RICARDO BALTAZAR GRAPHIC DESIGN PORTFOLIO
CONTENT
4 HELLO! INTRODUCTION
6 COMM& CONCEPTUAL MAGAZINE DESIGN
22 HUI YING FILM POSTER DESIGN
32 TOYOSE LOGO REDESIGN
46 BLRRD BRDCST DATA VISUALIZATION
60 WINDOW ST. FONT DESIGN
74
+ US EDUCATIONAL CAMPAIGN
94 THANKS! CONTACT
“HELLO!” 4
I AM RICARDO BALTAZAR_GRAPHIC DESIGNER_ LOS ANGELES NATIVE_SAN FRANCISCO RESIDENT_ SFSU GRADUATE_VISUAL COMMUNICATION_ FILM FANATIC_MUSIC JUNKIE_COFFEE ADDICT_ SELF PROCLAIMED COMEDIAN_MIDDLE CHILD_ LOVING BOYFRIEND_CORGI WHISPERER_V1.PDF
COMM& CONCEPTUAL MAGAZINE DESIGN
Bold & Brave COMM& is a Design Magazinge featuring unconventional designs across many mediums including, but not limited to, print, package, and multimedia design. The name of the magazine is an homage to Communication Arts magazine and empasizes the importance of visual communications. The magazine page design breaks some basic layout design principles in order to reflect the bold aesthetic of its content.
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PROCESS INSPIRATION Design magazines like Communication Arts, Juxtapoz, I.D., and HOW, capture the spirit of expression through visual communications; COMM& releases it to the world. Originally called “COMMAND,� the addition of the ampersand gave the name a new meaning by tyeing communication to visual language, and showcasing the potential of unconventional design solutions.
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COMM&
LOGO SKETCHES Before moving to the computer, I made sure to write out the name “COMMAND� in various ways. This was the process through which I came up with using the ampersand in place of the written word. The second I stylized it that way I felt there was a greater meaning behind the name of the magazine.
COMM&
COMM& ITERATION
MASTHEAD | LOGO I tried multiple fonts for the logomark and chose Blanch; a condensed and rounded sans-serif font which has an organic, yet structured, form. The
COMM&
elongated ampersand stood out to me most as it emphasizes the breadth of the content inside the magazine.
COMM&
COMM& COMM& 10
COMM&
COMM& |/ ART & DESIGN
vol.1 : MIXED MEDIA ISSUE
p.20 MIND, BODY, & ARTBOARD
1
COLOR & SHAPE
#F33B32
12
#45BBB8
#FFF00
COMM&
COLOR Large color accents primarily in the form of triangles represent the bold changes we are seeing in design. Making them transparent creates a type of lens through which we are experiencing said change. Grey bars serve as a connecting agent between content and creations.
MASTHEAD VERSIONS
bold + BRAVE DESIGN MASTHEAD | LOGO The masthead for COMM& features the font Blanch; a condensed and rounded sans-serif font which creates an organic yet structured form. The elongated and bright red ampersand empasizes the breadth of the content inside the magazine. Charcoal grey is used for “COMM� when on a light background, and white when on a darker background.
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COMM&
bold + BRAVE DESIGN
GUIDELINES
bold + BRAVE DESIGN
COVER POSITION (8.5in. x 11in.)
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bold + BRAVE DESIGN
COVER POSITION (8.5in. x 11in.)
COMM&
FONTS
BLANCH abcdefghijklmnopqrstuvwxyz 1 2345 6 7 8 9 !?:;@#$%^&*()
BEBAS
abcdefghijklmnopqrstuvwxyz 123456789!?:;@#$%^&*()
Gotham ABCDEFGIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuvwxyz 123456789 !?:;@#$%^&*()
FONTS Blanch was chosen for the logo and for use as a graphic element through out the magazine. It is fluid, and complex. Bebas is only used on the cover for the feature story. This is to bring variation to the cover by still using a condensed font in order to balance the masthead. Gotham is used throughout the magazine for all headers and copy because it has many different faces allowing for harmony among the variation.
FINAL DESIGN
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COMM&
CONTENT | FEATURE The main feature of this issue focuses on the use of human portraits in design and how the human form can inspire designers to create new meaning. This feature includes the work of Phillip Hua, an SF artist whose work was featured on MUNI buses in place of ads. The glitch art work featured belongs to him. The black and white work with white sketched overlays is my own work created for a past project.
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COMM&
HUI YING FILM POSTER DESIGN
WHO IS HUI YING? Hui Ying, is a film by SFSU graduate student Hannah Anderson. The film is about a Chinese immigrant who loses her family prior to coming to San Francisco during the Gold Rush. She must use her wits to avoid the evils that lie ahead. The design for the film poster reflects the danger she must overcome in order to reach the “Golden Mountain” a symbol for prosperity. The film’s promotional poster has to capture this.
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HUI YING COMM&
INSPIRATION
PROCESS 24
The main inspiration came from the work of Saul Bass. He creates a sense of mystery with his use of bold colors and jagged silhouettes. The film also has a similar tone and adventure that many of Hitchcock’s films have, so I felt it would be appropirate to go with a similar style. The hook, a key symbol within the film, would serve as the main graphic element of the poster.
HUI YING
SKETCHES The hook was one of the most prominent symbols in the film as it is the protagonist’s form of defense. She put together a device which shoots the hook from her wrist. She uses the hook to swing away from danger and to attack her antagonists. It is a symbol for her wit, strength, and craft. It had to be featured as the focal point for the poster.
ITERATIONS
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HUI YING
COMPS Going through multiple variations of the poster, I found that the hook could be used in many ways; on its own, as Hui Ying’s hair, and even as a path that leads to the “Golden Mountain.” I emphasized the hook, and the mountain, by framing the graphics with primary colors.
COLOR #F33B32
#000000
#F4E6D8
COLOR This color scheme best created a sense of danger that the protagonist was going to face. The red was brightened with a yellow undertone in order to give it a sense of livelihood. The cream color serves to create a balance between the black and the red.
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HUI YING
FONTS
RANGER abcdefghijklm nopqrstuvwxyz 123456789!?:;”“ FONT Ranger is a bold and rugged font. Its form matches the graphic elements of the poster. The font was also used in the motion graphic component I worked on for the film’s title sequence.
FINAL DESIGN 30
FINAL The final touch to the poster was the application of an aged paper texture allowing the poster to fit in with the period of the film. The poster was used around the SFSU campus to advertise the screening of the film, and handed out as souvenirs after the screening. The poster was also adapted as the album cover for the film’s theme song which was sold on iTunes.
COMM&
Hui Ying
Like Wine...
TOYOSE REBRAND / LOGO DESIGN
DINING IN A GARAGE? Toyose is a local Korean Restaurant located in the heart of San Francisco’s Sunset District. What makes it so special is its unique location in a repurposed garage. The purpose for this brand redesign is to create an identity that reflects the bright and happening environment at Toyose in order to attract a new crowd of millenials looking for a fun late night experience. A redesigned logo and collateral will help to achieve this new identity.
COMM&
INSPIRATION
HIDDEN / WARM / AUTHENTIC / VIBRANT / TRENDY / INSPIRATION It will feel inclusive and enticing, yet current and approachable. What do we want them to think and feel? They will feel as if they about to escape from their worries and into a unique experience. The design will be hidden, warm, authentic, welcoming, vibrant, modern, and trendy.
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TOYOSE
KOREAN VISUALS Visually, the Korean culture provides great graphic representation. The new logo reflects a Korean visual language. Above is the main entrance of Toyose. The faรงade and garage door also influenced the grid-like logo design.
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TOYOSE
ITERATION
COMPS The different comps for the logo best represented the new image for Toyose in their own unique ways. The three designs here speak to the inclusive, wholesome, and handcrafted feeling a customer gets at Toyose. For the final design, I chose to pursue the design to the right. It represents the private and disciplined environment at Toyose: a shield from the rest of the world.
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TOYOSE
D VARIATIONS Upon selecting this direction, I played around with subtle variations of the logo. Some techniques I used were removing details, changing the orientation, and rounding sharp edges to test the best solution. Ultimately, the logo to the left felt the most balanced.
ONT
There is only a small space required around the logo. This is because the restaurant is compact
and has a very communal feeling, text and other graphics close-by are welcome.
SIZE UTURAMINIMUM MEDIUM
T
T
T
Because the logo features bold text on a /17pt for body copy contrasting background, the logo can be scaled /30pt for Titles down to a minimum of 1 inch. It is small enough to be printed on custom chopstick wrappers. headings must be capitalized and ght red against grey or whiteREBRAND TOYOSE
FONT
FUTURA MEDIUM
12/17pt for body copy 24/30pt for Titles All headings must be capitalized and bright red against grey or white
T
Logo can be used at any scale Can be used on Menu, Entrance lightbox, Napkins, To-Go containers, Shot glasses, and Soju bottles. Red logo looks best on light grey or white background.
go can be used at any scale COLORS n be used on Menu, Entrance lightbox, apkins, To-Go containers, Shot glasses, d Soju bottles. 40 d logo looks best on light grey or white #EF4043 #D0D9E4
#FFFFFF
T
SPECS
T T
SPECS
T
BRAND GUIDE
OYOSE REBRAND SPACE
TOYOSE
FUTURA
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 12 3 4 5 67 8 9 !?@#%^&*’
GOTHAM
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 !?@#%^&*’
FONTS While the actual logo is based off of Futura, Gotham provides a more welcoming demeanor with its almost perfectly round counters, and symmetric forms. It is also more readable than futura at a smaller scale.
BRAND GUIDE
#EF4043
#D0D9E4
#FFFFF
COLOR The color scheme is restrained and minimal in for a modern approach. The light red is warm and comforting, while the cool gray is sleek and creates balance. Use of white for the type within the logo allows the name “TOYOSE,� to stand out on the red background.
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TOYOSE
FINAL DESIGN
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TOYOSE
BLRRD BRDCST INFOGRAPHIC / DATA VISUALIZATION
LGBTQ+ CHARACTERS ON TV While we are seeing a growth in the presence of LGBTQ Characters on television, a sense of diversity is missing when examining character demographics, such as sexual orientation, gender identity, and race/ethnicity. The GLAAD Where are We on TV 2015 Annual Report brings awareness to this issue as they shift the focus onto the underrepresentation of diverse LGBTQ+ stories.
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COMM&
RESEARCH SOURCE GLAAD’S 2015 WHERE ARE WE ON TV REPORT
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BLRRD BRDCST
DATA COLLECTION The report included a lot of information about multiple demographics, so I extracted the most relevant data in order to revisualize it.
INSPIRATION
INSPIRATION The main inspiration for the design cam from the color calibration bars that appear on television when signal is lost as well as the static that appears. These images symbolize what the data is about. In a sense, the media must recalibrate their definitions of normality in order to create a diverse representation of LGBTQ+ characters. I felt that the colors would be an alternate direction to the generic rainbow when referring to LGBTQ+ identities.
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BLRRD BRDCST
TECHNICAL / FOCUSED / INCLUSIVE / RETRO/
+RACIAL DIVERSITY
OF LGBT CHARACTERS ON:
CABLE WHITE
4%
BLACK
5%
8%
LATINO API
16%
OTHER 71%
SOURCE: ALL DATA IS FROM THE GLAAD WHERE ARE WE ON TV 2015 REPORT
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BLRRD BRDCST
Broadcast
Streaming
6%
2%
7%
5%
12%
12%
19%
69%
73%
INFOGRAPHIC
PROCESS PLANNING The planning process was driven by the graphs I created. What do I want as a focal point, and what supports it? Because I had such a large format to work with, I had to make sure the visualization of the data was balanced.
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BLRRD BRDCST
GENERATE GRAPHS I felt that since I was comparing representation across 3 different platforms, the best way to organize my data was through a tree map. Tree maps are a good solution for comparing multiple categories. Once I had my graph, I played around with the colors and felt that it resembled the color calibration bars on televisions. The pie charts resembled TV dials.
COLOR #6F7072
#B9519E
#6FCCDC
#F2EA1B
COLOR For the color scheme, i wanted to stay away from the generic rainbow colors that rebresent the LGBTQ+ community. Instead, I pulled colors from the TV color calibration bars. These colors symbolize the need for change in how the LGBTQ+ community is represented on television.
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BLRRD BRDCST
FONTS
BEBAS abcdefghijklm nopqrstuvwxyz 123456789 !?:;@#$%^&*()
Gotham ABCDEFGIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuvwxyz 123456789 !?:;@#$%^&*()
FONTS I chose two sans-serif fonts for the poster. I considered the 30 x 40 inch size of the poster when choosing fonts. Bebas for titles and headers, and Gotham for copy. The condensed nature of Bebas creates a feeling of standing tall and proud, while the harmonious and symmetric Gotham represents equality.
+RE
FINAL DESIGN
CABLE
The number of regular LGBT characters counted on cable increased from 64 to 84, while recurring characters increased from 41 to 58.
58 G AY ( C H A R A c T E RS ) Gay men still represent the majority of LGBT regular and recurring cable characters at 41% (down from 45% last year).
31 Lesbian Lesbians make up 22% of the LGBT characters, which is a drop of three percentage points from the previous report.
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BLRRD BRDCST
When looking at a 5 year trend of Broadcast Networks Scripted Series Regulars, it is evident that the LGBT community is under-represented among other types of characters
EPRESENTATION BY PLATFORM
d
32 Bisexual(F) Bisexual women account for 23% of LGBT characters on cable compared to 20% last year
Source: GLAAD Where are We on TV 2014
Broadcast
Streaming
Of the 881 regular characters expected to appear on broadcast primetime programming in the coming year, 35 (4%) were identified as gay, lesbian, or bisexual. There were an additional 35 recurring LGB characters.
For the first time, GLAAD counted LGBT characters on original series that premiered on Amazon, Hulu, and Netflix. GLAAD found 43 series regulars and 16 recurring LGBT characters across 23 series.
GAY
33
23
Gay men still make up the majority of 70 regular and recurring LGBT characters at 47% (33), a decrease of seven percentage points from last year.
Across 23 series, GLAAD found 43 regular lesbian, gay, bisexual, and transgender characters. We counted an additional 16 recurring LGBT characters. Gay men make up 39% of those 59 characters.
LESBIAN BISEXUAL (F) BISEXUAL (M) TRANS (F) TRANS (M)
21 Lesbians account for 36% of LGBT representations in streaming series, which is a higher percentage than is found on either broadcast or cable.
23 Lesbian representation increased five points over last year to 33%
18 BISEXUAL(M) Bisexual men make up 13% (up from 10% in the previous report).
9 12 Bisexual representation rose two percentage points to 20%.
2 TrANS (F) 1T(M)
2
Bisexual women make up 15% of LGBT representations with bisexual men at 5%.
4
3
TRANS-SPOTLIGHT CABLE: Three of the 142 characters (2%) are transgender, compared to just one character last year. Unfortunately, one of those three characters was the now deceased Angelique on Showtime’s Penny Dreadful. BROADCAST There are currently no regular or recurring transgender characters expected on broadcast networks’ primetime scripted programming.
STREAMING Streaming original series boast the highest percentage of transgender characters of all programming platforms at 7% (four characters). Notably, two of those four characters are lead characters on their respective series (Maura on Transparent, Nomi on Sense8). Source: GLAAD Where are We on TV 2015
WINDOW ST. FONT DESIGN
WELCOMING PEOPLE THROUGH TYPE Every neighborhood in San Francisco is unique and carries a distinct visual language. This font design pulls from the characteristics of the Outer Sunset, and embodies the multilayered and transparent nature of the small businesses that line Taraval St.
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COMM&
PROCESS INSPIRATION Upon walking up Taraval Street toward 19th Ave., I couldn’t help but notice the housing to business ratio of the neighborhood. Many of the shops and eateries are unique and family owned each catering to the neighborhoods needs, essentially fueling the residents on Taraval Street. As I stopped to photograph the businesses I noticed the unique ‘OPEN’ & ‘CLOSED signage each location displayed. These signs have multiple meanings to the public: an invitation, an apology, or even a promise for return. These signs represent the human aspect of a business.
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WINDOW ST.
CONCEPT SKETCHES Initial pencil sketches experimented with various styles that would convey a sense of layering and depth. Layers were created by breaking down the letterforms into sections, and shadows were created by letters mimicking neon signage. Further, three-dimensional techniques give an illusion of depth.
DEVELOPMENT
64
WINDOW ST.
A
DESIGNING CONSISTENCY The layering of outlined forms and filled solids to create the letterforms best symbolizes the concept of “OPEN” and “CLOSED” spaces. At this stage, each letter was meticulously sketched out to ensure they portrayed a consistent visual language. First, as outlined structures, then filled in for contrast creating the final letterform. Next, each letter was traced and recreated in illustrator. This process allowed for the letters to be fine-tuned by copying and pasting the forms repeated through the font.
FINAL DESIGN 66
D
SQUARED CURVES CREATE STURDY LETTERFORM
WIDTH OF OPENING MATCHES WEIGHT OF THE LETTERFORM FOR BALANCE
BOLD LETTER WEIGHT OVERLAPS OPEN SPACE TO CREATE LAYERING
D
WINDOW ST.
130ยบ
45ยบ
CONSISTENT ANGLES WITHIN THE OPEN SPACES OF THE LETTERS CREATES RHYTHM ACROSS THE FONT
DETAILS The letter D contains all the main specifications of the letterforms that are carried across the font. These details are important for creating a consistent flow when the letters are in context.
FINAL DESIGN 68
ABCDEFG HIJKLM NOPQRST UVWXYZ
WINDOW ST.
01234 56789 !?,.#&/“” FULL CHARTACTER SET The final font is meant to be used as a display font at large scale. It includes matching numbers and limited punctuation.
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WINDOW ST.
TYPE SPECIMEN BOOK In order to showcase the characteristics of the font, the specimen book features elements that symbolize layers. A multi-layered effect was created through various techniques: From the velum sheets used to create a physical “multiply effect,� to the pull out page revealing the font details.
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WINDOW ST.
PLUS US LGBTQ+ EDUCATIONAL CAMPAIGN | PRINT & WEB
INSPIRING COMPASSION THROUGH EDUCATION The suicide rate among LGBTQ+ youth has increased due to harassment both online and in person. It is important to ensure all students feel safe and accepted in order to thrive in an academic environment. A lack of education surrounding gender identity and sexual orientation generates hate speech and inaccurate ideas of what it means to be normal. This three part educational campaign focuses on defining the LGBTQ+ acronym through multiple mediums as a means of inspiring compassion toward LGBTQ+ youth as they transition from high school to a college environment.
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COMM&
RESEARCH
THE PROBLEM
SAFETY
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EDUCATION
COMPLEXITY
LGBTQ+ youth don’t feel safe at
A gap in the education system
The topic of identities beyond
school because of the negative
about LGBTQ+ identities is a
the gender binary are complex
language they hear at school.
major factor in the institution of
and shut down due to a lack of
gender norms.
understanding.
+ US
INTERVIEWS
“How are students supposed to understand my identity if nobody is teaching them my point of view?” -ALEX CAREY
SFSU SPEECH & DEBATE COACH COMMUNICATIONS MAJOR
“People have a problem understanding identities that go beyond the gender binary. Indentity is not a black and white concept, we need to expose everyone to the full spectrum.” -ALEXANDRE SANTOS RESIDENTIAL LIFE LEAD E.G.A.Y. COORDINATOR
INSPIRATION COMPARATIVE ANALYSIS There are many campaigns and reports that serve to fight LGBTQ+ bullying. They all have strong features but also lack information about the individual identities.
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+ US
DESIGN CRITERIA
INCLUSIVE of all LGBTQ+ Identities
UNOFFENSIVE to non LGBTQ+ people
CURRENT issues each identity is faced with
ACCESSIBLE to all students
RESOURCEFUL: Utilize available resources
EDUCATIONAL BOOKLET POSTER CAMPAIGN WEBSITE
CAMPAIGN
IDEATION 80
BOOKLET
POSTER
WEBSITE
+ US
CAMPAIGN LOGO & NAME A simple equation that simplifies the goals of the campaign was used to create the logo. + US is all emcompassing and challenges the user to accept and get to know LGBTQ+ identites.
PROTOTYPES BOOKLET PROTOTYPE I had to ensure that the booklet was compact and portable while still showing enough information to the user. I initially planned on doing a fold out 11 x 17 inch sheet but the area was too small for the content.
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+ US
POSTER PROTOTYPES The concept for the poster mainly showcases the enlarged letters of the acronym each with a unique color. I went back and forth between DIN and Brandon as font choices and felt that Brandon was more welcoming.
COLOR 0, 93, 100, 0
9, 98, 59, 50
3, 25, 99, 0
75, 0, 75, 0
80, 10, 45, 0
79, 76, 7, 0
COLOR For the color scheme, i wanted to stay away from the generic rainbow colors that rebresent the LGBTQ+ community. Instead, I used variations of these colors and made them brighter as means of making a vibrant and creative campaign.
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+ US
FONTS
BRANDON ABCDEFGIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuvwxyz 123456789!?:;@#$%^&*()
FONTS Because the campaign has a strong typographic emphasis, the selected fonts had to be bold and symbolic. Brandon for the enlarged acronym is rounded and friendly while DIN for copy is tall and straighforward. The condensed nature of DIN creates a feeling of standing tall and proud, while
FF DIN ABCDEFGIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuvwxyz 123456789!?:;@#$%^&*()
the harmonious and symmetric Brandon represents equality.
GET TO KNOW US 86
+ US
+ IDENTITY
= EDUCATION
COMPASSION
POSTERS The posters serve as an introduction to the complex nature of LGBTQ+ identities. It only features the acronym letter and the definition as a means of not overwhelming the audience.
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+ US
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+ US
POSTERS The campaign logomark is featured in the same position on all the posters as a means of creating a consistent campaign and unifying the posters. The posters stand alone and together across the SFSU campus.
FINAL DESIGN BOOKLET The booklet contains the definition thats on the poster with added information and statistics about LGBTQ+ youth.
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+ US
WEBSITE The website component of the campaign contains the same information as the posters and the booklet while also providing links and resources for LGBTQ+ youth.
“THANKS!”
GET IN TOUCH 415.316.6643 RicardoBaltazar1207@gmail.com BaltazarDesign.com