Portfolio

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TIM MASTERSON

(Layered)Portfolio of Tim Masterson

(Layered)

O BJ ECT I VE

D ESCR I P T ION

K EY W O R DS

T YP E FACE

Copyright © 2012 Tim Masterson. All Rights Reserved. No

portion of this publication may be reproduced, stored in a

odd retrieval system, or transmitted in any form as well as

by means electronic, mechanical photocopying, recording, or

otherwise without permission of the copy right holder.

Tim Masterson

Phone: 626 388 8776

Email: [email protected]

Web: TimMasterson.com

Department Chair: Mary Scott

Course: Portfolio

Instructor: Mary Scott and Scott Rankin

Academy of Art University

79 New Montgomery St.

San Francisco, CA 94105

Typefaces: Akko Pro and Bembo

Software: Adobe Suite 6

Photography:Tim Masterson

Printing: Plot Net

Binding: Taurus Bookbindery

Paper: Mohawk

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Special ThanksI would like to thank all my friends and family

for supporting me and always giving me positive

encouragement to peruse my work.

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Valuable Characteristics

Knowing Limits

Structural Variables

Ideally Driven

Modest Beginnings

Elemental Examination

Mechanical Influence

Igniting Interest

Memetic Tendencied

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Table of Contents

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02

Changing a brands classic look was not an easy task espe-

cially when my favorite beer is the hefenwiezen brew. Cur-

rently the hefeweizen brew is a popular choice amongst

sophisticated beer drinkers, yet national breweries such as

Miller or Budweiser do not offer them in stores. This pro-

vides Pyramid brewery a great opportunity to expand and

attract new customers with design.

In order to tackle this opportunity I created new packag-

ing that stayed loyal to the current brand experience, but

also be refreshing to new and old customers. Keeping the

competitive market of the top breweries in mind I explored

new concepts that appealed to the target audience, mostly

young active men. I embraced the yellow and black color

combination of the original pyramid neck label because it

will certainly stand out on store shelves amongst the top

brands. The angled and bold type communicates to the

buyer a sense of tradition and trust. Overall I believe these

design decisions will attract a young generation looking

for a new beer they could enjoy and stay loyal to.

St rat eg ic al ly p lace Pyramid Brewery again st t he t op brand s wit h a n ew p ac kage desig n syst em t h at wil l help imp rove t heir c u rren t s t and in g s.

7 b eer b ot t les , 1 c an, and ship-per c ase.

Loyalt y, t rust in g , bold, modern, c lass ic , ref resh in g

Bu llp en , Got ham, Aac h en

01 (Valuable Characteristics)

(T im Masterson) 11 ___

How technology should be approached? By staying inside the box...

COURSE | Package Design 3 INSTRUCTOR | Tom McNulty PROJECT | Pyramid Brewery

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TIM MASTERSON

(T i m Mas ters on) 11 ___

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C O U R S E | Package Design 4 I N S T R U C T O R | Tom McNulty P R O J E C T | Pyramid Brewery

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06

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09

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10

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When dealing with technology I approach it in a very con-

servative and critical manner. Redesigning Radio Shack’s

whole brand identity and packaging brought about a great

opportunity to analyze different markets of technology

retail stores. What appealed me the most is Radio Shack’s

main competitor, best buy. Because of the nature of these

products, I made the choice to give it a classic look that

appeals to a more sophisticated market, one that Best Buy

and Amazon lacks. Compared to Apple it will bring the great

design ethic they are known for but at a more affordable

price. Similar to an art boutique store but for electronics,

Radio Shacks new brand system will connect with custom-

ers at a whole new level.

Staying inside the box is important because technology is

something that everybody utilizes in their daily lives. If you

go outside the box it brings up too many variables and com-

plexities. Being straight forward with products that change

and improve at a high rate is something to always keep in

consideration. Mainly this way of looking at it focuses on

the customer and giving them the most comfortable expe-

rience with the world of electronics.

Rec reat e a high end design image for Radio Shack retai l s t ores and packaging, in o rder t o g ain a untapped m ar k et .

Q ual i t y p ro duct l ine o f elec t ron ic accesso r ies.

S oph ist ic ated, Techno lo gy M od ern, E lectro nics , Retai l Comfor t able, Texture

H yd rog en and G o tham

02 (Knowing Boundaries)

Taking an approach on technology that stays inside the box.

15

COURSE | Package Design 2 INSTRUCTOR | Chamindri Wijemanne PROJECT | Radio Shack

(Layered)

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(Layered)

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TIM MASTERSON


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(Layered)

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COURSE | Package Design 4 INSTRUCTOR | Tom McNulty PROJECT | Addit Retail Store

24

The connotation of a “geek” has changed from what it used

to be. Now being a “geek” is knowing what surrounds you,

staying up to date with society, knowing technology, and

having a healthy attitude towards your body. This evolu-

tion of the geek has changed the perception of the public

to viewing geeks as witty, charming, and fun. Our group

embraced this youthful geek ideal by providing products

that are social, interactive, and healthy. This allowed us to

create a unique brand experience that balances the classic

quirky style with a trendy sophistication. The design of our

products will carry the sophistication expected by profes-

sionals in the fields of design, technology and social me-

dia with accents of bright colors and funny puns to call out

their inner passion for the “geeky” way of life.

L i ly Wh an g , Jaime Pt in o- c alvo, Ang ie Kai , Tanya M en d iola, Tuan Bu i , T im M ast erson

To c reat e a ret ai l brand t hat c at ers t o a n ew g rou p of “ g eeks” usin g a b rand ex p erience t hat is u n iq u e and immersive.

Grou p projec t pac kagin g and iden t i t y syst em for h ome, of f ice, elec t ronic s , and accessor ies.

Geek, S oph ist ic at ed , Tec h n olog y professional , passionat e, soc ial med ia, Un iversal

D ekar

03 (Structural Variables) For those people left without a special place.

M EM BER S

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TIM MASTERSON

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(Layered)

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28

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TIM MASTERSON


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30


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OBJECTIVE

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(Layered)

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__10 (Layered)

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So much of our infrastructure today was built in a different

time period when our ideas about good integration of de-

sign with technology were in its immature stages. When I

discovered that architects have designed a structure that is

both sustainable and alive I was amazed at how this would

create a nice balance with our natural environments.

Symbiotic Architecture is the use of biology to create struc-

ture that has the ability to naturally grow and shape the

environment. For example the bacteria Bacillus pastorali

has the ability to solidify sand through the process of bio-

logical cementation. Architects visualize the possibility of

ecologically sound biological shelters in the sand dunes of

the desert.

Design can affect the future in a positive manner, solving

serious problems that threaten the well being of people

all over the world. What if we focus on this layer of modern

design and trust in our passion for discovery. For me the

journey this project has brought me on has empowered my

passion for design.

To inform abo ut the am az ing ad vanced study in the f ield o f Arc hi t ec t ure fo r the planning eco f r iendly and sustainable.

4 8 pag e pro m ao tio nal bo o k , M ai ler, Pro m o tio nal po ster w ith conference schedule.

S imple, Organic, Archi tectural S c ien t i f ic , Ty po graphical ly dr ive. d i rec t , g ro undbreak ing.

H yd rog en Regular 80

COURSE | Identity

04 (Ideally Driven)

Designing something that is valuable and important for everybody.

INSTRUCTOR | Tom McNulty PROJECT | Urban Outfitters

35

(Layered)

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OBJECTIVE

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TIM MASTERSON 39

(Layered)

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TIM MASTERSON 43

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(Layered)

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COURSE | Package Design 2 INSTRUCTOR | Christine George PROJECT | Russian Deli

46

When asked to do the Identity and packaging system for a

deli I chose a great local russian deli near me in the Rich-

mond District of San Francisco. The area has a large Russian

community so I saw this as an opportunity to study Rus-

sian design in detail. Eliseevski Delikatsi is a classic fami-

ly owned deli with a wide range of products, but lacks a

unified and consistent design scheme. Going with a sim-

ple color palate, bold type, and powerful lines reflected

Russian Constructivism influence, while creating a strong

brand presence on the shelf.

Food brings people together breaking down cultural

boundaries. Meeting people with origins from around the

world helped shape my design process to reflect a rich and

universal communication method. Russia is not only Rus-

sian and China is not just Chinese, these cultural influences

that shape my skills has allowed me to embrace interna-

tional collaboration.

To c reat e t h e brand in g and pac kag-ing syst em for a food and beverag e ret ai l loc at ion t hat app eals t o an int ernat ional market .

D el i wrapp in g , t o go cont ain-ers ,sp ices, beverag es, ol ive oi l , et c .

Int ernat ional , Russian , dynamic power f ul , aut h en t ic , di rec t .

D ekar

05 (Modest Beginnings) Everything has an or igin story.

OBJECTIVE

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TIM MASTERSON

(Layered)

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TIM MASTERSON

(Layered)

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50


OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

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DESCRIPTION

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TIM MASTERSON

(Layered)

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TIM MASTERSON 55

(Layered)

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TIM MASTERSON

(Layered)

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TIM MASTERSON

Makers Mark history goes back to 1790 with a landmark dis-

tillery in Kentucky, which uses authentic time tested tech-

niques to produce a original crafted product. To make the

Whikey bottle stand out from competitors the creators wife

came up with putting a signature red wax seal on the bottle.

Since Maker’s Mark history is so rich, I wanted to keep the

current brand image but enance the areas that are lacking

in strength due to outdated graphics and personality. From

a distance the current design works well but when you look

at it in more detail, interest is lost imediately. The new brand

image is a unique and authentic design rich in detail just like

how they operate their distillery process. The texture and

detail will help make the overall design pop with american

authenticity, coming straight from the woods of Kentucky

and increasing the overall product value.

Red esig n the label o f Mak er ’s M ark Bour bo n W hisk y, co m pete at a h ig h er pr ice po int w hile keepin g the equity o f the o r i-g ional brand al ive.

Whisky label redesign.1 l i t ter to b e sold at a retai l pr ice o f $30.

Au t h en t ic , Natural , Bo ld, C lass ic R ic h , O r iginal , Crafted

Berkeley and G o tham

COURSE | Package Design 4

06 (Elemental Examination)

Finding peace when lost in the details.

INSTRUCTOR | Tom McNulty PROJECT | Maker’s Mark

59

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TIM MASTERSON 61

COURSE | Package Design 4 INSTRUCTOR | Tom McNulty PROJECT | Maker’s Mark

(Layered)

O BJ ECT I VE

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OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

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OBJECTIVE

DESCRIPTION

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TIM MASTERSON

In this project I want to communicate the complex relation-

ship between human and machines by telling an inspiring

story in a classic style that is romantic and heroic. In a way

that represents the message in a direct and clear delivery

and also appeal to people on a emotional level. My goal is

to raise awareness of the complexities of the relationship

humans have with robots. In order for humanity to have a

future that is peaceful, finding a harmonious balance be-

tween the two groups is important.

The reason I chose this concept to represent “Akko”, my

chosen type face, is the simplicity and compactness. The

Graphic Novel is a medium where information must be rap-

idly processed in order to get the full effect of a story, mak-

ing “Akko” the type face of choice because of the natural

ability to save space within a layout.

To ex p res s a m essage thro ugh a co n-cep t t hat is ty po graphical ly dr iven.

Typ e prom o tio n k i t , w ith specim en b ook, p rom o bo o k , po ster, w eb ap-p l ic at ions, and v ideo .

Roman t ic , G raphic Novel , Epic , S c ien ce F ict io n, Techno lo gy, Ro bo ts , Fut u re, Com ic Bo o k , Phi lo so phical .

Akko

COURSE | Typography 4

07 (Mechanical Influence)

Finding a balance with machines.

INSTRUCTOR | Ariel Grey PROJECT | Akko Type Promo

65

(Layered)

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DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

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OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

COURSE | Typography 4 INSTRUCTOR | Ariel Grey PROJECT | Akko Type Promo

69

(Layered)

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OBJECTIVE

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TYPE FACE

TIM MASTERSON

(Layered)

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72

OBJECTIVE

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TYPE FACE

TIM MASTERSON


73

(Layered)

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TIM MASTERSON

(Layered)

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COURSE | Print 1 + 2 INSTRUCTOR | Roland Young and Troy Adlers PROJECT | Posters

76

The posters that influence me the most are mostly from the

Art Nouveau period in Europe and propaganda posters

in Russia. McLuhan understood “medium” in a broad

sense. He identified the light bulb as a clear demon-

stration of the concept of “the medium is the message”.

A light bulb does not have content in the way that a

newspaper has articles or a television has programs, yet

it is a medium that has a social effect; that is, a light

bulb enables people to create spaces during nighttime

that would otherwise be enveloped by darkness. He de-

scribes the light bulb as a medium without any content.

McLuhan states that “a light bulb creates an environ-

ment by its mere presence.”

To c reat e an imag e t hat c auses t he v iewer t o qu est ion his or h ers own t houg h t process. Taking a p erson ou t of min d less rout in e.

larg e sc ale p ost ers for movies, con-cept u al t hin king , and spec ial even t s .

D ynamic , p rovac at ive, qu est ionab le s t y l is t ic , raw

Aven ir

08 (Igniting Interest) Approaching a medium with the power to make you stop and wonder.

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

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OBJECTIVE

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TIM MASTERSON 79

COURSE | Print 1 INSTRUCTOR | Troy Adlers PROJECT | Aids Poster

(Layered)

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80

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON 81

COURSE | Print 1 INSTRUCTOR | Troy Adlers PROJECT | Tour Book

(Layered)

OBJEC TIV E

DESC RIPTION

KEY WORDS

TY PE FAC E

COURSE | Print 2 INSTRUCTOR | Roland Young PROJECT | Movie Posters

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON 83

(Layered)

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TIM MASTERSON 85

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TIM MASTERSON 87

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OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON 89

(Layered)

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90

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

COURSE | Print 1 INSTRUCTOR | Troy Adlers PROJECT | Aids Poster

(Layered)

OBJEC TIV E

DESC RIPTION

KEY WORDS

TY PE FAC E

OBJEC TIV E

DESC RIPTION

KEY WORDS

TY PE FAC E

TIM MASTERSON

This 2 dimensional shape on paper or on screen is tan-

gible only as an idea in the mind. Devoid of any real

comprehensible forms, logo design is what led me

into design in the beginning. This simple mark can

touch and stain the most inner part of the mind, even

having the potential to become a part of the thought

process. When observing this layer I recognize the sim-

plistic importance of communication.

To inform abo ut the am az ing ad vanced study in the f ield o f Arc hi t ec t ure fo r the planning eco f r iendly and sustainable.

4 8 pag e pro m ao tio nal bo o k , M ai ler, Pro m o tio nal po ster w ith conference schedule.

S imple, Organic, Archi tectural S c ien t i f ic , Ty po graphical ly dr ive. d i rec t , g ro undbreak ing

Got h am, Bem bo , Univers

COURSE | Identity

09 (Memetic Tendencies)

Attempts to stick an image in a persons mind and make it stay.

INSTRUCTOR | Tom McNulty PROJECT | Urban Outfitters

93

(Layered)

O BJ ECT I VE

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K EY W O R DS

T YP E FACE

COURSE | Graphic Design 2 INSTRUCTOR | Laura Milton PROJECT | Publishing Company

94

OBJECTIVE

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TYPE FACE

TIM MASTERSON

(Layered)

O BJ ECT I VE

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T YP E FACE

COURSE | Identity 1 INSTRUCTOR | Darrell Hayden PROJECT | Art Lounge and Gallery

96

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

O BJ ECT I VE

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K EY W O R DS

T YP E FACE

COURSE | Identity 2 INSTRUCTOR | Tom McNulty PROJECT | Yellow Cab

98

OBJECTIVE

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TYPE FACE

TIM MASTERSON 99

(Layered)

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COURSE | Identity 2 INSTRUCTOR | Tom McNulty PROJECT | Urban Outfitters

100

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

O BJ ECT I VE

D ESCR I P T ION

K EY W O R DS

T YP E FACE

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

COURSE | Identity 1 INSTRUCTOR | Darrell Hayden PROJECT | PG&E Electric Company

103

(Layered)

O BJ ECT I VE

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T YP E FACE

Mom and Dad, Christine George, Chamindri Wijemanne, David

Hake, Mark Reynolds, Darrel Hayden, Fred Carriedo, Ariel Grey,

Troy Adlers, Tom McNulty, Roland Young, Scott Rankin and Mary

Scott.

Acknowledgements

OBJECTIVE

DESCRIPTION

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TYPE FACE

TIM MASTERSON

(Layered)

O BJ ECT I VE

D ESCR I P T ION

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