Foremost
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P. 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
L E A R N I N G F R O M . . .
WHAT'S IMPORTANT TO ME?
Social Change My Father San Francisco Typography My Art
P.7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Other Cultures A Crazy Genius A Barber 's Joy History Col laborat ion My Ident i ty
P. 8 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
SELECTED WORKS
T A B L E O F C O N T E N T P. 8 P. 3 8 P. 5 8 P.7 8 P.1 0 6
One United by Color Atar i Skin Care Urban Runoff Cri t ical Times Spring Show 2011
01 02 03 04 05P R I N TP R O J E C T S P A C K A G E D E S I G N P R I N T T Y P O G R A P H Y I D E N T I T Y D E S I G N
P. 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
P.1 2 6 P.1 4 0 P.1 5 8 P.1 7 0 P.1 9 2 P. 2 3 2
Asador Butcher Shop Dymaxion Birdhouse 1512 Barbershop Rye Pl inian Epistulae
06 07 08 09 10 11P A C K A G E D E S I G N P A C K A G E D E S I G N P A C K A G E D E S I G N T Y P O G R A P H Y P A C K A G E D E S I G N I D E N T I T Y D E S I G N
Addit Store Logo Wal l
P.1 0 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
01I bel ieve that I am here for a reason and i t is
a l l made possible with the support of my family.
The passion that I have when I design and do
what I love makes me feel as i f this is one of the
things that keeps me happy and sane. There
are certain aspects of my l i fe that motivate me
to go forward and str ive for more.
T H E C O N C E P T
Foremost
T I T L EP O R T F O L I O
THIS IS WHAT I LIVE FOR, HOPE YOU ENJOY
Family, self expression, and creat iv i ty are the
main factors that helped me to succeed in school
and guide me to my future career. This portfol io
represents the most important things in my l i fe
and displays f ive years of hard work along with the
inf luence of inspir ing teachers who kept me moti-
vated to create great work.
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 2 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
My partner, Angie Heath, and I decided to show how
equal we are as human beings by using color. We took
the f lags from every country in the world and ran
them through a s implif icat ion process. Each f lag was
represented by one spot color from the pantone books.
Once the f lags were s implif ied we then united them
using the meaning of these colors and the people they
represent al l over the world.
Social issues are very prominent in the world today
which can lead to the separat ion of unity within the
human race. Pantone chal lenged students to f ind
a way to batt le these injust ices through color.
I t could be a social issue, a place that may need
beautif icat ion through color, or an object that
uses color to cal l attention to a cause and invites
people to interact with i t .
One United by Color
01
ONE RACE UNITED BY COLOR
0 1
P.1 3 / 2 4 0O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e uP R O J E C T T I T L E C O U R S E I N S T R U C T O R
P.1 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1C H A L L E N G E N º
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
FF Din
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PostersSignageWebsiteBooklet
O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P.1 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P.1 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P.1 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P.1 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 2 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 2 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 2 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 2 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 24 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
AfghanistanPMS 355
Antigua & Barbuda PMS 186
Argentina PMS 284
Brunei PMS yellow
Costa Rica PMS 186
Djibouti PMS 374
Ivory Coast PMS 151
Finland PMS 294
Ghana PMS 349
Israel PMS 281
Italy PMS 349
Jamaica PMS 354
Japan PMS 186
Iceland PMS 287
India PMS 348
Indonesia PMS 186
Iran PMS 355
Iraq PMS 186
Ireland PMS 347
Greece PMS 286
France PMS Red 032
Gabon PMS 347
Georgia PMS 185
Germany PMS 7405
The Gambia PMS Reflex Blue
Fiji PMS 298
Ethiopia PMS Yellow
Croatia PMS 199
Cuba PMS 281
Cyprus PMS 356
Czech Republic PMS 185
Denmark PMS 185
Republic of the Congo PMS 354
Democratic Republic of the Congo PMS 279
Bhutan PMS 143
Bulgaria PMS 348
Burundi PMS 361
Cambodia PMS 294
Burkina Faso
PMS 356
Bolivia PMS 356
Bosnia & Herzegovina PMS reflex Blue
Botswana PMS 284
Brazil PMS 355
Armenia PMS 1235
Australia PMS 280
Albania PMS 485
Algeria PMS 356
Andorra PMS 109
Angola PMS 186
Laos PMS Reflex Blue
Latvia PMS 1807
Lebanon PMS warm red
Lesotho PMS 347
Liberia PMS 199
Libya PMS 335
Liechtenstein PMS 186
Myanmar PMS 116
Lithuania PMS 349
Mexico PMS 186
Mozambique PMS 328
Philippines PMS 122
Sierra Leone PMS 279
Switzerland PMS 286
Tonga PMS 186
Tunisia PMS186
Turkey PMS 186
Trinidad and Tobago
PMS 186
Syria PMS 186
Taiwan PMS warm red
Tajikistan PMS 192
Tanzania PMS 355
Thailand PMS 186
Togo PMS 354
Swaziland PMS 293
Sweden PMS 301
Singapore PMS red 032
Slovakia PMS 186
Saudi Arabia PMS 347
Senegal PMS 354
Serbia PMS 192
Seychelles PMS 1795
Poland PMS 1795
Portugal PMS 349
Qatar PMS 229
Pakistan PMS 330
Palau PMS 279
Panama PMS 300
Papua new guinea
PMS 186Paraguay
PMS 286Peru
PMS 186
Namibia PMS 200
Micronesia PMS 292
Moldova PMS 186
Monaco PMS 186
Montenegro PMS Red 032
Morocco PMS Red 199
Mongolia PMS Red 032
Luxembourg PMS 299
Macedonia PMS 186
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P. 2 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Austria PMS 186
The Bahamas PMS 312
Benin PMS 354
Cameroon PMS 186
China PMS 186
Equatorial Guinea PMS 287
Dominica PMS 349
Eritrea PMS 361
Guinea PMS 115
Hungary PMS 348
Jordan PMS 186
Vatican PMS Yellow
Honduras PMS 293
Guyana PMS 186
Haiti PMS 186
Guinea Bissau PMS 115
Guatemala PMS 292
Grenada PMS Warm Red
Estonia PMS 285
Timor Lester PMS 485
Ecuador PMS 114
Egypt PMS 103
Dominican Republic PMS 294
Colombia PMS 109
Comoros PMS 363
Canada PMS 199
Cape Verde PMS 287
Chad PMS 186
Chile PMS 287
Central Africa
Republic PMS 116
Bahrain PMS 485
Bangladesh PMS 336
Barbados PMS reflex Blue
Belarus PMS 3405
Belgium PMS 114
Belize PMS 294
Azerbaijan PMS 313
El Salvador PMS reflex Blue
Kazakhstan PMS 3125
Kenya PMS 180
Kiribati PMS 186
North Korea PMS 199
South Korea PMS 186
Kuwait PMS 361
Kyrgyzstan PMS 185
Kosovo PMS Reflex Blue
Maldives PMS 186
Nicaragua PMS 300
Oman PMS warm red
Russia PMS 293
Samoa PMS 186
South Sudan PMS 286
Uganda PMS 186
Vanuatu PMS 347
Venezuela PMS 116
Vietnam PMS 186
Yemen PMS red 032
Zambia PMS 354
Zimbabwe PMS 348
England PMS 187
Scotland PMS 280
Uzbekistan PMS 313
Uruguay PMS 100 cyan
USA PMS 187
Ukraine PMS yellow 012
United Arab Nations PMS 187
Turkmenistan PMS 342
Tuvalu PMS 284
Spain PMS 116
Sri Lanka PMS 116
Sudan PMS 356
Suriname PMS 186
Slovenia PMS 293
Solomon Islands PMS 300
Somalia PMS 299
South Africa PMS 349
San Marino PMS 2915
Sao Tome and Principe
PMS 361
Rwanda PMS 3005
Saints Kitts and Nevis
PMS 348
Saints Lucia PMS 291
Saints Vincent and Grenadines
PMS 122
Romania PMS 186
Niger PMS 151
Nigeria PMS 348
Norway PMS Red 032
Nauru PMS 280
Nepal PMS 186
Netherlands PMS 186
New Zealand PMS 280
Mali PMS 354
Malta PMS 186
Mauritania PMS 354
Mauritius PMS yellow 012
Marshall Islands PMS 287
Madagascar PMS 348
Malawi PMS 485
MalaysiaPMS 282
UNITED BY COLOR
O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 2 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
P. 2 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
UNITED BY COLOR
O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 2 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 2 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 3 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
USA PMS 187
SEARCH
UNITED BY COLOR
0 1
P. 3 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
HUMAN CHARACTERISTICS
WHERE ARE YOU FROM?
TELLS US ABOUT YOURSELF
USA PMS 187
HUMAN CHARACTERISTICS /Black hair / Dark brown eyes / Light brown skin/ Rounded features of the face/ Semi thick lips
SHARE YOUR CHARACTERISTICS
USA PMS 187HISTORYHERITAGEPROGRESS DYNAMISMPEOPLEUNITYFREEDOMTRADITIONRELIGIONLANDBRAVERYBLOODENERGYGENEROSITYREVOLUTIONENTHUSIASMLOVECOURAGEHEROESVICTORYSTRUGGLE
WHAT DOES THIS COLOR MEANS TO YOU?
O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 3 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 3 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 3 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º
BRINGING ALL COLORS TOGETHER TO CREATE ONE LANGUAGE OF RACE
BRINGING ALL COLORS TOGETHER TO CREATE ONE LANGUAGE OF RACE
UNITED BY COLORONEBRAZIL PMS 355
THE VOICE OF ONE RACE. THE VOICE OF HUMANITY.
THE VOICE OF ONE RACE. THE VOICE OF HUMANITY.
UNITED BY COLORONEGERMANY PMS 7405
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P. 3 5 / 2 4 0C O U R S E I N S T R U C T O R
THE VOICE OF ONE RACE. THE VOICE OF HUMANITY.
THE VOICE OF ONE RACE. THE VOICE OF HUMANITY.
UNITED BY COLOR
SIMPLIFICATION MEANS UNITY
SIMPLIFICATION MEANS UNITY
UNITED BY COLORONEICELAND PMS 287
P r i n t 3 + Pa n t o n e To m S i e uP R O J E C T T I T L E O n e U n i t e d B y C o l o r
P. 3 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 3 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 3 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 1
P. 3 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
ONE
O n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
P. 4 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
P. 4 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RO n e U n i t e d B y C o l o r P r i n t 3 + Pa n t o n e To m S i e u
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P. 4 2 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Atari Skin Care
02
RELIVING A CHILDHOOD MEMORY
This skin care l ine is a homage to the Atari
brand and its loyal consumers. It represents a
personal touch to the gaming community as
wel l as gamer interaction. I was inspired by the
v intage consoles and certain aspects such as
the shape of the classic joyst ick or red button.
The iconic characters of the Atari games, such
as Pacman and Space Invader, are prominent
in the design of this packaging.
This project dealt with with the idea of taking a
brand that has currently establ ished i ts own brand
and re- introduce i t as a skin care l ine. Part of this
project included picking the bott le shapes that
would best work with the concept, a long with the
design of the labels and the point of display. Al l
of these elements would need to come together to
create a coherent l ine of skin products.
0 2
P. 4 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2P. 4 4 / 2 4 0
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 45 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
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Gotham Rounded
A t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 4 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
P. 47 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 4 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
P. 4 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 5 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
P. 5 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 5 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
P. 5 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 5 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
P. 5 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA t a r i S k i n C a r e Pa c k a g e D e s i g n 3 T h o m a s M c N u l t y
P. 5 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 2
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C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P. 5 8 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Urban Runoff
03
NO RAIN DOWN THE DRAIN
My partner, Vi lmundur Sveinsson, and I decided
to approach urban runoff in the Bay Area. This
problem has pol luted the surrounding water with
mercury which and has also contaminated the
f ish. We decided to tackle this problem by using
pervious areas to absorb rain water before i t
drains into the ocean. We also designed a bench
system along the Fisherman's Wharf that would
col lect water and use i t as a water fountain.
Another solution that we created was to use the
bridges to gather water in case of an emergency.
Good Magazine chal lenged my classmates and
myself to improve a social or environmental
problem in the city of San Francisco. The chosen
topic needed to be related to San Francisco
along with a solution to the problem, that would
be well designed and most importantly, highly
functional to help the cit izens of the bay area.
0 3
P. 5 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
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D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 6 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
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Publ ic Presentat ionPosterWebsiteBook
U r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
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P. 6 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P. 6 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P. 6 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P. 6 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P. 67 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P. 6 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P. 6 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P.7 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 30 1 0 2
P.7 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P.7 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P.7 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P.74 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P.75 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P.7 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P.7 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P.7 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P.7 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
P. 8 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 3
P. 8 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RU r b a n R u n o f f P r i n t 2 + G o o d To m S i e u
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P. 8 2 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Crit ical Times / A Type Conference
04
SENSATIONAL VIEW ON TYPOGRAPHY
I wanted to explore yel low journal ism by using very
extreme typography, much l ike a newspaper feel .
Using typefaces l ike Knockout and Sentinel , which
were designed and inspired by newspaper type faces,
created a very aggresive and informational approach
to both books. Yel low jounal ism exploits news for
the sake of entertainment and this is shown through
typography, imagery and colors.
We needed to explore typography through an idea
and apply i t to a type conference. It was essential
to create the content as wel l as the design of the
conference's main book and program. Along with
the books we needed to design the conference I .D.
cards and poster. Al l of these elements needed
to fol low the typographic style and system created
throughout the books.
0 4
P. 8 3 / 2 4 0C O U R S E I N S T R U C T O RP R O J E C T T I T L E C r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 8 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 8 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
NE
WS
PR
INT
TH
RE
AD
BU
TT
ON
S
INK
NE
WS
LO
UD
SE
NS
AT
ION
JOU
RN
AL
ISM
Sent inel / Knockout
Col latera lPosterBook Program
C r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 8 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 87 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 8 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 8 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 9 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 9 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 9 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 9 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 9 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 9 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 9 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 9 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P. 9 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P. 9 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P.1 0 0 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P.1 0 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P.1 0 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P.1 0 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P.1 0 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P.1 0 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
THE
VOIC
E OF
THE
NEW
TY
POGR
APHY
SAY
IT L
OUD!
_SPEAKERS
_STEFAN SAGMEISTER
_MARK HANSEN
_BEN RUBIN
_JOHN GAIL
_STEREO HELL
_JACEK UTKO
_GABRIEL GARCIA MARQUEZ
_MANUEL RIVERA ORTIZ
_JEAN FRANCIS PORCHEZ
_HOEFLER AND FRERE JONES
_ABBOT MILLER
_TODD SELBY
SENSATIONALISM BRINGING BACK SENSATIONALISMTHROUGH TYPE
_The term is commonly used in reference to the mass media. The Critics of media bias of all politi-cal stripes often charge the media. They engage in fabricated facts through their reports and conduct. The notion that media outlets often choose to report heavily on stories with shock value or impact grab-bing names or events, rather than reporting on more pressing issues to the general public._The conference explains how designers can help
newspapers bring a new look to the printed pages with more typography; impacting images and a lot of sensationalism. Through eye-catching headlines to sell more articles, these techniques may include exaggerations of news events, scandal-mongering, or yellow news. By extension, this will also serve as the stage for the typeface knockout, which will be serving as the feature type of this convention and the (new)spaper.
From
Jun
e 1s
t to
June
3rd
at T
he T
imes
bui
ldin
g in
New
Yor
k C
ityEV
ENT
BR
OU
GH
T TO
YO
U b
y AT
ypl
N/aFREE MEDIA
P.1 0 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P.1 07 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
P.1 0 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 4
P.1 0 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RC r i t i c a l T i m e s Ty p o g r a p h y 3 A r i e l G r e y
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 1 0 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Spring Show 2011
05
A CREATIVE MIND AT WORK
0 5
For this project I decided to place myself into
the minds of the vast student body and understand
what they require to accomplish their projects. I
found that we, as designers and art ists , go through
the process of experimentat ion. We gather inspir ing
information to f ind a solution to the problem.
With this idea in mind, I decided to explore ways
of creat ing a very unique style of branding that
would become contagious to students and cit izens
of the city and inspire them to attend the event.
This would carry the essence of each student in the
form of a col lage-l ike human identity.
The class was approached by the school to design
the branding for the Spring Show of 2011. In
recent years the AAU Spring Show did not have
proper branding for this event. They wanted
to create a brand that could speak to the variety
of art ists within the school and would capture
what makes this art university one of the best in
the nation. We were given a set of tools and
guidel ines that we needed to fol low in order to
be considered as a candidate to showcase this
branding. The winning design would be showcased
as the off icial brand of the Spring Show 2011.
P.1 1 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 1 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 1 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Flama / Archer
Col latera lSignageBrand BookLogo Design
PA
PE
R
INK
PA
PE
R S
CR
AP
S
VE
LL
UM
CR
EA
TIV
ITY
CO
LL
EC
TIV
E
PL
AY
FU
L
PR
OC
ES
S
S p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 1 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 1 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 1 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 1 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 1 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 1 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
SPRINGSHOW
2011
S p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 2 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 2 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 2 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 2 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 24 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 5
P.1 2 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RS p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 2 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
_EXPLORE A SHOW CASE OF THE BEST STUDENT WORK AND FRESH TALENT COMING FROM THIS YEAR.
0 5
P.1 2 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
SPRINGSHOW
2011 _GRAPHIC DESIGNCHOOSE A
DEPARTMENT
James Craven
_GRAPHIC DESIGN
S p r i n g S h o w 2 0 1 1 I d e n t i t y 2 J e r e m y S t o u t
P.1 2 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 3 0 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Asador Butcher Shop
06
THE GRILL MASTER'S WORKSHOP
0 6
I created a f ict ional butcher shop that would
focus on the craft of gr i l l ing great meat. I wanted
to showcase how the Argentinian culture of
meat is very different from American culture. In
Argentina, meat brings people together. There
is great s implicity of gr i l l ing meat with only salt
and lett ing the wood that i t is gr i l led on add
that extra f lavor which Argentina is wel l known for.
I a lso wanted to display several unique sauces
that are indigineous to Argentinian gr i l l ing styles.
The task was to create a del i l ine that can be unique
in f lavor and in packaging. This l ine needed to
cater to a del i - type establ ishment where select ions
of cheese, bread, meat and sauce are avai lable. It
was required to create a total of 8 products to create
a cohesive packaging system.
P.1 3 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 3 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 3 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Saracen / Brothers
NE
WS
PR
INT
WO
OD
GL
AS
S
ME
TA
L
TR
AD
ITIO
N
HE
RIT
AG
E
CU
LT
UR
AL
BU
TC
HE
R
Packaging StructuresFoi l / Rubdowns Shopping BagPackaging Labels
A s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 3 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
P.1 3 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 3 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
P.1 3 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 3 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
P.1 3 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 4 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
P.1 4 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 4 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 6
P.1 4 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA s a d o r B u t c h e r S h o p Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 4 4 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
I designed a ful ly functional birdhouse inspired
by Buckminster Fuller, inventor and architectural
revolutionary who saw the world with a different
v iew. He was an advocate of recycl ing and helping
the environment by reusing materials when this
cause seemed irrevelant. I was inspired by his v iews
and aesthetics and created my own version of a
ful ly functional and reusable birdhouse.
We needed to create a birdhouse using only recycled
materials . This project was al l about re-using
materials to give l i fe to new ideas. It was essential
that this project be involved with a social cause.
The birdhouse i tself needed to ref lect the main
concept through the design, packaging and branding.
Dymaxion Birdhouse
07
BUCKY'S DYMAXION HOUSE
0 7
P.1 45 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 4 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 47 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
FF Din / Vitesse
WO
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ME
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L
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R
PL
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UC
AT
ION
AL
VIS
ION
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TIO
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L
ManualBirdhousePackaging Label
D y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 4 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
P.1 4 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 5 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
P.1 5 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 5 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
P.1 5 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 5 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
I
A
B
C
F
D
E
P.1 5 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 5 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
INSTRUCTIONS FOR BUILDING THE DYMAXION BIRDHOUSEPARTS OF THE BIRDHOUSE
FIRST DYMAXION
First Dymaxion
Second Dymaxion
Third Dymaxion
A
A
B
A
B
A
B
A
C
D E F
G H I
B
A
B
B
First Part Second Part
When you first receive the box it is going to be close.
Once B side is rotated, slide it back into part A
Grab pieces AB and slide them over piece C, note that the front and back of piece AB is going to be over piece C.
Once all pieces in place, slide security wooden stick through pieces B and C
Rotate B 180 degress till it is upside down.
2 pieces 2 pieces 2 pieces
2 pieces
Push one side of the triangle until it slides out of the box container.
C
C
SECOND DYMAXION
THIRD DYMAXION
First Part Second Part First Part Second Part
C
A
B
I
I
A
B
Grab pieces DE andscrew them together, keep in mind that piece E goes infront of piece D. Screws are provided in the box.
Once pieces are unify,go ahead and grab piece ABC to start assembling bottom with top of birdhouse.
Grab pieces DE andand slide each one of them through slot on top of piece ABC. The whole on the bottom part of piece DE needs to be even with whole on piece ABC. Security stick needs to go through both pieces.
Top flat part of piece F flushes even with pieces DE bottom part of the slip. Then, slide piece G throughboth parts locking them down.
Last piece is going to be piece H, bend the piece till it matches the curve of the open in top part, then slide it through untill it goes through both pieces.
Slide piece I “wing” throughthe back of piece DEGF, you will find a piece of wood sticking out, slide it through there till the back of both wings meet at the center.
Once bottom and top arein place, slide wooden security stick to lock bothpieces in place.
Side view for referenceC
DD E
D E
E
F
F
F
G
G
H
D E
D E
D
E
0 7
P.1 57 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 5 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
P.1 5 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
P.1 6 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 7
P.1 6 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RD y m a x i o n B i r d h o u s e Pa c k a g e D e s i g n 2 T h o m a s M c N u l t y
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 6 2 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
I decided to go with a small local micro dist i l lery
focusing on Rye Whiskey. What got my attention
was that the creator of this spir i t is a barber
who runs a small pr ivate barbershop in downtown
San Francisco. Beyond his barbershop, he has
a very unique bootlegging story that makes this
part icular spir i t very special . His grandfather was
a dist i l ler and bootlegger during the prohibit ion
where barbershops were used to bootleg spir i ts .
The owner (Sal)vatore Cimino keeps this tradit ion
al ive even though bootlegging alcohol has ended.
This project required me to take an exist ing brand
of spir i ts and create two different branding styles.
The f i rst task would be to improve the exist ing
design of the overal l bott le such as the label . The
second task was to create a new concept that is
completely different from the current bott le
design. The idea of this project was to work with
vendors and unique bott les to come up with a
successful system that wil l communicate qual i ty
to exist ing and new customers.
081512 Barbershop Rye
A BARBER'SDRINK
0 8
P.1 6 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 6 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 8
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 6 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Rosewood / Garamond
WO
OD
GL
AS
S
PA
PE
R
WA
X
DIS
TIL
LE
RY
BO
OT
LE
G
PR
OH
IBIT
ION
BA
RB
ER
SH
OP
Bott le ShapeFoi l / RubdownsCasePackaging Labels
1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 6 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 8
P.1 67 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 6 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 8
P.1 6 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 7 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 8
P.1 7 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 7 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 8
P.1 7 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R1 5 1 2 B a r b e r s h o p R y e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 74 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Plinian Epistulae
I was inspired by the story of the typeface FF
Clifford, which was brought about by primer letters
in a play deal ing with Pl iny the Elder. He was a
senator in the Roman Empire and his adopted son,
Pl iny the Younger, was able to describe in detai l
the explosion of the volcano Vesuvius. Based on this
amazing tale, and the intr icate story of this letter,
is how we were able to understand the force of
volcanos. After extensive research, I created a book
that is much l ike a stream of thoughtful natural force.
We were chal lenged to create a type specimen that
would showcase a personal ly chosen typeface to be
used in a book. It was important that we understood
the typeface to discover a concept that highl ights
this typeface. We were required to create two books
along with a case that would host both books. Along
with these requirements, we needed to create a
website and a poster promoting the entire typeface.
09
MEMOIRS OF A SLEEPING GIANT
0 9
Epis
tula
e
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P.1 75 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 7 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
RELI
GIO
N
Nob
le cl
ass
S
S
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ˇˇˇˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
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P.1 7 6 / 2 4 0 0 9
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P.1 7 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
INK
PA
PE
R
PA
INT
WO
OD
VE
SU
VIU
S
EX
PL
OS
IVE
NA
TU
RE
PL
INIA
N
FF Cl i f ford / NB
PosterWebsiteBook Booklet
P l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 7 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 7 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 8 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 8 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 8 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 8 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 8 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 8 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 8 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 87 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 8 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 8 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 9 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 9 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 9 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 10 9
P.1 9 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
P.1 9 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
SSSSS not clear at that distance from which mountain the cloud was rising (it waafterwards
known to be Vesuvius); its general appearance can best be ex-
pressed as being like an umbrella pine, for it rose to a great
height on a sort of trunk and then split off into branches, I
imagine because it was thrust upwards by the first blast and then
left unsupported as the pressure subsided, or else it was borne
down by its own weight so that it spread out and gradually dis
Campania, Italy
40.82 N, 14.43 E, summit elevation 1281 m, Complex volcano
U
U
U
U
U
U
CLIFFORD typeface
“looking into the old, learning something new”
Designed by
Akira Kobayashi
UU
FF Clifford is the first roman text type I designed for use in Western countries. (I had designed more than a dozen latin alphabets for two Japanese type foundries from 1990 to 1994. The alphabets were made to match the Japanese text typefaces.) The Clifford family has 25 styles and took me five years to complete. I sometimes had to look into historical resources, which helped me greatly. There is an old Chinese saying: looking into the old, learning something new. That was how I designed the type.I began thinking about the need for a new digital text typeface uitable for offset-litho printing. The idea was still vague but it had to be conventional or classical in design and robust, such as Monotype Plantin.
My idea was further developed when Barry McKay, a friend of mine who I first met at the ATypI conference in 1990, gave me a book. It was a 16mo book printed by the Foulis brothers of Glasgow in 1751. The type used in that book was Wilson’s Long Primer roman type. The book was in Latin, which I could not read. But at first sight, I could tell it was extremely legible. The type was so beautiful that I liked it immediately. The colour of the text was even, the letterspac-es were consistent.
CONCEPT
CONCEPT
0 9
P.1 9 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RP l i n i a n E p i s t u l a e Ty p o g r a p h y 4 A r i e l G r e y
C H A L L E N G E N º P R O J E C T T I T L E
T H E C H A L L E N G E T H E S O L U T I O N/ 1 1
P.1 9 6 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Addit Store
My group and I came up with the idea of creat ing
a store dedicated to the "new" geek. We bel ieved that
this person was becoming more normal and not the
cl iche portrayed by the mainstream media. This "new"
geek could be anyone with a passion to learn new
things, for effect ive and simple products, and people
that l ive in metropol i tan areas. We wanted to focus
on keeping our customers engaged through our design
and the way we presented the products. We created
the main brand for the store with four sub-brands and
3 private labels al l with the same look and feel .
This was a col lect ive project that dealt with
creat ing a store brand with private labels .
The concept of the store could be anything,
but i t needed to be a wel l thought out
concept to survive as a wel l establ ished brand.
The store needed to have certain products
within i ts pr ivate labels and vice-versa. Each
label carr ies i ts own look and style but
needed to be consistent as a system and unit .
10
WHERE GEEKS GO TO PLAY
1 0
P.1 9 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P.1 9 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P.1 9 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
The addit brand was created to serve our customers
with s imple solutions to their every day needs. The
products that we offer are broken down into for
categories that serve a wider range of needs. Color
coding has been used to be more recognizable in the
is les where i t is sold.
The jeenkies brand is targeted toward young
parents and their chi ldren. We bel ieve that i f they
are shopping in our store, they wil l a lso shop for
their chi ldren. This private brand is creat ive and
fun, with a bit of geek in i t .
Sapient brand is our sophist icated brand. Unique
products and design for people that want to spend
a l i t t le more. We offer electronics that wil l support
any l i festyle with interest ing information to keep
them entertained.
The Atomik brand is where the party starts . This
brand is al l about games and laughs. We carry
drinking games, our own micro brewed beer and
other products that wil l keep the party going.
M A I N B R A N D
P R I V A T E L A B E L S
A d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 0 0 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 0 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 0 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 2 0 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Brandon Grotesque
PL
AS
TIC
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PE
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CA
RT
ON
MA
TT
BO
AR
D
EF
FE
CT
IVE
PR
AC
TIC
AL
CO
LO
RF
UL
SIM
PL
E
B randingProductsPackaging StructuresPackaging Labels
A d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 0 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 0 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 0 6 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 07 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 0 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 0 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 1 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 2 1 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
FU
N
INK
EN
GA
GIN
G
PA
PE
R
PL
AY
FU
L
PL
AS
TIC
AC
TIV
E
MA
TT
BO
AR
D
knockout / Courier
BrandingProductsPackaging StructuresPackaging Labels
A d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 1 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 1 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 1 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 1 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 1 6 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 1 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 1 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 1 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 2 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 2 2 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Gotham Rounded
PA
PE
R
INK
MA
TT
BO
AR
D
PL
AS
TIC
PL
AY
FU
L
INT
ER
AC
TIV
E
CO
LO
RF
UL
EN
GA
GIN
G
B randingProductsPackaging StructuresPackaging Labels
A d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 2 2 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 2 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 24 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 2 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 2 6 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 2 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 2 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
D E L I V E R A B L E S
I N S P I R A T I O N
T Y P E F A C E
K E Y W O R D S M A T E R I A L S K E Y E L E M E N T S
P. 2 2 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
PA
PE
R
PL
AS
TIC
AL
UM
INU
M
MA
TT
BO
AR
D
HIG
H E
ND
EL
EG
AN
T
MO
DE
RN
SL
ICK
K lav ika
BrandingProductsPackaging StructuresPackaging Labels
A d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 3 0 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 3 1 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 3 2 / F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 3 3 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
P. 2 3 4 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 0
P. 2 3 5 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O RA d d i t S t o r e Pa c k a g e D e s i g n 4 T h o m a s M c N u l t y
C H A L L E N G E N º P R O J E C T T I T L E
/ 1 1
P. 2 3 6 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Logo Wall
11
MY MARKS
1 1
P. 2 3 7 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
Colombian Cuisine
Colombian Cuisine
Colombian Cuisine
L o g o Wa l l
P. 2 3 8 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 1
P. 2 3 9 / 2 4 0P R O J E C T T I T L E C O U R S E I N S T R U C T O R
HiLobe
SPRINGSHOW
2011
L o g o Wa l l
P. 24 0 / 2 4 0 F O R E M O S T Wo r k s B y J a i m e Pa t i n o C a l v o C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 11 1
P. 24 2 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Thank you to the great teachers at the Academy
of Art University for motivat ing me to be a
great designer, art ist , and well rounded person.
Special thanks to Thomas McNulty for teaching
me the art of packaging, Tom Sieu for showing
me that graphic design can be a great tool to help
change the world, Ariel Grey and Sami Saaud
for lett ing me have fun with type and Mary Scott
for preparing me for the real world, thank you al l .
A big thank you to my father, mother and brother
for their continuing support s ince day one. I
a lso want to thank the entire Patino family, Calvo
family and Clavi jo family for being part of my up-
bringing. I want to thank the Urban Knight soccer
family especial ly Coach Rosaia for encouraging
me to be a part of a team with a university that
would help me reach my dreams. My teammates and
fr iends Vi lmundur Sveinsson, Richard Martin,
Daniel Waller, Miguel Amezquita and Brazer Bozlak
for the good t imes. Last ly thank you to Noelle
Germone for the support these last 2 years. It is with
your continuing support that I have accomplished
my goals these past f ive years.
S C H O O L A N D F A C U LT YF A M I LY A N D F R I E N D S
THANK YOU!
I T H A S B E E N F U N
P. 24 4 / 2 4 0 J A I M E P A T I N O C A LV O D e s i g n e r C H A L L E N G E N º 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1
Phone: 954.993.9313
Email: ja ime.patinocalvo@gmail .com
www.jaimepatino.com
Title of book: Foremost
Academy of Art University,
School of Graphic Design
Course: Senior Portfol io
Instructor: Mary Scott
Cover Stock: Arresto book cloth / black canvas
Text Stock: Finch 100 lb. Text
Printer: Giant Horse Print ing, San Bruno, Ca
Book Bindery: The Key Bindery, Oakland, Ca
Fonts: Forza / Fairf ield
Software: Adove Creative Suite 6
Photography: Jaime Patino Calvo
Camera: Canon Digital EOS Rebel XS
J A I M E P A T I N O C A LV O
No part of this publicat ion can be reproduced
without expressed permission from Jaime Patino Calvo.
C O P Y R I G H T © 2 0 1 2 A L L R I G H T S R E S E R V E DC O L O P H O N
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