24
AO I F E C R O F T S
{
DESIGNER
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}
13
2014 –
4.5 / 8
BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS I N _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
6.5 7/11
SELECTED WORKS /
Graduate Portfolio
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
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DESIGNER
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}
FA L L
{
2014
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E L E M E N TA L
5.5 6/8
{
SELECTED WORKS
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FA L L
PRINTING ›
STUDENT ›
SCHOOL ›
Plotnet 495 Ca rolina St, Sa n Fra ncisco, CA 94107 4 1 5 .7 6 2 . 0 2 0 0
Aoife Crof ts
A c a d e m y o f A r t Un i v e r s i t y
TELEPHONE ›
COURSE ›
415.439.9887
M FA P o r t f o l i o
BINDERY ›
ADDRESS ›
INSTRUCTOR ›
The Key Printing a nd Binding 1934 Pa rk Blvd, Suite A Oa kla nd, CA 94606 510. 595. 3311
1699 Broderick Street , Apt 1 Sa n Fra ncisco, CA 94115
Ma r y Scott
EMAIL ›
T Y P E FA C E S ›
Un i v e r s Sentinel PHOTOGR APHY ›
Aoife Crof ts C OV E R M AT E R I A L ›
Book Boa rd TEXT STOCK ›
100# Finch Fine S O F T WA R E ›
Adobe Creative CC
AOIFE CROFTS
{
DESIGNER
}
thin keefa@g ma i l.com
5.5 / 9
© 2014 All rights reserved.
WEBSITE ›
No part of this publication can be reproduced
aoifecrof ts.com
without the express permission of Aoife Crofts.
{
2014
}
CONTENTS
{
PROJECTS
}
− 012 › 039
01– A PECULIAR STATE OF AFFAIRS / An Alfred Hitchcock Film Festival
− 042 › 057
02– KULØR / Sustainable Latex Powder Paint
− 060 › 085
03– GENTRIFIED! / The Gentrification of the Mission
− 088 › 109
04– THE CHOSEN FEW / Rebranding the Rolodex
− 112 › 123
05– A 1000 CRANES / The Future of Origami
− 126 › 133
06– BACIK / Sustainable Packaging for Waterford Crystal
− 136 › 143
07– IT’S A NUMBER... / Infographics and Bus Rides
− 144 › 173
08– ARROW / MFA Thesis: Wayfinding in SF
E L E M E N TA L
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CHARLES EAMES /
The details are not the details. They make the design.
AOIFE CROFTS
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DESIGNER
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FA L L
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2014
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18
INTRO
{
PRE
Do Sweat the Small Stuff
}
13 4.5 / 8
00– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / DAT E ›
6.5 7/11
E L . E . M E N . TA L /
1. Forming an integral part.
D e c e m b e r 2 0 14
2. Relating to, or being the basic or essential constituent of something.
WEBSITE ›
The smallest design elements can activate a page. Artifacts placed in
aoifecrof ts.com
gutters and margins, appeal to the curiosity of the reader. The attention
AU D I E N C E ›
to the sma llest of typographic nuances leads to harmonious pairings,
I f y o u'r e r e a d i n g t h i s , t h e n i t 's y o u .
while tracking and kerning perfectly tune lines of type. In the grand
INFLUENCES ›
scheme of design, the smallest artifacts, agates, and the consideration
Cha rles & R ay Ea mes A r n e Ja c o b s e n R ol f Mü l ler Ma r t y Neu mei r Dieter Ra ms Sca nda navia n Design
to the most minute detail, are elemental to truly successful design.
/ 007 >
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E L E M E N TA L
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A N TO I N E D E S A I N T- E X U P E RY /
A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.
AOIFE CROFTS
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/ 011 >
E L E M E N TA L
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TITLE
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A P E C U L I A R S TAT E O F A F FA I R S
}
PROJECT
18
PROJECT
{
ONE
{
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Quite a Predicament
}
13 4.5 / 8
01– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / TITLE ›
A Pecu lia r State Of A f fa irs DAT E ›
Fa l l 2 0 1 3 COURSE ›
Integ rated Communications INSTRUCTOR ›
Hunter L . Wi m mer
6.5 /11
CHALLENGE /
To plan and design a multi-faceted film festival, based on the works of a single director. The festival deliverables are to exist as a system, whereby most of the imagery will be self-generated, and the reliance on the actual screen captures of the films is kept to the bare minimum. The combination of strateg y, resea rch, project ma nagement a nd desig n prov ide a unique challenge to the complex project. Before a pen is even put to paper, the first step is the selection of a filmmaker deemed worthy of an entire festival. His life and works are researched before a selection of his films are made, and bearing a common theme, from which the deliverables will draw from.
AU D I E N C E ›
Cla ssic Suspense Fi lm Ent husia sts INFLUENCES ›
The Bay A rea Macguffins Artifacts COMPONENTS ›
Ads Book Cata log Dvd Packag ing Posters Env ironmenta l Graphics Identit y System Record Packa g ing Schedule Tickets
R E S U LT S /
The A lfred Hitchcock film festival takes place at the Palace of Fine Arts, the ideal location for a director who’s love of filming in the Bay area, can be seen in his many films. Both the element of suspense and the sense of the unknown, are represented through the black and white photography taken at a dramatic angle with a narrow depth of field. An angled graphic element with bold red overlay were used to represent the moment when ever y thing changes while the microtype is a device representative of the MacGuffin. The resulting deliverables evoke the cinematic qua lities which can only be attributed to the Master of Suspense, Sir Alfred Hitchcock.
M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k B l e a c h e d O a k Ve n e e r Envelope Opener Cuff links Book Cloth T Y P E FA C E ›
A mplitude ITC Ga ra mond Un ivers
—LEF T { Cat a lo g ue }
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A P E C U L I A R S TAT E O F A F FA I R S
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A P E C U L I A R S TAT E O F A F FA I R S
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AOIFE CROFTS
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A P E C U L I A R S TAT E O F A F FA I R S
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E L E M E N TA L
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AOIFE CROFTS
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FA L L
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2014
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TITLE
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A P E C U L I A R S TAT E O F A F FA I R S
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E L E M E N TA L
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AOIFE CROFTS
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FA L L
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2014
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7
S H E R LO C K H O L M E S /
No, Watson, this was not done by accident, but by design.
/ 0 41 >
E L E M E N TA L
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PROJECT
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TWO
{
2014
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I'm a Sponge
}
13 5/8
02– BR _ BR AND E N _ E N V I R O N M E N TA L
GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS /
7/11
CHALLENGE /
Create a pa int packag ing system a nd kit for a susta inable latex powder
TITLE › Ku lor
paint using environmenta lly friendly materia ls derived from sustainable resources. The packaging should clearly indicate whether the paint is for
DAT E ›
indoor or outdoor use and the kit, as a whole, should appear to both belong
Spring 2013
to the same brand and as random artifacts from a hardware store.
COURSE ›
Packa ge Desig n 2
R E S U LT S /
INSTRUCTOR ›
Inspired by the Scandanavian way of life and colors, I created a packaging
To m M c N u l t y
system which was synonymous with the style of Arne Jacobsen. The result-
AU D I E N C E ›
ing package forms borrow from the lines of his series of stackable chairs.
Ur b a n i t e s & h o m e o w n e r s w ith a n appreciation for modern st yles a nd comfor t .
The purity of white and its stark contrast with deep grey, found in many Scandavian interiors, both ser ve as a neutra l backdrop for the color charts. Keeping in context of sustainability, the packages were made of paper and
INFLUENCES › Sca ndinavia A r n e Ja c o b s e n
I indicated the variety of shades achievable to any particular color, through a shade chart on the label, offering further f lexibility of the paint options.
COMPONENTS ›
Pa int Packa ges P a i n t Ja r s Brushes Rollers Roller Covers Blue Tape Sponge M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k G l a s s Ja r s Powder Pa int T Y P E FA C E ›
K nockout Sentinel
—RIGHT { Spon ge }
AOIFE CROFTS
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KULØR
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KULØR
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KULØR
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KULØR
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KULØR
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/ 057 >
E L E M E N TA L
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JA N E JA C O B S /
Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.
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E L E M E N TA L
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TITLE
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GENTRIFIED!
}
PROJECT
18
PROJECT
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THREE
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A Social Experiment
}
13 5/8
03– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / TITLE ›
Gentrif ied! DAT E ›
7/11
CHALLENGE /
Study and research an issue that you are passionate about. Identify the problems and oppurtunities that may arise through your research where your design skills may help to solve the problem, or draw attention to it.
Spring 2012 COURSE ›
Visua l Communications INSTRUCTOR ›
Phi l Ha m let t AU D I E N C E ›
SF Residents & Tra nspla nts INFLUENCES ›
The Bay A rea The Mission District Monopoly COMPONENTS ›
Book Boardgame Poster Env ironmenta l Graphics
R E S U LT S /
Gentrif ication is a topic that has been ma king the headines for itself in San Francisco, with districts undergoing the 'change'. Urban renewa l, as it’s sometimes called, is not unique but rather is typical to many cities a round the world. W hat ma kes it a ver y hot topic, a nd in pa r ticu la rly here in San Francisco, is the speed that a select few neighborhoods are gentrifying at, which has resulted in significantly large eviction rates, changing the identity of the city as a whole. As with most stories, there are a lways two-sides to them. I chose to the tell the story of the Gentrification of the Mission in two ways: through the elements and tokens of Monopoly and a book, capturing the the Mission through photography, stories, and infographics. I chose a neutra l role so that the reader may formulate their own ideas and opinions based on what I've shared.
M AT E R I A L S › Bri l lia nt Supreme Mat te Paper Epson In k Bookboa rd Monopoly Play Pieces T Y P E FA C E ›
Av e n i r Eg y ptienne Interstate
—LEF T { B o ok }
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GENTRIFIED!
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14TH
BRYANT
FLORIDA
ALABAMA
HARRISON
FOLSOM
SHOTWELL
DOLORES
GUERRERO
15TH
16TH
CAPP
17TH
17TH MARIPOSA 18TH
20TH
Monitored Gas Storage
GUERRERO
21ST
(underground tanks)
21ST
Former Gas Storage
22ND
22ND
(underground tanks)
YORK
BRYANT
FLORIDA
ALABAMA
HARRISON
DOLORES
24TH
TREAT
FOLSOM
CAPP
MISSION
23RD
23RD
24TH SHOTWELL
BARTLETT
VALENCIA
SAN JOSE
SOUTH VAN NESS
25TH 26TH
YORK
20TH
19TH
POTRERO
SOUTH VAN NESS
MISSION
VALENCIA
19TH
18TH
25TH 26TH CESAR CHAVEZ
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E L E M E N TA L
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PRESIDENT WOODROW WILSON /
Some of the biggest men in the United States, in the field of commerce and manufacture, are afraid of somebody, afraid of something. They know there is a power somewhere so organized, so subtle, so watchful, so interlocked, so complete, so pervasive, that they better not speak above their breath when they speak of condemnation of it.
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E L E M E N TA L
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FOUR
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An Index...of Sorts
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13 5/8
04– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS /
7/11
CHALLENGE /
Find a dead, defunct or dying brand and breathe new life into it. Study its
TITLE ›
histor y and identify its soul. With that information in hand, breathe new
T h e C h o s e n Fe w
life into it, while keeping the soul intact. The brand can be repositioned
DAT E ›
outside of where it presently sits, on the condition that it doe not lose the
Fa l l 2 0 1 3
core meaning. As a deliverable, provide a comprehensive brand standards
COURSE ›
guide for the new rebrand.
Nat u re of Identit y INSTRUCTOR ›
Hunter L . Wi m mer
R E S U LT S /
AU D I E N C E ›
of one's importance based on the number of connections they had, or how
I chose to rebrand the Rolodex, a rotary index which was a physical display
We l l - t r a v e l e d m a l e s w i t h unique backg rounds & have excelled in their f ields.
big the Rolodex was. The rolodex's passing came with the advent of mobile phones and the computer, where an inf inite amount of contact information can be kept and easily found. I rebranded the Rolodex device as an all
INFLUENCES ›
Freema sons The Bourne Identit y Monocole
ma le secret society, preser ving the fundementa l idea of the index and its
COMPONENTS ›
members of the index in positions of global importance. I then extended
protective housing, while pushing it into an organization. The Rolodex A lliance invites a chosen few into the society with the intent of placing
Logo Sta nda rds Guide Identit y System We b s i t e App
the brand's presence by dictating how it would exist beyond the logo and a soul, to how it would exist inside and outside of the walls of the Alliance.
M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k Bookboa rd Book Cloth T Y P E FA C E ›
A kzidenz Grotesk ITC Ga ra mond
—RIGHT { Bra nd Gu ide }
AOIFE CROFTS
{
DESIGNER
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
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}
/ 089 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 091 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 093 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 095 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A P E C U L I A R S TAT E O F A F FA I R S
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 97 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 099 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 101 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 103 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 105 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 107 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
THE ROLODEX ALLIANCE
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 109 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
7
H E N R I M AT I S S E /
Much of the Beauty that arises in art comes from the struggle an artist wages with his limited medium.
/ 111 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A THOUSAND CRANES
}
PROJECT
18
PROJECT
{
FIVE
{
01
02
03
04
05
06
07
08
}
Fold, Crease... Repeat
}
13 5/8
05– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / TITLE ›
1000 Cra nes DAT E ›
Spring 2012 COURSE ›
T y pog raphy 3 INSTRUCTOR ›
David Ha ke AU D I E N C E ›
A nyone who appreciates origa mi & modern a rchitecture. INFLUENCES ›
7/11
CHALLENGE /
Create a book that depicts through imagery and type the future of origami. Research the current trends in the artform, and where you expect it to go. Explore topics and environments where Origami may exist away from the traditional folds of boxes, f lowers and cranes. R E S U LT S /
Initia lly I researched origami in its traditiona l format and looked at the more complex forms paper has begun to take with intricate folds. I then expanded my research into architecture to f ind structures which have origami-like forms. Origami is a lso found in interior spaces as well as in public areas. The modular shapes create a geometric and organic-like space whic is suprisingly inviting and has been used in art installations as well as pop-up structures in public spaces. The book is divided into
T h e Fo l d : A D o c u m e n t r y Dwell Magazine
three sections, each comprising of origami as art, architecture and in the
COMPONENTS ›
the folds of the signatures are in full view.
Book
environment. A coptic stitch is used so that the spine can be exposed and
M AT E R I A L S ›
Red R iver Prem ium Epson In k Bookboa rd Book Cloth Linen Thread T Y P E FA C E ›
A mplitude Off icina Sa ns
—LEF T { B o ok }
/ 113 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A THOUSAND CRANES
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 115 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A THOUSAND CRANES
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 117 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A P E C U L I A R S TAT E O F A F FA I R S
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 119 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A THOUSAND CRANES
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 121 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A THOUSAND CRANES
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 123 >
E L E M E N TA L
7
{
SELECTED WORKS
}
JA I M E L E R N E R /
If you want creativity, take a zero off your budget. If you want sustainability, take off two zeros.
AOIFE CROFTS
{
DESIGNER
}
FA L L
{
2014
}
/ 125 >
E L E M E N TA L
{
SELECTED WORKS
}
FA L L
18
PROJECT
{
SIX
{
2014
}
a Crystal Hex
}
13 5/8
06– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS /
7/11
CHALLENGE /
Create a new packaging structure using four or six breakable glasses.
TITLE ›
Consider the amount of packaging material usage in the packaging
Bacik
structure, particularly at how much material is needed to protect the
DAT E ›
glass and how to reduce the current material usage through the new
S p r i n g 2 0 14
package. Based on the f ina l die-line the structura l package needs to
COURSE ›
stack on a 48”x48” stringer or block pallet.
Packa ge Desig n 2 INSTRUCTOR ›
To m M c N u l t y
R E S U LT S /
AU D I E N C E ›
sustainable practices and elegant simplicity meet to offer a collection
Bacik, the new Waterford collection is where traditiona l craftsmanship,
Those looking for a susta inable, a nd modern cr ysta l option from Wa t e r f o r d C r y s t a l .
more suited to the modern palette. The package ref lects the new approach of the collection; a simple yet ref ined package that appea ls to a modern Ireland, aware of its survival by going back to basics and rising from the
INFLUENCES ›
Honeycombs Ireland Re-usabi lit y
ashes once again. I designed the package around the module of a hexagon
COMPONENTS ›
created while minimizing the need for an additional palett.
so that it minimized wasted space on the pallet by interlocking into eachother seamlessly. The module also allows for larger packages to be
Str uctura l Packa ge 4 Glasses M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k Ca rdboa rd T Y P E FA C E ›
Benton Sa ns ITC Ga ra mond
—RIGHT { Gl a s s Pa ck a ge }
AOIFE CROFTS
{
DESIGNER
}
TITLE
{
BACIK
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 127 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
BACIK
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 129 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
BACIK
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 131 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
BACIK
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 133 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
7
PAU L R A N D /
Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.
/ 135 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
IT’S A NUMBER...
}
PROJECT
18
PROJECT
{
SEVEN
{
01
02
03
04
05
06
07
08
}
Snap, Crackle & Pop!
}
13 5/8
07– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / TITLE ›
It ’s a N u m b e r. . . DAT E ›
Fa l l 2 0 1 1 COURSE ›
7/11
CHALLENGE /
Create an infographic of an event such as a road trip, birthday, or a holiday and produce a piece which visually captures the moment. Show the data in such a way that intices the viewer to think about the substance. Think of how the data can take a quantitaive form without the use of numbers and how graphics can be leveraged to reveal data.
Visua l Literacy INSTRUCTOR ›
Hunter L . Wi m mer AU D I E N C E ›
SF residents who’ve ex perienced t he ma d ness of Mu n i a nd see t he humorous side to it . INFLUENCES ›
R E S U LT S /
I chose to document two of the most talked about bus rides in San Francsico, the 49 Mission/Van Ness and the 38L Geary Limited. Both buses are used by some very colorful characters travelling through equally varied districts. Data and moods are captured through graphics and their rhythmic repition throughout the ride. A route map fold-out for the measured rides was created and dotted with snippets of reviews found on Yelp.
Fuse Tufte Infosthetics.com COMPONENTS ›
R o u t e M a p Fo l d - O u t Poster M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k T Y P E FA C E ›
Av e n i r DI N Helvetica Neue
— L E F T { M a p Fo l d - O u t }
/ 137 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
IT’S A NUMBER...
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 139 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A P E C U L I A R S TAT E O F A F FA I R S
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 141 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
A P E C U L I A R S TAT E O F A F FA I R S
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 143 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
M FA T H E S I S
{
FINALE
}
13 5/8
08– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
7/11
HOW THIS IS DIFFERENT /
The thesis project is a culmination of one year of in-depth research and study on a topic of my choice. It is unlike any other project due to the length of time, effort and passion invested in it. For my thesis, I chose to focus on street-level wayfinding in San Francisco. One of the main objectives of my thesis is building a sense of community and helping citizens become more engaged with their surroundings. By addressing information gaps visitors and citizens will roam more freely and get lost less frequently.
/ 145 >
E L E M E N TA L
7
{
SELECTED WORKS
}
K E V I N LY N C H /
A good environmental image gives its possessor an important sense of emotional security. He can establish an harmonious relationship between himself and the outside world. This is the obverse of the fear that comes with disorientation.
AOIFE CROFTS
{
DESIGNER
}
FA L L
{
2014
}
/ 147 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
18
PROJECT
{
THESIS
{
01
02
03
04
05
06
07
08
}
Getting from A to B.
}
13 5/8
08– BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / TITLE ›
A rrow DAT E ›
Fa l l 2 0 1 3 - 2 0 14 COURSE ›
M FA T h e s i s INSTRUCTOR ›
7/11
CHALLENGE /
San Francisco is a highly walkable city with miles and miles of sidewalk lining the streets and access to transit is never too far away. However, for those with limited map-reading abilities, orientating oneself can prove to be a daunting task, especia lly when navigation sources are limited to bus shelters and tourist maps. Not every bus shelter has a map, and not every bus stop indicates it’s route, making it even harder for visitors and recent residents to navigate the city.
Phi l Ha m let t Ca rolina de Ba r tolo Irina Blok
R E S U LT S /
AU D I E N C E ›
enough to help those who need more information which many of us have
Visitors a nd recent residents who need help nav igating t he cit y on foot. INFLUENCES ›
Leg ible London SEGD Wa l k N Y Schiphol A ir por t
Creating yet another street map in the traditional format would not be access to via our mobile devices. By creating a network of interactive map terminals, the user is able to navigate San Francisco’s streets more efficiently and safely, without the need to ask strangers. Additionaly, for those with mobile devices, an app allows them to store and share their tips and favourite routes to create an organic wayfinding system which communicates to the users.
COMPONENTS › App Guidebook Identit y System Logo Route Maps Sta nda rds Guide Te r m i n a l s M AT E R I A L S ›
Bri l lia nt Supreme Mat te Paper Epson In k T Y P E FA C E ›
Un i v e r s
—LEF T { SF Bu s R oute Map }
/ 149 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 151 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 153 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 155 >
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{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
T { I T 2L 0E1 4{
}A R R O W
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
07
08
}
/ 157 >
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{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
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08
}
/ 159 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
07
08
}
C ROSSWALK YELLOW / CMYK ›
4 . 23 . 98 . 0 RGB ›
244 . 194 . 29 HEX ›
F4 C 2 1 D
S I D E W A L K G R AY / CMYK ›
0 . 0 . 0 . 90 RGB ›
64 . 64 . 65 HEX ›
404041
/ 161 >
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{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
06
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08
}
/ 163 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
05
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08
}
/ 165 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
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}
/ 167 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
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08
}
/ 169 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
04
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08
}
/ 171 >
E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}
TITLE
{
ARROW
}
PROJECT
{
01
02
03
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}
/ 173 >
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{
AOIFE CROFTS
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{
DESIGNER
}
}
FA L L
{
2014
}
18
D E D I C AT E D
{
TO ALL OF YOU
Thank You!
}
13 4.5 / 8
2014 – BR _ BR AND E N _ E N V I R O N M E N TA L GR _ I N FOGR A PH ICS IN _ I N TER ACTI V E PA _ PA C K A G I N G PH _ PHOTOGR A PH Y PR _ PR INT
ELEMENTS / DAT E ›
D e c e m b e r 2 0 14 AU D I E N C E ›
I f y o u'r e s t i l l r e a d i n g t h i s , i t 's s t i l l y o u .
6.5 7/11
TO M Y FA M I LY /
Thank you for your love and support, the late night Facetime calls and lengthy WhatsApp messages. Without you, I wouldn’t have made it through my third degree. TO M Y I N S T R U C TO R S /
Phil Hamlett, Mary Scott, Hunter Wimmer, David Hake, Tom McNulty, and Carolina de Bartolo, you are all truly inspiring people and am very grateful for all that you have taught me. TO M Y F R I E N D S & C L A S S M AT E S /
Thank you for the memories, the laughter and the shared zombie-like walks after countless alnighters. To Kim Andre Boe, for being my biggest fan, listening to my ramblings and laughing at my moments of madness. You raised my spirits when they were at their lowest. To Seth Forester, thank you for believing in me, for inspiring me to be the best I can be and for steadying the boat when I thought it would capsize.
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E L E M E N TA L
{
AOIFE CROFTS
SELECTED WORKS
{
DESIGNER
}
}
FA L L
{
2014
}