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PORTFOLIO 2015/16

Lindie Botes | Graphic Design Portfolio 2016

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A collection of university and self-commissioned design, branding, web, packaging and illustration projects.

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Page 1: Lindie Botes | Graphic Design Portfolio 2016

PORTFOLIO 2015/16

Page 2: Lindie Botes | Graphic Design Portfolio 2016

CONTENTS

ISTD PROJECT

2016 ISTD Student Assessment

PHOTOGRAPHY

Digital fashion photography35mm black and white film photography

INFOGRAPHIC

Vaporwave as hyper-reality

CORPORATE IDENTITY

Rebrand for data solutions company

CLOTHING CUSTOMISATION

Hand-painted shoes and t-shirt

WEB DESIGN

University work portfolio site

DIGITAL COLLAGE

Yokohama Chinatown photographic collages

UI DESIGN

CheapCheap mobile application

TOKYO ONE PIECE TOWER

Packaging and logo designs for Tokyo One Piece Tower

PACKAGING

SUSU Corn and Barley tea packaging

11

13

14

15

17

3

5

7

8

10

Page 3: Lindie Botes | Graphic Design Portfolio 2016

3

ISTD PROJECT Print material designed for the 2016 ISTD Student Assessments, analysing speeches of South African Nobel Peace Prize Laureates.

< Infographic

Analysing the Nobel acceptance speeches in terms

of word count, common words, content and ages of

the Laureates.

^ Postcards

Considering what it would be like to be able to send

peace around the world in the form of postcards.

Postcards feature quotes from the speeches.

> Stamps

Stamp sheet with faces of the South African Nobel

Peace Prize Laureates.

Page 4: Lindie Botes | Graphic Design Portfolio 2016

Booklet Contains information about the Laureates and excerpts from their acceptance speeches. The word “peace” is in a different typeface and weight so that the reader can see how many times the word was used throughout.

ISTD PROJECT

4

Page 5: Lindie Botes | Graphic Design Portfolio 2016

FASHION PHOTOGRAPHY Digital fashion photography

5

Page 6: Lindie Botes | Graphic Design Portfolio 2016

FILM PHOTOGRAPHY 35mm black and white film photography

6

Page 7: Lindie Botes | Graphic Design Portfolio 2016

JEAN BAUDRILLARD: Concept of a utopian realm where people

take part in an exchange of symbols. Gifts are no longer consumer objects but

are community, love and friendship.

vaporwaveforums &

communities

“Vaporwave might also have changed the way some of us listen

and think about listening and opened up strange, provocative

glimpses of Utopia.”

—Adam Harper, music writer

2010 — present

esc 不在 is the name of a vaporwave artist and means “non-existent”.

Vaporwave music and imagery often plays on the concept of alienation.

music sites

social media

blogs and forums

bandcamp, last.fm, soundcloud etc.

YouTube, Facebook, Twitter

reddit, tumblr, blogspot and 4chan

“I've never met anyone in real life (meatspace) who likes vaporwave(or even knows what it is)”

—Damon Verial in a YouTube comment on S U R F I N G - Deep Fantasy

stag

e two: th

e world wide web / cyberspace

stage 4: hyperreality

UMBERTO ECO:Hyperreality = desiring reality and in an attempt to achieve that desire, one fabricates a fake reality that is to be consumed as real.

JEAN BAUDRILLARD:Hyperreality = a set of signifiers is created to represent something that is non-existent. People (read vapor-wave fans) are unable to tell the differ-ence between reality and a simulation of reality.

Gameplay realistic

Gameplayweeeeird

Graphics are vaporwavey

Graphics not vaporwavey

These simulator games are vaporwave in their use of retro, colourful, glitchy graphics and in their weird gameplay.

LSD Dream Simulator

Second Life

Minecraft

The Sims

Jazzpunk

Utopia

Digital

JapanUtopia

Digital

Japan

sunsetsJapanese characters

Japanese infomercial imagery city-

scapes

anime scenes

palm trees

tape cassettes

glitch art

tech nostalgia

Japanese computers

90s graphic design

80s muzak (elevator music)

pitched and layered songs

80s and 90s Japanese pop songs

Utopian neo-j-pop

karaokereference

.gif music videos

slowed down

melodies

Nostalgic Windows 95 startup sounds

beaches

Utopian genres use slow and relaxing melodies to romanticise retro and futuristic realities. Music videos often use looping .gif animations of Japanese anime scenes as imagery.

Faux-utopian genres present their musical work and imagery as dark dystopias and may reflect certain political views like anti-capitalism.

Vaporwave artists fabricate nostalgic, utopian worlds and physical and

virtual reality blends together to form a hyperreality.

Vaporwave began online around 2010 and remains fairly unknown outside of the World Wide Web.

Most vaporwave artists edit and release sampled music under foreign titles.

This is often done anonymously.

Not satisfied with meatspace — the present reality —

the internet lurker longs for the simplicity of the past.

stage

one: r

eality - the internet lurker’s room

YouTube

Artzie Music Vaporwave channel

31,868 subscribers

YouTube

Vaporwave inspiration found in a 6-second clip of the Windows 95 startup sound.

1,130,647 views

Soundcloud

500 tracks, 365 people, and 46 groups tagged as “vaporwave”

Facebook

Main vaporwave page has 15,721 likes

Last.fm

1,192 users who actively tag tracks as “vaporwave”

Twitter

4 unique tweets hourly using the #Vaporwave hashtag

Tumblr

Largest community of vaporwave art blogs online

Blogspot Claimed to be where the term Vaporwave was first used

October 2011

4Chan

Members posted a graphic titled “Essential Vaporwave” featuring seminal albums December 2012

Bandcamp

400 albums and individual tracks tagged as “vaporwave”

Reddit Worried Redditors complain about the seemingly inactive Vaporwave community

March 2015

YouTube The most-listened vaporwave song is “MACINTOSH PLUS - リサフランク420 / 現代のコンピュー”

1,050,859 views

google searches for “vaporwave”Aug 2012: The first Vaporwave Google searches (2)

Apr - Jul 2014: Biggest increase in searches (22 to 94)

Apr 2015: The most Vaporwave searches to date (100)

Numbers relative to total searches on Google at time.

wow

spark in interest

let the Googling begin

late 2013

vaporwave, you go gurl!

sources: image of man: http://www.nbcnews.com/health/cancer/heres-just-how-bad-sitting-around-you-n132471. image of baudrillard: http://www.fernandogomezherrero.com/blog/wp-content/uploads/2012/06/jean_baudrillard.jpg. image of eco: http://www.iefimerida.gr/sites/default/files/foto_eco_1.jpgvaporwave: www.dummymag.com/features/essay-invest-in-vaporwave-futures, http://www.urbandictionary.com/define.php?term=meatspace www. soundcloud.com/search?q=vaporwave, www. knowyourmeme.com/memes/subcultures/vaporwave, www.last.fm/tag/vaporwave, www.facebook.com/Vaporwave/likes, blog.mry.com/2014/06/19/riding-the-vaporwave-the-rise-of-internet-music/ www.ritetag.com/best-hash-tags-for/vaporwave, www.reddit.com/r/Vaporwave/wiki/basics. Google analytics: www.google.com/trends/explore#q=Vaporwave. hyperreality: jean baudrillard a very short introduction at http://publish.uwo.ca/~dmann/baudrillard1.htm. Eco, Umberto. "Travels in Hyperreality" (PDF). The fortress of Solitude (http://xroads.virginia.edu/~DRBR2/eco_travels.pdf)

stage 3: ut

opianism and nostalgia

Bucket hats

Tape cassettes

80s fashion

VCR tapes

Old technology

FIJI water

Computer art

Japanese infomercials

Google Translate

80s and 90s music

Vaporwave forums

Virtual access

Real-life access

Vaporwavefan

Many vaporwave albums are released as tapes

Made popular bySwedish rapper Yung Lean

“Vaporwave aesthetics”

Heavily sampled for Vaporwave tracks

Used to createrandom song titles

“12,417 lost in the virtual plaza”

-Reddit’s Vaporwave thread user counter

“WELCOME TO THE VIRTUAL PLAZA”

-The welcome message on the online Vaporwave library, www.vaporwave.me

PHYSICAL REALITY

hyper-reality

VIRTUAL REALITY

Infographic, 2015

Vaporwave is an aesthetic and music genre that

originated online in the 2010s. This infograph

discusses vaporwave as hyper-reality, by expressing

philosophically and statistically how it can be a form

of escapism for those involved in the subculture.

JEAN BAUDRILLARD: Concept of a utopian realm where people

take part in an exchange of symbols. Gifts are no longer consumer objects but

are community, love and friendship.

vaporwaveforums &

communities

“Vaporwave might also have changed the way some of us listen

and think about listening and opened up strange, provocative

glimpses of Utopia.”

—Adam Harper, music writer

2010 — present

esc 不在 is the name of a vaporwave artist and means “non-existent”.

Vaporwave music and imagery often plays on the concept of alienation.

music sites

social media

blogs and forums

bandcamp, last.fm, soundcloud etc.

YouTube, Facebook, Twitter

reddit, tumblr, blogspot and 4chan

“I've never met anyone in real life (meatspace) who likes vaporwave(or even knows what it is)”

—Damon Verial in a YouTube comment on S U R F I N G - Deep Fantasy

stag

e two: th

e world wide web / cyberspace

stage 4: hyperreality

UMBERTO ECO:Hyperreality = desiring reality and in an attempt to achieve that desire, one fabricates a fake reality that is to be consumed as real.

JEAN BAUDRILLARD:Hyperreality = a set of signifiers is created to represent something that is non-existent. People (read vapor-wave fans) are unable to tell the differ-ence between reality and a simulation of reality.

Gameplay realistic

Gameplayweeeeird

Graphics are vaporwavey

Graphics not vaporwavey

These simulator games are vaporwave in their use of retro, colourful, glitchy graphics and in their weird gameplay.

LSD Dream Simulator

Second Life

Minecraft

The Sims

Jazzpunk

Utopia

Digital

JapanUtopia

Digital

Japan

sunsetsJapanese characters

Japanese infomercial imagery city-

scapes

anime scenes

palm trees

tape cassettes

glitch art

tech nostalgia

Japanese computers

90s graphic design

80s muzak (elevator music)

pitched and layered songs

80s and 90s Japanese pop songs

Utopian neo-j-pop

karaokereference

.gif music videos

slowed down

melodies

Nostalgic Windows 95 startup sounds

beaches

Utopian genres use slow and relaxing melodies to romanticise retro and futuristic realities. Music videos often use looping .gif animations of Japanese anime scenes as imagery.

Faux-utopian genres present their musical work and imagery as dark dystopias and may reflect certain political views like anti-capitalism.

Vaporwave artists fabricate nostalgic, utopian worlds and physical and

virtual reality blends together to form a hyperreality.

Vaporwave began online around 2010 and remains fairly unknown outside of the World Wide Web.

Most vaporwave artists edit and release sampled music under foreign titles.

This is often done anonymously.

Not satisfied with meatspace — the present reality —

the internet lurker longs for the simplicity of the past.

stage

one: r

eality - the internet lurker’s room

YouTube

Artzie Music Vaporwave channel

31,868 subscribers

YouTube

Vaporwave inspiration found in a 6-second clip of the Windows 95 startup sound.

1,130,647 views

Soundcloud

500 tracks, 365 people, and 46 groups tagged as “vaporwave”

Facebook

Main vaporwave page has 15,721 likes

Last.fm

1,192 users who actively tag tracks as “vaporwave”

Twitter

4 unique tweets hourly using the #Vaporwave hashtag

Tumblr

Largest community of vaporwave art blogs online

Blogspot Claimed to be where the term Vaporwave was first used

October 2011

4Chan

Members posted a graphic titled “Essential Vaporwave” featuring seminal albums December 2012

Bandcamp

400 albums and individual tracks tagged as “vaporwave”

Reddit Worried Redditors complain about the seemingly inactive Vaporwave community

March 2015

YouTube The most-listened vaporwave song is “MACINTOSH PLUS - リサフランク420 / 現代のコンピュー”

1,050,859 views

google searches for “vaporwave”Aug 2012: The first Vaporwave Google searches (2)

Apr - Jul 2014: Biggest increase in searches (22 to 94)

Apr 2015: The most Vaporwave searches to date (100)

Numbers relative to total searches on Google at time.

wow

spark in interest

let the Googling begin

late 2013

vaporwave, you go gurl!

sources: image of man: http://www.nbcnews.com/health/cancer/heres-just-how-bad-sitting-around-you-n132471. image of baudrillard: http://www.fernandogomezherrero.com/blog/wp-content/uploads/2012/06/jean_baudrillard.jpg. image of eco: http://www.iefimerida.gr/sites/default/files/foto_eco_1.jpgvaporwave: www.dummymag.com/features/essay-invest-in-vaporwave-futures, http://www.urbandictionary.com/define.php?term=meatspace www. soundcloud.com/search?q=vaporwave, www. knowyourmeme.com/memes/subcultures/vaporwave, www.last.fm/tag/vaporwave, www.facebook.com/Vaporwave/likes, blog.mry.com/2014/06/19/riding-the-vaporwave-the-rise-of-internet-music/ www.ritetag.com/best-hash-tags-for/vaporwave, www.reddit.com/r/Vaporwave/wiki/basics. Google analytics: www.google.com/trends/explore#q=Vaporwave. hyperreality: jean baudrillard a very short introduction at http://publish.uwo.ca/~dmann/baudrillard1.htm. Eco, Umberto. "Travels in Hyperreality" (PDF). The fortress of Solitude (http://xroads.virginia.edu/~DRBR2/eco_travels.pdf)

stage 3: ut

opianism and nostalgia

Bucket hats

Tape cassettes

80s fashion

VCR tapes

Old technology

FIJI water

Computer art

Japanese infomercials

Google Translate

80s and 90s music

Vaporwave forums

Virtual access

Real-life access

Vaporwavefan

Many vaporwave albums are released as tapes

Made popular bySwedish rapper Yung Lean

“Vaporwave aesthetics”

Heavily sampled for Vaporwave tracks

Used to createrandom song titles

“12,417 lost in the virtual plaza”

-Reddit’s Vaporwave thread user counter

“WELCOME TO THE VIRTUAL PLAZA”

-The welcome message on the online Vaporwave library, www.vaporwave.me

PHYSICAL REALITY

hyper-reality

VIRTUAL REALITY

INFOGRAPHIC A2 infographic designed in the visual style of the vaporwave internet subculture style

7

Page 8: Lindie Botes | Graphic Design Portfolio 2016

CORPORATE IDENTITY Rebranding of corporate identity for Point A labs. 1st place student prize-awarded project

WeÕre on point!

TEL +27 12 470 2200 FAX +27 86 669 1890WEB www.point-a.com

TEL +27 12 470 2200 FAX +27 86 669 1890WEB www.point-a.com

Print material is important to our brand.

Bringing all our brand elements together.

An important part of Point A’s print material is

testimonials from satisfied customers. The images

above and right indicate that our bold testimonials

catch the eye and make understanding what our brand

does much easier. Posters are a necessary way to

express information about our brand, and our main

poster features clear sections outlining what our brand

does. Simple iconography helps make information

about our brand clear and easy to understand.

Above is a collection of our brand stationery. The

letterhead is structured and welcoming with the line

“you’ve got mail” to add some of our quirky personality.

This is brought through in the envelope design as well,

featuring the brand smiley face.The business cards are

unconventional. Instead of a full name at the front, the

card reads “Hi, I’m...” followed by the name of the card

owner. The back has the full contact details.

We’re on point. Check out our style!

There are versatile ways to use our logo. We like showing our true colours. We appreciate structure.Our typography is just our type.Some fun extras to use here and there.

We are a happy brand, and it shows.

Point A is a multinational company specialising in personalised

SAP solutions and unique data management programs. The Point

A staff are like a family and they each have their own unique

stories and interests. The rebrand thus follows a bright, fun and

quirky style to best represent the brand ethos.

The logo can be used in any brand colour as long

as it is clear and visible. There are various stacking

and placement options to allow for versatility

among different formats.

Point A brand colours are made up of

turquoise, yellow and grey. These may

be used interchangeably but within

limitation to keep a unified brand look.

All print materials are designed

using a base 9x9 grid system.

This is to keep structure and

unity throughout the corporate

identity of our brand.

All of our typefaces are web-safe, making

them quick to load and easy to display on

any device, anywhere in the world. They

are clear and readable, which is perfect

for work in print, too.

These are our icons. They can be used on every

brand material to emphasise points, make

information clearer to understand and to add

some illustration where needed.

Meet our brand smiley face. His smile is taken

from the line in the “A” of our logo. You’ll spot

him anywhere where we have personal informa-

tion or good news to share.

#00A99DC100 M0 Y50 K0R0 G169 B157

#F2EB50C8 M0 Y82 K0R242 G235 B80

#323C42C76 M63 Y56 K48R50 G60 B66

Noto Sans Bold Italic Headings19pt type; 26pt leading

Roboto Regular Body copy10pt type; 16pt leading

Noto Sans italicQuotes, in-text emphasis10pt type; 16pt leading

Noto Sans Bold Italic Subheadings 13pt type; 19pt leading

Vestas needed accurate SAP® test data The company required business processes to run smoothly and efficiently after applying support and enhancement packs and other day-to-day operations. In an interview, Esben Fagerlind, the SAP Landscape & Release Consultant at Vestas, explained the situation as follows:

“Before DSM, our QA and DEV systems contained manually created data – this was a risk for us. We could not live up to our quality goals such as avoiding errors in the productive systems, because some errors were not found before applying a change or a support pack to the productive systems.”

Vestas Wind Systems needed a solution for all their needs.

Vestas Global IT wanted up-to-date data in their QA environments without having to do a full system copy. They also wanted to copy data selectively which meant de-selecting sensitive data up front, slimming down client sizes wherever possible, and reducing costs. Furthermore, they wanted to enable business users to create ad hoc data scenarios for problem resolution.

“The Point A team show a strong understanding of our challenges. They’re complete professionals and are very pleasant to work with. Their support desk responds rapidly and any problems are solved very quickly.”

Esben Fagerlind, Vestas SAP Landscape & Release Consultant

The business case

The Data Sync Manager™ (DSM) product suite makes it possible to obtain scrambled production data on QA environments without having to make a full system copy or to create manual data. DSM Client Sync provides a table-oriented approach to copying a subset of client data, whilst Object Sync selects data at a business object or transactional flow level, from a single object up to a whole range, and copies it to a non-production system. Vestas purchased DSM Client Sync and DSM Object Sync for HCM and ERP. They also make use of the Data Refresh Service for HCM, ERP, SCM, CRM and BW.

Weekly updates of selected FI master data via Object Sync.

Ad hoc transfer of payroll master data in case of incidents in the production system with Object Sync. Every six months all master data is transferred and a six month transactional slice is made with Client Sync (ERP, CRM, SCM, HR and BI).

“Data Sync Manager has provided perfect data quality

without significant load on the systems, and test and

training systems are much smaller now. Business

users work independently of Global IT when they

Vestas Wind System A/S at a glance

Industry Manufacturing

Headquarters Aarhus, Denmark

1898 The founding Hansen family built a manufacturing company that by 1968 was exporting hydraulic cranes to 65 countries.

1979 Vestas sells and installs its first wind turbine.

1991 Vestas sells its 1,000th turbine. Vestas turbines are now supplying clean energy around the world, from Great Britain to India to New Zealand.

1998 Officially listed on the Stock Exchange.

2004 Vestas and NEG Micon merge. The merged company achieves a 34 per cent market share.

2007 Vestas is installing one wind turbine every four hours somewhere in the world.

About Vestas Wind System A/S

Vestas is the only global energy company dedicated exclusively to wind energy. Founded in 1898 as a blacksmith shop in western Denmark, Vestas began producing wind turbines in 1979, and have since gained a market-leading position with more than 64 GW of installed wind power and more than 42 GW under service globally.

Today, Vestas works to ensure the delivery of the best-in-class wind energy solutions and set the pace in the energy industry for the benefit of not only the customers, but also the planet. Vestas has offices in 24 countries and five strong regional sales business units in Northern Europe, Central Europe, Americas, Mediterranean, and Asia Pacific & China.

Automated updates – DSM runs independently and sends status updates via email to inform the team of the copy process.

Time is saved – The test systems built with Data Sync Manager are a fraction of the size of Vestas’ production systems.

Disk space is saved – At peak 7.5 TB of disk space is saved in pre-production systems.

Ease of use – Vestas’ staff can easily manage the refreshes.

Smaller test systems.

Benefits of Data Sync Manager

Copy time at Vestas

AP Landscape at Vestas

need to copy objects from the productive system to

test systems. Object Sync has been very valuable for

checking and fixing incidents, e.g. in Payroll.”

Stationery and business cards

The bright colours reflect the positive energy in the

Point A office. The business cards are friendly and

welcoming, helping foster client-company relations.

Versatile logo options

The logos can be used vertically, horizontally,

as icons, or with or without a tagline.

8

Page 9: Lindie Botes | Graphic Design Portfolio 2016

CORPORATE IDENTITY Rebranding of corporate identity for Point A labs. 1st place student prize-awarded project

WeÕre on point!

TEL +27 12 470 2200 FAX +27 86 669 1890WEB www.point-a.com

TEL +27 12 470 2200 FAX +27 86 669 1890WEB www.point-a.com

Print material is important to our brand.

Bringing all our brand elements together.

An important part of Point A’s print material is

testimonials from satisfied customers. The images

above and right indicate that our bold testimonials

catch the eye and make understanding what our brand

does much easier. Posters are a necessary way to

express information about our brand, and our main

poster features clear sections outlining what our brand

does. Simple iconography helps make information

about our brand clear and easy to understand.

Above is a collection of our brand stationery. The

letterhead is structured and welcoming with the line

“you’ve got mail” to add some of our quirky personality.

This is brought through in the envelope design as well,

featuring the brand smiley face.The business cards are

unconventional. Instead of a full name at the front, the

card reads “Hi, I’m...” followed by the name of the card

owner. The back has the full contact details.

Testimonial (above)

A sleek, bright and easy-to-read testimonial

message from a satisfied Point A client.

Promotional folder and letterhead back (right)

This A4 folder will stand out on any desk as the

brand’s colours are bright and memorable. The

letterhead (back) is simple and should brighten up

the day of any client.

9

Page 10: Lindie Botes | Graphic Design Portfolio 2016

CLOTHING CUSTOMISATION Hand-doodled illustrations on t-shirts and shoes. Sold as a personal entrepreneurial initiative

Customised shoes and t-shirt

Hand-drawn with fabric paint

directly onto the surfaces.

Page 11: Lindie Botes | Graphic Design Portfolio 2016

WEB DESIGN Front-end design of a personal portfolio website showcasing my third year university design projects (2015).

designssss!Information design (iow 300)

From left to right: example of a page with a slideshow; main Information Design page; example page

imaging and illustration (ill 301)

From left to right: example of a page with a slideshow; main Imaging and Illustration page; example page

about and contact pages

Third year portfolio website

The website is based on a slideshow format and

displays projects from both design and illustration

modules. The grid layout stays the same on each

page. I used a geometric, modular layout to match

with my personal logo (left).

visual identity!

lindie botes

logo

Features the letter ‘L’ for Lindie, Korean characters ㄹ and ㅂ for my initials and two lines which are Japanese diacritics from my Japanese name, 凛子. The logo reflects my interests and style.

typefaces

Baron Neue is a simple sans serif typeface and works well with the quirky Cousine. Throughout the website, the main headings and important words are in Baron Neue and other text in Cousine.

menu

The menu is made in a structured, blocky format to match with the logo and other boxes used around the website. It is fixed on each page, and a small triangle indicates to the user which page they are on at the moment.

colours

Minty and cool! The pages are differentiated by their background colours whereas all other information is kept in black.

colours

Example of background colour changes between the contact (above) and about (below) pages

simple and sentimental

In terms of design, the home page is somewhat different from all other pages. This page simply acts as an entry point into the rest of the website. The background image is a photograph from the window of my bedroom in Tokyo, reflecting my interest in big cities, buildings and Japan.

baron neue

Cousine Regular

FBE1C6 E1F9F8 BBD3EC E3F4D8

home page

11

Page 12: Lindie Botes | Graphic Design Portfolio 2016

designssss!Information design (iow 300)

From left to right: example of a page with a slideshow; main Information Design page; example page

imaging and illustration (ill 301)

From left to right: example of a page with a slideshow; main Imaging and Illustration page; example page

about and contact pages

WEB DESIGN Front-end design of a personal portfolio website showcasing my third year university design projects (2015).

Information pages

The about page (left) has links to social media and

my CV and portfolio. The contact page (below) has

my email, Twitter handle and postal addresses for

Tokyo and Pretoria.

visual identity!

lindie botes

logo

Features the letter ‘L’ for Lindie, Korean characters ㄹ and ㅂ for my initials and two lines which are Japanese diacritics from my Japanese name, 凛子. The logo reflects my interests and style.

typefaces

Baron Neue is a simple sans serif typeface and works well with the quirky Cousine. Throughout the website, the main headings and important words are in Baron Neue and other text is set in Cousine Regular.

menu

The menu is made in a structured, blocky format to match with the logo and other boxes used around the website. It is fixed on each page, and a small triangle indicates to the user which page they are on at the moment.

colours

Minty and cool! The pages are differentiated by their background colours whereas all other information is kept in black.

background changes

Example of background colour changes between the contact (above) and about (below) pages

simple and sentimental

In terms of design, the home page is somewhat different from all other pages. This page simply acts as an entry point into the rest of the website. The background image is a photograph from the window of my bedroom in Tokyo, reflecting my interest in big cities, buildings and Japan.

baron neue

Cousine Regular

#FBE1C6 #E1F9F8 #BBD3EC #E3F4D8

home page

12

Page 13: Lindie Botes | Graphic Design Portfolio 2016

DIGITAL COLLAGE Yokohama Chinatown photographic collage series. Featured at 2016 Golden Bee Moscow Biennale of Graphic Design.

Photographic collages

I was inspired by post-internet and glitch art. I took

the photos at Yokohama Chinatown myself and

then manipulated them in Photoshop. The image

at the bottom right was featured at the 2016 Golden

Bee Biennale of Graphic Design in Moscow.

13

Page 14: Lindie Botes | Graphic Design Portfolio 2016

about cheapcheap

selected screenshots from the presentation animation

Different retail stores have a variety of prices and specials. However, consumers often have a misconception of where they can get the best products for the best value.

cheapcheap solves this problem by comparing specials from various stores in a quick, simple manner for users to save money.

Users can save specials and look back for reference. Each special has an expiry date and will remove itself from the system once the special is over, thus providing up-to-date, fresh specials for everyone.

Opening screen plays a bell sound while the cheapcheap logo animates in

Describing the problem through a quirky illustration style Describing the problem need with a similar illustration style The animation contains various graphics to visualise information The animation contains various graphics to visualise information

The final part of the animation explains what funding options are available for the USSD system

The smartphone application is introduced through a series of animated screens

Personas are incorporated into the animation so that viewers understand the context and target market of the application

The original USSD system is explained through a series of animated screens on a GSM cellphone

Red checkmarks animate in as the simplicity of the application is visually described

UI DESIGN: SMARTPHONE APP Geo-location enabled smartphone app helping users find supermarket specials and promotions around South Africa.

about cheapcheap

selected screenshots from the presentation animation

Different retail stores have a variety of prices and specials. However, consumers often have a misconception of where they can get the best products for the best value.

cheapcheap solves this problem by comparing specials from various stores in a quick, simple manner for users to save money.

Users can save specials and look back for reference. Each special has an expiry date and will remove itself from the system once the special is over, thus providing up-to-date, fresh specials for everyone.

Opening screen plays a bell sound while the cheapcheap logo animates in

Describing the problem through a quirky illustration style Describing the problem need with a similar illustration style The animation contains various graphics to visualise information The animation contains various graphics to visualise information

The final part of the animation explains what funding options are available for the USSD system

The smartphone application is introduced through a series of animated screens

Personas are incorporated into the animation so that viewers understand the context and target market of the application

The original USSD system is explained through a series of animated screens on a GSM cellphone

Red checkmarks animate in as the simplicity of the application is visually described

about cheapcheap

selected screenshots from the presentation animation

Different retail stores have a variety of prices and specials. However, consumers often have a misconception of where they can get the best products for the best value.

cheapcheap solves this problem by comparing specials from various stores in a quick, simple manner for users to save money.

Users can save specials and look back for reference. Each special has an expiry date and will remove itself from the system once the special is over, thus providing up-to-date, fresh specials for everyone.

Opening screen plays a bell sound while the cheapcheap logo animates in

Describing the problem through a quirky illustration style Describing the problem need with a similar illustration style The animation contains various graphics to visualise information The animation contains various graphics to visualise information

The final part of the animation explains what funding options are available for the USSD system

The smartphone application is introduced through a series of animated screens

Personas are incorporated into the animation so that viewers understand the context and target market of the application

The original USSD system is explained through a series of animated screens on a GSM cellphone

Red checkmarks animate in as the simplicity of the application is visually described

CheapCheap application

Users can search for items to find the cheapest near-

by, or search for specials to decide where to shop.

Users can add items to a shopping list and select

other locations in South Africa too.

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Page 15: Lindie Botes | Graphic Design Portfolio 2016

TOKYO ONE PIECE TOWER Logo and sticker box packaging for Tokyo One Piece Tower. Part of my internship work at COMPOUND.inc design studio in 2015.

Kobun Logo

Logo made by handwritten Japanese brush callig-

raphy. The logo is placed on various items of mer-

chandise such as bags and cards. These are avail-

able for purchase at the Tokyo One Piece Tower.

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Page 16: Lindie Botes | Graphic Design Portfolio 2016

ORIGINAL STICKERS

STICKER SET OF 12

ORIGINAL STICKERS

STICKER SET OF 12

ORIGINAL STICKERS

STICKER SET OF 12

ORIGINAL STICKERS

STICKER SET OF 12

ORIGINAL STICKERS

STICKER SET OF 12

ORIGINAL STICKERS

STICKER SET OF 12

TOKYO ONE PIECE TOWER Logo and sticker box packaging for Tokyo One Piece Tower. Part of my internship work at COMPOUND.inc design studio in 2015.

Sticker box packaging

I designed a matchbox that contains various stickers

related to the One Piece anime. These boxes are

also being sold in Tokyo Tower.

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Page 17: Lindie Botes | Graphic Design Portfolio 2016

PACKAGING 3D renders of packaging for SUSU Corn and Barley tea. The name SUSU comes from Korean “oksusu” which means corn.

Susu Corn & Barley Tea

The cardboard sleeve can be removed.

Susu is an ideal tea for picnics and dates.

Easy-to-remove bottle caps can act as collectables.

Glass allows thenatural tea colours to cast warm reflections.

Susu Corn & Barley Tea

The cardboard sleeve can be removed.

Susu is an ideal tea for picnics and dates.

Easy-to-remove bottle caps can act as collectables.

Glass allows thenatural tea colours to cast warm reflections.Susu Corn &

Barley Tea

The cardboard sleeve can be removed.

Susu is an ideal tea for picnics and dates.

Easy-to-remove bottle caps can act as collectables.

Glass allows thenatural tea colours to cast warm reflections.

Brand message and background

SUSU sources and imports corn and barley tea from South Korea for local

enjoyment. Oksusu means corn in Korean, which is where the name SUSU comes

from. Both barley and corn tea are caffeine free and have a nutty, sweet and

toasty flavour. SUSU provides a premium alternative to regular teas and cool-

drinks.

Logo and visual identity

The logo is intentionally left as a black and white frame in which colours can be

filled in to suit different and new tea flavours. The warm yellow colour comes

from the natural colour of corn tea and the tea and blue provide a fresh, young

feel for the brand image. The stylised Chinese character means tea.

Typography

INTERSTATE REGULAR> Main label The quick brown fox jumps over the lazy dog

INTERSTATE BOLD> Main label

The quick brown fox jumps over the lazy dog

INTERSTATE LIGHT> Information on package

The quick brown fox jumps over the lazy dog

C 0M 0Y 0K 100

C 6M 28Y 67K 0

C 70M 2Y 54K 0

C 90M 65Y 0K 32

Brand colors

Icons

The icons are used on the bottle caps to indicate the tea flavours.

Glass bottles with sleeve (front view)

Text and logo printed on with black ink. Thin cardboard sleeve

slides over both pottles and when removed, the logo is exposed.

Semi-rectangular bottles (side views)

The logo is printed on the corner of a bottle and overlaps onto two planes. On the

front plane of the bottle, one can read the flavour of the tea. The flavour is also

indicated by the bottle cap.

Cardboard sleeve flat design Front and side

Back and side

Corn Barley

Susu Corn & Barley Tea

Tea Packaging and logo

The brief was to design a package for a drink that

South African markets are unfamiliar with. In order

to introduce South Africans to corn and barley tea,

the exoticness of the tea is enhanced by using the

Chinese character for tea in the logo.

However, the cardboard slip and glass bottle design

is minimal and luxurious to appeal to a youthful

market with sophisticated taste.

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Page 18: Lindie Botes | Graphic Design Portfolio 2016

GOOD BYE!behance.net/lindiebeelindiebotes.tumblr.com