2012 Portfolio
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Transcript of 2012 Portfolio
Cristian OliveiraTelephone: +351 916 524 850
E-mail: [email protected]
www.cargocollective.com/theexile
EDUCATION
2008 - 2011
Escola Superior de Artes e Design
- Communication Design
2005 - 2008
Escola Secundária da Maia
- Fine Arts
SOCIAL SKILLS
Portuguese
Spanish
English
2007 - Present
Portuguese Red Cross
- Volunteer
- Emergency Medical Technician
- Medical Support
2007-2010
Maia Handball Cup
- Spanish Translator
- Guide
EXPERIENCE
Photoshop
Illustrator
InDesign
HTML / CSS
Cinema 4D
Premiere
Photography
Freelance Experience
Branding
Event Identity
Logo Design
Creative Fields
Coporate • Identity • Logo • Editorial • Packaging
Infographic • Typography • Branding • Hand Drawing
3D Model • Photography • Audio Design
Audio Recording
INTEREST
Painting • Driving • Sports • Volunteering
Emergency Service • Communication Systems
O trabalho cresceu, somos maiores, somos grandes.O que se apresenta aqui é parte
integrante do trabalho desenvolvido nos últimos dois anos em contexto académico. A liberdade e a organização são palavras chave no decorrer de todos estes projectos, a linguagem que faz respirar o projecto e a eloquência do mesmo são mais valias no contexto do design gráfico e editorial, a importância da mensagem e a forma como é transmitida é o que nos torna uma peça fundamental na sociedade actual.
The project evolved, we’re bigger, we’re great.This work reflects a great part of what has been developed
academically within the last 2 years. When it comes to these projects’ development, liberty and management are in fact key factors. Simple language which allows the project itself to breathe and at the same time its eloquence are incredible assets when it comes to graphic and editorial design. The importance of the message we are trying to convey and the way we present it to people is what makes us, communication designers, essential in society.
Exile ClothingAcademic Project
Escola Superior de Artes e Design
2011
O conceito desenvolvido criou a estática
temporal do relacionamento entre a cidade
e a sua rotina.
Não somos mais que peças neste epicentro.
Somos a influência dos nossos próprios
ideais e comunicamos em espaços públicos
através de sinais, incluindo sinais visuais.
A Exile apostou no desenvolvimento de uma
imagem que visa promover uma acústica
visual de fácil compreensão e que não caia
em desuso.
The developed concept intervened in
the time and space continuum creating a
connection between the city and its own
routine. We are no more than pieces in this
intrinsic reality. We are the influence of our
own ideals and we communicate in public
spaces trough signs, including visual ones.
Exile demanded the development of an
image that would be visually appealing
and understandable, and that would not, of
course become worn out.
Branding. Editorial design
NÃO SOMOS MAIS QUE PEÇAS
NESTE EPICENTRO.
“It’s very hard to do the more subjective, interpretative stuff
well. I can teach anyone from the street how to design a
reasonable business card, newsletter, but if I bring the same
group of the street in and play a CD and say, OK, let’s interpret
that music for a cover, well, 9 out of 10 people will be lost,
and they’re gonna do something really corny and expected,
and one person’s gonna do something amazing because that
music spoke to them and it sent them in some direction where
nobody else could go, and that’s the area for me where it gets
more interesting and exciting, and... more emotional, and that’s
where the best work comes from.”
David Carson
“I mean, everyone puts their history into their work.”
Erik Spiekermann
“Graphic Design is the communication framework through
which these messages about what the world is now, and what
we should aspire to. It’s the way they reach us. The designer has
an enormous responsibility. Those are the people, you know,
putting their wires into our heads. ”
Rick Poynor
BE PASSIONATE
Dicionário do DiaboAcademic Project
Escola Superior de Artes e Design
2011
Ambrose Bierce, jornalista e escritor
americano, nasceu no Ohio, em 1842, e
desapareceu numa viagem ao México, em
1914. Filho de agricultores carenciados,
combateu na grande Guerra Civil, dois factos
essenciais na sua mundividência.
Bierce escreveu contos umas vezes realistas
outras vezes góticos, sempre num estilo
seco e económico. A sua propensão para a
veemência e o sarcasmo tornou-o um dos
articulistas mais polémicos da sua época
e valeu-lhe a alcunha «bitter Bierce» (o
amargo Bierce). O que significa Dicionário
do Diabo? É um dicionário escrito do ponto
de vista do Diabo? Ou do ponto de vista de
um autor tido como diabólico? Ou diabólico
é o espírito que anima este Dicionário?
Ambrose Bierce, journalist and American
writer was born in Ohio in 1842 and tragically
disappeared in a journey to Mexico in 1914.
From a poor family of farmers, he fought
in the Great Civil War, two of the most
important marks for the writer.
A.Bierce wrote several tales, some realistic
and some extremely morbid, all in an
uncharacteristically comical and yet dry
approach. His vehemence as a critic, and
the sardonic view of human nature that
informed his work all earned him the
nickname “Bitter Bierce”. What does “The
Devil’s dictionary” mean? Is it a dictionary
written by the Devil’s himself point of view?
Or is it the point of view of an author once
seen as diabolic? Or is it “diabolic” the spirit
that perks this Dictionary up?
Editorial design.
QUE ESTE DICIONÁRIO VOS
DESAGRADE.
CONFESSAR. ADMITIRMOS OS ERROS UNS DOS OUTROS É O
MAIS ALTO DEVER IMPOSTO PELO NOSSO AMOR À VERDADE.
ADMITIR
Epicentro UrbanoAcademic Project
Escola Superior de Artes e Design
2011
A obsessão da rotina, do uso e abuso do
que chamamos de nosso.
Estações de serviço como o metro do Porto
são usadas regularmente e são lugares
de passagem que fazem parte do nosso
quotidiano, as tendências e histórias de
lugares como este são desvalorizadas pela
falta de tempo dos seus utilizadores.
Nada aqui é visto com olhos de ver, tudo é
algo temporário, é algo que não é nada mais,
nada menos, que a análise do seu próprio
tempo.
The routine’s own obsession, using and
abusing of what we call ours. Underground
stations such as the ones around Oporto
are used regularly by millions. Seen as just
stations passing by, they are also landmarks
that are part of each and everyone of us,
what we tend to forget is that these places
have a history, one that we forsake thanks to
our lack of time.
Nothing in those places is looked at but only
seen for a fraction of a second, everything is
temporary, no more than the analysis of its
own time.
Photography.
EPICENTROURBANO.
Sol a SolAcademic Project
Escola Superior de Artes e Design
2011
Os reclusos do estabelecimento prisional
de Sta Cruz do Bispo rodam os seus dias
de acordo com as tarefas diárias que os
ajudam a ser activos no meio em que
vivem. A agricultura tornou possível a
ideia de interacção com o mundo exterior.
Estes homens, plantam e colhem o que
eles próprios cultivam. A oportunidade de
negócio para o mundo exterior coloca-os na
linha de partida para a ligação entre o que, à
primeira vista, achavam impossível.
The Convicts from Santa Cruz do Bispo’s
Prison live their days according to the
daily tasks which help them keep active
within the establishment. Agriculture has
made it possible for them to have some
kind of interaction with the outside world.
These men plant and harvest everything by
themselves. This, however faint, business
opportunity allows them to establish a
connection with the society that is changing
outside those walls, a connection which
most of them thought was no longer
possible.
Packaging.
Quinta do Estabelecimento PrisionalSanta Cruz do Bispo
Out, from inside.PARA FORA, LÁ DE DENTRO
No domínio do desenho de embalagem um cortante
flexível e um rótulo imposto sobre uma forma de
acondicionamento, têm não só, a capacidade de
valorizar o conteúdo mas também, de conferir
identidade a cada um dos produtos.
When it comes to the design of the packaging
the multi-dimensional communication scenario of
today demands for a strategically crafted packaging
integration within the communication mix and if done
well it has the capacity to value its contents but also
give them a personal identity.
Contemporary Color Exhibition. Infographic
CIN REMAKE
2011
ARMEDFORCES
2011
Em 2011, a Escola Superior de
Artes e Design foi requisitada
para desenvolver propostas
que representassem o conceito
escolhido pela CIN. Esta foi a peça
selecionada para representar a
faculdade.
In 2011, the College of Art and
Design, received a request to
develop some project proposals
that were able to represent the
concept chosen by a painting
company, CIN.
This was nonetheless the selected
piece which represented the entire
College.
Situamos neste mapa a cenário das
forças armadas, por comparação
conseguimos compreender o
balanço mundial e a utilização
destes mesmos meios.
In this map we visualize the scenery
of the armed forces, by comparison
we can realize the global balance
and the use of these resources.
Cristian Oliveira
Designer
http://cargocollective.com/theexile
+351 916 524 850
Porto - Portugal