background Me in a nutshell _ personal profile / education / working experience
university works VISUAL MUSEUM _ brand identity CLOS _ brand identity / physical prototyping FUN SELLS _ thesis development
professional experience DIMORE&DESIGN _ event communication YOUBI _ publishing
Me in a nutshell _ personal profile / education / working experience
who am I?
me in a nutshell
Graphic Designer / Art Director I am a 24 year old Graphic Designer living in Northern Italy. I have recently graduated from the Communication Design bachelor degree at Politecnico di Milano. During my studies, I started working at MULTI, a marketing, export, and communication agency based in Bergamo (IT). This ongoing collaboration has allowed me to improve my skills, which has turned out to be fundamental both in academic and in professional fields. At MULTI I have been working as a traditional graphic designer. While working on traditional communication instruments I have acquired a deeper understanding of the world of printed communication, of layout creation, and of the creative process. I developed an interest, even a fascination, for the creative choices, the selection of materials,and the production process. I also have many other interests concerning the world of creativity, design, and communication in general; I like to explore every new appealing media or communication technique in order to keep the pace with this constantly evolving world. Iâ€™m also a videogame and technology enthusiast under every aspect, and during my last University year I was also lucky enough to explore a part of this world during the development of my thesis. Thanks to this deeper analysis Iâ€™ve become aware of the huge untapped potential of these fields, not only in the entertainment world but also in communication, and I hope to explore them further in future.
Lorenzo Marchesi Bergamo (Italy) (+39) 333 3552999 firstname.lastname@example.org www.behance.net/lmarchesi
Education 2014 - 2017
Communication Design Bachelor Politecnico di Milano, Milano (IT)
Work experience 2013 - 2018
Multi-Consult srl Bergamo (IT)
VISUAL MUSEUM _ brand identity CLOS _ brand identity / physical prototyping FUN SELLS _ thesis development
Visual Museum The project This is a project done during my third year of Communication Design BA at Politecnico di Milano. The task was to design the brand identity for a fictional museum located in Milan. Nothing besides the name of the museum was given to my team. We had to create the entire visual identity, reaching the coherence and the communication efficiency of a professional brand strategy. We were also asked to select the Museum's activities, the location and the subject of the permanent exhibition besides designing the website and a mobile App to interact with the museum's content. In addition, for the final part of the project, we also designed a temporary exhibition about the famous designer Chip Kidd, renowned for his book covers.
The logo We designed VIMU's logo playing with simple geometry, creating a symbol that optically generates the V and M letters.
Visual identity The museum's image is focused on dynamic geometric patterns and strong colour contrasts, with a bold and clean approach, echoing the logo. A whole set of communication tools was designed in order to cover all the possible necessities of the visitors; besides that, many gadgets were also designed with the goal of a wide circulation of the museum's image between the public. Despite the number of different communication tools, the graphic elements were kept as simple and coherent as possible, in order to keep the pace with the visual identity, trying to have a strong impact with the viewer, without useless elements.
Communication and digital experience All the brand communication strategy is designed in a coherent flow with the general brand identity, from the concept to the visual language used. The geometrical patterns create an idea of mystery and hidden content, something to be discovered by the museumâ€™s visitors. The aim is to catch the attention of the customer without spoiling the exhibition, generating greater interest and curiosity in the viewer. The website User Experience is designed to fulfill all the customerâ€™s needs in every moment: giving details before the visit of the museum, on the exhibitions, on the structure of the museum, the latest news, as well as interaction with social boards. The mobile App is designed to support the visit at the museum. As an extra, we also programmed a Bot which not only is able to answer frequently asked questions such as the opening times, but is also able to book tickets for the events. In addition, this application can be used to interact with the content of the museum itself.
Chip Kidd's exhibition The exhibition shows a selection of the best work done in the field of book cover design. The designer firmly believed in the persuasive power of book covers, the purpose of which was to invite the reader to discover the bookâ€™s mysteries. Based on this concept, we designed the name of the exhibition to be "Mistery demands to be decoded", from the words of Kidd's himself. All the marketing material is produced merging the style of the Museum with the ideals of the designer, attempting to express a sense of mystery to be discovered by the visitors. The whole experience is strongly linked with the interactive App and the website.
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Clos The project Clos is a fictional brand, developed as a final Communication Design Bachelor project. We were assigned the task of giving new life to an anonymous everyday object, creating a brand from scratch for it and expressing its values through various touchpoints. We were assigned the clothespin, in its wooden appearance. And thus we designed Clos, a US-based clothespin brand from Vermont with a warm, friendly and witty identity, which seeks to bring harmony and warmth to the domestic environment, giving colour to the tedious activity of laundry and household chores.
The logo In order to design the Clos logo, the two wooden pieces of a clothespin were examined and the two central circular holes formed by these pieces gave to us the idea for the shapes of the Clos' logo. As a matter of fact, the letter "o" in the name "Clos" is paired with a smaller circle underneath, recalling the two holes of a clothespin and also remarking the importance of this shape which allow the object to work properly. The typeface of this logo was designed expressly for this logo, taking inspiration from the â€œBlockÂŽ Berthold BQâ€? font. We chose this font because we have found its irregular and primitive shapes interesting, going along well with the handcrafted and raw identity of our brand.
Colours and typography A key point for Clos' identity is the power of colours; in fact the identity of this brand is based on three shades of red and white. We chose the colour red also because it is linked to the narrative side of the Brand: Clos has been conceived as a company born in the American region of Vermont, a territory with an evocative landscape, where the wide forests turn to many shades of red during the Autumn. In order to make the visual identity work, we needed a harmonious typography able to blend with the shapes of the logo and the selected colour language. The font that we have chosen for our brand is "Circular", its clear and linear design allows it an indiscriminate use from the largest to the smallest sizes, without losing its legibility.
Circular Book Italic
Circular Bold Italic
Circular Medium Italic
Circular Black Italic
Payoff and stationery Clos is linked to a payoff that is able to embody the philosophy of the brand in three simple words: "Close to you." "Close to you." is addressed directly to the user, it is a promise put in a calm and friendly way. The promise of maintaining an intimate relationship and offering something you can always count on. In addition to the classic institutional artifacts designed according to the companyâ€™s visual identity, a brochure was also designed to describe the philosophy behind the Brand and its origin.
Packaging design A clientâ€™s first impact with the company is represented by the public presentation of the product: the packaging is therefore a determining factor in the purchase process. For this reason, the dress of the Clos' clothespins has been treated with particular care. The colour of the packs is entirely red, to be immediately recognizable in the confusion of store shelves. The shape of the packaging was also conceived as a kind of casket to enhance its content; for this reason, the opening takes place from above, discovering the product on the inside. In addition to the common packaging, designed for retail, we have also designed a special package. A branded tin can that could be used as a container for daily laundry, for those customers who want to buy more than 50 clothespins, and we have called it "ClosTin".
Online sales system Even though Clos relies particularly on retail sales, at third party physical stores, we have also developed an online sale system: the entire digital strategy rotates around the website, based exclusively on sales. The website narrates the clothespin with an ironic style, focusing on its performance and the retail created around it. The style is clean and functional, full of photos and with minimal insertions. The photographic style adopted also attempts to show the clothespin under different, uncommon points of view, freeing the evocative power of this simple object.
The game After designing the visual identity of the brand, we were entrusted with the task of further communicating the product of Clos, through the creation of a "communication machine", a physical artifact that will exploit the technological potential of the Arduino platform. The initial inspiration for the realization of this artifact derives from noticing the similarity of the clothespins, arranged side by side on a surface, to the keys of a piano or a keyboard. The final communication machine took the shape of an arcade game: a challenge between two players to determine who pinches more clothes, which are "falling" from top to bottom across the game screen. The challengers will attempt to grab the clothes with the help of a controller, a keyboard made of six clothespins, before they exit the screen. To increase their score, each player must press the button corresponding to the clothes when they reach the bottom line of the screen, all this with a musical accompaniment.
Behind the game The final prototype of the Clos communication machine is therefore a full-scale arcade game, with interactive content programmed using Arduino and Processing. The electronic components of the machine are connected to a single Arduino microcontroller. By combining these tools we were able to program the game by detecting the input from the buttons and the keyboards, all processed by the microcontroller.
Exhibition space To create a full immersion in the world of Clos, an exhibition space cohesive with the Brand identity was built around the communicative machine. This space was designed drawing inspiration from the artefacts produced for the brand, such as the packaging, using the shapes and illustrations that characterize them. The exhibition space is structured according to two main sections: one represented by the side walls, where the institutional section of the Brand is placed, and the other, by the back wall, where the communication machine is located. The back wall also has a screen on its outer side allowing people outside the space to observe the game in progress. The aim is to intrigue visitors and get them to know what is inside the exhibition space.
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Clos experience: the gamification as a brand awareness tool.
The project This project is a hybrid between a publication and a thesis work done at the end of my bachelor degree. The book is divided in 3 parts. The first one explains Clos, a project in which we explored and applied game design practices to enhance the brand identity, brand awareness and communication efficiency. In the second part of the publication, I analyse more deeply the game we produced for the project. In the third and final part, I explore game design theory in a formal manner, considering it from a more academic perspective.
The Clos' experience In the first part the Clos project, which has occupied half of my last bachelor year and which gives life to the central analysis of this project, is described in detail. The project is explained under all its aspects, from the ideation of the brand identity to the game design and prototyping, with particular attention to the phase of conception, programming, and construction of the arcade game. Considering that the project has the colour choices as its fundamental strong point, the first part is printed in colour on opaque coated paper, which further enhances the chromatic selection.
The importance of gaming The first section of the central part of the thesis is built around the origin of the gamification from his applications to the importance of the very act of playing for human life. I analyse the act of playing using major authors as reference, such as Huizinga, Callois, Suits, Crawford, Salen & Zimmerman and McGonigal, speculating on the reasons behind the urge to dedicate so much of our lives to playful activities, since very ancient times. In the last part of this section, the main game design mechanics are analysed in order to understand the fundamentals structures of building games and gamified experiences.
A solid method The second and final section of the central part of the thesis is formed by a case history of relevant example of gamified experiences, analysed through the â€œoctalysis frameworkâ€?, a model that measures the engagement level of the game, researching in particular strength and weaknesses in the game mechanics. This part was extremely useful in order to understand what lays behind a gamified product. From a visual point of view, this central part is treated in a different way from the first one, focusing on his cold scientific nature. All the images are in black and white, the only colour used is blue and, as a final touch, an opaque uncoated paper is used to emphatise the analytic aspect of this section.
Room for improvement The last section of the project is dedicated to a brief analysis of the game communication machine realized under the light of the methods and dynamics acquired during the drafting of the central part. Despite being aware of the weaknesses of a design made without any background in game design techniques, I hypothesized a series of possible improvements to fill the gaps of the project and make it more engaging for the user. This chapter, besides being a personal exercise, concludes the narration of the project, that started from the origin of the project and has been completed with new implications for my work team, after passing through the study and analysis of the project, ending in the application of the techniques and design methods learned.
DIMORE&DESIGN _ event communication
YOUBI _ publishing
Dimore &Design Traditions and influences.
The project The Bergamo Historic Mansions Tour is a cultural and tourist marketing project that has been running for over 20 years: a firmly established event on the international and national tourist scene offered to a vast public who each year visit the historic residences of the city. Since 2011 the Historic Residences Tour has evolved into a more far-reaching formula, inaugurating this first great event in Bergamo dedicated to design, with its new name DimoreDesign Bergamo. I have had the opportunity and the luck to work on the creation of informative and promotional material both on paper, on the web and on social media platforms, from the 2013 edition up to today.
Printed communication The event is promoted thanks to different products of paper communication, among which the most important are the posters and flyers that are distributed throughout the territory of Bergamo, without counting the numerous publications in trade magazines and national newspapers. Much of my work on this project focuses on printed communication for which in recent years I have edited the layout and the declination of the visual identity of this event, adapting it to the ever-changing communication needs.
Web experience The event is characterized by a very significant web component, through the sending of newsletters and the constant updating of the website, every useful information for the visitor is conveyed in the clearest and most detailed way possible, by telling the story of the historical residences of Bergamo, the designers and providing all the necessary directives to organize the visit of the event. My intervention on the web experience of the project is related to the visual part of the newsletter and the website. Considering the variations of this event during the years the contents are constantly updated and the visual identity evolved over time, the main challenge here is to improve its personality without losing consistency.
The exhibition The months of work that precede the beginning of this event take the final shape of installations showing the interpretation that contemporary designers can give of these places so far in aesthetics and in time from their usual operating environment. The result is always something new and ephemeral, a temporary contamination where the contrast between architecture and the art of the past coexists with contemporary design. Two worlds so conceptually distinct but that for a short period of time occupy the same physical place with results that never fail to surprise. My work has certainly nothing to do with this phase of the project but it is satisfactory to be part of the process of organisation and promotion of a singular event like this one, with the aim of promoting the artistic and cultural heritage of the province where I was born, and also modern design and art from different worlds, both geographical and cultural.
yoUBI The project The UBI almanac is an annual publication, distributed in all the branches of the bank group, as an update on this time-honored tradition company. More institutional than a magazine, the UBI almanac is destined for a non-ephemeral fruition: it collects texts and images to witness the events and daily work in the branches, and year after year it builds the group's business memory. The request for this project was to refresh the appearance of the publication, with freedom of intervention in each of its formal elements (logotype, cover, format, paper, layout and graphics cage, font and body typographic, treatment of images and info-graphics) without affecting the contents provided (texts and images).
The old one • Bigger (21 * 29,7 cm)
• Heavier (heavy gloss paper)
• Complex (different styles / graphic elements) • Traditional (glossy magazine-style cover)
The new one • Smaller (20 * 24 cm)
• Lighter (light matte paper)
• Simple (coherent style / graphic elements)
• Modern (matte illustrated cover)
New illustrated style The illustration on the cover is made ad hoc for each issue of this publication and its based on the topics covered. The 2017 editionâ€™s cover was made for the 10th anniversary of the group, while the 2018 one, was designed with an iconographic visualization of their activities. The illustration for the cover was initially designed and drawn in vector to get a rough idea of the result, then the colours were chosen to reflect the visual identity of the bank (red and blue) and finally with Photoshop I proceed to assemble piece by piece of the illustration treating each piece individually to produce a material effect. As a final result, the illustration seems to be composed of different levels of paper cut out, folded and overlapped.
Final result The final result is a lighter almanac, both physically and perceptually, more squared and smaller, with an opaque paper instead of the glossy old one. The head has been simplified and repositioned; the cover images removed and replaced with an index-summary on a background image; the internal distribution of contents rationalized, the body and the interline of the texts decreased, the recognition, visibility and attractiveness of the contents increased using various graphic expedients. Even more important, the lightening intervention, in addition to improving the readability and attractiveness of the publication, has led to a reduction in printing costs, which is also a sign of sustainability and added value: less use of paper and inks gives more value to the harmony and quality of the graphic dress (which is always a mental dress!).
Contacts: Lorenzo Marchesi Via Europa 214, Ponte Nossa (BG) - Italy mob. (+39) 333 3552999 - mail address: email@example.com