DESIGN PHILOSOPHYF O R M M U S T F O L L O W F U N C T I O N

THE GREAT GATSBYC D / / P A C K A G I N G D E S I G N

COSMOPOLITAN HOTELI N T E R N A L & E X T E R N A L B R A N D I N G

INVISIBLE GIRL PROJECTB R A N D I N G / / A D V E R T I S I N G D E S I G N

NEW YORK FASHION WEEKB R A N D I N G / / W A Y F I N D I N G / / U I D E S I G N

TENSEGRITYP A T T E R N D E S I G N

THE NEW YORK TIMESU I / / E D I T O R I A L R E - D E S I G N

SMART WATERP A C K A G I N G D E S I G N

NIKEU I D E S I G N

SANDRA BACKLUNDL A Y O U T / / E D I T O R I A L D E S I G N

Much of my inspiration as a designer comes from architecture. In my life, I have had the opportunity to experience buildings from many places including New York, Boston, Italy, England, France, Greece and Spain. And everywhere I went I was struck by the buildings around me. I was captivated by the ability of a building to solve a functional problem and serve a specific purpose in a such a timeless, beautiful manner. I sat in buildings for hours and wondered how many different layers were underneath what I was seeing. I spent my time trying to find the commonalities among several buildings and understand how all of these structures around the world serve the same basic purpose but look so different. As I learned more

DESIGN PHILOSOPHYF O R M M U S T F O L L O W F U N C T I O N

about the process, I discovered the three things that every building in the world has in common—foundation, discipline, and precision.These three concepts dictate much of what I do as a designer. It is imperative for design to be built upon a strong foundation that can support the many layers of work that will be assembled on top of it. Knowing, understanding, and being able to communicate the formal concepts and elements that go into a design is what separates a strong piece of work from a piece of work that will collapse under itself. Discipline also plays a crucial role in the success of a design. As designers, we must have the discipline to start strong and follow through. What we do

can prove to be a very frustrating process and sometimes it is easier to let function follow form, but we must have the discipline to ensure that a design can inform, educate, persuade, advocate, and entertain above all else. Creating a design that performs at a visual level is difficult, but designing something to perform at a cognitive level is the true challenge. But that is just the start. When it comes down to creating something that performs visually, every element must be treated with great care and precision. If even one element is neglected, it can result in the downfall of the entire project.Foundation, discipline, and precision lie at the root of all my design work. These concepts dictate every decision I make from ideation through to creation.

COSMOPOLITAN HOTELI N T E R N A L & E X T E R N A L B R A N D I N G

CONTENTS: LETTERHEAD // GUESTBOOK // KEY CARD // IPHONE WALLPAPER // DOORHANGERS // BUSINESS CARDS // NOTEPAD // ENVELOPE

Challenge: The Cosmopolitan of Las Vegas is a luxury resort, casino, and hotel aspiring to update its branding to adequately reflect the style of the clients that the brand attracts. The existing branding was done in 2005 and has since become irrelevant and inconsistent. It also fails to represent the experience of The Cosmopolitan. The client would like to see how the brand would be employed both internally and externally.

Solution: The whole identity system is built on the foundation of an abstract pattern designed for the hotel. The pattern has been drawn and painted with watercolor to add texture while providing depth and a diverse color palette. The new logotype employs the pattern to maintain brand recognition while modernizing the hotel. All elements of the new brand are clean, consistent, modern, and appealing to existing clientele of the establishment.

iPhone Wallpaper allows the pattern to be used by the hotel’s employees.

The hotel guestbook employs a version of the pattern in which the drawing is visible

without the watercolor.

Exclusively designed pattern is used as a type treatment for both the logo and the logotype.

The “please clean” doorhanger uses the pattern in full while the “do not disturb”

doorhanger uses a flat color from the palette in order to increase legibility from a distance.

CONTENTS: IPHONE APPLICATION // MAP OF NEW YORK CITY // MAP OF THE LINCOLN CENTER // [9] ICONS // DESIGN PROCESS

Challenge: Mercedes-Benz Fashion Week is a series of international fashion events hosted in five different cities. The current branding for the event held in New York City reflects the edgy style of the fashion designers but fails to hold the same sophistication as the high end men and women that will be in attendance. For this reason, MBFW is looking for a re-brand for the event that bridges the gap between the aesthetics of both parties.

Solution: The branding for this event is built around the concept of process. Fashion consumers never see the layers beneath the final product, but this branding campaign works to change that. All elements of this brand are built on a rigid grid and use watercolor overlays to juxtapose the fluidity of the design process with the structure of the final product. The brand tells a story and communicates class and sophistication with a little bit of an edge.

NEW YORK FASHION WEEKB R A N D I N G / / W A Y F I N D I N G / / U I D E S I G N

WEST 66TH STREET

WEST 65TH STREET

WEST 64TH STREET

WEST 63RD STREET

WEST 62ND STREET

CO

LUM

BU

S A

VEN

UE

BROA

DW

AY

AM

STER

DA

M A

VEN

UE

L INCOLN CENTER THEATRE AVERY FISHER HALL

THE JULLIARD SCHOOLWALTER READE THEATRE

ALICE TULLY HALL

METROPOLITAN OPERA HOUSE

SOUTH PLAZA

THE PRESIDENTʼS BRIDGE

JOSIE ROBERTSONPLAZA

HEARSTPLAZA

DAMOSCH PARK DAVID H. KOCH. THEATRE

The splash page for the application shows all the cities participating in Mercedes-Benz

Fashion Week.

When the user selects a city, the tab slides to reveal a series of sub-tabs. The user can then

see a schedule, directions, or event map.

The maps show three different route options from each New York airport to the event.

When developing the necessary elements for this campaign, the first step was to decide what required more attention: the branding of the event or the legibility of the maps. These are both very important, but only one can be at the front of the campaign. After doing research on executing sketches, I decided that developing a strong brand identity for the event. Allowing the function of the design to follow the form was taking an approach

that I have never done before and it proved to be an immense challenge. Developing a map that could function while matching the branding required first developing a strong wire-frame map that worked and then manipulating it several times. Developing this basic map was important so that function did not follow form in every aspect of this design. Each digital revision faced a series of benchmark tests to ensure legibility and brand consistency.

DESIGN PROCESSN E W Y O R K F A S H I O N W E E K

CONTENTS: LOGO SKETCHES // EVENT ICON SKETCHES // LOGISTICAL ICON SKETCHES

DESIGN PROCESSN E W Y O R K F A S H I O N W E E K

CONTENTS: [4] SECTION COVERS // IPAD APPLICATION

Challenge: The New York Times is a daily print newspaper aspiring to update its layout to appeal to a younger generation of readers. The existing layout was designed in the early 2000’s and proves to be cluttered, hard to read, and hard to navigate. The new layout design must work to solve these common user issues. The design should also have a corresponding tablet application that allows the user to interact with the brand digitally.

Solution: The re-design of this layout simplifies the cover page to increase legibility while maintaining visual interest. In order to appeal to a younger, more visual generation, the only thing visible when the newspaper is folded is a full bleed photo and a headline. When the paper is unfolded, or simply flipped, the top stories are organized neatly on the left side of the page. The tablet application mirrors the grid and organization of the print layout.

THE NEW YORK TIMESU I / / E D I T O R I A L R E - D E S I G N

Application uses iOS 7 Gaussian blur to indicate layers that sit beneath the surface.

The division of text and image mirrors that used in the print layout to maintain

consistency. To view more articles under the selected genre, the user swipes to the left.

Dimensions: 13x26

CONTENTS: SOUNDTRACK BOX // COMPACT DISC // LYRIC BOOKLET // DESIGN PROCESS

Challenge: The Great Gatsby film soundtrack is one of the world’s most popular soundtracks and is being re-released by Warner Brothers for a limited time. The client would like to release the soundtrack with specialty packaging that translates the story and Jazz age sensibility of F. Scott Fitzgerald’s novel into a physical object. Due to the growth of the digital age, it is important for the package to be unique and interactive.

Solution: This limited edition packaging has been designed to tell the story of the novel on a smaller scale. The outside of the package is designed to look like the door of a speakeasy. When the peep-hole door is opened, it reveals the omniscient eyes of Dr. T.J. Ecklburg. The cover opens to reveal the modern art deco pattern that is used throughout the film’s promotion. The lyric booklet carries on the story through a series of images.

THE GREAT GATSBYC D / / P A C K A G I N G D E S I G N

The dark wood box opens to reveal an elegant art deco pattern. This change from a rundown

exterior to a lavish interior reflects the experience one would have in a speak- easy.

Dimensions: 5.95x5.95

The panel on the front of the box opens to reveal Dr. T.J. Eckleburg’s eyes. [Recurring

element through the novel and film]

Compact Disc displays Jay Gatsby’s monogram that is seen in the film.

CONTENTS: [3] TYPE SKETCHES // [1] PACKAGE DRAFT // BUILDING SUPPLIES

DESIGN PROCESST H E G R E A T G A T S B Y C D

purchasing CD’s. After hearing the responses and realizing the impact of the digital age, I knew it was important to develop an interactive package that provides the user with a unique tactile experience. Once the idea was in place, it was time to create the physical package. This process alone took several days and several attempts. . I also thought it was important for the lyric booklet to utilize hand-done type as a reflection of Gatsby’s imperfections.

This process began by going to local stores that sell compact discs and assessing what was already out in the market. It was important for me to see what this soundtrack was going to compete against on shelves. As I walked through the aisles of several stores I began to realize that the CD and book aisles received the least amount of foot traffic. I then decided to interview friends, family, and strangers about their buying habits when it comes to

DESIGN PROCESST H E G R E A T G A T S B Y C D

CONTENTS: LETTERHEAD // BUSINESS CARDS // ENVELOPE // [3] PRINT ADVERTISEMENTS // DESIGN PROCESS

Challenge: Invisible Girl Project is a non-profit organization working to save young girls in Asia that fall victim to gendercide. With the existing branding and advertising, the organization is not thriving. For this reason, Invisible Girl Project needs to re-brand in order to raise awareness about the cause while also increasing brand recognition and incoming donations. The new branding must capture the seriousness of the issue at hand while maintaining visual appeal.

Solution: The inspiration for the logo came directly from the name of the organization. It features a logo type encased in a box that has a faint, almost invisible, outline of a young girl’s silhouette. The new brand uses only black and white to reflect how the issue of gendercide as seen as a black and white situation in which girls are bad and boys are good. All elements of the brand’s new identity have been created with the viewer in mind to make an immediate impact and increase brand recognition.

INVISIBLE GIRL PROJECTB R A N D I N G / / A D V E R T I S I N G D E S I G N

The business card features a die cut of the “invisible girl” seen in the logo design.

The photo in the advertisement creates a gruesome image when paired with the type that

reads “She thought she was getting a bath.”

This advertisement takes a different route than the others in the campaign by putting focus on

the mother rather than the daughter.

The photo in the advertisement creates an unforgettable image when paired with the type that reads “She thought she was going to learn

how to swim.”

CONTENTS: DIGITAL LOGO DRAFTS // DIGITAL ADVERTISEMENT DRAFTS

DESIGN PROCESSI N V I S I B L E G I R L P R O J E C T

brand in a more serious direction. Another consensus in the interviews was that the brand seemed to overshadow the organization. The first draft for this project featured a harsh black logo paired with a rigid typeface. Benchmarks after this draft showed that the branding was still being seen before anything else. The next revision employed a lighter typeface that allowed the brand fall to the second level of viewing while still maintaining strong brand recognition.

Developing the brand for Invisible Girl Project began with familiarizing myself with the organization and who they help. After doing research on the organization and seeing their low success rate, I saw it important do conduct a series of tests to see if consumers would donate to this cause. I interviewed several men and women who all said they would likely not donate because the organization does not look legitimate. After hearing this, I knew it was important to gear the

DESIGN PROCESSI N V I S I B L E G I R L P R O J E C T

SHE THOUGHT SHE WAS GOING TO LEARN HOW TO SWIM.

HE TOLD HER TO ABORT THEIR DAUGHTER.SHE SAID NO.

SHE THOUGHT SHE WAS GETTING A BATH.

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

WE ARE SURVIVORS OF GENDERCIDE.

SHE THOUGHT SHE WAS GOING TO LEARN HOW TO SWIM.

HE TOLD HER TO ABORT THEIR DAUGHTER.SHE SAID NO.

SHE THOUGHT SHE WAS GETTING A BATH.

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SHE THOUGHT SHE WAS GOING TO LEARN HOW TO SWIM.

HE TOLD HER TO ABORT THEIR DAUGHTER.SHE SAID NO.

SHE THOUGHT SHE WAS GETTING A BATH.

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

SEE THE INVISIBLE GIRL.INVISIBLEGIRLPROJECT.ORG

CONTENTS: [3] JOURNALS // [2] MUGS // IPHONE WALLPAPER // LAPTOP SKIN // [5] ELECTRONIC SKINS

Challenge: Tensegrity is a local architecture firm that is looking to develop a brand pattern that reflects the properties of a stable three-dimensional structure in a two-dimensional form. The pattern should be based directly off of the concept after which the company is named. There must be at least three variations of the pattern and they should be done in the brand’s current color palette to maintain brand consistency.

Solution: To the untrained eye, this pattern looks like a series of arbitrary triangles and lines. But to someone familiar with the foundations of architecture, it is clear that this pattern is based directly off of a tensegrity model. The primary version of the pattern uses a color along with shades of gray to show the different depths within the model. The two secondary patterns are wire-frame versions of the primary pattern.

T E N S E G R I T YP A T T E R N D E S I G N

CONTENTS: [2] WATER BOTTLES // 24 HOUR EMERGENCY SURVIVAL KIT

Challenge: Smart Water is a socially conscious brand that is looking to create a twenty-four hour survival kit fit to sustain two people. The kit should be designed using the brand guidelines of Smart Water in order to maintain brand consistency. It is imperative that the kit communicates in both English and Spanish and that it is able to stay in tact after a two-story air drop in the event that roads are closed after a natural disaster.

Solution: Every element within the kit employs Smart Water’s color palette of white and shades of blue to calm the user in the event of an emergency. The exterior of the boxes features a photo of an emergency air drop. This imagery adds a human element to the kit and reassures the user that people working to help all the victims. The kit is packaged in a clear tarp that can be re-purposed as shelter if the weather conditions are poor.

SMART WATERP A C K A G I N G D E S I G N

The three boxes come together to form the image of an emergency air drop.

Type on each box is written in both English and Spanish so it is more accessible.

The contents of the box are written large and clearly to maximize legibility from a distance.

The orange tent breaks from the palette of the kit so that it can be easily seen from

rescue planes flying overhead.

All interior elements are also written in two languages for ease of use.

CONTENTS: BOOK COVER // [11] CONTENT SPREADS

Challenge: Sandra Backlund is a famous Swedish Knitwear designer aspiring to create a spotlight book to showcase and discuss her most famous clothing collections. The style of the book must not match Backlund’s style but rather compliment it. The book should communicate the content in a visually appealing way but it is important that the design of the book does not compete with the design that is being showcased.

Solution: The book is named after one Backlund’s less recognized collections, Perfect Hurts. Rather than using ample white space in order to make the designer’s work stand out, this book employs a palette of black paired with neon colors to contrast the work of Backlund. The layout of the book has been designed on a disciplined, angular grid that prevents the content from competing with the photos of the designer’s work.

S A N D R A B A C K L U N DL A Y O U T / / E D I T O R I A L D E S I G N

The layout of type throughout the book is based on a post modern grid system that compliment’s

Backlund’s work.

Dimensions: 9x6

Each collection/ season has its own specific color to differentiate the sections within the book.

The Introduction spread for every season is kept clean and simple to reduce visual tension.

Bright colors interact directly with Backlund’s work to provide visual interest and hierarchy.

CONTENTS: CONCEPT CAMPAIGN // GUERRILLA APPLICATION // IPHONE APPLICATION // [6] APPLICATION ICONS

Challenge: Nike is a lifestyle brand looking to create a fitness campaign to combat obesity. Nike’s existing campaigns focus on specific activities such as training or running, but the client would like to see a new approach with this campaign. It should promote and encourage better general health and increase daily activity. The campaign must be user friendly and widely accessible.

Solution: This campaign revolves around the idea that fitness has no finish line. This concept is carried out through an outdoor guerrilla fitness track with repeating mile markers that allows consumers to track how far they have walked, run, or biked. The entire campaign employs Nike’s fonts and color palettes to maintain consistency with the existing brand.

N I K E F I T N E S SADVERTISING // UI DESIGN

Billboards and print ads throughout the city encourage viewers to take

make use of the outdoor tracks.

These mock-ups show how and where the guerrilla tracks would be

employed throughout the city.

The home page for the application shows an overview of the user’s workout history.

Icons for the application have been designed to match the style of existing Nike icons while

communicating quickly and easily.

When searching for a track, the user selects the distance and location of the workout.

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