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The Benildean

I was a part of the Art + Design team in the Benildean Press Corps (BPC). For our magazine publications, I did the typography for sections on the “Aftermath” issue and illustrations on the “Emergence” issue.


Alyssa Maac


Graphic Design


Adobe Illustrator
Adobe Photoshop


Nash Cruz
Kitty Jardenil

Creative Directors

Mj Ronquillo
Isa Hilario

Art Directors


“The Benildean” is the official campus magazine of De La Salle-College of Saint Benilde published every term. Different teams of students compose the Benildean Press Corps (BPC)—who work together to create magazines and folios. Each magazine, we have a unique theme that we revolve and discuss.

Aside from these, I also created illustrations and graphic design work for the organization’s social media, articles, website, collateral and more.


This magazine features the aftermath of a struggle. The remains caused by the country’s corruption, violation, and debauchery. The aftermath no longer remains a lost cause but a channel for a revolution—a hunt for remedy, a prompt to change. Featured in this magazine are stories of those who scoured for debris of hope scattered in people—in words, in art, in movements, in faith.


After evaluation, the creative director assigned me to create the typography studies for the opening of the magazine’s sections—Pulse (Editorial), Karilyon (Culture), Ablaze (Sports and Technology), Blip (Lifestyle and People), Platform (Literary + Arts), and Profiles (Stories).


My idea is to create typography inspired by objects that displays a cause and effect—a trace, a shadow, an influence. First, I listed objects that had that potential and use. Then, I decided to match it to the titles considering each has its subject and theme. Finally, I started to sketch my studies. My sketches were rough so I rendered it in minimal versions to be more appropriate in a magazine. After doing a black and white render, I applied colors based on those used in risographs (as suggested by the creative director). I used neon colors and combined colors with high contrast for legibility.


“Pulse” talks about opinions on matters that are open, sensitive, and yet imperative. I assigned a domino and water ripple on the typography. Waves of lines spread more as the letters fall on top of each other. “Platform” consists of stories, poems, and prose that also reflects the Aftermath theme. Each letter on the window blinds was like giving light to the issue. “Profiles” featured people with thought-provoking stories. Like so, I placed the letters overlapping inside in picture frames. Although after revisions, it has transformed into a scrabble forming the same word over again like people from different places share a story.


“Karilyon” is all about the culture, and places of the country. Since we leave a trace to where we go, I decided that the typography for this would be chalk and dust. “Ablaze” reviews sports, fitness, and technology. A perfect fit for this to relate to the theme would be a record vinyl with scratches—old but evolved, worn but loved. Next, I used blocks to build the word “Blip”. It sums up what society is also made up of which is lifestyle, interests, and people. All of these have undergone several revisions but the same concept still applies.


Aside from doing the section openers, I also opted to do an illustration for an article titled, “Federalism: a leap to unknown consequences”. It talks about President Duterte’s plan to change our form of government from democracy to federalism. I had one thing in mind about it: changing our government is going to be a gamble. That is the concept of my illustration. The regions of the Philippines (the supposed federal states) are the playing cards. The hands are the President’s hands, deciding whether to bet on the future of the Philippines. It is a make-or-break decision. It could help make the country since it is an archipelago. Distributing power could reach more people. But, it could also break the country. Giving much power would make local politicians more corrupt.

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Emergence is the witnessing of the rise from the aftermath. This issue acknowledges the abrupt changes the Philippines have seen from the actions of the government and the people. Each dawn signals the unforeseen possible realities. The magazine tells the stories and articles that embody the emergence of these circumstances as a wake-up call.


The “Platform” section of our magazine includes stories, poetry, and prose centralizing around the theme of the magazine. The title of the story I illustrated for is “Awkward Beats and Pregnant Pauses”. Through the power of punctuation, it told a story of a family revealing the truth and answering questions from their riddled past. Each punctuation points a significance to their choices and actions.


My illustration take on this is to compose a picture that places the readers to a unique perspective. By creating tension, I used composition, textures, and negative space to insert the punctuation marks. I decided to not put facial features (such as eyes) for readers to focus on the scene itself and the symbols. I carefully planned the light hitting the subjects so that their shadows would form the symbols.


The story introduced a mother looking in the mirror not recognizing her face at all. Her physical flaws—red eyes, thinning gray hair, and frail body. The objects scattered on the floor—the bottles, tissues, and medicines. Something was wrong. Her daughter came in and forced her mother to go to the hospital but she was stubborn. She believed that she wasn’t helpless. In my illustration, the hidden exclamation point is formed using her shadow. I used a contrast in composition, light, and perspective for the scene.


After an unshakable encounter with the daughter, the son now asked their father to come home and persuade his wife. However, she screamed at him. He left silently, figuring that she no longer had a grasp with reality. The tilted isometric perspective in my illustration creates a bird’s eye view. This context and the mother sitting crossed-leg emphasizes her stubbornness of not accepting the truth. The shadow of the father, the mother, and the windows formed the question mark on the floor.


Her granddaughter visits home. The child hesitated to greet her. She is mistaken as her mother again. Annoyed about the incident earlier, the mother told her that her husband came. The daughter was surprised and agreed that her father was right. She should visit the hospital. Suddenly but not surprisingly, the mother backs away. She exclaimed, “I don’t know who you are. You have to leave now.” In this scene, the coma is a pause, an exhale. I drew the moment where the mother is holding the granddaughter’s shoulder as if she’s trusting her but still on the verge of telling something important.


Seeing his sister sit on the steps outside their mother’s house, the brother is not surprised. He remembers the house as a place of escape. The mother greets him. While handing a medicine for memory loss, she shrugs it off and reminds him to go to his football practice. But all he saw was red. He’s had enough of her stubbornness and snaps at her. “The football game happened 15 years ago!” he yells. They’re going to take their mother to the hospital whether she likes it or not. Since this scene is a climax, I decided to put them in the spotlight of the kitchen light. The mother and her son standing, her hand retreating from him while he stands still.


Bolting up from the bed, the mother gets tensed at the sight of the unfamiliar place. But she hears a familiar voice at the corner of her eyes and there, was her daughter, son, and granddaughter. “It’s me, Sara,” she says. She tries to answer “Yes, of course I know…” but her voice chokes back. Reintroducing the granddaughter, she hugs her. She tries to held back her tears but was unsuccessful. This is all I need, she thinks. She knew that she might forget about this but for now she is at ease. This finale of the story is all about warmth. I used the orange sunset windows as the quotation marks, also carefully placing the son and the daughter. This illustration is a simple yet solid storytelling.

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