Maria Cross Portfolio

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Maria Cross

PORTFOLIO.


inspiration.

“Design is The silent ambassador of your brand� -Paul Rand 1


TABLE OF CONTENTS. inspiration.

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table of contents. 2

tHE BALLAD.

3

hypothesis. 10

14

carlyle. 18

four seasons. 22

L’AIBELLE. 27

flora.

graphic design.

31

magazine spread. 32

illustrator. 33 2


the ballad

concept.

To create a home for individuals suffering from Dementia, that stimulates and encourages activity in the brain through various melodies. By harmoniously connecting public and private spaces, it will allow residents to dance from one space to another, all while keeping their own rhythm.

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the ballad 4


the ballad

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the ballad 6


the ballad

entry

reception/nurse’s station

music room

family dining room

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the ballad

2nd floor elevator lobby

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the ballad

indoor patio

front porch

resident’s room

resident’s room

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the ballad

living room

10


hypothesis

Concept.

To create a bright and adventurous office space that will assist it’s employees in furthering and embracing their ingenuity. By pulling in shapes, elements, and colors found outdoors, the space will allow it’s occupants to feel at home, all while giving them an edgy environment to boost their creativity.

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5

10

15

25

0

5

10

15

25

Hypothesis

0

12


Hypothesis

Reception

Managing partner’s office

Work pods

Survey room

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Hypothesis

Conference room

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flora

concept.

To create a retail experience that encourages interaction between the average consumer and residents from a local nursing home. By utilizing natural elements to create comfort for the residents, yet contrasting with metals and dark tones to attract customers, the flower shop will invite anyone to stop in and create their own masterpiece, or join in for a free event with residents from a local nursing home.

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Flora

Flora floor plan 0 5 10

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Flora reflected ceiling plan 0 5 10 15

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Flora

Detail perspective

Interior perspective

Exterior

Interior perspective

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Flora

Interior perspective

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carlyle

Concept.

The design concept of this apartment is meant to mimic the natural feel that is found inside a Croatian home. Through neutral tones, colors from the Adriatic Sea, and an open concept, this family will be able to comfortably enjoy each other's company without feeling out of their element.

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CARLYLE

Carlyle floor plan

A

Living room elevation

B

BEDROOM elevation

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CARLYLE

Dining room

Rendering

Master bedroom

Living room

Master bath

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Rendering

CARLYLE

Rendering

Master bath

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four seasons

Concept.

Four seasons pediatrics is designed to take its patients through A stimulating adventure by introducing the natural and colorful aspects of the four seasons. With the use of elements found right outside and vibrant, yet cohesive colors, the office will evoke the playful and confident side of its patients

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exam room

exam room

exam room office

Reception

B.O.h. Nurses station

Four seasons pediatrics floor plan 0

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10

15

20

office

Four seasons

Exam room

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four seasons

Nurses station

Exam room

Wait/reception area

Wait/reception area

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four seasons

exam room

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L’aibelle

Concept.

To create a space that introduces contrast to an intimate and romantic setting. Through emulating the Camellia flower as it is found at dusk, L’Aibelle will have contrasting elements, just as the flower would show in the shadows of its petals. The restaurant will also flaunt a touch of geometric shapes to mimic the sharp shadows that cast on the summer fields from flowers.

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l’aibelle 28


l’aibelle

DINING NOOK

BOOTH SEATING

booth seating

MAIN TABLE

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l’aibelle

l’AIBELLE DINING

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grAPHIC DESIGN. 31


magazine spread

Type Tuesday

“The word ‘girl’ is so loaded in its

By Madeleine Morley

infantilising usage, and at the same time paradoxically as an empowering term that women use for eachother.”

Back Story:

During her media and graphic design degree, recent grad Marion Bisserier read an interview with the type designer Susanne Dechant, titled ‘Type Persons Who Happen to Be Female’ in the book Women In Graphic Design (1890-2012). In the interview, Dechant points out that while there is currently an equal number of men and women studying type design at design schools, the representation of women in foundries and typographic conferences remains far lower than that of their male peers. “I was interested in that visibility gap and how visibility plays a crucial role in encouraging more of us to pursue a career in the field,” says Bisserier. “As a response, I decided to address the issue of visibility by designing a typeface which purposely occupies as much positive space as possible and can hardly remain unnoticed.” In terms of design and form, typefaces that are playful in their use of space became key sources of inspiration for Bisserier, such as Calcula by Shiva Nallaperumal, Fit by David Jonathan Ross, or even Standard by Benoît Bodhuin. Conceptually, Good Girl sits in dialogue with Summer Studio’s Queer Type and the WR+RU’s Pussy Galore, and it’s just been shown as part of the grad show for her former school, London College of Communications. AIGA Eye on Design

Why’s it called Good Girl?

Because the typeface is loud-mouthed and unafraid to take up space—it gets in the way and demands your attention. “When I was designing it, my tutor Paul McNeil said to me that type functions a bit like stereotypes,” says Bisserier. “Once you see the letter ’n,’ you expect other letters like ‘h,’ ‘m,’ or ‘r’ to behave similarly in their form. I really liked this idea, so combined it with my aim of deconstructing stereotypes about women in type and what a ‘feminine’ typeface should look like.” So while most letter shapes fit in with what you might expect of their forms, every so often, a detail surprises you, such as the counter of the capital ‘G’, which inserts itself into the letter’s body like a pushy elbow. This tension around expectations in typography led to Bisserier’s interest in reclaiming ownership of condescending language—such as the phrase “good girl.” “The word ‘girl’ is so loaded in its infantilising usage, and at the same time paradoxically as an empowering term that women use for eachother,” she says.

What are its distinguishing characteristics?

It’s chunky and bubblegum textured, with faint ’70s undertones. The vertex of the uppercase ‘M’ slouches with unladylike glee, and the arm of the uppercase ‘F’ seems to punch outwards like a boxing glove. Exaggerating the concept of taking up space, Bisserier designed Good Girl so that it has very narrow counters and a huge amount of positive space. “I wanted to approach this topic with fun and humor, so it was also very important for me to not rationalize the design too much,” she says. “That maybe explains the roundedness of the typeface and its occasional quirks in the uppercase ‘G’ or ‘M’.”

What should I use it for?

Definitely not for body text—it’s intended for display, so looks best in the form of larger titles or messages. Mixing the three weights together also creates dynamic compositions for posters or magazine covers. “The point of Good Girl isn’t just to make feminist statements,” says Bisserier. “Someone recently suggested that he could see it as numbers on football kits, and I thought that was brilliant.”

Project Description to create a magazine spread that encompasses a typeface’s purpose. The typeface, “Good girl,” was created to do exactly the opposite of what a ‘good girl’ would do. by having shapes jut out like a pushy elbow and other letter that become unpredictable, it becomes very eye-catching. to help showcase this bold behavior, the letters and numbers became a focal point in the middle of the page where they cannot be avoided with a slanted design to attract the eye throughout both pages.

AIGA Eye on Design

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ILLUSTRATOR

latte recipe

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thank you! 34