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KALOK YEUNG Visual Design


3

INDEX

4

FAVORITE DESIGNERS

15

MY WORK

22

GUERILLA

24

SIMPLICITY

27

FLOW

30

INTERVIEW SEPH RADEMAKERS


FAVORITE DESIGNERS A few of my favorites


Leif Podhajsky


MC Bess


Nina Gudz


Nicolas Gawkolski


Tim Boelaars


Bruno Baeza


Duane Dalton


Anagrama


Seph Rademakers


Leta Sobierajski


MY WORK A selection of my own


GUERILLA Taste the food

Dutch people are throwing 2.5 billion euros on food away. This amount of waste should be minimized as soon as possible. I’ve come up with a guerilla concept to get peoples attention due this problem. The idea is to place a garbage pick-up truck transformed into a restaurant from the inside in the big cities. Within the ‘restaurant’, there will be topchefs working on delicious meals that would’ve gone to waste if thrown away. Posters inviting people to come taste the food will be all around the city. During my designprocess I wanted to create this raw image that portraits the right message towards the targetgroup.


TASTE THE FOOD YOU THREW AWAY

WE’RE OPEN


SIMPLICITY The good and the bad


DAB EHT It’s using minimalistic art objects but it’s too cluttered.


OLD

IMPROVED

The important data has been put outside the grid to make it stand out more.


FLOW

The good and the bad


The websites from 1 - 3 are good ones. They’ve made a clear path for the user to navigate through the website. As you might’ve noticed, most of them don’t give you that much choice in navigation. This way you won’t get lost that easily because of the choices you get. When you visit one of these sites, you will get a intuition on how to browse the website you’re looking at. The only bad example is number 4. To sum it up a bit: No visible structure. Things get prioritized for no reasons. Wrong use of colours (not visible menu, navey blue does not work on black. Period.).


My examples (bad vs good)


INTERVIEW Seph Rademakers


Hi Seph, thank you for participating in this interview. Could you start by telling us a little about yourself?

Are you a full-time freelancer or do you work at an agency part-time as well?

I’m Seph Rademakers, 26 years old, designer in Rotterdam. I’ve lived in Weert, a place in Limburg, just below Eindhoven until the end of my high school times. After that, I really went for the profession ‘Designer’. First in Zwolle (Cibap Vakschool) and after that I went to the Willem de Kooning Academy in Rotterdam and graduated. I say ‘designer’ because I think that our profession isn’t limited to one kind of designing. Architecture, furniture, marketing, food and some other art movements are a big inspiration for me. Although, my work is very graphical and typographical orientated. That’s why it’s easier to label me as a graphic designer. I put a lot of effort in details, in the concept as well as in the execution. Behind the scenes should be as good looking as on-stage.

I am currently working as a freelancer. That means I’m pretty free at making my own planning. Saturday and Sunday are working days for me and that is no penalty if you can sit with a ‘espresso’tje’ on your balcony! A disadvantage is lack of safety, not every customer needs a new book every month, so acquisition is also a big part of my work. You won’t get that task so easily if you’re an employee of a company. How did you get started as a designer/illustrator? Did you draw a lot as a kid? My first graphical orgy started on the kiddie chair with some fat crayons. I think I was around 2 years old. That’s when I started drawing and I still like to do it. But I really started with graphic designing


“If you do it right, you will design something with a 100% satisfaction from your client plus the desired response from your target group.”

when I went to the ‘Grafisch Lyceum’. Before all that, you’re not really that busy with the designs around you. If you can relate to a design as a designer, you can say that you’re working as a graphic designer. In the beginning (and maybe even now) you will try to make something totally different or imitate someone. Imitating isn’t bad at all! You’ll learn how to use different design expressions and hopefully you’ll understand the purpose of the chosen design expression. What do you think is the most important when illustrating and/or designing a identity? While designing the identity, there’s one very important thing to keep in mind, which is: Communication. Not only the communication that you’re designing but also the communication that you’re having with your client, target group and yourself. If you do it right, you will design something with a 100% satisfaction from your client plus the desired response from your target group. It’s really important to question your work. Is it having all the requirements? Why not? Why so? Can it boost the effect? etc... You’re a good designer if you can use the communication as a whole and transform it into a ‘nice picture’. So, the most important thing when designing a identity? Communication.

What are the steps that you take to get to the final product? Does that differ per project or does it stays the same overall? I think it’s clear that there’s no standard template for every design job. Every job has it’s own mission. The budget is also something that needs to be taken into consideration while making something. I can’t make a enormous process if the budget doesn’t allow me to do so. Sometimes there’s only a budget for one sketch (plus meeting) and one execution. That is creativity to me, do things with the things you have.

“It’s like God and Satan in one bottle.”


As your graduation project, you’ve chosen to design totally new brand called Fabelsprung. How did you come up with it? I came up with Fabelsprung when I was interning at weaponofchoice. Actually, it originated from a problem we had with the great masses of strong liquor. The problem is that many drinks are made on a ‘misleading’ way. They make it seem like something is matured in oak, but in reality it is really just an oak extract that has been added. You know the drill. It’s actually done with all kinds of products. They sell authenticity that does not exist. I went to look for a drink that was exactly the opposite. Eau de Vie does that. The taste gets into the drink, by extracting the alcohol out of the fruits instead of adding a fruit flavour to the alcohol. Furthermore, you can imagine Eau de Vie as the founder of strong liquor. I compare Eau de Vie with an art movement: The Pre Raphaelite Brotherhood from the 19th century. They wanted to capture everything as it really was. Not the romanticized images that were made up in that time, but the real work. Jesus was not a polished figure, he was sweating, was covered with dirt and blood. Mary Magdalene was a whore! You can not avoid it, but why would you make it prettier than it is? The Pre Raphaelites spent a lot of time on symbolism, things you do not see at first glance. Back to Eau de Vie. It also doesn’t directly

mention that it consist 45% alcohol. You’d say that it’s water. But it is liquor! You know it’s bad, but you still drink it, and if you drink too much, you might do things you regret later. It’s like God and Satan in one bottle. The design is a reflection on the story above. Tempting, clear, detailed and full of symbolism, but I didn’t make it prettier than it is. It’s still liquor. Liquor in a bottle. A bottle with a wrapper. A wrapper with a ‘whorey’ name that betrays the character of the beverage.

“The key in designing, is to not kill your darlings all at once in your starting phase.”


As a designer, there are times that you have a designers block. How do you cope with that? Do you procrastinate your work? If you’re taking jobs, you cannot postpone your work. There are deadlines. If I’m stuck on something, I like to talk to my colleagues or just browse through my inspiration folder. This is also the main problem of a freelancer, you don’t really have colleagues around you if you’re having your office at home. Luckily, you can fall back on some good friends/colleagues if needed. The key in designing, is to not kill your darlings all at once in your starting phase. Are you active on websites such as Behance, Dribbble, Designspiration etc..? Besides my somewhat crappy website that runs on Cargo, I’m not really active on the web. I have not yet found the time to ever start browsing such sites. Conversely, I’ll check half the internet for things regularly that I find beautiful or good. Who are your favourite designers? Favorite designers. I have a shortlist listed for you. Especially old designers. What I like about their work is the clarity, quality and historic value. Furthermore, there is everything in between, architects, typographers, agencies, graphic designers and furniture designers. In general, most of them are prop-

er modernists, a style that also interests me. Anagrama, Arne Vodder, Bram de Does, Constructlondon, Erik Spiekermann, Frank Lloyd Wright, Gerrit Rietveld, Hans Wegner, Hugh Maaskant, Jules Wabbes, Max Miedinger, Mies van der Rohe, Wim Crauwel, Seb Lester, Willem Dudok. Do you have any tips for new designers in the game? Work on your skills! Keep your eye for detail. Communicate and design with clarity. Less is really more! If you’re unsatisfied, start over. Criticize yourself constantly. The (design) world is small, work on your connections and cherish them. Do what you like! If it’s not in your work, it’s in your free time! Thanks a lot for this insightful interview, Seph! Really appreciate you taking the time. Seph Rademakers www.sephrademakers.com


KALOK YEUNG / 1604328 VISUAL DESIGN / MARCO DEIJMANN


Visual Design - Kalok Yeung  

School stuff for Visual Design course.

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