Chelsea Reppin | Portfolio 2016

Logo:

Logo Alternate:

Helping other people helps me.

-Stefan Sagmeister

CONTENTS.

1

Slate

2

OnGuard

3

Lincolnville Museum

4

The Social Objective

5

Goodly

6

American Adoptions

7

Dominican Waves

8

Blank_

1.

SLATE Branding // Interface Slate is an artist's haven; providing 24 hour studio space, supply shop, gallery, and coffee house. Whether you're a local or just passing through, Slate has everything you need to create, discover, and collaborate. The Slate brand manual demonstrates how to use the Slate brand efficiently and effectively.

Including color palettes and typeface collections, the manual shows the clean and bold design of Slate.

COLOR PALETTE --- ACCENTS

MISSION

To provide a productive, social, workspace for creatives of all backgrounds.

In order to represent accurately all that Slate has to offer, it is important that our company remain consistent with the brand guidelines found in this book. This will ensure our company be seen as the creative, productive, collaborative space that it is.

The accent color palette uses only four colors, including the two colors used in the logo. No other colors should be included on Slate digital or print materials.

#494949

RGB: 73, 73, 73 CMYK: 66, 59, 58, 40 To be used for body copy and overlay on imagery.

#299d8b

RGB: 42, 157, 140 CMYK: 78, 17, 53, 1

This book should be used a guide for all Slate designs, including both print and digital. This includes:

To be used as headers and titles whenever possible as well as links.

- Logo - Elements - Imagery - Examples

#d8d7d6

RGB: 217, 216, 214 CMYK: 14, 11, 12, 0 To be used as overlay on photographs.

- REBECCA HAYES, CEO

#000000 RGB: 0, 0, 0 CMYK: 75, 68, 67, 90

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12

To be used as secondary body copy and headers.

TYPOGRAPHY --- PRIMARY & SECONDARY

Only two typefaces should be employed on Slate materials. Futura serves as the header while Ebrima serves as the body copy.

FUTURA

Futura in all caps should be used as the headers and titles on all print and digital material, including secondary titles.

EBRIMA

Ebrima should be used in lowercase form as the main body copy on all digital and print materials including the website and signage.

MAKE GREAT WORK

GALLERY

BILL MURRAY 13

2.

ONGUARD Branding // Layout // Photography OnGuard is an independent rock n’ roll band from Jacksonville, FL. This elective 5-piece has established a signature sound within the regional music scene with aggressive rhythms, weaving guitar interplay and pop-oriented hooks. In just over a year of existence, the band has already released a 5 song EP, a music video, and has played with nationally acclaimed artists.

3.

LINCOLNVILLE MUSEUM Branding // Interface Brand identity for the new Lincolnville Museum and Cultural Center located in America's oldest city, St. Augustine, Florida.

In 2015, three partners came

together with plans to reinvent the museum and make it a national destination for African-American history. The new brand identity is meant to represent the museum's transformation into a modern, innovative space to be enjoyed by both the local community and tourists from around the world.

4.

THE SOCIAL OBJECTIVE Branding // Layout // Photography The Social Objective was created to combine my love of two things: layout design and social entrepreneurship.

TSO creates a unique space dedicated specifically to social entrepreneurship.

From collegiate startups to full fledged non-profits, TSO dynamically covers everything you need to know about social entrepreneurship in 2016.

Somewhere between a “secret ingredient” hackathon and a curated art show, it felt like there was more planning compared with previous Art Hack Days. I’m not saying that’s a bad thing, only that what was previously a little scrappy and quick felt rounded-out and polished this time around. Overall, the vibe was good.

The thread connecting each work was a reading of the title theme: DELUGE. That could be interpreted as anything

from the inundation of data to the very physical destruction of property by flooding waters (like Hurricane Sandy, an event still resonating in the area, especially in coastal towns and neighborhoods like Red Hook).

And data and water isn’t just a conceptual pairing either. The piece Web Warp

by Audrey Fox, Cameron Ketcham, and Kawandeep Virdee used two small fountains of water to act as a controller, or switch, in normally open status. When a human — or series of humans — connected or “closed” the loop between the two spigots, the switch was activated and a laptop connected to a projector streamed through an abundance of images, screenshots, dashboards, and

visual data: Deluge, indeed.

Other works were much more subtle, or even tongue-incheek, but each showed that it’s possible with technical and time constraints to generate new, novel, and innovative artworks that address or comment on the world we live in today. #Drowning immersed two challengers in Oculus Rift environments at sea.

Opponents were asked to give responses to trivia-like

topics based on trending news stories from 2014 — i.e.

“Africa,” “Ebola.” Depending on which opponent’s search results (in Google) returned the most results, the other would “drown” a little more in his or her virtual environment.

Built with an A-version BeagleBone Black, this WiFi Taser by Max Henstell turned a Pringles can into an antenna gun of sorts, using Python to send deauth packets to knock nearby laptops off wi-fi.

Deluge, indeed.

5.

GOODLY Branding // User Experience Tired of tragic news stories filling your feeds? Need a reminder of what good is happening in the world? Goodly was designed to bring you the best and most up to date news stories sharing positivity and goodness, from your backyard to the other side of the globe.

With a customizable news feed and ability to share articles to any social media site, Goodly is the perfect good news app.

6.

AMERICAN ADOPTIONS Advertising This American Adoptions campaign was created to highlight the number of teenagers that are forced to leave foster care each year and fend for themselves. The serious nature of the photographs and copy communicate the pressure that a child can feel when nearing their 18th birthday in foster care. The ads aim to convince those considering adoption to adopt older children, rather than babies.

ǔȐǛǓǓȐ

ǔȐǛǓǓȐ

7.

DOMINICAN WAVES Branding // Packaging // Photography K lo K is a non-profit soap company created by Flagler College Enactus and the Dominican Development Group to empower women and youth in the community of San Marcos, Dominican Republic. The project was implemented to create opportunity and income for the underdeveloped and at-risk areas of the D.R.

GUAVA guava, pomegranate, palm oil

$

KELP seaweed, sea salt, olive oil

$

MANGO dried mango, passionfruit, cocount oil

$

ADDIEL Addiel is one of the first students to be employed

by K lo K. He loves sports, and dreams of playing professional baseball.

To hear a message from Addiel, visit klok.com/hello

K LO K

K LO K K lo K is a non-profit company created by Flagler Enactus and the Dominican Development Group to empower women and youth in the community of San Marcos, Dominican Republic. The project has since been picked up by Fathom Cruis Lines and has impacted over 100 participants to date.

Work with women and children in the community of San Marcos to design and create handmade soaps. This non-profit model currently employs 13 teenagers ages who hope to pursue higher eduation in their field of interest. For every bar sold, K lo K donates a bar of soap to a family in or around San Marcos.

Target Audience: Youth Current Impact: 53 Travel Time: 30 min.

Duration: Full-Day

THE PROCESS Designing high quality, visually appealing soaps that clean and nourish the skin.

NaOH

Water

Oil

K lo K soap is made using the cold process method with a base of Lye + Water + Oil.

ADDITIVES: Local ingredients are used for color and scent.

What will you add to your soap?

Cinnamon

Seaweed

Passionfruit

Flowers

Mango

Coconut

Vanilla

Guava

Sea Salt

Clay

8.

BLANK_ Branding // Layout Imagine a world without typography.

To do so is nearly impossible. If typography were to cease existing with tomorrow's sunrise, how would our society continue? How would we find our way if even the letters on a compass no longer held meaning? To avoid typography is to avoid being. With Blank, the focus is shifted back to typography, and answers the question 'What does typography mean to us?'

I.

The Good vs. The Bad

In September design felt impotent and frivolous. There is nothing inherent in our profession that forces us to support worthy causes, to promote good things, to avoid visual pollution. There might be such a responsibility in us as people. In August, when thinking about my reasons for being alive, for getting out of bed in the morning, I would have written the following down.

HOW GOOD IS GOOD? Stefan Sagmeister Born in Austria. After having worked at M&Co. in New York and at the Hong Kong office of the advertising agency Leo Burnett, he formed the New York–based Sagmeister Inc. in 1993. He has designed graphics and packaging for mainly cultural clients. In 2001, BoothClibborn published a book on Stefan Sagmeister’s work Sagmeister: Made you Look.

HOW TO BE GOOD? Well, does help by definition have to be selfless?

Am I allowed to get something out of myself? If I do help, am I permitted to have fun while doing so?

I read an interview with an art director in England discussing his award winning campaign ad campaign for an association for the blind, featuring a striking image of a guide dog with human eyes stripped in. He mentioned that he knew that a picture of a cute puppy would have raised more donations for the association, but was more interested in winning awards. He had no problems with this attitude.

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1. STRIVE FOR HAPPINESS 2. DON’T HURT ANYBODY 3. HELP OTHERS ACHIEVE THE SAME Now I would change that priority:

When GE gives 10 million to the WTC victim families, is it ok for them to look good for doing so? Or, a more extreme case: Is it ok for Philip Morris to go and give 60 million to help out various charities and then spend another 108 million promoting this good deed in magazine ads? If you are homeless and you just got a hot meal from St. Johns in Brooklyn, one of the organizations the money went to, you don’t really give a shit if the people who gave it to you tout their own horn afterwards. Even though it really is a ridiculous case, isn’t it still preferable to blowing the entire 168 million on a regular ad budget?

1. HELP OTHERS 2. DON’T HURT ANYBODY 3. STRIVE FOR HAPPINESS

Winter Sorbeck, design teacher and fictional main character in Chip Kidd’s new novel The Cheese Monkeys, says at one point: Uncle Sam is Commercial Art, the American Flag is graphic design. Commercial Art makes you BUY things, graphic Design GIVES you ideas.

If I’m able to do that, to give ideas, that WOULD be a good reason to get out of bed in the morning.

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