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There is a language older by far and deeper than words. It is the language of bodies, of body on body, wind on snow, rain on trees, wave on stone. It is the language of dream, gesture, symbol, memory. We have forgotten this language. We do not even remember that it exists. DERRICK JENSEN

(totem)

———

julia lemke


F O R G R A N D M A S A L LY


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 S E L E C T E D WO R K S / 2014

005


015

The Poetry of Material Things / A Tribute to Chance / Local Surf Forecasting / Technology for Good / Wabi-Sabi Skincare / Outsider Folk / An Exploration of the Subconscious / Good Brews / Breaking Bread / Re-imagining the Creative Cloud 037

055

069

081

103

113

127

151

171


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007


S E L E C T E D WO R K S /

2014

Totem is about creating personal connections through design. It is focused on a lifestyle of simplicity, craftsmanship, and the integrity of natural objects and processes.

01 02 03 04 05 06 07 08 09 10

believed to have spiritual significance, adopted as an emblem or symbol.

TOT E M J U L I A L E M K E ± ¬ ¬

t o t e m : an object or animal

009


01

TOTEM IS MORE THAN MY PORTFOLIO TITLE,

02

My mother is a folk-artist, and my father is an industrial designer. I think my aesthetic is a blend of those things: an obsession with traditional craft, and the structure and simplicity of architecture. Much of my aesthetic and talents I owe directly to my parents, who have taught me many of their skills: sewing, batik, woodworking, welding, glass fusing, Ukrainian Eggs, ceramics, weaving, etc. My parents exposed me to design from a very early age, taking me on road trips to tour Frank Lloyd Wright’s buildings; learning traditional Native American basketry, builing tree houses, and introducing me to CorelDraw when I was 10.   TOTEM IS AN AESTHETIC.

KEYWORDS

tactile folk art PROJECTS

01 02 03 0 4 05 06 07 0 8 0 9 1 0

03

T O T E M R E P R E S E N T S A L O V E O F N AT U R A L

I grew up in mountains, and by the ocean, which has imbued in me a deep appreciation and connection with nature. It is my biggest source of inspiration. I hope to communicate this through use of space, texture, and material. FORMS.

I believe that design is a language deeper than words, that has the power to connect us in and meaningful ways. In my work, I always strive to be personal, simple, and straightforward.

04

TOTEM IS STORYTELLING.

05

TOTEM IS A WORK ETHIC.

it is the name of my personal side project; a line of home goods and jewelry, inspired by nature & folk art. It also represents the lifestyle that I strive to live.

The one idea my parents drilled into me the most was that of taking initiative, of always going the extra mile. My interests have always been fleeting (one week I’ll be obsessed with photography, the next week basket weaving) but the common thread is a passion to learn, and the motivation to explore new things independently. This drive extends beyond school, and even beyond design. Totem is a lifestyle that manifests in every detail of my life.

C AT E G O R I E S

Print Packa g i n g Identi ty Ph oto g ra p hy Web

TOTEM

Ju lia L em ke S elec ted Wo r k s S pring 2 014

In tera c ti ve Pro d uc t Ar t D i rec ti o n Ap p In sta lla ti o n


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 S E L E C T E D WO R K S / 2014

011


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 S E L E C T E D WO R K S / 2014

013


———

auger + ore

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY

O F M AT E R I A L T H I N G S

The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. Why one thing and not another is part of the mystery, but he is omnivorous.

TOT E M J U L I A L E M K E ± ¬ ¬

(01)

PA U L R A N D

the poetry of material things

015


01

02

C O N C E P T / Auger + Ore is the first iteration of Totem. It is a collection of home goods and jewelry, inspired by nature & folk art, available online and in select shops in San Francisco.

KEYWORDS

B A C K G R O U N D / A+O started as a packaging and identity project and grew into a cohesive brand over the course of two years. The goal was to create a brand of high quality goods that reflect a lifestyle of voluntary simplicity and a respect for the natural world. Auger + Ore has served as an outlet for me to explore an interest in brand development, product and packaging design as well as others interests like ceramics, weaving, and beekeeping.â€

INFO

Tactile Folk Art

Packaging 2 Tom McNulty Spring 2011 C AT E G O R Y

Print Packaging Identity Photography Web


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

015


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

017


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

019


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

021


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

023


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

025


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

027


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

029


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

031


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

033


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 AU G E R + O R E / T H E P O E T RY O F M AT E R I A L T H I N G S

035


———

drift

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole But we may as well calm down: construction is not absolute.

TOT E M J U L I A L E M K E ± ¬ ¬

(02)

PA U L K L E E

a tribute to chance

037


01

02

Drift is an experimental typography book and website that explores the power of chance through the intersection of technology and fine art.

KEYWORDS

This conceptual project uses the idea of synthesis to communicate the importance of play and experimentation. Working in collaboration with programmer Mouse Reeve, we designed a computer program to randomly generate compositions, emphasizing the idea of chance. The book reads more like an editorial, with collections of essays, poems, and short stories about the powder of randomness. Many traditional design principles are broken in this project, but maintaining the concept was more important to me, so I chose to keep the layouts unpolished to accentuate the accidental nature of the piece. A century ago, the Dadaists used collage to break down the limiting structures of “high art�. The message of this book is similar, not to take life too seriously.

INFO

CONCEPT /

B AC KG R O U N D /

Surreal Experimental

Typography 4 Ariel Gray Spring 2013 C AT E G O R Y

Print Web Interactive


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

037


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

039


AM

AM

Welcome to Drift! 1 Double tap the screen to generate new patterns. 2 Swipe Sideways to save.


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

041


Scale Grid Size Rotation Density

Regenerate Book >

Export to PDF Import Library

02 / 12

>

>


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

043


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

045


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

047


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

049


process e x p er i m e n tal t y p og r a p h y conference

0 5 / 13 Analog: A Century of Collage

1/10

M ALIN GAB R IELLA NOR DIN

24302

2408124

A Global Language

3/10

P ET ER CH O

938124872

2/10 Strandbeest 2011

T H EO JANSEN

Unlearning: The Power of Play 2012

The Role of Craft 2012

Digital Texture The Future of Art

5/10

ADAM F ER R I S S

21523631236

3D Printing Shifting Global Production

8/10

EM ERG IN G OB JECTS

21058123

The Structure of Randomness 2012

7/10

SON N EN Z IM M ER

34503481

6/10

ST EFA N S AG MEIST ER

RU T H A S AWA 4/10

201242

1243514

01 _ /45

The Post-Modern Design Era 2013

10/10

WA N G Z HI HON G

208315

The Thread Wrapping Machine Innovation in Product Design

9/10

A N TON A LVA REZ

2130835

S an F r anc i s co 0 5 . 1 4 .1 3 - 05.1 5.1 3


Gab r i e l e Di ana Gr aw e

Rai ne r W i c k

( 20 0 0 )

DRIFT / A TRIBUTE

TO C H A N C E

T e ac hi ng at t he B auhaus

Paul Klee

a tribute to chance

Synthesis

01 02 03 04 05 06 07 08 09 10

We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole. We may as well calm down: construction is not absolute.

Of Chance

To The Laws

According

TOT E M J U L I A L E M K E ± ¬ ¬

051


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 TO C H A N C E

DRIFT / A TRIBUTE

053


———

s a lt

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

Going back to a simpler life based on living by sufficiency rather than excess is not a step backward. Rather, returning to a simpler way allows us to regain our dignity, puts us in touch with the land, and makes us value human contact again.

TOT E M J U L I A L E M K E ± ¬ ¬

(03)

YVON CHOUINARD

local surf forecasting

055


01

02

Salt is a digital publication and app featuring surf forecasting, tide charts, and bookmarking of locations.

KEYWORDS

Growing up outside of Santa Cruz, surfing is close to my heart. I wanted to create a project that reflected my love of the ocean and the Northern California surf culture. I used clean type and moody, stark photography to convey the power of the ocean, keeping the layouts as straightforwad as possible. This project was an opportunty to combine two of my greatest passions: editorial photography and the West Coast!

INFO

CONCEPT /

B AC KG R O U N D /

Clean California

Integrated Systems Roland Young Fall 2013 C AT E G O R Y

App Identity Photography Web


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

055


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

057


SALT Monthly Periodical Issue 08, Edition 02

Artist Profile: Meg Fall 2013 / Outer S Trouble Coffee, Oc


TOT E M J U L I A L E M K E ± ¬ ¬ 01 02 03 04 05 06 07 08 09 10

Search

FORECASTING

S A LT / LO C A L S U R F

gan Thomas Melly Sunset cean Beach Where I grew up spending my summers (South County, Rhode Island) there’s a pretty deep surf scene. Most of my cousins surf. It always fascinated me but I never got into it because it seemed a bit intimidating in terms of a culture/ sport a young girl could break into. It also seemed like a lot of investment in terms of gear to be able to enjoy and I think my parents were hesitant to spend money on something that I might abandon. My husband started surfing two summers ago and I told him I wanted to learn as well. He encouraged me to find a wetsuit (I bought one off Craigslist from a lady who was moving back to Paraguay. There being no coast there she figured it would be a while before she surfed again.)

059


AM

AM

Current Location Favorites

Linda Mar Ocean Beach Stinson Steamer’s Carmel Asilomar

3 2 3 1 0 4


TOT E M J U L I A L E M K E ± ¬ ¬ 01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

AM

Asilomar Tide Chart

1

2

3

4

5

6

7

8

9

10 11 12 13 14 15 16 17 18 19 20 21 22 23

Current Location: Asilomar Beach, Monterey

Lo Hi Lo Hi Lo Hi

01:25 07:39 01:41 06:04 02:31 08:48

Fri, Oct 26

0.8 ft

Fri, Oct 26

7.1 ft

Fri, Oct 26

2.9 ft

Fri, Oct 26

8.5 ft

Sat, Oct 27

0.9 ft

Sat, Oct 27

7.2 ft

am am pm pm am am

061


AM

Asilomar

70째 Surf

6-8 5-6

FT

MPH

SW

NW

Tide Chart

1

2

3

4

5

6

7

8

9

10 11 12 13 14 15 16 17 18 19 20 21 22 23


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

063


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

065


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 FORECASTING

S A LT / LO C A L S U R F

067


———

collective conscience

technology for good

C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

CARL SAGAN

01 02 03 04 05 06 07 08 09 10

We live in a society exquisitely dependent on science and technology, in which hardly anyone knows anything about science and technology.

TOT E M J U L I A L E M K E ± ¬ ¬

(04)

069


01

02

The task was to create a collateral educating people about Collective Conscience, a conceptual a software platform for computing using volunteer resources.

KEYWORDS

By harnessing un-used space on phones around the world, Distrubutive Computing is able to run research programs that would normally require a supercomputer. The app let’s you choose from a variety of projects, ranging in areas from art and medicine, to biology and cryptography. The objective was to take something very complicated and scientific and make it feel accesible and intuitive, reflecting the humanitarian potential of the product. (collective conscience: n. the shared beliefs and moral attitudes which operate as a unifying source within society.)

INFO

CONCEPT /

B AC KG R O U N D /

Scientific Intuitive

Identity 2 Tom McNulty Spring 2011

C AT E G O R Y

Print Identity App


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

069


1.5”

COLLECTIVE CONSCIENCE

COLLECTIVE CONSCIENCE

.5” .5”


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

COLLECTIVE CONSCIENCE

C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

071


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

073


31s3

COLLECTIVE CONSCIENCE

25.111

v.002 1295 12951 27153.3.2 25.111

tfg.002

cc_tfg.03

31s3

48991u33

462466 25.111 31s3 25.111

25.111 48991u3367

325913u5

31s3 tfg.002 25973

44432

2u5

48991u3367.28751

238535

22374 5845.783.25

31s3 25.111 75

47 57933

31s3

337

462466 48991u3367 357

.20835

22374 357

4.7 337 31s3

05.16.11

TECHNOLOGY

FOR GOOD

COLLECTIVECONSCIENCE.COM


TOT E M J U L I A L E M K E ± ¬ ¬ 01 02 03 04 05 06 07 08 09 10 C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

AT&T

12:34 PM

COLLECTIVE CONSCIENCE No. 1973.1325153

TECHNOLOGY FOR GOOD CC//: VOLUNTEER COMPUTING FOR THE ANDROID

ASTROPULSE ≥

ASTROPHYSICS, ASTROBIOLOGY

Astropulse is a sky survey that searches for microsecond transient radio pulses. As a microsecond transient radio pulse comes to us from a distant source in space, it passes through the interstellar medium. The ISM is a gas of hydrogen atoms that pervades the whole galaxy. The biggest difference between the ISM and ordinary hydrogen gas. Some of the hydrogen atoms in the ISM are ionized, meaning that they have no electron attached to them. For each ionized hydrogen atom in the ISM, a free electron is floating off somewhere nearby. A substance composed of free floating, ionized particles is called a plasma. order to see the signal's true shape, we have to undo this dispersion. That is, we must dedisperse the signal.

075


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

077


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C O L L E C T I V E CO N S C I E N C E / T E C H N O LO GY F O R G O O D

079


———

enso

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I

SKINCARE

I am always trying to convey something that can’t be conveyed, to explain something which is inexplicable, to tell about something I have in my bones, something which can be expressed only in the bones.

TOT E M J U L I A L E M K E ± ¬ ¬

(05)

FRANZ KAFKA

wa b i - sa b i s k i nc a r e

081


01

02

Enso is a conceptual skincare line inspired by the Zen Buddhist concept of Wabi-Sabi (finding beauty in raw and imperfect). In Zen Buddhism, the word Enso symbolizes minimalism and elegance.

KEYWORDS

Wabi-Sabi provides a means to live life through the senses and better engage in life as it happens, rather than be caught up in unnecessary thoughts. I wanted this idea to translate into the marketing of the product as well. The goal for this project was to create a line of skincare that downplays the branding, focusing instead on the forms and materials. The goal was for the brand to represent the highest quality materials, without any gimmick. I designed the bottle shapes in CAD using sacred geometry to dictate scale relationships. I then cut the bottles by hand on the wood lathe, and hand painted them.

INFO

CONCEPT /

B AC KG R O U N D /

Raw Earthy

Packaging 3 Tom McNulty Fall 2012 C AT E G O R Y

Packaging Identity Product


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

081


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

083


2√:1

1√:1

4√:1

1√:1

2√:1


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

085


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

087


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

089


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

091


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

093


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

095


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

097


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 E N S O / WA B I - S A B I SKINCARE

099


———

michael hurley

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY /

OUTSIDER FOLK

I’ve been told that the Malays drill holes in the bamboo stalks that grow in their forests. When the wind blows, they lie on the ground to listen to the symphonies produced by these gigantic Aeolian harps. The strange thing is that each listener hears a unique tune and a unique harmony, all according to the whim of the wind.

TOT E M J U L I A L E M K E ± ¬ ¬

(06)

AUGUST STRINDBERG

outsider folk

101


01

02

This conceptual identity project consists of a postcard set and poster series for underground folk artist Michael Hurley, promoted by Folk Yeah.

KEYWORDS

Michael Hurley has had a cult following in the folk community since he started performing in 1964. His music is an eclectic, witty, and often bizarre twist on traditional folk. For this postcard set, I used an unpolished aesthetic, with broad color swashes and hand-drawn illustrations to reflect his quirky character.

INFO

CONCEPT /

B AC KG R O U N D /

Americana Quirky

Integrated Systems Roland Young Fall 2013 C AT E G O R Y

Print Identity


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY / OUTSIDER FOLK

101


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY / OUTSIDER FOLK

M

103


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY / OUTSIDER FOLK

105


MICH AEL H U RL E Y

FOLK YEA MU SIC FE U N D E R T HE R E D W OODS

FE A TU R I N G

WOODS PETE SEEGE VETIVER FOLK Y EA H .C OM

MICH AEL

FOL K YE AH

M

H


TOT E M J U L I A L E M K E ± ¬ ¬

AH ESTIVAL

MICHAEL HURLEY / OUTSIDER FOLK

ER

01 02 03 04 05 06 07 08 09 10

0 9 . 0 6 . 2 0 13

0 9 . 0 6 . 2 0 13

0 9 . 0 6 . 2 0 13

107


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY / OUTSIDER FOLK

109


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 MICHAEL HURLEY / OUTSIDER FOLK

111


———

catharsis

01 02 03 04 05 06 07 08 09 10 C AT H A R S I S / A N E X P LO R AT I O N

O F T H E S U B CO N S C I O U S

It is the function of art to renew our perception. What we are familiar with we cease to see. The writer shakes up the familiar scene, and, as if by magic, we see a new meaning in it.

TOT E M J U L I A L E M K E ± ¬ ¬

(07)

ANAIS NIN

an exploration of the subconscious

113


01

02

Catharsis is an experimental typograpy book, exploring the human condition through the subconscious.

KEYWORDS

My goal was to communicate the feeling of absurdity through heavy tension, fractured typography, and blurry and distorted photography. The book is also a personal story of my experiences with a sleep disorder. Each graphic detail is an abstraction of the data from several sleep studies. Although it may seem dark, the message is positive: the importance of getting in touch with your subconscious, and harnessing emotions to channel into creativity. The intent of the projct is to shake up our perception of the world, emphasizing the importance of not becoming too comfortable or complacent. The ultimate feeling of the book is represented by catharsis: an emotional release, or a purge of repressed emotion.

INFO

CONCEPT /

B AC KG R O U N D /

Surreal Jarring

Typography 3 Ariel Grey Spring 2012 C AT E G O R Y

Print Photography


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C AT H A R S I S / A N E X P LO R AT I O N O F T H E S U B CO N S C I O U S

113


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 C AT H A R S I S / A N E X P LO R AT I O N O F T H E S U B CO N S C I O U S

115


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0.01 ­

(A.9)

01 02 03 04 05 06 07 08 09 10

0.03 ­

0.41­

COLOPHON

(A.9)

INTRODUCTION

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ENTRADA PAPER (A.6)

0.39 ­

PRODUCTION NOTES (A.6)

C AT H A R S I S / A N E X P LO R AT I O N O F T H E S U B CO N S C I O U S

0.05 ­

CATHARSIS (A.2)

01:45

between wake and sleep

119


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CATHARSIS (V.1)

2012

2352 :: 3653472 2413 236:358 : 12446 3470342 23463 213 w9458 235

REM (A.6)

NREM 3.44

(A.9) 2352

2352 3653472 2413 236358 1244352346 3470342 2346324 213 w9458 235 235235 234 237900 1 1 34347 235 64779 23446 2342363579 234

(v.02)

CAMUS

FOREVER I SHALL BE A STRANGER TO MYSELF. IN PSYCHOLOGY AS IN LOGIC, THERE ARE TRUTHS BUT NO TRUTH.

: ::::: 1 34347 235 64779 23446 2342 : 234

7.34 ::

3653472 2234 2413 2 3 4 2 3 6 4 8 9 9 1 2 3 1 212623 4634: 63 5 8 3470342 2362 23463 1235249063 213 w9458 124598756 235 2354962 : 23 ::::: 1 2 34347

2396 1247 2368 15742 2334 2379 235792423 23424657688834 13425 234668888235 23677 2 4

235 64779 23446 2342 : 234

:

: ::: : 2234 23423 6489912 2362 1235249063 12459 8756 235 4962 :: : :

: ::: : 2234 2 3 4 2 3 6 4 8 9 912 2362 1235249063 12459 8756 235 4962 :: : :

HYPNAGOGIA (A.2)

3.68


S LEEP STUDY

(V.1)

2012

E1 E2

A1

C AT H A R S I S / A N E X P LO R AT I O N

A1 A2

O F T H E S U B CO N S C I O U S

C3 C4

01 02 03 04 05 06 07 08 09 10

A2

TOT E M J U L I A L E M K E ± ¬ ¬

03/

REM

(A.6)

3.44

NREM

(A.9)

7.34

(A.2)

3.68

HYPNAGOGIA

125


———

russian river

01 02 03 04 05 06 07 08 09 10 RUSSIAN RIVER /

G O O D B R E WS

Form follows function: that has been misunderstood. Form and function should be one, joined in a spiritual union.

TOT E M J U L I A L E M K E ± ¬ ¬

(08)

F R A N K L LOY D W R I G H T

good brews

127


01

02

The objective for this project was to revitalize an existing brand of beer. I chose Russian River for their core values: small batch beer, environmentalism, and a strong connection to the community.

KEYWORDS

Russian River has a unique approach to beer. Their tone is sophisticated, yet accessible and quirky. I used a powder coated gradient to command attention, and set the brand apart from competitors. Their marketing is imbued with humor, and they are known for their biblical themed craft brews, something I wanted to play up in this project. Each bottle has a unique illustration and color code. One key factor in this project was sustainability. The carrier was designed using CAD to require minimal materials, and assembly. It is constructed from 4 pieces of interlocking MDF (a recycled material), held together by a single metal bar. The bottom of the carrier has an interlocking detail, to allow stacking. All of the fabrication for this project I did at Tech Shop: powder coating, screen printing, and laser cutting.

INFO

CONCEPT /

B AC KG R O U N D /

Bold Clean

Packaging 3 Tom McNulty Fall 2012 C AT E G O R Y

Packaging Identity Industrial


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127


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129


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131


PREMIUM SMALL-BATCH BEER

ESPECIALLY WRONG OR UNWISE

1.888.950.BEER


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133


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135


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137


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 RUSSIAN RIVER / G O O D B R E WS

1.5”

139


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01 02 03 04 05 06 07 08 09 10 RUSSIAN RIVER / G O O D B R E WS

141


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143


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145


SONOMA, CA

USSIAN RIVER

RUSSIAN RIVE RUSSIAN RIVER BREWING CO.

BREWING

MICROBREWED

BR EW IN G C O


BREWING CO.

RUSSIAN RIVER BREWING CO.

TOT E M J U L I A L E M K E ± ¬ ¬

RUSSIAN RIVER

01 02 03 04 05 06 07 08 09 10

SONOMA, CA

RR

RUSSIAN RIVER /

ER

G O O D B R E WS

MICROBREWED

RUSSIAN RIVER

RR

RUSSIAN RIVER

MICROBREWERY

BREWING CO.

RUSSIAN RIVER

RUSSIAN RIVER 147


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149


———

harvest

01 02 03 04 05 06 07 08 09 10 H A RV E S T /

BREAKING BREAD

The shared meal elevates eating from a mechanical process of fueling the body to a ritual of family and community, from the mere animal biology to an act of culture.

TOT E M J U L I A L E M K E ± ¬ ¬

(09)

MICHAEL POLLAN

breaking bread

151


01

02

Harvest is a personal project, in collaboration with Michael Taylor. We wanted to create a personal cookbook to document our favorite recipes that we use on a daily basis.

KEYWORDS

B A C K G R O U N D / This book functions just as much as a scrapbook as a functional cookbook. It is full of quotes, lifestyle photos, as well as our favorite recipes. Both Michael and I are very passionate about photography, and this was an opportunity to showcase our work. The typography and branding was intentionally very simple to emphasize the photograpy. The second component of the project was simple packaging for goods like shortbread, granola, and honey that we used as gifts. The recipes in this book are for personal use only, and are borrowed from some of our favorite sources such as Tartine and Nopa.

INFO

CONCEPT /

Earthy Warm

Personal Project Collaboration with Michael Taylor Spring 2014 C AT E G O R Y

Print Photography Packaging


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

151


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

153


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

155


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

157


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

159


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

161


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

163


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

165


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01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

167


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10 H A RV E S T / BREAKING BREAD

169


———

adobe creative cloud

A D O B E C R E AT I V E C LO U D /

re -imagining the creative cloud identity

R E - I M AG I N I N G T H E C C I D E N T I T Y

BUCKMINSTER FULLER

01 02 03 04 05 06 07 08 09 10

A designer is an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist.

TOT E M J U L I A L E M K E ± ¬ ¬

(10)

171


01

02

For this special project, Adobe asked Michael Taylor and I to create the next Creative Cloud Student Identity. In this month-long project, we were partnered with Jamie Calderon from Tolleson Design and the Adobe studio to create a series of 10 installations, re-envisioning the Creative Cloud logo in a variety of forms.

KEYWORDS

During the planning process, the theme of partnership kept coming up. Partnership between Adobe and Tolleson, between the artist and their tools, between Michael and I, etc. Using this as our inspiration, we created a series of installations reflecting the idea of synthesis. As a set, the pieces tell the story of experimentation and learing. The structure of the project was very loose, and we wanted to include the widest range of materials and mediums possible. The final list included: welding, a colored powder cloud, plant wall, tapestry, digital animation, neon, paint, contortionist, yarn structure, sand labyrinth, set design, mechanical drawing machine, and even a pi単ata. Utilizing the creative cloud throughout the process, we used technology to present our work in an analog space.

INFO

CONCEPT /

B AC KG R O U N D /

Experimental Synthesis

Adobe Special Project Art Director: Jamie Calerdon (Tolleson) Spring 2014 C AT E G O R Y

Art Direction Identity Installation


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

171


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

173


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

175


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

177


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

179


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

181


TOT E M J U L I A L E M K E ± ¬ ¬

01 02 03 04 05 06 07 08 09 10

A D O B E C R E AT I V E C LO U D / R E - I M AG I N I N G T H E C C I D E N T I T Y

183


M Y F A M I LY / Thank you for teaching me everything I know. You have always been there for me since the beginning. 02 M I C H A E L / Thank you for grounding me, for pushing me, and inspiring me. I feel lucky to know you. 03 C A I T L I N / Thank you for hallway gymnastics, for Office quotes, and for always taking care of me. You are my best friend. 04 M A R Y & T O M / Thank you for believing in me, you are the best mentors I could ask for.

01

I N S T R U C T O R S / Thank you to Sami Saaud, Ariel Grey, Roland Young, Julia Brown, Ben Belknap, Darrell Hayden & Christine George for teaching me. 0 6 F R I E N D S / Thank you to Sigmund, Charles, Jessica, Mouse, Tessa, Yoppy, Alexis, Josef, Alice, & Molly for all of your support. 07 R O O M M A T E S / Thank you for putting up with the various messes, interruptions, pranks and pillow forts that come with design school. You guys rock. 0 8 M Y C O M M U N I T Y / Thank you to Janary, Barb, Kimberley, Katie, & Pam for helping raise me. 0 9 V O YA G E R / Thank you to Robert, Marta, Val, Adam & Taj for being my second family. Working with you was amazing. 1 0 A D O B E & T O L L E S O N / Thank you for the incredible opportunity to learn and grow.

05


TOT E M J U L I A L E M K E ± ¬ ¬

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185


C O N TA C T

Julia Lemke hello@juialemke.com 408.472.1316 julialemke.com BINDING

Binding_ The Key Arrestox B Bookcloth, Praline Matte White Foil Stamp PRINTING

Giant Horse Finch Fine, 100lb PHOTOGRAPHY

Julia Lemke Canon EOS 5D Mark II PRODUCTION

Gotham / Mercury Adobe Creative Cloud Š 2014 All rights reserved.


TOT E M J U L I A L E M K E ± ¬ ¬

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Julia Lemke / Totem  
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