YMCA’s cooking class

Kira-Alexandra Gwilliam

The project consists of finding an internship in a non-profit organization and participating in one of its programs. Kira chose the passport program for education at the YMCA. Her role consists of teaching young people between 13 and 17 years old how to cook once a week every week. She teaches them basic techniques, simple and healthy recipes, as well as the artistic presentation of dishes. Kira thinks it is an important project because cooking is a basic skill that is slowly being lost. It is a crucial skill for young people to have in order to have a better diet.

Postcards
4 (8) postcards, 6 x 4 in.

Subbacultcha

Francis Leclerc-Charron

Subbacultcha had its initial life as a poster in a contest for the alternative rock band The Pixies. As part of a course, it was transformed into a series of postcards reflecting a designer’s ethos statement.

Poster, postcards
4 postcards, 24 x 36 in. (poster), 6 x 4 in. (postcard)

Orange Julep

Fanny Marcoux-Lebeau

Julie Tremblay

Murielle Dufort

This project is a rebranding of Montreal’s famous Orange Julep in order to revive it and attract a larger clientele. The juxtaposition of pastel colours with a touch of humour creates a playful identity engaging Montrealers to rediscover the place and build new memories, while enjoying an orange frappe. The branding itself is catchy in order to grasp the attention of both newcomers and regulars.

Illustrator, Photoshop, screen-printing, paper
3 posters, 13 x 19 in., 11 x 17 in. (t-shirt)

Brandon Grotesque Folded

Edward Nyamenkum

Based on Brandon Grotesque Black, Brandon Grotesque Folded takes inspiration from folding paper to create a layering typeface. By overlapping the different type styles and by playing with different combinations of colour, fills, and strokes, paper-folding effects can be visually mimicked in a 2D environment. This typeface was developed by experimenting with folding paper letters, recreating the process through a 3D rendering software, and importing the resulting vector shapes into Illustrator and Glyphs.

Paper
9 x 12 in. (book), 24 x 36 (poster)

Copy

Laurence Pilon

Copy is an experimental, typographic project that focuses on the existing interrelation of content, form, and material. It is based on the idea of deterioration and of censure. The typeface was created by generating data loss with a photocopier. It is used in the context of Nicole Brossard’s poetry to illustrate women’s censored speech. The author’s feminist text “E muet mutant” (Silent Mutant E), published in 1975, deals with the oppression of the female literary discourse in Quebec.

Paper, ink, poetry
24 x 36 in.

I Love Myself

Sam van der Walde

I Love Myself is a compilation of blog entries written throughout the semester about the lessons Sam learned as a graphic designer and how they link to her life as a twenty-something-year-old. The entries are used to showcase the typeface Eva, a modern and geometric sans serif. Eva has two weights, regular and display, for legibility and versatility.

Paper
7 x 9 in.

Gabrielle – The font booklet

Maya Moufawad

Gabrielle – The font booklet consists of a typeface and its specimen booklet. Strong and feminine, the typeface is inspired by a black, lace dress. The idea was to create something similar to modern serif typefaces such as Didot, but with a little more fire. It is primarily for typeface because of the small details of each letterform.

Paper
5 x 6 in.

Neige Typeface

Marie-Pier Larose

Neige is a handmade typeface that was inspired by the observation of snow falling in the surrounding environment. With soft colours and thick traits, Neige’s booklet emulates the forms created by ice crystals coming in contact with flora and by the burial of the landscape under the snow. The characters have irregular outlines with a consistent large stroke. The letters’ rounded lines often finish with curved tips, for better interlocking typography.

Paper, ink
6 x 6 in.

Galaxix

Cassandra Carosello

Inspired by constellations, Galaxix is a sans-serif typeface constructed with linear and circular forms. Because of its unique details, this typeface is best suited for large headings or display type. The concept of the project was to find inspiration in physical or digital objects/elements and develop a typeface based on it. Based on geometric angles and the list of star signs, Galaxix was developed with a futuristic/science-fiction style. A specimen booklet illustrates the typeface’s complete development.

Sketch paper, matte cardstock, inkjet
6.25 x 5 in. (closed), 6.25 x 18 in. (open)

Alain Ducasse Stationery

Christina Gancz

Sarah Denis

Alain Ducasse Stationery is a speculative rebranding of a five-star Parisian restaurant, Alain Ducasse au Plaza Athenée. The restaurant is very high-class and prides itself on the transparency of its cooking methods: every meal showcases all its individual components. The restaurant is also proud of knowing the origin of all its foodstuffs and developing a stable network of trusted food providers.

Stationery
Paper
24 x 12 in.

Alain Ducasse Stationery

Alyssa Zwonok

Samantha Dicriscio

The Plaza Athenée is a luxurious five-star hotel in Paris, with a five-star restaurant named after the head chef Alain Ducasse. The stationery represents this restaurant. The specific, luxurious ingredients Alain Ducasse uses in his dishes are brought to life within the design. The stamping of the pears, peppers, and caviar is a compelling addition to the stationery; it adds an upper-class feel to the overall look. The stationery is also printed on a paper with a slight frosted shine to push the luxurious feel.

Stationery paper
10 x 25 in.

Suburbia

Bianca Su

Suburbia is a piece that triggers conversation about the contrast between two common images of the suburbs: one of monotonous residential scenery and the other of a family life. The framed typography sits in a box that may suggest an unchanging and isolated depiction of the suburbs. By way of translating this duality of isolation and new life into visual type in space, the “ouvert” sign displays a decaying typography, yet shows liveliness. This open lit sign welcomes its viewer while conveying a feeling of neglect.

Masonite, acrylic, paint, LED
7 x 16.5 x 4 in