Monique Thouin Kantor I Mtk I

MONIQUE THOUIN KANTOR Design Portfolio

I MTK I ELTON JOHN VINYLS vinyl album covers

ALBUM COVER REDESIGN ILLUSTRATION + TYPOGRAPHY + COLOR 3 COVERS 12� X 12� + 3 LABELS 4� X 4� SPRING 2018

Elton John announced to the world that, after fifty years of performing and touring, he will retire, but not before completing a climactic two-year world tour. Recogniz- ing that albums are simply musical forms of story-telling, I thought to bring a twist to the idea of packaging and apply it to Elton’s music, rich with story. What better way to accompany a farewell tour than to re-release some of the best-loved albums that launched a life-long career as an iconic rock star? And who better to design them than me?

My personal interpretations of the albums, integrated with relevant 2018 design, inspired and informed the direction for the designs. Impactful yet sparing use of soft gradients and transparent colors placed these designs firmly into the 2018 aesthetic. Carefully-chosen script type for Elton John that evoked the ‘57 Chevy ideal paired with the swirling hem of a poodle skirt reinfoced the ‘50’s theme for Don’t Shoot Me. Metallophile’s rough-hewn edges evoked the feel of chiseled bricks in Yellow Brick Road. I created an original typeface for Honky Chateau to reflect the never-been-seen- before journey of Rocket Man—one of its most iconic tracks.

Album labels were designed within a system to unify them, and expanded images from the jacket designs created the backgrounds which served to differentiate them. All together, these labels and covers emanate a cohesive retro/ modern feel.

WATERBIRCH art catalog

PASSION PROJECT ILLUSTRATION + TYPOGRAPHY + WRITING + PRINTMAKING 1 BOOK 16� X 11� SPRING 2018

Waterbirch is the name I ascribe to the collected works of my original giclée and hand-printed designs. These prints reflect many disparate influences — my middle-school art class, children's picture books, mid-century modernism, travel, lazy summer days, crisp winter afternoons, autumn trees, plants and birds, animals and bugs—that drive and inform my sense of process,color, composition, and theme.

Although whimsical, sometimes nostalgic, and invariably explorative, these images carry themselves with an elegance and sophistication that unify them, that tell a story, yet they all existed in different times and spaces. Therein lay my challenge—to unite them in time and space and to ground them with written story.

My solution was to create a personal art book to compile and organize the images and their stories into a usable and accessible system. The published book can be used for enjoyment purposes, or it can be used as a reference catalog from which those interested might request cards or prints of their choice. GICLÉE

AT THE LAKE

Sunlight dapples through the branches of the birches that tower above me. Tender leaves flutter overhead. A lone sparrow sings. A breath of lake breeze floats past. Lying on the grass, I become earth, and I gaze up and away into a blue universe that is endless, and I am held, like a precious stone, in an omnipotent hand.

With only a few exceptions, at the lake is where my childhood lives. Endless days with bare toes spent digging in the sand, wading through water, scrambling over rocks, running through the grass. Here there were no walls, no lines, no borders, no rules, no hours or minutes—just endless days of exploring the world and discovering me.

It is also where I discovered what was beautiful to me and what inspires me—a blade of grass, a drop of rain, the wing of a butterfly—all the simple elements of matter that comprise and sustain our world, that color our lives.

Whether microscopic or distant, my renditions portray the pure simplicity of peace, joy and beauty always to be explored and discovered at the lake. l-r Cabin Grass 5" x 10"

Dragon Wings 5” x 10”

Evening Grass 8” x 6”

2011

l-r Birches en Été 8" x 6"

Birches en Automne 8” x 6”

Birches en Hiver 8” x 6” l-r Night Owl 11" x 14" 2011 Fox Pup 11” x 14”

Redbird 10” x 8.5”Bard Owl 8" x 11" 2015 Fox Pup 8” x 11”

Red Bird 8” x 6”

2015 PRINTS

IN THE STUDIO

There is no sound but the clock ticking on the wall, marking time. Every drawer, every surface, every tool, every thing in this room has a purpose, a job, a role to play in the making of art and of history and of humanity. It is a place of creation and ritual, belief and patience, respect and honor. In this world, time matters, care is essential, and process is key. Here it is as much about the community as it is about the self; about the journey as it is about the destination, And that, my friends, is what renders this space and this type of image-making so supremely sacred.

Ancient and timeless are the tools, the methods, the materials, and the wonder that inhabit the world of hand-rendered printmaking. The pencils and erasers, tape and pins, rulers and mesh screens, wing-nuts and screws, water and light, darkness and air all connect our minds to our bodies, our present with our past and our future. The l-r Hummingbird Perspective cyanotype + silkscreen paper and the ink are not simply seen, they are also felt. Each step requires attention 8” x 8” to time, space, and order. Fluctuations arise and problems are solved. Experience and Through the Mist faith drive our process. van dyke non-silver 14” x 10” But there is nothing like that split-second moment of wonder and anticipation where 2017 process meets revelation and the paper is peeled from the screen or the press or the water- bath and the image you hold in your hand is always a surprise. Unique, real, and forever.

BUMPITY BUMP CHOCOLATES

ANGRY T ZESTNAMON typographic triumph CHER CIN

SNAPALMOND + PRODUCT LINE PACKAGE DESIGN Y BUM Y BUM TYPOGRAPHY + ILLUSTRATION + COPY IT IT BU P P P 3 BOXES 5� X 3� X .5� TY M P I P E E

FALL 2016 P M M U

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U SLEDDING CHOCOLAT CHOCOLAT B

My objective was to create an identity and packaging for CHOCOLAT an original brand of artisan chocolate bars. My conceptual invention, Bumpity Bump Chocolates, was inspired by the sledding hill of my childhood, a long, steep, and thrilling run over and surrounded by jagged boulders of iron ore. T T

NCES NCES T OU OU INT OF HEAR. 5 INT OF HEAR. 5 Illustrative elements of mineral-colored triangles tumble FA FA NCES OU down a mountain set against a vast background of open INT OF HEAR. 5 FA T FOR THE T FOR THE NO NO space and create the visual setting for the piece. Three O | NET WEIGHT 3 O | NET WEIGHT 3 CA CA T FOR THE CA CA NO % % delectable flavors—almond, cherry, and cinnamon—were O | NET WEIGHT 3 75 75 CA CA dubbed Snap, Zest, and Tang, and were differentiated from % 75 each other by their ivory, rust, and charcoal backgrounds. BU BU TY M TY M Sans serif fonts meticulously typeset in the colors of the I P I P BU P P TY M mountain created clarity and visual interest on the front, I P M M

P U U

SLEDDING SLEDDING B

back, and side panels. M B CHOCOLATE CHOCOLATE

U NG

SLEDDING B T A ZEST . . CHOCOLATE The brand name, Bumpity Bump, was set in bold sans serif SNAP . , Bumpity Bump chocolate was , Bumpity Bump chocolate was in a badge configuration that mimicked a boot-print in the ‒Dear iron‒renowned mine dump Hull ‒Dear iron‒renowned mine dump Hull CHERRY INFUSED 75 PERCENT DARK CHOCOLATE CINNAMON INFUSED 75 PERCENT DARK CHOCOLATE snow. Carefully-written descriptive copy underscored the , Bumpity Bump chocolate was e faint of heart e faint of heart ALMONDS IN 75 PERCENT DARK CHOCOLATE‒Dear iron‒renowned mine dump Hull Not for th Not for th story of the brand. A stylized star adorned the top and side e faint of heart inspired by the sledding hill of the same name set on the inspired by the sledding hill of the same name set on the northern face of Hibbing’s Winston northern face of Hibbing’s Winston panels of the packaging identifying them from the small- Not for th Created from ore cleaved from the world Created from ore cleaved from the world inspired by the sledding hill of the same name set on the Rust pit, it is a sledding run bounded by and peppered with Rust pit, it is a sledding run bounded by and peppered with est sides. The result is a playful yet sophisticated presence northern face of Hibbing’s Winston sharp and jagged boulders set at a pitch severe enough sharp and jagged boulders set at a pitch severeith enoughgusto. that commands attention through its clarity and concep- Created from ore cleaved from the world to match that of the screams of thrill and delight of the to match that of the screams of thrill and delight of the Rust pit, it is a sledding run bounded by and peppered with sledders careening their way to the frozen marsh below. sledders careening their way to the frozen marsh below. sharp and jagged boulders set at a pitch severeith enoughgusto. Engagingly provocative with a lively charm, our chocolates Engagingly provocative with a lively charm, our chocolates tual uniqueness. to match that of the screams of thrill and delight of the are stimulatingBumpityest to Bump t thehat paletteisride to inbe real andrelished time; parallel withwith the agusto. richness, piquancy snap, of are stimulatingBumpity to Bump the paletteride in real and time; parallel with the a richness, piquancy snap, of sledders careening their way to the frozen marsh below. a true a true Engagingly provocative with a lively charm, our chocolates tang, and z tang, and zest that is to be relished w are stimulatingBumpity to Bump the paletteride in real and time; parallel with the a richness, piquancy snap, of Y BU Y BU , sugar, cocoa butter, cinnamon. a true M M T . Hibbing MN 55746 TINGREDIENTS . Hibbing MN 55746 tang, and zest that is to be relished w I INGREDIENTS P HULL RUST CHOCOLATES I P HULL RUST CHOCOLATES LATES chocolate liquor, cocoa, sugar, cocoa butter, cherry22 extract. Ash chocolate liquor, cocoa 22 Ash P E| [email protected] P E| [email protected] P| 218.263.0825 P| 218.263.0825 MAY CONTAIN PEANUTS, TREE NUTS, MILK, EGGS, WHEAT, AND SOY INGREDIENTS . Hibbing MN 55746 MAY CONTAIN PEANUTS, TREE NUTS, MILK, EGGS, www.hullrustcandy.comWHEAT, AND SOY www.hullrustcandy.com BU HULL RUST CHOCO M TE BU 4 M TE BU 4 22 Ash Y Y chocolateM liquor, cocoa, sugar, cocoa butter, almonds. TY M 4 T M 4

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PACKAGE REDESIGN TYPOGRAPHY + ILLUSTRATION + COPY 4 CYLINDER LABELS 10� X 3.5� + COVERS FALL 2017

The challenge was to redesign with a modern appeal packaging for four items from an existing line of packaged goods that contains multiple varieties, or flavors and appeals to a sophisticated, upscale demographic.

What better way for young urbanites to connect than over artisan ice cream made by a socially– and environmentally– conscious local business? My goal was to systematize and beautify Izzy’s ice cream packaging in a way that would match the quality and care of the ice cream that was to be found within.

Well designed whiskey bottles and craft brew identities were mined as inspiration for my new Izzy’s aesthetic. Graceful and geometric linework created both stylized graphic ice cream cones and organized spaces for the front label, edges and a tremendous amount of pragmatic and descriptive text. Flavor icons created in similar lines, along with flavor- matched background colors, identifying flavor strips, and newly-written copy provided four methods of flavor identifi- cation. The Izzy’s identity itself was modified to work better with the new typography, yet it’s iconic big dot on the I for Izzy’s was retained in outline. Izzy’s packaging is now an appealing system that embodies both sophistication and fun and is able to hold a prominent and notable place in neighborhood and in the freezer aisle. at

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COMING TOGETHER. REACHING OUT.

KIKIT design thinking

INSTITUTIONAL BRANDING & IDENTITY VARIOUS MEDIA IDENTITY + STATIONERY + COLLATERAL + STYLE GUIDE FALL 2017

My chosen issue for this branding and identity project for a social cause was the lack of positive, meaningful, fun, and constructive guidance and connection for neighborhood youth and teens.

My solution was to create a local hip-hop dance company dedicated to providing a sense of belonging, pride, and purpose to teens who otherwise might not have access to positive guidance and community. The four prominent tenets of KIKIT are commit, connect, involve, and secure and reinforce the objective to strengthen the neighborhood through participation and support from all its residents.

The KIKIT logomark features my originally-designed letters that mimic the configuration of shoelaces laced in a hip-hop shoe. Brand colors are subdued neon — bold, vibrant, and refined — and were inspired by The Emotional Colors Project by Tokyo Dawn Records.

A secondary circular 4-quarter badge portrays the four tenets and can be used on KIKIT printed and digital publi- cations. Wearable buttons, each featuring one of the tenets on a brand-colored similar grid, reinforces the mission in a real-life, real-time way. Hats and T-shirts round out the collateral for a clear and committed branding system. D forever

Ave 411 Grand MN 55 4120 polis, Minnea 98 2.342.57 rg 61 ikitmpls.o www.k

Ave 411 Grand MN 55 4120 polis, Minnea 19 25, 20 October ard niel Hill ue Mr. Da l Aven aisdel 411 ard 50 Bl 55 el Hill 46 MN . Dani eapolis, Mr ason Minn ock Li enue Bl ell Av 1 50 Blaisd 5541 46 lis, MN ganized by parents, Minneapo . A sense of purpose. d: . Hillar A sense of community t educational and recreational hip Dear Mr A sense of connection. s also what KIKIT is all about. Requested by kids, or Involvement. KIKIT is a tax-exempt, not for profi fi eld of dance, –15 that provides kids with the opportunity to connect, achieve, create, and It’s what our neighborhood is all about. It’ ganized activitygeted outside for their of theage classroom, (e.g., sports, and led by professionals in the hop dance company for kids ages 10 t into the traditional programs tar better their community through the world of dance.t fi Twin Cities at events such Based on the belief that kids thrive best when involved in a positive or . s mission is to reach those kids who don’ Kikit’ KIKIT. Performances throughout the band, science and math clubs, drama) and who have little to no adult supervision after school and during the summer months. Students dance but also serve in procedural and production roles in event coordination and believe planning, that com- simple We munications and marketing, and rehearsal .space Our secondary care and maintenance. mission is to Buildingmake our a neighborhood sense of pride safer and responsibility S have devised a neigh- T E for themselves and their community is a core tenet of C C KIKIT E U as Open Streets Minneapolis, Music in the Parks, parades, and festivals are part of our outreach curricula, bringing a N R A NEIGHBORHOOD DANCE COMPANY N E FOR KIDS AND TEENS BETWEEN THE AGES fun and positive force to the community KIKIT (the habit of unlocked O

C OF TEN AND FIFTEEN WHERE A SENSE OF

A small reminder to BELONGING, OF PRIDE, OF PURPOSE IS As you are aware, our neighborhood, as idyllic as it is, is not immune to petty crime. Often, thefts occur to homes, ference in determining whether one will become of

We ask you to CREATED AND NURTURED. HERE THEY garages, bikes, and vehicles that, simply due to long-term habits, have been left unlocked.

ACQUIRE AND HONE SKILLS THAT TEACH

steps can go a long way to decrease the incidence of petty crime. In that spirit we at I

N THE POWER OF CONNECTION, FOCUS,

V borhood awareness campaign in the form of stickers and door tags for homeowners to help them remember to lock I

COMMITMENT, AND ACCOUNTABILITY. O

doors, vehicles, and bikes to keep their homes and property safe. M L

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doors) adhered to the inside of a garage door can make a big dif yo

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id KIDS GET TO DANCE. HOW FUN IS THAT? victim of petty theft, or not. tags, or and BUT THEY ALSO RECEIVE POSITIVE ROLE KIKIT reminder stickers and door tags for you to distribute throughout youricke block.rs r more st MODELING FOR A SUCCESSFUL FUTURE. Enclosed are our ts fo ve, reques rge. encourage your residents to become involved in our campaign. It is our desireunit yto at establish la and grow a supportive s you may hae comm AND, THEY GET TO GIVE BACK TO THEIR relationship between our kids and the neighborhoodestion in whichwith they th live, and to build a sense of community pride and any qu her or COMMUNITY THROUGH PERFORMANCES excitement for all who live here. th ch ot act me wi with ea AND OUTREACH EFFORTS TO HELP UNIFY ee to cont onships feel fr r relati THE NEIGHBORHOOD AND MAKE IT A Please ou n enhance SAFER PLACE TO LIVE . feel ca rds, KIKIT HELPS PAVE THE WAY FOR A Best Rega BRIGHTER TODAY AND A MORE SUCCESS- FUL TOMORROW.

Kantor Thouin r nique Ofﬁ ce Mo ecutive Chief Ex | 6 PM OCT 23

Lake Harriet Bandshell

S E C U T R C E E

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HAPPIER YOUTH, A SAFER COMMUNITY, AND A BRIGHTER FUTURE FOR style guide

LOGO // CONSRUCION PROPER USAGE

SIZE The construction of the KIKIT wordmark is illustrated on the left, where X = the height of the letter I in KIKIT. The space between KIKIT and the tag HIP HOP = .2X. HIP HOP height = .25X. Never should X exceed the minimum size of .25 inches (when appearing without the tag) or .5 inches (when appearing with the tag).

1.5X LOCATION The location of the tag HIP HOP always must be located below and right justiﬁ ed in relation to KIKIT. X

.2X CLEAR SPACE Clear space refers to the space between the logo and other graphic .25X elements such as type, images, and the edge of the page to ensure the ogo retains brand recognition, visibility, and consistency.

COLOR WHEEL The clear space between the KIKIT logo and all other elements (including 1.5X the edge of the page) needs to be kept at a minimum distance of 1.5X. Exceptions to this rule apply only to the buttons, stickers, and badges that come pre-designed with this style guide. Clear space for posters is up

to the designer's discretion and includes permission to touch or extend 1.5X beyond the borders when full bleed is desired.

X ORIENTATION KIKIT wordmarks can be oriented in space horizontally, vertically (both directions), or angled at a 29˚ rise.

1.5X 3 2

LOGO // IMPROPER USAGE STATIONERY SYSTEM // BUSINESS CARD

Do not place the HIP HOP tag in any location other than under/right justified to KIKIT

Do not apply the HIP HOP tag vertically in any location

Do not place the HIP HOP tag in any location other than the specified .2X from KIKIT

Do not center the HIP HOP tag. Do not change its size in relation to KIKIT

Do not compress the spacing between any of the letters of the logotype

Do not alter the order of the colors in KIKIT. Do not use any colors other than brand-specified

Do not stretch or squash the logo or its letters in any way or change letter sizes in relation to each other

Do not squish the logo or its letters in any way or change letter sizes in relation to each other

Do not reverse the logo direction Do not alter the placement/order of the brand colors Do not angle the logo in any way except for a in vertical orientation or in an upward direction of 29° Do not orient HIP HOP at any angle to KIKIT other than parallel to its baseline

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sidekick Snowy, an adorable, brave, smart and funny wire

TITLES haired fox terrier pup. It was my goal to portray them and AND TR ANSLAT CHANCES IONS their global, cultural impact in an informative, compelling, ARE, YOU WI TINTIN LL FI IN THE ND AT LAND OF THE SO LEAST VIET ON S 1 E OF TI appealing, understandable, and visual way. TINTIN IN NTIN THE CONG 'S BO O 2 OKS 70 TI IN LANG NTIN IN AM YOUR UAGE + ERICA NATI TR ANSL CIGA 3 VE T ATIONS RS OF TH ONGUE E PHAROA H 4 THE BL UE LOTU S 5 THE BR To introduce the protagonist and his faithful sidekick, I illus- OKEN EA R 6 TH E BLACK IS LAND KING OT 7 TOKAR' TH S SCEPTR trated tiny portraits of Tintin and Snowy and tucked those E CRAB WI E 8 TH THE GOLD EN CLAW S 9 THE SHOO TING ST THE SE AR 10 within the letters of the title. Colors, mined from the books CRET OF THE UNIC OR RE N 11 23 D RACKHAM' COPI 0+ S TREASURE ES SO 12 LD THE SEVE themselves, were kept to a playful yet minimal number of IN MI N CRYSTA LLIONS L BALLS THE PRISON 13 ER OF THE SU N 14 LAND OF BLAC four, creating mood, unity, and clarity. K GOLD DE 15 STINATION MOON EX 16 PLORERS ON THE MO ON 17 THE CALC ULUS AFFA IR 18 THE RED SE A SHARKS Type choices reinforced the tone of sophisticated playful- 19 TINTIN IN TIBE THE T 20 CASTAFIORE 620+ EMERALD MILLI 21 ness. Everything from pie charts, fever charts, tables, and ON FO FLIG X TERRIER HT 714 FANS TINTIN AND THE 22 PICARO S 23 TINTIN AN radial graphs to text blocks, lists, and over-sized numbers D ALPH-A RT 24

S were employed to tell the story of a boy and his dog and N

AN IA AN N E ALI

ABIC H RI TA CA ES AN LA H RIAN H I

NG AR O EC RI SA IC TU TA TC NISH RS BE NT how their adventures that spanned half a century educated, AF AL RS CZ AS GLIS CA CHIN N FA ULGA DA DU EEK EW RA N B CO EN RMAN N LICIAN Y

GR BR PE AN FRENCH NDIC N ARIA TI FINNNISH NESE GE LA /P GA ALIA IA ES /B HE RE LA N N LA IT PA N entertained, and delighted audiences world-wide. Meticu- IS EG IA AK H CHAR MA IA KO H N JA IA POLISH AC H HUNG IS TE OV RB H HAI RS INDONESIAN MANIAN EN AN ANIS T SL ED UGUESE RUSS SE LS D SU UGUESE NORW HITIA SP SP RO OV ECTS RT RT SW TH WE lously measured and considered alignments, line-weights, TA E GO SL TURKIS NAMESE OD PO , PO THE BA ET D, AND VI THE FURR character styles, and leading, along with carefully-applied Y— EVER TINTIN Y GOOD ST FAMOUS Te OR CANI en-aged Re Y HA NE porter. Se S 'EM SIDE type and color hierarchy function as a well-oiled machine SN rious and sensible, moral and just KICK OWY A BOY AND TRAI Tintin TS ’s Dog (wire hair HIS DO fox terrie G THE r) and THOMSONS constant companion to bring this team of fun players together in a winning way. Blundering Police men. Part CAPT of Tintin AIN HADDOC ’s network Seafaring K Captain. Em otional and iras BIANCA CA cible, The Mi STAFIORE with a hear lanese Nighti t of gold ngal 10 CUTH e. The singer BERT who ma Professo CALCULUS kes us laug r. Deaf h , absent-minded, JO clever LYON WA , intu H 8 GG itive, and sentimen ER Insurance Salesman. Champion bore, self O

tal

N RA I STAPOPOU

-a A gg 100 rand % L LUS izin Master of g and vulgar EVIL L

VANQ

I UISH

Ev IN 6

il, Enemy of V

GENE

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ommander of a re

lutionary ar TARRAG my 4 ON HERC Specialist in ULES So ut h American cultur RA SC e/ Y AR CA history and the oc PA E C He-Who cult LT 2 -U nleashes AG TY YA Y -The-Fir e- R CI DO Of-Hea IT CTEUR MULLE ven LO UR

CE S OS R MO Ou tlaw; co CO nspira ES to TENA EN r, co CE unterfeite HU 0 IG r, CURI NT pl ot EN ter, killer if need be EF LL

Snow HI y avg 9.18 RPOI LPFULN NESS Snoopy SC NTE PEND avg 7.45 I HE TE Sc Lass MI or ie NTE es were ba avg 5.72 sed on the perc U CU Two, ho INDE wever, merit explanation.eive d inherent le Mischief refe vel of any gi CO rs to the amount to whichCounterpoint the side refers to theve amount to which the sidekick UNHAPP n trait normally ascribed to a best friend. Most trai BURNED IN AN Y kick loses focu EXPL TAIL s. Our pal Snow ’s personalit ts are self OSION TA y’s vice y balanc -explanato BITTEN LES: s of distra es that of th ry. BY A PARR BEIN ction consisted of whis eir re OT JAMM G A spective bo ED IN A DO HERO key and dogbones y. OR STA IS A . BBED BY A SW DANG ORD SHOT EROU BY A SOLD S PAST IER PIERCE TIME D BY A DA , AS RT STEPPE SNOW D ON BY Y'S THE CAPT TAIL AIN CAUGHT CAN IN A MOUS ATTEST ETRAP PINCHED BY A CRAB SNIPPED IN A FAN The Worldl TINTI y Adve WO RLDW nt IDE N ur In 1929 PHEN Be an lgium, es of and his OM co Georges EN them nstant companion,Re a wire fo ON d mi in their (aka Herg ing, trac e) SN ks cr globe-trotting by follow eated comprise ing x terrier namedan Sn my tw exploi a simple stery- OW en ts based ty-four captured and ethica owy, comic volumes ov the l co whose ad strip th Throug minds, de— ve at h Herge' er the ensuing hearts seek the ntures en featured Y tween s magical , and imaginationstruth, tailed sn a bo levity ﬁ fty prot i y repo der, and use of years of it ect the ng out evil rter named WHER danger peril— image s of re weak, television didn, and a pe and creation. aders stand -doers and stoppingTintin excite rfect fo word every up E DI cultures, landsc ment rmula s, humor where to villains. D ’t exist, the intern(and for su paired , and the Their TH his book ccess. with Tintin thrill AD EY apes, and natural atphenomenas) which we were stillAcco relativ tense series - VENTURES GO ional expeditionsre aunde rding pacing grew veritable to tintin.c of to TH initiation om, plots, E WO TO rt "H he cr OK aken into geographyerge 's eated RLD AN TI by the pictures the ideal NT young repo for ...reve balanc D BE IN AND SN ely unhear rt entire aled e be YO er opened generation a world - ND d of yo of wo TO OW ." ung people s. At a n- SQUE Y AND ’s time when eyes to LCH TH THEI JUST countries, R PA E FORC LS THE ACROSS FA CA ES OF CT RI EV S, AF A IL AS MA CA SI ANY GOOD REPO ’A RI A Th M F A A CRUCIAL SIN S CO GAP IA OC OR e OR E

TO RT M PA A KIST Wo ANY ST ER A RI AN CA GE N AT IC AL I JAPA N OR R A IA N D Y TE C IS O WO ST E I UN S N rldl , TH T R E I TH RT M R IC I NEP S E WH H TE ERE ARE SIX KE E L L AL L I PO C A A O A B RI M U T H N TH LLI I NG P N K N A E GO A A y in N I tr R N ep A O E WH id C D bo Y EL N M C I I A Adve AT y repo T A capturing villains and EMENTS O YP TINTI rt TH er and his trusty dog, Sn D M G E

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ADVERTISING CAMPAIGN ILLUSTRATION + TYPOGRAPHY + COPY 3 SINGLE-SPREAD ADS + 1 DOUBLE-SPREAD AD FALL 2017

Sophisticated young professionals who read intelligent, sophisticated, contemporary magazines are the target audience for the ads for Candyland, The St. Paul-based candy and treats store.

Conceptual, clever, and simple ads resonate best with this demographic. Nostalgic, whimsical, and slightly off-beat, my concept was simple, visually appealing, and easily digestible—pun intended—and operates on the conceptual tagline of being “wild about” Candyland’s gumdrops; so much so, that the wild Minnesota animals who consume them evolve into the color of their favorite drop.

Picasso-inspired continuous-line illustrations and loose, watercolor-esque colorations inspired by one of my favorite childhood picture-books created the illustrative focal points for the ads. Taglines Get Wild—Get Your Wild On and There’s a Little Wild in All of Us – Get Yours are the calls to action in the single and climactic full-spreads, respectively.

Necessity is the mother of invention, so they say, and the necessity to incorporate Candyland’s logo motivated me to revamp, maintaining its essential design, but updating it to a more clean, agile, and flexible image. Surprisingly, it has become one of my favorite elements of the project, along with my dear blue mouse.

TURTLE HOUSE

100 days of shelter

INSTITUTIONAL BRANDING & IDENTITY VARIOUS MEDIA IDENTITY + STATIONERY + COLLATERAL + STYLE GUIDE FALL 2015

I was challenged to choose a social issue of importance and familiarity to me, and, through design thinking, devise a systematized brand strategy to address the issue in a clear, compelling, and accessible way.

The problem chosen was required and hospital-proxim- ity housing for stem cell transplant patients who are at extreme risk of death for three months following treatment and who require scrupulous care-giving and monitoring. From a medical and psychological standpoint, an appro- priate housing environment is crucial to survival.

My solution was to design a service that provides private living space for patients and their caregivers where they and their families can focus on what matters most: care, healing, and getting back to life. The imagery of a turtle as identity was created to embody all the ideas of home, shelter, protection, self-sufficiency, life, longevity, and care- ful and methodical steps to an ultimate goal.

Cheery, warm, and organic colors were chosen to uplift clients and counter the austerity and sterility of medical environments. A vertical and horizontal logo was designed to address different collateral needs designed around the idea of creating welcoming and practical gifts tied to the needs and comfort of the patient and to the significance of the nurturing and healing experience.

Monique Thouin

651.342.5798 [email protected] www.aturtlehouse.org THE MOON ON MY WINGS the modern chap book

BOOK DESIGN TYPOGRAPHY + WRITING 2 HANDBOUND BOOKS 5.5� X 8.5� FALL 2016

A modern chap book is a small collection of writings, often hand-printed and usually hand-bound. This chap book contains a healthy mix of traditional text and stylistic and relevant typography.

The Moon on My Wings is a compilation of my original prose about moments and experiences, almost unnoticed, that nevertheless grab hold of our hearts or imaginations in some deep and meaningful way. Four short stories, each with a theme—funny, scary, betrayed, and tender—were meticulously typeset and kerned in Freight Sans Pro. Type as illustration was employed as section headings to reinforce the respective themes. A title page, forward, and table of contents were included, utilizing Freight Text slab serif and sans serif Ingra WD to impart typographical hierarchy.

Care was taken to rely on anchor elements to ensure consistency from page to page, applying my typesetting skills to a dynamic space. It required deep research, sketching, solid grids, and multiple tiny dummy books to get the layout, pagination and the binding right. How nice it is to hold in my hand a piece that is wholly mine from both a design and writing perspective. The Moon on My Wings

MONIQUE THOUIN KANTOR n

FORWARD TABLE OF CONTENTS

The following stories are microscopic I FUNNY glimpses of seminal moments in my Bored Silly life. Moments that form, connect, lead, and—for good or bad—bring light to II SCARY who I have been, to who I am, and to who Yes You Can un y I might end up to be. This book begins a collection of memories, thoughts, and III DARK conclusions I hope to compile and create Betrayal to bring shape to the many disparate Dedicated to anyone and everyone adventures on my life’s road. I’d love your IV TENDER who has enabled me to laugh company. I wonder where we’ll end up. Peace Tree to live and to transcend AGE 12 sc BORED SILLY

EVERY funny man has his (or her) sidekick, and every sidekick has his or her funny-man. For me, I was the Stan Laurel to my It was an adventure story and a love story. I cried when old age, light- best pal’s Oliver Hardy. We even looked the part. She was big and ning, and wind finally felled the great tree, and my dad held me c lose and loud. I was small and quiet. Best friends since birth, we were partners, a taught me that the tree lived on in the hearts of those who loved it and for good or bad, stuck like glue. No one came. in what it had created. Two men who had loved the old tree because it had saved their lives carved a yoke from its trunk for their oxen which Seventh grade. Saturday night. Hanging at my house. Bored. Our When it was over, my body turned inside-out, weak, and trembling, let them lead their covered wagons to Santa Fe. Embedded in the wood parents (funny people in their own right) were out on a double-date, I ran to her to make her make sure this would never happen again; to were the arrowheads, the dagger, and the lead ball—reminders of the dining at the finest restaurant in the finest hotel in town. make her use her mom-powers to make sure HE would NEVER ever scars the tree had endured. And this carrying-forward, my dad reminded do this AGAIN! me, brought happiness to the tree. This is pre-cellphone days, and Oliver gets an idea. We pick up the r rotary phone and dial the In Case of Emergency number our parents I slipped oﬀ his lap and kissed his cheek, burying my nose in the silvery

gave us. It’s to the hotel’s dining room. When the maitre d’ answers in k waves of his hair. I crept oﬀ to bed and slept the peaceful sleep of a little his silky, tuxedo-wrapped voice, Oliver speaks in her most innocent girl whose father had the power to make all things bad good again. one, groomed by six years of Catholic school education. y Only was it many years later when I realized that the great cottonwood

“Hi, can you help me? I’m wondering if you can page my mom ... “O h, Honey,” she said, r was my father, and the story a map for how I would learn to navigate I’m home alone and I need to talk to her. Her name is Ima ... Ima Byrrd.” “T hat’s just his way of showing you he loves you.” through and carry him forward in a world he had left behind. a d ANDA TANAKA: WHAT SURFACES editorial feature

EDITORIAL DESIGN TYPOGRAPHY + ILLUSTRATION + COPY 2 DOUBLE SPREADS 16� X 11� FALL 2017

Anda Tanaka, local printmaker and painter, was my chosen subject for my editorial feature. Her art is a masterful display of mood and color deeply immersed in rhythm, structure, geometry, and landscape. Playful angles paired with soft circles characterize both her art and her personality.

To fully capture her aesthetic and personality, I designed all the type for the headline utilizing geometric lines, angles, and circles. Original and eye-catching, strong yet graceful, it also evoked a sense of landscape and horizon so prominent in her work. I wrote all copy for the article to tell her story as honestly and comprehensively as possible. To capture the reader’s attention I chose a stunning painting to span the gutter for the opening spread. Highlighted text was paired with colors found in her paintings.

My creation of the title, What Surfaces, with its dual meaning, along with my illustrative original title font that evoked Anda’s personality, her work, and her inspiration was my abbreviated and cryptic way of telling a much bigger and quite compelling story of an artist whose challenges and triumphs are realized in her art. Sleep/Wake, a 2012 black and white polymer relief sculpture depicts the unending cycle of obsessive patterns of thought and behavior. Island Life from the following year, rendered in acrylic and colored pencil, is wrought with intensity and an- guish. One of my favorites from her Is Your Stove Off? series depicts in full, saturated color the ubiquitous concern that “I search for moments of stillness plagues so many of us. Clarity and peace of mind take shape in the later works, where softer colors and playful forms amidst perceived chaos.” cavort about the page in acrylics, ink, and collage. Here, breath and hope find a home. What Surfaces is a dynamic, powerful, and visually�stunning essay on the human experience, on surroundings, and on OIL, ACRYLIC, GRAPHITE, INK, THREAD and COLORED HORIZON 3 | acrylic on board the symbiotic relationship that exists between them. Judging PENCIL PAPER, CANVAS, BOARD, TYVEC, FELT, and FABRIC SILKSCREEN, LETTERPRESS, POLYMER RELIEF, COLLAGE, by the sheer sophistication and scope of Tanaka’s work, one WOODBLOCK, BRUSH, HAND, and STITCH might assume that she is a person long in age, wisdom, and Confronting anxiety through her work, she approaches it from Her paintings and monotype prints evoke this more intuitive experience, yet only two�thirds of that assumption would It is no surprise to learn that, as a child, she attended a school various angles, thinking about its causes, effects, and the and expressive place, where landscapes’ negative spaces and be true. Tanaka’s work belies her twenty�something age but whose mission was to use play and exploration as a means to feeling itself as experienced in her body. The repetitive process abstractions create visual quiet. Here is where she searches for reveals a life rich in experience, discipline, and exploration. learning…or that her sensibilities of personal discipline, form, and quality inherent in screen, letterpress, and relief print- and creates moments of stillness amidst perceived chaos. structure, and aesthetic beauty were first introduced through making lends itself to creating pieces that connote the face, the study of music (violin, trumpet, and voice) and dance…that cycles, and character of obsessiveness. INSPIRED BY LANDSCAPES, visual art classes started at a young age and continued more IMAGINED AND REMEMBERED intensively, along with music, throughout college…that she is But on a hiking trip in the Smoky Mountains, she discovered an organized businesswoman and disciplined athlete who is a her antidote to anxiety. The tree-packed mountain trails were In her words, Tanaka is an observer, a collector of experiences. cyclist and competitive cross�country skier. beautiful but made her feel closed in, and she realized that For her, making art is a necessity of life, like food, shelter, or she was always climbing in search of a clear view, to see the sleep. To actively observe and contemplate what she sees is an The connection between these experiences and her mastery of sky above or the valley below. enlightened way of viewing the world, how she travels through rhythm, pattern, space, movement, harmony, and expression is her every day. undeniably present in her work. Like her studies in jazz, her work is rooted in order and structure but follows a process that “We were always climbing One of her missions as an artist is to combat anxiety by is improvised and open to chance. Here, meaning is gleaned in search of a clear view, to see examining it while seeking stillness. She advocates that we from mind, soul, and place. For Tanaka, spaces can be anxi- recognize anxiety as an underlying yet pervasive aspect of our ety�producing or they can be calming, and her work expresses the sky above or the valley below.” society. What Surfaces is a compelling body of work that both her journey through these two opposing realities. reveals and redeems. It is a highly-recommended must-see. ¤ In that realization she found the importance of expansiveness in enabling her to find peace within herself. “There, I realized Anda Tanaka was raised in Ames,Iowa and has lived in Minnesota for the past ten that we climb mountains so we can see openness.” Embrac- years. She attended St. Olaf College in Northfield, MN and, in 2013, completed an ing the open midwestern landscape that she calls home, emerging artist residency there. She now works out of her home studio as well as at photo by Brian Kantor the artist co-op at Highpoint Center for Printmaking in Minneapolis. What Surfaces Tanaka is inspired by landscapes, imagined and remembered runs through June 30 at Gallery Bebo, 4552 Grand Avenue South, Minneapolis. Anda Tanaka taking in a favorite Minnesota lakescape. Monotypes 35, 38, 28, 37 | monotype, ink, & graphite, 2017 —massive prairies, fields of corn, the huge starry-night sky. More on Anda Tanaka can be found at: www.andatanaka.com.

42 | Destination Arts September 2021 | 43 JOEY'S GIGS indie rock bands

GIG POSTERS TYPOGRAPHY + COLOR 5 POSTERS 11� X 14� SPRING 2016 FRANKIE LEE Demonstrating solid typography skills with the addition of color was the recipe for this early typography project. Conceptual work was to be derived from the style of the bands or their music.

Layout, typefaces and colors reflected the personalities of the respective bands. Gritty tones of charcoal and steely grays paired with rust and crystal blue made up the color palette for Frankie Lee, an indie-rocker with a cowboy-edge and a cool and aloof yet sensitive persona. Bold sans serifs given plenty of real estate evoked the harshness and beauty of wide open spaces. A warm-toned second poster evoked the more humorous, approachable side of Frankie Lee.

Chris Koza, who is known for his deep and evocative lyrics and rich harmonies, was treated with subtle gradients of organic, overlapping gradient colors in one poster. And in another, for his basketball-playing, boy-next-door alter-ego, Industry Inc typeface was chosen for its team varsity image.

Being a 2016 cover for a 1970's band, All Tomorrow's Petty was treated with reflective type, copied and flipped.

Because the assignment was so compelling, I created five posters instead of the required three. Most challenging was the background pattern I created from Frankie Lee's name. Adjusting the tracking and leading so that the type color and bleed worked with the margins and the figure-ground issue of overlapping text was a complex and gratifying feat. LEE FRANKIE

FRANKIE LEE

MONIQUE THOUIN KANTOR

kantorm3 @gmail.com behance.net/moniquethouinkantor 612.968.0995

DESIGN + ILLUSTRATION + PROSE SPRING 2018