CURRICULUM VITAE

WHO AM I?
Call me Vic! I am a graduate in Graphic and Interactive Design. I am a friendly and determined individual looking to gain more experience and challenge in an industry environment. Currently I am a Graphic Design intern at Creative Bite - a new initiative at Natcoll. With this opportunity I have been developing my skills and have gained real-world experience with live jobs . 2008 - 2009 Diploma of Graphic Design Natcoll Design Technology

VIC.jess.lau@gmail.com 022 023 4549

EDUCATION & TRAINING

2009 - 2010 Diploma of Digital Media (Advanced) Natcoll Design Technology 2010 - 2011 Diploma of Interactive Design Natcoll Design Technology 2010 - 2011

WHAT DO I KNOW?

Im tech-savvy with both MAC and PC computers, with knowledge of setting up print jobs for prepress and excellent file management. I also have knowledge of Actioncsript 3, Tweenmax, HTML, CSS, jQuery, Javascript and FinalCut Pro so am able to wear many hats!

Graphic Design Intern at Creative Bite

INTERESTS
Illustration and CG Music, movies, anime and cartoons Movie editing Video games

WORK EXPERIENCE
2011 - 2012 The Dogs Breakfast Retail Assistant Skills: Cash-handling, cheques and EFTPOS and basic customer service. 2012 - Present Graphic Design intern at Creative Bite / Freelancer

REFEREES
Available upon request.

HEART DISEASE ILLUSTRATION

Illustrative typographic poster about heart disease.

MUSIC AWARDS POSTER

Poster for the Vodafone Music Awards held in Auckland.

PHOBIA ILLUSTRATION
An Illustration depicting sciophobia - fear of shadows.

100 THUMBNAILS
Visually interpreting a pen in 100 different ways.

CEREAL BOX PACkaGING

Mockup of a cereal box for Wheat Biskits, targeted towards children.

HAIR SALON BROCHURE

A DLE brochure for a hair salon using tritone colours.

kwek michelle illustrator

257 6630 phone: 021 @gmail.com errific.michelle ade.com email: strawb rbonm trawberrific.ca website: www.s

illustrator

michelle kwek

phone: 021 257 6630 email: strawberrific.michelle@gmail.com website: www.strawberrific.carbonmade.com

michelle kwek
illustrator

phone: 021 257 6630 email: strawberrific.michelle@gmail.com website: www.strawberrific.carbonmade.com

Tax Invoice 1025

michelle kwek
illustrator
phone: 021 email: strawberrific.michelle 257 6630 @gmail.com website: www.straw berrific.carbonmade.c om

With Compliments

CLIENT HOUSESTYLE
A housestyle including letterhead, compliment slip, business card and tax invoice.

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CONTINUED

ON

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is that it is about space easy to The tricky thing and therefore the generally invisible your speed by ignore. You determine in front of you. space size of the visible

BULK TEXT LAYOUT

A publication called Stop Stealing Sheep about how typography is changing.

20

Output The Form of the Book 1.

21

The form of the book 1. Time to consider a more holistic approach to publishing design? By Catherine Dixon

To celebrate todays The Form of the Book conference at the St Bride Library, Catherine Dixon introduces a new thread to the Eye blog. In future weeks, we will be inviting designers and design writers to select their favourite book designs (not just the covers) of the past year, and to explain their selection. A couple of recent events in London have focused discussions on what makes good book design. Swiss designer Jost Hochuli shared his misgivings concerning an overly systematic approach to book design in a lecture at St Bride Library. Warning of the pitfalls of an overly dogmatic approach to visual layout, he proposed a more open relationship between designer and system, allowing scope for intuition to inform the designed response. The second event, which also involved Hochuli, was a round-table discussion hosted by the Helvetic Centre focusing on the exhibition The Most Beautiful Swiss Books 2007. Here Hochuli was joined by book

designers Ron Costley, James Goggin and Laurent Benner in a panel-led consideration of the criteria used to evaluate contemporary book design, with much debate about the relevance of beauty. Robin Kinross commented that similar awards in The Netherlands avoid trying to evidence beauty, opting instead to recognise those books that have been most cared for in a wider creative sense. (See Rick Poynors Critique in Eye no. 70 vol. 18.) What became clear at both these events was that the books under discussion represented only a tiny proportion of the breadth of activity and kind of product encompassed within contemporary book design, and especially within the UK. It was acknowledged that only a very narrow range of books is celebrated in design terms, and that such books are often intended more for looking at than reading. A degree of editorial collaboration, self-publication or self-

authorship is not unusual, along with short print runs intended for niche markets. A far cry then from the marketing constraints of mainstream publishing. Here there is less to celebrate. But it is here that design is perhaps needed most. If a designer has only one or two days to design a book, a systematic approach is a necessity. And while the rigidity of many of the systems we do have may well be problematic, where are the designers to create new systems that will allow for a more humane approach to text layout? Craft vs content Contemporary evaluations of book design fuelled Nick Bells Confessions of an awards juror blog, which argued for the awardworthiness of a 2008 D&AD nomination. Bell prioritises the conceptual over the craft: Craftparticularly the typographic varietyweighs heavily in graphic design.

Craft resonates with designers more than ideas, much as we hate to admit it. The kind of debates that take place on D&AD juries bear this outgreat ideas being passed over because I didnt rate the type. Rather than trying to redress the balance between a consideration of content and craft in a given book, Bell re-polarises the argument. Yet the suggested split between ideas and execution is not one you find in other areas: the restaurant critic will not, for example, be heard to praise the idea for the experimental new menu if the culinary craft fails to deliver a first-class meal. Content does matter. There is a danger of focusing too much on what something looks like without questioning what is it for. But there is also a danger in evaluating a books conceptual contribution to a given field at the expense of its visual realisation a problematic feature of much mainstream

publishing. The form of the book will largely determine how effectively the content is experienced. Content and craft should then work together in the design of the book as a whole. For me, the most satisfying book of the past year is the revised edition of Jenni Muirs A Cooks Guide to Grains (Conran Octopus). Its interesting, and a pleasure to hold, to open and to read and use. The cover and illustrations (by a favourite print-maker of mine) are totally appropriate to the subject, and have been well balanced and integrated with the text. It is a quiet joy. And whats more, I suspect it will be for years to come.
Image References: Stock Images http://designdivala.deviantart.com http://cozycomfycouch.deviantart.com http://gothicbohemianstock.deviantart.com

Computer Arts September 2010

www.computerarts.co.uk

www.computerarts.co.uk

Computer Arts September 2010

EDITORIAL LAYOUT
Magazine spread based on the Computer Arts layout.

MOVING TYPOGRAPHY
A two minute moving typography video using motion blur, tweening and scaling.

FLASH WEBSITE
Mockup of a flash website using Actionscript 3, TweenMax and XML.

POWERADE WEBSITE MOCKUP

Mockup of a website for Powerade.

MODEL AGENCY WEBSITE MOCKUP

Mockup of a model agency website using HTML, jQuery and CSS.

DEMON ENERGY WEBSITE MOCKUP

Mockup of a website for the Demon Energy drink.

THANKS FOR LOOKING! CONTACT ME.

VIC.jess.lau@gmail.com 022 023 4549