karen tribbe graphic designer porfolio · gallery graphics illustration contracted as a 2d designer...

KAREN TRIBBEGRAPHIC DESIGNER PORFOLIO

AUCKLAND MUSEUMINTERNAL & EXTERNAL MAR 10 – Project scope:

AUCKLAND, NZ Marketing collateral Business communications Major exhibitions Public Event collateral

The most important role of an important public cultural institution within a city is to impart knowledge and share ideas. As one of a team of two in-house designers I am responsible for ensuring that all communications met both commercial and public needs of readability and accessibility.

Pg 2: ANZAC poster, Late at the Museum advertise-

ments, Explorama identity, Fazioli Piano Recital Series

programme cover, What’s On Winter 2011 quarterly

guide, Towards 2040: Auckland Museums’

response to Auckland Unleashed (all 2011)

Pg 3: Kai to Pie (2010), Outrageous Fortune -

The Exhibition (2011)

ASHMOLEAN MUSEUMOXFORD UNIVERSITYMAY 08 – DEC 09Project scope:

OXFORD, UK Gallery graphics Illustration

Contracted as a 2D designer within the project design team, I was the in-house design representative tasked with the development of the 2D design strategy, in accordance with the interpretation plan and scheme designs.

Pg 4: Money, Cyprus, Mediterranean and Islam galleries

Pg 5: Problem Solving: (top) Human Image: consistency,

creating mood in an awkward space, image manipula-

tion; (below) Mediterranean: poor quality content,

information and integrated graphics

CHRISTIAN AIDUK CHARITYMAR – APR 08Project scope:

LONDON, UK Marketing collateral Promotional products

Christain Aid had recently undergone a major re-branding exercise (Johnson banks, London), and it’s print material required a fresh approach.

Pg 6: Christian Aid Week 2008 foyer display (A0), Climate

change pack (A5), Major Donors booklet 2008 (DL),

Thank You certificates (A4)

I AM HEREFINAL PROJECT BDESFEB – NOV 05Project scope:

WELLINGTON, NZ Research and design project, honours level Massey University, BDes

This project investigates environmental graphics through the consideration of human perception, physical perspective and sense of place. It explores ideas about what it means to be a New Zealander, a Wellingtonian, a member of the ‘general public’ and an individual.

Pg 7: Final exhibition - produced at 50% of original, vinyl

on 6mm acrylic

Pg 8: Inspiration, process and visualisation

1 Integrated design for internal & external communications The role of an important public cultural institution within a city is many and varied, but most important is it’s ability to impart knowledge and share ideas. As one of a team of two in-house designers I was responsible for ensuring that all communications met both commercial and public needs of readability and accessibility.

In order to deliver business, promotional, exhibition and gallery graphics that visually belonged to the same institution is an interesting and ever-present challenge.

Often internal graphics could respond directly to the context of the gallery, exhibition or event. Related promotional material was then delivered to the wider Auckland public in a consistent yet flexible manner, and within an evolving brand.

Specific experiences

I have delivered integrated graphics for major exhibitions - most notably Outrageous Fortune - requiring a range of skills from image manipulation to typography and layout.

I have created graphics and illustrations for a range of public events, from Unaccompanied Minors, a fun childrens’ adventure, to the Fazioli International Piano Recital Series.

I have created a huge range of promotional material for the marketing team, from media packs to bus skins, from posters to the quarterly What’s On guide, from web tiles and blogs to interactive PDFs.

Lastly I have worked with Museum managers creating business communications that range from submissions to the council to commercial event communications.

Demonstrated essential skills

Design concept research, development and application (and installation as appropriate)

Problem solving – cohesive graphic products across purpose, media, format and dimensions

Delivery of technically difficult graphics: large-scale; using unusual substrates, materials and methods; across dimensions (e.g. buses)

Quality checking, proofing my own work, scheduling, production management,

Designing within brand guidelines, and within time and budget constraints

Articulation of design concepts and ideas to colleagues, project teams and managers

AUCKLAND MUSEUMINTERNAL & EXTERNAL COMMS

MAR 10 – Project scope:

Marketing collateral Business communications

Major exhibitions Public Event collateral

Pg 1: ANZAC poster, Late at the Museum advertisements,

Explorama identity, Fazioli Piano Recital Series programme cover,

What’s On Winter 2011 quarterly guide, Towards 2040: Auckland Museums’

response to Auckland Unleashed (all 2011)

Pg 2: Kai to Pie (2010), Outrageous Fortune - The Exhibition (2011)

2 Design within the museum context Contracted as a 2D designer within the project design team, I was the in-house design representative tasked with the development of the 2D design strategy, in accordance with the interpretation plan and scheme designs. This included the development and testing of typographic styles (accessibility); map styles (context and information); and graphic styles (versatile: contextual, information and integrated application).

I have gained an understanding of the complex design and project management processes within the museum context. This includes: understanding architectural plans, interpreting scheme designs and 3D layouts; and the interpretation, spatial, conservation and production considerations.

Through research and liaison, and by responding to the collection and cultures, I was able to successfully design a related yet varied set of graphics for 8 of the 39 galleries.

Other experiences Creating, developing, disseminating and managing style templates.

Creating and implementing an image management plan, including setting up an image acquisition team.


Design strategy development and application

Assisting in the planning stages of interpretive and display strategies

Liaison with, and assisting, project and museum staff

Actively participating as a team member with graphic design input at all stages

Articulation of design concepts and ideas to a broad network of museum professionals

Development of graphic design briefs

Production management

Liaison with external suppliers

Overseeing delivery and installation, quality checks

Maintaining files and records in an approved electronic storage system

ASHMOLEAN MUSEUMOXFORD UNIVERSITY

MAY 08 – DEC 09Project scope:

£61m rebuild, 1999–2009

39 new galleries

Pg 1: Money, Cyprus, Mediterranean and Islam galleries

Pg 2: Problem Solving: (top) Human Image: consistency, creating mood in an

awkward space, image manipulation; (below) Mediterranean: poor quality

content, information and integrated graphics

3 Creative commercial application I was selected for a temporary position within Christian Aid’s small in-house design studio. The charity had recently undergone a major re-branding exercise (Johnson banks, London) and a lot of print material required a fresh approach.

The brand was cleverly put together and so from within the limitations came creativity and focus. It was my pleasure to explore the possibilities and I was employed for two happy months pushing the brand and designing mainly marketing and promotional material.

My involvement with the works shown is ]in the application of brand and identity. I designed the concepts and layouts, researching photography, art-worked and prepared them for print. I managed the production and installation of the foyer display, which included an old house front door that staff and visitors could ‘post’ their donations through.

Other experiences Communicating effectively with clients and staff, listening and responding to their needs and contributing to a positive working environment.

Quickly establishing a small network of suppliers (I had just moved to London). Obtaining quotes and managing the production process.


Liaison with, and assisting, editorial staff

Articulation of design concepts and ideas

Following brand/organisational guidelines and procedures

Graphic solutions delivered within agreed time lines and budgets

CHRISTIAN AIDUK CHARITY

MAR – APR 08Project scope:

Marketing

Promotional

Pg 1: Christian Aid Week 2008 foyer display (A0), Climate change pack (A5),

Major Donors booklet 2008 (DL), Thank You certificates (A4)

4 From conception to production Within the schoolbooks design studio, I was responsible for the development and application of all visual aspects of the new Year 7–9 Maths series, from concept design through to production.

I assisted editorial and production staff in the development of content and ‘voice’, the series name, the design brief and project planning. Our task was to create a series that was interactive, engaging and relevant, delivering maths as an exciting life and interdisciplinary skill.

My design direction was inspired by a combination of web styles and other OUP series that bridged learning stages and subjects. Keywords were: fresh, inviting, fun and functional. I wanted to draw the reader into discovering the world around them through mathematics, using wit, surprise and the comfortable familiarity of current children’s media.

I designed and art-worked all of the covers spread specifications and case studies. My designs had to be versatile enough to work for all three year groups, and to be applied across the varied, numerous supplementary materials.

Other experiences Researching audience: material from competitors, from other subjects and the surrounding stages. I also researched commercial educational and recreational material targeting this age-group in various media – print, online, electronic and TV.

Creation of robust style-sheets, spec designs and templates. Communicated with external typesetters, management through typesetting and three proofing stages.


Concept development and design application

Assist in planning stages

Liaison with, and assisting, project staff


Actively participate as a team member with graphic design input at all stages

Technical proficiency in Mac design software

Graphic solutions delivered within agreed time lines and budgets

Production management and liaison with external suppliers

Maintaining files and records in an approved electronic storage system

MATHSLINKSOXFORD UNIVERSITY PRESS

JAN 06 – DEC 07Project scope:

MathsLinks, book series, 2007

9 student books 9 teachers books

9 homework books 3 practice books

9 interactive DVD boxes and DVDs

12 case-study spreads

Pg 1: Student Book 7A, 8B, 9C covers, Student Book 7B CD and spreads

5 Concept, context, telling stories This project investigates environmental graphics through the consideration of human perception, physical perspective and sense of place. It explores ideas about what it means to be a New Zealander, a Wellingtonian, a member of the ‘general public’ and an individual.

I sought to uncover the possibilities of achieving compromise between the need for information and the contextual experience of place: to connect people to place, bring the public sign back into local ownership and give a deeper purpose to the finding of place.

Conceptually, geographically and immediately the viewer is reinstated as the reference point from which direction is determined.

The material/format combination creates a metaphor for passing through layers of time. The open texture allows for slippage between the panel and the scene, encouraging people to invest in their ordinary places and understand that they are living, four-dimensional things.

The viewer controls the level to which they are informed and engaged - from the immediate and expected message of ‘I am here’, through to the more subtle discoveries of history and heritage. All text and imagery is related to the scene behind either by physical placement of historical significance.

The panels themselves are a pre-existing format, located on the street corners around the Wellington Railway Station. Glass structures, with frosted decoration or subtly applied pacific motifs, feature regularly in Wellington public spaces.

On a practical level, the work demonstrates technical proficiency in Photoshop and Freehand. I had to liaise and negotiate closely with local suppliers to produce these pieces.

My final student task was to present my research, concept development and design application in a concise and articulate manner to University staff in order to successfully gain my tertiary design qualification.



Sampling, testing of products


Technical proficiency in design software

Negotiation and iaison with suppliers

[I AM] HEREFINAL PROJECT: BDES

FEB – NOV 05Project scope:

Research and design project, honours level

Massey University, BDes

Pg 1: Final exhibition - produced at 50% of original, vinyl on 6mm acrylic

Pg 2: Inspiration, process and visualisation

5 Concept, colour and culture This piece explores tone of voice, impact and the relationship between image and type. It is a personal work, developed and produced over a two week period in preparation for my application to the Oxford University Press.

The book tells the story of fraternal twins, and describes how the small things in life can affect people. I was inspired by the authors grace story-telling, content and cultural elements. My concept responds to the main themes - India, fractured families, communism and caste, the ‘grey-green’ river, entomology (Pappachi’s moth), delicate phrasing and reversed capitalisation.

Shelf impact (emotive, immediate), paper stock and finishing were also considerations.

Additional experiences Research and exploration of cultural history, ideas, concepts and motifs.

Maintaining motivation on an individual project.

Design considerations for commercial products.



Developing graphic design briefs

Technical proficiency in Mac design software

THE GOD OF SMALL THINGSBOOK COVER

2006Project scope:

personal

karen tribbe graphic designer porfolio · gallery graphics illustration contracted as a 2d designer...

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