_PORTFOLIO NO.
01
++
_ S E L E C T E D W O R K S B Y L I S C E LY N G R I FA L
I am still learning.
+++
—Michelangelo
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I AM STILL LEARNING
s e l e c t e d w o rk s _ L I S C E LY N G R I FA L
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YOU CANNOT OPEN A BOOK WITHOUT LEARNING SOMETHING
—Confucius
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I AM STILL LEARNING
s e l e c t e d w o rk s _ L I S C E LY N G R I FA L
+++
_TITLE
I AM STILL LEARNING
+++
_ CO N C E P T
“I am still learning”—is a famous quote by Michelangelo. I relate to what he said
really stop learning. There's always something new waiting for you to discover.
because in design you are always learning something new regardless of whether
Whether it be a new technique, technology, or shift in cultural values; design is
you are a student, professional, or well known designer. Graphic design constantly
forever changing with the ebb and flow of society.
keeps me on my toes; there is never a dull moment. After completing each project, I gain more wisdom and creativity. Through the design process, I am finding that
I consider the learning process in design to be a blank page. The more that you
I learn more about both myself and the world around me. Stefan Sagmeister
learn about the subject matter you are designing for, the more creative the ideas
came out with a book titled, “Things I have learned in my life so far”. The part
and solutions you can put onto that blank page. Your design is only as good as
of the title, “so far” really resonates with me—if you think about it, you never
your willingness to keep learning and evolving as a designer.
p. / 5
_PORTFOLIO NO.
01
++
_PURPOSE
With every design I create, I learn something new everytime. To me design keeps life interesting. +++
—Liscelyn Grif al
p. / 6
I AM STILL LEARNING
s e l e c t e d w o rk s _ L I S C E LY N G R I FA L
+++
_ C O LO P H O N
COPYRIGHT Š 2012 ALL RIGHTS RESERVED. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, without express permission of Liscelyn Grifal.
LISCELYN GRIFAL
Cover Stock, _Pajco White Vinyl Coated Paper
Phone 650.477.0986
Text Stock _Neenah Environment 80lb Text
Email liscelyn@gmail.com
100% Recycled PC 100 White Smooth Digital
www.liscelyngrifal.com
Printer _Progressive Solutions, Santa Clara, CA Book Bindery _The Key Bindery, Oakland, CA
Title of Book: I am still learning Academy of Art University,
Typefaces _Chronicle Text, Whitney HTF
School of Graphic Design
Software _Adobe CS5.5 Creative Suite
79 New Montgomery, San Francisco, CA
Camera _Canon Digital EOS Rebel T3i DSLR
Course _Senior Portfolio
Photography _Liscelyn Grifal, Erik Grifal
Instructor _Mary Scott
p. / 7
_LESSON NO.
00
11
_ TA B L E O F C O N T E N T S
Selected works p. / 10
p. / 126
01 AMERICAN ADDICTION
07 SCANDINAVIAN AIRLINES
[ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
[IDENTITY _REBRANDING]
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02 AUDI SKINCARE
08 ECCOTIQUE
[ PA C K A G I N G D E S I G N _ S K I N C A R E L I N E ]
[ PA C K A G I N G D E S I G N _ S K I N C A R E L I N E ]
p. / 54
p. / 156
03 ART OF CODE
09 JCPENNEY
[ T Y P O G R A P H Y _ T Y P E CO N F E R E N C E ]
[ PA C K A G I N G _ G R O U P C O L L A B O R AT I O N ]
p. / 78
p. / 228
04 DINGO PET PRODUCTS
10 ARCHETYPES IN BRANDING
[ PA C K A G I N G D E S I G N _ R E B R A N D ]
[ I N T E R N S H I P _ C H E N D E S I G N & A S S O C I AT E S ]
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05 MANIFESTO TO SIMPLICITY
11 IDENTITY COLLECTION
[ T Y P O G R A P H Y _ T Y P E FA C E P R O M OT I O N ]
[ I D E N T I T Y _ VA R I O U S ]
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06 MAAM [ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
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01
02
03
04
05
06
07
08
09
10
11
_GRAPHIC DESIGN
[ C R E AT I V I T Y ] [KNOWLEDGE] [IDEAS] [SOLUTIONS]
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_ W H AT I H AV E L E A R N E D S O FA R
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s e l e c t e d w o rk s _ L I S C E LY N G R I FA L
lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
project _AMERICAN ADDICTION
_LESSON NO.
01
11
_ W H AT I H AV E L E A R N E D S O FA R
Design is a mix of craft, science, storytelling, propaganda, and philosophy.
—Erik Adigard
+++
_PROJECT
AMERICAN ADDICTION [ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
_ CO U R S E
Print Design 1
_ I N S T R U C TO R
Max Spector
_ C AT E G O R Y
Print, Identity
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_PROJECT
AMERICAN ADDICTION [ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
+++
_OBJECTIVE
_APPROACH
Create an awareness campaign along with a company identity revolving around the
We all know that fast food is bad for you, but who would have known that french
word “Centripetal�. In this project we were encouraged to create image toolsets
fries, America's favored staple food, could cause cancer?
to help set the mood and tone for a cause/awareness issue of our choosing. Centripetal Awareness Network provides young American families with much needed information about wellness and health. French fries are so deeply embedded in the American culture, we have become ignorant to the dangers lurking behind such a simple and accessible dish. The awareness print pieces showcase a juxtaposition between iconic imagery of American culture, and the scientific hazards of acrylamide in french fries to our health. The pieces use fun quirky visuals to aid in the understanding of complex scientific facts.
lesson _NUMBER
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_KEYWORDS
project _AMERICAN ADDICTION
_DELIVERABLES
_ T Y P E FA C E
quirky
logo
informative
brochure
blender pro
american
booklet
various
direct mail
avenir
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_RECIPE BOOK
This mini booklet provides recipes that promote healthier alternatives to french fries. Through research, I was able to find many fun and creative recipes that could easily replace the popular staple food—hence the title breaking traditions.
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+alternative french fry
RECIPES START HERE
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_DIRECT MAIL PIECE
This direct mail piece is a fun and quirky approach to helping people understand the scientific facts of how french fries can cause cancer.
lesson _NUMBER
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_DIRECT MAIL INSERT
Included in the direct mail piece is a pull out card that gives instructions on how to make a safer french fry. The pull out card is housed in a pocket shaped like fast food packaging for french fries; just another way to make this direct mail piece fun but informative.
lesson _NUMBER
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I AM STILL LEARNING
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lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
project _AUDI SKINCARE
_LESSON NO.
02
11
_ W H AT I H AV E L E A R N E D S O FA R
The best way to predict the future is to invent it.
—A la n Ka y
+++
_PROJECT
AUDI SKINCARE [ PA C K A G I N G D E S I G N _ S K I N C A R E L I N E ]
_ CO U R S E
Packaging Design 3
_ I N S T R U C TO R
Thomas McNulty
_ C AT E G O R Y
Packaging, Industrial Design
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_PROJECT
AUDI SKINCARE [ PA C K A G I N G D E S I G N _ S K I N C A R E L I N E ]
+++
_OBJECTIVE
To create a new line of skincare products and in-store display. The challenge
_APPROACH
SKN+ unisex anti-aging skincare reflects Audi's image as a modern and high-end
involves creating a skincare line for an existing brand that is currently not in the
company. Audi is well known for their innovation, technological engineering,
skincare market.
and good craftsmanship. These are all key elements in creating this conceptual
In creating the skincare line, create the proper graphics and specifications needed
came from Audi's high-end vehicles. SKN+ even mimic's Audi's vehicle naming
to create the design as a 3D prototype model for presentation.
convention. With bright white bottles, silver metallic detail, and Audi's ever famous
futuristic skincare line. The design inspiration for the SKN+ skincare line naturally
brandmark, SKN+ makes for a fresh, edgy, but luxurious anti-aging line of skincare.
lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
_KEYWORDS
p. / 43
project _AUDI SKINCARE
_DELIVERABLES
_ T Y P E FA C E
futuristic
product display
federation
minimalist
skincare products
audi typeface
luxury
gift box
lesson _NUMBER
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+++
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I AM STILL LEARNING
_AUDI ANTI-AGING SKINCARE PRODUCTS
[LIP BALM SPF 30] [ S P OT H E A L I N G D E V I C E ] [EYE CREAM SPF 50] [ FA C E A N T I - O X I D A N T C L E A N S E R ] [ H A N D LOT I O N S P F 7 5 ] [ FA C E LOT I O N S P F 1 0 0 ] [ FA C E R E J U V E N AT I O N C R E A M ] [ E Y E R E PA I R C R E A M ]
s e l e c t e d w o rk s _ L I S C E LY N G R I FA L
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_ S K I N C A R E D I S P L AY
The goal of this skincare in-store display is to remain cohesive with the Audi brand. Representative of an Audi mag wheel, the circular display also symbolizes nurturing, revolution, and infinity—traits which support the anti-aging effects of this Audi line of skincare.
lesson _NUMBER
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+++
s e l e c t e d w o r k s _ L I S C E LY N G R I FA L
lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
project _ A RT O F CO D E
_LESSON NO.
03
11
_ W H AT I H AV E L E A R N E D S O FA R
Technology, like art, is a soaring exercise of the human imagination.
—Da n i e l B e ll
+++
_PROJECT
ART OF CODE [ T Y P O G R A P H Y _ T Y P E CO N F E R E N C E ]
_ CO U R S E
Typography 3
_ I N S T R U C TO R
Ariel Grey
_ C AT E G O R Y
Typography
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_PROJECT
ART OF CODE [ T Y P O G R A P H Y _ T Y P E CO N F E R E N C E ]
+++
_OBJECTIVE
Create a typography conference and design a conference book that showcases
_APPROACH
The typography conference I created was one that introduced artists to computer
experimental typography pertaining to the subject matter, as well as a conference
programming. The purpose of the conference is to teach and inform artists that
schedule booklet, and conference collateral.
computer programming is the next evolution of artistic expression. The concept behind the book is to show artists that programming can be taught in a logical sequence much like our brains are taught to comprehend our surroundings. From language to visual imagery, computers work the same way the human brain does. By visually interpreting the simplicity of learning how to program, artists can come closer to understanding and becoming technologically literate.
lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
_KEYWORDS
p. / 59
project _ A RT O F CO D E
_DELIVERABLES
_ T Y P E FA C E
technical
experimental book
blender pro
modern
conference schedule
orator
experimental
direct mail
45 degrees
conference badge
p. / 60
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+
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_ CO N F E R E N C E S C H E D U L E B O O K L E T
Maintaining the visual look and feel of the experimental book, the conference schedule booklet is organized and easy to follow.
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_LESSON NO.
04
11
_ W H AT I H AV E L E A R N E D S O FA R
If it doesn't sell, it isn't creative.
—Da v i d Og i lv y
+++
_PROJECT
DINGO PET PRODUCTS [ PA C K A G I N G D E S I G N _ R E B R A N D ]
_ CO U R S E
Packaging 3
_ I N S T R U C TO R
Thomas McNulty
_ C AT E G O R Y
Packaging, Identity
lesson _NUMBER
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_PROJECT
DINGO PET PRODUCTS [ PA C K A G I N G D E S I G N _ R E B R A N D ]
+++
_OBJECTIVE
_APPROACH
Select a pet brand of your choice and redesign its brand, packaging, and graphics
Named after the founder's beloved canine friend, Dingo is a brand deserving of
and explore new structural designs to create a packaging system.
playful charm and personality. From bright colors to fun and playful imagery, this pet packaging system shows a modern and pet friendly feel. With a newly designed logo, Dingo ties in with the playfulness of the packaging system.
lesson _NUMBER
+ 01 02 03 04 05 06 07 08 09 10 11
_KEYWORDS
project _DINGO PET PRODUCTS
_DELIVERABLES
_ T Y P E FA C E
playful
pet food
archer
commercial
accessories
frutiger
friendly
play toys logo rebrand
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p r o j e c t _ M A N I F E S TO TO S I M P L I C I T Y
_LESSON NO.
05
11
_ W H AT I H AV E L E A R N E D S O FA R
Design is so simple, that's why it's complicated.
—Pa ul Ra n d
+++
_PROJECT
SIMPLICITY [ T Y P O G R A P H Y _ T Y P E FA C E P R O M OT I O N ]
_ CO U R S E
Typography 4
_ I N S T R U C TO R
Ariel Grey
_ C AT E G O R Y
Typography
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lesson _NUMBER
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_PROJECT
SIMPLICITY [ T Y P O G R A P H Y _ T Y P E FA C E P R O M OT I O N ]
+++
_OBJECTIVE
_APPROACH
Based on the typeface of our choosing, design collateral for a type promotion
The Netto typeface is a no frills typeface that is created without dispensable
gift package. The promotional gift package will contain an experimental type
details and comes with a set of wayfinding icons. What better way to showcase
promotion book, type specimen book, and website. The experimental type book
the typeface than by creating a manifesto to simplicity. Based on the written
should have a theme that correlates to the typeface chosen.
works of Leo Babauta, this book takes us back to the basics of how we can lead a simple and happier life with only the essentials.
lesson _NUMBER
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_KEYWORDS
p r o j e c t _ M A N I F E S TO TO S I M P L I C I T Y
_DELIVERABLES
_ T Y P E FA C E
simple
type promotion book
netto
informative
type specimen book
nexus mix
organized
website
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_TYPE SPECIMEN BOOK
While keeping with the look and feel of the promotional book, this specimen book is a supplementary collateral piece that showcases the special characteristics and nuances of the Netto typeface.
lesson _NUMBER
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p r o j e c t _ M A N I F E S TO TO S I M P L I C I T Y
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_LESSON NO.
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11
_ W H AT I H AV E L E A R N E D S O FA R
Design must seduce, shape, and perhaps more importantly, evoke an emotional response. +++
—A p r i l G re i ma n
+++
_PROJECT
MAAM [ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
_ CO U R S E
Print 2
_ I N S T R U C TO R
Roland Young
_ C AT E G O R Y
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_PROJECT
MAAM [ P R I N T D E S I G N _ AWA R E N E S S I S S U E ]
+++
_OBJECTIVE
We were given an open ended project to communicate any cause or message of our choosing through print collateral.
_APPROACH
MAAM (Mothers Association Against Materialism) is a hypothetical awareness group advocating against fast fashion and its harmful effects on young women. Fast fashion giants like Forever 21 and H&M are constantly selling new styles and trends on a weekly basis. With trends in fashion flying by so fast, girls feel pressured to keep up with the hottest celebrity influenced styles. The print collateral shows disturbing yet fashionable imagery to communicate how these fast fashion giants are dictating what women wear and how they have invaded their lifestyle in a denigrating manner.
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_KEYWORDS
modern bold controversial
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_DELIVERABLES
poster direct mail handout
_ T Y P E FA C E
frutiger helvetica neue
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_ C U T O U T PA P E R D O L L G I V E AWAY
The paper doll concept communicates that girls no longer have control over what they wear. Instead, the fast fashion corporations are the ones dictating what is in and what is out of fashion. Conventionally we have control over what a paper doll would wear. But now, with the tables turned, the young female takes on the role of the paper doll with tabs on her body.
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_LESSON NO.
07
11
_ W H AT I H AV E L E A R N E D S O FA R
A great trademark is appropriate, dynamic, distinctive, memorable and unique.
—P r i mo A n g e li
+++
_PROJECT
SCANDINAVIAN AIRLINES [IDENTITY _REBRANDING]
_ CO U R S E
Identity 2
_ I N S T R U C TO R
Thomas McNulty
_ C AT E G O R Y
Identity
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_PROJECT
SCANDINAVIAN AIRLINES [IDENTITY _REBRANDING]
+++
_OBJECTIVE
_APPROACH
Create a new identity, application system and graphic standards manual for an
For Scandinavian Airlines, I wanted to create a visually graphic identity that is
airline. Develop, design, and produce a comprehensive identity solution, which
dynamic and representative of Scandinavian culture. The Scandinavian Airlines
includes applications such as: stationery, brochure, vehicles, signage, promotional
logo combines an abstract Scandinavian flag blowing in the wind, with a bold,
items, and uniforms. These applications demonstrate precise placement of the
clean, and legible wordmark that mimics contemporary Scandinavian design.
new graphic identifier along with a supporting design systems, including color,
The colors chosen are reflective of beautiful Scandinavian landscapes, lakes, and
graphics, and typography.
valleys that countries like Sweden, Norway, and Denmark are well known for.
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_KEYWORDS
p r o j e c t _ S C A N D I N AV I A N A I R L I N E S
_DELIVERABLES
modern
brand guidelines
trustworthy
stationery system
dynamic
applications
_ T Y P E FA C E
gotham
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Scandinavian Airlines
2011 Corporate Brand Guidelines
Scandinavian Airlines
Letter from the President //
2011 Corporate Brand Guidelines
Contents //
After massive airline restructuring throughout the globe, due to turbulent economic times, we are excited to take the opportunity to refresh and revive our identity. We have the privilege not only to re-establish ourselves as a top contender in the airline industry, but to expand our presence on a global scale. The Scandinavian Airlines brand identity is the tangible expression of all that we stand for. In a very real way, our customers experience the Scandinavian Airlines brand through our performance, as well as through the verbal and visual messages we send. A carefully managed and well-implemented brand identity program will help carry our brand message on a global scale. These guidelines are provided to ensure the correct and consistent use of the brand identity system. Along with the brandmark, typography, color palette and other visual elements, specific directions are included to help you manage the visual communication materials. By accurately implementing this brand identity system, you protect the equity of the Scandinavian Airlines brand and better support its repositioning.
1.0
Graphic Identifier
2.0
Typography and Grids
4.0
Corporate Applications
4.11
Flight Attendant Uniform
1.1
Positioning
2.1
Main Typeface
4.1
Ground Vehicle
4.12
Print Brochure
1.2
Design Criteria
2.2
Alternative Typeface
4.2
Airplane
5.0
Promotions and Web
1.3
Competition
2.3
Uses of Typography
4.3
Ground Crew Apparel
5.1
Web Page
1.4
Identifier
2.4
Grid Layout
4.4
Airline Apparel
5.2
CD-Rom
1.5
Color Palette
3.0
Stationery
4.5
Souvenirs
5.3
Color Swatches
1.6
Clear Space
3.1–2
Stationery System
4.6
Souvenir Mug
1.7
Clear Space With Slogan
3.3–4
Letterhead
4.7
Boarding Pass
1.8
Color Usage
3.5–6
Business Card
4.8
Luggage Tag
1.9
Supporting Graphics
3.7–8
Envelope
4.9
Check-In Kiosk
3.9
Mailing Label
4.10
Signage
1.10–11 Unacceptable Uses
Now, as we set a course for ourselves for the long term, with a new identity for Scandinavian Airlines, I ask you to use these corporate brand guidelines as you communicate a consistent message and visual signature of our services. There is much to be gained by presenting professional, consistent messages and a unified look for Scandinavian Airlines. I thank you for your work on behalf of the SAS Group and for your use of this important tool. Sincerely.
Mats Jansson President & CEO
Scandinavian Airlines
2011 Corporate Brand Guidelines
Scandinavian Airlines
2011 Corporate Brand Guidelines
4.0
Design Criteria \\ The design objective for this corporate re-brand is to design an identity that brings back the Scandinavian heritage and roots of Scandinavian Airlines, while maintaining a professional look and feel. In creating a new identity that conveys more of a friendly yet professional presence, it will enable Scandinavian Airlines to become more memorable and distinct in the global arena.
1.2
Competition \\ Brand Values: Trustworthy Dynamic Consistent Professional Friendly
Comfortable Efficient Innovative Time-Saving Modern
The competitors for Scandinavian Airlines are, Air France, British Airways, Lufthansa, Cimber Sterling, Continental Airlines, and Norwegian Airlines, just to name a few. These major players all focus on the same value added customer service. However, for years, Scandinavian Airlines has managed to rank as one of the top rated European airlines. Known for our punctuality and friendly service, our customers view us as reliable, comfortable, timely, and professional.
Just recently we held a fun campaign called 'Love is in the Air' where we encouraged same sex marriage ceremonies on our flights. This was done in efforts to show our openness and willingness to accommodate all our customers. It is through our dedication and real world campaigns like these that set us apart from the competition. We provide value added services for all our passengers, while providing them with the timely service they deserve.
Graphic Identifier
Graphic Identifier
Scandinavian Airlines
Corporate Applications
4.1
Ground Vehicle
4.2
Airplane
4.3
Ground Crew Apparel
4.4
Airline Apparel
4.5
Souvenirs
4.6
Souvenir Mug
4.7
Boarding Pass
4.8
Luggage Tag
4.9
Check-In Kiosk
4.10
Signage
4.11
Flight Attendant Uniform
4.12
Print Brochure
1.3
2011 Corporate Brand Guidelines
Scandinavian Airlines
2011 Corporate Brand Guidelines
HORIZONTAL IDENTIFIER
IDENTIFIER COLORS
VERTICAL IDENTIFIER
SCANDINAVIAN AIRLINES BLUE PANTONE 2955 UC CMYK 100/45/0/37 RGB 0/82/136
SCANDINAVIAN AIRLINES GREEN PANTONE 397 UC CMYK 10/0/100/11 RGB 213/209/14
SECONDARY COLORS
1.0 1.1
Graphic Identifier Positioning
1.2
Design Criteria
1.3
Competition
1.4
Identifier
1.5
Color Palette
1.6
Clear Space
1.7
Clear Space With Slogan
1.8
Color Usage
1.9
Supporting Graphics
1.10–11
Unacceptable Uses
SCANDINAVIAN AIRLINES DARK GRAY PANTONE 430 UC CMYK 5/0/0/45 RGB 147/155/161
Identifier // To maintain competitive in the major airline industry, brand recognition is the key to major success. In order to create successful brand recognition, the symbol should be memorable while conveying what it is that we do and what it is that we stand for. The signature combines two of the most important visual elements of our brand—the combination of the Scandinavian Airlines
1.4
Graphic Identifier
SCANDINAVIAN AIRLINES LIGHT GRAY PANTONE 427UC CMYK 0/0/0/11 RGB 228/229/230
Color Palette // wordmark and the Scandinavian Airlines symbol. The Scandinavian Airlines signature is a visually graphic representation of our organization and the values for which it stands. The identifier combines an abstract Scandinavian flag blowing in the wind, with a bold, clean, and legible wordmark that is representative of Scandinavian modern design. The colors chosen are reflective of the beautiful Scandinavian landscapes.
To maintain a consistent identity for the Scandinavian Airlines identity system, the following colors have been selected. The Scandinavian Airlines logo should always be presented in Pantone 2955 (blue) and Pantone 397 (green), except for certain reverse out situations. In four color process printing, Scandinavian Airlines can be reproduced with the following cmyk equivalent. Pantone 2955 (blue) can
be simulated as Cyan 100, Magenta 45, Yellow 0, and Black 37. Pantone 397 (green) can be simulated as Cyan 0, Magenta 0, Yellow 100, and Black 11. Also available are the RGB colors needed for screen based graphics. The secondary colors Pantone 430 (dark gray) and Pantone 427 (light gray) can be used in all applications, but never in the identifier.
Graphic Identifier
1.5
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2011 Corporate Brand Guidelines
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87
31
BUSINESS CLASS scandinavianairlines.com
BUSINESS CLASS scandinavianairlines.com
Flight Attendant Uniform // The Scandinavian Airlines flight attendant uniform is in the Scandinavian Airlines blue. The tie uses the secondary graphic single stripe as a repeated pattern. The colors used for the pattern are Scandinavian Airlines dark gray, green, and white. The scarf is in the Scandinavian Airlines green.
4.11
Print Brochure // The dress uniform incorporates the triple stripe version 2 graphic on the bottom of the dress uniform as a little detail. It measures 50 millimeters in length. This is embroidered on. For the airline tag, the identifier is engraved on a silver brushed metal plate. The name is in Gotham HTF Medium 14 points. The identifier is 31 millimeters in length.
The Scandinavian Airlines brochure is in A4 format (210 by 197 millimeters). These are samples of ways you can use the supporting graphics to create visually graphic print materials. These brochure samples follow the grid layout in section 2.4. Templates are available for use on the CD-Rom provided.
Corporate Applications
The identifier in both brochure versions are 87 millimeters in length. It is preferable to have the identifier in two colors on a white background. Color chips are available in section 5.4 for color reference, and should be given to your printer bureau.
Corporate Applications
Scandinavian Airlines
4.12
2011 Corporate Brand Guidelines
50
75
89
31.75
Ground Crew Apparel // The Scandinavian Airlines ground crew helmet appears in the Scandinavian Airline blue with the identifier reversed out. The vertical identifier measures 89 millimeters in length. The symbol alone is placed on the side of the helmet, measuring 31.75 millimeters in length.
Airline Apparel // identifier is 50 millimeters in length and uses one color, the Scandinavian Airlines blue. The identifier is embroidered onto the fabric. The triple stripe version 3 secondary graphic is a reflective plastic material, sewn onto the right sleeve. Two single plastic stripes are placed as shoulder details.
The Scandinavian Airlines ground crew coveralls appear in the Scandinavian Airlines green for safety purposes. The vertical Measurements are in millimeters.
4.3
Corporate Applications
The vertical version of the identifier is 75 millimeters in length on the front side. The two options has the identifier in two color reversed out on Scandinavian Airlines blue cotton fabric or two color on a white fabric.
The stripes on the sides are examples of using a combination of two single stripe supporting graphics. This simple but effective design can be easily carried out into other apparel such as t-shirts, golf shirts, hoodies, and jackets.
The logo should be embroidered, using Scandinavian Airlines green, and a bright white. or Scandinavian Airlines blue. Please refer to section 1.5, color palette. Measurements are in millimeters.
Corporate Applications
4.4
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2011 Corporate Brand Guidelines
Scandinavian Airlines
50.8
34 38
10
Souvenirs // The Scandinavian Airlines pens come in three different colors, Scandinavian blue, dark gray, and green. The horizontal identifier is 38 millimeters in length. The blue and dark gray pen has the identifier in one color reversed out. The green pen has the identifier in the one color Scandinavian Airlines blue.
Souvenir Mug // The Scandinavian Airlines usb key chains come in Scandinavian blue, green, and white. The horizontal identifier is 34 millimeters in length. The white usb key chain uses the two color identifier colors. The green keychain uses one color identifier. The dark gray key chain uses the single color reversed out identifier.
Measurements are in millimeters.
Corporate Applications
Scandinavian Airlines promotional souvenir mugs use the vertical identifier version for aesthetic and scaling purposes. The identifier is 50.8 millimeters in length, using the identifier colors, Scandinavian Airlines blue and green.
Ground Vehicle // The finish of the identifier should be in a high gloss finish on the front and back of the mug. The outside color of the mug is a bright white, and the inside is the Scandinavian Airlines green as an accent.
Scandinavian Airlines baggage ground vehicle appears in a bright white finish. The identifier is 10 meters in length. The single stripe supporting graphic appears at the bottom of the vehicle. The height of the supporting graphic is the same as the total height of the identifier and uses the Scandinavian Airlines green.
Measurements are in millimeters.
Corporate Applications
Small accents of the Scandinavian Airlines green are used sparingly all over the vehicle. Examples would be the railing bars and supporting metal plates on the conveyor belt.
Measurements are in meters
4.6
4.1
Corporate Applications
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2011 Corporate Brand Guidelines
.3
.4
Welcome Touch screen to begin
Welcome Touch screen to begin
Welcome Touch screen to begin
28
Airplane // Scandinavian Airlines Airbus 340 appears in a bright white finish. The identifier word mark is combined in a horizontal placement 28 meters in length, minus the symbol. Please note that this treatment of the wordmark is not to be mimicked in any other application unless given special written permission from corporate headquarters. This treatment is only reserved for our airplane fleets.
Check-In Kiosk // The supporting graphic under the belly of the airplane is roughly the cap height of the wordmark and is in Scandinavian Airlines green.
The Scandinavian Airlines check-in kiosk measures 1.72 by .85 meters. The horizontal identifier is .4 meters in length, and is in a two color reversed out situation.
The fin of the airplane is a supporting graphic using the combination of the Scandinavian Airlines blue and green single stripes.
Measurements are in meters
Corporate Applications
Signage // The supporting graphic is the Scandinavian Airlines green single stripe, rotated at 90째 and flush bottom right on the kiosk. On the kiosk screen is an example of a combination supporting graphic, which should only be attempted by professional designers.
Measurements are in meters.
4.2
4.9
Corporate Applications
The Scandinavian Airlines signage measures 1.5 by .5 meters. The horizontal identifier with slogan is .3 meters in length, and is in a two color reversed out situation.
Please keep in mind that clear space rules still apply to the identifier when placed in tight spatial applications. Refer to section 1.6 on the clear space rules for using the identifier.
Measurements are in meters.
Corporate Applications
4.1
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Scandinavian Airlines
35 MM
About About Us Us || Login Login
Book Flights
Flight Status
Check in
Home | Flights Flights || Vacations Vacations || Hotels Hotels || Cars Cars || Offers Offers
Where from? Where to? Date to leave?
Your friends the sky. in the sky. Yourinfriends
Date to return? 1 Adult 0 Kids
Book Flight
0 Lap Infants
Deal of of the the month month
EuroBonus EuroBonus
from from
Discounted Discounted award award tickets tickets from from Newark Newark to to Oslo Oslo (SK908/907) (SK908/907)
Stockholm Stockholm to to New New York York
Offer Offer ends ends May May 1, 1, 2011 2011
$189 Fly FlyThere There
See See More More
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_LESSON NO.
08
11
_ W H AT I H AV E L E A R N E D S O FA R
Simplicity, carried to an extreme, becomes elegance.
— Jo n Fra n kli n
+++
_PROJECT
ECCOTIQUE [ PA C K A G I N G D E S I G N _ E C O - F R I E N D LY S K I N C A R E L I N E ]
_ CO U R S E
Packaging 1
_ I N S T R U C TO R
Coco Qiu
_ C AT E G O R Y
Packaging
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_PROJECT
ECCOTIQUE [ PA C K A G I N G D E S I G N _ E C O - F R I E N D LY S K I N C A R E L I N E ]
+++
_OBJECTIVE
_APPROACH
Create a sustainable personal care product line. The package line should have
Eccotique Natural Essentials is a fictitious brand of personal care spa products.
various products to show label application variations.
The creamy paper stock in conjunction with a minimalist aesthetic exemplifies a sophisticated yet eco-friendly product line. The organic lines that wrap around the labels further emphasize the natural aspect of the Eccotique line of products. The green and the silver colors reflect organic elements found in nature.
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_KEYWORDS
_DELIVERABLES
minimalist
face products
nature
bath products
refreshing
body products
_ T Y P E FA C E
helvetica neue
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project _JCPENNEY
_LESSON NO.
09
11
_ W H AT I H AV E L E A R N E D S O FA R
It is not a question of how well each process works, the question is how well they all work together. —L loyd Do b e n s
+++
_PROJECT
JCPENNEY [ PA C K A G I N G G R O U P C O L L A B O R AT I O N ]
_ CO U R S E
Packaging 4
_ I N S T R U C TO R
Michael Osborne
_ C AT E G O R Y
Packaging, Identity
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_ S T R AT E G Y S TAT E M E N T
Practical lifestyle products for the modern consumer.
_PROJECT
JCPENNEY [ G R O U P C O L L A B O R AT I O N P R O J E C T ]
+++
_OBJECTIVE
_APPROACH
With Target's success in the retail world as a model, examine JC Penney's struggles
Through market research, our team was able to determine that many college
in trying to fight for market share. Create a strategy to introduce product lines
and young business professionals do not shop at JCPenney because they do not
that you as a group think will attract a broader demographic.
feel a connection to the product and brand offerings. We believe that creating more enticing and trendy brand offerings for the modern consumer will expand JC Penney's customer base. Reinforcing the loyalty of existing customers, and expanding the target market to include college students and young business professionals are the keys to ensuring a bright future for JCPenney.
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_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_ J C P PA L S [ H O U S E B R A N D ]
For dog or cat owners aged 26 to 50, JCP Pals provides high-end pet products and accessories for the modern pet and home, delivering product quality and design, at reasonable prices.
_ J C P TOT S [ H O U S E B R A N D ]
For parents aged 25 to 35, JCP Tots provides a value driven line of baby essentials delivering well designed and durable products, at affordable prices.
_ ST E P O N E [ E N D O R S E D B R A N D]
For college students aged 18 to 28, Step One provides essential kitchenware, home decor, bedding and bath, and electronic accessories that are practical and aesthetically pleasing; for dorm living through innovative design and reusable packaging at affordable prices.
_ PA X TO N M O D E R N L I V I N G [ P R I VAT E L A B E L ]
For consumers aged 25 to 40, Paxton provides modern, contemporary home decor that is of high style through good craftsmanship and design but at moderately affordable prices. modern living
_ S U R FA C E C O S M E T I C S [ P R I VAT E L A B E L ]
For women aged 30 to 50, Surface offers high-end skincare and cosmetics that provide healthy anti-aging benefits delivering quality ingredients.
_ G U Y F I E R I G O U R M E T [ P R I VAT E L A B E L ]
For people aged 26 to 35, Guy Fieri is a celebrity endorsed line of products which offers chef-grade gourmet foods and kitchenwares delivering quality ingredients and materials.
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_PROJECT
JCP PALS [ J C P E N N E Y H O U S E B R A N D]
+++
_OBJECTIVE
For dog and cat owners aged 26 to 50, JCP Pals provides high-end pet products
_APPROACH
For the JCPenney house brand line for pets, we wanted to incorporate humor while
and accessories for the modern pet and home, delivering product quality and
retaining trustworthy appeal. We embraced the trend of anthropomorphizing pets,
design, at reasonable prices.
while playfully exaggerating it with quirky and irreverent imagery. We created quirky imagery where the pet 'pals' characters draw a similar resemblance to humans.
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_KEYWORDS
quirky affordable healthy
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_PROJECT
JCP TOTS [ J C P E N N E Y H O U S E B R A N D]
+++
_OBJECTIVE
_APPROACH
For parents aged 25 to 35, JCP Tots provides a value driven line of baby essentials
We wanted to create a JCPenney baby line that was friendly, fun, and clean.
delivering well designed and durable products, at affordable prices.
To iconify the fun and modern appeal of the baby line, we created Andy the Giraffe, a cute and playful cartoon character that both children and parents can enjoy. The packaging is miminalist with colorful imagery of Andy as the focal point.
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_KEYWORDS
friendly trustworthy affordable
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_PROJECT
STEP ONE [ J C P E N N E Y E N D O R S E D B R A N D]
+++
_OBJECTIVE
For college students aged 18 to 28, Step One provides essential kitchenware,
_APPROACH
Using a mimimalist aesthetic, the products lines are color coded with bright and
home decor, bedding and bath, and electronic accessories that are practical and
modern colors. Each product line is annotated with a representative tagline that
aesthetically pleasing; for dorm living through innovative design and reusable
is thought provoking to the target audience and their frame of mind, as they
packaging at affordable prices.
embark on a new journey as young adults.
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_KEYWORDS
witty inspirational modern
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_PROJECT
PAXTON [ P R I VAT E L A B E L _ M O D E R N L I V I N G ]
+++
_OBJECTIVE
_APPROACH
For consumers aged 25 to 40, Paxton provides modern, contemporary home decor
To convey a modern and contemporary aesthetic, we created a minimalist look,
that is of high-style through good craftsmanship and design but at moderately
focused on showcasing the product and its craftsmanship. One the sides of
affordable prices.
the packaging are the specifications and details of the product. When the box is opened, there is cross sell information on other products from the line, and more detailed information on the craftsmanship and materials used in making the product. The base box mimics the Paxton logo when opened.
lesson _NUMBER
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modern living
_KEYWORDS
modern craftsmanship minimalist
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_PROJECT
SURFACE [ P R I VAT E L A B E L _ C O S M E T I C S + S K I N C A R E ]
+++
_OBJECTIVE
For women aged 30 to 50, Surface offers high-end skincare and cosmetics that provide healthy anti-aging benefits delivered with quality ingredients.
_APPROACH
This botanical line of skincare, makeup, and sun protection is elegant and high-end for the modern consumer. Playing off the name 'surface', we really wanted to showcase the earth and its minerals. The packaging either shows off the product and its texture, or it showcases photography and patterns from nature.
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_KEYWORDS
elegant feminine natural
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_PROJECT
GUY FIERI GOURMET [ P R I VAT E L A B E L _ C E L E B R I T Y E N D O R S E D ]
+++
_OBJECTIVE
_APPROACH
For people aged 26 to 35, Guy Fieri is a celebrity endorsed line of products
This line is all about personality. We really wanted to capture Guy Fieri's passion for
which offers chef-grade gourmet foods and kitchenwares delivered with quality
food and life. He's wild, crazy, and fun. The hot sauce and bbq products headline
ingredients and materials.
his famous quotes. For example, “Holey Moley, Stromboli” is one of Guy Fieri's sayings that exemplify his playfully outlandish behavior.
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_KEYWORDS
fun personality wild
_GROUP MEMBERS
Liscelyn Grifal
Monica Galvan
Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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Dee Shin
Alvin Domingo
Siti Nur Aini Azmi
Pat Chirakiti
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_LESSON NO.
10
11
_ W H AT I H AV E L E A R N E D S O FA R
Archetypes are universal, and, in subtle or extravagant ways, interchangeable.
—Ta n i th L e e
+++
_PROJECT
ARCHETYPES IN BRANDING [ I N T E R N S H I P _ C H E N D E S I G N & A S S O C I AT E S ]
_INTERNSHIP
Chen Design & Associates
_ A R T D I R E C TO R
Max Spector, Joshua Chen
_ C AT E G O R Y
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ARCHETYPES IN BRANDING [ I N T E R N S H I P _ C H E N D E S I G N & A S S O C I AT E S ]
+++
_OBJECTIVE
_APPROACH
Archetypes in Branding: A Toolkit for Creatives and Strategists takes you through
The archetype cards above were created with an intuitive level of thinking. My
a fascinating exploration of the important role archetypes have played in mythol-
experience, knowledge, and in-depth understanding of each archetype were
ogy and psychology, and now in business, to resolve brand inconsistencies and
a significant influence in the designs. The resulting symbolic and emotionally
enhance trust with all stakeholders.
stimulating pieces create a visual language for both creatives and strategists alike.
As part of this toolkit, a companion deck of 60 original archetype cards were created to aid in a highly participatory approach to brand development.
lesson _NUMBER
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_KEYWORDS
creative symbolic metaphoric
project _ARCHETYPES IN BRANDING
_DELIVERABLES
4¼x4¼ cards
_ T Y P E FA C E
various
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_LESSON NO.
11
11
_ W H AT I H AV E L E A R N E D S O FA R
To design is to communicate clearly by whatever means you can control or master. —Mi lto n G la s e r
+++
_PROJECT
IDENTITY COLLECTION [ I D E N T I T Y _ VA R I O U S ]
_ CO U R S E
BFA in Graphic Design
_SCHOOL
Academy of Art University
_ C AT E G O R Y
Identity
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+++
_SPECIAL THANKS
FAMILY, FRIENDS, AND INSTRUCTORS
+++
_ FA M I LY A N D F R I E N D S
_ I N S T R U C TO R S
Truong Nguyen, Marilyna and Max Grifal, Erik Grifal, Amy Teng, Mr. and Mrs.
Mary Scott, Thomas McNulty, Roland Young, Jenny Ji, Coco Qiu, David Hake,
Nguyen, Uyen Nguyen, Karan Mehandru, Tarie Lang, Gina Chang, Pora Rith, Sarah
Ariel Grey, Max Spector, and Michael Osborne.
Higgins, Sandra Schachermeyer, Eri Slocum, Lindsay Teng, Milton Carrasco, Noel Dolotallas, and Sandy Lum.
_PORTFOLIO NO.
01
++
_ W H AT I H AV E L E A R N E D S O FA R
Thank you to all those who have supported me in my creative endeavors. I will keep learning to fuel my passion. +++
—L i s c e ly n G r i f a l
_PORTFOLIO
THANK YOU First of all I would like to thank my loving husband Truong Nguyen. You are best friend and biggest influence in my life. Without you I wouldn't have had the courage to pursue my goal in becoming the best graphic designer I can be. To my family and friends, thanks for your patience, wisdom, and understanding. Finally, to my instructors at the Academy of Art, thank you so much for always pushing and encouraging me to do the best work possible. I admire your dedication to your students and am proud to be a graduate of the Academy of Art University.
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YOU LEARN SOMETHING EVERYDAY IF YOU PAY ATTENTION.
—Ray LeBlond