Portfolio William Inglis
Mountain
atla
PROJECT Branding + Packaging food/beverage
APPLICATION Pastry packaging
PHOTOGRAPHY William Inglis
n
INSTRUCTOR Min Choi
as
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a z i l a pa t i s se r i e Azila Patisserie is a bakery that blends the exotic flavors of Morocco with the French pastry tradition. The goal was to reach a wider audience beyond the ethnic enclaves typically found in European cities.
OBJECTIVE
Targeting an audience of 30–45 year old women gave clear direction to the process. By adapting indigenous Moroccan crafts, especially the vibrant patterns of the hand-made wool rugs, the brand language communicates a Moroccan flavor that is still contemporary and thus appealing to a wider audience. The logotype was developed directly from the Tamazight language of the Amazigh tribes of North Africa, who dwell primarily in Morocco. Typographic embellishments evoke the traditional Islamic calligraphy found throughout this region and the Middle East. The Islamic craft of zellij, or fine mosaic tile setting, has found rich expression in Moroccan architecture and was the basis for the pastry packaging’s geometric form. When opened, the functional container is a useful plate from which to enjoy the pastries, and after use is fully recyclable and 100% biodegradable.
SOLUTION
P A T I S S E R I E S
PATISSERIES
PATISSERIES
T YPEFACES
Sail
hamburgerfontsiv 1234567890!? Pigeon HamburgerFontsiv 1234567890!?
dirty
busines
PHOTOGRAPHY William Inglis APPLICATION Double-sided poster PROJECT Poster design INSTRUCTOR Sean Bacon
ss
f _
a n t i-fr ack ing post er This poster’s purpose is to make a concise statement about the dangers of unchecked hydraulic fracturing and to provide a glimpse of California communities that might be endangered by the process. The desired outcome is to inspire civic participation in passing legislation that protects our ecologies from toxic pollution and over-extraction of the state’s already dangerously depleted water reserves.
OBJECTIVE
By associating the oil and natural gas drilling industry with poison in our water supplies, the main graphic of the poster presents the crux of the matter in one vivid image. The slogan alludes to the dirtiness of the process while piquing the curiosity of those who have yet to learn about the issue. The tagline is set in small type to entice viewers into a closer look, so that they end up learning more. The infographic on the back of the poster communicates a plenitude of information in one quick, easy-to-assimilate glance by juxtaposing key quantities and locations. It also provides essential answers to frequently asked questions about fracking, plus various websites where one can learn more and get involved politically.
SOLUTION
handmad
traditio
de
i
PROJECT Menu design
APPLICATION Restaurant identity
PHOTOGRAPHY William Inglis
_
INSTRUCTOR Sean Bacon
on
ir r assh a i r a men Ramen is a noodle soup dish that is served in nearly every region of Japan with it’s own variations depending on geographical and vendor-specific differences. Beginning in the 1980’s, ramen became a Japanese cultural icon and was studied around the world from many perspectives. Irrasshai Ramen is a Japanese ramen restaurant located in Los Angeles, faced with the challenge of presenting semi-traditional cuisine to Western contemporary culture. Ramen has gained prominence among American “foodies” so this establishment targets a growing group of middleincome ramen enthusiasts aged 25 – 40.
OBJECTIVE
The name Irrasshai means welcome in Japanese and the identity was inspired by the playful shape of two letter S’s suggesting noodles and steam. Menu categories are designated by icons and can be rapidly scanned, streamlining the decision-making process. The icons are based on Japanese cartoons (aka manga) and their cute visual vernacular that is instantly recognizable to many Americans. Branded applications include the playful menu and lively environmental graphics.
SOLUTION
Kinesthetic
play
b
PROJECT Toy Packaging
APPLICATION Toy Packaging
PHOTOGRAPHY William Inglis
_
INSTRUCTOR Andrea Singer
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b a m b o o t oy pac k agi ng Hape International is an ecology-aware toy company based in Switzerland who were looking to increase brick-and-mortar sales of their bamboo toys by appealing directly to their target audience of young boys aged 3 to 11.
OBJECTIVE
Emphasis is placed on the tactile senses and the magic of motion by providing windows of access to the toy while still on display in the store. Clever placement of figures encourage a kinesthetic projection of the child’s imagination into the toy. Fluorescent color serves as the initial attention grabbing device and mirror the vivid color of the toy itself. ITC Lubalin Graph is a bold geometric slab serif that also stands out on the shelf. Icons and copy push the sustainable production methods and toy materials to ecologically-minded adults. The packaging is printed with non-toxic inks, fully recyclable and sustainably sourced to reinforce the message of responsible stewardship of our environment.
SOLUTION
political
dialogue
APPLICATION Art gallery catalog PHOTOGRAPHY William Inglis PROJECT Soviet Poster Exhibit at SD City College INSTRUCTOR Candice Lopez & Sean Bacon
es
e _
exhibit ion c ata log A rare collection of posters from the glasnost and perestroika era Soviet Union was hosted by the San Diego City College’s Graphic Design department and exhibited in March 2015 at the college’s new gallery space. The exhibit was timely in its theme of dialogues between Russia and the West, given the current state of international politics. Our team of three produced a catalog of the entire poster collection highlighting the historical images alongside contemporary works created to dialogue with the past. Working with both tight budgets and deadlines we produced the four-color catalog in 2 weeks in time for the show opening.
OBJECTIVE
Section headers were adapted from Kazimir Malevich’s Suprematist paintings, a distinctly Russian development in modern art, with its diagonal layouts and flat rectangles of pure color on white backgrounds. The vertical folio on the verso pages are a nod to the Russian influence on the new typography at the dawn of the modernist era in the early 20th century. The layout was composed on a 6 × 9 grid which was in turn based on the baseline grid.
SOLUTION
Moroccan
reverie
APPLICATION Billboards/livery/stationery/boarding passes PROJECT Airline Branding INSTRUCTOR Min Choi
e
PHOTOGRAPHY William Inglis
n
m _
maz airlines Based in Casablanca, Morocco, Maz Air seeks a foothold in the European market for flights to North Africa and the Middle East by targeting tourists and business people on a budget.
OBJECTIVE
Offering an escape into an enchanting oasis, the airline appeals to middle income European urban residents. Eye-catching billboards are placed in high traffic areas along daily commutes, including subways, bus stops and along freeways. Exotic shapes containing intricate patterns found in Tamazigh crafts and Islamic architecture present vibrant colors that contrast with the starkness of the urban environment. The identity is based on Rocklidge Pro, and takes its cue from Islamic calligraphy and ceramic tile mosaics, both highly developed artforms due to the religious decree against the depiction of human and animal forms. The geometric element on the plane livery was abstracted from Islamic Moroccan tile mosaics, yet retains a sense of motion and a contemporary look through use of asymmetry and extreme scale changes. The color palette is based on the indigenous arts and crafts found throughout Morocco.
SOLUTION
Miso
Hamburgefontsiv 1234567890!?&.,:;’”
Amplitude Book Hamburgefontsiv 1234567890!?&.,:;’”
Rock band logo
Ramen restaurant
Theater identity
Theater identity
Moroccan bakery
Moroccan airline
Independent book press
Magazine masthead
gr atit ude
_
Many kind thanks to all the instructors and colleagues who helped me pull this portfolio together. A debt of immense gratitude to the San Diego City College graphic design department, especially Sean Bacon, Andrea Singer, Candice Lopez, Amy Levine and Min Choi. Also thanks go to Joel Sotelo for his lessons about design. Cheers to the portfolio group of 2014 who gave much practical advice to the 2015 portfolio group. Many thanks to the folks at Graphic Solutions and Fabrication Arts, especially Frank Mando. All my love to my parents for their feedback and support. And last but not least, much love and gratitude to Miss Andi Pants for her moral support and critical thoughts on my projects.