2. P H I L O S O P H Y
Inspire and be inspired. Surround yourself with outstanding people in an
environment which encourages everyone to simultaneously influence and be
influenced. Be well informed and critical but leave room for accidents and
recognize the successes of your failures; the best solutions are often arrived at
rather than decided upon.
As Bruce Mau once put it, “Harvest ideas. Edit applications. Ideas need a
dynamic, fluid, generous environment to sustain life. Applications, on the other
hand, benefit from critical rigor. Produce a high ratio of ideas to applications.”
E D U C AT I O N
Indiana University/Herron School of Art, B.F.A., 1992
Cranbrook Academy of Art, M.F.A., 1994
W O R K E X P E R I E N C E
Miller Brooks (Indianapolis) Graphic Designer 1991
Dean Johnson Design (Indianapolis) Art Director 1992
Freelance Designer/Art Director 1993-present
Visual Resource Society 1994-2008
Pacific Northwest College of Art, Instructor in Graphic Design, 1998-99
Portland State University, Instructor in Graphic Design, 2004-2006
R O B E R T B O N D S I phone • 503.810.1411 I email • robhighway@gmail.com
3. C L I E N T L I S T I N C L U D E S :
Affair at the Jupiter Hotel
Alliance of Artists' Communities
Cascade AIDS Project
Childpeace Montessori School
Cinco Design Office
Cranbrook Academy of Art
Detroit Artists Market
Full Upright Position, the Modern Furniture Company
Ghilarducci Studios
Imago Theatre
W O R K P U B L I S H E D / A W A R D E D I N :
The 100 Show / The Fourteenth Annual of the American Center for Design
The Best Show (#33) Catalog, Art Directors Club of Indiana
The Best Show (#34) Catalog, Art Directors Club of Indiana
The 100 Show / The Sixteenth Annual of the American Center for Design
1,2,3 Color Graphics, Pie Books
Eye magazine #14, Underground Matriarchy, by Ellen Lupton and Laurie Haycock Makela, Autumn
Newsweek magazine, Cyberscope/Pulp Fiction
Typographics Three: Global Vision, Duncan Baird Publishers, London
Big Color, Duncan Baird Publishers, London
Madison Millinger, Extaordinary Handmade Rugs
Mercy Corps International
Nike
Pacific Northwest College of Art
Pearl District Merchants Association
Ray Gordon Photography
Rex and Regina
Sydney’s, a Modern Cup and Saucer
Wieden + Kennedy
Ziba Design
4. DESIGN:VISUALRESOURCESOCIETY
ELIZABETH LEACH GALLERY
207 SW Pine St, Portland OR (the old address, yes)
Friday, Feb 11
5PM Press preview
6PM Lecture on “Tulsa”
by Bruce Guenther, Chief Curator
of the Portland Art Museum
7PM Opening party
Admission $5
Saturday, Feb 12
Public hours 12-7
Admission $3
Sunday, Feb 13
Public hours 12-7
2PM Lecture on thrift store collecting
by Andy Morrison & Thomas Phillipson
Admission $3
DESIGNER
ROB BONDS
CLIENT
AFFAIR AT THE JUPITER HOTEL
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 GALLERY EXHIBITION POSTER
2 (DETAIL)
1 2
5. DESIGNER
ROB BONDS
CLIENT
CASCADE AIDS PROJECT
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 AUCTION CATALOG SPREAD
2 AUCTION CATALOG COVER WITH ENVELOPE
3 AUCTION CATALOG COVER (DETAIL)
1 2
3
6. DESIGNER
ROB BONDS
CLIENT
AFFAIR AT THE JUPITER HOTEL
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 DIRECT MAIL ADVERTISEMENT
2 EVENT POSTER
1 2
AT THE JUPITER HOTEL800 E BURNSIDE. PORTLAND, OREGON
O C TO B E R 1 - 3
9. DESIGNER
ROB BONDS
CLIENT
PACIFIC NORTHWEST COLLEGE OF ART
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 BFA RECRUITMENT POSTER (DETAIL)
2 BFA CATALOG (DETAIL)
3 BFA CATALOG COVER
4 BFA CATALOG COVER
1 2
3 4
10. DESIGNER
ROB BONDS
CLIENT
PACIFIC NORTHWEST COLLEGE OF ART
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 SCHOOL NEWSPAPER (DETAIL)
2 COMMENCEMENT INVITATION
3 COMMENCEMENT PROGAM
1
2 3
11. DESIGNER
ROB BONDS
CLIENT
SYDNEY’S CUP AND SAUCER
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 ARCHITECTURAL SIGNAGE
2 WINDOW SIGNAGE
3 MENU BOARD (DETAIL)
4 ARCHITECTURAL SIGNAGE
1 2 3
4
12. DESIGNER
ROB BONDS
CLIENT
SYDNEY’S CUP AND SAUCER
ART DIRECTION
ROB BONDS
PROJECT DESCRIPTIONS
1 COFFEE CARD
2 COFFEE CARD
3 CUP GRAPHIC
4 DIRECT MAIL
1 2 3
4
18. WRITER
ROB BONDS
TOM O’CONNOR
CLIENT
WIEDEN + KENNEDY / COCA-COLA
ART DIRECTION
ROB BONDS
Coke, “Circus” :60
We’re at a tent circus, the kind that plays small towns. Workers are busy preparing for opening night; tents are
being erected, trucks are being unloaded, etc.
We see a bear in a cage with a sign reading, “Benny the Bicycle-Riding Bear.” Some kids on bicycles roll by;
they’re fascinated by the bear. The bear watches them, too. A moment between them.
The kids stop at a concession stand. A Coke truck is there unloading for the night. The kids buy Cokes, then ride
off. The bear watches them disappear into the distance. The Coke truck moves down the line of tents, now
obscuring the cage – when we see it again, the cage is empty, the bear gone.
MUSIC: Running Bear, by Sonny James (circus instrumentation)
Cut to the road. The bear is riding his bicycle, away from the circus.
The kids on bikes have been looping around the circus grounds, and now they come back and see the bear riding
along. They’re shocked. From a distance, they follow the bear as he continues down the road.
Soon the bear comes to the outskirts of a forest. The bear gets off his bike and lumbers into the woods. It starts
eating berries and rolling in the grass – we get a sense that he’s at home here.
The kids watch from the road drinking their Cokes and admiring the bear.
In the final shot, the camera pulls back, revealing the kids with their Cokes, the bear deep in the woods, his
abandoned bicycle, the circus grounds left in the distance, and the Coke truck driving away.
TITLE CARD: the Coke side of life
PROJECT DESCRIPTION
TELEVISION SCRIPT / SUMMER, COCA-COLA
19. WRITER
ROB BONDS
TOM O’CONNOR
CLIENT
WIEDEN + KENNEDY / COCA-COLA
ART DIRECTION
ROB BONDS
Coke, “Fireworks” :60
In this spot, Coke shows us the beauty of summer in a magical new way.
We go all across America, observing the natural world. The sights and sounds we experience will come together, subtly
and elegantly, to resemble something that is iconic to the season: fireworks. Fireworks, created by summer:
A lake, at night. A young boy leaps off a tire swing and splashes into the water. From under the surface, he looks
skyward – the stars are refracted by the splash, as the rushing water booms in his ears… it looks and sounds like
fireworks.
Cut to a couple sitting on the back porch of a cabin, drinking Cokes. Below them is a field full of fireflies, winking in the
darkness.
At the edge of a deep canyon, a man tosses a rock. It clatters down the side walls, its echoes creating a distant boom,
like explosions, as we cut to…
…a full moon. A swarm of bats flutters between us and the moon, breaking up the light so it sparkles and glitters.
Alaska. A fisherman is standing on the edge of the shore, drinking a Coke as he takes in the majesty of the Northern
lights.
Now we’re at a campsite in the mountains. A wolf howls in the distance, like the whistling ascent of a firework… then
we hear the rumbling boom of thunder.
A coast. Waves are crashing against the rocks. High above, clouds race across the night sky, making the stars wink in
and out.
A campfire. It pops and hisses, sending sparks into the night air.
A gentle rain falls on a pond. The drops break up the reflected starlight. We hear the calls of owls and other night birds,
like the soft pops of small fireworks.
Heat lightning, as the wind whistles through a canyon. Then…
…a quick series of thunderclaps, like a grand finale. All in different places: a moonlit field, a deserted road, a starry
forest, etc.
Then our final moment:
A couple is cuddling on the beach, before dawn. Just as first light strikes the sky, the woman opens a Coke. We hear
the pop, the fizz of the Coke, and then quiet.
PROJECT DESCRIPTION
TELEVISION SCRIPT / SUMMER, COCA-COLA
