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Mt.


Mt.

2014

Michael Taylor

Selected Work


Mt.

2014


Hi. The projects in this book are ones that I believe best represent who I am as a designer. I believe that design should be more than just selling things, that it can and should be a tool for change. I believe that natural forms are rarely improved upon, and that the simplest solution is often the best one.

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Thanks for looking.

CONCEPT

2014


Human Extinction 091

Harvest 073

Science of Coffee 055

Hawaiian 035

Set 023

Southpaw 001


2014

Creative Cloud 189

Linearity 169

Wise Sons 155

The Bitter End 133

Photos 115

Pure Luck 101

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Southpaw


Packaging 3 Sp2013 ¬

Tom McNulty

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Southpaw in San Francisco’s mission district offers traditional Southern BBQ and house-brewed beer. This project re-imagines their brand and packaging ¬

for a line of bottled beer.

OVERVIEW

As a brand with a real sense of humor, Southpaw’s packaging was a great opportunity to be irreverent. Drawing on Southern stereotypes, my design is based on illustrations of a dignified family from the Deep South. I strove “cheap” design with ironically rich ¬

details in a tongue-in-cheek fashion.

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to create a balance between low-brow,


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Set App


Graphic Design 3 Sp2012 ÂŹ

Jenny Ji

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Set, an app that functions as a daily planner and list-making tool, arose from the difficult challenge of creating a productivity app that stood out in a very ÂŹ

crowded marketplace.

OVERVIEW

My main goal in designing Set was to create a planner that was as sleek and minimal as possible. Using intuitive touch control and a bold typographic style, I was able to strip the design down to its fundamentals while still providing powerful functionality.

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Hawaiian


Identity 2 Sp2013 ¬

Tom McNulty

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Hawaiian is a complete re-imagining of the airline’s branding, including logo, brand guidelines, stationery and ¬

marketing material.

OVERVIEW

In designing for an airline, I wanted to create an identity that was at once trustworthy and fun. Drawing on my experience growing up in Hawaii, I set iconic objects of the islands against bright colors to create simple images that immediately remind the viewer with clean typography suggests both ¬

safety and responsibility.

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of the Aloha state. Coupling that look


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Science of Coffee


Packaging 3 Sp2013 ¬

Tom McNulty

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The Science of Coffee is a theoretical line of products released by the California Academy of Sciences, as part ÂŹ

of their popular NightLife event series.

OVERVIEW

The concept behind my design was to treat the packaging as display cases: as part of an educational exhibit, the packaging should be reminiscent of the museum itself. This approach allowed the products themselves to be the heroes and for the packaging to play its Bright gradient bases for the products soften the sterility of the look, and produce interesting reflections on the ÂŹ

acrylic cases and glass pieces.

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role by fading into the background.


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Harvest


Personal Project Sp2014 ÂŹ

w/ Julia Lemke

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DESC


Harvest, a collaboration between myself and Julia Lemke, is a cookbook and photoset that was envisioned as a way to organize and share recipes ÂŹ

of our favorite meals.

OVERVIEW

Photography, a passion for both Julia and myself, is the driving force behind the design of Harvest. The identity and typography is left intentionally simple to direct attention toward the imagery. Imperfect and raw, the photography

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honest and appealing.

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and styling was meant to feel personal,


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Human Extinction


Graphic Design 3 Sp2012 ÂŹ

Jenny Ji

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The Human Extinction Movement is a group arguing for the voluntary phasing out of the human race. This project proposes a new identity and website for ¬

the movement.

OVERVIEW

The narrative possibilities of the web are something that are being explored and pushed every day as the medium evolves. As an inherently extreme idea, it was an interesting challenge making Human Extinction’s goals and the gravity of the concept while still remaining appealing and approachable. I used relative density and sparsity of images to create a narrative arc as the ¬

user progresses through the site.

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arguments clear in a way that reflected


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NO, YOU DON’T HAVE TO KILL YOURSELF.

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WHY THIS M ATTER S

T H E A RG U M E N T

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There is a theory in evolutionary known as the “super-predator” theory, which states that periodically a predator will evolve that is so adept at hunting its prey that it will literally decimate their population. This in turn leads to its own decline, as its population explodes and its resources disappear. Humanity is reaching this point. The only difference is that our efficiency has reached such a level that we threaten to take down not only one or two prey species, but all of earth’s ecosystem.

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NO, YOU DON’T HA TO KILL YOURSELF

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OUR MIS S ION

The Project is a movement, made up of people who care about life on planet Earth. It is not full of misanthropes and anti-social, Malthusian misfits, taking morbid delight in death. Nothing could be farther from the truth. Voluntary human extinction is the humanitarian alternative to human disasters. We do not believe in suicide, or eugenics, or any involuntary means of reducing the birth rate (or increasing the death rate). We believe, simply, in voluntarily deciding not to reproduce. It’s easy to forget that another way to bring about a reduction in our numbers is to simply stop making more of us. The idea of all of us voluntarily refraining from procreation is often dismissed without much thought. However,

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OR DO WE CHOOSE IT OURSELVES?

work through the various socially-instilled blocks to clear thinking, we will arrive at virtually the same conclusion: we should voluntarily phase ourselves out for the good of humanity and planet. When every human chooses to stop breeding, Earth’s biosphere will be allowed to return to its former glory, and all remaining creatures will be free to live, die, evolve (if they believe in evolution), and will perhaps pass away, as so many of Nature’s “experiments” have done throughout the eons. The Human Extinction Project is not about death. It is about life, and the future of our planet.

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TH E A R GU M E N T

QUESTION

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IF WE ONLY PRODUCE TWO CHILDREN, DOESN’T THAT JUST REPLACE OURSELVES?

The so-called of 2.1 offspri bring about t growth until due to mome The notion descendants is specious. W don’t spawn us “replaces”

| » With Birth Rates Falling, How Can Our Population Keep On Steadily Rising? » Will lower infant mortality rates cause lower total fertility rates? » Does a growing economy require a growing population?

M O R E O P TI O N S

Human Extinction

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WHAT THE FUCK?

if any of us thinks about the situation long enough, and makes the effort to

c t ion proj ec t

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Pure Luck


Packaging 2 Sp2012 ÂŹ

Christine George

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Pure Luck Farm & Dairy is a high-end, organic cheesemaker from Austin, Texas. This project is a redesign of their ÂŹ

packaging and identity.

OVERVIEW

The design for Pure Luck incorporates a hand-lettered identity, suggesting the artisanal quality of the cheese itself. The design aesthetic I adopted is a take on classic typographic packaging styles, which is meant to represent both tradition and change. The organic, is emphasized by the production process of the wheels: the boxes are left raw, ÂŹ

with a laser-etched design.

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down-to-earth aspect of the brand


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Photos


Photography ¬

2013—2014

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DESC


This is a small sample of my personal ÂŹ

photography of the past several years.

OVERVIEW

A growing passion, photography goes hand-in-hand with another of my passions: exploration. Highlighted here are my favorite shots taken while traveling and exploring in California and Hawaii. Space, scale and quiet are ÂŹ

common themes in my photography.

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The Bitter End


Visual Systems 1 Sp2013 ÂŹ

Nicole Flores

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The Bitter End is a fictionalized version of a classic British pub in San Francisco’s foggy Outer Sunset district. This identity project includes branding, print, web ¬

and interior design.

OVERVIEW

Inspired by the name and the iconic character of British pubs, The Bitter End is a gritty humorous brand. Based on the idea of a pub that would stubbornly outlast any trendy upstarts, the look is both classical and solid. Using various brand that pokes fun at trends and the ¬

cyclical nature of style.

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different visual styles, I created a


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who we are events

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beer list food contact

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Almanac Honey Saison 6

Anchor Summer 5.5%

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New Belgium Rolle Bolle 6.5%

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The Bitter End


11:30aâ&#x20AC;&#x201C;02:00a D A I LY

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415.221.9538

4035 judah street san francisco, ca 94122

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4035 judah street san francisco, ca 94122

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Wise Sons


Packaging 2 Sp2012 ÂŹ

Christine George

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Wise Sons is a Jewish Delicatessen in San Francisco, catering to a young and not-strictly-Kosher audience. This project includes an identity refresh ÂŹ

and a line of packaged goods.

OVERVIEW

The design I created for Wise Sons is inspired by tile patterns. These patterns, boiled down to geometric tessellations, are a way to merge the old and the new. The patterns are used as backgrounds for similarly classical typographic labels. of cohesiveness among the various ÂŹ

and disparate products.

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A strong design system creates a feeling


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Linearity


Typography 3 Sp2012 ¬

Ariel Grey

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Linearity is an experimental typography book, designed to showcase the Loop ¬

line of paper by Mohawk.

OVERVIEW

Inspired by the name “Loop,” this book is a philosophical exploration of the idea of time. Using the static nature of a printed book as my backdrop, I wanted the structure of the book to reflect its contents. Elements will loop back on themselves, freeze in place, or otherwise play with their expected trajectories. slit-scan, captures time in a flat form, merging video and still photography ¬

in one visual style.

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The photography, using a style known as


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Michael Taylor / 2014

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32 llits doots evah ot sratS dexif eht lla esoppus uoy fI dluow emiT fo noitrop tsael eht ton ;gninnigeB rieht morf gnol os ,seunitnoc tseR eht sa gnol os rof siht yb tsol eb tsrif llac yam ew tahw eb yam erehT .dewolf noitoM siht sah ot drageR htiw( ,rehtegot gnidne dna gninnigeb ,tsal dna ni neve )sgnihT fo ecnaraeppasiD dna ecnaraeppA tsrif eht naht tcefrep erom dnim emos hcihw ytiliuqnarT fo etatS taht .dneherpmoc ylbissop yam sruo 42 -nauQ etulosba era sevlesmeht sedutingaM sa tuB ew deedni ’oht ,erusaeM fo sdniK lla no tnednepednI smut ;meht erusaem ew sselnu ,si ytitnauQ rieht tahw llet tonnac dnif ot redo ni ’oht ,flesti ni mutnauQ a esiwekil si emiT os ruo ot noitoM ni llac ot degilbo era ew ,ti fo ytitnauq eht dna meetse yam ew yberehw erusaeM a sa ,ecnatsissA elbarusaem sa emiT suht dna ;ti fo ytitnauQ eht erapmoc ti ,tseR ta eunitnoc ot erew sgnihT lla fi rof ;noitoM seifingis reveostahw dohteM yna yb tuo dnif ot elbissopmi eb dluow dluow segA lareves eht dna ;d’spale sah emiT hcum woh .dehsiugnitsidnu dna ylbitpecrepmi no llor 52 thgir a yb emiT sserpxe syawla llahs erofereht eW tub ,erusaelP ta nwod dial ro nekat ,deedni ,tsrif ;eniL straP elbanoitroporp eht ot rewsna yltcaxe lliw straP esohw ,emiT fo stnatsnI evitcepser eht ot od stnioP sti sa ,emiT fo ”.emiT rof hcum suhT .meht tneserper ot evres yltpa lliw dna

09:05:17

09:02:04

09:01:00 09:01:05 09:01:48

09:00:00

the arrow

Mt.


- - - - -

CONFIG2

CNNCTING[1,3]

Unt ex es ad quas

Quias quis

Ut unt estruptasit

Laut veni nimilictur

Quia quunt

Pro vellut modiatur

Dus illuptatur,

Temo estionsed evel

Bis utem

- - - - -

ESTABLISHED

00:00:02

-

- - - - - - - [1,5]

- - - - - - [1,4]

-

- - - -

- - - - - - - - - -

-

01 01

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01

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03

02

01

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02 02

01 01

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01

05:90:50

called the time system. We will consider whether time might have the following topological properties among others: closed; open non-ending (non-ending and non-beginning), and branching. It is easily seen that if we were to represent this structure by perfectly elastic cords the properties in question would be preserved under stretching, contracting and bending, so long as the cords are not torn. To display fully the contrast between topological and metrical properties in the case of time, reference must be made to the notion of a metrication of time, a detailed exposition of whichto come. A metrication of time provides a systematic way of assigning dates to the beginnings

00:00:01

No matter how you twist, bend or otherwise distort this object, so long as the surface is not broken or torn, it will remain a torus. For our present purposes we want to contrast topological properties with metrical properties which are properties whose explication requires reference to some quantitative measure of distance and are not in general preserved under all one-one continuous transformations. For instance, the volume of a torus is a metrical but not topological as it is not preserved if we bend and twist the torus. I have referred to the notion of a structure. For present purposes we can understand a structure as an ordered set. In the case of time, the set is the set of all temporal items ordered by the various temporal relations defined on that set. An investigation of the topology of time is then an investigation of the topological properties of this structure which I have

00

03

-

- --

01

[1,5]

00:02:00

00

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FTING[5,8]

- - - - - - [8,5]

-

00

01

00

05

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00

14

CONFIG2

- --

00

00

00:00:02

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00:00:01

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SET V_14

44

45

97

99

E V E N T S WH I CH W E THI NK O

84 fo eurt eb ot esoppus dluohs ew yrtemoeg hcihW -sevni lacisyhp a fo sisab eht no dediced eb ot si dlrow siht htiw repmat nac ew niev ralimis a nI .dlrow eht fo noitagit ylimaf a edivorp ot cigol esnet ro yroeht redro-tsrif nevig eht .emit fo erutcurts eht gninrecnoc seiroeht lavir tnetsisnoc fo seiroeht tnetsisnoc fo ylimaf a ecudorp nac ew ,si tahT ew I .seitreporp lacigolopot gnireffid evah sledom esohw -s e u q e h t d r a g e r l l i w e w y r t e m o e g h t i w y g o l a n a s i h t t p e c c a eno laciripme na sa emit fo erutcurts lacigolopot eht fo noit eht fo snoitagitsevni ot ecnerefer yb dediced eb ot si hcihw ,sretirw ynam yb detpecca si ygolana sihT .dlrow lacisyhp :smialc ohw mantu P gnidulcni 94 -l i h p y n a r e g n o l y n a e r a e r e h t t a h t e v e i l e b t o n o d I “ eht ylno si ereht ;emiT tuoba smelborp lacihposo lacisyhp tcaxe eht gninimreted fo melborp lacisyhp -noc emitecaps lanoisnemid-ruof eht fo yrtemoeg ”.tibahni ew taht muunit 05 emit taht gniugra ni tnaK dewollof evah srehtO .ytissecen fo rettam a sa ygolopot dradnats eht sessessop redro-tsrif a fo noitaterpretni on taht demialc si ti ,si tahT eht naht rehto ygolopot a sah ledom eht hcihw ni yroeht ni noitaterpretni na sa fo thguoht eb nac ygolopot dradnats deurtsnoc era yroeht eht fo setaciderp lanoitaler eht hcihw :setirw enrubniwS .snoitaler laropmet gnitneserper sa 15 lanoisnemid-eno ,euqinu ytissecen fo gnieb ,emiT“ -ot euqinu a ytissecen lacigol fo sah ,etinifni dna

32 ,amswuoB dna nnamsiaW ot gnidrocca ,smees tI yadyreve ruo fo yttirg-yttin eht ni wollaw ot thguo eno taht eht fo sevlesruo egrup ot ybereht gnipoh ,klat laropmet rof gnitseuq eht si motpmys esohw dnim eht fo ssenkcis eseht fo rehtie gnicarbme erofeB .seitilareneg etamitigelli 10 ylpmis si ksat eht taht rehtie—sevitanretla elbatalapnu 10 _A si ti—lla ta ksat etamitigel on si ereht taht ro su dnoyeb - cartni s’emit fo secruos eht no ylfeirb tcelfer ot evitcurtsni .ytluciffid siht ot su sdael taht si ti tahw tsuj ;ytilibat 42 ew gninethgilne ylbirret eb ot gninaem tuohti W - opmet fo metsys a si emit taht yas yllufhturt thgim dnatsrednu ew smeti laropmet yb erehw smeti lar 30:61:61 .no os dna snoitarud ,stnemom ,stnatsni ekil sgniht ,hturt sti gnitnarg neve ,ecnis gninethgilnenu si sihT ni emit fo noiton erucso eht rof gnitnuocca era ew fo snoiton erucsbo erom ton fi yllauqe eht fo smret .snoitarud ,stnemom ,stnatsni 52 ,era su fo tsom smeti laropmet eseht ot drager hti W - om lacihposolihp-non nI .enitsuguA ekil rehtar ,tcepsus I dna thguoht ruo fo noitaemrep eht dna raelc si lla stnem reirrab on si smeti laropmet ot ecnerefer htiw noitasrevnoc sevlesruo ksa ylno deen ew ,revewoH .noisneherpmoc ot mees ot lla rof era stnatsni tahw tsuj tnemom eldi na ni hcihw fo meti fo epyt yna lareneg ni roF .erucsbo yllatot citamelborp ssel smees secnatsni evig ylevisnetso nac ew tuohtiw klat ew hcihw tuoba meti tcartsba fo epyt yna naht fo eutriv ni ,smeti laropmeT .selpmaxe yalpsid ot elba gnieb smeti naht citamelborp erom mees ,smeti tcartsba gnieb hcihw htrof os dna secnerrucco ,sessecorp ,stneve ekil ecneirepxe evah nac ew roF .emit ni gnieb sa fo kniht ew -mi eht pu llac ew ,ekil-emuH ,fI .tros rettal siht fo smeti fo eht ecudorp tseb ta ew ,tnemom ralucitrap a fo noisserp .tnemom eht ta deneppah taht tneve emos fo egami dedaf ruo sedule yleritne flesti tnemom eht luos naemuH eht ekiL01:81:61 tcartsba fo metsys a gnieb fo eutriv ni ,neht ,emiT .psarg .ytixelprep lacihposolihp fo ecruos hcir a si ,smeti laropmet fo tnuocca lareneg yrotcafsitas a tcepxe ew ,yltneuqesnoC tuoba gniklat era ew tahw fo tnuocca na edulcni ot emit .smeti laropmet eseht tuoba klat ew nehw - - - - -

CONFIG2

CNNCTING[1,3]

- - - - -

CONFIG2

CNNCTING[1,3]

04

17:01:01 17:01:03

16:20:58

16:14:14

the

16:14:0116:14:01

16:01:01

16:30:07

of time

01 detneserper gniredro eht ni ecnereffid a si erehT sdloh ti noitaler ecnelaviuqe na eb lliw T sa tub ,evoba eht evircsed tonnac ew dna stnatsni fo riap yna neewteb - aer fo enil ralimis A .T gnisu II dna I neewteb ecnereffid ot etauqeda si noitaler mret-eerht on taht wohs lliw gninos ew ,revewoH .II dna I neewteb ecnereffid eht tneserper ruo sa ecudortni ew fi emit desolc ni redro eziretcarahc nac -pes-riap fo noitaler ecalp-ruof eht noitaler laropmet cisab 30:00:61 ,stnatsni fo riap eht‘ rof ’)W,Z/Y,X(S‘ etirw lliw eW .noitara ereht ,si tahT ’.W dna Z stnatni fo riap eht etarapes ,Y dna X a ro Y ton tub X hguorht sessap hcihw W ot Z morf etuor a si .X ton tub Y hguorht sessap hcihw W dna Z neewteb etuor 11 -erper erutcurts eht fo esac eht ni sliaf moixa ehT -apes ton si )D,C( riap eht esuaceb A yb detnes 00:04 C morf etuor on si ereht roF .)A,A( riap eht yb detar 90 deifsitas si moixa ehT .A hguorht sessap hcihw D ot yb nees eb nac sa B yb detneserper erutcurts eht ni ,ecnatsni roF .sesac elbissop lla fo noitanimaxe na eht yb detarapes si )D,C( riap eht ,esac no ekat ot hcihw D ot C morf etuor a si ereht roF .)A,A( riap .A hguorht sessap 21 -arapes-riap laropmet fo noitaler eht seod ylno toN ,emit nepo dna desolc neewteb hsiugnitsid ot su wolla noit ni nevig sredro eht neewteb etaitnereffid ot etauqeda si ti eht setarapes )C,A( riap eht ,I ni roF .II dna I smargaid riap eht etarapes ton seod )B,A( riap eht dna )D,B( riap

03 04 03

As re reperna tectur

02 03 02

03

03

02

08

01

Vendenim qui

Quuntem quo et pe

04 04

03

Oditendic teces

Saestem porepudit

02

01 01

04 04

02 02

01

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03

02

01

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02 02

01 01

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01

Venim sit elesti

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01

03

03

04 04

02

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08

01

02

01

04

02 02

01 01

04

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02

01

Quibus

Unt ex es ad quas

Quias quis

Ut unt estruptasit

Laut veni nimilictur

Quia quunt

Pro vellut modiatur

Dus illuptatur,

Temo estionsed evel

Bis utem

- - - - -

ESTABLISHED

00:00:02

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ESTABLISHED

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-

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00:00:01


Mt.

Pr12

2014

189

Creative Cloud


Personal Project Sp2014 ÂŹ

w/ Julia Lemke

190

CLASS


Creative Cloud is a collaborative project reinterpreting the Adobe’s Creative ¬

Cloud identity for a student audience.

OVERVIEW

Working with Julia Lemke, Tolleson Design, and the Adobe Studio team, our task was to create an identity that embodied the spirit of experimentation and learning. We created a series of installations that re-imagined the Creative Cloud identity in a variety of styles and mediums, each form inspired itself. The pieces are meant to be seen as a set, with the wide variety of forms ¬

creating a synthesis of disciplines.

CONCEPT

Creative Cloud

191

by different attributes of the cloud


192

Mt.

Michael Taylor / 2014


Pr12

193

Creative Cloud


194

Mt.

Michael Taylor / 2014


Pr12

195

Creative Cloud


196

Mt.

Michael Taylor / 2014


Pr12

197

Creative Cloud


198

Mt.

Michael Taylor / 2014


Pr12

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Creative Cloud


200

Mt.

Michael Taylor / 2014


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201

Creative Cloud


Mt.

Michael Taylor / 2014


Pr12

203

Creative Cloud


¬

Michael Taylor Design +1 415 887 1973 mt@ aic-ixh-xan.com IG: @ixhxan

204

CONTACT


100# Finch Fine ¬

ID Text Stock

STOCK

Brown Pro ¬

Magda Clean Mono

TYPEFACES

Giant Horse Printing 1336 San Mateo Ave. ¬

San Francisco, CA 94080

PRINTING

The Key Printing & Binding 1934 Park Blvd. Oakland, CA 94606

BINDING

¬

© Michael Taylor, 2014

COPYRIGHT

Production

205

¬


¬

Thanks

206

FOR EVERYTHING


Mom, Dad & Laura Jules Caitlin Matthew Wakeman Sami Saaud Mary Scott Tom McNulty Jenny Ji Nicole Flores Christine George Ariel Grey David Hake Julia Brown Bryan Houlette Eleven Inc. Adobe ÂŹ

Tolleson Design

ET CETERA

Acknowledgments

207

Roland Young


Mt.

Š 2014 Michael Taylor


Michael Taylor—2014