Portfolio

^

CATEGORY

TYPOGRAPHIC DESIGN

001

ea

VOLUME / 001

I N T R I N S I C /D E S I G N

PORTFOLIO OFSTEFAN LEAL

1 2 3 4 5 6 7 8

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS

COURSE TYPOGRAPHY 4INTRINSICALITY NO. TITLE TYPE AUFHEBEN INSTRUCTOR ARIEL GRAY

P O R T F O L I O O F S T E F A N L E A L I N T R I N S I C / D E S I G N

1 2 3 4 5 6

|

1 2 3 4 5 6 7 8

^

CATEGORY

TYPOGRAPHIC DESIGN

003

I N T R I N S I C /D E S I G N

PORTFOLIO OFSTEFAN LEAL

VOLUME NO.001

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| INTRINSIC / DESIGN

“I HAVE

GROWN TO

UNDERSTAND

THE IMPORTANCE

OF CREATIVITY”

UNKNOWN/

1 2 3 4 5 6

^

CATEGORY

TYPOGRAPHIC DESIGN

005

I N A /

P RO J E C T TOTA L 0 0 6

N A M E

A G E

S I G N

S T E FA N L E A L

2 7

A Q U A R I U S

PE R S O N A L I N F O

A B O U T /

/

/

N U T S H E L L

Graphic design to me, is the knowledge that communication

is what sets us apart from every other being on the planet.

It’s good design that communicates well. Simplicity is often

noted as the highest form of sophistication, but many forget the

fact that so much went into that simplicty. There is so much

behind it. There is a flow and sense of connectivity to the quality

of good design and without it there would be no reciprocation,

reflection, or echo of brilliance. Within my work lies the essence

of communication and an observation of the fundamental

ingredients to that which creates my world. The works found

in this portfolio are my explorations of multiple disciplines

coming together in a graphic style.

H E L L O , S T R A N G E R

^

I N T R O D U C T I O N

006 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

JOSH WALDENDIRECTOR/CHOREOGRAPHERMichael Einfeld Management(818) 752-4238

YOU SEE?WHAT DO

Aufheben is a German word with several seemingly contradictory meanings, including "to lift up," "to abolish," or "to sublate." The term has also been defined as "abolish," "preserve," and "transcend." In philosophy, aufheben is used by Hegel to explain what happens when a thesis and an antithesis interact and depend on each other causing questionality, particularly via the uncommon term known as sublate.

Aufheben 2010 ñ'Transcend' ñ will take place from 28 to 30 January in Cologne, Germany. The main conference sessions will run from 29 to 30th in the historic venue of Koln Cathedral. The main conference will be preceded by workshops, seminars and special interest group meetings, including a stream on type technology and webfonts. These will be on 27 and 28 of December at the Cologne Institute of Technology. From the mind of Si Scott to the eyes of Rives and beyond, the world has always been at the centre of communicated, cultural and social life. Cologne is therefore the ideal place for a gathering of those who are closely involved with the visual and material form of words. Thus from the cultural heart of a literary city the theme for Aufheben 2010 ñ Transcend ñ has offered itself up. Germany has a significant typographic heritage. As the tides of Roman civilization began to recede ñ language, literacy and learning remained alive on this frontier ñ stationed at the edge of the mind. From these cities voyages were made that journeyed out into the darkness, carrying a cargo of knowledge and writing that would illuminate the ages. However, Germany is not alone in having contributed to the evolution of lettering and calligraphy. Any attempt to broaden our understanding of typography must draw upon traditions and practices from around the globe. Therefore, on the wonderful occasion of Aufheben 2010, we invite and welcome any return journeys.

Beu Lotto

Jill Bolte Taylor

Oliver Sacks

Sir Ken Robinson

Barry Schwartz

Tony Robbins

Rives

Ron Arad

Neville Brody

David Carson

Milton Glaser

Michael Dummet

Jaakko Hintikka

Si Scott

Cognitive Illusionist

Neurosurgeon

Psychosis Specialist

Teacher/Professor

Psychologist

Psychologist/Motivationalist

Performance Poet

Architectural Designer

Graphic Designer

Typographer

Typographer

Philosopher

Philosopher

Graphic Designer

AUFHEBEN

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

001

002

003

004

PAG

E 0

11

PAG

E 0

57

PAG

E 0

43

PAG

E 0

71

^

CATEGORY

TYPOGRAPHIC DESIGN

007

1

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

INT

RIN

SIC

ALI

TY

/

005

006

002

003

COLLECTION

EXPERIMENTALKEYWORDS /

COLORFUL

RETRO

BOLD

EDUCATIONAL

SIMPLE

PERCEPTIVE

ALTERNATIVE

PAG

E 0

89

PAG

E 0

43

PAG

E 0

105

PAG

E 0

57

006 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

009

THE MOST IMPORTANT THING

“

“

IN ALL FORMS OF COMMUNICATION IS HEARING WHAT ISN’T SAID.

PETER DRUCKER

008 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS


^

CATEGORY

TYPOGRAPHIC DESIGN

011

^

CATEGORY

TYPOGRAPHIC DESIGN

INTRINSICALLY /

EXPERIMENTAL

NO. /

P RO J E C T D E TA I L S /

D AT E

D E L I V E R A B L E S

D E S C R I P T I O N

FA L L 2 0 1 1

T Y P E FA C E S P E C I M E N B O O K

T Y P E FA C E W E B S I T E

T Y P O G R A P H I C P O S T E R

K I N E T I C T Y P O G R A P H I C V I D E O

C O N F E R E N C E G U I D E

/

/

/

001 / 006

O B J E C T I V E

T Y P E FA C E S

K E Y W O R D S

H E LV E T I C A N E U E

E D G Y

E X P E R I M E N TA L

S E M I O T I C S

M O D E R N

B O L D

C R E AT E T Y P O G R A P H I CC O N F E R E N C E U T I L I Z I N GE X P E R I M E N TA L C O N C E P T S

PROBLEM THIS EXPERIMENTAL TYPE PROJECT REQUIRED A CONCEPT

THAT REFLECTED THE TYPEFACE’S STRUCTURE AND FORM. LOOKING AT

HELVETICA NEUE, ONE CAN SEE THAT IT IS A VERY UNIFIED STRUCTURE—

NO BREAKS OR SERIFS. THE PURPOSE OF ITS CONSTRUCTION WAS TO

BE ABLE TO USE THE TYPEFACE FOR BOTH TEXT AND HEADLINE SIZE—

IT COULD BE USED AT SUCH A SMALL SIZE, THE BODY OF THE TYPE

ITSELF CAN FORM INTO A SINGLE SHAPE. THIS CREATED THE CONCEPT

OF UNITY AND REPRECUSSIONS OF DIVISION. SOLUTION TO CLEARLY

VISUALIZE MY CONCEPT, I COMPARED THE STRUCTURE OF HELVETICA

NEUE TO THAT OF THE PSYCHOLOGICAL EFFECTS OF ILLUSIONS ON THE

MIND USING A “DOUBLE TAKE” APPROACH. SEMIOTICS PLAYS A MAJOR

ROLE IN COMMUNICATION. THE PROMO BOOK REVOLVES AROUND

THE RORSCHACH STYLE OF VISION AND STRUCTURE. THE SCHEDULE

BOOK’S DESIGN PROVIDES THE QUESTION TO THE VIEWER IN WHICH

THEY DEVELOP THE ANSWER FOR THEMSELVES.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

013

CATEGORY TYPOGRAPHIC DESIGN

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

015


012 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

017


DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

019


DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

021

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

023

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

025

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

027

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

029

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

031

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

033

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

035

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

AUFHEBEN

What do you see?

^

CATEGORY

TYPOGRAPHIC DESIGN

037

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

039

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

041

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS

COURSE INTRINSICALITY NO. EVERLAST SKIN CARE THOMAS MCNULTYPACKAGE DESIGN 3

^

CATEGORY

TYPOGRAPHIC DESIGN

043

^

CATEGORY

PACKAGE DESIGN

INTRINSICALLY /

IN PLAY

NO. /


D AT E



S P R I N G 2 0 1 1

7 - P I E C E C O S M E T I C S E T

1 - D I S P L AY S TA N D

O P T I O N A L C O L L AT E R A L

/

/

/

002 / 006

O B J E C T I V E

T Y P E FA C E S

K E Y W O R D S

G O T H A M

M I N I M A L I S T I C

M O D E R N

G E N D E R N E U T R A L

H I G H E N D

P R A C T I C A L

C R E AT E S K I N C A R E O R C O S M E T I C S L I N E B A S E D O F F O F A B R A N D T H AT H A S N O T A L R E A D Y D O N E S O

PROBLEM EVERLAST IS WELL-KNOWN FOR STRENGTH, POWER AND

BOXING. THE BRANDS DESIRE TO REACH OUT TO A BROADER AUDIENCE

CAN BE SEEN IN THEIR AD CAMPAIGNS. I FELT IT WAS TIME TO GIVE THEM

A KNOCK-OUT CONCEPT THAT WOULD MAINTAIN EQUITY AND REFLECT

THEIR ESSENCE THROUGHOUT THE ACTIVE COMMUNITY. SOLUTION TO

CLEARLY VISUALIZE MY CONCEPT, I KEPT THE CORE VALUES OF THE

BRAND AND PROVIDED A VISUALLY SIMPLE IDEA THAT SPEAKS TO THE

TRUE NATURE OF SPORT. THE PRODUCT LINE IS CLEAN, POWERFUL,

PLAYFUL AND PRACTICAL. IT PERFECTLY REFLECTS THE BRAND’S EASY

UTILIZATION, WHILE BROADENING MARKET VALUE.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

EVERLAST SKIN CARE THOMAS MCNULTYPACKAGE DESIGN 3

^

CATEGORY

TYPOGRAPHIC DESIGN

045

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

047

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

049

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

051

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

EVERLAST SKIN CAREPACKAGE DESIGN 3

^

CATEGORY

TYPOGRAPHIC DESIGN

053

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

055

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS


^

CATEGORY

TYPOGRAPHIC DESIGN

057

^

CATEGORY

TYPOGRAPHIC DESIGN

INTRINSIC /

APERTURE

NO. /


D AT E



FA L L 2 0 1 0

M U LT I P L E P H O T O G R A P H S

P R I N T E D I N L A R G E F O R M AT

O P T I O N A L - F R A M E D

/

/

/

003 / 006

O B J E C T I V E

S T Y L E

K E Y W O R D S

B L A C K | W H I T E

H I S T O R I C

E M O T I O N

C O N T R A S T

W E AT H E R E D

H A P P I LY A C C I D E N TA L

U S E P H O T O G R A P H Y T O D E P I C T A C O N C E P T O R T H E M E

PROBLEM PRESENT A SERIES OF PHOTOGRAPHS THAT DEPICT A

CONCEPT BASED ON AN IDEA DEVELOPED IN THE REGION YOU ARE

CURRENTLY LOCATED. SOLUTION IN A MOMENT OF WHIMSICAL PASSING,

A NUMBER OF PHOTOGRAPHS WERE TAKEN TO SHOW TIME. BEHIND THE

EYES OF HOMELESS MEN IS HISTORY. HIDDEN UNDER BOULDERS AT

THE EDGE OF THE COUNTRY ARE REMNANTS OF A LOST ERA. PERCHED

ON AN ISLAND IN THE BAY STANDS A STRUCTURE OF ICONIC NATURE.

EACH PHOTOGRAPH PRESENTS A DIFFERENT ASPECT OF HOW TIME HAS

PASSED AND LEFT US WITH THE CONCEPT OF HISTORY.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

059

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

061

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

063

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

065

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

067

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

069

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS


JOSH WALDENDIRECTOR/CHOREOGRAPHERMichael Einfeld Management(818) 752-4238

^

CATEGORY

TYPOGRAPHIC DESIGN

071

^

CATEGORY

TYPOGRAPHIC DESIGN

INTRINSICALLY /

APPLICABLE

NO. /


D AT E



W I N T E R 2 0 1 1

D I G I TA L R E S U M E ’

/

/

/

004 / 006

O B J E C T I V E

T Y P E FA C E S

K E Y W O R D S

C I C L E


M O D E R N

S I M P L E

H I G H E N E R G Y

T H E AT R I C A L

D E S I G N A R E S U M E ’ A N D B O D Y O F W O R K T O S H O W C A S E T H E TA L E N T S O F J O S H WA L D E N

PROBLEM JOSH WALDEN IS AN ACTOR, PRODUCER, CHOREOGRAPHER,

AND AUTHOR. HIS LATEST ACTING PROJECTS WERE COLLECTED INTO

A BODY OF WORK IN WHICH SHOULD BE REPRESENTED AS A DIGITAL

RESUME’. SOLUTION TO REPRESENT JOSH, I DECIDED TO COLLECT

IMAGES OF HIS WORK AND COMBINE THEM WITH SIMPLE YET BOLD

COLORS THAT ENCOMPASS HIS PERSONALITY AND ACTING TALENTS.

THE FORMAT IS BASED ON A GRID THAT IS EASY TO NAVIGATE AND

VERY EASY TO UNDERSTAND. THE TYPOGRAPHY LEADS THE EYE IN A

DIRECTION WHILE MAINTAINING WALDEN AS THE FOCUS IN THE IMAGES

AT ALL TIMES. I WANTED HIS HIS TALENTS TO SPEAK FOR THEMSELVES.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

073

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

075

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

077

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

079

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

081

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

083

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

085

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

087

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS

COURSE TYPOGRAPHY 4INTRINSICALITY NO. TITLE TYPE AUFHEBEN INSTRUCTOR ARIEL GRAYEXCALIBUR WATERPACKAGE DESIGN 2

^

CATEGORY

TYPOGRAPHIC DESIGN

089

^

CATEGORY

TYPOGRAPHIC DESIGN

INTRINSICALLY /

HYDRATED

NO. /


D AT E



S P R I N G 2 0 1 1

6 - P I E C E B O T T L E S E T

P R I N T E D L A B E L S

H²O

/

/

/

005 / 006

O B J E C T I V E

T Y P E FA C E S

K E Y W O R D S

G A R A M O N D

A LT E R N AT I V E

U N I Q U E

F U N

N O S TA L G I C

S U S TA I N A B L E

D E V E L O P A P R O D U C T L I N E O F WAT E R T H AT W I L L S TA N D O U T O N A M A R K E T S H E L F

PROBLEM ON THE SURFACE, WATER DOESN’T SEEM VERY EXCITING.

BUT BOTTLE AND BRAND IT AND THE STAKES CHANGE CONSIDERABLY.

SUDDENLY THE BUSINESS AND COMPETITION OF WATER LOOKS A

LOT LESS DRY. SOLUTION THE SOURCE OF THE WATER PROVIDES A

GOOD FOUNDATION FOR DIFFERENTIATION. EVIAN IS FROM THE ALPS,

ARROWHEAD IS FROM THE MOUNTAINS IN CALIFORNIA, ETC. IF YOU’RE

GOING TO TAP INTO THE BRAND CULTURE, SO TO SPEAK, YOU START

WITH THE SINGULARITY OF THE SOURCE. EXCALIBUR IS A BRAND THAT

SHOWCASES HISTORY AND THE NATRUAL WORLD.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

091

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

093

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

EXCALIBUR WATERPACKAGE DESIGN 2

^

CATEGORY

TYPOGRAPHIC DESIGN

095

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

097

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

EXCALIBUR WATERPACKAGE DESIGN 2

^

CATEGORY

TYPOGRAPHIC DESIGN

099

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

101

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

^

CATEGORY

TYPOGRAPHIC DESIGN

103

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS

INTRINSICALITY NO. INSTRUCTOR ARIEL GRAYAAU 2011 SPRING SHOWIDENTITY 2

^

CATEGORY

TYPOGRAPHIC DESIGN

105

^

CATEGORY

TYPOGRAPHIC DESIGN

INTRINSICALLY /

BRANDED

NO. /


D AT E



S P R I N G 2 0 1 1

M A R K E T I N G B R I E F

C O L L AT E R A L

L O G O

/

/

/

006 / 006

O B J E C T I V E

T Y P E FA C E S

K E Y W O R D S

G O T H A M


M O D E R N

S T R I K I N G

A E S T H E T I C

T R A N S F E R A B L E

D E V E L O P A B R A N D F O R T H E 2 0 1 1 A A U S P R I N G S H O W

PROBLEM THE ACADEMY OF ART UNIVERSITY HOLDS AN ANNUAL SPRING

SHOW TO PRESENT ART AND ARTISTS FROM WITHIN THE SCHOOL. THEY

REQUESTED A BRAND TO EXPLOIT THE SHOW THROUGHOUT THE CITY

OF SAN FRANCISCO. SOLUTION FOR THIS PROJECT I UTILIZED MANY

ELEMENTS FOUND WITHIN THE CITY AS WELL AS MAINTAINING A CERTAIN

LEVEL OF CLASS FOR THE LOGO. THE FIBONACCI SEQUENCE WAS

UTILIZED IN THE LOGO WHILE ELEMENTS COULD THEN BE STRETCHED

ACROSS WIDE MEDIUMS, STILL REPRESENTING THE BRAND.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

AAU 2011 SPRING SHOWIDENTITY 2

^

CATEGORY

TYPOGRAPHIC DESIGN

107

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

109

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

111

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

113

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

115

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

117

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|


^

CATEGORY

TYPOGRAPHIC DESIGN

119

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

| DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS

INTRINSICALITY NO.

^

CATEGORY

TYPOGRAPHIC DESIGN

121

^

CATEGORY

TYPOGRAPHIC DESIGN

THANK /

YOU

THANK YOU FOR TAKING THE TIME TO VIEW MY WORK.

010 /

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

PORTFOLIO / INTRINSIC DESIGN

PRODUCTION

NOTES

DESIGNER

STEFAN D. LEAL

[email protected]

908.246.5140

HELVETICA NEUE

GARAMOND

ADOBE CREATIVE SUITE CSS

TYPEFACES

SOFTWARE

^

CATEGORY

TYPOGRAPHIC DESIGN

123

DURATION 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 WEEKS



1 2 3 4 5 6

|

VOLUME / 001

12345678

Documents

Portfolio