Portfolio. Federica Pezzuto | Selected Works ____ 2011/2017

Portfolio.

FEDERICA PEZZUTO Selected works

2011 / 2017

Portfolio.

Print on IQ premium 120gr Pages 144

Hello, my name is Federica designer

I’m a communication

My goal is to find creative solutions,

combining a unique perspective and experience in order to deliver the right message

Creativity, passion,

imagination and attention to details characterize myself, but also all my project

Born in southern Italy I moved

to Perugia to study Advertising Thecnique in Univeristy for Foreigners. After my bechelor’s degree I applied to Politecnico of Milan, because I wanted to design what I had in my mind

In 2019, I majored in communication

design with a semiotics thesis which deals Instagram and selfportrait I like to know my clients personally and learn the story behind each project

I like the exchange of views,

receiving and offering inspiration, spending time with my collaborators

I love the sharing

Aren’t you just a little bit intrigued?

Let’s see my works!

INDEX

6 _ 13

WHU Studio.

4 _ 5

Read my story.

1 4 _ 31

Pavia.

46 _ 55

Frédérique.

Portfolio.

32 _ 45

Longocava.

INDEX 7 4 _ 89

19/20.

5 6 _ 73

Consorzio Riso Pavese.

90 _ 99

Godiva & Royal Delft.

100 _ 117

Cento.

118 _ 131

Gabrielle Typeface.

â–

#selectedworks

the people, the details.

Details in things, in people.

I was born in the Italy’s deep South, in a small town nearby the sea.

As a child my eyes were bright and curious to explore the world.

I talked non-stop, never shut up.

Then, since I learned to write, I never stopped. Just as I never stopped reading.

And that’s why I love the paper and its matter under the fingers.

I love the sound of pencil on paper.

The letters, old fashioned kind.

I love the smell of books.

I love nature in all of its wonder and all of its beauty.

I love the trees on which as a child I used to climb.

Today, however, I caress their trunk.

I love the richness of being together and new meetings.

I love to hear stories.

I love travelling.

I love the mountains and the indescribable feeling of freedom.

4 1 W HI TE. PHOTO F ROM PI NTE RE ST.

Portfolio.

Read my story

I love the silence. The sound of my footsteps in the woods.

I love the rain and its smell.

I observe. I observe the world, the people, the details.

READ MY STORY 5

2 SELF POR T R A I T, M ay 2 0 1 7 .

3 Photo c re di t: JA R OE N B E NDE L E R , U N SPL A SH.

△

I love the color blue, which reminds me of the sea. I love both its delicate blue shades as its deep black nuance.

Takes me back to the origin. It requires to look inside me.

And then I love white. Bright. Elegant.

For many it represents the absence, but for me it means pause.

I love the geometries. The clean, simple lines, no frills.

And I believe in the great power of the image. This is why I love art.

Whatever it is.

I believe that passion and curiosity can still move the world.

And that’s why I’ll be always searching for something new.

1 STAT IO N ER Y / T O P V IE W. R i g h t p a g e : L OG O T YP E + PAY- O F F

visual identity

Whu STUDIO.

Design of a visual identity for an hypothetical communication studio.

7 March / 2012

â–Ą

SCHOOL Politecnico of Milan, School of Design.

Master Degree in Communication Design

TEAM Cheer Huang, Eleonora Errigo, Federica Pezzuto, Jacopo Pulcini, Viola Bernacchi.

EXAM Laboratorio di Sistemi e Artefatti Complessi

CREATIVE F I E L D S Editorial design, Graphic design, Branding.

PROFESSORS Andrea Braccaloni, Vittorio Linfante

KEYWORDS #visualidenity #stationery #logodesign #communicationstudio TOOLS USED Adobe llustrator, Adobe Photoshop

VISUAL IDENTITY

HELVETICA NEUE

9

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Helvetica Neue

a b c d e f g h i j k l m n o p q r s t u v w x y z

R0 G0 B0

Whu Studio.

R0 G1 7 1 B2 3 3

#selectedworks 10

Portfolio.

2 STATI ONERY / PERSPECTI VE VI EW.

VISUAL IDENTITY 3 STATI ONERY / CLOSE UP.

11

Whu Studio.

4 STATI ONERY / CLOSE UP.

20

5 STAT IO NE RY / TOP VI EW.

Portfolio.

6 L OGO PAT T E R N.

VISUAL IDENTITY 7 LOGO ANI MATI ON ON PAPER.

Whu Studio.

13

#selectedworks

The aim of this school project is to present a renewal of the city of Pavia starting from the institutional image.

Considering the past cultural heritage, the main idea is to offer a new kind of perspective about the city and his quiet lifestyle.

The design of the logo reminds the bridge, symbol of the city, and all the visual image is according to the natural colors of the italian landscape.

14

Portfolio.

1 PONT E C OPE R T O, PAVI A .

The logo of Pavia was born from the observation of the famous Bridge of the city. The pictogram, indeed, is composed by ove rl appi n g of the ri ve r an d b ri dg e sty l i zati o n .

A s re g ards ty pefac e, H ero has b e e n m o di fi e d w i th c uts ove r the l ette rs. H ero i s al so the ty pefac e of the pay -off (Da l t uo punto di vist a) .

PAVIA, It’s a point of view.

This project belongs to a broader work “9 projects for 9 cities” concerning the visual identity design and communication strategy of some lombard cities: Bergamo, Brescia, Como, Cremona, Lecco, Mantova, Pavia, Sondrio, Varese. The study has been carried on through the definition of each city’s identity, territory and distinctive elements, in order to set up a corporate image and to achieve their transformation into a brand.

15 June / 2012

□

SCHOOL Politecnico of Milan, School of Design.

Master Degree in Communication Design

TEAM Cheer Huang, Eleonora Errigo, Federica Pezzuto, Jacopo Pulcini, Viola Bernacchi.

EXAM Laboratorio di Sistemi e Artefatti Complessi

CREATIVE F I E L D S Editorial design, Graphic design, Branding, Photography.

PROFESSORS Andrea Braccaloni, Vittorio Linfante

KEYWORDS #visualidenity #stationery #logodesign #citybrand #tourism #corporateidentity #advertising #advertisingcampaign TOOLS USED Adobe llustrator, Adobe Photoshop AWARD Project featured on “We and the color� blog on 17.11.2013

VISUAL IDENTITY

HERO

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Museo Sans

a b c d e f g h i j k l m n o p q r s t u v w x y z

17

MUSEO SLAB 500

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

R8 7 G7 5 B 6 7

Pavia.

R132 G2 0 0 B2 0 0

#selectedworks

2 STAT IONE RY / TOP VI EW.

26

VISUAL IDENTITY 3 STAT IONE RY / CLOSE UP.

19

Pavia.

4 PAVI A I NST I T UT I ONA L WE B S I T E .

Portfolio.

5 D IS COVERY KI T.

20

#selectedworks

VISUAL IDENTITY 6 DI S C OVE R Y GUI DE + M A P.

Discovery kit The Discovery kit is a kit design for tourist: it’s comprised by an essential line of promotional gadget like t-shirt, water bottle and cotton bag. Concerning the information material, we have designed an ad hoc mini guide about principal city place of hystorical and cultural interest, a city map and some postcards in line with promotional graphic.

21

Pavia.

7 D ISC O V ERY M AP.

H E AD L I N E CO M M U N I CAT I O N C AM PAI G N T h e sl o ga n of t h e co mm u ni c at i on c am p a ig n h as t h e t yp og raph i c ch a rac ter of t h e Mus eo Sla b 5 0 0.

8 M ED I EVAL T O W ER S n e ar t h e u n iver s i t y.

30

VISUAL IDENTITY 9 THE “ANNE BOLEY N PORTRAI T”, F RANS POUR B US “THE Y OUNGER”, 162 0- 2 5, oil on canvas .

PI NACOTECA MALASPI NA, PAVI A.

23

Pavia.

1 0 STAT UE OF A L E S S A NDR O VOLTA , UNI VE R S I T Y OF PAVI A .

#selectedworks

1 1 PAV IA , C AT H EDRAL, DONATO BRAMANTE, 1488.

24

Portfolio.

12 PONTE CO PE R T O, PAVI A .

Pavia.

1 4 S AL O N E M ER CAT O, P IA Z Z A D EL L I N O, PAVI A .

1 3 BA SIL IC A D I SAN MI CHELE MAGGI ORE, 1188, PAVI A.

33

VISUAL IDENTITY

Portfolio.

26

#selectedworks

VISUAL IDENTITY

Crossroads of Europe / Itinerari di cultura e di fede Pavia, 6-10 June 2012 Pavia has been the european capital of religious and cultural tourism in Medieval age, since it was at the crossroads between three important pilgrimage paths: Via Francigena, Cammino di S. Martino di Tours and Cammino di S. Agostino, which remains rests in S. Pietro in Ciel D’Oro church.

27

Pavia.

LEF T PAGE: 15 Pos ter / CROSSROA DS OF E UR OPE .

#selectedworks

1 6 Po stca rd / GREAT H ALL O F TH E UNI V ERS I T Y.

28

1 7 Po stc ard / S A L ONE M E R C AT O.

VISUAL IDENTITY 1 8 Po stca rd / TH E V I S CO NTI CASTLE.

37

1 9 Postc a rd / REGI SOLE.

Pavia.

2 0 Po stc ard / STAT UE OF M I NE R VA .

2 1 Po s te r / L A P I T T U R A D EL I XI S EC OL O.

38

VISUAL IDENTITY 31

2 2 “I L BACI O”, F RANCESC O HAY E Z , 1 8 5 9 , PI NA C OT E C A DI B R E R A , M I L A NO.

RI GHT PAGE:

La Pittura del XIX secolo Pavia, 11 February - 9 April 2012

Pavia.

A great exhibition about italian XIX century painting, with a selection of 70 artworks from Pavia Civic Museums and from major italian public and private collections.

#selectedworks 32

Stone is an ancient material that has for centuries been used in architecture, giving life to masterpieces that testify to the various historical epochs.

The extraction basin of the Longocava consists of the limestone rock called Bianco Santa Cesarea, typical compact and hard limestone, found also as skeleton and backbone of the Salento greenhouses.

My work starts with this beautiful stone and the context surrounding it.

The chosen chromatic palette (the warm brown and the gold combined with the neutral colors of the stone) and the use of natural cards are a clear reminder of the warm colours of the Salento land.

The visual identity that follows is elegant and timeless, with a vintage touch.

2 T E XT U R E / S A BB IA L AVATA .

Portfolio.

3 TEXTURE / BRECCI ONE.

1 T E XT UR E / B R E C C I A .

Longocava.

Longocava is a company born in 1963 in Vitigliano, an hamlet near Santa Cesarea Terme (Lecce, Italy).

It extracts, processes and sells hight quality limestone.

33 April / 2016

â–Ą

CLIENT Longocava

CREATIVE F I E L D S Editorial design, Branding, Photography, Exibition.

SECTOR Mining sector

KEYWORDS #visualidenity #stationery #logodesign #exibition TOOLS USED Adobe llustrator, Adobe Photoshop

EXIBITION “Externa Fiera”, Fiera degli Spazi Esterni, Lecce.

VISUAL IDENTITY

HELVETICA NEUE

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 35

PT Serif Bold

a b c d e f g h i j k l m n o p q r s t u v w x y z

W HI TECLI F F BEI GE

F OSSI L GREY

HA Z E L NUT

S OF T WHI T E

ST ONE WHI T E

GR E Y

Longocava.

K RA FT

44

Longocava.

4 STAT I O N E R Y / T O P VI E W.

37

VISUAL IDENTITY

#selectedworks

5 T E X T UR E BIA N CO SA N TA CESA REA.

38

Portfolio.

6 T EXT U RE / O PUS I NCERTUM.

Longocava.

8 T EX T U R E B IA N C O S AN TA C E SAR E A.

47

7 T EXTURE BI ANCO SANTA CE SARE A.

VISUAL IDENTITY

9 B OOF L E T / F R O N T C OV ER .

Portfolio.

1 0 BO O KLET / I NS I DE PAGES + I NS ER T.

40

#selectedworks

VISUAL IDENTITY

1 2 BO O KL ET / BACK CO V ER.

41

Longocava.

11 BOOKLET / I NSI DE PAGES.

#selectedworks

1 3 P RIC E L IST.

Longocava.

VISUAL IDENTITY

1 4 PRI CE L I ST.

43

1 5 LO NGO CAVA STAND.

Externa Fiera

Portfolio.

44

For Longocava I also took care of the exhibition space for the participation of the company at Externa Fiera, the national fair of outdoor spaces held in Lecce during the month of April, in 2016.

The design is minimalist to exalt the beauty of the stone. A large block of rough stone, transformed into a table thanks to the use of a glass, constituted the central focus of the exposition.

In the background there was a panoramic poster of Santa Cesarea Terme.

The floor consisted of the laying of the stone through the technique of Opus Incertum.

The touch of colour was instead given by the bright green of minimal plants such as cactus, succulents and a large plant of Yucca Rostrata.

As regards the side walls, white wood rods (of various lengths) used both frame and decorative element.

1 6 F LY E R S.

Longocava.

1 8 L ON G O CAVA STA N D.

1 7 L O NG O C AVA STAND.

53

VISUAL IDENTITY

#selectedworks Portfolio.

46

1 M Y INSP IRAT IONAL MOODBOARD.

Frédérique, Geometric Edition.

Frédérique is an excercise of style for the building of my personal brand identity.

47 February / 2017

□

CREATIVE F I E L D S Editorial design, Branding, Graphic design.

KEYWORDS #visualidenity #stationery #logodesign #selfbranding TOOLS USED Adobe llustrator, Adobe Photoshop

VISUAL IDENTITY

SIMPLO BOLD

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

49

Adobe Caslon Pro Italic

a b c d e f g h i j k l m n o p q r s t u v w x y z

GREY

2 FRÉ D ÉRIQU E , LOGOT Y PE + SI GNATURE. G e om et ric e d ition 2 017

BLACK

NUDE

CREME

WHI T E

R OS E GOL D

Frédérique.

CLOUD

#selectedworks 50

Portfolio.

3 STATI ONERY / TOP VI EW.

59

Portfolio.

5 L ET T E R H EAD / F R O N T & B AC K.

4 BU SINESS C A RDS / F RONT.

52

VISUAL IDENTITY 6 BUSI NESS CARD / F RONT & BACK

53

7 ENVELOPE / F RO NT & B A C K .

Portfolio.

#selectedworks

8 PAT T ERN. Appl i ca ti o n o n cotto n ba g .

54

VISUAL IDENTITY

|| Minimal is not a style, it is an attitude, a way of being.

It’s a fundamental reaction against noise, visual noise, disorder, vulgarity.

Minimalism is the pursuit of the essence of things, not the appearance.

It is the persistent search for purity, the search for serenity, for silence as a presence, for the thickness of spaces, for space as immensity.

Minimalism is beyond the time - it is a timeless, it is noble and simple materials, it is the stillness of perfection.

It has to be the being itself, uncovered by useless cruts, not naked but completely defined by itself, by its being. ||

55

MASSIMO VIGNELLI

It’s a fundamental reaction against noise, visual noise, disorder, vulgarity.

#selectedworks 56

MISO

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Portfolio.

R87 G75 B67

JUTA

KRAFT

L I GHT S A ND

packaging design

Consorzio riso pavese.

With its 80,000 hectares of rice fields Pavia is considered as “the capital of rice” and its province is the first italian rice maker: this consequently gives rise to consorzio projec. The design purpose was to figure out an hypothetical rise consortium that would bring together, under a single and unique brand, rice producers. Consortium’s visual identity has been created in line with previously developed Pavia brand.

57 July / 2012

□

SCHOOL Politecnico of Milan, School of Design.

Master Degree in Communication Design

TEAM Cheer Huang, Eleonora Errigo, Federica Pezzuto, Jacopo Pulcini, Viola Bernacchi.

EXAM Laboratorio di Sistemi e Artefatti Complessi

CREATIVE F I E L D S Graphic design, Branding, Packaging, Product design, Photography

PROFESSOR S Andrea Braccaloni, Vittorio Linfante

KEYWORDS #visualidenity #stationery #logodesign #cpackaging #advertising #eventcampaign TOOLS USED Adobe llustrator, Adobe Photoshop

PACKAGING

Starting from the logo, we designed the brand image, editing the external and internal communication; we planned a promotional event and finally defined the distribution channel with different packaging concepts.

1 STATIONERY TO P V IE W. Left page: LOG O ’S E V O LUTIO N. Th e rise grain re pre s e n ts the main ele m e n ts on wich logo’s evolu tio n is b as e d.

Consorzio Riso Pavese.

59

Portfolio.

60

#selectedworks

PACKAGING 61

Consorzio Riso Pavese.

2 C ONS OR Z I O R I S O PAVE S E WE B S I T E .

#selectedworks 62

Portfolio.

3 INVI TATI ON + I NF ORMATI VE TRI F OLD F OR CONSOR T I UM ’S M E M B E R S. T h e paper us ed for the entire project is a recycl e d ty pe c o n tai n i n g n atural fi b e rs.

PACKAGING 4 C O NFERE NC E I NVI TE F OR CONSORTI UM’S MEMBERS.

63

5 I NF ORMATI VE TRI F OLD F OR CONSORTI UM’S ME M B E R S.

#selectedworks

6 EVENT ’S F LY E R Il riso va in c it t à.

64

7 E VE NT ’S M A P Il riso va in c it t à.

Different col or s are asso c i ate d to spe c i fi c ri c e s an d the rel ative events : bl u e fo r C arn arol i , re d fo r A rb o ri o an d g re e n fo r Vi al o n e Nan o.

PACKAGING 8 E VE NT ’S POST ER “ I l ri so va i n ci ttà ” .

9 RISE G RA INS, ROAD SI GNS. T h e se m a rke rs indicate to us er s the eve n t ’s p a t h s.

Consorzio Riso Pavese.

65

1 0 R I CE PACKAGI NG / F RO NT.

Design

Portfolio.

66

The design is minimal, identic for all rices typologies.

The package has a transparent opening on the side which allows the customer to see the product inside. Tracing paper bands are the only distinctive note and allows to easely identify the products.

PACKAGING 12 R I C E PA C K A GI NG / B A C K .

67

Consorzio Riso Pavese.

1 1 COOKI E RECI PES. In as s ociation to r is e ty pol ogies , a recipes is given to cons umer.

1 3 YUTA PACKAGI NG, GI F T EDI TI O N.

#selectedworks

Materials Concerning the material we choosed materials linked to rural lyfestyle, like jute and wood.

68

Portfolio.

1 4 GA DGE T.

Consorzio Riso Pavese.

79

1 6 L UXUR Y PA C K A GI NG, L I M I T E D E DI T I ON.

1 5 L UX UR Y PA C KAGI NG, L I M I T ED EDI T I O N. ( Parti c ul ar) .

PACKAGING

#selectedworks

17 PRODUCT DI S PL AY S ST UDI O. Pape rb o ard di spl ay.

70

Portfolio.

1 8 PR ODUC T DI S PL AY S ST UDI O. Gl ass di spe n se rs fo r b ul k pro duc t.

PACKAGING 81

2 0,2 1 PR ODUC T DI S PL AY S ST UDI O. B l o c ks pal l et di spl ay.

Consorzio Riso Pavese.

19 GLASS PACKAGI NG F OR BU L K PR ODUC T. Avail abl e in different s izes .

82

Consorzio Riso Pavese.

73

22 MERCHANDI SNG.

PACKAGING

84

1 VOL . 1 & VOL . 2 / F R ONT A ND B A C K .

19/20 is my first project. It is an elaborate divided into two volumes: the first one covers the historical period from 1900 to 1940, while the second refers to years going from 1940 to 2011.

Concerning the last years of the century, from 1980’s on, I decided to highlight only the most relevant policy issues.

Volumes deals the social, political, civil, cultural and artistic events of the Century as well as the most important in film and literature.

Portfolio.

All credits for texts, photos and images goes to the rightful owners.

editorial design

19/20, millenovecento duemilaundici.

The Lab. had its focus on the ethical, cultural and social value of visual communication, together with the civil responsibility of communicating.

The starting point was to understand the content of the proposed theme and then identify the best form to express it. The main field concerns communication of thought, because graphic design means, first of all, presenting a content and not selling a product.

75 July / 2011

â–Ą

SCHOOL Politecnico of Milan, School of Design.

Bachelor Degree in Communication Design

TEAM Personal Project

SINGLE CO URSE Laboratorio di Teorie e Pratiche del Progetto

CREATIVE F I E L D S Editorial design, Branding, Graphic design, Print design

PROFESSORS Anna Steiner, Paolo Accanti

KEYWORDS #book #bookdesign #hystorybook #TwentiethCentury TOOLS USED Adobe Photoshop, Adobe Indesign

EDITORIAL 2 I NTRO, VOL. 1

77

19/20.

3 O P ENING C H A PTER, VOL. 1

#selectedworks

4 BELLE EPOQUE an d F I R ST S C I E NT I F I C F I NDI NGS, VOL . 1

90

Portfolio.

5 ART NOUVEAU a n d T HE I TA L I A N LI BERT Y P OST E R S, VOL .1

EDITORIAL 6 KAF TA and A POL I NNA I R E .

79

7 “THE ROARI NG T W ENTI ES”, VOL. 1

#selectedworks

8 ‘2 0 s M OVI E , VOL . 1

80

Portfolio.

9 WA R NE R B R OS an d WA LT DI S NE Y C OM PA NY, VOL . 1

EDITORIAL 1 0 SU RRE A L ISM, VOL. 1

19/20.

81

94

#selectedworks

1 1 A POR T R A I T OF A DOL F HI T L E R , VOL . 1

12 NA Z I S M vs FA S C I S M, VOL . 1

83

19/20.

1 3 C ONS UM E R GOODS an d A DVE R T I S I NG b etwe e n the wars, VOL . 1

#selectedworks

1 4 T H E AT OM IC BOMB, VOL. 2

84

Portfolio.

1 5 T HE NUM B E R GE R T R I A L S, VO L . 2

EDITORIAL 16 THE NEW Y ORK SCHOOL an d THE PUSH PI N STUDI O, VOL . 2

97

1 7 T HE B I R T H OF C A R OS E L L O, VOL . 2

19/20.

1 8 T H E ‘50s FA SHI ON, VOL. 2

98

Portfolio.

1 9 O P ENING C H APTER, VOL.2

EDITORIAL 2 1 T HE ‘6 0 s FA S HI ON an d I C ONS, VOL . 2

20 T H E BE RL IN WALL and THE KENNEDY ASSASSI NATI ON, VOL. 2

87

19/20.

22 T H E RED BRIGADES and THE BLOODY SUNDAY, VOL. 2

#selectedworks

2 3 W OODSTOCK, VOL. 2

88

2 4 F I NA L C HA PT E R S, VOL . 2

EDITORIAL 2 5 BI BLI OGRAPHY, VOL. 2

89

19/20.

2 6 F I NA L T HA NK S, VOL . 2

#selectedworks 90

Portfolio.

1 C OVE R B OOK & I NDE X.

Godiva Chocolatier was born in 1926 from the vision of Pierre Draps, a chocolate artisan producer.

Godiva become, through the years, a symbol of a luxury and prestige in the world, thanks to a combination of various factors, such as the hight quality of its products, a strong management base, partnerships and successful marketing/image strategies.

Royal Delft, Koninklijke Delftsch Aardewerkfabriek NV “De Porceleyne Fles 1653�, better know as Royal Delft,

Godiva & Royal Delft.

The paper aims to analyze the possibility of a brand affinity between two luxury brands, leaders in their respective markets: Godiva Chocolatier and Royal Delft.

91 July / 2012

â–Ą

SCHOOL Politecnico of Milan, School of Design.

Master Degree in Communication Design

TEAM Personal Project

EXAM Stategie Brand & Licensing

CREATIVE F I E L D S Editorial design, Branding, Licensing

PROFESSORS Marco Turinetto Susanne Kreuzer

KEYWORDS #marketing #luxurybrand #licensing TOOLS USED Adobe llustrator, Adobe Photoshop, Adobe Indesign

All credits for photos and images goes to the rightful owners.

2 OPENI NG CHA PT E R .

EDITORIAL

was born in 1653 when Mr. David Anthonisz van Der Pieth build a ceramic factory in Netherlands. This brand is the leading manufacturer of authentic Delft Blue ornamental ceramics.

Both companies were chosen because, even if belonging to different markets, they are similar is sharing a set of a values such as tradition, historicity and the pursuit of excellence: this is a basic condition for a proposal of a licensing contract.

After an initial phase of brands’ specific features analysis, the project follows to highlight the similarities and differences relating to variables such as target, positioning and marketing strategies. The last part deals with the design phase of the license agreement, the development of an hypothetical artifact, the definition of its distribution and communication strategies.

93

#selectedworks

3 GODI VA T R UF F L E S.

94

Portfolio.

4 HI ST OR Y OF L A DY GODI VA .

EDITORIAL 5 PI E R R E DR A PS an d GODI VA’S F I R ST B OUT I QUE .

95 6 G OD IVA T im el ine.

#selectedworks

7 L OGO A NA L I S I S.

96

Portfolio.

8 GODI VA’S S UC C E S S.

Godiva & Royal Delft.

1 1 F L AG S H I P ST O R ES.

97

1 0 GODI VA I N T HE WOR DL D.

9 TH E BALLO TI N.

EDITORIAL

#selectedworks

12 ROYAL DELF T, i n tro.

98

Portfolio.

1 3 R OYA L DE L F T PAT T E R N.

Godiva & Royal Delft.

1 4 ROYA L D EL FT, brand val ues .

#selectedworks

Designed for Android platform, CENTO is a digital crossmedial magazine that collects, according to the concepts of “stream” and “contamination of genres”, a selections of news concerning a show.

112

Portfolio.

1 C E NT O DI GI TA L M A GA Z I NE .

interaction design

CENTO, il teatro oltre il teatro.

In a media landscape deeply transformed by the digital convergence and the advent of the Internet, new frontiers are opened also in the artistic fields, especially in performing arts and theater: this is due to the characteristics of immersion, integration, hypermediality, interactivity, nonlinear narratives of the Digital system.

In the perspective of a networked culture, the stage is only one of the possible performative action theaters: the scene can extend (spatially and temporally) into more interconnected environments: from multitasking platforms, where different applications can work simultaneously, to web communities.

101 February / 2013

â–Ą

SCHOOL Politecnico of Milan, School of Design.

Master Degree in Communication Design

TEAM Vincenzo Castro, Luna Gasparini, Luo Chao, Federica Pezzuto, Agnese Ragucci

EXAM Laboratorio di Sintesi Finale

CREATIVE F I E L D S Editorial design, Interaction design, Mobile App, User Experience, User Interface

PROFESSOR S Margherita Pillan, Marco Maiocchi, Fulvio Faraci, Mauro Rubin

KEYWORDS #theatre #digitalmagazine #crossmedia #editorialdesign TOOLS USED Adobe llustrator, Adobe Photoshop, Adobe Indesign, Proto.io

INTERACTION DESIGN

GOTHAM LIGHT A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

GOTHAM BOOK A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

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GOTHAM MEDIUM A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

GOTHAM BOLD A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

R2 5 5 G1 5 0 B0

R 0 G2 5 5 B 1 7 5

Cento.

R165 G2 55 B0

#selectedworks 104

Design The name CENTO was born during a brainstorming session, which followed a research on theatrical jargon. CENTO is a term used to indicate that the brightness adjustment of a spotlight is at maximum.

By extending the concept of this term to publishing, CENTO indicates the maximum opening of the contents.

For the visual identity of CENTO we designed an ad hoc calligraphic font that conveys the values of luxury, uniqueness, softness, retro elegance and youth.

Regarding colours we privileged the cleaning of black and white, plus the use of three acid colors (orange, green and light blue) in order to highlight the different contents of the headboard and some photos peculiar characteristics.

2 T E AT R O A L L A S C A L A , M I L A NO. P hoto c re di t: C L UB M I L A NO. NE T

Portfolio.

3 Photo credit: ALEJ ANDRO ESCAMI LLA, U N SPL A SH.

INTERACTION DESIGN

Target 4 Photo c re di t: R AWPI X E L . C OM, U N SPL A H.

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Inspirations The aggregators (Flipboard, Feedly and Paperly) were the primary sources of inspiration for our concept. However, the idea of contamination came to Wikiweb, an application for iPhone and iPad that visualizes the connections between articles.

The language used was new and fresh, not anchored to the traditional show classification: our inspirational mood was designed on the examples of Musicovery and Stereomood.

Cento.

CENTO was designed to be used on three devices (tablets, PCs and Smartphones), each with specific features.

The tablet consultation is designed for a mobile target, users between 35-45 years old who spend a lot of their time away . The portal (with the same contents of the tablet version) instead, has been studied for those users, from 45 years old, who enjoy CENTO in the comfort of their home. Instead, the smartphone version is different.

The “stream� is minimized, being the app focused on the geolocal and designed for younger users (20-35 years old).

As a main device of CENTO we decided to use the tablet because of its advantages in terms of mobility, portability, connectivity, versatility.

5 H OM E PA G E. Sea rc h c on be refined by pl ace and date.

In a d d it ion u ser s can s earch by categor y.

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FALSTAFF di Giuseppe Verdi

Malgrado la pancia immensa, la scarsa igiene e la

CAST

ORARI

suo fascino di soldato-filosofo resista intatto agli attacchi del tempo. E corteggiando due signore “allegre” secondo Shakespeare, ma in sostanza

Sir John Falstaff Ambrogio Maestri (15-20-26-29-31 gen, 12 feb) Elia Fabbian (23 gen) Bryn Terfel (2-6-8 feb)

15 gen 20 gen 23 gen 26 gen 29 gen 31 gen 2 feb 6 feb 8 feb 12 feb

vendicata con un paio di brutti scherzi.

Per la commedia “britannica” che tenne compagnia a un Verdi quasi ottantenne si è fatta una scelta molto in linea. Innanzitutto dirige l’opera Daniel Harding, il massimo direttore inglese del momento. Molto “british” anche l’ambientazione - ideata dal geniale Robert Carsen (il regista del recente Don Giovanni) – che si svolge nel mondo della “caccia alla volpe” degli anni cinquanta del Novecento. Per l’obeso cavaliere-millantatore ci sono Bryn Terfel e Ambrogio Maestri, due principi del palcoscenico, le cui argute e irresistibili interpretazioni di Falstaff sono già entrate nella storia.

Nuova produzione Teatro alla Scala In coproduzione con Royal Opera House - Londra e Canadian Opera Company - Toronto Direttore Daniel Harding Regia Robert Carsen Scene Paul Steinberg Costumi Brigitte Reiffenstuel

Portfolio.

7 T HE FA L STA F F ’S ST R E A M.

Ford Fabio Capitanucci (15-20-23-26-29-31 gen, 12 feb) Massimo Cavalletti (2-6-8 feb) Fenton Francesco Demuro (15-20-23-26-29-31 gen) Antonio Poli (2-6-8-12 feb) Dr. Cajus Carlo Bosi Bardolfo Riccardo Botta Pistola Alessandro Guerzoni Mrs. Alice Carmen Giannattasio Nannetta Irina Lungu (15-20-23-26-29-31 gen) Ekaterina Sadovnikova (2-6-8-12 feb) Mrs. Meg Laura Polverelli (15-20-23-26-29-31 gen) Manuela Custer (2-6-8-12 feb) Mrs. Quickly Daniela Barcellona (15-20-26-31 gen, 8 feb) Marie-Nicole Lemieux (23-29 gen, 2-6-12 feb)

20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40 20:00-22:40

PREZZI TURNI 15 gen 20 gen 23 gen 26 gen 29 gen 31 gen 2 feb 6 feb 8 feb 12 feb

Prima Turno B Turno E Turno A Turno D Turno C Fuori abbonamento Fuori abbonamento Turno N Abb. Week-end La Scala UNDER30

INTERACTION DESIGN 6 HOME PAGE / SEARCH A SHOW.

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Cerca

Stasera ore 20 #Falstaff dirige @djharding in scena fino al 12/02 @Bryn_Terfel @cargiannattasio @MaxCavalletti Teatro alla Scala @teatroallascala

TEATRO ALLA SCALA DAL 15 GENNAIO AL 12 FEBBRAIO 2013 DA VEDERE

VISTO

Commenti (1)

IL FALSTAFF ALLA SCALA, E ORA I LIBRETTI FUNZIONANO

QUANTO È BRITISH IL FALSTAFF ALLA SCALA Dopo oltre trent'anni, il Teatro alla Scala di Milano ha mandato in pensione il Falstaff di Verdi nell'edizione Maazel-Muti-Strehler.

Il nuovo allestimento, coprodotto con il Covent Garden e la Canadian Opera, in scena fino al 12 febbraio, è molto differente dalle versioni tradizionali che pongono l'accento sugli aspetti marcatamente farseschi dell'ultimo capolavoro del compositore.

Caro Beppe, ieri sera alla Scala c’era il Falstaff, bellissimo. Due considerazioni: un sacco di chiasso da parte degli animalisti per la presenza in scena di un cavallo. La “presenza” è durata 10 minuti massimo, il cavallo non doveva fare nulla oltre che mangiare da una comoda sacca e una volta sola nitrire scuotendo la testa al momento giusto.

16 gen 2013 via Teatro alla Scala Commenti (28)

19 gen 2013 via Milano Finanza Commenti (8)

Commenti (7)

Cento.

FALSTAFF

2 feb 2013 via Twitter

Commenti (2)

Commenti (3)

#selectedworks

8 EXPLORE THE ST R E A M.

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9 T H E FA L STA FF ’S STREAM / CONTENTS.

Cerca

Stasera ore 20 #Falstaff dirige @djharding in scena fino al 12/02 @Bryn_Terfel @cargiannattasio @MaxCavalletti Teatro alla Scala @teatroallascala

Ti senti più cavaliere o filosofo?

2 feb 2013 via Twitter

Commenti (29)

Commenti (2)

Commenti (3)

Commenti (1)

IL FALSTAFF ALLA SCALA, E ORA I LIBRETTI FUNZIONANO

QUANTO È BRITISH IL FALSTAFF ALLA SCALA Dopo oltre trent'anni, il Teatro alla Scala di Milano ha mandato in pensione il Falstaff di Verdi nell'edizione Maazel-Muti-Strehler.

Il nuovo allestimento, coprodotto con il Covent Garden e la Canadian Opera, in scena fino al 12 febbraio, è molto differente dalle versioni tradizionali che pongono l'accento sugli aspetti marcatamente farseschi dell'ultimo capolavoro del compositore.

Caro Beppe, ieri sera alla Scala c’era il Falstaff, bellissimo. Due considerazioni: un sacco di chiasso da parte degli animalisti per la presenza in scena di un cavallo. La “presenza” è durata 10 minuti massimo, il cavallo non doveva fare nulla oltre che mangiare da una comoda sacca e una volta sola nitrire scuotendo la testa al momento giusto.

16 gen 2013 via Teatro alla Scala

Portfolio.

Commenti (28)

#Falstaff da dietro le quinte / some pics from the backstage Pic 4 http://yfrog.com/nvibcaz

19 gen 2013 via Milano Finanza Commenti (8)

Commenti (7)

Teatro alla Scala @teatroallascala Commenti (4)

Commenti (11)

17 gen 20 via Twitt

INTERACTION DESIGN 109

#Falstaff travolgente ieri sera a Milano @teatroallascala Paola Pica @paolapica

Commenti (21)

FALSTAFF ALLA SCALA La regia di Carsen sottolinea le molteplici tinte dell’animo umano con ambientazioni che alternano sobrietà e compostezza British a stravaganze cromatiche, su tinte e temi Anni Cinquanta. Sebbene la scelta sia stata di non ambientare le vicende durante il regno di Enrico IV, l’attenzione al passato, alle vicende narrate da Shakespeare e alla tradizione, lo si coglie nei rivestimenti di scena, fatti di pannelli in legno di quercia, o ancora nella scena finale che richiama esplicitamente il tradizionale Hunt Ball, con gli interpreti maschili che indossano le tipiche giacche rosse e le donne in lunghi abiti candidi da sera.

Tutto il mondo è una burla. L’uomo è nato burlone.

Falstaff - atto III

#Falstaff questa sera alle 20 sarà trasmesso in diretta da / tonight at 8pm will be broadcast live on @Radio3tweet http://bit.ly/QFWYPV Teatro alla Scala @teatroallascala

15 gen 2013 via Twitter

Robert Carsen via Teatro alla Scala

Commenti (3)

Commenti (49)

Commenti (0)

30 minuti alla prova generale di / 30 minutes to the dress rehearsal of #Falstaff in scena dal / on stage from 15 Jan to 12 Feb Teatro alla Scala @teatroallascala

16 gen 2013 via Teatro alla Scala Commenti (17)

Falstaff non è solo l’ultima opera di un compositore di quasi ottant’anni, ma l’originalissimo capolavoro di un Verdi divenuto nella tarda maturità un maestro assoluto nell’arte del teatro musicale. La sorprendente vitalità di Falstaff sarà sempre nel cuore del pubblico, non solo perché è un’opera di grande valore e straordinaria inventiva, ma in quanto pièce di teatro piena di gioia di vivere, miracolosamente composta da un uomo molto anziano.

Commenti (0)

Commenti (10)

013 ter

NOTE DI REGIA: IL FASCINO DI FALSTAFF

15 gen 2013 via Twitter

Commenti (3)

Commenti (8)

13 gen 2013 via Twitter Commenti (24)

Cento.

zj

10 READ ARTI CLES.

#selectedworks

1 1 REFINE YOU R SEARCH..

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INTERACTION DESIGN 12 SAVE AN EVENT ON T HE A GE NDA .

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Cento.

1 3 US E R ’S PR OF I L E .

#selectedworks

14 DI SCOVER THE A R T I STS.

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1 5 T H E A RT IST ’S STREAM.

INTERACTION DESIGN 16 CLI CKABLE LI NKS.

Cento.

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#selectedworks

1 7 D ISC O V ER T HECOVER PHOTOS.

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Portfolio.

18 PHOTO W I THOUT F I LTERS.

INTERACTION DESIGN 115

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1 9 K E EP UP TO DATE. SAVE THE EVENT I N Y OUR AGENDA .

2 1 OR GA NI Z E Y OUR E VE NI NG.

20 D ISC O V ER P ROMOTI ONS.

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INTERACTION DESIGN 2 2 S E E WHAT ’S NE A R BY.

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Cento.

2 3 C HOOS E A PL A C E .

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1 C OC O C HA NE L I N F R E NC H S E A S I DE R E S OR T OF B I A R R I T Z , 1 9 28 .

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2 PORTRAI T O F GA B R I E L L E C HA NE L, 1 9 3 0.

#selectedworks

type design

Gabrielle typeface.

Gabrielle is my final elaborate of typographic design course. The project was born from skectch through the manual technique of the double pencil, by the reinterpretation in a contemporary way of Claude Garamound renaissance character.

119 September / 2011

â–Ą

SCHOOL Politecnico of Milan, School of Design.

Bachelor Degree in Communication Design

TEAM Personal Project

SINGLE CO URSE Type Design

CREATIVE F I E L D S Type Design, Typography

PROFESSORS James Collingwood, Riccardo De Franceschi

KEYWORDS #chanel #typeface #sansseriffont TOOLS USED Adobe Photoshop, Adobe Indesign, Adobe Illustrator, Font Lab. Studio 5

TYPE DESIGN

Big changes characterized 1920s decade and no exception was the art world, moved by art deco influence.

It gaves clear inspiration to twenties fashion: squares and pyramid shapes from the architecture can be clearly identified in the style of the short, drop shouldered dresses popular for the period.

Coco Chanel was one of the most famous designer know to revolute the concept of woman’s wearing.

She replaced complex outfits and hairstyles with minimalist creations and short hairs. Chanel gave life to a no frill silhouette with simple and clean design. G. Gabrielle is a typeface inspired by her creation: it is a mix between the classic serif and sand serif fonts.

3 PORTRAIT OF GABRIELLE CHANEL BY BORIS LIPNITZKI, 1936.

Gabrielle typeface.

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#selectedworks 122

Portfolio.

4 COCO CHANEL W EARI N G ONE OF HE R S UI TS I N T HE GR OUNDS AT FAUBORG ST. HONOR E , PA R I S, 1 9 2 9 .

TYPE DESIGN 5 CHAN E L DAY DR E S S WI T H AT TA C HE D PL E AT E D S K I R T, C. 1 9 2 0 ’S.

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Gabrielle typeface.

6 T WO WOM E N I N C HA NE L S UI TS, C. 1 9 2 0 ’S.

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7 G. GA B R I E L L E , L OWE R C A S E .

This project began with the study of ancient Roman's typical forms and Garamond typeface, engraved in 1531 in Paris.

A more personal elaboration of Garamond was processed, trying numerous variants.

The most convincing solution, then brought forward, starts from few and simple concepts: the substitution of the serifs; the elimination of the contrast between horizontal and vertical axes; a geometrical shape.

From the beginning there was a clear similarity with Edward Jhonston, Gill Sans and Futura typeface.

Then I decided to organize my whole work “merging� together these three typefaces. However, Futura peculiarities, have strongly influenced my stylistic choices.

8 G . G ABRI ELLE, UPPER CASE.

1 0 GI L L S A NS. De si g n e r: E ri c Gi l l ; Ye ar: 1 9 2 8 3 2 , 1 9 8 9 ; Publ i she r: A dob e & M o n oty pe.

9 JOH NST O N. Des igner : Edwar s J hons ton & David F arey ; Ye a r: 1 91 6, 1 9 99; Publ isher : I TC.

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1 1 FU T U RA . D e s igner : Paul Renner & Dieter Hofr ichter ; Ye a r: 1 928-3 2, 2 000; Publ isher : Ber thol d.

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12 G. GABRI ELLE, T Y PE SPE C I M E NT.

The cut over letters represents the main characterist of Gabrielle typeface: it is present, for the most part, on both ascending and descending axes.

Corrections were made, during the elaboration process, to the original drawing: strengthening of the axes to make typeface more versatile; elimination of the cuts, in the lower left, on N, M, H.

1 3 G . G AB R I E L L E, S O M E A CC EN TS.

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14 G. GABRI ELLE, NUMERALS.

1 5 C A ME L L IA , pos ter des ign.

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16 THE MODERN W OMAN, pos ter des ign.

17 CHAPEAU, pos ter des ign.

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Contact.

Get in touch via social media or write me at pezzuto.hello@gmail.com

@federicapezzuto

@ fed erica.pezzu t o87

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Portfolio.