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  • R Y A NG E E L S

    WELLINGTON, NEW ZEALAND | PORTLAND, OREGON

    Al l projects represented in th is guide can be found in fu l l deta i l at

    www.r yangeels .com

    GRAPHIC DESIGN

  • N I C E O N E L O G O

    Naming, logo and custom typography for a New Zealand based design studio. The name nice one comes from kiwi colloquial language and is used to convey a casual, approachable attitude. The simplicity and singular-syllable words enhance this image.

    The type was conceived as pure circular forms overlapping, through the use of e c and o letterforms. The upside down one allwos the e forms to oppose, creating a sub-lo-go opportuntity, whilst remaining readable as a whole. Small type details were explored such as letter spacing, and in-dividual radiuses for corners. The final rounded letterforms help portray the approachable brand image.

    This project is still in progress as we develop signage and product labels.

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  • r E V O L V E

    This project was the result of intensive brand, market and human research for the NZ based water fixture brand Methven. rEVOLVE is conceived as a collaborative proj-ect between Methven and local city councils that ad-dresses transport and associated hygiene (showering) needs for urban commuters. The result is a new city bike system for local commuters and tourists alike.

    The design outputs are a service outline with mobile app, video, graphic and branding for print and for the bikes themselves. Research determined many people found ex-isting city bike aesthetics uncool and woulnt use them. rEVOLVEs bikes are fashionable retro crusie frames with graphics that relate to the culture and vibrancy of each individual city. A combination of textures, non-cliche city brand colours make the bikes unique and recognizable.

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  • P E R S O N A L I D E N T I T Y

    I created a brand identity for personal marketing of my design skills and projects. The pack consists of a responsive website, project sample book, business cards and a resume. I completed all photog-raphy, graphic, print and web design.

    Designing and presenting this project presented challenges and op-portunities to further my skills in graphic design for print and web. The resume design was the driver of the brand - as this document would be printed many times for distribution I needed to balance cost-effective printing with design impact, whilst keeping focus on content. Black and white blocks of text and simple yet considered typography are the main visual elements. The use of negative space keeps info feeling uncluttered on the page and individual text blocks allow the reader to find specific information easily.

    The aesthetic was carried through to my website (now in its third it-eration) and business cards. Business card printing services charge no extra for colour printing or different images, so I used this oppor-tunity to showcase a range of work on the backs. Throughout this identity project, ideation and experimentation in the form of sketch-ing, wire-framing, inking, and physical/digital manipulation informed brand/logo design options.

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  • T Y P E + B R A N D

    I experiment with type through process driven methods in both dig-ital and hand drawn form. Often this process will go through a va-riety of mediums. For example my test in personal branding - my name was hand inked in capital Futura font, then repeatedly dragged across a scanner to produce analog glitch effects. There were then sampled in Illustrator.

    I have taken hand lettering classes with Gemma OBrien - a famous Australian illustrator/typographer. Featured here are also several examples of corporate branding for Aspect Furniture and Wander, these were used in Print magazines and digital presentations. The Aspect image can be found on their website homepage.

  • D I G I T A LI L L U S T R A T I O N

    I like to mix samples of hand drawn elements, photogra-phy and digital vector art. Tools I typically use are Adobe Lightroom, Illustrator and Photoshop. I am also proficient with a variety of 3D software which I use to creat 3D realistic renderings sometimes with applied graphics or purey to create form. The pink frozen sound wave image (middle right) is an example of this.

  • H A N D I L L U S T R A T I O N

    All of my work starts as a hand sketch, whether simple pencil line drawings, Ink brush, Ink wash, Paint or mixed media. I use these methods as an effective way to quickly explore ideas and mark making techniques. Sometimes my hand drawn pieces will be sampled digitally, to change or invert colours, tidy up or convert to digital vectors for large pieces. I like to keep a pocket sketch-book to capture ideas as they come into my head, some examples of these and finished pieces can be seen here.

  • P R O D U C T A P P L I C A T I O N

    I have a range of experience designing graphics for physi-cal labels and direct printing. This ranges from digital mock-ups - 3D renderings of products with materials and gloss/matte graphics applied, to physical prototypes and products. Shown here is a range of work for clients and past employ-ers - Switchboard, Inzone Experience and Aspect Furniture Systems.

  • W E B + P R I N T

    I have designed responsive websites, mobile apps, books, business cards and other print and presentation-documents. I am familiar with image formatting for both print and digital mediums including sizing, colour space, resolution, and print production markings. Shown here is a range of personal work and work for Wanders mobile app.