Page 1


ARTEFACTO I grew up in the birthplace of the burrito, on the border in Mexico. In this place of extremes, poverty can breed a negative outlook on life. Fear and apathy keep people from their dreams. My architect parents split up when I was six and navigating my way through childhood and the streets of Ciudad Juarez was risky. I discovered that if I didn’t concentrate the world became surreal. Hidden in these challenges, the shelves of my grandparents, also architects were filled with massive books about design, travel and music. Generations of artists make the foundation of my family blueprint. Design is in our DNA. This enduring fact became the essential component in my identity toolbox. Although we struggled financially I was born to a clever mother. She began teaching art history at a private high school and got me in on scholarship. By day I studied with well off classmates and at night watched my back to escape the violence of my own neighborhood. I learned to grow resilience and street smarts. Instead of focusing on difficulty I recognized that attitude is altitude. That perseverance continues to drive my design thinking. At an early age, I carved logos on potatoes with my grandmother. I remember dipping them in the ink and the way it felt to make my mark. Working at a print shop in Juarez I found my own identity by drawing identities for others. I like to think that crafting emotional brands is like making a really good burrito. It takes an artful mix of curiosity about culture and a real dash of imagination to build something that is irresistible.


B AGUEL A D Instructor

Category

Sean Bacon

Identity / Branding

Fonts

Course

Wisdom Script/ Apex Serif

Page Layout

OVERVIEW This gourmet marmalade and baguette shop located downtown in the stylish Gaslamp Quarter caters to upper middle-income city dwellers ages 25-40. Using the finest natural ingredients this artisan bakery and cafĂŠ wanted to develop striking product packaging, menus, and signage worthy of their hand crafted breads and jellies made from old world recipes.

STRATEGY To enhance the dining and retail experience at Baguelad, the owner hoped to create a warm, inviting atmosphere with fine yet unexpected details. The bakery is housed in a historical brick building. I wanted to complement the architecture with the use of natural wood then add clever icons that speak to the process of shaping each loaf of bread.

SOLUTION To showcase the variety of natural jams and fresh baked breads I decided to create a jam flight. The goal was to give cafĂŠ goers the opportunity to hand select a trio of marmalade flavors. The bread and jellies fit snugly into a wooden block with the brand identity. Wooden spoons and red hearth tones tickle the senses, reminding you of the smells coming from the oven. I selected the retro font Wisdom Script for the logo and paired it with the warm clear voice of Apex Serif on the menu. Branded applications include product packaging, signage, stationery system, receipts, and bread bags. Clients can put down a deposit for a custom wire carrier ideal for transporting breakfast specialties home.


01/002.013


LOGO

ICONS

COLOR PALETTE

SYMBOL

TAGLINE

TYPEFACE

Apex Serif ABCDEFGHIJKLM NOPQRTSTUVWXYZ


ARTEFACTO

Bread Wrapping / Environmental Exterior

BAGUELAD 008 IDENTITY BRANDING


Wooden Jam Flight and Serving Spoons

009


Clipboard Menu

BAGUELAD 010 IDENTITY BRANDING


ARTEFACTO

Custom Wire Carrier

011


BAGUELAD 012 IDENTITY BRANDING


C A R IBBE A N COR A L CONSER VA NCY Instructor

Category

Candice López

Identity/Branding

Fonts

Course

Optimus

Portfolio

OVERVIEW The Caribbean region is home to the second largest barrier reef in the world and almost two thirds of the coral reefs in this zone are in danger because of human activity. This nonprofit member organization of scientists, environmentalists, individuals and groups are committed to protect, manage and grow threatened Caribbean marine reefs.

STRATEGY To grow conservation efforts, a membership campaign was needed to increase funding for the organization and create awareness with education. The best way to reach environmentally conscious, well educated, high income 50-65 year olds was a series of membership incentives promoted by a website. This effort had to convincingly tell the urgent story of reefs affected by ocean warming. If current trends are not reversed and coral bleaching continues, more than half of all coral reefs will be lost in the next 25 years.

SOLUTION Stories of my grandfather’s work on the Yucatan Peninsula and visits to the Scripps and Monterrey Bay Aquariums guided my approach. Through reef research I discovered Ernst Haeckel, a German naturalist, philosopher and artist who catalogued and drew incredible sea creatures. His unique vision of nature inspired the identity. For the posters I dissected, combined and rebuilt his specimens into letterforms to send messages about Caribbean reefs. The visual language was also applied to membership incentives like tote bags, sandals, and notebooks. I wanted my audience to imagine the reefs without color. To make this point I used stark black to showcase the exquisite coral and turn a spotlight on the issue of coral bleaching.


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DESIGN BRIEF INTRODUCTION A committed group of scientists and environmentalists formed the non-profit Caribbean Coral Conservancy in 2012. Their purpose is to manage, protect and grow Caribbean marine reefs threatened by human activities. These include coastal development, watershed pollution, tourism impacts, marine based threats and overfishing. A series of initiatives were created to increase funding for the organization and create awareness through education. MARKETING/POSITIONING A membership campaign will be created to target an affluent, highly educated, 50-65 year old environmentally conscious demographic. A website and membership incentives would raise support and funding for the conservancy. The mission and values of the organization will drive planning and marketing. The personality and style will communicate the urgency of protecting Caribbean reefs. There are many organizations who work for reef conservation but the conservancy will focus it’s efforts on a specific region and collaborate with these groups. PRODUCTS A website and membership level gifts including posters, tote bags, t-shirts, journals, sandals and other incentives will be created to raise funds and awareness for the goals of this non-profit. CONSUMER ATTITUDES Thinking green and awareness about the effects of global warming continue to become mainstream. Human activity has impacted coral die-offs and studies show that in the Caribbean, coral reefs are headed for extinction. As with many environmental issues there are signs of hope as artificial corals have been grown in areas around the world and bio-rock treatments have restored lush reefs. In this zone any plan to protect coral reefs has to include the cruise industry. Governments of this region have formed alliances with conservation groups promoting coral relief efforts. The message of the conservancy is well positioned to resonate with environmentally conscious senior citizens and tourists who care about this region, and want to protect coral for future generations. DESIGN IMPLICATIONS Logo/Identity: The identity needs to be elegant and upscale with conservative type that would appeal to the demographic. Mood/Color/Voice/Message: Stark black and white illustrated imagery to convey both the beauty of the coral, and urgency of protecting the Caribbean from coral bleaching and extinction. Message needs to communicate the threat of coral bleaching. Coral Bleaching: When corals are stressed by changes in conditions such as temperature, light or nutrients they expel the symbiotic algae, causing them to turn completely white and die.


LOGO

MARK

GRAPHIC ELEMENTS

COLOR PALETTE

TYPEFACE

OPTIMUS PRINCEPS ABCDEFGHIJKLM NOPQRSTUV WXYZ


ARTEFACTO

Member Gifts - Tote bag & Sandals / Journal

CARIBBEAN CORAL CONSERVANCY 020 IDENTITY BRANDING


Membership Incentives - Faux Coral

021


CARIBBEANCORAL CORALCONSERVANCY CONSERVANCY CARIBBEAN 022 023

IDENTITYBRANDING BRANDING IDENTITY


INFORM Instructor

Category

Sean Bacon/ Candice López

Identity / Branding

Fonts Museo

Course Portfolio

OVERVIEW I nform Collective is a component of the National Coalition for Immigrant Women’s Rights. This grassroots and national advocacy organization promotes equality for immigrant women and their families who live and work in the United States. They work at national, state and local levels for immigration reform, reproductive and economic justice for immigrant women.

STRATEGY This organization needed a media kit to communicate important advocacy issues to the press. To generate interest and news stories about their work on behalf of immigrant women, the design and delivery of the kit needed to grab attention with information and be compelling. The Inform Collective is a sewing room that employs displaced immigrant women. A new identity was needed to promote the home interior accessories and fashion items produced by hand and sold at retail stores in urban areas of California, New Mexico, New York and Washington D.C.

SOLUTION The media kit comes packaged in a small wooden crate, a nod to migrant laborers who work the land and struggle for justice. An informative brochure and cd features compelling stories of immigrant women, quick facts, links to resources and the latest news and opinions. The Inform identity fuses a woman’s hand with a bird, a visual metaphor for hope. I paired the icon with the font Museo for it’s modern clean look. Inspired by folding souvenir postcards I designed promotional cards that were scored to encourage the recipient to build a dimensional version of the collective’s identity. The memorable mark works well on hang tags, store signage and stickers.


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LOGO

BRAND LANGUAGE

MARK

COLOR PALETTE

TYPEFACE


Collective Hangtags

INFORM 028 IDENTITY BRANDING


ARTEFACTO

Promotional Postcards / Store Signage

029


INFORM 030 IDENTITY BRANDING


K INE T IC Instructor

Category

Sean Bacon

Identity/Branding

Fonts

Course

Klavika

Portfolio

OVERVIEW Kinetic TV is an American cable, satellite television channel that features programming focused on themes of exploring mathematics, energy, space and technology. International versions of Kinetic are transmitted in Asia, Australia, Europe and Latin America. This informative, entertaining network offers a mix of programming across many themes and primarily targets very educated, upper income men 30-50.

STRATEGY Programming covers a wide range of themes from artificial intelligence, number theory, electromagnetic energy to robotics. Flexibility was needed to reach the diverse interests of the audience and express that the brand was open to change. The Kinetic identity had to be a workhorse to reach viewers on a range of issues from the programming ad-motion graphics to printed collateral.

SOLUTION The Kinetic system had to embrace change. I developed a flexible logo that morphs and shifts using overlapping patterns. The optical effects on the icon were balanced with a hybrid, future thinking sans Klavika. I connected to the font’s versatility making it the right fit for designing print or pixels. Ad motion graphics were developed to create a buzz about programming that is all about innovation, change and dynamic movement. The animated sequence I designed would appear on television and mobile devices with the icon applied to a stationery system, press production tags, transit advertisements and a network flag.


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BIG IDEA Brands become stronger when you define the focus. To promote the distinctive mix of programming targeted at highly educated, upper income men 30-50, Kinetic needed a big idea. This strategy of network communications and actions would be organized around the main core concept. understanding Figuring out the vision, values, mission, culture, target market, and products were tools to develop marketing strategy for the American cable, satellite television network. I started by analyzing the competition that included the Discovery Channel, Discovery Familia, Discovery en Espa単ol, National Geographic, Nasa TV and the Science Network. I conducted research into trends, strengths, weaknesses and opportunities. This big idea made the creative work happen as it became the core of the distinctive culture and energy I hoped to create around this brand. clarity To find the answer I needed to examine the core values and brand attributes focused on themes of exploring mathematics, energy, space and technology. The goal was to develop a competitive advantage around brand strategy. positioning To differentiate Kinetic, build awareness, increase recognition and talk to potential viewers about the unique qualities of this network, I positioned it at the forefront of innovative, in-depth and forward thinking inquiries into core areas of technology, mathematics, energy and space. Positioning drove the brand essence and story. the only science network takes the leading edge on scientific innovation smart, successful, inquisitive men they are innovators primarily the U.S., Asia, Australia, Europe and Latin America in a time of unparalleled discovery brand essence The key messages, voice and tone of communications are all unified around the central idea that Kinetic is on the front line of science and gives viewers an inside look at innovation. Kinetic Big Idea Vanguard Science


WORDMARK

LOGO SYSTEM

PATTERNS

COLOR PALETTE

TYPEFACE

KLAVIKA BOLD ABCDEFGHIJKLM NOPQRSTUVWXYZ


iQuantum 11 ET

Action at a Distance Wednesdays 6 ET

Next: Super Collider

Next:

Absolute Zero Coming Up: kinetictv.com

M

The Limiting Factor Thursdays at 9 ET

Programming Graphics

KINETIC 038 IDENTITY BRANDING

VANGUARD


ARTEFACTO

Super Collider

kinetictv.com

Matter

Subway Advertisements / Network Flag

039


KINETIC 040 IDENTITY BRANDING


A RQUE T IP OS Instructor

Category

Sean Bacon / Candice L贸pez

Identity / Branding

Fonts

Course

Frenesi Custom Font / Din

Portfolio Building

OVERVIEW Arquetipos is a landmark exhibition of groundbreaking and diverse Latin American architects at the renowned Museo de Arte Moderno in Mexico City. The show targets culturally driven middle-income 24 to 38 year olds who as a result of the economy live with their families contributing to household expenses. It celebrates the design approach, concepts and unique characteristics of their work that still continues to challenge the definitions of modern architecture.

STRATEGY These architects belong to the golden era of Mexican architecture, recognized worldwide for the first time because they connected to their Mesoamerican roots. Each has their own unique style but as a group revolutionized Mexican architecture influencing new generations or architects. To catch the eye of the growing boomerang generation the exhibition graphics had to demonstrate their individual achievements and the collective voice of Mexican architecture.

SOLUTION The exhibition poster showcases the work of individual architects through duotone photography connected by a series of graphic lines that represent the cities where the show will travel when plotted on a map. Three-dimensional environmental graphics repeat the poster concept with lines that wrap around the forms leading the viewer through the exhibit. The layout showcases the characteristics of the work of Latin American architects including large open spaces, mass and volume. Inspired by their buildings and cultural references I built a custom, modular, geometric font called Frenesi铆. This was coupled with the lean, geometric lines of Din and applied to branded items including tickets, museum buttons, a catalog and phone app.


05/042.051


POSITIONING Positioning strategy drives planning, marketing, and sales. The market is always changing with shifts in technology, demographics, and consumer trends, creating gaps in the marketplace. With this project I wanted to tap into the unique demographic of the boomerang generation, hit hard by economic challenges and bad press about Mexico. This new exhibition will celebrate golden era architectural legends of Mexico. To create new opportunities in the oversaturated marketplace of current museum exhibitions I positioned this show to appeal to culturally driven young adults looking for a healthy dose of legendary Mexican style and culture.

Positioning Strategy: Arquetipos landmark exhibition of groundbreaking, golden era Mexican architects; the must see exhibition of the year in Mexico. celebrates Mesoamerican roots and revolutionary thinking Boomerang generation. Middle income 24-38 year olds who due to the economic crisis live with their parents after a brief period of living alone. cities throughout Mexico that are influenced by this varchitecture. national pride, culture, style conscious in an era of economic challenges

— Integrates entertainment and education —Include physical and virtual exhibits that will encourage interactions with other people. —Mobile device applications —Geo-location tagging. Comments can be visible to others as they move through the physical space. Mobile devices allow them to pick up on and add to conversations about what they are seeing and interacting with. —Energizes the community and gets them to ask and answer new and important questions.


LOGO

CUSTOME TYPEFACE

GRAPHIC ELEMENT

COLOR PALETTE

SECONDARY TYPEFACE

DIN ABCDEFGHIJKLM NOPQRSTUVWXYZ


ARTEFACTO

Exhibition Poster

ARQUETIPOS 048 IDENTITY BRANDING


Environmental Graphics

049


ARQUETIPOS 050 IDENTITY BRANDING


S TAT US QUO Instructor

Category

Candice López

Identity / Packaging

Fonts

Course

Estilo Pro / Cardo

Portfolio

OVERVIEW Status Quo is directed to fashion forward 25-35 year old, upper middle income, single men concerned about clothing, hair and fitness. Likely to have a large collection of trendy, affordable accessories these style conscious consumers look for additions such as scarves and well designed socks to complement their lifestyle. The owner of this newly created, Seattle based company was committed to sustainable design but wanted to keep packaging costs affordable.

STRATEGY This project required an environmentally friendly approach with attention to the principles of economic and ecological sustainability. Product packaging demanded use of renewable resources that had a minimal impact on the environment. The processes had to eliminate shrink-wrap and products had to require less energy and use recycled materials. A secondary goal was to cut down on production costs while appealing to the target audience’s passion for style.

SOLUTION Believing that cost-savings can go hand in hand with style I conducted research into processes and products. To address the challenges of environmental responsibility I paid special attention to materials used for this project. I chose natural chipboard, wood fiber ribbon, biodegradable rubber bands, hemp twine and vegetable based ink. Sometimes, less is more and I purposely constructed simple packaging forms for scarves that relied on minimalist cues and typographic based design. The graphic square crest breaks the brand name into three rows using the sharp edged sans serif Estilo Pro in two different weights. Additional applications include hangtags, sock packaging and store receipts that employ a simple visual language to communicate essential style.


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LOGO

COLOR PALETTE

PATTERN

TAGLINE

Made in England

TYPEFACES

ESTILO PRO ABCDEFGHIJKLM NOPQRSTUVWXYZ


Shopping Bags and Hangtag

STATUS QUO 056 IDENTITY BRANDING


ARTEFACTO

Scarf and Sock Packaging

057


STATUS QUO 058 IDENTITY BRANDING


P HUSION Instructor

Category

Sean Bacon / Candice L贸pez

Editorial

Fonts

Course

Helvetica Neue / Gill Sans / Bebas Neue

Portfolio Building

OVERVIEW Phusion is an electronic jazz magazine that wants to target male musicians 21-36 and beat producers. Nu Jazz ranges from the traditional to the experimental and can vary widely in sound and concept. Blending elements of classic jazz with modern music and improvisation, the music can change into a multitude of sounds and vary greatly from artist to artist.

STRATEGY To reach a youthful audience with a diverse range of tastes the magazine needed to be fresh and inclusive. This internationally popular music style can be traditional electronic jazz or include broken rhythms, improvised melodies and off key harmonies. The vibe of the publication needed to reflect the attitude of the music through color, font selection and layout.

SOLUTION I used an eclectic mix of fonts to audibly speak to the smooth, avant-garde chill of the music. These include Helvetica Neue, a classic font refined to have structurally unified heights and widths. Gill Sans because it feels less mechanical than a geometric sans serif font, and this was paired with the clean look of Bebas Neue. The use of color reflects the electronic nature of the machines used to synthesize the NuJazz sound. The songs are the focus, not the individual musicians and I tried to show this aspect of electronic jazz by keeping things neutral including the graphics, type and layout. At times the spreads have staccato beats of the sound as I created unexpected zones of white space using high contrast photos.


07/060.069


LOGO

MARK

COLOR PALETTE

GRAPHIC ELEMENT

TAGLINE

NU-JAZZ MAGAZINE

TYPEFACE

HELVETICA NEUE ABCDEFGHIJKLM NOPQRSTUVWXYZ


Magazine Spreads

PHUSION 064 EDITORIAL


ARTEFACTO

065


ARTEFACTO

Interior Spreads

PHUSION 066 EDITORIAL


Table of Contents

067


PHUSION 068 EDITORIAL


MEZ CL A Instructor

Category

Sean Bacon Candice L贸pez

Identity / Branding

Fonts

Course

Custom Type / Big Noodle Titling

Portfolio

OVERVIEW Mezcla aspires to be the alcoholic drink of adventurous young 22-35 year old adults willing to explore new cultures. They seek to boldly experience exotic fruit flavors artfully blended with Mexican traditional mezcal. Mezcal is the ingredient that imparts a rich smoky flavor to agave juice when it is mashed, fermented and distilled. Handcrafted ingredients and authentic party style bring genuine warmth and spirit from the heart of Mexico.

STRATEGY To craft the Mezcla brand I wanted to emphasize the fact that it is the only alcoholic drink pre-mixed with 100% Mexican mezcal. The freshness of the fruit achieves an exotic flavor that differentiates it from the competition. The packaging needed to speak to the simplicity and artisan nature of the product. It is still made in small family distilleries by slowly roasting ingredients in underground pit ovens. Branded applications had to deliver original style by using cultural elements and traditional materials to capture the sabor of lively Mexican fiesta celebrations.

SOLUTION Custom type and a graphic agave express Latin culture in a fresh way. Clear glass bottles with bright silver caps have accents of traditional lime green and rosa mexicano pink. Natural brown paper four pack cartons were constructed to reinforce the homegrown quality of this unique mixed drink. A pattern was developed based on colorful hand decorated Mexican talavera tile. Young consumers are encouraged to throw their own fiesta with the Mezcla party kit. Inside are cut paper party decorations I designed called papel picado that use the brand language and a metal ice bucket to keep drinks cold and spirits flowing.


08/070.081


NAMING I took a creative, disciplined strategic approach to naming a new beverage that blends exotic fruit flavors with Mexican traditional tequila. I needed something that had rhythm, would look strong as a logo on packaging or in an email. Crafting this essential brand asset I hoped to capture the imagination of adventurous young 22-35 year old adults willing to explore new cultures. The name must be: communicates the essence of the brandsupports imagery can easily build brand extensions unique, easy to remember, pronounce and spell positions a company for changes and growth available domain, can be owned and TM positive connotations works well as a logo, in text and brand architecture (hierarchy of brands within a single company). Competition Mezcal brands: Del Maguey El Se単orio Monte Alban Gusano Rojo Scorpion El Cortijo Los Sietes Misterios Yuu Baal Wahaka Real Matlatl Esperito Lauro Michoacan Cha Cha Cha

Durango 8 Viboras Mezcales de Leyenda Piedre Almas Alipus Danzantes Enmascarado Real Minero Yogana A punto de Veneno Chilapa Los Amantes Malagrito de Corazon Agave Mexicano


LOGO

ABREVIATED LOGO

MARK

COLOR PALETTE

PATTERN

TAGLINE

MEZCAL infused beverage TYPEFACE

Big noodle titling ABCDEFGHIJKLMnoPQRST UVWXYZ


Product Packaging

MEZCLA 076 IDENTITY BRANDING


ARTEFACTO

Coasters / Party Ice Bucket

077


ARTEFACTO

Mezcla Party Kit

MEZCLA 078 IDENTITY BRANDING


Custom Cut Paper Decorations

079


MEZCLA 080 IDENTITY BRANDING


CONCORDE Instructor

Category

Sean Bacon

Identity / Branding

Fonts

Course

Jupiter/ Adobe Caslon Pro

Portfolio

OVERVIEW Concorde meaning union refers to the development agreement between France and the United Kingdom. Sharing the name of this treaty is an aircraft that has fascinated the public as a marvel of engineering. For 27 years this supersonic passenger airline made headlines. For this project the legendary airline is rebranded, then financed by private investment and the government to target a new generation of affluent travelers.

STRATEGY To preserve brand equity the new identity needed to focus on evolution not revolution. Flying on the Concorde is seen as a privilege for successful business types 50-65 who want to experience the legacy and high-end luxury of an airline that is a symbol of pride for two countries. Because of the wide range of applications the solution needed components that could switch in and out including a crest shape and upscale type.

SOLUTION The color palette of royal navy, red, bright white and gold accents pays tribute to the flags of England and France. The crest combines iconic symbols of both nations and functions well on it’s own or with the polished typography. I modified and elongated the “N” in Concorde to show speed and unity. I wanted the luxury of this brand to be supersonic and used techniques like gold embossing on print applications. Boarding passes, stationery, luggage tags and sleeping kits are unified through scale and proportion. Classic flight attendant uniforms and flight wings speak to the first-class focus on comfort and tradition.


09/082.093


DIFFERENTIATION Brands are constantly fighting for our attention. The Concorde brand needs to demonstrate how different it is and make it easy for consumers to understand what clearly make them stand out. To do this I examined some important competitors.


LOGO

LOGO VARIATIONS

TYPEFACES

COLOR PALETTE

ADOBE CASLON PRO ABCDEFGHIJKLM NOPQRSTUVWXYZ PATTERN

DIN (OTF) ABCDEFGHIJKLM NOPQRSTUVWXYZ


We’re going to take you to the edge of space where the sky gets darker, where you can see the curvature of the Earth we’re going to travel across the Atlantic twice the speed of sound faster than a rifle bullet, 23 miles every minute we’re going to travel so fast we’re

moving faster than the Earth rotates and the world will be watching us. - Captain Mike Bannister


LOGO COMPOSITION

The Concorde logo consists of

element in the designs but cannot

multiple elements that are intended

be used to represent the CWoncorde

to be used together and as individual

brand. The composed logo and

pieces. For most purposes the

historical mark are reserved for

Concorde Wordmark will be utilized

special correspondence, certificates,

for most corporate communications.

plaques or other celebratory

The crest can be used as a decorative

materials.

Concorde Wordmark 04


Concorde Historical Mark

Concorde Crest 05


LOGO CLEAR SPACE

X

The space relation of the logo is based on the size of the letter “O”. ENGLAND

FR ANCE

The logo can also work with all the pieces together to form the

X

base crest.

A I R WA Y S

MINIMUM SIZE .5”

The Concorde Wordmark should never be used any smaller than .5 inches tall.

06


ACCEPTED BACKGROUNDS

Background colors are limited to the color palette except for the addition of black, but strive to use the Concorde colors when possible.

07


TYPOGR APHY A place to introduce the brand values

every aspect of it’s structure and

of Concorde is with the typography.

function. Use only the typefaces

The importance of readability, clear

listed here for any communication on

presentation and quality is found in

behalf of Concorde Airways.

Din Next LT PRO

ABCDEFGHIJKLMN OPQRSTUVXYZabcd efghijklmnopqrstu vwxyz1234567890, .;’/!*@#$&^()-+=/?

12

Medium Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de nones mos restibus, quia consequi nimin reperer orrovid enectatio. Luptatectem sequo

Bold Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de nones mos restibus, quia consequi nimin reperer orrovid enectatio. Luptatectem sequo

Regular

Heavy

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam

rerci ipsam quas sus nus eius reprepe rferfer cilibus rem

rerci ipsam quas sus nus eius reprepe rferfer cilibus rem

quaecaerum et ute de nones mos restibus, quia consequi nimin

quaecaerum et ute de nones mos restibus, quia consequi

reperer orrovid enectatio. Luptatectem sequo

nimin reperer orrovid enectatio. Luptatectem sequo


Adobe Caslon Pro

ABCDEFGHIJKL MNOPQRSTUVXY Zabcdefghijklmno pqrstuvwxyz12345 67890,.;’/!*@#$&

Semibold Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci

ipsam quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de nones mos restibus, quia consequi nimin reperer orrovid enectatio. Luptatectem sequo

Semibold Italic Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de

nones mos restibus, quia consequi nimin reperer orrovid enectatio. Luptatectem sequo

Regular

Bold

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci

nones mos restibus, quia consequi nimin reperer orrovid enectatio.

ute de nones mos restibus, quia consequi nimin reperer orrovid

quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de Luptatectem sequo

ipsam quas sus nus eius reprepe rferfer cilibus rem quaecaerum et enectatio. Luptatectem sequo

Italic

Bold Italic

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam

Iquiscium doluptiam ilis ut aut ullia culleni magnam lam rerci ipsam

nones mos restibus, quia consequi nimin reperer orrovid enectatio.

nones mos restibus, quia consequi nimin reperer orrovid enectatio.

quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de Luptatectem sequo

quas sus nus eius reprepe rferfer cilibus rem quaecaerum et ute de Luptatectem sequo

13


PATTERN

The pattern was created based on the diagonal lines drawn on the crest. These were used and modified to accommodate the brand requirements.

18


BR AND COLORS

Primary Colors

533 C

1787 C

100% 83% 46% 13%

0% 76% 60% 0%

1E4164

F1645D

30 65 100

241 100 93

208째 69% 34%

2째 61% 94%

10


ARTEFACTO

12m02 / 40’

SIDE VIEW

61mm66 / 202’ 4”

25m50 / 83’10”

TOP VIEW

27m66 / 90’9”

Aircraft Graphics

CONCORDE 090 IDENTITY BRANDING


12.5째 MAX

Flight Attendant Uniforms

091


CONCORDE 092 IDENTITY BRANDING


R A FA EL L ÓP EZ Instructor

Category

Sean Bacon / Candice López

Editorial

Fonts

Course

Meslo LG S DZ

Portfolio

OVERVIEW The work of Rafael López fuses his strong graphic style with magical symbolism. A well-known conceptual illustrator, he wanted to refine and update his existing brand to include recent work for educational institutions and in books. He hoped to reach a new audience of publishing houses, schools and universities with an updated logo, new stationery package and secondary website focused on books.

STRATEGY The graphic icon of a hand with a bird and guitar was a symbol the Mexico City artist had used to express the conceptual nature of his work. We wanted to build on the existing brand equity but add a spirited type solution to target publishing houses. This identity would be applied to a stationery system, ex-libris, and rubber stamps. A new website directed at books, speaking and mural work needed to complement his current commercial illustration site.

SOLUTION To reach book publishers the sophisticated yet playful, custom type solution can stand alone or work in conjunction with the artist’s graphic icon. I collaborated with the illustrator and developed typography to complement three unique ex-libris illustrations used for promotional purposes. I wanted the type and imagery to sing with the folkloric spirit of López’s style. Using Adobe Muse software I constructed his new website. I hand selected and cropped vibrant illustrations assembling a collage with rollovers linking the art to interesting articles on his work. With advice from his literary agent, I organized the easy to use site to feature his book illustrations, reviews, honors, murals, speaking engagements and contact info. The clean style created a visual dialogue connecting viewers to his primary commercial illustration website.


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BRAND IDENTITY IDEALS My goal was to reposition and advance the brand of Rafael López to complement his established commercial illustration style and work on books. —Highly recognizable. —Consistent image for both facets of his work. —Communicate the personality of his work. —Value that lasts. —Works well across a variety of media and in several different sizes. —Function in black and white and color. —Bold, memorable and appropriate. Compelling, inspiring work that reaches across borders. Communicates concepts with an emotional twist. Strong values of community are expressed through illustrated books and powerful murals. Passionate visual voice that stands apart to express community and genuine Latino spirit. Sensitive work resonates especially to women, children and the marginalized. Mexican influences, rich cultural heritage and native color of street life. Unique, genuine Latino voice that communicates across cultural barriers. Despite economic flux, the highly recognized style of the illustrator has endured. He regularly re-invents himself to keep pace with unpredictable future developments. When a client experiences this brand it feels familiar. The consistency of the illustrator’s work is not rigid or limiting. To support an evolving marketing strategy, this brand is positioned for change and growth. A new website focused on his published books, complements the artists commercial site and the two work together. The new brand assets will be actively managed, and integrated with his commercial illustration for book publishers, schools and universities. To build awareness, communicate quality and increase recognition the artist will employ two websites, a blog and wikipedia article. A future goal for the artist is to develop a media kit to increase publicity.


LOGO

TYPE TREATMENT (EX LIBRIS)

MARK (EXISTENT)

COLOR PALETTE

TYPEFACE


Customized Stamp

RAFAEL LÓPEZ 100 IDENTITY BRANDING


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Ex Libris

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Books Website

RAFAEL LÓPEZ 102 IDENTITY BRANDING

Homepage


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RAFAEL LÓPEZ 104 IDENTITY BRANDING


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LOGOS 106 IDENTITIES


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Recycled Paper Biotech Company Argentinian Wine

LOGOS 108 IDENTITIES

Professional Model Hair Salon Theater Play


Security Software Fashion Label Urban Planning

Travel Beverages Education Foundation Music Producer

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THANKS It’s the journey that counts. Gratitude goes out to my teachers, classmates and family for showing me that every challenge is a chance. My deepest thanks to Candice López, Sean Bacon, Rafael López, and my mother Saria Salazar for lighting the way. This book was made possible with the kindness of Stephen Simpson, Daniel Renner, Lisa Starace, Jesus Aguilera, Lulubi Garcia, Norman Ramos, Jose Salazar, Garrett Patz, Desi Mckinnon the SDCC Photography Department and the 2013 San Diego City College Portfolio class. I couldn’t have made it without combo number 3 at Berto’s late night burritos.

COLOPHON Artefacto Joaquin Alanis Contact jalanisdesign@gmail.com San Diego City College Graphic Design Printer/Binder Clearstory Photography Steven Simpson, Joaquin Alanis,123RF Stock Imagery on mood board/teaser for inspiration only. Fonts Blender typeface family Software Adobe Creative Suite 5

Copyright Joaquin Alanis ©2013

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Joaquin Alanis Graphic Design Portfolio 2013

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Joaquin Alanis Graphic Design Portfolio 2013

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