I Am Peter Pham - Portfolio

I AM PETER BUT MY FRIENDS CALL ME PETE

© 2012 Peter Pham

All rights reserved.

No portion of this book may be used or reproduced

in any manner without writ ten consent of Peter Pham.

All respective work shown has been appropriately

identif ied and credited. Any omissions found will be

noted and corrected in subsequent editions.

Writ ten, designed and produced by

Peter Pham | [email protected]

Academy of Art University

79 New Montgomery Street

San Francisco, California 94105

School of Graphic Design

Department Chair | Mary Scott

WWW.IAMPETERPHAM.COM

| PORT FOLIO OF PET ER PHAM

AND THIS IS MY PORTFOLIO

PAGE 2–7

10 THINGS THAT YOU DIDN’T KNOW ABOUT ME


I AM HERE TO MAKE MY MARKVARIOUS LOGOS p.154

10

I AM ALWAYS GETTING AMPED FOR THE CAUSESKULLCANDY CSR CAMPAIGN p50

I AM A MOONLIGHT MODEL MAKERGQ SKINCARE PACKAGING p.68

I AM AN INCOGNITO ROBOT FANPOSTER SERIES FOR PANTONE p.80

04 05 06

I AM A GUIDE IN THE URBAN WILDERNESSPAPER PROMOTION & BRAND IDENTITY p.92

I AM THE MAN WITH MANY MASKSPAPER PROMOTION CAMPAIGN p.118

I AM AN APPRENTICE OF AESTHETICSATTIK INTERNSHIP: VARIOUS PROJECTS p.130

07 08 09

I AM CHAMPION OF THE DIGITAL CONSTRUCT2012 MCAFEE PACKAGING DESIGN p.08

I AM THE FRUIT, FALLEN FAR FROM THE TREE52 LIQUEUR BOTTLE PACKAGING p.22

I AM NEVER AFRAID TO GET HANDS ONNON-PROFIT BRANDING CAMPAIGN & BROCHURE

p.32

01 02 03

PAGE 4 – 9

OBJECTIVE

Concept and create a design system for McAfee 2012 software security products. Products include software boxes for retail, online, and point of purchase display.

PROCESS

The design solution for McAfee 2012 products revolves around the idea of safety and security. A leader in protection as you use your media, on all your devices. We created the metaphor of Digital Constructs as an interpretation of digital security. In addition to the McAfee Powermark, an existing brand asset, we created a series of illustrations to convey this idea. A vast world of digital bits and shapes represent the user’s informa-tion. Ordered construction and gridded design feel secure. Depending on the level of product, different magnifications of this world are used to denote the power of protection through increasing complexity.

CRE ATIV E D IREC TOR

STAN Z IENK A

AGENCY

METADESIGN

Y E A R

2011

LOCATION

SAN FR ANCISCO

CAT EGORY

PACK AGING

CLIENT

MCAFEE

I AM CHAMPIONOF THE DIGITALCONSTRUCT

2012 McAfeePackaging Design01


| PORT FOLIO OF PET ER PHAM CHAPT ER 01

PAGE 8 –13PROJEC T | MCAFEE 2012 PACK AGING DESIGNCLIENT | MCAFEE





OBJECTIVE

Develop a unique packaging design for a line of fruit and berry infused liqueurs. All aspects including bottle form, top and label should be considered.

PROCESS

In order to create a packaging solution that was bold and unique, emphasis was placed on the form and materials. Unlike many liqueurs which are contained in tall slender bottles, this package is short and wide, meant to be displayed on a counter rather than hidden in the cupboard. While the custom bottle top hints at the blackberry flavor, a beautiful letterpress label completes the package design. The scalloped edge of the label visually relates to the bottle top and natural berry form.

RECOGNITION

TDC56 Typography Competition - Judges Choice

INSTRUC TOR

JENNIFER STERLING

COURSE

PACK AGING DESIGN

T ERM

SUMMER 2009

LOCATION

ACADEMY OF ART UNIVERSIT Y

CAT EGORY

PACK AGING

CLIENT

52 L IQUEUR FUSIONS

I AM THE FRUIT,FALLEN FAR FROM THE TREE

52 Liqueur Bottle Packaging02



PAGE 22–27CLIENT | 52 L IQUEURS PROJEC T | 52 L IQUEUR BOT TLE PACK AGING


PAGE 24 –29CLIENT | 52 L IQUEURS PROJEC T | 52 L IQUEUR BOT TLE PACK AGING


PAGE 26 – 31CLIENT | 52 L IQUEURS PROJEC T | 52 L IQUEUR BOT TLE PACK AGING


PAGE 28 – 33CLIENT | 52 L IQUEURS PROJEC T | 52 L IQUEUR BOT TLE PACK AGING

OBJECTIVE

Identify a non-profit organization that needs branding and design assistance and create an identity refresh along with a brand campaign.

PROCESS

Hands On Disaster Relief has three initiative in their support operations, disaster zone clean up, rebuilding, and supplying food and water. True to their name, they get hands on wheneve they deploy to a recent natural disaster area. I wanted to capture the grittyness and authenticity of their efforts in a serous manner. With simple cardboard stencils and spray paint, a system of graphic elements was created. Each deployment team could take the lightweight stencils with them and paint iconic brand graphics at the recovery or reconstruction site. Over time these would become symbols of hope, that help was there to assist the hurting community.

INSTRUC TOR

L AUR A MILTON

COURSE

GR APHIC DESIGN 3

T ERM

SUMMER 2009

LOCATION


CAT EGORY

BR ANDING, PR INT CAMPAIGN

CLIENT

HANDS ON DISASTER RELIEF

I AM NEVER AFRAID TO GET HANDS ON

03 Non-profit Branding Campaign & Brochure



PAGE 32– 37CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 34 – 39CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 36 – 41CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 38 – 4 3CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 40 – 4 5CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 4 2– 47CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


PAGE 4 4 – 4 9CLIENT | HANDS ON DISASTER RELIEF PROJEC T | BR ANDING CAMPAIGN & BROCHURE


OBJECTIVE

Concept and design a CSR brand for a consumer facing business that does not already have a related initiative. A campaign with a brochure and out of home touch-points should be considered.

PROCESS

I decided to extend a CSR brand to Skullcandy, a company that designs headphones and other speaker products. Their brand is very integrated into action sports culture and snowboarding in particular. The sport is known for its bright and bold use of color in apparel, gear and equipment. So using an attention grabbing color would be appropriate. In addition, I decided that the brand should be designed to function with only two colors, since a smaller company like this would not have a large CSR budget. My concept for community involve-ment was to support grade school music programs such as the VH1 Save the Music Fund, an obvious connection between sound technology and youth media.

INSTRUC TOR

KELLY CONLEY

COURSE

PRINT 2

T ERM

SPRING 2010

LOCATION


CAT EGORY

CAMPAIGN, PACK AGING, BR ANDING

CLIENT

SKULLCANDY

I AM ALWAYS GETTING AMPED FOR THE CAUSE

04 Skullcandy CSR Branding Campaign


| PORT FOLIO OF PET ER PHAM CHAPT ER 0 4

CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 50 – 55


CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 52– 57


CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 56 – 61


CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 58 – 6 3


CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 60 – 6 5


CLIENT | SKULLCANDY PROJEC T | CSR BR ANDING CAMPAIGN PAGE 6 4 – 6 9

OBJECTIVE

Create a concept for a new skincare line as an extension of an existing brand that is not currently in the cosmet-ics market. A POP display stand should also be consid-ered and designed.

PROCESS

When choosing a brand, I thought that Gentleman’s Quarterly magazine would be a great candidate for a new skincare line. Because it is a lifestyle magazine that has already established a demographic audience that is conscious of fashion, style, and personal health, GQ skincare for men didn’t seem too far fetched. The idea of the ”GQ Man” is desirable and could be easily marketed. I wanted the packaging of GQ to be bold and straight forward, honestly professing the values of the GQ man. Since GQ is a forward and confident brand, the use of green, an unexpected pop keeps the line young and modern but also refined.

INSTRUC TOR

THOMAS MCNULT Y

COURSE

PACK AGING DESIGN 3

T ERM

SPRING 2010

LOCATION


CAT EGORY

PACK AGING

CLIENT

GQ MAGA ZINE

I AM A MOONLIGHT MODEL MAKER

GQ Skincare Packaging Design05



CLIENT | GQ MAGA ZINE PROJEC T | SK INCARE PACK AGING DESIGN PAGE 6 8 –73


CLIENT | GQ MAGA ZINE PROJEC T | SK INCARE PACK AGING DESIGN PAGE 70 –75


CLIENT | GQ MAGA ZINE PROJEC T | SK INCARE PACK AGING DESIGN PAGE 74 –79

INSTRUC TOR

MEGUMI K IYAMA

COURSE

PRINT 1

T ERM

SPRING 2010

LOCATION


CAT EGORY

POSTER CAMPAIGN

CLIENT

PANTON E

OBJECTIVE

Develop a unique concept and execution for a series of posters promoting the Pantone color system. The primary artwork must be created solely through the use of vector graphics.

PROCESS

With fairly free reign to art direct and execute a poster series promoting Pantone, I looked to what I’d like to see. This project was self-fulfilling in subject matter while also great exercise in developing and executing a design direction that was purely digital illustration. Robot characters are created out of everyday objects related to a particular theme such as office supplies, garden tools or house cleaning appliances. Through the use of color and copy in the design, a connection is made between everyday objects and tools in the robots with Pantone being an everyday color tool for creatives.

I AM AN INCOGNITO ROBOT FAN

06 Poster Series for Pantone



PAGE 80 – 8 5CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS


PAGE 82– 87CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS


PAGE 8 4 – 8 9CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS

[_

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PTN. 0000371

* * * * *

NATIVE ROBOTIC INTERFACE

37.973

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132.51

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------

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_O FFI C E C H A IR

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[_

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FIREWALL +[ 001

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nulputem alit prat. Ut ilisim dolorpe raessi eui blaor sim ipis am, quat, con

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magna facidunt lor inci bla facil doluptat wisis alis am, veliquisi. Onum ad

tio odolore dit nulput ing et, velenit adiam zzriure tet init dolor sis adignim

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lutet duisi. []Xerilla oreetuer ad magnisl iriusci et, suscin vercilit nullutate

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magnim velit iure magna facidunt venismod dion vu

_O F F I C E C H A IR

_B A L L M O U SE

_F L A SHD R I V E

_S TA P L E R

_P R IN T E R

PTN. 0000371 * * * * *NATIVE ROBOTIC INTERFACE

37.97325 N 132.5147 W

------

PAGE 86 – 91CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS


PAGE 8 8 – 93CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS

[_ [_02 [_ [_04 [_Everyday

BY PANTONE

FIREWALL +[ 001

Ros nos dolore magna feumsandit nullametuero eugait praesequatue co-nulputem alit prat. Ut ilisim dolorpe raessi eui blaor sim ipis am, quat, con ut nulput aut la feuisim vel el ut nulputpat ad dolumsan utatummy nonsed magna facidunt lor inci bla facil doluptat wisis alis am, veliquisi. Onum ad tio odolore dit nulput ing et, velenit adiam zzriure tet init dolor sis adignim dunt velis nonsecte vullam zzriuscil dolestrud eu facipit auguer sum vul-lutet duisi. []Xerilla oreetuer ad magnisl iriusci et, suscin vercilit nullutate erate diamcore vendio od exerit ulput ver aliquiscip ercilisci tionsequisl iure magnim velit iure magna facidunt venismod dion vu

_O F F I C E C H A IR _B A L L M O U SE _F L A SH D R I V E

_S TA P L E R _P R IN T E R

PTN. 0000371 * * * * *


37.97325 N

132.5147 W

------


[_ [_02 [_ [_04 [_Everyday

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_O F F I C E C H A IR _B A L L M O U SE _F L A SH D R I V E

_S TA P L E R _P R IN T E R

PTN. 0000371 * * * * *


37.97325 N

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------

PAGE 90 – 9 5CLIENT | PANTON E PROJEC T | PROMOTIONAL POSTERS

OBJECTIVE

Develop a brand identity and promotional paper swatch-book design system to launch a new line of papers. Then extend that brand system into an event hosted by the paper company and related campaign.

PROCESS

Powerfully playful became the key words to achieving the design goals. Type pulled from early twentieth century posters provided a connection to the founder’s westward journey and had a strong, rugged and independent person-ality. Famous locomotives that operated during the era of the Great Depression inspire the names of the paper lines. Graphics on each swatch book are draw upon the vernacu-lar of trains, water towers, train tunnels, tracks, boxcars, switch posts, etc within this visual toolset.

INSTRUC TOR

MA X SPECTOR

COURSE

GR APHIC DESIGN 2

T ERM

SPRING 2009

LOCATION


CAT EGORY

PRINT

CLIENT

RCM PAPER CO.

I AM A GUIDE IN THE URBAN WILDERNESS

Paper Promotion & Brand Identity07



PAGE 94 – 99CLIENT | RCM PAPER CO PROJEC T | PAPER PROMOTION & BR AND IDENTIT Y


PAGE 96 –101CLIENT | RCM PAPER CO PROJEC T | PAPER PROMOTION & BR AND IDENTIT Y




PAGE 100 –10 5CLIENT | RCM PAPER CO PROJEC T | PAPER PROMOTION & BR AND IDENTIT Y


PAGE 102–107CLIENT | RCM PAPER CO PROJEC T | PAPER PROMOTION & BR AND IDENTIT Y

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PAGE 10 4 –109CLIENT | RCM PAPER CO PROJEC T | PAPER PROMOTION & BR AND IDENTIT Y











OBJECTIVE

Create a unique concept and design for the Carnival line of Curious papers. Touchpoints should include a poster and swatchcards.

PROCESS

Through research and brainstorming around the definitions, etymology and associated meanings of the word Carnival, I eventually landed on this concept for a paper promotion campaign. It looks to explore the differ-ent personas that we embody in different social situations or groups of people, as if wearing different masks. The concept is executed primarily through photography and copy, each persona takes on a differ-ent diminutive of the name Peter and certain traits. The audience is invited to interact with the paper and how the different personas relate to one another.

INSTRUC TOR

ARIEL GREY

COURSE

T YPOGR APHY 3

T ERM

FALL 2010

LOCATION


CAT EGORY

PRINT

CLIENT

MOHAWK PAPER

I AM THE MAN WITH MANY MASKS

08 Paper PromotionCampaign


01

UNMASKED

Is there anything more real than an honest face with nothing to hide? Peter prefers to be himself and enjoys situations where he feels comfortable, typically around friends and family. At his most relaxed he will open up and show a more intimate side of himself reserved almost exclusively for family and lover interests.

04

UNIFORM CODE

Stiff, boring, proper conduct following company guidelines. Working hard was never less fun, especially in a shirt and tie. Pete does his best to enjoy what he does but finds the office and similar environments to be utterly stifling. This may cause superficial smalltalk, empty compliments and sly smiles.

03

NOISE CANCELLING

As far as Piero is concerned, making friends and talking to people is overated. If they are just going to end up bothering him then why not block them out in the first place. These noise cancelling head phones are the perfect escape. As much as he wants to be a part of things, people can be dangerous or let you down.

02

ADRENALVISION

Only real thrill hungry badasses wear gogles, and that is exactly what Petrus is. You never know what to expect when you live life to the fullest. Not only do they provide protection against debris and glare but they also give him a fresh perspective on things. Nothing gets his blood flowing like seeing red.

03

01

02

04

MASKSAND I WEAR

LOVER

BOLD

PEON

HERMIT

The Personae System has its roots in the masks worn by actors in the theater. Each society has its own set of costumes for its members to wear. This is connected in some ways to Bastian’s notion of Folk

Ideas. It is through the Personae System that we come in contact with other people. These are the masks that we wear during the day that enable us to be seen and identified by people and vice versa. Therefore our persona is tied to our very character. An example of the personae system at work is my

persona as Teacher. I am not always a teacher, I don the role of Teacher, and it comes with its own set of clothing, actions, language, regulations, even emotions. My culture provides this role for me to play. I try to play it to the best of my ability. Your persona in this relationship is that of Student. It also comes with

its own set of clothing, actions, language, regulations and even emotions. I am not always the Teacher, as (hopefully) you are not always the Student. Sometimes I am the Lover, the Partner, the Brother, the

Friend, and, I’m sure, the Enemy, at times; each carries with it a different way of being.

Mohawk Fine Papers Inc.465 Saratoga Street

Cohoes, NY 12047

1-800-THE-MILL

PRINTED ON MOHAWK CARNIVAL SMOOTH STELLAR WHITE

THOUGHTS ON CARNIVAL PAPER FROM THE THINK ON PAPER SERIES OF PROMOTIONS

FROM MOHAWK FINE PAPERS


PAGE 120 –125CLIENT | CARNIVAL PAPER PROJEC T | PAPER PROMOTION CAMPAIGN


PAGE 122–127CLIENT | CARNIVAL PAPER PROJEC T | PAPER PROMOTION CAMPAIGN

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ut

in t

he

firs

t p

lace

. T

he

se n

ois

e c

an

ce

llin

g h

ead

p

ho

ne

s are

th

e p

erf

ect

esc

ap

e. A

s m

uch

as

he

wan

ts t

o b

e a

part

of

thin

gs,

pe

op

le

can

be

dan

ge

rou

s o

r le

t yo

u d

ow

n.

02

AD

RE

NA

LV

ISIO

N

On

ly r

eal th

rill

hu

ng

ry b

ad

ass

es

we

ar

go

gle

s, a

nd

th

at

is e

xactl

y w

hat

Petr

us

is. Y

ou

neve

r kn

ow

wh

at

to e

xp

ect

wh

en

yo

u liv

e lif

e t

o t

he

fu

llest

. N

ot

on

ly d

o

they

pro

vid

e p

rote

cti

on

ag

ain

st d

eb

ris

an

d g

lare

bu

t th

ey

als

o g

ive

him

a f

resh

p

ers

pe

cti

ve

on

th

ing

s. N

oth

ing

gets

his

b

loo

d fl

ow

ing

lik

e s

ee

ing

re

d.

03

01

02

04

MASKS

AN

D I

WE

AR

LO

VE

R

BO

LD

PE

ON

HE

RM

IT

Th

e P

ers

on

ae

Syst

em

has

its

roo

ts in

th

e m

ask

s w

orn

by

acto

rs in

th

e t

he

ate

r. E

ach

so

cie

ty h

as

its

ow

n

set

of

co

stu

me

s fo

r it

s m

em

be

rs t

o w

ear. T

his

is

co

nn

ecte

d in

so

me

ways

to B

ast

ian

’s n

oti

on

of

Fo

lk

Ide

as.

It

is t

hro

ug

h t

he

Pe

rso

nae

Syst

em

th

at

we

co

me

in

co

nta

ct

wit

h o

the

r p

eo

ple

. T

he

se a

re t

he

mask

s th

at

we

we

ar

du

rin

g t

he

day

th

at

en

ab

le u

s to

be

se

en

an

d id

en

tifi

ed

by

pe

op

le a

nd

vic

e v

ers

a.

Th

ere

fore

ou

r p

ers

on

a is

tie

d t

o o

ur

ve

ry c

hara

cte

r. A

n e

xam

ple

of

the

pe

rso

nae

syst

em

at

wo

rk is

my

pe

rso

na a

s Te

ach

er. I

am

no

t alw

ays

a t

each

er, I

do

n t

he

ro

le o

f Te

ach

er, a

nd

it

co

me

s w

ith

its

ow

n s

et

of

clo

thin

g, acti

on

s, lan

gu

ag

e, re

gu

lati

on

s, e

ve

n e

mo

tio

ns.

My

cu

ltu

re p

rovid

es

this

ro

le f

or

me

to

pla

y. I

try

to p

lay

it

to t

he

be

st o

f m

y a

bili

ty. Y

ou

r p

ers

on

a in

th

is r

ela

tio

nsh

ip is

that

of

Stu

de

nt.

It

als

o c

om

es

wit

h

its

ow

n s

et

of

clo

thin

g, acti

on

s, lan

gu

ag

e, re

gu

lati

on

s an

d e

ve

n e

mo

tio

ns.

I a

m n

ot

alw

ays

the

Te

ach

er,

as

(ho

pefu

lly)

yo

u a

re n

ot

alw

ays

the

Stu

de

nt.

So

meti

me

s I

am

th

e L

ove

r, t

he

Part

ne

r, t

he

Bro

the

r, t

he

Fri

en

d, an

d, I’m

su

re, th

e E

ne

my, at

tim

es;

each

carr

ies

wit

h it

a d

iffe

ren

t w

ay

of

be

ing

.

Mo

ha

wk

Fin

e P

ap

ers

In

c.

46

5 S

ara

tog

a S

tre

et

Co

ho

es,

NY

12

04

7

1-8

00

-TH

E-M

ILL

PR

INT

ED

ON

MO

HA

WK

CA

RN

IVA

L S

MO

OT

H S

TE

LL

AR

WH

ITE

TH

OU

GH

TS

ON

CA

RN

IVA

L P

AP

ER

FR

OM

TH

E

TH

INK

ON

PA

PE

R S

ER

IES

OF

PR

OM

OT

ION

S

FR

OM

MO

HA

WK

FIN

E P

AP

ER

S


01 UN

MA

SK

ED

Is t

he

re a

ny

thin

g m

ore

re

al th

an

an

h

on

est

face

wit

h n

oth

ing

to

hid

e? P

ete

r p

refe

rs t

o b

e h

imse

lf a

nd

en

joys

situ

ati

on

s w

he

re h

e f

ee

ls c

om

fort

ab

le, ty

pic

ally

aro

un

d f

rie

nd

s an

d f

am

ily. A

t h

is m

ost

re

laxe

d h

e w

ill o

pe

n u

p a

nd

sh

ow

a m

ore

in

tim

ate

sid

e o

f h

imse

lf r

ese

rve

d a

lmo

st

exclu

sive

ly f

or

fam

ily a

nd

lo

ve

r in

tere

sts.

04

UN

IFO

RM

CO

DE

Sti

ff, b

ori

ng

, p

rop

er

co

nd

uct

follo

win

g

co

mp

an

y g

uid

elin

es.

Wo

rkin

g h

ard

was

neve

r le

ss f

un

, e

spe

cia

lly in

a s

hir

t an

d

tie

. P

ete

do

es

his

be

st t

o e

njo

y w

hat

he

do

es

bu

t fi

nd

s th

e o

ffice

an

d s

imila

r e

nvir

on

me

nts

to

be

utt

erl

y s

tifl

ing

. T

his

m

ay

cau

se s

up

erfi

cia

l sm

allt

alk

, e

mp

ty

co

mp

lime

nts

an

d s

ly s

mile

s.

03

NO

ISE

CA

NC

EL

LIN

G

As

far

as

Pie

ro is

co

nce

rne

d, m

akin

g

frie

nd

s an

d t

alk

ing

to

pe

op

le is

ove

rate

d.

If t

hey

are

ju

st g

oin

g t

o e

nd

up

bo

the

rin

g

him

th

en

wh

y n

ot

blo

ck t

he

m o

ut

in t

he

firs

t p

lace

. T

he

se n

ois

e c

an

ce

llin

g h

ead

p

ho

ne

s are

th

e p

erf

ect

esc

ap

e. A

s m

uch

as

he

wan

ts t

o b

e a

part

of

thin

gs,

pe

op

le

can

be

dan

ge

rou

s o

r le

t yo

u d

ow

n.

02

AD

RE

NA

LV

ISIO

N

On

ly r

eal th

rill

hu

ng

ry b

ad

ass

es

we

ar

go

gle

s, a

nd

th

at

is e

xactl

y w

hat

Petr

us

is. Y

ou

neve

r kn

ow

wh

at

to e

xp

ect

wh

en

yo

u liv

e lif

e t

o t

he

fu

llest

. N

ot

on

ly d

o

they

pro

vid

e p

rote

cti

on

ag

ain

st d

eb

ris

an

d g

lare

bu

t th

ey

als

o g

ive

him

a f

resh

p

ers

pe

cti

ve

on

th

ing

s. N

oth

ing

gets

his

b

loo

d fl

ow

ing

lik

e s

ee

ing

re

d.

03

01

02

04

MASKS

AN

D I

WE

AR

LO

VE

R

BO

LD

PE

ON

HE

RM

IT

Th

e P

ers

on

ae

Syst

em

has

its

roo

ts in

th

e m

ask

s w

orn

by

acto

rs in

th

e t

he

ate

r. E

ach

so

cie

ty h

as

its

ow

n

set

of

co

stu

me

s fo

r it

s m

em

be

rs t

o w

ear. T

his

is

co

nn

ecte

d in

so

me

ways

to B

ast

ian

’s n

oti

on

of

Fo

lk

Ide

as.

It

is t

hro

ug

h t

he

Pe

rso

nae

Syst

em

th

at

we

co

me

in

co

nta

ct

wit

h o

the

r p

eo

ple

. T

he

se a

re t

he

mask

s th

at

we

we

ar

du

rin

g t

he

day

th

at

en

ab

le u

s to

be

se

en

an

d id

en

tifi

ed

by

pe

op

le a

nd

vic

e v

ers

a.

Th

ere

fore

ou

r p

ers

on

a is

tie

d t

o o

ur

ve

ry c

hara

cte

r. A

n e

xam

ple

of

the

pe

rso

nae

syst

em

at

wo

rk is

my

pe

rso

na a

s Te

ach

er. I

am

no

t alw

ays

a t

each

er, I

do

n t

he

ro

le o

f Te

ach

er, a

nd

it

co

me

s w

ith

its

ow

n s

et

of

clo

thin

g, acti

on

s, lan

gu

ag

e, re

gu

lati

on

s, e

ve

n e

mo

tio

ns.

My

cu

ltu

re p

rovid

es

this

ro

le f

or

me

to

pla

y. I

try

to p

lay

it

to t

he

be

st o

f m

y a

bili

ty. Y

ou

r p

ers

on

a in

th

is r

ela

tio

nsh

ip is

that

of

Stu

de

nt.

It

als

o c

om

es

wit

h

its

ow

n s

et

of

clo

thin

g, acti

on

s, lan

gu

ag

e, re

gu

lati

on

s an

d e

ve

n e

mo

tio

ns.

I a

m n

ot

alw

ays

the

Te

ach

er,

as

(ho

pefu

lly)

yo

u a

re n

ot

alw

ays

the

Stu

de

nt.

So

meti

me

s I

am

th

e L

ove

r, t

he

Part

ne

r, t

he

Bro

the

r, t

he

Fri

en

d, an

d, I’m

su

re, th

e E

ne

my, at

tim

es;

each

carr

ies

wit

h it

a d

iffe

ren

t w

ay

of

be

ing

.

Mo

ha

wk

Fin

e P

ap

ers

In

c.

46

5 S

ara

tog

a S

tre

et

Co

ho

es,

NY

12

04

7

1-8

00

-TH

E-M

ILL

PR

INT

ED

ON

MO

HA

WK

CA

RN

IVA

L S

MO

OT

H S

TE

LL

AR

WH

ITE

TH

OU

GH

TS

ON

CA

RN

IVA

L P

AP

ER

FR

OM

TH

E

TH

INK

ON

PA

PE

R S

ER

IES

OF

PR

OM

OT

ION

S

FR

OM

MO

HA

WK

FIN

E P

AP

ER

S






OBJECTIVE

Various projects were completed while working as a design intern at Attik in San Francisco.

PROCESS

While working at Attik, I was able to learn a great deal about branding, advertising, digital media and interac-tion design, as well as the pace of a design studio. I was able to assist designers and art directors with various design projects and studio tasks, as well as completing a number of internal projects myself. Most of the follow-ing designs are concept work; the directions that I worked on. This was a great learning experience and the most was made of it.

CRE ATIV E D IREC TOR

STAN Z IENK A

AGENCY

AT TIK

Y E A R

2010

LOCATION

SAN FR ANCISCO

CAT EGORY

PRINT, CAMPAIGN

CLIENT

AT TIK , INTERSCOPE, SC ION, YAHOO

I AM AN APPRENTICE OF AESTHETICS

Attik internship:Various Projects09



PAGE 132–137CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS


PAGE 134 –139CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS




PAGE 138 –14 3CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS


PAGE 140 –14 5CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS


PAGE 14 2–147CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS


PAGE 14 4 –14 9CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS




PAGE 14 8 –153CLIENT | AT T IK PROJEC T | INTERNSHIP : VARIOUS PROJECTS



10 Various Logos

I AM HERE TO MAKE MY MARK



PAGE 156 –161CLIENT | VARIOUS PROJEC T | LOGOS

01

02


03

0 4

PAGE 158 –16 3CLIENT | VARIOUS PROJEC T | LOGOS

0 5

0 6


07

0 8

PAGE 160 –16 5CLIENT | VARIOUS PROJEC T | LOGOS

0 9

10


11

12

PAGE 162–167CLIENT | VARIOUS PROJEC T | LOGOS


BROOME STREETGENERAL

STORE

G

E N E R A L

S T O R E

BROOME STREETE S T . 2 0 1 0

broomestreet

est. 2010

BROOMEST.

est. 2010

GENERAL STORE

GENERAL

STOREBROOME ST

GENERAL

STORE

broom street

GENERAL

broom stSTORE

BROOME ST

generalest. 2010

est . s t or e

2010

PAGE 16 4 –16 9CLIENT | VARIOUS PROJEC T | LOGOS

FAMILY

Mom & Carolyn / Fly L.V. & Chris / Chu Hanh, Hien & Vinh

MY BET TER HALVES

Jenny & Cookie

FRIENDS

Elliott Tran / Peter Pham / Andrea Yung / German Wegbreit / Mike Andersen / Tran Huynh / Mike DiCanzio / James Feng / John Yum /

INSTRUCTORS

Mary Scott / Thomas McNulty /

COLLEAGUES

Stan Zienka / The Team at MetaDesign / Natalie Kuo / Gabe Nguyen / Damien Webb / Strahan McMullen / Sa Nguyen / Neha Hattangdi

MENTORS David Jean / Matthew Wakeman

I AM SO GRATEFUL FOR THE LOVE AND SUPPORT OF ALL MY FRIENDS AND FAMILY.


PAGE 166 –171CLIENT | VARIOUS PROJEC T | LOGOS

PAPER | Cougar Opaque Smooth 100Lb Text

PRINTER | Graphic Imagery, South San Francisco

PRESS | Hp Indigo 5500

BINDERY | The Key Binding & Printing, Oakland

PHOTOGR APHY, DESIGN | Peter Pham

ST YLIST, CONSULTANT | Jenny Pan

CAMER A | Canon 5DmkII, Canon 50D, Canon RebelXT

SOF T WARE | Adobe Photoshop, Illustrator, Indesign

T YPEFACE | Univers


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I Am Peter Pham - Portfolio