graphic design portfolio

OSSIRIS.AVALOS

GRAPHIC & WEB DESIGNER

(619) 694-8262

SAN FRANCISCO/BAY AREA, CA

OSSIRIS.AVALOS @ GMAIL.COM

OSSIRIS.PROSITE.COM

LINKEDIN.COM /PUB/OSSIRIS-AVALOS/94/968/893/

PORTFOLIO

2014

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PUBLICATION

STATEMENTOssiris Avalos is a student at the Art Institute of California–San Francisco. She is in

pursuit of a Bachelor’s of Science in Graphic & Web Design, scheduled to graduate

December 2015. This portfolio focuses on her work as a graphic designer. Concept

is her strongest skill which is why she throughly explains her thinking process and

execution methods with each project showcased. Attentiveness to detail and qual-

ity to further enhance clarity is portrayed. The purpose of this book is to promote

Ossiris Avalos as an intern candidate to expand her knowledge of the field by work-

ing in a professional environment.

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INTERFACE

DESIGN

PACKAGING

WEB

DEVELOPMENT

COLLATERAL

DESIGN

PUBLICATIONCONCEPTUAL

ADVERTISING

PROJECT CLASSIFICATION

P. 6ARCHITECT

EXHIBITION

P. 20ADOBE

CAMPAIGN

P. 48MAYDAY

PARADE

P. 58ZENTYPE

E-BOOK

P. 76PANDORA

ANNUAL

REPORT

CONTENT

P. 20ADOBE

CAMPAIGN

P. 34TYPXMAGAZINE

P. 58ZENTYPE

E-BOOK

P. 683DTYPOGRAPHY

P. 84FAST &

FURIOUS 7

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1No.

ARCHITECT EXHIBITION

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ARCHITECT EXHIBITION

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PHASE 1:ARCHITECT POSTERS

PHASE 2:EXHIBITION BROCHURE

PHASE 3:MUSEUM WEBSITE

Promoted architectural exhibitions. In the first phase, designed a poster for Frank

Lloyd Wright, one for John Lautner and one for Alvaro Siza. In phase 2, designed

a brochure for John Lautner’s exhibitions which stemed from the poster. In phase

3 redesigned the A&D’s logo and website and added John Lautner as one of the

exhibitors featured.

Poster imagery needed to communicate the architect’s style. The brochure included

an overview of the exhibition. The A&D website logo represented the museum’s

identity. The website was visually interactive and movement among the different

pages was developed.

Frank Lloyd Wright believed in designing structures which were in harmony with

humanity and it’s environment, a philosophy he called “Organic Architecture”. John

Lautner’s architectural palate the resulted in glamorous structures in Hollywood

that demonstrate his intellectual breadth. Alvaro Siza is recognized internationally

for his bold, modern and urban design located in Portugal.

The audience for this exhibition collateral was architecture enthusiasts, architects,

and museum spectators. The material needed to demonstrate briefly the endeavors

of each architect and the exhibition featured.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCH

BACKGROUND

AUDIENCE

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THE POSTERS ASPIRE TO CAPTURE THE ARCHITECT’S STYLE...

C: 0M: 0Y: 0 K: 100

C: 0M: 0Y: 0 K: 50

C: 22M: 53Y: 100K: 5

C: 41M: 32Y: 61K: 4

C: 56M: 65Y: 74K: 64

C: 44M: 87Y: 82K: 69

C: 41M: 32Y: 61K: 4

C: 0M: 0Y: 0 K: 100

Alvaro Siza

John Lautner

Frank Lloyd Wright

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C: 22M: 53Y: 100K: 5

C: 41M: 32Y: 61K: 4

C: 0M: 0Y: 0 K: 100

C: 56M: 65Y: 74K: 64




The Wright and Siza posters played with active space and simplified vector imag-

ery. The color palette was chosen based on each of the designer’s structures. Siza’s

architecture has predominately white exteriors, and Wright’s most famous house

“falling water” captures organic essence through pale brown, with certain areas

highlighted in rustic burgundy. The geometric shapes that surrounded Wright’s

poster simulate the overhanging stories of the house. The John Lautner poster

on the other hand opposed white space. To enhance the imagery, body copy was

placed beneath and center aligned leading the audience’s eye straight down the

poster. The brochure and the Lautner Poster had a similar aesthetic sense. John

Lautner’s futuristic glamour was displayed through a diagonal use of geometry, a

combination of sturdy display type and a light and narrow typeface for the body

copy. The dimensionality and positioning of the images was set to create vivid

space and volume.

IDEATION

CONCEPT

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R: 130G: 130B: 128

R: 255G: 255B: 61

R: 255G: 255B: 255

The Architecture and Design Museum website has a basic color palette of black and

a flourescent yellow, but utilizes the color saturation of its the imagery for contrast.

The redesigned logo is an asymmetrical and geometric “A & D”. The triangular A sits

forward and well balanced which represents the foundations of a building, while

the D’s direction is diagonal creating a more abstract appeal for the initial of design.

The designed collateral focused on revealing the message with a visual interface

and formal integrity. The composition relies on page sequence and rhythm. This

project uncovers content in a logical and continuous way. Hierarchy, motion, bal-

ance and alignment are elements that are promoted frequently and embellish the

communication and visual aesthetics of each piece.

PROCESS

SOLUTION

IMPLEMENTATION

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2No.

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ADOBE CAMPAIGN

C: 0M: 0Y: 0 K: 100

C: 0M: 99Y: 98K: 0

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AD 1:PAULA SCHER

AD 2 & 3:SHEPARD FAIRY

AD 4&5:STEVE JOBS

Produced a corporate campaign for Creative Cloud, an addition to Adobe Systems.

The proposed media was primarily printed spreads for magazines. The vision was

to develop a cohesive campaign that marries the power of creativity and the in-

finite design possibilities that Adobe and the Creative Cloud together possess.

Promoted Creative Cloud as a service. Demonstrated Adobe’s corporate identity.

A quote concerning creativity was required in the primary copy. The dimensions

available for layout were 17.5x11 inches. The campaigns key elements were rele-

vance and cohesiveness.

Adobe Systems is an essential software and tool for designers; its fundamental

mission is to unite data and design. Competition is minimal. Their latest release,

Creative Cloud Suite, allows access to all Adobe software through the internet.

The campaign catered to designers, particularly students. The goal was to inform

the audience and establish a connection that catalyzed further creative interest.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCHBACKGROUND

AUDIENCE

AD 1:PAULA SCHER


AD 4&5:STEVE JOBS

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The “Connecting Time & Timeless” slogan emerged from analyzing the core de-

sires of designers. The Adobe name is well known in as a technology leader, and

therefore it evokes the notion of responsibility for how we live today and how we

will strive to make tomorrow better. Designers need to remain ahead of the curve.

Timeless is the ultimate goal of design. Creating work that lives beyond current

trends is a lifetime achievement, and Adobe is a tool that can assist in this process.

The quotes were chosen based on designers whose work qualified as timeless.

IDEATION

CONCEPT

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This imagery was a merger of designers: timeless design and 14 adobe icons. The

icons were placed side-by-side forming a wallpaper-texture; they were assembled

in a non-systematic format to avoid color patterns that could distract from the hero

image. The wallpaper was masked to the hero image and manipulated to fit as

a see through layer. Bold quotation marks accompany the quote to contrast the

imagery and create balance on the left side of the spread. The logo, slogan and call

of action (URL) were placed on a red tag, for focus.

PROCESS

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TIMELESS, AT ITS CORE, IS THE GOAL OF DESIGN...

AD 1:PAULA SCHER


AD 4&5:STEVE JOBS

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After the necessary display format was met it became evident that the layout

was flexible and could expand the campaign to other media sources. Billboards,

posters, and advertising banners became a possibility. This ad campaign seeks to

capture the attention of its target audience with its colorful imagery, however the

inspiration delivered through the core message was the focus and obtained goal

of this project.

SOLUTION

IMPLEMENTATION

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3TYPX MAGAZINE

No.

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TYPX MAGAZINE

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PHASE 1:MASTHEAD

PHASE 2:PRINT VERSION

PHASE 3:DIGITAL VERSION

Entertain and inform through the production of a monthly magazine called TYPX.

TYPX, short for typography and pixels, provides comprehensive data and trends of

the graphic design trade. Its aesthetic value, competence and expertise prioritize

the increase of readers with every publication. The overall goal was to design a

complete front to back magazine that accentuates the graphic design industry syn-

tactically, pragmatically and semantically. Additionally, a magazine that was up to

date with it’s market and it’s environment.

A printed and digital version of every volume was to be available for the reader. The

magazine would be concise in design. Advertising would please the target audi-

ence of TYPX. TYPX must differentiate itself from competition through the creation

of a unique and easily recognizable masthead.

BRIEF

OBJECTIVE

CHALLENGE

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C: 44M: 86Y: 100K: 1

C: 9M: 7Y: 46K: 39

C: 0M: 0Y: 0 K: 100

C: 72M: 15Y: 100K: 2

PHASE 1:MASTHEAD



In order for TYPX to be created a very important detail had to be taken into consid-

eration and solved; a unique selling point. In this day and age graphic designers

are steering in an array of directions. TYPX’s unique selling point was to gather all

of these areas of expertise and deliver them to the readers in an informative way.

After defining a niche for TYPX, the target audience was obtained through research

of demographics focused on profession, age group, income levels and geographic

location. Furthermore, potential consumers were depicted based on professional

levels, technical usage of devices and applications, interests and hobbies. TYPX

was a magazine produced for graphic designers from novices to experts, ages 22

to 30, with a basic knowledge of computer devices, social media, typography, de-

sign principles and the graphic design market.

RESEARCH

BACKGROUND

AUDIENCE

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A MAGAZINE THAT ACCENTUATES THE GRAPHIC DESIGN INDUSTRY SYNTACTICALLY, PRAGMATICALLY

& SEMANTICALLY...

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TYPX tackled relevant topics such as: typography, imagery, craftsmanship, photog-

raphy, packaging, software and applications. It was pivotal that content always be

factual and informative.

IDEATIONCONCEPT

LAYOUT WAS INSPIRED BY A PAINTING FROM 1936...

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Foremost the masthead was illustrated, revised and edited until appropriate for

the look and feel of TYPX, with its permanent position on the cover in the top left

corner. The identity color of the magazine is a “pumpkin” orange, however the

masthead is subject to change colors to synchronize with layout. The orange rep-

resents the empowering, adventurous, sociable and extroverted personality of the

brand. The masthead illustration constitutes a combination of sans serif and serif

type, it seemed only natural to convey that design strategy within the internal con-

tent. Paratype (serif and sans serif) and Outrage were used as the primary typefac-

es of this magazine. Paratype is used as display and body copy, while Outrage is

used only for display type purposes. A painting by the American painter Burgoyne

Diller called, “Second Theme #272,” inspired the layout of TYPX. The layout is an

asymmetrical modular grid and also plays a part in the visual aesthetics of the

magazine. The movement of each page consists on the redirection of images, body

copy and use of color within the modular grid.

PROCESS

PHASE 1:MASTHEAD



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The main articles for the first edition of TYPX were crucial in determining compo-

sition of it’s front cover as well as the debut of this publication. Furthermore, the

layout phase of the digital publication volume encompassed the rearrangement of

elements on each page. Vertical and horizontal dimensions were created.

The magazine catered to its audience in content and aesthetics. It was informative

in a way that successfully displayed imagery in color and resolution. The typefaces

chosen were both readable and legible and pair well with the content. The covers fit

the overall brand identity of TYPX and equally displayed appropriate imagery and

intriguing article titles.

SOLUTION

IMPLEMENTATION

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4No.

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MAYDAY PARADE

PHASE 1:ILLUSTRATIONS

PHASE 2:POSTER

PHASE 3:COLLATERAL

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PANTONE3155 U

PANTONE7714 U

PANTONE179-16 U

Promoted “A Lesson in Romantics,” the album debuted by the punk-rock band May-

day Parade. Through conceptual imagery, tone and cohesive marketing demon-

strated the band’s identity and represented the content of their products. Market-

ing collateral consisted of 1) a 13x19 poster 2) a screen printed T-shirt 3) a concert

ticket design and 4) CD packaging.

The design and integration of the marketing collateral resulted in a brand that is

well bound across fragmented media. Portrayed Mayday Parade’s style of music,

the ambiance created through their sound and the aesthetics of it’s members. The

design elements featured an illustration and hand-lettering. Three color palette

limit. Implementing pre-/post-press production methods such as screen printing

for T-shirt designs, and linoleum carvings for illustration and hand lettering.

Mayday Parade is an American rock band from Tallahassee, Florida. “A Lesson in

Romantics” was released in 2007 after the band signed with Fearless Records.

There are 5 band members: Derek Sanders (Lead Vocalist), Alex Garcia (Lead Guitar),

Brooks Betts (Rhythm Guitar), Jeremy Lenzo (Bass Guitar) and Jake Budrick (Drums).

The target audience for this bands marketing material is Mayday Parade fans; fans

of kinetic pop-punk with an outpour of real rock energy and teenage punks.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCH

BACKGROUND

AUDIENCE


PHASE 2:POSTER

PHASE 3:COLLATERAL

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“A Lesson in Romantics” is an album which presents a teen melancholic essence with

a hint of punk “emo” energy . It hits you with a variety of electric and acoustic ro-

mantics songs and the occasional angry adolescent vibe. The tone of the marketing

material was inspired by the bands emotional songs, like “Miserable at Best,” and

“Terrible Things.” Heartbreak is the overall concept. The 3 main design principles

used in the imagery were: rhythm, texture and color . The Hand lettering developed

was a bold san-serif with a grungy appeal, and ventured to fit the identity of May-

day Parade. Additionally, organic patterns of triangles were used abstractly as cliffs

to create a symbolic dangerous surrounding for the illustration.

A 2-spot Pantone color scheme was selected; Process black and dark turquoise.

Black represented the emo-punk mysterious energy of the band. Dark turquoise

was chosen due to its warm yet vivid aesthetic appeal. Given the dark imagery of

the heart falling surrounded by flames, the color turquoise decreased the threaten-

ing and alarming notion of the illustration.

IDEATION

CONCEPT

PROCESS


PHASE 2:POSTER

PHASE 3:COLLATERAL

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The poster layout was revised several times after printing until the hierarchy was

well balanced and placed. The pitch-black background made the duotone turquoise

pop, giving it a 3-5 color range. The lightest shade of turquoise appeared almost

fluorescent. The triangle decoration was decreased significantly until it not longer

competed with the copy. The poster design made the rest of the components fall

into place. All design elements of the poster were implemented in the rest of the

collateral. The T-shirt was a light blue tone and was screen-printed with black fabric

paint to ensure legibility. Each element of the final product matched the designat-

ed theme and fulfilled the requirements of the design challenge.

SOLUTION

IMPLEMENTATION

..............................................

VANS WARPED TOURpresents

MAYDAY PARADEShoreline Amphitheatre

Mountain View, CA

General Admission

Sat. June 21, 2014 11amNo refunds/No exchanges

$49.50VANS WARPED TOUR

presents

MAYDAY PARADEShoreline Amphitheatre

General AdmissionSat. June 21,2014 11am

TICKET NO.001

TICKET NO.001

| 55

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...A TEEN MELANCHOLIC ESSENCE WITH A HINT OF PUNK-EMO ENERGY

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ZENTYPE E-BOOK

5No.

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ZENTYPE E-BOOK

PHASE 1:DIGITAL

PHASE 2:PRINT

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R: 0G : 0B : 0

R: 127G: 115B: 91

The production of an E-book that comprises typographic and design principles. This

book is an instrument towards the study of fundamentals of typography and must

be revealed in a technical and creative manner. The primary displayed media is tab-

let. Vertical and horizontal dimensions must be designed as such without affecting

the communication strategy.

Apply and understand type principles as the primary convergent theme and si-

multaneously integrate a divergent (second) theme. Define principles and demon-

strate examples using the divergent theme. The merger must create a unique and

relatable experience for the reader.

This book was written for beginning graphic designer’s and readers that seek the

fundamentals of typography. It was designed to exemplify such rudimentary princi-

ples in order for the audience to learn with a visual and interactive method.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCHAUDIENCE

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ZenTypeTypography Design Inspired by Zen Wisdom

ZENTYPE IS A RESULT OF COMBINING A CONVERGENT

AND A DIVERGENT THEME TO EXEMPLIFY CONTENT...

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IDEATION

CONCEPT

PROCESS

The divergent theme of Zen manifested itself upon the idea that sometimes learn-

ing a new trade can be overwhelming, challenging and cause distress. The purpose

of Zen is to alleviate negative energy and to make typography seem inviting; aspir-

ing to incite the reader to learn about design.

An imperative part of designing Zentype was the creation of a grid system that was

flexible enough to be used vertically and horizontally. Page proportions were con-

sidered when preparing imagery. A full range of black and a pale shade of brown

construct the color palette. Imagery was desaturated to convey emotion and com-

plement the color scheme. Body copy was written and then edited various times to

ensure effective communication of each topic. Typefaces were studied to determine

the look and feel of this book. The chosen typefaces had to deliver a readable and

legible functionality yet coordinate well with the theme.

PHASE 1:DIGITAL

PHASE 2:PRINT

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SOLUTION

IMPLEMENTATION

Zentype aims to alleviate the overwhelming sensation of learning a new trade

through relaxing imagery. It is a result of combining a convergent and a divergent

theme to exemplify content. Each page showcases the use of motion and page flow,

and maintains design sequence. The complex grid structure allows each page to be

displayed fully in both horizontal and vertical directions. When the requirements

of this project were fulfilled, the book evolved to a print version. The overall page

structure remained consistent in all of its displayed forms.

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6No.

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3D TYPOGRAPHY

C: 17M: 0Y: 100K: 0

C: 0M: 0Y: 0K: 100

PHASE 1:BOOK JACKET

PHASE 2:PACKAGING

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The production of a book jacket design for “3D Typography”. The book featured over

one-hundred designers who implemented art and creativity in the construction of

three-dimensional letters. The book jacket required relevance to the subject in ad-

dition to embellishing the craft of typography.

This project required the handmade assembly of its title. Two to three foot letters

had to be hand-built. The twelve three-dimensional letters were to be photo-

graphed in an outdoor scene relevant to the material used. The front cover was a

display of the best photograph. The back cover was an extension of the front cover,

physically or conceptually.

To successfully construct 3D letters it is important to have a clear concept of the

message, the audience, the displayed media and placement. Setting is the pivotal

aspect of 3D Type.

This is a book about art, design and craft. Consequently the book jacket must cater

to an audience that consists of typographers, graphic designers, artists, sculptors

and students and teachers of design. The audience will comprise a full range of

typography users and creators, from beginners to experts.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCH

BACKGROUND

AUDIENCE

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SETTING IS A PIVOTAL ASPECT OF 3D TYPE...

After the creation of a complex mind-map, construction became the obvious theme.

The site was an apartment complex in mid completion. The loose dirt, the wood

structures and the heavy machinery brought the concept to life.

The letters were made of cardboard boxes. Each box had a dimension of 6 inches

square. The letters requirements were roughly 3ft. tall making the height of each

letter 6 boxes tall. A total of 125 small boxes were assembled to create the book’s

title. To accentuate the theme the letters were wrapped in yellow “caution construc-

tion” tape. With site permission, the letters photographed at the construction scene.

IDEATIONCONCEPT

PROCESS

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PHASE 1:BOOK JACKET

PHASE 2:PACKAGING

The desaturation of the busy background had a significant effect on the title of the

book; it enabled hierarchy. To further extend this project packaging was created.

For online purchases of this item the ascetics of the packaging were taken into con-

sideration. The box for is packaged in “caution construction” tape to accentuate the

concept and theme of this coffee-table display book.

SOLUTION

IMPLEMENTATION

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7No.

PANDORA ANNUAL REPORT

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PANDORA ANNUAL REPORT

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C: 86M: 60Y: 18K: 2

C: 100M: 97Y: 29K: 49

C: 0M: 0Y: 0 K: 50

C: 79M: 4Y: 0K: 48

PHASE 1:COVER

PHASE 2:CONTENT

To develop a re-designed publication for the Pandora Internet Radio 2013 Annual

Report. The overall goal was to communicate the corporation’s financial perfor-

mance. It was important to highlight influential data and make this publication

browse-efficient. The brand identity of Pandora had to be portrayed in all aspects

of this annual report.

To create a conceptual cover of the annual report. This cover had to match the cor-

porate identity and communicate information to the audience in an interactive

way. Infographics tied in aesthetically and tables were scaled to ensure readability.

Pandora is a company that pioneered a new form of radio, called the Music Ge-

nome Project. It identifies your taste of music based on the artist, song, composer

or genre entered into their database.

The re-designed Pandora Annual Report was intended to be viewed by Pandora

shareholders, potential investors, CEO’s and with less focus on the company’s com-

petitors, auditors, employees, Pandora listeners, and potential listeners.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCHBACKGROUND

AUDIENCE

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PHASE 1:COVER

PHASE 2:CONTENT

A Bob Marley quote inspired the theme of this annual report, “In this bright future

you can’t forget your past”. “Old vs. New,” was the vision for this project. Pandora

was the pioneer of Internet Radio but it was based on a classic concept, radio. This

report paid tribute to the classics, each chapter reflecting an original forms such as

a record or tape. The cover was built to simulate an old wooden radio, transcending

the generations to the beginning.

Incorporating the traditional parts of an annual report and employing design de-

tails such as typographic sensibilities, harmonious relationship of type and space,

and the finer points of typesetting were deeply considered and evaluated. The

brand identity of Pandora and the concept of the annual report were represented

in the composition of infographics, icons and folios. The color palette was formed

with Pandora’s identity colors: a metallic light shade of blue, midnight blue and a

50% tint of black. After typefaces were studied to determine which one fit the look

and feel of Pandora, Universe (light, bold condensed, bold and black) was a clear

winner. Images were manipulated to fit the identified color palette. The production

stage of the annual report was challenging to accomplish. A radio was disassem-

bled completely in order to retrieve the parts required for the cover. The wood was

cut and sanded to fit the pages properly. The content of the book was printed, then

drilled for binding. Two post screws fasten the annual report together.

IDEATION

CONCEPT

PROCESS

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A BOB MARLEY QUOTE INSPIRED THIS CONCEPT; “IN THIS BRIGHT FUTURE

YOU CAN’T FORGET YOUR PAST”...

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Consideration for the conceptual and typographic possibilities of combining imag-

es and text was significant in making this annual report successful. Although pro-

duction of the annual report cover would be challenging to mass produce, it fit the

overall identity of Pandora in an abstract way. It created a unique and entertaining

form of delivering financial data to its audience. Conceptually it reached its goal.

The content is organized and not visually overwhelming. The charts were easy to

skim through, allowing the audience to find and understand important informa-

tion. The infographics became an interactive form of communication, which made

the facts easier to remember. Overall this re-designed version of Pandora’s 2013

Annual Report allowed the viewer to fully grasp company’s performance.

SOLUTION

IMPLEMENTATION

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8No.

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FAST & FURIOUS 7

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PHASE 1:POSTERS

PHASE 2:WEBSITE

PHASE 3:DVD CASE

C: 12M: 20Y: 84K: 1

C: 29M : 10 0Y: 97K: 37

C: 0M: 0Y: 0 K: 69

C: 0M: 0Y: 0K: 100

The elaboration of marketing material for the future release of “Fast and Furious

7”. Four posters were designed to advertise the premier date. To further expand on

the collateral of FF7 an informative website was developed. This one-page scrolla-

ble website focused on movement and stems from the design tone of the three

posters. In addition, a 10-panel DVD case and jacket was designed to portray the

story and theme of this Hollywood sequel. The purpose of this design project was

to create anticipation and excitement for the 7th follow-up motion picture.

The application of appropriate solution to the design problem through exploring

various means of indicating, placing and manipulating visual elements in page

design and interactive media was vital to the result of this project. The systematical

development of strong and creative solutions by means of cumulative, conceptual

design process was implemented. Capturing the essence and tone of the Fast and

the Furious brand and portraying its personality among the designed collateral

was essential to the development of the campaign.

The anticipation of the 7th sequel was projected to skyrocket revenue. Fans are

eager to find out how the story will unravel. The Target Audience for this movie

is: Fast & Furious Fanatics, Street racing aficionados, Vin Diesel fans, movie critics,

adventurous and adrenaline junkies, executive movie producers, and Hollywood.

BRIEF

OBJECTIVE

CHALLENGE

RESEARCH

AUDIENCE

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IT VENTURES TO CREATE ANTICIPATION AND EXCITEMENT

FOR THE 7TH FOLLOW–UP MOTION PICTURE...

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PHASE 1:POSTERS

PHASE 2:WEBSITE

PHASE 3:DVD CASE

IDEATIONCONCEPT

PROCESS

Due to the city-theme that every Fast & Furious movie has offered thus far, this mar-

keting material displayed aspects that relate to Abu Dhabi. Imagery of muscle cars

racing though waves of sand is utilized to display the action of the city. The initials

F.F.7 replaced the hierarchy of the movie title, creating a logo. The logo was used

as a visual design element that connected all material created.

The design principles applied to the FF7 logo was symmetry, movement and con-

trast. By reflecting the second F off the first F horizontally, movement is portrayed,

this was also achieved through a shift forward in indentation of the second F. Con-

trast was noted through color. The basis of the layout was a modular grid formu-

lated with the Fibonacci sequence. The objective was to carve into the active space

in a technical and measured way. Every element was aligned systematically. Thir-

ty-four columns and fifty-five rows composed the grid. The creation of the website

and DVD case stemmed from the overall concept and design of the posters. The

DVD case was a procedure that was physically calculated since its nature steered

away from the standard DVD case. Several mock-ups were created to ensure that

the panels were evenly proportioned, fit the size of the layout and functioned ef-

fectively. The DVD case material featured a leather-like wrap to simulate leather

seats in a muscle car.

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PHASE 1:POSTERS

PHASE 2:WEBSITE

PHASE 3:DVD CASE

The execution of the revision phase entailed adding movement to the tagline by

using non-objective lines, cleaning up images that were pixelated, ensuring over-

all legibility, creating contrast between background, middle and foreground, and

most importantly keeping the message as simple as possible by eliminating un-

necessary details and limiting competing elements in each composition.

The promotional material for this film showcased the action, adventure and adren-

aline that this film springs. The collateral material sought to promote the story.

The website was responsive for multi-platform display. The DVD case, performed

adequately. It primarily protected the DVD, it fit the design of the previous design

collateral, communicated the endeavors of the story and foremost it distinguished

itself from other DVD cases through material and form.

SOLUTION

IMPLEMENTATION

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To evoke emotions without words

is why I design, I want to practice

the art of communicating to the senses.

graphic design portfolio

Documents

architect exhibition

exhibition brochurephase

exhibition collateral

architect postersphase

museum websitethe wright

john lautners exhibitions

siza posters

organic architecture