PROCESS \ Selected Works of Rika Putri

selected works of rika putri \ 06 –10

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A PROCESS LIES BEHIND EVERY RESULT.

ior portfolio

ary scott

myself

Rscot crisp

titles/neu

tra text boldfolio/n

eutra text light

body copy/the mix light plain

position/m

yselflightin

g/cowboy stu

diocam

era/canon

rebel xt

Mlayou

t/adobe indesign

photography/adobe photoshop

giant horse printing

7in X 9.5in

finch fin

lb text

Rthe key bin

Gexposed-sew

n spin

ecoptic bin

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6–10

“lively up you

rself”

kiss waste goodbye

inatin

g taste

bringin

g closure

re-chann

eling a vision

find you

r fortun

ch in store

splice of life

gallery of shouts

10methodical m

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collateral

packaging

identitydigital m

01PROJ NØ.

spring 0

Spackage design

as mcn

Kredesign

a label for an existin

g beer bran

d, inclu

ding bottle, can

-pack carrier. selected bran

d: Red Stripe.

“LIV

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research ladder

concept exploration

history/company’s background

cultural style

product /cultural information

compeitors

design briefmood boardculture boardtype boardpencil sketchesdigital draftsmock-ups

\ proj. 01selected works of rika putri \ 06 –10

style final presentation

design approach/execution: bottled lagerbottled lightbeer can6-pack carrier

COHESIVENESS

\ package design iii _ “lively up yourself ”

\ 360o process

OBJECTIVE The assgignment is to select an existing beer, and redesign its label. Other deliverables are a newly designed canned beer as well as a six-pack bottle carrier with a more exciting and less generic approach. My idea for the new Red Stripe brand reflects the imaginable Jamaican spirit, including bold colors and lively culture.

I have integrated different textures, materials, illustrations and specific colors to achieve that tone. I want to give Red Stripe more of a decorative and conceptual label so that a peeled-off label could become a keepsake.

Because Red Stripe has been around for so long, this is the perfect opportunity to re-visit and re-design the brand. My in-spiration comes ultimately from street murals from the town of Kingston, Jamaica. The sandy texture comes from the Ja-maican beaches.

THOUGHTSI think Red Stripe has all it takes to be wrapped in a bad ass label. After all, it’s Jamaican! You know? Rob Marley, marijuana, colors, beaches, vibe. You name it.

In its look right now it doesn’t feel Jamaican at all. What a shame! I’ ll make it happen!

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selected works of rika putri \ 06 –10 \ proj. 01 \ package design iii _ “lively up yourself ”

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\ red stripe light beer can

\ bottled lager & light

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\ vector outlines \ close-up label details

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identitycollateral

packaging

digital media

02PROJ NØ.

fall 09

Sprint 2

Kproject 1: do exten

sive research into a n

stainable object an

rite a compellin

g book about

your fin

dings.

project 2: invent a sustain

able replacem

ent that addresses the problem

s caused by the first

object. brand the n

ew produ

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OBJECTIVE The R3 project is divided into two parts. The first focuses on re-search regarding an everyday product that is not sustainable and causes harm to the environment. Whether the product is non-biodegradable, non-recyclable or produced toxic chemi-cals by nature, these harmful characteristics are identified and highlighted. Desire talks about the environmental reality behind lipsticks in a narrative that reflects femininity through profiles of women and their lipstick needs. The book is highly saturated, impactful and graphical.

The second part of the R3 project required us to think about what could be possibly done to address the problem in the first part of the project. I designed Tulip, a canister that carries a re-tractable lipstick case which can hold two interchangable lip pomades. The Tulip lipstick pomades are held in seeded, biode-grable paper containers dyed with colors from natural materi-als. This solution not only helps reduce waste, but reduces the amount of toxic chemicals produced on the planet.

THOUGHTSThere is no way that women would give up on lipstick entirely for environmental reasons.

Sure, there are eco-savvy consumers who purchase natural lipsticks, but even their containers are made out of non-recyclable plastic cases that cannot biode-grade.

There has to be another solution that would help eliminate the waste.

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\ lipstick toxicity research map

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\ lipstick mugshots \ book cover

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packaging

collateralidentity

digital media

03PROJ NØ.

spring 0

Spackage design

as mcn

Kinvent a w

orking lam

p for an exist-

ing bran

d or subject.

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raw surface [physical research]

brand connection > concept development

absolut vodka brand

overcomingcomplications 1

01 development

02 finalization

03 fabrication

projection/end result

BOTTOM BASE 6 .0 in

ROD 1 .5 in

2.25 in2.25 in

2.0 in2.0 inTOP BASE 5 .5 in

TOP BASE RAISE 4 .75 in

TUBE ONE 3 .0 in

TUBE TWO 4 .0 in

TUBE THREE 5 .0 in

3.5 in

2.5 in

1.5 in

0.875 in0.875 in

0.125 in0.125 in 0.125 in

0.25 in

0 .25 in0.5 in

3-D mock-up model/

proposal to california model & design

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OBJECTIVE I chose to work with Absolut Vodka and design a lamp for that brand because I was drawn to its array of its vodka fla-vors. This idea of variety is reflected onto the design of the lamp with a spectrum of colors shot through cyan, magenta and yellow tubes that are inter-changeable.

This lamp is user interactive, allowing the owner of the lamp to set different vibes for each mood that he or she is experiencing that very moment.

THOUGHTSDrinking creates mood. I believe that forms of light-ing are able to set different moods and emotions.

Naming this lamp wasn’t too hard, because all of the flavors start with “absolut”. but I don’t want it to sound like a drink.

The name I finally came up with is Absolut Aura, which derives from aurora of the northern lights.

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\ preliminary lamp sketches

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t” (

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pure cyan, yellow and magenta

\ process colors

BOTTOM BASE 6 .0 in

ROD 1 .5 in

2.25 in2.25 in

2.0 in2.0 inTOP BASE 5 .5 in

TOP BASE RAISE 4 .75 in

TUBE ONE 3 .0 in

TUBE TWO 4 .0 in

TUBE THREE 5 .0 in

3.5 in

2.5 in

1.5 in

0.875 in0.875 in

0.125 in0.125 in 0.125 in

0.25 in

0 .25 in0.5 in

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try of

This i

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ited E

dition

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design

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dition

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roject

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ablish

bsolut

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histor

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bsolut

\ outer packaging label

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selected works of rika putri \ 06 –10 \ proj. 03 \ package design iii _ illuminating taste

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identitycollateral

packaging

digital media

04PROJ NØ.

fall 08

Sidentity 2

Rtodd hedgpeth

Krevisit the ziploc bran

d and design

identity system w

ith a design m

al for the company.

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OBJECTIVE The corporate identity of Ziploc has not changed much over the longevity of the brand. ZIploc has never undergone a face-lift or chosen to show excitement in its aesthetics. I see this as an opportunity for a redesign!

The new Ziploc mark optically shows an invisible zipper swooshing its way through the type and closing the letters that make up the wordmark. The concept is as simple as bringing the brand and consumer together as a unit.

With the newly branded Ziploc, there are more innovations aside from just the updated plastic bags and containers, in-cluding items such as a beverage cooloer canister, the Ziploc store and lounge, a fresh herb keeper, and others.

THOUGHTSWith many competitors on the shelf, Ziploc has the potential to be the brand that stands out in the crowd visually. I feel that Ziploc is creative in its product line, but it would be quite a pity if these products aren’t packaged to reflect this.

By changing its mark and coming up with a new tagline, Ziploc has already rebranded itself. The brand sets a new target, while retaining the history and equity built of many years.

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REFRIGERATION I had the idea of using a refrigerator for the identity style guide because a fridgeis the ultimate in keeping things fresh and cold, protected from moisture and heat.

I divided the fridge into 3 sections—top storage, mid stor-age and bottom freezer. The top consists of a chapter that explains how the brand came about, Ziploc’s history and the company’s background as well as competitors and inspiration for the new design approach.

The mid storage contains the redesigned brand design and style. This is where the new identity system comes in. It stores the logo specs, color palette, typography, usages and so on.

The bottom freezer is to keep items that would last longer. This is where the new identity is built out into different ap-plications that are provided for the market.

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\ graphic from brand guide cover

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\ the Ziploc store \ parking sign \ structure map

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\ all zipped up t-shirt

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\ store banners \ shuttle bus stop \ visitor pass

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\ new packaging \ bag dispenser

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identitycollateral

packaging

digital media

PROJ NØ.

spring 0

Sgraphic design

Rpedro freitas

ork with an

existing tv station

and design

its station identifier for

heir new

spring season

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research

competitors

re-structuring delivering final systemsolidifying equityconcept /explorations

station ids

posters

standard manual

lower thirdsmenu lineups

re-channeling

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\ 360o process

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OBJECTIVE This project required me to select an existing television net-work and work with their current identity to create a newly designed motion-based station idenfier for the spring season. The deliverables for this project include a series of stills of the network’s station IDs, theme posters, system manual, lower-thirds, station bugs, and menu lineups.

I came up with the concept of (Re)Experience, which gives a new life to the old NBC. The network has been around for quite sometime and when it comes time to be renewed, the design had better to be revolutionary. I kept NBC’s equity by retaining the colors taken from the peacock feathers of its current logo, but have updated the rest.

The swooshes are designed to create motion and swiftness to reflect how the company has been running for many years. They also show how NBC continues to return with even more force than ever.

THOUGHTSNBC lands itself with such a great looking, iconic mark, but sometimes a mark itself won’t do a company justice. What it needs is a well-written message that reflects thought all their media, like their website for example.

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\ re-experience nbc evening poster

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\ nbc posters

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identitycollateral

packaging

digital media

06PROJ NØ.

spring 10

Sidentity 3

Rdarrell hayden

d and position

a country by

designin

g the country’s logo,

identity system, an

d tourism

aterials.

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research ladder

concept exploration

history of myanmar

cultural direct visual comprehension

people/cultural information

perceptions

design briefmood boardculture boardtype boardidentity sketchesdigital draftstourism system

direct visual comprehension

final presentationsystem developmentmood

design approach/execution:

tourism improvementcountry’s reputation

venerated colorsiconic scripture

world recogn

\ 360o process

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WIPE THE SLATE CLEAN

BOLD FLAVORS

WIPE THE SLATE CLEAN

BOLD FLAVORS

SIT, TALK & LAUGH WITH US

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selected works of rika putri \ 06 –10 \ proj. 06 \ identity iIi _ find your fortune

\ preliminary identity sketches

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\ final identity

OBJECTIVE In the senior identity class we were required to rebrand a na-tion. Myanmar has so much potential to grow and further de-velop, but it needs help in clarifying its values, brand essence and unique characteristics. The branding process started with gathering relevant inspiration and designing the mark.

The mark holds a double meaning: at first glance, it appears to be a rising sun of a growing nation. But the ultimate idea is derived from the pagoda, taken from an overhead angle, suggesting you look at Myanmar from a different perspective. The colors selected are not only derived from the idea of “the golden land” but they are the colors taken from the country’s venerated monks’ robes.

The logotype is specially designed to embrace the existing style of the Burmese script as well as to ground the identity in a natural and raw texture.

THOUGHTSAfter doing all the research on Myanmar, I am mostly surprised at how magical this country actually is as compared to how it is perceived internationally.

I want a mark to distinguish itself from other generic pagoda icons, yet I want a pagoda to be part of its mark and I wanted it to be a timeless design.

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\ secondary graphic spread

\ hot air balloons

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\ country banners \ tour bus

\ water bottles \ umbrella \ straw hats

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\ national stamps

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identitycollateral

packaging

digital media

07PROJ NØ.

fall 09

ichael osborne

Kreposition

the kmart bran

d by creatin

g sub-bran

ds that are appropriately stratified for the com

pany’s target markets.

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research

objective: to bring the kmart brand to the level of the target brand.

home & kitchen

fusion

new logo

red yellow blue

clothing

habitat

ready!

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\ RedYellowBlue conventional milk

OBJECTIVE This is a collaborative project that includes the rebranding of Kmart and redesigning its new packaging and other aesthet-ics. In working with Jayde Cardinalli, Ingrid Njono, Teddy Kur-niawan and Clara da Silva, we broke out the Kmart customer base into three target markets with specific demographic characteristics.

Then we designed ideniities and packaging for sub brands that would cater to each of these markets. The Kmart Red Yellow Blue sub brand would serve families’ basic needs. The products in this line include pantry items, kitchen necessities, bathroom products and pet supplies.

The READY! sub brand caters to on-the-go individuals that need products that can serve many functions. Items sold in this brand include instant coffee, stackable bowls, prepared sandwiches and other space-saving products.

The Habitat sub brand is targeted to eco-conscious consum-ers that are concerned with the production and after-life of their products. Products in this line include free-range or-ganic eggs, non-toxic powdered milk-derived paint and eco-friendly cleaning items.

The Bliss sub brand offers more luxurious products for the refined home. Products in this line include expensive bed sheets, drink mixers and bath products.

THOUGHTSThe first thing that came into my head while walking into kmart for this project was how disorganized everything is placed and the fact that the store is gloomy and lack of positive energy.

My groupmates and I immediately came to our senses that the new Kmart would focus on improving its weakness, with addition to creating sub brands to target different groups of audience.

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selected works of rika putri \ 06 –10 \ proj. 07 \ package design iv _ much in store

\ RedYellowBlue pots and pans

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\ Habitat shampoo collage

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\ Habitat non-toxic milk paints

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\ Habitat organic eggs

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identitycollateral

packaging

digital media

08PROJ NØ.

fall 08

Rariel grey

Kdesign

a brochure, poster an

d swatch

cards for smart paper com

\ proj. 08 \ typography iii _ splice of life

XxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxX

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01 research

consider an issue to be addressed.

XxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxX

01 research

consider an issue to be addressed.

refining stageprogression final concept:

cloning as the 8th creation

02 development

SPLICE

03 final deliverables

\ 360o process

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OBJECTIVE The goal of this project was to design a brochure, poster and set of swatch cards for a paper company. The brochure is the densest part of the project and the topic selected should be an issue relevant to current events.

Given that I was working with Smart Paper Company, I chose to research and write about cloning. This scientific process is often called the eighth creation of the planet . Therefore, the book, titled On the Ei8th Day, covers the clon-ing issue, debating whether it is unethical or instead an imporant asset for the scientific community.

THOUGHTSI want this book to have as many details as possible, both in the chapters as well as the applied design elements. After all, this is a topic that people are most aware of, and most pay good attention to.

It’s a challenge to take actual shots of clones, so I gathered up abstract photographs that are scientifically relevant to the topic.

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identityprints

packaging

digital media

09PROJ NØ.

fall 06

–spring 10

i kiyama

tom sieu

roland you

\ proj. 09 \ gallery of shouts _ showcase of posters

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OBJECTIVE I believe that posters are designed for multiple reactions. They are to be engagingly informative, provocative, im-pactful, offensive, touching, humorous, merciless, got you thinking, or you name it . At the end of the day, no matter what or who the audience is, a poster is designed to send a message or to tell a story.

The Gallery of Shout showcases some of my selected post-ers that are designed either for part of an assignment, or of an assignment. They are meant to shout and grab your three-second reaction. Please enjoy.

BEWARE,

selected works of rika putri \ 06 –10 \ proj. 09 \ gallery of shouts _ showcase of posters

THESE FLATS SHOUT.BEWARE,

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How I sho

uldLov

S TO P

&the b o m b

c o l u m b i a p i c t u r e s

a f i l m b y S TA N L E Y K U B R I C K

instr. Roland Young\ Dr. Strangelove movie poster

swissbikes.com/foldablex50

instr. Roland Young

\ Swiss Bikes X50 product poster \

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HEALHELP

T H E H A I T I P O S T E R P R O J E C T 2 010

instr. Roland Young\ H3 (Help Heal Haiti) Haiti poster project

00 \ set up

T H E H A I T I P O S T E R P R O J E C T 2 0 1 0

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instr. Roland Young\ Rods & Cones musical poster

instr. Craig Griffith\ SF Weather Graph informational poster

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instr. Tom Sieu\ Co-existence Urban Forest Project

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PANTONE®

80% 65% 50%

7406100%

7421100%

7417100%

70% 65% 40%

75% 70% 50% 10%

} PRIME CUTS

15%55%

The areas of the animal that got a lot of exercise will be less tender than those that did little or no work.

} TENDERNESS OF MEAT

7421 564

7453100% 15% 5%

YIELDS

PORTION CHART

DOMESTIC SHEEP

% BREAK DOWN

Lamb is a sheep less than a year old. There are eight basic primal cuts in a lamb. They are neck, shoulder, foreshank, breast, rib, loin, leg, and shank.

} rib area of animal } hind portion of animal } front portion of animal

The rib area of the lamb is, like prime rib in beef, very tender and flavourful. This portion of the lamb is either cut into little rib chopsor left as a whole rack of lamb (with seven or eight ribs). The rib cut has an outer layer of fat which can be trimmed off but, if left onduring cooking, melts and bastes the meat. Ribs and loins are best cooked by dry-heat cooking.

LOINRoast/broil/grilling

Loin chopsT-Bone steakToploin chopsTenderloin chops{Filet Mignon}

RIB“Frenched”

Rib chopsRack of lambCrown roast{Delmonico}

} RETAIL CUTS

The most versatile cut in a lamb is the leg. The lamb leg is in aleague of its own. the leg of lamb is tender and very versatile.However, only the two hind legs produce the cut referred to as “leg of lamb”.

LEG Roasting/grilling

Large/small roastKabob meatsRolled/netted steakStuffed rolled leg

LEG STEAK The whole, bone-in leg can weigh from 5-to-9 poundsand may be American style {boneless} French style {shank bone-on}

} RETAIL CUTS

This front area of the animal provides the toughest meats, butthe most flavorful, and less expensive. The cuts are shoulder,shank, breast and neck.

SHANKBraising

osso buco2 hind shanks+ 2 fore shanks

BREAST & NECKBraised

Ground/mincedCrosswise slicesLamb sausagesLamb burgers

SHOULDER Dry roasting/slow-braising

Shoulder roastboneless/bone-in

Shoulder chopsStewed lamb

} RETAIL CUTS

premium priced lowest pricedmid-priced

135 Rare

140 Med-Rare

150 Medium

PERCENTAGE BREAKDOWN28% CHOPS30% ROASTS22% GROUND/STEW MEAT20% FAT BONE SHRINGKAGE

Pantone Matching System. Indicates primal cuts in lamb, categorizing each area of tenderness with each color—pms 7417 groups the tenderest cuts in beef, pms 7406 groups the least tender cuts and pms 7421 groups meats with medium tender.

Percentages used:

A lamb carcass generally weighs 40–75 lbsThe primal lamb shoulder is a relatively large cut accounting for 36% of the carcass weight.

40–75 lbs

The primal lamb rack is also known as the hotel rack. It is located between the primal shoulder and loin. Containing eight ribs and portions of the backbone, it accounts for approximately 8% of the carcass weight.

The rack is valued for its tender rib eye muscle. The hotel rack is usually split in half and trimmed so that each set of ribs can be easily cut into chops. The split racks can then be grilled, broiled or roasted as racks or cut into single or double rib chops before cooking.

RACK {of lamb}

PANTONE®

} PRIME CUTS

15%35%50%

} CUTS AND PRICES

} RETAIL CUTS } RETAIL CUTS

389100%

YIELDS

PORTION CHART

FARM-RAISED PORK

There are a total of four sections in pork. A pork carcass is generally split into two sides of pork, each consisting of four primal cuts—shoulder, loin, belly, and ham.

Areas of the pork are divided into two main parts—premium cuts and economical cuts.

midpriced

} center portion of animal

This center portion of the animal are the most economical cutsin pork. They are the shoulder cuts, leg/ham cuts and belly cuts.The meats from this area are mostly flavorful, but contains thehighest amount of fats for slow cooking.

HAMMostly smoked

CutletsHam roastsbone-in/bonelessfresh/smoked

Fresh hammarinated/crustedroast fresh ham

BELLYFresh/smoked/cured

Spareribs30% less expensivethan Backribs fromthe Loin section.

SHOULDER Slow cooking—braising

Shoulder chopsShoulder butt roastStewing porkPicnic Roast

premium priced

} loin cuts of animal

The loin is the most tender and expensive part of the pig. Loin cuts are fairly lean and should be cooked carefully, usually with high heat dry methods, to a temperature of no more than 150°F (65°C), leaving the meat slightly pink and still juicy.

CENTER CUTMost expensive

SIRLOIN ENDClosest to the leg

BLADE END/RIB Closest to shoulder

Loin Roast Loin ChopsButterfly ChopsTenderloinBaby Back RibsSirloin SteaksSirloin RoastPeameal Bacon

23% 11%

11%14%

265 lbs Live pig

Typical market pig. A 265 lbs commonly weighed farm raised pig can produce a 200 lbs carcass:

265 lbs....................Live weight

200 lbs....................Carcass weight

0.7 in...................... Backfat

6.6 sq in..................Loin eye area

54 pct......................Fat-free lean meat

108 lbs.................... lean meat

Head, Jowl, Snout, Ear, Tail, Innards

A pig’s head can be boiled and boned to make head cheese.

The jowls (pig’s cheeks) are rich in flavor and can be cured like bacon and are used to flavour dishes.

Organ meats are used in various ethnic cuisines. The small intestines are used as sausage casings.

OTHER CUTS

80% 65% 50%

717100%

1795100%

497100%

70% 65% 50%

75% 70% 50%

Pantone Matching System. Indicates primal cuts in pork,categorizing each area of tenderness with each color—pms 497 groups the economical cuts in pork, pms 717 groups the other cuts and pms 1795 groups the premium loin cuts.

Percentages used:

23% 8%

instr. Megumi Kiyama\ Saturated Cuts Pantone series posters

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