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© CYDNEY SINCLAIR _ ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM, BY ANY MEANS ELECTRONIC OR MECHANICAL WITHOUT PRIOR WRITTEN PERMISSION FROM CYDNEY SINCLAIR. _ WRITTEN AND PRODUCED BY CYDNEY SINCLAIR _ +019496788639 SINCLAIRCR@GMAIL.COM CYDNEYSINCLAIR.COM
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Foreword_ pg.10
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pg.12
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pg.22
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All Roads Lead to Rum Packaging 4
Countdown to Zero Typography 3
GreenCab Identity 2
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pg.50
pg.60
Arts Integration Print 2
Pantone in the Kitchen Packaging 3
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pg.86
The Future Has Arrived Typography 4
pg.96
Hanal Pixan Identity 2
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Dashe Cellars Packaging 3
pg.70
Black + Yellow Print 1
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FOREWORD_
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OBSESSIVE, COMPULSIVE, DESIGN_ IT IS EXTREMELY IMPORTANT TO ME THAT THINGS FIT NICELY INTO PLACE, THAT THEY ARE CLEAR, AND THAT THEY MAKE SENSE. I’VE ALWAYS BEEN THIS WAY, AND IT’S HOW I DESIGN. IT’S NOT PERFECTIONISM, IT’S CRITICAL THINKING. IT’S WORKING ON A PROBLEM UNTIL YOU GET IT RIGHT.
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EVOLUTIONAY / REVOLUTIONARY _ PACKAGE DESIGN 4 THOMAS MCNULTY 12:04:32 DEC. 4, 2012 11:06:47 DEC. 18, 2012 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 COLOR VU COLOR TRANSFERS MATTE PRESENTATION STOCK _ KNOCKOUT ADOBE GARAMOND CHOPIN SCRIPT _ PANTONE 871 C PANTONE STRONG RED PANTONE BLACK C
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PROBLEM_ PACKAGING DESIGN THAT DOES NOT REFLECT THE BRAND, STAND OUT ON A SHELF, OR INSPIRE LOYALT Y. SOLUTION_ THIS PROJECT CONSISTED OF TWO SEPARATE DESIGNS FOR ONE BRAND. AN EVOLUTIONARY DESIGN WHICH SOLVES LONG STANDING PROBLEMS AND A REVOLUTIONARY DESIGN WHICH ELEVATES THE BRAND TO NEW, MORE LUCRATIVE MARKETS. FOR THE EVOLUTIONARY DESIGN I CHOSE TO, FIRST, CORRECT THE GEOMETRIC PROPORTIONS IN THEIR LOGO. THEIR LOGO HAD CHARM, WAS RECOGNIZABLE, AND UNIQUE. HOWEVER, IT HAD A LOT OF PROBLEMS WITH PROPORTION. IT WAS ALMOST HAND-DONE, IT WAS ALMOST DIGITAL , AND DEFINITELY NON-COMMITAL . WHY SHOULD ANYONE COMMIT TO A BRAND THAT CAN’T COMMIT TO ITSELF? SOLVING THIS ISSUE WAS MY TOP PRIORIT Y. I THEN REVISIONED THE ILLUSTRATION WHICH WAS SOMEWHAT INTERESTING, BUT DATED, PREDICTABLE, AND CRAMPING OTHER, MORE IMPORTANT ELEMENTS ON THE BOTTLE. IT WAS A CLUNKY DECORATION AND NOT ALTOGETHER NECESSARY. I CHANGED IT TO ANOTHER ICONIC NAUTICAL SYMBOL , ALBEIT A SMALLER ONE, THE ANCHOR. I ALSO TOOK THE TIME TO REALLY FINESSE THE ILLUSTRATION IN ORDER TO GIVE IT MORE VISUAL INTEREST AND TO CREATE A TIMELESS FEEL . ALSO, THE T YPOGRAPHY ITSELF NEEDED TO BE SWITCHED OUT FOR BETTER DESIGNED T YPEFACES IN ORDER TO IMPROVE LEGIBILIT Y. THE REVOUTIONARY DESIGN WAS A DIFFERENT MATTER ALTOGETHER. WHALER’S DID NOT HAVE A PREMIUM VARIETAL SO I HAD THE FREEDOM OF CREATING ONE. BECAUSE THEIR RUM IS VERY POPUL AR AMONG THE COLLEGE-CROWD, I WANTED TO BRING THEM INTO A NEW DEMOGRAPHIC WITHOUT ALIENATING THEIR OLD CUSTOMERS. THIS WAS DONE BY CREATING A CL ASSIC, YET EDGY DESIGN USING SIMPLICIT Y AND SOPHISTICATION. ALTHOUGH WE KEEP THE ANCHOR ICON, IT BECOMES SMALLER AND UNDERSTATED WHILE THE L ABEL IS MAINLY T YPOGRAPHIC IN NATURE. I WANTED TO KEEP THE UNIQUENESS OF THE BRAND BY USING A ‘ROPE’ AROUND THE BOTTLE WHICH FURTHERS THE NAUTICAL THEME. BECAUSE THE L ABEL IS APPLIED DIRECTLY TO THE GL ASS AND THE DESIGN IS ELEGANT AND CL ASSIC, WHALER’S BECOMES ATTRACTIVE FOR IT’S BEAUT Y, DESIGN, AND FL AVOR; NOT JUST THE PRICE.
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BOOK DESIGN _ TYPOGRAPHY 3 CAROLINA DE BARTOLO 10:42:32 FEB. 4, 2011 16:06:17 MAY. 12, 2011 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 NEENAH CLASSIC CREST ARNOLD’S BOOK BINDERY SMOOTH, SOLAR WHITE _ GOTHAM CONDENSED GOTHAM REGULAR _ PANTONE 871 C PANTONE STRONG RED PANTONE BLACK C
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PROBLEM_ DESIGN A BOOK THAT IS BEAUTIFUL , ENGAGING, AND INFORMATIVE. SOLUTION_ IN MY TYPOGRAPHY 3 CLASS WE WERE ASKED TO DESIGN A BOOK ON A POLITICAL OR SCIENTIFIC TOPIC. HAVING RECENTLY WATCHED PRACTICALLY EVERY DOCUMENTARY ON NETFLIX, I WAS INSPIRED. AND, SETTLED UPON THE TOPIC OF NUCLEAR PROLIFERATION. THE TOPIC ITSELF IS VAST, COMPLICATED, AND AT TIMES, OVER MY HEAD. BUT I FOUND IT IMMENSLY INTERESTING. HISTORICALLY, THE CREATION OF NUCLEAR WEAPONS BEGAN IN THE UNITED STATES. TODAY, WE [THE UNITED STATES] STILL HOLD MORE NUCLEAR WEAPONS THAN ANY OTHER COUNTRY. AND, EVEN THOUGH WE SAY WE WANT TO DISARM THEM, IT SEEMS THAT WE NEVER WILL UNLESS EVERY OTHER COUNTRY DOES FIRST. BECAUSE OF THE DOUBLE STANDARD WE HAVE CREATED FOR OURSELVES IN THE NAME OF POWER, I CHOSE A MUTED VERSION OF THE NATIONAL COLORS RED, WHITE, AND BLUE FOR THE COLOR PALETTE OF MY BOOK. THE PHOTOGRAPHY IS INTENDED TO SHOW DESTRUCTION, CHAOS, AND EMPTINESS. I WANTED THE IMAGERY TO FEEL COLD AND LONELY. FOR THIS REASON THERE ARE NO HUMANS OR ANIMALS FEATURED. IF WE KEEP FIGHTING AND KEEP PUSHING OUR WEAPONS TO BE BIGGER AND MORE POWERFUL , THERE WILL SOON BE NOTHING LEFT. TYPOGRAPHICALLY, THE BOOK IS VERY SIMPLE. THE VERTICAL TYPE IS MEANT TO REFLECT GRAVITY. BOMBS FALL; CIVILIZATIONS FALL; HUMAN INTERGRITY–EVERYTHING IS A VICTIM TO THE DECLINE IN OUR ABILITY TO TRULY SEE THAT THE CONS OF POSESSING NUCLEAR WEAPONS FAR OUT-WEIGH THE PROS.
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GreenCab SF Identity 2
REDESIGN TRANSPORTATION _ IDENTITY 2 ANDREW CAMBROUIS 12:01:02 FEB. 3, 2012 14:26:07 MAY. 17, 2012 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 MATTE PRESENTATION PAPER _ KNOCKOUT _ PANTONE 871 C PANTONE STRONG RED PANTONE BLACK C
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PROBLEM_ UNRECOGNIZABLE BRAND. SOLUTION_ GREENCAB IS A FANTASTIC COMPANY. THEY DRIVE ONLY HYBRID OR ELECTRIC CARS TO CUT DOWN ON EMMISSIONS AND LOWER THEIR CARBON FOOTPRINT. THEY ONLY DRIVE CARS MADE WITHIN THE LAST 5 YEARS AND HAVE AN IMPECCABLE STANDARD OF COMFORT AND QUALITY. BEST OF ALL , THEY ARE THE ONLY TAXI COMPANY IN SAN FRANCISCO THAT DOES BACKGROUND CHECKS (AS OF 2011). GREENCAB IS A COLLECTIVE OF DRIVER-OWNED TAXIS THAT TRULY CARES ABOUT THEIR CUSTOMERS AND PROVIDING THE BEST EXPERIENCE. IT’S TIME THEIR DESIGN REFLECTS THOSE VALUES. THEIR BRAND IS NON EXISTENT BEYOND BRIGHT GREEN CARS WITH WHITE TYPE. SO I BEGAN WITH GIVING THEM A LOGO. AFTER MANY ITERATIONS, THE FINAL SOLUTION WAS MODERN, FRIENDLY, AND ORGANIC. VERTICALLY THE ICONS ARE STYLIZED, ILLUSTRATED TREES. TURNED ON THEIR SIDE AND MARRIED TO THE TYPE, THE ICONS BECOME EXHAUST, GREEN EXHAUST TO BE EXACT, SHOWING THE ‘GREEN’ QUALITIES OF THE COMPANY AND ALSO EMPHASIZING SPEED. THE TYPOGRAPHY OF THE ICON ITSELF IS PLAYFUL , FUN, AND REPRESENTATIVE OF THE CITY AND CULTURE OF SAN FRANCISCO. THE CARS THEMSELVES ALSO RECIEVED A MAKE-OVER TO REFLECT THE FUN, LIGHT, EASY-GOING COMPANY. THEY GET A TWO-TONED PAINT JOB WITH A GREEN ROOF, AND WHITE BODY. THE LOGO GOES ON EACH SIDE, IN PROPER TAXI FASHION. THIS ALLOWS THE TAXI TO STAND OUT ON THE STREET, AND TO STAND OUT FROM OTHER COMPETITORS IN THE AREA .
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PROBLEM_ POORLY EXECUTED ILLUSTRATION AND LACKLUSTER TYPE CREATES DIFFICULTY COMPETING IN A LARGER MARKET. SOLUTION_ DASHE CELLARS IS SMALL WINERY LOCATED IN OAKLAND, CALIFORNIA . FOCUSED ON CRAFTING EXCEPTIONAL SINGLE-VINEYARD WINES, DASHE CELLARS BLENDS THE TWO WINEMAKER’S COMBINED 40-PLUS YEARS OF EXPERIENCE AT SUCH NOTED WINERIES AS CHÂTEAU LAFITE-ROTHSCHILD, CHÂTEAU LA DOMINIQUE, RIDGE VINEYARDS, CLOUDY BAY, FAR NIENTE, CHAPPELLET, AND SCHRAMSBERG WINE CELLARS. DRAWING ON THIS WEALTH OF EXPERIENCE, THE DASHES CREATE VINEYARD-FOCUSED WINES THAT CAPTURE THE COMPLEXITY AND CHARACTER OF TOP VINEYARDS THROUGHOUT SONOMA COUNTY AND BEYOND. THE FOUNDERS, ANNE AND MICHAEL MET IN 1994. SHARING A WEALTH OF PERSONAL AND PROFESSIONAL INTERESTS, THE COUPLE SPOKE EARLY IN THEIR RELATIONSHIP ABOUT THE PROSPECT OF FOUNDING A WINERY. IN 1996, MICHAEL AND ANNE WERE MARRIED. THAT SAME YEAR THEY FOUNDED DASHE CELLARS, AND PRODUCED THEIR INAUGURAL 1996 DRY CREEK VALLEY ZINFANDEL . FOR THE WINE’S LABEL , THEY CHOSE A PLAYFUL IMAGE FEATURING A MONKEY RIDING ON THE BACK OF A FISH, A METAPHOR FOR TWO UNIQUE CREATURES TRAVELING TOGETHER ON A JOURNEY. I WANTED TO TAKE THIS METAHPOR A STEP FURTHER. THROUGHOUT THE PROCESS I WAS CONSTANTLY REMINDED THAT THIS BUSINESS WAS A LABOR OF LOVE BETWEEN TWO PEOPLE WHO WERE OBVIOUSLY EACHOTHER’S “BETTER HALF”. AND, BEING THE LITERAL PERSON I AM, I THOUGHT, “TWO HALVES MAKE A WHOLE” AND DECIDED THAT THE ILLUSTRATION SHOULD BE BOTH ANIMALS COMBINED INTO ONE. AND SO, THE MONKEYFISH WAS BORN. ONCE I FIGURED OUT THE ILLUSTRATION, I DECIDED THAT THE TYPE NEEDED UPDATING BUT SHOULD REMAIN SIMPLE IN ORDER TO SHOWCASE THE UNIQUE ANIMAL WHICH WAS SO PERSONAL TO THE BRAND AND ITS FOUNDERS.
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PROBLEM_ DESIGN FOR A CAUSE. SOLUTION_ BEING A VISUAL AND EXPERIENTIAL LEARNER, I UNDERSTAND THE IMPORTANCE OF FINDING NEW, INNOVATIVE WAYS TO BRING DIFFERENT TYPES OF LEARNING INTO THE CLASSROOM. AND I AM A HUGE ADVOCATE OF ARTS INTEGRATION IN SCHOOLS. BECAUSE MANY PEOPLE DON’T KNOW WHAT ARTS INTEGRATION IS, I NAMED MY CAUSE SIMPLY THAT. IT’S STRAIGHT FORWARD AND MEMORABLE. THE LOGO ITSELF IS REPRESENTATIVE OF DIFFERENT SCHOOLS OF THOUGHT COMING TOGETHER TO CREATE A WHOLE. THE POSTERS WERE CREATED WITH A ‘FLASH CARD’ VERNACULAR, USING CHILDREN’S ORIGINAL ILLUSTRATIONS. THEY ARE DESIGNED TO EDUCATE THE PUBLIC ABOUT WHY THE ARTS HELP A CHILD LEARN OTHER SUBJECTS, SUCH AS MATH, SCIENCE, OR LANGUAGE AS WELL AS DIRECTS YOU TO THE WEBSITE. THE WEBSITE IS DESIGNED FOR PARENTS TO BE ABLE TO FIND SCHOOLS THAT PARTICIPATE IN THE PROGRAM, TO LEARN FUN ARTS INTEGRATED ACTIVITIES THAT CAN BE DONE AT HOME, AND TO LEARN MORE ABOUT ARTS INTEGRATION IN GENERAL . THE MOBILE APP IS A SIMPLIFIED VERSION OF THE WEBSITE, PINTEREST-ESQUE IN NATURE, SHOWING PARENTS AND TEACHERS FUN ACTIVITIES THAT TEACH YOUNG CHILDREN SUBJECTS OF ALL KINDS USING ART.
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Home About For Parents For Teachers For Students Participating Schools Join
The reason why arts integration holds so much potential for the classroom is the power of art to engage students in experiential learning, which is the process for making meaning directly from the learning experience as opposed to academic learning, the study of subject without direct learning from experiencing that subject. But there is a distnction between classrooms that use arts as a resource and classrooms that fully integrate art in the planning and implementation of their curriculum. Children thrive on the study of arts. The arts open doors to creativity. They nourishcritical thinking and innovation. Important new technologies can only add to the scope of the arts. The articles included in the twelve publications of Strategies For Arts Integration are firsthand accounts from other teachers from all grades and schools. They provide research and strategies to help you effectively integrate the arts in your classroom.
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Certain types of music instruction help develop the capacity for spatial temporal reasoning, which is integral to the aquisition of important mathematical skills. Spatial temporal reasoning refers to the ability to understand the relationship of ideas and the relationship of objects in space and time.
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The arts nurture a motivation to learn by emphasizing active engagement, disciplined, sustained attention, persistence, risk taking; among other competencies. Participation in the arts is also an important strategy for engaging and motivating students at risk of dropping out of school and those with special needs.
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PROBLEM_ DESIGN A LINE OF HOME APPLIANCES FOR PANTONE. SOLUTION_ I BEGAN THIS PROJECT KNOWING THAT MY APPLIANCES HAD TO BE EXTREMELY COLORFUL . AND NOT ONLY THAT, I FELT THEY NEEDED TO BE COMPLETELY CUSTOMIZABLE. THE CONCEPT BEHIND THE PRODUCTS THEMSELVES IS THAT, WHILE A STORE LIKE TARGET MAY CARRY 5 MAIN COLORS, THE WEBSITE ALLOWS YOU TO GET A PRODUCT IN ANY PANTONE COLOR YOU WANT. AFTER EXTENSIVELY RESEARCHING SEVERAL DIFFERENT BRANDS AND PRODUCTS, I EVENTUALLY SETTLED ON THE BODUM BRAND TO BE THE BEST REPRESENTATION OF MY IDEAS. I THEN FOCUSED MY ATTENTION ON THE PACKAGING. PANTONE TYPICALLY HAS A VERY DISTINCT LOOK. MOST OF THEIR PACKAGING AND PRODUCTS LOOK LIKE COLOR SWATCHES, WHICH IS DEFINITELY COOL , BUT NOT PRACTICAL IN A HOME KITCHEN APPLIANCE. I CHOSE TO MAKE THE CENTRAL FOCUS THE COLOR ITSELF, AS OPPOSED TO THE SWATCH. WITH FULL SATURATION, LARGE PHOTOGRAPHY, AND A DETAILED EXPLANATION OF THE PANTONE COLOR SYSTEM, THE PANTONE BRAND IS SHOWCASED WHILE ALSO DISPLAYING THE PRODUCT IN A COMPELLING WAY WHICH WILL WORK VERY WELL IN THE RETAIL SPACE.
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DESIGN A NEWSLETTER _ PRINT 1 TROY ALDERS 19:41:22 OCT. 23, 2011 22:03:52 NOV. 17, 2011 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 MATTE PRESENTATION PAPER _ KNOCKOUT _ PANTONE 871 C PANTONE STRONG RED PANTONE BLACK C
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PROBLEM_ CREATE AN ELECTRONIC NEWLETTER TO INFORM THE PUBLIC OF THE DECLINING BEE POPULATION. SOLUTION_ THE DECLINING BEE POPULATION IS A RELEVANT AND SERIOUS ISSUE. ONE THAT DOES NOT GET ENOUGH ATTENTION, IN MY OPINION. I CREATED AN ELECTRONIC NEWLETTER INTENDED TO EDUCATE AND INFORM ITS READERS OF THE LATEST NEWS ON THE SUBJECT. THE NEWSLETTER ITSELF IS CALLED BLACK + YELLOW. A SIMPLE, MODERN, CATCHY NAME THAT IS INTENDED TO INTRIGUE AND CAPTURE THE READERS ATTENTION. THE BOLD COLOR PALETTE, WHILE OBVIOUSLY INSPIRED BY BEES, IS INTENTED TO SCREAM ‘CAUTION!,’ ‘DANGER!,’ ‘WARNING!’ WHILE THE OVERLAPPING OF GRAPHICS AND TYPOGRAPHY IS MEANT TO CREATED TENSION AND TO MIMIC THE OVERLAPPING OF INFORMATION AND PROPAGANDA THAT MAKES THE SUBJECT MATTER DIFFICULT TO DECIFER.
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Muni Redesign Identity 1
MUNI REDESIGN _ GRAPHIC DESIGN 2 JEFF HO 19:14:41 FEB. 02, 2011 22:23:13 MAY. 17, 2011 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 MATTE PRESENTATION PAPER _ GOTHAM _ PANTONE 877 C PANTONE 291 C PANTONE 534 C
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PROBLEM_ DESIGN FOR SUSTAINABILITY. SOLUTION_ REDESIGNING MUNI WAS NO EASY TASK. AFTER COUNTLESS INTERVIEWS AND QUESTIONS, THE PROBLEM WITH SAUL BASS’ ICONIC LOGO WAS READABILITY. THE LINEWORK, WHILE INTERESTING AND ICONIC, WAS IMPOSSIBLE TO DECIPHER AND, THEREFORE, NEEDED AN UPDATE TO BRING IT OUT OF THE 70’S AND INTO THE 21ST CENTURY. I BEGAN WITH SIMPLIFICATION. THE CONCEPT BEHIND THE OLD LOGO WAS SOLID. WHAT WAS MULTIPLE LINES, BECAME ONE CONTINUOUS LINE REPRESENTING, THE RAILS, THE ROAD, AND THE BUS ROUTE. I DID CHANGE THE COLOR, TO CREATE A CLEANER, FRIENDLIER, AND MORE MODERN LOGO. A COLOR THAT WAS NOT TRENDY, BUT DELIBERATE, UNLIKE THE MUTED, DIRTY, ORANGE IT WAS BEFORE. TO CREATE A MORE EFFICIENT, SUSTAINBLE TRANSPORTATION SYSTEM. I UPDATED ALL OF THE BUSES. THEY NEEDED LITTLE WORK, JUST SOME DESIGN CHANGES AND A BRAND NEW FLEET SIMILAR TO THE OLD ONES, BUT MORE MECHANICALLY SOUND AS THEY WERE ALL BUILT WITHIN THE LAST YEAR. I THEN DID AN OVERHAUL ON THE BUS STOP ITSELF. BECAUSE THE DRIVERS DO NOT CARRY CHANGE, AND RIDERS DO NOT ALWAYS HAVE CASH. I CREATED AN ATM-LIKE KIOSK AT EVERY STATION THAT RUNS ELECTRONICALLY TO SHOW MAPS, ROUTES, AND ALLOWS RIDERS TO PURCHASE TICKETS AND PASSES. IN ORDER TO CUT DOWN COSTS AND POWER THE NEW BUS STATIONS, EACH STATION WILL COME EQUIPPED WITH SOLAR PANELS. AND INVESTMENT THAT WILL SAVE THE MUNICIPAL DEPARTMENT MILLIONS OF DOLLARS OVER TIME AND PROMOTE ENERGY INDEPENDENCE.
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The Future Has Arrived Typography 4
TYPEFACE PROMOTION _ TYPOGRAPHY 4 ARIEL GREY 14:26:19 SEPT. 6, 2012 14:07:53 DEC. 18, 2012 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 MATTE PRESENTATION STOCK _ STRATUM 1 & STRATUM 2 _ PANTONE 7488 C PANTONE 305 C PANTONE BLUE 072 C PANTONE 1375 C
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PROBLEM_ DESIGN A BOOK ABOUT AUGMENTED REALITY. SOLUTION_ MODERN TECHOLOGY IS GROWING AT AN EXPONENTIAL RATE, WITH NEW DISCOVERIES AND INVENTIONS BEING CREATED EVERY SINGLE DAY. WITH THIS TECHNOLOGY THE HUMAN RACE HAS BEEN ABLE TO SOLVE LONG STANDING PROBLEMS, LIKE BEING ABLE TO COMMUNICATE QUICKLY AND EFFECTIVELY OVER A LONG DISTANCE, INSTANT MATHEMATICAL COMPUTING, AND STORING IMPORTANT INFORMATION FOR USE LATER. THIS EXPONENTIAL GROWTH; HOWEVER, IS PERPLEXING AND LEADING US INTO UNKNOWN TERRITORY. WE ARE BEGINNING TO COMBINE VIRTUAL COMPUTING POWER WITH HUMAN FUNCTION AND REASONING. THIS IS WHERE AUGMENTED REALITY STEPS IN. PREVIOUSLY RESERVED FOR FUTURISTIC SCIENCE FICTION NOVELS, AR IS NO LONGER A NERD FANTASY BUT AN EVERYDAY REALITY. THINGS STARTED TO SOUND A LITTLE TOO MARVEL COMICS FOR YOU? WELL , MOST TECHNOLOGY STEMS FROM SCIENCE FICTION (THINK SUBMARINES IN 20,000 LEAGUES UNDER THE SEA). BUT SOMETHING ELSE I’VE LEARNED FROM SCIENCE FICTION IS THAT TOO MUCH TECHNOLOGY IS NOT ALWAYS A GOOD THING (HASN’T ANYONE SEEN MINORITY REPORT?). WHEN AN INDIVIDUAL IS SUBMMERSED IN A VIRTUAL WORLD THEIR VISION COULD POTENTIALLY BE BLOCKED FROM REALIRTY, CLOGGED BY A BLANKET OF MEDIA , ADVERTISEMENTS, TELEVISION, GAMES, ETC. THERE’S THE POSSIBILITY OF A LOSS OF HUMAN TO HUMAN INTERACTION, AND WHAT THAT DOES TO THE HUMAN CONDITION, WE AREN’T YET FULLY AWARE OF. WE ARE JUST BEGINNING TO SEE THE NEGATIVE EFFECTS OF CONSTANT COMPUTING AND WE ARE STILL JUST ON THE CUSP OF BECOMING A HYBRID OF SORTS OURSELVES. THE BEST APPROACH TO THIS IS, IN MY OPINION, AN APPROACH IN MODERATION. THE PROBLEMS THAT HYBRIDIZED COMPUTING SOLVES ARE ARGUABLY NOT OF EXTREME IMPORTANCE IN TERMS OF HUMAN SURVIVAL , BUT MORE A PUSH TOWARDS CONVENIENCE. PERHAPS INSTEAD OF THE DIRECT APPROACH WE ARE TAKING NOW, HUMANITY SHOULD USED AUGMENTED AND VIRTUAL REALITY AS AN INDIRECT SOLUTION. WE SHOULD USE TECHNOLOGY AS A GUIDE TO HELP AND ASSIST US, NOT AS EVERYDAY, 24 HOUR, SIGHT IN ORDER TO PREVENT GETTING LOST BEHIND A VIRTUAL SCREEN.
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Hanal Pixan Identity 2
DESIGN FOR AN EVENT _ IDENTITY DESIGN 2 GORDON MORTENSON 2:36:01 DEC. 8, 2012 16:17:41 DEC. 14, 2012 ACADEMY OF ART SAN FRANCISCO, CA _ EPSON STYLUS PHOTO 1400 MATTE PRESENTATION STOCK _ ISONORM _ PANTONE 2593 C PANTONE 362 C PANTONE 1655 C PANTONE 129 C PANTONE 5405 C
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PROBLEM_ DESIGN FOR THE EVENT ‘DIA DE LOS MUERTOS’ SOLUTION_ IN THE YUCATAN, THE YEARLY TRADITION OF DIA DE LOS MUERTOS, OR HANAL PIXAN AS THEY CALL IT, OCCURS IN THE LAST DAYS OF OCTOBER AND EARLY DAYS OF NOVEMBER. DUE TO THE DURATION OF THIS HOLIDAY AND THE WAY PEOPLE TEND TO GET INVOLVED, IT IS SOMETIMES REFERRED TO AS THE “CULT OF DEATH.” WHAT MANY PEOPLE DON’T REALIZE IS THAT HANAL PIXAN IS NOT A CELEBRATION OF DEATH BUT A CELEBRATION OF LIFE. IT IS AN OPPORTUNITY TO REMEMBER THE PEOPLE THAT THEY LOVES AND TO, ESSENTIALLY, HAVE A PARTY IN THEIR HONOR. IT IS NOT THE MOROSE HOLIDAY IT CAN SOMETIMES BE MADE OUT TO BE BUT A COLORFUL , EXTRAVAGANT CELEBRATION. TO CREATE A FEELINGS OF LIFE AND CELEBRATION WHILE ALSO PRESERVING THE MEXICAN CULTURE, I PULLED COLORS FROM THE TRADITIONAL PAPER FLAGS AND SUGAR SKULLS COMMONLY USED IN ALTERS AND PLACE SETTINGS DURING HANAL PIXAN. WHILE I WANTED TO PRESERVE THE CULTURE OF THE HOLIDAY, I ALSO WANTED TO MODERNIZE THE EVENT AND BRING IT INTO THE 21ST CENTURY. WHILE THE LOGO ITSELF FEATURES TRADITIONAL ELEMENTS, THE SKULL , THE MARIGOLDS, AND HAND-WRITTEN TYPE, IT’S A VECTOR GRAPHIC PAIRED WITH CLEAN LINES, HARSH EDGES, AND A ‘TECH’ TYPEFACE. WHILE I DO HAVE SEVERAL TRADITIONAL APPLICATIONS SUCH AS ALCOHOL , POSTERS, AND T-SHIRTS. I ALSO WANTED TO BRING THE EVENT TO THE WEB AND ON MOBILE DEVICES SO A YOUNGER GENERATION WILL FIND IT MORE ACCESSIBLE, RELATABLE, AND EXCITING.
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Dedication & Special Thanks
SPECIAL THANKS TO DAVID HAKE, DARRYL HAYDEN, MY PARENTS, KATHERINE KNOX-CARR, HOLDEN ESTEBAN PAWFIELD, AND EVERY ONE ELSE WHO HELPED ME ALONG THE WAY_
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CYDNEY SINCLAIR GRAPHIC DESIGNER _
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