Chris Pierson's Portfolio

Christopher M. Pierson 4703 Briercrest Avenue Lakewood, CA 90713

562-335-2645 ChristopherMPierson@verizon.NET WWW.ChrisPiersonDesign.COM Christopher M. Pierson

2011–PRESENT

EDUCATION

California State University Dominguez Hills, CARSON, CA Bachelor of Arts in Art, Concentration in Graphic Design, Motion Graphics Minor Dean's list: Spring 2010, Fall 2010, Spring 2011, Graduated with Honors COMPUTER SKILLS

Mac and PC platforms Word (expert) Excel (expert) PowerPoint (expert) Illustrator (expert)

1997–2009

4703 Briercrest Avenue Lakewood, CA 90713

Photoshop (expert) InDesign (expert) After Effects (proficient) Dreamweaver (proficient) Cinema 4D (proficient)

WORK EXPERIENCE

Marketing Media Specialist – HINER & PARTNERS, INC., LONG BEACH, CA

Design and production of marketing research related materials including research reports, presentations and questionnaires (infographics), managed Okidata C9500DN color printer; consumables and maintenance, arranged outsourced printing of marketing research study materials

1993–1997

Graphics Production Assistant – MARITZ MARKETING RESEARCH, INC., ARTESIA, CA

1990–1993

Technical Illustrator – THE ATKINS GROUP, SANTA ANA, CA

APRIL 2011 APRIL 2011 MARCH 2010 MARCH 2010 FEBRUARY 2010

2009–PRESENT 1990–1993

Layout and production of marketing research reports, presentations and questionnaires Created technical illustrations for Toshiba laptop computer user manuals, page layout, brochures, ads, production, pasteup

EXHIBITIONS B.A. Graduates, Annual Student Art Exhibition, University Art Gallery, CARSON, CA Emerge, AIGA Los Angeles Student Exhibition, Otis College of Art and Design, LOS ANGELES, CA Emerge, AIGA Los Angeles Student Exhibition, Pacific Design Center, LOS ANGELES, CA Art of Ink, Traditional and Contemporary Calligraphy, University Art Gallery, CARSON, CA The Veil, Visible and Invisible Spaces, University Art Gallery, CARSON, CA PROFESSIONAL AFFILIATIONS AIGA–American Institute of Graphic Arts ADDOC–Art Direction and Design of Orange County

562-335-2645 ChristopherMPierson@verizon.NET WWW.ChrisPiersonDesign.COM

Original Board Game Game design using skateboarding graphics to improve reading comprehension for 3rd and 4th graders using Dolch word list (high frequency site words).

Sight-word

SKATER

AGE 7+ 2 to 4 Players

Sight-word SKATER Sight-word SKATER

Sight-word

SKATER

Who Goes First?

Who Goes Fir

To begin the game, each player rolls a number dice. The player with the highest number goes first.

To begin the ga a number dice highest numbe

How Do I Play?

How Do I Play

bottom

SKATER Sight-word

Sight-word

SKATER

AGE 7+ 2 to 4 Players

Sight-word SKATER

Instructions

SKATER

AGE 7+ 2 to 4 Players

SKATER

Each player rolls a number dice and a shape dice. Draw a card, read the word out loud to the other players. If you read the word correctly, you advance your pawn to the space on the board shown on the dice. If you do not read the word correctly, you do not advance, and it is the next players turn. This continues until all players have reached the end.

top

Sight-word SKATER

Sight-word

Sight-word

Each player ro a shape dice. word out loud you read the w advance your the board show do not read th do not advanc players turn. Th players have re

How Do I Win?

How Do I Win

You win by being the first player to the end.

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1 2 3 4

3 1

number die

You win by bei to the end.

shape die

2

pawns

number die

CONTENTS:

4 Numbered Pawns, Gameboard, Card Deck, 8 Dice, Instructions C 2009 Pierson, Lakewood, CA 90713.

All Rights Reserved.

Color and parts may vary from those pictured. MADE IN U.S.A. 04700-BB

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Museum Exhibit Poster Poster, postcard and ticket design for an exhibit of Edward Van Halen’s infamous Frankenstrat electric guitar and 300 replica’s created by master luthier Chip Ellis at the Rock and Roll Hall of Fame and Museum. The concept (based on repetition), shows Edward’s original guitar in-front of the replicas for up-close and in-person comparison.

U.S. Postage

PAID Permit No 246 Cleveland, OH Rock and Roll Hall of Fame and Museum 1100 Rock and Roll Blvd.

Cleveland, OH 44114

You are one of the fortunate few (1/300 to be exact) to own a piece of history and be a part of this exhibit.

One of only three hundred people in the entire world to own an offcial replica of Edward Van Halen’s infamous Frankenstrat guitar. You and a guest are cordially invited to join us on Friday March 11th, 2011 at 5:30 p.m. for an exclusive viewing of the exhibit before it is open to the general public and attend a meet and greet with the living legend, Edward Van Halen himself!

Your guitar will be displayed among the other 299 replicas alongside of Edward’s original here at the Rock and Roll Hall of Fame Museum.

A personalized ticket for admission will be sent to you via registered mail. Please R.S.V.P. no later than Friday, February 11th, 2011. (216) 781-7625

Christopher Michael Pierson 4703 Briercrest Avenue Lakewood, CA 90713-2311

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EZine Alternative guide to student design in Los Angeles. AIGA Emerge Exhibition 2010 at the Pacific Design Center in West Hollywood.

Original photography, article and interview.

DZine’d

Exhibition Map

Contents

AIGA Emerge Exhibition 2010

4 Exhibition Map

AIGA Emerge Exhibition 2010

6 Behind the Design

24 AIGA Emerge 2010 Poster

Interview with Chandler Chow and Sylvia Ly

Issue 01, Volume 01 The Threepenny Opera Bertolt

Brecht & Kurt Weill

An

Opera for Beggars

26 First Impressions

AIGA Emerge 2010 Opening Reception

Suite 257

Suite 257

Suite 257

The Threepenny Opera Bertolt

Brecht & Kurt Weill

The Threepenny Opera

The Threepenny Opera

The Threepenny Opera

36 My Expressionistic Poster Bertolt

Brecht & Kurt Weill

Bertolt

Brecht & Kurt Weill

Bertolt

Brecht & Kurt Weill

The Threepenny Opera Bertolt

Brecht & Kurt Weill CSUDH Design Students Chandler Chow / Sylvia Ly

Suite 257 The Threepenny Opera Bertolt

Brecht & Kurt Weill

An

Opera for Beggars

An

An

Opera for Beggars

An

Opera for Beggars

An

Opera for Beggars

Opera for Beggars

An

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3

DZine’d How did you decide on the color scheme of black and white? Was it like night/day, black/white, war/peace?

DZine’d Can you describe the process you went through to produce this piece (concept through execution)?

Chandler Initially the piece was going to involve color – a camouflage palette for the WAR side and shades of Purple on the PEACE side. I give credit to Sylvia for toying around with the design and flipping the colors on her computer to a black background with white lettering. We both knew right away that was the best solution, the words just seemed to pop. From a design and conceptual perspective it also made sense as black is often used in the military and is associated with death. I love the color black so I was all for it. We also pushed our instructors to allow us to paint an entire wall black.

Chandler A lot of back and forth sharing ideas and concepts between Sylvia and myself before, during, and after our design classes. We talked a lot before designing anything. Once we solidified our concept and chose to separate the design between the two of us we worked on the actual design process for about a week. Fitting the smaller lettering tightly together to form the bigger words was extremely tedious and took a few weeks to mesh the two sides together once we finished our individual portions. We worked with an outside vendor to produce the piece once the design was finished. We then had to take a few days to paint the space, making sure we had an even coat of paint on the wall. Once that was finished we locked the piece in place on the wall.

Sylvia The black and white definitely was not the first idea – it was the last option we had decided to try out, and when we saw it, we loved it. It made more sense on every level to have it this way instead.

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My Expressionistic Poster

Opera for Beggars

Sylvia And in our exploration of “war” and “peace,” we chose not to seek to (re)define these terms, but to look at what has already been said concerning them, what people already believe these two notions to be.

As we continued looking into the subject, we saw how broad notions of war and peace were and how loaded the terms were — they can mean such different things to different people.

15

4

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So what interested us was figuring out what others have believed and said about war and peace throughout history and during contemporary times and compiling all of that together. There are many contradictions and the subject is very complex – we wanted to capture that complexity. We first solidified our idea and made sure we both understood what we wanted to communicate. We then spent weeks discussing what form it would take, asking a ton of questions: How do we want the viewer to interact with it?

Would it be a 3-dimensional piece or a flat piece? What materials would we use to construct the words? How big? WHY? What is actually feasible to create, considering our time and skill sets? Having “war” and “peace” constructed out of words was definitely not the first idea we came up with. But when we decided on this (after many conversations), the next step was to actually to start seeing if we could make it happen. And Chandler explained the rest of the process from there. In short, we spent a lot of time fitting all the words and letters together, so that all the little spaces were nicely addressed.

DZine’d It looks like it was really challenging to design this, were some aspects of this project more challenging than others and what were they?

Chandler We really wanted our design to be tight – so we worked the hard on our typography making sure it as seamless as possible. That was the most challenging part.

Sylvia I have to say that the part that was most challenging was when we had both finished constructing our individual words and we had to combine them to make them one coherent piece – where “WAR” flows and meshes into “peace” to visually communicate “War is Peace.”

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First Impressions AIGA Emerge 2010 Opening Reception

N

ervous, excited, anxious, you name it, I was feeling it as I walked up to the opening reception of the AIGA Emerge Student Exhibition 2010 at the Pacific Design Center, located in West Los Angeles, California on Melrose Avenue.

The Pacific Design Center where the exhibition was held was impressive and intimidating all at the same time. The architecture and surroundings convey design of all types when you see it. The interior is equally as impressive and has a very sophisticated feeling to it.

Dressed up, but not wearing a full suite, I felt underdressed and over-dressed at times. Some people were wearing suits and others were wearing surf shirts and flip flops. Quite a diverse crowd of people, but I was told that the design community was an eclectic type of folk. This was my first experience at an AIGA event since becoming a member and I wasn’t sure what to expect.

Left: Front entrance of the Pacific Design Center. Above: top: Front courtyard of the PDC. middLe: Interior of the PDC main floor. bottom: Escalators up to the Emerge Exhibit.

01 26

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Being a person who rarely goes to L.A., just getting to the exhibition was very nerve racking for me. The unknown and the unfamiliar the reasons being. Being a creature of habit, this was definitely out of my comfort zone.

As I walked toward the suite where the exhibition was being held, (suite B257 on the second floor), I saw a small group of people gathered together and talking to each other. As I entered I said hello and walked into the exhibition’s main room where my poster was on display.

I checked out the surroundings and continuing into the gallery’s back rooms of the exhibit to see if any of my classmates were here, but no one was., I had arrived early, about 4:30 p.m. The opening did not officially start until 5:00 p.m., so the night was young.

In the back of my mind I kept thinking, how am I going to find the design students who did the pieces that I liked. In a way, knowing this kind of put a damper on my evening because I could not just enjoy myself and take in the experience, but instead I knew that I had to take photos of the opening reception for the ezine (DZine’d) and find the design students who’s work I liked that I wanted to talk to (interview).

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Right: PDC exterior under an aluminum lamp sculpture. Left: top: 2nd floor escalator landing. middLe: AIGA Emerge 2010 suite B257. bottom: People enjoying the evening.

29

DZine’d Was your piece created as a class project, or was it designed specifically to be in the AIGA Emerge 2010 exhibition?

DZine’d What school are you studying at?

Chandler / Sylvia USC Roski School of Fine Arts

DZine’d Is there any particular field of design that interests you the most or would like to do if you could?

DZine’d What are your Major/Minors?

Behind the Design

DZine’d What year are you in?

First, let me congratulate you on your piece at the exhibition, it

Chandler / Sylvia Senior – Graduate in May!!

is really nice! It is beautiful to look at and engages the viewer to look closer at it, which reveals all the words and statements that are related to war and peace. Your piece invokes an emotional response when you look at it. Everyone knows what war is and everyone wants peace, so people can relate to it immediately.

DZine’d Do you feel that your school is preparing you adequately for a professional career when you graduate?

Chandler Definitely. The professors in the design program at USC all have professional industry experience and have done a great job preparing me for the challenges that lie ahead working in the design world after school.

Sylvia Yes, the professors at Roski have a genuine passion for both design and teaching, and as Chandler said, also have established design practices and many years of industry experience. They have taken many steps to prepare us for working professionally outside of school, but what I appreciate even more is the insight and wisdom they have shared with us on living life in general.

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DZine’d Do you feel collaborating is important when designing or do you prefer to work on projects alone?

DZine’d Is creating an emotion connection or reaction to a design piece something you think about when your designing?

Chandler Yes. It was especially important for us in this piece. We wanted to not only create something visually interesting but something that sent a powerful message to viewers as well. Our intent was not to influence them as to what our beliefs are on the subject, but rather to evoke emotions inside of them and hopefully a passion to care in WHATEVER it is they actually believe. Aside from this piece I do think it’s important to create an emotional connection with viewers. Design conveys emotion. The choices you make as a graphic designer are not arbitrary so its imperative to be aware of the message you are trying to send and think of the best ways to do this when approaching a project.

Sylvia Yes. I believe in asking questions. Hopefully, with this piece, there was a giant question mark looming when the audience viewed and interacted with design – a question mark that perhaps led to a desire to understand what the piece was about, and beyond that, a desire to explore for themselves what war and peace meant to them.

Chandler Yes. Collaboration is always helpful, getting feedback and seeing your project from someone else’s perspective is never a bad thing. You don’t always have to heed their advice or criticism! What’s important is to be comfortable collaborating. In a school setting I feel it is beneficial for students to collaborate so they learn how to interact with other designers in the creative process.

It isn’t always necessary however, I enjoy putting on my headphones, tuning others out, and designing on my own as well.

Sylvia Life is no fun without collaboration! If given the choice, I would much rather work with someone else than alone (even if working with the other person turns out to be really painful – suffering only makes us stronger.

I enjoy seeing how others address and solve issues differently from how I do. There is so much to learn from others!

DZine’d Were both of you satisfied with the final product, or were there some things that you wished you could have done differently if any?

DZine’d Do you think your design was successful?

Chandler I was very satisfied and confident in our work with this project. There is ALWAYS room for improvement for myself as a designer, but at the same time I take pride in things I’ve done and feel like this project was very successful.

Sylvia Can I really answer this question? I think this is for the audience to answer.

Chandler Definitely.

DZine’d What are your plans for the future after graduation?

Chandler Both entertainment design and apparel design. I’ve worked in both facets of the industry and have had very positive experiences. Would like to work towards art direction in either of those specific fields of design.

Chandler Not really. I don’t think a good design school necessarily makes a good designer.

I’m very confident in my education from a design standpoint and also feel like I’ve received a very well rounded University education as well.

Chandler Immediately after – Traveling for a month through South East Asia and China. When I touch back down on U.S. soil – Figure out how to make some $$$!

Sylvia I am most interested in editorial and book design. But really, I am interested in anything that deals with typography and a lot of text.

I love organizing information.

Sylvia Nothing more exciting than full-time work to appease the parents!

DZine’d Do you have any favorite professional designers out there today that you admire?

Sylvia I have, primarily because our design program is much smaller than the programs at major art schools. Perhaps our program is lacking in some areas, but despite its shortcomings, I believe that Roski’s design program also offers its students what other art schools may not. For instance, because Roski is one of many schools of disciplines at USC, we have the opportunity to collaborate and work with students in other fields of study, including the Business and Engineering schools, on larger interdisciplinary projects.

Chandler There was some extremely quality design work in the EMERGE show. I feel very strongly that our piece was right up there with the best.

Chandler Since 2005.

Chandler Was a fun night! Great turnout, lots of cool people roaming around.

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Chandler I had actually never stepped foot in PDC since I’ve lived in Los Angeles. The building is impressive and also a great place for artists and designers to showcase their work.

Sylvia Yep.

Sylvia I had never been to PDC previously. I found the building pretty impressive – and I wanted to show my mom when I first saw it. My mom doesn’t understand what I do, and I figured that if she could see that my work was being displayed in such a nice building, she would be more comfortable with my chosen career.

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DZine’d Anything else you would like to say or add that I have not asked you, or that I may be missing or overlooking, or that I should have asked you in relationship to your design piece?

Sylvia We both collaborated and shared research with each other, but when it came down to really populating some of the areas of the design with more text, we did do independent research.

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13

AIGA Emerge 2010 Exhibition Poster

Chandler Think this sums it up. Appreciate the time and opportunity to give a few thoughts.

THANKS. Sylvia You were quite comprehensive. Thank you for supporting our work! It is a great encouragement to me.

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My Expressionistic Poster

About 7:00 p.m. the acknowledgement and awards presentation began. Everyone congregated into the suites largest room. AIGA kicked it off, speaking first and presenting a scholarship. Professors from each of the Los Angeles Design schools presented a scholarship winner to a student from their respective school. It was really crowded and I couldn’t see or hear much. From our school, CSUDH, the scholarship winner was Alex Salvattiera, one of my classmates from whom I met for the first time in a Sources of Graphic Design class we took at CSUDH in the Fall ‘09 semester. (Interview with Alex included in this volume.)

My poster on exhibit at the AIGA Emerge 2010 Exhibition was

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The Threepenny Opera Bertolt

Brecht & Kurt Weill

created as a class project in a Sources of Graphic Design course I took in the Fall of 2009 at CSUDH. Design periods from Victorian

So, as the opening reception was about to end and I was on my way out of the gallery, I noticed a guy was standing by the typographic design I really liked. It turns out that he was one of the two designers that created the piece. We briefly talked, we exchanged numbers and that was that. Somehow, everything worked out. The whole evening was a valuable experience and something I will always remember as being a part of, thanks to all of my design professors at CSUDH.

DZine’d

to Digital were studied. This poster was #2 in a series of 4 posters

Designed, photographed and written by: Christopher Pierson

created and chosen by my design professors to be entered into the exhibition. Being selected to exhibit in the Emerge Exhibition was an honor, a confidence builder and a valuable experience that I will always remember.

Right: People mingling.

Left: top: Scholarships awarded. middLe & bottom: End of the night outside suite B257.

32

Chandler Very much so. We helped each other with research and ideas for the text that was used in the piece. We pulled quotes from presidential speeches, influential quotes, songs, books, religious text, and other sources. We also used military acronyms and other words that provoked thought and evoked emotion.

DZine’d Had you ever been to the Pacific Design Center before and what are your impressions of it (PDC)?

Chandler Yes. It is crucial to learn as soon as possible how the survive in the professional world of design.

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DZine’d Did you both research war and peace or did each of you concentrate on an individual word?

Sylvia I couldn’t make it.

DZine’d Would you recommend AIGA to others?

Sylvia AIGA provides some pretty great resources to student designers, and I must say that it’s really nice having a tight-knit group of design enthusiasts congregate together at school to discuss things no one else understands.

As 5:00 came, the gallery was really started to fill up and was getting hot. There was food and beverages at no cost which was really nice considering it costs $12.50 for parking. Some people from school started showing up.

We talked, mingled and ate, discussing the designs and the exhibition. Time was flying by.

11

DZine’d What did you think of the opening reception (impressions)?

Chandler It has helped me to stay connected to the design community and also get a sense of the work that others are involved in. I’ve definitely learned a lot about professions within graphic arts and the history of graphic design as well.

I was thinking to myself, was one of the people that were standing at the front of the suite a designer of one of the pieces that I liked? Knowing that I wanted to interview the designers of a couple pieces that I really liked for this ezine (DZine’d), I walked back up front and asked if anyone among them knew the designer of the fairly large typographic piece that took up an entire wall on the right hand side of the gallery when you first walk in on the right, that read WARpeace. A woman from the group immediately spoke out and said yes, they are students of mine and said that it was a collaborative piece by two of her student at USC, but they were not here yet.

10

DZine’d How long have you been affiliated with AIGA?

Sylvia Freshman year of college… so I would say 2006.

Sylvia It was really funny in the beginning because we both knew we wanted to do a large scale typography project, and when we were exploring what messages we would like to communicate and what words we would like to use, Chandler was proposing bleak ideas that dealt with death and mortality, while I proposed more positive ideas that dealt with beauty. At one point he responded to my ideas saying, “Well, our project can’t just be something that says ‘Love is lovely.’” But when 1984 came up, a book we had both mentioned we liked, “War is Peace” just worked perfectly – here was a binary we could both work within.

Sylvia And in our exploration of “war” and“peace,” we chose not to seek to (re)define these terms, but to look at what has already been said concerning them, what people already believe these two notions to be. As we continued looking into the subject, we saw how broad notions of war and peace were and how loaded the terms were — they can mean such different things to different people. So what interested us was figuring out what others have believed and said about war and peace throughout history and during contemporary times and compiling all of that together.

There are many contradictions and the subject is very complex – we wanted to capture that complexity.

Sylvia In no particular order: Anthony Zinni, Lorraine Wild, Anne Burdick, the designers behind GOOD magazine, among others.

9

Chandler Sylvia and I are very good friends and have worked in Design classes together since 2008. We often ask each other for advice on projects and have worked collaboratively before. We share a passion for design and have very similar tastes, but at the same time we also have pretty different personalities and outlooks on certain issues. When the concept evolved for our project it was a no brainer that I took WAR and she took PEACE.

Chandler The initial idea stemmed from George Orwell’s famous novel 1984. One of the 3 main tenets of his totalitarian world was “WAR IS PEACE” playing on the notion that keeping peace on the home front requires being at war somewhere else. We really thought about this statement – how it is still very true today, and the implications that come with it. Does war actually bring peace? Can peace be achieved without war? Questions such as these interested us so we attempted to dive deeper and explore the concept further.

Chandler Stefan Sagmeister. David Carson.

Erik Spiekermann. Roman Jaster

DZine’d How do you think your piece stacked up against the other designs?

DZine’d In what ways do you think you’ve benefited by being a member of AIGA?

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Left: Gallery beginning to fill up. beLow: People checking out the student design work.

8

Sylvia I believe I am very fortunate to be able to participate in this group show, having our piece displayed alongside so many great designs.

Sylvia Hahha, this question is funny. Anyone who knows me knows I am never satisfied.

But I have decided that I can’t always live in dissatisfaction, so I’ve made several negotiations with myself – and what I mean by this is I talk myself into being satisfied with what I make. So to answer your question: Yes, I am satisfied. I believe Chandler and I both gave it our best. I believe we have a solid message we both believe in and executed with as much precision as we could both muster. And I believe that we provided some pretty decent solutions to the problems we encountered while working on this project. If I could do anything differently… well, I could go into great detail here about some of the finer details of the visual execution… but I won’t.

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DZine’d Do you ever think about how your schools stacks up with other design schools?

Chandler / Sylvia Bachelor of Art – Emphasis in Graphic Design

Interview with Chandler Chow and Sylvia Ly

DZine’d Who decided who got the word war and who got the word peace?

An

Opera for Beggars

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Book Cover Redesign Existing book cover redesign of Patrick Suskind’s novel Perfume, The Storey of a Murderer. Original photography.

THE STORY OF A MURDERER

Design: Chris Pierson Cover photos: Chris Pierson

PATRICK SUSKIND

PERFUME

U.S. $13.00/ Can. $20.00

THE STORY OF A MURDERER

Jean-Baptiste Grenouille clings to life with an iron will, growing into a dark and sinister young man who, although he has not scent of his own, possesses an incomparable sense of smell. Never having known human kindness, Grenouille lives only to decipher the odors around him, the complex swirl of smells—ashes and leather, rancid cheese and fresh-baked bread—that is Paris. He apprentices himself to a perfumer, and quickly masters the ancient art of mixing flowers, herbs, and oils. Then one day he catches a faint whiff of something so exquisite he is dertermined to capture it. Obsessed, Grenouille follows the scent until he locates the source—a beautiful young virgin on the brink of woman-hood. As his demented quest to create the “ultimate perfume” leads him to murder, we are caught up in a rising storm of terror until his final triumph explodes in all of its horrifying consequences. Told with dazzling narrative brilliance, Perfume is a hauntingly powerful tale of unnatural passion and sensual depravity.

PERFUME

I

n the slums of 18th-century Paris a baby is born and abondoned, passed over to monks as a charity case. But the monks can find no one to care for the child—he is too demanding, and doesn’t smell the way a baby should smell. In fact, he has no scent at all.

PATRICK SUSKIND

Film Festival Logo Logo/mark and stationary set for a film festival.

2

MEN OF ACTION FILM FESTIVAL

2

MEN OF ACTION FILM FESTIVAL

2

MEN OF ACTION FILM FESTIVAL 6360 W. Sunset Blvd Los Angeles, CA 90028 p: 310 951 4352 f: 310 951 4352

2

menofaction.com

MEN OF ACTION FILM FESTIVAL 2

MEN OF ACTION FILM FESTIVAL 6360 W. Sunset Blvd Los Angeles, CA 90028

Christopher Pierson PUBLICITY COORDINATOR

6360 W. Sunset Blvd Los Angeles, CA 90028 p: 310 951 4352 f: 310 951 4352 menofaction.com

2

Infographic Thumb drive infographic in two languages(English/German).

ThumbDrive DaumenAntrieb under my

darunter mein

ThumbDrive STORAGE SIZES

1988

1982

1976

1971

DVD

CD-R

3.50” Floppy Disk

5.25” Floppy Disk

8.00” Floppy Disk

8 MB

4.7 GB

700 MB

1.44 MB

89.6 Kb (Kilobytes)

79.7 Kb (Kilobytes)

1995

8.6 mm side/Seite

1

3

2

bottom

5 6

4

8.00”

BEYOND DATA

Besides data storing and transportation, USB flash drives have some more benefits.

ADVANTAGES / DISADVANTAGES

1 2 3 4 5 6 7 8

Resistance. USB Flash drives are very resistant to scratches and other kinds of unintentional mechanical damage. They are also protected against dust penetration. These strong points give them substantial advantage if compared with their predecessors, such as compact and floppy disks. This is due to their rigid plastic or metal case. It makes them ideal for transporting data.

Comfort. It is very convenient to use a USB flash drive on modern PCs because it fits almost all devices that have a USB port and the necessary device drivers.

Storage. USB flash drives are extremely compact means of storage. Some flash drives can store more than a CD (700 MB) or even a DVD (4.7 GB).

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory package

3

2

4

optional components 8

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

WHERE DID I COME FROM?

BEYOND DATA

STORAGE AND TRANSPORTATION

ADVANTAGES/ DISADVANTAGES

COMPONENTS

NO MOVING PARTS a closer look

They are also used in: • PC software repair • System administration • Application transportation • OS booting • Audio players

WHERE DID I COMEWHERE FROM?DID I COME FROM?

Damage. No matter how resistant USB flash drives are comparing with mechanical drives, still they can be damaged or corrupted by serious physical abuse. The circuitry of a flash drive can be harmed by improper wiring of the USB port.

Size. USBs flash drives are appreciated for compact size, but at the same time they can be easily left behind, lost.

Life span. The life span of flash memory devices is measured in number of write and erase cycles. An average life duration of a flash drive (under normal conditions) is about several hundred thousand cycles.

6

5

bottom/Boden

STORAGE AND TRANSPORTATION

NO MOVING PARTS a closer look

8

7

6

JP2

8

7

key components 1

5

4

3

5.25”

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. The Singaporean Trek Technology sold a model under the brand name "ThumbDrive", and IBM marketed the first such drives in North America with its product named the "DiskOnKey" - which was developed and manufactured by the Israeli company M-Systems. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

top

2

1

3.5”

18.8 mm

WHERE DID I COME FROM?

top/Spitze

top/Spitze

60 mm

Dimensions/Dimensionen

2000 Thumb Drive

256 GB 128 GB 64 GB 32 GB 16 GB 8 GB 4 GB 2 GB

RJ3 RJ1 RJ2

ThumbDrive

ThumbDrive FIRST INTRODUCED

2010 Thumb Drive STORAGE CAPACITY

AUßER DER DATENLAGERUNG UND TRANSPORT

WO KAM ICH HER?

Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile.

Trek Technologie und IBM begannen, die ersten USB-BlitzAntriebe gewerblich 2000 zu verkaufen. Der USB-BlitzAntrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

Sie werden auch darin verwendet: · PC-Softwarereparatur · System-Verwaltung · Anwendungstransport · Das OS-Starten · Audiospieler

1 2 3 4 5 6 7 8

ADVANTAGES/DISADVANTAGES Resistance Comfort Storage

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory package

KEINE BEWEGENDEN TEILE ein näherer Blick

Damage Size Life span

1 Ein männlicher Typ-A USB Stecker 2 USB 2.0 Massenlagerungskontrolleur 3 JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker 4 Halbleiter 5 Kristalloszillator 6 Licht ausstrahlende Diode 7 zwei Position "schreibt - schützen" Schalter 8 Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

VORTEILE/DISSADVANTAGES Widerstand Schaden Bequemlichkeit Größ Lagerung Lebensdauer

7

ThumbDrive under my

RJ3 RJ1 RJ2

DaumenAntrieb darunter mein

DaumenAntrieb

1995

2000

2010

CD-R

DVD

Thumb Drive

Thumb Drive

89.6 Kb (Kilobytes)

1.44 MB

700 MB

4.7 GB

8 MB

256 GB 128 GB 64 GB 32 GB 16 GB 8 GB 4 GB 2 GB

STORAGE CAPACITY 79.7 Kb (Kilobytes)

Dimensions/Dimensionen

5

1988

6

HISTORY

WHERE DID I COME FROM?

ADVANTAGES/ DISSADVANTAGES

BEYOND DATA

STORAGE AND TRANSPORTATION

COMPONENTS

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. The Singaporean Trek Technology sold a model under the brand name "ThumbDrive", and IBM marketed the first such drives in North America with its product named the "DiskOnKey" - which was developed and manufactured by the Israeli company M-Systems. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

Resistance. USB Flash drives are very resistant to scratches and other kinds of unintentional mechanical damage. They are also protected against dust penetration. These strong points give them substantial advantage if compared with their predecessors, such as compact and floppy disks. This is due to their rigid plastic or metal case. It makes them ideal for transporting data.

Comfort. It is very convenient to use a USB flash drive on modern PCs because it fits almost all devices that have a USB port and the necessary device drivers.

Storage. USB flash drives are extremely compact means of storage. Some flash drives can store more than a CD (700 MB) or even a DVD (4.7 GB).

Damage. No matter how resistant USB flash drives are comparing with mechanical drives, still they can be damaged or corrupted by serious physical abuse. The circuitry of a flash drive can be harmed by improper wiring of the USB port.

Size. USBs flash drives are appreciated for compact size, but at the same time they can be easily left behind, lost.

Life span. The life span of flash memory devices is measured in number of write and erase cycles. An average life duration of a flash drive (under normal conditions) is about several hundred thousand cycles.

WO KAM ICH HER?

FIGURE 1

DIMENSIONS/DIMENSIONEN FIGURE 2 COMPONENTS/BESTANDTEILE

VORTEILE / DISSADVANTAGES Widerstand. USB-Flash-Laufwerke sind sehr widerstandsfähig gegen Kratzer und andere Arten von unbeabsichtigte mechanische Beschädigungen. Sie sind auch gegen Eindringen von Staub geschützt. Diese Stärken ihnen wesentlichen Vorteil, wenn sie mit ihren Vorgängern, wie kompakt und Disketten verglichen. Dies ist wegen ihrer starren Kunststoff oder Metall Fall. Es macht sie ideal für den Transport von Daten.

Bequemlichkeit. Es ist sehr günstig, einen USB-Blitz zu verwenden, treiben moderne PCs voran, weil es fast alle Geräte anpasst, die einen USB-Hafen und die notwendigen Gerät-Treiber haben.

Lagerung. USB-Blitz-Antriebe sind äußerst kompakte Mittel der Lagerung. Einige Blitz-Antriebe können mehr als eine CD (700 Mb) oder sogar eine DVD (das 4.7 GB) versorgen.

Schaden. Egal wie sich widerstandsfähige USB-Blitz-Antriebe

1 Ein männlicher Typ-A USB Stecker 2 USB 2.0 Massenlagerungskontrolleur 3 JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker 4 Halbleiter 5 Kristalloszillator 6 Licht ausstrahlende Diode 7 zwei Position "schreibt - schützen" Schalter 8 Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

1

Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile. Sie werden auch darin verwendet:

2

3

4

6

5

optional components/fakultative Bestandteile

· PC-Softwarereparatur. USB-Blitz-Antriebe sind ausgezeichnete Träger der Wiederherstellung und Antivirus-Software zu angesteckten PCs. · System-Verwaltung. USB-Blitz-Antriebe werden unter dem System und Netzverwaltern weit ausgebreitet. Sie verwendeten sie, um Konfigurationsinformation und Software für die System-Wartung, Fehlerbeseitigung, und Wiederherstellung zu laden. · Anwendungstransport. USB-Blitz-Antriebe werden auch verwendet, um verschiedene Anwendungen für die Installierung zu tragen. Weil diese Zweck-Konfiguration für Blitz-Antriebe geschaffen werden. Beispiele ähnlicher Konfigurationen sind Mozilla Firefox und Opernbrowser. · Das OS-Starten. USB lassen Treiber aufblitzen, die im Stande sind, ein betriebliches LiveCD ähnliches System zu starten, werden LiveUSB genannt. · Audiospieler. Das IPod-Schlurfen des Apfels und die Kreativen Laboratorien MuVo sind nichts als eine kluge Kombination von Digitalaudiospielern mit Blitz-Antrieben.

7

8

8

bottom/Boden

7

FIGURE 3

STORAGE COMPARISON/LAGERUNGSVERGLEICH

WHERE DID I COME FROM?

STORAGE SIZE OPTIONS

ThumbDrive 16GB

3.5” FLOPPY DISK (1.44 MB STORAGE CAPACITY) 3.5" DISKETTE (1.44-MB-SPEICHERKAPAZITÄT)

SIDE/SEITE

FRONT/VORDERSEITE

8.6 mm

18.8 mm

WHERE DID I COME FROM?

BEYOND DATA

STORAGE AND TRANSPORTATION

BEYOND DATA

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

WO KAM ICH HER?

ADVANTAGES/ DISADVANTAGES

ThumbDrive

Trek Technologie und IBM begannen, die ersten USB-BlitzAntriebe gewerblich 2000 zu verkaufen. Der USB-BlitzAntrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

STORAGE AND TRANSPORTATION Besides data storing and transportation, USB flash drives have some more benefits.

They are also used in: • PC software repair • System administration • Application transportation • OS booting • Audio players

ADVANTAGES/DISADVANTAGES Damage Resistance Size Comfort Life span Storage

COMPONENTS

NO MOVING PARTS a closer look 1 2 3 4 5 6 7 8

VORTEILE/DISSADVANTAGES Widerstand Schaden Bequemlichkeit Größ Lagerung Lebensdauer

KEINE BEWEGENDEN TEILE ein näherer Blick

AUßER DER DATENLAGERUNG UND TRANSPORT

1 2 3 4 5 6 7 8

Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile.

2000

1982

1976

1971

Thumb Drive 8 MB

3.50” Floppy Disk 1.44 MB

5.25” Floppy Disk 89.6 Kb (Kilobytes)

8.00” Floppy Disk 79.7 Kb (Kilobytes)

8

60 mm

ThumbDrive STORAGE SIZES

cap/Kappe 3.5”

STORAGE CAPACITY

5.25”

BEYOND DATA

STORAGE AND TRANSPORTATION

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

WO KAM ICH HER?

ADVANTAGES/ DISSADVANTAGES

COMPONENTS

Trek Technologie und IBM begannen, die ersten USB-BlitzAntriebe gewerblich 2000 zu verkaufen. Der USB-BlitzAntrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

2000

1982

1976

1971

Thumb Drive 256 GB

Thumb Drive 8 MB

3.50” Floppy Disk 1.44 MB

5.25” Floppy Disk 89.6 Kb (Kilobytes)

8.00” Floppy Disk 79.7 Kb (Kilobytes)

128 GB 64 GB 32 GB 16 GB 8 GB 4 GB 2 GB

8.00”

WHERE DID I COMEWHERE FROM?DID I COME FROM? WHERE DID I COME FROM?

BEYOND DATA

STORAGE AND TRANSPORTATION Besides data storing and transportation, USB flash drives have some more benefits.

They are also used in: • PC software repair • System administration • Application transportation • OS booting • Audio players

ADVANTAGES/DISADVANTAGES Damage Resistance Size Comfort Life span Storage VORTEILE/DISSADVANTAGES Widerstand Schaden Bequemlichkeit Größ Lagerung Lebensdauer

KEY COMPONENTS/SCHLÜSSEL BESTANDTEILE COMPONENTS top/Spitze

1

2

3

4

ThumbDrive FIRST INTRODUCED

2010

Dimensions/Dimensionen

7

darunter mein

8.6 mm side/Seite 18.8 mm

8.6 mm side/Seite

5 6

3.5”

18.8 mm

outer case/Außenfall

5.25”

AUßER DER DATENLAGERUNG UND TRANSPORT Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile.

Sie werden auch darin verwendet: · PC-Softwarereparatur · System-Verwaltung · Anwendungstransport · Das OS-Starten · Audiospieler

Ein männlicher Typ-A USB Stecker USB 2.0 Massenlagerungskontrolleur JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker Halbleiter Kristalloszillator Licht ausstrahlende Diode zwei Position "schreibt - schützen" Schalter Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

60 mm

2010 Thumb Drive 256 GB

outer case/Außenfall

bottom/Boden

under my

ThumbDrive FIRST INTRODUCED

Dimensions/Dimensionen

JP2

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory package

ThumbDrive DaumenAntrieb

under my

128 GB 64 GB 32 GB 16 GB 8 GB 4 GB 2 GB

bottom/Boden

4

5 6

Sie werden auch darin verwendet: · PC-Softwarereparatur · System-Verwaltung · Anwendungstransport · Das OS-Starten · Audiospieler

STORAGE CAPACITY

6

JP2

8

7

8.00”

3

2

COMPONENTS

cap/Kappe

5

4

3

5.25”

COMPONENTS/BESTANDTEILE FIGURE 2

AUßER DER DATENLAGERUNG UND TRANSPORT

1

FIGURE 1

ThumbDrive STORAGE SIZES

2

1

18.8 mm

KEINE BEWEGENDEN TEILE ein näherer Blick

key components/Schlüssel Bestandteile

top/Spitze

1.44 MB

mit mechanischen Antrieben vergleichen, dennoch können sie beschädigt oder durch den ernsten physischen Missbrauch verdorben werden. Dem Schaltsystem eines Blitz-Antriebs kann durch die unpassende Verdrahtung des USB-Hafens geschadet werden.

Größe. USBs-Blitz-Antriebe werden für die Kompaktgröße geschätzt, aber zur gleichen Zeit können sie leicht zurückgelassen, verloren werden.

Lebensdauer. Die Lebensdauer von Blitz-Speichergeräten wird in der Zahl dessen gemessen schreiben und löschen Zyklen.

Eine durchschnittliche Lebendsdauer eines Blitz-Antriebs (unter üblichen Zuständen) ist ungefähr mehrere hunderttausend Zyklen.

NO MOVING PARTS a closer look

1 A male type-A USB connector 2 USB 2.0 mass storage controller 3 JP1 and JP2: two unpopulated 10-pin connectors 4 Semiconductor 5 Crystal oscillator 6 light-emitting diode 7 two-position “write-protect” switch 8 An unpopulated space for a second TSOP1 memory package

ThumbDrive

FIGURE 3 STORAGE COMPARISON/LAGERUNGSVERGLEICH

Trek Technologie und IBM begannen, die ersten USB-Blitz-Antriebe gewerblich 2000 zu verkaufen. Die Singaporean Treck-Technologie verkaufte ein Modell unter dem Markennamen "ThumbDrive", und IBM kaufte ein die ersten derartigen Antriebe in Nordamerika mit seinem Produkt nannten den "DiskOnKey" - der entwickelt und durch die israelische Gesellschaft M Systeme verfertigt wurde. Der USBBlitz-Antrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

Besides data storing and transportation, USB flash drives have some more benefits. They are also used in: • PC software repair. USB flash drives are excellent carriers of recovery and anti-virus software to infected PCs. • System administration. USB flash drives are widely spread among system and network administrators. They used them for loading configuration information and software for system maintenance, troubleshooting, and recovery.

• Application transportation. USB flash drives are also used to carry different applications for installation. For this purpose configuration for flash drives are created. Examples of these kind of configurations are Mozilla Firefox and Opera browsers.

• OS booting. USB flash drivers that are able to launch an operational system similar to LiveCD, are called LiveUSB. • Audio players. Apple's iPod shuffle and the Creative Labs MuVo are nothing but a smart combination of digital audio players with flash drives.

8.6 mm side/Seite

3.5”

COMPONENTS/BESTANDTEILE

BEYOND DATA STORAGE AND TRANSPORTATION

60 mm

4

ADVANTAGES / DISADVANTAGES

Dimensions/Dimensionen

3

1982 3.50” Floppy Disk

Daumen Antrieb WHERE DID I COME FROM?

ThumbDrive STORAGE SIZES

1976 5.25” Floppy Disk

bottom/Boden

NO MOVING PARTS a closer look 1 2 3 4 5 6 7 8

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory

7 8 KEINE BEWEGENDEN TEILE ein näherer Blick

1 Ein männlicher Typ-A USB Stecker 2 USB 2.0 Massenlagerungskontrolleur 3 JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker 4 Halbleiter 5 Kristalloszillator 6 Licht ausstrahlende Diode 7 zwei Position "schreibt - schützen" Schalter 8 Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

8.00”

WHERE DID I COME FROM? WHERE DID I COME FROM?

BEYOND DATA

STORAGE AND TRANSPORTATION

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

WO KAM ICH HER?

ADVANTAGES/ DISADVANTAGES

COMPONENTS

Trek Technologie und IBM begannen, die ersten USB-BlitzAntriebe gewerblich 2000 zu verkaufen. Der USB-BlitzAntrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

BEYOND DATA

STORAGE AND TRANSPORTATION Besides data storing and transportation, USB flash drives have some more benefits.

They are also used in: • PC software repair • System administration • Application transportation • OS booting • Audio players

ADVANTAGES/DISADVANTAGES Damage Resistance Size Comfort Life span Storage VORTEILE/DISSADVANTAGES Widerstand Schaden Bequemlichkeit Größ Lagerung Lebensdauer

COMPONENTS/BESTANDTEILE top/Spitze

RJ3 RJ1 RJ2

2

1

top/Spitze ThumbDrive FIRST INTRODUCED

1971 8.00” Floppy Disk

60 mm

ThumbDrive

RJ3 RJ1 RJ2

ThumbDrive

2

1

3

4

5

6

AUßER DER DATENLAGERUNG UND TRANSPORT JP2

Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile.

Sie werden auch darin verwendet: · PC-Softwarereparatur · System-Verwaltung · Anwendungstransport · Das OS-Starten · Audiospieler

7

NO MOVING PARTS a closer look 1 2 3 4 5 6 7 8

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory

8

bottom/Boden

KEINE BEWEGENDEN TEILE ein näherer Blick

1 Ein männlicher Typ-A USB Stecker 2 USB 2.0 Massenlagerungskontrolleur 3 JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker 4 Halbleiter 5 Kristalloszillator 6 Licht ausstrahlende Diode 7 zwei Position "schreibt - schützen" Schalter 8 Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

under my darunter mein Daumen Antrieb ThumbDrive FIRST INTRODUCED

ThumbDrive STORAGE SIZES

1995

2000

2010

1971

1976

1982

8.00” Floppy Disk

5.25” Floppy Disk

3.50” Floppy Disk

CD-R

DVD

Thumb Drive

Thumb Drive

89.6 Kb (Kilobytes)

1.44 MB

700 MB

4.7 GB

8 MB

256 GB 128 GB 64 GB 32 GB 16 GB 8 GB 4 GB 2 GB

60 mm

storage capacity 79.7 Kb (Kilobytes)

1988

8.6 mm side/Seite

3.5”

cap/Kappe

18.8 mm

5.25”

outer case/Außenfall 8.00”

WHERE DID I COME FROM?

BEYOND DATA

STORAGE AND TRANSPORTATION

Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBM's USB flash drive became available on December 15, 2000, and had a storage capacity of 8 MB, more than five times the capacity of the then-common floppy disks.

WO KAM ICH HER?

ADVANTAGES/ DISADVANTAGES

COMPONENTS

Trek Technologie und IBM begannen, die ersten USB-BlitzAntriebe gewerblich 2000 zu verkaufen. Der USB-BlitzAntrieb des IBM wurde verfügbar am 15. Dezember 2000, und hatte eine Speicherkapazität von 8 Mb, mehr als fünfmal die Kapazität der dann-allgemeinen Disketten.

BEYOND DATA

STORAGE AND TRANSPORTATION Besides data storing and transportation, USB flash drives have some more benefits.

They are also used in: • PC software repair • System administration • Application transportation • OS booting • Audio players

ADVANTAGES/DISADVANTAGES Damage Resistance Size Comfort Life span Storage VORTEILE/DISSADVANTAGES Widerstand Schaden Bequemlichkeit Größ Lagerung Lebensdauer

COMPONENTS/BESTANDTEILE top/Spitze

RJ3 RJ1 RJ2

WHERE DID I COME FROM?

2

1

3

4

5

6

AUßER DER DATENLAGERUNGUND TRANSPORT JP2

Außer der Datenspeicherung und Transport haben USB Blitz-Antriebe noch einige Vorteile.

Sie werden auch darin verwendet: · PC-Softwarereparatur · System-Verwaltung · Anwendungstransport · Das OS-Starten · Audiospieler

7

NO MOVING PARTS a closer look 1 2 3 4 5 6 7 8

A male type-A USB connector USB 2.0 mass storage controller JP1 and JP2: two unpopulated 10-pin connectors Semiconductor Crystal oscillator light-emitting diode two-position “write-protect” switch An unpopulated space for a second TSOP1 memory

8

bottom/Boden

KEINE BEWEGENDEN TEILE ein näherer Blick

1 Ein männlicher Typ-A USB Stecker 2 USB 2.0 Massenlagerungskontrolleur 3 JP1 und JP2: zwei unbevölkerte 10-Nadeln Stecker 4 Halbleiter 5 Kristalloszillator 6 Licht ausstrahlende Diode 7 zwei Position "schreibt - schützen" Schalter 8 Ein unbevölkerter Raum für ein zweites TSOP1 Speicherpaket

Existing Small Business Re-branding Re-branding of an existing small wholesale nursery business. Logo/mark creation, stationary set, brand manual, plant hang-tags, t-shirt, portable signage, truck-wrap.

garden w h o l e s a l e n u r s e ry

garden w h o l e s a l e n u r s e ry

garden

garden

garden

w h o l e s a l e n u r s e ry

w h o l e s a l e n u r s e ry

work order No 0159

12/14/2010

date

name address city, state, zip

Mrs. Smith

All of us here at Arny’s Garden just wanted to thank you for entrusting us with your landscaping needs. Your satisfaction is our number one priority. Working together we will complete your landscaping project on time and within budget.

12/14/10

bill to amount due $

description

garden

invoice No 0159

make checks payable to arny gonzalez

PLEASE DETACH AND RETURN TOP PORTION WITH PAYMENT

The landscape design plans have been w h osent l e s to a lyou e n ufor r syour e r y approval. Look over the documents at your leisure. Comment on areas that 9 2 0need E a s further t 2 1 3 t hdiscussion S t r e e t or further exploration and revision.

C a r s o n , C a l i f o r n i a 9 0 7 4 5we will proceed with the project. The Once the plans have been reviewed and approved by you, first of 3 payments must be made at this time. The design plans, plant list and cost breakdown is attached to this letter detailing the project expesnes.

garden w h o l e s a l e n u r s e ry arny gonzalez 3650 pine avenue long beach, ca 90807

I’m sure that you will find that all of your expectations will not only be met, but will be exceeded Mrs. Smith in the cost savings as well as well as the quality of plants.

As agreed upon based on our meeting, the project will take approximately two weeks to complete. John had mentioned that the backyard would be accessible through the gate on the south side of your property if you are not home when we arrive. We will make sure that the gate is locked at the end of each work day. If you have any questions don’t hesitate to contact me personally at 310-920-6124.

w h o l e s a l e n u r s e ry arny gonzalez 3650 pine avenue long beach, ca 90807

invoice No 0159

1427 South Briercrest Ave. Lakewood, CA 90713

12/14/10 description

Again, thank you for trusting Arny’s Garden with all your landscaping needs.

Sincerely,

garden w h o l e s a l e n u r s e ry Arny Gonzalez

Arny Gonzalez

920 East 213th Street Carson, California 90745 920-6124 ( 310 ) 500-5506

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920 East 213th Street Carson, California 90745 920-6124 ( 310 ) 500-5506

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owner

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amount due $

amount due $ 920 East 213th Street Carson, California 90745 920-6124 ( 310 ) 500-5506

( 310 )

920 East 213th Street Carson, California 90745 920-6124 ( 310 ) 500-5506

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garden w h o l e s a l e n u r s e ry

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annuals

biennials

perennials

shrubs

trees

Annuals are plants that live for a year or less based on Latin 'annus', meaning ‘year’. Annuals are also known as seasonal flowering plants which flower only for three to four months.

They are normally grown through seeds. They grow, flower, make more seeds and die, within a year. Annuals are great for creating instant effect and adding color to your garden.

A plant that takes two years to grow from seed to fruition, bloom and die or a plant that lasts two years is a biennial, based on Latin 'biennis' meaning ‘two years’. These are also seasonal flowering plants that flower only in the second year of planting. After blooming, they don’t perform well the following year or become untidy and then dies.

To have blooms year after year with biennial flowers, you have to plant seeds every year.

The Latin 'perennis' means ‘many years'. Perennials are those flowering plants that last longer and keep on flowering.

Most take two years until they are old enough to bloom.

Examples are Bleeding Heart, Water Lily, Gerberas, Geraniums, Anthuriums etc.

Once you plant them there is no need for replanting year after year. But they are not a good option, if you want to change the layout of the garden frequently.

Shrubs are woody plants smaller than trees, having a short stem with branches near the ground.

Shrubs can be Flowering and Ornamental. Flowering shrubs are those that flower almost through out the year and will have bushy shape and size.

Ornamental shrubs or Ornamentals are those which will not flower but are best for their evergreen foliage, shapes and ornamental look. These can be trimmed or trained into various shapes and sizes.

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Trees can be flowering trees, fruit trees, shade trees, etc.

Trees take a number of years to mature. In the first year, remove weak or unruly shoots. In the second or third year remove poorly spaced branches, leaving alone the central trunk. Once they settle, trees need to be watered only once in a while.

But the watering should be deep and applied directly to the soil.

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garden w h o l e s a l e n u r s e ry 920 East 213th Street Carson, California 90745 920-6124 ( 310 ) 500-5506

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Portfolio Website Design Five page personal portfolio Website design.

Created using Illustrator, Photoshop, Dreamweaver.

Theater Poster Theater poster created for the Center Theater Group which consists of The Ahmanson Theater, Mark Taper Forum and the Kirk Douglas Theater in Los Angeles, California. Poster created in the Expressionistic style.

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Theatre Posters from Art 341 – Sources of Graphic Design John Lionel Pierce, Instructor

The Threepenny Opera Bertolt

My Expressionistic Poster My poster on exhibit at the AIGA Emerge 2010 Exhibition was

Brecht & Kurt Weill

TheThe Threepenny Threepenny Opera Opera Bertolt Bertolt

Brecht Brecht & &Kurt Kurt Weill Weill

created as a class project in a Sources of Graphic Design course I took in the Fall of 2009 at CSUDH. Design periods from Victorian to Digital were studied. This poster was #2 in a series of 4 posters created and chosen by my design professors to be entered into the exhibition. Being selected to exhibit in the Emerge Exhibition was an honor, a confidence builder and a valuable experience that I will always remember.

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Opera Opera forfor Beggars Beggars

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Opera for Beggars