jodiehew portfolio publication
DESCRIPTION
ÂTRANSCRIPT
Made
Freshly
Each year tons ofdesignproductspublishedin themarketplace
By combining Forms,Colours,Patterns & Typo...
The productspeaks.
SQUARESQUARESQUARESQUARE
ASHAPE
ORA
LOGO?
CREAtivEDuLL
Next,Rankingthe Value &Classifyingit with theright terms.
ExtRAORDinARyWAtER
PuRE H20
Finally,Proudlypresentingitself onthe shelf,callingto benoticed...
AtittuDE
SiGn
PASSiOn
ARROW
OPtimiSt
iLLuSiOn
CARE
CHRiStmAS
CLASS
HALLOWEEn
CREAtivE
DECO
AtittuDE minimALiSt mORE iS LESS
PERFECtiOn ORiGinAL HumAniStExPRESSivE
COOL
ABStRACt
OPTIM
A
GOTHAM
CASLON
BODONI
FRUTI
GER
OMNES
"Don'ttry to beOriginal.Justtry to beGood."
Paul RaND
AStAtEmEnt
In a statement made by Paul Rand "There is no bad content, only bad form". I believe that the challenge in the design process is to mantain an in between subconcious and concious state of mind. Whenwe are probably not clear about any of it. The only trustworthy antithesis is between conscious and unconscious. Therefore, research and questioning the intention or reason behind the subject, experimenting with different medium in orderto define a definite form to the content has become an important part during the design process. This awareness leads me to my final thesis of research into semiology. How i can be inspiredby the 'low culture' and rediscovered the fictional forms of contemporary social problems and issues in a new form. The concern for all this was the meaning. The point of it is not that everything should look different, but it allows me to become a more significant designer who sat down and thought about things in a new way. That wasa matter of learning by trial and error. These trial and error enable me to have better intuition at work.
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“ t H E _ C O n C E R n _O F A L L t H i SW A S _ _ t H Em _ A n _ _ G ,t H E _ m E _ _ i n G _ O Ft H E _ D E S _ _ nB u t _ A L S O _ t H Em E A n i n GO F _ t H E _m E _ _ S ”_ _ _ _ _ _ _ __ _ _ _ _ _ _
Jan Van Toorn:
1:RESEARCH
inFinAL
PROJECtAs Roland Barthes (french semiologist) suggests, buying, consuming, and serving food are acts of signification through which people construct and sustain their identities. Food has been something that was overlooked and thought to be insignificant. However according to Barthes, he claims that foodis “a system of communication, a body of images,a protocol of usages, situations, and behavior”.Our food choices make a statement all of their own. It would be systematic to describe food for whatit signifies rather than what the food itself is.
Pop Art reflects the overwhelming impact of the advertising industry on the artistic conciousness. Andy Warhol Campbell's Soup is seen here asa “sign” that reveals interesting things about the society during that period. Hence, what are the “signs” which give hints to the patterns of our current food consumption?
Feed My Eyes, a title for the final project comes from the conclusion of the idea that food is no longer for eating, it is a visual pleasure to our eyes.
In a modern trend, we are drawn to buy what fitsour eyes and beliefs, even if we do not know thefood. Unrealizingly, we are being guided by packaging instead of the 'real food'. It is interesting to see how supermarket items can be used to explore our aspects of being a modern urbanite.
It is also point to the question of can we truly believe our eyes, if what we see is actually reality. What we are eating today cannot be taken for face value because one must consider the intent of the advertiser and other factors that may skewed the message. Thus, a food product may look the sameto many different people that view it, but it may carry a different message to each viewer. This isa project which explores the tangible relationship between packaging and 'ourselves'.
Using the same tecnique of laser cutting numerous hole into packagings. The typography was then laser cut into the black cardboard and form a sentence which conclude the concept of "We are eating the image over and over again."
tO Ovenew hope
Every mondaymorning
W
hat do we want?
to celebrate
tO OveLto live life to the fu
lle
st
W
hat do we want?
Maira Kalman:
2:EvERyDAy
iS AWOnDERFuL
DAyThe theme of the 2011 Netherlands stamp “Everyday is a Wonderful Day” set out to give a bit of humour to the often drily world of the pictogram. The stamps consists of a combination of graphics and texts, which together conveyed the necessary information. The stylized and playful characters forms an image which addresses the emotive themes in an expressive way. The stamps were divided into two categories, the value 1 and value 2.
Jack Kerouac, On the Road:
“nO
tHin
G B
EHin
D m
E,Ev
ERy
tHin
G A
HEA
DOF
mE,
AS
iS E
vER
SO O
n t
HE
ROA
D.”
The act of design isto organise,structure,turningan ordinarysubject intoa piece ofcommunicative visual
4:nOuvEAutHéâtRE
DE mOntREuiLNouveau Theatre de Montreuil is a project work together with Changeisgood Studio during my internship in Paris. After a revamped of the new identity. We received a brief to create a visual direction for the new season of 2012, as targeted to young adults.
The theatre located in the eastern suburbs of Paris, France . It is seen as a clash of modern architecture in an old, quiet neignbourhood. Hence, we findit interesting to address these combinations asa reference point in the visual styling for the plays. This generates contrast between the subject and the background while the architecture form of the logo becomes a part of the form in the communica-tion pieces.
Besides working on Nouveau Theatre campaign. I also work on a series of poster which served as divider in an artist book, Intepretation.
‘Intepretation’ by the artist Lili Reynaud Dewar, her works was inspired by the way Sun Ra questioned African-American identity, Lili Reynaud Dewar expands on her own biography and integrates it into artistic projects, in the form of spaces where Afrofuturism encounters family memories of concerts in the seventies.
5:tHE BESt
OFDutCH
BOOK DESiGnA project done during an internship at De Design-politie, Amsterdam. It is an annual exhibition of the country's best designed books "The Best of Dutch Book Design" of 2012.
A set of font was developed together with Sara (designer at DesignPolitie), it was inspired in the furniture that Laurens van Wieringen made specially for this travelling exhibition. On top of that, introductory poster was designed to locate at the entrance of the exhibition.
The BesT of DuTch Book Design is a joinT efforT By:
Design: sTuDio Laurens van WieringenTypografie: De DesignpoLiTie
DeBest
VerzorgDeNeDerlaNDse
BoekeNNederland staat bekend om boekontwerpen van hoge kwaliteit. Dit komt door een levendi-ge cultuur van grafisch ontwerpen met bekende ontwerpers van internationale faam, zoals Irma Boom en Joost Grootens. Ook spe-len drukkers met passie voor het drukkersvak én een diepe liefde voor het boek hierin een grote rol. En we mogen de opdrachtgever (de uitgever) niet vergeten: veelalbevlogen, met gevoel voor de tactiele en visuele kwaliteiten van het hedendaagse boek.
Al sinds 1926 selecteert een jury van speci-alisten ieder jaar dertig Nederlandse boe-ken die met de meeste zorg zijn gemaakt. Daarbij gaat het niet alleen over het grafisch ontwerp of de typografie, maar ook over gekozen materialen en de kwaliteit van het drukwerk. De dertig boeken worden samen gebracht in de tentoonstelling Best Verzorgde Boeken. Hoog tijd om ze samen te brengen in een reizende bibliotheek dacht Premsela – Nederlands Instituut voor Design en Mode-, Letterenfonds, SICA (Stichting Internationale Culturele Activiteiten), BNO (Beroepsvereni-ging Nederlandse Ontwerpers) en de Stich-ting Best Verzorgde Boeken. Samen presente-ren zij de 30 meest bijzondere boeken van het afgelopen jaar, samen met een selectie van boeken uit eerdere jaren.
tHeBest oFDUtCHBook
DesIgNThe Netherlands is well known for the high quality of its book design. This reputation comes as a result of the country’s vibrant culture of graphic design and internationally renowned designers, such as Irma Boom and Joost Grootens. Printers with a passion for their profession and a deep and abiding love of books also play an important role. And we should not forget their clients (the pub-lishers), who are as a rule inspired and enthu-siastic, with great feeling for the tactile and visual qualities of the contemporary book.
Ever since 1926, a jury of specialists has selected thirty Dutch books a year that have been made with the utmost care. They take into account not only the graphic design and the typography, but also the materials used and the quality of the printing. These thirty books are displayed in the annual exhibition The Best of Dutch Book Design. Premsela – the Netherlands Institute for Design and Fashion, the Dutch Foundation for Literature, SICA (Dutch Centre for International Cultural Activities), BNO (Association of Dutch De-signers) and the Foundation for the Best of Dutch Book Design decided that it was high time to exhibit the books in the form of a travelling library. These organisations have joined forces to present the thirty most out-standing books of the past year, along with a selection of books from previous years.
TBDBD_IntroPoster_060912.indd 1 13-09-12 16:42:12
6:mARKS
&LOGOtyPE
Few random logos which i have worked on during the part few years. It ranges from
1 Dedaun — a spa consultancy, it was named after an indonesian language for the word 'leafy'.
2 Chua&Gan — a revamp logo for an Advocates & Solicitors firm.
3 Five Stones — A property development named after a traditional game, 'batu seremban'.
