/ Quote un Quote / Growing up in monster of a town, Mexico City saw me evolve around a contemporary wave of thought, fighting the traditional ideologies of a culture. Always having an eye for art, from an early age, fomented by a painter grandfather, and a crafty mother, I lived my life through visual elements. Design is an art, and it has been crafted in my DNA. I have created habits to make everything better with design, and I’ve learned that good design can be applied anywhere. The best tool that I have at my disposal is my resourcefulness, and ability to think that you can make anything happen, both of which were acquire through experiences in my hometown. I believe that if you have an idea it can become a reality, there is always a way. Design works the same way if you have a vision, an idea that you truly believe on, no matter what everyone says, there is always a way to make it happen.
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STANDARD11
H I G H E N D F O OT B A L L M AG A Z I N E
CLIENT / Standard 11 COURSE / Page layout PROJECT / Magazine ART DIRECTOR / Sean Bacon Standard 11, an independent style publication about football culture. Target audience are football players and fans from twenty five to fourty five years old. Standard 11 is unique to football, it portrays the cultural side of football through beautiful photography and intelligent journalism. Standard 11 has an elegant layout to display its photograhy, with contemporary typography which enhances its smart journalism. Standard 11 strives to be the standard for football publications.
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fall/winter $20.00
A EXANDRE P A T O RONALDO
BEDFORD
HILLTOUT
LURIC
MISSONI
FRANCE
TIGA
TIEMPO
VAPOR
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_iphone chronicles from the editor
Xolos first champonship after a year in the first division of the league.
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_letter from _the editor
football is a lifestyle
People always ask me what football means to me.
I finally have an answer “Standard 11.” This publication is the is our attempt to explain what football culture means, how it interacts with other forms or art like photography, fashion, music and so on. Lets face it, football is an art! Ronaldo, is our first feature in this issue, “the fenomeno,” “the number 9,” “the unstoppable,” my best memories of football up to date have been watching his amazing permoances and watching him resurrect to demostrate one of the greatest comebacks in sport history. We remince on his story and honor his greatness. Pato comes to the cover as Brazil’s future in football and a fashion icon in Italy. We Spoke to Ocatavio Missoni and Tiga on their football, how they are fans and how football effects their work in fashion and music accordingly.
Neil Bedford, one of the magazines greatest contributors, shows us football from a different prespective and makes us feel the passion for the sport. We also have to thank Nike for the exclusive on reaviling “the Sihuuette Blanche” and Boris Diaw for colabarating in telling how the French jersey affects culture and what it means to some of the most infuluencial French personalities and athletes. We were lucky enough to live the story of a team becoming champions as this magazines underway it construction and we share it in our chronicles. Football is a lifestyle and we enjoy it every day.
_Alan Ferguson editor-in-chief
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RONALDO
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“Il Fenomeno” by oliver plycroft
LA SHILOUTEBLANCECHE
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the new envormental boot GS
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Inside look into France new away Kit
_CONTENTS
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GREEN SPEED
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PATO
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Brazil youngest star by paolo bandini
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NEIL BEDORD
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Football Portraits football’s best photographer
OCTAVIO MISSONI
_CONTENTS
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words with missoni on his love for AC milan
TIGA
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music and football
THE AFTER PARTY
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fall fashions of the beautiful game
ZORAN LORIC
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the new wave of football posters
JESSICA HILLTOUT
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goals from around the world
on the cover
Alexandre Pato photography
Neil Bedford Levi’s shirt pants by Dolce and Gabana styling Mary Salas
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My career was beautiful, was wonderful I’ve had many defeats but infinate victories
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churlish and childish at points; when his Portuguese namesake began to supersede him, it became a lazy conversational norm to distinguish the Brazilian as ‘fat Ronaldo’. The distinction between the ignominy under which Ronaldo completed his career and the acclamation which accompanied its early promise is palpable. Quite simply, Ronaldo became a victim of his own meteoric success. He raised the bar of expectation so gloriously high at times that when he no longer had the physical properties to meet those standards, the backlash became as severe as the praise had once been glowing. a player who in his prime bristled with an almost otherworldly energy it was strange to witness the forlorn, weary Ronaldo who appeared in front of the worlds’ press announce his exit from football. In his sadness as with his joy, particularly in his wide toothy grin, there remained, something boyish about the veteran striker who was calling time on a long, colorful career. “My career was beautiful, was wonderful” he said through tears “I’ve had many defeats but infinite victories” The announcement served not only to put the seal on the remarkable record of a three-time world player of the year, who remains the World Cup’s highest ever finals’ goal scorer, but also had undergone to prove through the years he was still relevant; that he was still the same player who, by the age of twenty-three, had the world firmly at his feet. The interrogation and assessments he suffered from both fans and press as his abilities dwindled over time were often of the cruelest kind and pursued too, with a wanton vigor. The attention paid to his weight especially, became _6
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During the press conference he spoke of his body finally failing him, of the battle against a welter of injuries becoming unwinnable. He admitted that the schism between his own expectations and
capabilities had finally become unbridgeable. “I want to stay but I can’t.” he solemnly announced, “I think of a move but I can’t perform it as I want to. It’s time.” It was indicative of the painful epiphany many professional sportsmen experience in the final moments of a career; the mind finally registers an inertia that the body has been whispering about for a while and the message is deafening. For sporting greats, the effort to
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2 > F I F A / W O L R D / C U P S > > > > 3 < F I F A ^ P L A Y E R / O O / YEAR 1 5 G OA L S / I N / WOR L D < C U P S
continue past their prime often presents us with a post-script to greatness that is difficult to view. One only has to think of Michael Jordan’s exasperated final season at the Washington Wizards, in a team that could no more carry his expectations than he could any longer raise theirs, or remember the beatings that Muhammad Ali took in the twilight of his career against opponents half as mean as George Forman or Joe Frazier. There is a point where mental effort can no longer span the gap and in the exhaustion of belief the exit door suddenly, finally, swings open, and only the most delusional could possibly refuse it.
world. His career was consequently seen, by some, as one of missed opportunity; unfulfilled in-spite of his remarkable achievements. It is true that for all the trophies he did collect, the Champions League remained beyond his grasp and for the fans of clubs who shared in this depravation, those of Real Madrid specially, Ronaldo was accused of failing them as well as willfully vandalizing his gifts through neglect. The more balanced view though, the one that stands without the hyperbole and hysteria surrounding his weight and his womanizing, is that the Brazilian was only able to continue
“<<but now I believe I can win back what I lost>>”
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t was clear the jaded emotion of his announcement that Ronaldo had reached this point but the demise that led to the end was, for him, a greatly drawn out process, extraordinarily so in fact. Ever since the first serious knee injury he suffered at Inter Milan as twenty-threeyear-old, its arguable that his ability had been in decline. In fact, it was under the palpable threat of extinction that he took his career to it’s heights; he was tournament top goal scorer in the World Cup winning Brazil team of 2002 after returning from an agonizing near threeyear lay-off. The constant interruptions of injury meant that he would never be permitted to mature as an athlete in the traditional sense; tempering experience with the physical maturity. Instead, he learned to succeed with the ever disappearing apparatus of his talent. If the exit door that waits patiently for every sportsman had been left ajar for a few years more for him, then there can be little doubt that he would have been mentioned in the same breath as the Ali’s and Jordan’s of this
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< < < “ T H A IL / F
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A N K / Y O U / / F E N OME N O” to succeed when his preeminence had deserted him because of a steely determination that belied a carefree, almost boyish approach to both his life and his profession. To carry him through retirement at the age of thirty-three it most be acknowledged that his passion for the game long outlived those early breathtaking capabilities. The talent Ronaldo came into the game so abundantly brimming with was of rarest quality. Even as a young teenager at Cruzeiro In Brazil he displayed an unusual mixture of power and finesse that would become his trademark.
A
mongst the hurly burly and brute force of his game there was a deftness of touch and a sublime engagement with pure imagination which thrilled fans. Poetry is nothing without purpose though, even in the ‘joga bonito’ of Brazil. And Ronaldo announced his brilliance as much through a profile return of goals as he did the style in which they were authored. At the first three clubs he scored at a rate of nearly a goal a game. He led Cruzeiro to their first Copa do Brazil and demolished the defenses of the Dutch league whilst undertaking what was supposed to be a period of sober adjustment to the less forgiving nature of European football with PSV. When he joined Bobby Robson’s Barcelona in 1996 it was difficult to overstate the potential that was seen in him. The frequent comparisons with Pele did not seem tenuous or sensational but rather expectant and moreover indicative that the superlatives had been exhausted as yet further praise was required. In his brief time in Spain he scored 47 goals in 49 games, some of which were so breathtakingly imperious in their execution that Robson continue page 36 fall/winter 2012
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France has a new skin
“ LA SIHO BLA
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OUETTE NCHE â&#x20AC;?
Nike + Standard#11 unveil collaboration with Boris Diaw, captain of the French national basketball team and passionate photographer to celebrate the launch of the new French Football Federation away kit.
photography
BORIS DIAW
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“in Paris your gonna see some style, french style”
ERIC JUDOR actor _14
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“white represents summer, joy, renewal... it means starting over in a way”
LOUIS BRODINSKI dj & producer
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“seeing a player all in white evokes for me a sense of timless elegance and simplicity”
LAURE BOULLEAU french football player _16
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â&#x20AC;&#x153;wearing all white gives the team a striking prescence, its strong and beautifulâ&#x20AC;?
STEVE NASH professional basketball player
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“elegance in sports, it’s being good at what you do and doing it with grace”
ALEX OLSON professional skater _22
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BORIS DIAW Boris, a photographer himself, invited renowned athletes and some personal friends from the world of fashion, cinema and music to take part in the
â&#x20AC;&#x153;I think that French elegance is above all, a way of lifeâ&#x20AC;?
Nike collaboration. And the results see a collection of photographs that celebrate the French elegance and design innovation of the new kit.
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words
PAOLO BANDINI photography
NEIL BEDFORD
Brazil and Milanâ&#x20AC;&#x2122;s young star has much more to come
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he world has not seen a lot of Alexandre Pato lately. Not on a football pitch, at any rate – though diligent showbiz correspondents continue to keep the world updated on the status of his relationship with the Milan owner and former Prime Minister Silvio Berlusconi’s daughter, Barbara. A thigh injury need not mean a prolonged absence from the gossip pages. Sadly, it can be rather more detrimental to a sporting career especially when it is just the latest in a long line of similar complaints. When Pato limped away from a Milan session days before the start of the new season, he did so carrying his 15th separate injury in two and a half years. The prognosis was not drastic team doctors predicting a three-week absence, but for a player that missed 34 games through injury last year any setback looks that little it more serious. This is not how it was supposed to be for Pato – a player who burst onto the scene at 17 with a goal on his senior debut for International and within a year had secured a transfer to Milan worth upwards of 20 million Euros. In between he had scored for Brazil’s under-20 team, too, and replaced Pele as the youngest-ever player to score at the Club World Cup. He arrived in Milan amid rave reviews from former teammates and coaches linked to just about every great Brazil forward of the past 50 years. The Brazil manager Dunga Joined in, but unlike many others also provided a caveat. “Pato is like the first Ronaldo. The same speed, the same sense of where the goal is,” he said. “But maybe he could have done with an intermediary step before joining such a big club, like Ronaldo did for with PSV and Ronaldinho with Paris Saint-Germain. _26
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“He is very young. It would be a shame if Milan’s fans thought they were going to see a decisive player right away like they did with Kaka. Ricky already had a few important seasons with Sao Paulo behind him when he arrived in Italy. Pato has only had a few matches. Patience is required. He must be protected.”
“Pato is like the first Ronaldo. The same speed, the same sense of where
the goal is,”
Milan were not listening. Having signed Pato in early August 2007, they were unable to field the player in official matches until January, on account of FIFA regulations governing the transfer of non-EU minors. But the club made no effort to play down his potential impact in the meantime.
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“[Carlo] Ancelotti has only ever called me twice to tell me that we have signed a special player,” claimed Milan’s vice-president Adriano Galliani of the then manager. “The first one was Kaka and the second is Pato. He has already bet on him to win next year’s Ballon d’Or.” Silvio Berlusconi himself claimed Ancelotti had promised him that the striker would notch 30 goals between January and June.
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ut if that was more than a little over the top then the truth is that when Pato finally did see the field he did not look like a player in need of a lesser league apprenticeship. He once again scored on his debut, helping Milan to a 5-2 win over Napoli at San Siro; and would have finished the season with nine goals from 18 league appearances. It was enough to make him his team’s third-highest scorer for the season, behind Kaka and Pippo Inzaghi. It had been a steep learning curve, but one Pato seemed to relish. “[Cristian] Ledesma from Lazio provided me with a baptism,” he told GQ in May 2008 as he reflected on the start to life in Serie A. “What a scissor tackle! I will never forget it. But I like playing like this, you grow that way. In Brazil you take the ball and you can go 20 seconds with your head up thinking about what to do with it. Here after three seconds if you don’t pass it, Ledesma’s coming!” fall/winter 2012
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Pato, after all. Had overcome greater obstacles than this one. If relocating half way around the world might have sounded daunting to many 17 year olds, then it seemed rather less intimidating to a kid who had already taken the decision at 13 to leave his family in Pato Branca behind and move to the city of Porto Alegre 600km away. Even by the stage his career might already have been over. Pato has spoken of knowing that he was good
enough to have his career in football as early as the age of 11, but that was the same age at which he was also told he might have to lose a limb. After he had fractured his left arm playing football, doctors discovered a tumor “the size of two eggs” while examining the injury. “It was not incurable I didn’t run the risk of dying, but if it hadn’t been operated on in time, I wouldn’t be able to do now the thing I enjoy the most, playing football,” Pato told Sportweek magazine in November 2010. Although the tumor was benign, he had been advised that if they did not remove it when they did, the arm would eventually have had to be amputated. _28
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Pato’s family could not afford the surgery, but his doctor, Paulo Roberto Mussi, agreed to perform the operation for free outside of his normal hours. Since turning pro, Pato has regularly given the doctor the shirts he wears in his most high profile matches as a means to say thank you. The striker has certainly had some remarkable games in a Milan Shirt, too, most notably scoring two goals in a 3-2 win over Real Madrid at the Santiago
Bernabeu in October 2009. He also opened the scoring for Milan after just 24 seconds of a visit to Camp Nou last September tearing through the heart of the Barcelona defense at such pace that the hosts’ manager Pep Guardiola protested afterwards even Usain Bolt couldn’t have kept up. It was a goal that summed up Pato at his best direct, explosive and clinical. A single-minded goalscorer, he does not conform to the classic image of a Brazilian forward eager to entertain his audience with feints and flicks. Then again, his teammates would tell you he falls short of other national stereotypes, too. continue page 37
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all conditions
GREEN SPEE The NIKE GS2 features a classic black and white upper that contrasts with bold All Conditions Control (ACC) insignia with a safari print found on some of Nikeâ&#x20AC;&#x2122;s most iconic shoes. Conceived and engineered in Italy using renewable and recycled materials, every component
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has been optimized to reduce weight and waste. It features recycled and renewable materials throughout the upper and plate design. The boot laces, lining and tongue are made from a minimum of 70% recycled materials; creating Nikeâ&#x20AC;&#x2122;s lightest (160 grams) greenest football boot ever made.
ED
High performance chassis with a strong responsiveand agile form. The sole plate is made of 50 percent renewable Pebax速 Rnew (a plant derived material made with 97 percent castor beans) and 50 percent TPU, made from renewable materials. The traction plate includes a minimalist diamond-silhouette spine, which provides optimal flex and agility in plate performance.
A solvent-free KangaLite synthetic toe box provides zonal reinforcement for exceptional touch and control. The synthetic upper also supports lockdown on midfoot and arch area. The lightweight sockliner has no topcloth or screening, eliminating additional weight, materials and processing.
Anatomical and asymmetrical heel counter and heel bucket locks the foot down for stability and support. The counter is made of Pebax速 Rnew, derived from castor bean oil. Anatomically positioned studs maximize speed in multiple directions to ensure responsive and assured movement on pitch.
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photography neil bedford
words paul ferguson
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paul Was your father French Canadian?
tiga No, he was from New York, but he was living in Montreal. that was my first exposure to it. And then in India… we used to go to Goa every year, I think I told you that once… in Goa there was always a little freak world cup. That’s kind of what it was. Italian traveler types and the Isrealis againts the local teams.
paul Barefoot?
tiga No, they had shoes, they took it pretty seriously. Until the chillums came out at half-time… So as a kid I saw that,
paul You’re from Montreal, hardly a hotbed of football fanaticism. How did you first become a fan?
tiga When I was young my dad was into football. And he played. In fact he still plays, which is a bit weird. He’s not very good. I mean he’s ok, but he came to it quiet late, and I don’t really know how. He fell in with a bunch of Jamaican league in Montreal and I was always exposed to it a little bit.
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it was all around. But what you have to know is that in Montreal ice hokey is a religion. I mean it ‘s just, that’s it. I mean there could be nuclear was and it would still be on the front page. I guess it’s like football over here, except even more so cos there’s even less competition with it. In Montreal we have the New York Yankees of the ice hokey world, the Barcelona; the Montreal Canadians. So I was exposed to football that way, but in terms of seeing the the professional game all we got in Canada was World Cups. That was the only thing that was on TV. T he first time I can really remember getting into it was a probably Italia 90, and for some reason we always seemed to be for the Italians. It was either the Italians or the English. No particular allegiance. That’s one of the things I
enjoy about soccer, because I’m from Canada I’m free to pick and choose.
paul What can you remembers about World Cup 90 ?
tiga Baggio and his haircut, I fell in love with Canniggia, the guy who played with Maradona. I loved his hair, e looked so good and I heard he partied… In terms of the football back then I got the standard storylines; that, for instance, the Germans are efficient and do well international competitions, but they haven’t much flair. I guess you can get the distilled essence of the game. Like the tragic side to the English, that was when Stuart Pearce missed the penalty kick right? also remember the
ridiculous logo, that Lego-looking guy. So I started to get into it at Italia 90. I played a little at school but I wasn’t very good. I wasn’t very fit. I didn’t have the stamina. And in terms of coaching at school, it was an afterthought. Like you run and that’s it. But then there was France 98. And that was a big deal, because where I live, all French people felt this allegiance to the country. Basically Montreal was split between the football supported in the immigrant community – which is huge loads of Portuguese, loads of Italian, loads of Greek – and the all loved to support Brazil. As did anyone who thought they were cool- hey look at the women- and for us. French was everything we hated. It was the establishment, it was Quebec, with their little flags.
paul Did the fact that the French side were Multi-ethnic endear it to multi-ethnic Montreal?
tiga No, I was lost on us… We just remember that when France won it was a really lame parade compared to when the Brazilians won. When they won we’d all ne out on the streets. When soccer became a real thing for me though was when I started to play myself. I started to play in about 96 and fell in love with playing. Then when I started to travel as a DJ in 2001 it changed again because – and I know this is a cliché – it was the international language. I’d be in a different city every night and it became a short hand. I call it taxi driver talk. And I like it. I like to arrive in a city, say Istambul, and try to guess whether the guy was Galatasaray or Besikitas. Just those little things.
paul How would you tell? What were the tics?
tiga To be honest, the Turks are a mystery to me.
paul Let’s say you’re in Rome then. Or Madrid.
tiga Any answer to this question is barely veiled racism, [laughs] It’s all pseudo 19th century psychology. continue page 38
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special edition nike x standard 11
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SOULWAX
S P E C I A L E DT I O N A L B U M P AC K AG I N G
CLIENT / Soulwax COURSE / Book Arts PROJECT / Book Packaging ART DIRECTOR / Andrea Singer Special edition packaging for the band Soulwax, to their album â&#x20AC;&#x153;Part of the Weekend Never Dies.â&#x20AC;? The Audience for this product is music lovers from eighteen to thirty five years old. This extravagant yet smart packaging, portrays the bands personality, quirky and adventurous, with a taste for all types of music. All this was achieved with the use of flat images making a 3D image when the box opens.
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ADIOS CLICHES
M E X I C A N F I L M F E S T I VA L
CLIENT / Adios Cliches COURSE / Page layout PROJECT / Poster ART DIRECTOR / Sean Bacon Poster for the Mexican Film Festival â&#x20AC;&#x153;Adios Cliches,â&#x20AC;? Film Festival that travels around various cities. For all ages that enjoy filmography, this poster is intended to portray the personality of a contemporary Mexican culture, rather than the cliches, and still be able to draw from the history of the culture. The color palette was inspired by a zarape artesanal from Oaxaca, with a contemporary twist. The tiling effect on the branding portrays the colonial and beautiful cities in Mexico that to this date still use.
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ALANFERGUSON // INFLUX COFFEE
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INFLUX COFFEE
COFFEE & ROASTING BAR
CLIENT / Influx Coffee COURSE / Logo and Packaging PROJECT / Logo redesign ART DIRECTOR / Amy Levine Influx coffee, a gourmet coffee house and roaster specializing in well made coffee. For everyone that loves coffee. The minimal design and typography mimic the building that house the coffee house and its wearhouse. The building is intended to be inviting and inovative just like their coffee, with the use of large spaces with a lot of natural light and windows, so that you can see the process of coffee making when your outside. The logo is a play on the name, and the patterns are drawn form that.
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ALANFERGUSON // ENOTECA
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ENOTECA
H OT E L A N D F I N E W I N E S
CLIENT / Enoteca COURSE / Logo and Packaging PROJECT / Boutique Hotel ART DIRECTOR / Amy Levine Enoteca is located in the heart of Valle de Guadalupe, near Ensenada Mexico. Enoteca is a place to drink wine and relax, providing wines from the region. A soon as you make the drive up hill, your astonished by the juxtapox of the beautiful architecture against the environment. The color palette is a contrast of the reds and browns provided by nature at this amazing place. The branding itself is fun but minimal, and keeps in line with the design of the rooms with patterns on the walls, and geometrical figures reflecting the arquitecture.
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ALANFERGUSON // JESUSDAPNK
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JESUSDAPUNK
ALBUM ART WORK
CLIENT / Jesusdapunk PROJECT / Album Art ART DIRECTOR / Alan Ferguson PHOTOGRAPHY / Rodrigo Trevino Jesusdapunk, new identity came together as we worked on his album artwork for â&#x20AC;&#x153;Sanity.â&#x20AC;? His new work reflects a darker self, with minimal beats and hard techno. The art work is a reflection of his insanity in order to create sanity in his muisc, it portrays its darkness in a very elegant way. The use of dynamic typography in his stage graphic work, juxtapoxing the traditonal typograhy of his name. The use of materials like UV spot printing on the case makes the patterns of marmol pop and create a sanity of darkness.
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ALANFERGUSON // MAX KISMAN
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MAX KISMAN
MU S E A M E X H I B I TO N
CLIENT / MCASD COURSE / Typography PROJECT / Poster ART DIRECTOR / Amy Becraft This poster is a reflection of the thinking of Max Kisman, simple but complex at the same time. His smart designing is reflected in the use of typography to achieve complexity in its shapes but simplicity in the acutal design. Costume typface design for his name reflects his personality in a very clean minimal interpretation. The use of two simple colors was intended to create an illusion that designing is easy, but complex all together.
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ALANFERGUSON // MAX KISMAN
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ALANFERGUSON // MAX KISMAN
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ALANFERGUSON // MAX KISMAN
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ALANFERGUSON // MAX KISMAN
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ALANFERGUSON // STANDARD11
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L’ARTISTE COLLECTIVE
ART J OURNAL
CLIENT / L’ Artiste Collective COURSE / Portfolio Building PROJECT / Magazine ART DIRECTOR / Sean Bacon L’ Artiste Collective is an art publication intended for artist by artist. The publication reflects abc art through their logo and mark, with its simple geometric shape. The layouts are smart with hints of offset, displaying beautiful photography. The quarterly publication includes journalisim in five areas, music, painting, design, photography, and fashion. L’Artiste collective embraces the new and up and coming artist with its contemporary look.
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ALANFERGUSON // L’ARTISTE COLLECTIVE
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ALANFERGUSON // L’ARTISTE COLLECTIVE
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ALANFERGUSON // CITY GUIDES
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CITY GUIDES
city map
CLIENT / City Guides COURSE / Portfolio Bulding PROJECT / Publication ART DIRECTOR / Sean Bacon City Guides is a publication with the purpose of showing the city at a locals point of view. The guide is easy to navigate, and small enough to place in your pocket. The dynamic layout makes the reader want to be active and just go places. The same branding is applied to a special edition backpack. City Guides is by locals for locals.
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ALANFERGUSON // CITY GUIDES
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ALANFERGUSON // ELECTRO VIOL
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ELECTRO VIOL
V Y N I L O N LY N I G H T C L U B
CLIENT / Standard 11 COURSE / Page layout PROJECT / Magazine ART DIRECTOR / Sean Bacon Electro viol, is a night club for music enthusiasts twenty five to thiry five. Electro Viol is unique becuase it only plays vinyl. The house DJS are only allowed to play in vinyl. This creates an atmosphere of greatness, the murals of greek gods on the walls reflect that, and are juxtapox by the modern take of the dance floor that goes all the way to the walls. The menu design was intended to remind people that only vinyl is allowed. Electro Viol uses gorilla style advertising with wall postings and stickers like the old school music wearhouses use to do.
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ALANFERGUSON // ELECTRO VIOL
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ALANFERGUSON // ELECTRO VIOL
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30 ft
12 ft
56 ft
12 ft
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PICTOGRAMS ALANFERGUSON // PICTOGRAMS
CLIENT / Brazil Olympics COURSE / Logo & Packaging PROJECT / Pictograms ART DIRECTOR / Amy Levine
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LOGOS ALANFERGUSON // LOGOS
VYNIL ONLY BAR ART JOURNAL COFFEE HOUSE BOUTIQUE HOTEL WOMENS STORE FOOTBALL PUBLICATION ART & MUSIC BLOG
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I AM DEEPLY GREATFUL FOR THE ASSISTANCE AND SUPPORT OF THE THE FOLLOWING PEOPLE, WHOSE INVALUABLE CONTRIBUTIONS MADE THIS POSSIBLE / SANDRA FERGUSON / JEFF SMOLL / ANDREA SINGER / EVELYN MORENO / JORGE BELTRAN / DANIELA SAN AGUSTIN / IVAN ORTEGA / DONOVAN SALAZAR / BRADFORD PRAIRE / NINA CALDERON / ALICIA BRIANNE / FORTIS / ANGEL BRETON / JOSE COLIN / JULIAN AUDELO / OMAR Y SARAI MURO / TO ALL THE MUSIC THAT INSPIRED ME IN THIS JOURNEY
Quote un Quote / Alan Ferguson Contact / alan.ferguson77@gmail.com San Diego City College / Graphic Design Printer & Binder / Alan Ferguson Photography / Alan Ferguson, Google Images Fonts / Din Next LT Pro Family Software / Adobe Creative Suite 4 COPYRIGHT ALAN FERGUSON © 2104
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