Caleb Amundson Portfolio

A design portfolio.

C ALEB AMUNDS ON

IN T R ODUC T ION C ON T EN T S

D E S I G N. Every day I love what I do. I make abstract ideas comprehensible through purpose and order. Design is art for something greater. You shouldn’t need a plaque to explain it. You shouldn’t need to keep your hands off of it. You should engage it. Wrestle with it. And get it. It should hit you smack across the face with it’s shear beauty, and it should go a step further to improve your life. Design should challenge you to see things differently. It should push you to iterate and improve. It should encourage you to explore. And my favorite thing about design: it cannot be perfect. It’s always more about process than product. It’s about constantly learning and absorbing a better way to do it. It’s impossible to get burned out on good design.

I’m Caleb. I design.

04 . K A N S A S N E W SExhibit design, partnership with the Kansas Museum of History

10 . C O N T I N U U MHome healthcare, partnership with Nemschoff (Herman Miller)

16 . S T E E L C A S E N E X TCoworking, first place national award winner of the Steelcase NEXT Student Design Competition

24 . E P O C HProduct design

28 . S T U DY A B ROA DGraphic design

32. P H O T O S + G R A P H I C SFreelance and personal work

35 . R E S U M E

K ANS A S NE W S

Partnership with the Kansas Museum of History, Fall 2014

P RO B L E M Reinvision one of seven problem exhibits in the Kansas Museum of History as an interactive and immersive experience.

S O L U T I O NThe Kansas News exhibit utilizes William Allen White’s printing press to explain the rich history of journalism in Kansas as well as the history and mechanics of printing through the Emphasize News Wall, Apply Print Station, and Interact Press Station.

S O F T WA R E Rhino, Photoshop, Illustrator, InDesign

exhibit design.

K ANS A S NE W S

E M P H A S I Z E N E W S WA L L The news wall serves to emphasize the importance of access to information and explain Kansas news history. Information mobility all began with the printing press, so the wall moves backward in time as you progress. The first interactive panel has a live Twitter news feed and the final includes information on William Allen White.

PAP ER S TOR AGES TAMP

M AGNE T IC T YP E HOLDER

L I V E NE W S FEED

IN T ER AC T I V E AR T ICLE S

I N T E R AC T P R E S S S TAT I O N At the interact station, patrons can get up close and personal with William Allen White’s Cottrell printing press. An expansive led screen controlled by an interactive panel at the front immerse patrons with timelines, videos, photographs, and text information. Screen printed acrylic panels explain the process of how the printing press is operated.

concept.

06 .

FLE X IBLE LED S CR EEN

IN T ER AC T I V E C ON T R OL PANEL

S CR EEN P R IN T ED ACR YL IC B AR R IER

A P P LY P R I N T S TAT I O NAt the print station, patrons apply knowledge that they learned at the interact and emphasize sections of the exhibit. The table has paper, magnetic movable type stamps, and ink so that every guest can create their own, custom printed card to take with them. This helps take the information to a new level where they are asked to apply it first hand.

K ANS A S NE W S

process.

08 .

C ON T INUUM

Six member team in partnership with Nemschoff, Fall 2014

P RO B L E M Identify a current medical treatment being performed in a clinic that could be brought into a home setting in the next 10 years.

S O L U T I O NUnderstanding that physical health is deeply affected by mental, emotional, and spiritual health with any chronic illness led us to design a social, mobile, modular system: a wholistic approach that goes beyond treatment.


home healthcare.

10 .

C ON T INUUM

concept.

AC C E S S I B I L I T Y We designed a mobile IV pump so that during the 2-8 hour treatment, the patient could get up and walk around, use the restroom, or even be outside. We also carefully considered the relationship between what the nurse, the patient, and third parties had access to on the lounger.

E F F I C I E N C YThe intergration of tablet technology allow for quick and easy communication with doctors at the clinic. The custom IV pump would also be remotely controlled, so the precise amount of medicine needed can be administered. Rounded edges and spill-friendly surfaces allow for quick and easy sanitation. And built-in modularity allows Continuum to be rearranged based on the patient’s needs.

P O S I T I V I T YContinuum was designed to help patients be positive during treatment: a wholistic approach. The overhead plane and ambient light, integration of a social seat, and color all have an impact on that positivity.

12.

I V F L U I D

I V T U B E

B U B B L E D E T EC T O R

S Q U E E Z I N G BOA R D

P R E S S U R E S E N S O RL I Q U I D R E TA I N I N G C L A M P

P O W E R & L O C K

C ON T INUUM

process.

F U L L S C A L E M O D E L One of the most beneficial parts of this project was the opportunity to build a full scale model in foam core of Continuum. We constructed a scrap plywood frame and then cut out each piece of foam core with extreme care, using a variety of scoring and bending techniques.

14 .

Steelcase NEXT Student Design Competition, Fall 2015

P RO B L E M Provide Nexters with an innovative working environment that brings out the best in them and forges a community culture of collaboration, inspiration, performance, and fun.

S O L U T I O NAt NEXT, members can take raw business and project ideas, refine them among a collaborative, inspiring culture, and have fun or get away to refuel before getting back in action.

The hearth on each floor serves as a central gathering point where Nexters, clients, and the community can come together and forge new relationships, insights, and ideas that aren’t possible to create alone.

S O F T WA R E Revit, Rhino, Photoshop, Illustrator, InDesign

coworking.

S T EELC A SE NE X T

F I RS T P L AC E

national

award winner

concept.


F O R G E

R A WThe starting point. Reception, ideation zone, open office, WorkCafe.

R E F I N EGet equipped + relax. Private offices, private enclaves, forum space, resource center, WorkCafe + PlayCafe.

R E F U E LCollaborate. Video conference, project rooms, studio, WorkCafe.

H E A R T HGather. Nexters, clients, and the community can come together and forge new relationships.

F O R G E

18 .

S E C T I O N A - A

F I R S T F L O O R P L A N

A

A

1

2

3

5

41 Reception2 Ideation Zone3 Forum Space4 Studio5 PlayCafe

20 .

1

267

1

35

4

S E C O N D F L O O R P L A N

“Flue” connects the hearth on each level

1 Project Room2 Video Conference3 WorkCafe4 NEXT CEO/COO5 Private Enclave6 Private Office7 Open Office

research + process.


C O L L A B O R AT I O N , F U N , P R I VA C Y, Q U I E TCoworking spaces should integrate work and play, Offer choice and control of where you want to work for different types of activities, and provide quick and easy ways to collaborate with the use of technology.

V I B R A N TCoworking spaces should be beautiful, comfortable, energizing, and inspiring. Members need to be able to make their own mark on the space and mixing up the decor or displays often helps people want to keep coming back.

W H O L I S T I CYou should leave work feeling better than you came. That is only possible if a wholistic approach to wellbeing is tackled: cognative, physical, and emotional. this can be accomplished Through in various ways like implementing the theory of biophilia, and providing choice and control.

22.

F L U E E L E VAT I O N

EP OC H

Spring 2014

P RO B L E M Identify a task and create a luminaire that helps you to better accomplish it.

S O L U T I O NThe task I chose was abstract: to inspire creativity. I designed a luminaire with a thermochromic plastic shade that changes from clear to blue as you work to stimulate the user when starting out and to calm as he or she works longer.


product design.

EP OC H

concept + process.

S T I M U L AT E C R E AT I V I T YAfter researching color and light psychology, I determined that warm light and the color orange were stimulating: what you want at the beginning of the creative process. As you keep working and begin to get frustred through the trial and error process, the shade will gradually turn blue as the lamp heats up thanks to thermochromic plastic. Psychologically, blue is is a calming or relaxing color.

C O N T R A S TOne of the most basic principles of design, contrast, can help the mind consider outside-of-the-box ideas. Epoch plays with contrast of heavy & light, cold & warm, round & angular.

G O L D E N R AT I OI adhered very strictly to the golden ratio to create something aesthetically beautiful and inspiring rather than distracting because of strange proportions.

26 .

Cast concrete

Tungsten tube filament lamp

Changes to blue at 86ºF

Injection molded thermochromic acrylic

On/off

B E G I N N I N GDesire stimulation, rapid ideation

M I D P RO C E S SDesire destressing, critical thinking

N E W I D E A“Light Bulb!” Remove acrylic & let cool

S T UDY A BR OAD

Summer 2015

V I S UA L J O U R N A LWe were challenged to document our time in London not only by taking photos, but by sitting, relaxing, observing, and drawing our surroundings: a way to really engage place for more than a split second. The visual journal specifically depicts my time exploring Borough Market, Hyde Park, and Queen Elizabeth Olympic Park.

S O F T WA R E Photoshop, InDesign

graphic design.

S T UDY A BR OAD

T I M E I S M O N E YWe began this project with a question: what do you find beautiful, strange, or ugly about London? For me, the Londoner’s obsession with time fascinated me. Never have I seen so many people rushing to be on time. So in return, my question was, “What if we paid for things with time? What if life ended when we ran out of savings?”

S O F T WA R E Illustrator

F ( R ) O N T PAG E S This research-based project challenged us to become experts on one typeface, understanding why it was created, its intended uses, and its inspiration. We then were tasked with creating the front page of a newspaper that evoked the depth of the font without using it itself.

S O F T WA R E Photoshop, InDesign

graphic design.

BANK OF ENGLAND

THE GOVERNOR AND COMPANY OF THE BANK OF ENGLAND

10MFOR THE GOV AND COMP OF THE BANK OF ENGLAND TWENTY M INUTESBANK OF ENGLAND

I PROMISE TO PAY THE BEARER ON DEMAND THE SUM OF 20M

MS0

1 10

2293

MS01 102293

CH IEF CASH I ER

BANK OF ENGLAND

THE GOVERNOR AND COMPANY OF THE BANK OF ENGLAND

50M

BANK OF ENGLAND F IVE M INUTES

I PROMISE TO PAY THE BEARER ON DEMAND THE SUM OF 5M

MS0

1 10

2293

MS01 102293

CH IEF CASH I ER

FOR THE GOV AND COMP OF THE BANK OF ENGLAND

STORY BYCALEB

AMUNDSON

24 July 2015Volume 1, Issue 1

A history of Jeremy Tankard’s

Bliss typeface

In 1906 Edward Johnston’s seminal book Writing & illuminating & lettering was first published. The ideas Johnston put forward, both in this

book and in his lectures, were to inspire a revival of interest in calligraphy and to inform the wider fields of lettering and type in England. One of Johnston’s ideas was a belief that a block sans serif form could be made more harmonious and acceptable if it were derived from the proportions of the Roman square capital letter. Bliss began with a nod of recognition to this idea.

However, during the development of Bliss, five typefaces in all were studied, each with a unique and interesting history; Johnston’s Underground, Gill Sans, the Transport typeface, Syntax and Frutiger. With the Underground type, Johnston put into practice his ideas of a linear block sans serif. Eric Gill, a friend and collaborator of Johnston, draws heavily on Johnston’s example for his own Gill Sans of c.1928.

Transport, designed for the Department of

Transport, utilises features and ideas from Johnston and Gill as well as concepts found in some of the continental type forms of the 1950s – such as the single bowl form of the g. The designer, Jock Kinneir, also worked hard to avoid ambiguity between characters sharing similar basic forms. Hans Eduard Meier developed the idea of a dynamic structure within the normally rigid forms of a sans serif type. His Syntax typeface is drawn over the structure of an Old Face letter. As with Gill Sans it has humanistic subtleties of proportion together with weighted shading and open...

continued on page a2 ›

sections weather

Cloudy skies with chance of light drizzle in the late afternoon.

21:03 Sunset

Hi 23 CLo 17 C

A IgnoranceKnowledge

B ContrastOpinions

C PoiseCulture

D PracticalMoney

articles

A1 A history of Jeremy Tankard’s Bliss typeface

B1 The good, the bad, the ugly of London from foreign eyes

C1 Must-see museums, exhibits, and pop-ups in London this summer

D1 Eating out on a university student budget

A1IGNORANCE ISN’Tbliss

30 .

STORY BYCALEB

AMUNDSON

24 July 2015Volume 1, Issue 1

A history of Jeremy Tankard’s

Bliss typeface

In 1906 Edward Johnston’s seminal book Writing & illuminating & lettering was first published. The ideas Johnston put forward, both in this

book and in his lectures, were to inspire a revival of interest in calligraphy and to inform the wider fields of lettering and type in England. One of Johnston’s ideas was a belief that a block sans serif form could be made more harmonious and acceptable if it were derived from the proportions of the Roman square capital letter. Bliss began with a nod of recognition to this idea.

However, during the development of Bliss, five typefaces in all were studied, each with a unique and interesting history; Johnston’s Underground, Gill Sans, the Transport typeface, Syntax and Frutiger. With the Underground type, Johnston put into practice his ideas of a linear block sans serif. Eric Gill, a friend and collaborator of Johnston, draws heavily on Johnston’s example for his own Gill Sans of c.1928.

Transport, designed for the Department of

Transport, utilises features and ideas from Johnston and Gill as well as concepts found in some of the continental type forms of the 1950s – such as the single bowl form of the g. The designer, Jock Kinneir, also worked hard to avoid ambiguity between characters sharing similar basic forms. Hans Eduard Meier developed the idea of a dynamic structure within the normally rigid forms of a sans serif type. His Syntax typeface is drawn over the structure of an Old Face letter. As with Gill Sans it has humanistic subtleties of proportion together with weighted shading and open...

continued on page a2 ›

sections weather

Cloudy skies with chance of light drizzle in the late afternoon.

21:03 Sunset

Hi 23 CLo 17 C

A IgnoranceKnowledge

B ContrastOpinions

C PoiseCulture

D PracticalMoney

articles

A1 A history of Jeremy Tankard’s Bliss typeface

B1 The good, the bad, the ugly of London from foreign eyes

C1 Must-see museums, exhibits, and pop-ups in London this summer

D1 Eating out on a university student budget

A1IGNORANCE ISN’Tbliss

P H O T O S + G R A P H I C S

C ON TAC T c. 913.624.4938e. [email protected]. calebamundson.com

IN T ER E S T

Design + make, graphics + branding, collaboration

L E ADER SHIP

D E S I G N E X P O C O M M I T T E E SP R ING 2015

Arranged catering, served on lunch relief and tear down crews

M O C K I N T E R V I E W C O M M I T T E E SP R ING 2015

Recruited and assisted with firm and student registration

O P E N H O U S E + 5 0 T H A N N I V. C O M M I T T E E S SP R ING 2015

Graphic Design Director – fabrication and installation of IAPD’s Open House 2015 and 50th Anniversary exhibits

I C H T H U S M H K FA LL 2012 -P R E SEN T

Armada house church leader and teacher

D E S I G N E D I T O R FA LL 2011 - SP R ING 2012

“The Lair” – Shawnee Mission Northwest yearbook, 400 pages

HONOR S

F I RS T P L AC E S T E E L C A S E N E X T C O M P E T I T I O N J ANUAR Y 2016

J OY A N N E B A L D E RS O N M E M O R I A L S C H O L A RS H I P FA LL 2015

Departmental scholarship awarded to one IAPD student annually

D E A N ’ S L I S T FA LL 2012 -P R E SEN T

T H E L A I R Y E A R BO O K FA LL 2011 - SP R ING 2012

NSPA Pacemaker 2012, CSPA Gold Crown 2012, Walsworth President’s Collection 2012

EDUC AT ION

M . I A P D M AY 2017

Master of Interior Architecture + Product Design College of Architecture, Planning and Design Kansas State University, Manhattan, Kansas 3.96 GPA

G R A P H I C D E S I G N SUMMER 2015

Summer study abroad Graphic Communication Design Programme UAL Central Saint Martins, London, England

E XP ER IENCE

T H E F E L L O W F EBR UAR Y 2016 -P R E SEN T

Co-Founder – created brand identity and building interior for the first coworking facility in Manhattan, KS

D E S I G N E R / G E N E R A L C O N T R AC T O R SP R ING 2016

Residential remodeling in Manhattan, KS

G R A D UAT E T E AC H I N G A S S I S TA N T FA LL 2015

“Spark” – graphic communication course, formulated curriculum + graphic identity, developed and presented weekly tutorials

R E AC H S U M M E R I N S T I T U T E SUMMER 2014

Summer Intern – leadership and ministry development program

H O L L I S + M I L L E R A RC H I T EC T S SUMMER 2013

Model Maker – built a model of Lansing High School

C A L E B A M U N D S O N P H O T O + D E S I G N OC TOBER 2011 -P R E SEN T

Owner – logos, branding + identity, and invitation design, engagement, wedding and portrait photography

born creative. trained designer.

C ALEB AMUNDS ON

P E RS O N A LLeadership +++

Graphic communication +++

Sketching ++

Model making ++

Prototyping ++

O P E R AT I N G S Y S T E M SMac OS X +++

Windows ++

SK I L L S

S O F T WA R EAutoCAD +

Adobe Illustrator +++

Adobe InDesign +++

Adobe Lightroom +

Adobe Photoshop +++

Grasshopper +

Revit ++

Rhino 3D +++

Sketch Up ++

Capable + Proficient ++ Very adept +++

T H ANK YOU

Caleb Amundson Portfolio

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