Work In Progress

Page 1




“What I see, who I become.”

—F. Ocean

4


I feel certain things happen for a reason. The perfect piece of inspiration always comes from the most unexpected of places. I’ve learned to face the world with my eyes open—taking in all I can. Every moment is an image. Every step is work in progress.

5

FOREWORD

I once found myself walking home late at night after work with a handful of empty wine bottles and restaurant menus to use as inspiration material for my current school projects, not a care in the world of how my image was perceived by passersby. My only focus was design and getting my project done. It was constantly on my mind, inside and outside of the classroom. In that moment, I realized how everything around me became part of my research—my process.


MATT HAWES // WORK IN PROGRESS.

Contents

Mosaik Music & Fashion Magazine Pages 06-19

Sotogawa Amazake Pages 20-27

Charles Bukowski Book Cover Series Pages 28-33

6


CONTENTS

San Diego City College Seal

Super Bloom Patterns & Prints

Pages 34-39

Pages 58-69

Pastelle French CafĂŠ

Fluid Web Design Conference

Pages 40-49

Pages 70-77

Crisis Flint Water Campaign

Nothing Sacred Winery

Pages 50-57

Pages 80-85

7


DATE: MAY 2017

PROJECT:

Mosaik: Magazine

Course_ Page Layout Magazine Branding

Type_

Tiempos & DIN

MATT HAWES // WORK IN PROGRESS.

Project_

8

INDUSTRY: PUBLISHING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

CATEGORY: EDITORIAL

CHAPTER 1 // MOSAIK

9


DATE: MAY 2017

INDUSTRY: PUBLISHING

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

Mosaik Magazine is a unique, bimonthly digest that is targeted towards creators and followers of underground music and the international fashion industry. The magazine targets a stylish audience, ages 21–35, with in-depth articles about emerging topics. Mosaik strives to stay in front of trends by connecting directly with upcoming talent.

Solution_

10

The Mosaik covers use a photo-driven approach that gives first honors to the artist. The magazine uses Tiempos for its high contrast, yet unpretentious style that is full of energy. The masthead, which is modified from Tiempos, is locked up with headlines and other information for structured sophistication. The interior layout uses a flexible 12-column grid with lots of whitespace and typographic hierarchy. Vivid duotone treated images provide a style that is memorable and out of the ordinary.


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

CATEGORY: EDITORIAL

CHAPTER 1 // MOSAIK

11


DATE: MAY 2017

MATT HAWES // WORK IN PROGRESS.

PROJECT:

12

INDUSTRY: PUBLISHING


ART DIRECTOR: BRADFORD PRAIRIE

It is essential that Mosaik differentiates from other magazines that cater to music and fashion. Mosaik sets itself apart through a curation style that is driven by core values and covers strictly underground music of all genres and alternative fashion.

Core Values

Espression

As artists ourselves, we relate to creators and makers of all types. Style We stay current by collaborating with people that influence trends. Innovation We push style by embracing creativity and experimental ideas. Vision We believe that self expression drives new ideas. Experience We advance the art community by promoting local art and shows. Rhythm Driven by music and movement, we face the world with energy and spirit.

Competitive

Mosaik stays in front of trends by collaborating with and advancing the

Advantage

creative community. We align with creators and makers by staying true to our core values and staying open to innovative ideas. Creator

Brand

Passionate about self-expression—A champion of design

Archetype

aesthetics while addressing social needs for imagination

and innovation.

Big Idea

More Than Music.

CATEGORY: EDITORIAL

CHAPTER 1 // MOSAIK

Overview

TYPEFACES: TIEMPOS TEXT & DIN NEXT


DATE: MAY 2017

PROJECT:

INDUSTRY: PUBLISHING

TYPOGRAPHY

Tiempos Text

DIN Next LT Pro

ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890

ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890

MOTTO

0 0 3

A

·

I S S U

0 0 3

E

E

S

U

More than Music.

MOS A

E

·T H E F IK I S S U ·

VE ISS

CRESTS

COLOR

A

HION W

MATT HAWES // WORK IN PROGRESS.

LOGO

KEYWO RDS

Expression Style Rhythm Vision Innovation Alternative

LAYOUT VARIATIONS


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TYPEFACES:TIEMPOS TIEMPOSTEXT & DIN & DIN NEXT

CATEGORY: EDITORIAL

CHAPTER 1 // MOSAIK

15


PROJECT:

DATE: MAY 2017

16

INDUSTRY: PUBLISHING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

17

CATEGORY: EDITORIAL


PROJECT:

DATE: MAY 2017

18 18

INDUSTRY: INDUSTRY: PUBLISHING PACKAGING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

19

CATEGORY: EDITORIAL


PROJECT:

DATE: MAY 2017

20 20

INDUSTRY: PUBLISHING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

21

CATEGORY: EDITORIAL


DATE: MAY 2017

MATT HAWES // WORK IN PROGRESS.

PROJECT:

22

INDUSTRY: INDUSTRY: PUBLISHING PACKAGING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: TIEMPOS & DIN

CATEGORY: EDITORIAL

CHAPTER 1 // MOSAIK

23


24


CHAPTER 1 // MOSAIK

25


PROJECT:

DATE: APRIL 2018

Sotogawa: Amazake

Logo & Packaging

Project_

Branding

Type_

Texta & Sabon

MATT HAWES // WORK IN PROGRESS.

Course_

26

INDUSTRY: SUPPLIER


ART DIRECTOR: MIN CHOI

TYPEFACES: TEXTA & SABON

CATEGORY: BRANDING

CHAPTER 2 // SOTOGAWA

27


PROJECT:

INDUSTRY: SUPPLIER

MATT HAWES // WORK IN PROGRESS.

DATE: APRIL 2018

Objective_

Sotogawa is a Japanese beverage that translates to ‘going outside.’ The amazake beverage, made with fermented rice ‘koji,’ is a staple of traditional Japan. Sotogawa strives to expand the amazake market to the United States by conveying its relationship to outdoors and good health. The target audience is young adults, ages 18–31, who seek alternative drinks that promote activity and strong health.

Solution_

28

Inspired to challenge the stressful work-driven life foisted on young adults, the Sotogawa packaging embraces Japanese aesthetics through impeccable order and cleanliness. The combination mark uses clean sans serif typography and a monolinear style for a modern look that conveys balance. Key messaging, including the ‘feel free’ tag line, is included through clever reveals on the packaging and website. A soft color palette and minimalistic textures differentiate the amazake varieties on bottle labels.


ART DIRECTOR: MIN CHOI

TYPEFACES: TEXTA & SABON

CATEGORY: BRANDING

CHAPTER 2 // SOTOGAWA

29



ART DIRECTOR: MIN CHOI

TYPEFACES: TEXTA & SABON

31

CATEGORY: BRANDING


DATE: APRIL 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

32

INDUSTRY: SUPPLIER


ART DIRECTOR: MIN CHOI

TYPEFACES: TEXTA & SABON

CATEGORY: BRANDING


MATT HAWES // WORK IN PROGRESS.

PROJECT:

DATE: APRIL 2018

INDUSTRY: SUPPLIER


ART DIRECTOR: MIN CHOI

TYPEFACES: TEXTA & SABON

CATEGORY: BRANDING


DATE: FEBRUARY 2016

PROJECT:

Charles Bukowksi: Book Cover Series

Advanced Typography

Project_

Book Cover Redesign

Type_

Garamond Condensed

MATT HAWES // WORK IN PROGRESS.

Course_

36

INDUSTRY: PUBLISHING


ART DIRECTOR: SEAN BACON

TYPEFACES: GARAMOND CONDENSED

CATEGORY: BRANDING

CHAPTER 3 // CHARLES BUKOWSKI

37


DATE: FEBRUARY 2016

INDUSTRY: PUBLISHING

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

Charles Bukowski, known as the “Laureate of

Solution_

Messy photographs depicting trashy scenes are used

American Lowlife,” is legendary for his depictions

on the covers, setting them apart on store shelves.

of his relationships with women, work, and alcohol.

The photos, processed with a vintage, desaturated

To celebrate forty years since the release of his most

look, are shot in a point of view style to indict the

famous novel Women, Past Lives Publishing wanted

viewer into the scenes. Garamond, chosen for its

to redesign the book covers to give them a fresh

classic, literary style, is set behind the images on the

look. The covers needed a gritty, vintage aesthetic

covers to give more emphasis to the gritty scenes.

that authentically embraced Bukowski’s style.

38


ART DIRECTOR: SEAN BACON

TYPEFACES: GARAMOND CONDENSED

CATEGORY: BRANDING

CHAPTER 3 // CHARLES BUKOWSKI

39


PROJECT:

DATE: FEBRUARY 2016

40

INDUSTRY: PUBLISHING


ART DIRECTOR: SEAN BACON

TYPEFACES: GARAMOND CONDENSED

CATEGORY: BRANDING


MATT HAWES // WORK IN PROGRESS.

PROJECT:

DATE: FEBRUARY 2016

INDUSTRY: PUBLISHING


ART DIRECTOR: SEAN BACON

TYPEFACES: GARAMOND CONDENSED

CATEGORY: BRANDING


DATE: MARCH 2018

PROJECT:

San Diego City College: Seal Redesign

City Studio

Project_

Seal Redesign

Type_

Whitney & Sweet Sans

MATT HAWES // WORK IN PROGRESS.

Course_

44

INDUSTRY: EDUCATION


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

TYPEFACES: WHITNEY & SWEET SANS

INDUSTRY: PACKAGING

CHAPTER 4 // SDCC SEAL

45


DATE: MARCH 2018

INDUSTRY: EDUCATION

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

Designed in 1958, the previous seal carries with

Solution_

The visual hierarchy of the new seal is improved by

it symbolism and iconography from the school’s

grouping together the scroll, plume, and compass,

past. To celebrate City College’s centennial, the

which symbolize varied aspects of education.

former seal needed to be redesigned to reflect the

These icons are now intertwined, to simplify

up-to-date values and diversity of the school. The

the composition and serve as a metaphor for a

project required a discovery phase, exploring the

unified learning process. The key, symbolic of the

values and history of the school, a concept phase,

school’s mission, rightfully moves up in scale and

to find the best structure and layout, and a design

emphasis. The knight’s helmet was flipped, facing

phase, in which the typography and illustration

the right and looking forward. All of the illustra-

were executed.

tions were reworked with unified line weights to emphasize a modern and simplistic style.

46


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

TYPEFACES: WHITNEY & SWEET SANS

INDUSTRY: PACKAGING

CHAPTER 4 // SDCC SEAL

47


DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

48

INDUSTRY: EDUCATION


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

There were typographic issues in the existing crest, along with how the icons were drawn. Overall, the crest feels clunky and dated.

INDUSTRY: PACKAGING

CHAPTER 4 // SDCC SEAL

Existing Crest

TYPEFACES: WHITNEY & SWEET SANS


DATE: MARCH 2018

PROJECT:

MATT HAWES // WORK IN PROGRESS.

Stage 1 Stage 1 began with sketching of the essential layout placement and scale for quick iterative exploration.

Stage 2 In this stage, typography was considered for a fresher/current look. The usage of line elements were included to fill the space between the shield and typography.

INDUSTRY: EDUCATION


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

TYPEFACES: WHITNEY & SWEET SANS

INDUSTRY: PACKAGING

Stage 3

Final Crest Final refinements were made to all typography and icons. For more readability to the date, a banner was included.

CHAPTER 4 // SDCC SEAL

Some icons we knocked out in the shield to make it as identical as possible to the current seal. The date was then added to the bottom of the shield.


DATE: MARCH 2018

PROJECT:

INDUSTRY: EDUCATION

MATT HAWES // WORK IN PROGRESS.

LOGO

KEY A D J E C T I V E S

ICONOGRAPHY / SYMBOLISM

HISTORICAL CREDIBLE COLLEGIATE SYMBOLIC Helm Strength

Key Education

Quill Art & Language

TIMELESS ACADEMIC OFFICIAL REPRESENTATIVE

YEAR Compass Engineering

Shield Protection

Scroll Science

1914

MOTTO

ACADEMIC EXCELLENCE SINCE 1914

TYPOGRAPHY

Sweet Sans Heavy

Whitney Bold

ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890

ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

TYPEFACES: WHITNEY & SWEET SANS

INDUSTRY: PACKAGING

CHAPTER 4 // SDCC SEAL

53


PROJECT:

DATE: MARCH 2018

54

INDUSTRY: EDUCATION


ART DIRECTOR: CANDICE LOPEZ & SEAN BACON

TYPEFACES: WHITNEY & SWEET SANS

INDUSTRY: PACKAGING

CHAPTER 4 // SDCC SEAL

55


PROJECT:

DATE: FEBRUARY 2016

Pastelle: Café

Page Layout

Project_

Menu Design

Type_

Lakeside & Akkurat Mono

MATT HAWES // WORK IN PROGRESS.

Course_

56

INDUSTRY: BRANDING


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: LAKESIDE & AKKURAT MONO

CATEGORY: BRANDING

CHAPTER 5 // PASTELLE

57


PROJECT:

INDUSTRY: BRANDING

MATT HAWES // WORK IN PROGRESS.

DATE: FEBRUARY 2016

Objective_

Pastelle is a French cafĂŠ that serves quaint dishes,

Solution_

To create an eclectic brand that is well apart from

pastries, crepes, salads, and light sandwiches.

chains, Pastelle uses a system of several word

Picture the sound of conversations out on the

marks and crest identities. The menu layout is airy

restaurant patio around you as you enjoy your

with a mix of solid and dotted rules for structure

espresso and pastry. To add to that, there is a

and charm. Menu templates include spaces for

subtle sound of jazz off in the distance. I wanted

hand-written daily drink and food specials for a

to capture the essence of fresh roasted espresso

human touch. A blend of soft and light colored

on the street corner that you can stop by and dine

paper, along with mono-space typography, give the

if you like. Coffee beans and flavorful dishes that

brand an authentic vintage flair.

give off some of the most enticing smells in Seattle.

58


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: LAKESIDE & AKKURAT MONO

CATEGORY: BRANDING

CHAPTER 5 // PASTELLE

59


DATE: FEBRUARY 2016

MATT HAWES // WORK IN PROGRESS.

PROJECT:

60

INDUSTRY: BRANDING


ART DIRECTOR: BRADFORD PRAIRIE

Pastelle sets itself apart from other cafés through its effortless style and alignment with its neighborhood. Many cafés feel inauthentic because of the rigid way they adhere to French tradition. Pastelle applies French principles of taste and aesthetics to the local region, creating a more integrated space. While other high-end cafés go to great lengths to import French butter and other ingredients at great cost, Pastelle works with local producers to celebrate the region and promote sustainability.

Value Propositions

Authenticity

We capture natural ambiance through by integrating architecture & space. Location Open to the urban space where we are located, foot traffic is part of our buzz. Service Attentive but transparent—our service conveys effortless, French charm. Detailed We strive to refine our food and service through the smallest of details.

UPSCALE

Positioning

ACCESSIBLE

AUTHENTIC

AFFORDABLE

CATEGORY: BRANDING

CHAPTER 5 // PASTELLE

Overview

TYPEFACES: LAKESIDE & AKKURAT MONO


PROJECT:

INDUSTRY: BRANDING

DATE: FEBRUARY 2016

MATT HAWES // WORK IN PROGRESS.

LOGO

BRAND MARK

SEAL

MENU LAYOUT ILLUSTRATION

COLOR

TYPOGRAPHY

Lakeside

abcdefghijklmn opqrstuvwxyz 1234567890

Akkurat Mono

ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: LAKESIDE & AKKURAT MONO

CATEGORY: BRANDING

CHAPTER 5 // PASTELLE

63



ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: LAKESIDE & AKKURAT MONO

CATEGORY: BRANDING

CHAPTER 5 // PASTELLE

65


PROJECT:

DATE: FEBRUARY 2016

INDUSTRY: BRANDING


ART DIRECTOR: BRADFORD PRAIRIE

67


MATT HAWES // WORK IN PROGRESS.

PROJECT:

68


69


DATE: FEBRUARY 2016

PROJECT:

Crisis: Flint Water Poster

Page Layout

Project_

Poster Design

Type_

Schmalfette & Elementa

MATT HAWES // WORK IN PROGRESS.

Course_

70

INDUSTRY: EDITORIAL


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: SCHMALFETTE & ELEMENTA

CATEGORY: BRANDING

CHAPTER 6 // CRISIS

71


DATE: FEBRUARY 2016

INDUSTRY: EDITORIAL

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

In 2014, the primary source of drinking water for

Solution_

The Crisis campaign uses people-focused black

Flint, Michigan was switched from Lake Huron

and white images in a low contrast style to depict

to the Flint River. Due to insufficient water

the seriousness of the problem in an authentic

treatment, lead leached from water pipes causing

way. Schmalfette, a condensed neo-grotesque,

an epidemic of lead poisoning. While media

paired with Elementa, a slab mono-space, gives

coverage has moved on, the crisis has not been

the typography a sincere look. Campaign posters

solved. To help spread awareness about Flint and

use grungy textures and conceptual illustration to

encourage people to take action, the Detroit Free

emphasize the grit and roughness of the situation.

Press launched a campaign called Crisis.

72


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: SCHMALFETTE & ELEMENTA

CATEGORY: BRANDING

CHAPTER 6 // CRISIS

73


PROJECT:

DATE: FEBRUARY 2016

74

INDUSTRY: EDITORIAL


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: SCHMALFETTE & ELEMENTA

CATEGORY: BRANDING

CHAPTER 6 // CRISIS

75


DATE: FEBRUARY 2016

MATT HAWES // WORK IN PROGRESS.

PROJECT:

76

INDUSTRY: EDITORIAL


ART DIRECTOR: BRADFORD PRAIRIE

TYPEFACES: SCHMALFETTE & ELEMENTA

CATEGORY: BRANDING

CHAPTER 6 // CRISIS

77


78

MATT HAWES // WORK IN PROGRESS.


79


PROJECT:

DATE: MARCH 2018

Logo & Packaging

Project_

Branding

Type_

Bookmania & Sweet Sans

MATT HAWES // WORK IN PROGRESS.

Course_

80

INDUSTRY: TEXTILE


ART DIRECTOR: MIN CHOI

TYPEFACES: BOOKMANIA & SWEET SANS

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM

81


PROJECT:

INDUSTRY: TEXTILE

MATT HAWES // WORK IN PROGRESS.

DATE: MARCH 2018

Objective_

Super Bloom is an online fabric and wallpaper store

Solution_

Super Bloom seeks to empower its audience by

that creates unique patterns and prints. Located in

surrounding them with beauty everyday. Through

San Diego, California, the brand aims to provide style

imagery and storytelling, the brand encourages its

and customization for the apartments, studios, and

audience to stand out and embrace their unique,

offices of its audience of young adults, ages 20–34. The

personal taste. Bookmania is used for its bubbly

surface designs are highly influenced by 60’s and 70’s

construction and reference to 70’s psychedelic culture.

psychedelic culture, infused with a modern aesthetic.

This is mixed with Sweet Sans, a friendly extended typeface with strong readability on the web. A vintage color palette of muted primary tones give the brand an aged quality that evokes spaces that are lived-in with a unique, personal style.

82


ART DIRECTOR: MIN CHOI

TYPEFACES: BOOKMANIA & SWEET SANS

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM

83


DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

84

INDUSTRY: INDUSTRY:TEXTILE TEXTILE


ART DIRECTOR: MIN CHOI

To separate Super Bloom from more conventional, corporate options, the brand needs an authentic, confident personality. Super Bloom pushes its customers to express their personality through their space. Empowerment, self-improvement, and personalized style are core to the brand story.

Demographics

Super Bloom targets mid-income Millennial homeowners and renters, ages 20–34, who live in trendy, urban neighborhoods. Customers are driven by a need to find unique, vintage patterns for their homes, studios, dorm rooms, and office spaces.

Personality

Joyful believers in the future, celebrators of the past.

Attributes

Inspired We take inspiration from the people, stories, and spaces that surround us. Personal We try to know our customers and understand how to express their story. Vintage We believe in timeless style that gets better with patina and age. Authentic We interact with our customers the same way we do with friends.

Marketing Strategy

Marketing for Super Bloom begins with spreading awareness through paid and organic social media posts. Content includes step-by-step installation, pattern features, and home/office tours. Tapestries, banners, bags, and small accessories with Super Bloom prints will be spread through local artists and retail shops.

85

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM

Overview

TYPEFACES: BOOKMANIA & SWEET SANS


PROJECT:

DATE: MARCH 2018

INDUSTRY: TEXTILE

MATT HAWES // WORK IN PROGRESS.

LOGO

ALTERNATE LOGOS

KEY ADJECTIVES

NATURAL PSYCHEDELIC RHYTHMIC

EXPRESSIVE VINTAGE ILLUSTRATIVE

COLOR

YOUTHFUL ORGANIC COLORFUL

PATTERNS

TYPOGRAPHY

Sweet Sans

Bookmania

ABCDEFGHIJKLMN OPQRSTUVWXYZ

ABCDEFGHIJKLMN O P Q R S T U V WXY Z

86


ART DIRECTOR: MIN CHOI

TYPEFACES: BOOKMANIA & SWEET SANS

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM

87


DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

88

INDUSTRY: TEXTILE


ART DIRECTOR: MIN CHOI

TYPEFACES: BOOKMANIA & SWEET SANS

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM


DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

90

INDUSTRY: TEXTILE



PROJECT:

DATE: MARCH 2018

92

INDUSTRY: TEXTILE


ART DIRECTOR: MIN CHOI

TYPEFACES: BOOKMANIA & SWEET SANS

CATEGORY: BRANDING

CHAPTER 7 // SUPER BLOOM

SB Brand Guide catalogue

93


94


CHAPTER 7 // SUPER BLOOM

95


DATE: OCTOBER 2017

PROJECT:

Fluid: ConvergeSE Conference 2018

Advanced Typography

Project_

ConvergeSE Conference 2018

Type_

Circular & Newzald

MATT HAWES // WORK IN PROGRESS.

Course_

96

INDUSTRY: BRANDING


ART DIRECTOR: SEAN BACON

TYPEFACES: CIRCULAR & NEWZALD

INDUSTRY: PACKAGING

CHAPTER 8 // FLUID

97


DATE: OCTOBER 2017

INDUSTRY: BRANDING

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

ConvergeSE, a web design conference in Columbia, South Carolina, needed a fresh brand and website for its 2019 event. The theme, Fluid, was chosen to represent the increasing need for movement and flexibility in website design. The conference, which strives to represent the cutting edge of digital design, needed a conceptual and dynamic brand to engage its target audience of designers, developers, marketers, and business leaders, ages 28–45.

Solution_

98

The Fluid brand is driven by depth and movement. Type, image, shape, and color are layered and move relative to each other on digital applications. Graphic elements, built from geometric shapes with wavy fluidity, are used as icons and energetic patterns to express rhythm. The Circular typeface, a perfect complement for its geometric construction, is paired with Newzald for its classic, expressive voice. A tonal color palette of blues and greens evokes fluidity and sophistication.


ART DIRECTOR: SEAN BACON

TYPEFACES: CIRCULAR & NEWZALD

INDUSTRY: PACKAGING

CHAPTER 8 // FLUID

99


DATE: OCTOBER 2017

MATT HAWES // WORK IN PROGRESS.

PROJECT:

100

INDUSTRY: BRANDING


ART DIRECTOR: SEAN BACON

TYPEFACES: CIRCULAR & NEWZALD

101

INDUSTRY: PACKAGING


INDUSTRY: BRANDING

102


ART DIRECTOR: SEAN BACON

TYPEFACES: CIRCULAR & NEWZALD

INDUSTRY: PACKAGING


MATT HAWES // WORK IN PROGRESS.

PROJECT:

DATE: OCTOBER 2017

INDUSTRY: BRANDING


ART DIRECTOR: SEAN BACON

TYPEFACES: CIRCULAR & NEWZALD

INDUSTRY: PACKAGING


PROJECT:

DATE: MARCH 2018

Nothing Sacred: Winery

Advanced Typography

Project_

Branding

Type_

Disturbance & Mrs. Eaves

MATT HAWES // WORK IN PROGRESS.

Course_

106

INDUSTRY: WINE & SPIRITS


ART DIRECTOR: SEAN BACON

TYPEFACES: DISTURBANCE & MRS. EAVES

CATEGORY: BRANDING

CHAPTER 9 // NOTHING SACRED

107


DATE: MARCH 2018

INDUSTRY: WINE & SPIRITS

MATT HAWES // WORK IN PROGRESS.

PROJECT:

Objective_

Nothing Sacred is a winery located in Santa Rosa, California that offers a different approach to the expanding low-mid price wine market. Unlike many competitors in the space, the brand possesses dark and mysterious qualities, with a high attention to detail, and great tasting wine. Nothing Sacred targets experienced clients, ages 26–40, who go against the grain and have a palette for something different.

Solution_

108

The unique spirit of the brand is conveyed through a focus on the location and people who make the wine. A mix of clean typography, along with the signature of the wine maker, are locked together with a line work grid. An ominous feather crest, created in an engraved style, is etched onto the front glass of the bottle, symbolizing the Santa Rosa region. The label’s torn edges and mix of styles and brand marks, give the bottle a human, handcrafted spirit that sets it apart on the shelves.


ART DIRECTOR: SEAN BACON

TYPEFACES: DISTURBANCE & MRS. EAVES

CATEGORY: BRANDING

CHAPTER 9 // NOTHING SACRED

109


DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

PROJECT:

110

INDUSTRY: WINE & SPIRITS


ART DIRECTOR: SEAN BACON

A wine not to be taken so seriously, but to drink while socializing with friends. A brand dedicated to pleasing your palette.

Naming Process Criteria

Naming Criteria

Research

Brainstorm

Refinement

Selection

While sound and appearance are the first two attributes of the naming criteria, the name must also have distinctive qualities, domain/social availability, and be concise.

Competitor Names

The Prisoner

Saints & Sinners

Dueling Pistols

Ferdinand

Oren Swift

Stephen & Walker

Rigamorale

Lindores Abbey

Dearly Beloved

Fortitude

Landelia

Oculus

Compendium

Run Riot

Fortress

Artful Dodger

Catena Zapata

Stranger & Stranger

111

CATEGORY: BRANDING

CHAPTER 9 // NOTHING SACRED

Naming Objective

TYPEFACES: DISTURBANCE & MRS. EAVES


PROJECT:

DATE: MARCH 2018

MATT HAWES // WORK IN PROGRESS.

Long List

112

INDUSTRY: WINE & SPIRITS


ART DIRECTOR: SEAN BACON

TYPEFACES: DISTURBANCE & MRS. EAVES

The Ladder Potential Names

Selfless

Article. Charity

CATEGORY: BRANDING

Nothing Sacred

y C

al

on

ci

se

bi ila Av a

To t

iv D

is

tin

ct

ra ea A

pp

d un

Quantitative Scoring

The Ladder

2

4

5

5

2

18

Selfless

3

2

2

1

4

12

Black Cloud

2

3

4

2

5

16

Article.

4

3

3

1

5

16

Charity

2

3

4

5

4

18

Nothing Sacred

4

5

4

5

5

23

After reviewing my scoring results, Nothing Sacred scored the highest in Final

appearance and sound. Those two factors alone can make a big impact

Name Selection

in design and make it a lot easier through the design process via bottle labels, social media, and other touchpoints. Nothing Sacred embodies nice symmetry, sound, and perfect letters for a monogram mark. It is also well-balanced with syllables, which was ideal for the ominous, dark, and mysterious aesthetic

Nothing Sacred

CHAPTER 9 // NOTHING SACRED

So

lit

e

nc

e

Black Cloud


PROJECT:

DATE: MARCH 2018

INDUSTRY: WINE & SPIRITS

MATT HAWES // WORK IN PROGRESS.

LOGO

ALTERNATE LOGOS

MONOGRAMS

EMBELLISHMENTS

TYPOGRAPHY

Disturbance

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0 1 2 34 5 6 7 8 9 Hoefler Text

ABCDEFGHIJKLMN

ADJECTIVES

INDUSTRIAL DARK OMINOUS EDGY HISTORICAL artistic unusual COLOR

OPQRSTUVWXYZ Emily Austin

abcdefghihjklmn opqrstuvwxyz CAP DESIGN


ART DIRECTOR: SEAN BACON

TYPEFACES: DISTURBANCE & MRS. EAVES

CATEGORY: BRANDING

CHAPTER 9 // NOTHING SACRED

115


116


TYPEFACES: DISTURBANCE & MRS. EAVES

Engraving on bottle.

117

CATEGORY: BRANDING


PROJECT:

DATE: MARCH 2018

INDUSTRY: WINE & SPIRITS


ART DIRECTOR: SEAN BACON

TYPEFACES: DISTURBANCE & MRS. EAVES

CATEGORY: BRANDING

CHAPTER 9 // NOTHING SACRED


Infinite Brooklyn Art Gallery Super Bloom Prints & Fabrics Allegorical Type Book

_

Monthly Bar Event Sunglass Co. Japanese Beverage _

SDCC Seal Redesign Responsive Web Conference Santa Rosa Winery _

120


French Café International Survey Analysis Conceptual Traveling Book _

Underground Music & Fashion Magazine Independent Printing Service Column Graphics Co. _

Danish Café Motiv Running App. M & H Law Offices _

LOGOS

121


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I extend my gratitude to all the faculty in part of the San Diego City College Graphic Design program, without whose time & benevolence this project would not have been possible. In particular, I would like to thank Sean Bacon, Bradford Prairie, Candice Lopez, Andrea Singer, Min Choi, Julie Warren, Norman Ramos, Eugene Brown, Duane Gardella, my fellow co-workers, all of the volunteers at the English Center, my family, my homies, all of the restaurants & shops around San Diego I bothered for free things to use on projects, & of course all of my fellow alumn who knows exactly how hard this journey has truly been. Thank you so much for your love, patience, & support.

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Designer: Matt Hawes

Bindery: International Binding

Printer: Sunset Press

Type Used: Tiempos, Circular, & Akkurat Mono

Some process shot material, magazine covers, and spreads are strictly for inspiration only. Some of the photography in this book is used from Adobe Stock and Unsplash. All of the other remaining photography was done by Bradford Prairie, Sean Bacon, Emmy Forbes, & Matt Hawes. Hand model for Pastelle case study: Forrest Ta copyright Š2019 Matt Hawes All rights reserved. No portion of this book may be used or reproduced in any manner without the written permission of Matt Hawes.

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