Julie Schmittdiel - Graphic Designer

PORTFOLIO

Graphic DesignerJulie Schmittdiel 22026 California

St. Clair Shores, MI 48080

Address [email protected]

issuu.com/jules9373staticforcestudios.com

As a graphic designer, I consider myself to be an artist, a writer, an organizer,a communicator, and a thought-provoker. I �nd art in everything, from nature to industry, and strive to combine my observations, talent and aesthetics to any design solution. Graphic design o�ers an opportunity to choose from several media, formats, and concepts, helping me to convey ideas and information. I believe it is my responsibility as a designer, to engage the viewer through both visual and written communication, respectfully evoking emotion and inspiration.

My objective is to obtain a position as a Graphic Designer that would best utilize my education, skills, and quali�cations, and provide an opportunity for experience and growth in both Print & Web Design.

PERSONAL STATEMENT...............................................................................................................................

EDUCATION...............................................................................................................................

MY SPECIALTIES...............................................................................................................................

WORK EXPERIENCE...............................................................................................................................

Icon & Logo Design

Branding

Web Design

SKILLS...............................................................................................................................

HOBBIES & INTERESTS...............................................................................................................................

Adobe PhotoshopAdobe IllustratorAdobe InDesignAdobe DreamweaverAdobe FlashAdobe Acrobat ProHTML & CSS

Grid & LayoutTypographyColor TheoryImage EditingWeb Design

01 Tools 02 Design

Presentation of Identity for ArtsCorps Detroit at A Service Learning Institute November 2010

Wayne State University Art Activity AwardDecember 2010

September 1991 − August 1994Studied Graphic Design & Art EducationWestern Michigan University

September 2007 − December 2010BFA Graphic Design Wayne State University

1 2009 − 2014Neocutis, Inc. − Troy, MICustomer Service & Sales Support/Marketing Assistant

• Provided customer and sales support for Returns & Complaints, including processing of Credit Memos and ordering replacement product as needed.• Developed and implemented new Return & Complaint Policy in coordination with the Research & Development Team.• Other duties as assigned for sister company Neogyn – updates to E-Commerce Website (neogyn.us) through Volusion & Joomla! Resize images for Web & Marketing materials while keeping within Brand & Identity standards. Maintain digital library of artwork. Design email marketing campaigns via MailChimp.

Movies Fine Arts Music Interior Design Theatre

Travel Baseball Gardening Sailing Camping

Photography

Mac OSX & WindowsMS O�ce & iWorks

Customer Service

Summa Cum Laude Graduate WSUDecember 2010

2

3 2006 − 2008Doyle Sails Detroit − Clinton Township, MIPart-time O�ce Assistant

• Responsible for Accounts Payables and Receivables, including customer follow-up.• Provided front desk support, customer service, and managed all shipping and receiving.• Maintained �ling system, and all customer records including Sail Inventory.• Designed layouts for Customer Brochures and Warranty Packets, and implemented print process.

2001 − 2004Doner Advertising − South�eld, MIArt Producer

• Accounts included; Progressive Insurance, Six Flags, Minute Maid, Canadian Tire, Third Federal Bank, and all Storyboard Purchasing.• Exercised excellent communication, quality assurance, scheduling, costing and follow-up skills in a professional, e�cient and e�ective work style.• Developed production schedules with Print Producer, Account Services, Creative Services and Tra�c through Work Start Meetings.• Provided administrative and production support to Senior Art Producers while utilizing strong project management and inter- personal skills.• Processed all purchase orders and invoices while maintaining the department’s various �ling systems including digital artwork.

IllustrationPrint ProductionPresentation

4

Julie Schmittdiel 2015

2010 − 2013Freelance DBA StaticFORCE StudiosCo Owner/Designer

• Branding and Identity design from concept to pre-press, including icon and logo design, collateral and packaging, and �le management. • Project management from proposal to �nished product.• Web Design - conleysclassroom.com artscorpsdetroit.com staticforcestudios.com

Portfolio

SPECIAL PROJECTS & ACCOLADES...............................................................................................................................








EDUCATION...............................................................................................................................

MY SPECIALTIES...............................................................................................................................

WORK EXPERIENCE...............................................................................................................................

Icon & Logo Design

Branding

Web Design

SKILLS...............................................................................................................................




01 Tools 02 Design









Photography


Customer Service


2






4




Portfolio









EDUCATION...............................................................................................................................

MY SPECIALTIES...............................................................................................................................

WORK EXPERIENCE...............................................................................................................................

Icon & Logo Design

Branding

Web Design

SKILLS...............................................................................................................................




01 Tools 02 Design









Photography


Customer Service


2






4




Portfolio





issuu.com/jules9373




EDUCATION...............................................................................................................................

MY SPECIALTIES...............................................................................................................................

WORK EXPERIENCE...............................................................................................................................

Icon & Logo Design

Branding

Web Design

SKILLS...............................................................................................................................




01 Tools 02 Design









Photography


Customer Service


3

4 2006 − 2008Doyle Sails Detroit − Clinton Township, MIPart-time Office Assistant

• Responsible for Accounts Payables and Receivables• Provided front desk support, customer service, and managed all shipping and receiving.• Maintained filing system, and all customer records.• Designed layouts for Customer Brochures and Warranty Packets, and implemented print process.

2001 − 2004Doner Advertising − Southfield, MIArt Producer

• Exercised excellent communication, quality assurance, scheduling, costing and follow-up skills in a professional, and efficient work style.• Developed production schedules with Print Producer, Account Services, Creative Services and Traffic through Work Start Meetings.• Provided administrative and production support to Senior Art Producers while utilizing strong project management and inter- personal skills.• Processed all purchase orders and invoices while maintaining the department’s various filing systems including digital artwork.


5



• Branding and Identity design from concept to pre-press, including icon and logo design, collateral and packaging, and file management. • Project management from proposal to finished product.

Portfolio


1 2014 − PresentFreelance & Temp

• Graphic Design & Print Production, including but not limited to: Branding & Identity Packages, Email Blasts, Sell Sheets, Brochures, Posters, Outdoor Boards, Sales Displays, Wedding Invitations, Restaurant Menus, Post Cards, Business Cards, Flyers & Stationary.

DESIGN

Frank BloombergEditor in [email protected]

Trend DesignTechTown440 Burroughs St.Detroit, MI 48026

P : 3 1 3 . 8 2 2 . 4 9 3 9 F : 3 1 3 . 8 2 2 . 5 9 2 9 C : 3 1 3 . 5 1 0 . 9 3 7 3

DESIGN

W hat if your home office was “either/or” Instead of “and/or”? Picture it, the work-from-homer’s ultimate fantasy: You nine-to-five it in

the studio, no distractions, the place to yourself; home feels a mile away. Come closing bell, you seal it off and head back to cozy household comforts, bad workaday vibes safely entombed behind you. Imagine the clarity! The balance! This is the imposs-ible dream: a home office as close as the next room, but a world apart. That search for a work-from-home Cibola might end in Orinda, California, in the hills east of Berkeley, at the house of Primo Orpilla and Verda Alexander. It seems too perfect: two pods split by a sky bridge, one for working, one for sleeping, plus a dedicated studio. But its reality is as complex as its vision is simple. Can you really divide your life into just two categories, leisure and toil? And if you could, would you? The late architect David Boone, famous for his office buildings, designed Orpilla and Alexander’s home for himself in 1972. The house hunches into the hill, perched on metal I-beams and concrete piers, nestled into a

hillside with views of Mount Diablo. It’s about 2,800 square feet and consists of two identical slant-roofed boxes: an office, kitchen, and living room (in Boone’s day a bit of corporate entertaining certainly counted as billable hours) in one; bedrooms in the other with a studio below. The reality is less glossy. We grow into our homes, and the result is that both house and human change—the relationship is symbiotic. We disobey floor plans. With each basket of laundry left in the hall, Boone’s Spartan separation makes less and less sense. So Orpilla and Alexander didn’t think much of putting a dining table in what was once Boone’s office, next to the kitchen. Or handling paperwork in a spare bedroom. Or stashing exercise machines in the wine cellar, which also houses Alexander’s silk screens, below the bedrooms. That wasn’t quite what Boone had in mind. The archi-tect, who died last November, was one to bring his work home with him, and he designed a system of dedicated spaces in his house to accommodate that overflow. His firm’s (McCue Boone Tomsick) corporate work included the offices of the industrial titans of his day like Chevron, NASA, and IBM and came to define the California high-tech, high-design of the 1960s and 1970s. MBT’s campus for IBM in particular epitomized Silicon Valley chic; its buildings are big, glassy, industrial-modern, hidden in the valley’s rolling greenery—temples to serious work; the office as laboratory. Unsurprisingly, Boone’s house so perfectly reflected the same values that MBT used images of it in their marketing brochures. Today, Orpilla and Alexander’s practice, Studio O+A, treads similar ground, designing offices for the online elite: Yelp, PayPal, Facebook, and others. But unlike the shining corporate beacons of the past, Web 2.0’s workplace seems to be listing more toward the living room than the boardroom. Yelp’s office is designed like a Haight Street Victorian’s great room, stocked with vintage furniture.

The late architect David Boone was always one to take his work home with him—he just kept it in the home’s office. The new residents of his 1972 house em-brace a more fluid approach to the live/work divide.

Undivided Intentions

23

LEFT: In the living room, local artwork and an elegant redwood ceiling watch over a side chair by Warren Platner for Knoll and an Easy Edges side chair by Frank Gehry for Vitra. ABOVE: Residence Studio. ABOVE RIGHT: The bridge leads from the living room to the bedrooms and from the studio to the garage.

/by William Bostwickphotos by Noah Webb

Often used because it’s so forgiving, the wood here achieves an almost clinical severity: Every line is perfect.

Facebook’s, in an unassuming, remodeled Palo Alto chemistry lab, is full of snack bars, Guitar Hero practice rooms, and even a DJ booth—the office as rec room. Forget healthy separation: These offices are designed for programmers who eat, sleep, and play precisely where they put in their overtime. Orpilla and Alexander know what that’s like. Their home was designed to be half business, and as if that weren’t enough, they continue to blur those bound-aries by working in an office that feels like a home. Their actual offsite workspace—the two-floor San Francisco headquarters of O+A—is a jumble of homey comforts and design-studio chic. Upstairs is a maze of rooms and side rooms, connected by half walls and indoor windows and filled with piles of Orpilla’s stuff scavenged from the junk shop next door. “We could’ve torn it all out, made it superslick,” Orpilla says. “But the character of the building was more interesting to us. It’s like a house.” In fact, the San Francisco space got so comfortable, Alexander had trouble getting anything done. So she moved her art studio into the Orinda house from its former home in one of the O+A office’s side rooms. “I like the separation,” she says. At home, she can seal herself off from the world and focus on her art. That was the idea, at least. But on a typical day, getting to her worktable means stepping over her son Apolo’s cardboard-box fort spread out on her studio floor. Each end of the sky bridge has its own furnace and it’s possible to spend a whole day in one part or the other. Sometimes Alexander tries, shuff-ling from her bedroom to the studio downstairs. But Apolo breaks the rules. His toys are everywhere. He’s outgrown the desk in his room and has taken over the rest of the house. Orpilla and Alexander have to find solace where they can, and that means crossing the dividing line themselves—their office is in a spare bedroom next to Apolo’s, where they pay bills while keeping an eye on their chickens in the backyard. If they followed Boone’s plan, Orpilla says, “we’d run the risk of having it feel like two houses.” As Orpilla sweeps a toy car off the back of the couch, Alexander elaborates on the incompatibility of their lifestyle with the rigid, closed plan Boone had for the place. “This place is an architect’s idea of a house,” she says. That intended rigor of function is perfectly expressed in the architectural details. Often used because it’s so forgiving, the wood here achieves an almost clinical severity: Every line is perfect. When Orpilla and Alexander moved in six years ago, the house was painted all white. Way too stark, they thought, so they opted for a deep reddish brown, accented by bright Eichler-orange doors. But the chromatic makeover came with a strong reverence for some of the home’s original details, including a molded fiberglass shower and frameless doorjambs. Orpilla seems especially enthused and has clearly become a kind of lay MBT historian: “This Schlage hardware, this is something they did in the IBM building,

25TREND DESIGN © November 2010

INSET: (LEFT) Those hammers and saws built a home for the family’s chickens, watched over by Apolo among outdoor furniture by Richard Schultz. (CENTER) Inspiration crowds Alexander’s studio desk. (RIGHT) Alexander walks from the bedroom pod into the living room under her freeway-inspired sculpture, titled Run A Way. LEFT: Orpilla and Alexander’s first furniture purchase, a Christopher Deam credenza, now inspires a much larger collection of furniture.

and then Boone put it in his house. The towel rack is a wooden handrail. I just love it!” A wall of closets in the bedroom pod keeps the place neat—they even hide the washing machine. “I call it the monk’s house,” Alexander says, basking in the clarity. Standing in the garage—also lined with closets—Orpilla is less romantic about Boone’s motives: “How else did a modernist keep it neat? You need a place to put all your shit.” But, as they say, there’s nothing more useless than an unloaded cabinet. And as artwork, toys, and drawings and spreadsheets brought back from the city office crowd each other for space in hallways and stairwells, as life bleeds into work, that modernist clarity fades. Ironically, though, the house’s design—which Orpilla

considers “rigid”—has fallen in line with the more flexible lives and work of its inhabitants. “We like it this way,” Alexander says. “It feels more open.” Over a lunch of eggs from the hardworking fowl out back, Orpilla talks about building what he calls their “3 x 6 Case Study Coop.” Plain chicken wire was too boring, so he riffed on Boone and used wood, carting home Douglas fir strips in his car. “It’s fantastic,” he says proudly, but it was also, technically speaking, a chore, yard work. But if you can design a chicken coop—or a house—with the same rigor as an office building, and enjoy doing it, does it still technically count as work? Though Boone may have had a clear answer, it’s hard to tell which side of that line Orpilla and Alexander fall on. After they first moved in, the couple learned of an expansion Boone considered that included a third node cantilevered over the small stream out behind the house, with a new master bedroom and a hot tub. “Kind of a pleasure pod,” Orpilla says. These days, it hardly seems necessary. Two messy halves, the one seeping into the other, are enough. º

Undivided Intentions

Orpilla is less romant ic about Boone’s motives: “How else did a modernist keep it neat? You need a place to put all your shit.”

The invention of “afternoon tea” is credited to Anna, Duchess of Bedford, who in around 1840 began drinking tea with sandwiches and small cakes to tide her over between lunch and dinner around four o’clock in the afternoon.

Darjeeling

What’s in your Teacup?

Chai

Orange Pekeo

Rooibos

Jasmine

Peppermint

Irish Breakfast

The original teacup comes from China where it did not have a handle. It was a simple cup that was held at the lip and the base with the thumb and forefinger.

Earl Grey

In 1904 due to the unbearable heat, iced tea was invented at the St. Louis World’s fair. And just a few years later in 1908 Mr. William Sullivan, a tea merchant in New York, accidentally invents the tea bag.

Yerba Mate

Star of China

English Breakfast

Sencha

Chamomile

On December 16th 1773, at the Boston Tea Party, American colonists dumped the entire shipment of the John Company’s tea into the harbor in protest of the exorbitant tea tax, sparking the American Revolution. Ironically, Revolutionary War hero Paul Revere made a living producing silver tea service sets.

Oolong

The hand, though

secondary is still

significant, but I

felt it needed to be

uncomplicated. In

order to simplify

the hand, I used

even continuous

fine lines, giving the

hand a stylized feel,

without making it

stand out more

than the handle.

Studying the form of the teacup was not that difficult. It’s simple design however, gave little to the imagination. I continued to be drawn to the handle, focusing on it’s shape and function.

Batteriesin a Clear Resealable Plastic Bag

All-in-One Recycling! www.socrra.org (248)288-5150

Shredded Paper in a Clear Plastic Bag

Cardboard

GlassPaper

Plastic

Metal

DO NOT BLOCK CART!NORinse Containers!

Hazardous Waste, Electronics, or Food Contaminated Items!

Static/FORCE Studios

Brochure Design

ArtsCorpsDetroit

ArtsCorpsDetroit Promotional Brochure

This informational brochure was created to educate reader’s about

ArtsCorpsDetroit; their mission and how they function within the commu-

nity. A fold out poster was incorporated to allow sponsors a way to show

their support for the initiative.

staticforcestudios.com


Identity Development

ArtsCorpsDetroit

ArtsCorpsDetroit Materials

Business Card, Envelope, and Letterhead were also created for the

ArtsCorpsDetroit initiative. These materials help to set the foundation for

this new program, giving it visual presence within daily correspondence.



Brochure Design

ArtsCorpsDetroit

ArtsCorpsDetroit Promotional Brochure

This informational brochure was created to educate reader’s about

ArtsCorpsDetroit; their mission and how they function within the commu-

nity. A fold out poster was incorporated to allow sponsors a way to show

their support for the initiative.


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Livonia, MI 48154P 734.627.7546F 888.625.2479

Visit our website to learn morewww.gentleskincancerclinics.com

Scan QR code to go to website

Non-SurgicalSkin Cancer Treatment

©2015 Xoft , a subsidiary of iCAD. All rights reserved. Xoft, the Xoft logo, Axxent, Electronic Brachytherapy System and eBx are registered trademarks of iCAD, Inc.

Call 734-627-7546 to scheduleyour appointment today!

GSCC_PIB2015_Final.pdf 1 9/25/15 10:27 AM

BEFORE AFTER

BEFORE AFTER

Basal Cell Carcinoma

Squamous Cell Carcinoma

Images courtesy of Jonathan Baron, M.D., Santa Ana, CA

eBx therapy at Gentle Skin Cancer Clinic is the best option, if you

• Are concerned about having surgery

• Are not a surgical candidate for medical reasons (e.g. blood thinning medication)

• Are concerned about scarring or dis�gurement

• Require additional treatment for aggressive cancers after surgery

• Have positive margins after surgery and need to reduce the risk of recurrence

• Have lesions on di�cult anatomical locations

• Have lesions on areas that are hard to heal

Surgery is not the only option. Electronic Brachytherapy (eBx) is a safe and e�ective non-surgical treatment for your non-melanoma skin cancer.

Electronic Brachytherapy (eBx) for Skin Cancer What Should I Expect?

• Professional and friendly medical sta� • Convenient parking• Reduced wait times• Fewer visits• No down time

Gentle Skin Cancer Clinic provides patients with non-melanoma skin cancer the option of receiving radiation therapy utilizing the Xoft® Electronic Brachytherapy (eBx®) System. eBx is a safe, e�ective noninvasive alternative to surgery. The success rate is >95%*, without the risks associated with surgery such as infection, scarring or dis�gurement. Treatment is pain-free, and there is no need for anesthetics, injections, stitches, bandages or post treatment reconstructive surgery, leaving you free to go about your normal day.

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Safe and Effective • No recurrences • Clinically proven • FDA approved

Important Patient Information:Be sure to speak with your physician regarding the warnings, precautions, and potential complications and/or adverse events associated with the use of this device. Common side e�ects include redness, dryness, itching, soreness, and blistering.

Historically, patients have been sent to hospitals or cancer centers requiring a lengthy course of treatment. This is taxing on the body and mind, and a�ects your personal life as well as those around you. Treatment with eBx requires two, 6-minute treatments per week in a convenient o�ce setting with:

*Bhatnagar A, Brachytherapy. 2013 Jan 9. pii:S1538-4721(12)00236-X. doi:10.1016/j.brachy.2012.08.003.

GSCC_PIB2015_Final.pdf 2 9/25/15 10:27 AM

2010

1960

Detroit Film Theatre

The Detroit Institute of Arts Auditorium

5200 Woodward Avenue

Friday 15 JanuarySaturday 16 January7:00 & 9:00 PM

JOHN McINTIRE

Directed By ALFRED HITCHCOCK

Starrin

gAN

THON

Y PER

KINS

JANET

LEIGH

JOHN G

AVIN

VERA M

ILES

PSYCHO

MARTIN BALSAMUS

A

PSYCHO

Co-Starring


Poster Design

Psycho Poster

This poster was developed using classical rhetorical devices as a graphic

design methodology, which helped in the exploration of various interpre-

tations of the movie and imagery. Research of the cultural context and

visual dynamics of the film also assisted in the development of the poster.



Poster Design

Psycho Poster

This poster was developed using classical rhetorical devices as a graphic

design methodology, which helped in the exploration of various interpre-

tations of the movie and imagery. Research of the cultural context and

visual dynamics of the film also assisted in the development of the poster.


Julie Schmittdiel - Graphic Designer

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