Anthony Prestanizzi's Portfolio

ANTHONY PRESTANIZZI'SPORTFOLIO

ANNUAL REPORT

Fortunate enough, we were given the opportunity to redesign an existing annual report for a publicly traded company. After bouncing ideas back and forth, I happily chose Sennheiser, a private German audio company. I can admit that this piece is a combination of my favourite work, as well as the most challenging. Considering I had full control and flexibility with the piece, I wanted to experiment with it. I really wanted to challenge myself and learn from it. With that being said, I chose to play with the layout, typography, imagery and contrast.

EDITORIAL

soaking up the Toronto culture is inspiring to many artists. It was a given to introduce Scotiabank’s Nuit Blanche to Toronto, considering Toronto is heavy on the arts. As a collaboration, (Andrew Melo, Aram Stamboulian and I, Anthony Prestanizzi) our intention was to create a photography book based off the sleepless experience. No material was given to us. We had to come up with our own photography/imagery and body copy. We photographed many of the different sites/moments to apply in our book. Captions in which we felt were relevant to the night were noted and used in our book. The final piece was entered in the Applied Arts Student Award – Photography (Series), 2011 by our professor Richard Fisher. The award was given to another collaboration from Seneca College of the same class.

MAGAZINE

when the magazine redesign was assigned, I did not think twice as to which route I wanted to go. Considering my passion for cars and the culture of VW, I chose to work with the publication VWGolf. In this piece, I wanted to drive away from the typical magazine feel. This piece had to relate to cars, sport cars at that. When we think successful sport cars, we think head-turners; cars that stand out. I wanted to take that theory and apply it to the magazine. This piece had to be different then the typical magazine feel; it had to stand out from the rest. When a potential reader would pick up the piece, it had to be thrown in their face, only wanting them to see more, much like a successful sports car.

IDENTITY MANUAL

eauzone, a purified mineral water company, was assigned to create an identity and identity manual. With the characteristics of the water being clean and sparkly, I wanted to apply just that to the identity. The simple typeface chosen (Avenir) symbolizes clean, and the bubbles in the word mark represent sparkly. Much like the water and the identity, the manual had to also be clean and sparkly.

POSTER/TRANSIT AD

i had a lot of fun designing a poster/transit ad campaign for an event (past or present) of our choice. I chose to work with David Guetta and his event in Toronto in 2009. The idea was to design the campaign inspired by the styles of art movement, in which I chose to go with neo-psychedelic. Because it was an EDM (Electronic Dance Music) event, I figured neo-psychedelic was appropriate. The repetitive lines in the style was a great way to represent strobe lights which are commonly used in EDM events.

POSTCARDS

after a semester of studying design theory, visual fundamentals and drawing, we were assigned our first digitally rendered piece. It was our first time to experience typography, grid and the software. We were asked to design postcards for the ROM (Royal Ontario Museum), which was only to be used for school purposes. My professor, Johanne Daoust, really enjoyed my project. She happened to keep the project as a reference tool for future students, and even put the piece on display. This was a rewarding experience for me; my first digital rendered piece gaining so much attention.

INTERACTIVE PDF

INTERACTIVE PDF

actually learning how to use Adobe Acrobat Pro besides opening and closing PDF (Portable Document Files) files helped me a lot. It helped me understand the power of the software. Learning the different tools and how they can be used effectively for a client meeting was a great experience. Taking this project and creating an interactive PDF for deadmau5 allowed me to embed audio and video into the PDF via Adobe Acrobat Pro.

ICONS

designing icons happens to be more challenging then it seems. Being able to design an effective icon, which will be able to scale down to various sizes, is challenging. You need to also consider designing icons in which have not been done before, or overplayed. The first time around, I found my icons to be generic and the expected, which was not a bad thing, but I wanted to challenge myself more. The second time around in Seneca College's offering of In-Studio, I decided to redesign my icon system, being inspired by the culture of the 1980s.

PACKAGING

as a group, Lauren Cox, Aram Stamboulian, Zivco Chui and I, (Anthony Prestanizzi) had the task to redesign the packaging for Starbucks coffee. Considering it was our first packaging design, we had to learn a few things. We knew the design process was going to affect the complete package. We knew the design process was the most important, and we needed to focus on it as much as possible to design an effective piece. We went with a Caribbean/tropical direction because we felt the blends reflected off of that culture.

ADVERTISEMENTS

ADVERTISEMENTS

for the first time, I was asked to design advertisements for a company of my choice. With brainstorming involved, I concluded with choosing Nerf - Super Soaker. Super Soakers are targeted to young children, ages 5-14, in which their parents would most likely purchase. Because of this research, I chose to work with billboard advertisements. Chances are, kids of this age group will be sitting in the car, staring out the back window while their parents are driving. With the attractive colours, and cartoony looking illustrations, kids will notice these advertisements and understand them. These ads are sending out a message to children: there is no reason to cheat with a Super Soaker. Research has it, cheating was usually acted upon in water gun fights with water balloons, the hose, and water buckets. No need to grab the hose, water balloons or the bucket.

BROCHURES

when typography was introduced to us, we did not know much about typefaces and the history of typography. This brochure project allowed us to learn about different typefaces and the history behind them. We were asked to study three different typefaces from the same category and design a brochure for that typeface. The faces I chose to work with were Avenir, Grotesque, and Univers: apart of the Humanist Sans-Serif category. The goal was to create one look and feel, for three different typefaces.