jeanne lambert • design portfolio

COMMUNITIES
JEANNE LAMBERT • DESIGN PORTFOLIO
JEANNE LAMBERT
Design Portfolio
jeannewish@gmail.com
512.402.5291
Books & Editorial
Scan Book........................................................... 4-5
Touch Book......................................................... 6-7
King Text/Image Studies Book: Layout 1.......... 8-9
King Text/Image Studies Book: Layout 2....... 10-11
Texas Folklife Exhibit Catalogue..................... 12-13
Seeing Through Book Object............................. 14-15
Typography Hybrid......................................... 16-17
Collateral & Cards
Holiday Cards.................................................. 18-19
Flying Books Invite......................................... 20-21
Calendar.......................................................... 22-23
Postcard for Edible Communities................... 24-25
Brochure for Edible Communities.................. 26-27
Exhibit Design
Courthouse Gallery Graphics Panels.............. 28-29
MFA Exhibition............................................. 29-30
Jeanne Lambert: Design Portfolio
"SCAN" BOOK
This book contains scanned images of larger than life close-ups of consumer products. The text includes sentence
fragments from the fine print on the product labels. The images in the top part of this book flip separately from the
bottom text. In order to arrive at this new project, I needed a new question. How could the book also be participatory?
Before I started, I set the criteria that I would make a participatory book which involved the use of scale. The idea for
the book began as I was looking at the label on a toothpaste container, laughing at the new meaning created by putting
the words out of context. I started collecting common objects and sentence fragments from product labels, scanning the
products, and pairing the scanned images with text fragments. The viewer can flip the top and bottom halves of the book
separately, choosing which images and sentences to match up.
Date: Spring 2009, Revised Spring 2010
Medium: Adobe InDesign & Photoshop, Scanning
Client/Course: Critique Studio II, Self-generated Project
Size: 10.5" x 12"
5
Jeanne Lambert: Design Portfolio
"TOUCH" BOOK
I set up the criteria that I would make a book that incorporated texture and involved viewer participation. Defining the
overlaps between repetition, texture, pattern and participation became a research focus. I found that texture connected back
to my original objective of making a participatory book. In this final piece, I repeated patterns of various paper weights
and textures to draw attention to the often disregarded physical pages of the book. Sewn signature binding reiterates the
pre-existing pattern of pages within a traditional book structure. I created the book in the conventional size and weight of
a small paper-back, so upon opening the cover, the reader is even more surprised to discover blank pages and the invitation
to explore the book with their fingers.
Date: Spring 2010
Medium: Paper, Thread, Letterpress
Client/Course: Graduate Projects, Self-generated Project
Size: 5.75" x 6.50"
7
Jeanne Lambert: Design Portfolio
"KING" TEXT/IMAGE STUDIES BOOK: LAYOUT 1
In an Afghan story, a
This book compiles different layout tests of the same story. I did not know what content I
would use when I began. As I was searching, my yoga teacher read aloud an untitled Afghan
parable and I decided to use this story because of its universal nature. I wanted to work with
someone else’s text before I returned to my own content. Spending time working with just a
letter, then a word, then the whole passage in multiple versions allowed me to focus on the
relationship between image and text. This story tells the tale of a haughty, dictatorial king.
One day, this king went hunting and he followed a gazelle far into the desert until he was lost
and he lost the gazelle. By the time he returned to the kingdom many days later, dirty and
poor looking, the kingdom had replaced him with a new king. The previous king now had to
work like anyone else and eventually he worked his way back to being king, this time with
a new, humbled perspective accompanied by compassionate leadership. My layout studies
played with the gradual transformation and appearance of word and image — relating to the
theme of transformation taking place in the text. In this solution, each page shows a little
more of the image, until, on the last page, the entire image comes into focus. I printed and
bound six different layout solutions into one book.
Date: Fall 2008 & Spring 2009
Medium: Adobe InDesign & Photoshop, Digital Camera
Client/Course: Critique Studio II, Self-generated Project
Size: 8.5" x 11"
9
Jeanne Lambert: Design Portfolio
"KING" TEXT/IMAGE STUDIES BOOK: LAYOUT 2
In this solution, each page shows an image that grows less pixilated as
the reader turns the pages. On the last page, the entire image comes
into focus. This solution exists, along with five others, in one book
all telling the same story of transformation in different text/image
iterations combining subvertive, illustrative and sequential methods.
Date: Fall 2008 & Spring 2009
Medium: Adobe InDesign & Photoshop, Digital Camera
Client/Course: Critique Studio II, Self-generated Project
Size: 8.5" x 11"
11
Jeanne Lambert: Design Portfolio
EXHIBIT CATALOGUE FOR TEXAS FOLKLIFE
I designed a twenty-page exhibition catalogue documenting the life and work of Mexican American
artist Role Flores, for Texas Folkife, Austin, Texas. I incorporated some of my photographs and I
worked with the director at Texas Folklife to choose and edit content. Working on the cotton farm
and playing music were two recurring motifs in the artist's work and these subjects also inspired my
design. I scanned cotton and used that texture in the historical section of the catalogue. The cover
design is reminiscent of an accordion, an instrument the artist frequently painted.
Date: Spring 2008
Medium: Adobe InDesign & Photoshop
Client/Course: Texas Folklife
Size: 8.5" x 8.5"
13
Jeanne Lambert: Design Portfolio
"SEEING THROUGH" BOOK OBJECT
This booklet is the culmination of generating over 100 images
using twenty zip ties and one piece of metal hardware. I made
marks, prints, photographs, tracings and rubbings. Here is a
compilation of the final images produced with a camera lens.
I became intrigued by photographing the objects through
filters such as water, salt, tracing paper over camera lens, and
camera shake. These photographs represent a shift in thought
from known to new ways of seeing — from named object to
abstract form. Together, the photos form a new object.
Date: Fall 2007
Medium: Digital Camera, Adobe Photoshop
Client/Course: Critique Studio I Assignment
Size: 4" x 6"
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Jeanne Lambert: Design Portfolio
&
&
TYPOGRAPHY HYBRID
This typography hybrid resulted from an assignment to select two pages of work from two very different
book designers that I greatly admire. After researching the two designers, the first part of the assignment
was to duplicate as closely as possible the two original works chosen. The second part of the assignment
required the alteration and merging of the two designs into a new piece. The first original piece I
duplicated as closely as possible was a page from Bruce Roger's book Peter Piper's Practical Principles of
Plain and Perfect Pronunciation from 1936. And the second piece I duplicated was a piece from Ikko
Tanaka's self-titled book Ikko Tanaka: Graphic Master called Water from 1997. The hybrid assignment
taught me that no design stands alone in history, but, rather, has resulted from a mix of influences
combined with the unique style and vision of the new designer.
& now comes Ambling Ampers& as tailpiece gr&.
No letter? Ah!
But still so fine & d&y, h&some, bl&,
&c.,
That if my h& had at comm& an alphabetter
’Alphasgood,
I’d print a b&box full of Haight’s B&Books
In loving mood.
Though Einstein’s fame is f& through all the l&s
For relativity,
It’s reletively one-stone less than &’s
For conjuctivity.
& though we’d pl& to cut this caper, y’underst&,
On made-by-h& paper,
Amalgamating Ampers& dem&s this BR&
Of Ampers&paper.
&
&
Date: December 2008
Medium: Adobe InDesign & Illustrator
Client/Course: Independent Study in Typography
Size: Letter-size paper
17
Jeanne Lambert: Design Portfolio
HOLIDAY CARDS
These are two Holiday/Christmas cards, among a variety of others, that I have designed. These
designs developed out of my daily practice series of manipulating common objects to discover
what else they could become. When folded in the center, the right-hand side of the layout is the
card's front and the left hand side becomes the card's backside. Familiar objects like apples and
okra or the spine of a book transform into snow flakes and pine trees.
Jeanne * * * Holidays 2010
Jeanne * * * Holidays 2009
Date: December 2009 & 2010
Medium: Adobe InDesign, Photoshop & Scanner
Client/Course: Independent Project
Size: 5” x 7”
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Jeanne Lambert: Design Portfolio
FLYING BOOKS INVITE
I designed this invite for a hypothetical book festival. I conceptualized and created the digital
photomontage of flying books. This photomontage is part of my daily practice series, which
involved taking any object that caught my attention and visually manipulating it to create a new
image. The idea for reinterpreting common objects through image-making came about from
looking at a green bottle reflecting light on my journal. The ordinary bottle became something
entirely different when I looked at it as light and color. I thought: I can do something new with
any object... anything... safety pins, matches, sunflower seeds... What else can they become?
Second annual book festival to celebrate readers,
writers, and makers of books
Schedule available for download at www.criterion.com
August 28th, 2009
12:00 - 8:00 PM
Invitation design and photography by Jeanne Lambert
The Criterion Theater
Cottage Street
Downtown Bar Harbor, Maine
Date: Fall 2009
Medium: Adobe InDesign& Photoshop, Scanner
Client/Course: Independent Study at UT Austin
Size: 5” x 7”
21
Jeanne Lambert: Design Portfolio
CALENDAR FOR RAMONA SAKIESTEWA
I designed a 2011 calendar for Native American artist, Ramona Sakiestewa. I worked with Ramona to select
potential pieces of artwork for the calendar, then I coordinated pieces to represent certain months. I cropped parts
of the chosen artwork to go with the accompanying months, for example cropping a painting with fish in it to
accompany the Pisces month of March. I sent 500 calendars to print and helped Ramona package and mail the
calendars to friends, clients and potential clients as a new year's gift and promotional piece.
APRIL 2011
S
3
10
17
24
M T
4
11
18
25
5
12
19
26
W
6
13
20
27
T
F
S
7
14
21
28
1
8
15
22
29
2
9
16
23
30
MAY 2011
ramonasakiestewa.com 505.982.8282
S
S
M T
W
T
F
1
8
15
22
2
9
16
23
30
4
11
18
25
5
12
19
26
6 7
13 14
20 21
27
3
10
17
24
31
Date: November 2010
Medium: Adobe InDesign & Photoshop
Client/Course: Ramona Sakiestewa
Size: 4.5" x 5.25"
ramonasakiestewa.com 505.982.8282
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Jeanne Lambert: Design Portfolio
edible COMMUNITIES
POSTCARD FOR EDIBLE COMMUNITIES
During my internship with Edible Communities Publications, I created four promotional, seasonal postcards (with
recipes on the backside). Shown here is the front of the Winter postcard. I continue to enjoy organizing photographs in
arrangements that encourage viewers to see images in new ways.
Date: Summer 2009
Medium: Adobe InDesign & Photoshop
Client/Course: Edible Communities, Summer Internship
Size: 6” x 11”
25
Inside: A list of
edible Communities
Publications and
location map
Jeanne Lambert: Design Portfolio
To table
From Farm
edible COMMUNITIES
Why buy l cal f
1. Local food looks and tastes better.
Crops are picked at their peak ripeness and
are usually sold within 24 hours of harvesting.
2. Local produce is better for you.
Locally-grown food purchased soon after
harvest is more likely to retain its nutrients.
369 Montezuma Avenue, Suite 577
Santa Fe, New Mexico
87501
USA
www.ediblecommunities.com
d?
8. Local food is an investment in our future.
When you buy locally-grown food, you’re
helping to preserve the strength and character
of your home and your children’s home for
generations to come.
3. Local food preserves genetic diversity.
Food is grown for flavor - not for how well it can
be transported or how long it can sit on a shelf.
4. Local food supports local families.
Buying local means that you are supporting a
community farm, a community way of life.
5. Local food builds community.
Buying from a local farmer means that
you’re engaging in the time-honored connection between the grower and the consumer. Getting to know your growers helps
you know more about the place you live.
9. Local food is safer.
Local farmers aren’t anonymous. With all the issues
related to food safety, there’s
an assurance that comes
from knowing the source.
BROCHURE FOR EDIBLE COMMUNITIES
This is the exterior of a brochure I designed for Edible Communities Publications. When folded, the right-hand side
formed the cover and the left-hand side formed the backside complete with postal information. The brochure was meant
as an “Eat Local” promotional piece and it featured a 12" x 12" fold-out geographic location map on the inside depicting
over 60 Edible Communities Publications around the world. I had fun scanning blueberries and creating a playful design
for a topic that can sometimes take a didactic slant.
10. Agriculture is part
of our heritage.
Buying local reconnects
us with our food supply
and reacquaints us with
agriculture’s place in
creating the cultural and
historic landscape that
defines this land.
6. Local food preserves open space.
When you buy local, you are being
proactive about preserving the rural
landscape of our planet.
OPEN HERE
for a list of edible Communities publications and location map.
Date: Summer 2009
Medium: Adobe InDesign & Photoshop
Client/Course: Edible Communities, Summer Internship
Size: 12" x 12"
7. Local food benefits the environment and wildlife
A well-managed family farm respects fertile soil and
clean water. Fields, pastures, woods, and ponds help
support diverse wildlife.
27
Jeanne Lambert: Design Portfolio
COURTHOUSE GALLERY GRAPHICS PANELS
I researched the history of an old courthouse (turned into a gallery),
interviewed historians, developed a timeline and wrote the story from the
courthouse's perspective — in first-person. I designed the graphic layout and
helped to install the printed panels during my internship with KMW Design
& Courthouse Gallery in Maine. I was interested in creating an elegant,
clean design to go with the impressive and newly refurbished courthouse
architecture. I also intended to tell the story in a way people normally would
not think about — from the point of view of the building.
Date: Summer 2006
Medium: Quark Express
Client/Course: Internship at KMW Design & Courthouse Gallery
Size: 22" x 44", 22" x 44", 22" x 48", 22" x 51" and 22" x 40" Panels
29
Jeanne Lambert: Design Portfolio
MFA EXHIBITION
I designed my Master of Fine Arts in Design exhibition around my thesis, Magic in the Everyday: Reframing the Ordinary.
Each of the five hand-made books accompanied three to eight poster-size pages selected from within each book. As I
designed the layout of images on the wall, physical books and text panels, I thought of the design as the pages of a largescale book with smaller books within it. I designed the exhibit and the books for viewers to handle and interact with. I
did not want a typical display of books behind glass. Each book had a description "placeholder" hidden underneath of it
on the shelf, which could be discovered by the audience. All of the description "placeholders," along with the works they
described, and their corresponding wall titles, had a matching color scheme to help viewers distinguish one book-project
from the next. A vitrine of common objects stood at the start of the exhibit and visitors could see which common objects,
from earplugs to blue food coloring to netflix DVDs, I had actually transformed in the nearby images.
Date: Spring 2010
Medium: Adobe InDesign & Photoshop, Hand-printed & Bound Books, Professionally Mounted Digital Images
Client/Course: MFA Exhibition
Size: 20’ x 12’ x 4’ Exhibition Space
31
T H A N K
Y O U,
J E A N N E