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GWEN RUDOSKY graphic design portfolio.


GWEN RUDOSKY contact. Talk 780 239 2780 Write rudoskydesign@gmail.com Follow www.instagram.com/rudoskycreative

education. Communication Design Essentials, with Honours: Emily Carr University of Art and Design & The British Columbia Institute of Technology October 2014–October 2015

Faculty of Arts, Art & Design Major: University of Alberta

*Completed 60/120 credits before transferring to Communication Design Essentials September 2011–June 2014

recent work experience. United Cycle | Edmonton, AB | May 2016–Present Ron Wickman Architect | Edmonton, AB | March 2016–Present The UPS Store #397 | Edmonton, AB | September 2016–Present University of Alberta, English Department | Edmonton, AB | September 2016 The Derrick Golf & Winter Club | Edmonton, AB | May 2016 Freelance Snapchat Geofilter Designer | Edmonton, AB | May 2016–Present 953295 Alberta Ltd. | Edmonton, AB | July 2016 CISV Vancouver | Vancouver, BC | June 2015–June 2016 Nolan Industrial Services | Vancouver, BC | February 2016 Sir Homes | Vancouver, BC | December 2015


CITY LOGO & BRANDING * Logo & Re-Brand *Student Project The City of Edmonton rebrand embodies a government that is current and progressive, and personifies the citizens of Edmonton, who are vibrant and lively in nature. The redesigned logo is a minimalistic skyline featuring the provincial and municipal government buildings and Canada Place – a federal government building that provides services to Edmontonians in areas such as immigration, employment and benefits. It is created from a single line, to represent the North Saskatchewan River, winding through the city. The minimalistic style of the logo is also used to illustrate individual buildings and attractions within the City of Edmonton. Using these illustrations as locationbased icons creates visual associations to buildings and attractions for citizens, as well as tourists visiting Edmonton. The font, Neotertic, is used for titles and headers. It was chosen because of its distinct, san-serif lines, exuding a

modern feel. Helvetica Neue Light, a clean, professional font, is used for sub headers and body copy. The primary color for the rebrand is pure Cyan. Cyan was chosen because it emulates the professional necessity of a government corporation, while remaining bright and friendly. The secondary colors are white and dark gray (85% K). Tertiary colours include purple, magenta, orange, teal and lime green. All photography (www.exploreedmonton.com) is treated with a grid to remain consistent with the modern logo and to reflect Edmonton’s streets and avenues that typically follow a rigid grid. Some squares are filled with a low opacity gray and blue to tie the photography together with the corporate colors. The desired impact of the rebrand is to create a modern and accurate depiction of Edmonton. The goal of the rebrand would be to increase tourism and immigration and increase awareness of the programs and services available in Edmonton.


DERRICK GOLF & WINTER CLUB Sandwich Boards The sandwich boards were created with the needs of the client in mind. The Derrick Golf & Winter Club required boards that were playful, friendly and inviting to customers of all ages. I illustrated the sandwich ingredients in a

EVENT COLLATERAL Concept Design, Layout & Illustration

cartoon-style and placed them across the boards to create light-hearted visuals. The font has been carefully selected to match the playfulness of the illustrations and exaggerate to the tone of the piece.

Working closely with clients, I design print and digital collateral for various events. Creating a visual theme for the event, similar to a brand identity, ensures consistency across all mediums. Using these visual themes, I have designed invitations, stamps, printed seating charts, Snapchat Filters and more. This ‘Save The Date’ invitation was designed for a New Years Eve themed Wedding. For this design, I created and saved various scatter brushes in Illustrator to facilitate consistency in graphic language across all required collateral.


UNITED CYCLE – NORCO DAYS CAMPAIGN Creative Direction, Design & Flyer In collaboration with Norco Bicycles, ‘Norco Days’ is a bike sale put on each year by United Cycle. Sourcing assets from Norco Bicycles and from United Cycle’s merchandise catalogues, I designed a campaign targeting men and women who enjoy mountain biking. Following United Cycle’s brand guidelines, the advertisement to the right uses a lifestyle image of a mountain biker with text information overlaid in white. The advertisement was featured in a diverse, widespread campaign. I edited and resized the design for use on internal and external

billboards, across social media platforms, as Google Display Ads, in customer-subscribed email newsletters and on digital billboards across Edmonton. In addition to the advertising campaign, I worked closely with Norco Bicycles and United Cycle’s Bike Department to create a flyer, used in-store to navigate sale items and prices. The flyer included two pages sold as advertising space, where Norco Bicycles provided the designs, including the ‘Ride to Conquer Cancer’ advertisement and the ‘Optic Bicycle’ advertisement.


ARCHITECTURE EDITORIAL * Layout & Photography *Student Project The design of this editorial is inspired by the article itself: Vernacular Architecture in Norway. Rather than structures based on styles and trends, vernacular architecture is a solution to a human need. Because of this, we discover structures created in the most tactful form, using readily available materials. In Norway, this means wooden buildings with steep roofs to prevent heavy snow accumulation. The spreads are designed to reference these unique architectural solutions. The dramatic angles mimic the sharp roofs and the line patterns reflect the ever-present wooden siding. This helps to create a balanced asymmetry throughout the editorial. I took all the photographs in the piece while living in Norway in 2014. Next, I edited the tone of the photos to give them a cooler appearance. Like the minimalist building blocks of the architectural style, the color

scheme is based on the three primary colours: yellow, blue and red. The addition of bold shapes of primary colours helps draw out the primary colours in the photographs. This combination creates a consistent color palette throughout. A condensed, san-serif font is used for both the titles and body copy. The condensed font was chosen to match the drama of the piece. Hierarchy is created through size and allcaps for titles. None of the text is justified, but instead opts for a rag edge that is conducive of the imperfect vernacular design.


CISV VANCOUVER

UNIVERSITY OF ALBERTA

Poster Design

Photography & Poster Design

CISV Vancouver was founded in 1988 as part of a global organization dedicated to establishing and inspiring peace through inter-cultural friendship, cooperation and understanding. Because their programs begin at age eleven, CISV Vancouver marketing strategy targets children aged ten and eleven, and their parents. The design challenge was to use posters to intrigue young children in an interactive manner. This was a volunteer project.

I was hired by a University of Alberta faculty staff member to create advertisements promoting the upcoming WRS 450 class. The class served to revise and strengthen a final manuscript.

After much consultation with a CISV representative, we narrowed in on ‘taking global action’ as the theme for the posters. We wanted children to easily see themselves in the program and feel as though they could fit in to the CISV programs. With visual ‘fill-in-the-blanks’ appearing throughout the posters, children have a clear understanding of how they can fit into the program.

The professor required a digital advertisement, set to circulate on the television screens around campus, and a tabloid poster to post in classrooms. The ad was to appear clean, bright and friendly. I photographed and edited several writing materials to create visual cues for the advertisements. The headers are white, laid over top semi-opaque, lime green trapezoids to create depth and hierarchy over the images. The sub-text is forest green, matching one of the University of Alberta’s brand colours. Although all type is from a single, sanserif font family for clarity and consistency, hierarchy is emphasized further through font size, width and capitalization.


GENEALOGICAL ADVERTISEMENT * Photoshop & Photography *Student Project As part of a Photoshop course, the scope of this project was focused on technical Photoshop skills. Combining a photograph I took of a street in Bergen, Norway and an antiquated photograph of my grandfather as a child, I created a poster-advertisement promoting genealogical exploration.

• The technical process included: • Enhancing the street image through Hue and Saturation, and the use of the Levels tool • Using the Clone Stamp tool on the street image to remove vehicles and overhead wires • Adding shadows on the road and other buildings to match the shadows and angle of sunlight in the image of the children • Selecting the children with the Polygonal Lasso tool, creating a Mask and adding Feather

Treating the children, and the area of the street image behind the children, in sepia tones Using the Brush tool and Lens Flares to add details to the sepia-toned area including nicks and scratches, and reflective glares Placing, masking, and colour correcting an image of hand holding a piece of paper Adding text to create context


NOLAN INDUSTRIAL SERVICES

SIR HOMES

Logo Design

Logo Design

Nolan Industrial Services is a start up company in Vancouver, British Columbia. The company specializes in building and servicing equipment that is used to clean up and control dust accumulation at industrial sites. For their logo, the company required a simple namebrand design that was versatile enough to use on a large variety of mediums including web design and print collateral, but also machinery, vehicles and tools.

Sir Homes is a home renovation company based in Vancouver, British Columbia. They focus on modern transformations by emphasizing open concepts and clean, modern design.

The bold, capitalized, san-serif font creates a professional and industrial feel. The lines connecting each ‘N’ create a clean and modern flow to the design. These lines create a closed circuit, conducive of the nature of the company that focuses on controlling and containing dust accumulation. The colour is royal blue to exude professional confidence and trust in the brand.

S IR

HOME S

The final logo design is a sleek monogram, connecting the two letters upwards, and geometrically, suggesting the rooftop of a house. The deep red was chosen based on the name of the company, Sir Homes, where the colour alludes to a ‘red carpet’ treatment and the creation of a luxury home. Secondary colours are neutral, including a warm beige and a dark gray. Renovation pictures are frequently treated with each of the three colours in a monotone style, which then can be overlaid with text or the logo. This design is used on Sir Homes’ website, printed collateral – including business cards, letterhead and envelopes – and on lawn signs, where renovations are taking place.

S IR

HOME S


BEATTY BIODIVERSITY MUSEUM * Promotional, Mail-Out Booklet *Student Project The Beatty Biodiversity Museum is the center of the University of British Columbia’s Biodiversity Research Centre. Their goal is to teach future generations about the various species we share the earth with through public collections, tours, and research opportunities. The marketing challenge was to create a promotional mail-out for the Museum, designed to increase visitation by primary school aged children. The booklet would be mailed to primary schools, targeting teachers and educators by emphasizing the specific student programs available at the Beatty Biodiversity Museum. In order to appeal to teachers, the booklet presents images of children participating in programs at the museum. The booklet’s substance promotes the pre and post visit resources provided by the museum, and emphasizes the manner in which the field trip compliments the B.C. learning curriculum. The booklet is six by six inches, compact and easy to mail. Laid out on an eight-column grid, the images are displayed in circular and rectangular geometric shapes, nodding to early learning. The information is presented

in a visually playful manner, with a continuous dotted line guiding the viewer’s eye throughout the booklet. As opposed to a traditional white background, the booklet opts for a warmer, off-white exemplifying the earthy, natural theme of the museum. The booklet capitalizes on the museums secondary colours, mimicking the square shape of the booklet along the footer. The headers are written in a serif-font, coloured in the on-brand, roan red. Sub-headers are written in a light, san-serif font and all body copy matches the primary serif font, in black for easy reading. A common design obstacle for any mail-out piece is ensuring that the information reaches, and is received by, the destined target audience. In the center of the information booklet, I designed two pages that serve to press plant matter. With instructions included, teachers can use the booklet as a research resource and begin teaching Plant Biodiversity to students, in a hands-on manner, before visiting the museum. Creating multiple purposes for the mail-out increases the likelihood that the mail-out reaches, and remains, in the hands of the destined target audience.


RON WICKMAN ARCHITECT Photoshop & Illustrations Ron Wickman Architect specializes in accessible architecture and barrier free design. As part of a book that Ron Wickman is producing, I was hired to touch up photographs of past projects and illustrate individuals utilizing the unique aspects of the designs. This included vast research and discussion in order to accurately portray the space and the individuals who use it. The challenge I faced with the images provided was editing them to create an environment that was agreeable and relatable by, removing any signs of construction or clutter and, adding personal elements such as hanging paintings.

The people are illustrated digitally, in a cartoon fashion consisting of a fine black outline, filled in with bright colours to attract attention and become the focal point of the images. The cartoons are then combined with real photographs of the buildings to create powerful visuals demonstrating the use of space. Lastly, details such as shadows and highlights are added to cohesively unite photography and illustration.


Final Logo:

ARBUTUS MIGRATORY BIRD SANCTUARY * Logo, Branding & Annual Report *Student Project This project involved designing a visual identity for the Arbutus Migratory Bird Sanctuary through colour, typography and a logo and applying this identity to print collateral and an annual report. Please note: although fictional, the ‘Arbutus Migratory Bird Sanctuary’ is based on a non-fictional Bird Sanctuary in British Columbia. The data gathered from the real Bird Sanctuary, such as target audience, design challenges and mission statement, are used as data for the Arbutus Migratory Bird Sanctuary. The Arbutus Migratory Bird Sanctuary’s mission is to support the protection of migratory birds through education and research. Their clients are family-oriented, enthusiastic and outdoorsy. The goal of the design is to communicate professionalism while appearing warm and inviting in order to appeal to bird researchers and the general public alike. I used warm colours for the brand identity to avoid an overly corporate appearance. Where black would

traditionally be used, a warm brown is used instead. The roan-red colour is inspired by an image of a bird’s silhouette against a sunset. The roan red and brown create a rich, earthy feel that can be associated with the naturally preserved sanctuary. Remaining on theme with brand identity, I then photographed and close-cropped natural textures found at the Migratory Bird Sanctuary. These photographs are treated with sepia tones, matching the primary warm brown shade, and are used as rich backdrops to create depth in the annual report. Photography of sanctuary wildlife (as shared by Riefel Migratory Bird Sanctuary) fill circular frames throughout the annual report, matching the colourful, semi-opaque circles that host the secondary colour palette. The primary typeface used in the Arbutus branding is a serif font with increased tracking. The complimentary typeface is a light, modern sans-serif font.


SNAPCHAT GEOFILTERS Illustrations & Design Location based Snapchat filters, also known as Geofilters, are designed to overlay your photos and videos in Snapchat, sharing with friends where you are or what you are up to. On the left, I submitted Community Geofilters to Snapchat for Edmonton, the city, and Old Strathcona, the community. These two designs were selected by Snapchat to represent their areas. They can be seen and used by anyone in that area at any time during the day or night. Including my design, there are only three citywide Snapchat Geofilters for the city of Edmonton. The Snapchat Geofilter designs on the right hand page are known as On-Demand Geofilters. Companies and individuals alike have hired me to design unique Geofilters for their specific events, including birthday parties, weddings, door-crasher sales and much more. The images on the far right demonstrated the intended overlaid nature of the designs.


FINE ART Acrylic Paintings & Personal Branding Since July 2013, I have been showing and selling my landscape paintings in small businesses and festivals, as well as online. I am frequently hired to create commissioned pieces, where I work closely with clients to meet their needs. Working primarily with acrylics, I have developed a unique painting style by beginning each piece with a black canvas. I enjoy travelling and am inspired by the landscapes that surround me.

In creating brand identity for myself as an artist, I found it important to showcase my artwork in the branding. I chose a dark painting of the rocky mountains as a backdrop on the front of the business card, and used Photoshop to close-crop the mountain skyline for the backside of the card.To match the hand-made theme of the brand, I wrote the work ‘Artwork’ by hand in a cursive, hand-lettering-inspired fashion and traced it in Illustrator. I paired the word ‘Artwork’ with a rounded, all-caps font. Body copy is written in a simple, legible san-serif font.

GWEN RUDOSKY

Landscape Artist

rudoskyartwork@gmail.com rudoskyartwork.com facebook.com/rudoskyart



Gwen Rudosky Portfolio 2016