julie vinh . resume + selected works

JULIE

VINH

g r a p h i c

d e s i g n e r

/ 2 010 /

/ 2 010 /

+

resume selected works

/ resume

/

For me, design is like choosing what I’m going to wear for the day— only much more complicated and not really the same at all.

-robynne raye

J U L I E

V I N H

graphic designer j u l i e v i n h @ gmai l .com / 9 1 3 5 6 8 73 57

e d u c at i o n University of Kansas BFA in Design with emphasis in Graphic Design experience

May 2007

360 Architecture / Studio T i lt

Skills

july 2007 - present

Proficient in Adobe InDesign, Illustrator,

Full-time graphic designer; work varied from in-house

Photoshop, Microsoft Word & Powerpoint

marketing efforts, environmental graphics to developing

Working knowledge with SketchUp & VectorWorks

new brand identities for a range of national and local

General skills of photography (digital & traditional)

clients. Projects focused on creating brand experiences

Working knowledge of serigraphy & letterpress

through logo design, developing print collateral and

Fluent in Vietnamese and familiar with Spanish

concepting websites to signage and wayfinding to theming professional sports and corporate spaces

a ffi l i at i o n s

Flory Design

AIGA: Kansas City Chapter Member / 2006-2009 Volunteer Coordinator / 2007-2009

june 2006 - july 2007 Part-time graphic design intern; worked ranged from illustration work to applying brands across collateral

SEGD: Member / 2007-Present

pieces including ads, brochures, packaging and websites.

ac h i e v e m e n ts Kiosk Editions 35 + 36 Fall 2006, spring 2007 Designer for the University of Kansas bi-annual arts and literature publication

KC Ad Club / Bronze Omni Award / 2007 Juried AIGA KC A3 Awards / 2006 Juried AIGA KC A2 Award / 2005 AIGA KC / first recipeint of scholarship

KU School of Fine Arts

Juried KU Visual Communications

winter 2005, Spring 2006-2007

Scholarship Show / 2005, 2006, 2007

Designer for various promotional materials including posters for lecture series, performances, holiday collateral and informational packets.

s ele c t e d

works p r i n t

/

2 -D

e n v i r o n m e n ta l

/

3 -D

j u l i e v i n h / ju l i e vi n h @ gmai l . com / 9 1 3 5 6 8 7 3 5 7

When in Rome, use Times Roman -marty neumeier

p r i n t

/

/

2 -D

id e n t i t y / b r a n di n g / e di t o r ia l / books co l l a t e r a l / pos t e r s / packagi n g / i l l us t r a t io n

j u l i e v i n h / ju l i e vi n h @ gmai l . com / 9 1 3 5 6 8 7 3 5 7

aiga

conference

identity

system

Food for Thought: for the Hungry Designer is a fictitious, AIGA conference designed for emerging student designers seeking nourishing advice from veteran designers. The hope was to encourage students to strive to be refined, innovative chef-like designers that make a difference rather than the mass-producing, burger-flipping designers that are merely service providers. The system consisted of posters, a postcard series, a letterhead system and an identity tag.

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

/01/

sponsored by AIGA

THOUGHT for the

f o r

h u n g r y designer

FOOD

berger

anita { student }

---marty neumeir

design extraordinaire

When in Rome, use Times Roman.

F OOD

[ neutron LLC ]

---marty neumeir

F OOD

When in Rome, use Times Roman.

design extraordinaire

{ student } [ neutron LLC ]

anita berger

FOOD for the

h u n g r y designer

f o r

THOUGHT sponsored by AIGA

sponsored by AIGA www.aiga.org/content.cfm/HUNGRYTHOUGHT_07

THOUGHT f o r

FOOD for the

h u n g r y designer

ntent.cfm/HUNGRYTHOUGHT_07

2-D

design extraordinaire

design extraordinaire

joe rumplebutts

joe rumplebutts

FOOD

jrump@seattleaiga.org

for the

h u n g r y designer

f o r

THOUGHT

164 Fifth Avenue New York, NY 10010 Phone>>>212 807 1990 Fax>>>212 807 1799

Practice safe design: use a concept.

---petrula vronkitis

FOOD

jrump@seattleaiga.org

for the

[ principal, vronkitis design office ]

164 Fifth Avenue New York, NY 10010 Phone>>>212 807 1990 Fax>>>212 807 1799

h u n g r y designer

f o r

THOUGHT sponsored by AIGA www.aiga.org/content.cfm/HUNGRYTHOUGHT_07

threesixty

architecture

360 Architecture was built upon the merger of 2 distinct architecture firms. With this new partnership, a new brand emerged. There are various applications that addressed very specific and often urgent needs, yet still needed to maintaining consistency of the brand message. There are many applications including, but not limited to, promotional materials, collateral, presentations and books.

LocaL Presence

INTERNATIONAL

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

PLACE MAKING

2-D

/02/

TEAM 360 ArCHiTECTurE

816.472.3360

360aRcHiTEcTS.cOm

construction HEADQuArtErs

300 WEST 22ND STREET kaNSaS ciTy mO 64108

JE DUNN

HEnDErsOn EnginEErs

grEEn buiLDing sErviCEs

pATTi bAnks AssOCiATEs

wALLACE EnginEEring

m/E/p ENgiNEERiNg

SuSTaiNabiliTy cONSulTaNT

SuSTaiNablE SiTES laNDScapE

STRucTuRal / civil ENgiNEERiNg

jOHn gAAr 360 architecture Principal, Project manager

CHris DEvOLDEr 360 architecture sustainability Facilitator

jAMEs brAAM 360 architecture Project Designer

pATTi bAnks Patti Banks associates Principal

DrEw riMMEr Henderson engineers Principal, Project manager

DusTin sCHAfEr Henderson engineers Director of sustainable services

kaNsas city, missoUri

JE DUNN

CONSTRUCTION HEADQUARTERS

S I Z E 2 0 4 , 0 0 0 S . F. CONSTRUCTION COST $55 MILLION C O M P L E T I O N D AT E 2 0 0 9 * A 3 6 0 / B N I M P R OJ E C T

TOM wAggOnEr 360 architecture Principal-in-Charge

KANSAS CITY, MISSOURI 360 Architecture and A.L. Huber General Contractor transformed an empty big-box retail facility into a vibrant center for congregation and community. + The building anchors a $360 million redevelopment plan for downtown’s East Village area, embracing the civic mall, a two-block long park. + Clad in highly efficient glass creates a clear connection between the interior spaces and the park beyond. + Inside, the flexible, open, healthy and daylight-filled environment was customized to users’ needs and enhances their everyday work experience. + The use of raw materials and exposed concrete showcase JE Dunn’s building expertise.

W W W. 3 6 0 A R C H I T E CT S . C O M

COby CrOwL Wallace engineering associate Civil services

HELLO my name is . . .

hinge

B RAND

identity

Hinge Woodworks is a local woodworking shop that specializes in custom modern furniture using exotic woods. The client approached with a need to update the brand when the shop decided to change their name that better- aligned with their design and approach and also in hopes of attracting a new audience.

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

2-D

/03/

C A R T E R TA B L E

STANDARD VENEER OPTIONS _ ZEBRAWOOD

_ QTR. MAPLE

_ WENGE

_ WALNUT*

_ CHERRY

_ QTR. BEECH

_ TEAK*

_ ROSEWOOD SANTOS*

_ QTR. BUBINGA

_QTR. ORIENTALWOOD

*VENEER SHOW IN IMAGE

CUSTOM ORDERS CUSTOM SIZES, VENEERS + STAIN

FUNCTION MIX + MATCH SIZES OR USE INDIVIDUALLY AS AN END TABLE OR ART PEDAZZSTAL

STANDARD SIZE S

18”

14”

24”

20”

21”

17”

16”

18”

14”

HINGE WOODWORKS | BELLEVIEW AVENUE KANSAS CITY MO | P - | HINGEWOODWORKS COM

rotis sans serif typographic poster series

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a type designer, graphic designer, author and a teacher. In 1947, Otl Aicher received his art education from the Academie der Bildenden

K체nste in Munich. After completing his studies he established a graphic design practice in his hometown Ulm, Germany. There he

produced graphics for companies such as: Braun Elektroger채te (1954) and Deutsche Lufthansa (1969). Aicher was one of the founders of the

experimental design school called Hochschule f체r Gestaltung. The school carried with it the spirit of the Bauhaus where it addressed the

problems of the post-war industrial world. Aicher would marry the leading figure of the school, Inge Scholl.

Otl Aicher had a clear style where his main principle was organization and readability. His main focus is designing was for functionalism, which included regular geometric forms, simple silhouettes and flat finishes. In his projects there is a clarity of

^^^ ^^ form and construction. He is known by the way he designs

posters where he words are used minimally. He uses math-

ematically calculated grid in his design to place images and

text in order to achieve clarity of graphic communication. Otl

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Aicher is most known for his use of pictograms at the Munich

Olympics in 1972. He is also known for the design of the Rotis family type for Agfa.

otL

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Otl Aicher, born in 1922 Germany. Aicher lives his life as

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j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

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1922-1991

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O g k j i c u og d o ? e qu m 00R K > s t A p s d BAH E R

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2-D

/04/

HUM As the name might suggest, humanist fonts were designed with a goal of being less mechanical in appearance. In many ways, they are more similar to the serif fonts than the geometrics and the grotesques. They are said to have a ``pen drawn'' look about them. They tend to have subtle variation in weight, especially observable in bold variants. The curve shapes are considerably less rigid than those of the geometrics.

easiest to use without producing an ugly document as they are relatively compatible with the old style fonts.

T S I N A 02468

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03C_Jackie Bookman

b c D F g hIJK L M

01A_Andrea Herstowski

]

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O S A

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{

I

u

u o i e a

t h e

s h o w

S e i n f e l dhas been famously described as "the show about nothing" (a self-referential phrase from an episode, as most of the comedy

was based around the largely inconsequential minutiae of everyday

life, and often involved petty rivalries and elaborate schemes to gain the smallest advantage over other individuals. The characters have also been described as utterly selfish and amoral; the show standing out by depicting these traits in a comedic fashion. The show's creators made a conscious effort to reflect the activities of real people, rather than the idealized escapist characters often seen on television, although many of the show's plots involve intricate, and often cyclical strings of events that converge in the end to form a grand irony.

The show

a b o u t

S

n o t h i n g .

premiered

S E I N

same shape as the g used in the old style serif fonts. The humanist typefaces are the

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Many of them are distinguishable by the ``double story'' lower case g, which is the

as The Seinfeld Chronicles on

Thursday, May 31, 1990 on NBC. Seinfeld was not an immediate success. After the pilot was shown, on July 5,1989, a

pickup by NBC did not seem likely and the show was actually offered to Fox, which declined to pick up the show. It was

only thanks to Rick Ludwin, head of late night and special events for NBC, for diverting money from his budget, that the next four episodes were filmed. After nine years on the air

and 180 episodes filmed, the series finale of Seinfeld aired on Thursday, May 14, 1998. It was watched by a huge audience,

@

estimated at 76 million viewers. The show itself holds the record for the Highest Television Advertising Rates.

RTUV vutr

. g n i h t o n N P W X Y Z

T i lt brand identity system

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

2-D

/05/

kiosk

bi-annual

art

+

lit

p u b l i c at i o n

Kiosk is an award-winning, student-run art and literature publication. Each semester, a select group of students are chosen by

.001 // night sky

.001—.005

.002 // starry gaze

[ 09 ]

.003 // reflect

students, to work on a design team to produce this biannual publication. Each publication embodies a new form and concept.

[ 001 ]

watercolors

.004 // summer

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

[ 11 ]

.005 // daydream

rebekah nichols

2-D

/06/

[ k-036 ]

[design]

[ l i t e r at u r e ]

t h e c r e at o r s

.001234516

.001259262

.001334741

.002028813

.00-a cabela.casey • editor-in-chief

.001234516 telander.tristan

.00-b campion.lindsey • managing editor

.001259262 vinh.julie

.00-c graybosch.sasha • poetry editor

.001334741 rottinghaus.laura

.00-d green.andy • poetry editor

.002028813 sands.kelly

.00-e schulte.ashley • fiction editor

.008543210 mcroberts.katie

.00-f bommarito.adrienne • copy editor

.008543210

I

woke up one day to find that i had misplaced

my innocence the night before.

I’m sure it’s somewhere keeping company with my common sense.

I walked into the bathroom

the boardwalk rehaan shaffie

to find a note taped to the mirror from my sense of belonging – it left to find somewhere less crowded with insecurities rooted firmly in broken memories.

[ 57 ]

.000730328

.000730328 starrett.scott

EYE

MA g a z i n e

cover

art

Cover art representing the achievement ( or inability to ) of minimalism in graphic design.

(-)

THE INTERNATIONAL REVIEW OF GRAPHIC DESIGN

38

WINTER 2000

eye

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

M

THE INTERNATIONAL REVIEW OF GRAPHIC DESIGN

57 VOL. 7 SPRING 2005

2-D

/07/

eye M I

I

+ L

-

N M

A

INVERTE B RATE

B RAND

identity

system

Invertebrate is a unique educational experience for families in an atmospheric retail environment. The brand was developed from concept to execution. All parts of the retail environment were considered; including the creation of the business, market niche, store environment, etc. A visual kinetic system and logotype were developed and applied to packaging, a letterhead system, a product catalog as well as a book containing the research and development process and brand and graphic standards.

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

2-D

/08/ 2101 north front street | harrisburg, pa 17110 www.invb.com

003 - [A]

www.invb.com

001- P [ 717 + 232 + 6001 ]

[late summer-07]

002- F [ 717 + 232 + 6061 ]

manifesto A design philosophy was developed based on issues regarding the role of design. The written statement translated into the form of a book, or rather, a multiple-page document that reinforced and amplified the content.

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

2-D

/09/

Practice safe design, use a concept.

-petrula vronkitis

e n v i r o n m e n ta l

sig n ag e

/

b ran d

/

3 -D

e xp e r i e n ce

j u l i e v i n h / ju l i e vi n h @ gmai l . com / 9 1 3 5 6 8 7 3 5 7

JE DUNN c o n s t r u c t i o n pa r k i n g g a r ag e pa n e l s

Headquarters

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

3-D

/01/

l o c k t o n i n s u r a n c e o ff i c e e n v i r o n m e n ta l g r a p h i c s

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

3-D

/02/

coca cola (for new brand experience

meadowlands

sta d i u m )

The New Meadowlands stadium enlivens their space with various sponsorship experiences. Coca-Cola was a potential sponsor with a brand that allowed for opportunities to create impactful fan experiences.

j u l i e v i n h / ju l i e vi n h @ gmai l .com / 9 1 3 5 6 8 73 57

3-D

/03/

thank

you

t h a n k yo u f o r ta k i n g t h e t i m e to l o o k at m y w o r k . i lo o k f o r wa r d to s p e a k i n g w i t h yo u s o o n !

j u l i e v i n h / ju l i e vi n h @ gmai l . com / 9 1 3 5 6 8 7 3 5 7