Caspian Batory - Résumé

RésuméCaspian Batory

Digital Creative

Employment History

Digital Creative02/11/14 – to date

CASPIAN DESIGN/ETHOS MEDIA

Current projects vary from Video Production, Motion Graphics and Graphic Design.

I am presently developing smart (dynamic) content systems for video and motion graphics. See www.caspiandesign.me.

Brand Manager01/12/2011 – 02/11/14

UNIVERSAL BUSINESS TEAM

Primary responsibilities at UBT were todevelop and oversee the execution of abrand refresh for the business’ GlobalOperations.

Delivery of this objective was structuredaround establishing clear vision, missionand value statements and defining a brandhierrachy in which all products and servicescould be placed. From that base oversaw the rolling out of a strong corporate identitly that aligned closely with the above brand strategy.

Creative Director01/11/08 – 01/12/2011

CASPIAN DESIGN

Operating primarily within video production I completed numerous productions for The University of Adelaide and SA Wineries.

Creative Director02/02/08 – 01/11/08

FAT CITY DIGITAL MEDIA

Fat City was a boutique digital designagency. As creative director I headed upthe design studio overseeing all creativedevelopment for print, website development and video projects.

GUI Designer14/11/06 – 02/02/08

STERIA LTD

Steria Ltd is one of the five largest ITConsultancies in Europe and my workwas chiefly situated with UK GOVERNMENTprojects for the Criminal Justice IT.My responsibilities included interpreting UML process maps and activity diagrams into wireframe designs, aligning user interface functionality with refined business processes and policing consistent HCI patterns to ensure optimal usabilbity.

Digital All-rounder13/06/03 – 14/11/06

CASPIAN DESIGN

Using a specialist graphics package (VIZRT)I designed and implemented a suite ofbroadcast graphics for the London StockExchange’s television studios which wereused by clients such BCC, SKY, CNBC, CNNto present live market reports. I continuedto maintain and update these for thefollowing three years.

Between projects I freelanced as a graphicdesigner for J WALTER THOMPSON, OGILVY ONE and CLARKE MACKAY AND WALPOLE working on accounts such as CHICAGO TOURIST BOARD, RENAULT UK, BT. Whilst at OGILVY I wrote brand guidelines for the AMERICAN EXPRESS GOLD ‘CENTURIAN CARD’.

OTHER CLIENTS:H.M. PRISON SERVICE, REUTERS, LONDONSTOCK EXCHANGE, BRITISH LAND PLC,ROYAL OPERA HOUSE, NHS - NATIONALHEALTH SERVICE, BMW, DIXONS GROUPINTERNATIONAL PLC (THE LINK AND PC WORLDDIVISIONS), CINEWORLD, KNIGHT FRANK PLC

Design Manager12/09/00 – 13/06/03

THE LONDON STOCK EXCHANGE

Managing the design and development ofthe corporate website for the London StockExchange. This required gathering and writing business requirements from various areas of the Exchange. Developing briefing documents and project plans for agencies and web suppliers.

At LSE I was responsible for creating a complete set of branding guidelines for the corporate web site and rolling this out across a site that was in excess of 3000 pages. Building effective relationships with leading web development and IT consultants was crucial to the success of this role.

Graphic/Web Designer12/06/00 – 15/09/00

OCEAN HOME SHOPPING

Designing mail order catalogues for OceanHome Shopping and Artroom whilstoverseeing the design and production of allassociated marketing collateral. Designingand building www.oceancatalogue.com andwww.artroom.com

* AWARD WINNER * Best Mail Order Catalogue

ECMOD Europe 2000The Ocean Catalogue

Graphic Designer21/02/00 – 06/00

TACTICAL MARKETING

Designing a wide range of material from brochures to exhibition panels. Clients included COCA–COLA, WORTHINGTON BITTER, NESTLÉ AND MADAME TUSSAUD’S.

Designer/Finished Artist02/08/99 – 05/01/00

SMITH AND GILMOUR

Designing for the music and publishingindustries. Projects ranged from non-fictionbooks, CD packaging, brochures cataloguesand exhibition stands. Clients includedMACMILLAN PUBLISHING, PENGUIN, LITTLE BROWN, UNIVERSAL and WARNER.

Graphic Designer09/09/97 – 02/08/99

ARBITER GROUP PLC

Working in-house with the advertising andmarketing department of Europe’s largestdistributor of musical instruments.

* AWARD WINNER * Best Illustrated Catalogue 1998

ECMOD Europe 2000‘The Illustrated Catalogue for

Fender Guitars’

REFERENCESPIERS LINCOLN – IPASThe Institute for Photonics and Advanced Sensing (University of Adelaide)[email protected]

BRAD JOYCE – UBTEx Marketing Director - [email protected]

HTML 6

COLOR GRADING – AFTRS – 2011

AFTER EFFECTS – CORPS TRAINING LONDON – 2009

DIPLOMAMANAGMENTAEGIS ASPIRE - AUSTRALIA – 2014 BACHELOR OF ARTS – HONOURSHISTORY OF DRAWING AND PRINTMAKINGTHE UNIVERSITY OF THE ARTS (LONDON) – 1994

A’LEVELS ENGLISH, ART & ART HISTORY, GEOGRAPHYAYLESBURY GRAMMAR SCHOOL – 1989

CSS 6JAVA SCRIPT 3

PROGRAM KNOWLEDGE

SCRIPTING LANGUAGES

EDUCATION

TRAINING

PHOTOSHOP 9AFTER EFFECTS 8PREMIERE 8ILLUSTRATOR 8INDESIGN 7FLASH 6DREAMWEAVER 6FINAL CUT PRO 8MOTION 6ELEMENT 3D 7CINEMA 4D 7VIZRT 5

CASPIAN BATORY – WWW.CASPIANDESIGN.ME – [email protected] T +61 (0) 0401 040 933 – SKYPE BATORYCASPIAN – 84 LONGWOOD ROAD, HEATHFIELD, ADELAIDE, SOUTH AUSTRALIA, 5153

ONLINE COACHING 2015

Reach YOUR Peak

Above – Intro sequence design concept. Camera zooms in on one of four screens containing intro of series theme. The four screens highlighted will rotate images from Stages #1 - #5 pictured right. Finally, the four screen will combine to illustrate the current theme within the series.

OLC Watermark replaces UBT watermark. This avoids the

needless repetion of UBT logos with pages within Wistia and

supports a clear product hier-archy for UBT branding.

Lower third video elements are situated higher on-screen to be visible above Wista video

controls.

Five “Achievement Badges” create visual signposts for each series theme.

Badges are 3D animations utilised in lower third graphics and chapter transitions within each video (bumpers).

Typface: America Typewriter Bold. Used only within images.


Work Examples

Winning Design ProposalUniversal Business TeamOnline Coaching Webinar Series


Work Examples

Great Southern Rail Page 6 of 11 © 2009 Via Media Communications Pty Ltd

The Journeys button (or hotlink) supports the notion that users may take destinations as the starting point for planning their journey. This button therefore, links to a Journeys page (See Figure 5 below) that lists the key destinations (Sydney, Perth, Darwin, Adelaide, and Melbourne) and demonstrates which service connects to which city. Figure 5: Wireframe illustrating the proposed layout of the Journeys Page.

Lite Dreaming Panel On Level 2 landing pages a lighter version of the dreaming panel replaces that seen on the homepage in order to allow room for service specific content. We suggest the lite version has additional functionality in that it may be expanded thus giving the user the option to refer back to all that aspiration, emotive content whilst browsing the planning pages. Whetting the appetite further and exciting the senses. This benefits the user by allowing more room for primary content helping them plan their trip. Further more, the glossy pictures and videos are always available to refer back to whilst planning one’s journey, keeping that attractive and highly emotive dream fresh in their minds.

Great Southern Rail Page 5 of 11 © 2009 Via Media Communications Pty Ltd

Figure 3: The Dreaming Panel as proposed with the video button selected.

Similarly, when the Map button, for example, is selected a sub-menu will offer further interactive options. In this instance the map itself will contain interactive elements that display information on rollover, such as place name, shaded regional areas, animated rail routes etc. We want the user to understand the geographical implications of the journey. It is an important part of their adventure. Adelaide to Darwin is almost 3000 kilometers. It’s a big thing to cross Australia by train. Figure 4: The Dreaming Panel as proposed with the map button selected.

Winning Design ProposalGreat Southern RailwaysWebsite and Integrated Booking System

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Linn Homepage

ContentClean, pure design reflects the Linn philosophy –‘Simply better’.

‘Hear for yourself’ introduction message to drivevisitor to book a demo.

Graphic treatment of mini banner ‘Book a demo’reflects Linn product displays.

Homepage image changes on refresh to displaydifferent products.

NavigationSection navigation displays main product groups.

Search facility appears on every page.

‘Book a demo’ mini banner appears in site highlightssection to provide link to Book a demo page


Work Examples

18

Linn the company> About Linn

ContentIntroductory text tells the story of ‘Single stage build’.The Linn concept that one individual builds, tests,signs and packs a complete product.

Image of a Linn team member with a finished productand his signature on a metal plaque.

Navigation‘Linn the company’ and ‘About Linn’ highlight in blue instructural navigation.

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Products > Loudspeakers page

Content‘Uncompromising playback’ text summarises Linn’sapproach to playback and provides a reference to thekey product areas: Source, Control, Playback.

Roll over image to display product name – enables user to identify product.

Navigation‘Products’ and ‘Loudspeakers’ highlight in blue instructural navigation.

Disc player product range links appears in secondarynavigation area to the left.

Design ProposalLINN – Luxury Audio SystemsWebsite and Integrated Booking System


Work Examples

Winning Design ProposalSACE – South Australian Certificate of EducationWebsite and Results Portal

G U I D I N G O U R B R A N D C O M M U N I C A T I O N S — B R O C H U R E S 3 . 1

Position — level 1

Brochures that cover the whole of, or a major part of,the London Stock Exchange(as opposed to separateproducts or services) aredetermined as ‘position’documents. They are focused on influencing the overallperception of the Exchange.

Sell — level 2

When the content of thebrochure is about a specific product, service, market orinitiative that the Exchangeis trying to sell to itscustomers, it is determinedas a ‘sell’ document.

Inform — level 3

Brochures that are focusedon supplying supportinginformation, rather thangiving a ‘sales’ message, are determined as ‘inform’documents.

A tight system To help achieve clarity and consistency, we have developed a strong and cohesive design

system for our literature. This divides the different types of brochures we publish into a number

of categories, with the aim of communicating in a more effective and efficient way. Each level

has a specific objective and design style within the overall scheme.

At level 1, the formation ofthe perspective band andthe combination of imagesand colour can and shouldbe unique to each brochure.This is the only level where highlight words can be used over theperspective band on thecover.

At level 2, the band can be used in an inventive wayto create pace and energy.The lead colour and theimagery used on the coverof a level 2 brochure isrepeated for a level 3brochure of the sameproduct, service or market.

Repeating the perspectiveband from the corresponding‘sell’ brochure enables the reader to recognise aparticular product, service or market. This level usesblack with the lead colourrepeated from level 2 andtherefore minimises theproduction costs.

A fresh perspectiveG U I D I N G O U R B R A N D C O M M U N I C A T I O N S

Part one — brochures

G U I D I N G O U R B R A N D C O M M U N I C A T I O N S — B R O C H U R E S 1 . 1

people and technology

customer focus

competitive spiritoutstanding people supported by excellent technology

enterprising finding better ways ofdoing things for us andour customers

exceptional understanding and relationships that deliver results

international

the capability and expertise of a world leaderthe determination to alwaysachieve the very best

in scope and attitude

confident

Our brand style principles In this competitive business environment we earn our leadership

position because of our actions, not because of our history. Our success comes from being the

organisation that companies, institutions and other stakeholders most want to work with.

A positive, supportive company with long-term customer relationships, we deliver clear business

benefits to all those with whom we work. The strength of our organisation is built upon a number

of characteristics and these principles are the basis of our communication style and system.


Work Examples

Brand Guidelines The London Stock Exchange

U B T | B R A N D S T Y L E G U I D E S 2 0 1 4 V E R S I O N 1 . 160

< I N D E XSIGNAGE – BANNERS

U B T T R A I N I N G

L E A D E R S H I P , B U S I N E S S & P E R S O N N E L D E V E L O P M E N T

U B T C O N S U LT I N G

T A K I N G Y O U R B U S I N E S S F R O M G O O D T O G R E A T

U B T P R O D U C T S

T O P R O D U C E B E T T E R , F A S T E R & S M O O T H E R

UBT ACCOUNTANTS

H E L P I N G Y O U S E T AND ACHIEVE YOUR FINANCIAL TARGETS

B R A N D S T Y L E G U I D E S | 2 0 1 4V E R S I O N 1 . 1

U B T | B R A N D S T Y L E G U I D E S 2 0 1 4 V E R S I O N 1 . 125

< I N D E XUBT BROCHURES – SELLING

BROCHURE TITLE (Futura Std Light 29/34.8 PT All Caps)

Brochure Subtitle (Futura Std Light 21/25.2 pt)Description I Country (Futura Std Medium 17/20.4 pt)

SAMPLE

IMAGE

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UBT TRAINING AND RESOURCE CONSULTING 3RD PARTY PRODUCTS


Work Examples

Brand Guidelines The London Stock Exchange


Work Examples

Annual Report – CNBPCentre for Nanoscale Biophotonics


Work Examples

Annual Report – IPASInstitute of Photonics and Advanced SensingThe University of Adelaide


Work Examples

Brochures and HandbooksVariousThe University of AdelaideUniversal Business Team


Work Examples

For video examples please visitwww.caspiandesign.me

Thank you