andrew thomas rae portfolio

a n d r e w t h o m a s r a e @ g m a i l . c o m / / A N D R E W T H O M A S R A E / / w w w . b e h a n c e . n e t / a n d r e w t h o m a s r a e

/ / M Y N A M E I S A N D R E W T H O M A S R A E[ t h i s i s m y p o r t f o l i o ]

HOW DO YOU DO?HOW DO YOU DO?HOW DO YOU DO?


HOW DO YOU DO?HOW DO YOU DO?Hi! How are ya?

My name is Andrew Rae and I am a graphic designer based in Auckland, New Zealand. As a designer, I have

had fun dabbling in different outputs of graphic design. As I have progressed through my years as a design

student I have found a passion for print-based material as a platform for my work. I use food to inspire my

practice—if I’m not designing something related to food, it has somehow aided my process.

Being one who has been brought up in a small beach side town in New Zealand, I have taken my own experiences

in life and expressed them through my work. My final year at Unitec has helped me uncover key aspects of my

design practice. These include my love for cliché Kiwiana iconography and evoking happy childhood memories

through design, clearly shown through my work that I have created this year.

Please, check out my portfolio—and I hope you have a choice day!

Take it easy.

Andrew Thomas Rae.

HOW DO YOU DO?


020202/ / F o o d & F O N D M E M O R i E S

[ s p e c i f i c a t i o n s ]

My final bespoke wallpaper has the standard

wallpaper dimensions (600 x 5000 mm).

As fish and chips are a messy type of meal, the

pattern is printed on 160gsm matt paper. Matt

paper was implemented due to having a grain

—something that finishes the wallpaper off

nicely and relates it to the theme.

The wallpaper design holds imagery of happy

days at the beach and recipes which has been

placed in order to attract the viewers attention

from a distance and pull them in to look at the

design more closely.

Tags for the wallpaper rolls have been added in

order to make the product feel like one of a kind.

Quotes that relate to New Zealand summers have

been added to evoke memories of the reader/s,

even before the wallpaper has been unrolled..

// type // height

F i S H A N D C H i P S

/ / F i S H A N D C H i P S

6 0 0 x 5 0 0 0 m m

“ a d o l l a r s w o r t h o f c h i p s f r o m a

t a k e a w a y s t o r e f e d t w o p e o p l e , a n d t h e

s a u c e w a s f r e e ”


030303/ / F o o d & F O N D M E M O R i E S

[ o u t c o m e s ]

Due to the style of the pattern it is not suitable

for domestic situations. The wallpaper design is

to be shown in exhibitions such as PaperPixel,

as well as being hung in fish and chip shops as

feature walls.

Wallpaper is a great way to showcase New

Zealand’s lifestyle and food. It gives an

overview of the good old days of the 70’s

summers and can create conversation between

peers about memories of their summertimes.


040404/ / T h E I N g r E d I E N T S o F S u M M E R

[ p h o t o g r a p h y ]

Being one who has been brought up in a small

beach side town in New Zealand, I have taken

my own experiences in life and expressed them

through my work.

I have used photography to express my love

for cliché Kiwiana iconography and evoking

happy childhood memories. My photographs

have captured moments that celebrate the Kiwi

lifestyle and express them in a way that all

could relate to.


050505/ / G O O D N E S S M E , I T S 2 0 1 1 !

[ p h o t o s h o p c a l e n d a r ]

A bespoke calendar for the year of 2011. This

calendar was heavily influenced by eduardo

Recife’s misprinted type. The use of photoshop

to create the 6 collages was a great opportunity

to explore and learn the fundamentals of

collage.


060606

OSCAR WISHED HE COULD FLY ALL OVER THE WORLD.

...HE JUST COULDN’T.

NO MATTER HOW HARD OSCAR TRIED TO FLY...

/ / O S C A R L E A r N S T o F LY

[ i l l u s t r a t e d c h i l d r e n ’s p u b l i c a t i o n ]

Oscar learns to fly is a self written and

illustrated book targeted at children aged

3-7. Oscar learns to fly is created in a simple

manner with basic shapes in order to create

vector characters. The story follows oscar,

a bird with small wings on his quest to learn

how to fly.


070707/ / Y O O B E E d E S I g N S C h o o L

[ 2 0 1 2 p r o s p e c t u s ]

A collaborative project created with students of

YooBee Design School (Now YooBee School

of design). The publication showcases what the

design school has to offer while holding the

strict branding guides that were implemented by

the school.


080808

/ / L O S T C L O S E T

[ f a s h i o n p u b l i c a t i o n & b r a n d i n g ]

The purpose of creating this catalogue for,

Lost Closet, was to learn the fundamentals

of photoshop paths. At the time heavily

influenced by Huffer & Federation I wanted to

create something that was eye popping while

showcasing the garments in a creative way.


090909/ / 4 S Q u A R E o r g A N I C S

[ i n v i t a t i o n m a i l e r ]

A collaboration brief with Joy Zhao and

Tracy Liu. This brief required us to create a

promotional mailer invite for the opening of

“4 Square Organic’s” new Concept Store.

With use of photoshop and illustrated we created

a series of fours to represent the nature of

organic material and how no four is

ever the same.


101010

WWW.DRMARTENS.COM

STEP OUTSIDE THE SQUARE.

/ / D R . M A R T E N S A i R WA i R

[ m a g a z i n e a d v e r t ]

one colour magazine advert showcasing how

unique Dr. Martens Airwair shoes are.

The purpose of this brief was to create

something that was only one colour in order to

push my creative thinking.

“Step Outside The Square” with Dr. Martens.


111111

Upper Case Font�is is a typeface based on Karangahape Road.

I was inspired by the random cutlery and how the light re�ects o� the metal.

/ / S P O R F

[ i l l u s t r a t e d t y p e f a c e ]

SPORF is a illustrated typeface inspired by

domestic cutlery. Inspired by

K Road’s eateries I used cutlery as a way to

express how I relate K Road to dining out.


121212

WHITE CHOCOLATE

BRANDY SNAP

MOUSSE

• SERVES 6–8 •

• MAKES 12 •

1010

• MAKES 750ML •

250g PEACHES, DICED

180g CASTER SUGAR

200ml WATER

100ml CREAM

100ml MASCARPONE

1 VANILLA POD

In a food processor, blend together peaches and caster sugar.

Add water and continue to process until smooth.

In a separate bowl, whip cream, mascarpone and scrapings from vanilla bean until thick but not overly aerated. Add peach puree and mix thoroughly.

If you have an ice cream maker follow manufacturers instructions. If not, pour the mixture into a stainless steel bowl or container with a lid that seals well. Freeze until set—roughly 3 or 4 hours.

Remove frozen gelato from container, chop roughly into the bowl of food processor and process until smooth. Return to stainless steel container and freeze again. Repeat the chopping/re-freezing process once more, and then serve!

1616

• MAKES 12 •

CUPCAKES

Preheat oven to 180ºc

Cream butter, sugar and vanilla.

Add eggs one at a time, beating after each one.

Sift in fl our, add milk and mix until combined.

Divide the batter evenly across 30 small or 12 large patty cases.

Bake for around 10—15 minutes until light golden. Be careful not to overcook or they will dry out.

Cool on wire rack, then pipe with butter cream icing.

BUTTERCREAM ICING

Beat butter and icing sugar until light and fl uff y.

Add vanilla and cream to achieve light and fl uff y consistency.

Once made, divide the butter-cream icing in half. Add a few drops of desired food colouring into mixture.

Ice and decorate cupcakes.

CUPCAKES

125g BUTTER

¾ CUP CASTER SUGAR

1 tsp VANILLA ESSENCE

3 EGGS

1½ CUPS SELF RAISING FLOUR

¼ CUP MILK

BUTTERCREAM ICING

150g BUTTER

3 ½ CUPS ICING SUGAR

1 tsp VANILLA ESSENCE

2 tbsp CREAM

FOOD COLOURING

66

WHITE CHOCOLATE

BRANDY SNAP

MOUSSE

• SERVES 6–8 •

MOUSSE

320g WHITE CHOCOLATE

4 EGGS (SEPARATED)

1 ½ CUPS CREAM

1 tsp GELATINE

CYLINDERS

50g BUTTER

50g CASTER SUGAR

2 tbsp GOLDEN SYRUP

½ tsp GROUND GINGER

50g PLAIN FLOUR

MOUSSE

Melt chocolate on a double boiler until smooth.

Once chocolate has cooled mix in egg yolks. Mix gelatine with 2 tsp hot water, mix until the gelatine is completely dissolved and add to chocolate mixture.

Whisk egg whites until stiff peaks form, fold into white chocolate mixture.

Whip cream until soft peaks form fold into chocolate mixture, refrigerate for at least 4 hours (overnight is best) until set and ready to serve.

CYLINDERS

Melt the butter, sugar and golden syrup on the stove, in a small saucepan.

Remove from heat and add in the fl our and ginger mixing thoroughly.

Allow dough to cool, roll into a ball, gladwrap and refrigerate for an hour.

Pre-heat oven to 180°c.

Remove dough from fridge and roll out between two sheets of parchment until 1–2mm thick. Cut into rectangles the size of which depends on how big you want your cylinders, bearing in mind they will spread and grow when being baked.

Bake on baking paper for 10—15 minutes or until golden and fully ‘bubbled’.

Remove from oven and shape to desired diameter.

/ / O u R K i T C H E N D E S S E R T ’ S

[ r e c i p e p u b l i c a t i o n m a i l e r ]

our Kitchen Dessert’s is a mock cookbook

created to showcase how fantastic the blog

OUR KITCHEN is. The use of Illustration was

implemented in this publication in order to

capture how playful these recipes are and to

make them stand out from a ordinary cookbook.

This publication was staple bound and packaged

in a similar styled envelop which was posted to

followers of the blog.


131313/ / W h AT T i M E I S I T

[ t r e l i s e c o o p e r k i d s b a t h r a n g e ]

A collaboration project with evy Mallett

required us to mock brand and sell a product in

under 48 hours. We used Trelise Cooper as our

brand due to the type clientele that is associated

with it as well as the wide range different stores

that are under the Trelise umbrella. evy and

myself chose to brand and package a new line of

bath products targeted for girls aged 4-11.


141414

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please love me!

/ / L O V E / h AT E

[ n e w z e a l a n d p h o b i c t r u s t ]

Love/Hate is a series of postcards which have

been created to de-stigmatise phobias for the

New Zealand Phobic Trust.

The use of ambigram and illustrations was

designed to entice the reader from afar and

get them to come up close and interact with the

postcards.

“Don’t hate your phobia, love it.”


151515/ / Y u M M Y A S

[ k v a d r a t a n n u a l g e n e r a l r e p o r t ]

Yummy As is an Annual General Report textile

designs. The brief asked to create a General

report for a company of our choice—I chose

Kvadrat as I was mesmerized by their slick

advertising in *Wallpaper magazine.

The information that I was provided with

contained incorrect data and text that needed to

be corrected and placed into appropriate tables,

charts and graphs in the style of the chosen

company. My end result was a 20 page, gate

folded, perfect bind booklet topped off with a

gate fold near the end.

yummy asOn paper you might think we look like other

professional businesses; with advance

facilities, technical resources and skilled

and experienced people. Think again...When

you work with us, you’ll see the difference.

We have a commitment to teamwork, to

completing a job absolutely right and also

making sure we are delivering more than

others think is possible.

We take pride in the way we conduct

business for our clients and customers.

You can’t run a successful operation with

our great people and excellent relationships

based on honesty and commitment. We are

proud of our ethical standards. We see every

project as an opportunity to further long term

relationships with clients.

We have invested wisely in equipment that

delivers substantial benefits to our customers

creating a clear competitive advantage for

our company. All our business units use

innovative technology to offer improved

service and reliability, a higher quality output

and speed at competitive rates. However,

innovation isn’t just about technology.

It also means embracing new ways of doing

business, finding more value for our clients,

searching for potential investors and offering

unique solutions.

Anyone can talk about service. It’s entirely

different to experience an unparalleled level of

it. To us service isn’t a marketing notion.

It’s demonstrating to clients how much we

value them and their business.

From concept to action. Countless, unseen

details are often the only difference between

mediocre and magnificent. Our customers

know that whatever the size or complexity

of their project, it will be completed to the

highest standards which we provide. It is this

approach to work that ensures professional

customer service and a striving for excellence

in everything we do.

Teamwork is the ability to work together

toward a common vision. It’s the ability

of individuals to work towards big picture

organisational objectives. It’s also the fuel that

allows our staff to attain exceptional results.

Our commitment to teamwork is entrenched in

our business culture.

We employ the best in the industry and we

expect the best from them. With the best

individuals working together, goals are

reached easily and often surpassed.

Finally, following a year of progress and

achievement I would like to thank my fellow

board members for their energetic support,

and the staff of industrial research for

continuing to build the enviable reputation this

organisation now enjoys.

letter from the board

George Pirintz

Jamaine Hawsberry

04 05

Kvadrat still enjoys its position as market

leader within their industry and segment.

Some years ago, a vision statement projected

the future of the company as the market leader

within Europe. This became true just one year

later, so the vision was redefined.

Today the vision forecasts the company’s

position as leading the market within its

segments in all European regions and taking

its first steps towards becoming a global

market leader.

Kvadrat has four main competitors in

Europe, but these are mostly oriented towards

the low and mid-end market segments,

whereas Kvadrat focuses on mid and high-end

markets—thus competition is mostly in the

mid-end market. The company believes that

its European competitors have a ‘follower’

strategy and are largely inspired by the

Kvadrat designs and concepts.

The textiles produced by Kvadrat

are highly sophisticated and based on a

production process driven by technology

and competencies.

It is thought that Asian competitors will have

difficulties using this approach. However, a

more important consideration is the fact

that Kvadrat operates with a very strong

service concept.

They operate a ‘just-in-time’ delivery process

with their customers, meaning that if an order

is placed before 2.00 p.m. it will be shipped the

same day. Furthermore, 98% of all orders are

delivered within three days. As transportation

times are crucial in this industry, it would

be difficult to maintain these high service

standards if the textiles were produced in the

Far East. Thus, the lack of Far East competitors

can be explained by production technology

and process, high quality standards and

transport times.

Kvadrat has seen a major concentration

tendency among the European textile

producers and it is estimated that this will

continue in the future. There is only room for

very big companies who have the strength

to improve economies of scale and invest in

technology and research and development.

market dynamicsyummy as

08 09

In order to keep in touch with the market

—customers and broad developments within

the industry concerning design trends, etc.

Kvadrat maintains a number of showrooms.

It also has national sales agencies in most

Western European countries to keep

contacts with customers (architects,

designers, large enterprises and end-users).

Agencies have recently been set up in

Australia and Japan in co-operation with a

large American company. Currently Kvadrat

operates mainly in Western Europe, but could

target Eastern Europe in the future.

However, this is not likely to happen in the

immediate future as Kvadrat’s high-end

products would be considered too expensive in

these locations.

For its production, Kvadrat uses 25

independent sub-suppliers mostly located

in Europe. Eight of these are considered main

suppliers, producing roughly 70% of the textile

flow. Typically, Kvadrat purchases between

20% to 90% of sub-supplier production.

Besides this, Kvadrat is a very good customer

as it is a ‘season buffer’/’equaliser’, not heavily

dependent on seasonally fluctuations as is the

case for clothing producers. As the suppliers

often produce clothing also, they can use their

affiliation with Kvadrat to maintain stability

and secure a more effective use of production

technology and resources.

In terms of suppliers, Kvadrat only uses

the absolute best in terms of quality

and technology. These companies are often

also suppliers for highly branded fashion

companies such as Hugo Boss and Lacoste.

Before any production takes place,

the concept and design are first identified.

For this purpose, Kvadrat has two chief

designers employed in Ebeltoft. These chief

designers co-ordinate the work of 15 to 20

affiliated designers. These affiliated designers

are freelancers, but have exclusive contracts

meaning that they are only allowed to work

for other companies (or as self-employed)

as long as they are not working with directly

competitive products. Once a concept has been

identified, a concept team is set up together

with procurement, which identifies the right

supplier and then markets the goods. The

supplier produces a given quantity which is

then transported to the central warehouse from

where it is distributed to customers.

Kvadrat integrates information and

communication technologies (ICT) in a way that

allows the eight main suppliers to monitor sales

and the status of goods they are producing.

The aim of this is two-fold: Kvadrat can reduce

stock-keeping activities since this is done by

the suppliers themselves, and the suppliers

get better opportunities for production

planning. This is seen as a very promising way

of improving efficiency and profitability, but

suppliers must be ready to invest in, and open

to implementing, new technology.

market organisationsyummy as

10 11


161616

Sweet Times at Kapiti Candies

Good Magazine 1 17/06/11 12:25 PM

hat do you do to keep everyone

happy when you are starting out

on a new life, mixed families

and everything that encompasses? Buying

a candy factory sounds like a pretty good

place to start.

That’s that Bruce and Helen Mackenzie

did a couple of years ago. Bruce had given

away his job of 29 years in the finance area

of NZ Post and was looking for a change

of scene; Helen had been working four part

time jobs around her responsibilities as a

solo mum and had been keeping her eye out

for a business to buy for some time.

A long time resident of the Kapiti Coast,

Helen was aware of Kapiti Candies, which

was one of the foundation tenants of the

Lindale Centre just north of Raumati. When

she read the description of the unnamed

business for sale she thought she recognized

it. She approached the factories owner,

Bill Anderson, and asked whether he was

selling. He was, and the rest is history. If it

was a change of scene Bruce was seeking,

that’s precisely what he got.

“Its hands on. When your pulling rock

(stretching rock candy), or lifting the

kettle…you don’t need a gym membership.”

From where we are sitting in the little

office, we can see through a window into

the shop with its shelves and jars and

counter displays a riot of fantasy land

colour. And then there’s the aroma—rich,

unmistakable and alluring—of candy of all

descriptions. Last year, it drew my three

year old son to the shop from 100 paces, as

unearring as a blood hound to a scent of a

nervous man. And from here, you can see

the reaction of customers as they enter. The

expressions of youth and old smooth out

into pure, radiant delight—especially the

young, who look like, well, kids in a candy

store. Most of their walk in clientele are

reasonably local, according to Helen, from a

area ranging from Palmerston North down

to Wellington. But Kapiti Candies go much

further afield, with orders rolling in from

Whangarei to Invercargill and stock lists

around the country, including gourmet food

stores such as Nosh and Farro Fresh.

Besides the absolutely traditional lines

—lollipops, candy canes, boiled lollies,

marshmallows, nougat, fudges, and the like.

Kapiti Candies also stock more modern

lines made by others, such as gummies of

various descriptions. And they are among

the few confectioners who make sugar and

gluten free candies thanks to Helen and

Bruce, even diabetics can enjoy a sweet now

and again.

Bruce is the factory manager and not

afraid to mix it with the product, while

Helen looks after the administrative side

with the orders, accounts and marketing

they both work hard: the factory is on the

go seven days a week.

They brought the business right at the

beginning of the recession, but have come

through it - they’ve even expanded, opening

another Kapiti Coast retail outlet this year

—and this is a source of considerable price.

“Its incredibly hands on. When your pulling rock (stretching rock candy), or lifting the kettle…you don’t need a gym membership.”

Turn off the Main Highway and go hunting for all things sweet and delicious. Discover

with John McCrystal how Kapiti Candies can meet everyone’s needs—Diabetic or not.

Illustration Andrew Rae

Sweet Times at Kapiti Candies

Good Magazine 1-2 17/06/11 12:25 PM

/ / I T S A L i F E O F L O L L i E S

[ g o o d m a g a z i n e i l l u s t r a t i o n ]

A magazine illustration created for GooD

magazine, a magazine based around simple

choices for a better life.

The illustration created has been created to

represent life. I used a circle of candy in order

to represent both a circle of life that you are

constantly revolved around. The colour palette

implemented was created to show how yummy

sickly sweet candy is.


171717/ / L A D i 6

[ s t y l e a n d t e c h n i q u e i l l u s t r a t i o n ]

This brief was designed to dissect how

illustrators work and the methods that they use

to create their final outcome.

I was inspired by Timba Smits, a illustrator who

is featured in Wooden Toy magazine regularly. I

implemented Timba’s style in creating this mock

illustration slide for the VMA’s.


181818 Vegetable inks?

brighter colours?

doesn’t smudge?

can recycle?

the environment?

Vegetable Inks are 100% non-toxic and emit low VOC’s (Volatile Organic

Compounds)–reducing the amount of toxins released into the air and soil

during manufacturing, printing and recycling.

VOC’s are added to the Vegetable Ink so it produces more intense colours,

as well as accelerate the drying process –so you can get that hot bit of paper in

your hands quicker!

Vegetable Ink doesn’t rub off on your hands and definatly won’t smudge!

Vegetable Ink plays a choice part in paper recycling because the ink can

be taken away easier than normal inks from the paper de-inking process.

So choose Vegetable Ink! An environmentally friendly ink.

vegetable inks! isn’t toxic?

/ / d o Y o U U S E V E G E i N K S ?

[ i n f o g r a p h i c p o s t e r ]

An infographic poster created in illustrator

related to being both a sustainable designer

and also maintaining a sustainable design

studio. Vegetable inks was used as the voice to

represent being a sustainable designer as it was

food related (something that instantly makes me

more interested). The idea for this infographic

material is to get you thinking about using

sustainable inks while educating the reader

about vegetable inks at the same time.

YOU are changing our future for the

GOOD if you use vegetable inks.

YOU are changing our future for the

BAD if you don’t.

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