Mike Moss Graduate Portfolio

LINE OF INQUIRY

AUTHORSHIP

Title Line of Inquiry

Author Michael Moss

Tel 415.608.5874

Email mike@mike‑moss.com

SUPPORT

Inst itut ion Academy of Art University

Class Portfolio Seminar, Spring 2011

Instructor Mary Scott

PROdUcTIOn

Typefaces Din, Bembo

Photography Michael Moss

Il lustrat ion Michael Moss

Software Adobe Creative Suite 4, Adobe Lightroom

Printer Plotnet, San Francisco, CA

Binder Key Bindery, Oakland, CA

Paper Xerox Elite Silk

©2011 All rights reserved. No part of this publication can be

reproduced without expressed permission from the author.

Selected Graphic Design Works by MICHAEL MOSS

LINE OF INQUIRY

TAO OF THE GUn

The John Woo Film Festival 06dW ELL HOUSE PA InT S

Quality Paint for the Modern Home 34A R A BE SQUE JOURn A L

A Periodical of Traditional Arts 44JOHn dEERE SK IncA RE

Skincare for the Toughest Guys 62S TR ATOS InTERGA L Ac TIc

Personal Care for Space Travel 76HUB ORGA nIc BRE W ERY

Branding an Organic Beer Line 86BA RcA LOUnGER

Reinventing an Aging Recliner 98MFA dE SIGn THE SIS

inSeason: Promoting Local Food

and the Family Farm Economy

110

SELECTED INQUIRIES

PROJEcT ABSTR AcT

Plan, develop, and design a f ilm festival based on a director and

their f ilmography. Choose a number of f ilms from the director’s

body of work, and tie them together with a unifying concept;

an overriding theme found in the work. Develop an appropriate

title, design an identity, and create posters, print collateral,

ticket systems, schedules, a website, signage systems, uniforms,

and any additional graphics for the festival in its entirety.

APPROAcH & SOLUTIOn

The well-known Hong Kong f ilmmaker John Woo was chosen

for a director. He made his mark in Hong Kong cinema with

relentless, violent, shoot-em-up action pictures set in the streets

of urban Hong Kong during the 1980’s. Woo’s pictures pit the

characters on each side of the law against each other in a deadly

game. His characters are bound by the loyalties of the paths

they’ve chosen, and there is a begrudging respect his leading

men feel towards each other. Both cop and criminal live by their

codes, and observing the loyalties his f ilms deal with led to the

name of the festival, Tao of the Gun. The path to redemption

in John Woo’s f ilms is through violence, and the festival’s visuals

were geared towards the high-octane pace of action that runs

through each of his f ilms that span this decade.

TAO OF THE GUN

What happens when Hong Kong gangsters hit the streets for a four‑day rampage?

TITLE TAO OF THE GUN FILm FESTIvAL

LINE OF INQUIRY mICHAEL mOSS6 / 150

CL A SS INTEGRATED COmmUNICATIONS

T YPEFACES GARAGE GOTHIC, TRADE GOTHIC, NATIvE CHINESE

1.0 WHAT IS THE PROPER v ISUAL L AnGUAGE?

Are there the tones that def ine urban Hong Kong?

What are textures and patterns that appear in the work?

Does John Woo use a consistent color palette?

2.0 WHAT ARE cOnSISTEnT THEME S In THE FILMS?

Are there plot devices that recur in each f ilm?

Is there specif ic dialogue that could inf luence the title?

What is the time period between the f ilms?

3.0 WHAT dO THE FAnS E xPEcT?

Have there been previous John Woo f ilm festivals?

Is there a box set that has explored his work before?

What do his fans comment on in social media?

4 .0 WHO IS THE InTEndEd AUdIEncE?

What is the median age of a diehard Woo fan?

What’s an appropriate location to show his work?

Should the collateral material be multilingual?

5.0 WHAT M ATERIAL S MIGHT BE APPROPRIATE?

Is there Chinese papercraft that can be sourced?

Are there gr itty printing techniques that can be used?

Where can I get a customized chop stamp?

6.0 WHAT ARE THE cULTUR AL nORMS?

Am I designing with cultural sensitivity to the audience?

Is a certain pattern or design device inappropriate?

Are there certain colors/patterns that could be ef fective?

CATEGORY IDENTITY, bRANDING, pRINT, pACkAGINGKEY WORDS bRUTAL, UNRELENTING, vENGEFUL

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MOODBOARD vISUAL & TYpOGRApHIC INSpIRATION 150 / 9






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WIDESCREEN VERSION PRESENTED IN A “LETTERBOX” WIDESCREEN FORMAT PRESERVING THE “SCOPE” ASPECT RATIO OF ITS ORIGINAL THEATRICAL EXHIBITION ENHANCED FOR WIDESCREEN TVS

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THE JOHN WOO FILM FESTIVAL COLLECTION

Raw, unrelenting action is the trademark of this action gunfighting classic. With the famed opening scene in a Hong Kong teahouse, the carnage between the cops and

gangsters never lets up. Detective Yuen, known as ‘Tequila” (played by Chow Yun Fat),

and his partner Benny (Bowie Lam) are on a mission to break the violent Triads of Hong

Kong. Each side takes the fight to the enemy, and when Tequila discovers he has an ally in

the Triads, a deep undercover officer named Tony (Tony Leung), the two join forces for a

final battle. The final battle is a hostage rescue so daring and violent you’ll never forget.

GOLDEN PRINCESS FILMS IN ASSOCIATION WITH MILESTONE PICTURESCHOW YUN ‑FAT TONY LEUNG “HARD BOILED” TERESA MO PHILIP CHAN AND HOI‑SHAN KWAN MuSIC BY MICHAEL GIBBS EDITOR PATRICK PANG

DIRECTOR OF PHOTOGRAPHY NED BURGESS SuPERVISING EDITOR CHARLES SILVER A FILM BY JOHN WOO PRODuCED, DIRECTED AND EDITED BY JOHN WOO

©1992 Milestone Pictures LLC, 2450 Broadway, Santa Monica, CA 90404-3036. All rights reserved. Licensed for sale in the U.S. and Canada. Designed and produced by Michael J Moss for Tao of the Gun, LLC.

Color/116 Mins.


Bonus footage • DeLeteD sCenes • DIReCtoR’s Cut

suBtItLes: ManDaRIn, Cantonese & engLIsH

Special FeatuReS

Contains director commentary and extended footage.

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THE TEAHOUSE

BATTLE ON THE STAIRS

BOOK OF DEATH

WHO’S SENDING FLOWERS

THE BOSS

I’M ON YOUR CASE!

MORE WHITE ROSES

ATTACK!

A GANGSTER’S CHOICE

ENTER TEQUILA

WHO IS HE?

PAPER CRANES

THE HOSPITAL

A RAT

FIGHTING FOR LIFE

NO ESCAPE

MATERNITY WARD

TO THE MORGUE

THE SIGNAL

SURROUNDED

STALEMATE

ONE MORE SHOWDOWN

END CREDITS






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THE JOHN WOO FILM FESTIVAL APRIL 28 – MAY 1

GOSearch...

About Us Contact Press

Four days and four smash hits. The Great Star

Theater, San Francisco Chinatown’s exclusive

Chinese cinema venue, plays host to the old

heydays of Hong Kong action.

More about the Great Star Theater

Find out what makes John Woo

tick. Read interviews, personal

history, and view a summary of

his complete filmography.

See the complete bio

ABOUT US | GET INVOLVED | ADVERTISING | SPONSORSHIP | PRESS | CONTACT US | ARCHIVES | PRIVACY POLICY | TERMS & CONDITIONS

© 2008 Tao of the Gun, The John Woo Film Festival. All Rights Reserved.

4 DAYS OF GUNPLAY IN SAN FRANCISCO

MEET JOHN WOO

APRIL 28TH THROUGH MAY 1ST, CHINATOWN, SF

COME CELEBRATE HONG KONG’S FINEST ACTION

SCHEDULE

SEE THE VIDEO

See our complete four day lineup and book tickets





GOSearch...


A streetwise detective breaks up a crime ring,

only to find there’s an undercover cop deep

in the Triads. When they team up, the take on

the most deadly Hong Kong criminals.

A gun for hire accidently blinds an innocent,

beautiful singer in a nightclub hit job gone

wrong. He won’t retire until one last job, to pay

for an operation to restore her sight.

THE COMPLETE FESTIVAL LINE-UP HARD BOILED | THE KILLER | BULLET IN THE HEAD | A BETTER TOMORROW

FRIDAY, MAY 1ST

THURSDAY, APRIL 30THABOVE: Tony is ready to bust a smuggling gang.

Read the full plot summary

Read the full plot summary

SELECT A CLIP

FOUR OF THE BEST ACTION CLASSICS

See more clips


GOSearch...


CHINATOWN’S CINEMA TREASURE

Dates & Location > Great Star Theater

THE GREAT STAR THEATER, SAN FRANCISCO

When the Great Star closed its doors in 2000, San Francisco lost

its last Chinese language theater. A piece of cinema history was

lost as well. This year, with the help of the Chinese Historical Society,

the building received landmark status, and has re-opened its doors.

The Tao of the Gun festival will be mark the debut of the newly

renovated theater. More info

THE LAST CHINESE THEATER REOPENSSPOTLIGHT ON OUR SPONSOR

Enlarge ImageWith its newly found landmark

status, the theater has been fully

renovated, with a new state-of-the-

art-digital projector.

With five decades of serving the

Chinese American film-going

audiences, now the theater will

serve as an anchor for theater

A NEW FACADE AND INTERIOR

Tour the newly renovated theater

The Chinese Historical Society of America was

conceived in San Francisco in the fall of 1962,

was incorporated as a not-for-profit organization

on January 5, 1963.

CHSA opened the Chinese Historical Society

of America Museum and Learning Center in the

historic Julia Morgan Chinese YWCA building

in November 2001.

Visit the Chinese Historical Society...


GOSearch...

Press credentials will be available Feb 1, 2009.

For press inquiries, please contact:

Mike Moss

Publicity Manager

415-555-1212

[email protected]

For use by media outlets

ACQUIRING A PRESS CREDENTIAL

FESTIVAL LOGOS AND DIGITAL FILES

CREDENTIALS, DIGITAL ASSETS AND MORE PRESS CREDENTIAL QUICK APPLICATION

PRESS & MEDIA CENTER

To register:

1 Log on to http://www.greatstartheater.com/press. Click on ‘register’.

2 Fill in the registration form (approximately 5 minutes).

3 When asked to select the subject, select “Festivals & Awards” for

access to the Tao of the Gun Film Festival.

4 When asked for a referral code please enter 1020.

For assistance, call our press line 415-555-1212.

THE JOHN WOO FILM FESTIVAL

Download high resolution JPEG | EPS Download high resolution JPEG | EPS

About Us Contact Press THE JOHN WOO FILM FESTIVAL APRIL 28 – MAY 1

GOSearch...


Two guns in every heroes hands. In the cinematic vision of

John Woo, tragic heroes need to kill to get on the path to

redemption. His difficult upbringing helped to forge this vision

for cinema to this very day.

During his childhood in Hong Kong, Woo had to battle with

homelessness and a sick father, and dire poverty. The Saturday

cinema was a refuge for him. With its wide range of features,

Woo found himself spending a Saturday watching musicals

and westerns. He knew then and there he wanted to be a

filmmaker. Read more...

THE MASTER OF ‘GUN-FU’

FROM HONG KONG TO HOLLYWOOD

A FIRST TASTE OF AMERICAN CINEMA

JOHN WOO IMAGE GALLERY

JOHN WOO, ACTION FILMMAKER

2008 Chi Bi

2003 Paycheck

2002 Hostage

2002 Windtalkers

2000 Mission Impossible II

1998 Blackjack

1997 Face Off

1996 Broken Arrow

1993 Hard Target

1992 Hard Boiled

1991 Once a Thief

1990 Bullet in the Head

1989 The Killer

1989 Just Heroes

1987 A Better Tomorrow II

1986 A Better Tomorrow

1985 Run Tiger Run

1984 The Time You Need a Friend

1981 Laughing Times

1981 To Hell with the Devil

COMPLETE FILMOGRAPHY


GOSearch...


Chow Yun Fat is considered one of the best actors in Chinese cinema

history. His wide range of heroic and even comedic roles makes him

a household name all over Asia...Our interviewer sat down with Yun-

Fat to discuss his Hong Kong days.

John Woo has almost killed you a couple of times, correct?

In A Better Tomorrow II, the grenade goes off in the house, and the heat

and fire pushed me off the camera, and some of my hair burned already.

I still have scars from stitches from The Killer.

THE PERFECT LEADING MAN

WOO’S FAVORITE TRAGIC HERO

Q & A with Chow Yun-Fat February 9, 2008

About the Festival > Actor Spotlight

CHOW YUN-FAT IMAGE GALLERY

View All Pics

ACTOR SPOTLIGHT: CHOW YUN-FAT

That shot, I’m carrying him in the warehouse, actually quite close to the

waterfront, and in the warehouse is a lot of water. So that accident happened

because so slippery. I lost my balance, and my back twist, and I cannot

move any more.

You also wrenched your back carrying Dean Shek in one of the

Brooklyn scenes of A Better Tomorrow II..


GOSearch...



two brothers find themselves at the opposite ends of the law in this violent classic of family, honor and

betrayal. Mark is a counterfeit living a carefree life in

his job for the Hong Kong Triads. That is, until he’s

set up by the very bosses he’s enriched. when his

partner dies in the ambush, Mark (Chow Yun-fat),

decides to turn himself in. Upon his release from

three years in jail, he wants to go straight, but quickly

finds you can’t easily escape the life of a gangster,

with the pressure by the crime bosses.

CINEMA CITY FILM PRODUCTIONS IN ASSOCIATION WITH FILM WORKSHOPCHOW YUN ‑FAT LUNG TI “A BETTER TOMORROW” LESLIE CHEUNG EMILY CHU AND WAISE LEE MuSIC BY JOSEPH KOO AND KA ‑FAI KOO

EDITOR MA KAM AND DAVID WU CINEMATOGRAPHER WING‑HUNG WONG ART DIRECTION BENNIE LUI A FILM BY JOHN WOO PRODuCED, DIRECTED AND EDITED BY JOHN WOO

©1986 Cinema City Productions, 2450 Wilshire Blvd, Los Angeles, CA 90212-4471. All rights reserved. Licensed for sale in the U.S. and Canada. Designed and produced by Michael J Moss for Tao of the Gun, LLC.

Color/95 Mins. 1 23456 78901 2


Mark enlists the services of his younger brother Kit,

a rookie cop paying a price. Struggling to put tensions

to rest, the two brothers and get Mark out of the grip

of the triad bosses. It’s going to be a fierce and violent

struggle. An assault on a palatial mob estate strikes

at the heart of the syndicate, with bloody results. In

the end, family is everything.

aLteRnate enDIng • stunt Man InteRvIew seRIes

BLoopeR ReeL • DIReCtoR’s CutSpecial

FeatuReS

FILM WORKSHOP IN ASSOCIATION WITH HARK TSUICHOW YUN ‑FAT DANNY LEE “THE KILLER” SALLY YEH KENNETH TSANG AND KONG CHU MuSIC BY LOWELL LO EDITOR KUNG MING FAN

EDITING BY PETER PAU AND WING ‑HUNG WONG ART DIRECTION MAN ‑WAH LUK ExECuTIVE PRODuCER HARK TSUI DIRECTED AND WRIT TEN BY JOHN WOO

©1986 Film Workshop, Inc., 2450 Broadway, Santa Monica, CA 90404-3036. All rights reserved. Licensed for sale in the U.S. and Canada. Designed and produced by Michael J Moss for Tao of the Gun, LLC.

Color/111 Mins. 1 23456 78901 2



a lone assassin decides to retire from the life of a hired gun. Just one last job will pay for everything, or so he thinks. ah-jong (played by Chow Yun-fat) has a last job knocking

off a mobster in a nightclub. when the plan goes awry, he accidently blinds an innocent

singer in the club. Determined to pay for an operation for her eyesight, he’s lured back

into the business yet again. All the while, detective Li Ying (Danny Lee) is on the case. But

as the cop learns more about ah-jong’s motivation to help the beautiful singer, he finds it

harder to write him off as just a thug. It’s Li and ah-jong against the criminal overlords.

Bonus footage • ReaL-LIfe assassIn InteRvIew

suBtItLes: japanese, Cantonese & engLIsH

Special FeatuReS


GOLDEN PRINCESS FILM IN ASSOCIATION WITH JOHN WOO PRODUCTIONSTONY LEUNG JACKY CHEUNG “BULLET IN THE HEAD” WAISE LEE SIMON LAM AND FENNIE YUEN MuSIC BY ROMEO DIAZ EDITOR DAVID WU

CINEMATOGRAPHY BY WILSON CHAN AND WING ‑HUNG WONG ART DIRECTION BRUCE YIU SCREENPLAY BY JANET CHUN AND PATRICK LEUNG DIRECTED AND WRIT TEN BY JOHN WOO

©1990 Golden Princess Film, Ltd., 750 Nathan Rd. 23/F Pionna Centre, KLN, Hong Kong. All rights reserved. Licensed for sale in the U.S. and Canada. Designed and produced by Michael J Moss for Tao of the Gun, LLC.

Color/111 Mins. 1 23456 78901 2

Set in 1960’s Hong Kong, Bullet in the Head is the tale of three friends who make a fatal mistake. Ben,

Paul and Frank borrow money to pay for Ben’s

wedding. On route, they’re attacked by local thugs,

and when the friends seek revenge, the outcome is

fatal. They kill one of the gang, and must escape

immediately. They end up in Vietnam during the war,

and to escape their debt, they are used as pawns to

smuggle goods through the country by local gang.

The plan fails when they are captured by the Viet

Cong, and must find a way to survive. The friends

find their bonds are pushed to the test, as they

battle not just to survive the horrors of a prison

camp, but the fraying loyalties as their predicament

becomes an ordeal that few would survive. This

is a tale of lost innocence, destiny, and the will to

survive even the most dire situations.


aLteRnate enDIng • on LoCatIon wItH joHn woo

DeLeteD sCenes & extenDeD BattLe footage

Special FeatuReS


1 23456 78901 2


Raw, unrelenting action is the trademark of this action gunfighting classic. With the famed opening scene in a Hong Kong teahouse, the carnage between the cops and

gangsters never lets up. Detective Yuen, known as ‘Tequila” (played by Chow Yun Fat),

and his partner Benny (Bowie Lam) are on a mission to break the violent Triads of Hong

Kong. Each side takes the fight to the enemy, and when Tequila discovers he has an ally in

the Triads, a deep undercover officer named Tony (Tony Leung), the two join forces for a

final battle. The final battle is a hostage rescue so daring and violent you’ll never forget.

GOLDEN PRINCESS FILMS IN ASSOCIATION WITH MILESTONE PICTURESCHOW YUN ‑FAT TONY LEUNG “HARD BOILED” TERESA MO PHILIP CHAN AND HOI‑SHAN KWAN MuSIC BY MICHAEL GIBBS EDITOR PATRICK PANG

DIRECTOR OF PHOTOGRAPHY NED BURGESS SuPERVISING EDITOR CHARLES SILVER A FILM BY JOHN WOO PRODuCED, DIRECTED AND EDITED BY JOHN WOO

©1992 Milestone Pictures LLC, 2450 Broadway, Santa Monica, CA 90404-3036. All rights reserved. Licensed for sale in the U.S. and Canada. Designed and produced by Michael J Moss for Tao of the Gun, LLC.

Color/116 Mins.


Bonus footage • DeLeteD sCenes • DIReCtoR’s Cut

suBtItLes: ManDaRIn, Cantonese & engLIsH

Special FeatuReS

ALL ACCESS COLLECTORS PASS Admission to all four films

Closing night lecture with John Woo

Tao of the Gun DVD Collection Set

DOUBLE FILM SET Admission to two films of your choice

Complimentary Collector ID Badge

Special Edition Chop Stamp

SINGLE FILM Admission to two films of your choice

Complimentary Collector ID Badge

AVAILABLE TICKET PACKAGES

ADVANCE PURCHASE ADMISSION

TAO OF THE GUN DVD COLLECTOR SET

TOTAL $180

TOTAL $50

TOTAL $20

RESERVE YOUR SEAT TODAY

Available to ALL ACCESS ticket purchases, or as a standalone

set. Includes the four Tao of the Gun feature films, with special features,

director commentary, and extra footage. More info...

BRING HOME THE BEST OF JOHN WOO

TOTAL $90

Extra Footage

Director Interviews

Alternate Endings



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DWELL HOUSE pAINTS

What’s the next step for the best‑known name in sustainable design for the modern home?

PROJEcT ABSTR AcT

Develop a retail line of household paint, marketed by an existing

paint company, or choose a company that could have a brand

extension into the household paint market. Deliver two different

colors in both gallon and quart size, in addition to two colors in

a premium spray paint line. Research the household paint market

and determine the target audience and price point.

APPROAcH & SOLUTIOn

Dwell magazine seemed like a company with the clout to enter

the household paint market. Aimed at the modern homeowner,

Dwell is an authority on style, taste, and sustainable living.

Utilizing the Dwell name, I developed a line using the current

typographic voice and visual feel of the publication.

TITLE DWELL HOUSE pAINTS


CL A SS pACkAGE DESIGN TWO

1.0 WHAT dOE S THE dWELL BR And REPRE SEnT?

How can the f inished design aspire to Dwell’s standards?

Should this product instead launch as a sub‑brand?

Is there a well‑known designer for a specif ic paint line?

2.0 WHO ARE THE cORE dWELL SUBScRIBERS?

Would this line be aimed at aspir ing designers/architects?

What concerns do Dwell’s readers consider the most important?

How can I assure readers of the high standards of the product?

3.0 WHAT IS THE APPROPRIATE TOnE?

Is it reassuring and conf ident, without being judgemental?

What kinds of imagery might best match the sell copy?

Should there be any endorsements placed on the packaging?

4 .0 WHAT IS THE dWELL v ISUAL AE STHE TIc?

Are there motifs or solid color f ields in the publication layout?

How can I incorporate the magazine’s photo style in the design?

What is their relationship between type and imagery?

CATEGORY pACkAGING, bRAND ExTENSIONKEY WORDS mODERN, SUSTAINAbLE, HIGH‑QUALITY

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TITLE ARAbESQUE JOURNAL CL A SS CONNECTING THE DOTS

ARAbESQUE JOURNAL

How do you bring home the bustle of the souq and the treasures of Islamic art?

PROJEcT ABSTR AcT

Pick an area of study that provokes, inspires, and interests you,

and has the potential for a prolonged narrative. Devote the f irst

half of the semester solely to topical research. Go wide and deep

in your area of interest. Consult journals, historical sources,

seek interviews with subject matter experts, and meticulously

document your research matter for inclusion in the publication.

The second half of the semester is reserved for developing the

narrative for the subject, and designing a publication that ref lects

the f inding of your research.

APPROAcH & SOLUTIOn

The subject of my research was the traditional arts of Islamic

culture. Having spent time traveling in the Middle East and the

greater Islamic world, I developed a deep love of calligraphy,

carpets, and tile mosaics common in the traditional arts of these

cultures. I devoted my time in class to gaining deeper knowledge

of what had interested and inspired me. By conducting broad

research and interviews with rug dealers throughout the Bay Area,

I greatly expanded my previously shallow understanding.

The colors, geometry, and pattern that wove itself throughout

the visual language of this subject became the launching point

for developing visual design patterns to tie the journal together.

This particular issue focuses on carpets, but subsequent issues

would conceivably cover mosaic, music, traditional weaponry

and armor, jewelry, and other facets related to this deep,

r ich, colorful, and often misunderstood part of the world.


CATEGORY pRINT, IDENTITYKEY WORDS ExOTIC, TRADITIONAL, mASTERFUL

T YPEFACES AmASIS, ONDINE

1.0 WHAT IS THE TOPIc OvERvIE W?

What countries encompass the Islamic World?

Should it be separated by country, or time period?

What art forms should potentially be included?

2.0 HOW LOnG IS THE HISTORIcAL nARR ATI vE?

Was pattern dependent upon available color sources?

Which country developed the earliest carpets?

Should each issue only reference a particular area?

3.0 HOW cAn THIS BE ScALEd?

Can this be used to enhance cultural understanding?

Will there be an instructional facet to the publication?

Could Arabesque feature tours and travel overseas?


Where are the major Islamic art collectors concentrated?

Should art dealers be featured from overseas?

Would this journal be found in academic collections?

5.0 WHAT IS THE cOnTE x T OF USE?

Can there be Arabic text to reach a wider base?

Will carpet dealers show this to customers?

Is this a good f it for a travelogue to the region?

6.0 WHAT ARE THE BA SIcS OF THE cR AF T?

How long does it usually take to weave a rug?

What are the dif ferent types of weaves and knots?

How are the vegetable dyes for carpets produced?

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JOHN DEERE SkINCARE

How do you introduce a premium skincare line for the toughest guys around?

PROJEcT ABSTR AcT

Choose a brand that seeks to expand into the skincare and beauty

market, but is known for products that have nothing to do with

the retail beauty market. Study the current customer base of the

brand you choose, and develop a product that will have appeal

for current customers. Design a complete line of seven personal

care products, along with a retail display case.

APPROAcH & SOLUTIOn

John Deere was selected for a move into the men’s retail skincare

market. John Deere is a premier manufacturer of both tractors

and construction equipment. Their core customer base is people

who work in both farming and construction. I chose to develop

a skincare line that would appeal to the man who works a hard

and physically demanding job, and could use a product to help

him look and feel his best while appealing to his rugged aesthetic.

Playing off the equity of the male deer in the current identity,

the line of products is named Buck, and builds on a color palette

that John Deere products are famously identif ied with.


TITLE JOHN DEERE SkINCARE CL A SS pACkAGE DESIGN THREE

1.0 WHAT dOE S THE JOHn dEERE BR And STAnd FOR?

Are there some alternate taglines that the brand uses?

Are tractors and construction equipment branded dif ferently?

What are the existing sub‑brands the company has?

2.0 WHO ARE THE cURREnT cORE cUSTOMERS?

Besides farmers and construction workers, who else is a customer?

Does the brand appeal to an exclusively male audience?

Are the majority of John Deere customers blue‑collar workers?

3.0 WHAT IS THE v ISUAL L AnGUAGE OF THE BR And?

Are there lesser‑known colors than the green and yellow?

What are the current standards for consistent use of the mark?

What typefaces are standard on most of their machinery?

4 .0 WHO IS THE InTEndEd AUdIEncE FOR THIS PROdUcT?

Do male farmers usually do their own shopping for personal care?

What words and phrases might help to express the product?

Would it be more ef fective to market to women buying for men?

5.0 WHAT GR APHIcS MIGHT BE APPROPRIATE?

Would a metallic f inish convey the strength of the product?

Can I reference typography from machines John Deere designs?

What materials would be most ef fective for a retail display?

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CATEGORY pACkAGING, IDENTITY, RETAIL DISpLAYKEY WORDS STURDY, RELIAbLE, HARDWORkING

T YPEFACES TUNGSTEN, SERIFA

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STRATOS INTERGALACTIC

How can you keep looking your personal best at the furthest reaches of the universe?

PROJEcT ABSTR AcT

This project was assigned specif ically for entry into a national

design competition, sponsored by ICMAD (The Independent

Cosmetic Manufacturers and Distributors). The product could

be any cosmetic or beauty item without conceptual limitations.

Working from a specif ic sized tube for our skincare product line,

we were to design a f ictional product, with a front panel design.

APPROAcH & SOLUTIOn

I chose to develop a f ictional line of personal care products for

intergalactic space travel, an untapped market. The name Stratos

was chosen for the brand, playing off the name of a layer of the

Earth’s atmosphere. The f inal product I developed was a f ictional

sunscreen with an impossibly high protection of SPF 1,000,000.

AccOL AdE S

The f inished tube design was entered into the ICMAD Young

Designers Competition, where it was selected as a f inalist.

TITLE STRATOS INTERGALACTIC



1.0 WHAT IS THE MOOd OF THE BR And?

Is it a dystopian or optimistic product for the future?

Is style more important than function for this brand?

How can I mix the feelings of travel with science?

2.0 WHAT IS THE cOnTE x T OF USE FOR THE PROdUcT?

Is the design solution potentially real or f ictional?

Are there specif ic technical requirements to consider?

Is the product purely cosmetic, functional, or both?

3.0 WHAT IS THE v ISUAL L AnGUAGE?

What colors are in common use for space gear?

Are there ref lective materials that are frequently used?

How can I incorporate scientif ic language?


Could the product be a brand extension or standalone?

Is this for private or government travel in space?

Could this product develop as a sub‑brand of NASA?

5.0 WHAT FInISHE S MIGHT BE APPROPRIATE?

Is a chrome metallic f inish ideal for the f inal design?

Should I use glossy or matte transfers for the typography?

Are four color gradients possible for color transfers?

CATEGORY IDENTITY, pACkAGINGKEY WORDS ADvANCED, SCIENTIFIC, vOYAGE

150 / 77T YPEFACES bUREAU AGENCY, EUROSTILE

78 / 150

















HUb ORGANIC bREWERY

How do you develop an organic craft brew that’s inclusive for everyone?

PROJEcT ABSTR AcT

Design and develop a line of beer based on a brewery, either real

or imagined. Conduct research on the current retail environment

for the beer market. Study the current designs and retail displays,

along with a survey of various designs with specif ic price points.

From your research, design a beer line, delivering a six pack and

holder, a premium can, and a 22oz premium light beer.

APPROAcH & SOLUTIOn

After extensively surveying stores, bars, and observing how the

enormous varieties of beer brands f ight for limited shelf space,

I chose a small microbrewery in Portland, Oregon for inspiration.

HUB, or Hopworks Urban Brewery, makes several lines of

organic beer. I chose to refresh the mark, and developed a honey

pale ale line to be sold in a retail environment.

TITLE HUb ORGANIC bEER


CL A SS pACkAGE DESIGN THREE

1.0 WHAT IS THE cURREnT POSITIOn OF THE BR And?

What are the key core values that they want to express?

Are they looking to expand, or develop other niche products?

What is currently their best selling brew?

2.0 WHO ARE THEIR MOST LOYAL cUSTOMERS?

Why do their customers feel it’s important to support the brewery?

What social issues are most pressing for customers of HUB?

Does HUB promote their beer lines outside of the Portland area?

3.0 WHAT IS THE AE STHE TIc OF THE BR And?

Are the retail beer graphics they use dif ferent from the brewery?

Do they have a consistent color palette they reference?

What graphic f inishes does HUB use for their beer bottles?

4 .0 WHAT IS THE vOIcE OF THE BR And?

How does HUB talk to their current customers?

Is there a current tagline they use consistently for their beer?

What are some of the names of their dif ferent beers?

5.0 WHAT IS THE HISTORY OF THE BR And?

Who were the founders, and is there a compelling story?

Do their employees feature in any of their marketing?

What makes HUB dif ferent than other microbreweries?

CATEGORY pACkAGING, IDENTITY KEY WORDS AUTHENTIC, CRAFT, FRIENDLY

150 / 87T YPEFACES ACROpOLIS, kNOCkOUT, SENTINEL, bROTHERS

88 / 150





HOPWORKS URBAN

BREWERY


















bARCALOUNGER

What’s the most effective way to get the aging suburban recliner f it for a new urban life?

PROJEcT ABSTR AcT

Seek out and research a brand that’s dead, defunct, or devalued

in recent years. Research the history of the brand, its past and

current value proposition, and its position in the marketplace.

Find out what led to its demise, and how the competition is

currently performing. From the results of your research, develop

a new direction for your chosen company. Develop a new mark,

voice, and aesthetic, while documenting the brands’ expression

in print, advertising, and digital mediums. Then create extensions

for the brand to reach a new customer base.

APPROAcH & SOLUTIOn

The Barcalounger company, founded in 1940, was once the lead

producer of reclining furniture. As an industry leader, they were

perfectly positioned to dominate the market in the great post-war

suburban migration. With spacious living rooms and a new

television, Barcalounger was the chair for dad at the end of a day.

Many years later, Barcalounger’s aesthetic in both product and

graphics have labeled it a relic, unknown to a younger audience.

I chose to reposition Barcalounger as a brand seeking to capture

a share of the rapidly growing market of people f locking to cities

to be at the center of culture and ideas. To emphasize a new

approach, the name was shortened to Barca, and a newer color

palette employing lighter tones and softer edges was developed.

The new Barca appeals to the market of urban creatives who seek

a balance of comfort and style that performs in smaller spaces.

TITLE bARCALOUNGER REbRAND


CL A SS NATURE OF IDENTITY

1.0 WHAT dOE S THE BARcALOUnGER BR And STAnd FOR?

Has comfort always been the highest prior ity for their furniture?

When were Barcalounger’s most innovative periods?

When and why did the brand begin to lose its market share?

2.0 WHAT ARE THE A SPIR ATIOnS FOR THE BR And?

What is the new demographic Barcalounger wishes to connect with?

How do other furniture brands express themselves graphically?

Should there be several sub‑brands for dif ferent potential markets?

3.0 WHAT ARE POSSIBLE nE W MARKE TS?

Has Barcalounger marketed to apartment dwellers before?

What about people who rent, and don’t have a large place?

Could the brand develop an exclusive retail presence?

4 .0 WHO USE S BARcALOUnGER FURnITURE?

Is Barcalounger known mostly to people over f ifty?

Does the brand have any of fer ings to a younger audience?

Why do longtime customers stay loyal to the brand?

CATEGORY IDENTITY, bRANDINGKEY WORDS URbAN, CONTEmpORARY, STYLISH

150 / 99T YPEFACES GOTHAm, ARCHER

100 / 150


ORIGInAL MARK




barcao�cebarcakids barcao�cebarcakids

KEY WORDS URbAN, CONTEmpORARY, STYLISH


cATEGORY IDEnTITY, BR An DInG
















mFA DESIGN THESIS

How do you get more people eating locally grown food when it’s at its freshest?

mFA DESIGN THESISPROJEcT ABSTR AcT

The apex of the MFA program, the design thesis project requires

a different approach. Unlike a normal classroom assignment,

there is no creative brief or a syllabus to guide you on a specif ic

path. To develop a thesis, f irst you must explore a subject or

facet of the world where you think you can make a difference

or offer an alternative viewpoint. The thesis project demands

a research-driven approach to a problem you feel that graphic

design has a role in bringing about change and improvement.

The core of the thesis is that it’s the result of extensive research

that molds your hypothesis, and is a guide towards a solution.

APPROAcH & SOLUTIOn

For my design thesis project, I chose to research challenges facing

the food system in the United States. My food purchasing choices

over the years have become increasingly supportive of small

farms, farmers markets and locally grown food. Initially my shift

towards eating whole foods was driven by health consciousness

and athletic performance. As I started purchasing from small

merchants and local markets, I felt a connection between myself

and those who grew and prepared my food.

I chose to research the promotion of locally grown foods from

small farms as I began to hear of the challenges these farms

face in the modern economy. I felt that this was subject worth

committing to gaining a deeper understanding of, and after

diligent research, potential graphic solutions started to emerge.


TITLE INSEASON CL A SS GRADUATE THESIS

TYPEFACES EGYpTIENNE F, AvENIR, WARNOCk pRO

1.0 HOW IS THE FOOd SYSTEM STRUcTUREd?

What innovations were key in changing the distr ibution of food?

What are the dif ferent levels of the current food system?

When were the times of greatest change in how we grow food?

2.0 WHO ARE THE KE Y PL AYERS?

Are there large conglomerates who control food supplies?

Who advocates for smaller producers in the food system?

What role does local and national government play?

3.0 HOW IS FOOd dISTRIBUTEd nATIOnALLY?

Are there some foods that are more ef f iciently grown locally?

What is the standard supply chain for food in the US?

How far on average does food travel to arr ive at our plates?

4 .0 WHAT E x AcTLY IS LOcAL FOOd?

What is the agreed upon def inition of locally grown food?

What is the percentage of food that’s purchased locally each year?

Just how is a small or family farm def ined in the US?

5.0 WHERE ARE THE BE ST RE SE ARcH SOURcE S?

Do I have access to journalists and advocates for further research?

Are there policy makers that are accessible for interviews?

What are some organizations that speak for the small farmers?

6.0 HOW IS LOcAL FOOd BEInG MARKE TEd?

What are some overlooked channels for increasing local food sales?

Are there certain words and phrases commonly applied?

What are the most ef fective venues for marketing of local food?

150 / 113

KEY WORDS LOCAL, SINCERE, HUmbLE cATEGORY IDENTITY, bRANDING, pRINT, pACkAGING

114 / 150





What really sets a thesis apart is the research. In my case, the end result of farm

visits, interviews, reading and surveys culminated in the creation of inSeason,

a single marketing and distribution service for local produce growers. By allowing

farmers to concentrate on growing the highest‑quality food, the inSeason brand

functions as a marketing and sales arm for different agricultural regions.

From weekly delivery boxes of fresh produce, to pop‑up stands, lunch trucks,

and a line of seasonal jams, jellies, and vegetable spreads, inSeason leverages

the bounty of area farms. It provides support to consumers, from education to

preparation, so everyone can enjoy the full range of food their region is capable

of producing, and strengthen the family farm economy in the process.

150 / 117




TYPEFACES EGYpTIENNE F, AvENIR, WARNOCk pRO 150 / 119








A HOMEMA dE TOUcH

to e voke an e arth y, he art y feeling, i de v eloped a

series of six t y different fruit, v ege table, and food

watercolors for use on lunch truck s,menu items,

pack aging, deliv ery boxes and marke ting material s.







Local food

Advocates

OCCUPATION

AuthorEntrepreneur

BOOKS

Placer County Real Food Cookbook

JOANNE NEFT Auburn, CA

As the author of a local food cookbook, Joanne Neft helped to revive farmers markets in Northern California. She’s helped to manage numerous local food companies, and continues tireless advocacy for the small farmer.

Joanne Neft

PartnerProfiles

FARMING SINCE

1950 (61 years)

ACREAGE

74 Acres

SPECIALTIES

Melons CornSquash

AMBER GROVE Bowman, CA

Born into a four‑generation farming tradition, his sweet corn can’t be beat. Every summer brings forth delicious melons, and he adds some more root vegetables to our mix in the winter.

Bud Keopke

Meet your local

FarmersPartnerProfiles

Local food

Artisans

OCCUPATION

Owner, CaloleaOlive Oil Co.

FOUNDED

1999

SPECIALTIES

Extra Virgin Olive Oil

MICHAEL KELLER Auburn, CA

For twelve years, Michael Keller has been harvesting olives in Northern California, and has developed quite a following for his signature olive oil lines. We’re proud to carry some of his products in our specialty foods.

Michael Keller

PartnerProfiles

Local food

Chefs

OCCUPATION

Personal Chef

COOKING SINCE

1992

SPECIALTIES

Vegetable Dishes Salads

LESLIE GOLD Newcastle, CA

Leslie is solely responsible for many of the simple salad and soup recipes that we provide for our subscribers. She makes great dishes that any busy person can cook with minimal effort.

Leslie Gold

PartnerProfiles

Local food wouldn’t matter if it wasn’t for the people working hard to grow it,

pack it, ship it, and deliver it. I wanted to put a face to the food when we buy

locally. Highlighting the heroic work of a key person at each stage of the food

system, from our local growers, to chefs and advocates, gives a voice to the small

producers. The cards can be used as a sales tool to bring more farmers to join

inSeason, and help consumers to learn more about the local folks who grow our

highest quality produce, and the people who help us to prepare it.





FRESH TODAY

eat-inseason.comSandwiches • Hot Soups • Salads • Muffins • Jellies and Jams }



FRESH TODAY

eat-inseason.comSandwiches • Hot Soups • Salads • Muffins • Jellies and Jams }



Locally grown food can get to cities through a network of small delivery trucks

nimble enough to navigate small rural roads, and get produce to shared processing

centers. From there, food can be delivered to home and office drop‑off points.

For a fresh local lunch on the go, food trucks can make their way each weekday

to office parks and busy urban centers. This provides additional marketing

opportunities to share the story about local food, and why eating farm fresh food

isn’t just healthy and affordable, it’s also delicious.





LOCAL

eat-inseason.com

eat-inseason.com




OkraBell Peppers CantaloupeKiwis

Figs

Corn Watermelon

Peaches

Raspberr ies Persimmons

Blueberr ies

Eggplant

Grapes

Pears

Cherr ies

Oranges

Avocados Snow Peas Potatoes

Strawberr ies

150 / 133






Serves four people

Snow peas have a mild flavor, and can go with many dishes. When cooked with quinoa, you have a high‑protein meal, rich in vitamins. Adding the mushrooms gives a compliment to the crunchiness of the snow peas.

Quinoa with Snow Peas

COOKING 25 MinutesPREPARATION 15 Minutes

1 cup black quinoa, rinsed

3 vegetable or chicken broth

1 pound fresh mushrooms, sliced

3 tablespoons sour cream

3 fresh basil leaves, shredded

3 cloves garlic, coarsely chopped

½ pound snow peas

1 tablespoon butter

1 onion, diced

1 TOAST THE QUINOA, using a heavy nonstick frying pan over medium heat for 5 minutes. Pour in 1 cup of the broth, stirring as you go.

2 IN A SAUTÉ PAN, melt the butter over medium‑high heat, and add the fresh mushrooms and the onion, and cook until just lightly browned, about 10 minutes. Add the garlic halfway through.

3 WHEN THE LIQUID has been absorbed by the grains, add more of the liquid, continuing until the grains have absorbed it completely and are tender crisp, about 15 to 25 minutes total.

4 STIR IN THE MUSHROOM mixture and add sour cream; remove from heat. Let stand 10 minutes, then fluff with a fork, garnish with the snow peas and basil.

MAIN DISHES

{ }

What's Quinoa?High in protein, easy to cook, and to keep, Quinoa is

slowly getting more attention. It’s a great source of

protein for those wanting to go vegetarian.

Recipes from food grown in

SP

RIN

GCA



cOOKInG WITH THE SE A SOnS

menu he aders displ ay se a sonal color and pat tern,

and the tag at upper right indicates both the se a son

and the region of origin.

PREPAR ATIOn & cOOKInG

ingredients on the lef t, and cooking step s on the

right. t imes are giv en for both prep and cooking so

you can budge t your t ime accordingly.

REcIPE cATEGORY & dE ScRIP TIOn

along with the main ingredients from the t itle,

the category and quick description le ts you know

right away what the recipe is useful for.

Serves six people

A simple, tasty chili, this dish goes great with cornbread, and served with a side salad. If you like the chili spicier, add the red pepper flakes. This chili freezes well, and keeps for a week.

Summertime Corn Chili


2 tablespoons olive oil

½ cup diced (¼‑inch dice) yellow onion

1 tablespoon minced garlic

1½ pounds lean ground beef

1 tablespoon ground cumin

1 tablespoon chili powder

2 teaspoons dried oregano

1 can (15 ounces) black beans, undrained

2 can (15 ounces) pinto beans, undrained

1 can (28 ounces) crushed tomatoes

1 teaspoon salt, or more to taste

Freshly ground black pepper

Dried red pepper flakes (optional)

Freshly grated cheddar cheese

Sour cream (optional) for garnish

1 HEAT THE OLIVE OIL in a large, pot over medium-heat. Add the onion and cook for 5 minutes. Add the garlic and cook until the onion and garlic are soft but not browned, about 1 minute longer. Add the beef, and break up the meat with a wooden spoon.

2 INCREASE THE HEAT to medium-high and add cumin, chili powder, and oregano. Cook, stirring frequently, until the meat is browned, about 7 minutes.

3 ADD THE BLACK BEANS, pinto beans, and tomatoes, with their liquids, and bring to a boil. Reduce heat to low, cover the pot, and let chili simmer, gently stirring until thickened, about 45 minutes.

4 ADD THE SALT, then taste for seasoning, adding more salt as needed and black pepper to taste. Serve the chili hot with bowls of grated cheese and sour cream on the side, for garnish if desired. If not serving the chili immediately, then let the chili cool to about room temperature. It can be refrigerated, covered, for up to 3 days, or frozen for up to 3 months.

SOUPS and STEWS

{ }


SU

MM

ER

CAServes four people

One of the treasures of autumn, this makes a hearty, rich bread, and anything on the breakfast table. There are two types of persimmons, but only Hachiya persimmons are best for baking.

Persimmon Breakfast Bread


2 large eggs

½ cup plus 2 tablespoons canola oil

2 ripe Hachiya persimmons, peeled,

seeded, and mashed

½ cup chopped pitted dates

½ cup chopped walnuts, toasted

1¾ cups unbleached all‑purpose flour

1 cup sugar

1 teaspoon baking soda

½ teaspoon baking powder

½ teaspoon salt

½ teaspoon Chinese five‑spice powder

½ teaspoon ground nutmeg

¼ teaspoon ground cinnamon

¼ teaspoon ground cloves

1 POSITION A RACK in the center of the oven and preheat the oven to 375°F. Butter a 5 by 9‑inch loaf pan.

2 PLACE THE EGGS and oil in a medium‑size bowl, whisk to combine. Add the persimmons, dates, walnuts and stir to blend.

3 PLACE THE FLOUR, sugar, baking soda, baking powder, salt, spices, nutmeg, cinnamon, and cloves in a large bowl and whisk to blend. Add in the egg mixture and stir to combine. Do not overmix or the bread will be tough. Pour the batter into the loaf pan.

4 BAKE THE BREAD until a toothpick in the center comes out clean, 60 to 70 minutes.

5 LET THE BREAD cool on a wire rack for 15 minutes. Remove bread from the pan and return to the rack to finish cooling. Serve at room temperature. The breakfast bread can be tightly wrapped in plastic wrap and refrigerated for up to a week, or frozen for a month. Let it thaw overnight in the refrigerator and return to room temperature.

BREAKFAST and BRUNCH

{ }

Hachiya PersimmonsThe Hachiya persimmon has a tapered shaped,

tastes acidy until ripe, and is great for baking.

CA


FAL

L

Serves four people

With winter, comes delicious citrus like kiwis. Until recently, you wouldn't find a lot of recipes for this humble fruit. Kiwis go great in side salads, adding a tangy, fresh flavor to any greens.

Spinach and Kiwi Salad

COOKING 10 Minutes

SALADS

PREPARATION 5 Minutes

2 large kiwis, peeled

3 tablespoons lemon juice

3 cups of spinach leaves

1 cup arugula or mustard greens

3 tablespoons safflower oil

1 small red onion, sliced thin

2 cups red leaf lettuce

2 tablespoons honey

1 clove garlic, minced

Salt and pepper to taste

1 REMOVE ANY THICK STEMS FROM THE SPINACH, lettuce and arugula. Wash all of the greens, and dry them in a salad spinner or pat them dry with paper towels. Tear the greens into bite-sized pieces and place in a bowl; cover with plastic and refrigerate.

2 IN A SMALL BOWL, combine the oil, lemon juice, honey and garlic; season to taste with salt and white pepper. Set dressing aside. Before serving, remove the garlic from the dressing. Toss the greens with the dressing, divide them among 4 individual salad bowls, garnish them with the kiwi and onion.

{ }


WIN

TE

RCA







STRAWBERRYFRUIT SPREAD

Refrigerate after opening.

Nutrition Facts: Serv. Size: 1 Tbsp (14g), Serving 16, Amount Per Serving: Calories 16, Fat Cal 0, Total Fat 0g (0% DV), Sodium 3g, Protein <1g, Vitamin A 22%, Iron 1%. Percent Daily Values are based on a 2,000 calorie diet.

{ }LOCALLY GROWN2 3 4 5 6 7 8 9 0 1

INGREDIENTS Strawberries, Sugar, Pectin, Citric Acid.

inSeason, CaliforniaPO Box 14522 San Francisco, CA 941091‑800‑608‑5874www.eat-inseason.com

LOCALLY GROW

N

ST

R

AWBERRY SPREA

D

NET WT 12oz (340g)


SP

RIN

GCA

STRAWBERRYFRUIT SPREAD

Refrigerate after opening.

Nutrition Facts: Serv. Size: 1 Tbsp (14g), Serving 16, Amount Per Serving: Calories 16, Fat Cal 0, Total Fat 0g (0% DV), Sodium 3g, Protein <1g, Vitamin A 22%, Iron 1%. Percent Daily Values are based on a 2,000 calorie diet.

{ }LOCALLY GROWN2 3 4 5 6 7 8 9 0 1

INGREDIENTS Strawberries, Sugar, Pectin, Citric Acid.

inSeason, CaliforniaPO Box 14522 San Francisco, CA 941091‑800‑608‑5874www.eat-inseason.com

LOCALLY GROW

N

ST

R

AWBERRY SPREA

D

NET WT 12oz (340g)


SP

RIN

GCA



SIMPLE, HE ART Y & LOcAL

with the ba sic ingredient displ ayed prominently on

the top of the ja rs, one gl a nce w ill tell you w h at ’s

in the k itchen cupboard.

SE A SOn & REGIOn

following the menu system, the side panel displ ays

the where and when about the food. with jams,

jellies, spre ads, and pickled vege tables, the y lend

an accent to the foods in a subscription box .

FR

E

SH SAUERK RAUT

LOCALLY GROW

N

LOCALLY GROW

N

PICKLED ONION

S

LOCALLY GROW

N

AR

TICHOK E HEART

S

LOCALLY GROW

N R

E

D BELL PEPPERS







SEARCH

{ }

Welcome to inSeason

Get fresh food from small farms near you

Canvas Ranch contributes to our weekly bounty. They’re located just north of Petaluma, and grow squash, beans, nuts tomatoes, and even raise some sheep. Watch the video

Not every farmer has a plum spot at the local market. Some farms are hard to get to as well. We help small farms get their bountiful produce to you when it’s ripe. Read more

We’ve got hard squash in seven varieties, perfect for soups, mandarins are here, as well as fresh cabbage.

See all available produce by location

Press | Contact Us | About Us | Log In

Northern California (Bay Area)

Learn more and get recipes

See what’s in season now

BRINGING LOCAL FOOD TO YOU

We get you the best quality produce from small farms nearby. Wherever you are, we can bring you what’s fresh and in‑season.

Keep me logged in

Forgot your password?

Struble Ranch, one of our partners in Northern California.

Remember my location

Here’s our winter food box specials for Northern California, Bay Area.

Veggie Light (1 person)

Just Fruits (2 people)

Family Feast (4 plus)

LOG IN

Don’t have an account yet? Get fresh food at your doorstep now.

Sign up today

GO



SEARCH

{ }

Welcome to inSeason


Canvas Ranch contributes to our weekly bounty. They’re located just north of Petaluma, and grow squash, beans, nuts tomatoes, and even raise some sheep. Watch the video

Not every farmer has a plum spot at the local market. Some farms are hard to get to as well. We help small farms get their bountiful produce to you when it’s ripe. Read more

We’ve got hard squash in seven varieties, perfect for soups, mandarins are here, as well as fresh cabbage.

See all available produce by location


Northern California (Bay Area)

Learn more and get recipes


BRINGING LOCAL FOOD TO YOU

We get you the best quality produce from small farms nearby. Wherever you are, we can bring you what’s fresh and in‑season.

Keep me logged in


Struble Ranch, one of our partners in Northern California.






LOG IN


Sign up today

GO




Entrepreneur, chef, author, and local food advocate. Joanne Neft is among the most forceful and innovate minds behind the local food scene in Northern California. Her local food cookbook, Placer County Real Food, helped to revitalize the markets for winter local food in Placer County.

When Joanne realized the markets weren’t open for winter, she realized that people had no idea what farmers could grow during the winter months. Armed with this knowledge, she

set about designing a cookbook that could reflect the full years’ bounty of the area. A year later, the result was a year of eating locally.

Learn more about Joanne’s book

Just north of Loomis, we’ve been working with some new partners, adding to our Winter mix with delicious Mandarin Oranges, Kohlrabi, and a variety of Parsnips. Read more.


Canvas Ranch has been with us for the last two years, contributing more than just produce, with lots of great recipes.

Buy the book

See more farms


Keep me logged in








Sign up today

SEARCH

LOG IN

GO


Winter gives us some fresh jams, like our fresh Mandarin jam, shown above.

See the full line of jellies, jams, and preserves

This Winter we’ve got many excellent choices from some of our dairy partners.

Add some fresh cheese

High QualityAll of our farm fresh products contain only natural and fresh ingredients. This Mandarin jam is a top seller during the cooler Winter months.

Press | Contact Us | About Us | Log Out

Reset Values

Add jellies and jams






Weekly Delivery

Change Box Items

Jam of the Month Club

GO

Michael Moss

Edit My Profile

LOG OUT

Delivery > My Orders > Custom Delivery

Cauliflower

Cabbage

1 lbs

1 lbs

UPDATE


SEARCH

Kohlrabi 1 lbs

Item Veggies

Fruit

Other

Quantity Add

Squash

Kiwis

Brown Eggs

2 lbs

1.5 lbs

1 Dozen

Brussel Sprouts 1 lbs




The robust online presence for inSeason means local food delivered as needed.

With the ability to sign up for custom deliveries of produce grown nearby,

customers have a say in the contents of their weekly box. Along with fresh food,

value‑added products in the form of jams, jellies, and pickled vegetables can be

included, as well as some eggs, cheese, and honey, according to local availability.

Videos interviews of local farmers further reinforce the bonds between those who

grow our food, and the end customers. With the support of inSeason, select local

farms can accommodate visitors eager to learn more about farming and food.

150 / 147






AcKnOWLEdGEMEnTS

Many thanks are due to all my different mentors at the Academy.

I’ve had the good fortune to be able to study with excellent

instructors, and I want to thank all of them including Hunter

Wimmer, Carolina DeBartolo, Jeremy Stout, Scott Rankin,

Macy Chadwick and Roland Young. Special thanks to Tom

Mcnulty for introducing me to the world of packaging.

Thank you to David Hake and Michael Kilgore, who guided me

through my thesis project. Both of you encouraged me to solve

the problem by setting high standards for content and design.

A major thanks to Dave Gottwald, for many inspiring late-night

working sessions throughout our school years.

Thank you to Mary Scott for helping me through portfolio,

and thanks to Phil Hamlett for his input and help throughout

my education at the Academy.

I want to thank my classmates who were quite generous with

their time, critiques, and help. I’ve had nothing but enriching

experiences with everyone in my classes over the years.

Finally, I would like to thank my close friends and loved ones.

Thanks to my roommates for tolerating piles of paper strewn

everywhere during f inals, and rooms taken over for book layouts.

Thank you to my supportive parents and sister, you’re always

there for me when I need it. And thank you to Martha Zlatar,

whose love and positive attitude made this possible.

Documents

Mike Moss Graduate Portfolio