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Vowels
Expressive Typography Book of Letters
Designers are usually overflowing with two things: humor and imagination. The book I wrote would appeal to them on both levels. One might initially think a book about vowels or the alphabet would be geared towards children, but my book is intended for graphic designers. I find myself often talking people out of buying it for their children, since the language is inappropriate. This is something that I may change in the future if I continue and write further volumes (consonants and symbols).
I looked to Robert Massin’s amazing La Cantatrice Chauve for inspiration. Like this work, I wanted to capture the nuances of each of the letter characters. I wanted to expressively and humorously tell the story with the type. I also wanted my Typography is an amazing art. Individually, letters can turn artwork from trash
book to have a feeling of permanence; I did not want it to appear trendy but instead evoke feelings of grace, intelligence
into treasure when the correct font is chosen. Letter shapes are small works of
and innovation. After careful consideration, I chose to work with Helvetica, Bauer Bodoni and Bickham Script to maintain
art that grace each page. But, the letters themselves, how do they feel about it?
these feelings. The fonts had to work hard to tell each letter’s story in a unique way but still look cohesive. Helvetica was
Do they like each other? Are they truly one big happy family? I wrote the story
chosen for its versatility and timelessness; Bauer Bodoni, for its grace and sense of history; and Bickham Script, for its
for Vowels by carefully considering how each letter is shaped, where they fall in
over-the-top romantic flourishes.
fall in the alphabet and what role they play within words. Vowels is a humorous view on letter design, structure and personality as if they were human.
My goal was to have the letters pop off the page, so I chose a bright white page with vibrant colors popping off. Each letter was assigned a single color and used only with black. With this system each letter would tell a unique story while appearing as a cohesive unit. The final book is an enjoyable introduction into the world of expressive typography.
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Vowels
Expressive Typography Book of Letters
S T O RY F O R L E T T E R A
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S T O RY F O R L E T T E R I
S T O RY F O R L E T T E R O
S T O RY F O R L E T T E R U
S T O RY F O R L E T T E R Y
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Miami Mel
Original Font Design
One day while sitting in my car waiting for my daughter to come out of school, I quickly sketched what I thought A, C and D should look like utilizing only simple shapes: an oval and perpendicular lines. Taking bits of the oval and combining it with the lines made for a lovely juxtaposition, and almost immediately, my sketches took on an art deco style. The first half of the alphabet fell in line quickly after that, but I needed further inspiration to continue. I looked to all areas of art deco - buildings, furniture, paintings, jewelry, artwork. I noticed the bold, organic shapes that dominate art deco styles, yet what I wanted to do was different from existing typefaces.
Miami Mel is an original font design. It is only intended for use as a display font.
In creating this font, my main goal was a structural consistency throughout the alphabet. I focused on my original setup
The font design was a response to a recent architectural tour of Chicago that
of the oval and line design to keep me on track and in line with a solid design. I established a working grid allowing for all
highlighted the city’s many Art Deco skyscrapers. Miami Mel highlighted the
aspects of font design, paying special attention to the ascender capline, meanline, baseline and descender line, making
art deco staples: bold shapes and geometric designs and would be best
sure the line widths were kept consistent and that everything appeared to be from the same family. I played around with
used large as letters on the side of a building or even as a headline font on
the shapes until I found a letterform that I felt was readable an in line with the art deco style.
a complimentary poster. Keeping everything on the very defined grid I set up helped me work through any design issues that I encountered. I made sure everything was working with the same ascender capline, meanline, baseline and descender line for consistency. By reversing the letters out of black, I was able to concentrate on each shape. The number 2 and the letter S were two of the hardest characters to create as their elegant curves were throwing me for a loop.
This was a completely new experience for me, but one I found completely enjoyable. There were certainly challenges along the way, but I have found that good design. In the end the font family that I designed became a readable, usable and original font design.
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Pee-Wee’s Big Adventure
Movie Title Sequence
I researched opening title sequences on the web site “WatchTheTitles.com” I found a lot of amazing stuff, but not too much that was setting off my design alarm. That is until I watched a student video for the movie “Into the Wild.” In this sequence, the world keeps coming toward the audience as the protagonist keeps walking away. It is really well done and amazing. I have also been noticing a lot of stop action and hand-drawn commercials that have stayed in my mind.
With this project, I wanted to show the adventure that Pee Wee Herman goes on in order to recover his beloved bicycle. The movie and Pee-Wee himself are both kitschy so I wanted the movie to have that same kitschy feel to it. Because Every time my kids put on the movie “Pee Wee’s Big Adventure”, they inform
Pee-Wee Herman is an adult child, I also wanted the movie introduction to have a child-like and fun quality to it.
me that it is “over.” That is because the opening credits are white type on a black background. I figured there was nowhere to go but up with this.
I decided on doing hand made graphics instead of a photomontage project. My thinking was that photomontage could
Therefore, I set out on my own adventure to design an opening title for an
quickly turn serious. Drawings, if I kept the images in a coloring book-like drawing style, it would have a unique element of
existing film using Adobe After Effects. My target audience was anyone
fun. First, I had to determine what I would pull from the movie to represent his journey without giving away too much. Then
who would watch “Pee-Wee’s Big Adventure” (you know who you are).
I drew the images with a fat marker on white paper, cut them out, scanned them in Photoshop and then re-outlined so that they would have that overlap of white paper outside the lines, which I felt added a child like element of fun to the entire piece. Initially I kept the drawings white with black outlines, but the movie got stagnant quickly. I decided to color all of the images. I kept the color palette simple and tried to accent Pee-Wee’s signature red color.
Once again, storyboards make all of the difference. With little experience in the program After Effects, I wanted a clear plan of attack before starting. Producing the movie was a fun learning experience. I have found that if I enjoy the process the end piece comes out much better. If you cannot love what you do, why are you doing it?
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This movie is available for viewing on the attached CD
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Frank Was A Monster
Typographic Flash Movie
This was only the second time I worked in Flash and I was a little intimidated. I chose a book that all three of my children enjoy: Frank was a Monster Who Wanted to Dance by Keith Graves. Online, I looked at as many kinetic type videos as I could squeeze in mainly focusing on transitions. I felt that I could make the type appear readable; it was the idea of movement that was new to me. Because the monster was also dancing (and in fact refers to it as “boogying”), I also looked at a few Jackson 5 videos. I wanted to see if I could incorporate any of the effects used in their videos and see if I could get the type to do any dance moves as well.
The objective of this project was to animate a poem or story by using Flash
My goal with this project was to portray Frankenstein as a lovable guy. Because the type was going to be moving a lot,
motion graphics. I chose a children’s book entitled Frank was a Monster Who
I wanted a font that would be very versatile. I needed bold, roman, condensed and italics and still above all, readable. A
Wanted to Dance. It is a very rhythmic, engaging, silly story. I love the story so
novelty font was not going to perform the way I needed it to simply because of the limitations. I kept my color palette to a
much, that doing it became an excuse to contact the author/illustrator Keith
minimum so that as the words “performed”, the viewer would concentrate more on the story rather than the theatrics.
Graves. He was friendly, kind and interested in the entire process. If I have learned anything about motion graphics, it is that the storyboards have to be near perfection when I move onto the computer. It is probably because I am a novice, but it really made my life so much easier. Working through eight pages of storyboard gave me a very clear direction of what needed to happen on screen. The story unfolded nicely with a series of well thought out type placement and it became a study in movement for me.
This certainly was a learning experience, but also one that I am eager to continue.
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This movie is available for viewing on the attached CD
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Leo Lionni
Website
I wanted to focus on the charming hand-made nature of his books while still making it appealing to designers. Lionni is interesting to me because he is famous at two different times in his life for two different reasons. Most people, if they strike gold at all, it is only once. I wanted a website to pay tribute to this man and educate those who only knew him for one of his successes.
Researching information about Leo Lionni on the web, I found that websites
When it comes to web design, my brain has a hard time converting the sketches that I do on paper to the web program.
about him are usually either about his career as a designer or his career as an
One thing I really struggled with was the idea of web 2.0. Although my website had a blog, I really could not find any
author. I wanted to make one website where people could make the connection
useful application for web 2.0. Leo Lionni died in 1999 so discussions about his work were limited to what had already
between both of his careers. As a designer, it floored me when I put the two
been accomplished.
together as I had read “Frederick” and “Swimmy” many times to my children and just finished studying him in “History of Graphic Design”. I also wanted a place
This website was well received by my test subjects. They enjoyed the playful integration of warm colors and simple
where educators could upload lesson plans based on his books to share ideas.
illustrations with Lionni’s modern design style. This was new to me. Web is new to me. This project was probably the
The purpose of this project was to design a grass roots website highlighting Leo
one of the most challenging for me in recent memory. Limitations of my own knowledge of the software impede my
Lionni’s career as both a graphic designer and children’s book author.
ability to design directly from thumbnails or sketches. I have ideas of what I want the menu to do, but cannot get them to work. Time and patience will lead me to be a better web designer.
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A link to this website is available on the attached CD
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Gallery Espresso
Logo Design
The market research paper really set the stage for this project. I knew the competition and what was working and not working for them. I knew what color palettes other coffee houses are using, and I understood the kind of customers that Gallery Espresso wanted to attract. The logo needed to remain friendly to reflect southern hospitality but also highlight a new modern direction.
G A L L E RY • E S P R E S S O The current Gallery Espresso logo poorly designed, and I felt in order to succeed in new urban markets, we needed a departure from it. The logo needed to maintain a youthful exuberance and express the fact that it is a coffee shop and art gallery. It is a I needed to create an updated logo for Gallery Espresso as it expanded into
unique niche within the coffee house industry, and I wanted to make sure that the logo at the very least introduced the story.
new urban markets from its flagship store located in a college town in the south. Gallery Espresso is a coffee house and art gallery. Its logo needed to
I did at least 100 sketches for the logo exploring various “themes.� Some bordered on the ridiculous and others had a hint of
portray that visually while distinguishing itself from an already saturated cof-
what my final would be. There was no single sketch among them that led me to the final logo, but instead it was a calculated
fee house market in larger urban areas. My vision of Gallery Espresso as it
path that I traveled down, exploring many variations of several bits of minutia. Throughout the entire process, I kept in mind
expanded to new markets was a modern atmosphere that differentiated itself
the modern and friendly atmosphere that I wanted to portray and the fact that it was a coffee house and art gallery.
from its lodge-like and dark competitors. While logo design was not a primary focus in my previous experience, I have come to realize the importance of providing time for concept development while exploring a variety of possible solutions. I love the way this logo turned out. I am proud of it. It does not overtly say coffee or art but instead suggests it and allows the viewer to determine what they see in it. It is memorable and unique. It works well in a variety of lock-ups and colors. I think this was the solution I was meant to find.
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Gallery Espresso
Logo Design
Š Ashok
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Sinha
Š Tomasz
Bobrzynski
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
MODERN MEETING GROUNDS
MODERN MEETING GROUNDS
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
G A L L E RY • E S P R E S S O
MODERN MEETING GROUNDS
MODERN MEETING GROUNDS
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Gallery Espresso
Branding Guidelines
I have to admit, I have spent a large portion of my career on branding, specifically branding guidelines for large corporations. I enjoy them. I was so young when I was doing them, I did not know it was branding – I called it “consistency.” I referenced previous branding guidelines that I had done for Motorola, Microsoft, U.S. Robotics and Acxiom Corporations.
Thanks to very thorough market research, I had a very clear idea of imagery and how logo and color needed to be broken down within identity guidelines. Expressing who Gallery Espresso is as a brand and what its mission and values are the questions that make me take pause. How do we want others to use these guidelines? How do we want others to represent After I created the Gallery Espresso logo, I needed to establish an identity
the brand Gallery Espresso? I determined that Gallery Espresso should maintain a friendly sophistication throughout all of
guideline system for the national launch of the Gallery Espresso franchise.
their stores, differentiating them from the competition.
Intended for on screen viewing only, this document could be e-mailed to vendors and employees on an as-needed basis. My target audience was
Once I started truly working on the piece, I realized that I did not want rogue designers picking images for us. There should
broken down into five distinct categories that changed with each new store
be an online “collective” of approved images for designers or media professionals from which they could choose. A login
opening. The primary demographic was male and female customers ages
and password would be required but it allows for maximum consistency within the brand. As we all know, consistency
18-50. This group can be further broken down as college students, hip-
fortifies any brand.
busy parents, the business crowd, tourists and art lovers. I really enjoyed the process of creating this branding guideline brochure. No stone was left unturned with this project, and I could truly hand it off to any designer and they would know without question how to handle the new Gallery Espresso brand.
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Gallery Espresso
Branding Guidelines
CORRECT USAGE Choose colors wisely, thinking about contrast and hue relationship.
G A L L E RY • E S P R E S S O
BRAND Gallery Espresso has embraced a strategy of the modern coffee house. Gone are the days of shabby chic and grunge. Ick. Who wants their coffee served by a fella who smells funny?
Placement is very important. Always chose a
LET’S COLOR THE WORLD
position that will maximize the presence of the
Gallery Espresso’s corporate color palette
Surveying the competitive landscape, we
We began with an overall palette that
logo. Plenty of white space around the logo will
evolved over many months of careful
discovered that almost without exception
inhabits a space to the left or right of
ensure that it gets the attention it deserves.
study, incorporating consumer research as
others in the category employ a minimal
primary colors. Adjusting hue and value,
well as competitive analysis.
palette. So, we took it a step further.
experimenting with the addition of black
Our colors are representative of not only
The Gallery Espresso palette is sophisticated,
that can stand on their own, live in tandem,
a coffee house, but also reflect an artists
modern, and very friendly and approach-
or be combined with each other. The results,
palette. Our goal was to use color to signify
able. Our colors are contemporary, but will
in any presentation, are always dynamic and
a particular state of mind, using colors
never fade from fashion or venture into the
unique to the Gallery Espresso brand.
that work across a variety of touch points
tragically trendy. They will serve to embody
and communications.
the brand personality and promise.
Friendly sophistication, exceptional coffee, and
and white undertones, we created colors
The correct files are available in any format
great art is what we are all about. We represent
that you might need. Always use these files,
a lifestyle that consumers aspire to and want to be a part of. It is the single promise that will
never recreate the logo. Please go to
enable us to present a consistent message
http://www.galleryespresso.com/logos
under the master brand.
There are several options at your fingertips. Make sure that you are choosing the right logo for the job. Chose the logo lockup and colors that compliment the design composition.
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C O R R E C T L O G O U S A G E I N F O R M AT I O N
BRAND INTRODUCTION
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INTRODUCTION TO COLOR USAGE
QKI B G P
it is easily marketed in a recognizable way.
G A L L E RY • E S P R E S S O
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Coffee: PMS 476 (or its CMYK or RGB equivalent) Tea: PMS 535 (or its CMYK or RGB equivalent) Wine: PMS 222 (or its CMYK or RGB equivalent)
“Takes Orders Well” in a dark gray color with
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iusto odio disim qui blandit praes ent lup tatum.
Espresso brand palette.
Male employees will receive a t-shirt that says
the Gallery Espresso symbol on the back. They
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Products are color coded using the Gallery
MALE UNIFORMS
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erat volutpat. Ut wisi enim ad minim commodo consequat. Duis
tetuer adipi scing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna ali quam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullam
autem vel eum iriure dolor in
corper suscipit lobo rtis nisl ut ali quip ex ea commodo couat.
hendrerit in vulp utate velit esse
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dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio
placerat facer possim assum.
can wear their own khaki pants, but they must
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vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignis sim qui tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim
fit and a belt has to be worn. Any employee
JAKE
TAKES ORDERS WELL
wearing pants past their hip bone will be sent G A L L E RY • E S P R E S S O
home to change into a pair of pants that fit.
Dark, comfortable shoes must be worn. No FRESH FRUIT CUP
Foods: PMS 519 (or its CMYK or RGB equivalent)
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TURKISH COFFEE
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Ephemera: PMS 390 (or its CMYK or RGB equivalent)
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Think of a vitner’s reserve and
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Duis autem vel eum iriure dolor in hend rerit in vulpu tate velit esse molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignis sim qui tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim
you’ve got the idea. We receive a
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Art: PMS 549 (or its CMYK or RGB equivalent)
molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio disim qui blandit praes ent lup tatum. Azril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, consec tetuer adipi scing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna ali quam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullam corper suscipit lobo rtis nisl ut ali quip ex ea commodo couat.
Product sheets are available for download from: galleryespressocollective/templates.com
Duis autem vel eum iriure dolor in hend rerit in vulpu tate velit esse molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignis sim qui tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim
ut laoreet dolore magna aliquam
sneakers with white soles are permissible.
erat volutpat. Ut wisi enim ad minim commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio
steady stream of offer samples from producers and importers who are always looking to put their best coffees on our table. Sometimes we
G A L L E RY • E S P R E S S O
find an unexpeted treasure we simply cannot resist. That is why we created the Turkish coffee from the best flavors around the world.
placerat facer possim assum.
A login and password are required.
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A RT
X
INTRODUCTION TO TYPOGRAPHY
Gallery Espresso carries a new product,
FOOD
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TEA
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G A L L E RY • E S P R E S S O
Product sheets are set up so that when
COFFEE
V T R F
ACE J U S H L M Y ZNO
PRODUCT SHEETS
THE 2009 GRADUATE EXHIBITION Lorem ipsum dolor sit amet, consec tetuer adipi scing elit, sed diam nonu mmy nibh eui smod tinci dunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse
nonu mmy nibh eui smod tinci dunt ut laoreet dolore magna aliquam
Azril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, consec tetuer adipi scing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna ali quam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullam
autem vel eum iriure dolor in
corper suscipit lobo rtis nisl ut ali quip ex ea commodo couat. Duis autem vel eum iriure dolor in hend rerit in vulpu tate velit esse molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignis sim qui tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.
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molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio disim qui blandit praes ent lup tatum.
erat volutpat. Ut wisi enim ad minim commodo consequat. Duis
hendrerit in vulp utate velit esse molestie conse quat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio
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MALE EMPLOYEE UNIFORMS
PRODUCT SHEETS
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Class Size Matters
Social Awareness Campaign
In doing research, I have found that legislators supply the money, but only make policy changes when large scale pundits or special interest groups come after them. Class SIZE matters
In speaking with administrators about the problem, I have found that schools are run like a business and for change to happen, it has to be brought to the attention of the district, by the parents. Since there is no current movement by anyone in the I wanted to address the social issue of school overcrowding and in particular,
district, I feel the first step would be to get parents mobilized on this subject and more specifically start with the PTA. I feel
how class size effects not only the education a student gets but also their
that addressing legislators and administrators is pre-mature at this stage. The goal of the piece is to have as many parents
entire future. We moved to the suburbs with the intention that our children
as possible attend a meeting with the local Board of Education and request a policy review before it gets out of control.
would have a better education. Each year in my daughter’s school, she has had between 25-32 kids in her class. Of my tax dollars, almost 77% go to
Metaphors that make the audience think about it and get them talking to each other are the ideal solution. Right now,
her education. That is staggering. The average classroom size in grades
nobody is talking about this as a problem, I feel like I need to bombard him or her with the message in order to get into
K-5 ranges from 23-26; the district average is 19-23; and in the state, the
the parents minds.
average is around 20. Her school district is setting exceptionally high student
Tr a c y Z u n i g a
goals while at the same time demanding that the teachers, by pushing the
In the end I decided to draw an image that is simple and bold with colors reminiscent of elementary school that would be
limits of the class size, spend less time with each student. I wanted to
a fast read for it’s audience. The image is the base of all of the designs and is applied to a brochure, poster, an ad, a PTA
make other parents aware of what is at stake with these large class sizes.
bag, t-shirts, postcards, and other ephemera. The repeated image pounds the idea into the audience’s conscious.
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STORE BULLETIN BOARD POSTER
G R O C E RY C A R D A D
P T A C A N VA S S H O P P I N G B A G
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Class Size Matters
Social Awareness Campaign
The average for the district and the state is
19-22 STUDENTS per classroom.
CLASS SIZE MATTERS
Madison SSROOMS CLA 32 Students per Classroom
District 44
Class SIZE matters
SSROOMS CLA
C L A S S S I Z E M AT T E R S B R O C H U R E C O V E R
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The average for Madison Elementary is
26-32 STUDENTS per classroom.
C L A S S S I Z E M AT T E R S B R O C H U R E I N S I D E S P R E A D
SMALLER CLASSES INCREASE STUDENT LEARNING. They also have a host
of other benefits, including enhancing parental involvement, reducing disciplinary referrals, lowering teen parenthood rates and improving teacher morale and retention.
EACH ADDITIONAL STUDENT ADDED TO A CLASS RESULTS IN A DECREASE IN THE CLASS AVERAGE FOR STUDENTS IN ALL ACADEMIC SCORES.
C L A S S S I Z E M AT T E R S B R O C H U R E I N S I D E S P R E A D
C L A S S S I Z E M AT T E R S B R O C H U R E I N S I D E S P R E A D
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Ronald McDonald House Charities
Social Awareness Direct Mail
My client gave me corporate guidelines and previous marketing materials. It really is difficult to show what goes in within a Ronald McDonald House with images; She suggested a thoughtful use of typography. I knew from experience that to reach your audience I needed to get them to identify with images and story. In order to get as many donations for this worthy cause as possible, I needed to get the viewer to connect with these pieces.
As one can imagine, building a 14 story “house” within the heart of downtown Chicago is quite costly. It is a free service to families in need and relies solely on donations. We wanted to provide for these families as much as possible. A few days Ronald McDonald House Charities - Chicago and Northwestern Indiana are
after I met with my client, she sent me a letter that would become the focus of direct mail. After reading this letter, most
in the process of building a 14-story home in the Streeterville neighborhood
people will cry it is so touching. I wanted to pace this letter out so that it read like a story and have imagery that would allow
of Chicago, near Children’s Memorial Hospital and Northwestern Memorial.
the viewer to put themselves in the same position as the mothers writing the letter. I used photography that allowed the
This building will have it’s own floor for transplant patients and is a haven for
reader to understand the image without showing specific faces, in this way; it was easy for the viewers to put themselves
families that come from long distances to receive specialty and heart breaking
through the journey that this mother goes on in the letter.
surgeries for their children. They rely on donations to provide this service, and needed a big push for donations in order to begin construction in 2011.
The final design of this direct mail is so effective. I wanted to tug at the heartstrings of the audience to elicit more donations. The client is thrilled with everything and for me, that is the best feedback I could ever receive.
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I’ve stayed here off and on since my son had his heart transplant 16 years ago. Because of the comforts of this home, I’ve been able to give 100% of myself while with him at C M H . While here, I refill my tank. It goes without saying, it’s always on empty when I arrive.
Sadly, Noah’s heart has now begun to reject and fail.
I immediately
Last June, 2009, he said to me while sitting in the R M H
felt peace.
kitchen, “Mom, do you think I am going to die?” I said, “Noah, this morning someone your age woke up perfectly
Funny and ironic
healthy yet tonight their parents are grieving their death.
that peace came
Your donor baby was 5 months old yet you’ve lived almost
to both of us here.
16 years. Every day is a gift.”
Two months later, Noah was given a 5 year prognosis. I appreciate the Thank you for blessing me as you have. I realize it takes
calm you still provide
thousands of volunteers and millions of dollars to make this
me... and my son.
home what it is for me to stay here. I do not take that for granted, not for a second.
RMHC DIRECT MAIL INSIDE SPREAD
RMHC DIRECT MAIL INSIDE SPREAD
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Grow
Package Design
I was very focused on the word “sustainable” in my research and design and it was what was driving my decision making process. I selected flower bulbs as my product and focused my research on seed and flower packaging and garden
grow
centers in general. I felt if I zeroed in on the upscale garden market, I could sell the product in a unique way and the customers would be more open to paying a little extra for a sustainable design.
My goal with this project was to make use of as much of the package as possible. I also wanted to decrease the amount of paperboard and glue for my design. I wanted the package to appeal to an upscale gardener. A person, who perhaps already Grow is a brand that sells all variety of gardening items. The product I chose
has a landscaped yard, but likes to pretend they garden so that they can join the local gardening club.
to create a package for was flower bulbs. They are small and unattractive. I wanted the challenge of making a unique package in a very saturated market
Although the idea for the packaging was solid, I struggled with the graphics a lot. My usual style is very clean and modern.
and I also wanted to focus on a green initiative with this package. I wanted to
In order to appeal to the “upscale gardener”, I felt the package wrap to have a textural feel to it, which directly conflicts
see if I could minimize the amount of waste, paper and glues, while creating a
with my modern design sensibilities. I continued to tweak the logo until I felt I had the right solution, which in turn affected
sustainable package design.
the package graphics. Like all things with design, I needed a solid base before I could move to an appropriate solution.
My graphics are never subtle; they are usually bold shapes and colors with san-serif fonts. This project made me focus on the end user rather than my desire for clean design. In the end, I am happy with this package and I even sent some samples of it to the artist that did the watercolor on the front (who was very pleased). The package design uses less material than other bulb packaging, it is all re-usable and in the end, the graphics are eye-catching to the upscale gardener.
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Grow
Tr a c y Z u n i g a
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Package Design
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Grow
Point-of-Purchase
I went to my local “upscale garden centers” to see how my package and a potential P.O.P. would fit in. Looking online at point-of-purchase displays and understanding I did not want just a shelf or a peg-board, I found myself disappointed with
p.o.p.
the level of creativity in this area. Most of it seems generic and ready to print logos and graphics - not too much was unique or thoughtful to the product. Ichose to focus on the often-overlooked vertical space.
After some serious consider as to how to best utilize vertical space, I decided a tree made of bamboo would be appropriate and attractive. The actual tree is around 6 feet tall, but only three feet in diameter. It comes apart easily and ships flat. There Once the Grow package was designed, I had to decide the best way to
is no busy design on the tree itself, but a lot of thought went into the best angle of the branches and how to cap off each
display it in the upscale garden centers. My target client was a woman with
branch so that it is not dangerous to consumers. I struggled for a while thinking of ways to display the product while still
a professionally landscaped yard, but gardens just so she can join the local
making it easy to remove. After my logo and package wrap design were finally finished, I changed my opinion of the
garden club. My goal with the P.O.P. display was to have a unique display for
materials I wanted to use and went with a very dark wood in order to have the product “pop” off the display.
the product that would intrigue a customer and still look like it belonged in an upscale garden shop. I wanted the product to be easy to reach while still
I am thrilled with this piece; I think it came out fantastic and perfectly compliments the final package design. I found that
being stable and memorable. Upscale garden centers are often crowded and
without the extra work and review to make the package design perfect, I might not have gotten to a solution I was happy
overrun with a lot of “stuff”. I wanted my point-of-purchase to stand out and
with going forward. Once again, having a solid base makes it so much easier to move forward.
be visible from anywhere in the store.
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tracy zuniga
{thank you} for y ou r t i me tracy zuniga {p} 630.261.0018 • {c} 630.639.0961 {e} tzuniga@ameritech.net • {w} swanzun.com