Embed Size (px)
Citation preview
PRINT•Dance to Dance magazineTypeface DesignPork Store CafeKraftwerkCamp Mather
BRANDING•Allen and Heat SpaceviewIndent
PACKAGING•HeritageSequence
DERRY SUSANTO•GRAPHIC DESIGN
ARTIST STATEMENTTo me, design is a complex combination of instinctual, conceptual, intellectual, and visual skills. Most importantly, it is the solution
to solving specific conceptual challenges. Design is enhanced when a client and a designer can communicate successfully with
each other to produce strong concepts and aesthetically pleasing designs. Successful designs rely on well developed thought
processes that resonate with the vision of the client. I use diverse approaches so that no single style dominates. This forces me to
continue to explore and research new avenues of art.
CLIENT: DANCE TO DANCE MAGAZINE
DESIGN PROBLEM:To create a magazine dedicated to the disco/dance music scene in San Francisco
to expose new disco producers and bands to the public.
DESIGN SOLUTION: Magazine and vintage typography create a vintage look witch is incorporate
a simple grid layout design.
DANCE TO DANCE MAGAZINE
A Disco Ball in SpaceNormally when a spacecraft blasts off for Earth orbit, ground controllers hope it will
stay up for a long time. But last month NASA launched something a little different: a
satellite whose mission is to fall from the sky. Returning to Earth out of control and
with no hope of rescue is exactly what it̀ s supposed to do!
Its name is Starshine 3, and it looks as curious as its mission sounds. The 200 lb
satellite carried aloft from Alaska on September. 29th by a Kodiak Star rocket, is a
meter wide sphere studded with 1500 student built mirrors. Sky watchers can easily
see it as it glides ove rhead, spinning and glittering like an oversized disco ball.
“Starshine 3 is on a mission to explore the outer reaches of Earth̀ s atmosphere and
to discover what happens to satellites there,” explains Prof. Gil Moore, the director
of Project Starshine a unique program that combines cutting edge research with
educational out reach of earth.
“Project Starshine is a consortium of volunteers universities, government agencies,
private corporations led by the US Naval Research Laboratory and the Space Grant
Program the says. The most important participants, though, are students. Approx
imately 40,000 of them from all parts of the world helped polish Starshine 3s distin
ctive mirrors. And now that the “disco ball” is in space, students are going to help
again by monitoring Starshine 3 as it falls at fi rst slowly, then later with greater haste
and back to Earth. <<<
<<<
The Dunny ShowNYC’ 05 TourNov 12–Dec 23 www.dunnyshowtour.com
da
nc
e to
da
nc
e •
01
RUB’N’TUGPRESENTCAMP FIRE
Eric Duncan & Thomas
There is a revolution going on within dance music. Eclecticism is back and
Eskimo’s riding the wave with shockingly exciting DJ mixes (Série Noire, Ivan
Smagghe, The Glimmers, Optimo to name a few). Still here comes the belgian’s
label most off the-wall offering yet. Get ready for ‘Camp Fire’, an hallucinating
acid trip into the demented record collection of Rub’n’Tug. Under this alias
hide NY DJs Thomas and Eric Duncan who deliver here an insane mash-up of
sounds from the seve nties to today. Imagine 2 Many DJs’ entertaining factor
combined to The Glimmers or Idjut Boys’ knack at unearthing improbable
obscur ities and you’re halfway.
Incidentally Thomas, who’s British (and was half of A.R.E. Weapons), started off
in Tonka, the legendary ravey soundsystem which inspired many for its musical
open-mindness. It’s no wonder ‘Camp Fire’ has got it all: stoned funk (Rocking
Horse, Bronx Dogs, Bang Bang), rockin’ disco (Bumblebee Unlimited, Daniel
Wang), druggy electro-funk (Mr Cisco), pomp prog-rock (Aphrodite Child,
Cozy Powell), poofy disco (Linda Law, The Chaplin Band), old school house
(Charles B, On The House), gritty soul (Hot Chocolate, Harari), a pop hit (Flash
& The Pan’s ‘Midnight Man’) and pretty much anything you’d never expect for
that matter there’s even a fl oaty balearic track’s stuck right in the middle
(Double Fantasy).
Not only this is great party music but half the genius of Rub’n’Tug lies in the fact
that the whole mix has been cleverly re-edited and post-produced to make it
sound as if it’d been messily recorded live in some after hours joint. So a million
of stoopid sound effects collide in glorious anarchy on top of the tracks and
leave you absolutely speechless: exagge rated delays, mad cuts, microphones
fee dback, faders going up & down, needles jum ping, pacman noises, cock
a doodle–doo, bugle–the lot, you will not believe your ears.
<<<
<<<
<<<
<<<
da
nc
e to
da
nc
e •
04
For Deep Space, he accesses a hard drive with over 4000-songs. Any additional CD and vinyl
material he brings makes up the remaining “10-15 percent” of the night. Francois uses the Traktor
DJ Studio to access his song-bank, with an external controller– a“module with knobs and sliders
to control the software.” Deep space? Indeed. And what about those mind-altering sound effects
that light up Cielo’s dancefl oor like Times Square? “I use a piece of crap Yamaha SPX-990, a 12-year
old FX box. I also use the TC Electronics Fireworks, the FX box of death.” And for a fi nal, eloquent
touch, FK utilizes “a little reggae sound generator—you know, those siren boxes.”
A barrage of upcoming international gigs (including a Tribal Gathering benefi t for Sudan in July,
a 40,000 person massive in Monegros, Spain and a live set at Sonar, London) won’t stop Francois
from taking full–advantage of Traktor’s latest innovation: the ability to utilize 24–bit, 96k audio that
can be “4–6 times the resolution” of a CD and “less muddy” than vinyl. “It has to be encoded that
way,” Francois interjects. “It’s a matter of preparing a library of several thousand songs, not
something you can do in ten minutes.”
With all these activities keeping him busy (not to mention his live remix sets with Ableton Live and
a techno collaboration with Derrick May as the Cosmic Twins), Francois’ deep success lies in his
“raw and instinctive” approach to presenting a broad range of music. “For the DJ, it’s about
listening to that little voice while you’re playing. Say there’s 40-seconds left; you haven’t chosen
what you’re going to play next. You have 35–seconds to make a selection and then cue it up. In
those moments, when there’s a little bit of pressure, you’ll fi nd something. You don’t have to think
too hard. I’m not saying use the force,” he beams, “but it’s a little bit like that.”
“If they don’t hear you mixing two records together, they think you are a bad DJ.”
<<<
<<<
“A lot of people are expecting that, or have been brainwashed with that. If they don’t hear you
mixing two records together, they think you’re a bad DJ.” Francois offers a staunch fi nishing-off
remark, leaving little room to question his confi dence: “I’m totally ok with people thinking that, if
that’s what they want to judge me by.”How open are people to Francois’ approach? From the look
of Cielo’s late night crowd packing in after 1:30 a.m.
on a recent Monday, extremely. But Francois is no stranger to resistance. “I don’t feel many places
are ready for Deep Space,” he explains. “I managed to do Deep Space in London, Berlin, Oslo,
Tokyo and Sapporo. Germany didn’t do well at all. It wasn’t properly promoted. Everybody came
expecting me to play a house set. They came with: ‘What is this reggae shit he’s playing? What’s
this rock song doing and then hip-hop?’”
“From the moment we started [in New York] two years ago, people were not prepared for that, they
were not accepting.” Some patrons guessed Deep Space would be a housed-up continuation of
Body & Soul. But Francois’ superlative sets triggered a weeding out process. “I think there was a
natural selection,” he elaborates, “where only those people that really enjoyed that approach
stayed on and became the core of the crowd.”
There’s no top secret behind Francois’s menagerie of eclectic grooves. Rather, a combination of
technology, old and new, allows for its seamless execution. Wave Music, the Midtown Manhattan
based mother-company that Francois founded in 1994, houses a full studio rig, which he calls
“electronic madness.” Like the cool kid who loves show and tell Friday, Francois brings the best toys
from that set-up to his gigs.
<<<
<<<
<<<
F.K going to deep space @ NYC.
da
nc
e to
da
nc
e •
08
da
nc
e to
da
nc
e •
09
INSIDE SPREADS
CLIENT: ESKIMO DESIGN
DESIGN PROBLEM:Create a new spaceship code typeface to appeal to the teens and young adults
who are science fiction fans.
DESIGN SOLUTION: The typeface design is stylized like alien code from different planets. The design consists
of three elements: the white dot, which represents the stars; the curve of the typeface, which
symbolizes alien code; and dark color. Which represents the darkness of outer space.
POSTER TYPEFACE DESIGN
TYPEFACE DESIGN
1451 Haight St. San Francisco, C.A .94117. tel.415.864.6981.
e-mail: [email protected]
CLIENT: PORK STORE
DESIGN PROBLEM:Redesign the logo and show the function of the logo placement in the menu design and business
card. Provided an example of a store front for the cafe. DESIGN SOLUTION: Incorporate the graphic of a pig into the logo it self. The counter of the “O” is replace the with
the graphic of the pig.
PORK STORE
02
01
01 • APPLICATION POSTER 02 • KRAFTWERK TIME LINE DIGITAL POSTER
CLIENT: KRAFTWERK
DESIGN PROBLEM:To create a timeline poster about the German band KRAFTWERK, the most legendary
electronic band in the music industry. The purpose of the poster is to remember and
respect the works of KRAFTWERK.
DESIGN SOLUTION: The poster covers all the timelines of the albums and their concert schedule around the world.
To make the audience understand the poster, it is divided into three elements. The first element
is the album cover. The second element are robots illustrating the yearly progression of their
new albums covers. The third element is the color code representing the locations of live concerts
all over the world.
KRAFTWERK TIME LINE POSTER
CLIENT: CAMP MATHER
DESIGN PROBLEM:Camp Mather is a non–profit organization. The orgazination wants to have a new edition
of their t-shirt for 2006.
DESIGN SOLUTION: The concept for the t-shirt design is to incorporate animals such as the dragonfly that are
common at the campground.
T–SHIRT DESIGN PRINT
CAMP MATHER T–SHIRT DESIGN
BRANDING
CLIENT: SPACEVIEW
DESIGN PROBLEM:Update identity and develop a function of the logo placement in the exhibition floor plan.
DESIGN SOLUTION: The solution for creating the updated identity is focused around illustrating the rocket and
stars in an iconic way. The design identity consists of two elements; the rocket with the
star symbolizes traveling in outer space. The logotype represents the company with an
image of advanced techonology.
SPACEVIEW
01
02
03
Front Back
Counter Informat ion
kiosk
Front Back
Counter
Side wal l
k iosk
FrontBack
Side wal l
Front Wal l
04
01 • FRONT MODEL02 • LEFT SIDE MODEL
03 • WAITING ROOM04 • FLOOR PLAN
CLIENT: INDENT
DESIGN PROBLEM:
Creating illustrations of the store front and the interior for a new art gallery.
DESIGN SOLUTION: The definition of Indent: the art of reuse. The company is focused on recycled art, art exhibi-
tions, and rental space for art shows. The concept behind the storefront and the interior of the
gallery is to have a clean, modern, environmentally friendly art gallery image. The layout of
the building is a combination of an art gallery and office space.
02
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj03
01
01 • OUTSIDE INTERIOR ART GALLERY02 • INSIDE INTERIOR SPACE03 • STORE FRONT DESIGN
INDENT
BRANDING
BRANDING
CLIENT: ALLEN AND HEAT
DESIGN PROBLEM:Redesign new identity.
DESIGN SOLUTION: Allen and Heat is a high-end electronic company from the United Kingdom for audio recording.
The concept for redesign identity is focused around the idea of illustrating the partial mark
in an iconic way. The solution to the redesign is to keep the logo of the type mark in the same
placement, but adding more elements to the partial mark. The half circle with the shining stroke
connecting the small circle represents the shape of a controller on a rotary mixer.
Allen and Heat
PACKAGING
CLIENT: ALBERTSONS
DESIGN PROBLEM:Re-design the images of Heritage’s package design. Heritage is an extended brand of liquor
products made by Albertsons. The company wants to upgrade the image of the product to
market it to a more youthful audience while retaining its place as an affordable liquor.
DESIGN SOLUTION: With an organic typeface, the design of the label was made more elegant and stylized.
A clear bottle is sprayed with frosted effects to make it look more chic.
LABEL DESIGN
HERITAGE
PACKAGING
CLIENT: SEQUENCE
DESIGN PROBLEM:Create seven-inch record covers in album format, design a box template cover, and
choosing material for the printing box design.
DESIGN SOLUTION: Sequence is an independent music label in San Francisco, California. In order to promote the label
to the music industry, the label wants to produce a compilation box of disco re-edit songs by disco
artists in seven-inch format. The first solution is to design the compilation box cover template by
using the pizza box template design. Next is to use heavy matte paper for printing materials. The
concept behind the package design is outer space because it reflects the music style.
SEQUENCE
02
03
01 • RECORD BOX COVER DESIGN02 • BACK COVER SINGLE RECORDS03 • INSDE LABEL
01
