night + day

T IT L E / SPIRICOM I N ST RU C T O R / ARIEL GREY+++

P G / 000

T H E P O RT F O LI O O F A M A N DA DAY /

NIGHT + DAY

VO L / 01

NIGHT + DAY

na m e /

T I M E /

P O RT F O LI O /

AMANDA DAY

FALL 2011

VO L / 01

A M A N DA / DAY t i m e / 13 :42N I G H T / DAY

G O O D DAY / THIS BOOK IS DIVIDED INTO 11 SECTIONS. EACH HAS BEEN

GIVEN A TIME OF DAY TO REPRESENT THE CONSTANT DAY

AND NIGHT OBSESSION I HAVE WITH DESIGN. WHEN GIVEN A

DESIGN PROBLEM TO SOLVE THE TASK IS ON MY MIND FROM

MORNING TO NIGHT. I F IND MYSELF DREAMING OF KERNING,

COLOR SCHEMES, AND SUBSTRATES. MY MIND WONDERS

TO L AYOUTS AND TYPOGRAPHY WHETHER I ’M ON THE BUS,

BRUSHING MY TEETH, OR COOKING DINNER. FOR ME, DE-

SIGN IS A 24 HOUR CONSTANT.

I BECAME PASSIONATE ABOUT GRAPHIC DESIGN WHEN I

REALIZED I COULD COMBINE MULTIPLE MEDIUMS AND AS-

PECTS OF ART AND DESIGN. IN ESSENCE IT IS THE PAIR-

ING OF COLORS, CONTEXT, SHAPE, FORM, AND CONCEPT.

WITH A BACKGROUND IN FINE ART AND ILLUSTRATION I WAS

IMMEDIATELY DRAWN TO THE ENDLESS POSSIBILITIES OF

GRAPHIC DESIGN. AS LONG AS I CAN REMEMBER I HAVE HAD

AN OBSESSION WITH CREATION. I ’VE ALWAYS FOUND MY-

SELF FASCINATED WITH UNIQUE FORMS, SHAPES AND COL-

ORS THAT HELP DECORATE THE WORLD AROUND US. FOR-

TUNATELY THIS OBSESSION LED ME TO GRAPHIC DESIGN,

EVEN IF IT CONSUMES ME NIGHT AND DAY.

OH + HELLO+++

01 02 03 04pag e / 001 pag e / 023 pag e / 033 pag e / 041

05 06pag e / 061 pag e / 075

IDEAS + CONTENTS+++

07 0908 10 11pag e / 091 pag e / 121pag e / 111 pag e / 137 pag e / 151

P G / 000

night DAY

USE TYPOGRAPHY AND IMAGERY TO EXPLORE A FORWARD

THINKING PROBLEM OR PHENOMENON IN BOOK FORM.

SCIENCE + FICTION

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

SPRING _ 2011

TYPE _ 04

FORZA /

BASKERVILLE

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

CAN WE COMMUNICATE WITH THE DEAD? ACTUALLY, MANY SAY

YES. ITC, ALSO KNOWN AS INSTRUMENTAL TRANSCOMMUNI-

CATION, IS THE USE OF ELECTRONIC DEVICES IN AN ATTEMPT

TO COMMUNICATE WITH SPIRITS AND GHOSTS. PRETTY MUCH

ANY DEVICE THAT CAN RECEIVE VIDEO AND/OR AUDIO CAN BE

USED TO RECEIVE AND RECORD SPIRIT MESSAGES FROM BE-

YOND THE GRAVE.

IN THIS PROJECT, I TOOK INSPIRATION FROM MANY OF THE VI-

SUAL SPIRITS COLLECTED FROM ACTUAL ITC READINGS. I WAS

ALSO INTERESTED IN THE MACHINES OF THE DEVICES THAT

COLLECTED THIS DATA. I PAIRED ERIE, DIGITALIZED PHOTOS

CAPTURED BY ITC TECHNOLOGY WITH BRIGHT, EYE-CATCHING

COLORS AND COOL GREYS. I USED A MIX OF DIGITALLY INSPIRED

TYPOGRAPHY AND CL ASSIC ITALICS IN ORDER TO CONVEY AN

OLD WORLD MEETS NEW WORLD FEELING.

t i m e / 1 3 :42 P M

+++k eywo r d s / FICTION

TECHNOLOGY

MODERN

SCIENCE

T IT L E/ SPIRICOM I N ST RU C T O R / ARIEL GREY+++

P G / 000

09 10 11 12

P G / 000

T IT L E/ SPIRICOM

A M A N DA / DAY t i m e / 15:21N I G H T / DAY

+++k eywo r d s / YOGURT

PL AYFUL

T IT L E/ NANCY’S YOGURT I N ST RU C T O R / PAUL KAGIWADA+++

CHOSE A MIDDLE OF THE ROAD GROCERY STORE BRAND AND

DEVELOP NEW PACKAGING WITH AN UNIQUE AND UPDATED

LOOK AND FEEL.

CULTURE + YOGURT

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

PACKAGING

SPRING _ 2010

PACKAGE_ 02

HAND DRAWN/

VERL AG

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

SOMETIMES SIMPLIFYING DESIGN AND DRAWING INSPIRATION

FROM PREVIOUS SUCCESS CAN ILLUMINATE THE MOST MUN-

DANE AND OPEN OUR EYES TO NEW WAYS OF LOOKING AT

THINGS. WHEN ASKED TO REDESIGN PACKAGING FOR A SEMI-

WELL KNOWN DAIRY BRAND LIKE NANCY’S YOGURT, RETRO

SIMPLICITY WAS THE KEY. IT WAS IMPORTANT THAT THE DE-

SIGN STAND OUT AGAINST THE SEA OF COMPETITORS FOUND

IN EVERY DAIRY SECTION. I WANTED TO ELEVATE THE BRAND,

BUT NOT COMPLETELY LOSE ALL EQUITY OF THE PREVIOUSLY

EXISTING PRODUCT. I DECIDED TO KEEP THE HAND DRAWN,

SCRIPT LOOK OF THE LOGO, BUT REDREW IT IN ORDER TO

ACHIEVE FOR A MORE ATTRACTIVE AND FLUID LOOK. I COLOR

CODED EACH OF ALL FOUR VARIETIES OF YOGURT IN ORDER

TO CREATE QUICK AND EASY COMMUNICATION TO THE CON-

SUMER. THE PATTERN USED IS MADE OF SPOONS WHICH PRO-

VIDES A CLEVER AND SLIGHTLY COMICAL SIDE TO THIS NEW

RE BRAND.

t i m e / 1 5 : 2 1 P M

A M A N DA / DAYN I G H T / DAY

t i m e / 15:21

//////// //// //

/ NAME

09 10 11 12

f a c t // 02 1 01 02 03 04 05 06 07 08 09 10 11 12

T IT L E/ NANCY’S YOGURT I N ST RU C T O R / PAUL KAGIWADA

t i m e / 15:21

TAKE THE GROCERY STORE BRAND CHOSEN IN THE PREVIOUS

PROJECT AND DEVELOP A HIGH END, FINE FOODS VERSION OF

THE PACKAGING.

DAI RY + POSH

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

PACKAGING

SPRING _ 2010

PACKAGE_ 02

HAND DRAWN TYPE/

SANSUMI

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

FOR NANCY’S HIGH END LINE OF DIARY DELICACY I KEPT THE

SAME WORD IN MIND: SIMPLICITY. I PULLED ASPECTS OF THE

PREVIOUS PACKAGING INTO THIS RE-REDESIGN. FOR EXAMPLE,

THE BOLD COLOR CODING AND SCRIPT TYPE. HOWEVER, FOR

THIS LINE, STRUCTURE WAS KEY. I ELEVATED THE PRODUCT

BY INTRODUCING A GL ASSWARE CONTAINER AND INTRICATE

SHIELD LIKE RUBDOWNS. ALONG WITH A SPECIFIC COLOR,

EACH FL AVOR WAS GIVEN ITS OWN UNIQUE CAPITAL N TO ADD

A TOUCH OF PERSONALITY AND CHARM.

t i m e / 1 5 :46 P M

+++k eywo r d s / YOGURT

FEMININE

HARMONY

CL ASS

T IT L E / NANCY’S YOGURT I I I N ST RU C T O R / PAUL KAGIWADA

A M A N DA / DAYN I G H T / DAY t i m e / 15:46

P G / 036

t i m e / 15:46

P G / 038

N I G H T / DAY

t i m e / 15:46

P G / 040

+++K EYWO R D S / RECYCLE

CREATE

A M A N DA / DAYN I G H T / DAY t i m e / 19 :26

CREATE AND DESIGN A TYPOGRAPHY CONFERENCE WITH AN

EXTREMELY EXPERIMENTAL AND MODERN APPROACH.

URBAN + RECYCLE

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

FALL_ 2010

TYPE _ 03

CL ARENDON/

ROSEWOOD/

FOUND TYPE/

GOTHAM

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

I DEVELOPED A CONFERENCE TITLED “RE.” THE CONFERENCE

EVOLVED INTO AN URBAN PL AYGROUND OF DESIGN AND CUL-

TURE: THE ATTENDEES WILL USE RECYCLED, REUSED, AND RE-

THOUGHT TYPE FOUND ON THE STREETS OF NEW YORK CITY.

NYC BECAME THE PERFECT DESTINATION NOT ONLY BECAUSE

OF ITS VAST ASSORTMENT OF DISREGARDED TYPE, BUT ALSO

THE CITY’S SIGNIFICANT GLOBAL IMPACT ON MEDIA, CULTURE,

ART, AND FASHION. WITHIN MY DESIGN I WAS ALBE TO CAP-

TURE THE ESSENCE OF THIS URBAN SETTING WITH PHOTOS

AND COLOR. I USED TYPE I COLLECTED PERSONALLY FROM

BOTH NEW YORK AND SAN FRANCISCO STREETS WITHIN EVERY

L AYOUT. I PL AYED WITH ELEMENTS OF RECYCLED TYPOGRAPHY

WHILE PUSHING THE LIMITS OF JUXTAPOSITION, SCALE, AND

COLL AGE. IN THE END, I DEVELOPED A VISUAL STIMUL ATING

TYPOGRAPHIC CONFERENCE THAT URGED IT’S ATTENDEES TO

RECYCLE THEIR TYPE AND TAKE IT OUTSIDE OF THE BOX.

t i m e / 19 : 26 a m

I N ST RU C T O R / ARIEL GREY+++ T IT L E / RE

P G / 044

P G / 000

We have one of the largest cities in the world as a resource for this type adventure. Be sure to look around and take every advantage. Today, the Department is the world's largest, collecting over 12,000 tons of residential and institutional refuse and recyclables a day. The City's businesses, whose waste is collected by private carting companies, generate another 13,000 tons of refuse each day. And under the leadership of Commissioner John J. Doherty, New York City's streets are cleaner today then they have been in over 30 years. But that does’t mean we can’t find resources around every corner in the city.

CHALENGE

We have one of the largest cities in the world as a resource for this type adventure. Be sure to look around and take every advantage. Today, the Department is the world's largest, collecting over 12,000 tons of residential and institutional refuse and recyclables a day. The City's businesses, whose waste is collected by private carting companies, generate another 13,000 tons of refuse each day. And under the leadership of Commissioner John J. Doherty, New York City's streets are cleaner today then they have been in over 30 years. But that does’t mean we can’t find resources around every corner in the city.

CHALENGE

P G / 056

P G / 058

+++k eywo r d s / IDENTITY

ETHNIC

PATTERN

UNIQUE

T IT L E/ TAKO SUSHI I N ST RU C T O R / ANDREW CAMBOURIS+++

TO CREATE A NEW BUSINESS, AROUND WHICH, A COHESIVE

AND MEMORABLE IDENTITY SYSTEM WILL BE DEVELOPED. THIS

IS INTEGRATED SYSTEM WILL BE APPLIED TO A WIDE VARIETY

OF APPLICATIONS.

SUSHI + SOUTHWEST

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

IDENTITY

SPRING _ 2011

TYPE _ 02

SANSUMI/

HOEFLER

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

I CHOSE TO CREATE AN IDENTITY SYSTEM FOR A NEW

RESTAURANT. AFTER MUCH RESEARCH AND BRAINSTORMING I

DECIDED ON A RESTAURANT NAMED TAKO, A SOUTHWESTERN

SUSHI BAR AND GRILL. THE NAME ‘TAKO’ IS THE JAPANESE

WORD FOR OCTOPUS, A COMMONLY INGREDIENT IN SUSHI .

THE WORD ALSO SUGGESTS THE MOST COMMON MEXICAN/

SOUTHWESTERN TACO. MY IDEA EVENTUALLY BLOSSOMED

INTO AN EDGY RESTAURANT SERVING SUSHI WITH A MODERN,

SOUTHWESTERN FL ARE. WHEN DEVELOPING A BRAND FOR THIS

COMPLETELY FICTITIOUS COMPANY I WAS LEFT WITH LOT OF

CREATIVE LIBERTIES. I FELT A MULTIFACETED AND METICULOUS

APPROACH WAS REQUIRED IN ORDER TO COMMUNICATE MY

NEW IDEA. I WAS INSPIRED BY TEXTURES, PATTERNS, NATURE

AND ART FROM BOTH JAPAN AND THE SOUTHWEST. ALL OF

THESE THINGS ALLOWED ME TO CREATE THE FINAL LOGO AND

OVERALL FEEL OF THE BRAND.

t i m e / 22 : 3 1 a m

P G / 000

P G / 066

C / 26 M / 56 Y / 95 K / 12

C / 39 M / 02 Y / 30 K / 00

C / 40 M / 27 Y / 86 K / 03

C / 35 M / 98 Y / 64 K / 00

P G / 000

P G / 070

P G / 072

Tako Sushi

P G / 074

DEVELOP A LINE OF HOME APPLIANCES AND PACKAGES FOR

A PREVIOUSLY ESTABLISHED BRAND.

ROCK N’ ROLL + HOME

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

PACKAGING

FALL_ 2010

PACKAGE_ 03

IMPACT/

CL ARENDON

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

FENDER GUITARS HAVE BEEN A HOUSEHOLD NAME SINCE MU-

SICIANS LIKE BUDDY HOLLY AND JOHNNY CASH STARTED SING-

ING THE BLUES. MY OBJECTIVE BECAME TO CREATE A FRESH

NEW LINE OF APPLIANCES THAT MATCHED THE SAME LEVEL OF

SULTRY STYLE OF THE ROCK STARS THAT MADE FENDER FA-

MOUS. IT WAS IMPORTANT TO DESIGN A GROUP OF PRODUCTS

THAT WERE COHESIVE, UNIQUE, AND DESIRABLE. THE HIS-

TORY OF THE FENDER NAME AND THE REBELLIOUS LIFESTYLE

IT REPRESENTS HAD A DRAMATIC INFLUENCE ON MY DESIGN.

I DREW INSPIRATION FROM OLD ROCK POSTERS FROM THE

1950’S AND 60’S, CREATING A FINAL PRODUCT WITH CL AS-

SIC INTEGRITY THAT DIDN’T L ACK A MODERN FL ARE. I USED

RICH, FIRE BURST WOOD GRAIN AND BOLD STACKED TYPE IN

ORDER TO CREATE A BEAUTIFUL AND APPROPRIATE PACKAGE

FOR FENDER. THE NEW LOOK IS SURE TO APPEAL TO MUSIC

LOVERS OF ALL VARIETIES.

t i m e / 01 : 27 a m

T IT L E / FENDER HOME I N ST RU C T O R / THOMAS MCNULTY+++

P G / 076

+++K EYWO R D S / HOME APPLIANCE

CUSTOM

CULTURE

ROCK N’ ROLL

VINTAGE

CL ASSIC

P G / 078

+++pro c e s s / SKETCHES

T IT L E/ FENDER HOMEI N ST RU C T O R / THOMAS MCNULTY+++

P G / 084

T IT L E / FENDER FOR HOME I N ST RU C T O R / THOMAS MCNULTY+++

P G / 090

+++K EY WO R D S / RECYCLE

SCIENCE

TYPOGRAPHY

DOCUMENTATION

DISEASE

T IT L E/ INFECTIOUS TYPE I N ST RU C T O R / SAMI SAAUD+++

CREATE A BOOK WITH A CHOSEN CONCEPT IN ORDER TO

EXPL AIN THE MANY NUANCES OF TYPOGRAPHY AND TYPO-

GRAPHIC STYLE.

BACTERI A + BEAUTY

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

SPRING _ 2009

TYPE _ 02

CASLON/

FUTURA

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

I WAS INSPIRED BY SCIENTIFIC JOURNALS AND TEXTBOOKS

WHILE CREATING A BOOK NOT ONLY ABOUT THE SPREADING

OF BACTERIA, BUT ABOUT TYPOGRAPHY. L IKE BACTERIA, TYPE

CAN FOUND ON ALMOST EVERYTHING AROUND US. GERMS

AND BACTERIA ACTED AS THE PERFECT CATALYST IN ORDER TO

INFORM THE READER ABOUT THE COMMON RULES WE FOLLOW

WITH TYPOGRAPHY.

I CREATED ALL OF THE ILLUSTRATIONS USED IN THE BOOK BY

HAND WITH WATERCOLOR AND INK. I PAIRED THESE DRAWINGS

WITH ACTUAL TYPOGRAPHY, CREATING A NEVER BEFORE SEEN

TYPOGRAPHIC EXPLORATION. I KEPT THE COLOR SCHEME

MOSTLY BL ACK AND WHITE, WITH A RED ACCENT AND NEU-

TRALS IN ORDER TO CREATE THE MOST AMOUNT OF DRAMA

AND CONTRAST WITHIN EACH SPREAD. THE FINAL PRODUCT IS

A BEAUTIFUL FINE ART PIECE THAT ALSO SERVES AS A FAN-

TASTIC GUIDE TO TYPOGRAPHY.

t i m e / 04 : 19 A m

P G / 094

P G / 096

P G / 098

P G / 100

P G / 102

P G / 104

P G / 110

+++k eywo r d s / PETS

CL ASSIC

PREPPY

QUIRKY

QUALITY

T IT L E/ FRANK’S DOGS I N ST RU C T O R / THOMAS MCNULTY+++

DESIGN A PACKAGING SYSTEM FOR PET PRODUCTS THAT IS

UNLIKE ANYTHING ELSE ON THE MARKET.

DOGS + GENTLEMEN

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

PACKAGING

FALL_ 2010

PACKAGE_ 03

FUTURA

CL ARENDON

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

I HAVE BEEN AN ANIMAL LOVER EVER SINCE I CAN REMEM-

BER. GROWING UP IN THE MIDWEST, MY FAMILY HAD PLENTY

OF ROOM FOR DOGS. SINCE I WAS YOUNG, I HAVE ALWAYS

OWNED DACHSHUNDS. DACHSHUNDS, OR WIENER DOGS, ARE

EXTRAORDINARY DOGS FULL OF EXTREME PERSONALITY AND

MANY SPECIAL NEEDS.

FOR THIS LINE I DECIDED TO CREATE A BRAND THAT WAS SPE-

CIFICALLY FOR THE DACHSHUND. FRANK’S FINE FOODS AND

SUPPLIES INCLUDES EXTRA LONG SWEATERS, DOG FOOD HIGH

IN CALCIUM (FOR MAXIMUM BACK HEALTH), AND LOW BOUNCE

TENNIS BALLS GUARANTEED TO STAY ON THESES MINIATURE

DOG’S LEVEL. THE TYPOGRAPHY IS BOLD AND CL ASSIC, SUG-

GESTING A SENSE OF LUXURY AND TASTE, EVEN IN A DOG

FOOD. I PAIRED THE STRONG TYPE WITH DELICATE HAND-

CRAFTED PATTERNS, ALL PRINTED ON A RECYCLED STOCK.

ULTIMATELY, THE DESIGN WILL NOT ONLY APPEAL TO DACHS-

HUND OWNERS BUT ALL DOGS LOVERS.

t i m e / 05 : 38 a m

P G / 116

P G / 000

REBRAND AN EXISTING SUSTAINABLE COMPANY. ALSO CREATE

A COMPREHENSIVE SET OF IDENTITY STANDARDS THAT APPLY

ACROSS SEVERAL DIFFERENT APPLICATIONS.

SUSTAI NABLE + PAINT

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

IDENTITY

FALL _ 2009

GD_ 02

STAG STENCIL/

VARIOUS HAND DRAWN

VERL AG

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

MY PRIMARY GOAL WAS TO INFUSE REAL MILK PAINT WITH A

DISTINCT AND UNIQUE PERSONALITY. IT WAS CRUCIAL TO CRE-

ATE A SENSE OF FUN THAT, FOR ME, GOES HAND AND HAND

WITH PAINTING. THIS WAS ACHIEVED BY ADDING MULTIPLE

BRIGHT COLORS AND CHARACTER. I ALSO CREATED AN ARRAY

UNIQUE HAND DRAWN TYPEFACES. THIS CREATED A MUCH

MORE INTERESTING AND PERSONAL BRAND EXPERIENCE.

HOWEVER, NOT ONLY IS PAINTING WITH REAL MILK PAINT FUN

IT ALSO COMES WITH A 100% SUSTAINABLE SIDE. THE LOGO-

MARK (AN ALL GREEN STAMP DRIPPING WITH PAINT) ALLOWED

FOR A PERFECT MARRIAGE OF BOTH STAINABILITY AND LIVELI-

NESS. THE SQUARISH SHAPE ALSO CARRIED A BRAND EQUITY

FROM THE PREVIOUS RMP LOGO, IMPLYING THAT RESPONSI-

BLE PAINTERS EVERYWHERE CAN STILL ENJOY THE REAL MILK

PAINT THEY HAVE LOVED FOR YEARS.

t i m e / 06 :29 a m

T IT L E/ REAL MILK PAINTI N ST RU C T O R / LAURA MILTON+++

P G / 122

+++K EYWO R D S / RECYCLE

FRIENDLY

SUSTAINABLE

HAND CRAFT

PROACTIVE

Real Milk Paint was developed in our antique restoration business based on the need for authentic, Real Milk Paint in a traditional color palette. Real Milk Paint, in 28 colors, is our own exclusive formula made from all organic materials including powdered purified casein, lime and pigments. Real Milk Paint is a natural paint and is not a repackaged paint from another company, or simulated milk paint. Real Milk Paint was developed in our antique restoration business based on the need for authenticity, Real Milk Paint has a traditional 28 color palette. Real Milk Paint is our very own exclusive formula made from organic, raw materials. realmilkpaint.com //

A REVOLUTION IN PAINT

P G / 124

P G / 000

N I G H T / DAY

P G / 132

P G / 134

P G / 136

K EYWO R D S / RECYCLE

GLITTER

GL AMOR

AVANT GARDE

BEAUTY

T IT L E / GAGA PROGRAM I N ST RU C T O R / TROY ALDERS+++

GLAMOUR + EDGE

DESIGN A TOUR BOOK FOR A CHOSEN ARTIST THAT GOES BE-

YOND THE NORM. IT IS EXTREMELY IMPORTANT TO REFLECT

THE STYLE OF THE ARTIST WITHIN THE DESIGN.

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

FALL_ 2010

PRINT_01

GOTHAM/

GARAMOND ITALIC

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

L ADY GAGA IS KNOWN FOR FASHION, GL AMOR, AND EVERY-

THING OVER THE TOP. SHE HAS MASTERED THE ART OF THE

AVANT GARDE AND CONTINUES TO SHOCK HER AUDIENCES

MORE WITH EACH RECORD. THIS BEING THE CASE I THOUGHT

IT EXTREMELY IMPORTANT TO CAPTURE L ADY GAGA’S SENSE

OF UNIQUENESS AND UNCONVENTIONAL IDEAS IN MY DESIGN.

I USED SYMBOLS, TEXTURES, AND AESTHETICS I BELIEVED TO

BEST REPRESENT L ADY GAGA AND THE CAPTIVATING MUSIC

SHE MAKES. I STARTED BY CREATING COLL AGES USING LIT-

ERAL IMAGERY FROM THE LYRICS OF HER SONGS. HOWEVER, I

ALSO MANAGED TO DEVELOP AN AMALGAM OF HER OVERALL

ATTITUDE AND STYLE WITH IN THE PIECE USING TYPOGRAPHY,

COLOR, AND PHOTOGRAPHY. THE FINAL RESULT IS A FUN AND

SEDUCTIVE TOUR BOOK THAT L ADY GAGA FANS WOULD SURLY

LOVE TO KEEP LONG AFTER THE CONCERT.

t i m e / 07 : 52 a m

P G / 140

P G / 142

T IT L E/ GAGA PROGRAM I N ST RU C T O R / TROY ALDERS+++

P G / 000

P G / 146

P G / 148

CREATE A COHESIVE IDENTITY SYSTEM FOR AN EVENT. APPLY

THIS TO TICKET, SIGNAGE, AND OTHER FESTIVAL MEDIA.

MUSI C + MOTHER EARTH

CAT E G O RY /

DAT E /

C LAS S /

ty pe fac e /

pro b l e m /

DU R AT I O N /

S O LUT I O N /

Pro j e c t /

IDENTITY

SPRING _ 2011

IDENTITY_ 02

ROSEWOOD FILL

TUNGSTEN

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

LIKE ART, MUSIC HAS THE ABILITY TO INSPIRE US. I WAS PAR-

TICUL ARLY INSPIRED BY NATURE AND THE BEAUTIFUL SANTA

BARBARA CAMP GROUNDS WHERE THE FESTIVAL IS HELD.

THE PEACE AND LOVE COUNTER-CULTURE OF THE 1960’S

WAS ALSO TAKEN INTO ACCOUNT IN MY DESIGN. ONCE AGAIN,

I GOT OUT MY PENCILS AND MARKERS TO HAND DRAW THE

LOGOMARK AND ADDITIONAL SIGNAGE MARKS. I THOUGHT IT

WAS IMPORTANT TO CREATE SOMETHING THAT APPEARED TO

BE HANDCRAFTED IN ORDER TO GIVE A PERSONAL TOUCH TO

EACH CONCERT GO-ERS EXPERIENCE. THE COLORS USED ARE

RICH GREENS AND AUBURNS FOUND IN NATURE THAT ARE

SURE TO ENHANCE THE FESTIVALS ALREADY EUPHORIC ENVI-

RONMENT. THE TICKETS ARE LETTERPRESSED ON RECYCLED

STOCK, ONCE AGAIN REENFORCING THE HANDCRAFTED PER-

SONAL TOUCH I FOUND APPROPRIATE FOR THIS WELL-KNOWN

ANNUAL EVENT.

t i m e / 10 :46 P m

T IT L E/ OAKS IDENTITY I N ST RU C T O R / GORDON MORTENSON+++

K EYWO R D S / RECYCLE

CREATE

P G / 154

P G / 156

P G / 158

FESTIVAL

LIVE OAK

+++pro c e s s / POSTER OPTIONS

G O O D DAY / THANK + YOU+++

M O M A N D DA D /

I N ST RU C T O R S /

I AM ETERNALLY GRATEFUL TO YOU BOTH. YOUR ENDLESS

ENCOURAGEMENT IS THE SOLE REASON I HAVE MADE IT

THIS FAR. THANK YOU FOR NEVER GIVING UP ON ME.

TOM MCNULTY, YOUR GUIDANCE AND FRIENDSHIP HAVE

MEANT THE WORLD. YOU HAVE MOLDED ME INTO THE DE-

SIGNER I AM TODAY AND INSPIRED ME TO PUSH MYSELF TO-

WARDS THE DESIGNER THAT I WILL BECOME. MARY SCOTT,

YOUR PATIENCE AND THOUGHTFUL CONSIDERATION HAVE

BEEN INVALUABLE. SAMI SAAUD, THANK YOU FOR PUSHING

ME; AND MAKING ME L AUGH. TO ROL AND YOUNG, L AURA

MILTON, EZSTER CL ARK, TROY ALDERS, AND ARIEL GREY:

THANK YOU FOR HELPING ME OPEN MY EYES.

F RI E N D S /

VE N D O R S /

G R A M M AS /

LYNDI PRIEST (BEAST), I LOVE YOU. YOUR TALENT AND SPIR-

IT HAVE MOTIVATED ME MORE THAN YOU WILL EVER KNOW.

TO BRITTNEY JEFFERS, JOHN BOY, RYAN FITZGERALD, AND

ESTEVAN PADILL A: THANKS FOR PUTTING UP WITH ME. YOU

HAVE KEPT ME SANE.

VADIM AND THE ENTIRE PLOTNET CREW. THE KEY PRINT-

ING & BINDING. FL AX ART SUPPLY, ECOCOPY, KELLY PAPER,

APPLE STORE SF, BPS, AND STAPLES: THANK YOU FOR AL-

LOWING ME TO CREATE.

I LOVE YOU ALL. THANK YOU FOR YOUR LIMITLESS SUPPORT,

TRUTH, AND LOVE.

P O RT F O LI O /

D E S I G N E R /

NIGHT + DAY

AMANDA DAY

ADAYDESIGNS@GMAIL.COM

ADAYDESIGNS.COM

918.32.0048

I N ST RU C T I O N /

B I N D I N G /

PRI N T I N G /

TY PE FAC E S /

PA PE R ST O C K /

S O F TWA RE /

MARY SCOTT

ACADEMY OF ART UNIVERSITY

SCHOOL OF GRAPHIC DESIGN

79 NEW MONTGOMERY ST.

SAN FRANCISCO, CA

THE KEY PRINTING & BINDING

5849 OCEAN VIEW DR.

OAKL AND, CA 94268 / 510.595.3311

PLOTNET

98 BATTERY ST. SUITE 402

SAN FRANCISCO, CA 94111

415.762.0200

ROSEWOOD FILL

HOEFLER

UNI SANS LIGHT

NEENAH CL ASSIC CREST

SUPER SMOOTH 100 LB

ADOBE SUITE CS5

P G / 000

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