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Graphic Design Portfolio Choe, Se Hee


Graphic Design Portfolio Choe, Se Hee


Graphic Design Portfolio Choe, Se Hee


Editorial Design

Chapter 01

Book Design : The Garden of Forking Paths Brochure Design : Conference Program - Hands On Pamphlet Design : Travel Guide

Typography

Chapter 02

Pamphlet Design : Pinocchio Contents Design : Communication Arts Magazine Pamphlet Design : Franklin Gothic

Motion Graphics

Chapter 03

Logo Animation : Target Song Promotion : Harder Better Faster Stronger The Movie Sequence : Hide and Seek

Identity System

Chapter 04

Brand Identity Design : Roger Brown Study Collection Brand Identity Design : Intelligentsia Coee Wine Label Design : Yali

Promotion Design

Chapter 05

Promotion : TV and Digital Print

Miscellaneous Works

Chapter 06


Chapter 01

Editorial Design

Book Design : The Garden of Forking Paths Brochure Design : Conference Program - Hands On Pamphlet Design : Travel Guide


Exploring for Concept

Background & Objective The aim of this project was to exercise page designing method, emphasizing "ordered structure" in information and clear readable formats. This book, "The Garden of Forking Paths" was a short detective novel in a mystery genre. The story takes the form of a signed statement by an English professor named Dr. Yu Tsun, who is living in the United Kingdom during World War I. Tsun is a double agent, however, a spy for the Germans, as he discloses in the first paragraph of his statement. As the story begins, Tsun realizes that the British officer pursuing him, Captain Richard Madden, is in the apartment of his fellow spy Viktor Runeberg and has presumably either captured or killed him. Tsun surmises that his own arrest is next. He has discovered the location of a new British artillery park and wishes to convey that knowledge to his German masters before he is captured, and hits upon a desperate plan in order to achieve this.

Research Since the project required a series of "period-piece" designs which reflect the issues of culture and mythology of the contemporary era, I decided to handmade all the "period-pieces" which most effectively represent antique sensibility. I created items which could have been belonged to the fictional character, Dr. Yu Tsun, from the historic "Cold War" era of the 1960's and early 70's. Once completed, these pieces along with a brief narrative, were properly laid out and assembled into a handmade hardback book.

research

ideation

final rough sketches follow-up composition sketches

Book Design : The Garden of Forking Paths

02 Research about the period

Before being a fiction, this novel was a periodical and historical text. Therefore, it was essential for me to analyze the hidden and symbolical meaning of the novel before starting the designing process. In order to fully immerse myself into the novel and the historical period, I summarized the positions and the characteristics of the main characters, and noted down all the artifacts or items I thought I could introduce in my project. Since it is important to start designing process only after having the full understanding of the text, I repeated this step several times before I started sketching.

Before I started designing process, I searched for artifacts and documents from the World War Period. I also looked up several images from the period in order to get deeper understanding of the era. In addition, I researched typefaces which was used mostly in that period as well. Based on the research I did, I decided to design a telephone cover, a map, a matchbook, journal entries, stamps, a train schedule, a teaching certificate, a book spread and the London times.

03 Ideation Sketches Phase 1

01

make collages

Based on my research, I began to understand the sensibility of the period. In order to transfer my thought to the product, I started making collages before starting designing pages on computer. I played with a piece of paper by crumbling and scorching, and I also tried writing on a piece of brown paper. Furthermore, by adding a layer of trace paper on the brown paper, I tried to create a mystique feeling.

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02

Overall Phase analysis

01 Understand the story and issues


Elements of book design Phase 2

composition sketches

After numerous rough composition sketches, I decided on 8.25"x10.25" double page layout as the spread composition. I placed the author's name and the title on the top, and page numbers at the bottom of the page. Since I wanted every other page to include appropriate artifacts I created, I designed each layout with ordered grid system.

I wanted the effect of an old parchment with the marks of scorches. Therefore, I saturated the paper with soy sauce, coke and coffee to emulate brownish color of an old parchment. I also attempted baking the paper in an oven and drying it in the air.

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2

8

6 3 1. Matchbook, from a London Pub 2. Passport, Dr.Yu Tsun Actual size: 6.8”x4.8” page 5.

3. Teaching Certificate, Dr.Yu Tsun, professor of English at the Hochschule at Tsingtao Actual size: 9.5”x 8” page 5. 4. Map, of British Artilery Park on the River Ancre page 16.

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5. Telephone Book Cover, London page 9. 6. Train Schedule, London to Ashgrove Actual size: 4.5”x 8.5” page 10. Fonts: Cloister Black Light, Plantagenet Cherokee, Arial, Garamond, Arno Pro 7. London Times, cover of the newspaper design Actual size: 14.25”x 19.875” page 17. 8. Book spread, from a small book that shows Ts’ui pen’s labyrinth Acutal size: 8.5”x 6.5” page 13. Font: Times, Arial

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Book Design : The Garden of Forking Paths

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Final

8.25 x 10.25 inches for double page spread compositions each

Book Design : The Garden of Forking Paths


Background & Objective

Exploring for Concept

The aim of this project was to design a program brochure for the ATypl 07 conference in Brighton, England. The theme of the conference was “Hands on.” In this project, I tried to elaborate on following items; organization, sequencing of information, size, folding, and esthetics. Atypl (Association Typographique internationate) is the premier worldwide organi-zation dedicated to type and typography. Founded in 1957, ATypl provides the structure for communication, information and action amongst the culture, tradition and history of type and typography. This piece should be innovative, attractive, easy to use and navigate, and express the conference theme in a fresh and innovative manner. I thought about how I can structure the complex information for the conference program, taking into consideration the many levels of information that need to be conveyed typographically.

01 Understand the Conference

02 Research the Place

03 Ideation Sketches

This conference focuses on ‘Hands on’ engagements and physical encounters with letters whether they are encountered on pages, screens, stones, walls in books, buildings or landscape. The conference contains two full days of TypeTech sessions and people’s choice of 48 concurrent sessions at the Main conference through 5 days. The 51st ATypl conference is hosted by the faculty of Arts & Architecture at the University of Brighton, which is located in the cultural heart of Brighton, England.

Brighton is a town on the south coast of England and, with its neighbour Hove, forms the city of Brighton and Hove. It is a truly cosmopolitan city. Brighton experienced rapid population growth reaching a peak of over 160,000 by 1961. Modern Brighton forms part of a conurbation stretching along the coast, with a population of around 480, 000. Eight million tourists a year visit Brighton. The town also has a substantial business conference industry.

Phase I

rough sketches

During this phase, I started to think about overall design and layout. I sketched several ideas based on my research. Most importantly, I focused on the clear expression of the theme with easy-reading format. Therefore, I looked for neat layout and fonts.

Research After reading the program outline, I familiarized myself with the content so that it can lead to a design idea. I categorized the time table of the conference and organized the structure of the conference program. Afterward, I researched for general information on the location of the conference. Since it was my best interest to establish the harmonious relationship between the conference and the location of the conference, Brighton, I looked for unique characteristics and similarities between two. Based on the researches I did, I started rough “ideation sketches” of layout and some of its details, and concentrated on the size and the format of the brochure. The “ideation sketches” was one of the most important parts of my project because I wanted the brochure layout to be handy and easy to read. To come up with the best layout and graphic format for this conference, I played with several types of brochure format. Moreover, in order to create typographically well-organized piece, I found the most appropriate font for this project. Lastly, I used the most proper hyphens, N-dashes, M-dashes, superscript, and quote marks.

Overall Phase analysis

research

ideation

final rough sketches composition sketches

Brochure Design : Conference Program - Hands On

follow-up mock-ups

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02

03


Phase 2

composition sketches

I sketched the structure of the piece at a thumbnail size. I did not attempt to complete the type in detail, but looked for the overall organization, margins, composition, placement and alignment of the elements. This was a valuable time-saving procedure that allowed me to quickly and efficiently explore many ideas without being concerned about detailed content, typeface selection and other distractions.

Phase 3

Type A

Type A

Type B

Type B

Type C Type C

Brochure Design : Conference Program - Hands On

mock-ups

I selected formats from the sketches and produced three distinctly different full size, folded mock-ups with the contents roughed in. I estimated the length of text that I have, in order to make sure the content would fit in the proposed format.

Phase 4

select the Type C

I produced one full-size rough mock-up with all envisioned elements in proposed places but not yet fleshed out in detail. This shows where everything is located and how all the elements relate to each other. The size of mock-up is 4 x 10 inches and it has a format of an accordion. I applied colored lines to the top of the mock-up to divide each section.


Final Phase 4

2nd composition sketches and mock-up

Used Fonts Cover Page: Acens, Avenir / Text: Berthold Imago / Numbers: ScalaSans-Regular / Titles: Avenir

Brochure Design : Conference Program - Hands On

16 x 10 inches for a spread

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Background & Objective

Exploring for Concept

This project is a travel guide pamphlet for finding my ideal Mr. Right. In our world, a guide book is used by tourists or travelers who are not familiar with the specific location. A guide book provides detailed information on different geographic locations, tourist destinations, and it even offers possible itineraries. I envisioned my pamphlet to be an equivalent of a tour guide book. I wanted my pamphlet to contain information on the destination–Mr. Right–, the preparation–goals I need to achieve before I meet Mr. Right–, and the tips–advices I collected from my friends–.

01 Analyzing and Brainstorming

02 Selecting the Words

03 Ideation Sketches

I researched several different kinds of formats of common tour guide books. After the research, I tried applying different formats to the layout. Afterward, I tried several colors which could represent myself-soft but active-. Finally, according to this format, I started planning the number of pages of the pamphlet.

curiosity the desire to learn or know about anything.

Phase I

Research This project reflects my desire to focus on myself more than anything else. Because this project describes my own journey to the ideal destination–Mr.Right –I could freely play with the concept and the binding of the pamphlet. Since I wanted this project to be fun and witty rather than being formal and informative, I used soft colors such as pastel colors and employed a simple layout. Furthermore, I adopted images which I simplied. In addition, in order to avoid typical layout of a tour guide book, I applied "never ending binding" method. New content is constantly revealed without ceasing when follow the arrows in the direction of the book.

03 01 02

Overall Phase analysis

research

ideation

final rough sketches follow-up composition sketches

Pamphlet Design : Travel Guide

rough sketches

I played with several kinds of sketches with variety of colors. All sketches were based on selected words, and elements such as text and sketches were layed out in a harmonious pattern.

appealing evoking or attracting interest, desire, curiosity, sympathy, or the like.


structure of the map

Phase 2

Phase 3

I decided to use a square format which does not have a head nor a tail. Since the square format is consisted of four sections, I employed four colors for distributary purpose. two unfolded plans 1-1

1-2

2-3

3-1

2-4

4-1

4-3

4-2

4-4

2-1

2-2

1-3

four folded plans 1-1

3-2

3-3

1-4

I wanted to give unity between unfolded plan and folded plan, so I used same format of layout.

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2-3

3-1

3-2

2-4 2-1 1-3

pagination

Pamphlet Design : Travel Guide

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3-4

2-2

3-3

3-4

I used the spot on a die for my pagination. It fit with the layout well.

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4-3

4-2

4-4

ideation sketches for the map

This map has four pages with different sections. I used different colors for each section and drew proper icons which are most appropriate to each page. The proper way to use this map –how to follow this never-ending map–is shown below.


Final

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how to fold

Pamphlet Design : Travel Guide

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Chapter 02

Typography

Pamphlet Design for Pinocchio Contents Design of ‘Communication Arts’ Magazine Pamphlet Design for ‘Franklin Gothic’


Background & Objective

Final

This is the pamphlet for one of the favorite children's musical, 'Pinocchio.' Originally created by Carlo Collodi in 1883, in 'The Adventures of Pinocchio,' 'Pinocchio' has been adapted into a storybook, a movie and a play, and it has been loved by children over a century. Carved from a piece of pine by a woodcarver named Geppetto in a small Italian village, Pinocchio was created as a wooden puppet, but had a dream of becoming a real boy. The name Pinocchio is a Tuscan word meaning "pine nut", a compound of Italian pino meaning "pine" and occhio meaning "eye". Since a pamphlet is a story guide pamphlet given to the audience of a play, as well as an advertisement leaflet, I tried to make my pamphlet eye-catching in design to maximize people's attention.

Research Since 'Pinocchio' is a musical for children, I wanted the pamphlet to be as fun as possible. Therefore, throughout this project, I tried to create a pamphlet which best embodies the characteristics of Pinocchio. I used an eye-catching yellow for the first page of the leaflet and I assigned fun and bright colors to overall layout of the pamphlet. In addition, I used an children-friendly typography which reminds of Pinocchio. The fonts for 'Pinocchio' on the cover page was inspired by the physical characteristic of 'Pinocchio' as a wooden puppet. Children can also find Pinocchio peeping into the inside page of the pamphlet by locating the long nose line.

Ideation Sketches

11 x 7.5 inches

Pamphlet Design : Pinocchio


Exploring for Concept

Background & Objective My goal for this project was to design 'Table of contents' part for 'Communication Arts' magazine. Communication Arts is a magazine that highlights and features articles about graphic design, photography, and advertising. Founded in 1959, Communication Arts is the leading trade journal for visual communications. Each year includes eight issues of creative excellence. Five of the eight issues of Communication Arts each year are annuals: Design, Advertising, Illustration, Photography and Interactive. Even more than the standard issues, these annuals focus on articular category and showcase the best(according the magazine and submissions) work of the year. Closer to being books more than magazines, these issues are great keepers to flip through when looking for some creative inspiration.

01 Statistics of Readers

02 Histogram of Readers’ Job Distribution

Communication Arts magazine is a great source of inspiration, with profiles and features on top designers and work. While this magazine does not focus on the design methods, it is still a well-designed magazine that keeps up with the latest trends of the art society.

Communication Arts magazine is the largest design magazine in the world and it showcases the top work in graphic design, advertising, illustration, photography and interactive design. Graphic Designer

Research

27%

Art Director

15%

Photographer Student/Educator

3% 3%

Marketing/PR

2%

Illustrator

2%

Account Executive

2% 4%

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03 02

Overall Phase analysis

research

ideation

final rough sketches developing sketches

Contents Design : Communication Arts Magazine

follow-up alternative A,B

Phase 1

rough sketches

I decided to go with two different concepts of layout. 03-1 conventional /conservative side 03-2 contemporary / idiosyncratic side

6%

Web/Multimedia Designer

Other

Generally, 'Table of Contents' includes the titles or descriptions of the first-lev el headers, such as chapter titles in longer works, and often includes secondlevel or section titles (A-heads) within the chapters as well, and occasionally even third-level titles (subsections or B-heads). The depth of detail in tables of contents depends on the length of the work, with longer works having less. Since my work was to be the 'table of contents' for one of the most popular graphic magazines, I wanted my product to be graphically well-organized, compelling and attractive. Therefore, based on the research I did, I tried to analyze the general taste of art in their issues and re-organized readers. In order to broaden the range of different options, I developed my ideas around two radically different themes; one was contemporary and the other was conventional. I started with hand-sketching –the first phase of ideation sketches-for two different concepts. Then I selected sketches from phase one and refined them– second phase–, then I started designing with illustrator. Finally, I picked a finalized design for each concept and then selected the final concept from the two different themes.

28%

Creative Director

Average age: 42 years old Male: 56% Female: 44% Average experience: 16.1 years 85% have 5+ years experience. 67% have 10+ years experience. Owners: 45% are either owners, partners, or principals. Average income: $81,900

03 Ideation Sketches


Variations Phase 2

developing sketches

I began by systematically hand-sketching the architecture of the pages at a thumbnail size to develop the macro level of design: Overall organization, hierarchy and placement of elements on the page, margins, composition, and alignment. I produced distinct layout sketches for each typographic variation, using double lines for medium type and single lines to indicate small type, heavier lines for bold. I sketched freehand but neatly and precisely with a fine pen.

I managed types on the micro level. I established spatial and contextual relationships, readability, texture, use of white space, details. I also used typefaces, leading, indents, ligatures and all other typographic attributes within my overall layout to achieve a compelling and resonating conclusion.

conventional & conservative conventional & conservative Use 1 type family for all the text. (Georgia)

Vertical, horizantal, aligned, neat, rectangular are the words I picked from this concept. So I used vertical and horizontal formats of layout and neatly organized it without a big complexity.

contemporary & idiosyncratic contemporary & idiosyncratic Use maximum of 3 type families for all the text. (Georgia, Helvetica, Futura)

Angled, space, circular are the words I picked from this concept. So I used diagonal format of layout and tried to place texts freely.

Contents Design : Communication Arts Magazine


Alternative A , B I selected the most succesful sketches from each layout.

Final I selected the finalized piece from contemporary/idiosyncratic concept. In order to draw readers' attention, I used Helvetica, Georgia type families and diagonal bold lines in the middle of the page. Graphically well organized texts and enough empty space in my final project will allow readers' eyes to enjoy and rest at the same time. In addition, this pleasing layout will further arouse interest in the magazine.

A. conventional & conservative

B. contemporary & idiosyncratic

Page size: 8.625” x 10.875” for a 17.25” x 10.875” spread, Margins: top 0.5”, bottom 0.675”, inside 0.375”, outside 0.75”, 4 columns with a 0.25” gutter, Color: black and tints of black on white paper

Contents Design : Communication Arts Magazine


Background & Objective

Final

This project is a pamphlet design for ‘Franklin Gothic.’ Franklin Gothic is a realist sans-serif typeface designed by Morris Fuller Benton in 1902. Franklin Gothic was originally designed as a typeface with a single weight and only two variations in width. Franklin Gothic can be distinguished from other sans serif typefaces, as it has a more traditional double-story g. Other main distinguishing characteristics are the tail of the Q and the ear of the g. The tail of the Q curls down from the bottom center of the letterform in the book weight and shifts slightly to the right in the bolder fonts. Franklin Gothic has an extra bold weight with a combination of subtle irregularities, tapering of strokes near junctions, in its roman form. Franklin Gothic has several widths and weights including Franklin Gothic book, medium, demi, heavy, condensed, and extra condensed.

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Research In this pamphlet, my main goal was to fully present the characteristics of the font. According to my research, Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile appearing in a variety of media from books to billboards. Therefore, I wanted to apply the strong feeling of headlines– to which Franklin Gothic is often used– in this pamphlet; I used bold rectangle as a main layout and used long columns.

Franklin Gothic is a realist sans-serif typeface designed by Morris Fuller Benton (1872–1948). The typeface is one of over 200 typefaces designed by

Benton. There is an assumption that this typeface was named after Benjamin Franklin. “Gothic” is an increaasingly archaic term meaning sans- serif, which is found primarily in Canada, the United Kingdom, and the United States. Franklin Gothic was originally designed as a typeface with a single weight and only two variations in width. At first only a Roman was released, but additional variants were added as Franklin Gothic became popular. A condensed design was drawn in 1905. Five years later Benton added an italic to the family, and two years after that a shaded font was offered. In addition to Franklin Gothic, Morris Fuller Benton also designed the font in a condensed width with lighter weight, as Lightline Gothic.

Morris Fuller Benton drew Franklin Gothic in 1902. At first only a roman was released, but soon additional variants were added to the family. A condensed design was drawn in 1905, and an extra condensed in 1906. Five years later Benton finally added an italic to the family, and two years after that a shaded was offered as the last Benton addition to the Franklin Gothic series.

ASCENDER

COUNTER

The part of a lowercase letter that extends above the meanline.

The partially or fully enclosed space within a character.

BOWL

A curved stroke that creates an enclosed space within a character.

MEANLINE

X-HEIGHT X-height of the lowercase letters, excluding the ascenders and descenders.

BASELINE The invisible line on which most characters sit.

DESCENDER

CHARACTERISTIC Especially in its heavier capitals—keeps some of the relation of heaviness and lightness that is in calligraphy or hand lettering where the downward stroke is thicker, heavier, and the upward stroke is thinner, lighter. This implied presence of the gesture of the human hand makes for a sense of warmth. The relation of lightness and heaviness shows itself in other ways, too, which are wonderful and surprising. For instance, some of the characters seem to be just a little askew—but always with a sense of rightness, fittingness. Look at the lower case t. The left top side of the vertical stroke, instead of going straight up, veers to the right slightly, making for something lighter, even with a touch of humor. And the curved tail of this t, like the top of the f, all of a sudden becomes slightly tapered—what impelled them to do that? While it is similar to how the j curves and tapers, it is just a little different—each letter has its distinct way with heaviness and lightness. While the lower case i is very regular in weight, its stocky rectangular dot is held in suspension —just half the distance of its own depth over the lower portion

The part of a lowercase that descends below the baseline.

U S A G E Franklin Gothic was originally designed as a typeface with a single weight and only two variations in width. Franklin Gothic has been used in many advertisements and headlines in newspaper s.The typeface continues to maintain a high profile appearing in a variety of media from books to billboards.

Pamphlet Design : Franklin Gothic

Franklin Gothic Franklin Gothic Franklin Gothic Franklin Gothic Franklin Gothic Franklin Gothic

10.5 x 6.5 inches


Chapter 03

Motion Graphics

Logo Animation for ‘Target’ Promotion of the song - Harder Better Faster Stronger Title Sequence of ‘Hide and Seek’


Background & Objective

Exploring for Concept

This is a logo animation for 'Target'. Since Logo animation–which usually comes at the end of telelvision advertisement– has to arrest people's attention in a short period of time, my aim for this project was to create the most effective and memorable logo animation for Target. As most people are already aware of, Target Corporation is one of the most successful American retailing company, which was founded in Minneapolis, Minnesota, in 1902 under the name of Dayton Dry Goods Company. Target operates its retailing business exclusively in the United States. Target is a component of the Standard and Poor's 500 index. In order to create an advertisement for such an important company, I decided that a logo which emphasizes the pre-existing logo will be most adequate and effective.

01 Understanding the movie

02 Selecting the words

Just like their Bullseye logo, their history comes to a full circle. According to the company description, its department-store roots evolved into discount-store savvy. Target's first-in-the-industry innovations led to retail revolutions and their community-minded founder fostered a national philanthropic mindset.

historical pertaining to, treating, or characteristic of history or past events.

03 Making the storyboards Phase 1

advanced placed ahead or forward. diversity the state or fact of being diverse; difference; unlikeness.

Research To create the logo animation for Target, I first tried to understand the company's history and characteristic. Then I picked a few proper vocabularies which describe Target based on my research and brainstorming. Since the storyboard is one of the most important components for motion graphics, I tried several different concepts of storyboards using the bullseye logo– the main symbol of the Target company–. Furthermore, throughout the project, I created motion graphic only by using the bullseys logo, in order to emphasize the importance of the logo to the company.

Overall Phase analysis

02 brainstorming

ideation rough sketches refined sketches

Logo Animation : Target

03

01

final follow-up storyboard

rough sketches

I started making rough idea sketches of storyboards based on selected words. I used only the bullseye logo without any other superfluous elements. I divided the logo into two parts –the inner circle and the outer circle– and tried to impose motion and activeness to the two elements.


Final Phase 2

refined sketches

My final work is six seconds of motion work. In order to heighten the effectiveness of the motion work, I inserted a simple but effective sound to the animation. In this clip, the small ball represents a consumer and the thin red outline represents the Target store. A consumer who is represented by a small ball, constantly looks for the right place for shopping and wander from a place to a place. After finding the Target store, the red outline, the consumer becomes satisfied and finally enters into the store.

Logo Animation : Target

REFER TO THE

cd ON THE BACK OF THIS BOOK

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Exploring for Concept

Background & Objective This is the promotion clip of the song "Harder Better Faster Stronger." "Harder Better Faster Stronger" features a robotic vocal performance–with simple but repetitive lyrics–by Daft Punk. These days, there is an increasing use of motion graphics. As we become more visually aware as a society, the designers have decided to use motion graphics to keep people's interest levels high.Therefore, in order to reflect the interest of our society, after listening to this song, I chose motion graphic as my main medium to deliver the message of "Harder Better Faster Stronger."

Research

01 Understand the Song

02 Select Words

"Harder, Better, Faster, Stronger" is a song by French duo Daft Punk. It features a robotic vocal performance. The single was first released on October 13, 2001. As part of the album Discovery, the song appears in the film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. A live version of "Harder, Better, Faster, Stronger" was released as a single from the album Alive 2007 on October 15, 2007.

mechanical acting or performed without spontaneity, spirit, individuality

03 Making the storyboards Phase 1

rough sketches

Based on selected words and images, I started to sketch of the overall storyboards.

repetitive pertaining to or characterized by repetition energetic powerful in action or effect

After listening to "Harder Better Faster Stronger," I started my research by websurfing for images related to its lyrics. However, after looking at many related images, because of its reptitive characteristic, I decided that representing the song without elaborate images–but only with typographic elements–will be stronger. Therefore, I expressed "Harder Better Faster Stronger" with bold fonts and two base colors–black and white–which fit well with this dynamic characteristic of the song. 01 03

02

Overall Phase analysis

brainstorming

ideation rough sketches refined sketches

Song Promotion : Harder Better Faster Stronger

final follow-up storyboard


Final Phase 2

reďŹ ned sketches

Since this song has a powerful and repetitive melody, I decided to use a typeface which can best describe the repetitive, almost mechanical nature of the song. Therefore, I applied the 'Acens' font, which leaves with a powerful impression with its bold font type. This bold font style perfectly responds to the melody of this song.

Song Promotion : Harder Better Faster Stronger

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cd ON THE BACK OF THIS BOOK

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Background & Objective

Exploring for Concept

This project is the opening title sequence of a film, ‘Hide and Seek’. A title sequence is the method by which cinematic films or television shows present their title and key cast and production members utilizing conceptual visuals and sound. Since the late 1950s, film title sequences have often been a showcase for contemporary design and illustration. The opening title sequence of a film is that film’s opportunity to make a good first impression on people, the viewer. A well-crafted title sequence introduces the audience to the tone and theme of the film as well as the cast and crew.

Research Firstly, I tried to follow the trend of title sequences. Through numerous examples of title sequences I found by researching, I could understand the concept of the project I wanted to follow. In order to analyze this movie entirely, I researched about the characters in detail. Based on the research I did, I chose appropriate and representative words for this film and started to make some storyboards.

01 Understanding the movie

02 Selecting the Words

03 Making the storyboards

The genre of this movie is Horror/Mystery/ Thriller. In this movie, a father discovers his 9year-old daughter has come up with an unexpected and terrifying way of dealing with her mother's death through an imaginary friend. Both of the father and daughter keep pulses pounding and hearts racing in this chilling horror hit about a troubled father and daughter tormented by someone or something named Charlie, who may or may not be "imaginary" but is definitely the stuff nightmares are made of.

puzzling confusing or baffling

Phase 1

mysterious anything that is kept secret or remains unexplained or unknown. obscure not expressing the meaning clearly or plainly

01

Overall Phase analysis

brainstorming

ideation rough sketches refined sketches

final follow-up storyboard

03 02

The Movie Sequence : Hide and Seek

rough sketches

I started designing rough storyboards for the title sequence based on words I selected. During this phase, I thought about the colors for overall layout and chose proper types of fonts.


Final Phase 2

refined sketches

I decided to put some representative images for sequences and used black as background color to emphasize the horrible/mysterious feeling of the movie. I applied fade in/out and zoom in/out effects for its purpose. In the beginning, I put Emily’s laughing scene as a movie clip and I also applied captured images from the film. In addition, in the title sequence, I put the name of director, music producer and the two main characters. For the style of the font, I used ‘cracked’ fonts and for the special effect, I made the names to fall from the top to the middle of the page and shiver like shivering trees. In addition, I applied bloody red for the first letters of each names.

The Movie Sequence : Hide and Seek

REFER TO THE

cd ON THE BACK OF THIS BOOK

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Chapter 04

Identity System

Roger Brown Study Collection Intelligentsia Coee Label Design of Yali


Exploring for Concept

Background & Objective This is a brand identity design project for 'Roger Brown Study Collection'. The Roger Brown Study Collection (RBSC) is an artists' study collection and an archive, preserved intact in a historic house museum setting. In 1996, Roger Brown -artist, collector, and alumnus of The School of the Art Institute of Chicago - gave his extensive collection of art and other materials to SAIC for use as an artists' study collection. It is located in Brown's former house. The RBSC is a kaleidscopic environment of art, with works by Chicago Imagists and other contemporary artists, works by self-taught artists, folk art from many cultures, objects from material and popular culture, costumes, textiles furniture, travel souvenirs, and other things Brown surrounded himself with for artistic inspiration.

Research To create the brand identity of RBSC, I visited the place several times and took pictures. Based on my visit, I selected a few vocabularies which best describe the museum and then started sketching based on these words. After several refining steps of logo sketching, I could finally pin down to the sketch which expresses the museum in a most successful manner. Based on the logo I designed, I also produced a business card, letterhead and an envelope for Roger Brown Study Collection.

01 Understand the place

02 Select words

03 Ideation Sketches

The archive includes Brown’s sketchbooks, library, slides, photographs, personal and professional correspondence, writings, architectural drawings, studies for large-scale projects, prints and works on paper, and Brown’s 1967 Ford Mustang (located in the garage), among other things. The collection is installed as Brown left it, throughout the second floor of the building; the archive is on the first floor. (Although the collection as installed does not feature a large number of Roger Brown’s own artworks, which is often assumed, the RBSC has a rich archive of images and information on the art and life of Roger Brown.

bizarre markedly unusual in appearance, style, or general character and often involving incongruous or unexpected elements; outrageously or whimsically strange;

Based on selected two words, I started to do rough sketches for a logo.

Phase 1

ridiculous

bonanza a rich mass of ore, as found in mining.

wild

freakish odd

ideation

final rough sketches follow-up composition sketches

Brand Identity Design : Roger Brown Study Collection

strange

weird mysterious

01

Overall Phase research

bizarre, bonanza

outlandish

02

analysis

rough sketches

03

ghostly

crazy


Final logo Phase 2

refined sketches for logo

I started to refine sketches on computer, based on the two words I selectedbizarre and bonanza–. Through line drawing, I tried to express the light figure of ghosts which represent the spirit of artists. I placed Roger Brown in the center and artists behind him, in order to symbolize the various artists who contributed to the art collection in the museum.

Brand Identity Design : Roger Brown Study Collection

Phase 3

select most successful refined sketches.

After adding the outline strokes, I used various colors to give variety to the ghosts. I also made their faces more vivid, by assigning different facial expressions on the ghosts. Finally, I attempted laying out the name of museum in many different ways to find the most appropriate position.

C 7.06% M 8.24% Y 3.92% K 0%

C 12.55% M 8.63% Y 6.67% K 0.39%

C 6.67% M 1.57% Y 9.8% K 0%

C 4.31% M 4.31% Y 20% K 0%

C 10.2% M 3.53% Y 1.96% K 0%

C 62.75% M 55.69% Y 53.33% K 28.63%

C 4.71% M 10.2% Y 14.51% K 0.39%

C 0% M 0% Y 0% K 100%


Final Businesscard, Letterhead and Envelope Phase 4

reďŹ ned sketches for business card, letterhead and envelope

businesscard (front and back)

letterhead and envelope

Brand Identity Design : Roger Brown Study Collection


Background & Objective

Exploring for Concept

The aim of this project was to develop a new brand identity for Intelligentsia Coffee, a Chicago-based high-end coffee roaster. Intelligentsia is an extant coffee brand which has three stores in Chicago, but without one identity; it has several identities which it randomly uses for each store. This method is clearly not an effective way to advertise Intelligentsia Coffee shop since customers might not recognize them as of one coffee brand. Therefore, it was proposed that we create 'the one identity' for Intelligentsia which can express the brand in a most effective way. Intelligentsia Roasting Works opened for business in October, 1995 by husband and wife Doug Zell and Emily Mange. It consistently listed as one of the countries finest coffees.

Research I visited Intelligentsia coffee shops several times and drank their coffee to understand the brand. This helped me experience the brand and it also helped me do brainstorming. I picked three words which can best represent Intelligentsia. Based on the selected words and proper images I found, I started to make sketches which came across my mind. For this project, I especially considered following criteria; development of brand values, designing for its visual identity, creating a visual identity framework, and applying visual identity to key collateral.

Overall Phase analysis

research

ideation

final rough sketches developing sketches

Brand Identity Design : Intelligentsia Coffee

follow-up alternative A,B

01

01 Research other coffee roasters

02 Select Words

During my research, I found out that all other coffee roasters–with a recognizable brand name –have their own logo; there was no coffee shop with several identities like Intelligentsia. Many of their logos generally had round shapes and they expressed their identity as a coffee shop by placing coffee cup or coffee bean in their logo. In addition, natural colors which represent coffee–brown and green–were applied to their logo.

midwestern values Intelligentsia is Chicago-based coffee shop. It has three shops in Chicago. aesthetic Through trained baristas, you can visually enjoy delicate and artistic latte art. aromatic Intelligentsia purchase green coffee directly from the growers themselves. So its coffee is fresher and more flavorful than others.

02

03 Ideation Sketches Phase 1

rough sketches

Based on the selected words, I started rough sketches of coffee cups, shapes of latte art, a figure of wind which represents Chicago, a figure of coffee vapor, and coffee beans. After developing several variations of these sketches, I finally chose two concepts I was most satisfied with. 03-1 focus on coffee cup and add shape of scent 03-2 develop shape of latte art with the name

03


Variations Phase 2

developing sketches

focus on coffee cup and add shape of scent

focus on coffee cup and add shape of scent

Intelligentsia Intelligentsia Coffee and Tea

Intelligentsia

Intelligentsia Coffee and Tea

Intelligentsia

Intelligentsia

Intelligentsia

develope shape of latte art with the name

develope shape of latte art with the name

Coffee & Tea since 1995

Coffee & Tea

Coffee & Tea

Coffee & Tea

Brand Identity Design : Intelligentsia Coffee


Alternative A , B

Final

A. focus on coffee cup and add shape of scent

Coffee & Tea

Coffee & Tea

i Intell

ge

ntsi a

C 27.1% M 67.1% Y 100% K 15.7%

Coffee & Tea

C 50% M 70% Y 80% K 70%

B. develope shape of latte art with the name

Coffee & Tea

C 5% M 5% Y 20% K 0%

C 38.82% M 62.35% Y 100% K 32.55% Coffee & Tea

Coffee & Tea

Brand Identity Design : Intelligentsia Coffee


Background & Objective

Exploring for Concept

The aim of this project was to create my own exclusive wine label. Despite the fact that variety of wine bottles already exist in the market, most of the labels are uniform and without unique characteristics. I, for example, like drinking wine with my special acquaintances on special days. As a result, I always think of wine as one of the most pleasing gifts that I can share with other people. Flower is similar to wine in that aspect since flower is one of the favorite, and widely received gifts in the world. Since both gifts are often given together, I started pondering the possibility of combining the two. When I thought of wine bottles wrapped in a bouquet of roses, I could easily see their value tripling. The concept of a wine bottle like flower and a flower like wine bottle could be very attractive to consumers who are tired of pre-existing labels and want a more special gift for their loves ones. In order to give more uniqueness to my wine bottles, I imposed gender identity. By creating a wine bottle for male and a wine bottle for female, I could easily assign completely different characteristics to the wine bottles; the black bottle for red wine represents masculinity when the opaque bottle for white wine represents elaborate beauty. The packaging of two wine bottles as one gift set, is also very practical for shopkeepers since it encourages sales of two wine bottles instead of one.

Before starting the designing process, I did an intensive research on wine labels in the market. From the research, I could learn about the typical types of wine labels and the necessary information which has to be indicated on the label. Afterward, based on my initial concept–of a wine bottle wrapped in a bouquet of flowers– I did more research and did several rough sketches. Since I wanted my wine label and the wine bottle to be seen as an integrated body, not separate pieces, I continued developing my concept using many different ideas.

Overall Phase analysis

research

ideation

final rough sketches follow-up composition sketches

Wine Label Design : Yali

02 Select Words

I researched for common characteristics of wine labels and thought about the designing elements which I can add to the pre-existing labels.

pair two identical similar, or corresponding things that are matched for use together. elegant gracefully refined and dignified as in taste, habits or literary style.

02 01

Research

01 Understand of wine labels

03 Ideation Sketches Phase I

rough sketches

Based on the two selected words–wine and rose–, I started my rough ideation sketch. Since rose is the main theme of my label, I tried drawing roses and rose petals in a several different way. I also tried drawing roses on a wine bottle itself to appropriately scale the size of the label; I tried many different locations of the label to find its perfect place. After applying the label in the middle and at the bottom of the wine bottle, I decided that the bottom of a wine bottle is the most suitable location for my wine label.

03


Final Phase 2

reямБned sketches

YALI

2006 GRAND RESERVE PINOT NOIR

YALI

2007 RESERVE SAUVIGNON BLANC

YALI

2006 GRAND RESERVE PINOT NOIR

YALI

2007 RESERVE SAUVIGNON BLANC

Wine Label Design : Yali


Chapter 05

Promotion Design

Promotion for TV and Digital Print


I designed digital prints for promotional campaigns when I worked at a model management company.

Promotion : TV and Digital Print

I worked at a broadcasting company in Korea and the company managed 24-hour news channel. These are motion works for news graphic.


Chapter 06

Miscellaneous Works


Progression 40 x 19 inches conte


Self portrait 33 x 58 inches acrylic, oil pastel, marker, clay, colored pencils, woolen yarn, thread, tape, pen, watercolor, newspapers, clothes, hard board, Korean paper


making number ‘4’

making number ‘7’

Hidden numbers 14 x 9.5 inches

making number ‘0’

Santorini, Greece 14 x 20 inches charchol, conte, acrylic

For this project, I designed a hand-held device that allows the user to reveal the numbers 0-9 through manipulation. I used arabic numerals. None of the numerals may be apparent or recognizable before the device is manipulated. The numberals must be “assembled,” that means they may not exist in their entirety anywhere on the piece. I began by looking at many traditional and newer typefaces, both text and display. I sketched ideas for the appearance of the numbers, how they can be “disassembled” into smaller units and then re-assembled into numerals. Furthermore, for the practical use of this device, I employed colors which are being used in color- blindness test. I hope that this fun device replaces the mundane color-blindness test device which is currently being used in any motor vehicle office.


Connection, through lines 4 x 5.5 inches


Roger Brown Study Collection Pinocchio

Travel Guide

Folio Book Design

As a designer, the desire for successful communication with audience is the most important element in a design process. I would become more persuasive in creating design, which can truly communicate with the audience with my broad understanding of the ďŹ eld.

Folio Book Design

Pinocchio

Wine Label Design


Graphic Design Folios

Ms. Choe, Se Hee

Choe, Se Hee Date of Birth August 5th, 1986 Address A-301, Calyx Vill, 594-29, Sinsa-dong, Gangnam-gu, Seoul 135-893 Korea Cell Phone +82.10.9006.8542 Telephone +82.2.546.0176 E-mail Address sehee8685@hotmail.com


Choe, Se Hee Date of Birth August 5th, 1986 Address A-301, Calyx Vill, 594-29, Sinsa-dong, Gangnam-gu, Seoul 135-893 Korea Cell Phone +82.10.9006.8542 Telephone +82.2.546.0176 E-mail Address sehee8685@hotmail.com

Graphic Design Portfolio Choe, Se Hee

SeHeeChoe  

This is a Se hee Choe's print based portfolio.

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