Page 1

HELLO! This is about my

HARDWORK


CHRISTINE NATALIA WIRYAKARTIKA date of birth : December 25th 1989 nationality : Indonesia phone number : 85331937 email : christinenataliaw@gmail.com (Kristalville Service Aparment - Brunei

EDUCATION 2007 - 2011

University of Pelita Harapan (UPH) Jakarta,

Bachelor of Art (Sarjana Seni),

Major : Visual Communication Design

Darussalam), International Conventional Centre Branding - Brunei Darussalam SEMINARS 2008

How To Be Creativepreneurs with

WORK EXPERIENCE

Concept Magazine

July - October 2010 Jr. Art Director (Intership) at LOWE Indonesia

2008

2009 - 2012

360% Logo Seminar

Freelance in graphic design works

March 2012 - now Graphic Designer at Cityneon Creations Pte Ltd

SKILLS

(Interior Architecture Divison)

Computer Literacy

Projects: Museum Branding (Moments &

Adobe InDesign, Adobe Flash,

Mementos Museum, Brunei National Museum,

Adobe Dreamweaver, MS Office, Keynote

Adobe Photoshop, Adobe Illustrator,

Royal Regalia, The Saifuddien Memorial),

Operating System

Macintosh

Corporate Branding (Prime Minister’s Office

Photography

Novice Level

Brunei Darussalam), Real Estate Branding

Language

English, Bahasa


CORPORATE IDENTITY

LOGO RATIONALE

BRUNEI NATIONAL MUSEUM (Brunei Darussalam)

The logo is made up of an 8 sided star, a symbol widely use in Islamic art called ‘Khatim’. The undertaking of the symbol as the logogram symbolizes the museum’s attribution and dedication of Brunei’s culture and history to Islamic faith and origins. The logo is graphically treated using 2 colour shades to create a crest that looks popping up with chamfered edges. The words

‘Brunei National Museum’ are in modern sans-serif font typeface, aligned to the top left within the symbol. The final appearance is a result of traditional shape with a touch of modernity. In view of preserving tradition and embracing modernity, the colours blue and gold are extensively used within the museum to represent the resolute future and the cultures of Brunei Darussalam.

C M Y K

12 13 72 17

R 193 G 177 B 89

C 0 M 0 Y 0 K 60

R 128 G 130 B 133

C 0 M 0 Y 0 K 100

R 35 G 31 B 32

The undertaking of ‘Khatim’, an 8 sided star, as the logogram, symbolizes the museum’s attribution and dedicaPantone 3975 EC Pantone 415 EC Pantone Black EC tion of Brunei’s culture and history to Islamic faith and origins.


GRAPHIC STYLING MINER AL RICH

ENWARE

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ui sit amet ligula. Sed sed urna mauris.

unt, mi sit amet luctus pellentesque, diam

sapien, eget posuere velit diam eu eros.

ellus a est mollis pulvinar.

am est, eu sodales ligula. Donec gravida MINER AL RICH

c tincidunt vitae tincidunt lorem mattis.

EARTHENWARE

uam risus. Maecenas scelerisque, purus in

, mi urna egestas est, ut fermentum libero.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam in ligula ac purus sagittis

varius consectetur, lorem lorem molestie tellus, ac

cursus. Aliquam dolor urna, fermentum facilisis bibendum in, accumsan eget leo. Nunc

tempus justo dui sit amet ligula. Sed sed urna mauris.

lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet

Aliquam tincidunt, mi sit amet luctus pellentesque, diam

ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis

nunc molestie sapien, eget posuere velit diam eu eros.

sem elementum accumsan. Aenean suscipit mauris et nunc iaculis interdum. Mauris

Sed tincidunt tellus a est mollis pulvinar.

GRAPHIC - STORY APPLICATION

scelerisque accumsan libero. Vivamus vel diam est, eu sodales ligula. Donec gravida Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum tristique. Integer dignissim elementum leo nec dignissim. Nullam condimentum, enim nec

mi viverra nunc tincidunt vitae tincidunt lorem mattis. Mauris vel aliquam risus. Maecenas scelerisque, purus in tempus facilisis, mi urna egestas est, ut fermentum ligula sapien id libero.

Images are cropped to the shape of graphic element.

GRAPHIC STYLING

WELCOME TO

GOLDEN AGE 16 th C e n t u r y

OF

1 9 th Ce n t u r y

BRUNEIAN

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varius consectetur, lorem lorem molestie tellus, ac tempus justo dui sit amet ligula.

cursus. Aliquam dolor urna, fermentum facilisis bibendum in, accumsan eget leo. Nunc

Sed sed urna mauris. Aliquam tincidunt, mi sit amet luctus pellentesque, diam nunc

lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet

molestie sapien, eget posuere velit diam eu eros. Sed tincidunt tellus a est mollis

ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis

pulvinar.

sem elementum accumsan. Aenean suscipit mauris et nunc iaculis interdum. Mauris scelerisque accumsan libero.

Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra nunc tincidunt

LOREM IPSUM DOLOR SIT AMET

vitae tincidunt lorem mattis. Mauris vel aliquam risus. Maecenas scelerisque, purus Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum

in tempus facilisis, mi urna egestas est, ut fermentum ligula sapien id libero.

tristique. Integer dignissim elementum leo nec dignissim. Nullam condimentum, enim nec

P O T T E R Y

DO YOU KNOW?

The modified graphic element extends itself beyond

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DO YOU KNOW?

2D graphic and functions as a 3rd dimensional space

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for narrative text above the viewer.

When used in this scenario, the element becomes

GRAPHIC STYLING

a role playing speech balloon that viewers can recognise. Along with wall images and ceiling mounted speakers that plays back audio narrations, the experience of being a Bruneian comes alive.

THE ART OF

BRUNEIAN P O T T E R Y Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam in ligula ac purus sagittis cursus. Aliquam dolor diam urn amet mett lorem ipsum.

The visual language aims at providing a neutral platform for variety of content to be presented without over cluttering yet blend seamlessly with the overall museum branding. The 8 sided star is the graphic element that is modified and subtly applied onto visual styling. This creates a consistent themed experience for the visitors.

The modified graphic element extends itself beyond 2D graphic and functions as a 3rd dimensional space for narrative text above the viewer. When used in this scenario, the element becomes a role playing speech balloon that viewers can recognise. Along with wall images and ceiling mounted speakers that plays back audio narrations, the experience of being a Bruneian comes alive.


STANDING SIGN

WALL MOUNTED WAYFINDING

TOILET SIGN

GALLERY LABEL

The wayfinder is inspired by the logo’s 8 sided star. By modifying it to become 1 sided, it transforms into a functional wayfinding design that is highly recognisable. Together when used with the defined colour scheme, it complements the brand experience within the museum.


MERCHANDISE

An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum.

MERCHANDISE

Totebags

Casual ApparelsBalloons for Children Giveaway

Throw Cushions

MERCHANDISE

Casual Apparels

Throw Cushions

An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum.

Totebags

Giveaway Balloons for Children

An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum : Totebags, Giveaway Baloons for Children, Casual Appeals, Throw Cushions.


CORPORATE IDENTITY ROYAL REGALIA MUSEUM

lOGO RaTIONalE

(Brunei Darussalam)

Inspired by the mark of the Sultan - Bunga Putar, the new Royal Regalia logo takes up a typographic approach with a symbolic emphasis of the Sultan’s royal legacy. The golden flower is combined with an eight-sided star, signifying the Sultan’s reign through steadfast Islamic faith. Optimus Princeps Regular is chosen as the logotype font for its distinctive classic appearance. Like the tail-end of every petal of

the golden Bunga Putar, this font finishes each letter with a touch of elegance fit for royalty. The colour Gold and Black are the colours selected that establishes a strong contrast. Gold on black radiates absolute sovereignty and solemnity. It’s consistent application in all royalty related content makes it highly recognisable and respected.

ROYal BlaCk hEaRT OF GOld Pantone Black EC Pantone 104 C C0 M0 Y0 K100 C24 M23 Y82 K0 R35 G31 B32 R201 G182 B83 Bunga Putar, the golden flower, is combined with an eight-sided star, signifying the Sultan’s reign through #231F20 #C9B653 steadfast Islamic faith.


ROOM laBEl wall waYFINdER CEIlING SIGN

STaNdING SIGN

ROOM laBEl

The wayfinding design emphasis a great deal on Bunga Putar and 8-sided star by having the floral motifs prominently imprinted on glossy black reflective surfaces. The multiple lines of the motifs will not fight for attention with the wayfinding content as they will be in matt frosted lines on the glossy black surface.


ESIGN

gested by the graphic

g a single stroke that

ogram an additional

CuSTOMISEd PICTOGRaM dESIGN

CuSTOMISEd PICTOGRaM dESIGN

Navigating arrows Pictograms used within the museum are customised in the style as suggested by the graphic treatment. Every symbol is created via a standardised style, each having a single stroke that draws the petal of a flower. The pictogram set gives the wayfinding program an additional brand personality to its outlook.

Information Symbols

Prohibition Signs

CUSTOMISED PICTOGRAMS: Pictograms used within the museum are customised in the style as suggested by the graphic treatment. Every symbol is created via a standardised style, each having a single stroke that draws the petal of a flower. The pictogram set gives the wayfinding program an additional brand personality to its outlook.


CORPORATE IDENTITY THE SAIFUDDIEN MEMORIAL (Brunei Darussalam)

LOGO R ATIONALE

The logo adopts the visage of AlMarhum Sultan Omar Ali Saifuddien in his prime, contemplative and in introspection. In portraying Al-Marhum as the “Face of Independence”, the logo creates an immediate affinity with those who had personally experienced the trials and tribulations together under his leadership; an image of endearment that resonates strongly with the older generations of Bruneians.

For younger generations or nonBruneians who could only rely on secondhand accounts of history, the logo presents an enduring image of Brunei’s father figure in the defining epoch – a timeless reminder to be thankful for the present; a paragon of faith and virtue to live up to for generations to come. The black rimmed spectacles and moustache are distinctive features that render the logo instantly

recognisable; there can be no doubt as to whom the memorial is dedicated to. The light of dawn upon Al-Marhum’s face is conveyed through the juxtaposition of yellow against black. Yellow is also aptly chosen as a symbol of royalty and the Sultanate. Dawn symbolises the rise of Brunei as an emerging nation-state, as the light of a new beginning brings hope of a better age.

The logo adopts the visage of Al-Marhum Sultan Omar ‘Ali

The black rimmed spectacles and moustache are distinctive

Saifuddien in his prime, contemplative and in introspection. In

that render the logo instantly recognisable; there can be no

portraying Al-Marhum as the “Face of Independence”, the logo

as to whom the memorial is dedicated to. The light of dawn

creates an immediate affinity with those who had personally

Al-Marhum’s face is conveyed through the juxtaposition of

experienced the trials and tribulations together under his

against black. Yellow is also aptly chosen as a symbol of roya

leadership; an image of endearment that resonates strongly with the

the Sultanate.

older generations of Bruneians. For younger generations or non-

Bruneians could only rely on secondhand accounts of history,as the “Face Dawn symbolises the rise of logo Brunei as an emerging nation-s In who portraying Al-Marhum Sultan Omar Ali Saifuddien of Independence”, the creates

the logo an presents an enduring of Brunei’s father figure inexperienced the the of and a new beginning together brings hope of a better age. Th immediate affinityimage with those who had personally thelight trials tribulations under

leadership defininghis epoch – a timeless reminder to be thankful for the present;

– “Road to Nationhood” describes Brunei’s journey from co

a paragon of faith and virtue to live up to for generations to come.

to nation, as it progresses through difficult moments to ach sovereignty.


GR APHIC HIER ARCHY Master of The Quill

ROYA L P OE T

GR APHIC HIER ARCHY

EARTHENWARE Ancient Pottery Pot

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POTTERY VESSELS

facilisis bibendum in, accumsan eget leo. Nunc lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque Lorem ipsum dolor sit amet,

sit amet ipsum. Integer porttitor porta leo. Donec tincidunt

Lorem ipsum dolor sit amet, consectetur adipiscing

cursus justo. Nullam euismod convallis sem elementum

consectetur adipiscing elit. Sed at

accumsan. Aenean suscipit mauris et nunc iaculis interdum.

elit. Sed at quam purus. Vestibulum ante ipsum

quam purus. Vestibulum ante ipsum

primis in faucibus orci luctus et ultrices posuere

primis in faucibus orci luctus et

Mauris scelerisque accumsan libero.

cubilia Curae.

ultrices posuere cubilia Curae.

Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum tristique. Integer dignissim elementum

Fusce vitae suscipit mi. Proin tellus erat, fringilla

Fusce vitae suscipit mi. Proin tellus

consectetur faucibus sed, euismod nec ante.

erat, fringilla consectetur faucibus

leo nec dignissim. Nullam condimentum, enim nec varius

Vivamus quis eros lorem. Cras consectetur enim ut

sed, euismod nec ante. Vivamus quis

tellus blandit sodales. Phasellus quis elit vitae dui

eros lorem. Cras consectetur enim ut

consectetur, lorem lorem molestie tellus, ac tempus justo dui sit

lobortis rhoncus.

tellus blandit sodales. Phasellus quis elit vitae dui lobortis rhoncus.

amet ligula. Sed sed urna mauris. Aliquam tincidunt, mi sit amet

PORCELAIN DININGWARE

Polychrome Glazes Paint Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed at quam purus. Vestibulum ante ipsum primis in

luctus pellentesque, diam nunc molestie sapien, eget posuere

faucibus orci luctus et ultrices posuere cubilia Curae.

velit diam eu eros. Sed tincidunt tellus a est mollis pulvinar.

Fusce vitae suscipit mi. Proin tellus erat, fringilla

Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra

consectetur faucibus sed, euismod nec ante. Vivamus quis

nunc tincidunt vitae tincidunt lorem mattis. Mauris vel aliquam

eros lorem. Cras consectetur enim ut tellus blandit sodales. Phasellus quis elit vitae dui lobortis rhoncus.

risus. Maecenas scelerisque, purus in tempus facilisis, mi urna egestas est, ut fermentum ligula sapien id libero.

ROYA L P OE T Master of the Quill

ER ARCHY

“

CR ISES & DEC I S IONS The Saifuddien Memorial

The negotiations in London were well organised, Rarely were disputes over words and language, Nor foul words ever came out, Good intentions God will accommodate

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The negotiations with decorum proceeded, Questions and answers in calm conducted, Negotiations as between close friends acted, and without delay agreement was concluded

Fusce vitae suscipit mi. Proin tellus erat, fringilla consectetur

�

faucibus sed, euismod nec ante. Vivamus quis eros lorem. Cras consectetur enim ut tellus blandit sodales. Phasellus quis elit vitae dui lobortis rhoncus. Fusce dignissim felis id dolor blandit tincidunt. Nunc aliquam tincidunt nulla non bibendum. Nullam eget purus enim. Suspendisse lectus mauris, scelerisque sit amet consectetur in, rutrum eget elit.

Syair Perlembagaan Negeri Brunei, p24. Al-Marhum on negotiations on the written Constitution in 1959

INTRODUCTION PANEL

TYPICAL GALLERY GRAPHIC

STORY PANELS

EARTHENWARE Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam in ligula ac purus sagittis cursus. Aliquam dolor urna, fermentum

Ancient Pottery Pot

POTTERY VESSELS

facilisis bibendum in, accumsan eget leo. Nunc lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis sem elementum

Lorem ipsum dolor sit amet, Lorem ipsum dolor sit amet, consectetur adipiscing

consectetur adipiscing elit. Sed at

accumsan. Aenean suscipit mauris et nunc iaculis interdum.

elit. Sed at quam purus. Vestibulum ante ipsum

quam purus. Vestibulum ante ipsum

primis in faucibus orci luctus et ultrices posuere

primis in faucibus orci luctus et

Mauris scelerisque accumsan libero.

cubilia Curae.

ultrices posuere cubilia Curae.

Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum tristique. Integer dignissim elementum

Fusce vitae suscipit mi. Proin tellus erat, fringilla

Fusce vitae suscipit mi. Proin tellus

consectetur faucibus sed, euismod nec ante.

erat, fringilla consectetur faucibus

leo nec dignissim. Nullam condimentum, enim nec varius

Vivamus quis eros lorem. Cras consectetur enim ut

sed, euismod nec ante. Vivamus quis

tellus blandit sodales. Phasellus quis elit vitae dui

eros lorem. Cras consectetur enim ut

consectetur, lorem lorem molestie tellus, ac tempus justo dui sit

lobortis rhoncus.

amet ligula. Sed sed urna mauris. Aliquam tincidunt, mi sit amet

PORCELAIN DININGWARE

Polychrome Glazes Paint

tellus blandit sodales. Phasellus quis elit vitae dui lobortis rhoncus.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed at quam purus. Vestibulum ante ipsum primis in

luctus pellentesque, diam nunc molestie sapien, eget posuere

faucibus orci luctus et ultrices posuere cubilia Curae.

velit diam eu eros. Sed tincidunt tellus a est mollis pulvinar.

Fusce vitae suscipit mi. Proin tellus erat, fringilla

Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra

consectetur faucibus sed, euismod nec ante. Vivamus quis

nunc tincidunt vitae tincidunt lorem mattis. Mauris vel aliquam

eros lorem. Cras consectetur enim ut tellus blandit sodales. Phasellus quis elit vitae dui lobortis rhoncus.

risus. Maecenas scelerisque, purus in tempus facilisis, mi urna egestas est, ut fermentum ligula sapien id libero.

DUCTION PANEL

The graphical treatment provides a contemporary treatment of historical content. Use of pastel colours creates a refreshing portrayal of Al-Marhum, for whom most would be used to seeing in monochrome or dated images. Yellow remains the primary colour for text and styling, in respectful adherence to the colour being associated with royalty and in particular, the Sultan

TYPICAL GALLERY GRAPHIC


BANNER APPLICATION

e found in

impressions

Hanging banners is an effective use of space that can be found in high ceilings and in-between multiple floors.

Large banners are also a powerful way of conveying key impressions that we hope visitors would take away from their visit.

Hanging banners is an effective use of space that can be found in high ceilings and in-between multiple floors. Large banners are also a powerful way of conveying key impressions that we hope visitors would take away from their visit.


MERCHANDISING Souvenirs and tokens are specially designed to provide visitors with

MERCHANDISING

a memorable visit and as take-home mementos of their experience.

Quotes from poems written by Al-Marhum himself are incorporated into the merchandise design for an added layer of meaning. Souvenirs and tokens are specially designed to provide visitors with a memorable visit and as take-home mementos of their experience.

Quotes from poems written by Al-Marhum himself are incorporated into the merchandise design for an added layer of meaning.

Souvenirs and tokens are specially designed to provide visitors with a memorable visit and as take-home mementos of their experience. Quotes from poems written by Al-Marhum himself are incorporated into the merchandise design for an added layer of meaning.


CORPORATE IDENTITY PRIME MINISTER’S OFFICE (Brunei Darussalam)

Visual identity symbolizing Authority and Strength The logo adopts the architectural feature of the building as the symbol of resolute authority and strength. The caligraphic strokes represents the shadow casted onto the building by the sunlight shining from the east, which symbolizes the bright future of the nation under the great guidence of His Majesty.

Similar to the Museum and the Mosque within the same compound, the logo adopts the architectural feature of the building as the symbol of resolute authority and strength. The caligraphic strokes represents the shadow casted onto the building by the sunlight shining from the east, which symbolizes the bright future of the nation under the great guidence of His Majesty.


Complete Identity Guide that manages Consistent professional image for generations

identity with many applications

The identity manual contains detail instructions on brand element application in all forms of visual communication.

The manual’s guidelines ensures that the brand image is effectively portrayed.

uide that manages or generations

The brand identity manual contains detail instructions on brand element application in all forms of visual brand element application communication. The guideline ensures that the brand image is effectively portrayed.

The brand application into merchandising potrays the consistency of the brand image.


MIUM

I&J LIFT LOBBY PANEL & LEVEL INDICATOR

K ROOM CUT OUT LABEL

B ROOM LABEL SMALL

C&D Cut out text with clear acrylic

ROOM LABEL BOH edge, lighted from inside. & FHR SIGNAGE

M SURAU SIGN

Sticker cut out text

F

E

NDEE

TOILET CUT OUT PICTOGRAM

Back lit sign with light overflow onto wall surface. Pictogram and text lights up in front

TOILET CORRIDOR MOUNT

G WALL MOUNTED LARGE

Cut out pictogram in acrylic with opaque pattern background

90 degree wall mount on corridors to lead traffic to the toilet. Signage viewable from both sides.

The signage design aims to match up to the building’s classical interior as a complementary addition. The signage program therefore refers classical styling as its design focus and inspiration. There are notably a number of repetitive patterns featured throughout the interior. By simplifying the buildup of these facades, a basic pattern is derived and used graphically on the signages within the PMO space.


CORPORATE IDENTITY INTERNATIONAL CONVENTION CENTRE (Brunei Darussalam)

Corporate Identity is the face of a company to the world - it creates trust, a strong brand, value and perception of the services that are provided. It can build confidence and pride in the work force, and should never be undervalued. As such the approach of International Convention Centre identity. The inspiration is drawn from its architecture and strong Islamic

influence, whilst maintaining a strong sense of stateliness. The creation of the International Convention Centre brand identity is based on the outline of its existing roofline, hence ensuring a perfect blend of the new identity with the building. The selection of the font Trajan Pro is purposefully done to complement the new logo

Convention Centre Logo


Pictogram Set

TAKE A BREA THER

BY THE RIVER Conduct your con ferences in the greenest venue. Find out more at icc.com.br

Graphic Styling

Toilet Sign

Elevator

Changing Room

Receptionist

ghly adaptive and

MEET YOU A T

Surau

THE GRE AT OUTDOORS The greenest meeting venue in Borneo . Find out more at icc.com.br

Praying Room

Cafe

Shop

Bank

Post Office

Designed inline with the logo symbol, the pictograms are individually designed to enhance the brand character Designed inline with the logo symbol, the pictograms are individually and yet remain highly functional when it comes down to accurately guiding visitors to their destinations. designed to enhance the brand character and yet remain highly

TAKE A BREA THER

BY THE RIVER Conduct your con ferences in the greenest venue. Find out more at icc.com.br

Simplifying the logo design into basic and angular, the graphic style is highly adaptive and professional and modern. Simplifyingyetthe logo design into basic and angular, the graphic style is highly adaptive and yet professional and modern.

functional when it comes down to accurately guiding visitors to their destinations.


Room L (Small,

These signs are

with a frosted w

as the backgrou

Wall Mounted Wayfinder These extruded text and symbols are individually installed onto the walls, leaving the orginal wall as a backdrop. The arrow symbol is deliberately designed to resemble the logo for visual relevance.

Standing Sign Static

Large Room Label The large room label are used selectively on rooms with high significance and on entrances to large halls. The

Positioned at main gathering points and spaces with high human

design is identical to the ceiling mount and is used for

traffic, the standard static standees shows information on both sides.

labelling halls due to its high visibility characteristic.

for important rooms that require high attention capture. Using the convention symbol as a graphical treatment, all signages have the same cosmetic treatment to ensure maximum yet subtle brand exposure.

Standing Sign Dynamic

ching compared to wall

conference cen

Featuring 2 size

landscape label

rooms. The med

more prominent

is unable to acc

Designed to be generic, they can function as either wayfinders or labels

d

ntres and malls,

applied on the s

Main Lobby Signage Placed on areas where majority walking traffic

ating directions to

intersacts such as the atrium and lift lobbies, the uni-

open spaces.

directional Standees with Interactive Screens flashes schedules of events and features marketing videos.

The main lobby signage consist of 3 types of standing

found under the wayfinding program so that event

entrances for visual notification or status of the ongoing

panels - a map directory to navigate visitors, 2 LED

contents and wayfinding information are collectively

events. Other secondary entrances of the convention

screens that flashes dynamic content and 2 static light

organised under the brand umbrella.

centre will have lesser panels such as 1 map directory and only 1 dynamic panel. Modular panel designs

box for event posters and schedules. Designed for each panel to be modular, some areas

enables consistency in the presentation of information

Located on the left upon entering through the main

such as the Plenary Hall and Main Conference Hall

throughout the convention centre.

entrance, the panels are designed uniformly with those

will have its own dynamic panel installed at their main

To complete the whole experience, a comprehensive Way Finding solution has been developed that builds upon the strength of the Corporate Identity. It helps to carry the branding of the International Convention Centre throughout the whole complex and at the same time deliver Clear and Precise direction for everyone to easily find their way around. Outdoor Billboard The billboard is located on the left of the driveway

The billboard features the main events upcoming or

The convention centre’s branding elements are built into


CORPORATE IDENTITY KRISTALVILLE SERVICE APARTMENT (Brunei Darussalam)

LOGO RATIONALE

LOGO RATIONALE LOGO INSPIRATION

Crystals are often seen as formations of clarity, beauty and purity. Crystals are often seen as formations of clarity, beauty and purity. The new estate projects a fresh new image of similar characteristics, a look that emphasizes on lifestyled living, serenity and cleanliness.

The icon newofestate projects abecomes fresh newseen image of similarofcharacteristics, a purity. Crystals are often as formations clarity, beauty and a crystal shape visual representation ofestate the projects The fresh newand image of similar characteristics, a lookthe that emphasizes onnew lifestyled living,aserenity cleanliness. logo. The tessellation within the look that emphasizes on lifestyled living, serenity and cleanliness. body of the crystal presents an opportunity for a unique islamic “KRISTALVILLE” is a play of words made by a combination of the words pattern to be created and can “KRISTALVILLE” is a play of words made by a combination of the words Kristal (crystal in Bruneian Malay) be used as a graphic branding and Ville. An icon of a crystal shape Kristal (crystal in Bruneian Malay) and Ville. An icon of a crystal shape element throughout the estate. becomes the visual representation of representation the logo. Theoftessellation the within the becomes the visual the logo. Thewithin tessellation

“KRISTALVILLE” is a play of the crystal presents ancrystal opportunity a unique islamic pattern words made by a combination bodyInofshort, it is tradition body and of the presentsfor an opportunity for a unique islamic pattern of the words Kristal (crystal in modernity in localized styling. to be and can be used as a graphic branding element throughout to be created and can becreated used as a graphic branding element throughout Bruneian Malay) and Ville. An the estate. In short, it is traidition and modernity in localized styling. the estate. In short, it is traidition and modernity in localized styling.

Crystal shape Crystal shape Crystal Shape

Islamic pattern Islamic pattern Islamic pattern simulates crystal simulates crystal simulates facets facetscrystal facets


DIRECTIONAL POST SIGN

MAIN ENTRANCE SIGN

ROOM SIGN

CORRIDOR SIGN

Every wayfinding category considers the crystal’s shape and pattern. All signages will feature the the pattern as an effort to imbue brand awareness. The following pages presents a collection of exterior and interior signages that are specially designed as consistent set.


CORPORATE IDENTITY PAPARON’S PIZZA

This is a branding project for my class. To redesign a company logo, letterhead, application, and graphic standards manual as well as a company profile. The project began with the old company image that looked old, forgettable, and not represent that company itself. So i began with researching and then classified the facts. For first, I sketched many pictures that carries a range of associations with connection between people and pizza, but

an idea came almost instantly. By using a pencil I experimented creating a mascot of Mr. Paparon itself. It’s apparently represent the image of this restaurant. Something like a casual family restaurant. With a family as the target market, this mascot easily can be used as brand awareness. The illustration style is like a sketches to represent the new value of the restaurant; casual and family-oriented.

While the logogram is a simplified stroke of its restaurant mascot, Mr.Paparon; surrounded with a red circle as the form of pizza, the special menu from its restaurant.


Letterhead, envelope, and name card application.

For the company profile I used the design element of new Paparon’s Pizza and put the mascot in some spaces. The mascot is doing sometimes related to restaurant activity.


Official website layout application

For the restaurant menu application, I used some illustrations of the mascot and put some food photos.

Table setting and eating utensils application


Every child is an artist. The problem is how to remain an artist when you grow up — PABLO PICASSO


SOCIAL CAMPAIGN CUCI TANGAN

The logogram basically is a shaped of hand stamp and the palm is replaced with a shape of soap and water upon it. And for aesthetic looks I put foam around the soap. Blue and green color represent ‘the hygiene’.

A campaign project for my class, the goal is to create a social campaign for elementary students about washing hands with soap. For first I want to create a campaign about children welfare, but then I connected with the health because healthy body is one kind of welfare. After some research I found the fact that washing hands with soup is one of preventation of diseases. The target is children around 6 to 10 that live in B+ to B- class.

On this age children are so active and usually ignoring the hygiene of their hands. When hands are not hygienic, are able to cause some diseases like diarrhea, pneumonia, and others disease related to digestion function. This campaign has mascots which represent the important elements of hand-washing.


The both campaign poster I created using Adobe Illustrator. Both shows the before-after relation to simplify the comprehension of target audience which is children. Images are more understandable than text for children. (left) It shows the hand condition before hand-washing, its full of germs. This poster owns a fear appeal. (right) This poster shows the effects of hand-washing.

The campaign mascots. They are the important elements of hand-washing. The germ team has a leader, named Tom. Their name are selected to ease children pronunciation. These characters also make the campaign purposes easily being remembered and understood by children, as the target market.


This book is one of campaign application. The transparant paper can be pulled out and yet transformed into colored illustration. This book is used to educate children about hand-washing in attractive way.

(top) Advertorial application which is published on children magazine. (bottom) Puzzle application


Behavioral design is all about feeling in control. Includes: usability, understanding, but also the feel. — DON NORMAN


CORPORATE IDENTITY TOSCANA ITALIAN RESTAURANT

It’s an on-going final project for my bachelor degree. I chose to do a redesign project of a fine-dining Italian restaurant in Jakarta, named Toscana Italian Restaurant. The project began with the old company image that looked old, forgettable, and not present that company itself. I collected data about the fact of its company then decided keywords for its new visual identity. The objective of this project is for brand revitalizing (target market

expansion) and creating an integrated system. The inspiration of new visual identity is the shape of door or window of Tuscan villa’s architectures. I created an arched window looked like the ‘N’ alphabet and placed it on its logotype. While the color of terra cotta is inspired from the Italian use bricks in many ways like to build their houses, make flower pots, and also to grill pizza.


Letterhead, envelope, and business card application of Toscana Italian Restaurant

A detail image of Toscana Italian Restaurant’s letterhead (back side) application


(top) Cover of menu book. (bottom) Cover of wine list menu.

(left) The inside layout of wine list menu. (right) The inside layout of Toscana’s menu book


(top) Postcard Layout. (bottom) Gift Card.

(clock-wise top) Table Menu. (clock-wise bottom) Wall Images, Menu Book.


Exhibition Booth Design and Displays.

(top-bottom) Displays of branding applicaton in details.


Marketing without design is lifeless, and design without marketing is mute. — VON R. GLITSCHKA


MAGAZINE DETAIL LIVING This magazine name is Detail Living ‘in trend, decoration, lifestyle’. The brief is to combine to references that we chose with a free theme, and i chose modernity and interior design. Detail living magazine talks about interior in major; lifestyle that is involve in it. The magazine covers always display the unique interior of houses because it’s focusing on interior design. The graphic element that I used in the magazine is line and the striking colors that blend with the cover.


I don’t use too much graphic elements inside the layout to keep the space clean; focusing on the text and image.


Design is so simple, that’s why it is so complicated. — PAUL RAND


CHOCOLATE PACKAGING CHOCO ORIGINS

At the subject packaging design of in this period, i got a brief to make a packaging of food with brand named Marche’s. The lecture gave its logo. I chose to make chocolate packaging after did some research about chocolate. I found that chocolate beans are obtained from many countries. I chose 3 countries which produce high quality chocolate beans. The design is adapted from its culture. It’s simplify the target market to recognize the origin of the chocolate beans. Choco Origins packaging with variant design depending on choco bean origin.


CANNED BLACK BEAN TORTUGA’S

Fortuga’s Caribbean Black Bean Soup packaging with the ‘homemade food’ concept.

The brief of this project is to develop a product label for fictitious brand called Tortuga’s Caribbean Black Bean Soup. It’s a common soup with Campbell’s soup can which is 10-11 oz. After doing some research I understood that black bean soup is a common food for Caribbean people. So I decided to make a packaging that can bring the ‘homemade mood’, in accordance with the soup. The design element is mama’s table cloth; as known as homemade

identical. The overall color is brown in various gradient level. The using of illustration element to consolidate homemade cooking mood. It’s also to establish the human-touch aspect. This black bean soup is made for people who miss their families. Typographical element is adjusted to the whole design; by using serif old-typeface. The classical visualiation is the whole idea of its packaging.


A new language, visual, or verbal, must be couched in a language that is already understood. — IVAN CHERMAYEFF


BRANDING SOMERLEY KIDS In the entrepreneur class, me and my team had a project to establish a new company. We chose to make a babyshop as our business. This store is the pioneer of the first baby store in Indonesia which has a theme; sailor theme. We chose the sailor theme because in Indonesia dominant with hot weather and the clothes with the summer sailor theme is perfect. Somerley has a meaning as a summer sailor. This store should be opened in a mall with a high class target customers. The visual design we used the bright colors, blue and yellow is dominant.

Somerley Kids logo. The logogram is a ship wheel. It’s an important tool in sailing which is to steer the ship.


(top) Letterhead, envelope, and name card application. (bottom) Invoice, voucher, privilege card, and gift card

Somerley Kids packaging for bodysuit set, socks set, shoes, accesories, and paper bag


Good design is all about making other designers feel like idiots because that idea wasn’t theirs. — FRANK CHIMERO


ADVERTISING APPLE IN-EAR

In this project, I have to make an advertising for electronic product. I chose to make an ad of Apple In-ear headphones because I want to make something different ad from my classmates who most of them made ads about handphones, laptop, etc. So I did a brainstorming and this concept popped up in my mind. A heart beat. This headphones can make music feels so alive because its good performance. So I did a photoshoot session. I arranged the

headphones looks like a heartbeat. The whole visualitation I made this ad so simple because Apple ads mostly are so simple. I want to focus on the idea. And it’s easily to be understood by the audiences.


Christine Natalia

PORTFOLIO


Christine Natalia's Portfolio & Cv  
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