The concept was to advertise make up to alternative girls: punk rock, goth, and raver women from the ages of 16 to 29 who wear a full face of extravagant makeup every day, and believe you me, there are enough of them. So I created a fictional a make up company that would make makeup that was designed to be worn all day with little touch up.
I called on a makeup artist I know to do her face up in the punk style, the raver style, and the goth style. Punk was to be thick and angry, Raver was to be perky and fun, and Goth was to be anachronistic and somewhat morose.
I took them into Photoshop, shaded the outside edges, and created white frame with various Photoshop brushes. I tried to make a consistent theme with a full frame in the upper right corner, and then a wireframe anchored in the lower left corner. The logo in the upper write is a mixture of a Photoshop brush acquired from Deviantart.com, blending modes, and logotype. (Now, if anyone can peg who made those brushes, please tell me so i can give proper credit.)
The concept for Café Guffathar was inspired by my mother. She discovered an interest in middle eastern culture, and while at a medieval reenactment this summer, she took me to a Turkish coffee house called The Inner Vagabond that served these drinks. I did more research as to how these drinks were properly made and served.
The logo is designed after medieval Arabic calligraphy, based on Samarkan, which is a font based on Hindu script. Finding fonts that continued the scripty, sweepy look wasn’t difficult. It was finding fonts in that theme that were readable. I’m sad that I had to get farther from the theme than I had intended, but I got as close as I could. The decorative font Kingthings Gothique was used for the titles, Herman Decanus was used for the section separators on the labels, and Monotype Corsiva was used for all of the body copy.
The pattern in the background is an Islamic design found in many mosques. It was difficult finding a solely geometric design that didn't feature script about Allah, but I found a few tutorials on doing Islamic geometric design.
In my first dummy of the point of purchase, I had trouble putting the boxes together, as it was impossible with the slickness of the glossy photo paper. I switched to a glossy card stock, which worked far better, though I had something of a crackling problem in the finish when folding.
The program used for layout and design was Illustrator CS2.
I was raised Nichiren Daishonin buddhist, and a new district popped up in the DC metro area. Many chapter heads have business cards with the buddhist purpose on it, and I offered to design their card.
To keep costs low, It's a simple black ink on white cardstock. We wanted something very clean, classy and crisp. I designed the logo in Illustrator with the brush tool to give it a personal, hand-rendered feel to it.
Dierdrecide is a fictional fragrance that I created for the purpose of the assignment, as we had to design a box for a perfume bottle. Dierdrecide as a concept is a scent that is based on my modeling persona, Dierdre Suicide, and aimed at punk rock and indie girls who would prefer natural oils to ritzy perfumes. This was my first experimentation with interesting color theory, the original design only containing sea green and orange. The other combination choices for the other two were purple and orange, and yellow and orange.
First I made a paper mockup to decide the basic shape of the package. Then it was unfolded, scanned, and traced in Illustrator. The image was made from scratch. The stock photography was taken of myself, then drawn from as reference. From there, it was cut up, touched up, and tweaked in Photoshop 7. It was then taken into Illustrator CS, where the pattern for the package was applied. The fonts used are Porcelain for the logotype itself, and Downcome for Keep ‘Em Screaming. Base body text is Myriad.
As a personal project, I thought i would draw a portrait of a friend of mine and design an art nouveau style poster for a Tattoo gallery / festival / convention. While I did not complete the portrait in time, I did have an illustration that I could substitute it with. The art nouveau frame never worked out, so I decided that a David Carson sort of type treatment would make up for it, as well as an interesting cropping of the image.
The illustration I chose to use was a japanese yakuza woman that studied in Hun Gar, which is southern mountain kung fu, and requires an intense amount of muscle. As some poeple thought that muscles on tattooed women was unbecoming, I deleted the frame that accentuated her arm.
After much deliniation on color scheme and typography, this finished product is what it all boiled down to.
I wanted to imitate the stamped look, to give the impression that having the logo on a product sort of acts as a seal of approval, and as Landmark is “making its mark”, I wanted to make it look as though it could be stencil-sprayed as well, to appeal to young people as well. The logo is usually printed on beige materials to make it look organic (word association with the word land), though exceptions can be made for DVDs and the like.
To continue the making mark theme, a font by the name of Embossed is to be used for body, as it looks like an old school label maker.
For the collateral, a sports cap, a messenger bag, and a t-shirt were designed. I decided to make merchandise that can be worn, so that it would spread the word more effectively.
The corporate standards manual was an edited chapter of the Goring + Baden manual I constructed in Corporate Identity class.
This was originally executed in Carl Williams’s Advanced Print Production class. The assignment was to design an ID campaign for a fictional company of our choice, and then do a campaign for an event held by said company. I chose “Grendel’s Cave”, which is a BDSM nightclub setting I created for a series of vampire stories I’ve been writing since middle school. The event is for “The Massacreade”, which is the Halloween celebration that the club throws.
This is my first experiment with colored ink on colored paper and it bwas during my bout with negative space with typography. The first piece was an 8x10 color flyer printed on yellow cardstock, designed with the idea in mind that production costs would be low, and the flyer could be posted in most places without being destroyed and still be noticeable with it’s bright colors and high contrast. It is an advertisement for the party held on the 2nd level. The fonts used are “Misproject” and “Chinese Rocks”.
Some may find this absolutely appalling, but I wanted to take something as traditional as the style of the Pennsylvania Dutch, which is borderline Amish, and bring it into the new age. My mother is Pennsylvania Dutch, and I grew up with the cooking. I’m very fond of it, and most of it is very inexpensive, easy to make, and very easy to make in mass quantities , so I’d like to share it with more people of my generation, which mostly consists of hungry and poor college students.
Pennsylvania Dutch designs remind me of Art Nouveau with its curving vines, thick, fluid linework, and its organic subject matter. I have access to several designs, so it was not difficult to play with them and add a little modernism to the book while still sticking to the classic theme. The most common color scheme in Pennsylvania Dutch design is yellow, red and green, so I integrated those colors into the book. The book is to be clean and crisp with lots of white space.
The recipes themselves were pulled from word of mouth from my mother, the Pennsylvania Dutch People’s Cookbook edited by Lillie S. Lustig, and the Dutch Cookbook Volume II by Edna Eby. The illustrations were inspired by classic Pennsylvania Dutch hex designs.
To continue with the clean and crisp theme, I went with a font I’d never used— Helvetica. The book’s size is at 7.5”x7”.