Christine Natalia's Portfolio & Cv

46
HELLO! This is about my HARDWORK

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Transcript of Christine Natalia's Portfolio & Cv

Page 1: Christine Natalia's Portfolio & Cv

HELLO! This is about myHARDWORK

Page 2: Christine Natalia's Portfolio & Cv

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

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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.

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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.

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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.

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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.

Page 7: Christine Natalia's Portfolio & Cv

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.

Page 8: Christine Natalia's Portfolio & Cv

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.

Page 9: Christine Natalia's Portfolio & Cv

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.

Page 10: Christine Natalia's Portfolio & Cv

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

Page 11: Christine Natalia's Portfolio & Cv

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lobortis rhoncus.

EARTHENWAREAncient Pottery Pot

PORCELAINDININGWARE

POTTERYVESSELS

Polychrome Glazes Paint

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faucibus orci luctus et ultrices posuere cubilia Curae.

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consectetur faucibus sed, euismod nec ante. Vivamus quis

eros lorem. Cras consectetur enim ut tellus blandit sodales.

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consectetur adipiscing elit. Sed at

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primis in faucibus orci luctus et

ultrices posuere cubilia Curae.

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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.

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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.

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consectetur faucibus sed, euismod nec ante. Vivamus quis

eros lorem. Cras consectetur enim ut tellus blandit sodales.

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primis in faucibus orci luctus et

ultrices posuere cubilia Curae.

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sed, euismod nec ante. Vivamus quis

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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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posuere cubilia Curae.

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faucibus sed, euismod nec ante. Vivamus quis eros lorem. Cras

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dui lobortis rhoncus.

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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

Page 12: Christine Natalia's Portfolio & Cv

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.

Page 13: Christine Natalia's Portfolio & Cv

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.

Page 14: Christine Natalia's Portfolio & Cv

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.

Page 15: Christine Natalia's Portfolio & Cv

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.

Page 16: Christine Natalia's Portfolio & Cv

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.

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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

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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.

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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.

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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

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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.

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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.

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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.

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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

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Every child is an artist. The problem is how to remain an artist when you grow up— PABLO PICASSO

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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.

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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.

Page 28: Christine Natalia's Portfolio & Cv

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

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Behavioral design is all about feeling in control. Includes: usability, understanding, but also the feel.— DON NORMAN

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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

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Letterhead, envelope, and business card application of Toscana Italian Restaurant A detail image of Toscana Italian Restaurant’s letterhead (back side) application

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(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

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(top) Postcard Layout. (bottom) Gift Card. (clock-wise top) Table Menu. (clock-wise bottom) Wall Images, Menu Book.

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Exhibition Booth Design and Displays. (top-bottom) Displays of branding applicaton in details.

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Marketing without design is lifeless, and design without marketing is mute.— VON R. GLITSCHKA

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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.

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I don’t use too much graphic elements inside the layout to keep the space clean; focusing on the text and image.

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Design is so simple, that’s why it is so complicated.— PAUL RAND

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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.

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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.

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A new language, visual, or verbal, must be couched in a language that is already understood.— IVAN CHERMAYEFF

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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.

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(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

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Good design is all about making other designers feel like idiots because that idea wasn’t theirs.— FRANK CHIMERO

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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.

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Christine Natalia

PORTFOLIO