fuze by akko terasawa

\ .. > no.

f端ze

_ ...

. .. ...

\ .. > no.

f端ze

sele c te d a r t work of akiko ter asawa >>

_ ...

. .. ...

_ ...

. .. ...

\ \

\\ \ \

\\ \

design is

\\\

as much an act of spacing as an act of marking.

â&#x20AC;&#x201D; Ellen Lupton

\ .. >

no.

\\\

A l l r i g ht s r e s e r v e d . No p o r t i on o f t h i s b o o k m a y b e u s e d or r e pr o d u c e d i n a ny m a n n e r w it h o u t t h e w r it t e n p e r m i s s i on of A k i k o Te r a s a w a .

C O N TAC T

\\\

ACADEMY OF ART UNIVERSITY

\\\

;

phone _ 1 . 4 1 5 . 6 0 8 .5 3 2 5 e m a i l _ a t @ a k k o t e r a s a w a .c o m w e b s i t e _ w w w. a k k o t e r a s a w a .c o m

79 Ne w M ont g om e r y S t r e e t , S a n Fr a n c i s c o, C A 9 4 1 0 5

COURS E _ TE R M \\\

...

D IR EC TOR \\\

Ma r y Scott

A L L R I G H T S R E S E R V E D . 本書を無断で複写複製（コピー）すること

>> JPN_

S e n i or Po r t f o l i o _ f a l l 2 0 1 0

は、著作権法上の例外を除き、禁じられています。本書をコピーされる場合は、事前に寺澤晶子 — A K I K O T E R A S A W A から書類での許諾を

受けてください。

\ .. > m y j o u r n e y b e g i n s h e r e n o w.

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

フスタイルに影響されている面を持っている。この本は私自身の内面をヴィジュアル化したものである。

出す。それは常に私を魅了してきた。私自身、そのふたつの側面、つまり日本の文化とアメリカの文化やライ

化やスタイルのことだが — がピンは張るような緊張と、それでいてどこかハーモニーを感じさせる感覚を生み

の美や文化、デザインと、もっと大胆で、自己主張が強く、ある意味では混沌としたとも言えるアメリカの文

二つの質の違ったものの融合 — ここでは特に、繊細で、穏やかで、瞑想を促すような静けさをもたらす日本

Fusion of two different things, here especially Japanese aesthetic culture and design which is serene, quiet and meditated, and American style which is bolder, louder and chaotic in a way, creates tension and harmony at the same time and it always fascinates me. I have both of the two aspects—Japanese-inspired and American-inf luenced— inside me too, like this portfolio. This book is a visualized form of myself.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

my sel f — a k ko

侘び寂び

i nte g r ate d i nte g r at ion

japa ne se

l a n g u a ge

japa n

c u lt u re

h a r mony

bi l i n g u a l

c ou nt r y

blende d i n

m i xe d

f u sion

m i x t u re t wo c u lt u re s t wo l a n g u a ge s a mer ic a n

my or ig i n

t wo

or ig i n a l

d i f ferent t h i n g s

u n iquene s s

d i f ferenc e

u n ique

d iver sit y mu lt i

c ont r a st

mono c u lt u r a l mono t i c u lt u r a l

one

g r a d ient

minimal

l ig ht

ele g a nt i n spi re d

wh ate v

c h aot ic no r u le

r u le

f re e dom

ord

f re e

i nd iv idu a l i nd iv i per son a l it y 十人十色

n ig ht m id n ig ht

wh ite snow

c olorle s s

mu seu m s m a g a z i ne s

i nv i sible

v i sion

v i sible

v i su a l a l l n ig hter v i su a l i z at ion ge t re d-bu l le d soph i st ic ate d

i n spi r at ion

st edg y

c olor f u l

bl ac k

自由奔放

l iber a l

a l l t he c olor s

si mple qu ie t m a d it ate d serene

one sel f my sel f

spe c t r u m

or ient a l

l iber t y

si n g le si n g u l a r

g r ay sc a le

pa ne se de sig n

va r ie t y

l ig ht & d a rk

monoc h rome

moder n m i n i m a l i sm

m a ny

e a ster n a sia n

c h aos

opposite

bl ac k & wh ite

f u se

a mer ic a we ster n eu rope

t wo t h i n g s

or ig i na l it y

book s

ba l ac e d u nba l a

g iv i n g for m s

for m g iv i ng

va g ue a bst r ac t c oncre te

link

socie t y ne t work rel at ion sh ip socia l s y m me t r y rel ate d pol it ic s me s s a ge c h a rle s e a me s socia l ne t work nc e d s y m me t r ic a l pol it ic a l e a me s c h a i r a s y m me t r ic a l propa g a nd a chair r u s sia f u r n it u re s y m me t r y c on st r uc t iv i sm de st ijl bau h au s a rc h ite c t u re a r t movement ger m a n ge ome t r ic i n f luent ia l d ad a a rc h ite c t ge ome t r y f r a n k l loyd w r ig ht i n f luenc e s c ol l a ge sh ape s e x per i ment a l i n f luenc e d moder n de sig ver moment m i x t u re of t y pe f ac e s t i me m i x t u re of d i f ferent t h i n g s now t i me i s mone y der pa st ne x t c onc ept u a l t h i n k i ng rg a n i z e d pre sent ne x t ph a se e xe c ut ion c onc ept u a l step by step f ut u re t h rou g h ph a se solut ion 人生 c onc ept prog re s s v ia ide a s f ut u r i st ic problem solv i n pat h proc e s s w ay f ut u r i st i sm l i fe de sig n ske tc he s idu a l it y by h a nd de sig ner pa s sion me d iu m of e x pre s sion a n a log g r aph ic de sig n yle me d ia d ig it a l g r aph ic de sig ner tool d ge t y pog r aphy d ig it a l tool 崖っぷち

up a nd dow n

my l i fe? l i fe i s tou g h

but l i fe i s f u n

h ave f u n

cre ator

t y pe f ac e le t ter s

cre at ion cre at ive

cre at iv it y cre ate va lue s

photog r apher

photog r aphy

c omposit ion

a r t i st

c apt u re a momen c apt u re

art e x pre s sion e x pre s s

\ \

\\ \ \

\\ \

\\\

cr eativit y is

to create with open perception.

â&#x20AC;&#x201D; Stefan Sagmeister

no.

..\ PAGE .

088 —109

\ .. >

PAGE .

110 —131

s pa c e e x p l o r at i o n

coup de food —

hypothesizing gaia

effectua l intrigue

absolute zero e l e vat i o n s

—

CHIPOTLE ADVERTISING

—

PROMOTIONALSYSTEM

CAMPAIGN

T YPEFACE PROMOTION

AMERICAN APPAREL

SAPPORO PREMIUM

FOR AN ARCHITECT

—

S YS T E M F O R M AT R I X

HOUSE WARE PACK AGING

BEER LINE PACK AGING

—

P R I N T, I D E N T I T Y, W E B

—

P R IN T, ID EN T I T Y

PACK AGE

P R IN T, ID EN T I T Y

;

064 — 087

PAGE .

\ .. >

038 — 063

...

PAGE .

\ .. >

PROJECT

016 — 037

PAGE .

\ .. >

CHAPTER

table of contents

\ .. >

PAGE .

132 — 153

\ .. >

PAGE .

154 — 167

\ .. >

PAGE .

168 —185

\ .. >

PAGE .

186 —195

e n v i r o n m e n t a l ly sound

olive br anch

a moment at n i g h t

et ceter a

—

PREMIUM OLIVE OIL

—

IDENTITIES AND

R3 PROJECT — ECO-

PAC K AG I N G F O R S TA R

PACK AGING SYSTEM

MORE PROJECTS

F R I E N D LY P R O D U C T

—

FOR A PREMIUM

—

PACK AGE

WHISKEY LOUNGE

P R I N T, I D E N T I T Y,

—

PACK AGE E TC

PRODUCT

PACK AGE , IDENTIT Y

—

COLOPHON & ACKNOWLEDGEMENTS PAGE .

196 —200

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

PAGE _018 \\ _ 019

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

> > C H A PP TT EE RR

SUBJECT

C AT E EG GO OR RYY

. ...

\ >

\\\

> > > no.

< \ ...

_ ,. ;

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

gr aphic design 

COURSE

INSTRUCTOR

m a t t h e w wa k e m a n

TERM

summer 2007

architectur e + t ypogr aphy

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

それが、建築におけるグラフィックデザインの役割である。

ョン、である。つまり、建築の、空間の、伝えるべきメッセージを、情報を、目に見える形に置き換え、伝える。

では、そこでグラフィックデザインはどう機能するか？グラフィックデザインは、ヴィジュアルコミュニケーシ

に愛されるべき空間でなければいけない。それを兼ね備えて、初めて、建築が建築として存在するのである

のもの。だが、入れ物を作ることだけが建築ではない。求められるファンクショナリティを備え、尚且つ、人

建築とは空間を創り出すことである。人のための空間。住居。オフィス。病院や空港などの公共の場。空間そ

Creating space. That’s architecture. Space for us. Residential. Off ice. Public space such as a hospital, an airport, etc. Space itself. However, architecture is not only about creating space. This space must have functionality, it must be loved by people. Architecture also can communicate feelings visually, but its messages are often subtle and indirect. They may be felt but not readily understood. However, when architecture incorporates graphic design, messages can be clearly, precisely and elegantly conveyed. W hen architecture wants to speak visually with words, it needs graphic design as its interpreter.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

< \ ...

... . \\

_ ,. ;

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

gr aphic design 

COURSE

> > JPN _ \\

m a t t h e w wa k e m a n

INSTRUCTOR

summer 2007

TERM

> > > no.

\ .. >

no.

空間を追究すること architectur e + t ypogr aphy

PROJECT

\\ OB J EC TIVE _

D e s i g n p r om o t i on a l m a t e r i a l s f o r a n a r c h it e c t or a r c h it e c t u r e d e s i g n f i r m , i n c lu d i n g a DV D o f m o t i on g r a p h i c s . \\ E XECUTION _

T h e s o lu t i on f o r t h e p r oj e c t w a s a t y p o g r a p h i c a l a p pr o a c h t o c r e a t e t y p o g r a p h i c a l i m a g e s t h a t h a v e d i m e n s i on a l d e p t h on t w o d i m e n s i on a l c a n v a s , a s w e l l a s s h o w c a s i n g R i k e n’s a r c h it e c t u r e i n i l lu s t r a t i on . \\ I N S P I R AT I O N A L W O R D S _

Ty p o g r a p h i c a l / D i m e n s i on a l / G e o m e t r i c / Fu n c t i on a l / S i m p l e / I nt e g r a t e d

JPN_

\\ インスピレーション _ タイポグラフィカル / 多次元的 / 次元性 / 幾何学的 / 機能的 / シンプル / 統合された

gr aphic design ď&#x153;˛

m a t t h e w wa k e m a n

summer 2007

architectur e + t ypogr aphy

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

gr aphic design 

COURSE

INSTRUCTOR

m a t t h e w wa k e m a n

TERM

summer 2007

architectur e + t ypogr aphy

PROJECT

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

cover & front v iew

SUBJECT

p r i n t, i d e n t i t y

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 4

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

gr aphic design 

INSTRUCTOR

m a t t h e w wa k e m a n

TERM

summer 2007

PROJECT

architectur e + t ypogr aphy

\\\

2 DV Ds a nd t he book a re attached to t he cover.

_ ... . .. ...

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

> > C H A PP TT EE RR SUBJECT

C AT E EG GO OR RYY

A SPACE EXPLORATION

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

A SPACE EXPLORATION

, .. \>

サイタマケン

013+

サイタマケンリツダイガク

06+

KOSHIGAYA CITY, SAITAMA PREFECTURE SAITAMA PREF. UNIV.

INSTRUCTOR

m a t t h e w wa k e m a n

A SPACE EXPLORATION

CLIENT

LOCATION +

gr aphic design 

09+

08+

COURSE

NUMBERS

コシガヤシ

016+

KOSHIGAYA CITY, SAITAMA PREFECTURE SAITAMA PREF. UNIV.

A SPACE EXPLORATION

NUMADUS CITY, SIZUOKA PREFECTURE TOKYO WELD

summer 2007

TERM

NUMBERS

LOCATION +

03+

CLIENT

LIGHT

CLIENT

LOCATION +

CLIENT

04+

YOKOHAMA CITY, KANAGAWA , JAPAN RIKEN YAMAMOTO

IWADEYAMA TOWN, MIYAGI PREFECTURE IWADEYAMA TOWN

LOCATION +

architectur e + t ypogr aphy

PROJECT

CLIENT

LOCATION +

イワデヤマチョウイワデヤマチョウミヤギケン

シズオカケン

ヌマヅシ

\\ \\ +

+ 03

トウキョウウェルズ

+ 03 DOTS

LOCATION +

\\ \\

LOCATION +

+ 01

LOCATION +

012+

+ 00

CLIENT

+ 02

CLIENT

02+ + 00 INDEX

INTRODUCTION

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

spr eads

SUBJECT

p r i n t, i d e n t i t y

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 4

> > > no.

...FÜZE

イワデヤマチョウ

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

ミヤギケン

A SPACE EXPLORATION

+ LOCATION +

CLIENT

09+

07+

06+

A SPACE EXPLORATION

COURSE

CLIENT

LOCATION +

YOKOHAMA CITY, KANAGAWA , JAPAN RIKEN YAMAMOTO

TERM

03+

02+

A SPACE EXPLORATION

, .. \>

gr aphic design 

INSTRUCTOR

m a t t h e w wa k e m a n

summer 2007

PROJECT

architectur e + t ypogr aphy

DOTS カナガワケン

IWADEYAMA TOWN, MIYAGI PREFECTURE IWADEYAMA TOWN \\ ヨコハマシナカク

INTRODUCTION

ヤマモトリケン

CLIENT

+ 01 INDEX

LOCATION +

LOCATION + + 00 \\

CLIENT

08+ + 00

+ 03 015+

A SPACE EXPLORATION

KOSHIGAYA CITY, SAITAMA PREFECTURE SAITAMA PREF. UNIV.

013+

012+

A SPACE EXPLORATION

CLIENT

LOCATION +

NUMADUS CITY, SIZUOKA PREFECTURE TOKYO WELD

LOCATION + シズオカケン

ヌマヅシ

LOCATION + サイタマケン

コシガヤシ

サイタマケンリツダイガク

NUMBERS +

\\ CLIENT

NUMBERS トウキョウウェルズ

LIGHT

CLIENT

LOCATION +

CLIENT

サイタマケンリツダイガクサイタマケン

コシガヤシ

. ...

\ >

\\\ S E C T I O N _ 0 5

A SPACE EXPLORATION

CLIENT

LOCATION +

+ 03

017+

C AT E G O RY 014+

p r i n t, i d e n t i t y KOSHIGAYA CITY, SAITAMA PREFECTURE SAITAMA PREF. UNIV.

SUBJECT

spr eads

CLIENT

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

LOCATION +

\\ >

016+

.. .

S ECTION _0 5

+ 02

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

gr aphic design 

COURSE

INSTRUCTOR

m a t t h e w wa k e m a n

TERM

summer 2007

architectur e + t ypogr aphy

PROJECT

014+ CLIENT

LOCATION +

KOSHIGAYA CITY, SAITAMA PREFECTURE SAITAMA PREF. UNIV. + 03 \\ NUMBERS

> > > no.

< \ ...

_ ,. ;

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

gr aphic design 

COURSE

INSTRUCTOR

m a t t h e w wa k e m a n

TERM

summer 2007

architectur e + t ypogr aphy

PROJECT

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

identity 2

COURSE

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

u r b a n h y p e c a m pa i g n

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

だけにデザインするのではなく、人々の意識改革を促すようなデザインをすべきなのだ。

ラフィックデザインは、メッセージが人々の心を動かすかどうかを左右するのだ。ただものをよく見せるため

ジがどのように伝わるかをデザインすることは、グラフィックデザインが出来ることの日トルである。つまりグ

そこにあるメッセージが人々の心を打てば、彼らにもっと注意を喚起することが出来るだろう。そのメッセー

られているかは？あなたはあなたが口にする食べ物に関する事実を気にしているだろうか？世にある広告は、

るか知っているだろうか？それがどこから来ているかは？その食べ物の元になった動物たちがどのように育て

１週間に、またはひと月に、あなたは何度ファーストフードを口にするだろう？あなたは自分が何を食べてい

How many times in a week, or in a month, do you eat fast food? Do you know what you are eating? Do you know where it comes from, or how the animals you eat are raised? Do you care about those facts about your food? Every time a fast-food ad strikes the public the ad can warn people to be more aware of the background of that food. Designing how to communicate this message is the responsibility of graphic design. Graphic design has the ability to inspire people and make a difference. It is not about designing to make things cool, but designing to raise awareness.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

... . \\

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

identity 2

COURSE

> > JPN _ \\

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

> > > no.

\ .. >

no.

フード革命 u r b a n h y p e c a m pa i g n

PROJECT

\\ OB J EC TIVE _

Design a nd establish a n ef fective ma rketing ca mpa ign system t o a i d t h e s t r a t e g y a n d p o s it i on i n g f or t h e c l i e nt , C h ip o t l e , a n d t h e i r p h i l o s o p hy “F o o d W i t h In t e g r i t y ”. We a r e n o t r e d e s i g n i n g t h e b r a n d , b u t w o r k i n g t o c r e a t e a g r a p h i c a p p l i c a t i on s y s t e m w h i c h w i l l d e m on s t r a t e o u r c on c e p t s . \\ E XECUTION _

T h e c a m p a i g n w i l l b e e x e c u t e d l i k e a pr o p a g a n d a c a m p a i g n w h i c h c on v e y s a n i nt r i g u i n g m a s s a g e a s i f it ’s s h o ut i n g . G r a p h i c e l e m e nt s f o r t h e p r o p a g a n d a i n f lu e n c e d c a m p a i g n p o s t e r s w i l l c on s i s t o f b o l d s a n s s e r i f t y p e f a c e s w it h t i g ht t r a c k i n g a n d l e a d i n g , n e g a t i v e s p a c e , s t r on g i m a g e s w it h a n i n f lu e n c e o f a g g r e s s i on , s t r e n g t h , a n d i m p a c t . T h e c o l or p a l e t t e w i l l b e a b r i g ht a n d v i v i d c o l o r p a l e t t e o f m a g e nt a , y e l l o w, c y a n . \\ I N S P I R AT I O N A L W O R D S _

Po l it i c s \ P r o p a g a n d a \ G o o d Vs . Ev i l \ My s t e r i o u s \ Pa s s i on \ S t r e n g t h \ I nt e g r it y \ N o b l e \ C o u r a g e \ B a t t l e \ Pe r s e v e r a n c e \ C o m m it m e nt \ Hy p e \ A g g r e s s i v e \ I nt r i g u i n g \ A g e d \ B o l d \\ C R E W _

Chelsea Nobbs \ A mie K ra ger >>

JPN_

\\ 案件概要 _ 建築家、または建築デザインファームのプロモーション用アイテムのデザイン。モーショングラフィックスを使った D V D も含む。 \\ 実行プラン _ このプロジェクトにて私がとった方法は、イラストで山本理顕の建築をショウケースすると同時に、二次元のキャンバスの上に、次元的・立体的深さを意識させるイメージをタイポグラフィックなアプローチからの作り上げることである。 \\ インスピレーション _ 政治的な \ プロパガンダ \ 善 v s 悪 \ ミステリアス \ 情熱 \ 強さ \ 誠実さ \ 品位 \ 高貴な \ 勇気のある \ 戦い \ 忍耐力 \ コミットメント \ 誇大広告 \ 攻撃的な \ 積極的な \ 興味をそそる \ 古いかんじの \ 力強い

. .\

> FINAL LOGO DESIGN OF MINISTRY OF INTEGR IT Y

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

u r b a n h y p e c a m pa i g n

PROJECT

TERM

...

fall 2009

INSTRUCTOR

thom as mcnult y

;

COURSE

identity 2

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

identity 2

thom as mcnult y

fall 2009

u r b a n h y p e c a m pa i g n

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

identity 2

COURSE

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

u r b a n h y p e c a m pa i g n

PROJECT

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

SUBJECT

p r i n t, i d e n t i t y

C AT E G O RY

posters

;

...

. ...

\ >

\\\ S E C T I O N _ 0 7

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

identity 2

thom as mcnult y

fall 2009

u r b a n h y p e c a m pa i g n

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

identity 2

thom as mcnult y

fall 2009

u r b a n h y p e c a m pa i g n

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

identity 2

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

u r b a n h y p e c a m pa i g n

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R iphone a pplic ation

SUBJECT

p r i n t, i d e n t i t y

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _10

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

u r b a n h y p e c a m pa i g n

PROJECT

TERM

...

fall 2009

INSTRUCTOR

thom as mcnult y

;

COURSE

identity 2

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

identity 2

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

u r b a n h y p e c a m pa i g n

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R style guide

SUBJECT

p r i n t, i d e n t i t y

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _12

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

DIRECTORY OF COMPONENTS MINISTRY OF INTEGRITY // STYLE GUIDE + ACTION PLAN

INTRODUCTION

-02

HISTORY

-04

ACTION PLAN

-06

OUR MESSAGES

-14

M A I L E R / / F LY E R

-18

WEBSITE

-20

IPHONE APP

-22

T- S H I RT S

-26

LOGO

-30

COLOR CHOICE

TYPOGRAPHY

-32 -34

MINISTRY OF INTEGRITY STYLE GUIDE// PLAN OF ACTION

WA R NING This information belongs to the Ministry of Integrity. It is unlawful to sell it to any other persons or to permit anyone else to use it.

08134709102 YO U N OW H AV E ACC E S S TO O U R P L A N O F AC TI O N . U S E YO U R

T H E U R B A N H Y P E C A M PA I G N

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

01 WELCOME TO THE MINISTRY

HISTORY OF THE MINISTRY

Chipotle was founded by Steve Ellis in Denver, Colorado, and is pioneer in changing the way people think about and eat fast food. Armed with a philosophy of Food W ith Integrity, Chipotle takes pride in sourcing the highest quality, nutritious ingredients from local and family farmers who are committed to sustainabiltiy raising antibiotic and hormone-free meats and organic vegetables. Food W ith Integrity has evolved from a behind-the-scenes sound and responsible sourcing philosophy to a cr itical par t of the Chipotle brand. Once th e public is drawn in by this graphic poster campaign and how they think about fast food is challenged, they will get the signoff , or pay-off , and lear n about Chipotle’s philosophy F.W.I. Inside the restaurants there would be posters of a similar color palette but with br ighter elements and explanations in a broad-sided style typography explaining the positive truths that are what make Chipotle different from other un-healthy competitors. This side of stor y will also be told through informational brochures, cups, basket lining, to-go-bags, gift cards, burrito bucks, and uniforms. To help tell Chipotle’s stor y we will use the facts and f igures shown as info-graphics and a mapping style to show how Chipotle star ted and how they’ve become who they are today. The idea is to not only tell people what Chipotle is doing, but change how people think about fast food culture and also change industr y practices to be more healthy and sustainable.

Chipotle has had a break through in good food and good ser vice. It’s quality beats it’s competition no problem because they use organic food, and ethically treated animals. They also don’t foodwash their customers in to thinking they’re something that they’re not. However, because of food-washing people are no longer interested in hearing about the horror stories they’re ingesting on a daily basis. They don’t want to be preached to. The Ministr y Of Integr ity was created by Chipotle to ser ve as an organization for committed and professional feedback on quality goods, organic/ f re e r a n g e f a r m e rs , a n d a n y o p i n i o n s b y m e m b e rs o f t h e m i n i s t r y. The most impor tant par t of the Ministr y is that they are sponsored by Chipotle, but not completely controlled by Chipotle. This was the information can really f ind it’s way to the consumer and they can still make independent choices. The main way to access information from the Ministr y is through the web site which requires a secret code that’s only provided on a few applications The web site is where people can access the blog. The blog has four main sections, which are each of our featured on our initial posters. These lead to conversations and discussion topics. The point of the site and the blog is to make sure people feel like they are a special, and have something impor tant to say about food, no matter what it is.

I N FO R M AT I O N W I S E LY. D O N OT S H A R E T H I S W I T H T H O S E U N FIT O R A B U S E YO U R N E W FO U N D P R I V L E G E S A N D K N OW L E D G E .

02 C O D E F O R M N O. B - 131

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

MINISTRY OF INTEGRITY | STYLE GUIDE | INTRODUCTION

MINISTRY OF INTEGRITY | STYLE GUIDE | HISTORY

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E | I N T R O D U C T I O N

T H E U R B A N H Y P E C A M PA I G N

11 05

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E | I N T R O D U C T I O N

ANNIHILATE DEVIOUS CRAVINGS

BITE THE HAND YOU’VE BEENYOU THAT FEEDS FED LIES

MAILER // STREET FLYER

INFORMATION CODE CARD No. 1 WWW.MINISTRYOFINTEGRITY.COM

People don’t realize how bad they have it because it’s rare to f ind a voice that will only speak the truth. The ministr y is that voice. The people of the world needs to take responsibilty for themselves and that means they need to stop depending on other restaurants to tell them what’s healthy,, and to figure it out for themselves. t

ISSUED TO: ( F i rs t Na me)

Being a par t of the Ministr y of Integrity’s effor ts in changing the fast food industr y takes perseverance and a willingness to f ind truth and justice. One will be put through a sequence of steps to obtain trusteeship and entr y to our secret information site. This is achieved through the initiative to seek out more information about the Ministr y by obtaining an information f lyer. Once the f lyer is tur ned in, they will receive an information code card where they are given the code enabling them entr y.

Many animals are pumped with hormones that aren’t good for our bodies, or their bodies. Although the USDA and FDA claim these hormones are safe, there is growing concern that hormone residues in meat and milk might be harmful to human health and the environment. Their purpose is to speed up the growth of the animal, however their side affects can disrupt human hormone balance, causing developmental problems, interfering with the reproductive system, and even leading to the development of breast, prostate or colon cancer. The meat might taste good but it’s

( M idd le Na me)

( L a s t Na me)

NOT VALID WITHOUT CODE

COMPLETE ADDRESS:

Void if altered.

SIGNATURE:

DATE:

T his website is secure, entr y req u i res a secret code. To activate code for more specia l privleges a nd secret i nformation, sig n this card a nd mai l to the add ress provided. Once received you may use this code to access a ny i n formation provided by the Ministr y of I nteg rit y.

Ministry of Integrity P.O. Box 456 Denver, CO 80202

08134709102

WA R N I N G

anything but good for you.

T his i n formation belongs to the Ministr y of I nteg rity. It is u n law f u l to sel l it to a ny other persons or to per mit a nyone else to use it, except to obtai n authorized i nformation i n accorda nce w ith reg u lations of the Ministr y. A ny person who f i nds a lost card must return it. Person s who v iolate this are su bject to $10,000 f i ne or i mprison ment, or both.

YO U N OW H AV E ACC E S S TO O U R W E B S IT E . U S E T H I S CO D E A N D T H E I N FO R M AT I O N YO U A R E A B O U T TO R E C E I V E W I S E LY.

Code Form No.B-131

13 12

MINISTRY OF INTEGRITY | STYLE GUIDE | OUR MESSAGES

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

MINISTRY OF INTEGRITY | STYLE GUIDE | PROMOTION

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

SHIRT DESIGN

T H E U R B A N H Y P E C A M PA I G N

27 CORRECT USE OF LOGO

SHIRT DESIGN

Each of our different colored t-shir ts features a different message from our initial series of posters. The typography ser ves as a strong message and a strong graphic. Each sleave has the seal of the Ministr y and on the back has the image featured on the posters. Essentially, these are walking posters that continue our theme of anonymity. There is no web address, only the name on the logo seen on the sleave.

PRIMARY LOGO W/ TYPE LOCK UP

PRIMARY ICON

Here are some examples of the logo created for the Ministry of Integrity. The left lock up features the ministry title and is also rotated to the left 20º as it is seen on the posters. The right icon is without the typography and can be used alone on stationer y or other items that require a much smaller piece.

M I N I S T R Y O F I N T E G R I T Y | S T Y L E G U I D E | T- S H I R T S

... ..

. .

\\\

M I N I S T R Y O F I N T E G R I T Y | S T Y L E G U I D E | T- S H I R T S

MINISTRY OF INTEGRITY | STYLE GUIDE | LOGO

COURSE

INSTRUCTOR

TERM

PROJECT

identity 2

thom as mcnult y

fall 2009

u r b a n h y p e c a m pa i g n

> > > no.

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

POSTERS

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

SHOCK THE VIEWER WITH ENGAGING IMAGES

T H E U R B A N H Y P E C A M PA I G N

MAD BRUTE

YOUâ&#x20AC;&#x2122;VE BEEN FED LIES

STREET FLYER INFORM VIEWER OF THE WEBSITE

People are often under the influence that once a company has attatched themselves to sustainability and organics the company is ethical as well. Often there is a toss up, if the company serves organic products they may not

WEB BASED

iPHONE APP

CREATE LEARNING ENVIRONMENT // GIVE VIEWER A CHANCE TO EARN REWARDS

GIVE A REVIEW WITH A PICTURE OF ANY LOCATION AND LET PEOPLE KNOW WHAT YOU THINK.

Destroy This Mad Brute reflects the efforts to stop those in

conduct ethical practices in regards to animals. Or the company that has free

the fast food industry from using and producing food that is

range animals may be using pesticides. Either way, a half truth and a white

not responsibly grown; those animals that come from â&#x20AC;&#x153;factory

lie arenâ&#x20AC;&#x2122;t too far off from each other, especially when weâ&#x20AC;&#x2122;re talking about the

farmsâ&#x20AC;? that are filled with million of pounds of antibiotics and

food we put in to our bodies.

confined to small spaces. This inhumane production of food is the brute we seek to end and it is our mission to recruit others to join us in this revolution to change the way we eat.

BLOG CREATE AN ENVIRONMENT THAT ENCOURAGES OPEN DIALOG ABOUT FOOD, AND THAT GIVES ALL MEMBERS ACCESS TO THE BEST PRODUCTS AND SERVICE AVAILABLE.

OF INTE GRIT Y BY THE MINI STRY ON ADMI NIST ERED THE PLAN OF ACTI

07 10

MINISTRY OF INTEGRITY | STYLE GUIDE | OUR MESSAGES

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E | O U R M E S S A G E S

MINISTRY OF INTEGRITY | STYLE GUIDE | INTRODUCTION

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

IPHONE APPLICATION

OUR WEBSITE

MAILER// STREET FLYER

T H E U R B A N H Y P E C A M PA I G N

21 The members of the Ministr y of Integrity have found out the truth of fast food in general by getting through the information and discussions on the Ministr y website, and now they are interested in the facts and truth about the food they actually eat at restaurants; how they are raised, whether they are organic or not, which farm they are from, etc. It is the time this iPhone application, Truth Finder, plays a brilliant role. The system is ver y simple and easy; just take a picture of the restaurant you want to know the truth about, and the information about the restaurant pops up. The information is provided by the members of the Ministr y on the website and through the application itself . Anyone can add information anytime so that the farmers and restaurants can take advantage of this to tell people the good facts about them. The website is meant to be a trigger for people to get interested in and be aware of what they eat and how the food is produced and delivered. and Truth Finder is meant to be a medium for them to discover the truth about the restaurants they actually go and the food the restaurants provide.

Once entry is obtained the member has access to all the information provided by the Ministry. This information includes unknown facts about the fast food industry and â&#x20AC;&#x153;factory farmsâ&#x20AC;?. They will also find out what farms and businesses are being responsible and how to contact them. Members will also have the opportunity to voice their opinions about food production and various related topics at our forum. The sequence of steps to gain membership to the Ministry of Integrity is meant to emphasize the importance of this matter. Without the rigorous demeanor of this campaign, it would not have the attention grabbing effect desired. It is also important to emphasize that once the mission of the Ministry is learned and understood, that it be shared with others who have the same integrity and dedication to doing things better; better in every sense of the word- better tasting, coming from better sources, better for the environment, better for the animals, and better for the farmers who raise the animals and grow the produce.

19 MINISTRY OF INTEGRITY | STYLE GUIDE | WEBSITE

MINISTRY OF INTEGRITY | STYLE GUIDE |

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

T H E U R B A N H Y P E C A M PA I G N

29 TREASONABLE ACTS

WHAT NOT TO DO:

T H E U R B A N H Y P E C A M PA I G N

M I N I S T RY O F I N T E G R I T Y | S T Y L E G U I D E |

PANTONE C YA N

PANTONE YELLOW

The logo is very clean and simple, with two options to chose from there should be no reason to alter the logo with any extra color or lockup changes.

gotham bold

PANTONE M A G E N TA

COLOR CHOICE

DO NOT OVER R O TAT E

DO NOT ADD COLOR

T H E U R B A N H Y P E C A M PA I G N

SOH DUH RIWHQ XQGHU WKH LQIOXHQFH WKDW RQFH D FRPSDQ DWWDWFKHG WKHPVHOYHV WR VXVWDLQDELOLW\ DQG RUJDQLF FRPSDQ\ LV HWKLFDO DV ZHOO 2IWHQ WKHUH LV D WRV LI WKH FRPSDQ\ VHUYHV RUJDQLF SURGXFWV WKH\ PD greatest for this campaign was propaganda FRQGXFW HWKLFDO The SUDFWLFHV LQ inspiration UHJDUGV WR DQLPDOV 2 FRPSDQ\ WKDW KDV IUHH UDQJH DQLPDOV PD\ EH posters from WWII. However ,theXVLQ color choices used then LFLGHV (LWKHU ZD\ V HDV\ fresh WR WULFN SHRSOH ZKHQ are no longer or interesting to the common viewer. QRW WHOOLQJ WKH WUXWK We wanted to bring an element to the table that was eye catching but also non-threatening. These colors are fun, and paired with such intimidating conent it helps to create a good balance throughout the whole campaign.

gotham black

12 pt / 9 pt / 6pt

TYPOGRAPHY

12 pt / 9 pt / 6pt

A B C D E F G H I J K

ABCDEFGHIJKL

LMNOPQRSTUV

MNOPQRSTUVW

W X Y Z a b c d e f g

XYZabcdefghi j

h i j k l m n o p q r s t

klmnopqrstuvw

u v w x y z 1 2 3 4 5 6

xyz1234567890

7890!@#$%^&*

! @ # $ % ^ & * ( )A B C D

( )A

EFGHIJKLMNOPQRST

B C D E F G H I J K L M

UVWXYZabcdefghijk

N O P Q R S T U V W X Y Z a

lmnopqrstuvwxyz12

b c d e f g h i j k l m n o p q

34567890!@#$%^&*(

r s t u v w x y z 1 2 3 4 5 6 7

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

8 9 0 ! @ # $ % ^ & * ( )A B C D

WXYZabcdefghijklmnopqrst u

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

vwxyz1234567890!@#$%^&*()

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 ! @ # $ % ^ & * ( )

trade gothic condensed no. 18

rockwell light

12 pt / 9 pt / 6pt

ABCDEFGHIJKLMNOP

ABCDEFGHIJKLM

QRSTUVWXYZabcde f

N O P Q R S T UVW XY

ghijklmnopqrstuvw

Zabcdefghijklmn

xyz1234567890!@#

opqrstuvwxyz12

$ % ^ & * ( )A B C D E F G H I J K L

34567890!@#$%

MNOPQRSTUVWXYZabcdefg

^ & * ( )A B C D E F G H I J K

hijklmnopqrstuvwxyz1234

M N O P Q R S T UV W XY Z a b

5 6 7 8 9 0 ! @ # $ % ^ & * ( )A B C D E F G

cdefghijklmnopqrstu v

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 mn

wxyz1234567890!@#$

opqrstuvwxyz123456789 0!@#$%^&*()

% ^ & * ( )A B C D E F G H I J K L M N O P Q

26 30

...FĂ&#x153;ZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

gotham black 42 pt

MINISTRY OF INTEGRITY | STYLE GUIDE | COLOR

M I N I S T RMYI NOI FS TIRNYT EOGFR I NT YT E|GSRTI YT YL E| GSUT IYDLEE |G ULIODGEO| T- S H I R T S

R S T UV W XY Z a b c d e f g h i j k l m n o p q r s tuvwxyz1234567890!@#$%^&*()

MINISTRY OF INTEGRITY | STYLE GUIDE |

TYPOGRAPHY

CHAPTER 01ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 02ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 03ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 04ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 05ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 0 6ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 07ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 0 8ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 09ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; 10

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< t ypogr aphy 3 COURSE

Matrix

E K s u

Emigre

> > > no.

ariel grey INSTRUCTOR

“

TERM

spring 2009

cause , effect & solution PROJECT

EMIGRE, INC.

E FOUNDRY, PUBLISHER AND DISTRIBUTOR OF GRAPHIC DESIGN RELATMATERIALS BASED IN NORTHERN CALIFORNIA. EMIGRE HOLDS EXCLURIGINAL TYPEFACE DESIGNS CREATED BY A ROSTER OF CONTEMPORARY INE OF TYPEFACES, ORNAMENTS AND ILLUSTRATIONS IS AVAILABLE IN ETYPE. EMIGRE IS ALSO THE PUBLISHER OF THE CRITICALLY ACCLAIMED GAZINE WHICH WAS PUBLISHED BETWEEN 1984 – 2005.

phics, is a type foundry Rudy VanderLans and gre magazine between e word émigré, Emigre s. Emigre was founded y, developing typefaces etting equipment manntage of the Macintosh es, they did not require of a traditional type ts that, rather than trygy, tried to take advanp design and dot matrix esign. Through a good the 1990s, some of the developed or released ntime, provided an outtypeface designs, and

Zuzana Licko is a typeface designer from Bratislava. In the mid-1980s Zuzana Licko and Rudy Vanderlans founded Emigre. Emigre produced the magazine, Emigre, and designed and distributed original fonts. Vanderlans was editor of the magazine, while Licko was responsible for many successul Emigre fonts. In the mid-1990s, Licko worked on two notable revivals: Mrs Eaves, based on Baskerville, and Filosofia, based on Bodoni. Both are Licko’s personal interpretations of their historical models and each features extensive ligatures.

xperimentation. Emigre A TYPEFACE IS THE ORNAMENTAL MANIFESTATION OF ooks related to graphic re than 300 typefaces. THE ALPHABET. IF THE ALPHABET CONVEYS WORDS, A TYPEFACE CONVEYS THEIR TONE, STYLE, AND ATTITUDE.

“

APOLLO ARBITRARY BACKSPACER BASE 9 AND 12 BASE MONOSPACE BIG CHEESE BLOCKHEAD BLOCKHEAD ILLUSTRATIONS BROTHERS CHOLLA CITIZEN COUNCIL DALLIANCE DEAD HISTORY DEMOCRATICA DOGMA EIDETIC ELEKTRIX ELLIOTT’S EXOCET FAIRPLEX FELLAPARTS FILOSOFIA HYPNOPAEDIA JOURNAL KEEDY LO-RES LOS FELIZ LUNATIX MALAGA MASON MATRIX II MATRIX II DISPLAY MISSIONARY MODULA MODULA ROUND MOTION MRS EAVES MRS EAVES XL NARLY NOTCASLON OBLONG OTTOMAT OUTWEST PLATELET POPPI PRIORI PUZZLER REMEDY SABBATH BLACK SENATOR SODA SCRIPT SOLEX SUBURBAN TALL PACK TARZANA TEMPLATE GOTHIC THINGBAT TOTALLY GOTHIC TRIBUTE TRIPLEX TRIPLEX ITALIC VARIEX VENDETTA VISTA SANS VISTA SANS NARROW VISTA SLAB WHIRLIGIG

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

って大きな実りをもたらすということを忘れてはならない。

いのか。私たちが出来る一つ一つのことは小さな小さなことかもしれない。だが、その小さな努力が降り積も

そして私たちはそれを泊めたり、少なくとも減らしたりするために何が出来るのか、再び考え直すときではな

題を私たちは抱えているのか、何がそれの原因で、どんな影響を私たちの生活や地球に及ぼしているのか、

場にいてそれらのために何か出来たらと願う。今ここでもう一度地球環境問題について考え直し、どんな問

るようになった。自然や動物たちが殺され破壊されるニュースを見聞きするたびに私たちは心を痛め、その

科学者たちによって地球環境問題が取り上げられ始めてから、私たちはその問題に関して日に日に意識をす

Ever since global issues were f irst disclosed by scientists, we have become increasingly more aware of the fragile world around us. We feel hurt when we hear of news telling us that nature is being harmed and animals are getting killed. Each time, we wish we could be there and do something. Now, rethink global these global problems; rethink what kind of global issues we have, what are the causes of them, how they affect our life and the earth, and what we can do stop or reduce them. Each positive change we make might be tiny, but many small changes make for great change.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

... . \\

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

t ypogr aphy 3

COURSE

> > JPN _ \\

ariel grey

INSTRUCTOR

spring 2009

TERM

> > > no.

\ .. >

no.

大前提としての地球 cause , effect & solution

PROJECT

\\ OB J EC TIVE _

D e s i g n a s e t o f p r o m o t i on a l m a t e r i a l s of t y p e f a c e . T h e s e t s h o u l d i n c lu d e a b o o k w it h a s p e c i m e n s e c t i on, a p o s t e r a n d C D (C D c o v e r a n d l a b e l ). \\ E XECUTION _

T h e t y p e f a c e w a s M a t r i x f r o m e m i g r e . S i n c e "m a t r i x" h a s t w o m a j o r m e a n i n g s ; on e i s "m o t h e r" a n d t h e o t h e r i s a m e t h o d t o s o l v e m a t h e m a t i c p r o b l e m s w h i c h l o o k s l i k e nu m b e r s f or m i n g s qu a r e s , t h e s u bj e c t w a s a b o u t g l o b a l i s s u e s w h i c h c a m e f r om a n i nt e r p r e t a t i on o f "m o t h e r" t o "M o t h e r E a r t h ," a n d s qu a r e s a n d s qu a r e g r i d w e r e u s e d f o r g r a p h i c e l e m e nt s . \\ I N S P I R AT I O N A L W O R D S _

Ty p o g r a p h i c a l \ S qu a r e s \ G l o b a l \ E n v i r on m e nt a l \ Sw i s s \ Grided out

JPN_

\\ 案件概要 _ タイプフェイスのプロモーション用アイテムのデザイン。アイテムのセットには、タイプフェイスの見本のセクションを含む本、ポスター、C D が含まれる。 \\ 実行プラン _ 選んだタイプフェイスは、E m i g r e がデザインした M a t r i x である。M a t r i x にはふたつの主な意味があり、一つは「母」という意味、もうひとつは数字がグリッドに並べられ、四角を形作っているように見える数学の計算式を解くための方式である。その二つの意味を派生させ、「母」からは「母なる大地」＝地球から、主題は地球環境問題とし、マトリックス方式のグリッドのような正方形のグリッド、また正方形そのものをグラフィック要素として使用した。 \\ インスピレーション _ タイポグラフィカルリッドに置かれた

正方形

地球規模の

環境問題

スイスデザイン

グ

_073 \\ _ 073

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

t ypogr aphy 3

ariel grey

spring 2009

cause , effect & solution

DEFORESTATION

SOIL CONTAMINATION

AIR POLLUTION

SOLUTIONS

SPECIMEN OF MATRIX

COLOPHON

“

GLOBAL WARMING

Matrix

A TYPEFACE IS THE ORNAMENTAL MANIFESTATION OF THE ALPHABET. IF THE ALPHABET CONVEYS WORDS, A TYPEFACE CONVEYS THEIR TONE, STYLE, AND ATTITUDE.

E &

s Q

b i x

I r

f y

K T

g K

a Y

011

MIND MAP / DENIFITION

010

Emigre

EMIGRE, INC.

ABOUT EMIGRE AND DESIGNER

“

> > > no.

Emigre, also known as Emigre Graphics, is a type foundry in Berkeley, California, founded by Rudy VanderLans and Zuzana Licko. It also published Emigre magazine between 1984 and 2005. Note that unlike the word émigré, Emigre is officially spelled without accents. Emigre was founded in 1984 as an independent foundry, developing typefaces without an association with a typesetting equipment manufacturer. Since Emigre took advantage of the Macintosh computer to design digital typefaces, they did not require the manufacturing infrastructure of a traditional type foundry. Licko began designing fonts that, rather than trying to imitate letterpress technology, tried to take advantage of the idiosyncrasies of bitmap design and dot matrix printing, and later, vector-based design. Through a good part of the late 1980s and most of the 1990s, some of the most cutting-edge typefaces were developed or released by Emigre. Its magazine, in the meantime, provided an outlet showcasing the potential of its typeface designs, and was well known for its graphical experimentation. Emigre has also published a number of books related to graphic design. Emigre holds licenses to more than 300 typefaces. Zuzana Licko is a typeface designer from Bratislava. In the mid-1980s Zuzana Licko and Rudy Vanderlans founded Emigre. Emigre produced the magazine, Emigre, and designed and distributed original fonts. Vanderlans was editor of the magazine, while Licko was responsible for many successul Emigre fonts. In the mid-1990s, Licko worked on two notable revivals: Mrs Eaves, based on Baskerville, and Filosofia, based on Bodoni. Both are Licko’s personal interpretations of their historical models and each features extensive ligatures.

TABLE OF CONTENTS 6

EMIGRE, INC. IS A DIGITAL TYPE FOUNDRY, PUBLISHER AND DISTRIBUTOR OF GRAPHIC DESIGN RELATED SOFTWARE AND PRINTED MATERIALS BASED IN NORTHERN CALIFORNIA. EMIGRE HOLDS EXCLUSIVE LICENSE TO OVER 300 ORIGINAL TYPEFACE DESIGNS CREATED BY A ROSTER OF CONTEMPORARY DESIGNERS. EMIGRE’S FULL LINE OF TYPEFACES, ORNAMENTS AND ILLUSTRATIONS IS AVAILABLE IN TYPE 1 POSTSCRIPT AND TRUETYPE. EMIGRE IS ALSO THE PUBLISHER OF THE CRITICALLY ACCLAIMED DESIGN JOURNAL EMIGRE MAGAZINE WHICH WAS PUBLISHED BETWEEN 1984 – 2005.

g/w MIND MAP › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > > › > >MATRIX

mother

mother earth

DEFINITION the whole creation

water

earth

red

wind

existence

world

fire

life

soul

spirit

mind

body

figure

form

global issues

environmental issues

environment

globe

global

society

human being

air

forest

022

023

wood

brain

GREENHOUSE GASES ARE ARTIFICIAL (NOT NATURAL) GASES IN AN ATMOSPHERE THATABSORB AND EMIT RADIATION WITHIN THE THERMAL INFRARED RANGE AND CONSIDERED AS THE MAIN CAUSE OF GLOBAL WARMING. THIS PROCESS IS THE FUNDAMENTAL CAUSE OF THE GREENHOUSE EFFECT. COMMON GREENHOUSE GASES IN THE EARTH’S ATMOSPHERE INCLUDE WATER VAPOR, CARBON DIOXIDE, METHANE, NITROUS OXIDE, OZONE, AND CHLOROFLUOROCARBONS.

GREENHOUSE GAS AND ITS EFFECT

CAUSE

d/f

026

024

025

Global warming is the increase in the average temperature of the Earth’s nearsurface air and the oceans since the mid-twentieth century and its projected continuation. Global surface temperature increased 0.74 ± 0.18 °C (1.33 ± 0.32 °F) during the 100 years ending in 2005. The Intergovernmental Panel on Climate Change (IPCC) concludes that anthropogenic greenhouse gases are responsible for most of the observed temperature increase since the middle of the twentieth century,[1] and that natural phenomena such as solar variation and volcanoes probably had a small warming effect from pre-industrial times to 1950 and a small cooling effect afterward. These basic conclusions have been endorsed by more than 40 scientific societies and academies of science,[B] including all of the national academies of science of the major industrialized countries. Climate model projections summarized in the latest IPCC report indicate that global surface temperature will likely rise a further 1.1 to 6.4 °C (2.0 to 11.5 °F) during the twenty-first century. The uncertainty in this estimate arises from the use of models with differing climate sensitivity, and the use of differing estimates of future greenhouse gas emissions. Some other uncertainties include how warming and related changes will vary from region to region around the globe. Most studies focus on the period up to 2100. However, warming is expected to continue beyond 2100, even if emissions stop, because of the large heat capacity of the oceans and the long lifetime of carbon dioxide in the atmosphere. Increasing global temperature will cause sea levels to rise and will change the amount and pattern of precipitation, likely including expansion of subtropical deserts. The continuing retreat of glaciers, permafrost and sea ice is expected, with the Arctic region being particularly affected. Other likely effects include shrinkage of the Amazon rainforest and Boreal forests, increases in the intensity of extreme weather events, species extinctions and changes in agricultural yields.

CURRENT TOTAL DIMENSION OF FOREST

ORIGINAL TOTAL DIMENSION OF FOREST

Of the human-produced greenhouse gases, the one that contributes the bulk in terms of radiative forcing is carbon dioxide. CO2 production from increased industrial activity (fossil fuel burning) and other human activities such as cement production and tropical deforestation has increased the concentrations in the atmosphere. Measurements of CO2 from the Mauna Loa observatory show that concentrations have increased from about 313 ppm (mole fraction in dry air) in 1960 to about 375 ppm in 2005. The current observed amount of CO2 exceeds the geological record maxima (~300 ppm) from ice core data. The effect of combustion-produced carbon dioxide on the global climate, a special case of the greenhouse effect first demonstrated in the 1930s, may be called the Callendar effect. Because it is a greenhouse gas, elevated CO2 levels will contribute to additional absorption and emission of thermal infrared in the atmosphere, which could contribute to net warming. In fact, according to Assessment Reports from the Intergovernmental Panel on Climate Change, “most of the observed increase in globally averaged temperatures since the mid-20th century is very likely due to the observed increase in anthropogenic greenhouse gas concentrations”. Over the past 800,000 years, ice core data shows unambiguously that carbon dioxide has varied from values as low as 180 parts per million (ppm) to the pre-industrial level of 270ppm. Certain paleoclimatologists consider variations in carbon dioxide to be a fundamental factor in controlling climate variations over this time scale. Responses to anthropogenic global warming fall into three categories: “Adaptation” which deals with the effects of global warming, such as by building flood defences: “Mitigation” which is reducing carbon emissions, such as by using renewable energy and energy efficiency measures: and “Geoengineering” which is directly intervening in the climate using techniques such as solar radiation management.

DEFORESTATION AND OTHER GLOBAL ISSUES DEFORESTATION x GREENHOUSE EFFECT

BRAZIL: 90-95% 1999: 4,077,291,000 HECTARES

NIGERIA: 81%

ratio of deforestation

WHAT IS GREENHOUSE GAS? In our solar system, the atmospheres of Venus, Mars and Titan also contain gases that cause greenhouse effects. Greenhouse gases, mainly water vapor, are essential to helping determine the temperature of the Earth; without them this planet would likely be so cold as to be uninhabitable. Although many factors such as the sun and the water cycle are responsible for the Earth’s weather and energy balance, if all else was held equal and stable, the planet’s average temperature should be considerably lower without greenhouse gases. Human activities have an impact upon the levels of greenhouse gases in the atmosphere, which has other effects upon the system, with their own possible repercussions. The most recent assessment report compiled by the IPCC observed that “changes in atmospheric concentrations of greenhouse gases and aerosols, land cover and solar radiation alter the energy balance of the climate system”, and concluded that “increases in anthropogenic greenhouse gas concentrations is very likely to have caused most of the increases in global average temperatures since the mid-20th century”. In order, Earth’s most abundant greenhouse gases are water vapor, carbon dioxide, methane, nitrous oxide, ozone and CFCs. When these gases are ranked by their contribution to the greenhouse effect, the most important are: water vapor, which contributes 36–72%: carbon dioxide, which contributes 9– 26%: methane, which contributes 4–9%: and ozone, which contributes 3–7%. The major non-gas contributor to the Earth’s greenhouse effect, clouds, also absorb and emit infrared radiation and thus have an effect on radiative properties of the greenhouse gases. The contribution to the greenhouse effect by a gas is affected by both the characteristics of the gas and its abundance. For an instance, on a moleculefor-molecule basis methane is a WHAT DOES GREENHOUSE EFFECT DO? much stronger greenhouse gas than carbon dioxide,but it is present in The greenhouse effect refers to the change in the steady state temperature of a much smaller concentrations so planet or moon by the presence of an atmosphere containing gas that absorbs that its total contribution is smaller. and emits infrared radiation. Greenhouse gases, which include water vapor, These factors of the greenhouse gas carbon dioxide and methane, warm the atmosphere by efficiently absorbing contribute to the greenhouse effect. thermal infrared radiation emitted by the Earth’s surface, by the atmosphere itself, and by clouds. As a result of its warmth, the atmosphere also radiates thermal infrared in all directions, including downward to the Earth’s surface. Thus, greenhouse gases trap heat within the surface-troposphere system. This mechanism is fundamentally different from the mechanism of an actual greenhouse, which instead isolates air inside the structure so that the heat is not lost by convection and conduction, as discussed below. The greenhouse effect was discovered by Joseph Fourier in 1824, first reliably experimented on by John Tyndall in the year 1858 and first reported quantitatively by Svante Arrhenius in his 1896 paper. In the absence of the greenhouse effect and an atmosphere, the Earth’s average surface temperature of 14 °C (57 °F) could be as low as −18 °C (−0.4 °F), the black body temperature of the Earth. The basic mechanism of greenhouse effect is that the Earth receives energy from the Sun mostly in the form of visible light. The bulk of this energy is not absorbed by the atmosphere since the atmosphere is transparent to visible light. 50% of the sun’s energy reaches the Earth and is absorbed by the surface as heat. Because of its temperature, the Earth’s surface radiates energy in infrared range. The Greenhouse gases are not transparent to infrared radiation so they absorb infrared radiation. Infrared radiation is absorbed from all directions and is passed as heat to all gases in the atmosphere. The atmosphere also radiates in the infrared range (because of its temperature, in the same way the Earth’s surface does) and does so in all directions. The surface and lower atmosphere are warmed because of the greenhouse gases and makes our life on earth possible.

DEFORESTATION IS A CONTRIBUTOR TO GLOBAL CLIMATE CHANGE, AND IS OFTEN CITED AS ONE OF THE MAJOR CAUSES OF THE ENHANCED GREENHOUSE EFFECT. TROPICAL DEFORESTATION IS RESPONSIBLE FOR APPROXIMATELY 20% OF WORLD GREENHOUSE GAS EMISSIONS.

2005: 3,952,025,000 HECTARES

017

all nature

five elements

016

1: A matrix is the environment or context in which something such as a society develops and grows. 2: A mass of fine-grained rock in which gems, crystals, or fossils are embedded: <biology> the substance between cells or in which structures are embedded: fine material used to bind to-gether the coarser particles of a composite substance. 3: A mould in which something, such as gramophone record or printing type, is cast or shaped. 4: <Mathematics> a rectangular array of quantities or expressions in rows and columns that is treated as a single entity and manipulated according to particular rules.

027

M AT RIX

125,566,000 HECTARES ( 1/3 OF TOTAL FOREST IN THE WORLD ) DEFORESTATION x HYDROLOGIC ISSUES

CENTRAL AMERICA: 67%

...FÜZE

The Food and Agriculture Organization (FAO) data are based largely on reporting from forestry departments of individual countries. The World Bank estimates that 80% of logging operations are illegal in Bolivia and 42% in Colombia, while in Peru, illegal logging equals 80% of all activities. Globally the rate of deforestation declined during the 1980s, with even more rapid declines in the 1990s and still more rapid declines from 2000 to 2005. Based on these trends global anti-deforestation efforts are expected to outstrip deforestation within the next half-century with global forest cover increasing by 10%—an area the size of India—by 2050. Rates of deforestation are highest in developing tropical nations, although globally the rate of tropical forest loss is also declining, with tropical deforestation rates of about 8.6 million hectares annually in the 1990s, compared to a loss of around 9.2 million hectares during the previous decade. Despite the ongoing reduction in deforestation over the past 30 years the process deforestation remains a serious global ecological problem and a major social and economic problem in many regions. 13 million hectares of forest are lost each year, 6 million hectares of which are forest that had been largely undisturbed by man. This results in a loss of habitat for wildlife as well as reducing or removing the ecosystem services provided by these forests. The rate of deforestation also varies widely by region and despite a global decline in some regions, particularly in developing tropical nations, the rate of deforestation is increasing. For example, Nigeria lost 81% of its old-growth forests in just 15 years (1990- 2005). All of Africa is suffering deforestation at twice the world rate.The effects of deforestation are most pronounced in tropical rainforests. Brazil has lost 90-95% of its Mata Atlântica forest.In Central America, two-thirds of lowland tropical forests have been turned into pasture since 1950.Half of the Brazilian state of Rondonia’s 243,000 km² have been affected by deforestation in recent years and tropical countries, including Mexico, India, Philippines, Indonesia, Thailand, Myanmar, Malaysia, Bangladesh, China, Sri Lanka, Laos, Nigeria, Congo, Liberia, Guinea, Ghana and the Côte d’Ivoire, have lost large areas of their rainforest. Because the rates vary so much across regions the global decline in deforestation rates does not necessarily indicate that the negative effects of deforestation are also declining. Large areas of Siberia have been harvested since the collapse of the Soviet Union. In the last two decades, Afghanistan has lost over 70% of its forests throughout the country. Deforestation trends could follow the Kuznets curve however even if true this is problematic in so-called hot-spots because of the risk of irreversible loss of non-economic forest values for example valuable habitat or species loss.

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

Trees and other plants remove carbon (in the form of carbon dioxide) from the atmosphere during the process of photosynthesis and release it back into the atmosphere during normal respiration. Only when actively growing can a tree or forest remove carbon over an annual or longer timeframe. Both the decay and burning of wood releases much of this stored carbon back to the atmosphere. In order for forests to take up carbon, the wood must be harvested and turned into longlived products and trees must be re-planted. Deforestation may cause carbon stores held in soil to be released. Forests are stores of carbon and can be either sinks or sources depending upon environmental circumstances. Mature forests alternate between being net sinks and net sources of carbon dioxide (see carbon dioxide sink and carbon cycle). Reducing emissions from the tropical deforestation and forest degradation (REDD) in developing countries has emerged as new potential to complement ongoing climate policies. The idea consists in providing fi nancial compensations for the reduction of greenhouse gas (GHG) emissions from deforestation and forest degradation”. The worlds rain forests are widely believed by laymen to contribute a significant amount of world’s oxygen although it is now accepted by scientists that rainforests contribute little net oxygen to the atmosphere and deforestation will have no effect whatsoever on atmospheric oxygen levels. However, the incineration and burning of forest plants in order to clear land releases tonnes of CO2 which contributes to global warming. Forests are also able to extract carbon dioxide and pollutants from the air, thus contributing to biosphere stability.

The water cycle is also affected by deforestation. Trees extract groundwater through their roots and release it into the atmosphere. When part of a forest is removed, the trees no longer evaporate away this water, resulting in a much drier climate. Deforestation reduces the content of water in the soil and groundwater as well as atmospheric moisture. Deforestation reduces soil cohesion, so that erosion, flooding and landslides ensue. Forests enhance the recharge of aquifers in some locales, however, forests are a major source of aquifer depletion on most locales. Shrinking forest cover lessens the landscape’s capacity to intercept, retain and transpire precipitation. Instead of trapping precipitation, which then percolates to groundwater systems, deforested areas become sources of surface water runoff, which moves much faster than subsurface flows. That quicker transport of surface water can translate into flash flooding and more localized floods than would occur with the forest cover. Deforestation also contributes to decreased evapotranspiration, which lessens atmospheric moisture which in some cases affects precipitation levels down wind from the deforested area, as water is not recycled to downwind forests, but is lost in runoff and returns directly to the oceans. According to one preliminary study, in deforested north and northwest China, the average annual precipitation decreased by one third between the 1950s and the 1980s. Trees, and plants in general, affect the water cycle significantly: their canopies intercept a proportion of precipitation, which is then evaporated back to the atmosphere (canopy interception); their litter, stems and trunks slow down DEFORESTATION x SOIL surface runoff ; their roots create macropores - large conduits - in the soil that increase infiltration of water; they contribute to terrestrial evaporation and reduce soil moisture via transpiration; their litter and other organic residue change soil Undisturbed forest has very low rates of soil loss, approxiproperties that affect the capacity of soil to store water; their leaves control the mately 2 metric tons per square kilometre (6 short tons per humidity of the atmosphere by traspiration. 99% of the water pulled up by the roots square mile). Deforestation generally increases rates of soil move up to the leaves for transpiration. As a result, the presence or absence of trees erosion, by increasing the amount of runoff and reducing can change the quantity of water on the surface, in the soil or groundwater, or in the protection of the soil from tree litter. This can be an the atmosphere. This in turn changes erosion rates and the availability of water for advantage in excessively leached tropical rain forest soils. either ecosystem functions or human services. The forest may have little impact on Forestry operations themselves also increase erosion flooding in the case of large rainfall events, which overwhelm the storage capacity through the development of roads and the use of mechanized of forest soil if the soils are at or close to saturation. Tropical rainforests produce equipment. China’s Loess Plateau was cleared of forest milabout 30% of our planets fresh water. lennia ago. Since then it has been eroding, creating dramatic incised valleys, and providing the sediment that gives the Yellow River its yellow color and that causes the flooding of the river in the lower reaches (hence the river’s nickname ‘China’s sorrow’). Removal of trees does not always increase erosion rates. In certain regions of southwest US, shrubs and trees have been encroaching on grassland. The trees themselves enhance the loss of grass between tree canopies. The bare intercanopy areas become highly erodible. The US Forest Service, in Bandelier National Monument for example, is studying how to restore the former ecosystem, and reduce erosion, by removing the trees. Tree roots bind soil together, and if the soil is sufficiently shallow they act to keep the soil in place by also binding with underlying bedrock. Tree removal on steep slopes with shallow soil thus increases the risk of landslides, which can threaten people living nearby. However most deforestation only affects the trunks of trees, allowing for the roots to stay rooted, negating the landslide.

EFFEC

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

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COURSE

INSTRUCTOR

TERM

PROJECT

t ypogr aphy 3

ariel grey

spring 2009

cause , effect & solution

> > > no.

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\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

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s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

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COURSE

t ypogr aphy 3

INSTRUCTOR

ariel grey

TERM

spring 2009

PROJECT

cause effect & solution

.. .

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>> C H A P T E R spr ead

SUBJECT

C AT E G O RY

. ...

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COURSE

INSTRUCTOR

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t ypogr aphy 3

ariel grey

spring 2009

cause , effect & solution

> > > no.

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\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

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047

046

Book

Regular

Bold

Extra Bold

Book Italic

Regular Italic

Bold Italic

m m m m m m m

Matrix

Small Capss book

Small Caps Regular

Tall

Semi Tall

Small Caps Bold

Script Book

m m m M

Inline Italic

M Inline Script

Semi Narrow

Inline Extra Bold

Semi Wide

Script Bold

Wide

m mm Hight Light Italic

m m m Ornaments

Script Regular

m m m Narrow

High Light Script

High Light Extra Bold

m m m

Fraction

e ¼

A a

MATRIX INLINE SERIES ARE DESIGNED TO PAIR UP WITH MATRIX HIGH LIGHT. THE INLINED PART EXACTLY MATCHES MATRIX HIGH LIGHT.

MATRIX NARROW AND MATRIX TALL ARE VERY SIMILAR BUT HEIGHT OF MATRIX NARROW IS ALL THE SAME.

MATRIX BOOK

BOOK LIN

MATRIX BOOK LIN

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%& MATRIX REGULAR

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%& MATRIX BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%&

MATRIX ITALIC AND MATRIX SCRIPT ARE VERY SIMILAR, BUT THE DETAILS OF SOME OF THE CHARACTERS ARE DIFFERENT. LOOK CAREFULLY AT CAPITAL “E”, “K”, “R”, AND “X”, AS WELL AS LOWERCASE OF “B”, “F”, “G”, “S”, “Y” AND “Z”.

0123456789

The reason Matrix looks the way it does may seem quaint, if not incomprehensible, to those who were not around in 1985 when the idea for its design was born. The tool used to produce it, the Macintosh computer, had just appeared on the scene and its restrictions were many. Although the base memory on its second model was a whopping 512k, it lacked a hard drive, most data was stored and transferred from one computer to another using floppy disks, and the screen was only slightly bigger than a postcard. It was on this computer that the basic ideas for Matrix were developed. While the proportions of Matrix were based on one of Zuzana Licko’s earlier bitmap fonts, its distinctive geometric character was the result of having to work around the Mac’s limitations and coarse resolution laser printers. After designing a number of low resolution bitmap fonts, Matrix was the first PostScript font that Emigre released. PostScript, a programming language developed by Adobe - and made available to the public in 1985 - replaced bitmap based fonts and made possible the drawing of glyphs as Bézier curve outlines which could then be rendered at any size or resolution. With the release of Altsys’s Fontographer, a PostScript based font editing software, it allowed a more precise drawing of letter forms. (Matrix Book 7 pt/8.4)

052

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%& MATRIX BOOK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%&

BOOK LIN

SMALL CAPS

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%& MATRIX ITALIC

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%&

The reason Matrix looks the way it does may seem quaint, if not in- The reason Matrix looks the way it does may seem quaint, if not comprehensible, to those who were not around in 1985 when the idea incomprehensible, to those who were not around in 1985 when for its design was born. The tool used to produce it, the Macintosh the idea for its design was born. The tool used to produce it, the computer, had just appeared on the scene and its restrictions were Macintosh computer, had just appeared on the scene and its remany. Although the base memory on its second model was a whopping strictions were many. Although the base memory on its second 512k, it lacked a hard drive, most data was stored and transferred from model was a whopping 512k, it lacked a hard drive, most data one computer to another using floppy disks, and the screen was only was stored and transferred from one computer to another usslightly bigger than a postcard. It was on this computer that the ba- ing floppy disks, and the screen was only slightly bigger than a sic ideas for Matrix were developed. While the proportions of Matrix postcard. It was on this computer that the basic ideas for Matrix were based on one of Zuzana Licko’s earlier bitmap fonts, its distinc- were developed. While the proportions of Matrix were based on tive geometric character was the result of having to work around the one of Zuzana Licko’s earlier bitmap fonts, its distinctive geoMac’s limitations and coarse resolution laser printers. After designing metric character was the result of having to work around the a number of low resolution bitmap fonts, Matrix was the first Post- Mac’s limitations and coarse resolution laser printers. After deScript font that Emigre released. PostScript, a programming language signing a number of low resolution bitmap fonts, Matrix was the developed by Adobe - and made available to the public in 1985 - re- first PostScript font that Emigre released. PostScript, a programplaced bitmap based fonts and made possible the drawing of glyphs ming language developed by Adobe - and made available to the as Bézier curve outlines which could then be rendered at any size public in 1985 - replaced bitmap based fonts and made possible or resolution. With the release of Altsys’s Fontographer, a PostScript the drawing of glyphs as Bézier curve outlines which could then based font editing software, it allowed a more precise drawing of let- be rendered at any size or resolution. With the release of Altsys’s Fontographer, a PostScript based font editing software, it alter forms. lowed a more precise drawing of letter forms. (Matrix Bold 7 pt/8.4) (Matrix Extra Bold 7 pt/8.4)

SCRIPT

065

064

059

45 degree serif

BOOK

THE HEIGHT AND BASELINE ARE ALL ALINED WITH NUMBERS AND SOME OF THE SYMBOLS OF BOOK LIN FROM MATRIX FAMILY AS WELL AS REGULAR LIN, BOLD LIN AND EXTRA BOLD LIN WHILE NORMAL MATRIX HAVE A DIFFERNT ALIGNMENT OF BASELINE AND HEIGHT FOR NUMBERS AND THE SYMBOLS.

TW Matrix High Light

® ∂

Matrix Book

12345678ABCDE FGHIJKRSTUabc defghjkrstuvwxy

The structure of Matrix is based on that of Emigre.

$ ™

ORNAMENTS

... ..

. .

\\\

g R

? ƒ

Emigre Four Teen

COURSE

INSTRUCTOR

TERM

PROJECT

t ypogr aphy 3

ariel grey

spring 2009

cause , effect & solution

Å Matrix Inline

‰ D

Matrix Wide

Matrix Tall

058

MATRIX EX BOLD

M a t R i x

0123456789

BOOK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%&

A a

$500 $500

051

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>[]@#$%&

062

A a

050

049

Matrix Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Semi Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Semi wide ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Small Caps ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Inline Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Inline Script ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Wide ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A A a A a a

Matrix Inline Extra Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Script Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Book Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Script Book ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Extra Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

A a

Matrix Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Book ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

048

¤ Ÿ

K y

b g

@ L

Matrix II Book

Matrix II Fractions

Matrix II hilite Script

Matrix II Semi Narrow

Matrix II Book Matrix II Ornaments

Matrix II Ornaments

Matrix II Inline Script

Matrix II Book

Matrix II Regular

Matrix II Fractions

Matrix II Book

Matrix II Script

Matrix II Tall

Matrix II Script

> > > no.

Matrix II Book

NARROW

Matrix II Semi Narrow

¬ k æ

ë y

{

Matrix II Book

Matrix II Regular

NUMBERS FROM TALL AND SEMI TALL HAVE THE SAME X-HEIGHT AND BASELINE WHILE SOME OF THE NUMBERS OF NARROW AND SEMI NARROW ARE LONGER THAN THE X-HEIGHT AND GO BELOW THE BASELINE. ALSO THE DOTS OF SYMBOLS FROM TALL/SEMITALL ARE TRIANGLE POINTING DOWN BUT THE ONES FROM NARROW/ SEMI NARROW ARE NORMAL CIRCULAR SHAPE DOTS.

A a

055

A A a A a a

Matrix Semi Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Small Caps ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Inline Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

THE X-HEIGHT AND BASELINE ARE ALL THE SAME FOR NARROW AND SEMI NARROW WHILE SOME OF THE CHARACTERS FROM TALL/SEMI TALL ARE LONGER THAN THE X-HEIGHT OR THE BASELINE, WHICH CREATES DYNAMIC LOOKING. BESIDES THAT, “I” FROM TALL/ SEMI TALL HAS POINTING-DOWN TRIANGLE DOT AS WELL AS “J”, WHICH NARROW/SEMI NARROW DO NOT HAVE WITH THEM.

A a

Matrix Inline Script ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Inline Extra Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

SEMI NARROW

SEMI TALL

Matrix II Small Caps

6/7.2 pt, The reason Matrix looks the way it does may seem quaint, if not incomprehensible, to those who were not around in 1985 when the idea for its design was born. The tool used to produce it, the Macintosh computer, had just appeared on the scene and its restrictions were many. Although the base memory on its second model was a whopping 512k, it lacked a hard drive, most data was stored and transferred from one computer to another using floppy disks, and the screen was only slightly bigger than a postcard. It was on this computer that the basic ideas for Matrix were developed. Matrix is now a family of 27 typefaces as shown above. 6/7.2 pt, The reason Matrix looks the way it does may seem quaint, if not incomprehensible, to those who were not around in 1985 when the idea for its design was born. The tool used to produce it, the Macintosh computer, had just appeared on the scene and its restrictions were many. Although the base memory on its second model was a whopping 512k, it lacked a hard drive, most data was stored and transferred from one computer to another using floppy disks, and the screen was only slightly bigger than a postcard. It was on this computer that the basic ideas for Matrix were developed. Matrix is now a family of 27 typefaces as shown above.

A a

Typography

INLINE SCRIPT

HILITE SCRIPT

Typography

Matrix II Script

Matrix II Semi Narrow

Matrix II Small Caps

Matrix II Book

Matrix II Inline Script

8/9.6 pt, The reason Matrix looks the way it does may seem quaint, if not incomprehensible, to those who were not around in 1985 when the idea for its design was born. The tool used to produce it, the Macintosh computer, had just appeared on the scene and its restrictions were many. Although the base memory on its second model was a whopping 512k, it lacked a hard drive, most data was stored and transferred from one computer to another using floppy disks, and the screen was only slightly bigger than a postcard. It was on this computer that the basic ideas for Matrix were developed. Matrix is now a family of 27 typefaces as shown above.

...FÜZE

Matrix II Ornaments

Matrix II Inline Italic

Matrix II Fraction

Matrix II Book

Matrix II Extended Wide

Matrix II Book

Matrix II Tall

Matrix II Ornaments

Matrix II Book

Matrix II Book Italic

Matrix II High Light

Matrix II Fraction

Matrix II Ornaments

7/8.4 pt, The reason Matrix looks the way it does may seem quaint, if not incomprehensible, to those who were not around in 1985 when the idea for its design was born. The tool used to produce it, the Macintosh computer, had just appeared on the scene and its restrictions were many. Although the base memory on its second model was a whopping 512k, it lacked a hard drive, most data was stored and transferred from one computer to another using floppy disks, and the screen was only slightly bigger than a postcard. It was on this computer that the basic ideas for Matrix were developed. Matrix is now a family of 27 typefaces as shown above.

Matrix II Inline Script

k ö

Matrix II Fractions

SEMI TALL

SEMI NARROW

Matrix II Fractions

Matrix II Ornaments

Matrix II Script

063

TERRIFIC TERRIFIC TERRIFIC TERRIFIC 415.608.5325 415.608.5325 TALL

Matrix Semi Tall ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

067

Matrix Semi Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix Tall ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

066

E &

060

054

057

056

SCRIPT

Matrix Narrow ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789+-*/=!?,.;:’”<>@$&[]

Matrix II Book

italic

script

061

MATRIX ITALIC

053

fantastic fantastic

Matrix II Small Caps

€½¼¾JKLMNO¹²³¦+−×<=>B FDATSQEVWXYZ!@#$%&*() Matrix II Inline Extra Bold

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

Matrix II Ornaments

FRACTION

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

t ypogr aphy 3

INSTRUCTOR

ariel grey

TERM

spring 2009

PROJECT

cause effect & solution

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R spr ead

SUBJECT

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 9

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

t ypogr aphy 3

ariel grey

spring 2009

cause , effect & solution

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

t ypogr aphy 3

COURSE

ariel grey

INSTRUCTOR

spring 2009

TERM

cause , effect a nd solution

PROJECT

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

SUBJECT

C AT E G O RY

. ...

\ >

\\\

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

TERM

fall 2009

a m e r i c a n a p pa r e l h o u s e wa r e

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

となるのである。

それによって、それぞれが別々に存在しているよりも、お互いを高め合い、よりいっそう人々を魅了するもの

ルなタイポグラフィを組み合わせることで、緊張感を生み出すと同時に、ある種のハーもイーをも作り出す。

ーになる。そういった計算された性的さを収めた写真と、まったくもってセクシーさの欠片も感じないシンプ

とは、ただ性的であることとは違うが、考慮され尽くし、意図的に作り上げられた性的さは時にとてもセクシ

セクシーさとは、人々の注意を引き、彼らを魅了するための最も強烈な魅力の一つである。セクシーであるこ

Sexiness is one of the strongest attractions. It’s a powerful way to get people's attention and mesmerize them. Being sexy is different from being sexual, but being sexual deliberately can be very sexy. W hen combining deliberately sexual photos with very simple typographic design devoid of sexiness, the juxtaposition creates tension and harmony. It is more intriguing than just one or the other. Each creates contrast to the other, enhancing both.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

... . \\

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

> > JPN _ \\

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

> > > no.

\ .. >

no.

計算された企て a m e r i c a n a p pa r e l h o u s e wa r e

PROJECT

\\ OB J EC TIVE _

C r e a t e a s e t o f f i v e p a c k a g i n g s f o r a h om e a p p l i a n c e l i n e of a bra nd which is new to t he housewa re f ield. \\ E XECUTION _

Since t he st yle of A meric a n Appa rel which is ver y bold, t y po g r a p h i c b u t s i m p l e , i s v e r y e s t a b l i s h e d , it w a s i n h e r it e d t o t h e new housewa re line. The color pa lette wa s ver y vivid a nd fresh. T h e p h o t o g r a p h i c s t y l e o f it s a d s , w h i c h i s s e x y a n d m e m or a b l e were applied to t he product shots. A lso t he pack a ging had a p l a s t i c s l e e v e w h i c h w a s w h it e w it h k n o c k e d o ut t y p e , i n s pi r e d b y A m e r i c a n A p p a r e l 's s h o p pi n g b a g . \\ I N S P I R AT I O N A L W O R D S _

Ty p o g r a p h i c a l \ C o l o r f u l \ V i v i d \ I nt r i g u i n g \ S i mp l e \ S e x u a l \ Recognizable \ Distinct

JPN_

\\ 案件概要 _ 家電用品のフィールドに新しく参入するブランドの家電用品用のパッケージのセットのデザイン。サイズのバリエーションを含め、５つのパッケージを作製。 \\ 実行プラン _ アメリカンアパレルの大胆かつ力強く、それでいてシンプルなタイポグラフィを前面に押し出したデザインは既に確立されているため、そのスタイルは新しい家電ラインのデザインにも受け継がれた。色のパレットは、ヴィヴィッドで新鮮さを感じさせるものである。プロダクトショットは、アメリカンアパレルの広告のようなセクシーで印象的なショットの中にプロダクトが存在するようにした。また、アメリカンアパレルのショッピングバッグからインスピレーションを受け、透明に抜かれているタイプをあしらった白いスリーブがパッケージを覆っている。 \\ インスピレーション _ タイポグラフィカル \ 色とりどりの \ ヴィヴィッドな \ 興味をそそる \ シンプル \ セクシーな \ 認識しやすい \ 他とは違った

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa c k a g e d e s i g n 3

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

a m e r i c a n a p pa r e l h o u s e wa r e

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R pa c k a g i n g f o r c l o c k

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 4

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa c k a g e d e s i g n 3

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

a m e r i c a n a p pa r e l h o u s e wa r e

CHAPTER

SUBJECT

C AT E G O RY

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

a m e r i c a n a p pa r e l h o u s e wa r e

PROJECT

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

pa c k a g i n g f o r l a m p

;

...

. ...

\ >

\\\ S E C T I O N _ 0 6

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

pa c k a g e d e s i g n 3

thom as mcnult y

fall 2009

a m e r i c a n a p pa r e l h o u s e wa r e

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa c k a g e d e s i g n 3

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

a m e r i c a n a p pa r e l h o u s e wa r e

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R box and sleeve

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 8

> > > no.

04 ...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \> pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

a m e r i c a n a p pa r e l h o u s e wa r e

PROJECT

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

TERM

fall 2009

a m e r i c a n a p pa r e l h o u s e wa r e

PROJECT

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa c k a g e d e s i g n 3

INSTRUCTOR

thom as mcnult y

TERM

fall 2009

PROJECT

a m e r i c a n a p pa r e l h o u s e wa r e

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R pa c k a g i n g f o r c l o c k

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 8

> > > no.

...FĂ&#x153;ZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

TERM

fall 2009

sapporo pr emium winter beer

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

しつつ、新しい形をそのイメージに与えることが出来るだろう。

化するという方法で再び具現化するとどうなるのであろう？そのプロセスによって、元のイメージの面影を残

ろう。それをただ写真に収めるのではなく、その景色から感じられるイメージだけを抽出し、それをデザイン

には日本の美の基盤であり、日本的ミニマリズムとも言える侘び寂びにどこか通じるものがあると言えるだ

雪に覆われた大地。白銀の世界。その真っ白な景色から何を見、感じるかは、人それぞれだろう。だが、そこ

Land covered with snow. A world of silver white. We all see different things when looking at this perfect white scene, but it can be said that there is a connection between the view and Wabi Sabi, which is a traditional Japanese minimalist style. If you extract only one image of the view and reform it by applying a design, what can be created? It goes beyond a simple photograph. It gives the image a new form, while keeping the vestige of the original imagery.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

... . \\

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

> > JPN _ \\

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

> > > no.

\ .. >

no.

絶対零度の高まり sapporo pr emium winter beer

PROJECT

\\ OB J EC TIVE _

D e s i g n a p r e m iu m b e e r l i n e o f a n e x s it i n g b e e r br a n d . T h e l i n e s h o u l d i n c lu d e on e l i g ht b e e r d e s i g n . \\ E XECUTION _

S i n c e it w a s w h e n w i nt e r w a s c o m i n g s o on, I d e c i d e d t o c r e a t e a l i n e o f w i nt e r b e e r f r om S a p p o r o. S a p p or o i s a c it y i n Ja p a n, l o c a t e d i n v e r y n o r t h , w h i c h m e a n s t h e r e i s a l o t of s n o w i n w i nt e r a n d c o l d . I n s pi r e d f r o m it , t h e b e e r w a s n a m e d " Z e r o." T h e b o t t l e s h a p e w a s d i f f e r e nt f r o m n or m a l b e e r a n d a bit t a l l w h i c h f e lt l i k e Ja p a n e s e s a k e . T h e m a i n c h a r a c t e r "z e r o" w a s w r it t e n b y a Ja p a n e s e c a l l i g r a p h e r. T h e l i n e i s c o l or- c o d e d b y t h e c o l o r o f t h e b o t t l e , p a i nt e d i n b l a c k f or pr e m iu m l i n e a n d i n s i l v e r f o r l i g ht l i n e , a n d t h e c o l o r of s t r ip e . \\ I N S P I R AT I O N A L W O R D S _

Ty p o g r a p h i c a l \ C a l l i g r a p h i c \ Ja p a n e s e \ M i n i m a l i s t i c \ S i m p l e \ S e r e n e \ W i nt e r \ Q u i e t \\ C O L L A B O R AT I O N _

A oi Ya m a g u c h i \ Ja p a n e s e C a l l i g r a p h e r

JPN_

\\ 案件概要 _ 既に実在するビール会社から生産されるプレミアムビールのラインのパッケージデザイン。ラインにはライトビールも含まれる。 \\ 実行プラン _ 季節が冬へ変わる時期だったので、サッポロから生産される冬季限定のビールのラインをデザインした。札幌は、冬には雪がたくさん降り、とても寒い、日本の一番北に位置する北海道の都市の一つである。冬と札幌というイメージからのひらめきで、名前は「零」とした。ボトルの形は、少し違ったものを選び、全体的に日本酒のような雰囲気を出すように背の高めのボトルにした。「零」の漢字は、書道家に依頼した。ライン自体は、ボトルの色（普通のラインは黒、ライトは銀）とストライプの色で色分けされている。

\\ インスピレーション _ タイポグラフィカル \ 書道の \ 日本的な \ ミニマリスティックな \ シンプルな \ 穏やかな \ 優雅な \ 冬の \ 静かな

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

pa c k a g e d e s i g n 3

thom as mcnult y

fall 2009

sapporo pr emium winter beer

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

> > > no.

...FĂ&#x153;ZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 3

COURSE

thom as mcnult y

INSTRUCTOR

fall 2009

TERM

sapporo pr emium winter beer

PROJECT

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01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

calligr aphy

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

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INSTRUCTOR

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pa c k a g e d e s i g n 3

thom as mcnult y

fall 2009

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> FINAL DESIGN

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sapporo pr emium winter beer

TERM

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fall 2009

INSTRUCTOR

thom as mcnult y

;

COURSE

pa c k a g e d e s i g n 3

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fall 2009

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thom as mcnult y

INSTRUCTOR

fall 2009

TERM

sapporo pr emium winter beer

PROJECT

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beer can

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

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s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

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COURSE

tom sieu

INSTRUCTOR

TERM

spring 2010

r3 project – on speak er

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

が、ひとつひとつが影響し合ってひとつの瞬間を作り上げるのである。

もリンクする。つまり、音と色と感情は、すべてが繋がっているのだ。それぞれが全く質の違うもののようだ

くのだ。暗い音を聴けば暗い色を感じ、明るい音を聴けば明るい音を感じる。そして、それは私たちの感情へ

五感はそれぞれが独立しているのではなく、一つが機能したときに、他の感覚もそれに引っ張られるように働

音を聴いたときに、それを通して色を感じたことはあるだろうか？それは特に特殊なことではない。私たちの

Have you felt colors through sounds when you listen to music? It's not something that most people can do. Our f ive senses are not separated from each other. W hen one of them functions, another sense works as if pulled in by the other. W hen you hear a dark sound, you may feel dark colors. Likewise, when you listen to soft music, you may feel soft colors. Our senses link to our emotions too, which means sound, color and feelings are all linked to each other. Each are different, but each affects the others and create one synergistic moment together.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

< \ ...

... . \\

_ ,. ;

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

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print 3

COURSE

> > JPN _ \\

tom sieu

INSTRUCTOR

spring 2010

TERM

> > > no.

\ .. >

no.

地球に優しい音 r3 project – on speak er

PROJECT

\\ OB J EC TIVE _

C r e a t e a p r o d u c t o r c on c e p t w h i c h i s e n v i r on m e nt a l a n d s u s t a i n a b l e . D e s i g n a b o o k a n d t e m p l a t e a b o ut t h e pr o d u c t . \\ E XECUTION _

O n t o p o f t a k i n g a b o u t t h e h i s t o r y a n d f u n c t i on of a s p e a k e r s y s t e m i n g e n e r a l a n d t h e s e c t i on a b o ut h o w t h e n e w s o u n d s y s t e m w o r k s , t h e b o o k w a s a l s o a b o ut a n d c on n e c t i on of c o l o r a n d s o u n d . We s e e o r f e e l c o l or s t h r o u g h s o u n d a n d e a c h s o u n d , c o l o r, o r o c c a s i on r e l a t e s d i f f e r e nt f e e l i n g s . S o s i n c e c o l o r s w e r e a l s o t h e k e y e l e m e nt s f o r t h i s b o o k , e a c h s e c t i on s w a s c o l o r- c o d e d w it h d i f f e r e nt c o l o r s a n d h a n g l i n e s . 3D r e n d e r i n g s o f t h e n e w p r o d u c t w a s i n t h e r e d e s i g n s e c t i on . \\ I N S P I R AT I O N A L W O R D S _

C o l o r s \ S o u n d \ E n v i r on m e nt a l \ E m o t i on s \ Fe e l i n g s \ Modern \ Susta inable

JPN_

\\ 案件概要 _ 環境を壊さず利用可能な、サステイナビリティを考慮した新しいプロダクト、またはコンセプトの提案。それについての本とテンプレートのデザインも含む。 \\ 実行プラン _ スピーカー全般に関する歴史や機能のセクションと新しく提案されたスピーカーの機能のセクションに加え、音と色の関係やつながりについても書かれた本にした。私たちは、音を通して色を感じ、また、音、色、シチュエーションはそれぞれが別々の感情と関連づいているからである。「色」もまたひとつの重要な要素であるため、それぞれのセクションは違う色で色分けしたリデザインのセクションには、新しいプロダクトの 3 D レンダリングも含めた。

\\ インスピレーション _ 色とりどり \ 音 \ 環境に優しい \ 感情 \ 感覚 \ 現代的な

... ..

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COURSE

INSTRUCTOR

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tom sieu

spring 2010

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> > > no.

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CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

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014 | INTRODUCTION

14–21

COLOR OF SOUND | 015

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

INTRODUCTION

24–31

36–45

50–67

70–73

HISTORY

Color, Sound, and Our Life

H I S T O R Y The Beginning of Loudspeaker

FUNCTION REDESIGN

Colors and our life are inseparable since our five senses are designed to perceive colors through them; color can be literally seen by visual sense but also felt by our other senses such as taste, smell or audio. Music makes our life colorful and sound systems are essential to send good music and color to us. That’s why having a good speaker system is necessary for better quality of life.

COLOPHON

TABLE OF CONTENTS 024 | HISTORY

DANCE

COLOR OF SOUND | 02 5

Let’s say you go to c club and dance in music, and what color would you feel? Usually the vibe DJs create is happy, delightful, fun, cheerful, etc, but like calm, relaxing, or sad. Dance music gives us positive colors such as pink, red, yellow, orange or any kinds of fresh, bright color, and those come at the same time which means the image of the colors dance music gives us is very colorful. The rainbow shows the fun you would feel when you dance.

Johann Philipp Reis installed an electric loudspeaker in his telephone in 1861; it was capable of reproducing pure tones, but also could reproduce speech. Alexander Graham Bell patented his first electric loudspeaker (capable of reproducing intelligible speech) as part of his telephone in 1876, which was followed in 1877 by an improved version from Ernst Siemens. Nikola Tesla reportedly made a similar device in 1881, but he was not issued a patent.

036 | FUNCTION

O PERA

... ..

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Opera. It’s a musical performance of elegance and luxury. Purple is the color that represents both of them and listenning to an opera brings you a feeling of gradient from purple to deep magenta that makes you feel a night with sexiness and elengance.

COURSE

INSTRUCTOR

TERM

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R3 is a collaborative effort by the graphic design students at the Academy of Art University to promote sustainable design. Our creative process not only focuses on redesigning better things, but design a better experience as well.

Live with colors and sounds

COLOR OF SOUND | 017

018 | INTRODUCTION

COLOR OF SOUND | 019

020 | INTRODUCTION

COLOR OF SOUND | 021

1 AN OBJECT PRODUCE S SOUND.

3 THE PULS OF VIBRATION TRAVELS THE AIR .

4 T H E P U L S E R E AC H E S OUR EAR.

OUR BRAIN INTERPETS I T A S S O U N D.

6 T H E B R A I N R E F E R S TO C O LO R S W E K N OW.

When Julian Asher listens to an orchestra, he doesn’t just hear music; he also sees it. The sounds of a violin make him see a rich burgundy color, shiny and fluid like a red wine, while a cello’s music flows like honey in a golden yellow hue. This is called synesthesia, and as many as 1 percent of people have the most recognizable form of synesthesia, studies say. Although most of us do not have synesthesia, we do feel colors through music, or sound. It may be not a clear visual image but our emotions and feelings are deeply related to colors and sound stimulate our sense of feeling colors that macth the feelings at that time. This is happening without being aware of it, and without this our life is going to be monochromatic. Thus, the process that sound makes us feel colors is a very essential part of our life.

The term “loudspeaker” may refer to individual transducers (known as “drivers”) or to complete speaker systems consisting of an enclosure including one or more drivers. To adequately reproduce a wide range of frequencies, most loudspeaker systems employ more than one driver, particularly for higher sound pressure level or maximum accuracy. Individual drivers are used to reproduce different frequency ranges. The drivers are named subwoofers (for very low frequencies); woofers (low frequencies); mid-range speakers (middle frequencies); tweeters (high frequencies); and sometimes supertweeters, optimized for the highest audible frequencies. The terms for different speaker drivers differ, depending on the application. In two-way systems there is no mid-range driver, so the task of reproducing the mid-range sounds falls upon the woofer and tweeter. Home stereos use the designation “tweeter” for the high frequency driver, while professional concert systems may designate them as “HF” or “highs”. When multiple drivers are used in a system, a “filter network”, called a crossover, separates the incoming signal into different frequency ranges and routes them to the appropriate driver. A loudspeaker system with n separate frequency bands is described as “n-way speakers”: a two-way system will have a woofer and a tweeter; a three-way system employs a woofer, a mid-range, and a tweeter.

COLOR OF SOUND | 027

THE AIR IS VIBRATED.

An object produces sound when it vibrates in air (sound can also travel through liquids and solids, but air is the transmission medium when we listen to speakers). When something vibrates, it moves the air particles around it. Those air particles in turn move the air particles around them, carrying the pulse of the vibration through the air as a traveling disturbance. When an object flexes away, it pulls in on these surrounding air particles, creating a drop in pressure that pulls in on more surrounding air particles, which creates another drop in pressure that pulls in particles that are even farther out and so on. This decreasing of pressure is called rarefaction. In this way, a vibrating object sends a wave of pressure fluctuation through the atmosphere. When the fluctuation wave reaches your ear, it vibrates the eardrum back and forth. Our brain interprets this motion as sound. Once we know the motion that reaches our ear is sound, then our brain refer to a color/colors according to our cultural background, past experiences or knowledge. That’s how we feel colors through sound.

028 | HISTORY

COLOR OF SOUND | 029

030 | FUNCTION

COLOR OF SOUND | 031

1877 The iPod is revolutionary. We live, we are told, at the dawn of the iPod age. Five years ago this week, Apple’s MP3 player was launched with the tag line “1,000 Songs in Your Pocket.” Since that time, the iPod has become a ubiquitous urban accessory, traveled with Dick Cheney to secret, undisclosed locations, and named a generation. The white wonder has spawned a hundred articles—some on its cultural import, some noting that there are special iPod gloves that increase sensitivity to the click wheel or that a young man in Colorado was struck by lightning while wearing one—and now the device has a semiofficial history: The Perfect Thing by Steven Levy. Here’s the rub: After reading Levy’s book, I’m not convinced that the iPod has changed anything at all.

In 1874, Ernst W. Siemens was the first to describe the “dynamic” or moving-coil transducer, with a circular coil of wire in a magnetic field and supported so that it could move axially. He filed his U. S. patent application for a “magneto-electric apparatus” for “obtaining the mechanical movement of an electrical coil from electrical currents transmitted through it” on Jan. 20, 1874, and was granted patent No. 149,797 Apr. 14, 1874. However, he did not use his device for audible transmission, as did Alexander G. Bell who patented the telephone in 1876. After Bell’s patent was granted, Siemens applied for German patent No. 2355, filed Dec. 14, 1877, for a nonmagnetic parchment diaphragm as the sound radiator of a moving-coil transducer. The diaphragm could take the form of a cone, with an exponentially flaring “morning glory” trumpet form. This is the first patent for the loudspeaker horn that would be used on most phonographs players in the acoustic era. His German patent was granted July 30, 1878 and his British patent No. 4685 was granted Feb. 1, 1878.

2010

A l e x a n d e r G r a h a m B e ll invente d t h e l o u d s p e a ke r a s o n e o f t h e c o m p o n e n t s o f h i s te l e p h o n e .

COLOR OF SOUND | 039

F U N C T I O N Look Inside of the Loudspeaker

040 | FUNCTION

COLOR OF SOUND | 041

LOUDSPEAKER

DRIVER

SUPERTWEETERS TWEETERS MID-RANGE WOOFERS SUBWOOFERS

LOW — FREQUENCY — HIGH

COLOR OF SOUND | 037

FULL-RANGE ENCLOSURE

SEALED/CLOSED PORTED/REFLEX

The word “speaker” is the shortened form of the word “loudspeaker” and it refers to a device that converts electrical signals into sound waves that we can hear. A speaker is a system that converts electrical energy to mechanical/acoustical energy. It uses a coil of wire, which acts as an electromagnet, set inside of a magnetic gap of a permanent magnet. The following demo shows the main components of a woofer. Holding your cursor over the individual buttons will highlight the respective component. Sometimes people refer to the drivers as speakers. Yet, the speaker is really the entire system, including box, crossover network (if present) and drivers. Let’s examine each part beginning with the drivers in the next chapters of this section.

APERIODIC DIPOLE HORN

There are many different kinds of drivers but they all do basically the same thing: create sound waves. By far the most common type of driver is the moving coil electrodynamic piston driver. It has a moving part called a diaphragm that acts like a piston to pump air and thereby create sound waves. A common diaphragm for a woofer is a paper cone. A common diaphragm for a tweeter is a fabric dome. Why do drivers come in so many different sizes? Because it is nearly impossible to make one piston driver that can reproduce sound waves over the entire 20 Hz to 20 kHz frequency range of human hearing. To produce low frequencies a driver needs to have a large diaphragm and enough mass to resonate at a low frequency. To produce high frequencies a driver needs to have a small diaphragm with a low mass. Obviously, these requirements are in opposition so drivers are usually designed to produce only a portion of the sound. This gives rise to multi-way speaker systems like the two-way system shown above. It uses a tweeter for the high frequencies and a woofer for the low frequencies.

How many times every day do you hear recorded music on the radios, on TV, from your computer, in stores, in elevators— even in the street? You’d never hear music at all if it weren’t for loudspeakers: electric sound-making machines.

...FÜZE

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tom sieu

INSTRUCTOR

spring 2010

TERM

r3 project – on speak er

PROJECT

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01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R

chapter openers

SUBJECT

p r i n t, p r o d u c t, i d e n t i t y

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 7

042 | FUNCTION

COLOR OF SOUND | 04 3

E N C LO SU RE

CO N E

PA PER

G O O D FO R A N Y F R EQ U E N C Y.

WO O D

G O O D FO R LOW TO M E D I U M F R EQ U E N C Y.

PA PER

G O O D FO R A N Y F R EQ U E N C Y.

P O LY E S T ER

G O O D FO R LOW TO M E D I U M F R EQ U E N C Y.

ALMINUM

G O O D FO R H I G H F R EQ U E N C Y.

044 | FUNCTION

COLOR OF SOUND | 045

A speaker is essentially the final translation machine -- the reverse of the microphone. It takes the electrical signal and translates it back into physical vibrations to create sound waves. The below is the process of creating sound with speaker. 01 Electrical signals of music come in. _0 _02 Voice coil vibrates and moves very fase back and forth. _03 Cone is vibrated as the voice coil moves. _04 The air is vibrated and sound come out.

_01

_02

_03

_04

In most speaker systems, the drivers and the crossover are housed in a speaker enclosure. These enclosures serve a number of functions. On their most basic level, they make it much easier to set up the speakers. Everything’s in one unit and the drivers are kept in the right position, so they work together to produce the best sound. Enclosures are usually built with heavy wood or another solid material that will effectively absorb the driver’s vibration. If you simply placed a driver on a table, the table would vibrate so much it would drown out a lot of the speaker’s sound.

052 | REDESIGN

COLOR OF SOUND | 053

H A P PY 054 | REDESIGN

COLOR OF SOUND | 055

REDESIGN Rethink How Speaker Can Be

PRODUCTION

CONSUMPTION

WASTE

COLOR OF SOUND | 063

Since ON is made with recycled cardboard to reduce the production costs and energy, the looking of it is very simple; it does not have any decoration or graphics on it. It could be boring but it is actually a great canvas for you to be creative and make your speaker look as you like. You can draw, paint, put stickers, or laminate a photo on the speaker box. What would you do with it? You are the artist here and make it cool in your way.

REC YCLE

What is a usual lifecycle of a product? It’s produced, consumed and wasted. Here we need to reconsider how we can reduce the waste and the easiest answer is: RECYCLE. Recycling is the process of taking a product at the end of its useful life and using all or part of it to make another product. The second life of a recyclable materal can be a resource to make the same materal again, or to make a completely another material or product. The purpose of redesign here is to make a speaker system recyclable as much as possible and make it a medium to rethink the lifecycle of a speaker.

Redesigning the speaker is rethinking how speakers can be and what speakers can do to become a medium to let people think about the environment. Not just considering the impact on the environment but also the quality of sound has to be maintained because the beat is the most important thing as a speaker unit, of course. So how can we make the speaker as a great buddy of the earth? Let’s talk about it.

062 | REDESIGN

056 | REDESIGN

064 | REDESIGN

_01

COLOR OF SOUND | 065

_02

_01

Put stickers on the top.

_02

Have aJapanese calligrapher to wirte words.

_03

Let your kids draw as they like.

_04

Use a card board cylinder as the encloure.

_05

Recycle the cereal box as the enclosure.

_03

_05

_04

07 2 | C O LO P H O N

COLOR OF SOUND | 073

_00

Designed By (and photography on page 20 and 60 by) AKKO TERASAWA www.whateverr.com at@whateverr.com Academy of Art University BFA School of Graphic Design

C O L O P H O N Production Details of This Book

_01

CLASS: Print 3

_02

TERM: Spring 2010

_03

INSTRUCTOR: Tom Sieu

_04

BOOK DIMENSION: 7” X 9”

_05

TYPEFACE: Stag Sans

_06

SOFTWARE: Adobe CS4 (Illustrator CS4, Photoshop CS4, InDesign CS4)

_07

PRINTER: H&H Imaging www.hhimaging.com

_08

BINDING: The Key Printing & Binding www.thekeyprintingandbinding.com

RELAX

... ..

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Blue represents freshness, cleanliness, and calmness which make you feel comfortable and relaxed. When you want to relax, you would listen to music which are more slow and soft rather than loud music, and you will see soft blue as hearing the sounds.

COURSE

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r3 project – on speak er

COLOR OF SOUND | 051

Here redesign comes. The main concept for redesign is to rethink the way a speaker can be including the materials to reduce as much waste as possible and to contribute to our environment, the earth.

Yellow and orange feel very active,positive, energetic and delightful. When you hear upbeat sound like pop music or rock music, you will feel you are having fun and very happy. Those emotions are related to yellow and orange.

COLOR OF SOUND | 057

058 | REDESIGN

COLOR OF SOUND | 059

060 | REDESIGN

COLOR OF SOUND | 061

CUBE IN 4 SIZES

_01

_ 02

_ 03

_04

_05

_06

_ 07

_08

_10

_11

CUBOID IN 5 SIZES

ON of ON SOUND SYSTEM has two meanings; one is literally the power “ON,” and the other is that there is a Japanese letter/word “音” which means sound. The O with vertical bar shows the power sign of electric devices and the gradient color with light yellow green and blue green represents that ON SOUND SYSTEM is environmental-friendly.

INSIDE

_ 09

> > > no.

050 | REDESIGN

OUTSIDE

It’s very easy to make the sound system. It’s only three steps and no glue or tape is needed. The speaker is attached with plastic nails that are very easy to deal with, and for the enclosure you just need to fold the side along the number indicated on the edge and that’s it!

ON SOUND SYSTEM is a collapsable loudspeaker system made with recycled materials. The enclosure is 100% recycled card board paper that is thick enough to ensure the quality of the sound and, of course, it is recyclable. The speaker cone is also made with 100% recycled paper and the white plastic that holds the speaker unit onto the enclosure is bio-plastic. There is no black mesh cover on the speaker unit since it is not always necessary. Although it is impossible to make all the parts out of recycled/recyclable materials, ON SOUND SYSTEM does reduce the paper waste.

SPEAKER UNIT IN 4 SIZES _12

_13

ON SOUND SYSTEM is also separated speaker system; it means the enclosure and the speaker are sold separately so you can choose size and shape of them, or you can use your own speaker box and purchase just the speaker unit, or vice versa. The enclosure should be thick enough to make a good bass sound but actually a cereal box is enough to make a speaker. You just need to make a hole to place the speaker unit (circle cutter recommended). This system gives you a great flexibility to create your own speaker along what you need or want. If you need a small speaker to fit an extra space on your book shelf, just choose the smallest ones; or if you have extra room enouhg to place a big ones, just go for it.

Dimension (wxhxd / inches) _01 _02 _03 _04

O R U S E YO U R OW N B OX

A N D E TC . . .

3”x3”x3” 5”x5”x5” 10”x10”x10” 16”x16”x16”

_05 3”x5”x3” _06 5”x7.5”x5” _07 7.5”x10”x7.5” _08 7.5”x15”x10” _09 16”x20”x12”

_10 _11 _12 _13

2.5” 4.5” 8” 12”

CALM

Green might directly make you feel the green of forests. Green is a color that symbolizes calmness, confort, recovery and peace like you feel when you walk in the forests. When you hear sounds such as tweets of a bird or the ripple of spring wind, you would feel the green even though it is not music, just sound, and you would feel like you are refreshed by the new air the forests bring you.

Since this sound system is collapsable you can take this guy anywhere with your laptop or iPod even when you travel to another country. They are going to be your best buddy to listen to music around the world. Just be careful they do not like getting wet.

...FÜZE

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CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

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> FINAL DESIGN

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TERM

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spring 2010

INSTRUCTOR

tom sieu

;

COURSE

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. .\ > T he enclosu re a nd spea ker cone is made w it h 10 0% rec ycled paper, a nd t he y a re a lso rec yclable. tom sieu

INSTRUCTOR

spring 2010

TERM

r3 project – on speak er

PROJECT

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01 02 03 04 05 0 6 07 0 8 09 10

> > C H A PP TT EE RR

product ideas

SUBJECT

p r i n t, p r o d u c t, i d e n t i t y

C AT E EG GO OR RYY

. ...

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\\\ S E C T I O N _10

You c a n g e t ju s t t he s p e a k e r u n it a nd c r e a t e y ou r ow n c u s t om i z e d s p e a k e r.

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pa c k a g e d e s i g n 2

COURSE

pa u l k a g i wa d a

INSTRUCTOR

TERM

spring 2009

sta r oli v e oil hign-end line

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

のデザインは成功したと言えるだろう。

々にデザインを探る隙間を与えてみるのだ。彼らが意図されたメッセージを彼ら自身で見つけ出したとき、そ

オーディエンスにちょっとした驚き感を与えることだ。ただすべての答えを見えるようにするのではなく、人

は、ただそのデザインをアップグレードするだけでなく、予想をいい意味で裏切るソリューションを提示し、

ンがするべき最も重要で核になることの一つである。だがしかし、グラフィックデザイナーに与えられた使命

既にあるものを再びデザインし直し、それをさらに一つ上のレベルまで持って行くことは、グラフィックデザイ

Redesigning an existing thing and bringing it to a higher level is one of the most essential and important parts of graphic design. However, the problem given to a graphic designer is not just to upgrade the design, but also to present an unexpected solution and engage viewers with a delightful surprise. The best design allows people to explore and keeps holding their attention. W hen the designer's intention is clearly communicated and visually compelling, the design becomes successful.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

< \ ...

... . \\

_ ,. ;

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa g rcakp ahgi ce d e s i g n 2

> > JPN _ \\

pa g i wa d m autlt hk eaw k ae m a n

INSTRUCTOR

s purmi m ng e r2 0 2 0 09 7

TERM

> > > no.

\ .. >

no.

オリーヴの枝 sa tracrh iotleicvteu or iel +h ti gy n - egnrda plhi n po ye

PROJECT

\\ OB J EC TIVE _

D e s i g n a l i n e o f oi l v e oi l f r o m S TA R br a n d f or a h i g h - e n d b o u t i qu e . T h e l i n e s h o u l d i n c lu d e a t l e a s t 4 v a r i a t i on s . \\ E XECUTION _

S TA R o l i v e oi l i s on e o f t h e v e r y s t a n d a r d o l i v e oi l l i n e y o u c a n f ind in a lmost a ny superma rkets. The cha llenge here is to u p g r a d e t h e p r o d u c t t o m a k e it s u it a b l e f or h i g h - e n d s t or e s . To d i f f e r e n c i a t e f r o m t h e c a s u a l l i n e , t h e b o t t l e s h a p e w a s cha nged, a nd t he label wa s made to be seen t hrough t he bott le. E a c h on e w a s m a d e i n d i f f e r e nt c o u nt r i e s a n d h a s t h e n a t i on a l f l a g on t h e f r ont o f t h e l a b e l . A s y m b o l i c a r c h it e c t u r e i n e a c h c o u nt r y w a s p l a c e d on t h e b a c k o f t h e l a b e l . \\ I N S P I R AT I O N A L W O R D S _

M o d e r n \ Un i qu e \ S i m p l e \ He a lt hy \ C l e a r \ Tr a n s p a r e nt

JPN_

\\ 案件概要 _ D E A N A N D D E L U C A のようなハイエンドストア向けの S T A R ブランドのオリーヴオイルのデザイン。ラインは少なくとも４種類のバリエーションを含む。 \\ 実行プラン _ S T A R のオリーヴオイルは、ほぼどのスーパーでも見つけられる最も標準的なオリーヴオイルのひとつである。そのため、ハイエンドな店に合うようにそれをアップグレードさせることが大きなチャレンジであった。一般的なラインと分けるため、まずはボトルの形を変え、ラベルはボトルを通して見えるようにするようにデザインした。それぞれのプロダクトは、別々の国から輸入されたものであり、ラベルの表には、それぞれの国の国旗をあしらった。また、その国の象徴的な建造物をラベルの裏に配置し、ボトルを通して見えるようにした。 \\ インスピレーション _ 現代的な \ 独特な \ 独創的な \ シンプル \ 健康的な \ クリア \ 透明な

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

pa c k a g e d e s i g n 2

pa u l k a g i wa d a

spring 2009

sta r oli v e oil high-end line

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

. .\

> FINAL DESIGN

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

PROJECT

sta r oli v e oil high-end line

TERM

...

spring 2009

INSTRUCTOR

pa u l k a g i wa d a

;

COURSE

pa c k a g e d e s i g n 2

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

PROJECT

sta r oli v e oil high-end line

TERM

...

spring 2009

INSTRUCTOR

pa u l k a g i wa d a

;

COURSE

pa c k a g e d e s i g n 2

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

pa c k a g e d e s i g n 2

INSTRUCTOR

pa u l k a g i wa d a

TERM

spring 2009

PROJECT

sta r oli v e oil high-end line

.. .

\\ > 01 02 03 04 05 0 6 07 0 8 09 10

>> C H A P T E R a set of 4 bottles

SUBJECT

pa c k a g e d e s i g n

C AT E G O RY

. ...

\ >

\\\ S E C T I O N _ 0 8

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 4

COURSE

thom as mcnult y

INSTRUCTOR

TERM

summer 2010

blue oak w hisk ey lounge

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

の小さな欠片を作り、それを一つにすることで、ひとつの世界を作り上げることが可能なのである。

かという大きな全体像を生み出す。つまり、グラフィックデザインは、ある一定のルールの元でひとつひとつ

システムの最初から最後までの一貫性は、一つ一つの要素をまとめあげ、そのデザインが何に繋がっているの

く、会社やブランドの全体的な雰囲気やイメージをも作り上げることが出来る可能性を秘めている。デザイン

グラフィックデザインは、ただグラフィックを駆使して何かのひとつひとつの欠片をデザインするだけでな

Graphic design is not simply about arranging type with other graphic elements, it has the possibility to create the whole atmosphere of a company or brand. Consistency throughout a system of design puts each element together and develops one overall image. It can be said that graphic design can create a world by making and placing small pieces under a certain scheme and building them up into a unity.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

... . \\

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 4

COURSE

> > JPN _ \\

thom as mcnult y

INSTRUCTOR

summer 2010

TERM

> > > no.

\ .. >

no.

夜のひととき blue oak w hisk ey lounge

PROJECT

\\ OB J EC TIVE _

D e s i g n a p r e m iu m w h i s k e y l i n e w h i c h i s s e r v e d a n d s o l d i n a h i g h - e n d w h i s k e y l o u n g e i n S OM A a n d Ne w Yor k . \\ E XECUTION _

T h e m o s t c h a l l e n g i n g p a r t o f t h i s p r oj e c t w a s t o t r y t h i g n s I h a d n e v e r d on e . Ev e r y t h i n g t h a t r e l a t e d t o t h e w h i s k e y l o u n g e w a s m a d e t o f e e l e l e g a nt , m o d e r n a n d s o p h i s t i c a t e d , b ut s t i l l f e e l s h e a v y a n d s u b s t a nt i a l , w h i c h m a t c h e d t h e a t m o s p h e r e o f a h i g h - e n d n i g ht l o u n g e f o r a d u lt s . T h e l o g o w a s h a n d d r a w n . T h r e e t y p e s o f w h i s k e y w a s m a d e : B lu e O a k f or n or m a l p r i c e p oi nt a r o u n d $5 0 , B l a c k O a k w it h a b o t t l e g r o l i f i e r f or a r o u n d $ 15 0 , a n d B lu e O a k G r a n d L a b e l f or $3 0 0 . B lu e O a k a n d B l a c k O a k w e r e d i f f e r e n c i a t e d b y t h e l a b e l, a n d t h e b o t t l e s h a p e a n d t h e l a b e l w e r e c o m p l e t e l y d i f f e r e nt f or G r a n d L a b e l . G r a n d L a b e l c o m e s i n a s p e c i a l b ox . \\ I N S P I R AT I O N A L W O R D S _

M o d e r n \ N i g ht \ Q u a l it y \ Wo o d \ Ja z z \ R e l a x e d \ D i m l i g ht \ B l a c k \ C h i l l \ A d u lt \ E l e g a nt \ S o p h i s t i c a t e d \ S u b s t a nt i a l

JPN_

\\ 案件概要 _ S O M A エリアと N e w Y o r k に位置する高級ウィスキーラウンジで出される特製プレミアムウィスキーラインのデザイン。 \\ 実行プラン _ このプロジェクトにおいて最も厳しいチャレンジだったのは、今までしたことのないことをやってみることだった。このウィスキーラウンジに関連するすべてのものは、ラウンジそのものの高級さや夜の雰囲気に合うように、上品、優雅、洗練された、といった雰囲気を醸し出すと同時に、重厚さも感じるものになっている。ウィスキーラインは３種類作った。B l u e O a k は $ 5 0 前後の普通の価格帯、B l a c k O a k はグロリファイアーに置かれるように作られており、価格帯は $ 1 5 0 前後、 B l u e O a k G r a n d L a b e l は $ 3 0 0 前後である。B l u e O a k と B l a c k O a k は、ラベルの形と色で分けてあり、G r a n d L a b e l に関しては、ボトルもラベルも全く違ったスタイルになっている。また、G r a n d L a b e l は特製の箱に入っている。

\\ インスピレーション _ 現代的な \ 夜の \ 質の高い \ 木の雰囲気 \ ジャズ \ リラックスした \ 光を落とした \ 黒の \ 大人の \ 優雅な \ 上品な \ 洗練された \ 重厚な

. .\

> FINAL DESIGN

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

PROJECT

blue oak w hisk ey lounge

TERM

...

summer 2010

INSTRUCTOR

thom as mcnult y

;

COURSE

pa c k a g e d e s i g n 4

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 4

COURSE

thom as mcnult y

INSTRUCTOR

TERM

summer 2010

blue oak w hisk ey lounge

PROJECT

. .\

> FINAL DESIGN

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

PROJECT

blue oak w hisk ey lounge

TERM

...

summer 2010

INSTRUCTOR

thom as mcnult y

;

COURSE

pa c k a g e d e s i g n 4

... ..

. .

\\\

COURSE

INSTRUCTOR

TERM

PROJECT

pa c k a g e d e s i g n 4

thom as mcnult y

summer 2010

blue oak w hisk ey lounge

> > > no.

...FÜZE

\\\ s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

CHAPTER 01 02 03 04 05 0 6 07 0 8 09 10

\\\

...

;

> > > no.

...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

pa c k a g e d e s i g n 4

COURSE

thom as mcnult y

INSTRUCTOR

summer 2010

TERM

blue oak w hisk ey lounge

PROJECT

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

no. \ .. >

PROJ EC T OVE RVIE W_ \\

J PN _ \\

は、私のスキルやセンスを磨き、私の視野を広げてくれたのである。

けではなく、実際のクライアントやエキシビションのために多くの作品を作ってきた。それらのすべての経験

ののコレクションの章である。私が A c a d e m y o f A r t に在籍していた数年感の間に、学校のプロジェクトだ

ここは、ロゴやポスター、C D ジャケットのデザインといった、ひとつひとつは小さいが、ちょっとラブリーなも

Here is a collection of small but lovely things including brand identities, posters and a CD jacket. During my time at the Academy of Art University, I worked on various projects, not just for classes but also for actual clients and art exhibitions. A ll the experiences cultivated my skills and made me discover a new horizon.

_\\ .. >\ ;, .. . \\ ; ,. _ >> . .. .. \\ _ >\

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

> > > no.

09 ...FÜZE s e l e c t e d a r t w o r k o f a k i k o t e r a s awa , .. \> COURSE

megumi kiyama

INSTRUCTOR

fall 2008

TERM

pa n t o n e p o s t e r s

PROJECT

print 1

< ; ., _ ... . .. <

Japanese pronunciation: [kaze] Chinese Pronunciation: [fu] definition: wind structure of the character: +

風

This character is formed with two types of symbols; one carries a meaning of a thing, and the other shows the sound. 花 is created with “ ”which is a symbol that indicates “plants” and “ ” which is pronounced as “ka”.

風 







Japanese pronunciation: [tsuki] Chinese Pronunciation: [getsu] definition: moon structure of the character: logogram

月

This character’s origin is pretty simple and clear; it derives from a symbol which depicts moon itself. It is pictographic representation, originally of the crescent moon.

月 







// _ /<

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

> > > no.

...FÜZE

...

;

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

\ .. >

no.

thank you I w o u l d l i k e t o e x pr e s s my d e e p e s t g r a t it u d e a n d a p p r e c i a t i on t o a l l of my f a m i l y, f r i e n d s , f a c u lt y a n d s e r v i c e s f o r s u p p or t i n g m e t o a c h i e v e my c h a l l e n g e h e r e . I l o v e y o u g u y s a l l .

FA C U LT Y

\\\

M a r y S c o t t \ R o l a n d Yo u n g \ A r i e l G r e y \ T h o m a s M c Nu lt y \ Tom S i e u \ M a t t h e w Wa k e m a n \ S a m i S a a u d \ S c o t t R a n k i n \ A my B r o a d b e nt \ M a r k R e y n o l d s \ C l a u d e D i e t e r i c h \ R o s e M . Ho d g e \ Pa u l K a g i w a d a \ N it a Y b a r r a \ M a c y C h a d w i c k \ Pe d r o Fr it a s \ S c o t C r i s p

PORTFOLIO CREW

\\\

A a ina Sha rma \ Br ya n Chen \ Courtney Boyle \ Cla ra Silva \ C l a i r e M i l l i g a n \ D a r r e n N g \ Hu n g Ju n g K i m \ N i e n -Yu n C h e n g \ L i n d a S o e l y s t i o \ R i k a P u t r i \ S a l i G o l z a r i \ S u n g- I n C h oi \ Tr a n Hy u n h

F A M I LY + F R I E N D S

\\\

Yo s oji Te r a s a w a \ M a r i k o Te r a s a w a \ K e i Te r a s a w a \ K oi c h i Na g a s h i m a \ K a z u k o Na g a s h i m a \ Yu t a k a N a g a s h i m a \ H i r o e Na g a s h i m a \ D a i s u k e Na g a s h i m a \ Yu m i N a g a s h i m a \ N a n a & S u s u k i \ A oi Ya m a g u c h i \ Ta k a t o I i mu r a \ K a e To s a k i \ S a b e Ta n a k a \ H a n a bi Mu r a k a m i \ E i s u k e Ta k i \ R i s a k i K o y a m a \ To k i o K u n i y o s h i \ A i k o I iji m a \ S a y o K a w a mu r a \ K a n a k o M a m i y a \ N i c k Mc G i n n i s \ K e i k o M o r i y a m a \ Ju n k o M a e g a w a \ Ta d a s h i O k a z a k i \ M a s u m i Ya m a m o t o \ Ju n z o K u r a t a \ S a t o s h i Te r a w a k i \ Na t s u k i Ts u k a m o t o \ N a t s u m i Ta m a k a w a \ N o a - \ L u k e S h or t \ A k i r a K i m a t a \ Yo s h i n o r i K a t a o k a \ Wa k i H a m a t s u \ D a i s u k e M a k i \ D a i c h i Wa k u i \ N o k K o r l a r p k it k u l \ A l l o t h e r S I R c r e w s ( I l o v e y o u g u y s) \ Yu k a K o b a y a s h i \ C h i h a r u Ta n a k a \ M i s a I n o u e \ A t s u k i H i r o s e \ Te t s u r o N o h a r a \ A r a n g K i m \ C h e l s e a No b b s \ A m i e K r a g e r \ a l l o f A AU c r e w s

SERVICES

\\\

C hu m’s D e s i g n & P r i nt \ T h e K e y P r i nt i n g & B i n d i n g \ P u r r f e c t C o l or \ Pl o t n e t \ TA P Pl a s t i c \ H a r v e s t L a n d \ C a l i f o r n i a M o d e l & D e s i g n \ C a l i f or n i a O f f i c e S e r v i c e

no.

credit ART D IR EC TOR \\\

Ma r y Scott GRAPHIC DESIGNER

\\\

A k i k o Te r a s a w a PHOTOGRAPHER

\\\

JAPANESE CALLIGRAPHER

\\\

A oi Ya m a g u c h i \ w w w. g l a m o u r o u s m on o c h r o m e .c o m PRINTER

A k i k o Te r a s a w a & K e i k o M o r i y a m a & S t o c k Ph o t o s

\\\

c hum’s de sign & pr int 582 M a rk e t St re e t , Su it e 6 0 0, S a n Fr a nc i s c o, C A 9 410 4 Te l : 1 . 4 15 . 3 9 9 . 3 8 3 4

BINDERY

\\\

the k ey printing & binding

CA S E S TO C K \\\

;

5 8 51 O c e a n V i e w D r i v e , O a k l a n d , C A 9 4 618 Te l : 1 . 5 1 0 . 5 9 5 . 3 3 1 1 \ W e b : w w w . t h e k e y p r i n t i n g a n d b i n d i n g . c o m

W h it e G l o v e L e a t h e r

TE X T S TO C K \\\

...

COVE R S TO C K \\\

16 0 g s m \ C a n s on M i -Te i nt e s B l a c k

S CANNE R \\\

2 3 0 g s m \ B r i l l i a nt S u pr e m e M a t t e

E p s on Pe r f e c t i on V5 0 0 Ph o t o _

CAM E R A \\\

N i k on D 70 0 \ D 8 0 \ D 70 s SOF T WAR E \\\

A d o b e C r e a t i v e S u it e 4 T YPE FAC E \\\

A d o b e G a r a m on d \ B e r t h o l d A k z i d e n z G r o t e s k

\ .. >

> > > no.

...FÜZE

my journey goes on... s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

\ .. >

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

> > C H A PP TT EE RR

SUBJECT

C AT E EG GO OR RYY

. ...

\ >

\\\

> > > no.

...FÜZE

s e l e c t e d a r t w o r k o f a k i k o t e r a s awa

, .. \>

COURSE

INSTRUCTOR

TERM

PROJECT

\\ PA G E _0 2 0 6 \\ _ 0 2 0 7

.. .

\\ >

01 02 03 04 05 0 6 07 0 8 09 10

> > C H A PP TT EE RR

SUBJECT

C AT E EG GO OR RYY

. ...

\ >

\\\