Page 1

POSITION VICTORIA MOORE’S PORTFOLIO


POSITION VICTORIA MOORE’S PORTFOLIO


Designer Victoria B. Moore Class GR650: Portfolio Seminar Instructor Jeremy Stout Semester Spring 2016, AAU Edition First / 2016

Source Graphic River; Shutterstock.com; Generation Anime; Zero-chan.net Typeface Azo Sans / Bodoni Bindery Celine Lombardi Paper Accent Opaque: 80lb. Text, Smooth, White / Kelly Paper Casing Handmade Chipboard Slipcase


CONTENTS INTRODUCTION

04

01

JOIN THE KURABU

06

02

BLACK & WHITE

16

03

NATURALLY STAGED

34

04

SUMMERTIME BLUES

44

05

CLEAN OVER DIRTY

52

06

FEATHER LIGHT

58

07

IMAGINE. INTERACT. IMMERSE

66

08

RISE & SHINE

76

09

MODERN CLASSICS

86

10

CLEARLY OBSCURED

102

11

ACCESS TO ANIME

110

12

LITTLE THINGS BIG DREAMS

120

13

UP THE DOWN STAIRCASE

136


DUCTION

I A M R I G H T- B R A I N E D A N D L E F T- B R A I N E D . I am a designer that thrives on opposites. I am both logical and creative, calm and excited, aggressive and passive. I cannot be defined by labels or explained by anyone other then myself. My designs are as opposing as my mind; I draw inspiration from the old and the new, classic and modern, great and not-so-great. This is my creed, this is my way of life. These are my designs.


RIGHT BRAIN

LINGUISTIC LOGICAL CRITICAL MATHEMATICAL ANALYTICAL SCIENTIFIC TECHNOLOGICAL

VICTORIA MOORE JUXTAPOSITION 04 | 05


JOIN THE CHAPTER 01

S O T H E C O N V E N T I O N I S D O N E N O W W H AT ? Fast forward two years and three revamps, and you come to the present. Access to Anime became The Kurabu Project, a hybrid digital and physical space where anime fans can either go to physical hubs to socialize and watch anime communally or watch anime online using the social streaming service KurabuONLINE. Instead of black and white images with geometric shapes over them, the anime images were colorized with bright colors like fuchsia, purple and teal, and the logo became a circle, reminiscent of a traditional Japanese seal. Kurabu’s juxtaposition is how it went from something fun to something a lot more serious. In the beginning it was just a cool idea that I wanted to flesh out, but now years later it’s because a serious investment and one that I’ve poured a lot of myself into. With the help of my friends, Kurabu is slowly but surely moving from a dream to a reality.


Above: Original Kurabu logo from 2014–2015 At Right: Slides from Kurabu presentation deck


VICTORIA MOORE JUXTAPOSITION 08 | 09


Above: Revised Kurabu logo for 2015–2016 At Right: Kurabu white women’s t-shirt


Above: Kurabu jelly bracelets At Right: Kurabu pink totebag with special achievement pin samples


VICTORIA MOORE JUXTAPOSITION 16 | 17


VICTORIA MOORE JUXTAPOSITION 18 | 19


VICTORIA MOORE JUXTAPOSITION 20 | 21


Above: Kurabu prototype screen captures At Right: Kurabu prototype menu sample


VICTORIA MOORE JUXTAPOSITION 26 | 27


Above: Kurabu drink coasters with ice breakers At Right: Kurabu activity card with yonkoma strip


VICTORIA MOORE JUXTAPOSITION 28 | 29


Above: Kurabu waitstaff cheque pad At Right: Kurabu waitstaff apron (short version)


VICTORIA MOORE JUXTAPOSITION 32 | 33


& WHITE CHAPTER 02

A L L T H E N E W S T H AT ’ S F I T T O P R I N T . Somehow I got from a pair of opposites like black and white, to picking a brand that needed to be revamped to making a whole new look for one of the most prominent newspapers in the US. For the this project I was tasked with rebranding an old, stale brand in order to make it new and appealing again. So I came up with the idea to take the New York Times (a paper preferred by geriatrics and wall streets sharks) and give it a facelift that would appeal to a younger, more relaxed crowd. I wanted the Times to go from something that a hurried business man tucks under his arm while he’s rushing to the subway to something you might a 24 year old browsing while sipping her latte at a Starbucks.


Top: NY Times logo revamped At Right: Revamped NYTimes stationery


READING LIGHT WITH LED LIGHTS & PAGE CLIP


Above: NYTimes special edition mailbox package At Left: NYTimes book light and package VICTORIA MOORE JUXTAPOSITION 40 | 41


STAGED CHAPTER 03

C O M B I N I N G N AT U R E A N D M A C H I N E . Masters of Photography was the first time that became familiar with the layout of a book. I saw all the tiny details that made up the whole picture. I realized that type-setting a book was both simple and difficult. Simple because all the parts should be variants of a single greater theme, but difficult because establishing that theme can be a challenge in and of itself. As I looked through the photos we’d been given for inspiration, I realized that the natural forms were complex and eye-catching, and in a book about photography the beautiful photos needed to be the center of attention. I designed the book in a landscape format and made the decision to place the photos on their own pages, surrounded by white space. The challenged posed by our instructor was to place the photos without editing or cropping them in any way, so in many ways the design became more about the photos then the typography. Keeping that thought in mind, I set the type as simply as possible, letting the photographs be the stars.


Top: four plate spread At Right: title, table of contents & index


VICTORIA MOORE JUXTAPOSITION 46 | 47


Top: text only spread At Right: detail of subhead & page number VICTORIA MOORE JUXTAPOSITION 48 | 49


BLUES CHAPTER 04

TELLING A STORY WITH MUSIC. The original intent of this project was to create a series of postcards advertising each day of the Stern Grove Festival. The catch was that we had to design the cards using only typographic elements. No photos or graphics. Each postcard featured information about the headlining artists as well as a summery color palette full of bright, floral colors. My inspiration from these cards came when my sister was watching Fantasia. During the Nutcracker Suite segment in the original film, I was struck by how colors were used to convey emotion and it inspired me to abandon my original idea of making pictures out of typographic character instead adopt a very simple design with a sans serif typeface and a field of color. The opposite side took on the opposite characteristics, having text on a white background with only the dotted line (made of periods), in color.


Above: Postcard for day one of festival At Right: Postcard for day two of festival


VICTORIA MOORE JUXTAPOSITION 54 | 55


Above: Postcard for day three of festival At Right: Festival tote bag in day three color


VICTORIA MOORE JUXTAPOSITION 56 | 57


DIRTY CHAPTER 05

M A K E A M E S S A N D C L E A N I T U P. Sometimes when you’re a graphic designer, you just have to have a little fun. Emergentees was a silly idea that turned into a serious idea. I pondered “what if there was a vending machine that sold cheap, pre-scented t-shirts that you could wear in a pinch if you spilled something on yourself?” The result was a system of $5 t-shirts, color coordinated by scent, available whenever you might have need of one. In the case of this project, the most difficult part was the packaging and delivery. I thought about a simple wrapping of paper with a belly band (based off yarn packaging), or a less environmentally friendly, but easy to stack package that one could easily twist open (such as tennis ball packages). The accompanying vending machine was decorated with a playful graphic detailing what the most common causes of ruined clothes were, showing the percentages on a pie-chart shaped like a splatter.


Top: Emergentees logo At Right: Emergentees t-shirt cannister


VICTORIA MOORE JUXTAPOSITION 64 | 65


LIGHT CHAPTER 06

L I G H T E R T H A N A I R . H E AV I E R T H A N L E A D . Feathers are fascinating objects. To the human mind they symbolize flight and freedom, and in many cultures around the world are seen as sacred. I was drawn to the mix of spirituality and science that I found in feathers. As I designed this 96 page book, I questioned how I could make the concept of lightness and airiness show through the elements of color, layout and typography. Each infographic was kept as simple and light as possible, where the photos were dark and heavy, balancing out the minimalism of the typography. The final book was printed on 80lb. text in bright white and bound by Judith Ivry, a veteran binder and restorationist from New York. All photographs were taken by myself at the National Zoo in Washington DC.


VICTORIA MOORE JUXTAPOSITION 66 | 67


Above: Front and back cover view At Left: Various spreads including: chapter openings, infographics, text and photography VICTORIA MOORE JUXTAPOSITION 68 | 69


“A HEART WITHOUT DREAMS IS LIKE A BIRD WITHOUT FEATHERS.” —Suzy Kassem


VICTORIA MOORE JUXTAPOSITION 74 | 75


INTERACT CHAPTER 07

IMAGINE. INTERACT. IMMERSE. With Immergo, the challenge wasn’t making something interesting, the challenge was figuring out a way to combine reality and fantasy. How could I show how fun a game with your favorite video game characters right at your side would be? The answer was bring the game into a real, visible environment; one that everyone could relate to and understand. After creating the logo based on the “i’s” from the three words in the tagline, I set about creating a series of edited photos featuring characters from a variety of well known games like Mario, The Legend of Zelda, Street Fighter, Pokemon, Kirby and Megaman. Each of the images was created and poster size and showed the characters interacting with people, the environment around them or each other. The aim was to give the viewer a glance into the potential of product that would allow them to interact real-time with all of their favorite game titles without lugging around a bulky VR rig.


VICTORIA MOORE JUXTAPOSITION 76 | 77


Above: immergo logo At Right: Ebook brochure for iPad


VICTORIA MOORE JUXTAPOSITION 78 | 79


Above: Sample spread and tech specs page At Left: Brochure reverse VICTORIA MOORE JUXTAPOSITION 80 | 81


VICTORIA MOORE JUXTAPOSITION 82 | 83


VICTORIA MOORE JUXTAPOSITION 84 | 85


SHINE CHAPTER 08

L E T ’ S H A V E A N A M A Z I N G D AY. O R N O T . Before I got a job in graphic design I worked at Target. While Target paid the bills and was by and large a fine place to work, for someone creative, the inflexibility and the regulations felt more like a curse then anything else. So when I was asked to pick a company to make an annual report for I wondered, ‘can I turn a dull and boring place like Target into something really creative and fun?’ The idea for the came from a phrase that was said by one of our managers every morning. At the end of the meetings he would say “Let’s have an amazing day!” Working off this idea, I came up with the concept of showing how Target can help you start off your day in an amazing way. I photographed items available at Target and placed them into the spreads. The cover graphic is inspired by the sunrise and the texture in the field is the texture of a throw pillow that I photographed in the store.


VICTORIA MOORE JUXTAPOSITION 86 | 87


Above: Back cover of annual report At Left: Detail of cover art VICTORIA MOORE JUXTAPOSITION 88 | 89


VICTORIA MOORE JUXTAPOSITION 94 | 95


CLASSICS CHAPTER 09

SOMETHING OLD AND SOMETHING NEW. Modern Ink was the first time that I had the feeling that I wasn’t like other designers. I looked through a whole list of artists and the one that jumped out at the most was a modern day ink artist named Kan Tai Keung. His gorgeous works displayed how a very traditional medium like ink could be translated into a very modern piece. As I designed for this piece I questioned “How to blend old and new? How do I make a poster that will accurately reflect the simplicity and the complexity of these pieces?” First, I took a rice paper background and darkened it to simulate age, then I pair it with a hard-lined abstract shape to simulate the flowing motion of an ink brush. I completed the look with a bright red focal point and a modern sans serif typeface. The title of the event and the artist’s name was set vertically to pay homage to the Eastern tradition of writing characters vertically.


Stack of three posters for display purposes. Sized to 24x36.

VICTORIA MOORE JUXTAPOSITION 98 | 99


Top: SCP Logo At Right: SCP Stationery Set


VICTORIA MOORE JUXTAPOSITION 100 | 101


OBSCURED CHAPTER 10

A BOWL IS MOST USEFUL WHEN IT’S EMPTY. My first foray into web design, the redesign of Basin’s website came out when I realized that unlike the other sites I had selected for potential revision (which were blatantly bad), Basin was not awful, simply short of being good. The background used a busy, visually vibrating texture, the items were crammed together and checkout process was a pain. As I redesigned the website the phrase “a bowl is most useful when it’s empty” came to mind. In the case of web design, the least complicated solutions are usually the best. Instead of adding things, I subtracted features to make the experience more streamlined and instead of using the same color palette, I reduced it to just brown and green. Less is more often then not, better then more.


VICTORIA MOORE JUXTAPOSITION 104 | 105


VICTORIA MOORE JUXTAPOSITION 108 | 109


TO ANIME CHAPTER 11

SO MANY ANIMES SO LITTLE ACCESS. Kurabu didn’t start of as a project with so many components. It actually started off as a very simple idea. I wanted to make a service that anime fans could use to watch their shows in a comfortable, social, legal environment. The idea blossomed from the realization that there are thousands of anime titles available in Japan, but only a fraction of that available in the United States. Thus the idea to create a streaming service that not only had a robust catalog of rare and little known anime, but also a library of music and comics for fans to enjoy as well. For my first iteration of a visual system, I juxtaposed black and white images with blocks of bright, jewel-toned colors like orange, blue, pink and green.


VICTORIA MOORE JUXTAPOSITION 112 | 113


VICTORIA MOORE JUXTAPOSITION 114 | 115


Hey Everyone, Thanks for taking the time to look at this email! For a recent class project, I have been tasked with hosting and recording a rich discussion about my thesis topic, which as you see from the above title, is Access to Anime. I am trying to explore the possibilities for graphic design driven improvement in the area of popularity and availability of anime in the United States. That being said, all of you have been invited because I want to hear your opinions and apply them to my research. During the meeting I look forward to hearing about how you got into anime, what you’d like to see happen in the future of anime, aspects of anime you’d like improved and much more. Remember to Bring: A brief bio of yourself and a link to an episode of your favorite* anime. Date: 10/28/2013 Time: 1:30PM EST Format: Video Conference Disclaimer: The contents of this event will be recorded. Here’s the link for the chatroom: https://meet99299160.adobeconnect.com/r6yndichf69/ See you soon, Victoria Moore *feel free to use your current favorite or a classic. Either is acceptable.

Timeline:

7:45 // arrive to troubleshoot 8:00 // guests arrive & intro 8:15 // group activity 8:45 // begin discussion 9:45 // recap discussion 10:00 // Adjourn meeting

Documentation:

Adobe Connect

Menu:

Pocky Ramune

Discussion Points:

When and How did you get int

What is it about anime that att

Do you feel that anime has had

Do you prefer subtitles or dubb

What are some of your favorite

Do you own this series? (Digital

Do you feel that streaming limit

Do you feel that anime need to

What would you like to see in th

How do you watch anime? TV,

If you download your anime, w

What would you like to see cha

Would you prefer to keep the li

Would you be interested in a m

How do you think piracy affect

Above: Anime Access audience research event invitation At Right: Anime Access audience research planning guide


to Anime?

tracted you to it?

d a positive effect on your life, directly or indirectly?

bed anime?

e anime series? Why?

lly or Physical Media)?

ts what you can watch?

o be more popular? Why or Why not?

he future of anime in America?

, Streaming services or downloads?

what is your reason for downloading?

ange regarding availability of anime?

imited access to anime as it is?

more robust catalog of anime to choose from?

ts the anime industry?

Timeline:

7:45 // arrive to troubleshoot 8:00 // guests arrive & intro 8:15 // group activity 8:45 // begin discussion 9:45 // recap discussion 10:00 // Adjourn meeting

Documentation:

Adobe Connect

Menu:

Pocky Ramune

Discussion Points:

Guest List:

When and How did you get into Anime?

Dylan: Age 29, h years, but has fa

What is it about anime that attracted you to it? Do you feel that anime has had a positive effect on your life, directly or indirectly? Do you prefer subtitles or dubbed anime? What are some of your favorite anime series? Why? Do you own this series? (Digitally or Physical Media)? Do you feel that streaming limits what you can watch? Do you feel that anime need to be more popular? Why or Why not? What would you like to see in the future of anime in America? How do you watch anime? TV, Streaming services or downloads? If you download your anime, what is your reason for downloading? What would you like to see change regarding availability of anime? Would you prefer to keep the limited access to anime as it is? Would you be interested in a more robust catalog of anime to choose from? How do you think piracy affects the anime industry?

Guest List: Dylan: Age 29, has a degree in Business Management. Has been an anime fan since his teenage years, but has fallen out of the loop in the recent past. Hillary: Age 29, currently an MFA Graphic Design student. She does not know very much about anime, but is interested in hearing about it none the less. Brigid: Age 24, currently a BS Nursing student. Has been interested in anime since childhood, and has a robust collection of anime DVDs, as well as access to NetFlix. Alex: Age 24 pursuing a degree in History. Has been a fan of anime for a few years, and actively attends conventions and cosplays (creates elaborate costumes based on anime series). Sean: Age 27, currently working at a restaurant. Has been into anime since childhood and has a collection of anime DVD’s supplemented by series obtained via the internet. Charlie: Age 26, currently working at Library (Has an Masters in Library Sciences). He has been into anime since high school, and finds most of his anime via torrents. Susan Glenn: Age 49 and a Professor at Gloucester County College. Leader of the College anime club and organizer of their yearly convention Kotorikon. Jennifer Martinez: Age 29 and a graduated student of design. Has watched anime since teen years, but is now more interested in Japanese Music. Allie Prettyman: Bio Pending Amber Harper: Bio Pending

VICTORIA MOORE JUXTAPOSITION 116 | 117

Hillary: Age 29, c ime, but is intere

Brigid: Age 24, c a robust collect

Alex: Age 24 pu tends conventio

Sean: Age 27, cu lection of anime

Charlie: Age 26, anime since hig

Susan Glenn: Ag club and organ

Jennifer Martine but is now more Allie Prettyman:

Amber Harper: B


VICTORIA MOORE JUXTAPOSITION 118 | 119


LITTLE THINGS CHAPTER 12

L I T T L E P E O P L E H AV E T H E B I G G E S T A D V E N T U R E S . Oftentimes the biggest hearts are in the littlest of people which is something that director Hayao Miyazaki knows very well. When tasked with creating the brand and identity of a film festival for a director of my choosing, I knew almost immediately which director that would be. Hayao Miyazaki’s worlds are bright and dark, fun and frightening, playful but serious, light-hearted but thought provoking and a host of other opposites that I can relate to. From a young age, I loved his films because unlike other children’s cartoons they didn’t make children out to be foolish or unreliable. Instead, children were treated as heroes in their own rights, even if the giants they conquered were every day tasks. In designing for the festival I chose to use flight as my concept (flying machines are one of Miyazaki’s favorite subjects). Using a texture from his final film The Wind Rises, I created a system based on the big blue sky, paper air planes and just a dash of child-like wonder.


The Magical World of Hayao Miyazaki

Above: Little Things logo in color At Right: Little Things stationery set


The Magical World of Hayao Miyazaki

555 Jefferson St. Las Vegas, NV 08080 555.555.5555 www.littlethings.com info@littlethings.com

To whom it may concern, I am writing on behalf of John Doe and inquiring about the prices of custom merchansdise for our upcoming film festival. We have used your company in the past and have found that they offer excellent service and high quality product, so we would like to use your compnay for this project as well. Thank you for your time, Victoria

Little Things 555 Jefferson St. Las Vegas, NV 08080 555.555.5555

Victoria B Moore 580 Pitman Rd. Sewell, NJ 89123

555 Jefferson St. Las Vegas, NV 08080 555.555.5555 www.littlethings.com info@littlethings.com The Magical World of Hayao Miyazaki

VICTORIA MOORE JUXTAPOSITION 122 | 123


VICTORIA MOORE JUXTAPOSITION 124 | 125


VICTORIA MOORE JUXTAPOSITION 126 | 127


VICTORIA MOORE JUXTAPOSITION 130 | 131


Above: Little Things program booklets At Right: Miyazaki quote spread from program


“ I believe that stories have an important role to play in the formation of human beings, that they have the power to stimulate, amaze & inspire their listeners. �

—Hayao Miyazaki


STAIRCASE CHAPTER 13

OH THE PLACES I’VE BEEN AND PLACES I’LL GO. In the end, I’m still a juxtaposition. I’m always going against the grain and doing things the opposite of the way I should do them. Sometimes I get excited at the last minute instead of being stoked at the start of a project, sometimes I start at the end and work towards the beginning. Either way, I’m the kind of person that just takes things as they come. The pieces in this book are all phases in my journey and represent all the things I’ve learned both about design and about how to interact with people. I’ve made friends along the way and even a few frenemies, I’ve had sleepless nights, meltdowns and near breakdowns. Although obtaining my degree has been like going up the down staircase, I’ve reached the end and I’m proud of the fight I’ve put up. Thank you for sticking with me reader!


VICTORIA MOORE JUXTAPOSITION 136 | 137


OPPOSITES IN ME

OR IS IT?


VICTORIA MOORE JUXTAPOSITION 138 | 139


Dedications: To my Mom, Dad and Angel, I know you were scared when I told you what I was going to do, but you supported me anyway. To my Aunt Ginger “Gig”, you listened to me cry more then once, but you always said I could do it. To Professor Mary Malinconico you gave me a passion for design and set me on a path towards excellence. To Brigid, that first trip to Otakon will always be one of my best memories; thank you for being my friend! To Jennifer, you always pushed me harder and told me to keep going. Even when I was burning out, you gave me a place to stay and a reason to keep going. I’ll never forget that. To Generation Anime, you guys welcomed me into your group like family and were always willing to help me with research, even when it was last minute (which was most of the time).

This book is because of all of you. Without your love, your support, your prayers and your encouragement, none this would have been possible. I love you all so much, and thank you from the bottom of my heart.


Juxtaposition  

Program end portfolio

Juxtaposition  

Program end portfolio

Advertisement