Page 1


This collection of projects features my best and proudest work. These projects were selected with the criteria that would showcase my passions for graphic design as well as expressing who I am as a person. One day I hope to look back at these projects and see how I have grown as a designer. I have never seen myself as being artistic. I did not grow up drawing or painting endlessly. However, one thing I did notice about myself early on was that I was very organized. I have always had this trait, whether it comes to taking notes, cooking, packing, you name it there was always a reason for the placement and amount of everything used in the activity. In the beginning of my design career making everything perfect was more of a downfall than a strength. Now, I have learned to control this aspect of who I am to provide a positive impact on my work rather than a limitation. These designs in this portfolio include this aspect of who I am whether it be for personal, educational, or commercial use.


// 01 WAX BOX // 02 FANTASY FOOTBALL

// 05 SD LATINO FILM FESTIVAL // 06 FEED THE CITY

// 03 TYPOGRAPHIC GRID

// 07 RISING SUN RICE

// 04 FIRESCAPE EMERGENCY KIT

// 08 VENTURE


01

// SD LATINO FILM FESTIVAL


CATAGORY

DELIVERABLES

Print Design Event Branding

Event Poster Mobile Application Event Touchpoints

CREATIVE DIRECTOR Patricia Cuottolenc

TERM Fall 2015

OVERVIEW This project achieves a connection between the purpose of the San Diego Latino Film Festival and the city of San Diego. The poster and its associated designs use images that are inspired by Latino patterns and San Diego icons. The brand created through these designs builds upon the vibrancy and culture found in

Latino countries as well as the event of the film festival itself. In the annual contest held by Media Arts this poster was chosen as one of the final 10 poster designs out of hundreds of entries from the local community and across the world.


The challenge of this design was to combine the idea and culture of a Latino film festival with the location of the event, San Diego. Observing iconic land-marks of San Diego, one that has strength visually was the Coronado bridge. To explore the Latino culture, I found patterns found within sculptures and more importantly textiles. I found bright and passionate colors surrounded the Latino culture, and I knew I had to use these elements to my advantage.


// ASSE TS

Comfortaa Bold Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Univers Light Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The final poster design combines the three parts of this event, San Diego, the Latino culture, and the film festival event. The Coronado Bridge is centered in the biggest wheel form in the water while being surrounded by patterns inspired by Latino textiles. The three circular and patterned designs are floating in the water as a representation of San Diego’s coast. The colors used represent the passion and energy found within the Latino culture and also the films being shown at the event.

SD LATINO FILM FESTIVAL

//01 02 03 04 05 06 07 08


CHASE NAMIMATSU

06


// EV E N T VA N

SD LATINO FILM FESTIVAL

//01 02 03 04 05 06 07 08


// T I C K E TS

CHASE NAMIMATSU

08


// BUT TON S + E V E N T TAG

SD LATINO FILM FESTIVAL

//01 02 03 04 05 06 07 08


// M O BI L E AP P

CHASE NAMIMATSU

10


CATAGORY Branding

CREATIVE DIRECTOR Patricia Cue

DELIVERABLES Company Stationary Magazine + Mobile App

TERM Fall 2016

OVERVIEW Venture is a company that creates quality products while also enrolling responsibility of the preservation of nature. At its core, the company wants to create a society that enjoys nature and what it has to offer to us, while contributing to its beauty rather than leaving an impact on it. This aspect is what

drives the company forward and the decisions it makes. The company primarily focuses on the mountain terrain activities of skiing, snowboarding, camping, and fishing.


02

// VENTURE


The design was inspired by many of the companies that are striving for the same eco-friendly mission as Venture. Patagonia and The North Face were perfect examples to examine and beyond their design style, the focus was the brand and feeling these two successful companies have created. Then the nature that surrounds the activities found in mountain terrain was gathered and directly led to overall composition of the final mark.


// ASSE TS

Univers Light Condensed Oblique Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The cool colors of this brand directly relate to the natural colors found upon mountain faces. The overall form of the logo is forward moving and active. The three angled forms were inspired from the triangular shapes found in mountains and a natural texture was added to further contribute to it’s naturalism. The minimalism of the forms of the letterforms refers back to the low-impact mission Venture has set for society.

VENTURE

01 //02 03 04 05 06 07 08


MISSION A service that organizes outdoor adventures such as skiing, snowboarding, camping, and fishing experiences where products and equipment are provided and then featured for sale. Venture also promotes the preservation of nature by providing travel and exploration services that are in purely natural settings.

POSITIONING Reusable products, equipment, and packaging that are made from recycled materials. Organization of adventures both locally and abroad in purely natural settings. A portion of all sales goes towards a donation to fund the preservation of nature.

BRANDING BIG IDEA Organize outdoor adventures and provide products and equipment that cause no harm to the environment and to motivate and create solutions to protect our environment.

CHASE NAMIMATSU

16


// M I N I M UM S I Z E S + C L E AR ZO NE S

MIN SIZE: 2.5”

MIN SIZE: .9”

MIN SIZE: 1.5”

VENTURE

01 //02 03 04 05 06 07 08


CHASE NAMIMATSU

18


// M AG A Z I N E COV E R S

VENTURE

01 //02 03 04 05 06 07 08


CHASE NAMIMATSU

20


VENTURE

01 //02 03 04 05 06 07 08


CHASE NAMIMATSU

22


03

// FIRESCAPE EMERGENCY KIT


CATAGORY

DELIVERABLES

Packaging

Wildfire Emergency Kit Branded Kit Equipment

CREATIVE DIRECTOR Beth Weeks

TERM Spring 2016

OVERVIEW Emergency aid kits come in several different packaging designs. This package is designed as an aid kit that would assist those who were in a wild fire situation. The aid kit is intended to be distributed at national parks across the nation and this one was specifically made for Zion National Park. The kit is designed to be mobile, therefore straps are provided to

create a backpack that can be worn while escaping a wild fire situation. Mobility as a theme served as the function to the entire kit, so some items are more accessible where they might be tucked away in other related package designs.


Zion is a filled with natural beauty. The mountains, caverns, and overall landscape creates an unbelievable site. In order to create an emergency kit that was fit Zion, the nature found at this national park shaped the designs in the kit. Furthermore, research of currently active emergency kits and their successful attributes contributed to a package that fit the needs of a wild fire emergency kit for Zion.


// ASSE TS

Univers Bold Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Univers Light Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The combination of the words "fire" and "escape" created Firescape a perfect brand title for this kit. The colors used on this kit were pulled from the nature found at Zion. The illustration shown on the front of the package is a reference to the mountains on the National Park and the landscape that covers it.

FIRESCAPE EMERGENCY KIT

01 02 //03 04 05 06 07 08


CHASE NAMIMATSU

28


FIRESCAPE EMERGENCY KIT

01 02 //03 04 05 06 07 08


CHASE NAMIMATSU

30


CATAGORY

DELIVERABLES

Packaging, Branding

Surf Wax Packaging Branded Surf Wax

CREATIVE DIRECTOR Beth Weeks

TERM Spring 2016

OVERVIEW This package was a “double-use� package design intended for the surfing industry. Recently surf wax companies have begun to package their wax within small square boxes. With this new trend in place, the idea of a wax comb and wax box combination sprouted. The package serves as a package for the wax itself and also a handle for the attached wax comb, which is used on a

surfboard to create grip, on the back of the box. Sustainability is a major reason why this package is so successful and why it fits into the community of surfers who are already trained to be eco-friendly.


04

// WAX BOX


Being a surfer, I was very inspired to create a logo for a surf wax package and brand. I visually researched everything that surrounds surfing. From surf magazines, posters, and to surfboards themselves. To go beyond the norm, I looked at designs found in nature that surrounds surfing. The curves and patterns found in waves and the leaves of palm trees were aspects of nature that inspired my design decisions for the branding of this package.


WAX BOX

01 02 03 //04 05 06 07 08


// ASS E TS

Josefin Sans Bold Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Josefin Sans SemiBold Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

This logo involves the simplification of letterforms to create a form that is simple and progressive. The addition of the vibrant colors added to the mark gives the energy and movement found within the surf culture. Josefin Sans was used as a skeleton for the designed final logo. The last letter of X is extended to surround the whole logo to further enforce the idea of the box shape packaging.

CHASE NAMIMATSU

36


// PAC KAG I N G

WAX BOX

01 02 03 //04 05 06 07 08


CHASE NAMIMATSU

38


WAX BOX

01 02 03 //04 05 06 07 08


CHASE NAMIMATSU

40


CATAGORY

DELIVERABLES

Page Layout and Design

Printed Book

CREATIVE DIRECTOR

TERM

Beth Weeks

Fall 2015

OVERVIEW This project achieves a connection between a focused idea from a given text and twenty-five different typefaces. The book is separated into five different sections, separating off parts of the narrative as well as distinguishing type classifications. The narrative, is The Typographic Grid and the typefaces are explored through the connection to a

third element of the book, the International Style of Graphic Design. Each section of the book connects to one of the many famous posters found from this design era and directly inspired the designs seen in the spreads.


05

// TYPOGRAPHIC GRID


SANS SERIF

After the second world war the Swiss Grid Style, also known as the International Typographic Style was developed by Swiss designers, such as Armin Hofmann, Josef Müller Brockmann, Max Bill, Richard P Lohse, Hans Neuberg, and Carlo Vivarelli who began to experiment with typography and photo-montage. Characterized by a cold, emotionally sterile grid style; they used structured layout, and unjustified type, that became very influential in the mid twentieth century and influenced a vast audience. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication.

The use of the grid as an ordering system is the

expression of a certain

mental attitude inasmuch as it shows that the

designer conceives his work in terms that are

CONSTRUCTIVE AND ORIENTATED TO THE

FUTURE.

This is the expression

of a professional ethos: the designer’s work

should have the clearly intelligible, objective,

functional and aesthetic quality of mathematical thinking. His work should thus be a

contribution to general culture and itself form part of it.

The International Style of Graphic Design was the pure inspiration of this book. The designs found in this era were monumental to graphic design and shaped graphic design to where it is today. To create this book, I mimicked what the inspirational designers of the time executed so well with my own style of design. I have continued to refer back to the principals these designers set and have used them in all of my designs.

GRID

The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future.

His work should thus be a contribution to general culture and itself form part of it. Constructive design which is capable of analysis and reproduction can influence and enhance the taste of a society and the way it conceives forms and colours. This is the expression of a professional ethos: the designer’s work should have the clearly intelligible, objective, functional and aesthetic quality of mathematical thinking.

His work should thus

BE A CONTRIBUTION TO GENERAL CULTURE AND ITSELF FORM PART OF IT.


CONSTRUCTIVE During the 1950s a design movement emerged from Switzerland and Germany that has been called Swiss design or, more appropriately, the International Typographic Style. The objective clarity of this design movement won converts throughout the world. It remained a major force for over two decades, and its influence continues today.

The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future. This is the expression of a professional ethos: the designer’s work should have the clearly intelligible, objective, functional and aesthetic quality of mathematical thinking.

AND ORIENTATED TO THE FUTURE


TYPOGRAPHIC GRID

01 02 03 04 //05 06 07 08


// ASS E TS

Univers Light Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Univers Bold Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The International Era was a pivotal moment where designers began to use sans-serif typography primarily in their designs. It was a style of type that successfully contributed to the grid designs they created instead of distracting it. The colors throughout this book are pulled directly from the many famous posters found from the International Style of Graphic Design.

CHASE NAMIMATSU

46


TYPOGRAPHIC GRID

01 02 03 04 //05 06 07 08


CHASE NAMIMATSU

48


TYPOGRAPHIC GRID

01 02 03 04 //05 06 07 08


CHASE NAMIMATSU

50


The visual characteristics of this style include a unity of design achieved by the asymmetrical organization of the design elements on a mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from the exaggerated claims of propaganda and commercial advertising; and the use of sans-serif typography set in a flush-left and ragged- right margin configuration.


Janson Text 1685 | miklรณs kis ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!& 0123456789?!& Roman | Italic | Bold | Bold Italic

Perpetua 1929 | eric gill ABCDEFGHIJKLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!& 0123456789?!& Regular | Italic | Bold | Bold Italic


CATAGORY

DELIVERABLES

Social Campaign Branding

Branded Campaign Items Campaign App

CREATIVE DIRECTOR Patricia Cue

TERM Fall 2015

OVERVIEW This urban agriculture campaign, entitled Feed the City, strives for the transform of unused space on cities rooftops into beneficial areas as farms. The design includes the use building structure and the substitution of its forms to represent the motivation of the campaign. The lines running up the building take place of the windows that would

be there and act as rows of crops growing on the building. The campaign strive to reach a goal where they can have over 50% of the unused roof space in urban areas transformed into natural and beneficial gardens.


06

// FEED THE CITY


The combination of both an urban city with agriculture and farming was the main goal of this mark. The forms of buildings and what they are made up of was closely examined while a simplified way to represent a farm or agriculture was explored. These two elements together created a composition that represented a urban city location and the act of farming.


FEED THE CITY

01 02 03 04 05 //06 07 08


// ASS E TS

Aachen Bold Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Uni vers L i ght Ul tra C o n d e n s e d A a Bb Cc Dd E e Ff Gg Hh Ii J j K k L l Mm Nn O o P p Q q Rr S s Tt U u V v Ww Xx Yy Z z

Combination of two different typefaces, the slab-serif of Aachen and the sans-serif of Univers, create contrast. Aachen is very organic while Univers is contemporary and structured and its condensed vertical form alludes to and represents the shapes of buildings. The colors were directly selected from the same natural color found in farming.

CHASE NAMIMATSU

58


FEED THE CITY

01 02 03 04 05 //06 07 08


// G A RD E N TO O L S

// C A M PA I GN P I NS

CHASE NAMIMATSU

60


FEED THE CITY

01 02 03 04 05 //06 07 08


CHASE NAMIMATSU

62


07

// FANTASY FOOTBALL


CATAGORY

DELIVERABLES

Infographics

Infographic Poster + Magazine Desktop + Mobile Website

CREATIVE DIRECTOR Arzu Ozkal

TERM Spring 2016

OVERVIEW Fantasy Football is quickly becoming a national phenomenon across America. This game has impacted more than just the NFL, while it has effected personal lives and the economy while it grew to what it is today. To further explore the topic of fantasy football, infographics were designed with a wide-ranged target audience. These graphics were created to grab the interest of those

who play and understand fantasy football, those who have no idea what it is and all of those who are stuck between the two. After all the graphic models are examined, the viewer is left with the understanding of where fantasy football came from, its growth, and its impact on society.


There are several different design styles that surround the NFL and fantasy football. Many of the elements throughout this sport are visually interesting that I wanted to take advantage of. Everything from the hash-marks on the field, jersey designs, and coach's playbooks were all closely examined. I had the task of simplifying these iconic forms that football for this infographic poster.


// ASSE TS

Graduate Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Futura Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Bright colors surround this industry paralleling to the energy found within the sport and enticing the audience to the product. The typeface of Graduate was used for it's “sporty” style and also to create contrast between the used sans-serif of Futura. The same elements of arrows, circles, and X’s coaches use for their playbooks is utilized in throughout this project in several different ways including a director and also as a texture.

FANTASY FOOTBALL

01 02 03 04 05 06 //07 08


CHASE NAMIMATSU

68


// M AG A Z I N E S P R E A DS

FANTASY FOOTBALL

01 02 03 04 05 06 //07 08


CHASE NAMIMATSU

70


FANTASY FOOTBALL

01 02 03 04 05 06 //07 08


// WE B S IT E

CHASE NAMIMATSU

72


CATAGORY

DELIVERABLES

Branding, Packaging

Japanese Rice Packaging

CREATIVE DIRECTOR

TERM

Beth Weeks

Spring 2016

OVERVIEW This package was a souvenir that would be created for a particular country and serves as a unique way to remember a visit to a foreign country. The country chosen was Japan, and their staple food of rice was the product to be packaged. Most rice packaging that is seen today is influenced by Japanese

culture but many are packaged like a cheap food product. The goal was to create a rice packaging that would go beyond the norm and provide a valued souvenir that reminds the buyer of the Japanese culture.


08

// RISING SUN RICE


Being of Japanese decent, traditional Japanese culture was a key part of the branding process for this packaging. Classic paintings and writings were researched and examined while I also researched a wide range of rice packaging. The Japanese design of the rising sun is what contributed most to my design decisions. First I explored ways in which I could use it literally but then I found that the overall packaging could reference the form of the rising sun.


// ASSE TS

Univers Bold Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Univers Light Condensed Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The final design utilizes the Japanese calligraphy of "rising sun" as the focus of the design. Similar Japanese symbols are also used as secondary designs to the names of the three strains found within the package. The color choice of red, black, and white directly relates to the traditional colors found in Japan’s culture and paintings especially those that illustrate the iconic rising sun.

RISING SUN RICE

01 02 03 04 05 06 07 //08


CHASE NAMIMATSU

78


// PAC KAG I N G

RISING SUN RICE

01 02 03 04 05 06 07 //08


CHASE NAMIMATSU

80


RISING SUN RICE

01 02 03 04 05 06 07 //08


CHASE NAMIMATSU

82


PRINTER + BINDERY CLEARSTORY BINDING STYLE HARD COVER PHOTO WRAP WITH SPOT UV COATING COVER COAL BLACK VERONA PAPER 110LB MATTE LAY-FLAT SOFTWARE ADOBE CREATIVE CLOUD ILLUSTRATOR, PHOTOSHOP, INDESIGN TYPOGRAPHY GOTHAM PHOTOGRAPHY CHASE NAMIMATSU

PERSONAL INFO CHASE NAMIMATSU 949.257.6719 NAMIMATSU.C@GMAIL.COM CHASENAMI.COM LEGAL INFO © ALL RIGHTS RESERVED NO PART OF THIS PUBLICATION CAN BE REPRODUCED, STORED IN A RETRIEVAL SYSTEM, OR TRANSMITTED IN ANY FORM OR BY ANY MEANS WITHOUT THE EXPRESS PERMISSION OF CHASE NAMIMATSU.


To everyone who supported me throughout these last four years, I cannot say enough how much I appreciate all of you. Mom and Dad, you have given me the opportunity to make this happen and without you both I would not be anywhere close to where I am now. Thank you, Sara, for always giving me the confidence to continue to do what I love especially through the times that I felt I was making the wrong decision. To all my professors and mentors I have had at San Diego State, Min Choi, Beth Weeks, Patricia Cuottolenc, and Arzu Ozkal, I will never forget a all of the lessons from your classes or how much you cared for and supported me. To Sean, my first boss, thank you for being the best first boss someone in my field could ask for. I will never forget how you have taught me to care about more than making something “look cool�. To all my classmates along the way, I appreciate all your help and involvement in my projects. You have all helped me grow as a person and an artist, and I have gained inspiration from all of you as seen in this portfolio. Thank you.


Profile for Chase Namimatsu

Chase Namimatsu Portfolio  

Chase Namimatsu Portfolio  

Advertisement