GAEBRIEL MIN PORTFOLIO
2018 â€” 2020
PERSONAL INFO. II
W WF COMM. III
W TF CAMPAIGN IV
OMCA BR ANDING V
W WF UI/UX VI
TSINGTAO MOTION Vii
BLM DIDAC TIC
CREATIVE ACTIVISM +
GREATER LONDON, UK
GREATER SEATTLE, WA
GAEBRIEL MIN WIL SON
EDUCATION SEP 2019 — MAY 2021
THE UNIVERSITY FOR THE CREATIVE ARTS FARNHAM UNITED KINGDOM Bachelors of Honours in Graphic Communications
SEP 2017 — JUN 2019
HIGHLINE COLLEGE DESMOINES,WA Associates of Applied Sciences in Visual Communications
SEP 2013 — JUN 2017
AUBURN RIVERSIDE HIGH SCHOOL AUBURN,WA High School Diploma (Emphasis in Psychology, Studio Art, Human Geography, and Statistics)
JUN 2019 —
KEXP SEATTLE,WA Youth Resonance Design Specialist - Contract Campaign Design, Merchandise, Branding
AUG 2018 —
AMPLIFIER SEATTLE,WA Graphic Designer - Contract Merchandise, Branding, Social Media, Print
JUN 2019 — AUG 2019
OAKLAND MUSEUM OF CALIFORNIA 2D Exhibition Design Intern Guidelines, Illustration, Branding
JUL 2018 — JUN 2019
HIGHLINE COLLEGE DESMOINES,WA Marketing, Outreach, and Design Consultant Campaign, Merch, Branding, Social Media, Print
APR 2018 — JUN 2019
KEXP SEATTLE,WA Youth Resonance Co-chair Board Management, Campaign Design, Event Pro.
+44 7810 210149
+1 253 223 2876
FEB 2018 — JUN 2018
HIGHLINE COLLEGE DESMOINES,WA Community Leadership Consultant Recruitment, Training, Advising, Budgets
AUG 2017 — JUN 2018
TEENTIX SEATTLE,WA Youth Chair of Equity and Outreach Equity Campaign Design, Print, Social Media
OCT 2017 — MAY 2018
CITY OF SEATTLE SEATTLE,WA King Street Station Programming Committee Creative Framework Design, Artist Dev. Model Design, Programming Design
Adobe — Illustrator, Indesign, Photoshop, After Effects, XD, Premiere Pro, Aero Office — Word, Powerpoint, Excel, OneDrive, OneNote, Outlook Google — Sketchup, G Suite Maxon — Cinema 4D
Artistic Direction, Critical Thinking, Strategic Thinking, Team Collaboration
I find myself drawn to the places where design
projects and how design can foster change in
appreciated. I am influenced by our world and
is didactic first, but has the influence of
is generally overlooked, ignored and underthe chance we all have to purposefully and deliberately expand its potential through
our world. To do that, I stick to design that modern aesthetics.
creative means. I believe that design has
As a Creative Activist, I believe we designers
visual, and to the realms of auditory and
world, and it is our responsibility to use
the power to push past the boundaries of the tactile communication as well.
As a Kinesthetic Activist, I like to fully
involve myself in projects, trying everything
at least once. In order to create good design, I believe a multidisciplinary approach is mandatory and this fulfils my need to try
everything. The work I involve myself in is
have the power to create real change in our
our skills to do just that. We owe it to our communities to be invested and to equitably spread messages needed to further our
collective growth. I believe there are
no heroes, no top dogs, and no gold medallists in the culture of design, only those who
cultivate a better world through creativity.
always value-driven, specifically campaigns
that create a lasting impact. I tend to focus my thoughts on the big picture influence of
WWF UK INTERNAL
Recently, WWF has gone through a seemingly
new selection of values are the brands bread
NOV 2019 — JAN 2020
subtle, but truly major brand overhaul and the and butter. These values will be the driving force behind the creative piece installed
in the WWF HQ in Woking. This piece aims to inspire and remind staff of the values that
guide every decision made at WWF and drive the outcomes of WWF’s practice in order to advance the mission.
WWF placed the aim to visually represent
inspiration and remind staff why WWF has the values it does and how those values effect their everyday working
When speaking to the
staff, a couple stated that they’d like more
noise in the space, not just in the sense of sound, but colour and textures as well.
1. Final poster design for WWF. Laser cut layers of Acrylic and MDF.
2. + 3. Installation at WWF UK Headquarters in Woking, Surrey. 4. Floating frame design ideas taken from sketchbook.
For this campaign I used adobe Illustrator to first plan out the three layers of the
poster. Two would be cut on MDF (later bamboo sheets in order to align with WWF's eco-
conscious values) and the last on Acrylic.
The bottom layer of MDF is a tritonal laser etched collection of hand illustrated flora. The second layer of MDF is a laser cut
representation of WWF's world recognised Panda logo. The acrylic layer is a typographic representation of each of WWF's internal
values. The values originally were laser cut
but then moved to laser etched as to create a more accessible style.
1. Final poster design for WWF with etched typography. 2. Poster floating frame post system. Details.
3. Final poster design for WWF with vector typography. Details. 4. Final poster design for WWF with vector typography.
WE THE FUTURE
AMPLIFIER WE THE
The We the Future campaign showcases ten young
each already building us a better world. They
leaders representing ten diverse movements,
are drafting and passing legislation. They are
AUG 2018 â€” NOV 2018
reform, voting rights, immigration rights,
working on climate justice, criminal justice
disability justice, gun reform, queer rights, and literacy. In a time of uncertainty, these
icons show us a path forward, and they show us that the Future is already here. We invite you to join us in our campaign to support them. In partnership with the artists Shepard
Fairey, Rommy Torrico, Munk One, and Kate DeCiccio, this project will place art and
supporting teaching tools representing these young leaders and their movements into more than 20,000 schools across the country, to inspire and engage the next generation.
1. Lesson plans designed to help teachers add social justice to current classroom curriculums.
As for the lesson plans (fully laid out
in Adobe Indesign), they had to be fully
accessible for both digital and physical
outlets. To insure a mass audience could use
the materials, we had to make sure our brand language was strong and yet academic. We
created documents available online and off,
with full alternative texts, these plans also pass the colorblindness test.
Along with lesson plans, newspapers were
created to document Amplifier's processes and campaigns since the creation of the
organisation. These were then printed at a
fully woman ran paper printing organisation.
2. Promotional imagery created for the campaign using old National Geographic imagery as a backdrop for the artwork (Photoshop) 3. 'The Amplifier' newspaper.
WE THE FUTURE
1. Instagram campaign design to bring awareness to the ten young leaders and their stories/movements.
Both the social media campaign and the website had to flow organically as well as boasting
the same brand language. The 'Red, White, and Blue' themed brand palette was used to unite
these leaders and their messages of hope. The language of the angle was used to hint at
the rise in these voices and their want for a better society and world for us all. The
logo was created by Shepard Fairey and used 3.
2. Representation of pages of Amplifier's micro-site created for the new campaign. 3. We The Future campaign logo created by Shepard Fairey.
throughout the campaign.
OAKLAND MUSEUM OF
During my internship at the Oakland Museum
a system of designing for edits made to the
of California, my major project was to create
core galleries of the museum. The natural
(HISTORY AND NATURAL
set guidelines for designing since they were
SCIENCES GALLERIES) JUN 2019 â€” AUG 2019
sciences and history galleries hadn't had a updated. This project involved surveying
the galleries, documenting similarities and anomalies, creating guidelines for type/
colours/styles/element shapes, and documenting those in guides to be used by the in house design studio.
1. The guidelines for the gallery of history at the Oakland Museum of California.
CALIFORNIA NATIVE PLANT GARDEN
FOR DOCENT USE
I started by recreating the maps of the
galleries using old building schematics.
Colour coding and labelling the exhibits and
marking landmark locations so that the design team can easily acknowledge the palette to be used for each section.
These maps were laid out in Illustrator.
2. Illustrated map of the gallery of natural sciences at the Oakland Museum of California.
1. Timeline of type used in the history gallery of OMCA, created in adobe Illustrator.
A timeline of type was created for the studio to correctly mimic the language used in the gallery. This timeline was created to show both the fonts used as well as the period
which that style of type was used. Creating
both a useful and didactic piece of design.
Continuing off the back of the internal
hypothetical microsite for WWF that shows the
communications project, I created a
internal values of the organisation and how
DEC 2019 â€” FEB 2020
The values themselves are not currently
they apply to the work that is public facing. available for public consumption, so creating a website that shows these values allows
viewers to align better with WWF's mission and how they interact with the world. Created in Adobe XD.
1. Screenshot of the WWF microsite landing page. The final prototype of the Website can be viewed by clicking here.
2. Initial wireframes of the flow for the WWF microsite, taken from sketchbook.
1. + 2. Screenshots of pages from the WWF microsite.
The website plays off the theme of moving
cards. for each of the values, a series of
cards pop-up for the viewer to flip through and learn more information about WWF. Each card
then leads to more information on how to get involved and how this campaign connects to 4.
WWF's internal values.
The website is also equipped with night mode activation which shifts the colours of the cards.
3. WWF microsite langing page. Details. 4. Night mode toggle.
Tsingtao recently underwent a brand refresh
refresh aimed to change the image of Tsingtao
FEB 2020 â€” MAY 2020
taken on by the agency Dragon Rouge. This
from "The beer every Chinese father drinks"
to "The beet everyone wants to drink". Along with this, Tsingtao is aiming to grow their international market, starting with the UK.
Building off of that, the imagery and copy take on a more youthful and western vibe than it had before.
The narrative behind this motion graphic was
to explain the roots of Tsingtao and intrigue the market with its eastern origins and
traditions. To achieve this, we utilised a bilingual approach to the content, using both Mandarin and English.
1. Screenshot of the final motion graphic. The final video can be found on Youtube by clicking this link.
2 + 3. Stills from the final motion graphic utilising the Mandarin characters along with the English translations.
After moving back to Seattle due to potential
met with a tremendous uprising in my community
risks during the Covid-19 quarantine, I was
of black voices. I spent my days in isolation
MAY 2020 â€” JULY 2020
digital consumption. After strict quarantine,
designing messages of hope and learning for
I spent most days in the Capitol Hill Occupied Protest zone distributing these pieces and messages.
I created a series of ways to combat
performative activism in a social media based
age, as well as free posters to be distributed for free via "Take One, Leave One" boxes on the streets of Seattle.
These pieces all utilised fonts created by the black owned font foundry, Vocal Type.
1. Posters available to take located in a neighborhood of Seattle.
2. A rendering of the series created for Instagram.
1 + 3 + 4. A poster created for sharing on Instagram stories. 2. Posts created for Instagram timeline.