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First Published in Australia in 2016:

By Luke Borgo-Caratti 5 Fall Street, Cremorne NSW 2090 www.lukecaratti.com

2016 Luke Borgo-Caratti Edited by Luke Borgo-Caratti

Editor: Luke Borgo-Caratti Art Direction: Luke Borgo-Caratti *All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent of the publisher.

Printed and bound in the United Kingdom.

2016 2017 2018 2019 2020 / 10 9 8 7 6 5 4 3 2 1

FEBRUARY 2016

LUKE BORGO-CARATTI

CREATIVE EXPLORER

DESIGN PORTFOLIO

ISSUE #1

FILM

CULTURE

DESIGN

FASHION

INNOVATION

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COVER STORY

Four-masted barque PAMIR under sail at sea, 1934-1949

This photo is part of the Australian National Maritime Museum’s Samuel J. Hood Studio collection. Sam Hood (1872-1953) was a Sydney photographer with a passion for ships. His 60-year career spanned the romantic age of sail and two world wars. The photos in the collection were taken mainly in Sydney and Newcastle during the first half of the 20th century.

The ANMM undertakes research and accepts public comments that enhance the information we hold about images in our collection. This record has been updated accordingly.

Photographer: Samuel J. Hood.

The cover photograph was chosen specifically as a visual metaphor for exploration. My key values as a creative lie within my ability to find the intrigue in almost anything. I believe by constantly exploring an eclectic array of topics I am able to continue to grow into my passion. Throughout this publication you will see a small sample of exploration, from fashion to travel via film, the following articles are an attempt to showcase thought and process.

CONTENTS

6 ABOUT ME

7 PHILOSOPHY

8 BUSHWICK: CULTURAL ANTHROPOLOGY

12 MARC JACOBS : FASHION RETAIL

16 GQ MAGAZINE

17 365: STUDENT FILM

18 LEMON TREE : CULTURAL INNOVATION

22 OTHER WORKS

24 RESUME

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WHO AM I?

My name is Luke Borgo-Caratti, I am currently a young creative who is seeking to explore the world of design in Sydney, Australia.

I’ve created this portfolio as a platform to showcase my work whilst I continue to grow and learn as a visual communicator. I hope that by sharing my work with you, I can provide you with a little insight into my passion

and what I hope to achieve as a designer and strategist in years to come.

The following is not a traditional design portfolio, but rather a tabloid created to highlight the concepts and ideas I’ve explored to date. As a designer I think it is crucial to understand your market and the human beings that will subsequently use your products or interact with your designs, thus, I hope you enjoy these short case studies and

gain insight into who I am both as a designer and individual.

Simon Sinek

Simon O. Sinek is an author best known for popularizing the concept of “the golden circle” and to “Start With Why”, described by TED as “a simple but powerful model for inspirational leadership all starting with a golden circle and the question of “Why?”

Having always been curious as to why things exist and why people behave the way they do, Sinek’s philosophies run parallel to my own.

DESIGN PHILOSOPHY

To me creative thinking is about creating new meaningful experiences for people as an attempt to generate positive relationships between both products and their resulting consumers. By generating advocacy and allowing consumers to

take ownership of a brand, the ideal outcome is the generation of brand tribes that allow us as human being to align ourselves emotionally with the products and services we are exposed to everyday. To me understanding how

creativity can be utilised in business comes through insights into cultural analytics and consumer anthropology.

Once we begin to frame innovation and design around human centric inadequacies, I believe we begin to build a world focused on our needs as opposed to indulging in our inherent desires.

Dr. Clotaire Rapi l le

Gilbert Clotaire Rapaille, is a French marketing consultant and the CEO and Founder of Archetype Discoveries Worldwide. Rapaille is an accomplished author, having published 17 books. He specialties range from Psychology, Marketing, Sociology and Cultural Anthropology.

For me it was his generation of culture codes that has guided my research and strategies to this point.

Eric Reis

Eric Ries is an entrepreneur based out of Silicon Valley in the United States. He is the author recognized for pioneering the lean startup movement, a new-business strategy that directs start-up companies to allocate their resources as efficiently as possible.

Ries’ focus on constant iteration gave me insight into design thinking and opened my eyes to a new way of looking into design problems.

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BUSHWICK, NYCCULTURAL ANTHROPOLOGY

SHILLINGTON COLLEGE LONDON 2014

NOSOTROS SOMOS BUSHWICK

Bushwick, the most recent urban gentrification project of New York’s “coolest” borough, Brooklyn.

It’s fresh, its edgy and steeped in Hispanic cultural influence, Traditionally a migrant suburb, this sprawling neighborhood found in northern Brooklyn, was built up by early European settlers. Throughout it’s long history Bushwick has been used for everything from farms to breweries and factories. Unfortunately for Bushwick, during most of the 20th century it also became a haven for criminal activity and rife with drug distribution. In recent years however, it has become a hub for artists and creative exploits. As you walk down the main streets you are exposed to beautiful works of art from local and national artists. During the summertime, when the local pop-ups move-in for trade, the atmosphere is one of excitement and happiness.

What was once riddled with industry and destroyed by crime, is an emerging neighborhood and a cultural mecca in the outer boroughs.

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Bushwick’s population is currently pushing towards 200,000 residents, of which, 37% of that population are foreign born. Considered to be a diverse and eclectic neighborhood, brought upon by the character of its residents, Bushwick statistically is quite heterogeneous, scoring a 0.5 on the national racial diversity index. Bushwick is 69.9% Hispanic, 16.8% African American and 8% Anglo-American. It is predominantly Puerto Rican and is heavily influenced by the culture of the residents living within its borders. The demographic and culture within the neighborhood are what it is renowned for, and play a crucial role in the way people identify themselves both within wider New York City, and more directly, in the borough of Brooklyn.

The culture code for Brooklyn, New York is ‘Progressive Expression’.

The borough has been built on the ideologies of the ‘American Dream’, embraced capitalism, yet has somehow held onto the culture of the people living within. Although many living within would consider themselves outsiders, the fact of Bushwick, and New York City as a whole, is that urban sprawl will continue to grow, bringing in new flavours and ideas.

The annual Bushwick Festival runs as a small community event, it runs on a low budget and explores the artistic exploits of its local talent, not the greater New York City market as a whole. When asked to rebrand such an event for such a tight-nit community, everything had to run under the paradigm of the community living within. It is the special social demographic that makes Bushwick unique, and is the key to understanding the future of this event or any others like it.

By identifying key social drivers within the neighborhood, and gaining insight into how others within the city perceive Bushwick, the design outcomes for the project had to be understated and needed to embrace the strong Hispanic culture of those that live within. Embracing the cultural diversity of Bushwick, Nosotros Somos Bushwick (We Are Bushwick) explores the idea of bringing an entire city to the doorstep of a small cultural hub. With the added challenge of a low budget, the concept revolves around the philosophies associated with community and attempts to engage a younger audience through simple and effective aesthetics.

Bushwick has the culture, the small-town community feel, and it’s about time the rest of New York City joined in.

If the city embraces these festivals as a positive everyone has something to gain. The city dwellers are enabled to retreat for the grind of their daily lives, and the locals are given an opportunity to express their culture and show their character. Community learning initiatives and the bridging of large economic diversity, is the main reason for the focus of gentrification. It brings people closer together and removes prior prejudice they may have unknowingly built.

City statistics show major crimes in the precinct are down 75% since 1990 and about 20% since 2001. Robberies in 2010 were down 16.5% from 2001, and felony assaults were down 30 from 522. It is statistics like these that need to continue and it is the responsibility of the community at large to embrace their neighbors, so this festival becomes much more than an small event, it becomes a cultural emersion.

For More Information Visit:www.lukecaratti.com/bushwick/

IT BRINGS PEOPLE CLOSER TOGETHER & REMOVES

PRIOR PREJUDICE

Curves 2015, Bushwick Erin Riley

The Crowds at the Bushwick Collective Block Party Jason Alexander Byers

New York Studio, Bushwick Paula J Wilson

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MARC JACOBSFASHION RETAIL

PARSONS SCHOOL OF DESIGN 2014

THE INHERENT NEED THAT FASHION LEADERS HAVE TO EXERT

UNIQUE INDIVIDUALITY

LOOKING BACK TO LOOK FORWARDS

The fashion industry has a constantly evolving landscape, from boutique one of a kind items to the mass production of ZARA and H&M, the future of the industry is volatile and quality is becoming increasingly hazy.

Our hunch for this market however, was that it would depend heavily on the future of customization and the inherent need that fashion leaders have to exert unique individuality.

The three key drivers in the fashion industry that drive customization are:

1. A need for integrated design process. 2. A need for individuality. 3. A need for the perfect fit.

In 2016, the relationship between designer and consumers has never been so strong. With the luxury of an over-skilled workforce and a pop-culture intrigue, just about anyone and everyone will make their clothing unique to themselves. As a result this forces high-end brands, like Marc Jacobs, to provide a platform for their customers to do so. It is integral to the design process that the retailer keeps setting new trends and the best way to do so is to democratize the market so everyone can input their ideas.

From this integrated design philosophy, stems a need for individuality. Our clothes are supposed to represent the part of our personality that we put on show. It is the first thing we react to with others and over 90% of our initial judgments on others are established before a word is spoken. As a result, this means that even two vastly different individuals wearing the same clothes can be perceived the same way. We believe that as a result, our society looks to fashion to solve this problem.

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It is not just appearance where fashion plays an important role in our lives. Comfort and fit are also an incredibly strong market force for both those tribe leaders and those less inclined to partake in the culture created by the industry. The need and desire for the perfect fit go hand-in-hand with any piece of clothing we buy and, without it poor design leads to a fall in market share and an overwhelming negative reaction by customers.

“People desperately want to be apart of the creative process.” Aslaug Magnusdottir.

As the market has evolved online, there is a growing demand for one off or ‘customized’ pieces of clothing. Due to the fact that consumers have expressed continuous needs to be involved in the design process and can easily make key alterations to suit their personal style, the market needs to adapt to allow their key influences to do so. Compounded by both the efficiency of technology and the resurgence of DIY culture in the United States, United Kingdom and Central Asia, obsessive consumers are more diverse and have a higher fashion IQ than any generations prior.

Our first code for growth was ‘Collaboration’

We believe that independent consumers will bully the market into having to appreciate the fact that consumers will always know best and, that what they know best is adaptation and personal style.

Our second and third code for growth is ‘Experimental’ and ‘Individuality’

Thanks to the Internet a consumer can now have a custom suit designed from start to finish in the space of 14 days. For a business to get around this type of technological efficiency, the designers need to explore fashion in ways that consumers cannot. If a brand understands who they are and why they exist, a focus can generate on a specific philosophy of thought, one that is subconscious to their consumers. With the ability to set trends, fashion labels should do just that, then provide their consumers with a platform to build on them.

Lastly the fourth code for growth is ‘Comfort’

By simplifying and democratizing the tailoring industry, there is a huge avenue for growth and a gap in the market that is waiting to be successfully explored. People are not born on an assembly line, we are all different so finding clothes for our unique shapes and sizes almost becomes the most difficult task when we shop.

The short term and long term solutions for our chosen brand Mar Jacobs are designed to encapsulate human behavior whilst keeping a keen eye on the concepts previously outlined. In the short term for Marc Jacobs, the focus should not be on specific product or design, but rather on a philosophy of usability, customisation and user experience.

Innovate – Play – Document

Our long-term solution however, should not be a total revolution of the existing ideologies, but rather an evolution upon the current changes in retail experience.

Expand – Never Stop Playing – Assist

For More Information Visit:www.lukecaratti.com/marc-jacobs/

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GQ MAGAZINENOVEMEMBER 2013

1.

In 2013 I was lucky enough to be given the opportunity to work with ‘GQ Magazine Australia’. During my time with the magazine I learnt a great deal in relation to how the industry worked and the project management that goes hand in hand with the creative process. I was given the opportunity to work closely with photographers and explore creative direction that, in reflection provided me with a great foundation to build on as I moved forward in the design industry. The following works are the pages that I was given most creative control over during my time with the magazine.

2.

During my time with GQ Magazine Australia I spent a lot of my time organizing equipment, managing small projects and researching visuals that would be appropriate for specific articles. ‘Needlework for Beginners’ was an article that I was given a lot of creative control over, it began with research into appropriate layouts and similar designs, then grew into a photo-shoot and layout composition. For me it became incredibly beneficial, as it was the first time I was able to work closely with photographers. Such as Edward Urrutia, who specializes in product photography, and see how a process works from beginning to end.

3.

Similarly, within our Taste & Travel section of the magazine the ‘Say Cheese’ article was another example of the process Creative Director Josh Beggs allowed me to be involved with. For my personal development, this spread and following pages taught me crucial lessons when looking at photography composition. Working closely again with Edward Urrutia, the process of finding the correct way to present the material took most of one morning we spent in the studio.

Although there are only two showcased spreads, the involvement I had with the rest of the magazine allowed me to explore layout composition and editorial design and provided me with much deeper insight into creative direction and project management.

For More Information Visit:www.lukecaratti.com/GQ

INTERNSHIP 2013

365STUDENT FILM

When love burns out and life continues to progress, even the simplest of things can become hard to handle.

365 explores the issues of depression through the everyday emotions of two individuals trying to balance their current reality and the future well-beings of themselves, and their child. In 2013 we decided to use the chance to explore film to explore the intricacies of depression amongst young people in Australia. It is a sad reality that over one million people within Australia suffer from this crippling disease and every year a further 10,000 young people are diagnosed with depression or anxiety related illness’. The project brief was to explore the technicality of French New Wave cinema and bring its periodic style into a contemporary setting.

The plot follows two protagonists who have fallen out of contact. They go about their daily lives completely seperate and showcase the variety of emotions we all come across. The man, a slightly more depressed character reflects our key research statistic that 77% of Australians diagnosed with depression are male. The woman on the other hand, reflects life as an

unfolding sequence of rituals, where our reactions are determined by our decisions and she represents a proactive stance on dealing with issues moving forward. In keeping with the ambiguity of French New Wave cinema, most of the plot is up to the responder to decipher and form their own opinions of the events unfolding before them.

When trying to emulate the film in a graphical manner, the resulting collateral is a visual exploration into the troubles explored in the films complex storyline.

The two posters and subsequent simple promotional collateral explore the application of imagery seemingly burning through the page. The strong magenta is representative of the fading passion the two once shared and is used in constant juxtaposition with the smokey black that burns through.

For More Information Visit:www.lukecaratti.com/365/

BILLY BLUE COLLEGE 2013

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THE LEMON TREECULTURAL INNOVATION

BILLY BLUE COLLEGE 2015

Nowadays, with an every rising power to social media, meeting people is interpreted as becoming easier.

But is that really the case?

Sure, people are connected in more direct, functional and faster ways. But there have been emotional sacrifices from creating these connections.

In recent years society has increasingly debated the fact that person-to-person contact has been cut off, and minimized to more of a “screen-to-screen” interaction. Yes, this is an obvious observation, but there have been more emotional forfeits than this. The determination to get out there/put yourself forward, the confidence to approach people and the willingness to make a commitment to actually “see people” face-to-face is slowly being diminished.

In today’s culture we’ve seen a massive rise in applications such-as “Tinder” or “Grindr” or “Brenda”, whatever your preference. As it has become culturally acknowledged that younger people are finding it harder to develop intimate relationships, this growing trend is not without relevance or marketplace, but is it not a growing shame that these marketplaces even exist?

Between the ages of 18 and 30, this is a time where you get out there and explore. A time where you make a fool of yourself approaching the girl at the bar, or accidentally spilling your drink on that guy you’ve been eyeing off for the past hour. These moments build your self-confidence one embarrassment at a time, and with the help of apps like tinder it blocks and limits face-to-face interactions and subsequent rejections. It cheapens those cute meetings and if anything, adds to people’s lack of self-confidence and self-value.

This technological block to a young persons personal development is something that we felt passionate about, and it’s something we wanted to explore. Meeting new people is a large part of our needs as human beings and we felt that this issue was too big to overlook when given the chance to research the relationship young people have with the travel industry.

As Australians we are apart of an adolescent culture; we have a point to prove and an abundance of self-importance to help us do so. In 2014, 36% of all 20-24 year olds travelled abroad. 22% of that 36% travelled alone and 55% met like-minded individuals through friends or at curated events. To generate a code for travel we needed to gain insight into what were our first memories of travel, and what the result of these memories would look like.

MEETING NEW PEOPLE IS A LARGE PART OF OUR NEEDS AS

HUMAN BEINGS

HOW DO YOU MEET NEW PEOPLE WHEN YOU TR AVEL?

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The code for travel in Australia is first abandonment, but then swiftly followed by adventure. These experiences are built from memories we all experience, from the first time our parents leave us with our “grandparents”; to the first time we explore “Port Stephens” or “Paris”. The results of these memories are rather simple. We build up a confidence to create new meaningful relationships, we then want to explore the globe and finally with the same premise, we grow more attachment to those we are leaving behind. Once we do leave however, it is important for Australian Travellers to maintain our value.

Unfortunately for 20-24 year old Australians, without a social base like a University or College, it is still hard to establish a healthy respect from others whilst travelling. In saying this, it is not hard for us to meet others and show-off our “looks” or ability to “drink”, but what is currently out there to help those who do not advocate the qualities associated with those very specific cultural attributes?

Our design question for this research then became simple. So, how do young people become valued members of their community, regardless of where they are in the world?

The research we conducted were a variety of surveys and interviews with recipients between the ages of 18 and 30. Starting off with the simple questions, of gender and age” these surveys were completed by 58% men, and 42% women. The age of our recipients were split between; 18% of 18 to 21 year olds, 27% 22 to 25, and 55% 26 to 30. Our first question was simple and straight to the point; we wanted to know from our recipients if they were looking to meet new people when they travelled? 94% answered yes, and 6% answered no.

Secondly, we needed to know how young people currently met new people when they travelled? 15% said via friends, 5% via social networks, 40% at events (32% of that 40% were at nightclubs or bars) and 8% of young people we surveyed left it unchecked or did find a link between travelling and the ensuing socialising.

THE MAIN FOCUS OF MOST PEOPLE’S HOLIDAYS REMAINS

TO BE SOCIALISING

The highest answered question, showing people met at events, gave insight into how we might want to approach our research question. And following on from this, meeting at nightclubs or bars adds to our hunch in a similar manner. The fact that people still want to go out there gave us some positive insight into our proposed answer to the design question we had established.

However the lower remaining percentages, that people meet people via social networks or not at all (13% in total) shows a gap in social networking, and asks further questions “why do 8% not want meet new people?” and “why were they travelling?” This subsequently gave us a new angle and we began to brainstorm how we could help reach out to those, who find it hard to meet other people.

The first portion of our primary research gave us a good look into our target demographic and latter questions showing that 57% of people travelled once a year showed that this market was obviously valuable to young people in 2015. The 57% of people, who travel once a year, would probably want their travels to count, and having fun would be a crucial part of their trip.

Imagine only being able to travel once a year, and not fulfilling the aspirations you had for that trip.

If you don’t want to rough it out and stay in a hostel, or if your preference is to stay in isolated areas, where the “party scene” may not be, how is it possible to make new friends and build new experiences with new people? The answer to our question of how to meet new people was pivotal to those who plan a trip an entire year prior. We began to look into how to solve the struggle of making new connections when they arrive at their destination.

Travelling in groups, or with a close friend or partner, was also the most popular form of travelling that came from the research. It’s not as common to travel by yourself, yet we believed the 20% feedback we obtained, was still a large proportion of people who have the desire to go solo and explore the world alone.

Whenever you go on holidays post high school, the first thing on most student’s minds is “get me the hell out of here!” or “I’m not touching a book ever again”. As the market stands, kids will either take a gap year or travel via platforms like Contiki. As Contiki tours are normally the go for a more social experience we saw a result of only 14% answered stating that they had gone, but 54% said they would like to.

Why have the 54% not gone yet?

Is there something about the Contiki tour that they’re resistant to?

This gave us room to play with the question of; how do people meet others if they don’t have the desire to go on one of the most famously known people meeting tours available?

Our insights showed, that the main focus of most peoples holiday’s remains to be socialising, followed by exploring and funnily enough hooking up coming in third after that. This worked into our thesis as it showed us that the desire to mix and mingle with others is still a main priority.

With people being so technologically orientated when it comes to connecting with others, that “human-ness” to meeting others is disintegrating. It’s time to get that “human-ness” back and rid that awkwardness replacing it with the amazing feeling of certainty in what is an incredibly uncertain experience.

Some of the best experiences we’ve all had are those awkward interactions you have with others - not deciding whether someone is attractive or not on tinder, or other dating websites/apps. The icing on the cake for us was the simple fact that 92% of people answered yes to wishing it were easier to become more integrated into local cultures and communities. Mixing with people from other communities can seem like mixing with people from an entirely different planet, and it’s an exciting and stimulating feeling that every traveller can have. Even just going to a bar in the local area and going up and saying hi to the nearest person can be extremely confronting and intimidating - especially if you don’t speak the language.

So what if we could create a means for people to get together and experience that culture.

What if, people gathered under a ‘Lemon Tree’?

A reliable - safe place - found in multiple locations, in every major city around the globe.

Using this simple premise, our minimum viable product would have to focus heavily on our key design goal; to transcend platform and generate personal value. We proposed that by pairing user-generated mobile content with local interactive meeting points, users can meet up, explore and then generate their own ‘real-life’ adventures from this point. The value entrenched in the mobile application is a reward based on experience model. By rewarding travellers and locals alike to constantly pursue new experiences we hope to generate an obsessive user that is hooked on experimenting with our product and trying new things.

For More Information Visit:www.lukecaratti.com/the-lemon-tree-travel/

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1. TRO AUSTR ALIA 2015

For 4 months in late 2015 I was lucky enough to work with the great people at TRO Australia. Although it was primarily a learning experience as I continue to develop as a designer, it was became much more than that as I enjoyed the constant collaboration and excitement that came with going into a vibrant offi ce everyday.

During my time with TRO Australia, we put forward a pitch for an Adidas Customisation Station, to go in stores throughout Australia and Asia Pacifi c. During this brief it was important for us to come to understand the cultural demographic of both the Adidas brand and general sneaker culture within the region. As a result the outcomes produced look into the existing aesthetic that Adidas have established globally, and the infl uence of both physical activity and fashion that constantly fi ght for priority within their brand ecosystem.

Visit: www.lukecaratti.com/tro-australia-2015/

2. 5GROUP: BR AND DEVELOPMENT

5group aims to be recognised as a knowledgeable, skillful and innovative design studio. Our primary service offer is our point of difference that resonates within the market. With broad experience and knowledge in a variety of specialised areas, we provide effective business and design solutions and strategies to clients.

Visit: www.lukecaratti.com/5group/

3. BRISTOL CITY: BRAND DEVELOPMENT

Bristol: Independent. Progressive. Diverse. United.The face of the council should be representative of the people living within. Bristol is widely regarded as the growing Creative Capital of the UK and although steeped in history, as a modern city it is important that Bristol follows in the footsteps of cities like New York & Amsterdam.

Visit: www.lukecaratti.com/bristol-city/

4. RAY-BANS: BORN DIFFERENT

What does it mean to be ‘cool’?To be “cool” is a self-expression that comes from within; it’s the perfect mix of attitude, confi dence, versatility and adventure - all of which are central to the Ray-Ban brand philosophy.

Visit: www.lukecaratti.com/raybans-guerilla/

5. ELEMENTAL: BRAND DEVELOPMENT

Based on the growing trend of popular sciences and tapping into a market that is somewhat stereotyped, we decided to brand a Science Exhibition at the MoMA PS1, New York City. Our ‘Science Tool Kit’ was designed to attract a younger audience. A fabric bound box fi lled with posters, invitations and other promotional experiments were created to promote the event.

Visit: www.lukecaratti.com/elemental-branding/

10 DESIGNS

6. ROOFTOP 88’: ePublication

There is something about a rooftop that gives a person a unique sense of relaxation and euphoria. Whether it would be the difference in perception you get from being higher than normal or the whisp of a fresh breeze, the best creative conversations I’ve experienced have been on a rooftop. For this reason, I based my publication on personifying this feeling.

Visit: www.lukecaratti.com/rooftop-88-epublication/

8. P.C.A: BRAND DEVELOPMENT

In 2013 I was approached by Peter Coolentianos to develop the aesthetics of his new business. Peter had been working for another firm for over 10 years and was looking to bring his own personal touch to his new venture, so it was crucial his brand not only represented the essence of his professionalism, but also his personality.

Visit: www.lukecaratti.com/peter-c-accountant/

7. IMMANUEL K ANT: ISTD 2015

By presenting examples of the moral law and subsequently acting purely (without the help of external incentives), ‘The Critique of Pratical Reason’ teaches the individual to understand how the moral law can free him from issues from slavery to issue regarding his own desires.

Visit: www.lukecaratti.com/immanuel-kant-istd-2015/

10. VOLKSWAGEN JUNIOR MASTERS: EVENT

Volkswagen Junior Masters Australia gives under-12 boys’ club football teams from across the country the chance to represent Australia in the world finals, competing against over twenty teams from around the globe. Being used throughout the tournament, the following designs are my interpretation of what the tournament needed to personify the atmosphere of this vibrant event.

Visit: www.lukecaratti.com/volkswagen-junior-masters-1/

9. HERMAN MILLER: CORPORATE REPORT

To demonstrate to investors the company’s activities throughout the preceeding year in a fun and dynamic way, my Herman Miller corporate report is an attempt to make finance a little more exciting with a splash of colour and a recognisable shape they can relate to.

Visit: www.lukecaratti.com/volkswagen-junior-masters-1/

2010—2015

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CONTACT DETAILS:

A: 5 Fall Street, Cremorne, NSW, 2090.

H: (02) 9904-4379 M: 0432-237-334

E: lbc@lukecaratti.com

EDUCATION:

St Aloysius College, Sydney.

Year 3 – 12,

(Graduate in 2009)

University of Wollongong, Wollongong.

Bachelor of Creative Arts

(February 2010 – June 2011)

Shillington College, London.

Certificate IV in Design.

(05/01/2014 – 04/04/2014)

The New School (PARSONS), New York.

Design Management College

(29/05/2014 – 28/06/2014)

Billy Blue College of Design, Sydney.

Bachelor of Communication Design

(March 2012 – November 2015)

MY RESUME

INTERESTS: INSPIRATION:

Film Fashion Neville Brody David Kelley

Music Sport Seth Godin Tim Brown

DESIGN EMPLOYMENT:

Walker Street Newsagency, Sales assistant/Delivery Manager/

Graphic Designer.

(2007 – 2013)

GQ Magazine, Design Intern.

(08/2013 – 10/2013)

Volkswagen Junior Masters, Solo Designer.

(05/13 – 10/13)

Firefly Neutral Bay, Brand Development.

(07/2013 – 10/2013)

Peter C Accountants, Brand Development.

(09/2013 – 11/2014)

CPHR & Parents@Work, Brand Development.

(12/2013 – 02/2014)

TRO Australia, Creative Explorer

(08/2015 – 01/2016)

Responsibilities: During my time with Walker Street Newsagency I was in charge of designing all print advertising.

Including weekly posters, flyers, maps, POS merchandising, stationery catalogues and student cards. Being my first

design job it helped me learn the basics of type and layout composition.

Responsibilities: Whilst interning at GQ Magazine Australia I was able to develop more insight into publication

design. Article composition, photography editing and creative direction were my main focuses during this time.

Responsibilities: As I began to branch out on my own under the name Luke Caratti I began to liaise with clients

more directly. Client interaction, graphic elements and brand restrictions were my key take away’s from this project.

Responsibilities: Brand development required me to work closely with the owner and I learnt more technical skills

through constant experimentation with print collateral.

Responsibilities: Working for a more corporate firm, I continued to build a good presence with my clients, the key

focus when working with Peter Coolentianos was constant iteration in bringing his ideas to life.

Responsibilities: Responsibilities: During my time with CPHR and Parents@Work I did a lot of initial branding

work and again worked closely with the owner to visualise her vision of the company.

Responsibilities: TRO Australia taught me a lot about the industry at large. Video editing, video directing, UI design,

creative direction and Concept Development were my main responsibilities during my experience.

20162016

SKILLS: PROGRAMS:

After EffectsPublication Design

Premier Pro

Design Thinking InDesign

User Interface Design

Photoshop

IllustratorBrand Development

Audition

Story Telling

Ae

Id

Ai

Pr

Ps

AU

Film/Photography

FEBRUARY 2016

LUKE BORGO-CARATTI CREATIVE EXPLORER

DESIGN PORTFOLIO

ISSUE #1