alex p kaplan graphic design portfolio march 2015

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Yvon Chouinard QuoteUrban ThermeHistory of ClarendonTandem Felix LetterpressGreat Miami Rowing CenterJillian Gutierrez Hair DesignPerspectiveThe Future of Convenience CANstruction Mad MenCards + InvitationsPhotography

605 W. Madison St., Apt. 1213Chicago, IL 60661

[email protected]


SELECTED WORKS

Yvon Chouinard QuoteUrban ThermeHistory of ClarendonTandem Felix LetterpressGreat Miami Rowing CenterJillian Gutierrez Hair DesignPerspectiveThe Future of Convenience CANstruction Mad MenCards + InvitationsPhotography

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YVON CHOUINARD QUOTE

This poster is a visualization of the quote by Yvon Chouinard, “Returning to a simpler way allows us to regain our dignity.” The strategy behind this poster is to create a visual riddle that draws the reader into the content.

The top half of the poster is visually simple, featuring only upper case letters all of the same weight, but semiotically it is complex as the reader has no real understanding of its meaning. The final line on the poster is visually complex, using both upper and lower case type, but is simple semiotically as the reader can f inally read and understand the quote.

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URBAN THERME

As an entry to the 2015 Chicago Architecture Biennial Lakefront Kiosk Competition, Urban Therme is a mobile spa kiosk to enable a dynamic winter activation of the lakefront by blurring the boundary between culture, lifestyle and retail.

The Urban Therme brand was developed so as not to overwhelm. The washed out, tonal blues, greens and greys seek to convey a calm that accompanies the day-spa experience at the iconic Chicago lakefront. The logo mark “UTBH” is multi-directional, being read as “Urban Therme”, “Thermal House”, and “Urban Bath” to reflect it’s programmatic f lexibility and innovative concept. An expansion of the venture would include an app and an online reservation platform to check availability and book instantaneously.

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UNDER - UTILIZATION

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S I X T Y TO S E V E N T Y T H O U SA N D people visit the 18 miles of the iconic Chicago lakefront each day during the summer months according to a recent CPD study. However, during the winter, the lakefront is incredibly under-utilized. Urban Therme seeks to enable a dynamic winter activation by blurring the boundary between culture, lifestyle, and retail.

Urban Therme would be a joint venture between the CPD that brings the spa experience to the Chicago lakefront, serving as the sole retail component of the kiosk. The form takes on a powerful simplicity, beginning with a standard rectangular kiosk enclosure. The interior spaces are then carved from within to create a monolithic form with sliding doors that play with open / closed, mimicking the public and private duality of communal bathing.

The kiosk is designed to accommodate three separate types of spa experiences: hot bath, cold bath, and dry sauna. The kiosks can be positioned together in couples or groupings of three to provide a more holistic experience. The main spa hub that provides towels, reservations, and additional services will be a grouping of 4 kiosks. These groupings will move as a herd along the lakefront, re-locating to enhance and provide new views of the lake and skyline, creating a unique micro-climate in each new location.


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E X H I B I T I O N S T R AT EGYFor exhibition in Millennium Park during the Chicago Architecture Biennial, a curved fabric screen would enclose the two open sides of the kiosk, to be used as a surface for projection mapping. Urban Therme would like to team up with several artists, filmmakers, and students from the nationally ranked film schools at DePaul University and Northwestern University, to develop vignettes and interpretations of the kiosk space and its possibilities. In keeping with the theme of the “State of the Art of Architecture” we would like to offer our kiosk as a testing ground for an artist’s interpretation of the kiosk competition that would sit within our proposal’s footprint.

Ideally these projected mappings would convey a sense of depth, emphasizing storylines and landscapes that draw viewers into the kiosk. The projection mapping would also serve to mask the true identity of the spa, providing incentive for Chicagoans to visit it at the lakefront upon its installation in spring of 2016.

B R A N D I D E N T I T Y The Urban Therme brand was developed so as not to overwhelm. The washed out, tonal blue, green, and greys seek to convey a calm that accompanies the day-spa experience and the iconic Chicago lakefront. The logo “UTBH” is multi-directional, being read as “urban therme,” thermal house,” and “urban bath” to reflect it’s programmatic flexibility and innovative concept. An expansion of the venture would include an app and an online reservation platform to check availability and book instantaneously. Once transferred to the Chicago Park District this venture will provide much needed municipal revenue.

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T H E R EC TA N G U L A R PL A N is enclosed on two sides so as to blocks winds, provide a sense of privacy, and frame views. The roof begins to slowly lift at the corner to open up the views further, so that each relocation and orientation will provide a unique experience. In the summer the kiosk will face east, to open to Lake Michigan and benefit from the easterly winds and turning the large faces of the form from the southern sun. In the winter, the kiosk will face west, opening to the iconic Chicago skyline and absorbing the southwestern sun.

The initial huts are designed for 2-4 people, but with further expansion will allow for larger groups of between 5 and 8 people. The generous deck will allow the kiosk to be used by the public when the spa is not in use, providing respite for

runners or shade for beachgoers. In this way, the kiosk is open, even when it is closed.

When the large cedar track doors are opened, the interior is revealed. The Urban Therme staff begin the small fire that heats the tub as patrons change in the rooms provided.

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K YLE BIGARTA R C H I T E C T U R A L D E S I G N E R

Kyle Bigart is a recent graduate of the Illinois Institute of Technology where he graduated magna cum laude with a Bachelor of Architecture and a specialization in digital design. His work has been exhibited at the Chicago Architecture Foundation and has past professional experiences at both IIT and Gensler. He currently practices at Perkins + Will in Chicago, IL.

E D U C AT I O N

BACHELO R O F A RCHI T EC T U R EIllinois Institute of Technology 2012Alpha Rho Chi Medal, Schif f Foundation Scholarship Finalist, Samuel Horwitz’s Memorial Scholarship Winner, Women’s Architectural League Foundation Scholarship Winner, Resident Advisor

R E CO G N I T I O N

Jacques Rougerie Foundation CompetitionArchitecture and Sea Level Award 2014 Special Mention

Chicago Architecture Foundation ExhibitionClean Tower studio project in collaboration with Peter Binggeser on display at ‘The Unseen City: Designs For A Future Chicago’ exhibition in 2012

Association of Licensed Architect’s Student Merit Award RecipientStudent profile feature in ALA’s Fall 2012 issue

IIT CoA Website FeatureRiver Pure studio project displayed in the undergraduate advanced studio web gallery in 2011-2012

First Prize Conqueror of the 2007 Hill Engineering Competition$3000 savings bond awarded

Peterhan’s Visual Training Project Prize Nomination2008-2009

S E L E C T E D E X P E R I E N C E

PER K IN S + W IL LArch II / Chicago, IL / October 2012-PresentNorthwestern Prentice Competition, Xuhui Hospital, Oberoi International High School 02, CR Land Residential Development

SCH O O L S FO R T HE CHIL DR EN O F T HE WO R L DArchitectural Intern / Léogâne, Haiti / May 2012-October 2012National School of Deslandes, Lycee Elementary School, Sainte Rose School, Darbonne School, Guerin School, Fond de Boudin School

I L L IN O I S IN S T I T U T E O F T ECHN O LO GYTeaching Assistant / Chicago, IL / August 2011-May 2012First Year Undergraduate Architecture Studio

GEN SL ERModel Builder / Chicago, IL / May 2010-August 2010Fourth Presbyterian Church physical model


W E T L A N D S I N T H E S K Y

Clean Tower answers the challenge to create a supertall skyscraper that addresses problems standing in the way of Chicago becoming a zero carbon city. The tower achieves this by focusing on water purification and public space, therefore redefining the way Chicagoans interact with the river. Dramatic views South and East down river corridors and large riverfront access are what make this leaning high-rise at Wolf Point so appealing. The tower celebrates the river rather than mistreating it. The current typical design strategy for architecture on Wolf Point is to locate buildings as far South as possible to maximize views for inhabitants. Clean Tower makes the gesture to ‘push back’ in order to ‘give back’. By moving the tower’s base to the North end of the site, a public wetland park is created to help reconnect the community to the river. The tower’s program includes residential spaces in the upper half, while the lower contains hotel, office and retail components. The shifting form allows for stunning river views for residential spaces, while retaining more traditional cityscape views for the lower programmatic levels. A secondary form penetrates the shifting tower, providing a structural circulation core. A living machine wetland is installed across the top of the Merchandise Mart building adjacent, cascading down the mall plaza and terminating in the public wetland park to ultimately clean the river.

K Y L E B I G A R T I N C O L L A B O R A T I O N W I T H P E T E R B I N G G E S E R

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P R O D U C T I O N

Architects should consider public experience. How can this site affect the community, city, country and world? Can we give something back? Solve a problem? Architecture is much more than just a building.


SUMMER-EAST

WINTER - WEST

PHOTOVOLTAIC ARRAY SOLAR WATER HEATER COLLECTOR

RAINWATER COLLECTIONSNOW MELTED FROM THERMAL RADIATIONOPTIMUM PASSIVE SHADING

HEAT RECOVERY

LOW ENERGY LED

RECYCLED CEDAR PLANKS

RAINWATER TANKS

BATTERY BANK

BLACK METALPANEL TO ABSORB SUN

HYPOCAUST HEATED FLOORS

WOOD FIRE THERMAL EXCHANGE

ELECTRO-MAGNETIC CLEARWATER BATH FILTRATION SYSTEM

U R B A N T H E R M E tones down the opulence that normally accompanies the day spa, through it’s passive strategies. In order to maintain its mobility and the herd mentality, the thermal bath must remain largely autonomous from city resources. The roof cavity serves a rainwater catchment that is stored in reservoir tanks in the back wall. The black metal panel and cavity wall serve as a thermal mass to help heat these stores in the winter. In the winter, the radiant heat from the interior will help to melt the snow on the roof above. A solar water heater is also used to maintain a consistent hot temperature in the hot bath.

The precipitation is cleaned through an electro-magnetic clear water bath filtration system that is powered by a 24V battery that is charged with the

photovoltaic array. The process involves using pulsed electro-magnetic fields to control biological growth and corrosion. This method avoids health issues associated with the use and management of chemical water treatments, and maintains a consistently clean water store throughout multiple uses. The life-time costs are much lower with this type of treatment and does not require employees or attendants to check water levels and handle chemicals.

The huts will largely be warmed by the fire/coil exchange contained near the tub that transfers to a hypocaust system. The hot air and smoke will pass through the open floor cavity where ceramic boxes remove hot burned air and heat the walls. This air is then transfers through and back through the flume to exhaust.

This single hearth will serve as the sole heat source for the kiosk, conditioning the changing rooms as well as the tub area.

All materials will be locally sourced. Recycled softwood pallets will be recycled and planed to a smooth finish to be used on the interior. Aluminum composite panels allow the structure to achieve high performance at a minimal weight, aiding in its mobility.

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clarendonA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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The Industrial Revolution brought forth great changes to society throughout the 19th century. This radical shift from agriculture to industry is said to have begun in England — causing society to flock toward the city-cen-ters to seek employment in new factories. The working class traded their jobs out in the fields for 13-hour days, little wages, and unsanitary conditions in new urban fac-tories. Machine manufacturing developed the division of labor system, which in turn increased speed and ef-ficiency in the production of new materials such as iron and steel. Advancements in machine technology also enabled the mass production of these new products and materials. The vast development in technology quickly established a sense of dominion of man over nature that

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carried through the 19th century as society began to ex-ploit the planet’s resources for its own growth (Meggs).

Even though the Industrial Revolution contributed to the adversity of factory workers across the globe with its unsafe conditions and long hours, it gave birth to the rise of a new middle class that was motivated and em-powered to seize a greater role in society. A desire for greater human equality led to increased public educa-tion and literacy throughout Europe and America. This posed new challenges for those in the field of commu-nication, especially graphic designers and typographers. The vast developments in technology of the 19th century significantly lowered costs and increased the produc-tion of print materials — allowing for information to be more readily available to the masses, and creating an unquenchable demand that designers had to make an effort to supply. The mechanization of production al-lowed for a range of typographic sizes and styles to be

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The mass-communication needs of an industrialized society enabled a large expansion of graphic adver-tising and posters.

e g y p t i a n ro m a n i o n i c

square serifs and equal strokes

curved and slender serifs

truncated serifs and unequal strokes

explored, while diminishing the handicrafts of the past (Meggs).

The mass-communication needs of an industrialized society enabled a large expansion of graphic advertising and posters. Traditional letterpress printers sought out typefounders to expand their design possibilities in order to compete with skilled lithographic printers. The 19th century was a time of innovation in the world of typogra-phy, leading to the creation of a new, bolder category of type: the slab serif. The earliest versions of these types were developed in an attempt to “meet the demands of the new entrepreneurs” (Lawson, 308). The thickening of the main stem of a letter paired with the reduction of the weight of the serif was thought of as the maximum boldness required in this new fast-paced market. Eng-lish typefounder Robert Thorne began his exploration in this category of typography by creating a “fat-face” ro-man typestyle around 1803. This type was deemed one of

the first excessively bold fonts to come out of this era. He developed this typestyle under his Fann Street Foundry, located in the heart of London. It was here where Thorne

“produced his ‘improved printing types’ which were the first recorded examples of ‘modern’ faces with strong vertical color and fine, horizontal bracketed serifs” (Macmillan, 171). Thorne is said to have applied the term Egyptian to these original square-shaped serifs he de-signed. The Egyptian typefaces have continuous curves with a generally round aspect, and are unbracketed with medium to heavy slab serifs. The derivation of the term Egyptian is unknown, although widely credited to the

popular interest in Egypt at this time. In 1816, the foundry of William Caslon IV produced a specimen book with a single size of sans-serif caps that he too called Egyptian, providing later confusion as to who should receive credit for designing the typeface. At an auction upon Robert Thorne’s death in 1820, William Thorowgood, a man from Staffordshire with no previous connection to typefound-ing, purchased the Fann Street Foundry and debuted his first specimen book shortly after. During the next years he introduced Greek, Hebrew, and Russian typefaces as well as three Frakturs (Macmillan, 171).

Although many commercial printers were extremely enthusiastic about these new bold typefaces, the more traditionally oriented practitioners highly criticized their development. Thomas Curson Hansard published his famous printer’s manual Typographia: An Historical Sketch of the Origin and Progress of the Art of Printing in 1825, which included great criticism of the Egyptians.

He stated, “To the razor-edged fine lines and ceriphs of type just observed upon, a reverse has succeeded, called

“Antique,’ or ‘Egyptian,” the property of which is, that the strokes which form the letters are all of one uniform thickness! — After this which would have thought that further extravagance could have been conceived? Oh! Sacred shades of Moxon and Van Dijke, of Baskerville and Bodoni! What would ye have said of the typographic monstrosities here exhibited, which Fashion in our age has produced?” (Hansard, 618). Although strongly word-ed, Hansard’s criticism had no apparent effect on the popularity of the new bold styles, as they continued to

thrive throughout the rest of the 19th century.

In 1828 Thorowgood purchased the Fry Foundry, which added many “oriental and learned faces as well as book fonts, blacks, titling and flowers” to the Fann Street Foundry’s typeface collection (Macmillan, 172). In 1838, Robert Besley joined the Fann Street Foundry and cre-ated a new slab-serif typeface in 1845 that would have a large impact on the history of typography: Clarendon. Unlike the Egyptians, this new typeface was “issued as a text type rather than for display purposes” (Lawson, 314). Its purpose was to accompany a roman type as a sister boldface to provide emphasis where needed. Although it stems from the Egyptian style, the Clarendon typeface differs in that its serifs are bracketed and have a clear differentiation between the thick and thin lines (Baines,

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The popularity of Clarendon can be seen in the development of new tech-nologies in the 1900s.

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proud of his creation, noting “the most useful Founts that a Printer can have in his Office are the Clarendons: they make a striking Word or Line either in a Hand Bill or a Ti-tle Page, and do not overwhelm the other lines: they have been made with great care, so that they are distinct and striking and possess a graceful outline” (Lawson, 315).

The popularity of Clarendon can be seen in the devel-opment of new technologies in the 1900s. The Linotype machine, designed by Ottmar Mergenthaler, a German-born inventor, “revolutionized the publishing industry by allowing metal type to be set from a keyboard similar to a typewriter instead of each piece of type being set by hand” (The Columbia Encyclopedia). It utilized a matrix, which contained two letterforms for a single character of a typeface; the second letterform on each matrix, when not an italic, was usually that of a Clarendon-style. Us-ing a boldface character for emphasis as opposed to an italic character was a radical idea that was well estab-

lished with Clarendon, and became an extremely com-mon practice in commercial printing, especially in news-papers in the early 1900s. As the development of this machine continued, manufacturers developed bold vari-ants of their popular roman typefaces, and didn’t need to depend on the standardized Clarendon style. It was soon after, that Clarendon began appearing in expanded and lightface versions. Clarendon’s expanded variant be-came the model for German cuttings, and appeared in the catalogues of American foundries. The Bruce Found-ry in New York and the Cincinnati Foundry were the first two American firms to issue the typeface (Lawson, 316). Most foundries in the United States produced slab-serifs during this time as well, and when the American Type

Founders Company was formed, they issued a specimen book in 1896 showcasing 26 variations including Ionic, Clarendon, Antique, French Clarendon and Doric.

Just as quickly as the Clarendon style of typefaces was brought to popularization, they seemed to disappear from specimen books across the United States. In 1906, the American Type Founders Company released a new specimen book, where only 10 examples of slab-serifs were shown in the entirety of its 1,180 pages. None of which were Clarendon. Similarly in 1923, slab-serifs were reduced to only 6, again with the exclusion of Clar-endon. The last large-scale American type catalog was released in 1925 by The Barnhart Brothers & Spindler, which sparked the revival of the slab-serifs. This speci-men book exhibited 5 slab-serifs, three of which were

called Clarendon. By the 1930s, Clarendon began the same path of renewal the Gothic typefaces had taken just a few years prior, spurred by the “experimental typogra-phy of the Bauhaus movement” (Lawson, 318). American type manufacturers were already in fierce competition with Europeans, and responded to the new challenge of designing new slab-serifs throughout the 1930s. One variation of Clarendon that was developed during this time was Memphis by Rudolf Wolf. The Bauer foundry produced Benton, a geometric square-serif that proved to be one of the most popular at the time as well.

After World War II, the Clarendon style once again was at the forefront of graphic design when the English foundry Steven, Shanks & Son revived three series in 1951. In 1953, the Stevenson Blake foundry of London returned to the original Fann Street Foundry punches and reis-sued the typeface as Consort. These original punches now reside at the Type Museum in London. A similar

revival was seen in the United States when the Ameri-can Type Founders Company commissioned typographic designer Freeman Craw to produce a new type with the Clarendon model (Lawson, 321). Craw created Craw Clarendon, Craw Clarendon Book, Craw Clarendon Con-densed — all primarily designed for photocomposition (Type Directors Club). Another style of Clarendon that remained popular throughout the late 19th century was French Clarendon. Here, the slab-serifs are overempha-sized for display purposes. This typeface was generally used as the type in circus posters and “Wanted” notices in old western movies. With the expansion of commer-

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q u r s t u v w x y z1 2 3 4 5 6 7 8 9 0! @ # $ % ^ & * ( ) _ - + =[ ] { } \ | ; : ’ ” , . < > / ?

Besley worked together with skilled punch-cutter Benjamin Fox to devel-op the original Clarendon series.



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71). Another name given to the Clarendon style of type-face is Ionic — which is later used as a lighter take on the original Clarendon for setting newspapers.

Besley worked together with skilled punch-cutter Ben-jamin Fox to develop the original Clarendon series. Clarendon was the first ever registered typeface under England’s Design-Copyright Amendment Act of 1845 (Lawson, 315). This new act permitted a copyright on the typeface for a three-year period, and when the patent ex-pired, many competing foundries were quick to copy its design. In the next Fann Street Foundry specimen book, Besley included a paragraph set in Clarendon discuss-ing his view on plagiarism of his typeface, “Piracy is the

great sin of all manufacturing communities: — there is scarcely any Trade in which it prevails so generally as among TYPE FOUNDERS…nearly all the respectable Printers in Town and Country who claim to have either taste or judgment, have adopted the original Founts, and treated the Imitations with the contempt they deserve” (Reed and Fox).

The origin of the name Clarendon is said to have come from the Clarendon Press at Oxford University. Theodore Low De Vinne, American printer and author of typogra-phy, notes in his work Plain Printing Types: The Practice of Typography that Clarendon was “to serve as a display letter in a mass of text-type, and for side headings in dictionaries and books of reference” (Lawson, 315). In England, the name Clarendon became synonomous for

“boldface type weight” as it was the most commonly used typeface for that reason. By 1850, the Clarendon typeface was a great commercial success. Besley was extremely

HISTORY OF CLARENDON

This project illustrates the history and development of the typeface Clarendon. Large shifts in scale showcase the playful nature of the typeface characters as well as point out the salient features of its anatomy.

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TANDEM FELIX LETTERPRESS

Engaging graphic design as visual journalism, I am currently participating in a research-based studio to investigate the identity of a specif ic location in Chicago. I chose to explore the studio space of Tandem Felix Letterpress located in Pilsen and have worked with photography, typography and sound as a means to create initial visual compositions.

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GREAT MIAMI ROWING CENTER

The Great Miami Rowing Center is a competitive rowing club located in Hamilton, Ohio. In hopes of recruiting younger athletes, GMRC wished to update and modernize their overall look. I began this project by developing a new custom logo for the club. This new logo showcases the sport and creates a recognizable icon for the club. A complete marketing package including posters, f lyers and other print collateral as well as a series of digital advertisements gave the club the fresh feeling it needed to attract talented athletes.

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JILLIAN GUTIERREZ HAIR DESIGN

Jillian is an independent hair stylist located in Los Angeles, California and was looking for a way to distinguish herself from others in her f ield. Incorporating her love of everything pink and feminine, her brand includes a hand-lettered logo and illustrated f loral elements.

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PERSPECTIVE

As an exercise in visualization as a graphic process instead of illustration, I developed this poster to show Perspective.

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THE FUTURE OF CONVENIENCE

I participated in a research-based studio partnered with The Kroger Company to explore the possible futures of the American convenience store. The semester’s work was published in a book detailing the history of convenience stores, retail trends, and student concepts for future convenience stores. As a member of the design team, I aided the project manager in the development of content as well as graphic elements of the book. The Kroger Company also sponsored a gallery exhibition in downtown Cincinnati where guests were invited to explore the studio’s research and designs. As project manager for the event, I created a general graphic poster template for students to showcase their individual projects. I also developed a series of introductory boards, remaining consistent with the overall branding established in the design of the published book.

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Directional Sign.indd 1 1/23/2014 12:06:34 PM

CANSTRUCTION MAD MEN

CR architecture + design located in Cincinnati, Ohio hosted a 60s themed cocktail party February 2014 benefiting the 17th Annual Cincinnati CANstruction design/build competition. As a part of the marketing team, I established the overall creative direction for the event, as well as developed digital and print promotional materials.

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CARDS + INVITATIONS

Custom paper goods have always been a passion of mine, and I’ve had the opportunity to work with clients on a variety of holiday cards, event invites and stationery.

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ALEX P KAPLAN PHOTOGRAPHER

I am inspired by textured forms and capturing moments of lifestyle and personality in my photography work. My portfolio consists of portrait, event and architectural imagery. I am also currently the instructor for an Undergraduate Design Photography class at University of Illinois at Chicago, focusing on observation, composition and meaning in the photographic medium.


605 W. Madison St., Apt. 1213Chicago, IL 60661

[email protected]

EDUCATION

University of Illinois at ChicagoCollege of Architecture, Design and the ArtsMaster of Design in Graphic Design, 2016Graduate Teaching Assistant, Graduate Research Assistant, 2014 Board of Trustees Tuition Waiver Recipient

EXPERIENCE

Alex P Kaplan Design & PhotographyIndependent Designer & PhotographerChicago, Illinois | August 2013 - PresentDesign portfolio consists of brand development, illustration and print materials. Photography portfolio consists of portrait, wedding, event and architectural imagery.

University of Illinois at ChicagoDesign Photography Graduate Teaching AssistantChicago, Illinois | January 2015 - PresentUndergraduate introduction to photography class. Objectves include familiarity with the camera, studio, digital techniques and software programs in the contexts of observation, composition and meaning.

CR architecture + designDesigner & Marketing CoordinatorCincinnati, Ohio | October 2013 - November 2014Responsible for the creation of proposal documents for new architectural projects. Developed branded presentations and other collateral for both internal and external use. Managed company social media platforms including Facebook, Twitter and the CR Connect Blog. Maintained the company website keeping it up to date with current projects.

GenslerArchitectural InternLos Angeles, California | March - August 2012Was a design team member for a large retail project in the process of a nationwide store roll-out. Participated in the schematic design of retail projects varying in scale from furniture design to international concept f lagship stores. Was responsible for generating drawings and renderingsfor client presentation packages. Was a primary designer for a set of mall kiosks installed across the country.

SKILLS

DesignBrand development, Corporate Identity, Experience Design, Digital Photography, Presentation Development, Hand Modeling, Illustration, Typography, Design Research

SoftwareAdobe InDesign, Adobe Illustrator, Adobe Photoshop, Microsoft Office, Rhinoceros 3D modeling, Google Sketchup, AutoCAD, V-Ray Rendering, Podium Rendering

DESIGN RESEARCH

Design and the 1950s American DreamMaster’s Thesis Topic

AliceTimber in the City Design Competition

The Future of ConvenienceDesign Research Studio

INTERESTS

Fashion, Lifestyle blogs, Yoga, Truff les, Photography, Hand lettering

ONLINE PRESENCE

behance.net/alexpkaplanlinkedin.com/in/alexpkaplanalexpkaplan.vsco.co/grid/1alexpkaplanphotographer.pixieset.com

University of CincinnatiCollege of Design, Architecture, Art and PlanningBachelor of Science in Architecture, 2013Cincinnatus Scholar, Dean’s list, First Place Undergraduate Professional Writing Award

EXHIBITIONS & PUBLICATIONS

Adobe Creative Jam Chicago ParticipantChicago, Illinois | April 2015

University of Cincinnati Alumni Art ShowCincinnati, Ohio | November - December 2013

Marmara University International Student Triennial: Connecting the Dots & Artist DiariesIstanbul, Turkey | June - August 2013

The Future of ConvenienceUniversity of Cincinnati and The Kroger CompanyCincinnati, Ohio | 2012

TRAVEL ABROAD

Turkey: Cappadocia, Istanbul, Seluçk; Mexico: Guadalajara, Guanajuato, Mexico City; Germany: Munich, Frankfurt; Greece: Mykonos, Santorini, Rhodes; Spain: Barcelona, Madrid; Italy: Rome, Pompeii; France: Paris

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S E L E C T E D W O R K S

alex p kaplan graphic design portfolio march 2015

Documents