This year was full of let downs. Subsequently, I was overwhelmed with feelings of anxiety, vulnerability, depression and most of all stress. The feelings were so strong that it manifested physically: Alopecia. Being an optimist, I made the best of it. I have overcome my emotional obstacles and looking back it helped me become a better graphic design student, artist and overall person.
STAGE 1 Headaches
KNOW YOUR PAST A book designed for all ages based on the origins of the alphabet. While the book displays past and present letter forms, each page can be torn out so an individual can create what they think a future letter may be.
H Exploration Interpreted by Karanja Elliot, a friend and School of Visual Arts Illustration major.
A Exploration Interpreted by Heidi Tompkins, a second grade student at Mount Kisco Elementary School.
PAPER DISTORTION An exploration through the use of tools such as ripped paper and a scanner led me to create abstract letterforms.
Scanner Exploration These are all of the interesting forms that occurred before I made the whole alphabet.
STAGE 2 Low sex drive
WEEE LOVEEE LOOKING Inspired by comedian PK’s point of view on the difference between looking and starring at women. The animation was illustrated frame by frame.
Connecting I shared my piece through social media and got a response from PK himself. In return, he showcased my video through his social media outlets.
Wandering Eyes I designed and silkscreened a t-shirt exclusively for the Laugh Factory where PK does his stand-up.
SPIC A self portrait expressing a disappointing moment in my childhood where I was continuously called a spic. I learned later that not everyone is a racist.
BLOOD AND SEA Typeset and book design. All content was taken from a found 1960’s children’s book by Rachel Carson title The Sea around Us.
12
The Sea Around Us
SIMILARITIES OF BLOOD AND SEA Calcium
3% 2%
Potassium
2% 4%
Sodium
35% 39%
Chlorine
56% 45%
When they went ashore, the animals that took up a land life carried with them a part of the sea in their bodies, a heritage which even today links each land animal with the ancient sea. Each of us carries in our veins a salty stream in which the elements sodium, potassium, and calcium are combined in almost the same proportions as in sea water. This has come down to us from the day, millions of years ago, when a far-off ancestor developed a circulatory system in which the fluid was merely the water of the sea. In the same way the protoplasm that makes up each cell of our bodies has the same chemical structure as that of the first simple creatures that arose in the ancient sea.
13
The Gray Beginnings
Under a microscope a sample of plankton would seem very strange to us. Some creatures would appear as little transparent rods or chains. Some would look like thimbles or crescents or balls. We would see tiny, goblin-like creatures with huge eyes, glass-clear worms like fierce little dragons half an inch long, tiny, throbbing jellyfishes, and baby fishes of many different kinds.
QU Kill ATER er w N A h al RY C e ON TER SU Gre TIAR ME at W Y C R: hite ONS UM SE S har C ER k He OND : rrin AR g YC ON PR SU I ME Zoo MARY R: pla C nkt ONS on UM ER :
THE OCEA LIFE N CYCL E
And, indeed, the drifting plankton does wander wherever the streaming currents of the sea carry it, for the living things that compose it have little if any power to swim.
18
The Sea Around Us
Of the plants that inhabit the plankton, the diatoms are among the most abundant and most important as food for many different creatures. Each diatom is a single cell. You would see it under the microscope as a tiny box made of two pieces of glassy silica. Inside the box or shell is the living tissue of the plant. Some of the little balls and crescents in the plankton are one-celled animals that feed on diatoms. Many crustaceans, the young of crabs, barnacles, fishes, and other creatures do that, too. And other creatures of the plankton in turn feed on them. Enormous numbers of shrimplike animals inhabit the plankton. Also the babies of a great variety of sea animals spend the first weeks of life as members of the plankton. The populations of these infant sea creatures change from week to week, for the parent animals have different seasons for spawning. At one time a plankton sample might contain billions of top shaped larvae of the oyster. At another time it might swarm with odd little gnomelike creatures that are the larvae of some kind of crab. The plankton is the basic foodstuff of the sea. Fishes like herring, mackerel, and menhaden feed on it, as do shellfish like oysters or clams. Large fish like bluefish, tuna, and sharks eat other fish that have fed on plankton. And the great whales, according to their kind, live on fishes or on shrimp or even on the smallest of the plankton creatures.
To us the surface of the ocean looks much the same from one shore to another. It seems not to be crossed by any tracks or marked by boundaries. But this is not really so. Although we cannot always see it, the ocean surface has a pattern – it is divided into definite zones made up of different kinds of water. The zones we can make out most easily are those marked by color. The indigo blue of the open sea far from land tells us that this is an area containing little life. For the deep sea is blue because the water is very clear and sunlight can penetrate far into its depths. As light sinks into the sea, the colors that compose it are absorbed one by one, so that finally all the reds and yellows have been screened out and only the blues remain. It is this cool blue color that is reflected back to our eyes. On the other hand, green and sometimes even yellow and brown colors are common near land where rivers bring in quantities of minerals as a food supply. These colors tell us that plankton is abundant and therefore other life, too. Occasionally a tiny plant or animal form containing red pigment is so numerous in some locality that it causes the "red water" that has been known since ancient times in many parts of the world. The Red Sea takes its name from the fact that such red plankton often occurs there. But the color of the sea is only an indirect sign of more important conditions that govern life in the sea. Parts of the sea are more salty than others. Some parts are warmer or colder than others. Both of these conditions affect living things directly.
before, the Challenger scientists realized that life existed even on the deepest floor of the abyss. One of the most exciting things ever learned about the ocean was discovered only recently. It is the fact that a living cloud of some unknown creatures is spread over much of the ocean at a depth of several hundred fathoms below the surface.
This information came to us in a curious manner. New instruments had been designed to let ships under way record the depths of the ocean. Sound waves were directed downward like a beam of light and an echo came back from the bottom. Probably no one suspected that these instruments would be a means of learning something about deep-sea life. But operators soon discovered that the sound waves were reflected back from any solid object they met on the way. Answering echoes came first from something part way down, and then a second echo was received from the bottom. Presumably the first echoes came from schools of fish, whales, or submarines.
Bermuda, like other islands, is a mountain in the sea.
26
The Sea Around Us
These facts were well established by the 1930's. Then in 1946 the United States Navy reported that several scientists, working with echo-sounding equipment in deep water off the California coast, had discovered a widespread "layer" of some sort, which gave back an answering echo to the sound waves. This reflecting layer seemed to be suspended between the surface and the floor of the Pacific and was found over an area 300 miles wide. It lay from 1,000 to 1,500 feet below the surface. But what was this layer? The first clue was given by Martin W. Johnson of the Scripps Institution of Oceanography, who had been working aboard the E. W. Scrippspart of this vessel can be seen in the photograph at the top of page 56. He found that whatever it was that sent back the echoes moved upward and downward in rhythmic fashion. It was up near the surface at night, down in deep water during the day. Clearly the layer must be made up of living creatures who could move at will. From this time on, discoveries about the sea's "phantom bottom" came rapidly. The living layer is not something peculiar to the coast of California alone. It occurs almost everywhere in deep ocean basins. Across the Pacific it seems to exist almost unbroken. By day the layer drifts at a depth of several hundred fathoms, at night it rises to the surface, and again, before sunrise, it sinks into the depths. Whatever makes up the layer is apparently strongly repelled by the sunlight.
BUT WHAT IS THE POWER THAT REPELS? AND WHAT ATTRACTION DRAWS THE CREATURES TOWARD THE SURFACE? Is it comparative safety from enemies that makes them seek darkness? Is it more abundant food near the surface that lures them back under cover of night?
Attempts to sample the layer and to photograph it have been made. Yet no one is sure of what creatures it is composed. But what do the eye-witness accounts tell us of life in these mid-depths? They, too, speak of abundant life. William Beebe was not prepared for what he saw from the bathysphere. Although over a period of six years he had made many hundreds of net-hauls in the same area, he was amazed by the abundance and variety of life that surrounded him in the depths. More than a quarter of a mile down, he reported collections of living things as thick "as I have ever seen them." At half a milewhich is as far down as he went-Dr. Beebe recalled that "there was no instant when a mist of plankton ... was not swirling in the path of the beam." Professor Auguste Piccard and his son, Jacques, who made many deep dives during the early 1950's, report that they seldom saw large fishes. There were many smaller creaturesjellyfishes, crabs, starfishes, and plankton. On the deep sea bottoms they visited they saw many holes from which the heads of small fishes looked out. The fish seemed not to notice the bright lights turned toward them by the human visitors to their world, although sometimes they swam away at great speed. Man is not the first to find out that there is abundant life in the deep sea. Probably millions of years ago certain whales made the discovery. The ancestors of all whales, we know, were land mammals. They must have been beasts that preyed on other animals, if we are to judge by their powerful jaws and teeth. Perhaps in searching for food about the deltas of great rivers or around the edges of shallow seas, they discovered the wealth of fish and other marine life. Over the centuries they formed the habit of following them farther and farther into the sea, and little by little their bodies took on a form more suitable for life in the water. Their hind limbs were reduced so that only dissection can show us the tiny stubs that are all that remain. The forelimbs were changed into organs for steering and balancing. Eventually the whales, as though to divide the sea's food among them, became separated into three groups : the plankton-eaters, the fish-eaters, and the squid eaters. The planktoneating whales can exist only where there are dense masses of small shrimp or copepods for them to feed upon. This limits them almost entirely to arctic and Antarctic waters and the high temperate latitudes. Fish-eating whales may find food over a somewhat wider range of ocean. But they must stay in places where there are
27
The Sunless Sea
STAGE 3 Alopecia
ICONIC CIGARS Package design inspired by iconic figures from different periods who enjoy(ed) smoking cigars. Each box is designed to represent the feel of their time mainly through the use of typography.
I AM NEW YORK A redesign of AM New York’s newspaper. I renamed the newspaper and redesigned the layout to change the overall aesthetic while maintaining it’s modesty for the working class.
Dimensions The newspaper’s final form becomes a 52 in x 38 in poster collectible.
BAD DESIGN Taking elements that are perceived as “bad design,” like pixelated images and vertically set type, and depicting it as what I perceive as “good design.”
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COLOPHON
This book was designed in a little attic in the small town of Mount Kisco, New York with love by Anthony James Carhuayo. All content in this book is original imagery. It was printed on an Epson Artisan 1430 ink-jet printer on Projet double sided matte paper and perfect bound. Typeset in Berthold Akzidenz Grotesk.
Acknowledgments Peter Ahlberg Adrian Carhuayo Karanja Elliot Adrienne Leban Judith Wilde Timothy Samara Richard Mehl Dylan Tompkins Ori Kleiner Lawrence Wright Frank Young Richard Wilde