widely implemented corporate social responsibility (CSR) program. From supporting communities, to sustaining the environment, to protecting human rights, Nordstrom is consciously working to leave it better.
think How can Nordstrom show that they are a socially responsible company? Nordstrom’s CSRs are a wholistic effort. Every person involved in designing and crafting Nordstrom’s products, and every material used, are part of the company’s CSR initiatives. In essence, Nordstrom’s CSR efforts are “sewn together.” Each CSR initiative is one thread, and when sewn together, they form the fabric of Nordstrom’s CSR policy: Leaving it Better. The concept of “sewn together” lent itself to a hand-crafted style for the project deliverables. The stitching-inspired design elements emphasize the personal touch behind the craft of the CSR brochure. The purpose of using a hand-crafted style was to mirror the importance that Nordstrom places on the people who craft their merchandise and retail store experience.
do Project / Nordstrom CSR Report Category / Print Format / Brochure, Poster Series Typeface / Bodoni, Helvetica Neue Color Palette / •
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See Lingerie. Over the last 60 years, Frederick’s of Hollywood has made a name for itself as a leading innovator of women’s intimate apparel. What started as a mail-order lingerie business by Frederick Mellinger, soon became a hit among the glamorous Hollywood actresses of the 1950s. Frederick’s of Hollywood lingerie came to embody the sexy glamour of the Hollywood lifestyle.
think How do you turn a brand known for its “sex symbol” attire into a sophisticated, sensual company? Frederick’s of Hollywood started in the era of the pin-up girl and flourished through days that saw sexual icons the likes of Marilyn Monroe. Today, however, a brand image that says “sex symbol” no longer resonates with a female mentality that honors empowerment and independence. In order to stay relevant, Frederick’s of Hollywood needs to embrace the softer, more sophisticated side of feminine sexuality. The reinvented brand allows women to express their sensual side without fear of looking trashy. The new identity divulges a more sophisticated feel, and positions the brand as a purveyor of fashionable intimate apparel for women.
do Project / Frederick’s of Hollywood Category / Branding, Print, Packaging Format / Logo, Identity Manual, Stationery, Packaging Typeface / Mrs. Eaves Color Palette / •
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See A designer. One of the more difficult tasks a designer can face is having to design a promotional piece for themselves. As an industry, design is so multifaceted, that designers rarely specialize in just one area. With so many skills, it can be hard to narrow down exactly what we want to say about ourselves. This project was an exercise in my ability to communicate concepts effectively. The goal of the piece was to not only promote myself as a designer, but to also incorporate the concepts from Ito Calvino’s Six Memos for the Next Millennium.
think How do I represent myself as a designer while simultaneously communicating Ito Calvino’s concepts? The solution came in the form of a booklet that highlights my conceptual thinking skills and describes the steps I take during my design process. Thus, the idea for the booklet became “the development and growth of a design concept.” Using abstract circle illustrations to represent ideas and concepts, the booklet tells the story of how I take the original design objective and move through a process to reach a final design solution. The booklet also uses the design process as a means of illustrating the concepts from Ito Calvino’s Six Memos for the Next Millennium. The design of each page represents a visual interpretation of one of Calvino’s six concepts: lightness, quickness, exactitude, visibility, multiplicity and consistency.
do Project / Big Ideas / Smart Design Category / Print Format / Booklet Typeface / Avenir Color Palette / •
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See A vibrant, luxury hotel. In a city rich with history and charm, a new centerpiece of luxury and neoclassic style awaits. The Hotel Valencia Riverwalk takes pride in delivering the luxury experience and creating the unexpected. From the impeccable architectural craftsmanship, to the elegantly rich finishes, the hotel has spared no expense to indulge the senses. Whether hotel guests are looking for a romantic getaway, the perfect setting for their next big event, or meeting space near the River Walk, Hotel Valencia guarantees their stay will be no less than desirable.
think How do you design an identity for a luxury hotel that is both classic and contemporary? Simple, you create a design that marries the two styles together. The big idea behind the redesign for the Hotel Valencia Riverwalk identity was “A Luxury Hotel where Classic meets Hip.” For a luxury hotel, The Hotel Valencia is much more vibrant and energetic than its traditional “prim and proper” competitors. Thus, the identity redesign is based on the hotel’s character: a unique blend of old-world sophistication and modern comfort. The design style, warm color palette, and typeface choices are inspired by the hotel’s architecture, which merges a Spanish influence with contemporary design.
do Project / Hotel Valencia Category / Branding, Print, Packaging, Environmental Format / Logo, Identity Manual, Packaging, Signage, Collateral Typeface / Frutiger, Goudy Oldstyle Color Palette / •
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H O T E L VA L E N C I A R I V E R W A L K
VALET PARKING
H O T E L VA L E N C I A R I V E R W A L K
H O T E L VA L E N C I A R I V E R W A L K
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H O T E L VA L E N C I A R I V E R W A L K
V BAR & LOUNGE
EVENTS & MEETINGS
CITRUS R E S TAU R A N T
SPA SERVICES
H OT EL VA L EN C I A I N F O R M AT I O N
SAN ANTONIO CIT Y GUIDE
H O T E L VA L E N C I A R I V E R W A L K
ROOM SERVICE MENU
THREE COURSE 50 (choose from first or second, third, and fourth) FOUR COURSE 60 FIRST: shrimp cocktail, horseradish panna cotta, sweet tomato (14)
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piloncillo dusted texas quail, corn pudding, pan jus salsa (13) crab cake, toasted pumpkin seed, avocado, mesclan salad (16) blackmore wagyu carpaccio, quail egg, texas olive ranch (18) spanish chorizo and bleu cheese empanadas, pasilla jam (12)
SECOND: seared diver scallop, creamed root vegetable ragout (12) local and seasonal mushroom risotto, peppers (14) (V) summer squash bisque, crisp beet chips, parsley crème (11) organic green salad, herb goat cheese croquette, pink peppercorn vinaigrette, baby red and gold tomatoes (8) (V) peppered chop of sika venison, oak hill farms black eyed pea “texas caviar” (18) sliced texas heirlooms, green pepper salsa, sea salt (9)
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THIRD: sous vide lamb rack, fresh pintos-shitake mushroom braise, corriander glace (served one temp only) (33) crisp fried carolina black bass, sauté of mushroom, pea sprout and aromatic herbs, saffron sauce (29) natural filet of beef, braised and butter fried potatoes, roasted mushrooms, merlot reduction (38) sustainably caught alaskan longline halibut, summer squash, olive and sweet pepper gremolata (31) crisp seared pork tenderloin, texas peach and pepper sauce, creamed peas (29) FOURTH: pecan orange cream cake, bruleed orange (8) cinnamon croissant bread pudding, bourbon glaze (7) rich chocolate gateau, chocolate gelato (8) texas blueberries and basil sponge cake, lemon and watermelon syrup (7) selection of cheeses (14) selection of gelatos or sorbets (8)
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H O T E L VA L E N C I A R I V E R W A L K
V
BAR & LOU NGE
CHAMPAGNE & SPARKLING WINE
Cavit 2006 Italy 28
Paul Cheneau Blanc de Blancs Cava N.V. Spain 29
Pepi 2006 California 9 36
Francois Montand Blanc de Blancs N.V. France 30
Bottega Vinaia 2005 Italy 37
Korbel Natural N.V. Russian River, Sonoma 33
MacMurray Ranch Pinot Gris 2005 Russian River, 38
Mumm Cuvée Brut N.V. Napa 38
Attems 2005 Italy 42
Roederer Estate Rose’ Brut N.V. Mendocino, California 48
Etude Pinot Gris 2005 Carneros 45
Domaine Carneros Brut N.V. Carneros 57
Oriel 2004 Italy 48
Dampierre Cuvée Ambassadeurs N.V. Champagne 65
Santa Margherita 2006 Italy 53
Laurent Perrier Brut N.V. Champagne 82 Piper Heidsieck Extra Dry N.V. Champagne 86 Moet & Chandon White Star N.V. Champagne 93 Veuve Clicquot “Yellow Label”, N.V. Champagne 97 Veuve Clicquot Vintage Reserve 1998/1999 Champagne 148 Diamant Rosé Heidsieck Co. Monopole 1988 Champagne 175 Cuveé Dom Perignon 1999 Champagne 285 Roederer Estate Cristal 2000 Champagne 550 Veuve Clicquot “Yellow Label”, N.V. Champagne 97 Domaine Carneros Brut N.V. Carneros 57
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PINOT GRIGIO
Moet & Chandon White Star (split) N.V. Champagne 25
SAUVIGNON BLANC Matua Valley 2006 New Zealand 27 Ferrari Carano Fumé Blanc 2005 Sonoma 28 Veramonte 2005 Chile 29 Mason 2005 Napa 9.75 41 Duckhorn 2005 Napa 58 Cloudy Bay 2006 New Zealand 60 Cakebread 2005 Napa 62 Chalk Hill 2004 Chalk Hill, Sonoma 65
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See Skin. Our protective covering. It’s the very part of us that holds us together. But what happens when our skin is severely damaged? Breakthroughs in the field of tissue engineering have unveiled ways to stimulate growth between damaged skin and implanted skin grafts.
think How can tissue engineering be expressed through typography? In much the same way that implanted tissue is grafted with organic skin, they can grow together. The typographic design for Synthetic Skin is based on this concept of separate skin cells growing together as the body heals. Typographic design, paired with illustration and graphic elements, conveys the concept throughout the book. The body text is bold at the edges of each column to resemble skin buds growing together across the narrow column gutters. Bracketed line elements around headings serve to reinforce the growth concept. Additionally, with only a limited color palette allowed, skin-tone colors were chosen to give further visual context to the design.
do Project / Synthetic Skin Category / Print Format / Book Typeface / Univers Color Palette / •
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See Fashion. With hundreds of fashion magazines featuring styles from around the world, our love affair with clothes is no secret. From showing the latest runway trends, to choosing outfits on a budget, these magazines give fashion designers a wide berth of influence.
think What would a fashion magazine look like if it focused more on the couture and less on the ad sales? Glamourista is a venture into this ad-free design territory. It is a high fashion magazine based on the idea that fashion is an art. Unlike most fashion magazines, the editorial content highlights the fashion designers, and explores their clothing lines as beautiful, inspiring and unique pieces. The magazine’s sophisticated design is based on the premise that visual and artistic excellence is vital in capturing the essence of the world’s most respected fashion designers. To create this feeling of artistic sophistication, large photography, ample white space, and modern typography were used in the layout and design of the magazine.
do Project / Glamourista Category / Print Format / Magazine Typeface / Mittwoch, Minion Color Palette / •
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See Light Painting. Light Painting is a photographic technique in which images of light are created by moving a handheld light source, or by moving the camera. The light can be used to selectively illuminate parts of a subject, or to “paint” a picture by shining the light directly into the camera lens and moving it around. This technique requires a sufficiently slow shutter speed for long exposure, a light source, and ample creative energy.
think What happens when the technique of light painting is used to create letterforms? Writing with Light, is an adventure in experimental typography in which light is used as a means of exploring typographic form. The essence of this experiment is to study the nuances that are present and unique to each light source. It is also an opportunity to create typography by means of a more natural and organic medium. Most typefaces are created on a computer, which only allows us to view them from one angle. This project explores the letterforms from a full three-dimensional perspective. The results of the experiment document how letterforms are affected by the use of various light sources. As a standard of comparison, the letter B was written using the following light sources: glowstick, Christmas lights, flame, iPhone, flashlight and sparklers.
do Project / Writing with Light Category / Print Format / Book Typeface / Helvetica, Sabon, Experimental type Photography / Rachel Galindo Color Palette / •
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See Typography. It is the element that separates designers from other fine artists. Knowing how to select and set type is an essential skill for graphic designers. We must understand its form and its subtle nuances in order to use it effectively in visual communication. A love for design means a love for type.
think How does a designer come to understand the power and nuance of typography? By recreating great works of typography, a designer can gain appreciation for the form and function of a typeface. A typeface such as Univers is an excellent example with which to learn and practice. As a well designed typeface, it comes in array of different weights, all suited for exploring the subtleties of the typographic form.
do Project / Univers Type Study Category / Print, Typography Format / Printed sheets, Box with slipcase Typeface / Univers Color Palette / •
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d a f ü r s c h e i n t m i r d a s G e f ü h l a b s o l u t e r E n t s c h e i d u n g s f r e i h e i t z u s e i n . F r e i l i c h e i n e F r e i h e i t , u n t e r d e r m e h r d i e Ve r f ü g b a r k e i t d e r t ypographischen Möglichkeiten zu verstehen ist. Und Ent s cheidungen, die aus der Aufgabe und deisen Möglichkeiten abgeleitet werden. D a j e d e En t s c h e i d un g, d i e w e i t g e h e d d ur c h Vor li e b e n, Un ke n n t n i s un d Unve r s t än d ni s b e s t imm t w ir d, d i e a l s o w e i t g e h e n d s c h o n z u vor f e s t s t e h t , k a n n b e i m U m s e z e n e i n e s Te x t e s i n Ty p o g r a p h i e e i n e F e h l e n s c h e i d u n g s e i n . A u c h d a s m u ß d e r S c h ü l e r l e r n e n z u e r k e n n e n , um daraus vielleicht einen neuen Ansat zpunk t für seine Arbeit zu gewinnen. Deshalb wird in meinen Unterricht nicht skizzier t. Die t y p o gr a p hi s c h e Re ali t ä t i s t d a s ab g e s e t z t e Wor t . Un d n ur d ie ze ig t s e in e L än g e, s e in Ve r häl t ni s z u an d e r e n Wör t e r n, z um g e s am t e n Tex t un z um ihn um g e b e n d e n R a um mi t s e in in B e gr e n z un g e n . We n n d e r S c h ül e r d i e s e d i d a k t i s c h e n M o t i ve ve r s t a n d e n un d d i e ve r mi t t e l t e n Kriterien begrif fen hat, wird er im Sinne der oben geforder ten ‹Freiheit › entscheiden können. Und nur wenn er die Funk tion dieser Ent s cheidungs freiheit in der t ypographischen Gestaltung verstanden hat, wird er auch die Grundfunk tionen der Ty p o g r a p h i e begreifen. (I m Idealfall, muß ich e i n s c h r ä n k e n) . Ich bin überzeugt, daß wir die Ausbildung an diesen idealen orientieren müssen. Zur Ve r f ü g u n g stan jedem Schüler ein maschinenge schriebenes Manuskript. Unsere Schule kennt keinen Unterricht im Te x t e n . Und auch keine L e h r f ä c h e r, i n d e n e n Te x t p r o b l e m e b e h a n d e l t w e r d e n . D i e S c h ü l e r k ö n n e n a u s d i e s e m G r u n d k e i n e s e l b s t k o n z i p i e r t e n Te x t e i n d i e Ty p o g r a p h i e We r k s t a t t m i t b r i n g e n . D a s w ä r e z u m B e i s p i e l d e s h a l b s i n n v o l l , d a m i t d i e s o l c h e m Te x t e z u g r u n d e l i e g e n d e K o n z e p t i o n a u c h f ü r d i e Ko n z e p t io n d e r Ty p o gr a p hi e ve r w e n d e t w e r d e n k a n n . Wa s e in e a u s g e z e i c hn e t e H il f e f ür d i e l o g i s c h e S t r u k t ur i e r un g d e s Tex t e s un d f ür die Bes timmung von Schrif t und Sat zar t wäre. Ohne diese Kenntnis der tex tlichen Konzeption — also ohne Kenntnis der prak tischen A u f g a b e u n d g e p l a n t e n B e d e u t u n g e i n e s Te x t e s — b l e i b t d i e Ty p o g r a p h i e a u f i h r e n s y n t a k i s c h e n M ö g l i c h k e i t e n b e s c h r ä n k t . A l s o : We n n d i e s e m a n t i s c h e u n d p r a g m a t i s c h e F u n k t i o n e i n e s Te x t e s e r k a n n t u n d v e r s t a n d e n s i n d , k ö n n e n d i e v i e l f ä l t i g e n s y n t a k t i s c h e n Möglichkeiten sinnvoll eingeset z t werden. Ich betone das deshalb, weil ichmir davon eine entscheidende Objek tivierung des Lehrprozsses ve r s p r e c h e . Ein f a c h e r a u s g e d r ü c k t : Ein b iß c h e n w e nig e r a u f L e hr m e in un g e n un d G e f ühl e n g e gr ün d e t e n un d d a mi t l e t z t i c h f ür S c h ül e r un d L e hr e r n o c h p r o d uk t i ve r e n Un t e r r i c h t . Z ur Ve r f üg un g s t an d e n d e m S c hül e r 4 Wo c h e n s t un d e n, um in d e r Ty p o gr a p hi e - We r k s t a t t z u ar b e i te n . Für da s imm er w ic h tig er wer d e n d e Kommunik a tion s m e dium Ty p o gr ap hie › s in d 4 Wo c h e n s t ud e n ana c hr onis tis c h. Sie r e ic h e n k a um f ür d i e Ve r mi t t l un g han d w e r k li c h e r F e r t ig ke i t e n . D e r vor li e g e n d e D r u c k e n t s t an d z w i s c h e n N ove mb e r 19 70 un d M är z 19 71. D ar an i s t a b z u l e s e n , d a ß e i n V i e r t e l d e r S c h u l z e i t d i e s e r A u f g a b e g e o p f e r t w e r d e n m u ßt e . N i c h t a u s I g n o r a n z g e g e n ü b e r a n d e r e n A u f g a b e n , sondern aus Gründen zeitlicher und didak tischer Not. Daran ist weiterhin abzulesen, daß andere dringende Probleme überhaupt nicht behandelt werden konnten. Ich denke beispielsweise an die Aufarbeitung der verschiedenen t ypographischen Theorien. An ni c h t- w e r b li c h e, s o g e n ann t e ‹ t e c hni s c h e Ty p o gr a p hi e ›. A n ko m p l exe Ty p o gr a p hi e - P r oj e k t e al s Te il v i s u e ll e r Er s c h e in un g s b il d e r o d e r Orientierungssysteme. O d e r, zum Beispiel wenig er anspruchsvoll: Rasterprobleme und t ypographische Programme im Ve r l a g s w e s e n . Die Liste ließe sich belieb ig for tsetzen. Zur Ve r f ü g u n g stand ein L e h r e r, der (b e i 20 S c h ü l e r n) pro Schüler und Wo c h e 10 minuten investieren k a n n . M i t 10 M i n u t e n p r o S c h ü l e r u n d Wo c h e i s t e s u n m ö g l i c h , a u f d i e n a t ü r l i c h e n i n d i v i d u e l l e n P r o b l e m e j e d e s S c h ü l e r s e i n z u g e h e n . Wa s i m H i n b l i c k a u f d i e P r o b l e m e ‹ k r e a t i v e r › G e s t a l t u n g u n d d i e w i r k s a m e Ve r m i t t l u n g v o n F e r t i g k e i t e n m i r u n b e d i n g t n o t w e n d i g er scheint . Zudem waren die K las sen üb er f üllt, wordurch das Niveau der Ausbildung nicht verb es ser t w urde. Eine Beobachtung, die
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See Graffiti. Once a trademark of bad neighborhoods and gang activity, graffiti has taken on a new persona in the form of urban artwork. Throughout the city of Austin, TX, urban art and design can be found on everything from sidewalks, to lampposts, to the sides of buildings. Having evolved beyond merely words sprawled on concrete, this new take on street art is a form of creativity and expression that enhances the visual aesthetic of the city.
think What topic is visually engaging enough to use as the subject of a hand crafted book? In a city as unique as Austin, there is no shortage of creative expression. In choosing a subject for the book, I knew there was one form of art that I had always enjoyed most. I’ve always been fascinated by the abundance of street art around Austin. The colorful works of art proved a fun and vibrant topic for the project. Using my own photography of the graffiti art, I designed and hand-bound the book using a buttonhole stitch bookbinding technique. Every step, from cutting the book board to sewing the signatures, was done by hand.
do Project / Street Art Category / Print Format / Book Graffiti Art / Various Photography / Rachel Galindo Paper / Finch Opaque Bright White Smooth 80# Binding / Hand-sewn buttonhole stitch
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I would like to thank the Academy of Art University and my instructors for their guidance, patience and expertise throughout my design education: Jeremy Stout, Carolina De Bartolo, Jennifer Sterling, Gorden Mortensen, Claudia Middendorf, Jessica Peltz and Lian Ng. The quality of instruction has been unparalleled. I would also like to thank my family and friends for sticking with me through this journey to getting a second degree. I know that my choice to pursue a design career has taken up almost all of my time for the last several years, but knowing that I had a community of support has meant more to me than you may know. So thank you for your encouragement and patience. It has motivated me when I needed it most. A special note to my parents: Without your unwavering support, I would not have had the courage, nor the continued drive to pursue my true passion. I can never, truly, thank you enough for everything you have helped me accomplish.
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credits Title SEE/THINK/DO
Date Fall 2011
Design program BFA Graphic Design Program Academy of Art University 79 New Montgomery San Francisco, CA 94105
Program Director Anitra Nottingham
Course Senior Portfolio
Instructor Jeremy Stout
Format Book Website Personal Stationery
Typeface Didot Helvetica
Photography Project photography by Rachel Galindo
Software iMac Adobe Creative Suite 5
Printing & Binding Blurb Publishing
copyright Š 2011 Rachel Galindo All rights reserved. No part of this book may be reproduced or transmitted in any form, by any means, electronic or mechanical, without the written consent of the copyright owner.
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