Page 1

K aren Leung

810 Garfield Avenue South Pasadena, CA 91030 k arensleung@gmail.com • [626] 378-9161

THE COMPLEX Banner Poster The Complex is a parking structure that has been redefined to be used as an urban skate park. This banner poster informs the audience of the grand opening of the park as well as communicates the tone of the environment to its future skaters. The Complex is an edgy, exciting and fun skate park for the neighborhood of downtown Los Angeles.


-ˆÝÊ i“œÃÊ vœÀÊ Ì…iÊ iÝÌÊ ˆi˜˜ˆÕ“Ê ˆÃÊ >Ê VœiV̈œ˜Ê œvÊ vˆÛiÊ iVÌÕÀiÃÊ Ì>œÊ >Ûˆ˜œÊÜ>ÃÊ>LœÕÌÊ̜Ê`iˆÛiÀÊ>ÌÊ̅iÊ̈“iʜvʅˆÃÊ`i>̅°ÊiÀiʈÃʅˆÃÊ i}>VÞÊ ÌœÊ ÕÃ\Ê Ì…iÊ Õ˜ˆÛiÀÃ>Ê Û>ÕiÃÊ …iÊ «ˆ˜«œˆ˜ÌÃÊ LiVœ“iÊ Ì…iÊ Ü>ÌV…‡ ܜÀ`ÃÊvœÀʜÕÀÊ>««ÀiVˆ>̈œ˜ÊœvÊ >Ûˆ˜œÊ…ˆ“Ãiv°

ÌÕÀi]Ê œÀÊ “i“œÊ ÌœÊ Ì…iÊ Ài>`iÀ]Ê ÌœÊ i>V…Ê œvÊ vˆÛiÊ ˆ˜`ˆÃ«i˜Ã>LiÊ µÕ>ˆÌˆiÃ\Ê ˆ}…̘iÃÃ]Ê µÕˆVŽ˜iÃÃ]Ê iÝ>V̈ÌÕ`i]Ê ÛˆÃˆLˆˆÌÞ]Ê >˜`Ê “Տ̈«ˆVˆÌÞ°Ê Ê ÃˆÝÌ…Ê iVÌÕÀi]Ê œ˜Ê Vœ˜ÃˆÃÌi˜VÞ]Ê Ü>ÃÊ ˜iÛiÀÊ Vœ““ˆÌÌi`Ê ÌœÊ «>«iÀ]Ê >˜`Ê ÜiÊ >ÀiÊ ivÌÊ œ˜ÞÊ ÌœÊ «œ˜`iÀÊ Ì…iÊ «œÃÈLˆˆÌˆiÃ°Ê 7ˆÌ…Ê ̅ˆÃÊ LœœŽ]Ê …iÊ }ˆÛiÃÊ ÕÃÊ Ì…iÊ “œÃÌÊiœµÕi˜ÌÊ`ivi˜ÃiÊ̜ʏˆÌiÀ>ÌÕÀiÊÜÀˆÌÌi˜Êˆ˜ÊœÕÀÊVi˜ÌÕÀÞÊpÊ>ÊvˆÌ̈˜}Ê


Ê Ê Ê Ê 7…>ÌÊ Ã…œÕ`Ê LiÊ V…iÀˆÃ…i`Ê ˆ˜Ê ˆÌiÀ>ÌÕÀi¶Ê >Ûˆ˜œÊ `iۜÌiÃÊ œ˜iÊ iV‡


-  / Ê  , "  Ê /  Ê 9 Ê */ ,   Ê ,   

/ "Ê  6



-8Ê "-Ê",Ê/ Ê

-8Ê "-Ê",Ê/ Ê

/ "Ê  6


-8Ê "-Ê",Ê/ Ê  /1, -Ê"



Ê/ Ê6, / 1 Ê"Ê , /6/ 9

ˆ}…̘iÃà +ՈVŽ˜iÃà Ý>V̈ÌÕ`i 6ˆÃˆLˆˆÌÞ Տ̈«ˆVˆÌÞ


1 º >V…Ê ˆ v iÊ ˆÃÊ >˜Ê i˜VÞVœ«i`ˆ>]Ê >Ê ˆLÀ >À Þ]Ê >˜Ê ˆ˜Ûi˜ ‡ Ì œÀ Þʜ vʜLiV Ì Ã ]Ê>ÊÃiÀ ˆiÃʜ vÊÃ Ì Þ ià ]Ê>˜`ÊiÛiÀ Þ Ì …ˆ˜}Ê ˆÌiÀ>ÌÕÀiÉ œ˜vˆV̈œ˜

V>˜ÊLiÊVœ˜Ã Ì >˜ Ì  ÞÊÃ…Õ v v i`Ê>˜`ÊÀiœÀ `iÀi`ʈ˜ÊiÛiÀ ÞÊ Ü>ÞÊVœ˜Viˆ Û>Li °»


S i x M emos f o r the N e w M i llenn i u m Book Cover Redesign • 8.5 x 5.5 in The design of a book cover should entice the reader’s interest as well as introduce the reader to the story. For the redesign of Calvino’s book the spider web imagery is used to capture the author’s philosophy of how life is constantly shuffled and open to unknown possibilities, yet is also intricate. A delicate spiderweb branches out and is open to what lands on it. The use of simple black and white typography helps to bring contrast to the details of the spiderweb.

DENIM ROAD Logo design + collateral materials Denim Road is an upcoming national store chain for high-end denim. Denim Road’s key attributes are chic and bohemian with a mix of industrial ruggedness. The logo is designed to characterize these attributes by combining ornamental wood-type from the early 19th century, which nears the end of the Industrial Revolution. The logo-type has been distressed to give it a worn and rugged look. Postcards and hang tags have also been designed to show the application of the logo.

M U T T S G IF T WR A P T H A T G I V E S B A C K Product + Package design


20 x 30in

My objective was to take the idea of environmentally friendly and sustainable materials and apply it to a product that would be used in everyday life. I used Mutts, a comic strip, because it holds ideals that are very active in environmental and animal issues. I took visual elements and applied it to a very consumer based item, wrapping paper. By applying the ideal of having an environmentally friendly product to such a consumer-based item, I feel that it would solve many problems in our environment. The giftwrap would be printed using soy-based inks on organic cotton, hemp, flax and recycled fibers.

P A RI S I A N A D V E N T UR E S Hard bound journal + Portfolio


8 x 5.5in

This hand bound journal was made as a departing gift to a friend who was about to embark on her adventures to Paris for four months. The book design is made with Cavallini vintage prints of Paris and filled with Italian Fabriano ivory paper. The journal is also protected with a portfolio that encloses the journal with ruby organza ribbon.

HOWDY! LETTERPRESS STATIONERY Letterpressed cards + envelopes Howdy is a fun way to say Hi! The stationery uses traditional metal type that is hand-set and printed with a Chandler & Price printer. The type used is Caslon Semi-bold italic.

CLUE CLERGY + LAITY UNITED FOR ECONOMIC JUSTICE Logo + Identity design CLUE is an interfaith non-profit organization of 600 religious leaders that informs and brings people together to respond to the plight of the working poor. The client needed a more uniform and clear redesign of their identity. They emphasized the need to combine the urban environment and also still convey a religious tone. The redesigned logo brings together the attributes of the urban city and spirituality with a central figure as a religious leader reaching out to receive the spirit but also reaching out to help. The leader also has a flame in his heart to represent the burning passion to help. In the background there are abstracted skyscrapers of the urban landscape. The letterhead brings clarity to the contents. The business card continues to show the clarity of the information of the staff but for the back there is the bold tagline statement that helps inform others about the goal of the organization.

CLUE CLERGY + LAITY UNITED FOR ECONOMIC JUSTICE Poster + Postcard It is important to design a logo that will stand out in its applications. The poster above focuses on many who become victims of social injustice in the work industry. The emphasis on the poster is to define who the victims are and to focus on them. The postcard continues this theme on creating focus on the individual but also communicating a strong statement, which is “all religions believe in justice.� It is a statement that embraces the community and a universal message but still emphasizes and defines who the victim is.

USC HELENES est. 1921

usc helenes Established in 1921 Unity • Service • Commitment

usc helenes Established in 1921 Unity • Service • Commitment


Known as the Official Hostesses of USC, the Helenes is the university’s oldest all-

Known as the Official Hostesses of USC, the Helenes is the university’s oldest all-female

female The USC Helenes were established in 1921 by Arabella De Oliviera, as an

service organization. Since its founding in 1921, the organization has built up a rich legacy

all female service organization. We were known then, as we are now, as the “official

of women who are passionate about service, leadership and the Trojan experience both

hostesses of USC.” Originally the Helenes were called the Amazons and member-

on campus and in the surrounding community.

ship was only available to upper classmen. The lower classmen were divided into two groups: the Chimes and the Spurs. When the Amazons changed their name in


Our members come from all backgrounds, majors and interests, but consistently repre-

1969 to the “Helenes,” the three separate branches became one organization. The

sent the best and brightest that the university has to offer. Our contagious enthusiasm for

Total No. of Members: 112

name change was implemented to keep with the Trojan theme of the University

university and community service is evident in the number of Helenes in active leadership

and was inspired by Helen of Troy.

Number of service events (2006): 182 Average No. of Helenes per event: 15

roles at USC. With an average GPA well above any other non-academic organization, the Helenes strive to embody the attributes of the ideal Trojan: Faithful, Skillful, Scholarly, Coura-

The Helenes are highly regarded on the USC campus because of their contribu-

Average No. of events per member: 24

geous, Ambitious.

tions to the school, athletics and the surrounding community. We pride ourselves

Average GPA: 3.65

on the diversity of our members who are united through their desire to promote worthwhile causes.

WHAT WE DO Serve. Service is our specialty, and we are open to any and all service opportunities. In the past we have worked supporting children, animals, non-profits, mentally and physically disabled, environmental organizations and health and wellness services, to name a few.

Hostess. Formal and informal events, including benefits and theatrical/cultural performances. Our members are mature and professional and can run check-in, registration, silent auctions, ushering and much more.

EVENTS Here is a list of some of the events Helenes have attended to in the past year: • Adopt-A-Beach • Families at Fisher • Fisher Gallery Openings • Founder’s Day • Jr. Helenes Mentorship Program • L.A. Marathon • Midnight Mission • Pass the Can (Troy Camp) • Project Cuddle

• Reading to Kids • Relay for Life • Spirits in Action • Swim With Mike • USC Career Fair • USG Elections • Walk to D’Feet ALS • Y.E.P. (Youths Exploring Passion)

U S C H elenes Logo + Identity design + Press Kit When I was researching I took into consideration the tag line of “unity, service, & commitment” and our mission and vision statement. I also wanted to have a traditional look since we our an organization about traditions. Because we were the Amazons and now Helenes, I wanted to incorporate the Greek mythology. This is where the laurel wreath comes from, an iconic symbol of Greek mythology. Not to mention that it symbolizes victory, peace and immortality which are qualities the an organization would want to embody, especially with our longevity of our organization. Then comes the symbol of Service, a very significant part of our organization. Our service and commitment to the community is so important to us. I found that a torch is a symbol of service. I fashioned the rose to look like a torch to represent our gracefulness and beauty like a rose but at the same time, having a torch-like rose to stand for service. Also the top of the rose/flower abstractly looks like a person reaching up its hands like how we reach out to the community.

U S C H elenes S p r i ng P a r ty Sweatshirt design Every spring there is a party to celebrate the achievements of the semester. The theme for this spring semester was “saving the world one day at a time.� The client wanted to use the sweater as a souvenir to remember the semester and to advertise the theme of the party. She wanted to emphasize this idea by using the Marines as an example because of their commitment and service by using their slogan. The concept was to show how the Helenes is an organization full of young ladies who are committed to serving the community. This is represented by simply presenting the logo in the front and showing it proudly. The distressed effect was also used to show the ruggedness of the terrains in the environments that the Marines may experience.

GRAMMY " 8 " 3 % 4


grammy awards




5 0 th ann u al g r ammy a w a r ds Logo designs The 50th Grammy Awards logos were designed for CBS for their upcoming 50th anniversary campaign in the fall season and in 2008. It was important to preserve the classic image of the gramophone in a modern way for the logo.

5 0 th ann u al g r ammy a w a r ds Poster print ad Working as a designer in an agency setting, I collaborated with my peers to develop copy lines and campaign ideas for the CBS broadcasted Grammy Awards for its 50th anniversary show. This poster is inspired by the copy line “Remember the past, Watch the future.� It is printed on antique gold stardream paper with images of the classic and timeless Frank Sinatra in the background and overlaid images of the musical artists of today. The design reinforces the history and legacy of the Grammy Awards as well as communicates the important message of tuning into CBS for its broadcast.

T I N G R E S T A UR A N T Restaurant concept + Identity design Ting is a fine restaurant where you can immerse yourself in an elegant Chinese garden while you enjoy traditional Cantonese Dim Sum cuisine. Ting is the Chinese word for an imperial garden. In developing the identity of Ting, I have combined the traditions of the Chinese garden, which is based on the classical principles of keeping Natural Order and harmony. The most distinct icon in an imperial garden is the pavilion. Originally, pavilions are very detailed but to make the logo more identifiable the architecture has been simplified to its essence and is complemented with its logo-type. The design of the business card is modeled after the gates in the imperial gardens. The business card opens up like a gate to reveal important information. The letterhead and envelope incorporates an ancient wood print to reveal the history and art of China. It is printed on Kobi Wind paper, which was chosen because of its rice paper texture, and the silk threads that were woven into the paper. These simple details help to reinforce the elegance of the ambience Ting would give to its guests.

T I N G R E S T A UR A N T Brochure layouts


8 x 16in

Elegance, nature, tradition, harmony and delicacy are five of the key attributes of the Ting restaurant. These mood board layouts reinforce these attributes as well as inform guests about the history of Ting, Cantonese dim sum cuisine and the ancient history of imperial Chinese gardens.

D i sney A i r Airline experience • Disney Imagineering Imagi-Nations Competition Finalist Entry The logo combines one of the classic symbols of flying – the wings – with the famous Mickey Mouse silhouette. The color blue reinforces the idea of clear, open skies, as well as alluding to dreams. Finally, the shades are derived from a color palette used in the 1950s. For the word “Air,” the same ‘50s color palette is implemented, along with streamlined contours that are also reminiscent of the 1950s. The captain and flight attendant “costumes” harken back to the days when flying was as much about the experience as the destination. They are polished and clean-cut, and evoke a sense of class.

Disney Air Airline experience • Disney Imagineering Imagi-Nations Competition Finalist Entry Part of the Disney Air experience is bringing adventure and interactivity back into travel. In the Dream Lounge, as you wait for your flight in the airport terminal, families are able to race through the skies against other flyers in the O.R.B.s or Omni-Racing Balls. Who will be able to race around the world in 80 seconds? With the 5’ x 10’ touchscreen Flight Boards, guests will be able to learn about the history of flight and air crafts. By knowing about different air crafts in the past, guests will then be able to build their own and test its flight in the simulator. Another Flight Board feature is the “Window to the World” where the guests can learn about the cultural events and points of interests of their destination. Once the guests are on-board the flight they can take a tour of the world through their window. They are able to design their own itinerary and be shown what they are flying above. With the Disney Air experience, guests are not just looking forward to their destination, but the entire airline and flying adventures.

, BS FO - FVOH &%6$"5*0/

-&%<6G;>:A96K:CJ:HDJI=E6H69:C6!86.&%(% Â&#x2122; @ 6G:CHA:JC<5<B6>A#8DB Â&#x2122; P+'+R(,-".&+&

6/* 7 & 3 4 * 5 : 0 ' 4 0 6 5 )& 3 /$ " - *' 0 3 /* " Â&#x2020;  A D H  6 C < : A : H !  8 6   B 6N' % % , 7VX]Zadgd[6g ih!;^cZ6g ihl^i]Zbe]Vh^h^c9Zh^\c!BV\cV8jbAVjYZ!<E6(#,(.

6/* 7 & 3 4 * 5 : 0 '( & 0 3 ( * "  4 5 6% :" # 3 0 " % " 3 5 4 1 3 0 ( 3 " .  Â&#x2020;  8 D G I D C 6 !> I6 AN H E G > C <' % % , 6 4 $ 3 0 4 , */& 8  : 0 3 , %& 4 *( / 4 5 6% :5 0 63  Â&#x2020;  B 6 G  ' % % , $0634&4*/ Ined\g Ve]n!Dca^cZEjWa^h]^c\!E]did\g Ve]n!6YkVcXZY<g Ve]^X9Zh^\c!:ck^gdcbZciVa9Zh^\c

%&4*(/803, &91&3*&/$&

( 3" 1 )* $ % & 4 *(/*/5 & 3 / #-6&4 , :$ 3 &"5 * 7& */5 & 3 " $5 * 7 &( 30 6 1  Â&#x2020; LVai9^hcZn>bV\^cZZg^c\ ?6C '%%-  Ă&#x2026;  E G : H : C I   < A : C96A : !  86 8gZViZVcYYZh^\cegZhZciVi^dcWdVgYh!EdlZgEd^ciVcY@ZncdiZegZhZciVi^dchWnXgZVi^c\dkZgVaai]ZbZVcY ^YZci^in[dg7ajZH`nXdcXZeihegZhZciZYidZmZXji^kZh#8ddgY^cViZVcYbVcV\Zegd_ZXiVhhZih[gdbegdYjXZghVcY Vgi^hih#6giY^gZXiegZhZciVi^dcZm]^W^i^dcheVXZh#8dcig^WjiZidWgV^chidgbh[dgcZlVcYhigViZ\^XXdcXZeih[dg LVai9^hcZnEVg`hVcYGZhdgih#

( 3" 1 )* $ % & 4 *(/*/5 & 3 / Â&#x2020; =Zgh]Zn q 8VjhZ 6 J<'%%,  Ă&#x2026;  ?6C ' % % -   H6 C I6  BD C >86 !  86 Hjeedgii]ZYZh^\cVcYbVg`Zi^c\YZeVgibZcih#9Zh^\cVcYegdYjXZlZW"aVndjih!VccjVagZedgihVcY XdaaViZgVabViZg^Vah#EgZeVgZ[^cVabZX]Vc^XVahVcYegZ"egZhh[^aZh[dgeg^ciegdYjXi^dc#GZhZVgX][dgXdbeVcnĂ&#x2030;h ediZci^Vaegd_ZXiYZkZadebZcihVcYWgVcY^YZci^in#

" 4 4 * 4 5" / 5 ( 3 " 1) *$% & 4 *(/& 3 Â&#x2020; JH8HX]ddad[6gX]^iZXijgZ9Zh^\cHijY^d B6 G'%%)  Ă&#x2026;  9 : 8 ' % % +   AD H  6 C < :A : H !  86 9Zh^\cVcYegdYjXZejWa^XVi^dchVcYY^gZXi"bV^abViZg^Vah#9ZkZadeVcY^beaZbZcidg\Vc^oVi^dcVahnhiZb[dg YViVVcYe]didVgX]^kZh#EgZeVgZegZhZciVi^dcbViZg^Vah[dgegd_ZXiegdedhVah#

803, &91&3*&/$&

5 & " $) * / (" 4 4 * 4 5" /5 Â&#x2020;  6gX]ZineZEgZhh!6gi8ZciZg8daaZ\Zd[6gi


B 6N'%%-  Ă&#x2026;  E G : H : C I   E6 H6 9 : C6 !  86 6hh^hiegd[ZhhdghVcYhijYZcihl^i]gjcc^c\i]ZaZiiZgegZhheg^ci^c\egZhhZh#8dchjail^i]hijYZcihVWdjii]Z^gegd_ZXih# BV^ciV^c^ckZcidgnd[hjeea^Zh#HjeZgk^hZi]Z6gX]ZineZEgZhh#

5 & " $) * / (" 4 4 * 4 5" /5 Â&#x2020;  AZiiZgegZhhAVWEgZhh!Di^h8daaZ\Zd[6gi


?6C '%%,  Ă&#x2026;  E G : H : C I   AD H  6 C < :A: H !  86 6hh^hiegd[ZhhdghVcYhijYZcihl^i]gjcc^c\i]ZaZiiZgegZhheg^ci^c\egZhhZhVcYWdd`W^cY^c\bVX]^cZ#8gZViZ^c[dgbVi^dcVa ]VcYdjihVWdjii]Z]^hidgnVcYjhV\Zd[bVX]^cZgn#HjeZgk^hZi]ZAVWEgZhh#Dg\Vc^oZVcYVgX]^kZeg^ciVcYWdd`XdaaZXi^dc#



" 3 5  % *3 & $5 0 3   . & .# & 3  ' 6/% 3 " * 4 */($0  $ )" *3  Â&#x2020;  JH8=ZaZcZh ;: 7'%%*  Ă&#x2026;  B 6N  ' % % ,   AD H  6 C < :A : H !  86 9Zh^\cWgVcY^YZci^in[dgcdc"egd[^iVaa"ldbZcĂ&#x2030;hhijYZcidg\Vc^oVi^dcXdbb^iiZYidhZgk^c\JH8VcYhjggdjcY^c\A#6# Xdbbjc^in#9Zh^\cegdbdi^dcVabViZg^Vah!egZhh`^i!VeeVgZa\gVe]^XhVcYXddgY^cViZegdYjXi^dcd[bViZg^Vah#EaVcVcY dg\Vc^oZ[jcYgV^hZgh#KdajciZZgVikVg^djhXdbbjc^inhZgk^XZZkZcih#

5 & " $) & 3 " 3 5  4 $ ) 0 - " 3  Â&#x2020;  8gZVi^kZ8dgeh H:EI '%% )  Ă&#x2026;  9: 8  ' % % )   E6 H6 9 : C6 !  86 IgV^cZY^cXaVhhgddbbVcV\ZbZciVcYVgiXjgg^Xjajb#Dg\Vc^oZaZhhdceaVchidiZVX]Ă&#x2020;Vi"g^h`Ă&#x2021;ZaZbZciVgn hX]dda"V\ZYX]^aYgZc#HigZc\i]ZcVcYYZkZade[^cZVgih[jcYVbZciVahl^i]]VcYh"dcb^mZY"bZY^VVgiXaVhhZh#




8" -5  % *4 /& :* . " (*/&& 3 */(* . " (*/"5 *0 / 4% & 4 *(/$0 . 1&5 *5 * 0 /  Â&#x2020; ' * / "- * 4 5  Â&#x2020;     " * ( "Â&#x2020; 5 ) &1 3 0 '&44* 0 / "-" 440 $ * "5 * 0 /'0 3 % &4* ( / 7JH > C:HH  B6 C 6< : G   B : B 7 : G H = > E  8 = 6 >G  Â&#x2020;  J H 8 H i j Y Z c i  8 ]VeiZg Â&#x2020; 6J<'%%+Ă&#x2026;B6N'%%, B:B7:G  Â&#x2020;  ' % % +  Ă&#x2026;  E G : H : C I 0 .* $ 3 0 / % & -5" , " 11"/"5 *0 /" -  -&" % &3 4 )*1 ) 0 /0 3  40 $*&5 :Â&#x2020;       s     $ 0.1 6 5 &3 E]didh]de!>aajhigVidg!>c9Zh^\c!9gZVblZVkZg!@ZncdiZ!H`ZiX]Je!B^Xgdhd[iD[[^XZHj^iZ!B68DHM!L^cYdlh

" 3 5   % &4 *(/ 9^\^iVaVcYVcVad\e]did\gVe]n!7dd`W^cY^c\!AZiiZgegZhh!Eg^cibV`^c\!EVeZgbV`^c\!IneZheZX^c\

- " / ( 6 " (&4 8]^cZhZ"8VcidcZhZP;ajZciR!8]^cZhZ"BVcYVg^cP7Z\^ccZgR!>iVa^VcP7Z\^ccZgR!HeVc^h]P7Z\^ccZgR

Profile for Karen Leung

Karen Leung | Graphic Design Portfolio  

Karen Leung A portfolio of selected works. http://www.karensleung.com karensleung@gmail.com

Karen Leung | Graphic Design Portfolio  

Karen Leung A portfolio of selected works. http://www.karensleung.com karensleung@gmail.com


Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded