Page 1

H E LLO.


H E LLO.

KATI E WH I TEMAN UNIVERSITY OF KANSAS // SOPHOMORE


e t sre tc r es te e t // TYPOGRAPHY & COMPOSITION

s e c r e t s e cs erc er ett the

secret history

donna tartt

THE SNOW in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of our situation. He’d been dead for ten days before they found him, you know. It was one of the biggest manhunts

in Vermont history - state troopers, the FBI, even an army helicopter; the college closed, the dye factory in Hampden shut down, people coming from New Hampshire, upstate New York, as far away as Boston.

“it was one of the big gest manhunts in vermont histor y”


The Secret

DONNA TARTT

HISTORY The snow in the mountains

w a s m e l t i n g and Bunny had been

The snow in the mountains was melting and

dead

tory - state troopers, the FBI, even

fore we came to

an army helicop-

understand

the

ter; the college

gravity of

our

closed, the dye

He’d

factory in Hamp-

for

den shut down,

situation.

Bunny had been dead for

been

several weeks before we

in Vermont his-

for

several weeks be-

dead

ten days before

people

they found him,

from New Hamp-

came to understand the gravity of our situation. He’d

you know. It was

shire, upstate New

been dead for ten days before they found him, you know.

one of the big-

York, as far away

It was one of the biggest manhunts in Vermont history

gest

as Boston.

“IT WAS ONE OF THE BIGGEST MANHUNTS IN VERMONT HISTORY.”

manhunts

coming

- state troopers, the FBI, even an army helicopter; the college closed, the dye factory in Hampden shut down, people coming from New Hampshire, upstate New York, as far away as Boston.

T H E S E C R E T H I S T O RY

Donna Tartt

r o

hist

T HE

The Secrety History Donna Tartt

The snow in the mountains was m e l t i n g and Bunny had been dead for several weeks before we came to understand the gravity of our situation. He’d been dead for ten days before they found him, you know. It was one of the biggest manhunts in Vermont history

DONNA

y

S E C RE T

TART T

The snow in the

before they found him, you know.

mountains was melt-

It was one of the biggest man-

ing and Bunny had

hunts in Vermont history - state

been dead for sev-

troopers, the FBI, even an army

eral weeks before we

helicopter; the college closed,

came to understand

the dye factory in Hampden shut

the gravity of our

down, people coming from New

situation. He’d been

Hampshire, upstate New York, as

dead for ten days

far away as Boston.

- state troopers, the FBI, even an army helicopter; the college closed, the dye factory in Hampden shut down, people coming from New Hampshire, upstate New York, as far away as Boston.

FIRST PAGE STUDY // THE SECRET HISTORY A study in Type 2, beginning to learn to understand the relationship between type and movement.


// PORTRAIT ILLUSTRATION


ILLUSTRATION // PRESIDENTIAL PORTRAITS A series of presidential portraits pushing the different styles of charicature, realism, and conceptual. Portraits are done in various mediums in including colored pencil, Photoshop, ink, watercolor, and chalk pastel.


WXYZ

// TYPOGRAPHY & LETTER FORMS

1. Apex, horizontal stroke, rests on apex like a hat 2. Lighter crossbar, less interior congestion

11. Ball serif 12. Descending stem on ? character

3. Ampersand, slab serif

6. Lowercase itallics, curved tails

ABCDEFG HIJ KLN O P Q RSTUVWXYZ abcdefghi jklmn op qrstuvwx yz1234567 890& !/? {}

4. Lowercase g, 1 story, no links

Archer

7. Flat serif, no brackets

5. Flaired tail

8. Symmetrical “w”, no bracket on apex

is a humanist slab serif style digital typeface designed in 2001 by Hoefler & Frere-Jones for use in Martha Stewart Living magazine. The face is unique for combining the geometric structure of twentieth century European slab-serifs but imbuing the face with a domestic, less strident tone of voice. The typeface has been used for, among other things, branding for Wells Fargo and is a main font for the San Francisco Chronicle.

Hoefler and Frere - Jones meant for this typeface to be sweet, not saccharine; earnest, not grave. Archer is a typeface that is forthright, credible, and charming. This particular slab serif is a hybrid between antique and geometric. With its two story forms and relatively small x - height it is timidly falls in the antique classification. With its almost perfectly circular “O” and matching non-bracketed serifs, it is also classified as geometric. Archer has many features that set it apart from other typefaces. Its hairlines are graceful gestures. They are painterly uses at large sizes that have low contrast but bold forms. Archer’s numeric are also unique because they fall into the old-style classification due to its lining figures.When type foundry Hoefler & Frere - Jones released its typeface Archer two years ago, it was an instant hit among designers. Multiple corporate giants quickly swept it up for their redesigns. Smaller companies followed suit. Online, Archer became the subject of numerous blogs, with everyone from website designers to scrapbookers granting their approval. No one seemed to have anything bad to say about the slab serif and its elegant and functional, yet subtly quirky forms. Archer was originally commissioned by Martha Stewart Living magazine in 2000. Hoefler & Frere - Jones combined elements of two opposing type styles: the plainness of antique serifs and the modernity of geometrics. Archer uses ball terminals in both the lower and uppercase forms, creating “a font that's friendly without being silly, and attractive without being flashy…well-mannered, easy to work with, and inviting to read,” according to its designers. Archer is the ideal typeface for a magazine that serves all who aspire to a do-it-yourself lifestyle of perfection. Now Archer is everywhere. A simple Google search finds the font being used for a Mexican restaurant, political news blog, church conference catalog, ski resort, file-sharing website, marketing company,charity race poster and digital scrapbook, to name a few of the 234,000 hits. Need more evidence? There's an entire blog documenting Archer's omnipresence. Not all of these implementations are conceptually inappropriate, and most are even aesthetically pleasing. But what is it about Archer that is so alluring? Why now? Archer boomed right when the U.S. economy went bust. With unemployment continuing to soar and businesses declaring bankruptcy, with newspapers and magazines folding and personal savings accounts shrinking, Americans, more than ever, crave trust, comfort, friendliness and other fuzzy feelings. Companies are responding, and Archer may be part of the solution.

The Humanist

Before adopting Archer, Wells Fargo's equivalent typeface was Myriad, a sans serif font known for its precision and readability. Myriad worked fine until culture shifted. Banks needed bailouts and society needed reassurance—Archer to the rescue. Colorful posters with warm images of families and phrases rendered in Archer now adorn each bank. Wells Fargo's brand agency was attracted to Archer's “contemporary personable style” that was both “down-to-earth and confident,” complementing the bank's brand. It wants to be associated with Archer's graceful gestures, secure angles, and playful ball terminals. With similar logic, Newsweek isn't the boring bearer of bad news, it's your friendly next-door neighbor. But not everyone needs a facelift — the aforementioned ski resort certainly isn't struggling with a waning perception of trust like so many American banks. And the typeface isn't exactly free of charge. The smallest package of font weights costs $149, and it takes $399 to buy the whole family. This brings us to “Most Common Reasons for Using

Slab Serif people give it the same level of thought. Slab serifs have been evolving for two hundred years, yet the category continues to be dominated by two basic styles: Antiques


ABCDEFGHIJKLN ABCDEFGHIJKLN OP QRSTUVWXYZ OP QRSTUVWXYZ ab cdefghi abcdefghi j kl mnopj kl mnop qrstuvwxyz1234567 qrstuvwxyz1234567 89 0&! /?{} 890&! /?{}

Archer Archer is a humanistisslab a humanist serif style slab digital serif typeface style digital designed typeface in 2001 designed by Hoefler in 2001&by Frere-Jones Hoefler & Frere-Jones for use in Martha for useStewart in Martha Living Stewart magazine. LivingThe magazine. face is unique The face foriscombining unique forthe combining geothe geo-

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metric structure metric of twentieth structure of century twentieth European century slab-serifs Europeanbut slab-serifs imbuingbut theimbuing face withthe a face with a domestic, less domestic, stridentless tonestrident of voice. tone The of typeface voice. The hastypeface been used has for, been among used other for, among other things, branding things, forbranding Wells Fargo for Wells and isFargo a main and font is for a main the San fontFrancisco for the San Chronicle. Francisco Chronicle.

Hoefler and Frere - Jones Hoefler meant and for Frere this- Jones typeface meant to befor sweet, this typeface not saccharine; to be sweet, earnest, not saccharine; not grave. Archer earnest, is anot typeface grave. Archer is a typeface that is forthright, credible, that isand forthright, charming. credible, This particular and charming. slab serif Thisisparticular a hybrid between slab serifantique is a hybrid andbetween geometric. antique With and its geometric. With its two story forms and two relatively story small formsxand - height relatively it is timidly small x falls - height in the it is antique timidlyclassification. falls in the antique With its classification. almost perfectly With its almost perfectly circular “O” and matching circular non-bracketed “O” and matching serifs,non-bracketed it is also classified serifs, asitgeometric. is also classified Archeras has geometric. many features Archer that hasset many it features that set it apart from other typefaces. apart from Its hairlines other typefaces. are graceful Its hairlines gestures. areThey graceful are painterly gestures.uses Theyatare large painterly sizes that useshave at large low sizes that have low contrast but bold forms. contrast Archer’s but bold numeric forms. areArcher’s also unique numeric because are also theyunique fall intobecause the old-style they fall classification into the old-style due to classification its due to its lining figures.When type lining foundry figures.When Hoefler type & Frere foundry - Jones Hoefler released & Frere its typeface - Jones released Archer two its typeface years ago, Archer it wastwo an instant years ago, it was an instant hit among designers.hitMultiple amongcorporate designers.giants Multiple quickly corporate sweptgiants it up for quickly their swept redesigns. it upSmaller for theircompanies redesigns. followed Smaller companies followed suit. Online, Archer became suit. Online, the subject Archer became of numerous the subject blogs, with of numerous everyoneblogs, from website with everyone designers fromtowebsite scrapbookers designers to scrapbookers granting their approval. granting No one their seemed approval. to have No anything one seemed badto tohave say about anything the bad slab to serif sayand about its elegant the slaband seriffunctional, and its elegant and functional, yet subtly quirky forms. yet subtly quirky forms.

The The Humanist Humanist

Archer was originallyArcher commissioned was originally by Martha commissioned Stewart Living by Martha magazine Stewart in 2000. Living magazine in 2000. Hoefler & Frere - Jones Hoefler combined & Frereelements - Jones combined of two opposing elements type of styles: two opposing the type styles: the plainness of antiqueplainness serifs andofthe antique modernity serifsofand geometrics. the modernity Archer of uses geometrics. ball Archer uses ball terminals in both theterminals lower andinuppercase both the lower forms, and creating uppercase “a font forms, that'screating friendly“a font that's friendly without being silly, and without attractive beingwithout silly, and being attractive flashy…well-mannered, without being flashy…well-mannered, easy to easy to work with, and inviting work to with, read,”and according inviting to to its read,” designers. according Archer to its is designers. the ideal Archer is the ideal typeface for a magazine typeface that serves for a magazine all who aspire that serves to a do-it-yourself all who aspire lifestyle to a do-it-yourself of lifestyle of perfection. Now Archer perfection. is everywhere. Now Archer A simple is everywhere. Google search A simple findsGoogle the fontsearch finds the font being used for a Mexican being used restaurant, for a Mexican political news restaurant, blog, political church conference news blog, church conference catalog, ski resort, file-sharing catalog, skiwebsite, resort, file-sharing marketing company,charity website, marketing racecompany,charity poster race poster and digital scrapbook, and to digital name scrapbook, a few of theto 234,000 name ahits. fewNeed of themore 234,000 evidence? hits. Need more evidence? There's an entire blog There's documenting an entireArcher's blog documenting omnipresence. Archer's Not all omnipresence. of these Not all of these implementations are implementations conceptually inappropriate, are conceptually and most inappropriate, are even aesthetically and most are even aesthetically pleasing. But what pleasing. is it aboutBut Archer whatthat is itisabout so alluring? Archer that Why isnow? so alluring? Archer Why now? Archer boomed right when the boomed U.S. economy right when went thebust. U.S. economy With unemployment went bust. continuing With unemployment continuing to soar and businesses to soar declaring and businesses bankruptcy,declaring with newspapers bankruptcy, andwith magazines newspapers and magazines folding and personalfolding savings and accounts personalshrinking, savings accounts Americans, shrinking, more than Americans, ever, more than ever, crave trust, comfort, crave friendliness trust, comfort, and other friendliness fuzzy feelings. and other Companies fuzzy feelings. are Companies are responding, and Archer responding, may be part andofArcher the solution. may be part of the solution.

Slab Slab Serif Serif

Before adopting Archer, Before Wells adopting Fargo'sArcher, equivalent Wellstypeface Fargo's was equivalent Myriad, typeface a sans was Myriad, a sans serif font known for its serif precision font known and readability. for its precision Myriad and worked readability. fine until Myriad culture worked fine until culture shifted. Banks needed shifted. bailouts Banks and needed society bailouts needed reassurance—Archer and society needed reassurance—Archer to the to the rescue. Colorful posters rescue. withColorful warm images postersofwith families warmand images phrases of families rendered and in phrases rendered in Archer now adorn each Archer bank. now Wells adorn Fargo's eachbrand bank. agency Wells Fargo's was attracted brand agency to Archer's was attracted “contemporary to Archer's personable “contemporary style” personable style” that was both “down-to-earth that was both and “down-to-earth confident,” complementing and confident,” the complementing bank's brand. Itthe wants bank's to be brand. associated It wants with to be associated with Archer's graceful gestures, Archer'ssecure graceful angles, gestures, and playful secure ball angles, terminals. and playful With similar ball terminals. logic, Newsweek With similar isn't logic, the Newsweek boring isn't the boring bearer of bad news, it's bearer youroffriendly bad news, next-door it's your neighbor. friendly next-door neighbor.

people give it the same people level give of it thought. the same Slab level serifs of thought. have Slab serifs have But not everyone needs But anot facelift everyone — the needs aforementioned a facelift — ski theresort aforementioned certainly isn't ski struggling resort certainly with aisn't waning struggling perception with a waning perception beenof evolving for two beenhundred evolvingyears, for two yet hundred the category years, yet the category of trust like so manyofAmerican trust likebanks. so many And American the typeface banks. isn't And exactly the typeface free of charge. isn't exactly The smallest free of charge. package The of smallest font package font continues by to two bebasic dominated styles:by Antiques two basic styles: Antiques weights costs $149, weights and it takes costs $399 $149, to and buy it the takes whole $399 family. to buy Thisthe brings whole usfamily. to “Most ThisCommon brings usReasons to “Mostfor Common Using Reasonscontinues for Usingto be dominated and that. Geometrics. Antiques and Geometrics. arise outAntiques of the arise same out of the same Archer,” number two:Archer,” it's pretty. number The truth two:is, it'sArcher pretty.isThe an exquisitely truth is, Archer designed is an exquisitely typeface, and designed peopletypeface, recognizeand that. people If recognize If nineteenth-century tradition nineteenth-century that produced tradition the Modern that produced and the Modern and you use it, maybe your you brand use it, will maybe look well yourdesigned brand will too. look But well andesigned elegant typeface too. Butdoesn't an elegant simply typeface translate doesn't to universal simply translate to universal Scotch styles: at heart, Scotch they’re styles: text at faces, heart, and they’re they text feature faces, and they feature functionality. Perhapsfunctionality. Typographica Perhaps reviewer Typographica David Johnreviewer Earls said David it best: John “Archer Earls said succeeds it best:where “Archer others succeeds falter. Iwhere others falter. I all of of those the qualities needed all of the to thrive qualities at small needed sizes. to thrive (Antiques at small sizes. (Antiques only hope that in its use onlyout hope in the thatwild…people in its use outgive in the it the wild…people same levelgive of thought.”As it the same marvelous level of thought.”As as so many marvelous of those as so many traditional ‘two-storey’ have the traditional forms of‘two-storey’ a and forms of a and slab serifs were, sadly slab they serifs were were, let down sadlywhen they were it came let to down lighter, when or itmore came usable to lighter, text weights. or more usable For me,text it isweights. Archer For me, itcustomarily is Archer have thecustomarily g, and a capital R thatg,ends and aincapital a flourish.) R that Our ends Ziggurat in a flourish.) type- Our Ziggurat typethat stood out, with H&FJ that stood concentrating out, with on H&FJ theconcentrating lighter half of on thethe spectrum, lighter half eight of weights the spectrum, offeringeight a delightful weightsrange offering a delightful range an example offace the Antique is an example style inoffull theflower, Antique capturstyle in full flower, capturof contrast, but neverofventuring contrast,heavier but never than venturing bold. Making heavier a text thanface bold. distinctive Making awith textaface clear distinctive personality with that a clear can scale personality thatface canisscale ing the best of what ing the the style best hasoftowhat offer:the it’sstyle warm, hascomto offer: it’s warm, comright up to display sizes rightisup a mammoth to display task sizesatisthe a mammoth best of times, task but at the a slab? best of times, but a slab? forting, and persuasive. forting, Butand thispersuasive. coziness comes But this at coziness the comes at the of modernity, expense and inof the modernity, wrong context and ineven the wrong the context even the Yet here it is; with itsYet judicious here it is; yetwith brave its use judicious of ballyet terminals, brave use andofblending ball terminals, geometry andwith blending sexy cursive geometry forms, with all sexy cursiveexpense forms, all bestArcher Antique can feelbest old-fashioned, Antique canmusty, feel old-fashioned, and irrelevant.musty, and irrelevant. brought together withbrought the kind together of historical with the andkind intellectual of historical rigourand youintellectual fully expect rigour fromyou thisfully particular expectfoundry, from this Archer particular foundry, succeeds where others succeeds falter. Iwhere only hope others that falter. in itsI only use out hope in that the wild in its(and use away out infrom the wild that (and jailbird away Martha fromStewart) that jailbird Martha Stewart) The Geometric is a twentieth-century The Geometric isriposte a twentieth-century to the Antique. riposte to the Antique. Informed by the same Informed kind by of rationalist the same thinking kind of that rationalist thinking that inspired the great sans inspired serifsthe of the great Bauhaus, sans serifs Geometrics of the Bauhaus, Geometrics abandon traditional forms abandon in favor traditional of mathematical forms in favor strateof mathematical strategies. A Geometric’s Ogies. is circular A Geometric’s rather than O iselliptical, circular and rather itsthan elliptical, and its forms shed their residual forms contrast shed their between residual thicks contrast and thins. between thicks and thins. Geometrics usually apply Geometrics this same usually rationalism apply this to the same woolrationalism to the woollier parts of the alphabet, lier parts replacing of the the alphabet, alphabet’s replacing beaksthe alphabet’s beaks and tails and ball terminals and tails with and aball program terminals of matching with a program of matching serifs. While these serifs. faces While can sometimes these faces be can bracingly sometimes be bracingly modern, they’re often modern, monotonous, they’reand often many monotonous, Geometrics and many Geometrics from an astringent suffersting fromthat an astringent makes them sting difficult that makes to them difficult to Johnathan Hoefler Johnathan & Tobias Hoefler Frere &- Jones Tobias Freresuffer - Jones use and unwelcome use to read. and unwelcome to read.

1970 // 1970 1971 // 1971

Hoefler Hoefler & Frere & Frere - Jones - Jones

1. Apex, horizontal stroke,1.rests Apex, on horizontal apex like astroke, hat rests on apex like a hat 2. Lighter crossbar, less interior 2. Lighter congestion crossbar, less interior congestion

11. Ball serif

When Martha Stewart When Living Martha askedStewart us to develop Living asked a newus to develop a new typeface for the magazine, typeface it seemed for the magazine, that a slabitserif seemed couldthat a slab serif could answer much of theanswer brief. A much slab ofcould the brief. be personable, A slab could be personable, straightforward, and straightforward, credible, thoughand it would credible, takethough specialit would take special effort to also make it effort pretty,tohard-working, also make it pretty, and frank. hard-working, Archer and frank. Archer would have to answer would some have formidable to answer typographic some formidable typographic demands, since Living demands, is an since almanac Living of lists, is anrecipes, almanac of lists, recipes, charts, diagrams, tables, charts, calendars, diagrams, and tables, glossaries. calendars, To and glossaries. To make the typeface frank make—the direct, typeface but not frank brusque — direct, — we but not brusque — we introduced subtle cues introduced from thesubtle world cues of typewriter from thefaces, world of typewriter faces, which combine thewhich ordinariness combineof the Antiques ordinariness with the of Antiques with the modern practicalitymodern of Geometrics. practicalityWeof restored Geometrics. the We restored the vanished ‘ball terminals’ vanished to the‘ball lowercase, terminals’ andtouncharacterthe lowercase, and uncharacteristically applied these istically gestures applied to the these capitals gestures as well, to the in capitals as well, in order to yield a font order that’s to friendly yield awithout font that’s being friendly silly, and without being silly, and attractive without being attractive flashy. without The result being is flashy. The result is

11. Ball serif

12. Descending stem on ?12. character Descending stem on ? character

3. Ampersand, slab serif 3. Ampersand, slab serif

6. Lowercase itallics, curved 6. Lowercase tails itallics, curved tails

2001

2001

a typeface that’s a typeface well - mannered, that’s welleasy - mannered, to work with, easy and to work inviting with,toand read. inviting to read.

4. Lowercase g, 1 story, no 4.links Lowercase g, 1 story, no links

7. Flat serif, no brackets 7. Flat serif, no brackets 5. Flaired tail

5. Flaired tail

9. Ball terminals

9. Ball terminals

8. Symmetrical “w”, no bracket 8. Symmetrical on apex “w”, no bracket on apex

TYPE STUDY // ARCHER A comprehensive study on the Hoefler and Frere - Jones’ typeface, Archer. Explores the specific characteristics within the slab serif along with the inclusion of the history of the font and biographies of the typographers.


// CRITERION COLLECTION PACKAGING


DVD PACKAGING REDESIGN // SLACKER A packaging redesign of the Criterion Collection’s 1991 cult-classic, Slacker. Packaging includes DVD case, DVD, insert, and movie poster. All imagery illustrated by hand.


// PHOTOGRAPHY EXPERIMENTATION


BLAC K & WHITE PHOTOGRAPHY // “LONG EXPOSURES” “Long Exposures” is a black and white photo concentration focusing on creativity through long exposures. A combination of pinhole, film, and digital photography, this concentration explores the limits of capturing a moment in time.


// POSTERS FOR KU

ELECTION WATCH PARTY UNITED STATES PRESIDENT

FORMER MASSACHUSETTS GOVERNOR

MITT

BARACK VS ROMNEY OBAMA TRADITIONS AREA

KANSAS UNION

FRE E

FOOD BEGINS SERVING AT 6:00 PM

HISTORY IN THE

MAKING

COME WATCH IT

WITH US

TUESDAY, NOVEMBER 6TH AT 5:00 PM twitter.com/SUAevents

SUAevents.com

facebook.com/SUAevents

785-864-SHOW


S T U DENT UNION ACTI V I TI ES // P OSTE RS As a graphic artist for KU’s Student Union Activities, I’ve had the opportunity to design for a variety of different events happening around campus.


// SUSTAINABLE PACKAGING


Typeface:

CHICKEN SUBS lettuce

tomato mayo

order # HICKEN UBS

order # order # ......................... ......................... MEAT MEAT order # ......................... SEAFOOD SEAFOOD SPECIALTIES SPECIALTIES SUBS SUBS lettuce lettuce cheese cheese

order #

heese

lettuce

cheese

lives

tomato

olives

tomato

olives

tomato

olives

ther

mayo

other

mayo

other

mayo

other

order # ........................ DELI CLASSICS

order # .........................

lettuce

cheese

lettuce

cheese

tomato

olives

tomato

olives

mayo

other

mayo

other

order # order # order # ......................... DELI DELI TASTY ......................... ......................... CLASSICS CLASSICS CREATIONSCREATIONS lettuce lettuce

order # ......................... TASTY

order # .........................

order # CHICKEN SUBS

order # order # ......................... ......................... MEAT MEAT ............... SEAFOOD SEAFO SPECIALTIES SPECIALTIES SUBS SUBS lettuce cheese lettuce cheese

order #

cheese

lettuce

cheese

olives

tomato

olives

tomato

olives

tomato

olives

other

mayo

other

mayo

other

other

mayo

order # ......................... DELI DELI CLASSICS CLASSICS

t

mayo

other

m

order # order # ................ DELI DELI TASTY ......................... ......................... CLASSICS CLASS CREATIONSCREATIONS lettuce

order # ......................... TASTY

lettuce

cheese

lettuce

cheese

lettuce

cheese

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

CHICKEN SUBS lettuce

order # CHICKEN SUBS

cheese

order # order # ......................... ......................... MEAT MEAT .............. SEAFOOD SEAFO SPECIALTIES SPECIALTIES SUBS SUBS lettuce cheese lettuce cheese

order #

lettuce

cheese

lettuce

cheese

lettuce

cheese

cheese

lettuce

cheese

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

tomato

olives

other

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

mayo

other

order # HICKEN UBS

l

olives

cheese

olives

cheese

cheese

tomato

lettuce

cheese

cheese

lettuce

lettuce

cheese

l

tomato

olives

t

mayo

other

m

THE TAKE OUT EXPERIENCE // YELLO SUB A project focusing on sustainable packaging for Yello Sub, a local sandwich restaurant in Lawrence. Branding includes bag, single sandwich carrier (folds out into placemat), stickers, menu, logo, and typeface. All branding had to include some element from the restaurant’s existing logo. order # order # ......................... ......................... MEAT MEAT order # ......................... SEAFOOD SEAFOOD SPECIALTIES SPECIALTIES SUBS SUBS lettuce lettuce

order #

order # .........................


// SUSTAINABLE PACKAGING


THE TAKE OUT EXPERIENCE // PROTOTYPES A good number of prototypes went into creating the final product for Yello Sub.


// BRANDING THROUGH ILLUSTRATION


BRANDING A FOOD TRUCK // MOOSE STUDY

MOOSE :: KATIE WHITEMAN

Jumpstart in branding for a food truck; an extensive study on a moose; an exploration of different expressive styles. MOOSE :: KATIE WHITEMAN


// RESTAURANT BRANDING

r i se,

s hin e

&

din e


rise,

r i s e,

s hi ne

&

d i ne

M E N U r i s e , s h iToast n ..............................$1.00 e & dine Eggs...............................$0.50 Bacon............................$0.75 Oatmeal.......................$3.00

O RD E R

Coffee............................$1.00 Apple Juice..................$0.75 Orange Juice...............$0.75 Milk.................................$3.00

H E RE

i n e

N U

$1.00 $0.50 $0.75 $3.00

.$1.00 .$0.75 .$0.75 .$3.00

560-291-2919

DINE

rise, shine & dine

Toast ..............................$1.00 Eggs...............................$0.50 Bacon............................$0.75 Oatmeal.......................$3.00

O R D E R

Coffee............................$1.00 Apple Juice..................$0.75 Orange Juice...............$0.75 Milk.................................$3.00

H E R E

&D I N E rise, shine

MO ’S

BR EAKFAST

DINER

w w w . m o ’s . c o m

560-291-2919

&D I N E

w w w. m o ’s . c o m / 5 6 0 - 2 9 1 - 2 9 1 9

BRANDING A FOOD TRUCK // MO’S

rise, shine

Rise, shine, and dine; complete branding for the hypothetical food truck company: Mo’s,

MO ’S

BREAKFAST

DINER

MO

w w w . m o ’s . c o m

rise, shine

M E N U

&

ri

w w w.


// BRANDING APPLICATIONS


Packaging concept:

Front page (click badge-like “o” to enter)

Menu Home Page // Each brand icon, different page to navigate to

Menu // Look & larn your options before visiting them on the trailheads

BRANDING A FOOD TRUCK // APPLICATIONS Complete branding for the hypothetical food truck company: Mo’s. Deliverables include: Interchangible logo, menu, truck design, iPad/iPhone application, coffee cups (large (boy scout) and small (cub scout)).


// BOOK JACKETS


“In Streetcar Williams found images and rhythms that are still part of the way we think and feel and move...In “In Streetcar Williams found this play as in no other, images and rhythms that are still williams was able to do part of the way we think and feel his particular thing, to and move...In this play as in no take the fragments of his divided self other, williams was able to do his and turn them into the dratis personae particular thing, to take the of an ideal conflict.” fragments of his divided self and

[The low-tone clarinet moans. The door upstairs opens again. Stella slips down the rickety stairs in her robe. Her eyes are glistening with tears and her hair loose about her throat and shoulders. They stare at each other. Then they come together with low, animal moans. He falls to his knees on the steps and presses his face to her belly, curving a little with maternity. Her eyes go blind with tenderness as she

turn them into the dratis personae

catches his head and raises him level with her. He snatches

of an ideal conflict.”

the screen door open and lifts her off her up and bears her

– Jack Kroll, Newsweek (1973)

STELLAAAHHH!

LLLLLLLLL LLLLLLLLLLL “In Streetcar Williams found images and rhythms that are still part of the

way we think and feel and move...In “In Streetcar Williams found this play as in no other, images and rhythms that are still williams was able to do part of the way we think and feel his particular thing, to and move...In this play as in no take the fragments of his divided self other, williams was able to do his and turn them into the dratis personae particular thing, to take the of an ideal conflict.” fragments of his divided self and

[The low-tone clarinet moans. The door upstairs opens again. Stella slips down the rickety stairs in her robe. Her eyes are glistening with tears and her hair loose about her throat and shoulders. They stare at each other. Then they come together with low, animal moans. He falls to his knees on the steps and presses his face to her belly, curving a little with maternity. Her eyes go blind with tenderness as she

turn them into the dratis personae

catches his head and raises him level with her. He snatches

of an ideal conflict.”

the screen door open and lifts her off her up and bears her

STELLL

s t r e e t c ar nam e d des ir e | t e nne s s e e william s

STELLAAAHHH!

st r eet ca r n a m ed d e si r e | t en n essee wi l l i ams

Stanley [with heaven-splitting violence]:

STELLL

Stanley [with heaven-splitting violence]:

LLLLLLLLL LLLLLLLLLLL

AAAAHH

t en n essee willia ms

New Orleans and is

tormented by her brut

Kowalski, while her re

crumbles around her, like a paper lantern.

Di st ur be d Bl an ch e in w it Du Bo is h he r m ov es si st er in Ne w an d is Or le an to rm en s te d by br ot he he r br r- in -l ut is h aw, St an le y w hi le Ko w al he r re sk i, al it y cr he r, ju um bl es DISTURBED DUBUOIS st likBLANCHE ar ou nd e a pa pe r la nt er moves in with hern.sister in

st r eet ca r n a med d e sire

te n n e s s e e willia ms

brother-in-law, Stanle

– Jack Kroll, Newsweek (1973)

AAAAHH

s tre e tc a r n a me d d e s ire

HHHHHHHHHHHH

into the dark flat.]

– Jack Kroll, Newsweek (1973)

Dis turb ed Bla nch e in wit DuB ois h her sist er in New and is Or torm ent ed by bro the her bru r-in -law , Sta nle whi le y Kow her rea al lity cru her, jus mb les DISTURBED BLANCHE DUBU t like aro u a pap er lan tern moves in with her .sis

C H A P T E R

O N E

/

P A G E

T H R E E

“IT WAS THE FIRST IN EARLY MAY.” D A R K

E V E N I N G

New Orleans and is

HHHHHHHHHHHH

tormented by her brutish brother-in-law, Stanley

into the dark flat.]

Kowalski, while her reality

– Jack Kroll, Newsweek (1973)

crumbles around her, just like a paper lantern. t e n n e s s e e w illia m s S T R E E T C A R

N A M E D

D E S I R E

streetcar named desire

“In S t r e e t c a r Willia ms f ound ima g e s a nd r hy t hms

t ha t a r e s t ill pa r t of t he w a y w e t hink

“In S treetca r Willia m s found im a g es a nd rhy thm s

tha t a re still pa rt of the w a y w e think an d feel a nd m ov e...In this pla y a s in no ot h er, w illia m s w a s a ble to do his pa rticu la r thing , to ta ke the fra g m ents of his div ided self a nd turn them into the dra tis persona e of a n idea l conflict.” Thomas Lanier "Tennes s ee" Williams III was an A mer ican writer who worked pr incipally as a play wr ight in t he American theat er. He als o wrote short s t or ies , novels , poetry, essay s , s cr eenplays

– Ja ck Kroll, New sw eek

streetcar named desire | tennessee williams

tennessee williams

a nd f e e l a nd mov e ...In t his pla y a s in no ot he r, w illia ms w a s a ble t o do his pa r t ic ula r t hing , t o t a ke t he f r a g me nt s of his div ide d s e lf a nd t ur n t he m int o t he dr a t is pe r s ona e of a n ide a l c onf lic t .” Thoma s L a nie r "Te nne s s e e " Willia ms III w a s a n Ame r ic a n w r it e r w ho w or ke d pr inc ipa lly a s a pla y w r ig ht in t he Ame r ic a n t he a t e r. H e a ls o w r ot e s hor t s t or ie s , nov e ls , poe t r y, e s s a y s , s c r e e npla y s a nd a v olume of me moir s .

Di sturbe d Bl anc he DuBoi s move s i n wi th he r si ste r i n Ne w Orl e ans and i s torme nte d – J a c k K r oll, N e w s w e e k

by he r bruti sh brothe r-i n-l aw,

streetcar named desire | tennessee williams

streetcar named desire tennessee williams

Disturbed Blanche DuBois m oves in with her sister in New Orleans and is torm ented by her brutish brother-in-law, Stanley Kowalski, while her reality crum bles around her, just like a paper lantern.

streetcar named desire

Stanl e y Kowal ski , whi l e he r

t. williams

re al i ty c rumbl e s around he r, j ust l i ke a pape r l ante rn.

streetcar named desire

tennessee williams

“IT WAS THE FIRST DARK of an evening E A R LY I N M AY . ”

and a volum e of memoir s . t. williams streetcar named desire CHAPTER 1 / PAGE 3

DESIGNING BOOK COVERS // STREETCAR NAMED DESIRE Three seperate book jackets for Tennessee Williams’ Streetcar Named Desire. Project requirements required one type-based design, one image-based design and one non-computer design.


// BOOK JACKETS


streetcar named desire

“I can’t stand a

Thomas Lanier “Tennessee” Williams III was an American writer who worked principally as a playwright in the American theater. He also wrote short stories, novels, poetry, essays, screenplays and

any more than I can

Disturbed Blanche DuBois moves in with her sister in New Orleans and is tormented by her brutish brother-in-law, Stanley Kowalski, while her reality crumbles around her, just like a paper lantern.

a rude remark

a volume of memoirs.

tennessee williams t. williams

tennessee williams

or a vulgar action.”

It is the first dark of an evening early in May. The sky that shows around the dim white building is a

Thomas Lanier “Tennessee” Williams III was an American writer who worked principally as a playwright in the American theater. He also wrote short stories, novels, poetry, essays, screenplays and a volume of memoirs.

any more than I can

peculiarly tender blue, almost a

streetcar named desire

“I can’t stand a

turquoise, which invests the scene with a kind of lyricism and

Disturbed Blanche DuBois moves in with her sister in New Orleans and is tormented by her brutish brother-in-law, Stanley Kowalski, while her reality crumbles around her, just like a paper lantern.

tennessee williams t. williams

3 Chapter 1

a rude remark

tennessee williams

or a vulgar action.”

gracefully attenuates the atmosphere

of decay.

DESIGNING BOOK COVERS // STREETCAR NAMED DESIRE Three seperate book jackets for Tennessee Williams’ Streetcar Named Desire. Project requirements required one type-based design, one image-based design and one non-computer design. Non-computer design is hand-cut paper held up to a lamp and photographed.


THANK YOU.

KAT IE WH IT EMAN kwhiteman06@gmail.com 563.528.3083

Sophomore Portfolio  

Katie Whiteman's sophomore portfolio

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