Prologue

A S H L E Y G U S T A F S O N / p r ologue Whereof what's past is prologue, what to co m e in yours and m y discharge. These words by William Shakespeare are an accurate description of m y approach to design The history of a subject sets the stage for the process and finding the story inspires the path for design.

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A S H L E Y G U S T A F S O N / p r ologue Whereof what's past is prologue, what to co m e in yours and my discharge. These words by William Shakespeare are an accurate description of my approach to design.

The history of a subject sets the stage for the process, and finding the story inspires the path for design.

— mfa p or t fol io b y a s hl e y gu s ta fs on A c a d e m y o f A r t u n i v e r s i t y, S a n F r a n c i s c o

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Title Th e C i r c u s

Title Sue Bee Honey

Category Print

Category identity pack aging

Pages 008-031

Pages 032-045

Title the moon Category print Pages 060-069

Title ma rni Home Pa ints

Title k2 rebrand

Category pack aging

Category identity print web

Pages 1 0 4 -1 1 5

Pages 1 1 6 -1 3 5

Title i d n d i g i ta l c o v e r Category m o t i o n g r a ph i c s Pages 046-059

Title i n b e t w e e n s tat e s Category print pack aging web Pages 0 7 0 -1 0 3

Title rushmore Category Identity pack aging Pages 1 3 6 -1 5 9

Thesis All Ears Category identity web m o b i l e a pp Pages 1 6 0 -1 9 5

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— f o r m y pa r e n t s, w h o ta u g h t m e h o w t o u s e m y i m a g i n at i o n t o c r e at e something better.

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d e s i g n i s a n o pp o r t u n i t y t o c o n t i n u e t e l l i n g t h e s t o r y, n o t j u s t t o s u m e v e r y t h i n g u p.

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tat e l i n d e n

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Ob j e c t i v e Design a book about any subject and what you think it could be like twenty years in the future. The purpose of this project is to gain a co m prehensive understanding of a topic through research, analysis, and visual exploration while sim ultaneously grasping the use of grid structure in layout design.

S t r at eg y The circus has been a popular past tim e for the A m erican culture for over two hundred years.

Unfortunately, the animals used in the production of these traveling shows are far too often mistreated and uncared for. I decided to co m bat this issue by designing a book based on the concept of a future circus without animals. A circus that uses only the freak show acts of the past to draw its crowds. The result was a whimsical book about the history of the circus, the mistreatm ent of the animals today, and how freaky it could be if done right in the future.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course Type Systems Instructor Brendan Callahan Date Fall 2009 Category Print Typeface Av enir Perpetua C a r n i va l e F r e a k s h o w Media Adobe Photoshop Adobe Indesign

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Title Th e C i r c u s

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k eep i t f r e a k y a n d a n i m a l f r ee I was instantly inspired by so m e of the antique photos I found while researching about the history of the circus for this project. A classically painted clow n, a bearded lady, and a two-headed snake were just the tip of the iceberg.

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T i t l e — Th e C i r c u s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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T i t l e — Th e C i r c u s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — P r i n t

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— — the Cover is an inkjet print on brown c r a f t p a p e r . Th e e t c h i n g i s a p o r t r a i t of the hairy twins.

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T i t l e — Th e C i r c u s

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c a t e g o r y — P r i n t

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T i t l e — Th e C i r c u s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — P r i n t

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — P r i n t

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T i t l e — T he C i r cus

m f a p o r t f o l i o — ashley gustafson

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — t h i s i m a g e i s a m o d e r n ta k e o n v i n ta g e woodblocked circus posters.

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T i t l e — Th e C i r c u s

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T i t l e — Th e C i r c u s

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Ob j e c t i v e : Choose and existing brand of honey, redesign its identity, and create packaging for three different flavors or types of syrup.

S t r at eg y: Sue Bee Honey is an old-fashioned A m erican brand of honey that was started in 1921 by a group of five beekeepers near Sioux City, Iowa. Its long and successful history of providing one of the world's “purest foods” to custo m ers around the world led m e to a design strategy that is sim ple, warm, and inviting. The eco-friendly honey jar is made of Acacia and Teak wood fro m managed forests. A unique rope handle in the center of the jar's lid allows you to pull the center lid off to place the honey stick inside. It is unique, beautiful, and creates less of a sticky m ess. The gold foil added to the tops of the lids and the custo m wooden box contrast beautifully with the wood and provide a successful parallel to the gold foil of the type on the jars.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course pack age design 2 Instructor va l e r i e tay l o r- s m i t h Date Fall 2012 Category identity pack aging Typeface blanch f r o n ta g e l ava n d e r i a Media A d o b e i l l u s t r at o r

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Title sue bee honey

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A m er i c a' s h o n e y The beautiful golden colors created by a sugary syrup glistening through a pattern of honeyco m bs inspired my palette of wood, gold, and glass.

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T i t l e — s u e b e e h o n e y

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pr.02 c a t e g o r y — p a c k a g i n g

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T i t l e — s u e b e e h o n e y

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — i d e n t i t y / p a c k a g i n g

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T i t l e — s u e b e e h o n e y

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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T i t l e — s u e b e e h o n e y

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — E a c h l i d a n d at ta c h e d ro p e i s h a n d done gold foil on Acacia wood.

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T i t l e — s u e b e e h o n e y

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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T i t l e — s u e b e e h o n e y

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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Ob j e c t i v e : Design an animated iPad cover for a digital issue of IDN magazine titled The Geo m etric Issue.

Students m ust dem onstrate a co m prehensive understanding of the techniques learned in Adobe After Effects.

S t r at eg y: IDN is know n for being an international publication for creative people with a mission to am plify and unify the design co m m unity. For this reason, I chose to go wild with the idea of geo m etry and graphic design. The first step in my process for creating so m ething animated was to choose the m usic that would acco m pany the m otion. Once I selected the tune, the design cam e easily as each m ovem ent and shape was determined by the beat of the m usic. Since the selection of m usic I chose had a m odern-80s feel, I chose colors that relayed a similar vibe, and ultimately a layout of a cover that reflected the sam e tone as well.

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Course t o p i c s i n m o t i o n g r a ph i c s Instructor colin sebesteyn Date spring 2012 Category m o t i o n g r a ph i c s Typeface wyld h elv e t i c a n e u e Media Adobe after effects

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Title i d n d i g i ta l c o v e r

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t h e g eo m e t r i c i s s u e The

palette

against

a

of

dark

bright film

RGB

grain

reds,

pinks,

background

on

and a

oranges lu minous

screen was a great co m bination to play with in Adobe After Effects. I was not only inspired by the m usic selected for this animation, but I was also inspired by 70s concert posters.

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t i t l e — i d n d i g i tal co v e r

m f a p o r t f o l i o — ashley gustafson

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c a t e g o r y — m o t i o n g r a ph i c s

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t i t l e — i d n d i g i t a l c o v e r

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — Th e t y p e f a c e w y l d i s u s e d t o s e q u e n t i a l ly s p e l l t h e w o r d geometric.

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t i t l e — i d n d i g i t a l c o v e r

m f a p o r t f o l i o — a s h l e y g v u s t a f s o n

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t i t l e — i d n d i g i tal co v e r

m f a p o r t f o l i o — ashley gustafson

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c a t e g o r y — m o t i o n g r a ph i c s

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t i t l e — i d n d i g i t a l c o v e r

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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Ob j e c t i v e : Create an experim ental typographic poster that visually interprets a song of your choosing.

Explore various ways of looking a type without dependence on software.

S t r at eg y: Cat Power is an A m erican singer-song writer and m usician know n for her incredible m odern folk style of singing. When I think of who Cat Power m ust be, judging only by the sound of her m usic, I think of a very artistic, bohe mian free spirit. When I picked her song The Moon as my subject for this project, my vision of her person along with the lyrics of the song greatly influenced the eclectic bold type and ephe m eral color palette I chose to use. The process of this design involves a co m bination of type and images printed on acetate sheets that were projected onto a wall by an overhead projector. I manually manipulated the materials and photographed the m fro m different angles, on and off the wall, to create unique co m positions.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course Type experiments Instructor j ay w i l k e n s d n Date spring 2010 Category Print Typeface public gothic Media overhead projector A d o b e c r e at i v e s u i t e

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Title the moon

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c at p o w er The moon is not only beautiful, it is so far away. The moon is not only ice cold, it is here to stay. When I lay m e down, will you still be around? When they put m e six feet underground, will the big bad beautiful you be around? Everyone says they know you better than you know who. Everyone says they own you more than you do.

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t i t l e — Th e M o o n

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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— — l ay e rs o f p r i n t e d a c e tat e c r e at e d v e r y i n t r i g u i n g c o l l a g e d i m a g e r y.

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CAT POWER

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THE M OON

B A D BE A U TIF UL M O O N BE A R O U N D ?

D O W N, WILL YO U S TILL BE A R O U N D ? W HE N T HE Y P U T YO U SIX FEE T U N D ER G R O U N D, WILL T HE BIG

BE T T ER T H A N YO U K N O W W H O. E VERYO NE S AYS T HE Y O W N YO U M O R E T H A N YO U D O. W HE N I L AY M E

U N D ER G R O U N D, WILL T HE BIG B A D BE A U TIF UL YO U BE A R O U N D ? E VERYO NE S AYS T HE Y K N O W YO U

HER E TO S TAY. W HE N I L AY M E D O W N, WILL YO U S TILL BE A R O U N D ? W HE N T HE Y P U T M E SIX FEE T

T HE M O O N IS N O T O NLY BE A U TIF UL, IT IS S O FA R A W AY. T HE M O O N IS N O T O NLY ICE C OL D, IT IS

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Ob j e c t i v e : Design a fictitious film festival for a chosen director based on a running thread that appears in all of their films. Envision the entire event fro m location, festival schedule, appearances, and featured films. Develop an entire syste m of m ultiple deliverables while capturing the style and essence of your director, including: tickets, soundtrack, festival catalog, DVD collection with

booklet,

website,

advertise m ents,

poster,

schedule,

and

other

giveaways

related

to

individual films of the festival.

S t r at eg y: Like many others my age, I am intrigued by the films of Sofia Coppola because she has way of effectively conveying the feeling of being lost in reality; hence, the subtitle of my film festival Wandering Realities in the Films of Sofia Coppola. When I chose Coppola as my director for this project, I was not thinking about how difficult it was going be to put into words this feeling of wandering, which Coppola manages to do so well. Once I managed to co m pare this feeling to a m o m ent in my ow n life, I was finally able to describe verbally what this feeling was. The next challenge was to be able to co m m unicate this feeling visually. After a few weeks of trial and error, I stu m bled into a style of photography that managed to successfully convey these hard to describe feelings. Ironically, I successfully captured the visuals while by listening to the m usic of the bands that acco m pany her films.

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Course i n t eg r at e d c o m m u n i c at i o n s Instructor hunter wimmer c h r i s t o ph e r m o r l a n Date Fall 2010 Category Print pack aging web Typeface toronto gothic g r a ph i q u e snell futura Media A d o b e c r e at i v e s u i t e

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wa n d er i n g r e a l i t i es Sofia Coppola's films are the dreamscapes of discontented characters who feel lost in the ordinary. Listening to the bands of Coppola's films, Air and Phoenix, inspired my selection of em otionally dazed photography.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — P r i n t / p a c k a g i n g / w e b

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s o f i a c o pp o l a Sophia Coppola, an actress, m odel, director, producer, and screenwriter, was born May 14, 1971 in New York City. She is the daughter of fam ed director Francis Ford Coppola and the third fe male, first A m erican female, to be no minated for an Acade my Award for Director. Since birth she has appeared in m ultiple films directed by her father as well as films directed by others.

She has also appeared in several m usic videos. Coppola attended Mills College and California Institute for the Arts and started her ow n clothing line called Milkfed that sold exclusively in Japan. Coppola directed her first short film titled Lick the Star in 1998. The plot was about clique of four girls who devise a plan to weaken the boys at their school with arsenic.

F i l m o g r a ph y Lick the Star, 1998 The Virgin Suicides, 1999 Lost in Translation, 2003 Marie Antoinette, 2006

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — P r i n t / p a c k a g i n g / w e b

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

c a t e g o r y — P r i n t / p a c k a g i n g / w e b

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— — m e ta l l i c g o l d i n k t r a n s f e rs a r e u s e d o n d i s p l ay t y p e.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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— the edges of the dvd booklet are hand painted gold.

c a t e g o r y — P r i n t / p a c k a g i n g / w e b

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— — the four album soundtrack was made into a dos-à-dos style book.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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Ob j e c t i v e : Design a ho m e paint line for a well-know n designer of any discipline and establish that designer’s sensibilities onto an arrangem ent of deliverables, including: 2 one gallon cans, 2 pint cans, a set of brushes, and a can of spray paint.

S t r at eg y: For this project, I chose to design a range of high-end paints for the eclectic and luxurious wo m en’s fashion designs of Marni. In 1994, Consuelo and Gianni Castiglioni launched Marni and created an avant-garde, exceptionally-crafted and ready-to-wear line that reflects their m odern approach to materials and silhouette, juxtaposing color, exclusive prints and textures.

My approach to this project was gathering inspiration fro m the bold the visuals of Marni’s prints. Once I im m ersed myself in an array of patterns, I took my sketches to illustrator and becam e pleasantly lost in lines and colors.

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Course pack age design 2 Instructor va l e r i e Tay l o r- S m i t h Date Fall 2012 Category pack aging Typeface blender Media A d o b e i l l u s t r at o r

pr.06

Title M a rni Home Pa ints

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≥

M a r n i' s M e ta l s Marni designs are uniquely Marni. Every collection they send dow n the runway consists of Marni's signature use of color blocking, juxtaposed patterns, unusual shapes, and m uted tones offset by splashes of bold colors and m etallics. Creating a ho m e paint collection for Marni was

a

designer's

dream

because

there

were

so

many

exciting graphic elem ents to gather inspiration fro m.

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t i t l e — M a r n i H o m e P a i n t s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr.06 c a t e g o r y — p a c k a g i n g

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≥ p r o l o g u e ≥

pr. 07

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t i t l e — M a r n i H o m e P a i n t s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — p a c k a g i n g

/ 109

≥ p r o l o g u e ≥

pr. 07

/ 110

t i t l e — M a r n i H o m e P a i n t s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

≥ p r o l o g u e ≥

pr. 07

/ 112

t i t l e — M a r n i H o m e P a i n t s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — p a c k a g i n g

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≥ p r o l o g u e ≥

pr. 07

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t i t l e — M a r n i H o m e P a i n t s

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

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Ob j e c t i v e : Choose a brand that is dead, dying, or defunct and identify its essence. Reinvent the brand by developing a new visual identity, and by creating brand experiences that take that co m pany into a whole new realm while keeping the brand’s essence.

S t r at eg y: Forty-five years ago, K2 was born as A m erica's ski co m pany on Vashon Island in Washington State's Puget Sound. Driven by innovation and passion, K2 Sports markets snowboards, snowshoes, bikes, in-line skates, alpine, tele mark/Nordic ski equip m ent, apparel and accessories for the ultimate sports enthusiast. The co m pany’s m otto is “K2 Sports is what happens when fun m eets science and technology.” Unfortunately, K2 has taken a back seat to co m panies like Burton, Patagonia, The North Face, Roxy, and others. I chose to rebrand K2 because I ad mired their essence: well-built products that are not only durable and technologically advanced, but are also pieces of equip m ent that sy m bolize fun, freedo m, and limitless boundaries. My rebrand of K2 includes a new logo, updated visuals, neon blocks of colors, and extre m e brand extensions that include experiences like going on volcanic adventures and exploring vast caves.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course n at u r e o f i d e n t i t y Instructor g a s t o n ya g m o u r i a n Date spring 2011 Category identity print web Typeface gotham vitesse Media A d o b e c r e at i v e s u i t e

pr.07

Title k2 rebrand

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≥ p r o l o g u e ≥

≥

beyond the limit I pulled my inspiration for this project fro m old issues of National Geographic magazines. The images fro m so m e of their articles are such treacherous looking endeavors that I was inspired by the extre m e conditions of their subjects.

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t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr.07 c a t e g o r y — i d e n t i t y / p r i n t / w e b

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≥ p r ologue ≥

pr. 07

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T i t l e — k 2 r e b r an d

m f a p o r t f o l i o — ashley gustafson

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

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≥ p r o l o g u e ≥

pr. 07

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t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — l a rg e q u o t e s a b o u t ta k i n g r i s k s prepare the reader for K 2's shift into extreme adventures.

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

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≥ p r o l o g u e ≥

pr. 07

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t i t l e — k 2 r e b r a n d

≥ p r o l o g u e ≥

pr. 07

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t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — N eo n m i x ed w i t h m u t ed c o l o r o v er l ay s c r e at e a b o l d a n d ed gy n e w l o o k f o r k2's new horizon.

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

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≥ p r o l o g u e ≥

pr. 07

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t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

/ 129

≥ p r o l o g u e ≥

pr. 07

/ 130

t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

/ 131

≥ p r o l o g u e ≥

pr. 07

/ 132

t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

/ 133

≥ p r o l o g u e ≥

pr. 07

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t i t l e — k 2 r e b r a n d

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 07

c a t e g o r y — i d e n t i t y / p r i n t / w e b

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≥ p r o l o g u e ≥

Ob j e c t i v e : Design anything you want for the entire sem ester, there are no param eters. The challenge for this course was to see what we could co m e up with on our ow n and how we could develop that idea into an elaborate design project.

S t r at eg y: I wanted to pick a topic that would be playful and allow for the production of hu m orous and quirky products and packaging. After reading an article about the current value of gold, I was intrigued by the idea of creating a fictitious gold mining co m m unity where m odern-day activities consisted of old-fashioned traditions of the early 1800s. In welco ming newco m ers to the gold mining tow n of Rush more, I designed a special package that would be delivered to the ho m es of all new residents. This package includes: a beginner's guide and kit to panning for gold, stationary, invitations to a masked ball, and a wide variety of lotions and elixirs that would co m e in handy for a hard-working gold miner.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course design outside the box Instructor roland young Date Fall 2012 Category identity pack aging Typeface univers sanuk telemark Media A d o b e c r e at i v e s u i t e

pr.08

Title rushmore

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≥ p r o l o g u e ≥

≥

go l d M i n i n g i n t h e h i l l s o f C a l i f o r n i a My

love

for

gold

design,

Victorian

style

type,

and

vintage apothecary bottles really found its place in this project about a fictitious gold mining co m m unity so m ewhere in the hills of California.

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr.08 c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

— — t h i s q u i r k y w e l c o m e pa c k a g e c o n ta i n s over 25 products of all sizes each w i t h t h e i r o w n h u m o u ro u s d e ta i l .

pr. 08

/ 14 0

t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

pr. 08

/ 14 4

t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

pr. 08

/ 14 6

t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

pr. 08

/ 14 8

t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

— — E v e r y m i n e r n e e d s t o i m p r e s s h i s l a d y. c o v er u p b a d b r e at h w i t h ru s h m o r e' s w h i s k e y b r e at h dro p s.

pr. 08

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — ii d e n t i tt yy ,/ PPaacckkaaggi inngg

/ 01 05 3 1

≥ p r o l o g u e ≥

pr. 08

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

pr. 08

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r o l o g u e ≥

pr. 08

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — every piece of the system has a sliver of real gold.

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

157

≥ p r o l o g u e ≥

pr. 08

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t i t l e — R u s h m o r e

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 08

c a t e g o r y — i d e n t i t y / P a c k a g i n g

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≥ p r ologue ≥

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m f a p o r t f o l i o — ashley gustafson

≥

t h i n k o c c a s i o n a l ly o f t h e s u f f e r i n g o f w h i c h y o u s p a r e y o u r s e l f t h e s i g h t.

/

albert schweitzer

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≥ p r o l o g u e ≥

thesis Choose a problem to solve with graphic design. Conduct extensive research and analysis over the course of a year, and master a solution that is both conceptually and visually successful.

The project should dem onstrate the student's co m plete range of design skills, thinking and analysis, and the ability to tackle a real world proble m with an effective design solution.

objective Each year between six and eight million cats and dogs enter United States animal shelters, and over half of them are killed, even though m ore than 90 % are healthy and adoptable. Excuses are made on behalf of the shelters that kill, and antiquated policies of traditional sheltering m ethods stand in the way of those who try to reform the m. Even though there are lifesaving programs that can help reduce needless euthanasia fro m every animal shelter, these solutions are not being put in place quick enough, or so m etim es not at all. The objective of this project is to provide a way to help shelters im ple m ent these programs and reduce their rates of unnecessary euthanasia.

a pp r o a c h To address the current proble m in our nation's animal shelters, I developed a non-profit organization called All Ears Project that aims to achieve a no kill nation by providing animal shelters with the appropriate resources and guidelines. This organization helps reform high kill rate shelters by providing an informative and interactive website that teaches the m how to transform their shelters into safe havens for ho m eless pets.

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

Course thesis directed study Graduate Advisors Michael kilgore bob slote Date spring 2013 Category identity web m o b i l e a pp Typeface trade gothic Media A d o b e c r e at i v e s u i t e Photographers A s h l e y G u s ta f s o n Jen Schmidt Josh Larson

pr.09

Title all ears project

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≥ p r o l o g u e ≥

≥

a n i m a l s h elt er r ef o r m I was inspired to choose animal shelter reform for my thesis topic after having read several articles about accidental euthanasia in multiple shelters throughout the United States. Once I looked further into the subject, I realized that the accidental killings were just an aspect of a much larger problem.

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m f a t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr.09 c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

b i b l i o g r a ph y Rede m ption, Nathan Winograd Irreconcilable Differences, Nathan Winograd How The Dog Becam e The Dog, Mark Derr Dog's Best Friend, Mark Derr Animals Make Us Hu man, Tem ple Grandin Animal Liberation, Peter Singer Best Friends, Samantha Glen A Dog's Life, Ann M. Martin Disposable Animals, Craig Brestrup A Small Fury Prayer, Steven Kotler The Death of a Culture, David Fritsche A Rat is a Pig is a Dog is a Boy, Wesley Smith

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

—

pr. 09

— a basset hound mix was very vocal w h en I c a p t u r ed t h i s s h o t at t h e N e va d a H u m a n e S o c i e t y.

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

ph o t o s h o o t Part of the process of this project involved photographic docu m entaion of ho m eless cats and dogs. The biggest challenge in this photoshoot was getting the animals calm enough so that we could photograph their portraits. Many of the dogs are only taken out once a day for a short walk depending on the availability of shelter volunteers so you could imagine the am ount of energy each dog brought into the roo m. I made sure to be fully stocked with toys and treats, but the one trick that always seem ed to calm the m dow n was sim ple affection.

L o c at i o n Nevada Hu mane Society Reno, Nevada

ph o t o g r a ph e r s Ashley Gustafson Jennifer Sch midt Josh Larson

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

≥ p r o l o g u e ≥

pr. 09

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

— — t h e m o b i l e a pp p r o v i d e s s h e l t e r s w i t h a n e x a m p l e o f w h at s p o s s i b l e w h en they use modern technology to their a d va n ta g e.

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

pr. 09

c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r o l o g u e ≥

— — t h e r e f o r m pa g e g o e s i n t o d e ta i l a bou t ho w t o imp l emen t t he l if es av ing programs of no kill.

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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BANNING THE GAS CHAMBER

Fre quently, the animals euthanize d in shelter s are old, young, ill or injure d ; none of the se animals c an b e humanely euthanize d in a gas chamb er. Old, ill, injure d or other wise compromise d animals may suf fer from me dic al conditions that delay the ef fe ct s of c arb on monoxide, c ausing them to exp erience distre s s prior to unconsciousne s s. Ne onat al animals are re sist ant to hyp oxia and c an sur vive much longer without ox ygen than adult s, making the use of inhalant s such as c arb on monoxide inef fe ctive. Even he althy adult dogs and c at s will suf fer stre s se d just by b eing place d in the dark, unfamiliar environment of a gas chamb er, and may b e come p anicke d by the sight s, sounds and smells of the e quipment and the pre sence of other animals.

At the ver y le ast, shelter s who kill, p ar ticularly those which kill large numb er s of animals, are obligate d to ensure that employe e s are te chnic ally prof icient, comp etent, skille d, comp as sionate, prop erly traine d, and doing ever y thing in their p ower to make sure the animals are as fre e from stre s s and anxiet y as p os sible. The use of a gas chamb er do e s not allow this.

A relatively p ainle s s de ath c an o ccur only in an environment where sensi pr. 09

tivit y, comp as sion, and skill, combine with ef for t s to minimize distre s s and anxiet y. By contrast, gas systems t ake time to kill — during which animals exp erience distre s s and anxiet y, and c an strug gle to sur vive. They c an re -

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FIND OUT HOW YOU CAN BAN THE GAS CHAMBER IN YOUR

t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

S TAT E S T H AT K IL L W I T H G A S C H A M B E R

S H E LT E R S H A V E L E G A L A U T H O R I T Y T O A C Q U I R E C O 2 GAS CHAMBER BANNED

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c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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t h e s i s — a l l e a r s p r o j e c t

m f a p o r t f o l i o — a s h l e y g u s t a f s o n

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c a t e g o r y — i d e n t i t y / w e b / m o b i l e a p p

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≥ p r ologue ≥

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t h e s i s — all ea r s p r o j ect

m f a p o r t f o l i o — ashley gustafson

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c a t e g o r y — i d e n t i t y / w e b / m o b i l e a pp

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m f a p o r t f o l i o — a s h l e y g u s t a f s o n

≥

Acknowledgements

Thank you to my m o m and dad for always encouraging m e to follow my ow n path. This book is dedicated to you both.

To all of my amazing friends, especially Kelly Wahlstro m, D.D. Cheung, Alex Miranda, Emily Brock, Mary Lowe, Jon Wong, Anthony Stim ola, Tessa Fish, Zainab Rupawalla, Perin Ram bhia, Darshita Mistry, and Sarah Hurwitz. You are all the best support syste m a designer and friend could ask for.

Thank you to my instructors for teaching m e your ways and wisdo m, and for always being a great source of m otivation; Michael Kilgore, Michael Sinato, Bob Slote, Roland Young, Gaston Yag m ourian, Brendan Callahan, Hunter Wimm er, Phil Hamlet, and Mary Scott.

A special thank you to my best friend, Kris Swanson, and his two children, Reagan and Tyler, who have opened their ho m e and hearts to m e throughout this process.

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速 2013 Ashley Gustafson, All Rights Reserved Prologue A Graphic Design Graduate Thesis Project MFA P o r t f o l i o : A s h l e y G u s t a f s o n M o b i l e : 4 80.766.6516 E m a i l : aagustaf@gmail.com w e b s i t e : ashleygustafson.com Graduate student of Academy of Art University 79 New Montgomery Street S a n F r a n c i s c o , CA 9 4 1 0 8 Course: Portfolio Seminar I n s t r u c t o r : Mary Scott C o p y E d i t o r : Ashley Gustafson P h o t o g r a p h e r s : Ashley Gustafson and D.D. Cheung D e s i g n e r : Ashley Gustafson T y p o g r a p h e r : Ashley Gustafson P r i n t e r : Water Mark Press, San Francisco Pa p e r : Finch 100 lb B i n d e r y : Ta u r u s , S a n F r a n c i s c o T y p e f a c e s : B l e n d e r, L e t t e r G o t h i c S o f t w a r e . Adobe Creative Suite C a m e r a : Nikon D790