HELLO,I AM SAM FINE

Shift is a resource for high school students to help aid them in the decision making process of applying and

choosing the college that best suits their needs. Shift does this by connecting high school students to real

college students in an online social networking database.

SHIFT BRAND IDENTITY

SHIFT

SHIFTSHIFT

SHIFT

, BRAND ID

ENTIT

Y B

usiness S

ystem and

Collateral M

aterials

SHIFT

, BRAND ID

ENTIT

Y B

rochure D

esign

SHIFT

, BRAND ID

ENTIT

Y C

ollateral Material

SHIFT

, BRAND ID

ENTIT

Y P

romotion

al Posters

SHIFT

, BRAND ID

ENTIT

Y W

eb and

iPhone A

pp

lication

This business system was created at my internship at REACTOR Design Studio, for a software engineering

company. The logo is designed to represent the parts of a whole. The clean logo and unique color palette make

this brand stand out against the competition.

computer Engineering Inc. branding

Wanderlust Magazine is collaborative travel magazine for students studying abroad. This was created along

with three other students with whom I studied in Trier Germany for five months. We explored experimental

typographic layouts and utilized our own photography to make up this Wanderlust..

wanderlust magazine editorial design

WANDERLU

ST M

AGAZIN

E, E

DIT

ORIA

L DES

IGN

Fe

ature

Article

WANDERLU

ST M

AGAZIN

E, E

DIT

ORIA

L DES

IGN

Dep

artm

en

t & P

ho

to E

ssay

WANDERLU

ST M

AGAZIN

E, E

DIT

ORIA

L DES

IGN

Ph

oto

Essay

P R O D U C T O F G E R M A N Y

12% vol 0,75l

D E U T S C H E R Q U A L I T Ä T S W E I NRIESLING TROCKEN

2012

SCHWARZE KATZ ZELLER

P R O D U C T O F G E R M A N Y

12% vol 0,75l

D E U T S C H E R Q U A L I T Ä T S W E I NRIESLING TROCKEN

2012P R O D U C T O F G E R M A N Y

SCHWARZE KATZ ZELLER

Label design for the German wine company, Zeller Schwarze Katz. This well received brand in the Mosel

region of Germany was looking to update the look of their brand. Using a little humor, and modern appeal, the

brand is redone to appeal to existing customers and a younger audience.

ZSK Wine Label package design

P R O D U C T O F G E R M A N Y

12% vol 0,75l

D E U T S C H E R Q U A L I T Ä T S W E I NRIESLING TROCKEN

2012

SCHWARZE KATZ ZELLER

P R O D U C T O F G E R M A N Y

12% vol 0,75l

D E U T S C H E R Q U A L I T Ä T S W E I NRIESLING TROCKEN

2012P R O D U C T O F G E R M A N Y

SCHWARZE KATZ ZELLER

zsk, pa

ckage d

esig

n

carbonate your lifesodasavor

This conceptual product keeps beverages carbonated. The design is associated closely with the purpose of the

product, by using literal visual elements. These elements force a kind of engagement with the consumer. The

logo elements are simple in contrast to the bright photography paired with the logo.

Sodasavor branding

sodasavor, B

RAND ID

ENTIT

Y F

old

ed

Bro

chu

re

sodasavor, B

RAND ID

ENTIT

Y C

ollate

ral M

ateria

l

THE QUICK

BROWN FOX

JUMPED OVER

THE LAZY DOG

Steipe is a display typeface I designed while studying in Trier, Germany. I was inspired by the acute angles

of the architecture in Trier. The sharp roof of one of the buildings in Trier is called steipe. This typeface was

inspired by old, Gothic architecture, but in contrast functions in modern environment.

STEIPE DISPLAY TYPEFACE DESIGN

sTEIP

E T

YPEFA

CE D

ESIG

N P

oste

r Ap

plicatio

n

This travel journal is my of the different types of art and culture that inspired me while I was studying

abroad. The book explores various cities and the different cultural experiences that can be offered while

traveling in each city.

European Art & Culture Book DESIGN

F I V E M O N T H S N I N E C O U N T R I E S S I X T E E N C I T I E S

European A

rt &

Cult

ure, b

ook d

esig

n

KNOWLEDGEREMEMBERING INFORMATIONDEFINE, IDENTIFY, LABEL, STATE, LIST, MATCH

COMPREHENSIONEXPLAINING THE MEANING OF INFORMATION

DESCRIBE, GENERALIZE, PARAPHRASE, SUMMARIZE, ESTIMATE

APPLICATIONUSING ABSTRACTIONS IN CONCRETE SITUATIONS

DETERMINE, CHART, IMPLEMENT, PREPARE, SOLVE, USE, DEVELOP

ANALYSISBREAKING DOWN A WHOLE INTO COMPONENT PARTS, EXAMINING

(AND TRYING TO UNDERSTAND THE ORGANIZATION STRUCTURE OF) INFORMATION

POINTS OUT, DIFFERENTIATE, DISTINGUISH, DISCRIMINATE, COMPARE

SYNTHESISPUTTING PARTS TOGETHER TO FORM A NEW AND INTEGRATED WHOLE

CREATE, DESIGN, PLAN, ORGANIZE, GENERATE, WRITE

EVALUATIONMAKING JUDGMENTS ABOUT THE MERITS OF IDEAS, MATERIALS, OR PHENOMENA

APPRAISE, CRITIQUE, JUDGE, WEIGH, EVALUATE, SELECT

KNOWLEDGE

COMPREHENSION

APPLICATIONANALYSIS

SYNTHESISEVALUATION

BRANDINGTEAM

WORK

BUSINESS NEEDSTOOLS &TECHNOLOGY

AESTHETICSIDENTIFYING AUDIENCE

PROBLEM SOLVING

OVERALL SHADE OF PROJECT & NUMBER OF COLORS USED

AIGIA/NASAD COMPETENCIES

BLOOM’S TAXONOM

Y

BLOOM’S TAXONOMY AIGA/NASDAD COMPETENCIES

PROBLEM SOLVINGThe ability to solve communication problems, including the skills of problem identification, research and information gathering, analysis, generation of alternative solutions, prototyping and user testing, and evaluation of outcomes.

AESTHETICSThe ability to create and develop visual form in response to communication problems, including an

understanding of principles of visual organization/ composition, information hierarchy, symbolic repre-

sentation, typography, aesthetics, and the construction of meaningful messages.

IDENTIFYING THE AUDIENCEThe ability to describe and respond to the audiences and contexts which communication solutions must address, including recognition of the physical, cognitive, cultural, and social human factors that shape design decisions.

TOOLS & TECHNOLOGYAn understanding of tools and technology, including their roles in the creation, reproduction, and dis-

tribution of visual messages. Relevant tools and technologies include, but are not limited to, drawing,

offset printing, photography, and time-based and interactive media (film, video, computer multimedia).

TEAMWORKAn understanding of basic business practices, including the ability to organize

design projects and to work productively as a member of teams.

BRANDINGThe application of communication theory, planning of campaigns, audience/user evaluation, market testing,

branding, art direction, and copyrighting, as well as the formal and technical aspects of design and production.

BUSINESS NEEDSWorking in interdisciplinary teams, systems-level analysis and problem solving, writing for

business, and the application of management, communication, and information theories.

COLOR STUDY, A VISUALIZATION OF MY PROJECTS USING BLOOM’S TAXONOMY & AIGA/NASAD COMPETENTCIES

BY SAM FINE

CHAMELEON POSTER VISUAL COMM

UNICATIONS

CHAMELEON MOTION GRAPHIC VISUAL COMM

UNICATIONS

ADDERALL INFOGRAPH VISUAL COMM

UNICATIONS

INTERSTATE TYPOGRAPHIC STUDY TYPOGRAPHY I

ADOBE CASLON TYPE IN MOTION TYPOGRAPHY I

THE ART OF PSYCOGRAPHICS, MAGAZINE LAYOUT TYPOGRAPHY I

BIODIESEL GRAPHIC DESIGN I

SODA SAVOR BRAND IDENTITY GRAPHIC DESIGN I

BOOK JACKET SERIES TYPOGRAPHY II

PREHISTORYIC INFOGRAPH TYPOGRAPHY II

TYPOGRAPHIC SPEECH, PRINT TYPOGRAPHY II

TYPOGRAPHIC SPEECH, IN MOTION TYPOGRAPHY II

TYPOGRAPHIC WORKBOOK TYPOGRAPHY II

ENCORE GREEN PACKAGE DESIGN GRAPHIC DESIGN II

WALNUT CREEK RANCH IDENTITY GRAPHIC DESIGN II

DESIGN IDENTITY/PHILOSOPHY TYPOGRAPHY III

MODLI LOGO DESIGN STUDY ABROAD TRIER, GERMANY

GONIA TYPE DESIGN STUDY ABROAD TRIER, GERMANY

TRAVEL DIARY STUDY ABROAD TRIER, GERMANY

WANDERLUST MAGAZINE STUDY ABROAD TRIER, GERMANY

SHIFT BRANDING DESIGN FOR CHANGE

JAN TSCHICHOLD TYPOGRAPHIC LAYOUTS TYPOGRAPHY I

FAST, CHEAP, & OUT OF CONTROL DVD PACKAGE VISUAL COMM

UNICATIONS

DANCE MARATHON POSTERS GRAPHIC DESIGN I

LA VIA CAMPESINA POSTER CAMPAIGN TYPOGRAPHY III

PUBLIC TYPE BOOK TYPOGRAPHY III

MURMUR TYPE DESIGN GRAPHIC DESIGN II

ZELLER SCHWARZE KATZ WINE LABEL STUDY ABROAD TRIER, GERMANY

An infograph representation of every project completed during my sophomore, junior, and senior years

in design school. The projects are compared against Bloom’s Taxonomy of Learning, AIGA / NASAD

Competencies, and color value details

Color Study infograph

colo

r s

tudy, in

fograph

THANK YOU,I HOPE YOU HAVE A FINE DAY.

graphic designer 224.522.2427 samantha.l.fine@gmail.com