Page 1

—fig. 01 x=John West

This book is a collection of resolutions. After each hypothesis has been made; each experiment planned out, carried out, and tossed away to be scratched anew upon the surface of a blank page. After the research is researched, and the process is processed, the learnings become learnt, and what remains is a careful documentation of answers to the question ‘What is the problem’?


—fig. 01 x=John West

This book is a collection of resolutions. After each hypothesis has been made; each experiment planned out, carried out, and tossed away to be scratched anew upon the surface of a blank page; After the research is researched, and the process is processed, the learnings become learnt, and what remains is a careful documentation of answers to the question ‘What is the problem’?


窶認IG. 01 X=JOHN WEST

008


table of contents

—fig. 01

—fig. 06

x =opinion

x=beauty

p 10

p 58

—fig. 02

—fig. 07

x=heritage

x=pursuit

p 20

p 68

—fig. 03

—fig. 08

x=knowledge

x=home

p 30

p 78

—fig. 04

—fig. 09

x=style

x=experience

p 42

p 86

—fig. 05

—fig. 10

x=innovation

x=identity

p 50

p 96

009


—fig. 01


— F I G . 0 1 T W O C E N T S A P P L I C AT I O N D E S I G N

—fig. 01 x=opinion

In the fall of 2013, I studied under the instruction of Bryan Periatt. The course was Graphic Design 3. My objective was to design a mobile app using the built in features of the iPhone 5S, this lead to the creation of the fictional social media app ‘Two Cents’: an app that provides a venue for critiquing movies, books, and music artists in a social environment. The idea stemmed from my love of discussing movies and books with friends, and the convenience of asking them for recommendations on new things to read and watch. In Two Cents there is no ‘expert’, there are only the people whose opinion the user values; a user can follow friends, family, and even celebrities using the app. The name of the app is derived from idea of giving one’s ‘two cents’ as an indication of sharing one’s opinion. The design is very dark and rich with the idea that a user may be operating their device in a movie theater before or after a film to scan what their friends think. The app shows elegance and sophistication as to warrant a semi-formal environment for sharing discussions about different types of media. Another feature of the app is discovering new things that a user might enjoy based off certain criteria of the user’s choice. Leaving reviews and ratings creates an individual collage of album covers, movie posters, and book covers personalized to the user.

011


— F I G . 0 1 T W O C E N T S A P P L I C AT I O N D E S I G N

013


窶認IG. 01 X=JOHN WEST

016


— F I G . 0 1 T W O C E N T S A P P L I C AT I O N D E S I G N

017


窶認IG. 01 X=JOHN WEST

018


— F I G . 0 1 T W O C E N T S A P P L I C AT I O N D E S I G N

019


—fig. 02


— F I G . 0 2 D O N F R A N C I S C O PA C K A G E R E D E S I G N

—fig. 02 x=heritage

In the fall of 2011, I studied under the instruction of Paul Kagiwada. The course was Package Design 2. My objective was to take an existing package intended for a mass market audience and redesign it for a boutique environment. I chose to redesign the Don Francisco’s Coffee packaging. Don Francisco Goviña started Goviña Gourmet Coffees in 1963 in Los Angeles, and his high quality beans quickly gained a national reputation. For 21 years the brand thrived and in 1984, Goviña Gourmet Coffees created the Don Francisco Coffee brand as tribute to their family patriarch. The Goviña family migrated from Spain to Cuba where Don Francisco grew up beside workers in his family’s coffee bean fields. Here he learned how to process, dr y, sort, and roast coffee beans. Alluding to the family’s Spanish heritage, 18th centur y bullfighting posters became the inspiration for the package design. The new packaging mimics the bold typography and vivid colors of the antique posters. The package redesign uses images of bulls to reinforce the imager y of a strong cup of coffee. Renaming the blends after Spanish cities sparks the idea of authenticity in the brand, while the brown paper packaging is reminiscent of the Goviña’s family farm–personal and home grown. The final design was selected for display at the Academy of Art University Winter Exhibition.

021


窶認IG. 01 X=JOHN WEST

022


— F I G . 0 2 D O N F R A N C I S C O PA C K A G E R E D E S I G N

025


— F I G . 0 2 D O N F R A N C I S C O PA C K A G E R E D E S I G N

029


—fig. 03


— F I G . 0 3 L A B R O OT S I D E N T I T Y R E D E S I G N

—fig. 03 x=knowledge

In the fall of 2012, I studied under the instruction of Andrew Cambouris. The course was Identity Design 2. My objective was to take an existing social media company and redesign its brand. Lab Roots was started in 2008, and though the community is small, Lab Roots has the potential to make a huge impact on modern science. The company was created to allow members of the science community—who would typically never meet one another face to face—to interact, share information, and collaborate across long distances. The company leaders know that through communication and collaboration, scientific breakthroughs can happen. This mission is weakened by the existing brand which lacks professionalism, attention to detail, and trustworthiness. The redesigned identity draws inspiration from scientists conducting research in harsh environments. Being a scientist is a demanding career that takes dedication and years of hard work. The new brand pays homage to this hard work by with a logo mark and brand elements that have been measured and meticulously calculated. The new logo mark remains simple and memorable, but is built on a complex grid system that shows precision and purpose. The color palette is limited, as to represent the black and white nature of science, and secondary elements include imagery representing measurements and data analysis.

031


窶認IG. 01 X=JOHN WEST

034


B

B

XXX

X

XXX

.75X

X

X

X

X

B

B

X

B X X 1.5X 1.5X

B


— F I G . 0 3 L A B R O OT S I D E N T I T Y R E D E S I G N


— F I G . 0 3 L A B R O OT S I D E N T I T Y R E D E S I G N

039


—FIG. 01 X=JOHN WEST

brand

03

PrImary loGo

The lab roots brand is designed to be professional at all times.

as well as the ever growing network that lab roots is working to develop. although the graphic depiction of roots—a plateau with

doing fieldwork and procuring results. It should feel experienced,

three descending lines—can be used as a stand-alone element, the

like it has been used but maintains its integrit y through youthful

02

05

The main signature is a representation of the scientific communit y,

While it should be welcoming , it should also be used tact fully. Ideally, the st yle should feel tried and trusted, representing scientists

loGo

honest y. lab roots recognizes hard work and promotes the collaboration of scientists and researchers.

preferred lab roots logo is a result of both the word and root

04

elements combined.

s T r aIGH T da sHed ba r

Cl a n ne Ws

Cl a n bold

PrIm a ry Color s

CmyK _C24 m16 y25 K85

abCdefGHIjKlmnoPqrsTuvWXyz abcdefghijklmnopqrstuvwxyz

CmyK _C02 m00 y00 K05

rGb_r55 G58 b55

rGb_r234 G239 b242

He X _#373936

He X _ #e9eef1

abcdefghijklmnopqrstuvwxyz

abcdefghijklmnopqrstuvwxyz

1234567890

1234567890

?!.,/@#$%^&*()

?!.,/@#$%^&*()

s T r aIGH T me a sur e

bl aCK ba r

Cl a n n a r roW ne Ws

mobIle

Cl a n n a r roW bold

mobIle

rounded me a sur e 75%

50%

25%

abcdefghijklmnopqrstuvwxyz

abcdefghijklmnopqrstuvwxyz

abcdefghijklmnopqrstuvwxyz

abcdefghijklmnopqrstuvwxyz

1234567890

1234567890

?!.,/@#$%^&*()

?!.,/@#$%^&*()

seConda ry Color s CmyK _C55 m00 y10 K30

CmyK C35 m00 y100 K20

rGb_r74 G153 b171

rGb r146 G175 b43

He X _#4999aa 75%

He X _#92ae2a 50%

25%

75%

50%

25%

Color PaleTTe

16

TyPoGraPHy

18

seCondary GraPHICs

20

These swatches indicate the primar y and secondar y colors that

The primar y t ypeface to be used on all applications and/or commu-

examples of secondary graphics are depicted above. acceptable sec-

make up the lab roots color palet te. The primar y colors—dark and

nications is Clan. It is a complimentar y t ypeface to that of the lab

ondary elements are bars and lines that retain high-contrast as that

light grey—should always be used, while the accented colors—green

roots logo. all weights and st yle are accepted.

of the logo. They should represent measurements, charts and graphs.

and blue—provide the flexibilit y to maintain both interest and consistency across all mediums and/or layouts.

040

brand aPPlICaTIons

21


— F I G . 0 3 L A B R O OT S I D E N T I T Y R E D E S I G N

X

X

X

X

2X

2X 2X

X

X

X

X

X

Clear sPaCInG

2X

X

X

08

Clear sPaCInG

This grid indicates the minimum amount of space required for the

09

Clear sPaCInG

This grid indicates the minimum amount of space required for the

10

This grid indicates the minimum amount of space required for the

main signature. In order for the lab roots logo to look its best,

secondar y mark. In order for the abbreviated logo to look its best,

lab roots symbol. In order for the symbol to look its best, please

please ensure to adhere to the spacing guidelines depicted. The

please ensure to adhere to the spacing guidelines depicted. The

ensure to adhere to the spacing guidelines depicted. The spacing

spacing around the signature should not be broken unless it is by

spacing around the signature should not be broken unless it is by

around the signature should not be broken unless it is by that of a

that of a background element.

that of a background element.

background element.

714.926.6384 contact@labroots.com labroots.com

18340 Yorba Linda Blvd. Suite 107 PMB 427 Yorba Linda, CA 92886

18340 Yorba Linda Blvd. Suite 107 PMB 427 Yorba Linda, CA 92886

John West 700 Taylor St. San Francisco, CA 94108

700 Taylor Street San Francisco, C A 94108 October 9, 2012

Dear Mr. Barresi

Borempe ruptatestrum quide paribus maiosti ostrunt velibus dolorem que et mincipsam, consequam facipient, cum voluptatio earum di accate et dessi omniat omnis essim et qui consequ isquamu sandam quisciis doleste quist eni inum as nonesto magnatiatur rerum de consect oremquamus maio et volupta vendunto blaut aut int as et lit endipsa ntibus sinti of ficae quasint quat doloriatiis aut ut a voloren ditatisci nat.

Gendi debit faces sunt exceris aut quod molore nis utestorepere venest quaecae volut fuga. Ugia vel int pre, si blauditias dolorep editae. Namus aut ra si doluptatati nonsequatame quiditi nctisin velisti onsequam volore la consequam dolupta temque eate eosandae parum, nihicate corrovit plab idipsum andentiatiur autem aut dolorro maion cor audaere pratur as dus ate optatur alignam quidem id et acepers pelenit repudae pellupta

Don Cruikshank

veniminusa esciuntio iditat.

18340 Yorba Linda Blvd. Suite 107 PMB 427 Yorba Linda, CA 92886

founder

Ditem liassin vendant utatem voluptas ex ea dolent fugiasitatem labo. Ut laborunt audam, quatiure conem. Fugitias estenih ilicia eictemp oribus dicatis paruntiam que sim facerumquid quid quo ommodios ipsumqui

714.926.6384 don@labroots.com labroots.com

sitecto molesequis minisque ratqui ne niasperum es expliquo ma volor sit exceritia nobissit eos is nonsenimet odignatur ma venimus sus.

Sincerely,

Don Cruikshank Founder

John West 700 Taylor St. San Francisco, CA 94108

leTTerHead

22

busIness Card

This is the lab roots let terhead. The layout capitalizes on negative

24

enveloPe and maIlInG label

23

The lab roots business card is of ten going to be the first point

above are the lab roots envelope and mailing label. a s with the

of contact for many future lab roots users. Thus, the lab roots

let terhead, each piece of stationer y utilizes negative space and

provide subtle visual interest, without being distracting while high-

business card should be the most accurate depiction of the network

subtle secondar y graphics.

lighting the main content.

besides the network itself.

space and a number of secondar y graphics. The secondar y graphics

e-maIl

lab roots of ten uses e-mails as a way to

patrons. These e-mails are a way to keep

news and upcoming events surrounding t To entice the user into reading the e-mai designed and easy to read.

041


—fig. 04


—FIG. 04 ARMITRON WEBSITE REDESIGN

—fig. 04 x=style

In the fall of 2013, I studied under the instruction of Roland Young. The course was Integrated Systems. My objective was to design a responsive retail website for Armitron Watches. Studies have shown that almost one third of all website traffic comes from mobile devices, so designing a mobile friendly website is incredibly valuable when it comes to internet retail. Armitron was founded in 1955 by Eugene Gluck in Long Island City, New York. In 1999, Armitron had the 5th largest share of all watch purchasers by brand in the United States, and in 2005 it was ranked as one of the top ten fine and fashion watch brands. Armitron sets the bar for quality watches at an affordable price, and offers a lifetime guarantee. Though the watches are good quality, the brand isn’t known for being exceptionally fashionable. The new website and branding leaps this hurdle by appealing to a younger and more contemporary generation of watch wearers. In the past, owning a timepiece was a status symbol, but today it has become a fundamental part of a wardrobe. The demand for affordable watches creates a large audience, of which Armitron works to maintain its large share. The website redesign considers the watch as a vital part of a complete wardrobe. The hero photography displays the watches subtly and tactfully. High contrast between light and dark; thick and thin embodies high fashion and masculinity.

043


窶認IG. 01 X=JOHN WEST

044


窶認IG. 04 ARMITRON WEBSITE REDESIGN

047


窶認IG. 01 X=JOHN WEST

048


—fig. 05


— F I G . 0 5 LY N X G O L F B A L L PA C K A G E R E D E S I G N

—fig. 05 x=innovation

In the spring of 2011, I studied under the instruction of Christine George. The course was Package Design 1. My objective was to redesign a package of golfballs for 3 different audiences. Lynx was started in 1971 by John Riley Sr., who had just left PING and was a well known name in golf club production and innovation at the time. The company, Lynx, revolutionized the design of many golf clubs and was purchased by Golfsmith in the 1990s. The brand’s popularity has gone up and down since their acquisition, but has remained a quality and inexpensive brand of golf equipment and accessories, that makes its way into many amateur golfers’ bags. The current brand and packaging is dated and unimpressive on retail shelves next to its high tech and flashy competitors. The package redesign aims to elevate the Lynx brand in the eyes of the consumer. Using translucent acetate cleverly folded into a triangular prism, the design literally elevates a single ball, giving it center stage in the package when contrasted with the dark labels. Each audience that Lynx targets—pro, men, and women golfers—will find the product that is right for them, individualized by different colors and background patterns. Each package has been influenced by traditional golf fashion, while making the brand more appealing to a newer and younger audience of golfers.

051


窶認IG. 01 X=JOHN WEST

052


Yo u

ro p

po

ne

n t’ sb a

ll

Yo u

rb a ll

— F I G . 0 5 LY N X G O L F B A L L PA C K A G E R E D E S I G N

rt ely nve cis co into Pre d to m ce. re entu tan ee gin om dis a en re m um of d ion an co axim s re m d fu y co in ce th l. lan erg e Ba h-en onsiv teria a p ig h res er m v co

PRO

GOLFSMITH 110 0 0 N O R T H I H - 3 5 AU ST I N , T E X AS 7 8 7 5 3 M A D E I N TA I WA N

BALANCED FUSION FOR THE PRO GOLFER

057


—fig. 06


—FIG. 06 SALON SELECTIVES IDENTITY REDESIGN

—fig. 06 x=beauty

In the fall of 2012, I studied under the instruction of Andrew Cambouris. The course was Identity Design 2. My objective was to take a retail brand and redesign its identity. Salon Selectives was star ted in 1987 and was the first brand to adver tise salon-inspired hair care products that were affordable to the masses. In the late 1990s the brand was the second most successful series of hair care products in the United States. Unfor tunately, Salon Selectives quickly fell out of the spotlight, and was discontinued in the mid 2000s. It saw a few failing comebacks until 2011 when it was acquired by CLT International, and was consequently relaunched targeting a younger and broader demographic. Despite the reboot, the current brand fails to communicate both the quality and affordability of its products successfully. This brand redesign expands the name of Salon Selectives in a way it has not seen in the past. It wields a broader and brighter color pallet, as well as a style of simple iconography that appeals to a larger audience of young people. The brand is an embodiment of the qualities of beautiful hair: It uses subtle gradients to ‘shimmer’, as healthy hair does, and the richness and variety of the palette represents the many possibilities of hair color. The new logo mark was created using a grid of circles, to create a flowing and organic feeling, while being meticulous enough to show the care that taken to ensure each cur ve is perfectly smooth.

059


窶認IG. 01 X=JOHN WEST

SS EAL ELC TON IVES

062


窶認IG. 06 SALON SELECTIVES IDENTITY REDESIGN

065


窶認IG. 01 X=JOHN WEST

066


—fig. 07


— F I G . 0 7 V E N T U R E PA C K A G E D E S I G N

—fig. 07 x=pursuit

In the spring of 2013, I studied under the instruction of Valerie Taylor-Smith. The course was Package Design 3. My objective was to produce a series of skin care products an extension of an existing brand. The packaging had to use a similar design language as the parent brand, and the products had to have a Point of Purchase display. Victorinox, the original creator of the Swiss Army knife, has a reputation of excellence, courage, and preparedness. A tribute to these same core values, Venture was created. The name means “to brave the dangers of”, and is appealing to a very specific target market of men between the ages of 22 and 40 with a sense of adventure. The products and packaging are designed for extensive travel or stay in the outdoors. The range of products needed to be those an outdoorsman would find the most valuable, and includes sunblock, lotion, lip balm, insect repellant, bar soap, and heat rub. Naturally, the brand adopted the Swiss style of design: using minimal colors and type, with a strong reliance on negative space. The bottles employ simple iconography to signify which product you are reaching for at a glance. The aluminum bottles and containers were selected as they could be reused and could weather the elements. Lastly, the Point of Purchase display is designed as a simple representation of a topographic map elevating the products from the counter.

069


窶認IG. 01 X=JOHN WEST

070


窶認IG. 01 X=JOHN WEST

074


窶認IG. 01 X=JOHN WEST

076


— F I G . 0 7 V E N T U R E PA C K A G E D E S I G N

077


—fig. 08


— F I G . 0 8 R O C K E T PA C K A G E D E S I G N

—fig. 08 x=home

In the spring of 2013, I studied under the instruction of Valerie Taylor-Smith. The course was Package Design 3. My objective was to create a fictional household cleaning brand, and to develop a family of packages using a consistent design language. This lead to the creation of Rocket. The fictional company was started in 1936 by James Rockmore. Rockmore was a businessman known for getting anxiety when things were dirty. He spent time testing household cleaning supplies and when they didn’t preform at the level he wanted them to, he created his own company. Rocket is a company dedicated to providing the best products for home cleaning, and is one of the first to take on an environmentally conscious business model. Rocket’s products range from bar soap, to window cleaner, to garbage bags. The packaging is designed with neutral colors and simple patterns so as not to conflict with the design of a person’s own home decor. The desaturated colors of the packaging makes the products appear to be more experienced and trustworthy than many of the other flashier products currently in the market. The packages use a consistent brand language across all of the products, and are designed to be a practical addition to the home that doesn’t need to be hidden from view. The subtle pattern and ‘scientific’ iconography are in reference to the many experiments run by James Rockmore before his launch of the company.

079


窶認IG. 01 X=JOHN WEST

080


窶認IG. 01 X=JOHN WEST

084


—fig. 09


—FIG. 09 UBER EXPERIENCE DESIGN

—fig. 09 x=experience

In the summer of 2012, I started an internship at Uber Technologies under the management of Shalin Amin. Uber started in 2009 with a mission to connect riders and drivers through an easy-touse smartphone app. During my internship, I assisted on a major redesign of the app—taking the app from a place of limited functionality, to one of elegant design and a plethora of user accessible features. I also designed for large promotional events. I worked directly with engineers, opening my mind to a world of design outside of print and packaging. At the conclusion of my internship in the fall of 2012, I was given the opportunity to join Uber full-time as the 3rd member of the design team. At the beginning of my employment I fulfilled marketing requests, but was quickly moved to the product team where my first major project was the design of the Uber marketing emails. Later, I was the sole designer on the Uber Blackberr y app, where I was faced with the challenge of replicating the Uber experience on a device with much smaller screen real estate and limited functionality. After the conclusion of the Blackberr y App, I assisted on the design of our current marketing website and many other projects still in the works. My early placement on the design team has allowed me to work across a wide variety of projects, as well as given the me opportunity to work with many other great designers.

087


窶認IG. 01 X=JOHN WEST

088


窶認IG. 09 UBER EXPERIENCE DESIGN

089


窶認IG. 01 X=JOHN WEST

090


窶認IG. 01 X=JOHN WEST

092


窶認IG. 09 UBER EXPERIENCE DESIGN

093


窶認IG. 01 X=JOHN WEST

094


窶認IG. 09 UBER EXPERIENCE DESIGN

095


—fig. 10


—FIG. 10 BRANDING

—fig. 10 x=identity

During my student career at the Academy of Ar t University I have worked on many different logo marks under the instruction of many different teachers. The following is a carefully curated selection of my favorites, chosen to display the breadth of my abilities through designs for a wide variety of audiences.

097


窶認IG. 01 X=JOHN WEST

098


窶認IG. 01 X=JOHN WEST

100


窶認IG. 01 X=JOHN WEST

102


John West

Book Binding

415.992.1729

Blurb®

hello@iamjohnwest.com

Blurb.com

iamjohnwest.com Photography School

John West

Academy of Art University,

Lana Bachynski

School of Graphic Design Text Stock Course

Mohawk Superfine

Senior Portfolio Fonts Instructor

Leitura News

Mary Scott

DinPro

Department Chair

Software

Mary Scott

Adobe Creative Cloud

Copyright© 2014 All rights reserved. No part of this publication can be reproduced without expressed permission from John West.

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窶認IG. 01 X=JOHN WEST

104


Thank you

Mom, Dad, Lana, Josh, Karen, Car ver, Abel, Shea, Kim, Rochelle, Alex, Romana, Grandpa, Jackie, Brandon, Yng, Jonathan, Alicia, Mendel, Chuck, Joey, Brian, Logan, Casey, Scott, Shalin, Paul Smith, Paul Holden, Jordon, Tom, Caleb, Alan, Garrett, Drew, Carrie, Mar y Scott, David Hake, Michael Kilgore, Drey, Shavon, Ann, Coach Pierce, Kieth Woodland, & Katie Lauter wasser.

105


窶認IG. 01 X=JOHN WEST

106


—fig. 02

John West Portfolio  

First version of my portfolio

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