With today’s changing platforms and interfaces, logos become “gizmos,” meaningless marks that communicate nothing if a brand is not developed in a flexible and holistic way. The class combines a case-study lecture, interactive discussion and concludes with a dynamic project as we challenge students to define, design and prototype a coherent branding project in a short timespan — driven by a company’s mission and audience — without the use of any logos or marks.Branding, Creative Direction, Writing2013
Branding for non-profit organization: CRED
Project developed during the Visual Communications 03 class @ Pratt Institute's MS Graduate Communications Design program.
CRED (Certifying Responsible Design) is an independent entity promoting the discussion and pursuing the implementation of a formal certification system for Graphic Designers in the U.S.
CRED’s mission is the preservation and growth of Graphic/Communications Design as a responsible and engaging profession, that does not view aesthetics as the final end, but seeks to develop projects with a profound commitment to the planet and society as a whole.Branding, Graphic Design, Web Design2012
Identity project for the Visual Communications 02 class in the Graduate Communications Design program at Pratt Institute NYC. The Guggenheim's mission was re-organized. With a focus on promoting the location, culture and civilization of each specific city and country within their ample worldwide breadth.Branding, Creative Direction, Graphic Design2011
This thesis book contains 2 years of research, writing and process related to the topic of certification and professional standards in many industries around the world. The dissertation is focused on proposing a system of certification for the communications design industry in the USA, showing how similar models exist and work around the world. The goal is to invite dialogue and the exchange of perspectives between designers, educators and business professionals, with the aim to close the existing gap between levels of competence, ethics and commitment among all practitioners. This books is proof of an incredible journey that is just beginning.
Download book at: www.certifyD.org/bookGraphic Design, Typography, Writing2012
This project was developed as part of the 2011 Master Graphic Design + Typography workshop held at the Rochester Institute of Technology’s Vignelli Center. This week-long workshop united a dozen designers from all parts of the world to undergo an intensive program that included workshops, lectures, museum visits and the main design project. The workshop was run and taught by Massimo Vignelli, Roger Remington, Bruce Meader and included a visit from George Lois. An incredible team that pushed us to the brink of exhaustion and failure. Massimo’s wisdom and discipline, Roger’s unending motivation, Bruce’s typographic guidance and George’s brash yet inspiring anecdotes were key to help guide us throughout the week.
For this real-work project, The Eastman House became our client. They gave us a detailed presentation/brief and explained their needs and expectations. The Eastman House (aka Eastman Kodak) staff wanted a brand that maintained their existing tradition and credibility but enabling them to differentiate their diverse endeavors — a museum, historic preservation and education — while helping them grow and evolve.
The re-branding project had to be developed in 3 days and built as a platform that could be applied to further deliverables. For the week, deliverables included: logo/mark, business cards, envelopes, letterhead, informational brochure and calendar of events/poster.
This was my solution after a life-changing experience.
All original content and images are property of The Eastman House.Branding, Creative Direction, Graphic Design2012
As part of the 40th anniversary of Pratt Institute’s Graduate Communications Design program, a limited group of 4 students was chosen to develop and produce a limited-edition publication. Under the guidance of Professor Brenda McManus, the team decided to re-define what a university catalogue should include and what topics it should address. In short, what do prospective students want to know, what information are they seeking when comparing graduate design institutions.
Using our own experiences and perspective when applying to graduate studies, we decided to streamline what a typical university book normally includes, by stripping all boring stuff and adding actual desired content. The team was responsible for research, information gathering, interviews, editing, envisioning, designing and pre-production of the complete publication. Overall, a one year project from initial brief to final print production and delivery.
Although all 4 student/designers worked as a team, we divided the actual design of the book in sections—sharing the responsibilities among all of us. Maintaining a consistent grid, typographic system and image treatment enabled us to achieve variation, dynamism and individuality within a cohesive and efficient system. I was responsible for the MS Communications & Package Design chapters.
It was a wonderful growth-inspiring experience to work with some of the most talented, driven and caring individuals and designers I have ever met.Editorial Design, Graphic Design, Print Design2012
As part of the 40th anniversary of Pratt Institute’s Graduate Communications Design program, a limited group of 5 students was chosen to develop and produce a limited-edition bookplate to go along with the 2012 GradComD department book. Each student was given ample freedom as long the concept celebrated 4 decades of GradComD’s existence and its influence on the design industry in NYC and across the nation.
My concept was based on the principles of: Discovery, Growth and Evolution; principles that describe Pratt’s mission and its students. After numerous concepts, sketches and rounds of ideation, I developed a design that invites the viewer to engage with those 3 principles in order to decipher, understand and absorb it.
In the end, the limited-edition run included bookplates designed by 4 students and 3 professors.
An immensely collaborative process that challenged me, helped me grow, let me discover my design sensibilities in a more profound way.Fine Arts, Print Design, Typography2012
This was my winning entry for the 2012 Typography Day word poster competition, held at the Indian Institute of Technology (IIT Bombay). The poster was chosen as finalist from over 600 entries.
As technology keeps evolving there exists a need to appreciate the wonders of a hand-made design approach. The availability of computer software has created generations who perceive design as mere computer skills and looks. This is my response to the potential of a more involved approach. Where the intended message directs the medium and the look of the design. The word served as guidance during the conceptual phase.
Helping communicate a word meaning ”signal wave stored as physical texture” by choosing a manual direction. The word is constructed using audio cassette tape. By utilizing a tangible material, the word acquired a randomness that enhanced the message. There are a range of design possibilities, where a non-digital approach can best serve the communication process. Instead of forcing digital effects into our work, a physical approach can make our intent more clear, uncluttered and universal.Typography, Photography, Graphic Design2012
The environment is in chaos. It is yelling and screaming at us: PLEASE STOP!!!!
Our modern way of life is destroying our surroundings. The way we think, produce and manufacture is quickly depleting our world's resources. I believe that Design is at the basis of the potential to change our world and better our environment for the future generations.
Auralis Herrero Lugo is one of those designers who has embraced her role and responsibility within this generation. Her clothing line uses procedures and materials that are not only sustainable and eco-conscious, but they actually give back to the earth.
I've had the honor to work with her on numerous occasions. Always fun, always inspiring.
Go and support:
www.auralistudio.comCreative Direction, Print Design, Web Design2011
This project needed an established identity that would inform and correspond to the vision, style and approach of the boutique owner and the clothing lines the store would carry. “Modern, simple and fun.” Those were the words uttered by the owner when I asked what she was looking for.
The IN House boutique was born. A clean, modern, and fun place were women could shop, meet and talk about family, fashion and life in general. In a short time, the store has acquired great success in meeting the demands of its growing public. The IN House now has expanded to include a health spa beside the actual store.Branding, Creative Direction, Graphic Design2011
A young entrepreneur took a big leap and decided to open a small boutique music store in Puerto Rico. His passion ans risk paid of when numerous musicians, customers and the general public continued to visit the store for their music related purchases, social events, lectures and lessons.
His commitment to music and education made it a pleasure for me to work with. An ideal client, trustworthy, passionate and knows what he wants.
www.guitarspr.comBranding, Graphic Design, Print Design2011
A complete identity system was developed based on my chosen city from the book “Invisible Cities” by Italo Calvino. This was a semester long project for the Typography 02 class in the Graduate Communications Design program at Pratt Institute.
Through research, ideation and conceptualizing, I established the typefaces, colors, grid systems, textures, shapes and graphic elements as part of the city identity. This identity is transformative and adaptive. No static logo or mark was developed, but by unifying all elements the “feel” of Andria becomes realized.Branding, Typography, Print Design2011
Concept, text and photography for a typography-oriented magazine developed during theTypographics course in the MS Communications Design program at Pratt Institute with Prof. Tony DiSpigna.
Pica magazine is a conversation with the world of typography and graphic design. It presents, critiques, discusses and showcases the current state of typography-oriented design work and encourages excellence and responsibility within the design profession.
Pica speaks to anyone who is passionate about communication, typography and social design. Designers who embrace technology, but acknowledge that design thinking and concept development are still the key to solving any communication problem, will feel right at home reading pica.Art Direction, Editorial Design, Photography2012
This invitation/flyer project was developed as part of the PrePress course in the Graduate Communications Design program at Pratt Institute. The class was directed towards learning to setup, prepare and apply image alterations, manipulations and printing techniques that met a professional standard.
Spot color enhancements, duotones, creative duotones, quadtones, PMS colors and other techniques were part of the learning and experimentations process. This was an open-ended project were I chose my topic, wrote all the copy, shot the photography, designed and produced the final invitation/flyer.
Joost Hochuli is a book designer and typographer I have admired for some years. He was the perfect “client” for this imaginary event. The concept was faithful to Hochuli's Swiss heritage and visual style through all his work. All logos used, remain property of the individual entities and were only used as part of this student project.
Sketching, as always, played a vital role in developing a concept before even turning on the computer.Graphic Design, Print Design, Photography2012
The book includes a series of typographic experiments created during my first semester of the Graduate Communications Design program at Pratt Institute in NYC. All compositions were developed throughout the semester and unified in this final printed book.Print Design, Typography, Graphic Design2011
Adrian Frutiger is one of the most prolific and known typographers in history. His work with type has produced some of the more usable, functional and beautiful typefaces around, such as: Meridién, Glypha, Serifa, Avenir, Frutiger and the immensely popular and infinitely useful Univers.
But, most designers have not heard of his work with shapes, forms and counterforms. His experimentation with creating shapes that communicate in an universal way through the use of only paper and scissors is not widely known.
I had to research, write, layout and design the complete article for this Swiss design. In this article I intend to inform about the two very distinct yet united facets of Frutiger's life and career: typography and visual forms.Editorial Design, Art Direction, Print Design2011
A series of posters based on the book “Art and Visual Perception” by Rudolf Arnheim. Developed during the Visual Perception class in the Graduate Communications Design program at Pratt Institute.Graphic Design, Print Design, Creative Direction2011
Art direction and design for “Sobre el Ring” boxing magazine.
I had the pleasure to work on the development and proposal for the first boxing magazine in the history of Puerto Rico. The long and successful history of the sport of boxing in Puerto Rico makes it difficult to understand why no boxing-focused magazine had existed before.
The direction of the magazine is tough, dirty, sweaty and direct, just like boxing itself. Photography direction, typography, colors and grids were carefully established and implemented to give the magazine a modern, clear and approachable look.
After its first two editions, SOBRE EL RING grew in both staff and public consumer interest. What once started as a free magazine has now transformed into a full-scale magazine that is sold in multiple locations around Puerto Rico.Art Direction, Creative Direction, Editorial Design2011
© 2013. Esteban Pérez-Hemminger.