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Kate Coningford ID #982445093 415-595-4060 kacon2@pdx.edu Contents 4 Art History ABCs Self Initiated Page 12 1 Teuila Boutique Self Initiated Page 3 2 The Nouveau Box PCC GD242—John Bohls Page 6 5 Haunt Magazine PCC GD221—Nathan Savage Page 15 3 F the Pink Ribbon Self Initiated Page 9 6 Skatemobile Brochure Page Layout Project PCC GD260—John Bohls Page 18 7 Sedona, AZ— Find Your Path PCC GD222—Nathan Savage Page 21 Process: Branding Sedona, AZ PCC GD222—Nathan Savage Page 27 Index Photo and text credits Page 45 1 Teuila Boutique Self Initiated The project consists of branding and advertising for a boutique women’s fashion line.
Teuila is the Samoan word for the red ginger flower featured in the wordmark, and the five-pointed floral icon is based on the “Samoan Fluff” variety of plumeria.

3 4 Kate Coningford | Project 1 | Branding 5 Kate Coningford | Project 1 | Branding 2 The Nouveau Box PCC GD242 John Bohls The Nouveau Box is a set of books about Art Nouveau, including the Glasgow School, Jugendstil, and the Vienna Secession.
The covers use hand lettering in vibrant metallic ink along with photographs of iconic architecture to appeal to art history aficionados.

6 7 Kate Coningford | Project 2 | Book Covers 8 Kate Coningford | Project 2 | Book Covers 3 F the Pink Ribbon Self Initiated F the Pink Ribbon is a public awareness campaign created to change the way we think about breast cancer, patients, and survivors.
Posters and flyers with bold, confrontational graphics draw attention and direct viewers to the organization’s website.

9 Pink·wash verb The use of a pink ribbon product to elevate a brand which is also profiting from products linked to breast cancer.

Very little of the money raised from the sale of pink ribbon products goes to fund cancer treatment or prevention, while pinkwashing companies continue to sell products with known cancer-causing carcinogens.
It’s time to change how we think about breast cancer.

Get the facts at fthepinkribbon.com PINK RIBBON FTHE 10 Kate Coningford | Project 3 | Public Awareness Campaign 11 Kate Coningford | Project 3 | Public Awareness Campaign C is for CUBISM c.1909–1918 Picasso • Braque • Metzinger Cubism was an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form— instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.

Cubism has been considered the most influential art movement of the 20th century, inspiring multiple later movements including Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco.
Common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

4 Art History ABCs Self Initiated This set of coasters for museum gift shops features a different artist or art movement for each letter.

Illustrations on one side provide a visual example of the featured style, while the other side names the artist or movement along with a brief description.
12 Cubism was an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.

In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.
Cubism has been considered the most influential art movement of the 20th century, inspiring multiple later movements including Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco.

Common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.
13 Kate Coningford | Project 4 | Illustration U is for UKIYO-E 17th–19th Centuries Hokusai • Hiroshige • Kuniyoshi Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries.

Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.

The term 'ukiyo-e' translates as "picture(s) of the floating world".
Ukiyo-e was central to forming the West's perception of Japanese art in the late 19th century, particularly the landscapes of Hokusai and Hiroshige.

From the 1870s onwards, Japonisme became a prominent trend and had a strong influence on the early Impressionists such as Edgar Degas, Édouard Manet and Claude Monet, as well as having an impact on Post-Impressionists such as Vincent van Gogh, and Art Nouveau artists such as Henri de Toulouse-Lautrec.
N is for NEW YORK SCHOOL Bass • Lubalin • Rand • Lustig Mid 20th Century European designers, escaping the political climate of WWII, emigrated to the United States and became major influences in the American design movement.

While European design was fairly theoretical and structured, the new American design was pragmatic, intuitive and less formal in its approach.

New York was the center of the movement in the 1940s.
Emphasis was placed on the expression of ideas and an open, direct presentation of information.

Key artists and designers include Saul Bass, Herb Lubalin, Paul Rand, and Alvin Lustig.

, I i n i r r a t i o n a l i s f o r D A D A D u c h a m p • E r n s t • H e a r t f i e l d • H o c h D t h e D a d a c .
1 9 1 5 – 1 9 2 5 t o W o r l d W a r l o g i c , , - i t y , i n s t e a d e x p r e s s i n g n o n s e n s e , r e a s o n , a n d i n t h e i r w o r k s .
i t e r a r y , - u p b o u r g e o i s p r o t e s t s o u n d p o e t r y , , i n c l u d i n g c o l a n d i s m , a n d n a t i o n a l s o u n d m e d i a , l e f t - w i n g a n d a n d s c u l p t u r e .
w a r , d i s c o n t e n t t o w a r d v i o l e n c e , a ffi n i t i e s w i t h r a d i c a l w r i t i n g , D u c h a m p , i t i c a l m a i n t a i n e d p o l i t i c s .

f a r - l e f t p o l i n t h e m o v e m e n t J o h n H e a r t fi e l d , K e y fi g u r e s M a x E r n s t , i n c l u d e M a r c e l a n d H a n n a h H o c h .
, l 14 Developed in reaction to World War I, the Dada movement consisted of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works.The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture.
Dadaist artists expressed their discontent toward violence, war, and nationalism, and maintained political affinities with radical left-wing and far-left politics.Key figures in the movement include Marcel Duchamp, Max Ernst, John Heartfield, and Hannah Hoch.Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries.
Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.

The term 'ukiyo-e' translates as "picture(s) of the floating world".Ukiyo-e was central to forming the West's perception of Japanese art in the late 19th century, particularly the landscapes of Hokusai and Hiroshige.
From the 1870s onwards, Japonisme became a prominent trend and had a strong influence on the early Impressionists such as Edgar Degas, Édouard Manet and Claude Monet, as well as having an impact on Post-Impressionists such as Vincent van Gogh, and Art Nouveau artists such as Henri de Toulouse-Lautrec.European designers, escaping the political climate of WWII, emigrated to the United States and became major influences in the American design movement.
While European design was fairly theoretical and structured, the new American design was pragmatic, intuitive and less formal in its approach.New York was the center of the movement in the 1940s.

Emphasis was placed on the expression of ideas and an open, direct presentation of information.Key artists and designers include Saul Bass, Herb Lubalin, Paul Rand, and Alvin Lustig.
5 Haunt Magazine PCC GD221 Nathan Savage For fans of the spooky and macabre, Haunt Magazine provides spine-tingling thrills, with topics ranging from paranormal investigations, to film, music, and video game reviews, to visitors' guides to the most haunted places in the world.
15 TAROT T R E N D S : NEW DECKS & TECHNIQUES CHECKOUT T I M E AT the OVERLOOK HOTEL Kate Coningford | Project 5 | Editorial 16 17 Kate Coningford | Project 5 | Editorial 6 Skatemobile Brochure PCC GD260 John Bohls Page Layout Project Providing safety and convenience to customers by bringing a fully equipped roller skate party to the location of their choice, the Skatemobile brand is playful, colorful, retro, and athletic.
This brochure was created to share the Rose City Rollers' mission of community engagement and offer various Skatemobile party packages.

18 in the Community Skatemobile visits parks and events to rent out skates, pads and helmets, bringing the fun of roller skating outside.

For skate rental events, Portlanders can check the Rose City Rollers’ social media to find out where the Skatemobile will be next.

h s a l p s n U n o n o s n e B s i r h C y b o t o h P FAQs Why choose the Skatemobile?
Roller skating has many well-known benefits such as exer- cise and fun, and because the Rose City Rollers are a 501c3 organization, using our service means supporting a local charity.

How long do I get the Skatemobile?

Your event includes 30 minutes of prep time, plus at least 2 hours of on-skates fun.

What counts as a “flat surface”?

There is nothing like feeling the breeze blow past you while roller skating outside.
However, one big crack in the sidewalk can cause even the most experienced skaters to slip!

As the host of a Skatemobile Party, you are required to pick a location for your event that has a flat surface for skaters to roll on.

Surfaces include school gymnasiums, tennis courts, parking lots, garage spaces, basketball courts, and cul-de-sacs.

Not sure if your location is flat enough?

Shoot us an email and we will be happy to help you decide.

ready to roll?
ready to roll?

skatemobile@rosecityrollers.com 503.654.3210 Contact us!

at house Parties Skatemobile is available to bring the fun to your party or gathering.

You provide the flat surface and friends, we’ll bring Skatemobile.

In addition to providing skates and protective gear, we can bring the music, skate instructors, and a master of ceremonies.
We can tailor your party to suit any vibe, whether focused on boogying to classic jams or including tradi- tional elements like the Hokey Pokey and Red Light Green Light.

at the Office If your business is looking for a new way to give back to your employees or host a team bonding event, consider Skatemobile.

We’ll create a tailored event to bring your business’ culture to life on eight wheels.

Our dynamic coaching staff will be there to provide a safe and exhilarating experience.
roller Boaster This event package is tailor-made for enjoying the fresh air in an intimate group setting.

Limited to 20 attendees, this package brings Skatemobile to your event location for 2 hours.

Our included staff for this package are: Safety Officer: trained to enforce 6 ft of distance, while keeping your event atmosphere light and enjoyable, Skating Assistant: a trained staff member who helps with skate gear-up and gear-down, making sure all attendees are comfortable and attended to quickly.
Skate Coach: your beloved “Cruise Director” can take whatever role you would like—either leading the group in socially distanced activities, giving guidance to new skaters, or an extra hand to the safety officer or skating assistant.

All you need to supply is the flat surface and some people eager to skate—we will bring the party tunes, the gear, and the fun vibes!

Interested in add-on features?

Your event liaison will be happy to explore all of our expanded event options with you post-booking.
world Glampions This event package is perfect for large parties—businesses, family reunions, block parties, school events, or community bonding.

World Glampions brings Skatemobile to your location for 4 hours for up to 100 attendees.

Our staff are trained to prioritize sanitation and safety: using the spacing of attendees in groups to allow for adequate time to sanitize gear and minimize interaction.

This package includes the same staff as the Roller Boaster package.
h s a l p s n U n o e g a y o v e d s u J y b o t o h P LET’S ROLL s l e x e P n o i e W y d n e W y b o t o h P Photo by Rodnae Productions on Pexels what is the Skatemobile?

We’ve outfitted a step van with 150+ pairs of roller skates, pads and helmets for use at community events, schools and private parties.

The goal is to take the healthful and empow- ering attributes of roller skating out to the Portland community.
This program is set up to be self-sustaining, hosting a balance of free community events benefiting Portland’s BIPOC and economically depressed communities, and paid events.

All Skatemobile events will include social distancing, mask wearing, a fresh air location, and a waiver created with guidance from Oregon Health Authority.

After events, all skates and gear will be sanitized using CDC approved sanitizing methods.
at Schools Once safe, we look forward to using Skatemobile to bring skating and derby to after school programs and class events.

We have partnered with Active Children Portland to pilot an on-site after school skating program and expect to grow from there.

Some school programming will be free or grant funded, but we also invite schools and PTAs to reach out about paid skate parties and classes.
Photo by Quinton Coetzee on Unsplash 19 Kate Coningford | Project 6 | Multi-Page Layout 20 Kate Coningford | Project 6 | Multi-Page Layout 7 Sedona, AZ— Sedona, AZ— Find Your Path Find Your PCC GD222 Nathan Savage In branding the city of Sedona, Arizona, the objective was to visually represent the intersection of ancient culture and modern spirituality.

The use of bold typography, colorful photography, and distinctive iconography invites visitors to find their path by centering, refreshing, and recharging.
21 Sedona is famous for the majestic red rock formations which surround the town, creating a gorgeous panorama of crimson buttes, spires, and mesas.

The top of the emblem is an S stylized to represent the rock formations.

Sedona is home to a number of vortexes, said to be places where the earth feels alive with energy.

Many travelers report feeling refreshed, centered, and uplifted after visiting a vortex.
The bottom of the emblem is a spiral, representing both the swirling energy of the vortexes and a path of self-exploration.

22 Kate Coningford | Project 7 | Branding Sedona Arizona F i n d Yo u r F i n d Yo u r F i n d Yo u r P a t h P a t h P a t h Sedona offers a unique Southwestern experience, combining stunning natural rock formations with Native American culture, rugged Wild West traditions, and modern spiritual practices to appeal to travelers on journeys of self-exploration and enlightenment.
23 Kate Coningford | Project 7 | Branding 24 Kate Coningford | Project 7 | Branding 25 26 Kate Coningford | Project 7 | Branding Process: Branding Sedona, AZ 27 I first visited Sedona on a family trip after graduating from high school.

Process:Branding Sedona, AZI first visited Sedona on a family trip after graduating from high school.

Research Before beginning to design Sedona's logo, I extensively researched the city, including its history, geography, flora & fauna, and current attractions.
28 Kate Coningford | Process | Research Word Lists I then developed word lists to explore themes based on Sedona's geography, culture, and the word “southwestern”.

29 Kate Coningford | Process | Word Lists Visual Research I created a Pinterest board using themes from my word lists, colors, and other city logos and branding.
30 Kate Coningford | Process | Mood Board Typeface Exploration I wanted to use a font that felt southwestern, but modernized as a sans serif instead of the traditional slab serif or western style type.

31 Kate Coningford | Process | Fonts Target Audience Definition Client’s Business What is the product?

Tourism in and around the city of Sedona, Arizona.

What kind of experience is offered by the product?


Sedona offers a unique Southwestern experience, combining stunning natural rock formations with ancient Native American culture, rugged Wild West traditions, and modern spiritual practices to appeal to those on journeys of self-exploration and enlightenment.

What is unique when compared to similar products?

The red rock formations surrounding the city are the main draw.

There are also prehistoric petroglyphs and cliff dwellings nearby.
Sedona is also said to be home to a number of energy vortexes, which many believe to have healing properties.

What are the benefits to the consumer?

If I was to describe the benefits of Sedona in one word, it would be “beauty”—the beauty of the red rock formations, ancient petroglyphs, native and southwestern art, spectacular sunrises and sunsets, and the healing energies of the vortexes.

Probable Audiences What 2 groups would be interested by the product?

1.

Art collectors 2.


Spiritual/New Age Which group is the better audience for the client?

The Spiritual/New Age consumers would be a better audience, because they would have more interest in a wider range of Sedona attractions, whereas art collectors may only be interested in the galleries.

What may be common demographics of this group?

1.

Upper middle class to upper class 2.

Age range is probably mid 30s to mid 60s 3.


This demographic is stereotypically thought to be mostly middle aged white women Audience Motivations Based on what you believe about the audience... What life goals has the audience already achieved?

1.

They have a college degree 2.

They are financially comfortable What does the audience want or feel they are missing?

They may feel they are missing a higher purpose.

They are searching for answers about themselves and the universe.
They are looking to improve themselves physically and mentally.

They may feel they need to break away from technology and reconnect to nature.

How might the above answers affect their lifestyle?

They would likely be health conscious, possibly vegetarian or vegan, yoga practitioners, into meditation and natural remedies.

They may be artists or art lovers.

They may dislike the fast-paced technology driven culture prevalent in our society.

What does the audience want to avoid?


Stress, artificial ingredients, bad vibes.

What does the audience value most?

Self-improvement What beliefs connect most with the audience?

1.

Self-improvement is a lifelong process 2.

Nature can help ground and heal you Brand Story Sedona stands at the intersection of ancient culture and modern spirituality, and offers natural beauty and the opportunity to center, refresh, and recharge.
32 Kate Coningford | Process | Target Audience Logo Development The themes I chose to move forward with were mainly based on nature and history: hummingbirds, agave plants, rock formations, petroglyphs, and sunsets.

33 Kate Coningford | Process | Logo Thumbnails Logo Concepts Sansita This combination logo is a representational agave plant in the style of southwestern textile patterns, with a playful yet modern sans serif typeface.
This concept combines Sedona's red rock formations with a spiral motif that can be found in nearby petroglyphs and traditional textile patterns.

The spiral can also represent the energy vortexes said to be common in Sedona, and a winding path such as a spiral labyrinth.

The lettering is bold but plain to represent both the weight of rock and simple, iconic petroglyph symbols.

Mabotim For this concept I wanted the S to represent a hummingbird but abstracted as much as possible.
The S and feathers could stand on their own as a lettermark.

The lettering suggests brushstrokes and a messy, creative feel.

34 Kate Coningford | Process | Logo Tight Thumbs SIGMAR Rough Vector Logos 35 Kate Coningford | Process | Logo Vector Tight Roughs Refining the Logo The moment I realized the top of the emblem could be an S shape.
36 Kate Coningford | Process | Logo Refinement The final logo design is an emblem—the top is a stylized letter S representing the striped red rocks, and the bottom is a rounded spiral shape representing vortexes, traditional iconography, and a path of self-exploration.

Visual Theme Research After the logo was fully developed, I did more research on patterns, colors, and icons in order to develop the visual theme that would be used throughout Sedona's branding.
37 Kate Coningford | Process | Visual Theme Research Visual Theme Elements I continued exploring spiral motifs, along with southwest textile patterns.

Texture was added by making bitmaps of sandstone photographs and layering them using blending modes.

38 Kate Coningford | Process | Visual Theme Exploration Color Inspiration 39 Kate Coningford | Process | Color Inspiration Final Colors The brand colors are sourced from the natural beauty of Sedona.
The two primary colors reference the red rock formations surrounding Sedona and the Arizona sky above them.
40 Kate Coningford | Process | Brand Colors Brand Typefaces & Type Elements F i n d Yo u r F i n d Yo u r F i n d Yo u r P a t h P a t h P a t h F i n d Yo u r F i n d Yo u r F i n d Yo u r P a t h P a t h P a t h 41 Kate Coningford | Process | Typography Branded Deliverables—Research & Exploration 42 Kate Coningford | Process | Branded Deliverables 43 Kate Coningford | Process | Branded Deliverables Interface Research & Exploration 44 Kate Coningford | Process | App Interface Index 4 1 Red ginger flower design based on painting by Natalie Kornicks Cubism, Dada, Ukiyo-e text from Wikipedia New York School text from Megg's History of Graphic Design, 6th Edition, Chapter 19 2 Secession Building photo by Jorge Royan Willow Tea Rooms photo from Glasgow Life Jugend magazine cover (public domain) from British Library Archives Darmstadt Wedding Tower photo by Immanuel Giel All original design and photography 3 5 Chandelier photo by Camille Brodard Ouija Board by Mirinesse Marigold Tarot Cards by Amrit Brar Overlook Hotel Lobby Render by Hansol Lee Day Girl in mask photo by JJ Jordan Memento Mori illustration by Paula Fagerberg 6 Brochure photography L-R: Quinton Coetzee, Chris Benson, Jus de Voyage, Wendy Wei, Rodnae Productions Rose City Rollers logo, Skatemobile logo, and text © Rose City Rollers 7 Red rocks photo by Brandon DesJarlais Emoji by &Walsh