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I AM ALL THAT I HAVE SEEN

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PORTFOLIO OF C A R O LY N P U LV I N O


PORTFOLIO of

C A R O LY N P U LV I N O

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COURSE

SENIOR PORTFOLIO

INSTRUCTOR

MARY SCOTT

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I AM ALL THAT I HAVE SEEN OBJECTIVE

Gather the work I have done over the past five years and compile it into a book that represents me as a graphic designer and a human being.

APPROACH

I have always been a collector. Whether it be rocks I tried to sell to my parents' friends for five cents or bottles of glitter nail polish, these were my things and they were what made me feel like me. Looking back on the past few years, I see that my collection has been ever expanding. Along with my possessions, there are the people I have known, the places I have been and all of the things I have chosen to hold onto. I am a reflection of all of the things I have seen and heard. I am my surroundings. For me, graphic design is the inverse of that. When faced with a project, I surround myself with all of the pieces that make up my subject. Like life, I absorb every little piece of information, and sift to find out what is important and run with it. This book is a small piece of my collection so far. Each piece can be seen as a snapshot of different parts of me—each subject inspired by my surroundings at that time, each finished project part of my surroundings today.

COURSE

SENIOR PORTFOLIO

INSTRUCTOR

MARY SCOTT

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P O R T FO L I O O F CA R O LY N P U LV I N O

PROJECT

LADY GAGA TOUR BOOK

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B U E N A V I S TA W I N E L A B E L

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WAFFLE BOSS IDENTITY

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SEARS RE-BRANDING

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URBAN FOREST BANNERS

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LOCATIONS PROJECT

K E L LY M O O R E PA I N T

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S U R V I V I N G G R A C E F U L LY

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REAR WINDOW POSTER

120 PROJECT

CRITERION LAMP

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IDENTITY PROJECTS

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PROJECT

LADY GAGA TOUR BOOK

COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

DELIVERABLES

24 PAG E B O O K L E T

DURATION

FIVE WEEKS

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LADY GAGA GOES ACOUSTIC OBJECTIVE

Choose a musician that inspires you and embody the feeling of their music into a unique tour book.

APPROACH

A lot of people don't understand what the deal is with Lady Gaga. I on the other hand have a very serious appreciation for what she does. At one point I agreed that she was totally over the top and assumed that she had no part in the creation of her work. My mind was changed with one two minute video a friend showed me of Gaga performing solo, just her and a piano. I realized then that she has incredible, undeniable talent. When I found out that we were doing a tour book, I knew immediately that I had no choice but to do the project on Lady Gaga. People rolled their eyes at my decision, but were surprised at what I came up with. My tour book would be for Lady Gaga's hypothetical acoustic tour. The amazing thing about her is even when you unplug her amps, her fierceness and passion still stand. With this book, I found a way to visualize this duality and called it Raw.

COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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LADY GAGA TOURBOOK


COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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P O R T FO L I O O F CA R O LY N P U LV I N O

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LADY GAGA TOURBOOK


LADY GAGA RAW ACOUSTIC TOUR

COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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LADY GAGA TOURBOOK


COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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P O R T FO L I O O F CA R O LY N P U LV I N O

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LADY GAGA TOURBOOK


COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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P O R T FO L I O O F CA R O LY N P U LV I N O

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PROJECT

LADY GAGA TOURBOOK


COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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P O R T FO L I O O F CA R O LY N P U LV I N O

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LADY GAGA TOURBOOK


COURSE

PRINT I

INSTRUCTOR

TROY ALDERS

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PROJECT

WINE LABELS

COURSE

PAC K AG I N G I I I

INSTRUCTOR

T H O M A S M C N U LT Y

DELIVERABLES

3 LABELS & 1 BOX

DURATION

SIX WEEKS

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A WINERY FINDS ITS ROOTS OBJECTIVE

Create an identity for a winery that has lost some of its flare. Design two lower tier bottles and one higher tier bottle with special edition box.

APPROACH

My parents were always really big fans of wine so I grew up looking at a lot of wine labels. Naturally when I got to design one for a packaging class I was beyond excited. In my search for a brand to choose, I came across the Buena Vista Winery known to be one of the oldest wineries in the area. Count Agoston Haraszthy came from Hungary and founded the winery in 1857 and eventually died crossing a river full of crocodiles. Once I found this out there was no way I could possibly use any other company. I dug into the Count's history and Hungary in the 1800s as Buena Vista's current identity has very little remnants of this incredible history. I came across some folk art that was very inspiring and used elements from a few pieces to create a very unique grape leaf that would become the core element of the design.

COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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CARNEROS

E S T. 1 8 5 7

B U E N A V I S TA

B|V

BUENA

VISTA

2 0 0 9 CA B E R NE T SAUV ING NO N EST. 1857

CELEBRATING 150 YEARS

CARNEROS

E S T. 1 8 5 7

CARNEROS

E S T. 1 8 5 7

CARNEROS

E S T. 1 8 5 7

VISTA

BUENA

VISTA

2009 C AB E R N E T SAUV I N G N O N

2 0 0 9 CA B ER N ET S AU V IN G N O N

EST. 1857

EST. 1857

CELEBRATING 150 YEARS

BUENA

B U E N A V I S TA

BUENA

B U E N A V I S TA

B U E N A V I S TA

B U E N A V I S TA

CARNEROS

BUENA

E S T. 1 8 5 7

BUENA

EST. 1857

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CARNEROS

150TH

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C HA RD O NNAY

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PROJECT

BUENA VISTA WINERY

EST. 1857

VISTA

CARNEROS SINCE 1857 TWO THOUSAND NINE

S AU V I G N O N

S AU V I G N O N

SONOMA CALIFORNIA

SONOMA CALIFORNIA

TWO THOUSAND SEVEN

2009

BUENA

2 0 0 9 CA B E R NE T SAUV ING NO N

A N N I V E RSA R Y

CABERNET

2009

CABERNET SAUVIG N O N 2009 CABERN ET SAUV IGNON

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VISTA SINCE 1857

2009 CHA RDO N NAY

150th ANNIVERSARY C A B E R N E T S AU V I G N O N

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VI S TA

VISTA

CABERNET


BUENA

VISTA

CARNEROS SINCE 1857

BV

BUENA VISTA

CARNEROS

CARNEROS

es t . 18 5 7

e st. 1857

150th

A N N I V E R S A RY

CABERNET SAUVIGNON 2007

150

B U E N A V I S TA

TWO THOUSAND NINE

CHARDONNAY

BUENA VISTA CARNEROS est. 1 857

SONOMA CALIFORNIA

COURSE

2009 CABERNET SAUVIGNON

PACKAGING III

BUENA VISTA CARNEROS est. 1 857

2009 CHARDONNAY

BUENA VISTA CARNEROS es t . 18 5 7

2009 CHARDONNAY

INSTRUCTOR

T H O M A S M C N U LT Y

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BUENA VISTA WINERY


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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BUENA VISTA WINERY


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

BUENA VISTA WINERY


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

BUENA VISTA WINERY


P P P

A

COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

CAFÉ BRANDING

COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

DELIVERABLES

LO G O & A P P L I C AT I O N S

DURATION

FOUR WEEKS

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OAKLAND BOY MAKES WAFFLES OBJECTIVE

Create an identity for a cafĂŠ that has not yet opened based off of the personality of the man who is opening it.

APPROACH

Pete used to make my coffee. I would spend hours at the coffee shop doing homework and he would always come by and ask me what the hell I was doing on the computer for so long. We became friends and when he decided to open Waffle Boss, he came to me for help in figuring out what it was going to look like. He had gutted the building and made all the new things himself from salvaged wood and tiles. He did everything by hand. He was so excited about the building and the menu, but more importantly the casual attitude. Coffee would be a dollar, and waffles began at two. The ingredients would be simple, but in unusual combinations. His passion fascinated me, and my goal was to capture his personality and undying love for this place. Inspired by Pete, I created the logo by carving and printing a linoleum block and chose warm colors to reflect his welcoming, friendly attitude.

COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

WAFFLE BOSS IDENTITY


COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

WAFFLE BOSS IDENTITY


COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

WAFFLE BOSS IDENTITY


COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

WAFFLE BOSS IDENTITY


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PROJECT

WAFFLE BOSS IDENTITY


COURSE

IDENTITY II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

SEARS REBRAND

COURSE

PAC K AG I N G I V

INSTRUCTOR

T H O M A S M C N U LT Y

DESIGN TEAM

ERICA BAHN RIMSOO BYUN BRANDON LEE DAWN STEINBOCK

DELIVERABLES

5 BRANDS & 120 PRODUCTS

DURATION

FIFTEEN WEEKS

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OLD STORE GETS NEW LOOK OBJECTIVE

Look at what Sears has done right and wrong over the past few decades and come up with five to ten new inhouse brands for them to carry to increase sales.

APPROACH

Trying to wrap my head around this project was by far one of the most difficult things I have ever done. Sears has so much history and sells products in so many different departments that it was hard to know where to start. My groupmates and I looked at what exactly was keeping the company afloat, who was shopping there and what they were buying. We assessed the value of the brands that were unique to them, and also what they did not sell. In order to broaden the customer base, we found the holes in their inventory and filled them. Half of the lines were created to help them compete against brands they carried and others to supplement their own. Our main concern was to visualize the promise that Sears has been making for years—quality products at an affordable price.

COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

M I S S I O N S TA T E M E N T

To make our business larger by selling quality products and services at a great value, and building lasting, good relationships with our customers.

BRAND

T H E K I N D R E D TA B L E

DESCRIPTION

A line of kitchen tools meant to remind the modern family of the undeniable importance and value of dinner conversation.

BRAND

PHOENIX CLEANING SUPPLIES

DESCRIPTION

A brand of household cleaning tools that enable the Sears customer to keep their homes and heirlooms sparkling for years.

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PROJECT

SEARS REBRAND


BRAND

NEST HOME DECOR

DESCRIPTION

A line of home decor that is both organizational and decorative for college students, first time home and apartment owners or newlyweds.

BRAND

BUCK-A-ROOS

DESCRIPTION

A kids line that is intended to help children find their personality and also teach them about the value in being green.

BRAND

G E N U I N E A S S E M B LY H A R D W A R E

DESCRIPTION

A hardware line directed towards young and newer home owners to help them learn how to fix up and re-vamp their homes and furniture.

COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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sears

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P O R T FO L I O O F CA R O LY N P U LV I N O

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

sears

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PROJECT

SEARS REBRAND


COURSE

PACKAGING IV

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

PROJECT

URBAN FOREST BANNERS

COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

DELIVERABLES

T H R E E 1 8" X 3 1" B A N N E R S

DURATION

SIX WEEKS

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THE CITY SEES NEW GROWTH OBJECTIVE

Using the beauty of the forest as inspiration create a set of banners to adorn the lamp posts of San Francisco to raise money for urban gardening.

APPROACH

When first given this assignment, I was surprised by the simplicity of the guidelines. We were making banners and these banners had to be a certain size, and had to be about trees. They were going to be hung up on lamp posts so they had to be bold and eye catching from a long distance. This seemed simple, but it wasn't for me. It took me a bit of time before I came upon this design, and oddly enough it is just as simple as the rules upon which it was based. Wood grain is inspiring, there are always shapes and faces to be found in its bends and swirls. As a proud Californian, I decided that my banner would also be inspired by the city where it would hang. Combining the two was not only effective, but fun. I took three San Francisco land marks, made them into layers of wood grain, and used bright complimentary colors so that they would be easily seen from the street.

COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

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PROJECT

URBAN FOREST BANNERS


COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

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SURROUND

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P O R T FO L I O O F CA R O LY N P U LV I N O

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PROJECT

URBAN FOREST BANNERS


COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

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SURROUND

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PROJECT

URBAN FOREST BANNERS


COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

URBAN FOREST BANNERS


COURSE

GRAPHIC DESIGN II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

PA I N T L A B E L S

COURSE

PAC K AG I N G I I

INSTRUCTOR

T H O M A S M C N U LT Y

DELIVERABLES

GALLONS, QUARTS & CANS

DURATION

FIVE WEEKS

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A PAINT CAN GETS COLORFUL OBJECTIVE

Create a line of house paint that will draw in a different audience by giving it a new personality.

APPROACH

My mother let me do a lot of the interior decorating in the house I grew up in. I spent a lot of time at Home Depot and Osh helping her gather materials for making our home. I liked it, but also found it sort of intimidating. When I got an opportunity to design a paint label, I kept this in mind. House paint is not usually marketed toward someone who doesn't paint houses for a living. With this project, I tried to change that. Aiming at new home owners or people painting for the first time, I wanted to make a label that looked welcoming. A label that made it clear that painting is really not that hard. In my research I found that Kelly Moore paint had been around since the forties and I used the design and bright colors of that time as my inspiration.

COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

K E L LY M O O R E PA I N T


COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

K E L LY M O O R E PA I N T


COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

K E L LY M O O R E PA I N T


COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

K E L LY M O O R E PA I N T


COURSE

PACKAGING II

INSTRUCTOR

T H O M A S M C N U LT Y

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P O R T FO L I O O F CA R O LY N P U LV I N O

PROJECT

SURVIVAL BOOK

COURSE

TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

DELIVERABLES

96 PAG E B O O K

DURATION

FIFTEEN WEEKS

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AN INSECT FLIES FREELY OBJECTIVE

Tell a story of survival through the use of illustration, expressive typography and information graphics.

APPROACH

My family owns a little cottage on Lake Ontario that I have gone to every summer since I can remember. There is a path that runs between the houses and the cherry orchard across the street. This path was my hiding place and hang out when I was a kid. Some years, if the timing was right, I would be there while the tail end of the butterfly migration was coming through. The trees along my path were saturated with little tiny orange wings, hundreds of them taking a rest during their travels. These butterflies are magical and the migration they do every year takes longer than the lifespan of each butterfly that goes. With this project, my goal was to capture the beauty and strength of the monarch while telling the story of its graceful survival technique.

COURSE

TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


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TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


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TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


Coastal Margin Antennae Outer Margin

Fo r e w i n g

Discall Cell

Head

Abdomen Inner Margin Apex

COURSE

TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

Hindwing

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S U R V I V I N G G R AC E F U L LY


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TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


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TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


COURSE

TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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S U R V I V I N G G R AC E F U L LY


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TYPOGRAPHY III

INSTRUCTOR

CAROLINA DEBARTOLO

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PROJECT

MOVIE POSTER

COURSE

PRINT II

INSTRUCTOR

ROLAND YOUNG

DELIVERABLES

2 4" X 3 6" P O S T E R

DURATION

TWO WEEKS

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A CAMERA WITNESSES A CRIME OBJECTIVE

Capture the feeling and emotion of a film made in the sixties in a poster that will read with one glance.

APPROACH

I have always been so inspired by the films of Alfred Hitchock. His ability to tell a story and incredible attention to detail makes all fifty two of his films special. The key to this project was to find the detail in the film that made the story worth watching and I thought any number of Hitchcock's films would be perfect for it. Rear Window is one of my favorites, a fine example of the suspense building that Hitchcock is capable of. I watched the film again before sketching out the poster and illustrated the point at which the story goes from being about an innocent man suffering from boredom to something different entirely.

COURSE

PRINT II

INSTRUCTOR

ROLAND YOUNG

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REAR WINDOW POSTER


COURSE

PRINT II

INSTRUCTOR

ROLAND YOUNG

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REAR WINDOW POSTER


COURSE

PRINT II

INSTRUCTOR

ROLAND YOUNG

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REAR WINDOW POSTER


COURSE

PRINT II

INSTRUCTOR

ROLAND YOUNG

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ALFRED HITCHCOCK STARRING JAMES STEWART & GRACE KELLY

DIRECTED BY


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PROJECT

LAMP PROTOTYPE

COURSE

PAC K AG I N G I I I

INSTRUCTOR

T H O M A S M C N U LT Y

DELIVERABLES

LAMP & BOX

DURATION

SEVEN WEEKS

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A LIGHT FOR THE MOVIES OBJECTIVE

Build a unique celebratory special edition lamp for an established company with style.

APPROACH

Criterion boxes are like candy to a graphic designer. The effort that goes into the packaging design is similar to that put into the film itself. The illustrations and type are beautiful and the color choices perfect. Designers also enjoy the fact that they are collector's items, each film individually numbered creating this need to have them all. Criterion had just put out their 500th release when Tom gave us this assignment and I decided that my lamp would be number 500 ½. The lamp's shape is a three dimensional interpretation of their logo. Wrapped around the lamp is text telling the title, director and year of release of all five hundred films they have put out.

COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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CRITERION LAMP


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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CRITERION LAMP


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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CRITERION LAMP


THE CRITERION COLLECTION The Criterion Collection, a continuing series of important classic and contemporary films, presents...

Since 1984, has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements. Over the years we’ve seen a lot of things change, but one thing has remained constant: our commitment to publishing the defining moments of cinema for a wider and wider audience. Each film is presented uncut, in its original aspect ratio, as its maker intended it to be seen. To date, more than 150 filmmakers have made our library of Director Approved DVDs, Blu-ray discs, and laserdiscs the most significant archive of contemporary filmmaking available to the home viewer. In celebration of our 500th release, we bring you this commemorative lamp showing allfive hundred titles along with their Criterion release number, director and year of release.

This box includes one fantastic lamp and one plastic sheet holding all 500 titles. Display wIth or without.

2 0 11

COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

Visit us at criterion.com.

T HE C R I T E R I ON C O L L E C T I O N

500½

The Criterion Collection is dedicated to gathering the greatest films from around the world and publishing them in editions of the highest technical quality, with supplemental features that enhance the art of the film.

TH E C R I T E R I ON C O L L E C T I O N

T HE C R I T E R I ON C O L L E C T I O N

T H E C R I TE R I O N C O L L E C T I ON

This lamp is powered by three LED lights and despite the fact that they are bright this lamp is intended to decorate rooms of film enthusiasts around the world rather than light them up.

Celebrating over 30 years and 500 unforgettable films.

500½

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2011 TH E C R ITE R ION C OL L EC T ION

T HE C R IT ER ION C OL LE C T ION

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Celebrating over 30 years and 500 unforgettable films. PROJECT

CRITERION LAMP

500½


COURSE

PACKAGING III

INSTRUCTOR

T H O M A S M C N U LT Y

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PROJECT

IDENTITIES

COURSE

VARIOUS

DELIVERABLES

LOGOS

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BRANDS LOOK FOR A FACE OBJECTIVE

Research a company, person, or group to find out what makes them special. Condense those unique qualities and personality into a strong visual identity.

APPROACH

One of the most fascinating and enjoyable parts of graphic design for me is branding. I start with research, finding everything about the company or person or place that there is to find and absorbing it all. The key is to find what makes the subject special, what makes it different from any other subject and helps it to shine. With this information you can visually capture the feeling of the subject and create its identity.

COURSE

VARIOUS

INSTRUCTOR

VARIOUS

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IDENTITY


COURSE

VARIOUS

INSTRUCTOR

VARIOUS

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IDENTITY


COURSE

VARIOUS

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VARIOUS

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NAPA VALLEY

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IDENTITY


COURSE

VARIOUS

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VARIOUS

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NAPA VALLEY

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NAPA VALLEY

PROJECT

IDENTITY


COURSE

VARIOUS

INSTRUCTOR

VARIOUS

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SO MANY THANKS I COULD NOT BE WHERE I AM TODAY WITHOUT THOSE WHO HAVE SURROUNDED ME THROUGH ALL OF MY UPS AND DOWNS.

T O M Y PA RE N T S

For all you have taught me, and all you have given me, I thank you. I am the luckiest girl in the world.

TO MY INSTRUCTORS

Mary Scott, Thomas McNulty, Scott Rankin, Roland Young, Michael Sainato and all the others I have been lucky enough to learn from, thank you for sharing your talent and expertise.

TO MY FRIENDS

Audra Barrios, Kevin Barry, Skylar Bohan, Ariel Bott, Albert Carlen, Thea Chacamaty, Jenny & Laura Einowski, Joaquin & Francisco Elizondo, Chloe Fortin, Sara Gaiero, Patricia Hart, Alex Matus, Nicole Meyer, Mathew Miller, Kai Noble, Courtney Richardson, Kyle Rush, Justin Syren, Seth Tracy, Nikki Walroth and John Writer, thank you for all of your support and advice. Special thanks to Megan Leucht, Emily Sheehy Wilkins and Dawn Steinbock for knowing me better than I do and keeping me calm, I love you very much.

T O M Y FA M I L I ES

Jacky Andrews, The Bohans, Emily Chesley, Maura Damacion, Jayci & the Combs family, April & Jeff Higgins, Carol Hoover, The Mangiafestos, Papa Pulvino, Karen Sass, The Sotirs, Johanna Van de Mark, David Webster, Mike, Pat and Courtney Woods, Linda Yuschenkoff thank you for all of your advice, believing in me and never judging me.

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P O R T FO L I O O F CA R O LY N P U LV I N O

PORTFOLIO

PRINTER

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AUTUMN PRESS 9 4 5 C A M E L I A S T. BERKELEY, CA

DESIGNER

C A R O LY N P U LV I N O 510 541 5134

BOOK BINDERY

C P U LV I N O @ G M A I L . C O M

THE KEY 5851 OCEAN VIEW DR. OAKLAND, CA

SCHOOL

ACADEMY OF ART UNIVERSITY 79 NEW MONTGOMERY

PHOTOGRAPHY

SAN FRANCISCO, CA

C A R O LY N P U LV I N O

COURSE

PA PE R ST O C K

SENIOR PORTFOLIO

MOHAWK 100 LB. TEXT

D E PA R T M E N T C H A I R

FON TS

MARY SCOTT

ADOBE CASLON PRO & DIN PRO

S O F T WA R E

ADOBE INDESIGN, PHOTOSHOP A N D I L L U S T R ATO R C S 5

COPYRIGHT © 2012 C A R O LY N P U LV I N O


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