VISUAL COMMUNICATOR
DOLFUN SUNSCREEN PACKAGING DESIGN
DOLFUN S U N S C R E E N LOT I O N
enjoy the sun
Categories: Branding.
UV water resistant non - greasy long lasting protection
N e t . W t . 1 .7  oz 5 0 ml
Digital re-design of a packaging for an original, fictitious sunscreen brand.
with dolfun!
The requirements for this project were to design the packaging for an imaginary brand of sunscreen. Everything that would typically be seen on a cosmetic package was to be included: a logo, tagline, product details, any visual embellishments, and a whole side dedicated to drug facts. Throughout the creative process I had to consider my target audience and how my design would appeal to them. I organized a color palette of light blue, yellow, and a sun kissed orange, in order to garner a tropical vibe with my branding and design. Through the image of a dolphin and the sun, I hoped to invoke a real
feeling of summer and the beach, when sunscreen is most commonly used. For my logo and body copy, I was drawn to Fairwater Solid Serif and Raleway, which gave my packaging a more minimal, high end look. In order to maintain a consistent brand look, I desaturated my color choices so they were soft and summery but not too bold or obnoxious.
the
THE GRIND TYPE MARK
Creation of an original, branded type mark and business cards for a fictitious independent business. Categories: Branding, Typography, Print Design. For this project I fabricated The Grind, an independent coffee shop targeted towards an artsy, “downtown city dweller” demographic. The naming process was a matter of constructing a word list of coffee “descriptors” — what it looks like, how it’s made, etc. I settled on “The Grind”, as coffee is ground, and gives people the energy they need to get through their daily “grind.”
the
When it comes to typography I find myself the most drawn to interesting type combinations, specifically sans serif and script typefaces. I experimented with a variety of combinations and eventually settled on an alternation between Futura PT, and a modified Beloved Script. For an extra touch of visual interest, contrast and texture, I displayed the text atop of an image of coffee grounds.
The requirements for this project were that of designing a type mark for a business, creating business cards for said business, and ensuring that that type mark design would be just as effective in black and white as it were in color. This project required me to not only experiment with and explore typography, I had to demonstrate an understanding of layout, visual hierarchy, and above all else, consistent branding.
i’m not
BLINDED BLINDED
by the
DIGITIZED HAND-DRAWN TYPOGRAPHY POSTER
Digital re-design of a hand drawn Typography poster designed to illustrate a quote of choice. Categories: Typography, Print Design.
when i’m
for the
The initial requirements for this poster were to design a typography poster which displayed a quote of 8-12 words through artistic, hand-drawn lettering. Our typography should have demonstrated an execution of visual hierarchy as well as an understanding of font pairings and how to visually represent words. The quote I chose was a set of lyrics from a song a friend of mine wrote, who is in an 80’s synth rock band. In order to keep up with the 80s aesthetic, I took inspiration from bold, neon signs, geometric display typefaces, and sharp scripts.
Where I was successful in the execution of my hand made poster, this digital re-design allowed me to further create the poster I had originally wanted to see. Along with fulfilling every original requirement, I was also able to demonstrate my abilities in Adobe Illustrator through the addition of background touches, and visual effects.
i’m not
BLINDED BLINDED
by the
i’m not
BLINDED BLINDED
by the
when i’m
when i’m for the
for the
H
P E
A
M
E
1935
N I X
PHENIX AMERICAN TYPE POSTER
R IC A N
by M.F. BENTON
Digital typography poster designed to showcase a single, specific typeface. Categories: Typography, Print Design.
Phenix American is a condensed sans serif typeface designed by M.F Benton in 1935 for American Type Founders. Originally released as Phenix, the font was created as a headline design to look good on corporate stationary and packaging, as well as magazine and brochure covers. Despite having been around for nearly
2 eN until it made advertising history in 1993, when it was used to market j 5 3 the phrase... O 6 f 4 z 8G 7 a D 9 d A b p F V B k n Kq L J i w oM T yv
counter (open)
crossbar
joint
tittle
leg
gh
0
c
six decades, Phenix American wouldn’t be recognized by the public eye
CE
m U WX
Got Milk? Q Ps x Y S
u H
rl R
1
Iz t
When I decided to design for Phenix American, I was immediately drawn to a mid-century modern aesthetic. The font felt very retro to me, and from that instance on thematics took over. I researched the typeface’s history as well as mid-century advertising, and took note of trends such as visuals, textures, and color schemes. Stylistic choices included flat illustration, Geometric patterns, and a retro color scheme of a pale blue and dull red with accents of black and white. This assignment required the inclusion of the year the typeface was created, the name of the creator, a paragraph of body copy, typograph-
ic anatomy, as well as all 26 letters of the alphabet and numbers 0-9. The challenge was to find creative and thematic ways in order to meet every requirement. In completing this project, I achieved successful execution of layout, visual hierarchy, and creative problem solving.
M
A ER
1P 9E35 N N
H
A
M face dResign Phenix A
E Type
5 3 19 and broc
A N by X M.F. BE NTON C
A N O T N E by M.F. B merican
e station
ary and
ans seri
n in 1935
lly relea
as a hea
ers. Des
densed s
.F Bento
. Origina
created
hure cov
C
is a con
ed by M
Founders
font was
corporat
I
I
I
I X
packagin
for Amer
sed as P
dline de
f type-
henix, th
sign to l
g, as we
ican e
ook good
on
ll as ma pey t p f i i r gazine t e e s des, Phe ndensed sans having bee unitxilAimt emrican is a conix Americ19a3n5wfor Americann around for ne arly ouldn’t b e ade adveF Benton in Phen h e . t r thecepdhersaigned by M tising hiesatsoerdy as Phenix, recognized by se... ginally rel in 1993, good on fa the publ i r k w ic eye o O o h . l s e r o n t e d n i n g t i u s o w F e a d e yp adline azinseused to m e g h a counterT a m s s a a l d arket (open) el ate w e s r a c , s g a n i w arly ont ckag f
e e c c 2 N2 j
1 j 355 1 0 0
six deca
for ne nd pa a d n y u r o a r n a o i t n stcarossba lic eye bee b e g u t n p a i r v e o a h p t h r o r y e c iezged b Despjoitint tittle n . g s o r c e e v r l o c e rket ure a n’t b h d c m l o u r o o t b w d d e n n a was us merica t A i x i n n e e h h w P es, in 1993, y r o t six decad s i h tising r e v d a e d a until it m leg . . . e s a the phr tittle
Got Milk pen)
counter (o
joint
crossbar
O 3 6 4 f 8 4 fz z7 7 6a OD G98 a A p b 9 d d DE B FACb VF C V k B n E p go i h J KkLhqn K Lq w M T g oyi JT y X v W w U M SQ u PH U vWuPXH z t
? ?x rl R
G
S
N
m m x YI
COMIC NEUE TYPOGRAPHY BOOK
8-12 page typography book designed to display a specific typeface. Categories: Typography, Editorial Design, Print Design.
COMIC NEUE TYPEFACE by CRAIG ROZYNSKI
From the moment this project was assigned I knew immediately that I wanted to challenge myself in executing a pleasing design with an unpopular typeface — like Comic Sans. Through research and insight from my professor I came to discover Comic Neue, a refined version of the mocked Comic Sans. Though I decided to design for Comic Neue, I took inspiration from the primary appropriate use of Comic Sans; comics and children’s books. In order to execute a more refined childlike aesthetic I utilized bright colors and lighthearted shapes and patterns.
This project required me to display an entire font family including every letter, character, and number, along with the inclusion of body copy, quotes, the history of the typeface, and typographic anatomy. What made this project more involved than the poster, however, was the requirement to display these elements across several pages in a cohesively designed book. This project was an execution of problem solving from start to finish as I strived for visual creativity and consistency while being careful to avoid abundance and repetition.
...To see yourself become the VILLAIN.”
“ If you
LOVE
it, you don't know much
about typography [but] if you
HATE
it,
you REALLY don't know much about typography,
”
either, and you should get another hobby.
- Vincent Connare, Comic Sans Creator
"But... it's just a font." - My wife
- Craig Rozynski, Comic Neue Creator
THE MARTIAN BOOK COVER RE-DESIGN
Digitized re-design of a book cover of choice including the front, back, spine, and inside flaps. Categories: Typography, Print Design.
THE MARTIAN ANDY WEIR
This project required a cohesive design to best represent the story across an entire dust jacket, including the custom titles, text, and copy that would normally be found on a book cover. I took a minimalistic approach with my design, and drew inspiration from geometric scientific patterns and diagrams. The entire cover features a faint graph paper pattern with a graduated blend of deep, earthy oranges in reference to the surface of Mars. The title font I chose was Aqua Grotesque; a very sharp, modern sans serif that holds a
futuristic, scientific, touch. Through concise, thematic design elements and a well executed layout, my re-design of The Martian presents a sleek and scientific representation of the man vs nature narrative.
EXTERIOR DETAIL
CAR DETAILING BASIC EXTERIOR WASH Hand wash & dry Clean wheels, tires, & fenders Shine tires 2 Door 4 Door Mid-Size SUV Large SUV, Truck
$17 $20 $25 $28
BASIC INTERIOR CLEANING Vacuum interior Wipe all panels & screens Lightly clean door jambs Clean windows 2 Door 4 Door Mid-Size SUV Large SUV, Truck
$17 $20 $25 $28
Basic exterior & interior cleaning $35 $40 $50 $55
DELUXE WASH Complete wash PLUS express wax & trim protectant 2 Door 4 Door Mid-Size SUV Large SUV, Truck
2 Door 4 Door Mid-Size SUV Large SUV, Truck
$50 $55 $65 $70
$60 $70 $90 $110
INTERIOR DETAIL Clean door jambs Thoroughly vacuum interior Spot clean carpets & floor mats Clean & dress all interior panels Clean windows & glass Clean A/C vents & cup holders 2 Door 4 Door Mid-Size SUV Large SUV, Truck
COMPLETE WASH 2 Door 4 Door Mid-Size SUV Large SUV, Truck
Hand wash & dry Remove surface contaminants Premium wax Clean wheels, tires, & fenders Shine tires & exterior plastics
$60 $70 $90 $110
FULL DETAIL Includes exterior & interior detail 2 Door 4 Door Mid-Size SUV Large SUV, Truck
$60 $70 $90 $110
SERVICE UPGRADES Steam cleaning Carpet & mat shampoo Leather conditioning $40 - $70 Each
*pricing depends on size & condition of vehicle.
centralcoastdetailing.com (805) 252 -8634
CLEAN LINES SERVICE MENU RE-DESIGN
Re-design the branding and layout to an existing service menu. Categories: Branding, Typography, Editorial Design, Print Design. While it is easy to recognize bad design, it is a much more involved process to achieve good design. For this project, the requirements were to re-design an existing service menu improved use of Branding, color choice, typography, layout, and visual hierarchy. I received the brand of Clean Lines, a car cleaning and detailing service. I gave Clean Lines a complete rebrand with
fresher, cleaner colors, and a bright new logo. The entirety of the menu’s content is in Avenir, with the use of different font weights and sizes to achieve proper visual hierarchy. After several peer and professorial critiques, I constructed a visually pleasing menu with a precise use of negative space, pops of color, and clean embellishments.
CAR DETAILING
MAY • 2020
the COVID scoop: Broadway takes a hit, but the shows still hit!
A fan perspective Interviews with a first time viewer and a seasoned broadway buff.
Longest running show in broadway history: The Phantom of the Opera
MINI ZINE DESIGN
Design an eight page mini zine based on a personal topic of choice. Categories: Typography, Editorial Design. The requirements for this mini zine were to design an 8x10’’ eight page magazine cover to cover including original content for two spreads, a single ad, a creative piece, and an ad for Johnson & Wales University. With so many independent elements meant for one cohesive mini zine, this project proved itself to be a fair challenge of my skills, adaptability, and intuition as a designer.
In creating this mini zine, I executed editorial grade layouts and demonstrated a refined understanding of theming, consistent branding, and visual hierarchy. In providing headlines and body copy throughout the mini zine, I was also able to explore my capabilities as a writer and content creator.
sylvestrehj@gmail.com hsdesigns.space