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12 34


12 34

‘O GIULIA MARTINA

SERAFINI


Date of Birth: 29/08/1990 Nationality: Italian Born in Milan, Italy Currently living in London, United Kingdom

Mothertongue Italian Fluent spoken and written English Notions of Spanish and French

EXPERIENCES Photographer for Componenti. Photographs have been used for their website and calendar. (Milan, Italy 2012) Worked full-time in the design showroom De Padova during Design Week 2012. (Milan, Italy 2012) Internship with Stephanie Meyer for Lottolab - Centre of Perception Research at the Science Museum. (London, United Kingdom 2011) Visual Identity and logo for Aldo Venini. (Milan, Italy 2011) Logo and brocure for Festival dello Spirito. (Milan, Italy 2011) Worked full-time in the design showroom De Padova during Design Week 2010. (Milan, Italy 2010)

Designed and exhibited graphic pannels as part of various display windows for the design showroom De Padova. (Milan, Italy 2009-2010) Graphic pannels designed for De Padova were published on ELLE Decore Magazine. (Milan, Italy 2009) Won an Art Competition for Front Cover of Year Book 2000 - 2001 at Sir James Henderson British School of Milan open to all students aged 5 to 19. (Milan, Italy 2000)

QUALIFICATIONS BA (Hons) Graphic and Product Innovation at London College of Communication University of the Arts London. (London, United Kingdom 2009 - 2012) Foundation Diploma in Art & Design at London College of Communcation University of the Arts London. (London, United Kingdom 2008 - 2009)

ABILITIES Mac and Window operating Systems Abobe Photoshop, InDesign & Illustrator CS4. Microsoft Word, Powerpoint & Excel. Illustrating, Painting, Photographing, Typing, Prototyping, User Centered Design, Book & Magazine layouts, Visual Grammar, Linoprinting and Monoprinting.

B A LEVEL Art C A LEVEL French A AS Italian B AS Fine Art B AS French A* GCSE Italian A* GCSE French A GCSE Art & Design: B Fine Art B GCSE English Language B GCSE English Literature B GCSE Chemistry C GCSE Biology C GCSE Mathematics at Sir James Henderson British School of Milan (Milan, Italy 2006 - 2008)


1


The International Society of Typographic Designers set a challenge to students aspiring to be members by asking them to refresh the visual identity of their society. This could’ve incorporated the adoption of a new logo, or a revision of the existing logo; the choice was purely ours. I decided to revisit, develop and improve ISTD’s current logo. The ISTD Society was founded in July 1928 as the British Typographer’s guide. Seven like-minded typographers met to create a society aiming “to place a bona fide typographer in every printing office and advertising agency that is worthy of the name,” to “raise the standard british typography both by percept and by practice.” In the early 1950s the name was changed to the Society of Typographic Designers; STD. Nearly 50 years later, to recognise growing influence in the other countries, STD became ISTD; the International Society of Typographic Designers. From the time, when the -de facto- medium of communication -& the typographer- was print, they continued to transform their practice to address existing and emerging media. In my adaptation of the International Society of Typographic Designers I decided to keep the square element used in their current logo, but softening the edges, and creating type from the square itself.

Consequently, to reduce the actual visual I overlayed the letters. The logo doesn’t scream “ISTD” but it is something subtle, hidden, that has a technique and grid structure behind it. The colours are bold, vivid and warm and reflect the tones used in ISTD’s web pages and identity. They communicate strength, liveliness, certainty, technique, rhythm and pattern.


ciety rs: o S l e a ation ic Design . n r te h ce In pograp fresh fa y T of a g on n i Putt


2


The International Society for Typographic Designers set a brief entitled “Tales to Change the Word.” This project asked young designers to use the text of a tale called The Waitress, written by Jack Zipes, to invest the book with the invention and experimentation of the magazine. We were asked to reflect upon how these characteristics might change and develop into something new and whether or not the novel would remain as a single narrative or if it would include other stories. Magazines discovered the pregnant white space of the page, the double page spread and a signature typographic style. It introduced illustrations, photographs and text that became images. It discovered how to be unpredictable - which is why my version of The Waitress doesn’t appear to be the standard, stereotypical magazine. Instead, it is an adapted version and merge between a book and a magazine, literally taking into consideration the double page spread, the signature typographic style through a hand-rendered approach and inverting the concept of ‘pregnant white space’ into black, negative space, lightened by the white of the text. I also decided to theme it, by linking the location of the story to the concept of the book. This is why the story is illustrated as if it were written on a whipped out blackboard, hanging from a wall of the café where the waitress works. The story is totally hand-rendered and written with chalk on the blackboard background.

I used different typefaces to represent the various characters, and associated them to specific fonts that would reflect their personality.


ciety rs: o S l e a ation ic Design n r te In aph ord. w gr e po y th of T change o t Tales


3


For this self-initiated brief I decided to come with a concept and visual identity for an original food store. The overall aim was to create a visual identity that stood out for itself, customer-friendly and memorable, that would give a grasp of what the environment inside would be like. I decided to create a dining environment specifically aimed at kids. Adults have all sorts of restaurants fitted to satisfy each and everyone’s guilty pleasure. Although restaurateurs have become more and more aware of how and why they should entertain children during meals, this factor still hasn’t been explored to the maximum. Designing a restaurant for the “little ones” is a very serious task, for what regards their safety, but it is also a field where you can truly let loose your imagination and have as much fun as you like! Three very important aspects to consider were; of course, safety,the children’s level of concentration and excitment, and height. This brief allowed me to take colour and play to the maximum level. Say Thank You communicates the message of a child’s restaurant, not as a wild place, but rather as a place where children can act as people their own age, yet with rules and manners at the core of it. A children’s restaurant that parent’s will like too, due to its educational message and approach. It is a very ‘homey’ environment, where the plates are all different and can be personalised by the children. The little customers are asked to set their own table by choosing their favourite plate and glass and order a simple, healthy, home-made recipe from a very easy, straight forward and visual menu.


ject: ro p d ate ren’s ti d i l i n i ch Selfng a t. di n a uran a Br st e r


4


Human Branding is a project on personality. The aim of this brief was to give people a visual identity by branding their names, through the help of photography. I photographed a variety of people with different features, characters and colours, without giving them any sort of direction, but rather just by telling them to act freely, and do whatever they felt like doing in front of the camera. This created some very interesting dissimilarities when comparing my collection, whereby some individuals appear to let loose their inner soul and others are more detached, creating a shield between them and the camera, through body language and expression. The purpose of my brief was to bring to light the fact that we all, as individuals, have an identity, and a strong one too, seeing as we are all different and unique. The fashion industry brands select models that will reflect their brand’s visual identity, and through these individuals choose to convey their brand’s exclusiveness. This makes fashion campaigns about the fashion brand and not about the models portraying their image, treating a human being purely as a mannequin. My brief is about human beings, their beauty and their personality, subverting the power used by the way brands are treated in the industry and adopting it to visualise the identity of an individual through a graphic mark. The subjects’ names are branded and printed on a label, attached to the physical photograph. By turning the label, as if it were a fashion garment price tag, you will not find the price of the ‘item’ but instead the casing of the individual that has been photographed: their personality. This is communicated to the viewer through a quote written by the model, telling us a little bit about themselves, and how they think people envision them.


ject: ro p d e nitiat randing i f l Se n B Huma

I lov my e simp l l othe ife. W icity, b hat u r p log eop I re t I like ic a und al pe le is un lly do comp lica n er c rson sinc tin , ontr e ’t ap ol a that lo rity. I’ preci g ate ma ves nd in ove h r-an aving very alys thin isin g th gs em.

V alentina

VAIA

‘O GIULIA MARTINA

SERAFINI


soli ro b Am a r .com cation a l i i a Ch m tion ni t u va ho o @ Comm uct Inn soli ro of b llege ic & Prod c.am Co London s) Graph rtfolio Po (Hon B.A. sitioning Po 012 2 2011


POSITIONING