JerryChiang_Portfolio by Che Chiang

2014 â&#x20AC;&#x201C; 2018 JERRY CHIANG

It is the biggest, fullest and most beautiful book I have ever made. This portfolio is a place to observe myself as a designerâ&#x20AC;&#x201D;all that it is, all that it has been, and all that I want it to be.

Google ANNUAL REPORT → 08 / 25

Navigation

The Asylum

BEER PACKAGING

BOARD GAME

→ 26 / 45

→ 104 / 123

HighFive

Kay Sekimach

CANNABIS FESTIVAL

EXHIBITION CAMPAIGN

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→ 124 / 143

Hungry Ghost

Avenir Next

COOKBOOK DESGIN

TYPE CONFERENCE

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→ 144 / 165

FiveKeys

Space

BRAND IDENTITY

APP DESIGN

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→ 166 / 181

Kins KITCHENWARE PACKAGING → 182 / 217

J E RRY C H IA N G

P RO J E C T

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— H A RV EY M A C K AY

GOOGLE

ANNUAL REPORT

CLASS

COLOR PALETTE

Visual Systems 2 SEMESTER

SOFT WARE

Fall 2017

INSTRUCTOR

DELIVERABLES

William Culpepper

Annual Report Poster

CATEGORY

Idenity

Scorecard Website

Print Illustration Web

OBJECTIVE

This project is to design a Google annual report based on analysis, research and intuition. Demonstrate understanding of the concept and goals of corporate social responsibility. APPROACH

I created a visual that illustrated the brand’s creative ethos. In order to achieve the goal of giving people a friendly impression, I used figure illustrations with harmonious colors that make the annual report visually engaging and light-hearted.

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SELECTED W ORK S

Project One

MOOD

ELEMENT & TYPE STUDY

C70 M47 Y0 K0

C2 M88 Y86 K0

# 557edf

# ea4637

C77 M7 Y91 K0

C2 M27 Y100 K0

# 35a854

# f8bc16

BROCHURE SKETCHE Website Sketches 02-2

ORIGINAL IDENTITY

NEW IDENTITY

COLORS

TYPEFACE / RUBIK BOLD

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 !@#$%^&

Point > 8 pt

Typeface _ Work Sans

Leading > 12.5pt

world’s information in one click.” The company’s nature of

Point > 8 pt

Typeface _ Nunito Sans

MINIMUM & MAXIMUM SIZES

#4DAF4F C 72 M 05 Y 93 K 00

#7F5432 C 38 M 63 Y 84 K 30 2in

10in

Google’s vision statement is “to provide access to the business is a direct manifestation of this vision statement.

CLEAR SPACE

Leading > 13pt

Google’s vision statement is “to provide access to the world’s information in one click.” The company’s nature of business is a direct manifestation of this vision statement.

Vision

Mission

Energy

Water

Carbon Emissions

UNACCEPTABLE USES Recycling

J E RRY CH IA N G

PROJECT

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GOOGLE

ANNUAL REPORT

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J E RRY CH IA N G

PROJECT

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GOOGLE

ANNUAL REPORT

J E RRY CH IA N G

PROJECT

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GOOGLE

ANNUAL REPORT

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PROJECT

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SELECTED W ORK S

J E RRY CH IA N G

PROJECT

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SELECTED W ORK

GOOGLE

ANNUAL REPORT

J E RRY CH IA N G

PROJECT

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GOOGLE

ANNUAL REPORT

PAGE

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J E R RY C H IA N G

P RO J E C T

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— TATE L I N D EN

NAVIGATOR

BEER LABEL DESIGN

CLASS

COLOR PALETTE

Package Design 3 SEMESTER

SOFT WARE

Spring 2017

INSTRUCTOR

DELIVERABLES

Christine George

Logo Identity Beer labels

CATEGORY

Package

Six-Pack Carrier Bottle Opener

Print Idenity

OBJECTIVE

Create a new and unique beer brand packaging that includes beer labels, a bottle opener and a six-pack carrier. The major emphasis will be placed on developing an appropriate concept and visual solution, using a combination of illustration and typography. APPROACH

I gave this potential beer its own brand story. It was 1848 on the Caribbean ocean. There was a captain called Berwick, Johnson who was also a great navigator. He spent his whole life on the ocean. One day, he lost his crew to a terrible storm. He couldn’t save them and he blamed himself because he was the only person to survive. Time passed, he wasn’t a captain anymore, but he was still an adventurer. The helm of his new ship became his eyes to navigate the ocean once more, and he started to brew his own beer to commemorate his crew. He named it “Navigator.”

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Project Two

SKETCHE

EST EXPLORATION

EST.

1848

TEXTURE

INSPIRATION

ICONOGRAPHY

TYPE STUDY

TYPE INSPIRATION

COMPASS POINT

TYPE EXPLORATION

navi EST 1848 gator

Typeface Born

EST 1848

TYPEFACE / RUBIK BOLD

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

1 2 3 4 5 6 7 8 9 0 !@#$%^&

DESIGN ELEMENT

EST 1848

Typeface Baskerville Typeface Band Of Reality

12 FL. OZ.

5.0% ALC./VOL.

BREWED IN MEXICO

5.0% ALC./VOL.

BREWED IN MEXICO

5.0% ALC./VOL.

TYPEFACE STUDY

Point > 7 pt Leading > 11 pt

Point > 7.5 pt Leading > 14 pt

Point > 8 pt Leading > 14 pt

Typeface _ DIN Condensed Bold It was 1848 on the Caribbean ocean. There was a captain called Berwick, Thomas who was also a great navigator. He spent his whole life on the ocean. One day, he lost his crew to a terrible storm. He couldn’t save them and he blamed himself because he was the only person to survive. Time passed he wasn’t a captain anymore, but he was still an adventurer. The helm of his new ship became his eyes to navigate the ocean once more, and he started to brew his own beer to commemorate his crew. He named it “Navigator.”

Typeface _ Diploma Regular It was 1848 on the Caribbean ocean. There was a captain called Berwick, Thomas who was also a great navigator. He spent his whole life on the ocean. One day, he lost his crew to a terrible storm. He couldn’tsave them and he blamed himself because he was the only person to survive. Time passed he wasn’t a captain anymore, but he was still an adventurer. The helm of his new ship became his eyes to navigate the ocean once more, and he started to brew his own beer to commemorate his crew. He named it “Navigator.”

Typeface _ Georgia It was 1848 on the Caribbean ocean. There was a captain called Berwick, Thomas who was also a great navigator. He spent his whole life on the ocean. One day, he lost his crew to a terrible storm. He couldn’t save them and he blamed himself because he was the only person to survive. Time passed he wasn’t a captain anymore, but he was still an adventurer. The helm of his new ship became his eyes to navigate the ocean once more, and he started to brew his own beer to commemorate his crew. He named it “Navigator.”

J E RRY RRY CH C HIA IAN NGG

P R O J E C TT

→ 0 → 0012 // 110

SELECTED W SELECTED WORK ORKS

NAVIGATOR

BEER LABEL DESIGN

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PROJECT

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J E RRY CH IA N G

PROJECT

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NAVIGATOR

BEER LABEL DESIGN

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PROJECT

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NAVIGATOR

BEER LABEL DESIGN

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PROJECT

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NAVIGATOR

BEER LABEL DESIGN

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PROJECT

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NAVIGATOR

BEER LABEL DESIGN

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SELECTED W ORK S

8.1”

4.6”

1” 3”

0.2”

3” 0.2”

5.2”

6.37”

8.5”

5.6”

P RO J E C T

→

02 / 10

NAVIGATOR

BEER LABEL DESIGN

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PROJECT

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J E R RY C H IA N G

PROJECT

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— MASARU IBUKA

HIGHFIVE

CANNABIS FESTIVAL

COLOR PALETTE

CLASS

Visual Systems 1 SEMESTER

SOFT WARE

Spring 2017

INSTRUCTOR

DELIVERABLES

Michael Taylor

Logo Idenity Brochure

CATEGORY

Physical Collateral Poster

Illustration Idenity

OBJECTIVE

Design a brand system and collateral for an upcoming festival, utilizing different print and digital platforms and media. Translate the design into the real world by working with production vendors. APPROACH

I created a festival to celebrate California’s legalization of recreational cannabis. The word “HighFive” combines the gesture of celebration with the high of cannabis. This five-day festival encourages everyone to join together and visit five areas; the learning zone, creativity zone, smoking zone, edible village zone and concert. The goal of this project is to give everyone a live cannabis experience featuring cannabis entertainment.

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Project Three

BROCHURE SKETCHE

POSTER SKETCHE

LOGO SKETCHE

LOGO VECTOR

CHARACTER SKETCHE

MOOD

PRIMARY TYPOGRAPHY | MEDUSA GOTHIC

COLOR PALETTE

ABCDEFHIJKLMN OPQRSTUVWXYZ

Texture

eae1cc

2a3221

SECONDARY TYPOGRAPHY | CENTABEL

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % = & * ( + ! . BODYCOPY | CENTABEL | 8 / 12

BODYCOPY | Centabel | 9 / 12

Laura Zeck’s life changed forever when she lost a bet to a college friend. A photography major at the Kansas City Art Institute at the time, Zeck’s loss meant that she had to take an elective of the winner’s choice. Her friend chose printmaking, an art form Zeck considered “grimy.” However, once she got her hands in the ink, everything changed. Ultimately, she graduated with an MFA in printmaking from the University of Washington, she taught drawing classes through the extension program and K through second-grade art at the Bertschi School.

Laura Zeck’s life changed forever when she lost a bet to a college friend. A photography major at the Kansas City Art Institute at the time, Zeck’s loss meant that she had to take an elective of the winner’s choice. Her friend chose printmaking, an art form Zeck considered “grimy.” However, once she got her hands in the ink, everything changed. Ultimately, she graduated with an MFA in printmaking from the University of Washington, she taught draw ing classes through the extension program and K through second-grade art at the Bertschi School.

DESIGN INSPIRATION

DESIGN ELEMENT

MAP ICON

PATTERN

4a2a12

J E RRY CH IA N G

PROJECT

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HIGHFIVE

CANNABIS FESTIVAL

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PROJECT

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HIGHFIVE

CANNABIS FESTIVAL

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PROJECT

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HIGHFIVE

CANNABIS FESTIVAL

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PROJECT

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J E RRY CH IA N G

PROJECT

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HIGHFIVE

CANNABIS FESTIVAL

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J E RRY CH IA N G

PROJECT

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J E RRY CH IA N G

PROJECT

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highfivemari.com

J E RRY CH IA N G

highfivemari.com

PROJECT

â&#x2020;&#x2019;

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HIGHFIVE

CANNABIS FESTIVAL

PAGE

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J E RRY CH IA N G

PROJECT

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J E R RY C H IA N G

P RO J E C T

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— R O B ERT L . PETER S

HUNGRY GHOST

COOKBOOK DESIGN

COLOR PALETTE

CLASS

Typography 3 SEMESTER

SOFT WARE

Fall 2016

INSTRUCTOR

DELIVERABLES

Ariel Grey

Cookbook

CATEGORY

Print Illustration Idenity

OBJECTIVE

Design a collectable addition conceptual cookbook. Experiment with typography, there must be readable text that flows throughout the book. There is an introduction and narrative that creates a mood or tells a story related to the food represented in the book. APPROACH

In Chinese religion, the seventh lunar month of each year is the time when the gate to the underworld opens and ghosts visit to the human world. During Hungry Ghost month, people honor their ancestors by offering food and fruits because they believe that holding this feast for the spirits would give them a break from all their suffering in hell. It would also prevent them from disturbing all who are alive. I created a cookbook that celebrates this cultural festival and traditional Chinese food. It is divided into three main chapters by the sacrificial animalsâ&#x20AC;&#x201D;chicken, pork and fish.

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Project Four

TYPE STUDY

COLOR PALETTE

TYPE COMBINATION

INT RO DUCT ION Taiwan’s Culture and Festivals Foods for Gods

the gate to the Underworld will be opened at 11 PM and all of the ghosts and spirits drinks, and fruits during Ghost Month. Besides, we light incense and burn praying cash for those spirits. Praying cash is their currency in the Underworld. -

wandering ghost. It’s believed that people are supposed to please ghosts so that they ghosts and spirits enter their homes.

MOOD

SKETCHE

TYPE STUDY

介紹

( Typeface: Brioso Pro ) Type size 20pt / Leading: 18pt

( Typeface: Cochin ) Type size 20pt / Leading: 18pt

( Typeface: Risque ) Type size 21pt / Leading: 18pt

HUNGRY GHOSTS

HUNGRY GHOS TS

HUNGRY GHOSTS

Point > 8 pt

Introduction

Leading > 11 pt

Taiwan’s culture and Festivals

Typeface _ Adobe Garamond Pro The 7th month on Lunar Calendar is known as “Ghost Month” in Taiwan. On 7/1, the gate to the Underworld will be opened at 11 PM and all of the ghosts and spirits will rush to the world of the living. People honor their ancestor with offerings of food, drinks, and fruits during Ghost Month. Besides, we light incense and burn praying cash for those spirits. Praying cash is their currency in the Underworld. “Hungry Ghost Festival” is on the 15th day of Ghost Month.

Point > 6.5 pt Leading > 12 pt

Typeface _ Georgia The 7th month on Lunar Calendar is known as “Ghost Month” in Taiwan. On 7/1, the gate to the Underworld will be opened at 11 PM and all of the ghosts and spirits will rush to the world of the living. People honor their ancestor with offerings of food, drinks, and fruits during Ghost Month. Besides, we light incense and burn praying cash for those spirits. Praying cash is their currency in the Underworld. “Hungry Ghost Festival” is on the 15th day of Ghost Month.

Foods for Gods Point > 7 pt Leading > 11 pt

Typeface _ Hadriano Light

Point > 7 pt

The 7th month on Lunar Calendar is known as “Ghost Month” in Taiwan. On 7/1, the gate to the Underworld will be opened at 11 PM and all of the ghosts and spirits

Leading > 10 pt

will rush to the world of the living. People honor their ancestor with offerings of food, drinks, and fruits during Ghost Month. Besides, we light incense and burn praying cash for those spirits. Praying cash is their currency in the Underworld. “Hungry Ghost Festival” is on the 15th day of Ghost Month.

Typeface _ Apercu Pro The 7th month on Lunar Calendar is known as “Ghost Month” in Taiwan. On 7/1, the gate to the Underworld will be opened at 11 PM and all of the ghosts and spirits will rush to the world of the living. People honor their ancestor with offerings of food, drinks, and fruits during Ghost Month. Besides, we light incense and burn praying cash for those spirits. Praying cash is their currency in the Underworld. “Hungry Ghost Festival” is on the 15th day of Ghost Month.

DESIGN ELEMENT

RICE VINEGAR

SESAME OIL

五味魚 ( Wu Wei Yu )

VECTOR

RICE WINE

SOY SAUCE

CHILI BEAN SAUCE

FRESH SHILL SAUCE

J E RRY CH IA N G

PROJECT

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HUNGRY GHOST

COOKBOOK DESIGN

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PROJECT

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HUNGRY GHOST

COOKBOOK DESIGN

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PROJECT

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HUNGRY GHOST

COOKBOOK DESIGN

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PROJECT

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PROJECT

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HUNGRY GHOST

COOKBOOK DESIGN

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PROJECT

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SELECTED W ORK S

HUNGRY GHOST

COOKBOOK DESIGN

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PROJECT

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SELECTED W ORK S

HUNGRY GHOST

COOKBOOK DESIGN

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J E R RY C H IA NG

P RO J E C T

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— A N D R EW G R O V E

FIVE KEYS

BRAND IDENITITY

CLASS

COLOR PALETTE

Strategies for Branding SEMESTER

SOFT WARE

Spring 2017

INSTRUCTOR

DELIVERABLES

Thomas McNulty

Logo Identity Brand Manual

CATEGORY

Applications Stationary System

Branding Idenity

OBJECTIVE

Create a new identity system for the Five Keys Schools and Programs in print and digital forms. Design clears image of who they are as a company and represent their values and their mission. APPROACH

As a collaborative project, our team developed a new stronger identity for Five Keys Schools and Programs. We divided each task into separate pieces of work and worked together to created a brand identity manual, applications and a website. TEAM MEMBERS

Celina Oh, Patcharin Opattarakul, Minglang Jiang, Wei Yang Hsu, Xin Du, Gloria Sukamto, Jerry Chiang

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J E RRY CH IA N G

PROJECT

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FIVE KEYS

BRAND IDENITITY

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PROJECT

â&#x2020;&#x2019;

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FIVE KEYS

BRAND IDENITITY

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J E RRY CH IA N G

PROJECT

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FIVE KEYS

BRAND IDENITITY

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PROJECT

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FIVE KEYS

BRAND IDENITITY

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J E RRY CH IA N G

PROJECT

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J E RRY CH IA N G

PROJECT

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FIVE KEYS

BRAND IDENITITY

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PROJECT

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FIVE KEYS

BRAND IDENITITY

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PROJECT

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SELECTED W ORK S

FIVE KEYS

BRAND IDENITITY

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J E R RY C H IA N G

P RO J E C T

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— S I R K EN R O B I N S O N

THE ASYLUM

BOARD GAME DESIGN

CLASS

COLOR PALETTE

Package Design 3 SEMESTER

SOFT WARE

Spring 2017

INSTRUCTOR

DELIVERABLES

Christine George

Logo Idenity Boardgame

CATEGORY

Package

Character Cards Game Pieces Boardgame Box

Print Branding

OBJECTIVE

Create a completely new board game. It has to include a board, a box, directions, game pieces and any other necessary materials. APPROACH

I created a board game “The Asylum“ with its own story and rules. Psychiatrist Dr. Oliver Thredson and psychologist Dr. Jude Martin take up a job in a mental asylum. They find two volunteers and experiment on them in an attempt to investigate the psychological effects of the human brain. The two students, Anthony and Jennifer, discover that the revolutionary new treatments are inhumane and there is more going on than meets the eye. Anthony and Jennifer are looking for the “evidence” that will prove the truth about this evil experiment.

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Project Six

INSPIRATION

LOGO SKETCHE

LOGO VECTOR

ELEMENT SKETCHE

BOX SKETCHE

DESIGN INSPIRATION

ICONOGRAPHY

TYPEFACE STUDY

Point > 8 pt

Typeface _ Phosphorus Triselenide

Point > 10 pt

Typeface _ Tox Typewriter

Point > 11 pt

Typeface _ Pinyon Script

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % = & * ( + ! .

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % = & * ( + ! . Jennifer is selected to this experiment and she found out that there is more going on than meets the eye.

TEXTURE

VECTOR

DESIGN ELEMENT

J E RRY CH IA N G

PROJECT

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THE ASYLUM

BOARD GAME DESIGN

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PROJECT

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THE ASYLUM

BOARD GAME DESIGN

9.6”

1.9”

3.5”

3.5” 0.95”

2.25” 9.35”

1.5”

0.85”

6.25” 2” 1.8”

0.625” 9.5”

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2.2”

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SELECTED W ORK S

J E RRY CH IA N G

PROJECT

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THE ASYLUM

BOARD GAME DESIGN

PATIENT

Anthony Rendon Anthony is selected to this experiment and he found out that there is more going on than meets the eye. Gender: M

Date of Birth: 10 / 30 / 1994

PSYCHIATRIST

Age: 23

Anthony Rendon Dr. Oliver Thredson I'm a professional medical doctor who specialize in the treatment of mental, emotional and behavioral problems. Gender: M

Date of Birth: 07 / 15 / 1959

PATIENT

CHARACTER Date of Birth: 02 / 28 / 1996

PSYCHIATRIST

CHARACTER Date of Birth: 03 / 24 / 1970

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Age: 58

Oliver Thredson Jennifer Nettles Jennifer is selected to this experiment and she found out that there is more going on than meets the eye. Gender: F

Age: 21

Jennifer Nettles Dr. Judy Martin I'm working directly with those experiencing difficulties, such as mental health disorders. Gender: F

Age: 47

Judy Martin

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PROJECT

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J E RRY CH IA N G

PROJECT

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PROJECT

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THE ASYLUM

BOARD GAME DESIGN

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PROJECT

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SELECTED W ORK S

J E R RY C H IA N G

P RO J E C T

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SELECTED W ORKS

— PA U L R A N D

KAY SEKIMACH

EXHIBITION CAMPAIGN

CLASS

COLOR PALETTE

Graphic Design 2 SEMESTER

SOFT WARE

Spring 2016

INSTRUCTOR

DELIVERABLES

John Nettleton

Booklet Tickets

CATEGORY

Web & App Advertising

Idenity Web UI / UX

OBJECTIVE

This project is to create a new identity for Kay Sekimachi exhibition opening at the De Young in San Francisco. APPROACH

As a Japanese American artist, the new identity was inspired by the symbol of the Japanese flag and its red disc. I combined existing works from Kay Sekimachi with natural forms and textures that represents natural elements in serene way.

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Project Seven

MOOD

LAYOUT SKETCHE

LAYOUT EXPLORATION

ă&#x201A;Śă&#x201A;Łă&#x192;źă&#x192;?ă&#x192;ź

De Young | Key Sekinmachi

Student, Teacher and Artist

De Young | Key Sekinmachi

Student, Teacher and Artist

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Student, Teacher and Sekimachi Artist returned to After each vacation,

De Young | Key Sekinmachi

Softness is not ă&#x201A;Śă&#x201A;Łă&#x192;źă&#x192;?ă&#x192;ź weakness. It Key Sekinmachi takes courage to stay delicate in a world this cruel. 2

Kay Sekimachi : leaf bowls

De Young | Key Sekinmachi

her home on a leafy street in south Berkeley to FKRUHRJUDSK WKH SLHFHV VKHÂˇG SOXFNHG RÍż WKH beach. Some are arranged along windowsills and tabletops, but most reside inside her collection of Tansu chests-which resemble curiosity cabinets as curated by Joseph Cornell in Atlantis. Each drawer is a kind of wabi-sabi still life, with specimens arranged by type, color and shape, and concave abalone and turkeywing shells nested like Russian dolls, the smallest the approximate size RI D FKLOGÂˇV Ă&#x20AC;QJHUQDLO (YHU\WKLQJ LQ 6HNLPDFKLÂˇV house is placed with similar care, be it a feather, a wall hanging or a paper hornetâ&#x20AC;&#x2122;s nest. Replete ZLWK REMHFWV \HW VWULNLQJO\ XQFOXWWHUHG WKH Victorian-era dwelling was liberated into a lightĂ&#x20AC;OOHG ORIW E\ $OEHUW /DQLHU ODWH KXVEDQG RI 5XWK Asawa (who, like Sekimachi, was born in 1926

Student, Teacher and Artist

Sekimachi started visiting the south Kohala Coast of the Big Island of Hawaii in the 1970s with her late husband, master woodturner Bob Stocksdale, and returned to the same house year after year for almost three decades. Combing the sandy beaches and lava-formed tide pools of Puako Bay, she harvested shells, bits of coral, fossils, Ă&#x20AC;VK YHUWHEUDH WKH GHOLFDWH ERQHV RI ELUGV VHD XUFKLQ spines and other oceanic ephemera with dedicated rigor but no particular endgame in mind. Once dubbed the â&#x20AC;&#x153;weaverâ&#x20AC;&#x2122;s weaverâ&#x20AC;? by textile designer Jack Lenor Larsen (whom she assisted at the Haystack Mountain School of Crafts in 1956), Sekimachi was immersed in UHGHĂ&#x20AC;QLQJ WKH ERXQGDULHV RI ZKDW FRXOG EH ZRYHQ RQ DQG RÍż WKH ORRP %XW SRULQJ RYHU WKH IRXQG REMHFWV helped keep her artistic gaze honed, especially when she was away from the studio. After each vacation, Sekimachi returned to her home on a leafy street in south Berkeley to choreograph the pieces sheâ&#x20AC;&#x2122;d plucked RÍż WKH EHDFK 6RPH DUH DUUDQJHG DORQJ ZLQGRZVLOOV DQG tabletops, but most reside inside her collection of Tansu chests-which resemble curiosity cabinets as curated by Joseph Cornell in Atlantis. Each drawer is a kind of wabi-sabi still life, with specimens arranged by type, color and shape, and concave abalone and turkeywing shells nested like Russian dolls, the smallest the approximate VL]H RI D FKLOGÂˇV Ă&#x20AC;QJHUQDLO (YHU\WKLQJ LQ 6HNLPDFKLÂˇV house is placed with similar care, be it a feather, a wall KDQJLQJ RU D SDSHU KRUQHWÂˇV QHVW 5HSOHWH ZLWK REMHFWV yet strikingly uncluttered, the Victorian-era dwelling ZDV OLEHUDWHG LQWR D OLJKW Ă&#x20AC;OOHG ORIW E\ $OEHUW /DQLHU

Hereâ&#x20AC;&#x2122;s how Sekimachi uses texture in her own studio.

ă&#x192;&#x2022;ă&#x201A;Ąă&#x201A;¤ă&#x192;? 3

The rooms also serve as a kind of time capsule for 6HNLPDFKLÂˇV DUWLVWLF H[SORUDWLRQV +DQJLQJ Ă RDWLQJ DQG QHVWOHGWKURXJKRXW DUH Ă&#x20AC;EHU DQG SDSHU SLHFHV VSDQQLQJ some 60 years. The multilayered tapestries and room dividers evolved after Sekimachi discovered the work of Anni Albers and the Bauhaus and abandoned the precept that weavers needed to make functional items, such as placemats. There are woven books that unfold to reveal ethereal scenes from nature that have been heat-transferred onto the warp, small baskets with burnt ends, and delicate paper bowls. One of her black, WXEXODU 0DUXJDZDV RU 5LYHUV Ă RZV GRZQ IURP WKH VHFRQG Ă RRU HQJDJHG LQ D NLQG RI FDOO DQG UHVSRQVH ZLWK a towering Paper Column from 1992 thatâ&#x20AC;&#x2122;s wrought from machine-stitched and folded antique Japanese indigo-dyed paper.

De Young | Key Sekinmachi

Kay Sekimachi : leaf bowls

The rooms also serve as a kind of time capsule for Sekimachiâ&#x20AC;&#x2122;s artistic explorations. Hanging, Ă RDWLQJ DQG QHVWOHGWKURXJKRXW DUH Ă&#x20AC;EHU DQG SDSHU pieces spanning some 60 years. The multilayered tapestries and room dividers evolved after Sekimachi discovered the work of Anni Albers and the Bauhaus and abandoned the precept that weavers needed to make functional items, such as placemats. There are woven books that unfold to reveal ethereal scenes from nature that have been heat-transferred onto the warp, small baskets with burnt ends, and delicate paper bowls. One RI KHU EODFN WXEXODU 0DUXJDZDV RU 5LYHUV Ă RZV GRZQ IURP WKH VHFRQG Ă RRU HQJDJHG LQ D NLQG RI call-and-response with a towering Paper Column from 1992 thatâ&#x20AC;&#x2122;s wrought from machine-stitched

8SVWDLUV D WULR RI 6HNLPDFKLÂˇV VLJQDWXUH Ă&#x20AC;VK OLQH PRQRĂ&#x20AC;ODPHQW ZHDYLQJV XQGXODWH LQ WKH EUHH]H IUDPHG by a collection of airy sculptures she calls Twinelines-â&#x20AC;?like line drawings in spaceâ&#x20AC;?--mounted on the walls. And holding court on top of one shell-laden cabinet are a few of her Coral Creatures: rocks animated with bits of shell, coral and sea urchin spines that have been worked into the natural holes. â&#x20AC;&#x153;They were so much fun to do,â&#x20AC;? says Sekimachi, her youthful face breaking into a broad smile, â&#x20AC;&#x153;animals, one-eyed monsters-every piece makes me laugh.â&#x20AC;? Sekimachi actually began pillaging her beach trove in the late â&#x20AC;&#x2DC;90s in Hawaii. â&#x20AC;&#x153;I was never one to stay still. SO Iâ&#x20AC;&#x2122;d sit on thelanai facing the water and paint these little watercolors, then mount some of the smaller specimens on top.â&#x20AC;? Sekimachi grouped them in folios with titles like Sticks and Stones and Shells and Bones. She started to get her toes wet with MHZHOU\ WKUHH \HDUV DJR E\ PDNLQJ D JLIW IRU IHOORZ weaver Dominic Di Mare, who was visiting the island. â&#x20AC;&#x153;It was his birthday, and I decided to make 75 knots on the hemp twine-one for each year-but I didnâ&#x20AC;&#x2122;t want to lose track, so I tied on a string every 10 knots and attached a shell at the bottom.â&#x20AC;? The move to undertake a new body of work was motiYDWHG E\ D YLVLW IURP DQRWKHU IULHQG MHZHOHU .LÍż 6OHPPRQV Â´.LÍż FDPH WR 3XDNR DQG ZH VSHQW D ZRQGHUIXO week walking along the beach, gathering things and playing with all the treasures,â&#x20AC;? recalls Sekimachi. Soon after, the Chicago-based Slemmons came to Oakland

Softness is not weakness. It takes courage to stay delicate in a world this cruel. Kay Sekimachi : Weaving the Sea

VPDOOHVW WKH DSSUR[LPDWH VL]H RI D FKLOGÂˇV Ă&#x20AC;QJHUQDLO Everything in Sekimachiâ&#x20AC;&#x2122;s house is placed with similar care, be it a feather, a wall hanging or a paper hornetâ&#x20AC;&#x2122;s nest. Replete with objects, yet strikingly uncluttered, the Victorian-era dwelling was OLEHUDWHG LQWR D OLJKW Ă&#x20AC;OOHG ORIW E\ $OEHUW /DQLHU late husband of Ruth Asawa (who, like Sekimachi, was born in 1926 and relocated to internment camps during World War II). Together, Sekimachi DQG 6WRFNVGDOH Ă&#x20AC;OOHG LW ZLWK ZRUNV E\ IULHQGV and peers, including enamelist June Schwarcz, ceramist Toshiko Takaezu, sculptor Dorothy Gill Barnes, weaver Lia Cook, and Sekimachiâ&#x20AC;&#x2122;s mentor and friend weaver Trude Guermonprez. Sit on the couch, and you discover that the ottoman was a gift from George Nakashimaâ&#x20AC;&#x2122;s daughter, Mira. The kitchen table and chairs were wedding presents from Sam Maloof, and in Sekimachiâ&#x20AC;&#x2122;s weaving URRP LV %ROLQDV ZRRGZRUNHU $UW &DUSHQWHUÂˇV Ă&#x20AC;UVW Scallop-shell desk.

The move to undertake a new body of work was motivated by a visit from another friend, jeweler .LÍż 6OHPPRQV Â´.LÍż FDPH WR 3XDNR DQG ZH VSHQW a wonderful week walking along the beach, gathering things and playing with all the treasures,â&#x20AC;? recalls Sekimachi. Soon after, the Chicago-based Slemmons came to Oakland as a visiting artist at the California College of Art and stayed at Sekimachiâ&#x20AC;&#x2122;s house. â&#x20AC;&#x153;When she looked and saw all the shells and rocks laid out and some of the work Iâ&#x20AC;&#x2122;d started, she said, â&#x20AC;&#x2DC;Kay, this could be jewelry,â&#x20AC;&#x2122; and that got me thinking how I might be able to combine my weaving with my collecting to make something entirely new.â&#x20AC;?

Some of the bracelets and necklaces utilize the splitply technique that Sekimachi discovered in the â&#x20AC;&#x2DC;70s, when she became interested in the ancient method IRU ZHDYLQJ FDPHO JLUWKV Â´,W KDV WKH DGGHG EHQHĂ&#x20AC;W of being portable,â&#x20AC;? she says. â&#x20AC;&#x153;All you need is a sturdy basket to hold the warp, a crochet hook and some kind of plied yarn.â&#x20AC;? She uses the technique to create the open-weave work on necklaces and bracelets and to create a choker made of miniature Twinelines-small woven cages that encase decorative bits of coral and lava. Sekimachi also returned to card weaving, which sheâ&#x20AC;&#x2122;d employed

and folded antique Japanese indigo-dyed paper. 8SVWDLUV D WULR RI 6HNLPDFKLÂˇV VLJQDWXUH Ă&#x20AC;VK OLQH PRQRĂ&#x20AC;ODPHQW ZHDYLQJV XQGXODWH LQ WKH EUHH]H framed by a collection of airy sculptures she calls Twinelines--â&#x20AC;?like line drawings in spaceâ&#x20AC;?-mounted on the walls. And holding court on top of one shell-laden cabinet are a few of her Coral Creatures: rocks animated with bits of shell, coral and sea urchin spines that have been worked into the natural holes. â&#x20AC;&#x153;They were so much fun to do,â&#x20AC;? says Sekimachi, her youthful face breaking into a broad smile, â&#x20AC;&#x153;animals, one-eyed monsters-every piece makes me laugh.â&#x20AC;? Sekimachi actually began pillaging her beach trove in the late â&#x20AC;&#x2DC;90s in Hawaii. â&#x20AC;&#x153;I was never one to stay still. SO Iâ&#x20AC;&#x2122;d sit on thelanai facing the water and paint these little watercolors,

Sekimachi actually began pillaging her beach trove in the late â&#x20AC;&#x2DC;90s in Hawaii. â&#x20AC;&#x153;I was never one to stay still. SO Iâ&#x20AC;&#x2122;d sit on thelanai facing the water and paint these little watercolors, then mount some of the smaller specimens on top.â&#x20AC;? Sekimachi grouped them in folios with titles like Sticks and Stones and Shells and Bones. She started to JHW KHU WRHV ZHW ZLWK MHZHOU\ WKUHH \HDUV DJR by making a gift for fellow weaver Dominic Di Mare, who was visiting the island. â&#x20AC;&#x153;It was his birthday, and I decided to make 75 knots on the hemp twine-one for each year-but I didnâ&#x20AC;&#x2122;t want to lose track, so I tied on a string every 10 knots and attached a shell at the bottom.â&#x20AC;?

for the Marugawa hangings (and which dates to the time of the Vikings). â&#x20AC;&#x153;Essentially, you need a deck of cards with holes at each corner. The warp threads get threaded through the holes, and the cards are turned to make a shed. To weave a tube, the weft enters the shed from the same side, and after the weaving is done it gets pulled,â&#x20AC;? she explains. â&#x20AC;&#x153;I found a black, polished cotton warp in my drawer all ready to go and decided to weave a narrow tube rather loosely so it could go around the neck, the added my favorite black nerite shells to the fringe.â&#x20AC;? Once she had a body of work, Sekimachi invited Slemmons to join her in an H[KLELWLRQ EDVHG RQ WKHLU Ă&#x20AC;QGLQJV LQ 3XDNR 5HFDOOV 6OHPPRQV Â´7KH Ă&#x20AC;UVW WLPH , PHW .D\ VKH had recently returned from Hawaii. There were little shells on the windowsill, carefully arranged to dry in the sun after cleaning. I never imagined that years later we would both be making jewelry from the beaches of the Big Island. But I was interested in doing the show with Kay because, although ZH FRPH IURP YHU\ GLÍżHUHQW SODFHV ZH DUH VXFK kindred spirits.â&#x20AC;? When Sekimachi approached Elizabeth Shypertt and Mike Holmes of the San Francisco gallery Velvet da Vinci, they were immediately â&#x20AC;&#x153;blown away,â&#x20AC;? Holmes says. â&#x20AC;&#x153;Kay had been ZHDYLQJ DOO WKHVH \HDUV DQG .LÍż LV NQRZQ IURP incorporating found objects with silversmithing. 'HVSLWH WKHLU GLÍżHUHQW DSSURDFKHV WKLV PXWXDO muse-Puako-caused their work to relate in a way that was illuminating.â&#x20AC;? He and Shypertt made the decision to group the collections together, as if re-creating the dialogue between the two artists. Slemmons used sterling silver to encase many of the objects-such as dollâ&#x20AC;&#x2122;s arms-that take the place of gemstones in her brooches and necklaces (and deliberately resisted the sparkly green peridots that also dot the beach). Sekimachiâ&#x20AC;&#x2122;s pieces have a lighter organic quality, as if theyâ&#x20AC;&#x2122;ve grown out of the seagrassthe shells, coral and urchin spines entangling with the vegetation. Using Danish paper cord-the kind used for chair seats and backs-and black and white polished cotton, Sekimachi embeds KHU REMHFWV ZLWKLQ WKH Ă&#x20AC;EHU WKH VKHOO LQ WKH 7XUUHWW

Student, Teacher and Artist

Some of the bracelets and necklaces utilize the splitply technique that Sekimachi discovered in the â&#x20AC;&#x2DC;70s, when she became interested in the ancient method for ZHDYLQJ FDPHO JLUWKV Â´,W KDV WKH DGGHG EHQHĂ&#x20AC;W RI EHLQJ portable,â&#x20AC;? she says. â&#x20AC;&#x153;All you need is a sturdy basket to hold the warp, a crochet hook and some kind of plied yarn.â&#x20AC;? She uses the technique to create the open-weave work on necklaces and bracelets and to create a choker made of miniature Twinelines-small woven cages that encase decorative bits of coral and lava. Sekimachi also returned to card weaving, which sheâ&#x20AC;&#x2122;d employed for the Marugawa hangings (and which dates to the time of the Vikings). â&#x20AC;&#x153;Essentially, you need a deck of cards with holes at each corner. The warp threads get threaded through the holes, and the cards are turned to make a shed. To weave a tube, the weft enters the shed from the same side, and after the weaving is done it gets pulled,â&#x20AC;? she explains. â&#x20AC;&#x153;I found a black, polished cotton warp in my drawer all ready to go and decided to weave a narrow tube rather loosely so it could go around the

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Essentially, you need a deck of cards with holes at each corner. The warp threads get threaded through the holes, and the cards are turned to make a shed. To weave a tube, the weft enters the shed from the same side, and after the weaving is done it gets pulled,â&#x20AC;? she explains. â&#x20AC;&#x153;I found a black, polished cotton warp in my drawer all ready to go and decided to weave a narrow tube rather loosely so it was around the neck, the added my favorite black nerite shells to the fringe.

Student, Teacher and Artist

When Sekimachi approached Elizabeth Shypertt and Mike Holmes of the San Francisco gallery Velvet da Vinci, they were immediately â&#x20AC;&#x153;blown away,â&#x20AC;? Holmes says. â&#x20AC;&#x153;Kay had been weaving all these years, and .LÍż LV NQRZQ IURP LQFRUSRUDWLQJ IRXQG REMHFWV ZLWK VLOYHUVPLWKLQJ 'HVSLWH WKHLU GLÍżHUHQW DSSURDFKHV WKLV mutual muse-Puako-caused their work to relate in a way that was illuminating.â&#x20AC;? He and Shypertt made the decision to group the collections together, as if re-creating the dialogue between the two artists. Slemmons used sterling silver to encase PDQ\ RI WKH REMHFWV VXFK DV GROOÂˇV DUPV WKDW WDNH WKH place of gemstones in her brooches and necklaces (and deliberately resisted the sparkly green peridots that also dot the beach). Sekimachiâ&#x20AC;&#x2122;s pieces have a lighter organic quality, as if theyâ&#x20AC;&#x2122;ve grown out of the seagrassthe shells, coral and urchin spines entangling with the vegetation. Using Danish paper cord-the kind used for chair seats and backs-and black and white polished FRWWRQ 6HNLPDFKL HPEHGV KHU REMHFWV ZLWKLQ WKH Ă&#x20AC;EHU the shell in the Turrett Shell Necklace emerges from its ZRYHQ FDVLQJ DV LI GUHGJHG LQ D Ă&#x20AC;VKLQJ QHW $OWKRXJK MHZHOU\ LV KHU QHZHVW SURMHFW 6HNLPDFKL KDV QRW abandoned weaving. As we talk, she sits sketching out colors for an upcoming show at the Textile Museum is Washington, DC, at the invitation of Jack Larsen. â&#x20AC;&#x153;The artists are supposed to use the collection as inspiration,

Some of the bracelets and necklaces utilize the split-ply technique that Sekimachi discovered in the â&#x20AC;&#x2DC;70s, when she became interested in the ancient method for weaving camel girths. â&#x20AC;&#x153;It KDV WKH DGGHG EHQHĂ&#x20AC;W RI EHLQJ SRUWDEOH Âľ VKH says. â&#x20AC;&#x153;All you need is a sturdy basket to hold the warp, a crochet hook and some kind of plied yarn.â&#x20AC;? She uses the technique to create the open-weave work on necklaces and bracelets and to create a choker made of miniature Twinelines-small woven cages that encase decorative bits of coral and lava. Sekimachi also returned to card weaving, which sheâ&#x20AC;&#x2122;d employed for the Marugawa hangings (and which dates to the time of the Vikings).

neck, the added my favorite black nerite shells to the fringe.â&#x20AC;? Once she had a body of work, Sekimachi invitHG 6OHPPRQV WR MRLQ KHU LQ DQ H[KLELWLRQ EDVHG RQ WKHLU Ă&#x20AC;QGLQJV LQ 3XDNR 5HFDOOV 6OHPPRQV Â´7KH Ă&#x20AC;UVW WLPH , met Kay, she had recently returned from Hawaii. There were little shells on the windowsill, carefully arranged to dry in the sun after cleaning. I never imagined that \HDUV ODWHU ZH ZRXOG ERWK EH PDNLQJ MHZHOU\ IURP WKH beaches of the Big Island. But I was interested in doing the show with Kay because, although we come from YHU\ GLÍżHUHQW SODFHV ZH DUH VXFK NLQGUHG VSLULWV Âľ

The move to undertake a new body of work was motivated by a visit from another friend, MHZHOHU .LÍż 6OHPPRQV Â´.LÍż FDPH WR 3XDNR and we spent a wonderful week walking along the beach, gathering things and playing with all the treasures,â&#x20AC;? recalls Sekimachi. Soon after, the Chicago-based Slemmons came to Oakland as a visiting artist at the California College of Art and stayed at Sekimachiâ&#x20AC;&#x2122;s house. â&#x20AC;&#x153;When she looked and saw all the shells and rocks laid out and some of the work Iâ&#x20AC;&#x2122;d started, she said, â&#x20AC;&#x2DC;Kay, this FRXOG EH MHZHOU\ Âˇ DQG WKDW JRW PH WKLQNLQJ KRZ I might be able to combine my weaving with my collecting to make something entirely new.â&#x20AC;?

8SVWDLUV D WULR RI 6HNLPDFKLÂˇV VLJQDWXUH Ă&#x20AC;VK OLQH PRQRĂ&#x20AC;ODPHQW ZHDYLQJV XQGXODWH LQ WKH EUHH]H framed by a collection of airy sculptures she calls Twinelines--â&#x20AC;?like line drawings in spaceâ&#x20AC;?-mounted on the walls. And holding court on top of one shell-laden cabinet are a few of her Coral Creatures: rocks animated with bits of shell, coral and sea urchin spines that have been worked into the natural holes. â&#x20AC;&#x153;They were so much fun to do,â&#x20AC;? says Sekimachi, her youthful face breaking into a broad smile, â&#x20AC;&#x153;animals, one-eyed monsters-every piece makes me laugh.â&#x20AC;?

Â´$W WKLV VWDJH RI P\ OLIH ,ÂˇP MXVW GRLQJ ZKDW , HQMR\ Âľ says Sekimachi. â&#x20AC;&#x153;Weaving is very physical work-you really feel it in the back and knees. But Iâ&#x20AC;&#x2122;m also happy LQ PDQ\ GLÍżHUHQW PHGLD Âľ VKH H[SODLQV QRGGLQJ WRZDUG

late husband of Ruth Asawa (who, like Sekimachi, was born in 1926 and relocated to internment camps during :RUOG :DU ,, 7RJHWKHU 6HNLPDFKL DQG 6WRFNVGDOH Ă&#x20AC;OOHG it with works by friends and peers, including enamelist June Schwarcz, ceramist Toshiko Takaezu, sculptor Dorothy Gill Barnes, weaver Lia Cook, and Sekimachiâ&#x20AC;&#x2122;s mentor and friend weaver Trude Guermonprez. Sit on the couch, and you discover that the ottoman was a gift from George Nakashimaâ&#x20AC;&#x2122;s daughter, Mira. The kitchen table and chairs were wedding presents from Sam Maloof, and in Sekimachiâ&#x20AC;&#x2122;s weaving room is Bolinas ZRRGZRUNHU $UW &DUSHQWHUÂˇV Ă&#x20AC;UVW 6FDOORS VKHOO GHVN

â&#x20AC;&#x153;An appearance of delicacy is inseparable from sweetness and gentleness of character.â&#x20AC;?

S e k i m a c h i

$OWKRXJK MHZHOU\ LV KHU QHZHVW SURMHFW 6HNLPDFKL KDV not abandoned weaving. As we talk, she sits sketching out colors for an upcoming show at the Textile Museum is Washington, DC, at the invitation of Jack Larsen. â&#x20AC;&#x153;The artists are supposed to use the collection as in4 spiration, and I found a wonderful carrying 3cloth from 3HUX , MXVW PDGH D ZDUS LQ SUHSDUDWLRQ Âľ VD\V 6HNLPDFKL ZKR HQYLVLRQV D WULSW\FK 6R LWÂˇV EDFN WR KHU Ă&#x20AC;UVW loom, purchased with her last $150 in 1949. She is also EXV\ VHQGLQJ ZRUN RÍż IRU D JURXS VKRZ WKLV 2FWREHU DW St. Maryâ&#x20AC;&#x2122;s College in Moraga, CA, and anticipating the opening of â&#x20AC;&#x153;Loom & Lathe: The art of Kay Sekimachi and Bob Stocksdaleâ&#x20AC;? at the Fuller Craft Museum in 6 De Young | Key Sekinmachi Brockton, MA, next February.

Key Sekinmachi Sekimachi started visiting the south Kohala Coast of the Big Island of Hawaii in the 1970s with her late husband, master woodturner Bob Stocksdale, and returned to the same house year after year for almost three decades. Combing the sandy beaches and lava-formed tide pools of Puako Bay, she KDUYHVWHG VKHOOV ELWV RI FRUDO IRVVLOV Ă&#x20AC;VK YHUWHbrae, the delicate bones of birds, sea urchin spines and other oceanic ephemera with dedicated rigor but no particular endgame in mind. Once dubbed the â&#x20AC;&#x153;weaverâ&#x20AC;&#x2122;s weaverâ&#x20AC;? by textile designer Jack Lenor Larsen (whom she assisted at the Haystack Mountain School of Crafts in 1956), Sekimachi was LPPHUVHG LQ UHGHĂ&#x20AC;QLQJ WKH ERXQGDULHV RI ZKDW FRXOG EH ZRYHQ RQ DQG RÍż WKH ORRP %XW SRULQJ over the found objects helped keep her artistic gaze honed, especially when she was away from the studio. After each vacation, Sekimachi returned to her home on a leafy street in south Berkeley to FKRUHRJUDSK WKH SLHFHV VKHÂˇG SOXFNHG RÍż WKH EHDFK Some are arranged along windowsills and tabletops, but most reside inside her collection of Tansu chests-which resemble curiosity cabinets as curated by Joseph Cornell in Atlantis. Each drawer is a kind of wabi-sabi still life, with specimens arranged by type, color and shape, and concave abalone and turkeywing shells nested like Russian dolls, the

De Young | Key Sekinmachi | Student, Teacher and Artist

and relocated to internment camps during World :DU ,, 7RJHWKHU 6HNLPDFKL DQG 6WRFNVGDOH Ă&#x20AC;OOHG it with works by friends and peers, including enamelist June Schwarcz, ceramist Toshiko Takaezu, sculptor Dorothy Gill Barnes, weaver Lia Cook, and Sekimachiâ&#x20AC;&#x2122;s mentor and friend weaver Trude Guermonprez. Sit on the couch, and you discover that the ottoman was a gift from George Nakashimaâ&#x20AC;&#x2122;s daughter, Mira. The kitchen table and chairs were wedding presents from Sam Maloof, and in Sekimachiâ&#x20AC;&#x2122;s weaving URRP LV %ROLQDV ZRRGZRUNHU $UW &DUSHQWHUÂˇV Ă&#x20AC;UVW Scallop-shell desk. The rooms also serve as a kind of time capsule for Sekimachiâ&#x20AC;&#x2122;s artistic exploraWLRQV +DQJLQJ Ă RDWLQJ DQG QHVWOHGWKURXJKRXW DUH Ă&#x20AC;EHU DQG SDSHU SLHFHV VSDQQLQJ VRPH years. The multilayered tapestries and room dividers evolved after Sekimachi discovered the work of Anni Albers and the Bauhaus and abandoned the precept that weavers needed to make functional items, such as placemats. There are woven books that unfold to reveal ethereal scenes from nature that have been heat-transferred onto the warp, small baskets with burnt ends, and delicate paper bowls. One of her black, WXEXODU 0DUXJDZDV RU 5LYHUV Ă RZV GRZQ IURP WKH VHFRQG Ă RRU HQJDJHG LQ D NLQG RI FDOO DQG UHsponse with a towering Paper Column from 1992 thatâ&#x20AC;&#x2122;s wrought from machine-stitched and folded antique Japanese indigo-dyed paper.

Kay Sekimachi : leaf bowls

Student, Teacher and Artist

De Young | Key Sekinmachi

Softness is not weakness. It takes courage to stay delicate in a world this cruel.

$OWKRXJK MHZHOU\ LV KHU QHZHVW SURMHFW 6HNLPDFKL KDV not abandoned weaving. As we talk, she sits sketching out colors for an upcoming show at the Textile Museum is Washington, DC, at the invitation of Jack Larsen. â&#x20AC;&#x153;The artists are supposed to use the collection as inspiration, and I found a wonderful carrying cloth from 3HUX , MXVW PDGH D ZDUS LQ SUHSDUDWLRQ Âľ VD\V 6HNLPDFKL ZKR HQYLVLRQV D WULSW\FK 6R LWÂˇV EDFN WR KHU Ă&#x20AC;UVW loom, purchased with her last $150 in 1949. She is also EXV\ VHQGLQJ ZRUN RÍż IRU D JURXS VKRZ WKLV 2FWREHU DW St. Maryâ&#x20AC;&#x2122;s College in Moraga, CA, and anticipating the opening of â&#x20AC;&#x153;Loom & Lathe: The art of Kay Sekimachi and Bob Stocksdaleâ&#x20AC;? at the Fuller Craft Museum in Brockton, MA, next February. Â´$W WKLV VWDJH RI P\ OLIH ,ÂˇP MXVW GRLQJ ZKDW , HQMR\ Âľ says Sekimachi. â&#x20AC;&#x153;Weaving is very physical work-you really feel it in the back and knees. But Iâ&#x20AC;&#x2122;m also happy LQ PDQ\ GLÍżHUHQW PHGLD Âľ VKH H[SODLQV QRGGLQJ WRZDUG

$OWKRXJK MHZHOU\ LV KHU QHZHVW SURMHFW 6HNLPDFKL KDV not abandoned weaving. As we talk, she sits sketching out colors for an upcoming show at the Textile Museum is Washington, DC, at the invitation of Jack Larsen. â&#x20AC;&#x153;The artists are supposed to use the collection as inspiration, and I found a wonderful carrying cloth from 3HUX , MXVW PDGH D ZDUS LQ SUHSDUDWLRQ Âľ VD\V 6HNLPDFKL ZKR HQYLVLRQV D WULSW\FK 6R LWÂˇV EDFN WR KHU Ă&#x20AC;UVW loom, purchased with her last $150 in 1949. She is also EXV\ VHQGLQJ ZRUN RÍż IRU D JURXS VKRZ WKLV 2FWREHU DW St. Maryâ&#x20AC;&#x2122;s College in Moraga, CA, and anticipating the opening of â&#x20AC;&#x153;Loom & Lathe: The art of Kay Sekimachi and Bob Stocksdaleâ&#x20AC;? at the Fuller Craft Museum in Brockton, MA, next February. De Young | Key Sekinmachi | Student, Teacher and Artist

ă&#x201A;Śă&#x201A;Łă&#x192;źă&#x192;?ă&#x192;ź

Weaving the Sea

KaY Sekim

De Young | Key Sekinmachi | Student, Teacher and Artist

KaY Sekimachi

â&#x20AC;&#x153;An appearance of delicacy is inseparable from sweetness and gentleness of character.â&#x20AC;? Although jewelry is her newest project, Sekimachi has not abandoned weaving. As we talk, she sits sketching out colors for an upcoming show at the Textile Museum is Washington, DC, at the invitation of Jack Larsen. â&#x20AC;&#x153;The artists are supposed to use the collection as inspiration, and I found a wonderful carrying cloth from Peru. I just made a warp in preparation,â&#x20AC;? says Sekimachi, who envisions a tripW\FK 6R LWÂˇV EDFN WR KHU Ă&#x20AC;UVW ORRP SXUFKDVHG ZLWK her last $150 in 1949. She is also busy sending work RÍż IRU D JURXS VKRZ WKLV 2FWREHU DW 6W 0DU\ÂˇV &ROlege in Moraga, CA, and anticipating the opening of â&#x20AC;&#x153;Loom & Lathe: The art of Kay Sekimachi and Bob Stocksdaleâ&#x20AC;? at the Fuller Craft Museum in Brockton, MA, next February. â&#x20AC;&#x153;At this stage of my life, Iâ&#x20AC;&#x2122;m just doing what I enjoy,â&#x20AC;? says Sekimachi. â&#x20AC;&#x153;Weaving is very physical work-you really feel it in the back and knees. But Iâ&#x20AC;&#x2122;m also happy in many GLÍżHUHQW PHGLD Âľ VKH H[SODLQV QRGGLQJ WRZDUG some necklaces and bracelets in progress pinned to a board. â&#x20AC;&#x153;And now, it turns out there was a purpose in my collecting all those years!â&#x20AC;?

TYPE STUDY

Bodoni 72 Oldstyle Bold

Bodoni 72 Smallcaps Book

Palatino

Adobe Caslon Pro

Perpetua Titling MT Bold

Cochin

Key Sekinmachi Key Sekinmachi Key Sekinmachi Key Sekinmachi Key Sekinmachi Point > 7.5 pt Leading > 11 pt

Point > 8 pt Leading > 12 pt

Point > 8.5 pt Leading > 12.5 pt

Typeface _ Palatino

Typeface _ Bodoni 72 Oldstyle

Point > 7.5 pt

Sekimachi started visiting the south Kohala Coast of the Big Island of Hawaii in the 1970s with her late husband, master woodturner Bob Stocksdale, and

returned to the same house year after year for almost three decades. Combing the sandy beaches and lava-formed tide pools of Puako Bay, she harvested shells, bits of coral, fossils, fish vertebrae, the delicate bones of birds, sea urchin spines and other oceanic ephemera with dedicated rigor but no particular endgame in mind.

Leading >

Typeface _ Palatino

Point > 8 pt

Leading > 11 pt

Point > 8 pt

12 pt

Leading > 12 pt

Typeface _ Bodoni 72 Oldstyle

Point > 8.5 pt

7.5 pt

Typeface _ Bodoni 72 Oldstyle

Leading >

Typeface _ Palatino

Point >

11 pt

Key Sekinmachi

Leading > 12.5 pt

Point > 8.5 pt

Leading > 12.5 pt

Typeface _ Adobe Garamond Pro Sekimachi started visiting the south Kohala Coast of the Big Island of Hawaii in the 1970s with her late husband, master woodturner Bob Stocksdale, and returned to the same house year after year for almost three decades. Combing the sandy beaches and lava-formed tide pools of Puako Bay, she harvested shells, bits of coral, fossils, fish vertebrae, the delicate bones of birds, sea urchin spines and other oceanic ephemera with dedicated rigor but no particular endgame in mind.

POSTER SKETCHE

POSTER EXPLORATION

ウィーバー 2016 Fine Arts Museums of San Francisco

machi

Student, Teacher, Artist

Exhibition April 23, 2016 – November 6, 2016

手作り

スタイル

KaY Sekimachi

De Young 50 Hagiwara Tea Garden Dr, San Francisco. CA 94118

deyoung.famsf.org

ウィーバー

Key Sekinmachi 2016 Student Teacher Artist

Exhibition

De Young

April 23, 2016 – November 6, 2016

50 Hagiwara Tea Garden Dr, San Francisco. CA 94118

Website deyoung.famsf.org

2016 Fine Arts Museums of San Francisco

K a Y

Student Teacher Artist

S e k i ma c h i Exhibition

April 23, 2016 – November 6, 2016

テキスタイ

KEY SEKIN— MACHI Student Teacher Artist

スタイル

Exhibition April 23, 2016 – November 6, 2016

De Young 50 Hagiwara Tea Garden Dr, San Francisco. CA 94118

deyoung.famsf.org

ウィーバー

2016 Fine Arts Museums of San Francisco

De Young 50 Hagiwara Tea Garden Dr, San Francisco. CA 94118

deyoung.famsf.org

テキスタイル

J E RRY CH IA N G

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The fiber art movement The fiber art movement gave gave textile traditions textile traditions new expression. new expression.

Kay Sekimachi Kay Sekimachi

During theDuring 1960sthe and1960s 1970s, the fiber art and 1970s, the fiber art movementmovement gave textile traditions new gave textile traditions new expression, pushing them intothem the realms expression, pushing into the realms of sculpture, installation, and performance of sculpture, installation, and performance art. Kay Sekimachi carved out a unique art. Kay Sekimachi carved out a unique place for place herselffor during this fertilethis period. herself during fertile period.

Kay Sekimachi Kay Sekimachi

ProducedProduced in close collaboration with San with San in close collaboration FranciscoFrancisco native Kaynative Sekimachi (b. 1926),(b. 1926), Kay Sekimachi

a pioneer ainpioneer the post-World War II fiber artII fiber art in the post-World War movement, this exhibition offers a glimpse movement, this exhibition offers a glimpse into the working of one of of one of into theprocesses working processes America’sAmerica’s most important weavers. weavers. The most important The

presentation includes aincludes range ofa materials presentation range of materials totaling over 30artworks, from smallfrom small totaling over 30artworks,

studies tostudies fully realized that tracethat trace to fullycreations realized creations Sekimachi’s evolution evolution from student Sekimachi’s fromtostudent to artist.

B u y T iB cu k ye tTs i c k e t s Visit

The fiber art movement gave textile traditions new expression.

artist.

Kay Sekimachi

Visit

E x h i b iE t ixohnisb i t i o n s

C o l l e cC t ioolnl es c t i o n s

Learn Learn

During the 1960s and 1970s, the fiber art movement gave textile traditions new expression, pushing them into the realms of sculpture, installation, and performance art. Kay Sekimachi carved out a unique place for herself during this fertile period.

Leaf Vesse IIV Leaf Vesse IIV Kay Sekimachi 1997 1997

G i v e &GJi vo ei n & J o i n

6 x 4 x 4.5 6 x in4 x 4.5 in Big leaf Big maple paper. leafand maple and paper.

Shop Shop

A u d i o ATour u d i o Tou r

AmiyoseAmiyose III III 1997 Produced in close collaboration with San 1997

Francisco native Kay Sekimachi (b. 1926),

a pioneer in the post-World War II fiber art 7 x 4.5 x74.5 in x 4.5 x 4.5 in movement, this exhibition offers a glimpse monofilament monofilament into the working processes of one of

America’s most important weavers. The

presentation includes a range of materials totaling over 30artworks, from small

studies to fully realized creations that trace Sekimachi’s evolution from student to artist.

PROJECT

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07 / 10

The fiber art movement gave textile traditions new expression. During the 1960s and 1970s, the fiber art movement gave textile traditions new expression, pushing them into the realms of sculpture, installation, and performance art. Kay Sekimachi carved out a unique place for herself during this fertile period.

Kay Sekimachi

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— M A RY L O U C O O K

AVENIR NEXT

TYPOGRAPHIC CONFERENCE

CLASS

COLOR PALETTE

Typography 4 SEMESTER

SOFT WARE

Summer 2017

INSTRUCTOR

DELIVERABLES

Ariel Grey

Promotional Book Poster

CATEGORY

Idenity

Motion Video E-Tickets

Print UI / UX

OBJECTIVE

Design a conference, of conceptual and experimental nature that focuses on typography. Create an experimental book that addresses the conference. The conference is meant to be experienced through experimental means in various typographic styles such as new ways of mixing typefaces. APPROACH

Avenir Next is a typography conference featuring addictive experimentation. The concept “Addiction” focuses on a rich selection of different approaches to the typeface Avenir Next throughout the book. The goal of this project is not only to place typography on a page but to experiment and use it visually in several different compositional formats. Avenir Next shows how typography can be created with different objects, layouts and in a way you have never seen before.

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Project Eight

MOOD & INSPIRATION

TYPE STUDY Avenir Next Ultra Light

Avenir Next Regular

Avenir Next Medium

Avenir Next Demi Bold

Avenir Next Bold

Avenir Next Heavy

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % = &*(+!

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % =&*(+!

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @#$%=&*(+!

Avenir Next Ultra Light Italic

Avenir Next Italic

Avenir Next Medium Italic

Avenir Next Demi Bold Italic

Avenir Next Bold Italic

Avenir Next Heavy Italic

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % = &*(+!

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @ # $ % =&*(+!

Aa Bb Cc Dd Ee Ff Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz @#$%=&*(+!

LOGO

Avenir Book

Avenir Roman

Size 7.5 / Tracking 50 / Leading 11

Adrian Frutiger was born in Unterseen, Canton of Bern, the son of a weaver. As a boy, he experimented with invented scripts and stylized handwriting in negative reaction to the formal, cursive penmanship then required by Swiss schools.

Adrian Frutiger was born in Unterseen, Canton of Bern, the son of a weaver. As a boy, he exp mented with invented scripts and stylized hand writing in negative reaction to the formal, cursi penmanship then required by Swiss schools.

Size 8 / Tracking 50 / Leading 11.5

Adrian Frutiger was born in Unterseen, Canton of

ed with invented scripts and stylized handwriting in negative reaction to the formal, cursive penmanship then required by Swiss schools.

by Swiss schools.

Avenir Book / 7.5.pt / 11.5 / tr: 80

Avenir Book / 7pt / 11.5 / tr: 80

Adrian Frutiger was bor n in Unterseen, Canton of Ber n, the son of a

Adrian Frutiger was born in Unterseen, Canton of Bern, the son of a weaver. As

weaver. As a boy, he experimented with invented scripts and stylized

a boy, he experimented with invented scripts and stylized handwriting in nega

handwriting in negative reaction to the formal, cursive penmanship then

tive reaction to the formal, cursive penmanship then required by Swiss schools.

required by Swiss schools. His early interest in sculpture was discouraged

His early interest in sculpture was discouraged by his father and by his second

by his father and by his secondary school teachers; they encouraged him

ary school teachers; they encouraged him to work in printing.

to work in printing.

LAYOUT SKETCHE

Size 7 / Tracking 50 / Leading 11.5 Bern, the son of a weaver. As a boy, he experiment-

LAYOUT EXPLORATION

of sans serif, in the tradition of Erbar™, Futura®, and to a

interview with Linotype:

serif typefaces, I felt an obligation to design a linear style

08 09 30

meeting modern typographical needs.

Avenir is intended to be nothing more nor less than a clear and clean representation of modern typographical trends, giving the designer a typeface which is strictly modern and at the same time

legible, on the well—established grounds that the

humane, ie suitable refined and elegant for use in

human eye takes in horizontals more easily than ver-

been reduced in order to make text setting more

texts of any length.“

ticals and tends to grasp the meaning of a line in a horizontal sweep….

“The whole point with type is for you not to be aware it is there,” he said in an interview on the Linotype company’s website. “If you remember the shape of a spoon with which you just ate some soup, then the spoon had a poor shape.” He added:“Spoons and letters are tools. The first we need to ingest bodily nourishment from a bowl, the latter we need to ingest mental nourishment from a piece of paper.” 08

Avenir

08 09 30

For this reason the up—strokes of capital A, K, V, W and so on are noticeably thinner than the down—strokes.

Unlike such strictly constructivist faces as Futura®, for example, the junction points of oblique—line characters such as A, V, W, Z have been flattened off. Pointed ends may look well in display sizes but

ideas of letter construction, unity, and organic form, are first

they have the effect of shortening the characters

In 1991, he finished Vectora,

[1949–1951]

where students studied monumental inscriptions from Roman forum rubbings. At the Kunstgewerbeschule, Adrian Frutiger was born in Unterseen, Canton of

Frutiger primarily concentrated on calligraphy—a craft

Bern, the son of a weaver. As a boy, he experimented

favouring the nib and the brush, instead of drafting tools.

Today there is a new appreciation of the linear style of sans,

with invented scripts and stylized handwriting in neg-

in harmony with a softer and more subtle mode of expression.

ative reaction to the formal, cursive penmanship then

[Condensed Regular]

[55 Oblique]

thing of the effect of an inscription. The general replacement of

[Next Italic]

the pen-nib by the ballpoint and the felt pen has also had an

[Condensed Italic]

influence here.

required by Swiss schools.

His early interest in sculpture was discouraged

been limited to display uses and are

[Next Medium]

because the rounded ’a’ as used in Futura® hinders the legibil-

[Condensed Medium]

[95 Black] [Next Black]

type in competition. Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif should be based on the realist (neo-grotesque)

a lifetime of creating some of the most

tal inscriptions from Roman forum rubbings. At the Kunstgewerbeschule, Frutiger primarily concen-

suitable refined and elegant for use

trated on calligraphy—a craft favouring the nib and

in texts of any length.

the brush, instead of drafting tools.

To maintain unity across the 21 variants, each weight

[21]

the world.

In the early 1970s, the RATP, the public transport

and width, in roman and italic, was drawn and approved

[3] [8]

Metro signage. He created a Univers font variation—a set of capitals and numbers specifically

though 8) indicates the weight, “3” the lightest, “8” the

for white on dark blue backgrounds in poor light.

heaviest. The second digit indicates the face-width and

The success of this modern, yet human, typeface,

either roman or oblique.

spurred the French airport authority’s commission-

The response to Univers

ing a “way-finding signage” alphabet for the new

was immediate and

Charles de Gaulle International Airport in the Roissy

positive; he claimed it

[1967]

ity of text through its similarity to b, d, p and q. Also for reasons

Frutiger based upon the quality of the illustrated essay Schrift / Écriture

of text legibility, the letters f, r and t have been kept relatively

/ Lettering: the development of European letter types carved in wood.

broad, allowing more white space on either side than is usually

Frutiger’s wood—engraved illustrations of the essay demonstrated his

the case with a sans serif.

skill, meticulousness, and knowledge of letterforms. At Deberny & Peignot

suburb of Paris. The “way—finding—signage” com-

became the model for

mission brief required a typeface both legible from

h i s f u t u re t y p e f a c e s :

afar and from an angle. Frutiger considered adapting Univers, but decided

Serifa (1967) and Glypha (1977) are based upon it.

[1956]

“The whole point with type is for you not to be aware it is 08 there,” he said in an interview on the Linotype company’s 09 website. “If you remember the shape of a spoon with which 30 you just ate some soup, then the spoon had a poor shape.” He added:“Spoons and letters are tools. The first we need to ingest bodily nourishment from a bowl, the latter we need to ingest mental nourishment from a piece of paper.”

serif typeface by Eric Gill, and Edward Johnston’s

Antique Olive.

with light weights, heavy weights,

Graphic design is a highly sought-after skill.

ground photo thanks to the dotted line that appears

In Spark Post, it’s easy to align elements in relation to each other or

when you move blocks of texts or shapes. The app

Alignment Alignment

edges of other elements in your graphic.

you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic. In Spark Post, it’s

to navigate information glut

easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of

texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

In Spark Post, it’s easy to align

Graphic design is a highly sought-after skill.

elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and

Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly.

Graphic design is a highly sought-after skill.

with the edges of other elements in your graphic. In Spark Post, it’s easy to align elements in relation to

Graphic design is a highly sought-after skill.

in your graphic.

when you move blocks of texts or shapes.

The app will let you know when you’ve lined

up your text or shapes in the middle of your

design and with the edges of other elements

Alignment

Graphic design is a highly sought-after skill.

to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when

will let you know when you’ve lined up your text or

each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

P 02

Graphic design is a highly sought-after skill.

you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic. In Spark Post, it’s easy to align

shapes in the middle of your design and with the

In Spark Post, it’s easy to align elements in

formation glut

elements in relation to each other or to your back-

Alignment

Obsession

clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly.

Addicted to Typography

Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will

released as the Avenir Next font.

P 01

Graphic design is a highly sought-after skill.

Good design is the best way

relation to each other or to your background

Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

expanded the Avenir font family

and a condensed version that were [1976]

P 02

photo thanks to the dotted line that appears

Collaborating with Linotype

designer Akira Kobayashi, Frutiger

Mergenthaler Linotype Company

P 01

Good design is the best way to navigate in—

Frutiger Next with true italic and additional weights.

Originally titled Roissy, the typeface was renamed Frutiger when the

released it for public use in 1976.

P 02

sued with sixty-three variants; Frutiger was reissued as

type for the London Transport, and Roger Excoffon’s

ing extant typefaces for the new phototypesetting Linotype equipment.

P 01

ing and expanding the Univers, Frutiger, and Avenir, in

addressing hinting for screen display. Univers was reis-

organic influences of the Gill Sans, a Humanist sans-

“Ondine”. In the event, Charles Peignot set Frutiger to work upon convert-

P 02

Graphic design is a highly sought-after skill.

P 01

In the late 1990s, Frutiger began collaborating on refin-

it was dated as too 1960s. The resultant type-

face is an amalgamation of Univers tempered with

[1977]

foundry, Frutiger designed the typefaces “Président”, “Méridien”, and [Heavy]

[1956]

authority of Paris, asked him to examine the Paris

before any matrices were cut. In the Univers font, Frutiger introduced his two—digit numeration; the first digit (3

[3] [8]

Work Summary

Charles Peignot, of the Paris foundry Deberny Et Peignot, recruited

[Condensed UlBlack]

[1869]

model. The 1896 face, Akzidenz Grotesk, is cited as the primary model.

useful and highly regarded typefaces in

in the Kunstgewerbeschule (school of applied arts) in Zürich, where students studied monumen-

a typeface which is strictly modern and at the same time humane, ie

now runs on Lines 7, 8, and 13.

the metal and the photocomposition systems. Impressed by the success of the Bauer foundry’s Futura typeface, Peignot encouraged a new, geometric sans—serif Renowned Swiss type designer Adrian

Frutiger died on September 12th after

Formative Years At the age of sixteen, he was apprenticed for four years, as a compositor, to the printer Otto Schaerffli in Interlaken; between 1949 and 1951 he studied under Walter Käch and Alfred Willimann

representation of moder n typographical trends, giving the designer

in small—point sizes.

[METRO FER APPEL D’OFFRE 1977]

on the Paris Métro. First used in 1978, it

Charles Peignot envisioned a large, unified font family, that might be set in both

by his father and by his secondary school teachers; they encouraged him to work in printing. Though in the world of print, he maintains the love of sculpture that has influenced his type forms.

Futura® and Gill have therefore

difficult to read in long texts. more nor less than a clear and clean

[65 Medium]

form of g but kept to the roman tradition in the form of the a,

Franklin Gothic and News a tall x—height and is legible

The MF 77 (abbreviated from the French: Metro Fer appel d’offre 1977) is a steelwheeled variant of the rolling stock used

Constructivist typefaces such as come back into fashion, but most of the new faces in this style have

Avenir™ is intended to be nothing

In the lower—case alphabet, I have chosen the simple sans serif

[1956]

Fuller Benton’s type faces Gothic. The resultant face has

Kunstgewerbeschule (school of applied arts) in Zürich,

with their many variations.

practically everywhere except in lit-

a design influenced by Morris

in Interlaken; between 1949 and 1951 he stud ied under Walter Käch and Alfred Willimann in the

such as Helvetica™ and Univers™

the use of mixed background tints, the graphic designer wants [45 Book] [Next Regular]

[Bold]

text with capitals like those in the earlier Président.

by Futura, with structural likeness to the neo—grotesques;

or less modelled typeface families

These have made sans serif acceptable as a second text face to roman, erary books and newspaper editorial.

Frutiger’s 1984 typeface Versailles is an old—style serif In Versailles, the serifs are small and glyphic. In 1988, Frutiger completed Avenir (“future” in French), inspired

At the age of sixteen, he was apprenticed for four years, as a compositor, to the printer Otto Schaerffli

a more refined sans serif typeface with less color, giving some[Demi Bold]

[1956]

Avenir has a full series of unified weights.

to roman, with their varying stroke thicknesses. Then came the more

With increasing emphasis on pictures as the main element and

in text sizes.

expressed together. In 1956, he designed his first-of-three, slabserif typefaces — Egyptienne, on the Clarendon model; after Univers, it was the second, new text face to be commissioned for photocomposition.

century faces were the most modelled form of sans and the nearest

A B C D E F G H I J K L M N O P Q R S T V WXYZ a b c d e f g h i j k l m nopqrstvwxyz

iarity of roman typestyles, which in turn owe much of their form to the calligraphy of the Middle Ages.

[Medium]

in 1954. A calligraphic, informal, script face, Ondine (“wave” in French), also was released in 1954. In 1955, Méridien, a glyphic, old-style, serif text face was released. The typeface shows inspiration by Nicholas Jenson, and, in the Méridien type, Frutiger’s

[1956]

Grotesque typefaces replaced the outmoded Bauhaus style. The 19th

Avenir Next Rounded

up—strokes and down—strokes, based on the famil[Italic]

[1954–1955]

been three waves of sans serif style. At first, victorian sans serif or

purely geometrical letters do not unite harmoniously to form the word—images that we read. Another factor in legibility is the difference in weight between 08

tivist typeface, it does not have a purely geometric

[1954]

How Avenir meets the needs of modern typography Since the early 1950s, there have

and the o is not a perfect circle. Absolutely linear characters are difficult to read in continuous text and

ment has been removed. Obviously this could not be an

Even though Avenir™ can be classified as a construc-

[Condensed Heavy]

[Condensed Ultralight]

How these principles influence the design of individual characters The vertical strokes are thicker than the horizontals

characters from which the element of a handwriting moveoutstanding new creation, but I have tried to make use of the experience and stylistic developments of the 20th century in order to work out an independent alphabet

and linear drawing. The vertical stroke lengths have

set of titling capital letters with small, bracketed serifs, released

[Next Heavy]

[Next Ultra light]

Adrian Frutiger’s first commercial typeface was Président — a

[85 Heavy]

[35 Light]

lesser extent Gill Sans®. These have purely constructed

Adrian Frutiger

[Regular]

“Looking back on more than 40 years of concern with sans

the Sans—Serif in an

reasoning for designing

Avenir

[Ultra Light]

Frutiger explained his

Graphic design is a highly sought-after skill.

1988 01

1989

AVENIR IS

THE

02 Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high—quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro—designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message. Here are eight basic design principles to keep in mind when working with visuals and creating graphics. Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high—quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro—designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message.

Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

FUTURE Graphic design is a highly sought-after skill.

I N F I

Graphic design is a highly sought-after skill. Graphic design is a highly sought-after skill.

Graphic design is a highly sought-after skill.

Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high—quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro—designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message. Here are eight basic design principles to keep in mind when working with visuals and creating graphics. Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high—quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro—designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message.

N I A

1990 03

BEYOND

ND Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high—quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro—designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message.

Graphic design is a highly sought-after skill.

2018

SPEAKER

Sarah Hyndman

AUG 25

Nadine Chahine Daniel Gjode Petr Van Blokland Marco Walser

AUG 26

Graphic design is a highly sought-after skill.

Good design is the best way

Tânia Raposo to Jean navigate in— Baptiste formation Thomas Phinney glut

Bianca Berning Ellen Lupton Amy Papaelias David Jonathan

AUG 27

FILMMAKER GARY HUSTWIT EXPLORES URBAN SPACES AND THE TYPEFACES THAT INHABIT THEM, SPEAKING WITH RENOWNED HISTORIANS AND DESIGNERS ABOUT THE CHOICES AND AESTHETICS BEHIND THE USE OF CERTAIN FONTS.

1991

1992

up a design and eliminate the messiness or

sloppiness that can occur when elements

Graphic design is a highly sought-after skill.

are placed randomly. In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or

1994

shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic. In Spark Post, it’s easy to align elements in relation

Addicted to Typography

1996

1999

other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic. In Spark Post, it’s easy to align elements in relation to each other or to your background photo thanks to the dotted line that appears when you move blocks of texts or shapes. The app will let you know when you’ve lined up your text or shapes in the middle of your design

Design is the best way to navigate information glut your graphic.

1997

Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each

and with the edges of other elements in

1998

will let you know when you’ve lined up your text or shapes in the middle of your design and with the edges of other elements in your graphic.

Avenir

1995

Obsession

Adrian Frutiger

to each other or to your background photo thanks to the dotted line that appears when

you move blocks of texts or shapes. The app

Adrian Frutiger

1993

Avenir

of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean

Obsession

Alignment is an important fundamental

Addicted to Typography

Light Book Roman Medium Black Heavy

2000

2001

tals more easily than verticals and tends to grasp the meaning of a line in a horizontal sweep.”

The tail on Avenir's uppercase "Q" is a

Avenir's uppercase "M" vertex (the point

Avenir's lowercase "a" has a bowl that

Avenir's crossbar on its lowercase "f" is

continuation of its body.

where two strokes are joined) lies on the baseline (all characters lie on this line; descenders extend below this line). [05]

continues horizontally at the top.

placed lower on the stem. [02]

Avenir's dots (a mark that is separate from a character's body but still considered part of it) are circular.

Avenir's lowercase "k" has a diagonal stroke that attaches to its stem at a higher point.

[06] [03]

A perfect circle makes the upper and lower portions of the o appear

Graphic design is a highly sought-after skill.

too fat the same is true for the juncture with the stem (left)—Adrian Frutiger's original design for Avenir (right).

2002

The stroke widths in Avenir are not constant this comparison makes the slightly varying widths in the O apparent.

With its downstroke, the G of Avenir follows the model of Roman capitals (right) rather than the geometric grotesques (left).

Even in a linear grotesque like Avenir, the half serifs have a slightly lighter stroke weight than the downstrokes.

In Futura K and R exhibit somewhat smller counters—ITC Avanr Garad Gothic and Avenir employ two different solutions to this (from left to right).

The next heaviest weight of Avenir, when viewed in negative, looks optically identical to the preceding, lighter weight.

[21PT]

2003 Adrian Frutiger was born in Unterseen, Canton of Bern, the son

[14PT]

of a weaver. As a boy, he experimented with invented scripts and stylized handwriting in negative reaction to the formal, cursive penmanship then required by Swiss schools. His early interest in sculpture was discouraged by his father and by his secondary school teachers; they encouraged him to work in printing. Though in the world of print, he maintains the love of sculpture that has influenced his type forms.

2004

FORMATIVE YEARS

[ LOCATION ]

SFMOMA 151 3rd Street San Francisco, CA, 94103

At the age of sixteen, he was apprenticed for four years, as a

lengths have been reduced in order to make text setting more legible,

on the well-established grounds that the human eye takes in horizon-

compositor, to the printer Otto Schaerffli in Interlaken; between

REVOLUTION OF THE FUTURE

1949 and 1951 he studied under Walter Käch and Alfred Willimann in the Kunstgewerbeschule (school of applied arts) in Zürich, where students studied monumental inscriptions from Roman forum rubbings. At the Kunstgewerbeschule, Frutiger

STUDIES ON THE LINEAR GROTESQUE

Charles Peignot, of the Paris foundry Deberny Et Peignot, recruited Frutiger based upon the quality of the illustrated essay Schrift / Écriture / Lettering: the development of European letter types carved in wood. Frutiger's wood-engraved illustrations

Renowned Swiss type designer Adrian

of the essay demonstrated his skill, meticulousness, and knowl-

a lifetime of creating some of the most

designed the typefaces "Président", "Méridien", and "Ondine".

the world.

ing extant typefaces for the new phototypesetting equipment.

Frutiger died on September 12th after

edge of letterforms. At Deberny & Peignot foundry, Frutiger

useful and highly regarded typefaces in

In the event, Charles Peignot set Frutiger to work upon convert-

2005

[62PT]

Type selection meeting of February 1987, Adrian Frutiger had drafted the document: Wo gibt es Marktlucken im heutigen Schriftenangebot? (Where are there gaps in the current typeface market?) He conceived of the possibility of a modern, geometric sans suitable for body text. First, the foundation were laid. Adrian Frutiger showed Garamond, representative of all text typefaces with dynamic strokes, and which recalls writing with a broad pen. Against this he contrasted the typewriter face with its constant stroke weight—a result of the mechanically cut characters. Adrian Frutiger wrote that this was a rational consideration, derived from the age of industrialization. Proportional typefaces with a 'rigid line' were not taken up by the foundries. On the other hand, a multitude of linear grotesque typefaces with optical correction were produced. In his study, Frutiger had compared the typefaces Spartan, Futura, Neuzeit, DIN Neuzeit, Gill Sans, Kabel and ITC Avant Garde Gothic. For Avenir he developed a synthesis of the aforementioned. He chose, in contrast to ITC Avant Garde Gothic, a normal x—height and ascenders that were not greatly exaggerated, as is the case with Futura. For a g t u he adopted the distinctive shapes of Gill Sans. However, for g he finally adopted the single storey form. In the lowercase letters Avenir resembles most closely Wilhelm Pischner's Neuzeit-Grotesk 1929. In the capitals, it is rather individual.

primarily concentrated on calligraphy—a craft favouring the nib and the brush, instead of drafting tools. WORK SUMMARY

In constrast to Futura (left) and ITC Avant Garade Gothic (centre), the f r t of Avenir are somewhat broader (right).

2006

Three equal stroke weights in the A (left), three varying stroke weights in the A of Avenir (middle), as made clear in the mirrored version (right).

2007

Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high-quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro-designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message. Here are eight basic design principles to keep in mind when working with visuals and creating graphics. Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly. Graphic design is a highly sought—after skill. Society cares about the way things look, and there is a constant need to produce high-quality design, whether it’s for advertisements, websites, logos, videos, banners, or web content. You don’t need to be a pro-designer to create highly shareable content—especially when adding design elements to photos you already have is as easy as a couple taps on your phone. Still slick tools are only part of the puzzle; you still need to develop an eye for what works visually and what detracts from your message. Here are eight basic design principles to keep in mind when working with visuals and creating graphics. Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly.

Even though Avenir™ can be classified as a constructivist typeface, it

does not have a purely geometric and linear drawing. The vertical stroke [04]

[01]

2008

The oblique of Avenir LT was created electronically, and contains no optical correction the angle of inclination is 8°.

Graphic design is a highly sought-after skill.

EAT, SLEEP, BREATHE AND AVENIR

P 01

P 02

2009

EAT, SLEEP, BREATHE AND AVENIR

P 01

P 02

EAT, SLEEP, BREATHE AND AVENIR

P 01

P 02

2010

2011

DESIGN ELEMENT

2012

2013

2014

PROFESS ONAL DEVELOPMENT WORKSHOP

2015

2016

2017

2018

—

SUN DAY

AUGUST

INTRODUC TION

For news and updates, join us at typographics.com and follow @TypographicsAvenir on Twitter.

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— S TEV E J O B S

SPACE

UI / UX DESIGN

CLASS

COLOR PALETTE

Graphic Design 3 SEMESTER

SOFT WARE

Fall 2016

INSTRUCTOR

DELIVERABLES

Michael Taylor

Logo Idenity App Prototype

CATEGORY

UI / UX Idenity

OBJECTIVE

Create a memorable experience and interaction that will solve on-the-go needs and enable users to accomplish their tasks with a feeling of ease and comfort. APPROACH

Space is a simple and beautiful app that reduces traffic by helping drivers find parking benefits. Drivers can easily and quickly find an open parking spot without driving around in the city.

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Project Nine

BRAINSTORM

ICON VECTOR

COLOR PALETTE

MOOD

PROTOTYPE SKETCHE

LOGO SKETCHE

ICON SKETCHE

TYPE STUDY

LOGO SKETCHE Union Squ

are

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P R O J E C TT

→ 0 → 0019 // 110

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R RY CH C HIA IAN NGG J E RRY

R OJJEECCTT → → 1001 // 1100 PPRO

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— SIM O N M A I N WA R I N G

KINS

KITCHENWARES PACKAGING DESIGN

CLASS

COLOR PALETTE

Package Design 4 SEMESTER

SOFT WARE

Spring 2018

INSTRUCTOR

DELIVERABLES

Thomas McNulty

Kitchenwares Utensils

CATEGORY

Cookwares

Package Print Branding

OBJECTIVE

Create an entirely new retail store brand image and extensive product line. Each brand will have a specific style and mood that will hold together by itself, as well as in a group. APPROACH

OOH came from the idea we might have to leave Earth one day. We wanted to think about what life on another planet would be like. How different would it really be? We have what we need on Earth, designed how we like it, with what works for humanity in mind—but, what needs to change? We need to consume differently, create differently and live sustainably. OOH products are not that much different than the products you use everyday. They were curated with not just human comforts in mind, but also the longevity of the human race and the new planet we now call home. TEAM MEMBERS

Melanie Lo, Jenny Zhang, Rachel Shrader, Jerry Chiang

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STORE BRAND

MISSION

Our mission is to create a second chance for humanity to reach peace & respect on new mother planet. ABOUT

Out Of Here; a brand seeking to provide a better understanding of the universe, and the freedom to experience a new world in all its’untamed, vast beauty.

HOME

FOOD

LIFESTYLE

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KINS

KITCHENWARE PACKAGING DESIGN

WHAT WE DO?

We provide high quality earth-bound goods that are made and curated with a conciousness for the new world we’re encountering. We don’t want to make the same mistakes we did before, but we want to provide you with products that feel familiar to products you’ve always loved.

MATERIALS

We wanted each brand to have somewhat of a natural feeling, wheter that was in what it was printed on, how the products were designed or what they were made with. Throughout the OOH System you’ll find bamboo and other woods, cork, recyclable paper and tons of reusable packaging.

PRODUCT LINES

TAGLINE

KEY WORDS

Kitchen wares

A curated and

Elevated

Utensils

personal home

Rustic

Cookwares

experience.

Comforting

PRODUCT LINES

TAGLINE

KEY WORDS

Fresh Products

Relearning how

Calming

Sauces

we eat and grow.

Fresh

Dining Tools

Organic

PRODUCT LINES

TAGLINE

KEY WORDS

Essentials

Enrich your

Clean

Apparels

inner space.

Providing

Electronics

Growing

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CONCEPT

Kins is a home brand encompassing dinnerware, linens, cleaning supplies, and cookware. Kins is a highly curated line, designed for someone who is ever present in their kitchen. They love to cook, they love their quality products and they want their home to be an experience for themselves and their guests. Kins isn’t a luxury brand, but you wouldn’t be able to find these items just anywhere. We searched hard to find the right things that would match what we wanted from this brand; something that felt hand picked but not hand made, nothing that would break the bank, but things that wouldn’t break no matter what.

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FAMILY

T h a n k y o u f o r s u p p o r t i n g me t h r o u g h t h i s challenging and beautiful journey of my life. There are no words to say how much I thank you and appreciate all that you have done for me. I am thankful as I live my life everyday. I love you all very much! LOVER

Thank you, my lover Jenny, for always believing in me and for your steadfast support throughout my toughest times. I am so blessed to have you in my life my guava! FRIENDS

Thank you, all my friends. You all have inspired me to keep going. Cheers! INSTRUCTORS

Thank you to all of you, my instructors for your constant support throughout this journey. I am deeply grateful to Mary Scott, Tom McNulty, Ariel Grey, Michael Osborne, Christine George, William Culpepper, Michael Taylor, John Nettleton, Colin Sebestyen, Frank Pietronigro, whose never-failing encouragement helped me finish this book in a timely manner.

CONTACT

Jerry Chiang chechiang0705@gmail.com (408) 768 7566 jerrychiangdesign.com ACADEMY OF ART UNIVERSITY

School of Graphic Design & Digital Media 79 New Montgomery St, San Francisco, CA 94105 USA INSTRUCTOR

Mary Scott, Fall 2018 Senior Portfolio TYPEFACES

Univers & NeuzeitS LT TEXT STOCK

Mohawk Superfine Eggshell 100 Text PRINTING

Graphic Imagery San Francisco, California BINDING

The Key Printing and Binding Oakland, California PHOTOGRAPHY

Khoi Ly, Jerry Chiang & Jenny Zhang COPYRIGHT

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