Resume Time!

For an assignment in the spirit of preparing for internships, we were asked to create a resume and advised to add in a personal statement. Here is my finished resume.



I was heavily inspired by resumés that included a grid and divided info into boxes. This was an interesting challenge in organizing a large amount of information on such a limited space. The typefaces I used are Proxima Nova (a current favourite) and Adobe Caslon (a favourite pairing with Proxima Nova). I decided to emphasize the “Experience” portion of my resumé, along with the “About Me” portion; these two seemed more important and interesting to me from the employer’s point of view. I had used a similar style and colour scheme in a recent Information Design project and when I asked for feedback from a classmate, he said “This looks like…you”. When I thought about it, I found that the style reflected a lot about who I was as a designer… kind of quirky, and pretty far off from the typical pretentious hipster type of design. I hand lettered my name in the top, because I had mentioned my lettering capabilities, and I somehow wanted to include that aspect in my resume to make it more unique. If I were to revisit this another time, I would probably spend some time and tweak this part of my resume.

I have already been accepted for an internship at Hangar 18, so I didn’t design with this specific studio in mind. However, because I would like to gain more experience in design outside of school, I am trying to pursue another internship in the second half of this summer (St. Bernadine’s is at the top of my list). 


Leading and Line Length!








The Assignment:
Typeset 5 different pages for: a children’s book, a printed annual report, a magazine, a non-fiction book, and a university textbook.

My favourite 3 layouts were the ones I created for the university textbook, the non-fiction book and the printed annual report.

The layout below is designed to look like a page from a university textbook. I wanted to create a cleaner, simpler feel than the textbooks I remember studying from at school. I used larger paragraph spaces to differentiate between sections, allowing for easier studying and reading. Since we were not allowed to use images, I wanted to create interest by using coloured sidebar elements and lots of white space to allow the eye to rest in such a text-heavy book. I felt that this was successful after I realized I wanted my textbook to have a clean feel like this.

My second page is the layout I designed for a non-fiction novel. I had no idea what a “non-fiction novel” was, so I had to do quite a bit more research for this one. I ended up basing it strongly off of how the Bible is usually typeset in modern printings. I used a pretty conventional two-column grid that emphasized the academic nature of the text. I included footnotes at the bottom and moved the folio and chapter name to the top. I assumed that a publication of this nature would be extremely text heavy, so by basing my typesetting off of the Bible (an extremely text-heavy book) I feel that I’ve achieved a fairly readable page that wouldn’t exhaust the reader. 











My third layout is for the printed annual report. This page would ideally be part of the CEO’s message or something similar. I wanted to take some inspiration from magazine layout (see the pull quote) to make up for the lack of images. I tried to balance a large amount of text with lots of white space and a upbeat colour. The tab at the top would suggest the chapter or section of the annual report. I especially liked the balance of colour in this page.

The Insider’s Guide! (SPD Magazine Layouts)

For the 2014 Society of Publication Designers’ Student Design Awards (long name, I know), we were assigned to pick a category and design two spreads (including one opening spread). The category I picked was for a “CITY/REGIONAL MAGAZINE”, where I was given the headline “The Insider’s Guide: 10 places to eat, drink and hang out like a local in (name of city).”

For the purposes of photography, I chose to do my article on Vancouver. I didn’t want it to look like every other Vancouver Magazine Restaurant Awards spread, but instead I wanted to narrow it down to a specific aspect of Vancouver life. Below are some ideas I came up with (my scanner wasn’t big enough to fit my whole sketchbook, but the first column is exploring the idea of Food Trucks).


I narrowed it down to Cheap Eats and Food Trucks, but after some sketches, I realized I was basing my Food Truck sketches on spreads I have seen already about food trucks in other magazines. I figured I could do something more original with the cheap eats theme.


After consulting with my instructor about my thumbnails, we agreed that we liked the idea of a timeline or a clock-like chart that displayed the different locations based on whether you’d go there for breakfast, lunch, or dinner (morning, noon or night). The following are 5 sketches each of my opening spread and body spread.

I found myself struggling with the circular object in the middle of a grid, along with the surrounding labels for each portion of the circle. I knew I wanted to go for a more whimsical look (inspired by greasy spoon diners), rather than a sleek modern look. I made a moodboard that reflected this, and also included some layouts that utilized small text boxes instead of large body copy.


I then drove around Vancouver with my boyfriend, buying cheap food and photographing it for the spreads. I wanted my opening spread to look very neighbourhood diner-esque, so it is mainly photographic. I also used a napkin with a ballpoint pen to hand letter my title to drive home that greasy spoon restaurant theme. Overall, I think my spreads have potential, and with a little more time I think I could get to where I saw them initially in my head. I don’t think I fully resolved the issue of spacing using the grid while using the huge circular object in the centre, but I am looking forward to some feedback and suggestions from the class.



It’s a New Term! (The September Issue summary)

Anna Wintour is the Editor-In-Chief of VOGUE magazine, but is often called the director and producer of the fashion world itself. She is the final say in the most influential fashion magazine in the entire world. As the Editor-in-Chief, she has a huge impact on the overall look and feel of the publication. For example, when fur was thought to be out of style, Anna Wintour wore fur, and singlehandedly brought back the movement.

Grace Coddington is her Fashion Editor, and is the creative powerhouse of the magazine. She is Wintour’s right hand woman, having worked together for years. Her roles include styling photoshoots, creating concepts behind the photoshoots, pitching the ideas to Wintour, and directing photography. She is also known for being one of the only Fashion Editors who actually dresses the models themselves and truly gets involved in the design process instead of directing from afar.

The roles of these two women are similar to that of an agency creative director in that they are in charge of approving creative concepts and providing a creative direction to the rest of the designers. What their vision is, the rest of the designers should realize. Though Grace Coddington’s level of power is not on par with Anna Wintour’s, the understanding of each other’s styles and a very long history together allows the lines between “Fashion Editor” and “Editor-in-Chief” are blurred and allow for better collaboration.

What I found interesting was the way a magazine storyboard is laid out. The miniature spreads are used as thumbnails and are slid into holders to allow the editors to visualize the magazine as a whole. The whole process involves a crazy amount of printing and reprinting colour photos. I can only imagine how much paper and ink this magazine uses in a year! I imagine that design studios go through a similar amount of printing thumbnails for proofing and showing to clients.

As for Grace Coddington, I can’t imagine having to work with somebody like Anna Wintour for as many years as she did. I guess knowing how her boss operates and developing a tough skin helps, and almost puts you on par like an unofficial partner. I’d think you’d need patience, and an understanding for why Wintour operates the way she does to be able to cope. You can’t have a hot head, and be accepting if not open to having your idea shot down. I admire a person like Coddington, who has so much love for what she does that she finds it worth it to work so closely with a personality like Wintour, and to sacrifice some of her creative freedom for the greater good.


The assignment: choose a social cause, and after at least 30 thumbnails, create a poster!

For my cause, I chose the organization Wigs for Kids BC. They accept real hair donations to manufacture wigs for children with sicknesses that cause them to lose their hair, or children undergoing chemotherapy. It’s often overlooked how much hair can contribute to a child’s self-esteem, and having donated 3 times already to this cause, it’s something that’s pretty close to my heart. 

Here are my concept thumbnails:



I really wanted to show the idea that donating hair really wasn’t that hard, and didn’t have to mean totally going bald. I also didn’t want to be overly Sarah-McLaughlan-SPCA-tear-jerking, or anything that most people would expect coming from a BC Childrens Hospital organization, but something more lighthearted, since it was for the kids.

Here is my final poster campaign!


Models: Garret Schauteet, Josh Seinen, Tony Yu 

Jiro Dreams of Sushi (Week 9)



I was really excited when my instructor informed us that we’d be watching this documentary (directed by David Gelb). Having seen this film twice already, I was still more than happy to watch it a third time.

On one level, the cinematography and music are beautiful, and the images of perfectly crafted sushi make my mouth water. The first couple times I’ve watched it, I’ve focussed on mainly these aspects of the movie. This time, we were asked to focus on the lessons to be learned from Jiro and his restaurant.

One of Jiro’s lines that really stuck out to me this time, was about how he always strives to elevate his craft. To become a top sushi chef (a Shokunin), you have to be tough on yourself. You have to immerse yourself and dedicate your life to mastering your skill. It’s something that can be applied to everything we do as designers, that we should always be self-critical, and see every experience as a learning one, and that only strengthens you in the long run. We should always strive to be better.

Jiro’s restaurant has a 3-star rating from the Michelin system, and his customers agree that his sushi is worth the 30,000 yen that it costs to dine at the restaurant. It’s almost unbelievable that food could ever be good enough to blow approximately $300 on for a single meal, but similar to good design, you’re paying for not only the final result, but the whole experience. This means customer service, and an understandable rationale behind what makes you worth the time. If your work is good, and you are well known, people will pay the money to get it.

As a student of design, watching the dedication of the apprentices is very inspirational. They, like Jiro had in the past, have dedicated their lives to becoming like their mentor, and becoming Shokunin. It was said by Jiro that at least 10 years were needed to becoming a true sushi chef. The expectations for the apprentices are high in terms of how hard they have to work. Sometimes, as a student, we’re prone to complaining a lot about our workload, but like the apprentices, we should see that even when the work we’re doing feels tedious and pointless, it will benefit us in some way (that we might not be able to see yet) in the long run. 

For me, the most important thing I’ve taken away from this film has to be Jiro’s firm belief in “falling in love with your art” in order to master it. The one thing that affirms my desire to continue to be a designer is my love for it, and the feeling of not “going to work” but doing something I truly enjoy. Jiro is now definitely one of my inspirations, and visiting Jiro’s restaurant is now on my bucket list.



For this week’s Halloween assignment, we were told to put together a horror/thriller movie poster for an already existing movie. I realized I haven’t actually seen any real horror movies, so I chose to do the movie Coraline. It’s arguably the most creepy/disturbing animated movie meant for kids.
I was inspired by a poster I saw during my poster research in class, with a single egg yolk in the centre of the poster. It was striking, and I really liked the simplicity of the poster. I had also found in my research that the simpler posters with more white space drew more attention.
I used a black button as my main image (which is also crucial imagery in the movie), and sketched a reflection of the villan’s hand in the button.

For 4 hours, I am pretty happy with my result, since I spent the first 3 working on another concept that didn’t end up working out. I am much happier with this solution than my old one. Simplicity is best!