christine natalia's portfolio & cv
DESCRIPTION
ÂTRANSCRIPT
HELLO! This is about myHARDWORK
CHRISTINE NATALIA WIRYAKARTIKAdate of birth : December 25th 1989
nationality : Indonesia
phone number : 85331937
email : [email protected]
EDUCATION
2007 - 2011 University of Pelita Harapan (UPH) Jakarta,
Bachelor of Art (Sarjana Seni),
Major : Visual Communication Design
WORK EXPERIENCE
July - October 2010 Jr. Art Director (Intership) at LOWE Indonesia
2009 - 2012 Freelance in graphic design works
March 2012 - now Graphic Designer at Cityneon Creations Pte Ltd
(Interior Architecture Divison)
Projects: Museum Branding (Moments &
Mementos Museum, Brunei National Museum,
Royal Regalia, The Saifuddien Memorial),
Corporate Branding (Prime Minister’s Office
Brunei Darussalam), Real Estate Branding
(Kristalville Service Aparment - Brunei
Darussalam), International Conventional Centre
Branding - Brunei Darussalam
SEMINARS
2008 How To Be Creativepreneurs with
Concept Magazine
2008 360% Logo Seminar
SKILLS
Computer Literacy Adobe Photoshop, Adobe Illustrator,
Adobe InDesign, Adobe Flash,
Adobe Dreamweaver, MS Office, Keynote
Operating System Macintosh
Photography Novice Level
Language English, Bahasa
CORPORATE IDENTITYBRUNEI NATIONAL MUSEUM(Brunei Darussalam)
The logo is made up of an 8 sided star, a symbol widely use in Islamic art called ‘Khatim’. The undertaking of the symbol as the logogram symbolizes the museum’s attribution and dedication of Brunei’s culture and history to Islamic faith and origins.
The logo is graphically treated using 2 colour shades to create a crest that looks popping up with chamfered edges. The words
‘Brunei National Museum’ are in modern sans-serif font typeface, aligned to the top left within the symbol. The final appearance is a result of traditional shape with a touch of modernity.
In view of preserving tradition and embracing modernity, the colours blue and gold are extensively used within the museum to represent the resolute future and the cultures of Brunei Darussalam.
The undertaking of ‘Khatim’, an 8 sided star, as the logogram, symbolizes the museum’s attribution and dedica-tion of Brunei’s culture and history to Islamic faith and origins.
LOGO RATIONALE
C 12 R 193 M 13 G 177Y 72 B 89K 17
Pantone 3975 EC
C 0 R 128 M 0 G 130Y 0 B 133K 60
Pantone 415 EC
C 0 R 35 M 0 G 31Y 0 B 32K 100
Pantone Black EC
The logo is made up of an 8 sided star, a symbol widely use in Islamic art
called Khatim. The undertaking of the symbol as the logogram symbolizes the
museum’s attribution and dedication of Brunei’s culture and history to Islamic
faith and origins.
The logo is graphically treated using 2 colour shades to create a crest that
looks popping up with chamfered edges. The words “Brunei National Mu-
seum” are in modern san-serif font typeface, aligned to the top left within the
symbol. The final appearance is a result of traditional shape with a touch of
modernity.
GRAPHIC STYLING
GOLDEN AGE
BRUNEIANP O T T E R Y
WELCOME TO
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cursus. Aliquam dolor urna, fermentum facilisis bibendum in, accumsan eget leo. Nunc
lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet
ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis
sem elementum accumsan. Aenean suscipit mauris et nunc iaculis interdum. Mauris
scelerisque accumsan libero.
Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum
tristique. Integer dignissim elementum leo nec dignissim. Nullam condimentum, enim nec
varius consectetur, lorem lorem molestie tellus, ac tempus justo dui sit amet ligula.
Sed sed urna mauris. Aliquam tincidunt, mi sit amet luctus pellentesque, diam nunc
molestie sapien, eget posuere velit diam eu eros. Sed tincidunt tellus a est mollis
pulvinar.
Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra nunc tincidunt
vitae tincidunt lorem mattis. Mauris vel aliquam risus. Maecenas scelerisque, purus
in tempus facilisis, mi urna egestas est, ut fermentum ligula sapien id libero.
DO YOU KNOW?
DO YOU KNOW?
LOREM IPSUMDOLOR SIT AMET
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O F16 th Century 19 th Century
Images are cropped to the shape of graphic element.
EARTHENWARE MINER AL RICH
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cursus. Aliquam dolor urna, fermentum facilisis bibendum in, accumsan eget leo. Nunc
lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet
ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis
sem elementum accumsan. Aenean suscipit mauris et nunc iaculis interdum. Mauris
scelerisque accumsan libero.
Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum
tristique. Integer dignissim elementum leo nec dignissim. Nullam condimentum, enim nec
varius consectetur, lorem lorem molestie tellus, ac
tempus justo dui sit amet ligula. Sed sed urna mauris.
Aliquam tincidunt, mi sit amet luctus pellentesque, diam
nunc molestie sapien, eget posuere velit diam eu eros.
Sed tincidunt tellus a est mollis pulvinar.
Vivamus vel diam est, eu sodales ligula. Donec gravida
mi viverra nunc tincidunt vitae tincidunt lorem mattis.
Mauris vel aliquam risus. Maecenas scelerisque, purus in
tempus facilisis, mi urna egestas est, ut fermentum
ligula sapien id libero.
EARTHENWARE MINER AL RICH
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cursus. Aliquam dolor urna, fermentum facilisis bibendum in, accumsan eget leo. Nunc
lacinia, augue ac eleifend fermentum, dui sapien porta augue, in ultrices est neque sit amet
ipsum. Integer porttitor porta leo. Donec tincidunt cursus justo. Nullam euismod convallis
sem elementum accumsan. Aenean suscipit mauris et nunc iaculis interdum. Mauris
scelerisque accumsan libero.
Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat sapien posuere mi rutrum
tristique. Integer dignissim elementum leo nec dignissim. Nullam condimentum, enim nec
varius consectetur, lorem lorem molestie tellus, ac
tempus justo dui sit amet ligula. Sed sed urna mauris.
Aliquam tincidunt, mi sit amet luctus pellentesque, diam
nunc molestie sapien, eget posuere velit diam eu eros.
Sed tincidunt tellus a est mollis pulvinar.
Vivamus vel diam est, eu sodales ligula. Donec gravida
mi viverra nunc tincidunt vitae tincidunt lorem mattis.
Mauris vel aliquam risus. Maecenas scelerisque, purus in
tempus facilisis, mi urna egestas est, ut fermentum
ligula sapien id libero.
GRAPHIC STYLING
GRAPHIC STYLING
T H E A R T
BRUNEIANP O T T E R Y
OF
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adipiscing elit. Etiam in ligula ac purus
sagittis cursus. Aliquam dolor diam urn
amet mett lorem ipsum.
The visual language aims at providing a neutral platform for variety of content to be presented without over clut-tering yet blend seamlessly with the overall museum branding. The 8 sided star is the graphic element that is modified and subtly applied onto visual styling. This creates a consistent themed experience for the visitors.
GRAPHIC - STORY APPLICATION
The modified graphic element extends itself beyond
2D graphic and functions as a 3rd dimensional space
for narrative text above the viewer.
When used in this scenario, the element becomes
a role playing speech balloon that viewers can
recognise. Along with wall images and ceiling
mounted speakers that plays back audio narrations,
the experience of being a Bruneian comes alive.
The modified graphic element extends itself beyond 2D graphic and functions as a 3rd dimensional space for nar-rative text above the viewer. When used in this scenario, the element becomes a role playing speech balloon that viewers can recognise. Along with wall images and ceiling mounted speakers that plays back audio narrations, the experience of being a Bruneian comes alive.
GALLERY LABEL
TOILET SIGN
WALL MOUNTED WAYFINDING
STANDING SIGN
The wayfinder is inspired by the logo’s 8 sided star. By modifying it to become 1 sided, it transforms into a functional wayfinding design that is highly recognisable. Together when used with the defined colour scheme, it complements the brand experience within the museum.
MERCHANDISE
Casual Apparels Throw Cushions
MERCHANDISE
Casual Apparels Throw Cushions
MERCHANDISE
TotebagsGiveaway Balloons for Children
An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of
the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum.
MERCHANDISE
TotebagsGiveaway Balloons for Children
An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of
the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum.
An effort to create a memorable visit, the gift shop features a series of unique souvenirs made specially to remind people of the museum. These are exclusive gift ideas that are on top of the usual traditional items one can find in a regular museum : Totebags, Giveaway Baloons for Children, Casual Appeals, Throw Cushions.
CORPORATE IDENTITYROYAL REGALIA MUSEUM(Brunei Darussalam)
Inspired by the mark of the Sultan - Bunga Putar, the new Royal Regalia logo takes up a typographic approach with a symbolic emphasis of the Sultan’s royal legacy. The golden flower is combined with an eight-sided star, signifying the Sultan’s reign through steadfast Islamic faith.
Optimus Princeps Regular is chosen as the logotype font for its distinctive classic appearance. Like the tail-end of every petal of
the golden Bunga Putar, this font finishes each letter with a touch of elegance fit for royalty.
The colour Gold and Black are the colours selected that establishes astrong contrast. Gold on black radiates absolute sovereignty and solemnity. It’s consistentapplication in all royalty related content makes it highly recognisable and respected.
Bunga Putar, the golden flower, is combined with an eight-sided star, signifying the Sultan’s reign through steadfast Islamic faith.
lOGO RaTIONalE
hEaRT OF GOldPantone104CC24M23Y82K0R201G182B83#C9B653
ROYal BlaCkPantoneBlackECC0M0Y0K100R35G31B32#231F20
InspiredbythemarkoftheSultan-Bunga Putar,thenewRoyalRegalialogotakesupa
typographicapproachwithasymbolicemphasisoftheSultan’sroyallegacy.Thegolden
floweriscombinedwithaneight-sidedstar,signifyingtheSultan’sreignthroughsteadfast
Islamicfaith.
OptimusPrincepsRegularischosenasthelogotypefontforitsdistinctiveclassic
appearance.Likethetail-endofeverypetalofthegoldenBunga Putar, this font finishes
each letter with a touch of elegance fit for royalty.
ThecolourHeartofGoldandtheRoyalBlackarethecoloursselectedthatestablishesa
strongcontrast.Goldonblackradiatesabsolutesovereigntyandsolemnity.It’sconsistent
applicationinallroyaltyrelatedcontentmakesithighlyrecognisableandrespected.
waYFINdING dESIGN
ThewayfindingdesignemphasisagreatdealonBunga Putar and eight-
sidedstarbyhavingthefloralmotifsprominentlyimprintedonglossyblack
reflectivesurfaces.Themultiplelinesofthemotifswillnotfightforattention
withthewayfindingcontentastheywillbeinmattfrostedlinesontheglossy
blacksurface.
Fontinhasanuniquestrokeappearancethatresemblesthefloralgraphicsand
decorationsusedinthemuseum.Asasignagetypeface,itisboldandeasyto
readdespiteitsserifstyling.Itoffersarangeofweightsandstylesallowing
flexibilityacrossalldesignapplication.
STaNdING SIGN
CEIlING SIGN
ROOM laBEl
ROOM laBEl
wall waYFINdER
The wayfinding design emphasis a great deal on Bunga Putar and 8-sided star by having the floral motifs prominently imprinted on glossy black reflective surfaces. The multiple lines of the motifs will not fight for attention with the wayfinding content as they will be in matt frosted lines on the glossy black surface.
CuSTOMISEd PICTOGRaM dESIGN
Pictogramsusedwithinthemuseumarecustomisedinthestyleassuggestedbythegraphic
treatment.Everysymboliscreatedviaastandardisedstyle,eachhavingasinglestrokethat
drawsthepetalofaflower.Thepictogramsetgivesthewayfindingprogramanadditional
brandpersonalitytoitsoutlook.
CuSTOMISEd PICTOGRaM dESIGN
Pictogramsusedwithinthemuseumarecustomisedinthestyleassuggestedbythegraphic
treatment.Everysymboliscreatedviaastandardisedstyle,eachhavingasinglestrokethat
drawsthepetalofaflower.Thepictogramsetgivesthewayfindingprogramanadditional
brandpersonalitytoitsoutlook.
CuSTOMISEd PICTOGRaM dESIGN
Navigatingarrows
InformationSymbols
ProhibitionSigns
CUSTOMISED PICTOGRAMS: Pictograms used within the museum are customised in the style as suggested by the graphic treatment. Every symbol is created via a standardised style, each having a single stroke that draws the petal of a flower. The pictogram set gives the wayfinding program an additional brand personality to its outlook.
CORPORATE IDENTITYTHE SAIFUDDIEN MEMORIAL(Brunei Darussalam)
The logo adopts the visage of Al-Marhum Sultan Omar ‘Ali
Saifuddien in his prime, contemplative and in introspection. In
portraying Al-Marhum as the “Face of Independence”, the logo
creates an immediate affinity with those who had personally
experienced the trials and tribulations together under his
leadership; an image of endearment that resonates strongly with the
older generations of Bruneians. For younger generations or non-
Bruneians who could only rely on secondhand accounts of history,
the logo presents an enduring image of Brunei’s father figure in the
defining epoch – a timeless reminder to be thankful for the present;
a paragon of faith and virtue to live up to for generations to come.
LOGO RATIONALE
The black rimmed spectacles and moustache are distinctive features
that render the logo instantly recognisable; there can be no doubt
as to whom the memorial is dedicated to. The light of dawn upon
Al-Marhum’s face is conveyed through the juxtaposition of yellow
against black. Yellow is also aptly chosen as a symbol of royalty and
the Sultanate.
Dawn symbolises the rise of Brunei as an emerging nation-state, as
the light of a new beginning brings hope of a better age. The tagline
– “Road to Nationhood” describes Brunei’s journey from colony
to nation, as it progresses through difficult moments to achieve
sovereignty.
The logo adopts the visage of Al-Marhum Sultan Omar AliSaifuddien in his prime, contemplative and in introspection. In portraying Al-Marhum as the “Face of Independence”, the logo creates an immediate affinity with those who had personally experienced the trials and tribulations together under his leadership; an image of endearment that resonates strongly with the older generations of Bruneians.
For younger generations or non-Bruneians who could only rely on secondhand accounts of history,the logo presents an enduring image of Brunei’s father figure in the defining epoch – a timeless reminder to be thankful for the present; a paragon of faith and virtue to live up to for generations to come.
The black rimmed spectacles and moustache are distinctive featuresthat render the logo instantly
recognisable; there can be no doubt as to whom the memorial is dedicated to. The light of dawn upon Al-Marhum’s face is conveyed through the juxtaposition of yellow against black. Yellow is also aptly chosen as a symbol of royalty andthe Sultanate.
Dawn symbolises the rise of Brunei as an emerging nation-state, as the light of a new beginning brings hope of a better age. In portraying Al-Marhum Sultan Omar Ali Saifuddien as the “Face of Independence”, the logo creates
an immediate affinity with those who had personally experienced the trials and tribulations together under his leadership
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elit. Sed at quam purus. Vestibulum ante ipsum
primis in faucibus orci luctus et ultrices posuere
cubilia Curae.
Fusce vitae suscipit mi. Proin tellus erat, fringilla
consectetur faucibus sed, euismod nec ante.
Vivamus quis eros lorem. Cras consectetur enim ut
tellus blandit sodales. Phasellus quis elit vitae dui
lobortis rhoncus.
EARTHENWAREAncient Pottery Pot
PORCELAINDININGWARE
POTTERYVESSELS
Polychrome Glazes Paint
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Sed at quam purus. Vestibulum ante ipsum primis in
faucibus orci luctus et ultrices posuere cubilia Curae.
Fusce vitae suscipit mi. Proin tellus erat, fringilla
consectetur faucibus sed, euismod nec ante. Vivamus quis
eros lorem. Cras consectetur enim ut tellus blandit sodales.
Phasellus quis elit vitae dui lobortis rhoncus.
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consectetur adipiscing elit. Sed at
quam purus. Vestibulum ante ipsum
primis in faucibus orci luctus et
ultrices posuere cubilia Curae.
Fusce vitae suscipit mi. Proin tellus
erat, fringilla consectetur faucibus
sed, euismod nec ante. Vivamus quis
eros lorem. Cras consectetur enim ut
tellus blandit sodales. Phasellus quis
elit vitae dui lobortis rhoncus.
RO
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ligula ac purus sagittis cursus. Aliquam dolor urna, fermentum
facilisis bibendum in, accumsan eget leo. Nunc lacinia, augue ac
eleifend fermentum, dui sapien porta augue, in ultrices est neque
sit amet ipsum. Integer porttitor porta leo. Donec tincidunt
cursus justo. Nullam euismod convallis sem elementum
accumsan. Aenean suscipit mauris et nunc iaculis interdum.
Mauris scelerisque accumsan libero.
Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat
sapien posuere mi rutrum tristique. Integer dignissim elementum
leo nec dignissim. Nullam condimentum, enim nec varius
consectetur, lorem lorem molestie tellus, ac tempus justo dui sit
amet ligula. Sed sed urna mauris. Aliquam tincidunt, mi sit amet
luctus pellentesque, diam nunc molestie sapien, eget posuere
velit diam eu eros. Sed tincidunt tellus a est mollis pulvinar.
Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra
nunc tincidunt vitae tincidunt lorem mattis. Mauris vel aliquam
risus. Maecenas scelerisque, purus in tempus facilisis, mi urna
egestas est, ut fermentum ligula sapien id libero.
GRAPHIC HIERARCHY
INTRODUCTION PANEL TYPICAL GALLERY GRAPHIC
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elit. Sed at quam purus. Vestibulum ante ipsum
primis in faucibus orci luctus et ultrices posuere
cubilia Curae.
Fusce vitae suscipit mi. Proin tellus erat, fringilla
consectetur faucibus sed, euismod nec ante.
Vivamus quis eros lorem. Cras consectetur enim ut
tellus blandit sodales. Phasellus quis elit vitae dui
lobortis rhoncus.
EARTHENWAREAncient Pottery Pot
PORCELAINDININGWARE
POTTERYVESSELS
Polychrome Glazes Paint
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Sed at quam purus. Vestibulum ante ipsum primis in
faucibus orci luctus et ultrices posuere cubilia Curae.
Fusce vitae suscipit mi. Proin tellus erat, fringilla
consectetur faucibus sed, euismod nec ante. Vivamus quis
eros lorem. Cras consectetur enim ut tellus blandit sodales.
Phasellus quis elit vitae dui lobortis rhoncus.
Lorem ipsum dolor sit amet,
consectetur adipiscing elit. Sed at
quam purus. Vestibulum ante ipsum
primis in faucibus orci luctus et
ultrices posuere cubilia Curae.
Fusce vitae suscipit mi. Proin tellus
erat, fringilla consectetur faucibus
sed, euismod nec ante. Vivamus quis
eros lorem. Cras consectetur enim ut
tellus blandit sodales. Phasellus quis
elit vitae dui lobortis rhoncus.
RO
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam in
ligula ac purus sagittis cursus. Aliquam dolor urna, fermentum
facilisis bibendum in, accumsan eget leo. Nunc lacinia, augue ac
eleifend fermentum, dui sapien porta augue, in ultrices est neque
sit amet ipsum. Integer porttitor porta leo. Donec tincidunt
cursus justo. Nullam euismod convallis sem elementum
accumsan. Aenean suscipit mauris et nunc iaculis interdum.
Mauris scelerisque accumsan libero.
Suspendisse potenti. Morbi ac eleifend odio. Maecenas volutpat
sapien posuere mi rutrum tristique. Integer dignissim elementum
leo nec dignissim. Nullam condimentum, enim nec varius
consectetur, lorem lorem molestie tellus, ac tempus justo dui sit
amet ligula. Sed sed urna mauris. Aliquam tincidunt, mi sit amet
luctus pellentesque, diam nunc molestie sapien, eget posuere
velit diam eu eros. Sed tincidunt tellus a est mollis pulvinar.
Vivamus vel diam est, eu sodales ligula. Donec gravida mi viverra
nunc tincidunt vitae tincidunt lorem mattis. Mauris vel aliquam
risus. Maecenas scelerisque, purus in tempus facilisis, mi urna
egestas est, ut fermentum ligula sapien id libero.
GRAPHIC HIERARCHY
INTRODUCTION PANEL TYPICAL GALLERY GRAPHIC
GRAPHIC HIERARCHY
ROYA L POETMaster of the Quill “
”
The negotiations in London were well organised,Rarely were disputes over words and language,Nor foul words ever came out,Good intentions God will accommodate The negotiations with decorum proceeded,Questions and answers in calm conducted,Negotiations as between close friends acted,and without delay agreement was concluded
Syair Perlembagaan Negeri Brunei, p24. Al-Marhum on negotiations on the written Constitution in 1959
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purus. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices
posuere cubilia Curae.
Fusce vitae suscipit mi. Proin tellus erat, fringilla consectetur
faucibus sed, euismod nec ante. Vivamus quis eros lorem. Cras
consectetur enim ut tellus blandit sodales. Phasellus quis elit vitae
dui lobortis rhoncus.
Fusce dignissim felis id dolor blandit tincidunt. Nunc aliquam
tincidunt nulla non bibendum. Nullam eget purus enim. Suspendisse
lectus mauris, scelerisque sit amet consectetur in, rutrum eget elit.
CR ISES& DEC IS IONS
The Saifuddien Memorial
STORY PANELS
The graphical treatment provides a contemporary treatment of historical content. Use of pastel colours creates a refreshing portrayal of Al-Marhum, for whom most would be used to seeing in monochrome or dated images. Yellow remains the primary colour for text and styling, in respectful adherence to the colour being associated with royalty and in particular, the Sultan
BANNER APPLICATION
Hanging banners is an effective use of space that can be found in
high ceilings and in-between multiple floors.
Large banners are also a powerful way of conveying key impressions
that we hope visitors would take away from their visit.
BANNER APPLICATION
Hanging banners is an effective use of space that can be found in
high ceilings and in-between multiple floors.
Large banners are also a powerful way of conveying key impressions
that we hope visitors would take away from their visit.
Hanging banners is an effective use of space that can be found in high ceilings and in-between multiple floors.Large banners are also a powerful way of conveying key impressions that we hope visitors would take away from their visit.
MERCHANDISING
Souvenirs and tokens are specially designed to provide visitors with
a memorable visit and as take-home mementos of their experience.
Quotes from poems written by Al-Marhum himself are incorporated
into the merchandise design for an added layer of meaning.
MERCHANDISING
Souvenirs and tokens are specially designed to provide visitors with
a memorable visit and as take-home mementos of their experience.
Quotes from poems written by Al-Marhum himself are incorporated
into the merchandise design for an added layer of meaning.
Souvenirs and tokens are specially designed to provide visitors with a memorable visit and as take-home mementos of their experience. Quotes from poems written by Al-Marhum himself are incorporated into the merchandise design for an added layer of meaning.
CORPORATE IDENTITYPRIME MINISTER’S OFFICE(Brunei Darussalam)
Similar to the Museum and the Mosque within the same compound, the
logo adopts the architectural feature of the building as the symbol of resolute
authority and strength.
The caligraphic strokes represents the shadow casted onto the building by the
sunlight shining from the east, which symbolizes the bright future of the nation
under the great guidence of His Majesty.
Visual identity symbolizingAuthority and Strength
The logo adopts the architectural feature of the building as the symbol of resolute authority and strength.
The caligraphic strokes represents the shadow casted onto the building by the sunlight shining from the east, which symbolizes the bright future of the nationunder the great guidence of His Majesty.
The identity manual contains detail instructions on brand element application
in all forms of visual communication.
Complete Identity Guide that manages professional image for generations
The identity manual contains detail instructions on brand element application
in all forms of visual communication.
Complete Identity Guide that manages professional image for generations
The brand identity manual contains detail instructions on brand element application in all forms of visual communication. The guideline ensures that the brand image is effectively portrayed.
The brand application into merchandising potrays the consistency of the brand image.
Consistent identity with many applicationsThe manual’s guidelines ensures that the brand
image is effectively portrayed.
B ROOM LABEL SMALL
Sticker cut out text
C & D ROOM LABEL BOH& FHR SIGNAGE
E TOILET CUT OUT PICTOGRAM
Cut out pictogram in acrylic with opaque
pattern background
F TOILET CORRIDOR MOUNT
90 degree wall mount on corridors to lead traffic to
the toilet. Signage viewable from both sides.
G WALL MOUNTED LARGE
I & J LIFT LOBBY PANEL& LEVEL INDICATOR
K ROOM CUT OUT LABEL
Cut out text with clear acrylic
edge, lighted from inside.
L MAIN LOBBY STANDEE
Surface lit by LED lights
embedded within lightbox
MSURAU SIGN
Back lit sign with light overflow
onto wall surface. Pictogram and
text lights up in front
A ROOM LABEL PREMIUM
Sticker cut out text with 3D puttar on the
top and bottom
The signage design aims to match up to the building’s classical interior as a complementary addition.The signage program therefore refers classical styling as its design focus and inspiration. There are notably a number of repetitive patterns featured throughout the interior. By simplifying the buildup of these facades, a basic pattern is derived and used graphically on the signages within the PMO space.
CORPORATE IDENTITYINTERNATIONAL CONVENTIONCENTRE(Brunei Darussalam)
Convention Centre Logo
Corporate Identity is the face of a company to the world - it creates trust, a strong brand, value and perception of the services that are provided. It can build confidence and pride in the work force, and should never be undervalued. As such the approach of International Convention Centre identity.
The inspiration is drawn from its architecture and strong Islamic
influence, whilst maintaining a strong sense of stateliness.
The creation of the International Convention Centre brand identity is based on the outline of its existing roofline, hence ensuring a perfect blend of the new identity with the building.The selection of the font Trajan Pro is purposefully done to complement the new logo
Graphic Styling
Simplifying the logo design into basic and angular, the graphic style is highly adaptive and
yet professional and modern.
MEET YOU A TTHE GRE ATOUTDOORSThe greenest meeting venue in Borneo .Find out more at icc.com.br TAKE A BREA THER
BY THE RIVERConduct your con ferences in the greenest venue.Find out more at icc.com.br
Graphic Styling
Simplifying the logo design into basic and angular, the graphic style is highly adaptive and
yet professional and modern.
MEET YOU A TTHE GRE ATOUTDOORSThe greenest meeting venue in Borneo .Find out more at icc.com.br TAKE A BREA THER
BY THE RIVERConduct your con ferences in the greenest venue.Find out more at icc.com.br
Simplifying the logo design into basic and angular, the graphic style is highly adaptive and yet professional and modern.
Pictogram Set
Toilet Sign
Surau Praying Room Cafe Shop Bank Post Office
Elevator Changing Room Receptionist
Designed inline with the logo symbol, the pictograms are individually
designed to enhance the brand character and yet remain highly
functional when it comes down to accurately guiding visitors to their
destinations.
Designed inline with the logo symbol, the pictograms are individually designed to enhance the brand character and yet remain highly functional when it comes down to accurately guiding visitors to their destinations.
Main Lobby Signage
The main lobby signage consist of 3 types of standing
panels - a map directory to navigate visitors, 2 LED
screens that flashes dynamic content and 2 static light
box for event posters and schedules.
Located on the left upon entering through the main
entrance, the panels are designed uniformly with those
found under the wayfinding program so that event
contents and wayfinding information are collectively
organised under the brand umbrella.
Designed for each panel to be modular, some areas
such as the Plenary Hall and Main Conference Hall
will have its own dynamic panel installed at their main
entrances for visual notification or status of the ongoing
events. Other secondary entrances of the convention
centre will have lesser panels such as 1 map directory
and only 1 dynamic panel. Modular panel designs
enables consistency in the presentation of information
throughout the convention centre.
Standing Sign Static
Positioned at main gathering points and spaces with high human
traffic, the standard static standees shows information on both sides.
Designed to be generic, they can function as either wayfinders or labels
for important rooms that require high attention capture. Using the
convention symbol as a graphical treatment, all signages have the same
cosmetic treatment to ensure maximum yet subtle brand exposure.
Ceiling Mounted Wayfinder
Commonly found in convention centres and malls,
ceiling signages are more eye catching compared to wall
mounted signs. Excellent for indicating directions to
important rooms at crowded and open spaces.
Wall Mounted Wayfinder
These extruded text and symbols are individually
installed onto the walls, leaving the orginal wall as a
backdrop. The arrow symbol is deliberately designed to
resemble the logo for visual relevance.
Room Label Series (Small, Medium)
These signs are constructed using transparent acrylic,
with a frosted watermark treatment of the brand pattern
as the background. The logo symbol is graphically
applied on the sides to bring visual relevance to to
conference centre identity.
Featuring 2 sizes, small and medium. The smaller
landscape labels are used on the smaller common
rooms. The medium portrait labels are for identifying
more prominent meeting rooms or when the door design
is unable to accommodate a large room label.
Large Room Label
The large room label are used selectively on rooms with
high significance and on entrances to large halls. The
design is identical to the ceiling mount and is used for
labelling halls due to its high visibility characteristic.
Standing Sign Dynamic
Placed on areas where majority walking traffic
intersacts such as the atrium and lift lobbies, the uni-
directional Standees with Interactive Screens flashes
schedules of events and features marketing videos.
Outdoor Billboard
The billboard is located on the left of the driveway
entrance arch, along the direction of the main traffic.
Motorist and walking patrons will not miss the giant
billboard that is capable of holding large format LED
panels or high luminance light boxes.
The billboard features the main events upcoming or
current happening within the convention centre.
The 3 large content panels can be utilized individually
to market different events or used together to give
significance to 1 mega event.
The convention centre’s branding elements are built into
the billboard as a backdrop to enhance aesthetic and to
give prominence to the brand.
To complete the whole experience, a comprehensive Way Finding solution has been developed that builds upon the strength of the Corporate Identity. It helps to carry the branding of the International Convention Centre throughout the whole complex and at the same time deliver Clear and Precise direction for everyone to easily find their way around.
CORPORATE IDENTITYKRISTALVILLE SERVICE APARTMENT(Brunei Darussalam)
Crystals are often seen as formations of clarity, beauty and purity. The new estate projects a fresh new image of similar characteristics, a look that emphasizes on lifestyled living, serenity and cleanliness.
“KRISTALVILLE” is a play of words made by a combination of the words Kristal (crystal in Bruneian Malay) and Ville. An
icon of a crystal shape becomes the visual representation of the logo. The tessellation within thebody of the crystal presents an opportunity for a unique islamic pattern to be created and can be used as a graphic branding element throughout the estate.
In short, it is tradition and modernity in localized styling.
Crystal Shape
Islamic patternsimulates crystalfacets
LOGORATIONALE
Crystals are often seen as formations of clarity, beauty and purity.
The new estate projects a fresh new image of similar characteristics, a
look that emphasizes on lifestyled living, serenity and cleanliness.
“KRISTALVILLE” is a play of words made by a combination of the words
Kristal (crystal in Bruneian Malay) and Ville. An icon of a crystal shape
becomes the visual representation of the logo. The tessellation within the
body of the crystal presents an opportunity for a unique islamic pattern
to be created and can be used as a graphic branding element throughout
the estate. In short, it is traidition and modernity in localized styling.
Crystal shape
Islamic pattern simulates crystal facets
LOGORATIONALE
Crystals are often seen as formations of clarity, beauty and purity.
The new estate projects a fresh new image of similar characteristics, a
look that emphasizes on lifestyled living, serenity and cleanliness.
“KRISTALVILLE” is a play of words made by a combination of the words
Kristal (crystal in Bruneian Malay) and Ville. An icon of a crystal shape
becomes the visual representation of the logo. The tessellation within the
body of the crystal presents an opportunity for a unique islamic pattern
to be created and can be used as a graphic branding element throughout
the estate. In short, it is traidition and modernity in localized styling.
Crystal shape
Islamic pattern simulates crystal facets
LOGO INSPIRATION
MAIN ENTRANCE SIGN
DIRECTIONAL POST SIGN
CORRIDOR SIGN
ROOM SIGN
Every wayfinding category considers the crystal’s shape and pattern. All signages will feature the the pattern as an effort to imbue brand awareness. The following pages presents a collection of exterior and interior signages that are specially designed as consistent set.
CORPORATE IDENTITYPAPARON’S PIZZA
This is a branding project for my class. To redesign a company logo, letterhead, application, and graphic standards manual as well as a company profile. The project began with the old company image that looked old, forgettable, and not represent that company itself. So i began with researching and then classified the facts. For first, I sketched many pictures that carries a range of associations with connection between people and pizza, but
an idea came almost instantly. By using a pencil I experimented creating a mascot of Mr. Paparon itself. It’s apparently represent the image of this restaurant. Something like a casual family restaurant. With a family as the target market, this mascot easily can be used as brand awareness. The illustration style is like a sketches to represent the new value of the restaurant; casual and family-oriented. While the logogram is a simplified stroke of its restaurant mascot, Mr.Paparon; surrounded with a red circle as
the form of pizza, the special menu from its restaurant.
Letterhead, envelope, and name card application. For the company profile I used the design element of new Paparon’s Pizza and put the mascot in some spaces. The mascot is doing sometimes related to restaurant activity.
For the restaurant menu application, I used some illustrations of the mascot and put some food photos. Table setting and eating utensils application
Official website layout application
Every child is an artist. The problem is how to remain an artist when you grow up— PABLO PICASSO
The logogram basically is a shaped of hand stamp and the palm is replaced with a shape of soap and water upon it. And for aesthetic looks I put foam around the soap. Blue and green color represent ‘the hygiene’.
SOCIAL CAMPAIGNCUCI TANGAN
A campaign project for my class, the goal is to create a social campaign for elementary students about washing hands with soap. For first I want to create a campaign about children welfare, but then I connected with the health because healthy body is one kind of welfare. After some research I found the fact that washing hands with soup is one of preventation of diseases. The target is children around 6 to 10 that live in B+ to B- class.
On this age children are so active and usually ignoring the hygiene of their hands. When hands are not hygienic, are able to cause some diseases like diarrhea, pneumonia, and others disease related to digestion function. This campaign has mascots which represent the important elements of hand-washing.
The both campaign poster I created using Adobe Illustrator. Both shows the before-after relation to simplify the comprehension of target audience which is children. Images are more understandable than text for children.
(left) It shows the hand condition before hand-washing, its full of germs. This poster owns a fear appeal.(right) This poster shows the effects of hand-washing.
The campaign mascots. They are the important elements of hand-washing. The germ team has a leader, named Tom. Their name are selected to ease children pronunciation. These characters also make the campaign purposes easily being remembered and understood by children, as the target market.
This book is one of campaign application. The transparant paper can be pulled out and yet transformed into colored illustration. This book is used to educate children about hand-washing in attractive way.
(top) Advertorial application which is published on children magazine. (bottom) Puzzle application
Behavioral design is all about feeling in control. Includes: usability, understanding, but also the feel.— DON NORMAN
It’s an on-going final project for my bachelor degree. I chose to do a redesign project of a fine-dining Italian restaurant in Jakarta, named Toscana Italian Restaurant. The project began with the old company image that looked old, forgettable, and not present that company itself. I collected data about the fact of its company then decided keywords for its new visual identity. The objective of this project is for brand revitalizing (target market
expansion) and creating an integrated system. The inspiration of new visual identity is the shape of door or window of Tuscan villa’s architectures. I created an arched window looked like the ‘N’ alphabet and placed it on its logotype. While the color of terra cotta is inspired from the Italian use bricks in many ways like to build their houses, make flower pots, and also to grill pizza.
CORPORATE IDENTITYTOSCANA ITALIAN RESTAURANT
Letterhead, envelope, and business card application of Toscana Italian Restaurant A detail image of Toscana Italian Restaurant’s letterhead (back side) application
(top) Cover of menu book. (bottom) Cover of wine list menu. (left) The inside layout of wine list menu. (right) The inside layout of Toscana’s menu book
(top) Postcard Layout. (bottom) Gift Card. (clock-wise top) Table Menu. (clock-wise bottom) Wall Images, Menu Book.
Exhibition Booth Design and Displays. (top-bottom) Displays of branding applicaton in details.
Marketing without design is lifeless, and design without marketing is mute.— VON R. GLITSCHKA
MAGAZINEDETAIL LIVING
This magazine name is Detail Living ‘in trend, decoration, lifestyle’. The brief is to combine to references that we chose with a free theme, and i chose modernity and interior design. Detail living magazine talks about interior in major; lifestyle that is involve in it. The magazine covers always display the unique interior of houses because it’s focusing on interior design. The graphic element that I used in the magazine is line and the striking colors that blend with the cover.
I don’t use too much graphic elements inside the layout to keep the space clean; focusing on the text and image.
Design is so simple, that’s why it is so complicated.— PAUL RAND
Choco Origins packaging with variant design depending on choco bean origin.
CHOCOLATE PACKAGINGCHOCO ORIGINS
At the subject packaging design of in this period, i got a brief to make a packaging of food with brand named Marche’s. The lecture gave its logo. I chose to make chocolate packaging after did some research about chocolate. I found that chocolate beans are obtained from many countries. I chose 3 countries which produce high quality chocolate beans. The design is adapted from its culture. It’s simplify the target market to recognize the origin of the chocolate beans.
Fortuga’s Caribbean Black Bean Soup packaging with the ‘homemade food’ concept.
CANNED BLACK BEANTORTUGA’S
The brief of this project is to develop a product label for fictitious brand called Tortuga’s Caribbean Black Bean Soup. It’s a common soup with Campbell’s soup can which is 10-11 oz. After doing some research I understood that black bean soup is a common food for Caribbean people. So I decided to make a packaging that can bring the ‘homemade mood’, in accordance with the soup. The design element is mama’s table cloth; as known as homemade
identical. The overall color is brown in various gradient level. The using of illustration element to consolidate homemade cooking mood. It’s also to establish the human-touch aspect. This black bean soup is made for people who miss their families. Typographical element is adjusted to the whole design; by using serif old-typeface. The classical visualiation is the whole idea of its packaging.
A new language, visual, or verbal, must be couched in a language that is already understood.— IVAN CHERMAYEFF
BRANDINGSOMERLEY KIDS
In the entrepreneur class, me and my team had a project to establish a new company. We chose to make a babyshop as our business. This store is the pioneer of the first baby store in Indonesia which has a theme; sailor theme. We chose the sailor theme because in Indonesia dominant with hot weather and the clothes with the summer sailor theme is perfect. Somerley has a meaning as a summer sailor. This store should be opened in a mall with a high class target customers. The visual design we used the bright colors, blue and yellow is dominant.
Somerley Kids logo. The logogram is a ship wheel. It’s an important tool in sailing which is to steer the ship.
(top) Letterhead, envelope, and name card application. (bottom) Invoice, voucher, privilege card, and gift card Somerley Kids packaging for bodysuit set, socks set, shoes, accesories, and paper bag
Good design is all about making other designers feel like idiots because that idea wasn’t theirs.— FRANK CHIMERO
ADVERTISINGAPPLE IN-EAR
In this project, I have to make an advertising for electronic product. I chose to make an ad of Apple In-ear headphones because I want to make something differ-ent ad from my classmates who most of them made ads about handphones, laptop, etc. So I did a brainstorming and this concept popped up in my mind. A heart beat. This headphones can make music feels so alive because its good performance. So I did a photoshoot session. I arranged the
headphones looks like a heart-beat. The whole visualitation I made this ad so simple because Apple ads mostly are so simple. I want to focus on the idea. And it’s easily to be understood by the audiences.
Christine Natalia
PORTFOLIO