Jonathan Serrano's Portfolio

Jonathan Peter Serranographic design . creat ive . new yorker

[hungry for a challenge]

Jonathan Peter Serranographic design . creat ive . new yorker

[hungry for a challenge]

Jonathan Peter Serrano675 Water Street apt. # 3A

New York, N.Y. [email protected]: belowdelancey

Delicious: JonserranoIssu: www.issuu.com/jserrano1025

646.342.1897

School of Visual Arts

PDN Photoplus Expo - Jacob Javits CenterMozzign Corporation - Public Relations

October 2008

Education

Experience

Skills

References

Sesame Street Productions - Season 40Junior Designer and Prop Builder

Winter 2008–Spring 2009

Details Magazine–Condé NastDesign Intern

Summer 2009

Mother Design–Mother New YorkDesign Intern

Fall 2009–Spring 2010

Sesame Street Productions - Season 39Design Intern

Winter-Spring 2008

2010-BFA-Dean’s List

Adobe Creative Suite (Photoshop, Illustrator, InDesign). Working knowledge of HTML CSS and Dreamweaver. Professional knowledge in prop building and 3-D design.

Available upon request.

Design Intern

Summer-Fall 2007

Human Resources Administration (o.p.i.c.)

m i s s i o n s t a t e m e n t

i seek to investigate and one day redefine the sense of ownership between brand and consumer.

Jonathan Peter Serrano is a native New Yorker, born and raised in the Lower East Side of Manhattan. His upbringing

and constantly changing environment has deeply affected the way he approaches design.

He considers himself blessed to have the opportunity to use his knowledge and creative abilities to make a living,

loving his job as a way of life.

proj ec t: sa ns t-sh i rts

problem: Rebrand an existing product or material and develop an identity.

product: 5 white cotton t-shirts

solution:Sans– a company that distributes plain t-shirts that are meant to be customized.

concept: Visual branding and identity inspired by reams of plain paper. Inspiration from printing techniques and icons were utilized for packaging.

sans

proj ec t: t y p ogr a ph ic i nsta l l at ion a n d proc e ss book.

problem: Create a typographic installation that will alter a space and educate the public.

solution:A series of typographic specimen posters

concept: To impact a public space by wheat-pastingtypographic posters. Aim to educate people about typography and also question the idea of “graffiti.”

proj ec t: bi bl e book

jac k et/pac k age

problem: Develop a concept and design a book jacket for the bible.

solution:Book packaging inspired by meat package. I chose to create a packaging design instead of a book jacket to communicate my concept.

concept: Red meat and flesh are very important topics throughout the bible. There are specific instructions as to how meat is to be prepared and what to avoid.

proj ec t: sh a k e spe a r e

pl ay r e de sign

problem: Develop a concept and layout for one of Shakespeare’s plays

concept: Develop an experimental grid that would allow for exaggerated typography and columns. columns were designed to look like “pathways” in order to establish an underlying theme of the play, A Midsummer Night’s Dream.

proj ec t: m ta c a se st u dy a n d log o r e de sign

problem: Research and redesign the MTA logo

concept: After researching the history of the MTA, I decided to approach the redesign with a sense of modularity. Focus on using the “M” for suggestive perspective.

NEW YORK CITYMASS TRANSITVISUAL LANGUAGE DEVELOPMENT–

NEW YORK CITYMASS TRANSITVISUAL LANGUAGE DEVELOPMENT–

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITEXPLORATION OF THE LETTER “M”–

After exploring the visual language and really exhausting the possibilities of sticking with geometric shapes, I then decided to ex-plore the letter M. I felt that it was appro-priate because of what it stood for. M could represent Manhattan, Metro, Metropolitan,Mass [transit] etc. As I was exploring this vi-sual language I began to feel as if there was more of a corporate feeling associated with the letter form; its “up-down-up” motion felt corporate. The fact that the letter M is grounded also made me feel comfortable in its possible usage for the identity.

I had started off with a letter form, un-touched or manipulated in any way. The next step was creating outlines so t hat I could then change certain aspects of the letter–maybe rounding corners or increasing the apex. This process of manipulating the letter M started to really teach me how effective typography is. Granted I was not sticking with an origi-nal letter form like a Bodoni M or a Helvetica M, but in beginning with an original M and then exploring what I could do with it was important.

MMM

MMM M

M MMM

NEW YORK CITYMASS TRANSITMODULAR APPROACH–

After a while of approaching the iden-tity through the exploration of the letter M, I was inspired by modular typography and forms and began to explore that as an option as well. There was something about the in-terchangeability of the busses and trains and how the 6 train could easily become the 4 or 5 train by changing the sign on the front. The MTA was designed for practical changes and transitions. Therefore it began to make sense to me that developing a mark reflective of that idea was appropriate.

Again, I made a conscious decision to maintain a black and white approach, add-ing color would only complicate and already intricate and challenging project. As this pro-cess continued, I really began to fall in love with the shapes and forms that I was creating. By adding a white line or a piece of negative space, I was able to suggest a letter form. It really was perhaps the most interesting ap-proach I took, regardless of the fact that it was not what I ended up using.

NEW YORK CITYMASS TRANSITCOMBINING MODULARITY AND THE LETTER “M”–

Eventually I began combining the mod-ular aesthetic to the letter M in hopes of de-veloping a very unique yet recognizable mark. I felt that I had learned a great deal through all of my previous explorations, and that a combination of modularity and a letter M was going to be my solution.

The first step was picking a base letter. I chose to start off with a Bank Gothic letter M and then create outlines and tweak it. The results were promising.

M

NEW YORK CITYMASS TRANSITCOMBINING MODULARITY AND THE LETTER “M”–

Eventually I began combining the mod-ular aesthetic to the letter M in hopes of de-veloping a very unique yet recognizable mark. I felt that I had learned a great deal through all of my previous explorations, and that a combination of modularity and a letter M was going to be my solution.

The first step was picking a base letter. I chose to start off with a Bank Gothic letter M and then create outlines and tweak it. The results were promising.

M

NEW YORK CITYMASS TRANSITCOMBINING MODULARITY AND THE LETTER “M”–

Eventually I began combining the mod-ular aesthetic to the letter M in hopes of de-veloping a very unique yet recognizable mark. I felt that I had learned a great deal through all of my previous explorations, and that a combination of modularity and a letter M was going to be my solution.

The first step was picking a base letter. I chose to start off with a Bank Gothic letter M and then create outlines and tweak it. The results were promising.

M

NEW YORK CITYMASS TRANSITCOMBINING MODULARITY AND THE LETTER “M”–

Eventually I began combining the mod-ular aesthetic to the letter M in hopes of de-veloping a very unique yet recognizable mark. I felt that I had learned a great deal through all of my previous explorations, and that a combination of modularity and a letter M was going to be my solution.

The first step was picking a base letter. I chose to start off with a Bank Gothic letter M and then create outlines and tweak it. The results were promising.

M

1-4

5-8

9-12

13-16

17-20

21-24

25-28

29-32

NEW YORK CITYMASS TRANSITMARK DEVELOPMENTAND SPECIFICATIONS–

NEW YORK CITYMASS TRANSIT

Typeface used for mark is Univers 67 Bold Condensed.

A B C D E F G H I J K L M N O P Q R S T U V W Y Z1 2 3 4 5 6 7 8 9 0 , . ! @ # $ % ^ & * ( ) [ ] { } : ; ” ’

NEW YORK CITYMASS TRANSITMARK DEVELOPMENTAND SPECIFICATIONS–

NEW YORK CITYMASS TRANSIT

Typeface used for mark is Univers 67 Bold Condensed.

A B C D E F G H I J K L M N O P Q R S T U V W Y Z1 2 3 4 5 6 7 8 9 0 , . ! @ # $ % ^ & * ( ) [ ] { } : ; ” ’

NEW YORK CITYMASS TRANSITMARK DEVELOPMENTAND SPECIFICATIONS–

NEW YORK CITYMASS TRANSIT

Typeface used for mark is Univers 67 Bold Condensed.

A B C D E F G H I J K L M N O P Q R S T U V W Y Z1 2 3 4 5 6 7 8 9 0 , . ! @ # $ % ^ & * ( ) [ ] { } : ; ” ’

Typeface used for mark is Univers 67 Bold Condensed.

A B C D E F G H I J K L M N O P Q R S T U V W Y Z1 2 3 4 5 6 7 8 9 0 , . ! @ # $ % ^ & * ( ) [ ] { } : ; ” ’

NEW YORK CITYMASS TRANSIT

NEW YORK CITYMASS TRANSITMARK DEVELOPMENTAND SPECIFICATIONS–

proj ec t: p syc hology today

m aga z i n e r e de sign

problem: Develop a newly formatted and designed version of “Psychology Today.”

concept: Aim was to redevelop “Psychology Today” as a slightly more scientific journal. Smaller dimensions and focus on information as well as more inspiring photography was stressed.

psychology todaya gu i de for he a lthi er l i v i ng

!

proj ec t: dl/de lor e nzo

c ustom roa dbi k e s

problem: Create a visual and conceptual identity for a fictitious bicycle company.

concept: Aim was to create an identity for a custom road bike and “fixie” shop. Focus on creating a juxtaposition between heritage and contemporary aesthetics.

custom roadbikes

Thank you for taking the time to view my portfolio

I am currently available for full time/freelance work. And I am always open for collaboration.