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WHITE SPACE


WHITE SPACE A COLLECTION OF DESIGNS BY TUYEN HO


W H I T E S PA C E / A C O L L E C T I O N OF DESIGNS BY TUYEN HO A l l d es i g n a n d w o r k b y Tu y e n H o Š 2010 All rights reserved. No part of this publication can be reproduced without express p e r m i s s i o n f r o m Tu y e n H o .

INSTRUCTOR

BOOKBINDERY

PRINTING

SOFTWARE

Mary Scott / Academy of Art University School of Graphic Design

The Key / t / 510 595-3311 5 8 5 1 O c e a n V i e w D r. Oakland, CA 94618

Tu y e n H o / Epson R1800

Adobe CS4 / InDesign, Photoshop, Illustrator

C O N TA C T

PHOTOGRAPHY

M AT E R I A L S

e / tuyenho1@gmail.com t / 408 691 8064 1067 Washington St., Suite A San Francisco, CA 94108 tuyenhostudio.com

Tu y e n H o , T h u y H o / Canon Powershot SD960 IS, Canon EOS30D

Cover / Arrestox White Te x t S t o c k / M o a b E n t r a d a Rag Bright 190 lb. Ty p e f a c e / H e l v e t i c a N e u e , Garamond


I CAN TRANSFORM WHITE SPACE WITH ONE MARK. As I gather my work together for this collection, I think about the significance of white space and the role it plays in my work. Before I studied design, I was like many who paid little attention to the existence of negative space. This is why I am surprised to discover that white space is an essential element to the functionality of my designs, and all design for that matter.

White space in design allows certain objects to stand apart from others, creating heirarchy. It has the power to elevate a company brand within a consumer’s mind. White space gives our eyes a place to rest after being bombarded with visual clutter. It’s the inevitable side-kick. What more can a designer ask for?

With a single mark, I can instantly transform white space, giving it a whole new function. Understanding the dynamic quality of white space makes my designs stronger. When I use white space successfully, I create balance and movement. Some might see white space as “nothing,” but I believe it takes a great designer to turn nothing into something.


I SEE THE POSITIVE IN NEGATIVE SPACE. Prior to my studies in graphic design, I already knew there was something missing from the Sunday paper advertisements and I’m not talking about my 50¢ off pudding coupon. I’m referring to white space. Anyone can appreciate a little more space between the photo of ice cream and the photo of foot cream. But often times, we just don’t get it.

I want to pay a tribute to the oh so valuable white space. Usually seen as a secondary design element, I am going to place it front and center. That is where my designs begin and where they have the ability to take shape. We can’t deny negative space. As soon as that first mark is made negative space instantly weaves itself into the design and the white space is brought to life.

I try to use white space to my advantage and apply it how I think it will be most effective. As designers, we have to be aware of this shifting element at all times. My objective is to always activate the white space, and try not to kill it.


THIS IS HOW I ACTIVATE WHITE SPACE. When I sketch, I am activating white space. I pay attention to the shapes that are created between the lines just as I do with the lines themselves. This stage of the process is exciting because I never know what may result from it. Only when my pen makes shapes on the white space am I able to see the possibilities.

I begin each project by tossing all my thoughts and ideas onto a blank page. Past identity projects have helped me realize that quick sketching is the most valuable method for developing any smart design. Mind maps, lists and doodles release all of the relevant, and sometimes irrelevant, thoughts that inspire my final solution.

My collection shows how I choose to incorporate white space into my designs. I use it as a device for branding, positioning, as a tool for establishing hierarchy, or to set the tone of a project. Let’s form white space.


SELECTED WORKS PROJECT 001 012–033

PROJECT 002 0 3 4 ­­– 0 4 9

PROJECT 003 050–065

PROJECT 004 066–085

Modern Fossil / Wordmark Standards Manual Product Catalog Business Papers Te x t i l e s

Vietnam / Logo Visual Language Posters Standards Manual Brochure Magazine Ads

An Industrial Colony / Book Design

Sumo / Wordmark Banner Exhibit Book Ticket Souvenir Poster


PROJECT 005 086–099

PROJECT 006 1 0 0 –1 1 1

PROJECT 007 112–119

PROJECT 008 120–127

Mother Earth & Child / Wordmark Seed Packaging Posters Standards Manual

Caribou Coffee / Annual Report Design

Print / Poster

Identity / Logo Graphic Wordmark


ANOTHER MAN’S TREASURE PROJECT 001/008 MODERN FOSSIL IDENTITY SYSTEM I think a great designer should be able to make pretty things but also take things that already exist and give them new purpose. This is the responsibility that is inherent to our craft. Designers need to help fix the problem of waste.

Modern Fossil is my dream of a high-end furniture company. My ultimate goal with this company is to reduce the amount of waste that is produced each year by using recycled materials, which are gathered from donated items and then redesigned into new pieces.

The Modern Fossil identity is based on the idea of old becoming new again. The wordmark demonstrates a simple harmony between the two contrasting ideas. A clean “modern” is paired with a distressed “fossil”.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Resourceful Clean Responsible Modern Innovative Unique

Wordmark Standards Manual Product Catalog Business Papers Te x t i l e s

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

W H I T E S PA C E

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Product Catalog / The Home Issue

8 in. Ă— 10.5 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

14 / 15


A P P L I C AT I O N S

DIMENSIONS

M AT E R I A L S

T Y P E FA C E S

Identity Kit Standards Manual / Vo l . 1 a n d 2 Product Catalog / The Home Issue

B o x / 7 in. × 9 in. M a n u a l / 5.75 in. × 8 in. C a t a l o g / 8 in. × 10.5 in.

Box / Rievs Lightweight Buff Manual and Catalog / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

16 / 17


A P P L I C AT I O N S

DIMENSIONS

M AT E R I A L S

T Y P E FA C E S

Standards Manual / Vo l . 2

5.75 in. Ă— 8 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

18 / 19


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Standards Manual / Vo l . 1

5.75 in. Ă— 8 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

20 / 21


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Standards Manual / Vo l . 1 Product Catalog / The Home Issue

Manual / 5.75 in. × 8 in. Catalog / 8 in. × 10.5 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

22 / 23


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Product Catalog / The Home Issue

8 in. Ă— 10.5 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

24 / 25

_no. o15

+

=


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Product Catalog / The Home Issue

8 in. Ă— 10.5 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

26 / 27


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Standards Manual / Vo l . 2

5.75 in. Ă— 8 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

28 / 29


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Business Papers

Letterhead / 8.5 in. × 11 in. Envelope / No. 10 Business Card / 2.75 in. × 3.25 in.

Stock / Canson Watercolor 90 lb.

Helvetica Neue Minion Pro

SESSION

INSTRUCTOR

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

30 / 31


A P P L I C AT I O N

SESSION

INSTRUCTOR

Logo Explorations

I d e n t i t y Tw o / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 001

W H I T E S PA C E

PA G E

Identity / Modern Fossil

A Collection of Designs b y Tu y e n H o

32 / 33


A PLACE TO HANG YOUR HAT PROJECT 002/008 VIETNAM DESTINATION BRANDING For this project, I was assigned to pick a country and create an identity for it that would draw in tourists. I chose Vietnam, a country that I grew up learning about only through my parents and siblings. I saw this as an opportunity to show the richness of its culture and traditions.

Vietnam is culturally, topographically and historically beautiful. I chose to convey this by using vibrant and raw visuals that would draw in the daring traveler, a person who is willing to step out of his or her comfort zone and try new things.

I created a visual language that uses the well-recognized conical and an alphabetic accent mark. The conical is matched with unique imagery to simply convey “only in Vietnam,� and the accent mark is placed into the English alphabet which makes a playful connection that transcends language barriers.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Playful Compelling Raw Cultural Smart Vibrant Simple

Logo Visual Language Posters Standards Manual Brochure Magazine Ads

Century Century Gothic

SESSION

INSTRUCTOR

W H I T E S PA C E

Identity Three / Fall 2009

Jane Brown / School of Graphic Design

A Collection of Designs b y Tu y e n H o


2x

2x

x

x

optical beginning

x

x

x

x


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

Promotional Poster

24 in. Ă— 32 in.

Century

SESSION

INSTRUCTOR

Identity Three / Fall 2009

Jane Brown / School of Graphic Design


PROJECT 002

W H I T E S PA C E

PA G E

Identity / Vietnam

A Collection of Designs b y Tu y e n H o

38 / 39


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Standards Manual

7 . 5 in. Ă— 9.5 in.

Stock / Moab Entrada Rag Bright 190 gsm

Century Century Gothic

SESSION

INSTRUCTOR

Identity Three / Spring 2009

Jane Brown / School of Graphic Design


PROJECT 002

W H I T E S PA C E

PA G E

Identity / Vietnam

A Collection of Designs b y Tu y e n H o

40 / 41


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Brochure

7 . 5 in. Ă— 10.75 in.

Stock / Moab Entrada Rag Bright 190 gsm

Century

SESSION

INSTRUCTOR

Identity Three / Fall 2009

Jane Brown / School of Graphic Design


PROJECT 002

W H I T E S PA C E

PA G E

Identity / Vietnam

A Collection of Designs b y Tu y e n H o

44 / 45


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

Magazine Ads

9 in. × 10.75 in.

Century

SESSION

INSTRUCTOR

Identity Three / Fall 2009

Jane Brown / School of Graphic Design


PROJECT 002

W H I T E S PA C E

PA G E

Identity / Vietnam

A Collection of Designs b y Tu y e n H o

46 / 47


A P P L I C AT I O N

SESSION

INSTRUCTOR

Logo Explorations

Identity Three / Fall 2009

Jane Brown / School of Graphic Design


PROJECT 002

W H I T E S PA C E

PA G E

Identity / Vietnam

A Collection of Designs b y Tu y e n H o

48 / 49


LITTLE CITIZENS PROJECT 003/08 AN INDUSTRIAL COLONY/ THE SOCIETY OF BEES It is amazing to me how efficient bees are at maintaining their hives. They have complex communication systems and caste systems. Their instincts keep them safe in the hive, but they are having a hard time surviving in human environments. People do not realize how much of their daily lives would change if bees were wiped out.

To symbolize the fragile situation the bees are in, I drew intricate renderings of the bees but kept them as blank outlines. On the other hand, the bees surroundings are saturated colors. This is to represent nature and the life that bees give to other living creatures.

The appearance of this book looks soft, which I wanted to contrast with cold line illustrations of the bees. The softness represents the human’s false sense that bees will be around forever. The line drawings represent the actual severity of their situation. Are they going to survive?

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Educational Detailed Illustrative Soft Fragile

Book Ty p o g r a p h y Layout Illustrations

Minion Pro Frutiger

SESSION

INSTRUCTOR

W H I T E S PA C E

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Book

5 . 7 5 in. Ă— 7.75 in.

Stock / Natural Cover / Te x t 7 0

Minion Pro Frutiger

Moab Entrada Rag 190 gsm Neenah Classic Crest lb.

SESSION

INSTRUCTOR

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

54 / 55


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Book

5 . 7 5 in. Ă— 7.75 in.

Stock / Natural Cover / Te x t 7 0

Minion Pro Frutiger

Moab Entrada Rag 190 gsm Neenah Classic Crest lb.

SESSION

INSTRUCTOR

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

56 / 57


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Book

5 . 7 5 in. Ă— 7.75 in.

Stock / Natural Cover / Te x t 7 0

Minion Pro Frutiger

Moab Entrada Rag 190 gsm Neenah Classic Crest lb.

SESSION

INSTRUCTOR

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

58 / 59


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Book

5 . 7 5 in. Ă— 7.75 in.

Stock / Natural Cover / Te x t 7 0

Minion Pro Frutiger

Moab Entrada Rag 190 gsm Neenah Classic Crest lb.

SESSION

INSTRUCTOR

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

60 / 61


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

62 / 63


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Book

5 . 7 5 in. Ă— 7.75 in.

Stock / Natural Cover / Te x t 7 0

Minion Pro Frutiger

Moab Entrada Rag 190 gsm Neenah Classic Crest lb.

SESSION

INSTRUCTOR

Ty p o g r a p h y T h r e e / Spring 2008

Jennifer Sterling / School of Graphic Design


PROJECT 003

W H I T E S PA C E

PA G E

Ty p o g r a p h y / An Industrial Colony

A Collection of Designs b y Tu y e n H o

64 / 65


MASTERS OF THE RING PROJECT 004/008 SUMO/THE BIG SPORT MUSEUM EXHIBITION The Museum of Fine Arts, Boston, had an exhibit on sumo wrestling. I designed a book that would accompany this exhibit, along with the event ticket. My objective for this project is to connect the rituals of ancient sumo with today’s sumo sport.

I incorporated ancient Japanese prints that honor this sport. I designed collages of these prints and recent photographs of wrestlers and sumo matches. I chose this technique to show how the past and presence overlap.

I want to illustrate how sumo wrestling is an artistic reverence for the past and not simply a sport. I created a hand-rendered wordmark that takes on the heavy, symmetrical characteristics of the sport. The letter “O” is split to represent the wrestlers and the dohyo, the wrestling ring.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Tr a d i t i o n Heavy Ritualistic Artistic Respect

Wordmark Banner Exhibit Book Ticket Souvenir Poster

Helvetica Neue

SESSION

INSTRUCTOR

W H I T E S PA C E

Graphic Design Three / Fall 2007

Laura Milton School of Graphic Design

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Exhibit Book

12 in. Ă— 10 in.

Stock / Epson Premiun Presentation Matte

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

70 / 71


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Exhibit Book

12 in. Ă— 10 in.

Stock / Epson Premiun Presentation Matte

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

72 / 73


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Exhibit Book

12 in. Ă— 10 in.

Stock / Epson Premiun Presentation Matte

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

74 / 75


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Exhibit Book

12 in. Ă— 10 in.

Stock / Epson Premiun Presentation Matte

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

76 / 77


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Exhibit Book

12 in. Ă— 10 in.

Stock / Epson Premiun Presentation Matte

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

78 / 79


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Wrestling Moves Card Set

2.75 in. Ă— 3.75 in.

Stock / Strathmore Cover Bristol Ultimate White 110

Helvetica Neue

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

80 / 81


A P P L I C AT I O N

SESSION

INSTRUCTOR

Wrestling Moves

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

82 / 83


A P P L I C AT I O N

DIMENSION

Event Ticket Street Banner

Poster / 24 in. × 32 in. Ti c k e t / 2 . 2 5 i n . × 3 . 7 5 i n . Banner / 18 in. × 36 in.

SESSION

INSTRUCTOR

Graphic Design Three / Fall 2007

Laura Milton / School of Graphic Design

T Y P E FA C E S Helvetica Neue


PROJECT 004

W H I T E S PA C E

PA G E

Print / Sumo

A Collection of Designs b y Tu y e n H o

84 / 85


PLANTING SEEDS OF CHANGE PROJECT 005/008 MOTHER EARTH & CHILD IDENTITY SYSTEM I created Mother Earth & Child as a non-profit organization that teaches children how to live environmentally. It’s tough to change habits the older we get, so this camp aims to help kids develop green habits that become ingrained in them as they grow.

I want the logo to express the idea that if you nurture the earth, she will nurture you. I also want to relate the love for one’s planet to the love for one’s mother or child. The result is a mark in which the words “Earth” and “Child” cradle the ampersand.

The use of white space reinforces Mother Earth & Child’s mission for a clean and fresh environment. I want this organization to be unique, rather than following a trend, so I gave it a color palette that departs from the natural earth tones usually associated with environmental topics.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Educational Smart Progressive Fun Nurturing

Wordmark Seed Packaging Posters Standards Manual

Helvetica Neue

SESSION

INSTRUCTOR

W H I T E S PA C E

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Tr e e S a p l i n g

Bag / 8 in. Ă— 12 in.

Burlap

Helvetica Neue

SESSION

INSTRUCTOR

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


PROJECT 005

W H I T E S PA C E

PA G E

Identity / Mother Earth & Child

A Collection of Designs b y Tu y e n H o

88 / 89


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Tr e e S a p l i n g Standards Manual

Bag / 8 in. × 12 in. M a n u a l / 7 i n . × 8 in.

Bag / Burlap Manual / Strathmore Bristol Smooth

Helvetica Neue

SESSION

INSTRUCTOR

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Standards Manual

7 i n . Ă— 8 in.

Strathmore Bristol Smooth

Helvetica Neue

SESSION

INSTRUCTOR

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

Poster

2 4 i n . Ă— 32 in.

Helvetica Neue

SESSION

INSTRUCTOR

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


PROJECT 005

W H I T E S PA C E

PA G E

Identity / Mother Earth & Child

A Collection of Designs b y Tu y e n H o

94 / 95


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

Poster

2 4 i n . Ă— 32 in.

Helvetica Neue

SESSION

INSTRUCTOR

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


PROJECT 005

W H I T E S PA C E

PA G E

Identity / Mother Earth & Child

A Collection of Designs b y Tu y e n H o

96 / 97


A P P L I C AT I O N

SESSION

INSTRUCTOR

Secondary Graphics

Identity One / Spring 2006

Thomas McNulty / School of Graphic Design


PROJECT 005

W H I T E S PA C E

PA G E

Identity / Mother Earth & Child

A Collection of Designs b y Tu y e n H o

98 / 99


GOOD MORNING PROJECT 006/008 CARIBOU COFFEE ANNUAL REPORT Caribou Coffee is the second largest coffee retailer in the United States. I chose to redesign their annual report because it lacks the personality that I see on their website. I want to recapture their friendly and relaxed attitude in their annual report.

My redesign is an attempt to set Caribou Coffee apart from their competitors. My solution is to turn the focus from the products, and place it on the benefits of drinking Caribou Coffee. I used dream-like imagery because coffee is the get-away for many people. I thought about what seemed most important to Caribou Coffee.

In this annual report, my goal was to create a “happy place” where everyone will want to sneak away to a least once a day. This annual report let’s people know that Caribou Coffee is their “happy place,” whether it’s at a Caribou coffee shop or in a coffee mug, they’ll take you there.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Informational Dreamy Whimsical Friendly Alternative Fun

Annual Report Ty p o g r a p h y Layout Illustrations

Hand-writing Helvetica

SESSION

INSTRUCTOR

W H I T E S PA C E

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Annual Report

7 . 5 in. Ă— 8.25 in.

Stock / Moab Entrada Rag Bright 190 gsm

Hand-writing Helvetica

SESSION

INSTRUCTOR

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 006

W H I T E S PA C E

PA G E

Print / Caribou Coffee

A Collection of Designs b y Tu y e n H o

102 / 103


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Annual Report

7 . 5 in. Ă— 8.25 in.

Stock / Moab Entrada Rag Bright 190 gsm

Hand-writing Helvetica

SESSION

INSTRUCTOR

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 006

W H I T E S PA C E

PA G E

Print / Caribou Coffee

A Collection of Designs b y Tu y e n H o

104 / 105


A P P L I C AT I O N

SESSION

INSTRUCTOR

Illustration for Section Opener

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 006

W H I T E S PA C E

PA G E

Print / Caribou Coffee

A Collection of Designs b y Tu y e n H o

106 / 107


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Annual Report

7 . 5 in. Ă— 8.25 in.

Stock / Moab Entrada Rag Bright 190 gsm

Hand-writing Helvetica

SESSION

INSTRUCTOR

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 006

W H I T E S PA C E

PA G E

Print / Caribou Coffee

A Collection of Designs b y Tu y e n H o

108 / 109


A P P L I C AT I O N

DIMENSION

M AT E R I A L S

T Y P E FA C E S

Annual Report

7 . 5 in. Ă— 8.25 in.

Stock / Moab Entrada Rag Bright 190 gsm

Hand-writing Helvetica

SESSION

INSTRUCTOR

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 006

W H I T E S PA C E

PA G E

Print / Caribou Coffee

A Collection of Designs b y Tu y e n H o

110 / 111


BIG MESSAGES PROJECT 007/008 PRINT POSTERS There are very few things in the world that are universal, but Pantone colors are. I designed a series of posters to promote “PANTONE The Universal Language” I illustrated hand gestures to show how even the simplest things can be mistaken from country to country, but Pantone is understood anywhere.

Kawaii is a trend in Japan in which everything is “cute”. I designed a poster for a talk by Nick Currie that focuses on cute formalism. With the concept of traditional vs. cute, I illustrated two characters that represent traditional Japan and placed them into a playful, childlike background. I used soft, round qualities to make it “cute”.

I designed a poster series for an exhibit at SFMOMA, which highlights different typographers and their work. I chose stark images of each typographer because I want to show them as important, iconic figures, whose work surrounds people everywhere, yet they don’t know.

KEYWORDS

A P P L I C AT I O N

T Y P E FA C E S

Impact Fun Colorful Bold Attention

Promotional Poster Event Poster Museum Poster

Cooper Black Insignia Helvetica Univers

INSTRUCTOR

W H I T E S PA C E

Megumi Kiyama

A Collection of Designs b y Tu y e n H o

Print One Kelly Conley P r i n t Tw o Renee D’Arcy Ty p o g r a p h y Tw o


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

PA N T O N E T h e U n i v e r s a l L a n g u a g e Promotional Poster Series

1 8 in. Ă— 24 in.

Helvetica Neue

SESSION

INSTRUCTOR

Print One / Fall 2007

Megumi Kiyama / School of Graphic Design


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

N i c k C u r r i e K a w a i i Ta l k Event Poster

1 8 in. × 24 in.

Cooper Black

SESSION

INSTRUCTOR

P r i n t Tw o / Fall 2009

Kelly Conley / School of Graphic Design


PROJECT 007

W H I T E S PA C E

PA G E

Print / Poster

A Collection of Designs b y Tu y e n H o

116 / 117


A P P L I C AT I O N

DIMENSION

T Y P E FA C E S

S F M O M A Ty p o g r a p h e r S e r i e s Posters

1 8 in. × 24 in.

Insignia Helvetica Univers

SESSION

INSTRUCTOR

Ty p o g r a p h y Tw o / Spring 2007

Renee D’Arcy / School of Graphic Design


PROJECT 007

W H I T E S PA C E

PA G E

Print / Poster

A Collection of Designs b y Tu y e n H o

118 / 119


A NEW FACE PROJECT 008/008 IDENTITY LOGOS When I’m designing a logo, I try to create an enticing mark to make a person want to know more about it. My favorite logos are one’s that have first and second reads to them. I like to tell just enough of the story immediately, then have more depth when a person spends more time with it.

I try to keep my logos unique so often times I hand-draw a typeface or I modify an existing one. I appreciate all the possibilities out there when designing a logo. Some logos can be rough and organic, and others can be clean and geometric, depending on the brand of the company.

I always look at the words and names that are part of the identity. I search for clues to interesting lock-ups or shapes which can lead to a clever mark. With designing a logo, essentially I am telling a client what they look like. If they feel like they are looking in a mirror, than I know I’ve succeeded.

KEYWORDS

Application

W H I T E S PA C E

Smart Interesting Direct Memorable Simple

Logo Graphic Wordmark

A Collection of Designs b y Tu y e n H o


A P P L I C AT I O N

T Y P E FA C E S

SESSION

Museum Exhibit / Sumo Retail Store / Modern Fossil Destination Brand / Vietnam R e s t a u r a n t / T h e F l y Tr a p S o l a r Te c h n o l o g y / H e l i o n

Sumo / Hand-drawn Modern Fossil / Helvetica Neue Vietnam / Century T h e F l y Tr a p / A b a d i a n d C e n t a u r Helion / Eurostile (manipulated)

Sumo / Fall 2007 Modern Fossil / Spring 2008 Vietnam / Spring 2009 T h e F l y Tr a p / F a l l 2 0 0 6 Helion / Fall 2008


PROJECT 008

W H I T E S PA C E

PA G E

Identity / Logo

A Collection of Designs b y Tu y e n H o

122 / 123


A P P L I C AT I O N

T Y P E FA C E S

SESSION

Lactation Consultant Christine Kenyon

Mrs. Eaves

Freelance Project / Spring 2009


PROJECT 008

W H I T E S PA C E

PA G E

Identity / Logo

A Collection of Designs b y Tu y e n H o

124 / 125


A P P L I C AT I O N

T Y P E FA C E S

SESSION

C h i l d r e n ’s C a m p / Mother Earth & Child Senior Program / R u t h ’s Ta b l e

Mother Earth & Child / Hand-drawn R u t h ’s Ta b l e / Tr a d e G o t h i c

Mother Earth & Child / Spring 2006 R u t h ’s Ta b l e / F r e e l a n c e P r o j e c t Spring 2009


PROJECT 008

W H I T E S PA C E

PA G E

Identity / Logo

A Collection of Designs b y Tu y e n H o

126 / 127


ACKNOWLEDGMENTS THANK YOU FOR YOUR GUIDANCE

THANK YOU FOR YOUR ENCOURAGMENT

THANK YOU FOR YOUR LOVE AND SUPPORT

Mary Scott Jennifer Sterling Jane Brown Thomas McNulty Laura Milton Megumi Kiyama Kelly Conley Renee D’Arcy

Nicole Bianchi Keely Reyes Nicole Koelwer

Mom and Dad Thuy and Thy Thy Ho Thuc and Nhu Ho Thoai Ho Bart and Tien Watson Tr i e u H o T h y Tr u c H o Thinh Ho George Stallworth Levi Jackson



WHITE SPACE / A Collection of Designs by Tuyen Ho