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A process lies behind everything. Mine lies behind each and every reason for being a passionate graphic designer.
Citation preview
selected works of rika putri \ 06 –10
RS
EL
EC
TE
D W
OR
KS
06
–10 \ R
IKA
S. P
UT
RI
E
P O
CS
S
V.0
1P R O C E S S selected works of rika putri \ 06 –10
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1
selected works of rika putri \ 06 –10
RS
EL
EC
TE
D W
OR
KS
06
–10 \ R
IKA
S. P
UT
RI
I AK
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A
A PROCESS LIES BEHIND EVERY RESULT.
selected works of rika putri \ 06 –10
A PROCESS LIES BEHIND EVERY RESULT.
CL
AS
Ssen
ior portfolio
INS
TR
UC
TO
Rm
ary scott
AU
TH
OR
myself
ED
ITO
Rscot crisp
TY
PE
FAC
ES
titles/neu
tra text boldfolio/n
eutra text light
body copy/the mix light plain
PH
OT
OG
RA
PH
Ycom
position/m
yselflightin
g/cowboy stu
diocam
era/canon
rebel xt
PR
OG
RA
Mlayou
t/adobe indesign
photography/adobe photoshop
PR
INT
ER
giant horse printing
FO
RM
AT
7in X 9.5in
PA
PE
R S
TO
CK
finch fin
e 100
lb text
BIN
DE
Rthe key bin
dery
BIN
DIN
Gexposed-sew
n spin
ecoptic bin
ding
CO
LO
PH
ON
\ colophon\ 00
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PR
O
selected works of rika putri \ 06 –10
CE
S
S
SE
LE
CT
ED
WO
RK
S 0
6–10
01
“lively up you
rself”
02
kiss waste goodbye
03
illum
inatin
g taste
04
bringin
g closure
05
re-chann
eling a vision
06
find you
r fortun
e
07
mu
ch in store
08
splice of life
09
gallery of shouts
10methodical m
arks
\ table of content\ 00
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collateral
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packaging
identitydigital m
edia
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selected works of rika putri \ 06 –10
01PROJ NØ.
TE
RM
spring 0
9
CL
AS
Spackage design
3
INS
TR
UC
TO
Rthom
as mcn
ulty
TAS
Kredesign
a label for an existin
g beer bran
d, inclu
ding bottle, can
and 6
-pack carrier. selected bran
d: Red Stripe.
“LIV
ELY
UP
YO
UR
SE
LF
”
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research ladder
concept exploration
history/company’s background
cultural style
product /cultural information
compeitors
design briefmood boardculture boardtype boardpencil sketchesdigital draftsmock-ups
\ proj. 01selected works of rika putri \ 06 –10
style final presentation
design approach/execution: bottled lagerbottled lightbeer can6-pack carrier
mood
COHESIVENESS
\ package design iii _ “lively up yourself ”
\ 360o process
OBJECTIVE The assgignment is to select an existing beer, and redesign its label. Other deliverables are a newly designed canned beer as well as a six-pack bottle carrier with a more exciting and less generic approach. My idea for the new Red Stripe brand reflects the imaginable Jamaican spirit, including bold colors and lively culture.
I have integrated different textures, materials, illustrations and specific colors to achieve that tone. I want to give Red Stripe more of a decorative and conceptual label so that a peeled-off label could become a keepsake.
Because Red Stripe has been around for so long, this is the perfect opportunity to re-visit and re-design the brand. My in-spiration comes ultimately from street murals from the town of Kingston, Jamaica. The sandy texture comes from the Ja-maican beaches.
THOUGHTSI think Red Stripe has all it takes to be wrapped in a bad ass label. After all, it’s Jamaican! You know? Rob Marley, marijuana, colors, beaches, vibe. You name it.
In its look right now it doesn’t feel Jamaican at all. What a shame! I’ ll make it happen!
00 \ set up
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\ mood-images
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\ red stripe light beer can
selected works of rika putri \ 06 –10
\ bottled lager & light
\ proj. 01 \ package design iii _ “lively up yourself ”
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identitycollateral
packaging
DE
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digital media
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selected works of rika putri \ 06 –10
02PROJ NØ.
TE
RM
fall 09
CL
AS
Sprint 2
INS
TR
UC
TO
Rtom
sieu
TAS
Kproject 1: do exten
sive research into a n
on-su
stainable object an
d w
rite a compellin
g book about
your fin
dings.
project 2: invent a sustain
able replacem
ent that addresses the problem
s caused by the first
object. brand the n
ew produ
ct.
KIS
S W
AS
TE
GO
OD
BY
E
\ proj. 02 \ print ii _ kiss waste goodbye
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OBJECTIVE The R3 project is divided into two parts. The first focuses on re-search regarding an everyday product that is not sustainable and causes harm to the environment. Whether the product is non-biodegradable, non-recyclable or produced toxic chemi-cals by nature, these harmful characteristics are identified and highlighted. Desire talks about the environmental reality behind lipsticks in a narrative that reflects femininity through profiles of women and their lipstick needs. The book is highly saturated, impactful and graphical.
The second part of the R3 project required us to think about what could be possibly done to address the problem in the first part of the project. I designed Tulip, a canister that carries a re-tractable lipstick case which can hold two interchangable lip pomades. The Tulip lipstick pomades are held in seeded, biode-grable paper containers dyed with colors from natural materi-als. This solution not only helps reduce waste, but reduces the amount of toxic chemicals produced on the planet.
THOUGHTSThere is no way that women would give up on lipstick entirely for environmental reasons.
Sure, there are eco-savvy consumers who purchase natural lipsticks, but even their containers are made out of non-recyclable plastic cases that cannot biode-grade.
There has to be another solution that would help eliminate the waste.
P.
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\ lipstick toxicity research map
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\ sketch of Tulip \ Tulip canister, tube and pomades
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selected works of rika putri \ 06 –10
03PROJ NØ.
TE
RM
spring 0
9
CL
AS
Spackage design
3
INS
TR
UC
TO
Rthom
as mcn
ulty
TAS
Kinvent a w
orking lam
p for an exist-
ing bran
d or subject.
ILL
UM
INA
TIN
G TA
ST
E
\ proj. 03 \ package design iii _ illuminating taste
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raw surface [physical research]
brand connection > concept development
absolut vodka brand
overcomingcomplications 1
01 development
selected works of rika putri \ 06 –10
01 development
overcomingcomplications 3
02 finalization
03 fabrication
overcomingcomplications 2
projection/end result
BOTTOM BASE 6 .0 in
ROD 1 .5 in
2.25 in2.25 in
2.0 in2.0 inTOP BASE 5 .5 in
TOP BASE RAISE 4 .75 in
TUBE ONE 3 .0 in
TUBE TWO 4 .0 in
TUBE THREE 5 .0 in
3.5 in
2.5 in
1.5 in
0.875 in0.875 in
0.125 in0.125 in 0.125 in
0.25 in
0 .25 in0.5 in
3-D mock-up model/
proposal to california model & design
\ proj. 03 \ package design iii _ illuminating taste
\ 360o process
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OBJECTIVE I chose to work with Absolut Vodka and design a lamp for that brand because I was drawn to its array of its vodka fla-vors. This idea of variety is reflected onto the design of the lamp with a spectrum of colors shot through cyan, magenta and yellow tubes that are inter-changeable.
This lamp is user interactive, allowing the owner of the lamp to set different vibes for each mood that he or she is experiencing that very moment.
THOUGHTSDrinking creates mood. I believe that forms of light-ing are able to set different moods and emotions.
Naming this lamp wasn’t too hard, because all of the flavors start with “absolut”. but I don’t want it to sound like a drink.
The name I finally came up with is Absolut Aura, which derives from aurora of the northern lights.
selected works of rika putri \ 06 –10 \ proj. 03 \ package design iii _ illuminating taste
\ preliminary lamp sketches
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\ mood images
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6.25
in
6.5
in
6.25
in
2.25
in
2 in
2 in
6.5
in
21.5
in
1.0
in
0.5
in
0.25
in
0.5
in
0.5
in
clea
r ac
ryli
c
clea
r ac
ryli
c to
p
tran
slus
cent
blu
e(a
s in
sam
ple)
wid
th f
its
rubb
er t
ubin
g
slot
for
a “
lock
& t
wis
t” (
oppo
site
sid
e of
tub
e)
1/8
in
1/8
in
scre
w (
dril
led
into
opp
osit
e si
des
of b
ase)
selected works of rika putri \ 06 –10
6.25
in
6.5
in
6.25
in
2.25
in
2 in
2 in
6.5
in
21.5
in
1.0
in
0.5
in
0.25
in
0.5
in
0.5
in
clea
r ac
ryli
c
clea
r ac
ryli
c to
p
tran
slus
cent
blu
e(a
s in
sam
ple)
wid
th f
its
rubb
er t
ubin
g
slot
for
a “
lock
& t
wis
t” (
oppo
site
sid
e of
tub
e)
1/8
in
1/8
in
scre
w (
dril
led
into
opp
osit
e si
des
of b
ase)
6.25
in
6.5
in
6.25
in
2.25
in
2 in
2 in
6.5
in
21.5
in
1.0
in
0.5
in
0.25
in
0.5
in
0.5
in
clea
r ac
ryli
c
clea
r ac
ryli
c to
p
tran
slu
scen
t b
lue
(as
in s
amp
le)
wid
th f
its
rub
ber
tu
bin
g
slot
for
a “
lock
& t
wis
t” (
opp
osit
e si
de
of t
ub
e)
1/8
in
1/8
in
scre
w (
dri
lled
in
to o
pp
osit
e si
des
of
bas
e)
6.25
in
6.5
in
6.25
in
2.25
in
2 in
2 in
6.5
in
21.5
in
1.0
in
0.5
in
0.25
in
0.5
in
0.5
in
clea
r ac
ryli
c
clea
r ac
ryli
c to
p
tran
slu
scen
t b
lue
(as
in s
amp
le)
wid
th f
its
rub
ber
tu
bin
g
slot
for
a “
lock
& t
wis
t” (
opp
osit
e si
de
of t
ub
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1/8
in
1/8
in
scre
w (
dri
lled
in
to o
pp
osit
e si
des
of
bas
e)
\ proj. 03 \ package design iii _ illuminating taste
\ lamp dimensions \ cmy tubes
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c10
0
m
0
y
0
k
0
c0
m
0
y
100
k0
c0
m
100
y
0
k0
pure cyan, yellow and magenta
\ process colors
selected works of rika putri \ 06 –10
BOTTOM BASE 6 .0 in
ROD 1 .5 in
2.25 in2.25 in
2.0 in2.0 inTOP BASE 5 .5 in
TOP BASE RAISE 4 .75 in
TUBE ONE 3 .0 in
TUBE TWO 4 .0 in
TUBE THREE 5 .0 in
3.5 in
2.5 in
1.5 in
0.875 in0.875 in
0.125 in0.125 in 0.125 in
0.25 in
0 .25 in0.5 in
\ proj. 03 \ package design iii _ illuminating taste
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25 W
/BU
LB (
110
–230
VO
LT)
IMPO
RTED
DES
IGN
ED A
ND
PA
CK
AG
ED I
N A
HU
S, S
WED
ENBY
TH
E A
BSO
LUT
CO
MPA
NY
A D
IVIS
ION
OF
V&
S V
IN&
SPRI
T A
B
ABSO
LUT
A URA
Coun
try of
Swe
den
This i
s Abso
lut A
ura,
a Lim
ited E
dition
Lam
p spec
ially
design
ed for
Abso
lut to
celeb
rate t
he 40
0 yea
rs of S
wedis
h tra
dition
and
succes
s.When
illum
inated
,A
bsolut
Aura
will p
roject
a spe
ctrum
of c
olors
which
repre
sents b
oth
the est
ablish
ed A
bsolut
flavor
s and
the
rich
histor
y of A
bsolut
.
selected works of rika putri \ 06 –10
25 W
/BU
LB (
110
–230
VO
LT)
IMPO
RTED
DES
IGN
ED A
ND
PA
CK
AG
ED I
N A
HU
S, S
WED
ENBY
TH
E A
BSO
LUT
CO
MPA
NY
A D
IVIS
ION
OF
V&
S V
IN&
SPRI
T A
B
ABSO
LUT
A URA
Coun
try of
Swe
den
This i
s Abso
lut A
ura,
a Lim
ited E
dition
Lam
p spec
ially
design
ed for
Abso
lut to
celeb
rate t
he 40
0 yea
rs of S
wedis
h tra
dition
and
succes
s.When
illum
inated
,A
bsolut
Aura
will p
roject
a spe
ctrum
of c
olors
which
repre
sents b
oth
the est
ablish
ed A
bsolut
flavor
s and
the
rich
histor
y of A
bsolut
.
\ proj. 03 \ package design iii _ illuminating taste
\ outer packaging label
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selected works of rika putri \ 06 –10
04PROJ NØ.
TE
RM
fall 08
CL
AS
Sidentity 2
INS
TR
UC
TO
Rtodd hedgpeth
TAS
Krevisit the ziploc bran
d and design
a new
identity system w
ith a design m
anu
al for the company.
BR
ING
ING
CL
OS
UR
E
\ proj. 04 \ identity ii _ bringing closure
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\ pencil & digital sketches \ final development of mark
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OBJECTIVE The corporate identity of Ziploc has not changed much over the longevity of the brand. ZIploc has never undergone a face-lift or chosen to show excitement in its aesthetics. I see this as an opportunity for a redesign!
The new Ziploc mark optically shows an invisible zipper swooshing its way through the type and closing the letters that make up the wordmark. The concept is as simple as bringing the brand and consumer together as a unit.
With the newly branded Ziploc, there are more innovations aside from just the updated plastic bags and containers, in-cluding items such as a beverage cooloer canister, the Ziploc store and lounge, a fresh herb keeper, and others.
THOUGHTSWith many competitors on the shelf, Ziploc has the potential to be the brand that stands out in the crowd visually. I feel that Ziploc is creative in its product line, but it would be quite a pity if these products aren’t packaged to reflect this.
By changing its mark and coming up with a new tagline, Ziploc has already rebranded itself. The brand sets a new target, while retaining the history and equity built of many years.
selected works of rika putri \ 06 –10 \ proj. 04 \ identity ii _ bringing closure
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REFRIGERATION I had the idea of using a refrigerator for the identity style guide because a fridgeis the ultimate in keeping things fresh and cold, protected from moisture and heat.
I divided the fridge into 3 sections—top storage, mid stor-age and bottom freezer. The top consists of a chapter that explains how the brand came about, Ziploc’s history and the company’s background as well as competitors and inspiration for the new design approach.
The mid storage contains the redesigned brand design and style. This is where the new identity system comes in. It stores the logo specs, color palette, typography, usages and so on.
The bottom freezer is to keep items that would last longer. This is where the new identity is built out into different ap-plications that are provided for the market.
selected works of rika putri \ 06 –10
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selected works of rika putri \ 06 –10
PROJ NØ.
TE
RM
spring 0
8
CL
AS
Sgraphic design
3
INS
TR
UC
TO
Rpedro freitas
TAS
Kw
ork with an
existing tv station
and design
its station identifier for
heir new
spring season
.
RE
-CH
AN
NE
LIN
G A
VIS
ION
\ proj. 05 \ graphic design iIi _ re-channeling a vision
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45
10
30
15
research
competitors
selected works of rika putri \ 06 –10
re-structuring delivering final systemsolidifying equityconcept /explorations
station ids
posters
standard manual
lower thirdsmenu lineups
re-channeling
overcomingcomplications 2
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\ 360o process
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OBJECTIVE This project required me to select an existing television net-work and work with their current identity to create a newly designed motion-based station idenfier for the spring season. The deliverables for this project include a series of stills of the network’s station IDs, theme posters, system manual, lower-thirds, station bugs, and menu lineups.
I came up with the concept of (Re)Experience, which gives a new life to the old NBC. The network has been around for quite sometime and when it comes time to be renewed, the design had better to be revolutionary. I kept NBC’s equity by retaining the colors taken from the peacock feathers of its current logo, but have updated the rest.
The swooshes are designed to create motion and swiftness to reflect how the company has been running for many years. They also show how NBC continues to return with even more force than ever.
THOUGHTSNBC lands itself with such a great looking, iconic mark, but sometimes a mark itself won’t do a company justice. What it needs is a well-written message that reflects thought all their media, like their website for example.
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selected works of rika putri \ 06 –10
06PROJ NØ.
TE
RM
spring 10
CL
AS
Sidentity 3
INS
TR
UC
TO
Rdarrell hayden
TAS
Kbran
d and position
a country by
designin
g the country’s logo,
identity system, an
d tourism
m
aterials.
FIN
D Y
OU
R F
OR
TU
NE
\ proj. 06 \ identity iIi _ find your fortune
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research ladder
concept exploration
history of myanmar
cultural direct visual comprehension
people/cultural information
perceptions
design briefmood boardculture boardtype boardidentity sketchesdigital draftstourism system
selected works of rika putri \ 06 –10
direct visual comprehension
final presentationsystem developmentmood
design approach/execution:
tourism improvementcountry’s reputation
venerated colorsiconic scripture
world recogn
ition
\ proj. 06 \ identity iIi _ find your fortune
\ 360o process
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WIPE THE SLATE CLEAN
BOLD FLAVORS
00 \ set upselected works of rika putri \ 06 –10
WIPE THE SLATE CLEAN
BOLD FLAVORS
SIT, TALK & LAUGH WITH US
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\ preliminary identity sketches
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\ final identity
selected works of rika putri \ 06 –10
OBJECTIVE In the senior identity class we were required to rebrand a na-tion. Myanmar has so much potential to grow and further de-velop, but it needs help in clarifying its values, brand essence and unique characteristics. The branding process started with gathering relevant inspiration and designing the mark.
The mark holds a double meaning: at first glance, it appears to be a rising sun of a growing nation. But the ultimate idea is derived from the pagoda, taken from an overhead angle, suggesting you look at Myanmar from a different perspective. The colors selected are not only derived from the idea of “the golden land” but they are the colors taken from the country’s venerated monks’ robes.
The logotype is specially designed to embrace the existing style of the Burmese script as well as to ground the identity in a natural and raw texture.
THOUGHTSAfter doing all the research on Myanmar, I am mostly surprised at how magical this country actually is as compared to how it is perceived internationally.
I want a mark to distinguish itself from other generic pagoda icons, yet I want a pagoda to be part of its mark and I wanted it to be a timeless design.
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\ spreads from the brand guide
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\ hot air balloons
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\ country banners \ tour bus
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\ water bottles \ umbrella \ straw hats
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\ national stamps
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identitycollateral
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selected works of rika putri \ 06 –10
07PROJ NØ.
TE
RM
fall 09
INS
TR
UC
TO
Rm
ichael osborne
TAS
Kreposition
the kmart bran
d by creatin
g sub-bran
ds that are appropriately stratified for the com
pany’s target markets.
MU
CH
IN S
TO
RE
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45
10
30
15
research
objective: to bring the kmart brand to the level of the target brand.
food
home & kitchen
fusion
new logo
red yellow blue
selected works of rika putri \ 06 –10
clothing
habitat
bliss
ready!
pets
\ proj. 07 \ package design iv _ much in store
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\ RedYellowBlue conventional milk
00 \ set upselected works of rika putri \ 06 –10
OBJECTIVE This is a collaborative project that includes the rebranding of Kmart and redesigning its new packaging and other aesthet-ics. In working with Jayde Cardinalli, Ingrid Njono, Teddy Kur-niawan and Clara da Silva, we broke out the Kmart customer base into three target markets with specific demographic characteristics.
Then we designed ideniities and packaging for sub brands that would cater to each of these markets. The Kmart Red Yellow Blue sub brand would serve families’ basic needs. The products in this line include pantry items, kitchen necessities, bathroom products and pet supplies.
The READY! sub brand caters to on-the-go individuals that need products that can serve many functions. Items sold in this brand include instant coffee, stackable bowls, prepared sandwiches and other space-saving products.
The Habitat sub brand is targeted to eco-conscious consum-ers that are concerned with the production and after-life of their products. Products in this line include free-range or-ganic eggs, non-toxic powdered milk-derived paint and eco-friendly cleaning items.
The Bliss sub brand offers more luxurious products for the refined home. Products in this line include expensive bed sheets, drink mixers and bath products.
THOUGHTSThe first thing that came into my head while walking into kmart for this project was how disorganized everything is placed and the fact that the store is gloomy and lack of positive energy.
My groupmates and I immediately came to our senses that the new Kmart would focus on improving its weakness, with addition to creating sub brands to target different groups of audience.
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\ RedYellowBlue pots and pans
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\ Habitat shampoo collage
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\ Habitat non-toxic milk paints
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\ Habitat organic eggs
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selected works of rika putri \ 06 –10
08PROJ NØ.
TE
RM
fall 08
INS
TR
UC
TO
Rariel grey
TAS
Kdesign
a brochure, poster an
d swatch
cards for smart paper com
pany.
SP
LIC
E O
F L
IFE
\ proj. 08 \ typography iii _ splice of life
XxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxX
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01 research
consider an issue to be addressed.
XxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxXXxXyYyyXxX
selected works of rika putri \ 06 –10
01 research
consider an issue to be addressed.
refining stageprogression final concept:
cloning as the 8th creation
02 development
SPLICE
03 final deliverables
085 o
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OBJECTIVE The goal of this project was to design a brochure, poster and set of swatch cards for a paper company. The brochure is the densest part of the project and the topic selected should be an issue relevant to current events.
Given that I was working with Smart Paper Company, I chose to research and write about cloning. This scientific process is often called the eighth creation of the planet . Therefore, the book, titled On the Ei8th Day, covers the clon-ing issue, debating whether it is unethical or instead an imporant asset for the scientific community.
selected works of rika putri \ 06 –10
THOUGHTSI want this book to have as many details as possible, both in the chapters as well as the applied design elements. After all, this is a topic that people are most aware of, and most pay good attention to.
It’s a challenge to take actual shots of clones, so I gathered up abstract photographs that are scientifically relevant to the topic.
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identityprints
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selected works of rika putri \ 06 –10
09PROJ NØ.
GA
LL
ER
Y O
F S
HO
UT
S
TE
RM
fall 06
–spring 10
INS
TR
UC
TO
Rm
egum
i kiyama
tom sieu
roland you
ng
\ proj. 09 \ gallery of shouts _ showcase of posters
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OBJECTIVE I believe that posters are designed for multiple reactions. They are to be engagingly informative, provocative, im-pactful, offensive, touching, humorous, merciless, got you thinking, or you name it . At the end of the day, no matter what or who the audience is, a poster is designed to send a message or to tell a story.
The Gallery of Shout showcases some of my selected post-ers that are designed either for part of an assignment, or of an assignment. They are meant to shout and grab your three-second reaction. Please enjoy.
BEWARE,
selected works of rika putri \ 06 –10 \ proj. 09 \ gallery of shouts _ showcase of posters
THESE FLATS SHOUT.BEWARE,
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or
How I sho
uldLov
e
S TO P
wo
rr
yi
ng
&the b o m b
c o l u m b i a p i c t u r e s
a f i l m b y S TA N L E Y K U B R I C K
instr. Roland Young\ Dr. Strangelove movie poster
selected works of rika putri \ 06 –10
swissbikes.com/foldablex50
instr. Roland Young
\ proj. 09 \ gallery of shouts _ showcase of posters
\ Swiss Bikes X50 product poster \
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HEALHELP
T H E H A I T I P O S T E R P R O J E C T 2 010
instr. Roland Young\ H3 (Help Heal Haiti) Haiti poster project
00 \ set up
T H E H A I T I P O S T E R P R O J E C T 2 0 1 0
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instr. Roland Young\ Rods & Cones musical poster
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instr. Craig Griffith\ SF Weather Graph informational poster
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PANTONE®
™
30%
PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. PANTONE Colors displayed here may not match PANTONE-identified standards. © Pantone. Inc., 2008 All rights reserved.
80% 65% 50%
7406100%
7421100%
7417100%
80%
70% 65% 40%
75% 70% 50% 10%
10%
35%
} PRIME CUTS
15%55%
The areas of the animal that got a lot of exercise will be less tender than those that did little or no work.
} TENDERNESS OF MEAT
7406
7421 564
7417
PMS
7453100% 15% 5%
YIELDS
PORTION CHART
DOMESTIC SHEEP
% BREAK DOWN
Lamb is a sheep less than a year old. There are eight basic primal cuts in a lamb. They are neck, shoulder, foreshank, breast, rib, loin, leg, and shank.
} rib area of animal } hind portion of animal } front portion of animal
The rib area of the lamb is, like prime rib in beef, very tender and flavourful. This portion of the lamb is either cut into little rib chopsor left as a whole rack of lamb (with seven or eight ribs). The rib cut has an outer layer of fat which can be trimmed off but, if left onduring cooking, melts and bastes the meat. Ribs and loins are best cooked by dry-heat cooking.
LOINRoast/broil/grilling
Loin chopsT-Bone steakToploin chopsTenderloin chops{Filet Mignon}
RIB“Frenched”
Rib chopsRack of lambCrown roast{Delmonico}
} RETAIL CUTS
The most versatile cut in a lamb is the leg. The lamb leg is in aleague of its own. the leg of lamb is tender and very versatile.However, only the two hind legs produce the cut referred to as “leg of lamb”.
LEG Roasting/grilling
Large/small roastKabob meatsRolled/netted steakStuffed rolled leg
LEG STEAK The whole, bone-in leg can weigh from 5-to-9 poundsand may be American style {boneless} French style {shank bone-on}
} RETAIL CUTS
This front area of the animal provides the toughest meats, butthe most flavorful, and less expensive. The cuts are shoulder,shank, breast and neck.
SHANKBraising
osso buco2 hind shanks+ 2 fore shanks
BREAST & NECKBraised
Ground/mincedCrosswise slicesLamb sausagesLamb burgers
SHOULDER Dry roasting/slow-braising
Shoulder roastboneless/bone-in
Shoulder chopsStewed lamb
} RETAIL CUTS
premium priced lowest pricedmid-priced
oF
135 Rare
140 Med-Rare
150 Medium
28%
30%
22%
20%
PERCENTAGE BREAKDOWN28% CHOPS30% ROASTS22% GROUND/STEW MEAT20% FAT BONE SHRINGKAGE
Pantone Matching System. Indicates primal cuts in lamb, categorizing each area of tenderness with each color—pms 7417 groups the tenderest cuts in beef, pms 7406 groups the least tender cuts and pms 7421 groups meats with medium tender.
Percentages used:
A lamb carcass generally weighs 40–75 lbsThe primal lamb shoulder is a relatively large cut accounting for 36% of the carcass weight.
40–75 lbs
36%
17%
8%34%
The primal lamb rack is also known as the hotel rack. It is located between the primal shoulder and loin. Containing eight ribs and portions of the backbone, it accounts for approximately 8% of the carcass weight.
The rack is valued for its tender rib eye muscle. The hotel rack is usually split in half and trimmed so that each set of ribs can be easily cut into chops. The split racks can then be grilled, broiled or roasted as racks or cut into single or double rib chops before cooking.
RACK {of lamb}
selected works of rika putri \ 06 –10
PANTONE®
™
} PRIME CUTS
15%35%50%
} CUTS AND PRICES
} RETAIL CUTS } RETAIL CUTS
7406
7421
7417
PMS
389100%
YIELDS
PORTION CHART
FARM-RAISED PORK
PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. PANTONE Colors displayed here may not match PANTONE-identified standards. © Pantone. Inc., 2008 All rights reserved.
There are a total of four sections in pork. A pork carcass is generally split into two sides of pork, each consisting of four primal cuts—shoulder, loin, belly, and ham.
Areas of the pork are divided into two main parts—premium cuts and economical cuts.
midpriced
} center portion of animal
This center portion of the animal are the most economical cutsin pork. They are the shoulder cuts, leg/ham cuts and belly cuts.The meats from this area are mostly flavorful, but contains thehighest amount of fats for slow cooking.
HAMMostly smoked
CutletsHam roastsbone-in/bonelessfresh/smoked
Fresh hammarinated/crustedroast fresh ham
BELLYFresh/smoked/cured
Spareribs30% less expensivethan Backribs fromthe Loin section.
Belly
SHOULDER Slow cooking—braising
Shoulder chopsShoulder butt roastStewing porkPicnic Roast
premium priced
} loin cuts of animal
The loin is the most tender and expensive part of the pig. Loin cuts are fairly lean and should be cooked carefully, usually with high heat dry methods, to a temperature of no more than 150°F (65°C), leaving the meat slightly pink and still juicy.
CENTER CUTMost expensive
SIRLOIN ENDClosest to the leg
BLADE END/RIB Closest to shoulder
Loin Roast Loin ChopsButterfly ChopsTenderloinBaby Back RibsSirloin SteaksSirloin RoastPeameal Bacon
25%
23% 11%
11%14%
265 lbs Live pig
Typical market pig. A 265 lbs commonly weighed farm raised pig can produce a 200 lbs carcass:
265 lbs....................Live weight
200 lbs....................Carcass weight
0.7 in...................... Backfat
6.6 sq in..................Loin eye area
54 pct......................Fat-free lean meat
108 lbs.................... lean meat
Head, Jowl, Snout, Ear, Tail, Innards
A pig’s head can be boiled and boned to make head cheese.
The jowls (pig’s cheeks) are rich in flavor and can be cured like bacon and are used to flavour dishes.
Organ meats are used in various ethnic cuisines. The small intestines are used as sausage casings.
OTHER CUTS
80% 65% 50%
717100%
1795100%
497100%
80%
70% 65% 50%
75% 70% 50%
20%
20%
Pantone Matching System. Indicates primal cuts in pork,categorizing each area of tenderness with each color—pms 497 groups the economical cuts in pork, pms 717 groups the other cuts and pms 1795 groups the premium loin cuts.
Percentages used:
23% 8%
564
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EI8TH DAY
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Putriology/ identity_self | Cala Foods/ id1_Hunter Wimmer | Ziploc/ id2_Todd Hedgpeth
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TO ALL OF MY VERY SPECIAL ONES.< 2 0 02 0 1 >
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TO ALL OF MY VERY SPECIAL ONES.
SP
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TH
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TO
AL
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UP
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ra milton
pedro freitasscott ran
kin doris harrisonam
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michael kilgore
claude dietrich
rose hodges chris rolik liza brow
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personal than
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my fam
ily and frien
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my u
ndefeatable en
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to the constant in
spirations
that come at the least
expected mom
ents.
to max m
y only
bike in the w
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has been m
y best buddy.
amazin
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to sightglass, bluebottle,
& don
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coffee and espressos to keep
me aw
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strong im
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many than
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