responding to problems

responding to problems00

T H E S E L E C T E D WO R K S O F M a r i c h r i s t B e n i t e z

PA G E 2 | R E S P O N S E

S E L E C T E D W O R K S m a r i ch r i s t b e n i t e z

M A R I C H R I S T D E S I G N S . C O M | PA G E 3C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9

responding to problems00

T H E S E L E C T E D WO R K S O F M a r i c h r i s t B e n i t e z

P H OTO G R A P H Y E Q U I P M E NTC o w b o y S t u d i o s , P l o t n e t

S O F T WA R E C r e a t i v e S u i t e 6 . 0

P R O G R A M SI n D e s i g n , I l l u s t r a t o r & P h o t o s h o p

C A M E R AN i k o n D 7 0 0 0

C O M P U T E RM a c O S X Ve r s i o n 1 0 . 7 . 5

A C A D E M Y O F A RT S a n F r a n c i s c o , C A

C R U M B S I L L U S T R AT I O N SG e r a l d D a l i s a y

D E PA RT M E NT G r a p h i c D e s i g n

P H OTO G R A P H E R SM a r i c h r i s t B e n i t e z We l l s Ya n g

D E PA RT M E NT D I R E C TO R M a r y S c o t t

H A R D C OV E R S TO C K U n c o a t e d p a p e r , m a t t e

T Y P E FA C E S S e r i f a , U n i v e r s

T E X T S TO C K P r e m i u m M a t t e

B I N D E RYB l u r b . c o m

E N D S H E E T S P r o L i n e B l a c k

W E B S I T EM a r i c h r i s t d e s i g n s . c o m

M O B I L E( 5 1 8 ) 7 7 2 - 7 5 0 8

D E S I G N E RM a r i c h r i s t B e n i t e z

C O U R S ES e n i o r P o r t f o l i o

E M A I LH e l l o @ m a r i c h r i s t d e s i g n s . c o m

the colophon00



Graphic Design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure. The concept behind my book is the way someone “responds” to a visual form of print, packaging, signs or branding.

DESIGN IS EVERYWHERE

M A R I C H R I S T D E S I G N S . C O M | PA G E 9

Suppose you want to announce or sel l something, amuse

or persuade someone, explain a complicated system or even

demonstrate a process. In other words, you have a message

you want to communicate. How would you visual ly show it?

You could tel l people one by one or broadcast it on the radio.

That’s verbal communication. But i f you use any visual me-

dium at all- like if you wanted to make a poster; type a letter;

create a business logo, a magazine ad, or an album cover; or

even make a computer printout-you are using a form of visual

communication cal led graphic design. Designers create,

choose, and organize these elements-typography, images,

and the so-cal led “white space” around them-to convey or

send a message. Many designers work with a variety of tools

in order to convey a message from a client to an audience.

I f you look around, Graphic design is a part of your dai ly l i fe

but sometimes these things can be taken for granted. While

earning my degree at the Academy, I have learned to respect

and appreciate art and design. I look at the world from a dif-

ferent angle. Without Graphic Design, this world would be a

plain, boring place to live.

the concept00

table of contents00

01 R e s p o n d i n g t o L a n g u a g e 0 9

0 4 R e s p o n d i n g t o F l a v o r 8 3

0 2R e s p o n d i n g t o T h e Wo r l d 2 1

0 3R e s p o n d i n g t o Tr a v e l 6 9

0 6 R e s p o n d i n g t o C o r p o r a t e 1 0 5

0 8 R e s p o n d i n g t o L o y a l t y 1 1 5

0 5 R e s p o n d i n g t o H e a l t h 9 7

0 9 R e s p o n d i n g t o I d e n t i t i e s 1 2 1

“Design is so simple, that’s why it is so complicated.” —Paul Rand

FAMOUS QUOTE

PA G E 1 2 | R E S P O N S E

OBJECTIVE

To create a fictional conference that addresses an pertinent issue facing the topic of typography and the role designers play when using typography as a means to communicate.


M A R I C H R I S T D E S I G N S . C O M | PA G E 1 3C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

responding to language01

After looking at my mindmap, the concept “ebonics” derived

from the city I grew up in, to the urban look and feel , to the

language that’s spoken today. Ebonics has always been and

always be greatly misunderstood, largely because of how it

gained global attention during a racially charged education

controversy in Oakland, Cal i fornia. On December 18, 1996,

the School Board passed a resolution declaring ebonics to be

the language of 28,000 African-American students within that

school district. The conference would then be set in Oak-

land. Only a few people have ever heard of the term ebonics

prior to the passage of that resolution, to say nothing of how

it was created or original ly defined. To capture the attention

of others, I wanted to use alot of color that would change de-

pending on what type of paper I experimented on. While just

using two different typefaces, Univers and Serifa, it would

create contrast and balance. Famous graphic designer Paula

Scher inspired me with this project. Her work that she did

for Public Theater shows movement, scale and “loudness”.

This conference was meant to be educational and fun for all

ages especial ly teenagers and young adults.

SOLUTION

P R O J E C T Ty p o g r a p h y C o n f e r e n c e

C AT EG O RY

P r i n t

C O U R S E

Ty p o g r a p h y 3

I N S T R U C TO R A r i e l G r e y

T E R M F a l l 2 0 1 0

T I T L E E b o n i c s


T I T L E e b o n i c s S U B J E C T b o o k s p r e a d s

M A R I C H R I S T D E S I G N S . C O M | PA G E 19C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E e b o n i c s S U B J E C T b o o k s p r e a d s


T I T L E e b o n i c sT I T L E e b o n i c s S U B J E C T s e l e c t e d b o o k s p r e a d s


T I T L E e b o n i c s S U B J E C T 3 d p r o t o t y p e


To redesign the branding and packaging of World Market’s house brand and private labels in a collaborative team effort: Marichrist Benitez, Gerald Dalisay, Jane Kim and Ginger Shiue.


OBJECTIVE


responding to the world02

In this extensive group project, we wanted to modernize the

World Market’s store brand. Kaleidoscope was our concept.

By holding the kaleidoscope with two hands, and turning it

around to dif ferent angles and positions, it wil l produce dif-

ferent shapes, colors, and patterns. Basical ly, the result you

get is it ’s completely at your f ingertips. The word Kaleido-

scope is also derived from the ancient Greek words of: Kalos

(beautiful , beauty) + eidos (seen, watch) + scopos (to look,

to examine) = “The observer of beautiful forms”.Gal ley is our

premium kitchenware that is simple and modern. The term

Galley is referred to the design of the household kitchen

where the units are f itted into a continuous section, al low-

ing maximum usage of the minimum space. It’s about the

product being simple and durable but stil l does the job. With

Crumbs, this l ine is for mothers showing their kids how to

bake at home but at the same time, it ’s educational for ev-

eryone. By selecting and reinventing these lines of products

we would keep our customers coming back while attracting

new ones and while also boosting World Market’s annual

sales, traffic and productions.

SOLUTION

P R O J E C T B r a n d S t r a t e g y & P a c k a g i n g

C AT EG O RYI d e n t i t y, P a c k a g i n g

C O U R S EP a c k a g e D e s i g n 4

I N S T R U C TO R M i c h a e l O s b o r n e

T E R M S p r i n g 2 0 1 2

T I T L E Wo r l d M a r k e t



TAGLINE

D E PA RT M E NTH o m e D é c o r

TA R G E T A U D I E N C EWo m e n 2 5 - 5 5

K EY WO R D SVa r i e t y, V i b r a n t & Q u a l i t y

D E S C R I P T I O NH o m e g o o d s t o m o d e r n i z e d y o u r p l a c e w i t h g o o d q u a l i t y b u t a f f o r d a b l e p r i c e s .

The World at Your Fingertips.

store brand


D E PA RT M E NTF o o d & D r i n k s


K EY WO R D SA t t r a c t i v e , C o l o r f u l

D E S C R I P T I O NA n a s s o r t m e n t o f d e l i c i o u s f o o d s y o u r f a m i l y a n d f r i e n d s w o u l d l o v e t o c e l e b r a t e a n d e n j o y w i t h e v e r y d a y.

D E PA RT M E NTK i t c h e n w a r e

TA R G E T A U D I E N C EWo m e n , M e n 3 0 - 5 0

K EY WO R D SP r e m i u m , I n n o v a t i v e

D E S C R I P T I O NF o r a m o r e s o p h i s t i c a t e d l o o k , o u r k i t c h e n w a r e i t e m s w o u l d u s e o n l y m i n i m u m s p a c e b u t m a x i m u m u s a g e .

D E PA RT M E NTK i t c h e n S u p p l i e s


K EY WO R D SA f f o r a b l e , P o i n t & V i e w

D E S C R I P T I O NYo u r k i t c h e n w o u l d b e s u p p l i e d w i t h p r o d u c t s f r o m a l l a r o u n d t h e w o r l d r ight in the comfor t o f your own home.

D E PA RT M E NTB a k i n g G o o d s

TA R G E T A U D I E N C EM o t h e r s 2 8 - 4 5 & k i d s

K EY WO R D SS w e e t , Wa r m & E d u c a t i o n a l

D E S C R I P T I O NO u r w a r m a n d d e l i g h t f u l l i n e o f b a k i n g g o o d s a r e f o r m o t h -e r s t o t e a c h t h e i r k i d s h o w t o b a k e w h i l e a l s o h a v i n g f u n .

private labels

T I T L E w o r l d m a r k e t S U B J E C T m a t r i x

OBJECTIVE


S E L E C T E D WO R K S m a r i ch r i s t b e n i t e z

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8 M A R I C H R I S T D E S I G N S . C O M | PA G E 2 9

T I T L E w o r l d m a r k e t S U B J E C T h o m e d é c o r



OBJECTIVE


T I T L E w o r l d m a r k e t S U B J E C T f o o d & d r i n k s



OBJECTIVE

S U B J E C T f o o d a n d d r i n k sT I T L E w o r l d m a r k e t




T I T L E w o r l d m a r k e t S U B J E C T k i t ch e n s u p p l i e s

OBJECTIVE



PA G E 5 0 | R E S P O N S EPA G E 5 0 | R E S P O N S E


M A R I C H R I S T D E S I G N S . C O M | PA G E 5 1C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 M A R I C H R I S T D E S I G N S . C O M | PA G E 5 1C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8


M A R I C H R I S T D E S I G N S . C O M | PA G E 5 3C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 M A R I C H R I S T D E S I G N S . C O M | PA G E 5 3C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8



T I T L E w o r l d m a r k e t S U B J E C T b a k i n g g o o d s


OBJECTIVE



M A R I C H R I S T D E S I G N S . C O M | PA G E 6 9

S U B J E C T k i t ch e n w a r eT I T L E w o r l d m a r k e t

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E w o r l d m a r k e t S U B J E C T k i t ch e n w a r e



OBJECTIVE


T I T L E w o r l d m a r k e t S U B J E C T k i t ch e n w a r e


To develop and design a solution that represents the branding of Tiara Airlines. This would also include a new identity, an application system and a graphic standards manual.


OBJECTIVE


responding to travel03

Tiara Air l ines was from the entrepreneurial spirit of the

Muyale Family, who have operated Airport Ground Handling

operations in Aruba for 38 years and Curacao for 10 years,

respectively. In 2006, Tiara Air l ine’s current CEO, Alejandro

Muyale, recognized the chance of building a new national

air l ine. He fulf i l led his dream of applying for a certi f ication

with the Department of Civi l Aviation of Aruba for operat-

ing an air l ine. Tiara Air l ines startup strategy was to build

from a small operation, servicing f l ights between Aruba and

Curacao, Bonaire and the Venezuelan peninsula Paraguana

into later becoming an air l ine. The name Tiara was chosen

from CEO Alejandro daughter’s name, derived from the Latin

word for crown. The crown, natural ly, also al ludes to royalty,

pointing indirectly to Aruba’s relationship with the Kingdom

of the Netherlands. The logo was inspired by the daughter’s

most favorite f lower while the dots represent the gems of her

crown. The orange symbolizes the sun while the color of the

ocean is represeneted by the color and her hobby and love

for scuba diving. It enriches and personalizes a whole new

look and identity for the Tiara Air l ines.

SOLUTION

P R O J E C T I d e n t i t y & R e b r a n d i n g

C AT EG O RYI d e n t i t y

C O U R S EI d e n t i t y 2

I N S T R U C TO R T h o m a s M c N u l t y

T E R M S p r i n g 2 0 1 1

T I T L E Ti a r a A i r l i n e s



OBJECTIVE

Tiara Airlines


Tiara Airlines

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E t i a r a a i r l i n e s S U B J E C T a p p l i c a t i o n s



Tiara Airlinepassengers

Please start line here


GATE 23C

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8




OBJECTIVE


T I T L E t i a r a a i r l i n e s S U B J E C T b o o k s p r e a d s

OBJECTIVE




T I T L E t i a r a a i r l i n e s S U B J E C T b o o k s p r e a d s


Tiara AirlinesYour trip to paradise




OBJECTIVE

Tiara Airlines

Waterfrom Aruba

fresh. clean. drinkable.

16 oz

Tiara Airlines

Waterfrom Aruba


16 oz

Tiara Airlines

Waterfrom Aruba


16 oz

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

Tiara Airlines

Your trip to paradise




With the concept of “flower power”, the task was to revamp SueBee’s current honey product line.


OBJECTIVE


responding to flavor04

A bottle of pure honey contains the natural sweet substance

produced by honey bees from the nectar of plants of l iving

parts of plants. Nothing else. Honey is honey, it ’s just that

simple. When scientists begin to look for al l the elements

found in this wonderful product of nature, they find a com-

plex of natural ly f lavored sugars as wel l as trace enzymes,

minerals, vitamins, and amino acids. Honey is made by bees

in one of the world’s most eff icient faci l it ies, the beehive.

The 60,000 bees in a beehive may col lectively travel as

much as 55,000 miles and visit over more than two mil l ion

f lowers to gather nectar to make just a pound of honey!

The color and f lavor of honey differ depending on the bees’

nectar source. In general , l ighter colored honeys are mild

in f lavor, while other darker honeys are usual ly more robust

in f lavor. Because of how honey is developed and where it

comes from, the concept f lower power derived. Each product

would have label of a vibrant color used against glossy paper,

making the product seem more appetizing, fufi l l ing and to

attract loyal and new customers. Fun fact: There are more

than 300 unique kinds of honey in the United States.

SOLUTION

P R O J E C T H o n e y

C AT EG O RYP a c k a g i n g


I N S T R U C TO R C h r i s t i n e G e o r g e

T E R M F a l l 2 0 0 9

T I T L E H i p B e e


T I T L E h i p b e e S U B J E C T v e c t o r e d a r t



OBJECTIVE


T I T L E h i p b e e S U B J E C T s k e t ch e s


OBJECTIVE



T I T L E h i p b e e S U B J E C T h o n e y p r o d u c t s


T I T L E h i p b e e S U B J E C T v e c t o r e d a r t



OBJECTIVE

M A R I C H R I S T D E S I G N S . C O M | PA G E 9 9 M A R I C H R I S T D E S I G N S . C O M | PA G E 9 9C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E h i p b e e S U B J E C T h o n e y p a ck a g i n g


To design a brand and a visually cohesive product line that communicates the essence of a well known chef of your choice and his or her culinary expertise. All products must have strong branding, clear product communications and taste appeal.


OBJECTIVE


responding to health05

Chez Panisse is a Berkeley, California restaurant known as

the birthplace of Cali fornia cuisine, a style credited to the

restaurant’s co-founder, Alice Waters. Named after a charac-

ter in a Marcel Pagnol f i lm tri logy, Chez Panisse grew out

of Alice Waters’ interest in the possibi l it ies of using fresh,

local ly grown ingredients, inspired by her visit to France,

where she ostensibly went to study at the Sorbonne but was

seduced by the cuisine. After Waters returned to Berkeley,

she cooked for f r iends by combining French cooking tech-

niques with ingredients grown nearby and in season, rather

than imported or frozen. He planned the reconstruction of an

old apartment house, supervised the construction of the res-

taurant, managed the kitchen and “back-of house” and was

the original chef de cuisine. I wanted this product line to feel

fresh, clean and healthy. Be selecting her favorite foods and

developing a new look and identity for it. The colors I chose

are white and green because it establishes a sophisticated

simple look for this overall product line. On the back of each

label will be the story of how she started the California cui-

sine movement and a little biopgraphy about herself.

SOLUTION

P R O J E C T F o o d P a c k a g i n g



I N S T R U C TO R A l l e n G a o r i a n

T E R M S p r i n g 2 0 1 0

T I T L E A l i c e Wa t e r s


T I T L E a l i c e w a t e r s S U B J E C T s k e t ch e s


OBJECTIVE


M A R I C H R I S T D E S I G N S . C O M | PA G E 10 7 M A R I C H R I S T D E S I G N S . C O M | PA G E 10 7C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E a l i c e w a t e r s S U B J E C T f o o d p a ck a g i n g


To design a Corporate Social Responsibility Report for Brooks Sports Shoe Company, along with a series of three posters.


OBJECTIVE


responding to corporate06

Brooks Sports is a leading running company that designs

and markets a l ine of high-performance men’s and women’s

running shoes, apparel and accessories in more than 40

countries worldwide. Designed to elevate the running ex-

perience, their advanced stabil ity, cushioning and motion

control gear is recognized as the product of choice among

runners of al l levels. They also sel l innovative equipment

that keeps you running longer, farther and faster—and with

more enjoyment of the run. Brooks’ purpose is to inspire

people to run and be active. They strive to approach this

purpose with authenticity, passion, focus, and energy. They

know that acting with integrity, respect, and excel lence wil l

be required to deliver their purpose. They’ve applied these

principles to their relationships with customers, consumers,

and environments in which we run—and run their business.

Brooks’ would care more about whether or not you will buy

their products, they are confident you’l l enjoy their products,

but their interests run deeper than that. Every year, an an-

nual report of a company’s f inances are recorded. I wanted

the images to keep Brooks’ feeling l ively and energetic.

SOLUTION

P R O J E C T A n n u a l R e p o r t

C AT EG O RYP r i n t

C O U R S EP r i n t 2

I N S T R U C TO R M a r c E n g l i s h

T E R M F a l l 2 0 1 1

T I T L E B r o o k s S p o r t s


T I T L E b r o o k s s p o r t s S U B J E C T b o o k s p r e a d s



OBJECTIVE

SOM

E PE

OPLE

RUN

TO G

ET IN

SHA

PE,

WE

GET

IN S

HAPE

TO R

UN.

ww

w.b

rook

sspo

rts.

com


SOM

E PE

OPLE

RUN

TO G

ET IN

SHA

PE,

WE

GET

IN S

HAPE

TO R

UN.

ww

w.b

rook

sspo

rts.

com


TO get to the FINISH LINE, YOu will try DIFFERENT PATHS.

www.brookssports.com



S U B J E C T p o s t e r s e r i e sT I T L E b r o o k s s p o r t s

C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9

Running is life.you get out of it what you put into it.

www.brookssports.com


To create a range of products for our pets that would help us continue to reduce and protect any harm to our environment.


OBJECTIVE


responding to loyalty07

Among the many ways that sustainability has been defined,

the simplest and most fundamental is: “the ability to sustain”

or, put another way, “the capacity to endure.” Today, it is by

no means certain our society has the capacity to endure in

such a way that the nine bi l l ion people expected on Earth in

2050 wil l al l be able to achieve a basic quality of l i fe. Every-

day, our planet’s ecosystems are deteriorating and the climate

is changing. We are consuming so much, and quickly, that

we are already l iving far beyond the earth’s capacity to sup-

port us. And yet near ly a s ixth of our fe l low humans go to

bed hungry each day: both an unnecessary tragedy and a

source of social and political unrest. While sustainabil ity is

about the future of our society, for today’s industries and

businesses, it is also about the animal care and well being

for our pets. I wanted to create a package line that would

reused paper but at the same time educate the consumer on

how important it is to be sustainable. Loving, caring, person-

able, carefree and loyal. Depending on the color being used,

the packaging comes off pretty subtle and unique which

gives the effect of being affordable.

SOLUTION

P R O J E C T S u s t a i n a b i l i t y P a c k a g i n g



I N S T R U C TO R P a u l K a g i w a d a

T E R M S p r i n g 2 0 1 1

T I T L E R e c o D o g

PA G E 1 2 0 | R E S P O N S E


M A R I C H R I S T D E S I G N S . C O M | PA G E 1 2 1C H A P T E R 01 0 2 0 3 0 4 0 5 0 6 0 7 0 8

T I T L E r e c o d o g S U B J E C T p e t p r o d u c t s


T I T L E r e c o d o g S U B J E C T p e t p r o d u c t s


An identity is the visual and verbal expression of a brand. It supports, expresses, communicates, synthesizes and visualizes the company. It is a distinctive professional image that repre-sents a personal or professional business.


DEFINITION


responding to identities08

Designing a logo is just a part of the process of creating a

visual identity. There are so many different applications that

we, as designers, have to think about and then design them.

That can be business cards, brochures, envelopes and other

col laterals. Now, it’s very important to have in mind that

this process is not simply placing the logo and that’s it. Also,

every piece has to be thought and created to commnunicate

the goals and image of the company we’re designing for.

Your identity is the very important about your company. Your

marketing deserves to be as individual as your own thumb-

print. You might think you’ve got the corner on the market

and then again, you might be a new start-up company fresh

out of the gates. Creating a graphic element that identifies

a product, service or event and that i t separates i t f rom its

competitors is a chal lenging design problem. The identity

needs to be c lear and memorable. I t should be adaptable to

extreme changes in scale, from a small matchbox to a large

i l luminated sign on a bi l lboard. And it must embody the

character and qual i ty of what i t identi f ies.

WHAT IT MEANS

P R O J E C T N / a

C AT EG O RYI d e n t i t y, P a c k a g i n g , P r i n t

C O U R S EA l l G r a p h i c D e s i g n C o u r s e s

I N S T R U C TO R A l l G r a p h i c D e s i g n I n s t r u c t o r s

T E R M F a l l 2 0 0 6 - F a l l 2 0 1 2

T I T L E L o g o s

S U B J E C T c o l o r e dT I T L E l o g o s


M A R I C H R I S T D E S I G N S . C O M | PA G E 1 3 3

I would l ike to thank my family for al l their love, care and

support. Without you, I would not be here now 3,000 miles

away from home and making you proud of me. I also want

to thank al l my friends and classmates for being here for me

and bringing me up when I was feeling down and helping

me out as much as they could even when they could of been

working on their own work or going to bed early. I would

also l ike to thank Mary Scott and al l the instructors at the

Academy of Art University for their knowledge, expertise

and strive to push us al l to do our very best at design.And

lastly I can’t forget to thank (in no particular order) Gerald

Dalisay, Melissa Rae Hayashi, Samuel Zacarias, Sean Mil ler,

Wells Yang, Siti Nur Aini Azmi, Jenni Peralta, Ginger Shiue,

Jane Kim, Scott Haessly, Jessie Garcia, Gina Chang, Sandra

Schachermeyer, Liscelyn Grifal , Megan Archer, Colin Fry,

Nathan Godding, Julie Maresco, Tyler Macintosh, Pora Rith,

Gina Harold, Lauren “Litt le one” Osborn, Andrew Chiang,

Apri l Miles, Eri Slocum, Brandin Lakee, Alexandra Steel

George, Michael Debrosse, Valdeir Faria, Tanya Mendiola,

Tuan Tran, Lawrence Guerrero and Mamasita Clem.

Thank you to all

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