Implications

Implications

F i g . 01

12

Schoo l ACADE MY OF ART UNIVE RSIT Y / SCHOOL OF GR APHIC DE SIGN

Class SE NIOR P ORTFOLIO

I ns t ruc to r MARY SCOT T

Student MARION R IGGS

W W W. MARIONRIGGS .COM

MARION . R IGGS @ G MAIL .COM

Bookb inde r y BLURB

W W W. BLURB .COM

Photog raphy MARION R IGGS

T i t l e o f Book IMPLICATIONS

Fonts BE RTHOLD AK Z IDE NZ GROTE SK

WALBAUM

Sof twa re ADOBE CRE ATIVE SUITE 5 . 5

© A l l r ight s reser ved . No par t o f th is pub l i c a t ion c an be reproduced wi thout express ive permisson f rom Mar ion R iggs .

MARION RIGGS

Implications

Graduate Por t fol io

Academy of Ar t 2011

CONTEXT

DESIGN PROCESS

CIRCULAR

Implications

000 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

My path to design is via sociology, which shaped my ap-

proach to problem-solving. In sociology we don’t typi-

cally look at the individual, but at broader categories

like class or gender, and try to analyze how the mem-

bers of these groups are impacted by social structures.

Similarly with design, we typically also try to gain insight

into the audience for which we are designing. If you

want to connect with your target audience, you need

to understand the implications of what you are design-

ing. Or rather: you need to know what it is that you are

implicitly saying to them with your design.

Design doesn’t just influence the target audience, it

also influences the next generation of design: design

feeds into new design. Each ring in the circles I cre-

ated is influenced by the previous ring and gains a new

meaning when connected with the others. The rings are

symbols for the process of design, which is fluid, always

evolving, never ending, often circling back on itself.

0 4 | 0 5I M P L I C AT I O N S t i t l e I N T R O D U C T I O N

F i g . 01

12

implications

Table of Contents

p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

01

02

03

04

05

06

07

08

09

10

p. 12

p. 34

p. 58

p. 94

p. 122

p. 146

p. 166

p. 188

p. 206

p. 218

A Plea for Simplicity

Spring is Coming

Aspects of Change

Care for Children

Going for a Ride

Coffee Blossoms

Car Politics

Food Future

Dinner Dilemma

Identity Marks

F i g . 0 2

12

0 6 | 07I M P L I C AT I O N S t i t l e TA B L E O F C O N T E N T S

TONY CAMPOLOSociologist

Your past is important but it is not nearly as important to your present as the way you see your future.

TONY CAMPOLOSociologist

I ns t ruc to r E S THE R CL ARK

Course PRINT 2

T i t l e CHOOSE

Format BOOK / P OS TE RS / CAR DS

Fonts FUTUR A BT

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

DE SIGN E THIC

MID - C E NTURY

ONE COLOR

O b j e c t i v e

A p p r o a c h

A Plea for Simplicity

01

In this open-ended project we were asked to design

a brochure/catalog for a product of our choice. In ad-

dition we should provide posters and other collateral.

We were required in particular to emphasize the con-

cept behind the design in order to evoke an emotional

connection to the product.

Being a big fan of George Nelson’s bubble lamps, I

decided to design for their nationwide promotion in

the Design Within Reach (DWR) stores. Although the

lamps were designed in the late 1940s, their beauty

is timeless, and they fit as well in the current century

as in the last one. In my opinion, their essence is their

elegant simplicity, their reduction to lines, and their

distinctive organic shapes. In the course of reading

about the mid-century design period I found a number

of essays written by George Nelson concerning the

function of good design and the role of the designer,

which I incorporated into the brochure through quotes.

dogma

10 | 11I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y

F i g . 0 3

12

“I see the designer as an artist,

he is someone who gives form

to the essence of any thing.

He is a purveyor, not of com-

forts, but of truths. And truth

is a most important quality in

design of any dimension. Be-

cause people tend to recog-

nize it when they see it.

George Nelson


“I see the designer as an artist,

he is someone who gives form

to the essence of any thing.

He is a purveyor, not of com-

forts, but of truths. And truth

is a most important quality in

design of any dimension. Be-

cause people tend to recog-

nize it when they see it.

George Nelson


d o g m a


d o g m a


23


23

d o g m a



“You can always tell when the communi-cation comes through because in the shock of understanding the message there is also the feeling that you’d known it all your life.

d o g m a



d o g m a



07

your personality.The bubble lamps (designed by George Nelson, 1904–1986) are sold exclusively at DWR. Visit us in one of our sixty-seven studios or online @ www.dwr.com, or call us at 1.800.944.2233. DWR_the best in modern design.

d o g m a


p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9

d o g m a

28 | 2 9I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y


3 0 | 31I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y

EVENT

PRESTIGE

COLORFUL

O b je c t i ve

App ro ac h

Spring is Coming

02

I ns t ruc to r J E RE MY S TOUT

Course IDE NTIT Y 3

T i t l e SPRING SHOW 2011

Format B R AND BOOK

Fonts KNOCKOUT / FR ANKLIN GOTHIC

The biggest event at the Academy of Art is the annual

spring show at the end of May. For the graduates, it is

the highlight of their academic career, and an oppor-

tunity to show their work to peers as well as potential

employers who come to look for new talent. We were

asked to brand the event to heighten its perception.

The unique challenge of this project was that in a way,

we were designing for ourselves, as we would eventu-

ally become one of those graduates who show their

work. Since the public appearance of the Academy of

Art does not match its prestige, and has in the past

been perceived as darkly hued and overly commercial,

I decided to take the name of the event literally and

bring light, color and the power of spring to San Fran-

cisco. The majority of the advertisement happens on

the streets, on buses and lampposts where bright col-

ors and lightness will stand out, contrasting with the

grayness of the city as well as the gray weather typical

for that time of the year.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

F i g . 0 4

12

pursuitpursuit

32 | 3 3I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G

MAY 2011

Grey, grey, go awayCome again another day. . .

MAY 2011

Grey, grey, go awayCome again another day. . .


p u r s u i t

3 4 | 3 5I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G


p u r s u i t



ABC

01 K nockou t / Jun io r M idd lewe igh t ( HTF 30 )

03 I TC F rank l i n Goth ic / Book

02 K nockou t / Jun io r We l te r we igh t ( HTF 50 )

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z

1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }



1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }



1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }

YE LLOW P M S 116c

LIGHT OR ANG E P M S 143c

DARK OR ANG E P M S 1505c

PINK P M S 205c

RE DP M S 186c

PURPLE P M S 259c

LIGHT BLUE P M S 2985c

DARK BLUE P M S 3025c

BL ACK P M S B lack

PRIMARY LOGO PRIMARY LOGO reversed SECONDARY LOGO

LOGO

TYPEFACES

COLORS

p u r s u i t

4 0 | 41I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G

WEBPAGE

Springshow 2011

[ H O M E

[ E V E N T S [ E V E N T S

[ H O M E

[ E V E N T S

[ V I S I T

[ C O N T A C T

[ S C H O O L S


[ H O M E


[ H O M E


[ V I S I T

[ C O N T A C T

[ S C H O O L S

[ V I S I T

[ C O N T A C T

[ V I S I T

MAY 25OPENING NIGHT 7–9PM7 9 & 1 8 0 N e w M o n t g o m e r y S t

1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]

C O N T I N U I N G M AY 2 8– JUNE

[ H O M E


[ H O M E

[ E V E N T S

[ V I S I T

[ C O N T A C T

[ S C H O O L S

A D V E R T I S I N G

A N I M A T I O N & V I S U A L E F F E C T S

A R C H I T E C T U R E

A R T E D U C A T I O N

F A S H I O N

F I N E A R T

G A M E D E S I G N

G R A P H I C D E S I G N

I L L U S T R A T I O N

I N D U S T R I A L D E S I G N

I N T E R I O R A R C H I T E C T U R E & D E S I G N

M O T I O N P I C T U R E S & T E L E V I S I O N

M U L T I M E D I A C O M M U N I C A T I O N S

M U S I C F O R V I S U A L M E D I A

P H O T O G R A P H Y

W E B D E S I G N & N E W M E D I A

p u r s u i t



S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]

A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5

A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )

A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C

D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A

C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A

We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W

MAY 25

1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u

OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )


C O N T I N U I N G M AY 2 6 –A U G U S T 15








MAY 25












MAY 25












MAY 25












MAY 25












MAY 25





p u r s u i t



p u r s u i t


WEB BANNER

Academy Homepage


p u r s u i t


MAY 25O P E N I N G N I G H T 7 9 & 1 8 0 N e w M o n t g o m e r y

7–9PM


P H O T O G R A P H Y

A R C H I T E C T U R E

F A S H I O N

G R A P H I C D E S I G N

p u r s u i t


CLYDE KLUCKHOLNAnthropologist

CLYDE KLUCKHOLNAnthropologist

My basic postulate is that no cultural forms survive unless they constitute responses which are adjustive or adaptive.

PAPER PROMOTION

BOOKLETS

FLIP BOOK

O b je c t i ve

App ro ac h

Aspects of Change

03

I ns t ruc to r ARIE L GRE Y

Course T YP OGR APHY 4

T i t l e E VE RCHANG ING

Format BOOKLE TS / SWATCH CAR DS

Fonts HE LVE TICA NEUE

To create a promotion system that showcases the pa-

per lines for a paper company of our choice. The de-

sign should include one or more booklets with a variety

of paper finishes, as well as swatch cards in a new and

distinctive format.

To showcase Mohawk’s VIA paper line I chose the

concept of “change”. In three different booklets I show

how change affects us throughout our lives. In the first

book I show through the use of charts and statistics

how change happens on a macroscopic scale. The

second book contains personal stories of change:

how several individuals actively changed their lives,

or how events forced change upon them. The third

book is a purely typographic, experimental book which

discusses stagnation, the fear of change and how we

can overcome them. For the swatch cards, I created

a flip book that morphs a phrase while changing from

white to pink.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

F i g . 0 5

12

nuancesnuances

5 6 | 57I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E

p o r t f o l i o M A R I O N R I G G S

B O O K 1 B O O K 3B O O K 2 g l o b a l c h a n g e s f e a r o f c h a n g e p e r s o n a l c h a n g e

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0


n u a n c e s

We are the masters of our own destiny, 98

and being judged and humiliated. The possibil-ity of failure threatens to dislodge their already low sense of worth and therefore does not merit the risk. On the other hand when self/worth is strong, fear may still exist, but it no longer has the power to destabilize forward move-ment. “Failure” is perceived as a temporary set-back or as a potential learning experience. Strong self/esteem enables individuals to focus on taking

25

Here are some tried and tested tips on how to fight your fears. Feel the Fear and Do it Anyway_The best method to fight any fear is to take positive action against whatever it is that you are afraid of. Is fear of failure stopping you from learning that new skill? Go ahead and learn it! This is what courage is all about: to act despite the fear. Educate Yourself_Learn more and more about the object that you are afraid of. You want to chuck your job and plunge into your own business, but are afraid of the risks involved? Then the best way to reduce the fears is to con-sciously learn about the business in as much depth as you can. Preparation increases confidence and calms those butterflies in the stomach. Just be aware of “Analysis-paralysis”. Use self-affirmations_that give a positive spin to whatever it is that you fear. Write these self-affirmations on a stick-it note where it is easily visible. Say you are afraid of criticism from others, then one possible self/affirmation could be “I am outstanding. I must be outstanding for all the people I will help.” Positive visualization is pro-jecting an image of yourself overcoming your fears, and is a powerful technique to fight your fears. If you are afraid of your boss, visualize that your boss is smiling at you, appreciating you, and complimenting you of a job well done. Keep this image in your mind firmly. What’s the Worst Case Scenario_Often when this question is asked, you realize how silly the fear is. Example, if you are afraid to ask someone out on a date, what’s the worst that could happen? The other person saying “No”? It’s not that bad, right? One of my most enlightening realizations is recogniz-ing that “I have nothing to lose”.

30 31

IN mY ExPErIENcE, WE cAN ALWAYS fIGHT Our fEArS, WIN, ANd GET AHEAd IN LIfE. WHAT dO YOu THINK?


02 | 0 3 02 | 0 3 02 | 0 3

0 8 | 0 9 12 | 13 0 8 | 0 9

24 | 25 14 | 15 20 | 21

3 0 | 31 3 0 | 31 23 | 24

3 3 | 3 4 32 | 3 3 02 | 0 3

B O O K 3 B O O K 2 B O O K 1

B O O K 3 f e a r o f c h a n g e

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

Stories of change_At different times in their lives, different people feel the need to change something. Circumstances like an illness or the loss of someone close or something essential force them to do so. We have all been at crossroads in our lives, but haven’t always taken the chance to change, probably out of fear. Here we show stories of eight people who took that extra step, who changed their lives. We hope

Nathan_54

James_76

Carl_38

Jessie_27

Daniel_19

Charlene_20

Rami_32

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EVERYTHING IN LIFE IS CONNECTED SOMEHOW. YOU MAY HAVE TO DIG DEEP TO FIND IT BUT ITS THERE. EVERYTHING IS THE SAME EVEN THOUGH ITS DIFFERENT. SOMEHOW EVERYTHING CONNECTS BACK WITH YOUR LIFE. THE FACES IN CERTAIN PLACES MAY BE DIFFERENT, BUT THE SITUATION IS THE SAME. IRONY IS A HIDDEN FACTOR THAT CREEPS AROUND US IN LIFE, LETTING ITS PRESENCE FELT ONLY AFTER IT HAS LEFT. PICTURE BACK TO A YEAR AGO AND THE SITUATION YOU WERE IN. LOOK AT HOW THINGS ARE DIFFERENT YET SOMEHOW EVERYTHING IT STILL IN SOMEWAY COGNATE. EVERYTHING CONNECTS TOGETHER TO FORM THE BALANCE OF LIFE, TO MAINTAIN STRUCTURE. CHANGE IS AND ALWAYS WILL BE INEVITABLE, BUT EVERYTHING IS RELATIVE, AND ALL THE MOMENTS AND TIMES IN YOUR LIFE WILL COME BACK AROUND AGAIN, YOU JUST MIGHT FIND YOURSELF ON THE OTHER SIDE OF THE COIN. THINGS ARE ALWAYS CHANGING, AS FAST AS EVERYTHING STAYS THE SAME.

12 13

Jessie, 27 yearsDental Hygienist

Seattle, WA

IT STILL IN SOMEWAY COGNATE. EVERYTHING CONNECTS TOGETHER IN. LOOK AT HOW THINGS ARE DIFFERENT YET SOMEHOW EVERYTHING

TO FORM THE BALANCE OF LIFE, TO MAINTAIN STRUCTURE. CHANGE IS

1750

1800

1850

1900

1950

1999

2150

2050

[01] World Population, 1750–2150 (estimated) , total numbers.

[02] World Population, in 1750 and 2150 (estimated) , percentual distribution.

98

NORTHERN AMERICA

ASIA

L ATIN AMERICA

AFRICA

EUROPE

Population in 1750

Population in 2150

IN MARCH 2008, THE WORLD’S POPULATION [THE TO-TAL NUMbER OF HUMANS ON EARTH AT A GIVEN TIME] IS bELIEVED TO HAVE REACHED OVER 6.6 bILLION. IN LINE WITH POPULATION PROjECTIONS, THIS FIGURE CONTIN-UES TO GROW AT RATES THAT WERE UNPRECEDENTED bEFORE THE 20TH CENTURY, ALTHOUGH THE RATE OF INCREASE HAS ALMOST HALVED SINCE ITS PEAk, WHICH WAS REACHED IN 1963, OF 2.2 PERCENT PER YEAR. THE WORLD’S POPULATION, ON ITS CURRENT GROWTH TRA-jECTORY, IS ExPECTED TO REACH NEARLY 9 bILLION bY THE YEAR 2050.

IF YOU HAVE A DREAM, FOLLOW THAT DREAM. PERHAPS YOU WILL FAIL. PERHAPS I WILL FAIL TOO. DOES THAT MATTER SO MUCH IF YOU ENJOY YOURSELF, IF YOU MEET NEW FRIENDS AND FIND NEW PATHS? TOO MANY OF US LIVE OUR LIVES IN THE ABSENCE OF RISK, LACKING CURIOUSITY, STUCK IN ROUTINES, MATERIALLY WEALTHY BUT EMO-TIONALLY DRAINED. YET I WOULD ARGUE THAT IS ONLY THROUGH RISK THAT MANKIND ADVANCES.

was still weak and told that I would likely remain that way permanently. The multinational environment, which I knew so well, seemed an unlikely future. I also knew that I did not really want to work for anyone else again. Too much time is wasted at work on politics, bureau-cracy, indecision and fear. Through the summer I thought a lot about the future, without really having a clear idea what that future might be. I had already de-cided to again spend the winter in Thailand so I began turning my thoughts to ways in which I could monetise my time there. I had few illusions that it would be easy but I also seemed to have an inner calm that was telling me to take some risks and go for it. But go for what? I have no artistic talent. As a child at school I blushed with embarrassment at my complete lack of skills. Yet, though I lack the skills of an artist I am, even so, a cre-ative person. I also happen to be a big fan of contempo-rary art. Initially to do little more than amuse myself, I began to use Google to research the contemporary art market in Thailand. What I found was interesting. Why so? Ironically, because I found nothing. There was and is almost no information about Thai contemporary art on the internet. This led me to my first conclusion, namely that I had perhaps spotted a gap in the market, a niche that I might be able to exploit. To break into the art market in Europe would take years. Maybe, just maybe I could break into the Thai market instead. The challenge now was to see if there might be a demand for Thai art and to see if I could find any Thai art. I moved from Google to eBay.

15 Global warming is the increase in the average tem-perature of the Earth’s near-surface air and oceans since the mid-twentieth century and its projected continuation. The average global air temperature near the Earth’s surface increased 0.74 ± 0.18 °C (1.33 ± 0.32 °F) during the hundred years ending in 2005. The Intergovernmental Panel on Climate Change (IPCC) concludes “most of the observed increase in glob-ally averaged temperatures since the mid-twentieth century is very likely due to the observed increase in anthropogenic greenhouse gas concentrations via the greenhouse effect. Natural phenomena such as so-lar variation combined with volcanoes probably had a small warming effect from pre-industrial times to 1950 and a small cooling effect from 1950 onward. These basic conclusions have been endorsed by at least thirty scientific societies and academies of science, including all of the national academies of science of the major industrialized countries. While individual sci-entists have voiced disagreement with some findings of the IPCC, the overwhelming majority of scientists working on climate change agree with the IPCC’s main conclusions. Climate model projections summarized by the IPCC indicate that average global surface tem-perature will likely rise a further 1.1 to 6.4 °C (2.0 to 11.5 °F) during the twenty-first century. The range of values results from the use of differing scenarios of future greenhouse gas emissions as well as models with differing climate sensitivity. Although most stud-ies focus on the period up to 2100, warming and sea level rise are expected to continue for more than a thousand years even if greenhouse gas levels are sta-

[08] Ef fects of global warming. Assessment Repor t by the Intergovern-mental Panel on Climate Change, 2007.

GL ACIER RETREAT AND DISAPPEARANCE

DESTAbIL IzATION OF LOCAL CLIMATES

INCREASED EVAPORATIONEx

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SHUTDOWN OF THERMOHALINE CIRCUL ATION

SEA LEVEL RISE

TEMPERATURE RISE

RETREAT OF SEA ICE

NORTHWEST PASSAGE

METHANE RELEASE FROM HyDRATES

CARbON CyCLE FEEDbACkS

ETHANE RELEASE FROM MELTING PERMAFROST PEAT bOGS

MORE FOREST FIRES

MOUNTAIN EROSION

FORESTS ExTINCTION

DESERTIFICATION

ANIMAL ExTINCITION

WATER SCARCITy

HU

MA

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INCREASE IN MIGRATION

MORTALITy INCREASE

SPREAD OF DISEASE

LESS ECOLOGICAL PRODUCTIV ITy

MORE DEVELOPMENT

ECONOMIC

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TRANSPORT

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31Rami_32Music ProducerLos Angeles, CA

THE TERM "GLObAL WARMING" IS A SPECIFIC Ex-AMPLE OF GLObAL CLIMATE CHANGE. THE TERM CLIMATE CHANGE CAN ALSO REFER TO OTHER PERI-ODS OF OVERALL TEMPERATURE CHANGE SUCH AS GLObAL COOLING. IN COMMON USAGE, THE TERM GLObAL WARMING REFERS TO THE WARMING IN RE-CENT DECADES AND ITS PROjECTED CONTINUATION, AND IMPLIES A HUMAN INFLUENCE.

bilized. The delay in reaching equilibrium is a result of the large heat capacity of the oceans. Increas-ing global temperature will cause sea level to rise, and is expected to increase the intensity of extreme weather events and to change the amount and pat-tern of precipitation. Other effects of global warming include changes in agricultural yields, trade routes, glacier retreat, species extinctions and increases in the ranges of disease vectors. Some scientific un-certainties remain, including the amount of warming expected in the future, and how warming and related changes will vary from region to region around the globe. Most national governments have signed and ratified the kyoto Protocol aimed at reducing green-house gas emissions, but there is ongoing political and public debate worldwide regarding what, if any, action should be taken to reduce or reverse future warming or to adapt to its expected consequences.] Effects The predicted effects of global warming on the environment and for human life are numerous and varied. It is generally difficult to attribute spe-cific natural phenomena to long-term causes, but some effects of recent climate change may already be occurring. Rising sea levels, glacier retreat, Arctic shrinkage, and altered patterns of agriculture are cit-ed as direct consequences, but predictions for sec-ondary and regional effects include extreme weather events, an expansion of tropical diseases, changes in the timing of seasonal patterns in ecosystems, and drastic economic impact.] outcome Projected climate changes due to global warming have the potential to lead to future large-scale and possibly

irreversible effects at continental and global scales. The likelihood, magnitude, and timing is uncertain and controversial, but some examples of projected climate changes include significant slowing of the ocean circu-lation that transports warm water to the North Atlantic, large reductions in the Greenland and West Antarctic Ice Sheets, accelerated global warming due to car-bon cycle feedbacks in the terrestrial biosphere, and releases of terrestrial carbon from permafrost regions and methane. The probability of one or more of these changes occurring is likely to increase with the rate, magnitude, and duration of climate change. Addition-ally, the United States National Academy of Sciences has warned, “greenhouse warming and other human alterations of the earth system may increase the pos-sibility of large, abrupt, and unwelcome regional or global climatic events. Future abrupt changes cannot be predicted with confidence, and climate surprises are to be expected. The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warming (1 to 3 °C), changes are ex-pected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to re-duce the benefits from smaller warming) in all regions. Developing countries are expected to be especially vulnerable to reduced economic growth as a result of warming. Most of the consequences of global warm-ing would result from one of three physical changes: sea level rise, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of

the century.] Causes The Earth’s climate changes in response to external forcing, including variations in its orbit around the Sun (orbital forcing), volcanic eruptions, and atmospheric greenhouse gas concen-trations. The detailed causes of the recent warming remain an active field of research, but the scientific consensus is that the increase in atmospheric green-house gases due to human activity caused most of the warming observed since the start of the industrial era. This attribution is clearest for the most recent 50 years, for which the most detailed data are available. One such hypothesis proposes that warming may be the result of variations in solar activity. None of the effects of forcing are instantaneous.] Regional The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warm-ing (1 to 3 °C), changes are expected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to reduce the benefits from smaller warming) in all regions. Developing countries, unfortunatly, are expected to be especially vulnerable to reduced economic growth as a result of warming.] Conclusion Most of the consequences of global warming would result from one of three physical changes: sea level rise, ice cap melting, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of the century. The probability in the future of one or more of these changes occur-ring is likely to increase with the rate, magnitude, and duration of climate change.]

23

>> WHAT WOULD YOU DO IF YOU KNEW YOU COULD NOT FAIL?

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CLIMATE MODEL PROjECTIONS INDICATE THAT AVERAGE GLObAL SURFACE TEMPERATURE WILL LIkELY RISE A FURTHER 1.1 TO 6.4°C DURING THE TWENTY-FIRST CENTURY. THE RANGE OF VALUES RESULTS FROM THE USE OF DIFFERING SCENARIOS OF FUTURE GREENHOUSE GAS EMISSIONS AS WELL AS MODELS WITH DIFFER-ING CLIMATE SENSITIVITY. THE DELAY IN REACHING EqUILIbRIUM IS A RESULT OF THE LARGE HEAT CAPACITY OF THE OCEANS.]

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IN MARCH 2008, THE WORLD’S POPULATION [THE TO-TAL NUMbER OF HUMANS ON EARTH AT A GIVEN TIME] IS bELIEVED TO HAVE REACHED OVER 6.6 bILLION. IN LINE WITH POPULATION PROjECTIONS, THIS FIGURE CONTIN-UES TO GROW AT RATES THAT WERE UNPRECEDENTED bEFORE THE 20TH CENTURY, ALTHOUGH THE RATE OF INCREASE HAS ALMOST HALVED SINCE ITS PEAk, WHICH WAS REACHED IN 1963, OF 2.2 PERCENT PER YEAR. THE WORLD’S POPULATION, ON ITS CURRENT GROWTH TRA-jECTORY, IS ExPECTED TO REACH NEARLY 9 bILLION bY THE YEAR 2050.


THE TERM "GLObAL WARMING" IS A SPECIFIC Ex-AMPLE OF GLObAL CLIMATE CHANGE. THE TERM CLIMATE CHANGE CAN ALSO REFER TO OTHER PERI-ODS OF OVERALL TEMPERATURE CHANGE SUCH AS GLObAL COOLING. IN COMMON USAGE, THE TERM GLObAL WARMING REFERS TO THE WARMING IN RE-CENT DECADES AND ITS PROjECTED CONTINUATION, AND IMPLIES A HUMAN INFLUENCE.

bilized. The delay in reaching equilibrium is a result of the large heat capacity of the oceans. Increas-ing global temperature will cause sea level to rise, and is expected to increase the intensity of extreme weather events and to change the amount and pat-tern of precipitation. Other effects of global warming include changes in agricultural yields, trade routes, glacier retreat, species extinctions and increases in the ranges of disease vectors. Some scientific un-certainties remain, including the amount of warming expected in the future, and how warming and related changes will vary from region to region around the globe. Most national governments have signed and ratified the kyoto Protocol aimed at reducing green-house gas emissions, but there is ongoing political and public debate worldwide regarding what, if any, action should be taken to reduce or reverse future warming or to adapt to its expected consequences.] Effects The predicted effects of global warming on the environment and for human life are numerous and varied. It is generally difficult to attribute spe-cific natural phenomena to long-term causes, but some effects of recent climate change may already be occurring. Rising sea levels, glacier retreat, Arctic shrinkage, and altered patterns of agriculture are cit-ed as direct consequences, but predictions for sec-ondary and regional effects include extreme weather events, an expansion of tropical diseases, changes in the timing of seasonal patterns in ecosystems, and drastic economic impact.] outcome Projected climate changes due to global warming have the potential to lead to future large-scale and possibly

irreversible effects at continental and global scales. The likelihood, magnitude, and timing is uncertain and controversial, but some examples of projected climate changes include significant slowing of the ocean circu-lation that transports warm water to the North Atlantic, large reductions in the Greenland and West Antarctic Ice Sheets, accelerated global warming due to car-bon cycle feedbacks in the terrestrial biosphere, and releases of terrestrial carbon from permafrost regions and methane. The probability of one or more of these changes occurring is likely to increase with the rate, magnitude, and duration of climate change. Addition-ally, the United States National Academy of Sciences has warned, “greenhouse warming and other human alterations of the earth system may increase the pos-sibility of large, abrupt, and unwelcome regional or global climatic events. Future abrupt changes cannot be predicted with confidence, and climate surprises are to be expected. The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warming (1 to 3 °C), changes are ex-pected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to re-duce the benefits from smaller warming) in all regions. Developing countries are expected to be especially vulnerable to reduced economic growth as a result of warming. Most of the consequences of global warm-ing would result from one of three physical changes: sea level rise, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of

the century.] Causes The Earth’s climate changes in response to external forcing, including variations in its orbit around the Sun (orbital forcing), volcanic eruptions, and atmospheric greenhouse gas concen-trations. The detailed causes of the recent warming remain an active field of research, but the scientific consensus is that the increase in atmospheric green-house gases due to human activity caused most of the warming observed since the start of the industrial era. This attribution is clearest for the most recent 50 years, for which the most detailed data are available. One such hypothesis proposes that warming may be the result of variations in solar activity. None of the effects of forcing are instantaneous.] Regional The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warm-ing (1 to 3 °C), changes are expected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to reduce the benefits from smaller warming) in all regions. Developing countries, unfortunatly, are expected to be especially vulnerable to reduced economic growth as a result of warming.] Conclusion Most of the consequences of global warming would result from one of three physical changes: sea level rise, ice cap melting, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of the century. The probability in the future of one or more of these changes occur-ring is likely to increase with the rate, magnitude, and duration of climate change.]

23

Global warming is the increase in the average tem-perature of the Earth’s near-surface air and oceans since the mid-twentieth century and its projected continuation. The average global air temperature near the Earth’s surface increased 0.74 ± 0.18 °C (1.33 ± 0.32 °F) during the hundred years ending in 2005. The Intergovernmental Panel on Climate Change (IPCC) concludes “most of the observed increase in glob-ally averaged temperatures since the mid-twentieth century is very likely due to the observed increase in anthropogenic greenhouse gas concentrations via the greenhouse effect. Natural phenomena such as so-lar variation combined with volcanoes probably had a small warming effect from pre-industrial times to 1950 and a small cooling effect from 1950 onward. These basic conclusions have been endorsed by at least thirty scientific societies and academies of science, including all of the national academies of science of the major industrialized countries. While individual sci-entists have voiced disagreement with some findings of the IPCC, the overwhelming majority of scientists working on climate change agree with the IPCC’s main conclusions. Climate model projections summarized by the IPCC indicate that average global surface tem-perature will likely rise a further 1.1 to 6.4 °C (2.0 to 11.5 °F) during the twenty-first century. The range of values results from the use of differing scenarios of future greenhouse gas emissions as well as models with differing climate sensitivity. Although most stud-ies focus on the period up to 2100, warming and sea level rise are expected to continue for more than a thousand years even if greenhouse gas levels are sta-

[08] Ef fects of global warming. Assessment Repor t by the Intergovern-mental Panel on Climate Change, 2007.

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KINDERGARTEN

AROUND AGE SIX

TEENAGER

YOUNG ADULT

MIDLIFE CRIS IS

OLD AGE

According to Erik Erikson (1902-1994) we develop in psychosocial stages. Psychosocial development as articulated by Erik Erikson describes eight devel-opmental stages through which a healthily developing human should pass from infancy to late adulthood. In each stage the person confronts, and hopefully mas-ters, new challenges. Each stage builds on the suc-cessful completion of earlier stages. The challenges of stages not successfully completed may be expected to reappear as problems in the future. He emphasized developmental change throughout the human life span. In Erikson’s theory, eight stages of development unfold as we go through the life span. Each stage con-sists of a crisis that must be faced. According to Erik-son, this crisis is not a catastrophe but a turning point of increased vulnerability and enhanced potential. The more an individual resolves the crises successfully, the healthier development will be. Favourable outcomes of each stage are sometimes known as “virtues”, a term used, in the context of Eriksonian work, as it is applied to medicines, meaning “potencies.” Erikson’s research suggests that each individual must learn how to hold both extremes of each specific life-stage challenge in tension with one another, not rejecting one end of the tension or the other. Only when both extremes in a life-stage challenge are understood and accepted as both required and useful, can the optimal virtue for that stage surface.

[05] The Erikson life-stage vir tues, accquired in dif ferent developmental stages of life.

14

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[06] Life expectancy in USA, by bir th. National Center of Health Statistics.

47.368.269.770.873.775.475.876.176.576.776.77777.277.377.577.8

1900

2004

+++++++++

17

With the increase in longevity, it's no accident that ages for life events such as marriage or having a child are inching upward. Centuries ago, when 40 was con-sidered old age, people married as teens to make sure they lived long enough to raise children. Living twice that long alters our perceptions. It opens up a series of opportunities for living that didn’t exist before. It’s revo-lutionized how we think about these various life stages. The definition of ‘old’ is getting higher and higher. Age used to be an important way to organize life, but now, the picture is changing.] People are living longer and often staying healthy into their 70s and 80s; many go back to school and start second careers. Mean-while, more young college graduates are delaying entry into a tight job market. Some opt for grad school or public service; many put off marriage and family. And children seem to grow up faster, trading toys for cell-phones and buddy lists while still in elementary school. At the same time, today’s children seem to grow up faster. Experts such as Cleveland child psychologist Sylvia Rimm say kids are not only acting older but also maturing earlier. The signs of adolescence are appear-ing at earlier ages, from physical puberty to earlier dating. Age has seemed to change, life seems less linear now and people are more going back and forth in their life stages. In many ways, the confluence of these threads has made a person’s chronological age less relevant. And those new attitudes about age are spawning laws and policies that reflect such changes.

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SCIENTISTS DO AGREE THAT 01. GLObAL AVER-AGE TEMPERATURE IS AbOUT 0.6°CELSIUS HIGHER THAN IT WAS A CENTURY AGO// 02. ATMOSPHERIC LEVELS OF CARbON DIOxIDE (CO2) HAVE RISEN bY AbOUT 30 PERCENT OVER THE PAST 200 YEARS// AND 03. CARbON DIOxIDE, LIkE WATER VAPOR, IS A GREENHOUSE GAS WHOSE INCREASE IS LIkELY TO WARM THE EARTH’S ATMOSPHERE.]

CHANGE ON EARTH/ GLOBAL WARMING

[09] Global Warming, in Celsius, 1860–2000. Compiled by the Climatic Research Unit of the University of East Anglia and Center of the Uk.

annual avERaGE

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CLIMATE MODEL PROjECTIONS INDICATE THAT AVERAGE GLObAL SURFACE TEMPERATURE WILL LIkELY RISE A FURTHER 1.1 TO 6.4°C DURING THE TWENTY-FIRST CENTURY. THE RANGE OF VALUES RESULTS FROM THE USE OF DIFFERING SCENARIOS OF FUTURE GREENHOUSE GAS EMISSIONS AS WELL AS MODELS WITH DIFFER-ING CLIMATE SENSITIVITY. THE DELAY IN REACHING EqUILIbRIUM IS A RESULT OF THE LARGE HEAT CAPACITY OF THE OCEANS.]


n u a n c e s


07.2

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54

70 | 71I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E

n u a n c e s


In a

sen

se w

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e al

way

s c

han

gIn

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nd

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stay

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th

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me.

wh

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co

mpa

re

my

self

of

toda

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Ith

my

self

fr

om

a f

ew y

ear

s ag

o, I

obs

erve

th

at I’

m t

he

sam

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t m

or

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he

sam

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ho

w I

thIn

k an

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s In

for

mat

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has

ch

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way

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pret

eve

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n u a n c e s



n u a n c e s


B O O K 2 p e r s o n a l c h a n g e

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0


n u a n c e s



n u a n c e s



n u a n c e s


82 | 8 3I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E

n u a n c e s

B O O K 3 f e a r o f c h a n g e



n u a n c e s



n u a n c e s



n u a n c e s



n u a n c e s

My love for you is everchanging.

My love for you is everchanging.

My love for you is ever hanging.


My love for you is ever handing.




My love for you is ever hending.

My love for you is ever ending.

My love for you is neverending.

My love for you is neverending.

My love for you is ever ending.

I ns t ruc to r KE LLY CONLE Y

Course GR APHIC DE SIGN 3

T i t l e CARE FOR CHILDRE N

Format BROCHURE / P OS TE RS / BOT TLE S /

C D / T ICKE TS / BANNE RS

Fonts GOTHIC 13

Childhood poverty is a pressing and scandalous topic,

particularly because it occurs in one of the richest

countries in the world. To give the topic more public

impact I decided to build the conference around a con-

cert, modelled after the world aid concerts for Africa

in the 1980s, with prominent rock stars who are also

politically active. It was furthermore important to me to

give voice to the people most affected by childhood

poverty: the children themselves. I decided to include

children’s drawings to articulate their dreams of a bet-

ter world, as well as large pictures of them to evoke

compassion for the subject. One key challenge of this

project for me was to fi nd a way to communicate a po-

tentially depressing topic in an engaging and lively way.

04

CONFERENCE

AID CONCERT

NON-PROFIT

Care for Children

O b je c t i ve

App ro ac h

Is it possible to make the world a better place through

design? What are the elements of socially-conscious

design that lead the viewer to take action? We were

asked to pick a topic with a social cause, and design

the collateral for a conference, that has an emphasis

on effecting change.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

AAARRRE E E

EEEMMMPPPLLL

OOE E E

AAARRROOO

SSSTOMOMOM

EO O O

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YEAR

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MPL

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TOM

O D YE

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RE E

MPL

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TOM

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ORYE

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RE E

MPL

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TOM

DOR

YEAR

WER

92 | 9 3I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N

give

F i g . 0 6

12


g i v e

9 4 | 9 5I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N


JANE IS SICK. SHE HAS HAD EPILEPTIC FITS SINCE SHE WAS THREE YEARS OLD. HER PARENTS FEAR THAT ONE DAY HELP WILL ARRIVE TOO LATE FOR THEIR DAUGHTER. ESPECIALLY NOW THAT THEY CAN’T AFFORD THE RIGHT KIND OF HEALTH INSURANCE ANYMORE.

EMILY IS TWO YEARS OLDER THAN HER CLASSMATES. SHE WILL PROBABLY FAIL THIS YEAR AGAIN. AND NOBODY CARES. NO ONE EVER HELPED HER WITH HER HOMEWORK BEFORE. NO ONE IS GOING TO HELP HER THIS YEAR.

g i v e

9 6 | 97I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N


g i v e



10 0 | 101I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N


g i v e

102 | 10 3I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N

Brit

ney

{7} M

onro

e, L

A

10 4 | 10 5I M P L I C AT I O N S

g i v e

t i t l e C A R E F O R C H I L D R E N



g i v e



110 | 111I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N

g i v e


g i v e




Nearly 15 million children in the United States,

21% of all children, live in families with incomes

below the federal poverty level. Research

shows that, on average, families need an in-

come of about twice that level to cover basic

expenses. Poverty can impede children’s ability

to learn and contribute to social, emotional, and

behavioral problems. Poverty also can contrib-

ute to poor health and mental health.

Chi ldhood pove r t y in the US+

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

g i v e


BRANDING

TRANSPORT

FAMILY

Going for a Ride

05

O b je c t i ve

App ro ac h

To create a brand system for transport with multiple

applications. What would a taxi of the 21st century

look like? What features would it have? The project

was to cover the design of the physical vehicle, and the

naming of and branding for the campaign.

In many metropoles, there is an unserved market of

families and travelers that would appreciate a taxi that

is comfortable, family-friendly and environmentally

conscious. The taxi will be first introduced in London

for the 2012 Olympic Games, and subsequently rolled

out in other metropoles around the world. The actual

vehicle is based on the existing “black cab” in London,

but built to be more environmentally friendly and in a

white/silver finish. It is accompanied with a car seat

for children and has ample space for strollers or wheel-

chairs. The new cab is introduced through an exten-

sive advertising campaign targeting billboards, public

transport and merchandise.

I ns t ruc to r TOM M CNULT Y

Course IDE NTIT Y 2

T i t l e GO CAB LONDON

Format BR AND GUIDE

Fonts DIN / HE LVE TICA NEUE

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

City slick

I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E 120 | 121

F i g . 07

12

YOUNG

LONDON

FAMILY

GREEN

MoodboardGoCab


122 | 123I M P L I C AT I O N S

C i t y S l i c k

t i t l e G O I N G F O R A R I D E


G o C a b Ye l l o w / P M S 3 96 5 c

////////////

G o C a b Te a l / P M S 5 49 3 c

////////////

G o C a b G r e y / P M S 4 31c

////////////

G o C a b B r o w n / P M S 4 0 2c

////////////

G o C a b O r a n g e / P M S 718 c

////////////

G o C a b Bl a c k / P M S Bl a c k

////////////

DIN r e gu l ar

A B C D E G H J K L M N O P Q R S T U V W X Y Z


LOGO

TAGLINE

TYPEFACE

COLORS

124 | 125I M P L I C AT I O N S

C i t y S l i c k



126 | 127I M P L I C AT I O N S

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I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E

Go Cab ! Go London

C i t y S l i c k


128 | 12 9I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E

C i t y S l i c k


13 0 | 131I M P L I C AT I O N S

C i t y S l i c k



132 | 13 3I M P L I C AT I O N S

C i t y S l i c k



7562

13 4 | 13 5I M P L I C AT I O N S

C i t y S l i c k



Note Card

Melanie Hunter p 020.8874.2948 /// e [email protected]

84 Eccleston Square /// London SW1V 1PXPublic Relations


84 Eccleston Square /// London SW1V 1PX


84 Eccleston Square /// London SW1V 1PX

Public Relations

Public Relations

//4.6

Optional Corporate Business Cards / Back Side // 70%

These are optional back sides of the business card.

Slightly different, they are still part of the same family.

It is possible for the employees to pick the back side of

their business card of one of these three options (four,

including the business card on the previous pages.) It is

thinkable to produce a set of all four cards if desired.

Back // optional

Back // optional

Back // optional

33 STATIONERY

Melanie Hunter p 020.8874.2948 /// e [email protected] 84 Eccleston Square /// London SW1V 1PX Public Relations

DRIVER’S CARD

EXECUTIVE CARD

BACKSIDE OPTIONS

13 6 | 137I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E

Timothy Robson [email protected] Driver since ‘95//No 37458702

020.8874.2948

WE CONNECT LONDON

7562

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13 8 | 13 9

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T im o t hy Ro b s o n

call 020.8874.2948 [email protected] since ‘95//No 37458702

Timothy Robson

L O N D O N C I T Y D I S T R I C T C O U N C I L

V E H I C L E R E G . N O M 1 B O C

E X P I R Y D A T E 1 s t D E C 11

M A X . P A S S E N G E R S 5

H1244 4 2 6 9 5 8 0 5 8 7 3 8 5 6 9

01/09

DENISE L . JOHANSON

01/11VALIDFROM

VALIDTHRU

7562

7562

14 0 | 141I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E

C i t y S l i c k

BRUCE LEEActor

Always be yourself, express yourself, have faith in yourself, do not go out and look for a successfull personality and duplicate it.

BRUCE LEEActor

RE- BR ANDING

ORG ANIC

FE MALE

O b j e c t i v e

A p p r o a c h

Coffee Blossoms

06

I ns t ruc to r NICOLE FLORE S

Course PRINT 3

T i t l e YUBAN

Format BR AND GUIDE

Fonts DIN / JAME S FA JAR DO

Recently the coffee market has seen new brands

emerge with a lot of attention to detail. The Yuban

brand has been around for many years and needed a

fresh, modern look to attract younger, and in particular

female customers. At the same time, the design need-

ed to preserve the core elements of the Yuban brand.

In my research I discovered that Yuban started out

over 100 years ago with a special roast for Christmas

(hence the name). The coffee cans stood out on the

supermarket shelves in their dark colors and boldness.

I wanted to keep and even enhance these aspects of

the design. To attract a younger and more feminine cli-

entele, as well as to emphasize the organic quality of

the coffee, I used a hand drawn flower as the main

graphic. The bright colors serve as a contrast against

the dark background, and the color variety allows for

differentiating the assorted flavors. Since the change

from the old design is quite drastic, multiple poster

campaigns were created to introduce and make peo-

ple familiar with the new design.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

14 4 | 14 5I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S

3 dark dark

F i g . 0 8

12

YOUNG

URBAN

FEMININE

ORGANIC

MoodboardYuban


14 6 | 147I M P L I C AT I O N S

d a r k

t i t l e C O F F E E B L O S S O M S

YUBANCOFFEE

YUBANCOFFEE

YUBANCOFFEE

YYYYYYYYYYYYYYYYUUUUUUUUUUUUUUUUBBBBBBBBBBBBBBBBBBBBAAAAAAAAAAAAAAAAAAAANNNNNNNNNNNNCCCCCCCCCCCCCCCCCCCCCCCCOOOOOOOOOOOOOOOOOOOOFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFEEEEEEEEEEEEEEEE

YUBANCOFFEE

yuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyubababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababannnnnnnnn

yuyuyuyuyuyuyuyuyuyuyubabababababababababababababababababababababababababababababababan

YUBANCOFFEE


14 8 | 14 9I M P L I C AT I O N S

d a r k



Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

James Fajardo

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }

DIN regular

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }

Yuban-TanPMS 467cCMYK 9/15/34/0RGB 231/210/173

Yuban-YellowPMS 121cCMYK 0/11/69/0RGB 255/222/108

Yuban-OrangePMS 021cCMYK 0/53/100/0RGB 247/143/30

Yuban-PinkPMS 467cCMYK 9/95/100/0RGB 238/50/36

Yuban-RedPMS 485cCMYK 0/95/100/0RGB 238/50/36

Yuban-BrownPMS 536cCMYK 33/80/89/33RGB 129/61/39

Yuban-BlackPMS Black 5cCMYK 0/40/22/87RGB 71/112/43

15 0 | 151I M P L I C AT I O N S

d a r k



YUBAN YUBAN Decaffeinated YUBAN Original Flavor



152 | 15 3I M P L I C AT I O N S

d a r k


15 6 | 157I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S

d a r k


15 8 | 159I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S


16 0 | 161I M P L I C AT I O N S

d a r k



Organic Coffee


Organic Coffee

16 4 | 16 5I M P L I C AT I O N S

d a r k


INFO GRAPHICS

STATISTICS

BUMPER STICKERS

CAR POLITICS

07

Objec t i ve

Approach

Ins t ruc to r MARK ROUDE BUSH / G EORG E SL AVIK

Course INFORMATION DE SIGN

T i t l e LE T ME TE LL YOU

Format BOOK

Fonts BA SKE RVILLE / CL ARE NDON / FRUTIG E R

To tell a story based on numbers, charts and statistics.

The challenge was to collect data over the course of

several months and generate enough statistical material

to create a narrative based around a series of charts.

The charts needed to be interesting to look at but also

encapsulate multiple layers of information.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

Being from Europe, I am still amazed at how differently

cars are perceived in the U.S., and especially how

bumper stickers are used to express one’s opinion on

politics, radio stations or other assorted topics. For

this project I conducted a street survey in Berkeley,

counting and categorizing bumper stickers in three dif-

ferent geographical areas. Since I previously worked

as a sociologist, I am familiar with techniques for inter-

preting statistics and I extracted as much information

out of the topic and the data as possible. For example,

one topic I explored is whether there is a correlation

between certain areas and the predominance (or ab-

sence) of bumper stickers, as well as the categories

they belong to like humor or politics.

16 6 | 167I M P L I C AT I O N S t i t l e C A R P O L I T I C S

display

F i g . 0 9

12

TOTAL W / ST ICKERSAVER AGE

11429%

29%

21%

37127

145 30

29% OF THE 114 C ARS ON RUSSELL ST HAVE ST ICKERS


170 | 171I M P L I C AT I O N S t i t l e C A R P O L I T I C S

d i s p l a y


RUSSELL STREET

Grandmother against war.

UNIVERSITY LOT

Thank you for not breeding. Support animal rescue and adoption. Stop animal cruelty.

ACTON STREET

I want to be just like barbie. That bitch has everything.

E xce rp t o f s t i c ke rs+


d i s p l a y



d i s p l a y



d i s p l a y


S A N F R A N C I S C OO A K L A N D

B E R K E L E YM A R I N

N

B E R K E L E Y

ELMWOOD D IST R I C T UPPER M IDDLE CL ASS

C EN T R AL B ERKELE Y LOWER M IDDLE CL ASS YOUNG FAMIL I ES

C A M P U S D I S T R I C T STUDENTS AND FACULT Y

02 | 0 3I M P L I C AT I O N S t i t l e C A R P O L I T I C S


18 0 | 181I M P L I C AT I O N S t i t l e C A R P O L I T I C S

d i s p l a y

RUSSELL ST

POLIT IC AL 30 %

PEACE 22%

IDENTIT Y 22%

HOBBY 0 8%

HUMOR 09%

OTHER 09%

AC TON ST

POLIT IC AL 35%

PEACE 10 %

IDENTIT Y 16%

HOBBY 19%

HUMOR 09%

OTHER 10 %

UNDERHILL LOT

POLIT IC AL 28%

PEACE 0 8%

IDENTIT Y 38%

HOBBY 0 4%

HUMOR 17%

OTHER 0 4%

TOTAL

POLIT IC AL 34%

PEACE 07%

IDENTIT Y 25%

HOBBY 12%

HUMOR 12%

OTHER 09%


182 | 18 3I M P L I C AT I O N S t i t l e C A R P O L I T I C S

d i s p l a y

BERNARD JAFFEI love Huckabees

When you get the blanket thing you can relax because everything you could ever want or be you already have and are.

BERNARD JAFFEI love Huckabees

FOOD

CHEMISTRY

GENETICS

O b je c t i ve

App ro ac h

Food Future

08

I ns t ruc to r ARIE L GRE Y

Course T YP OGR APHY 3

T i t l e THE RE AL THING

Format BOOK

Fonts C E NTAUR / OCRBE / E MPE ROR E IGHT

To make a book that uses typography to explore a con-

cept or social topic. The book should be at least thirty

pages in length and include a mixture of text, photog-

raphy and charts.

This book takes a close look at what we eat and how

our food is more and more being altered and “en-

hanced”. There is such a variety in food nowadays that

many people would not even recognize what their par-

ents and grandparents ate. We can observe many food

trends today, some even contradicting each other. On

the one hand, there is a subculture which worships

food as with gourmet and haute cuisine trends, or sees

food as art rather than an end in itself. And on the other

hand, food is becoming less and less natural through

genetic modification, with the addition of artificial sub-

stances and through other “enhancements.” Our food

seems to become more and more science-driven, with

unknown effects on us, the consumers. If you believe

the saying “you are what you eat,” we might no longer

know exactly who we are.

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

F i g . 10

12

angstangst

I M P L I C AT I O N S t i t l e F O O D F U T U R E 18 6 | 187

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �


� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

19 0 | 191I M P L I C AT I O N S t i t l e F O O D F U T U R E

a n g s t


a n g s t

I M P L I C AT I O N S t i t l e F O O D F U T U R E 192 | 19 3


19 4 | 19 5I M P L I C AT I O N S t i t l e F O O D F U T U R E

a n g s t

[ fig. 04 ııı toxicity scale: food flavoring agents

� � � � � � � � � � � � � � � � � � � � � � � � � � � �

flavoring agents that have simple chemical structures and efficient modes of metabolism which would suggest a low order of toxicity by the oral route.

class i class ii class iii

flavoring agents that have structural features that are less innocuous than those of substances in class i but are not suggestive of toxicity. substances in this class may contain reactive functional

� � � � � � � � � � � � � � � � � ��

� � � � � � � � � � � � � � � � � � � � � � � � � � �

groups.flavoring agents that have structural features that permit no strong initial presumption of safety, or may even suggest

»»

it quietly sl ipped into our markets and supermarkets

without proper labels, and without having passed adequate safety tests


I M P L I C AT I O N S 19 6 | 197t i t l e F O O D F U T U R E

a n g s t

Something we entrust our lives to—our food

supply—is being redesigned faster than any of us realize,

and scientists have hardly begun to test the long-term

safety of these new foods. The genetic engineering of our

food is the most radical transformation in our diet since

the invention of agriculture 10,000 years ago. During

these thousands of years, people have used the naturally

occurring processes of genetics to gradually shape wild

plants into tastier, more nutritious, and more attrac-

tive food for all of humanity. Until very recently, these

evolved food plants were part of the common heritage

of humankind. Food plants have been available to all in

conveniently small and storable packets, seeds,for distri-

bution, trade, and warehousing. In fact, selective plant

breeding has brought food security, greater nutrition, and

increased biodiversity, while at the same time protecting

food systems against hard times, such as natural or eco-

nomic disasters.

In the new kind of agriculture, a handful of giant

corporations have placed patents on food plants, giving

them exclusive control over that food. These transna-

tional corporations have altered the minute life-processes

of food plants by removing or adding genetic material in

ways quite impossible in nature. And like our nightmare

vision of the untested airplane, genetically altered food is

being quietly slipped into our markets and supermarkets

without proper labels, and without having passed ade-

quate safety tests. Furthermore, genetically engineered

differentiation

pluripotent

unipotent

cultivation

soybean

maize

cotton

canola/rape seed

potatoes

squash

papaya

fig 01 ııı major gm-food crops worldwide ]


19 8 | 19 9t i t l e F O O D F U T U R E

a n g s t

I M P L I C AT I O N S


20 0 | 201I M P L I C AT I O N S t i t l e F O O D F U T U R E

additional data required

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ABELMOSCHUSL.)2’-AMINOACETOPHENONEP-AMINOBENZOICACIDDL-(3-AMINO-3-CARBOXYPROPYL)DIMETHYLSULFONIUMCHLORIDEAMINOGLYCOSIDE3’-PHOS-PHOTRANSFERASEIIAMINOTRI(METHYLENEPHOS-PHONICACID),SODIUMSALTAMINOPEPTIDASEFROMLACTO-COCCUSLACTIS1-AMINO-2-PROPANOLAMMONIUMACETATEAMMONIUMBICARBONATEAMMONIUMCARBONATEAMMONIUMCASEINATEAMMONIUMCHLORIDEAMMONIUMCITRATE,DIBASICAMMONIUMGLUCONATEAMMONIUMHYDROXIDEAMMONIUMISOVALERATEAMMONIUMPECTINATEAMMONIUMPERSULFATEAMMONIUMPHOSPHATE,DIBASICAMMONIUMPHOSPHATE,MONOBASICAMMONIUMSULFATEAMMONIUMSULFIDEAMMONIUMSULFITEAMYLALCOHOLALPHA-AMYLASEENZYMEPREPARATIONFROMBACILLUSSTEAROTHERMOPHILUSAMYLASEFROMASPERGILLUSFLAVUSAMYLASEFROMASPERGIL-LUSNIGERAMYLASEFROMASPERGILLUSORYZAEAMYLASEFROMBACILLUSSUBTILISAMYLBUTYRATEALPHA-AMYLCINNAMALDEHYDEALPHA-AMYLCINNAMALDEHYDEDIMETHYLACETALALPHA-AMYLCINNAMYLACETATEALPHA-AMYLCINNAMYLALCOHOLALPHA-AMYLCINNAMYLFORMATEALPHA-AMYLCINNAMYLISOVALERATEAMYLDECANOATEAMYLFORMATEAMYL2-FUROATEAMYLHEPTANOATEAMYLHEXANOATE2-AMYL-5OR6-KETO-1,4-DIOXANEAMYLOCTANOATEAMYLOGLUCOSIDASEFROMRHIZOPUSNIVEUSAMYLSALICYLATEAMYRIS(AMYRISBALSAM-IFERAL.)AMYRIS,OIL(AMYRISBALSAM-IFERAL.)TRANS-ANETHOLEANGELICA(ANGELICASPP.)ANGELICAROOT(ANGELICASPP.)ANGELICAROOT,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICAROOT,OIL(ANGELICAARCHANGELICAL.)ANGELICASEED(ANGELICASPP.)ANGELICASEED,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICASEED,OIL(ANGELICAARCHANGELICAL.)ANGELICASTEM,OIL(ANGELICAARCHANGELICAL.)ANGOLAWEED(ROCCELLAFUCIFORMISACH.)ANGOSTURA,EXTRACT(GALIPEAOFFICINALISHANCOCK)ANGOSTURA(GALIPEAOFFINCI-NALISHANCOCK)

ANISE,OIL(PIMPINELLAANISUML.)ANISE(PIMPINELLAANISUML.)ANISE,STAR(ILLICIUMVERUMHOOK,F.)ANISE,STAR,OIL(ILLICIUMVERUMHOOK,F.)ANISICACIDANISOLEANISYLACETATEANISYLALCOHOLANISYLBUTYRATEANISYLFORMATEANISYLPHENYLACETATEANISYLPROPIONATEANNATTO,EXTRACT(BIXAORELLANAL.)ANNATTO,SEED(BIXAOREL-LANAL.)ANOXOMERANTHRACITECOAL,SULFONATEDBETA-APO-8’-CAROTENALAPPLEESSENCE,NATURALAPRICOTKERNEL,OIL(PRUNUSARMENIACAL.)ARABINOGALACTANL-ARABINOSEL-ARGININEARNICAFLOWERS(ARNICASPP.)ARROWROOTSTARCHARTEMISIA(ARTEMISIASPP.)ARTEMISIAEXTRACTARTEMISIAOILARTICHOKELEAVES(CYNARASCOLYMUSL.)ASAFETIDA,FLUIDEXTRACT(FERULAASSAFOETIDAL.)ASAFETIDA,GUM(FERULAAS-SAFOETIDAL.)ASAFETIDA,OIL(FERULAAS-SAFOETIDAL.)ASCORBICACIDASCORBYLPALMITATEASCORBYLSTEARATEL-ASPARAGINEASPARAGUS,SEEDANDROOT,EXTRACTASPARTAMEL-ASPARTICACIDASPERGILLUSNIGERFORFERMENTATIONPRODUCTIONOFCITRICACIDASTAXANTHINAZODICARBONAMIDEBACTERIALCATALASEFROMMICROCOCCUSLYSODEIKTICUSBAKERSYEASTEXTRACTBAKER’SYEASTPROTEINBAKER’SYEASTGLYCANBALMLEAVES,EXTRACT(MELISSAOFFICINALISL.)BALMLEAVES(MELISSAOF-FICINALISL.)BALM(MELISSAOFFICINALISL.)BALM,OIL(MELISSAOF-FICINALISL.)BALSAMFIR,OIL(ABIESBALSAMEA(L.)MILL.)BALSAMFIR,OLEORESIN(ABIESBALSAMEA(L.)MILL.)BALSAM,PERU(MYROXYLONPEREIRAEKLOTZSCH)BALSAM,PERU,OIL(MYROXYLONPEREIRAEKLOTZSCH)BASILBUSH(OCIMUMMINIMUML.)BASIL,EXTRACT(OCIMUMBASILICUML.)BASIL(OCIMUMBASILICUML.)BASIL,OIL(OCIMUMBASI-LICUML.)BASIL,OLEORESIN(OCIMUMBASILICUML.)BAY(LAURUSNOBILISL.)BAYLEAVES,SWEET,EXTRACT(LAURUSNOBILISL.)

BAYLEAVES,SWEET,OIL(LAURUSNOBILISL.)BAYLEAVES,WESTINDIAN,EX-TRACT(PIMENTAACRISKOSTEL)BAYLEAVES,WESTINDIAN,OIL(PIMENTARACEMOSA(MILL.)J.W.BAYLEAVES,WESTINDIAN,OLEORESIN(PIMENTAACRISKOSTEL)BEECHWOOD,CREOSOTE(FAGUSSPP.)BEESWAXBEESWAX,BLEACHEDBENTONITEBENZALDEHYDEBENZALDEHYDEDIMETHYLACETALBENZALDEHYDEGLYCERYLACETALBENZALDEHYDEPROPYLENEGLYCOLACETALBENZENEBENZENETHIOL2-BENZOFURANCARBOXALDEHYDEBENZOICACIDBENZOINBENZOIN,RESIN(STYRAXSPP.)BENZOPHENONEBENZOTHIAZOLEBENZOYLPEROXIDEBENZYLACETATEBENZYLACETOACETATEBENZYLALCOHOLBENZYLBENZOATEBENZYLBUTYLETHERBENZYLBUTYRATEBENZYLCINNAMATEBENZYL2,3-DIMETHYLCRO-TONATEBENZYLDISULFIDEBENZYLETHYLETHERBENZYLFORMATE3-BENZYL-4-HEPTANONEBENZYLISOBUTYRATEBENZYLISOVALERATEBENZYLMERCAPTANBENZYLMETHOXYETHYLACETALBENZYLTRANS-2-METHYL-2-BUTENOATEBENZYLMETHYLSULFIDEBENZYLPHENYLACETATEBENZYLPROPIONATEBENZYLSALICYLATEBERGAMOT,OIL(CITRUSAURANTIUML.SUBSP.BERGAMIAWRIGHTETARN.)BIOTINBIPHENYLBIRCH,SWEET,OIL(BETULALENTAL.)BIRCHTAR,OIL(BETULAPENDULAROTHANDRELATEDBETULASPP.)BISABOLENEBIS(2,5-DIMETHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)TETRASULFIDEBIS-(METHYLTHIO)METHANEBLACKBERRYBARK,EXTRACT(RUBUS,SPP.OFSECTIONEUBATUS)BLACKBERRYFRUITEXTRACTBOISDEROSE,OIL(ANIBAROSAEODORADUCKE)BOLDUSLEAVES(PEUMUSBOLDUSMOL.)BONITO,DRIEDBORAXBORICACIDBORNEOLBORNYLACETATEBORNYLBUTYRATEBORNYLFORMATEBORNYLISOVALERATE


02 | 0 3I M P L I C AT I O N S t i t l e F O O D F U T U R E

d i s p l a y

ACACIA,GUM(ACACIASENEGAL(L.)WILLD.)ACESULFAMEPOTASSIUMACETALACETALDEHYDEACETALDEHYDE,BUTYLPHENETHYLACETALACETALDEHYDEETHYLCIS-3-HEXENYLACETALACETALDEHYDEPHENETHYLPROPYLACETALACETANISOLEACETICACIDACETICANHYDRIDEACETOINACETOLEINACETONEACETONEPEROXIDESACETOPHENONEACETOSTEARIN6-ACETOXYDIHYDROTH-EASPIRANE4-ACETOXY-2,5-DIMETHYL-3(2H)-FURANONE4-(P-ACETOXYPHENYL)-2-BUTANONE4-ACETYL-6-TERT-BUTYL-1,1-DIMETHYLINDANE3-ACETYL-2,5-DIMETHYLFURAN2-ACETYL-3,(5OR6)-DIMETH-YLPYRAZINE,MIXTUREOF3-ACETYL-2,5-DIMETHYL-THIOPHENE2-ACETYL-3-ETHYLPYRAZINE3-ACETYLMERCAPTOHEXYLACETATEN-ACETYL-L-METHIONINEACETYLMETHYLCARBINYLACETATE2-ACETYL-5-METHYLFURAN2-ACETYL-3-METHYLPYRAZINE4-ACETYL-2-METHYLPYRIMIDINEACETYLPYRAZINE2-ACETYLPYRIDINE3-ACETYLPYRIDINE2-ACETYLTHIAZOLE2-ACETYL-2-THIAZOLINE3-(ACETYLTHIO)-2-METH-YLFURANACONITICACIDACROLEINACRYLAMIDE-ACRYLICACIDRESINACRYLAMIDE-SODIUMACRYLATERESINACRYLICACID-2-ACRYLAMIDO-2-METHYLPROPANESULFONICACIDCOPOLYMERACTIVATEDCARBONADIPICACIDADIPICANHYDRIDEAGAR(GELIDIUMSPP.)BETA-ALANINEL-ALANINEDL-ALANINEALBUMINALCOHOL,DENATUREDFORMULA23AALCOHOLSDA-3AALFALFA,EXTRACT(MEDICAGOSATIVAL.)ALFALFA,HERBANDSEED(MEDICAGOSATIVAL.)ALGAE,BROWN,EXTRACT(MAC-ROCYSTISANDLAMINARIASPP.)ALGAE,RED,EXTRACT(POR-PHYRASPP.ANDGLOIOPELTISFURCATAANDALGAE,RED(PORPHYRASPP.ANDGLOIOPELTISFURCATAANDRHODYMENIAALGINATE,AMMONIUMALGINATE,CALCIUMALGINATE,POTASSIUMALGINATE,SODIUMALGINATE,SODIUMCALCIUM

ALGINICACIDALKANETROOT,EXTRACT(AL-KANNATINCTORIATAUSCH)ALKANOLAMIDEOFCOCONUTOILFATTYACIDSANDDIETHA-NOLAMINEALKYLENEOXIDEADDUCTSOFALKYLALCOHOLS/PHOSPHATEESTERSOFSAME,N-ALKYL(C8-C18FROMCOCONUTOIL)AMINEACETATEALPHA-ALKYL-OMEGA-HYDROXY-POLY(OXYETHYLENE)ALLSPICE,OIL(PIMENTAOF-FICINALISLINDL.)ALLSPICE,OLEORESIN(PIMENTAOFFICINALISLINDL.)ALLSPICE(PIMENTAOFFICINALISLINDL.)ALLYLALPHA-IONONEALLYLANTHRANILATEALLYLBUTYRATEALLYLCINNAMATEALLYLCROTONATEALLYLCYCLOHEXANEACETATEALLYLCYCLOHEXANEBUTYRATEALLYLCYCLOHEXANEHEXANOATEALLYLCYCLOHEXANEPROPIONATEALLYLCYCLOHEXANEVALERATE4-ALLYL-2,6-DIMETHOXYPHENOLALLYLDISULFIDEALLYL2-ETHYLBUTYRATEALLYL2-FUROATEALLYLHEPTANOATEALLYLHEXANOATEALLYLHEXENOATEALLYLISOTHIOCYANATEALLYLISOVALERATEALLYLMERCAPTANALLYLMETHYLDISULFIDEALLYLMETHYLTRISULFIDEALLYLNONANOATEALLYLOCTANOATEALLYLPHENOXYACETATEALLYLPHENYLACETATEALLYLPROPIONATEALLYLSORBATEALLYLSULFIDEALLYLTHIOPROPIONATEALLYLTIGLATEALLYL10-UNDECENOATEALMOND,BITTER,OIL(FFPA)(PRUNUSSPP.)ALOE,EXTRACT(ALOESPP.)ALPHA-ACETOLACTATEDECAR-BOXYLASEENZYMEPREPARATIONFROMBACILLUSALTHEAFLOWERS(ALTHEAOFFICINALISL.)ALTHEAROOT(ALTHEAOF-FICINALISL.)ALUM(DOUBLESULFATEOFALANDNH4,K,ORNA)ALUMINUMAMMONIUMSULFATEALUMINUMCALCIUMSILICATEALUMINUMCAPRATEALUMINUMCAPRYLATEALUMINUMHYDROXIDEALUMINUMLAURATEALUMINUMMYRISTATEALUMINUMNICOTINATEALUMINUMOLEATEALUMINUMPALMITATEALUMINUMPOTASSIUMSULFATEALUMINUMSALTSOFFATTYACIDSALUMINUMSODIUMSULFATEALUMINUMSTEARATEALUMINUMSULFATEAMBERGRIS,TINCTUREAMBRETTE,ABSOLUTE,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTESEED(HIBISCUSABELMOSCHUSL.)AMBRETTESEED,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTE,TINCTURE(HIBISCUS

ABELMOSCHUSL.)2’-AMINOACETOPHENONEP-AMINOBENZOICACIDDL-(3-AMINO-3-CARBOXYPROPYL)DIMETHYLSULFONIUMCHLORIDEAMINOGLYCOSIDE3’-PHOS-PHOTRANSFERASEIIAMINOTRI(METHYLENEPHOS-PHONICACID),SODIUMSALTAMINOPEPTIDASEFROMLACTO-COCCUSLACTIS1-AMINO-2-PROPANOLAMMONIUMACETATEAMMONIUMBICARBONATEAMMONIUMCARBONATEAMMONIUMCASEINATEAMMONIUMCHLORIDEAMMONIUMCITRATE,DIBASICAMMONIUMGLUCONATEAMMONIUMHYDROXIDEAMMONIUMISOVALERATEAMMONIUMPECTINATEAMMONIUMPERSULFATEAMMONIUMPHOSPHATE,DIBASICAMMONIUMPHOSPHATE,MONOBASICAMMONIUMSULFATEAMMONIUMSULFIDEAMMONIUMSULFITEAMYLALCOHOLALPHA-AMYLASEENZYMEPREPARATIONFROMBACILLUSSTEAROTHERMOPHILUSAMYLASEFROMASPERGILLUSFLAVUSAMYLASEFROMASPERGIL-LUSNIGERAMYLASEFROMASPERGILLUSORYZAEAMYLASEFROMBACILLUSSUBTILISAMYLBUTYRATEALPHA-AMYLCINNAMALDEHYDEALPHA-AMYLCINNAMALDEHYDEDIMETHYLACETALALPHA-AMYLCINNAMYLACETATEALPHA-AMYLCINNAMYLALCOHOLALPHA-AMYLCINNAMYLFORMATEALPHA-AMYLCINNAMYLISOVALERATEAMYLDECANOATEAMYLFORMATEAMYL2-FUROATEAMYLHEPTANOATEAMYLHEXANOATE2-AMYL-5OR6-KETO-1,4-DIOXANEAMYLOCTANOATEAMYLOGLUCOSIDASEFROMRHIZOPUSNIVEUSAMYLSALICYLATEAMYRIS(AMYRISBALSAM-IFERAL.)AMYRIS,OIL(AMYRISBALSAM-IFERAL.)TRANS-ANETHOLEANGELICA(ANGELICASPP.)ANGELICAROOT(ANGELICASPP.)ANGELICAROOT,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICAROOT,OIL(ANGELICAARCHANGELICAL.)ANGELICASEED(ANGELICASPP.)ANGELICASEED,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICASEED,OIL(ANGELICAARCHANGELICAL.)ANGELICASTEM,OIL(ANGELICAARCHANGELICAL.)ANGOLAWEED(ROCCELLAFUCIFORMISACH.)ANGOSTURA,EXTRACT(GALIPEAOFFICINALISHANCOCK)ANGOSTURA(GALIPEAOFFINCI-NALISHANCOCK)

ANISE,OIL(PIMPINELLAANISUML.)ANISE(PIMPINELLAANISUML.)ANISE,STAR(ILLICIUMVERUMHOOK,F.)ANISE,STAR,OIL(ILLICIUMVERUMHOOK,F.)ANISICACIDANISOLEANISYLACETATEANISYLALCOHOLANISYLBUTYRATEANISYLFORMATEANISYLPHENYLACETATEANISYLPROPIONATEANNATTO,EXTRACT(BIXAORELLANAL.)ANNATTO,SEED(BIXAOREL-LANAL.)ANOXOMERANTHRACITECOAL,SULFONATEDBETA-APO-8’-CAROTENALAPPLEESSENCE,NATURALAPRICOTKERNEL,OIL(PRUNUSARMENIACAL.)ARABINOGALACTANL-ARABINOSEL-ARGININEARNICAFLOWERS(ARNICASPP.)ARROWROOTSTARCHARTEMISIA(ARTEMISIASPP.)ARTEMISIAEXTRACTARTEMISIAOILARTICHOKELEAVES(CYNARASCOLYMUSL.)ASAFETIDA,FLUIDEXTRACT(FERULAASSAFOETIDAL.)ASAFETIDA,GUM(FERULAAS-SAFOETIDAL.)ASAFETIDA,OIL(FERULAAS-SAFOETIDAL.)ASCORBICACIDASCORBYLPALMITATEASCORBYLSTEARATEL-ASPARAGINEASPARAGUS,SEEDANDROOT,EXTRACTASPARTAMEL-ASPARTICACIDASPERGILLUSNIGERFORFERMENTATIONPRODUCTIONOFCITRICACIDASTAXANTHINAZODICARBONAMIDEBACTERIALCATALASEFROMMICROCOCCUSLYSODEIKTICUSBAKERSYEASTEXTRACTBAKER’SYEASTPROTEINBAKER’SYEASTGLYCANBALMLEAVES,EXTRACT(MELISSAOFFICINALISL.)BALMLEAVES(MELISSAOF-FICINALISL.)BALM(MELISSAOFFICINALISL.)BALM,OIL(MELISSAOF-FICINALISL.)BALSAMFIR,OIL(ABIESBALSAMEA(L.)MILL.)BALSAMFIR,OLEORESIN(ABIESBALSAMEA(L.)MILL.)BALSAM,PERU(MYROXYLONPEREIRAEKLOTZSCH)BALSAM,PERU,OIL(MYROXYLONPEREIRAEKLOTZSCH)BASILBUSH(OCIMUMMINIMUML.)BASIL,EXTRACT(OCIMUMBASILICUML.)BASIL(OCIMUMBASILICUML.)BASIL,OIL(OCIMUMBASI-LICUML.)BASIL,OLEORESIN(OCIMUMBASILICUML.)BAY(LAURUSNOBILISL.)BAYLEAVES,SWEET,EXTRACT(LAURUSNOBILISL.)

BAYLEAVES,SWEET,OIL(LAURUSNOBILISL.)BAYLEAVES,WESTINDIAN,EX-TRACT(PIMENTAACRISKOSTEL)BAYLEAVES,WESTINDIAN,OIL(PIMENTARACEMOSA(MILL.)J.W.BAYLEAVES,WESTINDIAN,OLEORESIN(PIMENTAACRISKOSTEL)BEECHWOOD,CREOSOTE(FAGUSSPP.)BEESWAXBEESWAX,BLEACHEDBENTONITEBENZALDEHYDEBENZALDEHYDEDIMETHYLACETALBENZALDEHYDEGLYCERYLACETALBENZALDEHYDEPROPYLENEGLYCOLACETALBENZENEBENZENETHIOL2-BENZOFURANCARBOXALDEHYDEBENZOICACIDBENZOINBENZOIN,RESIN(STYRAXSPP.)BENZOPHENONEBENZOTHIAZOLEBENZOYLPEROXIDEBENZYLACETATEBENZYLACETOACETATEBENZYLALCOHOLBENZYLBENZOATEBENZYLBUTYLETHERBENZYLBUTYRATEBENZYLCINNAMATEBENZYL2,3-DIMETHYLCRO-TONATEBENZYLDISULFIDEBENZYLETHYLETHERBENZYLFORMATE3-BENZYL-4-HEPTANONEBENZYLISOBUTYRATEBENZYLISOVALERATEBENZYLMERCAPTANBENZYLMETHOXYETHYLACETALBENZYLTRANS-2-METHYL-2-BUTENOATEBENZYLMETHYLSULFIDEBENZYLPHENYLACETATEBENZYLPROPIONATEBENZYLSALICYLATEBERGAMOT,OIL(CITRUSAURANTIUML.SUBSP.BERGAMIAWRIGHTETARN.)BIOTINBIPHENYLBIRCH,SWEET,OIL(BETULALENTAL.)BIRCHTAR,OIL(BETULAPENDULAROTHANDRELATEDBETULASPP.)BISABOLENEBIS(2,5-DIMETHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)TETRASULFIDEBIS-(METHYLTHIO)METHANEBLACKBERRYBARK,EXTRACT(RUBUS,SPP.OFSECTIONEUBATUS)BLACKBERRYFRUITEXTRACTBOISDEROSE,OIL(ANIBAROSAEODORADUCKE)BOLDUSLEAVES(PEUMUSBOLDUSMOL.)BONITO,DRIEDBORAXBORICACIDBORNEOLBORNYLACETATEBORNYLBUTYRATEBORNYLFORMATEBORNYLISOVALERATE

202 | 20 3I M P L I C AT I O N S t i t l e F O O D F U T U R E

LETTERPRESS

RECIPES

CARDS

O b je c t i ve

App ro ac h

Dinner Dilemma

09

I ns t ruc to r MACY CHADWICK

Course LE T TE RPRE S S

T i t l e THE DAILY D INNE R D ILE MMA

Format BOOK / CAR DS

Fonts GOTHAM / AVE NIR

To design and print a multi-page book on letterpress. We

were required to use multiple colors, which translates

into multiple printing plates, as well as to print an edition

of five books. The topic was free for us to choose.

This project reflects in particular my personal situation

at that time. Every day I needed to have a plan for din-

ner: what to cook and whether or not we had the ingre-

dients at home. At that particular time I was tired of all

the small decisions I needed to make and thought about

simplifying the cooking process by creating a cookbook

which provides some basic and proven recipes, divided

into three categories: meat, fish and vegetarian. The reci-

pes are printed on pocket-sized cards, which are easy

to take to the store to have the list of ingredients. The

book contains additional cards which can be used for

adding other recipes, making shopping lists, and taking

notes to help answer the daily question of: What shall I

cook tonight?

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12

gustogusto

I M P L I C AT I O N S t i t l e D I N N E R D I L E M M A 20 4 | 20 5


20 8 | 20 9I M P L I C AT I O N S t i t l e D I N N E R D I L E M M A

g u s t o

210 | 211I M P L I C AT I O N S t i t l e D I N N E R D I L E M M A

g u s t o


FLEISCHPFLANZERL

INGREDIENTS

1 lb lean mincemeat

1/2 cup white bread

3 oz milk

handful diced onions

handful of parsley

1 lemon

1 egg

Salt, Pepper and Paprika to season

METHOD

1 Cut the bread into small cubes and soften them in the milk. Dice the

onions and chop the parsley.

2 Sweat the onions in a hot pan till glassy. Add the parsley, toss

briefly, and put the onions and parsley in a bowl. Press some of the

milk out of the bread cubes and add them to the onions and parsley.

Add the minced meat, a little lemon peel and the egg to solidify the

mass, season with salt, pepper and paprika. Knead the ingredients

together well.

3 Take a good Teaspoon of the meat-mixture. With slightly moistened

hands, knead them again and press them slightly flat. Sautée the

formed “Fleischpflanzerl” in a hot pan for 2 minutes on each side.

3 Place them on a baking sheet and bake in the oven at 350 degrees

for 12-15 minutes until ready.

Serve with potato or green salad on a plate.

Fleischpflanzerl are the German equivalent to Hamburger patties. They are

usually shaped smaller and thicker and are eaten warm with potato salad or

cold on a sandwich. Preparation time: 30 min.

OLD-TIME BEEF STEW

INGREDIENTS

2 lbs stew beef

2 Tbsp vegetable oil

2 cups water

1 Tbsp Worcestershire sauce

1 clove garlic, peeled

1 or 2 bay leaves

1 medium onion, sliced

1 Tsp salt

1 Tsp sugar

1/2 Tsp pepper

1/2 Tsp paprika

Dash ground allspice or ground cloves

3 large carrots, sliced

3 ribs celery, chopped

2 Tbsp cornstarch

INGREDIENTS

1 Brown meat in hot oil. Add water, Worcestershire sauce, garlic, bay

leaves, onion, salt, sugar, pepper, paprika, and allspice. Cover and

simmer 1 1/2 hours.

2 Remove bay leaves and garlic clove. Add carrots and celery. Cover

and cook 30 to 40 minutes longer.

3 To thicken gravy, remove 2 cups hot liquid. Using a separate bowl,

combine 1/4 cup water and cornstarch until smooth. Mix with a little

hot liquid and return mixture to pot. Stir and cook until bubbly.


g u s t o



g u s t o

SIMPLE

EXPRESSIVE

BLACK + WHITE

Identity Marks

10

I ns t ruc to r VARIOUS

Course VARIOUS

This section is a collection of logos which I created over

the course of my academic term, as well as my work as

a freelancer. Each identity mark was developed through

client interviews and focused research. Identity marks

are the essence of a product, and therefore must repre-

sent what the client is trying to communicate about the

product in the simplest and most effective way .

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12

essenceessence

I M P L I C AT I O N S t i t l e I D E N T I T Y M A R K S 216 | 217

p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 100 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 10

B R A S S E R I E

e s s e n c e

218 | 219I M P L I C AT I O N S t i t l e I D E N T I T Y M A R K S


modern search

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

Organic Coffee

I M P L I C AT I O N S t i t l e I D E N T I T Y M A R K S 220 | 221

e s s e n c e


I M P L I C AT I O N S

e s s e n c e

t i t l e I D E N T I T Y M A R K S 222 | 223

SIN C E RE

GR ATE FUL

PROUD

Te a c h e r s

F r i e n d s a n d F a m i l y

Thank you

Macy Chadwick, Esther Clark, Kelly Conley, Renee

D’Arcy, Nicole Flores, Ariel Grey, Tom McNulty, Car-

son Pritchard, Scott Rankin, Mark Roudebush, Chris-

topher Simmons, George Slavik, Jeremy Stout and

Mary Scott.

Thanks a lot for everything. I couldn’t have done it with-

out your support, camera loans, over-the-ocean en-

couragement, take-out dinners, little kisses, patience,

grammar checks and love: Brian, Lucie, Jamie, Nicky,

Supriya and my parents.

Danke0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0

Implications

Documents

i o n s t i t

r i o n r i g g s

e i n t r o d u c t

t ion c

ea p p r o

par t o f th

process of design

new design