FINAL PORTFOLIO

C L A S S C AT E G O R Y

1

P R O J E C T

P O R T F O L I OD E N I S A T R E N K L E

T I T L E

2

© Den i s a Trenk le

A l l r ight s re ser ved

No pa r t of th i s book may be u sed or reproduced in any manner w ithout

a w r it ten perm i s s ion f rom the author, except i n the contex t of rev iews .

Ever y re a sonab le a t t empt h a s been made to ident i f y owner s o f

copy r ight . Er ror s or om i s s ion s w i l l be cor rec ted in subsequent ed it ion s .

Wr it ten , de s igned and produced by :

Denisa Trenk le den i s a .t renk le @ gma i l .com

Academy of A r t Un iver s i t y

79 New Montgomer y St reet , San Fr anc i sco, CA 94105

Depa r tment Di rec tor Ph i l Ham let t

SEL ECT E D WOR K S OF DEN ISA T R EN K L E


3

P R O J E C T


T I T L E

4


5

P R O J E C T

Page 06 - 31

Design Your Cit y

Page 32 - 61

Oddly Ever A f ter

Page 62 - 83

Seven Eleven Re-branded

Page 84 - 99

Memor ies of Faraway

Page 100 - 107

Postcards From Ita ly

Page 108 - 117

Exper imenta l Type

Page 118 - 131

Luc in i Oi l & Vinega r

Page 132 - 141

Lost in the Land

Page 142 - 149

Urban Travel Tag

Page 150 - 155

A Fancy Guide to Ser i f s

Page 156 - 161

We Used To Wait

Page 162 - 173

Urban Reviva l

TA B L E OF CO N T E N T S

D E S I G N YO U R C I T Y

Design Your City is an educational, inspirational, and empowering guide to making your city a

more rewarding place to live and work. Design Your City will help you envision a city where

you don’t need a car, because public transit and pedestrian space are pleasant. A city where the

parks are plentiful and safe, and biking is easier than driving.

Design Your City is a fully fledged package which educates, inspires, and empowers. A Thesis

Book and Urban Dictionary educate you in the tenets of good urbanism – what makes the scale

of a street feel inviting? How does “soft policing” contribute to public safety? What is the proper

pr ice of parking? Severa l pieces inspire by presenting either idea l ized versions of rea l ity—

a dream of what Oakland could be with the Ideal Oakland Map – or how other cities present

examples of good urbanism with the Most Livable Cities book and Postcards. Finally, once you

are inspired and educated, Design Your City empowers you to make your city what could be it.


T I T L E

6

DESIGN YOUR CITY 01/11

OBJECTIVE

CONCEPT

2 011

D I R E C T E D S T U D Y P R I N T, W E B , PAC K AG I N G M A S T E R S T H E S I SC L A S S C AT E G O R Y

7

P R O J E C T

D E S I G N YO U R C I T YP O R T F O L I OD E N I S A T R E N K L E

T I T L E

8

Title

Design Your Cit y

Date

Spr ing 2010 - present

Title

Academic

Class

Directed Study

Instructor

Phi l Hamlet t

Egon Terplan (urban planner)

Br ian Singer (g raphic designer)

Format

Books

Poster s

Web site

Smar t phone appl icat ion

Col latera l

Typography

Tungsten, Archer, Rockwel l

Mater ials

MOAB Entrada

EPSON ink

Photography taken

by Denisa Trenk le

Jana Benjamin Navrat i lova

Fl ickr photography

I l lust rat ion by designer

and by Odeh A. Amar in


9

P R O J E C T

PRO J EC T N U M B E R

DAT E

01/11

2 011


T I T L E

10


11

P R O J E C T


T I T L E

12


13

P R O J E C T


T I T L E

14


15

P R O J E C T


T I T L E

16


17

P R O J E C T


T I T L E

18


19

P R O J E C T


T I T L E

20


21

P R O J E C T


T I T L E

22


23

P R O J E C T


T I T L E

24


25

P R O J E C T


T I T L E

26


27

P R O J E C T


T I T L E

28


29

P R O J E C T


T I T L E

30


31

P R O J E C T

A diverse city dedicated to urban development.

BARCELONA15 Cataluña, Spain

Population:576,632 (2008)

Public Transportation

A state-of-the-art terminal opens at Barce-

lona airport this summer, with a high-speed

link into town New tram line has made a

huge difference.

Barna’s big develpment has been the completion of T1, the airport’s

new terminal building which welcomes 30 million visitors per year.

There are not many cities like Barcelona with the same geographical

advantages, diversity and dedication to urban development. Barcelona

has Europe’s largest photovoltaic panel and solar panels are obligatory

in every new building.


T I T L E

32

Fukuoka edges ahead because of its easy living and connection.

Population:1.44 million (2008)

Public Transportation

The metro is fast and reliable. Buses cover

almost all of the city. The city has no infra-

structure plans for elctric cars at the mo-

ment. it takes 11 minutes to get to Fukuoka

Airport by metro from the city centre.

This open, easy-going city in northern Kyushu does things its

own way, combining the efficiency that is given in every Japanese

metropolis with and outward-looking dynamism. With plenty of

green space and beaches nearby, and the rest of Kyushu made ever more

accessible with the island’s own bullet train, Fukuoka also has excellent

links to the rest of Japan. Recent measures have included making the

central Tenjin area a free wi-fi zone.

FUKUOKA 16Kyūshū, Japan.


33

P R O J E C T

O D D LY E V E R A F T E R

Conceptualize a film festival that fully defines and characterizes the selected film director. Create

a collection of relevant products that work as a visually cohesive set promoting the given fictitious

film festival. Develop the following: Film Catalog, DVD Packaging, Record Packaging, Poster,

Schedule, printed promotional materials, tickets.

I selected Jean-Pierre Jeunet—a French contemporary self-taught film maker who is known for

surrealistic fantastic cinema pieces, such as Amélie from Montmartre, The City of Lost Children,

Delicatessen or A Very Long Engagement. I have always been fascinated by the visuals of his films

that channel the aesthetics of France of the 40’s and 50’s. The films are filled with old wooden

furniture, typography of old tin boxes and perfume bottles, vintage ripped wallpapers, gaudy

ceramic pieces, and grandmother’s doilies. As I watched the films a complete and layered visual

world unraveled in front of my eyes that I then transferred into my design.


T I T L E

34

ODDLY EVER AFTER 02/11

OBJECTIVE

CONCEPT

2 0 0 9

I N T E G R A T E D C O M M U N I C AT I O N S P R I N T 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

35

P R O J E C T

O D D LY E V E R A F T E RP O R T F O L I OD E N I S A T R E N K L E

T I T L E

36

Tit le

Odd ly Ever A f ter

Date

Fa l l 2009

Tit le

Academ ic

Class

Integ r a ted Commun ica t ion s

In s t r u c to r

Hunter Wimmer

Format

Book s

Pos ter

Packag ing

Bus ine s s Ca rd s

Col l a ter a l

DV D cover s

Record Cover

Typog raphy

Gotham Nar row, A rcher

Mate r ia l s

MOA B Ent r ad a

EPSON ink

Photog r aphy t aken

by de s igner

F l ick r photog r aphy


37

P R O J E C T

P r o j e c t N u m b e r

T im e o f P r o d u c t i o n

02/11

2 0 0 9

W ha t i f I t a p e d w rapp i ng pap e r a l l ove r my wa l l s t o r e p r odu c e t h e “Fr e n ch G ranny” l i v i ng r o om l o ok ?




T I T L E

38

Declined the offer to direct Harry Potter and the Order of the Phoenix.


39

P R O J E C T


T I T L E

40


41

P R O J E C T


T I T L E

42


43

P R O J E C T


vintage + french + sur real + quirky


T I T L E

44


45

P R O J E C T


T I T L E

46


47

P R O J E C T


T I T L E

48


49

P R O J E C T


T I T L E

50


51

P R O J E C T


T I T L E

52


53

P R O J E C T


T I T L E

54


55

P R O J E C T


T I T L E

56


57

P R O J E C T


T I T L E

58

Film Festival DVD Set // In the spirit of the visual concept of Jean-Pierre Jeunet’s Film Festival,

the DVD set too carries the quirky visual language of the Film Festival Catalog, with the vintage

wallpaper being the main visual theme showing up on each one of the cases.


59

P R O J E C T


T I T L E

60


61

P R O J E C T

FEATURED FILMS OF THE FESTIVAL: A VERY LONG ENGAGEMENTAMÉLIEDELICATESSENFOUTAISESTHE CITY OF LOST CHILDREN

SPECIAL APPEARANCES: Audrey Tatou (15.5. at 17:30 in Rouge Room)Jean-Pierre Jeunet (17.5. at 20:00 in Bleu Room)Marc Caro (16.5. at 18:30 in Verde Room)

w w w. o d d l yev e r a f te r. c o m

15-17 2010STUDIO 28 CINÉMA

MAY in the famousTel: 08/92 68 07 4310 Rue Lepic, Paris, Montmar tre Arrodissment


T I T L E

62


63

P R O J E C T


In the Nature of Identity course students were asked to select a dying, dead or defunct brand and

reinvent it through development of a new identity, visual standars and brand extensions.

During my trip to Japan in order to save money purchased many a meal in cheap establishments

such as Seven Eleven or Lawson. However, shopping and eating in Seven Eleven is a slightly dif-

ferent experience. The stores are clean, well-lit with outdoor seating, and, most of all, serve fresh

and healthy food options. I wanted to extend this experience and healthy meal options into the

American version of Seven Eleven, while preserving the convenience and long hours. My vision

transformed the old, unattractive brand into a modern, fresh and health-minded convenience

store that serves meals made of fresh ingredients only. “Always Fresh. Always Open” is the new

motto preserving both the traditional and newly acquired values. Seven Eleven now has a chil-

dren’s food section, as well as a bakery ,ready made bento boxes or freshly squeezed orange juices.


T I T L E

64

SEVEN ELEVEN 03/11

OBJECTIVE

CONCEPT

2 011

N A T U R E O F I D E N T I T Y I D E N T I T Y, P R I N T 1 2 3 5 6 7 8 9 10C L A S S C AT E G O R Y

65

P R O J E C T

S E V E N E L E V E NP O R T F O L I OD E N I S A T R E N K L E

T I T L E

66


67

P R O J E C T

Title

Seven Eleven

Date

Fall 2010

Title

Academic

Class

Integrated Communications

Instructor

Hunter Wimmer

Format

Book

Collateral

Rendered Packaging

Web site

Typography

Gotham Narrow, Archer

Materials

MOAB Entrada

EPSON ink

Photography taken

by designer and

Flickr photography


DAT E

03/11

2 010

S E V E N E L E V E N

fresh + open + wholesome + modern


T I T L E

68


69

P R O J E C T


T I T L E

70


71

P R O J E C T


T I T L E

72


73

P R O J E C T


T I T L E

74


75

P R O J E C T


T I T L E

76


77

P R O J E C T

Always Fresh. Always Open.


T I T L E

78


79

P R O J E C T


T I T L E

80


81

P R O J E C T


T I T L E

82

N A T U R E O F I D E N T I T Y I D E N T I T Y, P R I N T 1 2 3 5 6 7 8 9 10

HOME

STORE ONLINE

STREET

food delivery

gift baskets

catering

lunch kits

recipe books

flower delivery

ATM’s

drink vending machines

food vending machines

bike rental spots

credit card/transit pass

hostel spots

order delivery

weight-loss program

pre-pay food order

iPhone app/iPad app

recipes

fresh meals

coffee shop

wi-fi

movie rental

kids’ corner

pastry line


83

P R O J E C T


T I T L E

84

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nam nisl sem, fermentum in lobortis ac,

suscipit ut tellus. Nulla ut justo justo. Etiam leo ante, ornare iaculis consequat ac, feugiat vitae arcu.

Aenean orci eros, gravida quis rutrum sit amet, ultricies et risus. Donec ultrices, metus non lobortis

ullamcorper, sem nisl volutpat turpis, at vestibulum dui orci.


85

P R O J E C T


In the Nature of Identity course students were asked to select a dying, dead or defunct brand and

reinvent it through development of a new identity, visual standars and brand extensions.

During my trip to Japan in order to save money purchased many a meal in cheap establishments

such as Seven Eleven or Lawson. However, shopping and eating in Seven Eleven is a slightly dif-

ferent experience. The stores are clean, well-lit with outdoor seating, and, most of all, serve fresh

and healthy food options. I wanted to extend this experience and healthy meal options into the

American version of Seven Eleven, while preserving the convenience and long hours. My vision

transformed the old, unattractive brand into a modern, fresh and health-minded convenience

store that serves meals made of fresh ingredients only. “Always Fresh. Always Open” is the new

motto preserving both the traditional and newly acquired values. Seven Eleven now has a chil-

dren’s food section, as well as a bakery ,ready made bento boxes or freshly squeezed orange juices.


T I T L E

86

MEMORIES OFFARAWAY PLACES 0 4/11

OBJECTIVE

CONCEPT

2 011

E X P E R I M E N T A L T Y P O G R A P H Y I D E N T I T Y, T Y P O G R A P H Y 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

87

P R O J E C T

M E M O R I E S O F FA R AWAY P L AC E SP O R T F O L I OD E N I S A T R E N K L E

T I T L E

88

Title

Memories of Faraway Places

Date

Fall 2009

Title

Academic

Class

Experimental Typography

Instructor

Stan Zienka

Format

Book

Typography

Medio

Materials

MOAB Entrada

EPSON ink

Photography taken

by designer


89

P R O J E C T


DAT E

0 4/11

2 011


T I T L E

90






91

P R O J E C T

M E M O R I E S O F FA R AWAY P L AC E S

In Memomeries of Faraway Places, due to the nostalgic and ethereal nature of the

topic, I chose to shoot my own photography in a very personal and quirky way,

with hand-writing exposed all over my body. This way, I was able to communicate

short messages and memories related to my travels to the reader.


T I T L E

92


93

P R O J E C T


T I T L E

94


95

P R O J E C T


T I T L E

96


97

P R O J E C T


T I T L E

98


99

P R O J E C T


T I T L E

100


101

P R O J E C T


Create a poster using lyrics from a song. The poster should be an opportunity to create and look

at typography from a variety of angles and production methods.

Upon selecting a song (Postcards from Italy by Beirut), I started experimenting with typographic

elements. Everything from scanning hand-written type to photographing transparency sheets had

been tried before deciding on the final set of photos and type. The final design consists of a set of

several photographic images overlapping together with photographs of transparency sheets, and

photographs of other objects with the lyrics of the aforementioned song.


T I T L E

102

BEIRUTPOSTCARD POSTER 05/11

OBJECTIVE

CONCEPT

2 011

E X P E R I M E N T A L T Y P O G R A P H Y P R I N T, P O S T E R 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

103

P R O J E C T

P O S T C A R D S F RO M I T A LYP O R T F O L I OD E N I S A T R E N K L E

T I T L E

104

Title

Postcards From Italy Poster

Date

Fall 2009

Title

Academic

Class

Experimental Typography

Instructor

Stan Zienka

Format

Poster

Typography

Univers, Justus

Materials

MOAB Cayenta

EPSON ink

Photography taken

by designer


105

P R O J E C T


DAT E

05/11

2 0 0 9


T I T L E

106


107

P R O J E C T

Beirut // P

ostcard

s From

Italy G

ula

g Orkesta

r (Relea

sed in

2005)

Th

is son

g, in m

y op

inio

n, re

fers to a re

lation

ship th

at has p

ossib

ly en

de

d. It rad

iates n

ostalg

ia for th

e time

s go

ne b

y, spe

aks of th

e hap

py tim

es h

im an

d his lo

ver h

ad. It’s fu

ll of m

etap

ho

rs for fig

hts o

r bad

time

s that th

ey h

ad expe

rien

ced

. “T

he sh

attere

d sou

l follo

win

g close

, bu

t ne

arly twice as slo

w” m

igh

t refe

r to a hap

pin

ess ye

t to com

e. T

he artist h

as mad

e som

e mistake

s in the p

ast and w

as shatte

red

by th

em

, bu

t he is fo

llow

ing a b

ette

r path in life

, pe

rhap

s be

cause o

f this w

om

an. T

he fo

llow

ing lin

es in th

e seco

nd stan

za spe

ak of h

is past, an

d the u

nn

ece

ssary mistake

s he h

as mad

e. B

ut h

e slide

s in to

no

te he d

oe

sn’t reg

ret th

em

. Th

e line “at th

ose w

ho ad

mit d

efe

at too late” is an

alog

ou

s to no

t qu

itting w

hile yo

u’re ah

ead

. “T

ho

se we

re ou

r time

s” mig

ht re

fer to h

is min

d set o

f no re

gre

ts. Th

e last stanza

de

picts h

im se

ttling d

ow

n with h

is love

d on

e. H

e is wise

r, pe

rhap

s, and h

as realize

d he w

ants to sp

en

d the re

st of h

is life with h

er.

>>


T I T L E

108






109

P R O J E C T


Prior to the experimentation phase, the students were encouraged to choose a typeface (Univers

in this case) to research and analyze to the smallest details.

Univers was chosen for its classic, modernistic aesthetic and the breadth of weights it offers. The

type was perfected until the rags and alignment looked identical. Some of the typographic layouts

paid homage to masters such as Wolfgang Weingart, others were a sheer experimentation with

the form and shape of the typeface, giving traditional typographic layouts a new dimension

and enhancing them with elements of unexpected. Printed on beautiful, luxurious French Rives

paper, the typographic set was given a refined, custom-made housing.


T I T L E

110

TYPE EXPERIMENTS 05/11

OBJECTIVE

CONCEPT

2 011

T Y P E S Y S T E M S T Y P O G R A P H Y, P R I N T 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

111

P R O J E C T

U N I V E R S E X P E R I M E N T A L T Y P EP O R T F O L I OD E N I S A T R E N K L E

T I T L E

112

T Y P E S Y S T E M S T Y P O G R A P H Y, P R I N T 1 2 3 4 5 6 7 8 9 10

Title

Univers Type Experiments

Date

Fall 2009

Title

Academic

Class

Type Systems

Instructor

Jennifer Sterling

Format

Posters

Typography

Univers, Helvetica

Materials

Rives Paper

EPSON ink


DAT E

06/11

2 0 0 9


113

P R O J E C T


T I T L E

114


115

P R O J E C T


T I T L E

116


117

P R O J E C T


T I T L E

118


119

P R O J E C T


Choose an Oil and Vinegar producer and re-package their current line of products. Study their

history, current audience and overall market placement in order to make educated decisions related

to the re-design. The re-design consisted of a new identity, concept, a set of oil and vinegar

bottles, as well as a set of high-end flavored salts.

I discovered a maker of oil and vinegar from Modena, Italy, called Lucini who produce a medium

to high grade quality olive oils and vinegars. Despite the quality of the products, the packaging

design of their products is relatively poor and out of date. With a new identity, a fresher and more

contemporary look, an appeal to a younger, affluent crowd was given to the brand.


T I T L E

120

LUCINIOIL & VINEGAR 07/11

OBJECTIVE

CONCEPT

2 010

PAC K AG I N G 2 PAC K AG I N G 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

121

P R O J E C T

L U C I N I O I L & V I N E G A RP O R T F O L I OD E N I S A T R E N K L E

T I T L E

122

Title

Lucini Oil, Vinegar & Salt

Date

Spring 2010

Title

Academic

Class

Packaging 2

Instructor

Christine George

Format

Packaging

Typography

Medio, Century Gothic

Materials

MOAB Entrada

EPSON ink

Illustration

by designer


123

P R O J E C T

P r o j e c t N u m b e r

T im e o f P r o d u c t i o n

07/11

2 010


T I T L E

124


125

P R O J E C T


T I T L E

126


127

P R O J E C T


T I T L E

128


129

P R O J E C T


T I T L E

130


131

P R O J E C T


T I T L E

132


133

P R O J E C T


Create and artist book with a constructed narrative with appropriate scale, binding method, and

materials. The concept and the materials need to elevate the presentation of the content. This

assignment was open-ended as far as topic was concerned.

The parameters for this project were completely open-ended, and since I’m a great urban enthu-

siast and traveller I got inspired by my, at the time, recent travels to Japan. The book represents a

series of experiences and encounters during my travels, visualized in the form of a flag book. The

book borrows visuals from traditional Japanese culture and lends an opportunity to peek into the

particular experiences tied to these objects. When open, the flag book pages transform into one

large image of a sakura—Japanese cherry blossom tree. The book consists of short anecdotes and

illustrations that work well together as a set.


T I T L E

134

LOST IN THE LANDOF THE RISING SUN 08/11

OBJECTIVE

CONCEPT

2 011

B O O K A R T S P R I N T, B O O K M A K I N G 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

135

P R O J E C T

L O S T I N T H E L A N DP O R T F O L I OD E N I S A T R E N K L E

T I T L E

136

Title

Lost in the Land of the Rising Sun

Date

Fall 2010

Title

Academic

Class

Book Arts

Instructor

Macy Chadwick

Format

Typography

Garamond

Materials

Neenah Paper

Japanese Silk Paper

Illustration

by designer


137

P R O J E C T


DAT E

08/11

2 010


T I T L E

138


139

P R O J E C T


T I T L E

140


141

P R O J E C T


T I T L E

142


143

P R O J E C T


Design and create a letter pressed piece related to the topic of travel. Encase your travel tag in a

packaging with a letter pressed title.

For this particular piece I opted for the general theme of urban travel. Being inspired by the travel

posters from the 40’s and 50’s, I created a unique, letter pressed look consisting of a hand-carved

linoleum block image and hand-set typography. Through working on this piece I acquired new

appreciation for the profession, as well as manual, non-digital design, which tends to be more

personal and unique.


T I T L E

144

URBAN TRAVEL TAG 0 9/11

OBJECTIVE

CONCEPT

2 011

L E T T E RP R E S S P R I N T, T Y P O G R A P H Y 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

145

P R O J E C T

U R B A N T R AV E L T AGP O R T F O L I OD E N I S A T R E N K L E

T I T L E

146

Title

Urban Travel Letterpress Tag

Date

Spring 2011

Title

Academic

Class

Letterpress

Instructor

Macy Chadwick

Format

Tag

Packaging

Typography

Centaur

Materials

Letra Paper


147

P R O J E C T


DAT E

08/11

2 011


T I T L E

148


149

P R O J E C T


T I T L E

150


151

P R O J E C T


Create and artist book with a constructed narrative with appropriate scale, binding method, and

materials. The concept and the materials need to elevate the presentation of the content. This

assignment was open-ended as far as topic is concerned.

As a graphic design student in a book arts course I have encountered many non-designer students

who had difficulty recognizing and/or using the proper typefaces for their projects. My book is an

attempt to help people in a similar situation, breaking down the best, most usable serif typefaces

into categories and providing brief descriptions and types of uses. The book is bound as a pocket

accordion book with removable cards , each representing one of the chosen serif typefaces.


T I T L E

152

A FANCYGUIDE TO SERIFS 0 9/11

OBJECTIVE

CONCEPT

2 011

B O O K A R T S P R I N T, T Y P O G R A P H Y 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

153

P R O J E C T

A FA N C Y G U I D E T O S E R I F SP O R T F O L I OD E N I S A T R E N K L E

T I T L E

154


155

P R O J E C T

Title

A Fancy Guide To Serifs

Date

Fall 2010

Title

Academic

Class

Book Arts

Instructor

Macy Chadwick

Format

Accordion Pocket Book

Typography

10 Serif Typefaces

Materials

Entrada Paper

Silk Ribbon

Rives Card Stock Paper


DAT E

0 9/11

2 010

A FA N C Y G U I D E T O S E R I F SP O R T F O L I OD E N I S A T R E N K L E

T I T L E

156


157

P R O J E C T

Create a broadside poster, using at least two letterpress methods, such as linoleum block print,

hand-set typography, pressure printing or polymer plate printing. The theme of the poster is

open-ended, however, it needs to feature a text from a poem or lyrics of a song.

In an effort to work creatively without temporarily being attached to a computer, I completed a

letterpress course. For this particular assignment, I chose a piece of lyrics from a song by Arcade

Fire, We Used to Wait. The song expresses a nostalgia for the times long gone when technology

didn’t dictate the pace of our lives. I felt it to be appropriate for the broadside to be subdued and

let the negative space reign, in order to express a certain sadness for those times. The image was

created by carving a linoleum block, the text was set on a polymer plate.


158

WE USED TO WAIT 10/11

OBJECTIVE

CONCEPT

2 011

T I T L EW E U S E D T O WA I T

159

C L A S S C AT E G O R Y P R O J E C T

L E T T E RP RE S S P R I N T, T Y P O G R A P H Y 1 2 3 4 5 6 7 8 9 10


160


161

Title

We Used to Wait

Date

Spring 2011

Title

Academic

Class

Letterpress

Instructor

Macy Chadwick

Format

Poster

Typography

Clarendon

Materials

Vandercook Press

Letra Paper

Linoleum Block


DAT E

10/11

2 011




162


163



U R B A N R E V I VA L

Research extensively a chosen topic and design a book based on your research. Find, propose and

design a set of solutions to the given problem.

For this title, I researched the state of urbanism in the United States, analyzed its historical context,

drew comparisons between urban places in the United States and other cities of the world, and

proposed solutions to some of the related problems. Working on this book inspired me to the extent

of making a decision to continue my research on the given topic for my thesis project.


T I T L E

164

URBAN REVIVAL 11/11

OBJECTIVE

CONCEPT

2 0 0 9

V I S UA L C O M M U N I C A T I O N S P R I N T 1 2 3 4 5 6 7 8 9 10 C L A S S C AT E G O R Y

165

P R O J E C T

U R B A N R E V I VA LP O R T F O L I OD E N I S A T R E N K L E

T I T L E

166

Title

Urban Revival

Date

Fall 2009

Title

Academic

Class

Visual Communications

Instructors

Hunter Wimmer

Phil Hamlett

Format

Book

Typography

Helvetica

Materials

Epson Paper

Epson Ink

Photography

by designer

Flickr photography

Asahi Book Cloth


167

P R O J E C T


DAT E

11/11

2 0 0 9


T I T L E

168


169

P R O J E C T


T I T L E

170


171

P R O J E C T

A healthy street should be a spatial entity, not a residue between bad buildings.

01Chapter

When you live in a smallspace in the city, if forcesyou to create a sense of community outside.”

Jonathan, 33 Director at WCG Worldwide

Loves New Wave Rock

Enjoys cooking for friends

From Oakland, California

01Guest

ELEGANTLY EXECTUTED PARKING SOLUTIONS RESPECTING THE ORIGINAL CITYSCAPE.

02


T I T L E

172


173

P R O J E C T


T I T L E

174


175

P R O J E C T

U R B A N R E V I VA L

Most of all, many thanks to my wonderful husband Jim. Without his loving moral and practical

support I would not have made it through this challenge.

I would also like to thank to my family for always being there for me, even if so far away. To my

grandmother for her unconditional love and support. Many thanks also to my friends from the

Academy (you know who you are), as well as friends in my home country and other corners of

Europe, for always having a willing ear to listen and showing interest in my design work.

Thanks to all my teachers and mentors: Mary Scott, Phil Hamlett, Hunter Wimmer, Jeremy Stout,

Stan Zienka, Michael Kilgore, Brian Singer, Egon Terplan, Macy Chadwick, Shel Perkins, Jennifer

Sterling, Reneé D’Arcy, Mauro Cavelletti.


T I T L E

176

THANK YOU


177

P R O J E C T

Title

Observations

Date

Spring 2011

Instructor

Mary Scott

Printer

Andresen, San Francisco

Bindery

The Key, Oakland

Format

Book

Web Site

Stationery

Postcards

Typography

Bembo

Materials

Canson Paper

Epson Inks

Foil Stamping

Photography

Denisa Trenkle

Jana Benjamin Navratilova

Hand Model

Lama Khayyat

Jim Trenkle


T I T L E

178


179

P R O J E C T

Documents

FINAL PORTFOLIO