V I C T O R I A . F

artist // techie // scenic designer // creative

PAINT

GRAPHITE

MIXED MEDIA

HCI & Design

Perspective

As a designer and holistic thinker, I strive to create imaginative and exciting designs by offering new and unexpected perspectives on projects because I am passionate about how users experience and incorporate design into their daily lives. I constantly question and research what is necessary for interactions to be intuitive, paying close attention to detail, narrative, and visual procession; in this way I start with the complex and whittle down to the simplest expression of a project's essence- essentially functional forms with magic.

Background

I have over 7 years of experience in designing for a broad range of cross-disciplinary projects, incorporating UX design methodology across media, and vice versa. I obtained my master's in Computer Science with a focus in Human Computer Interaction from Stanford University in 2015.

Process

Though project timelines and focuses can range broadly, I like to follow a similar design process: Ideation & Problem Research > User Interviews > Visual Research > Concept Development & Design Thinking > Rapid Prototyping > Testing > Iteration.

Selected Works

Illusion Études

Exploring Obscure Interactions

UXWeb

Common Ground

Connecting SF Market Street

ExperienceArchitecture

Charlotte

Visualizing Web Design

DataVizWeb

KLM & PayPal Redesigns

Cross-platform & Pipeline

UIRedesign

Polarr Growth Design

Branding & Identity Sprint

BrandingGraphic

Start.Home

Encouraging a Sustainable Lifestyle

UX/UIDataViziPad

Derive

A Realtime Virtual Guestbook

UX/UIWebLeap Motion
Scenic Design

Perspective

As a scenic designer I love to work on shows that have great nuance within their scripts, which often, with the vision of the director, lead to a re-imagined landscape. In some cases magical realism helps articulate complexities in the script, while others benefit from broad simple elegant forms- just as in a 5 second figure drawing, I try to capture the essence of the story's time and place that would most accent it's narrative and create opportunity for spatial dynamism.

Background

I began in theater like most, on stage, singing/dancing in the chorus. I quickly found my way backstage as a painter and began designing in college with a huge musical Aida. I then completed a scenic design intensive with Bay Area designer Erik Flatmo, and under his mentorship designed an alternative take on Into the Woods. I advised on scenic design for very small budget shows and then worked on my first play in Seneca's Oedipus. In the final year of my BA I designed The Last Five Years and Stanford Class of 2012's Senior Formal. In addition to designing, I also assisted in the Studio of Erik Flatmo and Daniel Ostling, held a fellowship at American Conservatory Theater, and interned in scenic painting at the renowned Williamstown Theater Festival.

“ 

Will you share your life with me for the next ten lifetimes,
for a million summers till the world explodes,
till there's no one left who has ever known us apart?

L5Y Together L5Y Jamie solo L5Y Mainset

The Last Five Years

The set design is inspired by key settings of the musical's literary pivot points— the watery-scapes of both Ohio and New York. Cathy and Jamie chart out (moving opposite directions in their star-crossed timelines) how their romance began and ended. The set enables the actors to move forwards/backwards in time and space along separate, raked, and overlapping piers; they only meet once in the middle of the timelines and in space, under the street lamp overarching the docks.

Details
Scenic Designer/Charge: Victoria Flores
Director: Annalise Lockhart
Producer/Music Director: Randi Rudolph
Location: Elliot Programming Center
Ram's Head Theatrical Society
Stanford University 2012

Early Sketches of Pier Concept

five years early sketch
“ 

‘ Where are the gods, the gods hate us,
the gods have run away, the gods have hidden in holes,
the gods are dead of the plague, they rot and stink too,
there never were any gods, there’s only death.

oedipus oedipus oedipus

Seneca's Oedipus

Designed remotely, the director requested a re-imagined setting of the traditional Oedipus to speak to the concepts of 'timelessness', heat, scuttling through sand, and infection. The set draws inspiration from Vrah Vishnulok’s architectural schematic of celestial mapping. An oculus of frosted glass (with embedded leds) sits in the center of the raked trapezoidal deck (a window to the sky), while overhead bulbs map starlight reflections onto the custom flooring. This Oedipus's world is turned essentially upside-down.

Details
Scenic Designer/Charge: Victoria Flores
Director: Matthew Moore
Lighting Designer: Michael Ramsaur
Location: The Nitery
Stanford Summer Theater
Stanford University 2011

Early Sand Box Concept Draft

Oedipus Sand Pit Draft
“ 

“ Sometimes people leave you halfway through the woods,
you decide what’s right, you decide what’s good.

together together mainset

Into the Woods

The rooftop set defines a new landscape that frees audience members from any preconceived notions of how one might behave in the woods; this serves to emphasize the tradition of storytelling and aggrandize the nature of acculturated fairytales. The rooftop styles are pulled from countries of origin of the musicals intermingled tales. Tree canopies were reconstructed from salvaged branches. In this way the set accomplishes transitions through the metaphor of 'relationships as seasons' atop the underpinnings of everyday life.

Details
Scenic Designer/Charge: Victoria Flores
Director: Liz Stark
Location: Stanford Memorial Auditorium
Ram's Head Theatrical Society
Stanford University 2010

Early Ground Plan Draft

Into the Woods ground plan
“ 

‘ Have I compromised my people?
In my passion and my haste? I could be his life companion
Anywhere but where we are.

together mainset

Aida

This asymmetric and eccentric set allows for steady transitions from large cast numbers to the main ill-fated couple. Hieroglyphs from along arcs at critical curvature points on the main set. The set forms the line of a pyramid while questioning the notion of slopes and steps while lines sets (fly-ins) contribute to scene changes (star drop, lights, and portal etc.) in order to create an ethereal and modern atmosphere.

Details
Scenic Designer/Charge: Victoria Flores
Director: Mason Flink
Location: Stanford Memorial Auditorium
Ram's Head Theatrical Society
Stanford University 2009

Penny-Dime Studio

furnishing design for a tiny studio on a budget

de M.E.T (Marmer & Eik Tafel)

Details

The M.E.T. is a recycled marble and oak table designed to serve as a bar table, brewing table, and work surface. The marble sides are sturdy and cool, allowing laptops to stay cooler longer, while also serving as a place to attach a malt grinder (for brew days), or host a party of six. The oak serves as a natural runner to complement the cold marble and warm the table's palette. Metal gray saw horses complement the marble's grain and contrast with the copper tones of the matching benches and decor. The M.E.T. is altogether chic, industrial, multi-purpose, and most importantly low-budget.

Media

Top: 1 Oak plank, 2 marble slabs, 2 oak beveled trims; 160cm X 80cm X 77cm.

Support: 2 Metal gray sawhorses

Penny-Dime Studio

furnishing design for a tiny studio on a budget

Benches (een Marmer & een Eik)

Details

Benches for the M.E.T. were designed to hold the most weight with the least support while still maintaining an unconventional silhouette. The benches are matching but complimentary to the tables' texture, one being repurposed marble and the other new oak. The copper pipe legs are made up of ~110 pieces of pipe (each) with 'T' and 'L' connections, polished and satin finished. Stylistically their supporting structure is Byzantine-esque, creating perspective with simple offset 45° angles at offset levels. The benches make the perfect asymmetric complement to the table and challenge the notion that seating should be matching, in this way guests question the norm and are given a choice.

Media

Bench #1: Copper pipe, natural marble slab; 110cm X 30cm X 52cm.

Bench #2: Copper pipe, new oak w/ eggshell varnish; 110cm X 30cm X 52cm.

‘ … a beauty of things imperfect, impermanent, and incomplete… of things modest and humble… of things unconventional.

Wabi-Sabi

Leaf & Bottle Bar-Table Centerpiece

Details

Brilliant flashes of copper-tinted leaves become highlights atop the predominantly neutral surface, in which a marble and oak bar-table defines the space. Empty pastel craft beer bottles contrast the recycled nature, bringing into dialogue two forms of human impact on the environment, while also serving as a gentle reminder to guests engaging in consumerism around the table.

Media

Repurposed Christmas Tree Decorations (copper spraypainted foliage & blue frosted berries) & Recycyled Oedipus Brewing Collaboration Brew Edition Bottles

Artist Chair

Details

Upcoming

‘ To all the brewers, past and present, who have pushed the boundaries in search of something great to drink.

Studio Biergarten

tiny-batch homebrewing with purpose

Logo & Label Layout Design

Background

Studio Biergarten ventures to brew original takes on classic recipes, sometimes even using fresh picks grown from their window sill garden. Brewed by a young couple, I sought to create a logo that would embody their passionate personalities and taste in beer, effervescent with a little love of art nouveau.

Details

In designing the logo, I took inspiration from their humble indoor gardening and hand drew for youthful playfulness simple pot shapes found in their windows (the center pot resembles an old Dutch copper planter). Sprouting from these playful pots are the stylized stems supporting the name. This large format of the logo is integrated into the label layout which resembles a window pane. The watercolor like flashes of color are CMY with K as the liner hue, giving the logo a simplicity among its complexity. The label panes of the window layout are meant to be customized to best express each brews essence whether simple typography or full watercolor style backgrounds.

Studio Biergarten

tiny-batch homebrewing with purpose

Oxy (Black) & Moron (Tan) Label Design

Oxy Label Text

This is our first beer made from all-grain, no kit! Oxy is our humble attempt at recreating a traditional porter with a touch of Canadian maple syrup. It was mashed with care, super cleaned with oxi, and fermented in an uber cool dark place. Complement with Moron(Tan) for a true OxyMoron.

Moron Label Text

This is our second beer made from all-grain, no kit! Moron is a traditional Extra Special Bitter with a touch of golden honey. It was mashed with care, splashed with German hops, and stored next to its sibling 'Oxy'. Complement with Oxy (Black) for a true OxyMoron.

Media

Matte sticky-label laser-jet print & recycled beer bottles

“ …saying hello, thank-you, or I love you is more than a two-fold art.

Hearts (Layered Valentine)

Details

Card consists of three layers that form four hearts with an inside reverse fold. Designed as a valentine, it affords a surprise as each layer (tailored to recipient) is revealed, and holds a note (folded similarly) at its center.

heartDetail heartDetail heartDetail heartDetail

Prototype

Occasion

Valentine's Day

Details

Commissioned for a 'LuLu', every heart corner has 'LU', hinting at 'luv u'. Each layer is dyed with coffee, wine, and beer. Layers depict where the couple met and shared affinities.

Media

Watercolor Paper, Ink, Coffee, Wine, Beer, Wintergreen Oil, InkJet Print, & Metal Leaf

heartDetail heartDetail heartDetail

Rosette (Blooming Layers)

Details

Card design is formulated from number of layers needed for the theme, and is pared down by number of petals for each inner layer. Each petal overlaps with the next creating a rosette to 'pop' open by recipient and discover as a blooming flower.

rosetteDetail

Prototype

Occasion

Wedding at Stanford Univerisity

Details

Created for "Elvia & Lalo" this congratualotory card has two layers stylizing the floral seal in the center of Stanford University's 'quad', right outside the Memorial Church.

Media

Rives BFK White 300 gr., Mixed-Metal Leaf, Watercolor Pencil

rosetteDetail rosetteDetail rosetteDetail rosetteDetail rosetteDetail rosetteDetail

Terrain

Details

This textured card is made up of a series of 'terrain' like cutouts. Each layer follows the shape of a classic heart, following the theory that if you trace a line (by hand) over and over you slowly lose the original shape; in this way we slowly develop a kind of terrain of the heart, making the card a more interesting diversion from the classic 2D concept.

terrainDetail

Prototype

Occasion

Simple Sweet Occasion

Details

Created as a special romantic birthday card, it was hand cut and held two accordian-folded notes pressed inside topped with wood heart relief. Concept easily extends to being laser cut in any primary shape of interest by occasion.

Media

Balsa wood & Blue and Metallic India Ink

terrainDetail terrainDetail terrainDetail terrainDetail

Wallet (Multi-Party Card)

Details

This 'wallet' like origami card is suitable for a gift/greeting of up to 4 parties. With five compartments it is suited to hold four cards from 'gifters' and a final material gift such as money or special tickets to an event in its topmost compartment.

walletDetail

Prototype

Occasion

Birthday

Details

Created for a father this birthday card was designed to hold notes from four gifters and tickets to a comedy show. Taking a more minimalist approach to decoration, it bears a broken up coin in metallic leafing across its folds, hinting at its wallet-like character.

Media

Heavyweight Cold Press Paper & Metal Leaf.

walletDetail walletDetail
VICTORIA     FLORES      
About Me
Say Hi?
I'm currently looking for full-time creative opportunities. See my résumé here.
This site was built from scratch by me with the included use of d3.js and velocity.js. It's also a little exploration into the affordances standard symbols/shapes have in layout/interaction design.