Portfolio - MorlanDesign

christopher morlan
graphic design
the most compelling stories are—as of yet— unwritten
contents
in troduc tion
_
de sig n alway s come s d ow n to story t el l ing.
It can be a complex, nuanced novel full of secrets and surprises; terse,
emblematic instructions for saving a life; a sweet one-note emotion told
in the time it takes to turn a page.
Every project has a core message to convey, whether it’s tawdry
and trite or riddled with convoluted technical jargon. As designers,
we can either hone and reveal meaning or occlude and blunt its impact.
Our tools strike the same notes that any storyteller’s does: pacing, tone,
clarity, conflict, resolution, omission and character. With a mindful
01
hermès stay
02
salus skin care
03
common city names
04
cardinal cab
05
cambia confernece
06
caterpillar domus
07
discovery channel
08
birkenstock rime
09
a l l t o m o r r o w ’s p a r t i e s
10
genentech
choice of color or image we can reach our audience’s emotions and
intellect in equal measure, provided we’ve taken the time to understand
how they’re listening.
Design is one of the greatest tools for telling tales; the genres
are limited only by our imaginations and willingness to understand our
clientele. Certainly, this may be an overblown way to view design. But
it’s my favorite story—I tend to like them big—so I’m sticking with it.
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Print 2
Jamie Calderon
Services Brochure
HermÈs
Trade Gothic
naughty
k now i ng
knots
project.index
_
01
When Hermès wanted to tell a tale of old favorites finding new
and unexpected uses, a story of the everyday as seen through
a new filter was hatched.
Indulgence on the scale of a Hermès gift is patently naughty. Only
a select few other brands in the world are as synonymous with such
luxurious excess. Aware that more than a few of their creations might
be finding use beyond their original designs, Hermès has embraced
the risqué and boldly stated that it is time for their classic collection
to come out of the closet and meet their new line: Stay. Buckles,
gromets and vinyl, indeed.
While fanciful for a brand of Hermès’ stature, the themes of
this piece are timeless: juxtaposition of the familiar, revelation of the
hidden, and subcultural titillation. Common phrases are cast in a new
light by their associations with carefully selected imagery. The images
themselves run the gamut from the ordinary leather belt to the daring
zippered vinyl mask.
To get the hands-on message across, the cover is wrapped
in PVC vinyl “restraint” tape, which has the wonderful property of
sticking only to itself. A single red letter peeks out, daring the viewer
to find out what is hidden just beneath the surface. Once unwrapped,
the mailer has provided all the tools needed to play along at home: a
lengthy strip of bondage tape and a full series of step-by-step instructions detailing myriad ways in which to use it.
01.2 h e r m è s s t a y _promotional
mailer
01.3 h e r m è s s t a y _promotional
mailer
01.4 hermès
_promotional mailer
instructor_
class_
r e ta i l pa c k a g i n g
t h o m a s m c n a u lt y
pa c k a g e d e s i g n 3
s w i ss a r m y
h e lv e t i c a n e u e
genre_
client_
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skincare
a new edge in
project.index
_
02
In a daring maneuver, Swiss Army marches into the skincare
space with a unisex line tailor made to breed envy in his-andhers restrooms the world over.
The global Victorinox / Swiss Army brand has expanded to great
heights over the years, manufacturing and marketing a wide range
of products including luggage, apparel, watches, and of course,
cutlery. All of the products produced by Victorinox share the
same highly-refined design and engineering features that have
become synonymous with the Swiss Army brand.
Planned as a natural extension to their success in the travel
market, the Salus (Latin for safety, health and wellness) line of
skincare products was designed to appeal equally to men and
women on the go. From the pearlescent grey finish of the bottles
to their utilitarian shapes, every aspect of the packaging was
tuned to reinforce a sense of refined design with a modern and
dependable air.
4"-64
02.2 salus skin care
_bottle development
heavy frosted plexi
radiant glow from light in base
02.3 [ initial sketch ]
recessed lighted alcoves for products
salus skin care
15° tilt (hand-moulded styrene base)
_display development
02.4 salus skin care
_point of purchase display
_subject
unoriginal
americana
plot ting
project.index
_
03
Harrowing tales of how a certain lack of originality propagates in
the ultimate American place-marker: city names. An intrepid band
of researchers has combed every longitude from coast to coast and
uncovered the repetitive secrets of city naming.
Many city names are duplicated throughout the United States-everyone knows
that-but which are the most common and what are their connections? Were they
founded at similar times? Are they coast-specific? Are their populations or locations
within a state similar? Do they have common elevations?
The search for answers to these questions formed the basis for this project on
“urban archaeology”. Its goal was to collect as much information as possible about a
set group of common city names and map it while trying to figure out which facts, if
any, were the most interesting.
_
i n f o r m at i o n d e s i g n
susan verba
urban archaeology
class
j.clark & d.raphael
instructor_
genre_
i n t e r s tat e
cohorts_
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^bar
g r a p h _physical
structure relates comparative data
03.2 c o m m o n c i t y n a m e s _research
series
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identity 2
t h o m a s m c n a u lt y
c o r p o r at e i d e n t i t y
c a r d i n a l c a bs
v e n d e t t a & Asp i r i n
cab-solutley
stylicious
project.index
_
04
As the new player on the block targeting San Francisco’s
glitterati, Cardinal Cab needed a hybrid look that stood out
without being too chichi.
From the company lobby to the plush standards manual, it’s clear that
Cardinal Cab isn’t your average run of the mill car service. With a
solid base mark and non-traditional type treatments, Cardinal Cab
sets itself up to stand apart from the rest.. Dependable service with a
stylish flair is the prime directive for this company. They’ll make their
mark by putting polish on a traditionally lower-end service.
Even the meaning of the word “cardinal” is layered here:
cardinal directions, opulent cardinal red, and of course the speedy,
flashy bird. All of these meanings find their way into the identity
system. Plush fabric covers the standards manual and slip case, while
the company’s tag line touches on points of the compass. This is truly
a modern identity that comes alive in context with all the elements
that combine to create a proprietary look and feel.
'''$##'&
%&!#"22
04.2 cardinal cabs
_stationery system
04.3 cardinal cabs
_stationery system
04.4 cardinal cabs
_standards manual
_
infor med perspectiv e
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print 2
m e g u m i k i ya m a
c o n f e r e n c e c o l l at e r a l
c.a.m.b.i.a
eureka
cropping up
fear keeps
project.index
_
For more than a decade, cambia has been creating innovative new tools
and technologies to foster a spirit of collaboration in the biological sci-
ences. Their institutional ethos is built around an awareness of the need
for local commitment to achieving lasting solutions in agriculture, food
safety, and environmental sustainability.
Rather than presenting biotechnology as a panacea, cambia
hopes to foster the view that it is a technology to be explored and
developed. It doesn’t even have to be used for food, though that is often
at the crux of people’s fears. To entice people with pre-formed opinions,
the campaign and conference play on these fears in a neutral manner.
The imagery and color palette aim for the sweet spot of agri-
cultural science: a respect and symbiosis for the land coupled with
authoritative knowledge, insight and purpose. The “fear messages” of the
advertising campaign adopt a mass-market advertising mode, capitalizing on the mistrust many people already feel for large corporations.
In contrast, the handouts providing facts and information use a clean,
classic body face with a utilitarian, unthreatening headline face.
05
A maelstrom of fear, uncertainty and doubt swirls around the
biotechnology industry. With the BioF.U.D. Conference, CAMBIA
hopes to dispel the litany of misinformation growing in the fertile
fields of the public’s imagination.
05.2 c a m b i a c o n f e r e n c e _poster
& postcard series
05.3 c a m b i a c o n f e r e n c e _mailer
booklet
05.4 c a m b i a c o n f e r e n c e _conference
handout
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c a m b i a c o n f e r e n c e _biotech
timeline
class_
t h o m a s m c n a u lt y
pa c k a g e d e s i g n 3
h o m e a pp l i a n c e p a c k a g i n g
c at e r p i l l a r
UNIVER S
instructor_
genre_
client_
colophon_
domestic
c at er pi ll a r goe s
project.index
_
As more and more men enter the playground of the kitchen, we have
to ask: “What kinds of toys do grown-up boys like?” Ones that reflect
their current level of achievement, while still providing that tingle of
excitement from yesteryear. But not everyone can afford an eight-ton
earthmover in blazing Tonka yellow. Enter Caterpillar and their new
Domus brand of home appliances.
Heavy, industrial materials go into both the appliances themselves
as well as the retail packaging. A die-cut corrugated cardboard sheath
offers plenty of tactile allure, even before adding the weathered metal
name plate and glossy sticker inset. Unabashedly male-targeted, Domus
appliances are certain to be noticed on the shelf and on the countertop.
06
Rugged materials and industrial looks build new in-roads for
Caterpillar in the high-end home appliance market.
06.2 c a t e r p i l l a r d o m u s _appliance
packagine
class_
instructor_
genre_
client_
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graphic design 3
p e d r o f r e i ta s & a p r i l g r e i m a n
5 s e c o n d s tat i o n i d
t h e d i sc o v e r y c h a n n e l
UNIVER S
mov i ng ta rge t:
discovery
project.index
_
The Discovery Channel has an amazingly diverse audience. Jostling
for time slots are programs about extreme hotrods, world exploration,
home makeovers and forensic science. A coherent ID package for such
a schizophrenic station is a serious challenge, but the split personality
turns out to be the heart of the answer.
Tapping into the station’s lineup set the stage for an engaging,
dramatic solution. The spots begin with program names scrolling past,
and then falling back letter by letter to build up the Discovery Channel
logo. If a show title has a “D” in it, that letter (or series of letters) falls
first, followed by any “I”s. It all happens quickly, but the meaning of
what’s occurring registers. With the repetition of bumpers, building in
several levels of read is important to keep the audience from tuning out
the seventh time the spot airs.
07
When it’s time to distill The Discovery Channel down to five
seconds of light and sound, the very DNA of the channel provides
a dramatic typographic solution.
_v o i c e
class_
instructor_
genre_
client_
colophon_
identity 2
t h o m a s m c n u lt y
r e ta i l i d e n t i t y
birkenstock
v e n d e t ta
birkenstock
her alding in
jeans
project.index
_
08
With a history of innovation to trumpet, Birkenstock strides further into
the fashion world with a new line of jeans and streetwear.
Always known for comfort and unusual style, Birkenstock is ripe for expanding
further into the clothing realm. Enter its new sub-brand: Rime. With the dual
read of rhyme and a thin, cool covering of frost, the new brand marries a street
sensibility with Birkenstock’s European heritage. Classic typography coexists with
distressed textures, helping to reinforce the old-world vogue of traditional heraldry.
Subtle ornamentation inspired by the early era of printers’ marks provides cues and
context for the brand system to convey its modern-meets-traditional message.
Striking a balance between branding and its target audience, the applications
focus on visual appeal rather than shoe-horning the logo in front of as many eyes as
possible. The use of a sub-brand without clear ties to Birkenstock ensures that the
line will be evaluated on its merits and escape any possible stereotyping associated
with the existing brand. As Rime gains more acceptance and credibility with the
public, it will lend those same attributes to the core Birkenstock brand.
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08.2 b i r k e n s t o c k r i m e _retail
applications
class_
typography 3
book poster
jeremy stout
genre_
trade gothic
G . P. P u t n a m ’ s s o n s
instructor_
client_
colophon_
suspension
titles in
project.index
_
09
Hanging by a thread is exactly where William Gibson wants you when
reading All Tomorrow’s Parties. Scattered and loose at the outset, the
plot eventually converges on San Francisco’s Bay Bridge on the eve of
worldwide cataclysmic change.
This project came together out of an experimental typography assignment. After
exhaustive research in building a visual vocabulary, the concept for an organicallydesigned poster took shape. In a tale of a future that could be, the Bay Bridge has
been turned into a decaying warren inhabited by humanity’s forgotten. Photos of
the actual Bay Bridge—as it exists today—provide the geometries of the poster,
simulatneously technical and distressed. Type was printed on acetate and suspended
from various gauges of thread, giving a natural-but-surreal appearance that would
have been disingenuous by any other method.
about the book: Concluding the stunning story begun in Virtual Light and
Idoru, All Tomorrow’s Parties charts the path of a fast-approaching technological
singularity in time that will forever alter the known world. Whether for good or for
ill remains to be seen as Colin Laney, sensitive to patterns of information like no
one else on earth, obliquely guides Rydell, Chevette and the digital goddess Idoru
towards San Francisco and the temporal nodal point beyond which history will be
irrevocably altered.
This is Gibson’s most human and compelling novel, cutting the fine edge of
truth and speculation gracefully beneath his razored prose.
09.2 a l l t o m o r r o w ’ s p a r t i e s _poster
process
class_
instructor_
genre_
client_
colophon_
print 3
jennifer olson
c o r p o r at e p r i n t s y s t e m
genentech
c l a r e n d o n & DIN
boundary
reason
clear view to the
of
project.index
_
10
Always the forerunner, Genentech pushes the limits for its new corporate print
system. Delving deeply into the concept of boundaries and how they define
so many aspects of our lives, this series reaffirms Genentech’s position as the
vanguard of possibility.
“Boundaries are a defining component of human life. We are surrounded and delineated by
them, shaped from our first moments by the stark realities of the physical world and guided
by the ideals passed on by the myriad forces that nurture and instruct.
Not all boundaries are chosen. Many are predetermined by our biological parents, from
our stature and coloring to our resistance to common ailments.
Limitless as the human condition are the ways in which we perceive the edges and
borders of our world. So many of these thresholds are ingrained in our very natures that we
have forgotten to question whether they’re a true limit or merely a shortcoming of imagination and exploration.”
With this core message, the print system reinterprets the idea of boundaries in several
ways. Textural messages continually shape the viewers perception of the imagery, while the
use of various line weights and shapes reinforce the idea that boundaries take a myriad of
forms and cut across experiences both common and mundane. The imagery and color palette
take an intentional stance counter to the prevailing qualities used by other biotechnology
companies in their print collateral while still striving for a functional, emotive piece. Gone is
the “here’s the patient that our medicine serves” paradigm which-while certainly an effective
message-has been adopted by nearly every company in the field.
07.2 g e n e n t e c h _ timeline
10.2 g e n e n t e c h _box
construction & identity
10.3 g e n e n t e c h _corporate
print system
10.4 g e n e n t e c h _corporate
print system
10.5 g e n e n t e c h _corporate
print system
san francisco footrace_ b a y
id .3
id .2 id .4 c i t y b a n k i n v i s • i d _identity
cambia biof.u.d
protection ser vice
. _biotechnolog y conference
to breakers
id .1
cab
taxi ser vice_ c a r d i n a l
entertainment company_ p h a s e
retail jeans brand_ b i r k e n s t o c k
rime
media
id .7
id .6 id .8 h e r m è s s t a y _bondage
g e n e n t e c h _biotechnolog y
f irm
line
id .5
pharmaceutical corporation_ p f i z e r id .9
id .11
id .10 id .12 s w i s s a r m y s a l u s _unisex
olc design
_design studio
domus
retail appliance brand_ c a t e r p i l l a r
skin care line
world music monthly_ r h y t h m
magazine
personalized music ser vice_ e z c d . c o m id .16
brooklyn arts
a r t h o u s e m a n a g e m e n t _stylist
id .15
id .14 agency
m e d i a g r o u p _arts
&
id .13
organization
career
01
h e r m è s s t a y _christopher
morlan
02
salus skin care
03
c o m m o n c i t y n a m e s _doug
04
cardinal cab
05
cambia confernece
06
c a t e r p i l l a r d o m u s _christopher
08
birkenstock rime
09
a l l t o m o r r o w s p a r t i e s _christopher
10
g e n e n t e c h _christopher
summar y
_
_
Twelve years of print/digital design, art and creative
direction for projects spanning the gamut of a monthly
_rick levy/plotnet & christopher morlan
music magazine to industrial and e-commerce web
seawell & christopher morlan
sites. The coordination, conceptualization and
christopher morlan
execution of point-of-sale packaging, corporate and
_christopher morlan
product identity, business-to-business and business-
_christopher morlan
graphic design
to-consumer marketing materials, print and digital
advertisements, photo shoots, press checks, training
morlan
and guidance of junior designers, and direct client
_christopher morlan
presentation and consultation are par for the course.
w w w. m o r l a n d e s i g n . c o m
121 embarcadero west #2126
219.9110
cmorlan@gmail.com
650
photogr aph y
oakland, ca 94607
morlan
morlan
experience
_
f r e e l a n c e d e s i g n & a r t d i r e c t i o n _ new york, ny & san f rancisco, ca | 1994 - present
Created logos, branding strategies, marketing collateral and web sites for clients such as NASDAQ, Bay To
Breakers, Square2 Design, Philippe Becker Design, Volvo, Barnes & Noble Booksellers, BMG/Blue Note,
EZCD.com, MelCel/Earthquake, Business 2.0 Magazine, Revolution Magazine, Imagine Media, FLOAT
nyc and The School for Film & Television.
i n s t r u c t o r , a c a d e m y o f a r t _ san f rancisco, ca | september 2006 – present
> Teach a class on advanced print design, focusing on publications and multi-use campaign materials.
c r e a t i v e d i r e c t o r , c r e s c e n t j e w e l e r s _ alameda, ca | june 2005 – present
ack now ledge men ts
_
70-year old company f rom its position as a lower-tier value jeweler to an affordable modern luxury retailer.
These played out across seasonal window campaigns, catalogs, brochures, mailers, interior and exterior
I’ve waffled on the professionalism of including expressions of thanks
signage, web, packaging and radio.
and admiration in a portfolio. But, even as a professional designer,
> Built creative department f rom scratch—f rom equipment and floorplans to budgets, staff, production
these people have a place in my life. And thus they have a place in my
processes and cross-departmental initiatives. Recruited and maintained an integrated and collaborative
book. So skip this bit if you want to maintain the illusion of this book
creative team, including designers for print and web, copywriters and production managers.
being anything other than a collaborative process. Sure, I pushed the
> Helped drive month-over-month new customer growth averaging 20% in new target market.
mouse. But these people pushed my heart and spirit. For that, there
a r t d i r e c t o r , m a x i m u m p c m a g a z i n e _ brisbane, ca | june 2001 – november 2001
Jhana, to whom I am more grateful than I shall ever possibly be able
> Directed a team of 2 designers in the monthly production of this mass market consumer magazine.
> Booked photographers, illustrators, designers and other production staff on a regular basis.
> Reduced design operating expenditures by 82% without sacrificing existing quality standards.
to describe. Dad, for your unwavering support and encouragement;
couldn’t have done it without you. Mom and John, for the single
malts and the ability to laugh at myself. Janet, Buzz and Pattie for
making a little extra room. Jeremy, for always making time.
a r t d i r e c t o r , o l c d e s i g n n y c _ new york, ny | october 1994 – november 2000
Lauren, for tales told and long-term stock dividends. Jenny, for red
> Involved with design solutions for every client f rom concept to execution; assembled and managed teams of
fuzz when it was needed most. Tony, for Shields and boomsticks.
in-house and f reelance talent. Directed the training and development of new designers and staff members.
Amanda, for checking on me.
> Directed the monthly production and design of rhythm Magazine, a four-color periodical following the
music industry. Handled all additional collateral, including direct mail and booth design for trade shows.
My instructors, who have given far more than they received: Carolina
de Bartolo, Coco Qui, Susan Verba, Jeremy Stout, Jaime Calderon.
And especially Tom McNulty, who teaches more about professionalism and integrity in a single day than many people learn in a lifetime.
Ultimately, I must thank Mary Scott for unwavering belief and
education
_
The Academy of Art University | bfa graphic design, summa cum laude | san francisco 2001-2005
The School for Film & Television | new york city 1994-1996
The University of Minnesota | minneapolis 1993-1994
encouragement. Her keen eye, compassion, and dedication are the
very heart of the Academy’s Graphic Design department.
creo modus exemplar_
_ strategic. driven. infectious. unconventional. twisty.
shall be thanks given!
five words to describe me
> Served as creative lead on all branding initiatives, including a global rebranding initiative to transition the
650-219-9110 | cmorlan@gmail.com