Portfolio_Symmetry by Teddy Kurniawan

SY M M E T RY t ed dy k u r n i awa n p o r t f o l i o

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SY M M E T RY

1. T he cor respondence i n size, for m, a nd a r ra ngement of pa r t s on opposite sides of a pla ne, l i ne, or poi nt. 2. Beaut y a s a resu lt of ba la nce or ha r mon ious a r ra ngement.

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project #

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TAB L E o f C O N T E N T S

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my design philosophy introduction

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m o v i n g b e yo n d f o s s i l f u e l biofuels conference

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b a l a n c e i n c u lt u r a l b e au t y r i e d e l v i va n t r e d e s i g n

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e x pa n d i n g u n i v e r s / / univers formul a guide

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seeing is deceiving / / t ype promotion book

0 6 6 - 0 81

recalling history / / up tow n tenderloin br a nding

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t. o . c

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r e c o n s t r u c t i n g a l i f e c yc l e lifecycle recycling cen t er

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welcome to a modern lifest yle kmart rebr anding

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fresh aroma of tradition l u p i c i a t e a pa c k a g i n g

14 0 -151

3 7 11

pat h t o a b e t t e r f u t u r e s u s ta i n a b l e s n e a k e r

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cruising the fun ship / / c a r n i va l c r u i s e r e d e s i g n

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identity design / / logo collec tion

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SYMMETRY

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introduction

MY DESIGN PHIL O S O P H Y Everything in this life needs a balance in order to keep the system running; there is a fragile balance in the ecosystem, the lifecycle of a product, and the process of being creative. Furthermore, I also see balance in my design process to make everything works together as one unit. The balance within the colors, images, typography, layout, or even in the process of designing. Therefore, I see my design process in this school journey as a balancing act to move on to the next step of finding valuable value in my life.

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p r o j e c t 01

univers formul a guide

1 project _

proj ect course

univers formul a guide

t ypography 2

instructor f o r m at fonts

sami sa aud print

sym m etry

univers

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objective

EXPANDING UN IVERS The Universe is essentially like a giant scale that sometimes it tips a little bit to the left and other times to the right. However, it always comes back to the center. That is the law that controls everything in the Universe. Things go one way and then they come back another. Thereâ&#x20AC;&#x2122;s a definite rhythm in the Universe; the way we breathe, the way our heart beats, the way the planets rotate round and round the Sun, and the way Moons rotate around planets. There is balance, what goes out comes in, what goes around comes around. The objective of this project is to design a tribute card set that ref lects typographic rules and will be sold in the museum of modern art.

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p r o j e c t 01

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univers formul a guide

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preliminary ide as

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p r o j e c t 01

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univers formul a guide

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process

d e sign pro ce ss Just like the Universe, this project is meant to have a balance within its content. In order to create balance in this project, I chose to do a tribute card set for a Univers type family by Adrian Frutiger. The idea is to design a set of cards that ref lects typographic rules which also covers the 21 variations of Univers family. Therefore, with the inspiration of the Pantone Matching System, this Univers Formula Guide was created. It uses a range of colors from a single universal color with the intention of creating hierarchy on the typographic rules. This card set is meant to be sold in the Museum of Modern Art to further explain the meaning of typography and its rules.

k e y wor ds

uni v ers a l t imeles s e x pa n sio n

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univers formul a guide

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d e ta i l s

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univers formul a guide

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formul a guide book

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p r o j e c t 01

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univers formul a guide

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sreads

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p r o j e c t 01

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univers formul a guide

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“ DESIGNERS MUST BAL ANCE BOTH THE LOGIC AND LYRICISM OF HUMANIT Y EVERY TIME THEY DESIGN SOMETHING, A TASK THAT REQUIRES A SINGUL ARLY MYSTERIOUS SKILL.” -Debbie Millmanp_023

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project 02

lifecycle recycling cen ter

2 project _

proj ect course

lifecycle recycling cen t er

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

instructor f o r m at fonts

t h o m a s m c n u lt y

1: 3 s c a l e p r o t o t y p e

mode ler

gotham

sym m etry

california model & design

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objective

RECONSTRUC TING A LIFECYLE A balancing act within the environment is required to maintain the natural dynamic equilibrium within a community of organisms in which ecosystem diversity remains relatively stable. Therefore, we as a part of the ecosystem need to rethink the whole process of our lifestyle. This includes rethinking where our waste should go in order to keep the balance of the ecosystem. The objective of this project is to design a recycling center that will help people sort out their waste.

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project 02

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lifecycle recycling cen ter

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preliminary ide as

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lifecycle recycling cen ter

trash glassware clothing & linens coat hangers solid cooking grease

recyclable

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wa s t e

project 02

paper bags cardboards cereal boxes printing paper egg cartons

corks

junk mail & magazines

diapers

plastic bottles

styrofoam

coffee cup lids

rubber bands

cups & plates

plastic bags

aluminum cans

glass mirrors

aluminum foils & trays

incadescent light bulbs

paint cans

woods

steel cans

pens & pencils

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bread, grains & pasta coffee grounds dairy scraps eggshells fruit (pits & nuts too) meat (including bones)

electronics

c o m p o s ta b l e

c at e g o r i z at i o n

battery used CDs cassettes tapes broken electronic electronic toys f lourescent bulbs

seafood (including shellfish)

HID bulbs

vegetables scraps

cellphones

soiled paper

chargers

yard trimmings

other electronics

paper tea bags other compostables items

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project 02

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lifecycle recycling cen ter

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structure

struc ture The structure of lifecycle recycling center is f lexible for the space available whether it is for public or residential spaces. An oval top structure for the protection from water also functions as a self-closed lid. The icononography with straight-forward labels are meant for easy categorization to avoid confusion.

k ey wor ds

flexible iconic structured

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project 02

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lifecycle recycling cen ter

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structure

clear label

trash meter

icon

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project 02

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lifecycle recycling cen ter

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1: 3 s c a l e p r o t o t y p e

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project 03

s u s ta i n a b l e s n e a k e r

3 project _

proj ect course

r 3 s u s ta i n a b l e s n e a k e r

print 2

instructor f o r m at fonts

tom sieu book

product rendering

d i n , n e u t r a t e x t , d o t m at r i x

sym m etry

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objective

PATH TO A BET TER FUTURE This project is a process for designers to make a change in our consumption cycle so hopefully there will be less waste. R3 (rethink, reimagine, reuse) is a response to the conditions of our current social and economic atmosphere. The need for a better future is highly needed in this situation. As designers, we are in a strong position to create a change and to bring added value to the community. Sustainability is no longer becoming a strange wordâ&#x20AC;&#x201D;it is now the goal to keep everything in balance. As we are walking towards a sustainable future, it is our job to bring our creative ideas to keep the balance in the environment. In this project there were a couple of components: designing a book by examining an existing productâ&#x20AC;&#x2122;s impact on the market and how it can be redesigned to be more sustainable, then redesigning that product based on the findings of the extensive research done to make the book. The product I chose to reimagine and redesign is a commonly used accessory, sneakers.

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s u s ta i n a b l e s n e a k e r

d e sign pro ce ss The book represents the whole process of what the product is all about and how it affects our life. In this particular case, it shows how sneakers have evolved in such a great way from its functional aspect into the aesthetic purpose that have driven us into different cultures.

k ey wor ds

dy n a mic kinetic conversion s u s ta i n a b l e human

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book cover

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project 03

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s u s ta i n a b l e s n e a k e r

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spreads

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project 03

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s u s ta i n a b l e s n e a k e r

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spreads

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project 03

sym m etry

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s u s ta i n a b l e s n e a k e r

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sketches

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project 02

sym m etry

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lifecycle recycling cen ter

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redesign

red e sign a pproach The result from the redesign process is a device that will collect the kinetic energy that is produced by walking or running. This device is named S.T.E.P (Sensory Technology of Energy Production). The reason is because the production of the sneaker has become more eco-friendly. The challenge now is to make it even more productive. Using human movement and gravity to produce energy while walking or running is the inspiration behind this innovation. The device can be placed on the sneaker to collect and store the energy to be used later for different purposes.

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project 03

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s u s ta i n a b l e s n e a k e r

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product rendering

top view

left view

right view

kinetic device

insole transmitter

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project 03

sym m etry

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s u s ta i n a b l e s n e a k e r

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“ DESIGN IS THE ORGANIZATION OF MATERIALS AND PROCESSES IN THE MOST PRODUCTIVE WAY, IN A HARMONIOUS BAL ANCE OF ALL ELEMENTS NECESSARY FOR A CERTAIN FUNCTION ; THINKING IN REL ATIONSHIPS.” -Laszlo Moholy-Nagyp _ 0 51

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project 04

biofuels conference

4 project _

proj ect course

chemishif t conference

graphic design 3

instructor f o r m at fonts

christopher morl an guide book

mailer

v e r l a g , s e r i fa , c a s l o n

sym m etry

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postcards

posters

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objective

MOVING BEYOND FOSSIL FUEL The idea of this project is to promote a conference about cellulosic biofuel as a potential energy source. We have been depending on fossil fuels for our energy sources which have became a problem due to limited sources. Therefore, the research in biofuels to find better sources for energy is still in development. Cellulosic ethanol as another alternative source for biofuels has potential to become more effective as an energy source. The objective of this conference is to give updates to the public about where biofuels, especially cellulosic ethanol, come from and where ethanol research is now in the progress of becoming the substitute of fossil fuel for our energy needs.

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project 04

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biofuels conference

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itiner ary

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project 04

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biofuels conference

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p u b l i c at i o n

c o nferen ce public atio n Part of the campaign strategy for the conference is how to get the news out for the public to participate in the conference. The idea for the publication is to give updates in biofuels research. This was meant to give the audience a preview and benefits that are offered in the conference. This publication is specifically distributed towards the experts, sponsors, and general audience who are interested about the new technology on biofuels, especially the research of cellulosic ethanol as a potential renewable energy source.

k ey wor ds

rene wa ble progression energy future formul a

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project 04

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biofuels conference

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postcards

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project 04

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biofuels conference

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direct mailer

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project 04

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biofuels conference

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posters

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project 04

biofuels conference

e100

“ Switchgrass removes carbon dioxide (CO2 ) from the air as it grows, it has the potential to slow the buildup of this greenhouse gas in Earth's atmosphere.”

The nexT GeneraTion of biofuel

swiTchGrass > greener energy pastures The grass stretched as far as the eye could see, and hundreds more miles beyond that. An ocean of grass—deep enough to swallow a horse and rider—swaying and singing in the steady wind of the Great Plains. The American prairie—tens of millions of acres— once looked like this. But that was centuries ago, before the coming of the white man, the railroad, and the steel plow. Today, corn and beans hold sway, and the remnants of America's tallgrass prairie are confined mostly to parks and preserves. Now, though, in research plots and laboratories in the Plains states and even in the Deep South the seeds of change are germinating. The tall, native grasses of the prairie, so vital to our land's ecological past, may prove equally vital to its economic future. Such grasses once fed millions of bison. Soon, grown as energy crops, they may help fuel millions of cars and trucks, spin power turbines, and supply chemicals to American industries. The U.S. Department of Energy (DOE) believes that biofuels—made from crops of native grasses, such as fast- growing switchgrass—could reduce the nation's dependence on foreign oil, curb emissions of the "greenhouse gas" carbon dioxide, and strengthen America's farm economy.

If biofuels are done right, we could soon be filling our tanks with clean, renewable, homegrown energy. We love cruising down the open highway and the freedom of movement cars provide. But today, it’s beyond argument that our gasoline habit is a road to ruin. Voices from across the political spectrum say oil dependence is bad for America’s national security, economy and environment. But what if there was a viable alternative to petroleum? What if there was a renewable, cost-competitive, globalwarming-busting fuel that could be produced from plants grown right here on American soil? It may sound too good to be true, but it’s not. Scientists, farmers and auto experts agree that, if they’re grown and produced properly, biofuels can help free America from our oil dependence. Furthermore, it has potential to be the next generation of energy source. Simply put, biofuels are fuels made from plant materials. Right now, the main biofuel on the market is ethanol, made from corn kernels. But in order to maximize biofuels’ carbon-cutting potential, we’ll have to use more than just kernels. Cellulosic biofuels, made from the leaves, stems and stalks of a plant, promise even bigger global warming-busting benefits. Of course, much depends on how these fuels are produced. Chopping down forests to grow biofuel crops would be counterproductive; on the other hand, perennial prairie grasses like switchgrass can yield a lot of cellulose for biofuels and be good for the land as well.

“ Biofuel not only good for our car but also if grown and produced properly can help free America from our oil dependency.” 10

Yield of dreams

cellulosic eThanol > the road ahead

In the hard, shallow soil of southern Alabama, Dave Bransby is turning cotton fields into swatches of grassland. Some Alabama farmers joke that there's no soil in Alabama to farm—two centuries of King Cotton and steady erosion haven't left much behind. Yet Bransby, a forage scientist at Auburn University, has found a crop that thrives there: Among the 19 research sites in the Eastern and Central United States raising switchgrass for the BFDP studies, Bransby's site holds the one-year record at 15 tons per acre. Those are dry tons weighed after all the moisture's been baked out. Convert that into ethanol, an alcohol that can fuel vehicles, and it equals about 1,500 gallons per acre. Bransby's 6-year average, 11.5 tons a year, translates into about 11,500 gallons of ethanol per acre. An added bonus is the electricity that can be produced from the leftover portions of the crop that won't convert to ethanol. Many farmers already grow switchgrass, either as forage for livestock or as a ground cover, to control erosion. Cultivating switchgrass as an energy crop instead would require only minor changes in how it's managed and when it's harvested. Switchgrass can be cut and baled with conventional mowers and balers. And it's a hardy, adaptable perennial, so once it's established in a field, it can be harvested as a cash crop, either annually or semiannually, for 10 years or more before replanting is needed. And because it has multiple uses—as an ethanol feedstock, as forage, as ground cover—a farmer who plants switchgrass can be confident knowing that a switchgrass crop will be put to good use.

“ Energy from switchgrass could prove economically competitive with petroleum and coal, making biomass crops attractive to American farmers.”

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net energy

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One reason BFDP researchers are confident that switchgrass can become an important feedstock for ethanol production is the groundwork that's already been laid by corn growers. U.S. ethanol production from corn currently totals nearly 2 billion gallons a year. Some of this ethanol is blended with gasoline to make gasohol; some is further refined to make gasoline octane boosters; and some is burned, either in pure ("neat") form or mixed with a small percentage of gasoline, in fleets of research and demonstration vehicles.Looking down the road, McLaughlin believes switchgrass offers important advantages as an energy crop. "Producing ethanol from corn requires almost as much energy to produce as it yields," he explains, "while ethanol from switchgrass can produce about five times more energy than you put in. When you factor in the energy required to make tractors, transport farm equipment, plant and harvest, and so on, the net energy output of switchgrass is about 20 times better than corn's." Switchgrass also does a far better job of protecting soil, virtually eliminating erosion. And it removes considerably more CO2 from the air, packing it away in soils and roots.

1,500

“ Switchgrass offers excellent habitat for a wide variety of birds and small mammals.”

gallons / acre

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100

movinG beYond eThanol

“ The facility is an important test to see whether lumber and agricultural by-products, rather than corn or sugar cane, are an economically viable "feedstock" for ethanol production.”

miilion gallons / year

Other wood wastes, even wood from natural disasters and fires, could be used, Dartnell said. Researchers are also busy devising processes to convert grasses, such as switchgrass and Micanthus, into fuels. "Everybody is looking for feedstocks which they have to then plant and grow," Dartnell said. But because current logging practices usually leave branches behind, the waste is already there. It's just not being put to good use. Indeed, companies have promised working cellulosic ethanol processes for years, but at this point, most work remains in the research or trial stage. Part of what has held back making advanced biofuels from wood or straw is the significantly higher capital costs it takes to build a plant. But even with the bigger up-front investment required, rising corn prices have made the cost of biofuel from cellulosic sources only slightly higher than corn-based ethanol, according to a recently published report in the journal Biofuels, Bioproducts and Biorefining. Range claims its first plant will be completed next year and will be capable of making 20 million gallons of ethanol a year. It intends to later expand to 100 million gallons per year. Dartnell estimates that the state has enough wood residue from tree farming and milling to create 2 billion gallons per year.

The "Growing Energy" report projects conversion efficiencies, the number of gallons of ethanol produced per dry ton of biomass, to improve from 50 gallons per dry ton to 117 gallons per dry ton. One hundred seventeen gallons of ethanol per dry ton equates to 77 gallons of gas equivalent per dry ton (one gallon of ethanol contains 66% of the energy content of gasoline). The bulk of the increase is expected to come from R&D driven advances in biological processing. "The key to producing enough ethanol is switchgrass," says Greene. Switchgrass shows great potential for improving yields, offers environmental benefits and can be grown in diverse areas across the country. Current average yields are five dry tons per acre. Crop experts have concluded standard breeding techniques, applied progressively and consistently, could more than double the yield of switchgrass. Yield improvements predicted by the report of 12.4 dry tons per acre are in keeping with results from breeding programs with crops such as corn and other grasses.

0 “ Biofuel offers excellent lubricity, which reduces wear and tear on car engines and can actually increase the life of engine components. In addition, biofuel is a mild solvent that will help clean an engine’s fuel system.”

sym m etry

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66% energy contents

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guide book

The Biofuels Feedstock Development Program (BFDP) at DOE's Oak Ridge National Laboratory (ORNL), has assembled a team of scientists ranging from economists and energy analysts to plant physiologists and geneticists to lay the groundwork for this new source of renewable energy. Included are researchers at universities, other national laboratories, and agricultural research stations around the nation. Their goal, according to ORNL physiologist Sandy McLaughlin, who leads the switchgrass research effort, is nothing short of building the foundation for a biofuels industry that will make and market ethanol and other biofuels from switchgrass and at prices competitive with fossil fuels such as gasoline and diesel.

Switchgrass removes carbon dioxide from the air as it grows, it has the potential to slow the buildup of the greenhouse gas. Annual cultivation of many agricultural crops depletes the soil's organic matter, steadily reducing fertility. But switchgrass adds organic matter—the plants extend nearly as far below ground as above. And with its network of stems and roots, switchgrass holds onto soil even in winter to prevent erosion. Besides helping slow runoff and anchor soil, switchgrass can also filter runoff from fields planted with traditional row crops. Buffer strips of switchgrass, planted along streambanks and around wetlands, could remove soil particles, pesticides, and fertilizer residues from surface water before it reaches groundwater or streams—and could also provide energy. And because switchgrass removes carbon dioxide (CO2 ) from the air as it grows, it has the potential to slow the buildup of this greenhouse gas in Earth's atmosphere. Unlike fossil fuels, which simply release more and more of the CO2 that's been in geologic storage for millions of years, energy crops of switchgrass "recycle" CO2 over and over again, with each year's cycle of growth.

54%

co2

energy produced

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conference aGenda ThursdaY, februarY 10 am

food

fuel

Production of crops for bioenergy uses may also displace other food-related crops, and otherwise increase the cost and decrease the availability of foodstuffs, including plant and animal-based foods.

Biomass fuels provide about 3 percent of the energy used in the United States. People in the USA are trying to develop ways to burn more biomass and less fossil fuels.

7-8 7.30 - 10 10 - 5 pm 10 - 10 10 - noon

noon - 1 1.30 - 6.30 1.30 - 3.00

Lunch sponsored by BP Expo Hall Open Concurrent Sessions 1. Talk of the Town: The Fuel Cell Transportation Promise 2. News You Can Use: Journalists Help You Help Them 3. Go The Distance: Greening Your Fleet Primer 4. Waste Not Want Not: The Promise of Biomethane

3.00 - 3.30 3.30 - 5.00

Afternoon Break Concurrent Sessions 1. Eco-Smackdown: Industry Addresses Untruths about Alternative Fuels 2. Declaration of Independence: The Domestically-Produced Alternative Fuels Solution 3. Wheels in Motion: The Promise of Plug-In Hybrid and Extended-Range Electric Vehicles 4. Danger In the Air: Transportation’s Impact on Human Health Expo Hall Mixer

5.00 - 6.30

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fridaY, februarY 11

Registration Opening General Session | Breakfast sponsored by World Energy Expo Hall Open Morning Break Concurrent Sessions 1. Money See, Money Do: Funding and Incentives 2. Influence Pedaling: Local and State Policy Leadership 3. Car Sharks: The Race to Win The U.S. Auto Manufacturing Market 4. Organic Matters: Agriculture Fueling Biofuels Growth

7-8 8 - 10 10 - 5 pm 10 - 11 11 - noon

Registration General Session | Breakfast sponsored by Toyota Expo Hall Open Morning Break Cellulosic Ethanol Opportunities 1. Forest Products Industry 2. Biomass Collection/Processing 3. Forest Residues Sustainability

noon - 1 1.30 - 3

Lunch break sponsored by General Motors Cellulosic Ethanol Development 1. Review of Conversion Technologies 2. Commercialization and Marketing 3. Industry Perspectives 4. Bio-butanol – another liquid fuel from wood:

3 - 3.30 3.30 - 5

Afternoon Break Concurrent Sessions 1. Industry Perspectives 2. Investment by the Industry – the bottom line for ethanol production 3. How the Chemical industry infrastructure can efficiently produce ethanol: A perspective 4. Can ethanol be produced as a pulp by-product? Expo Hall Mixer

5 - 6.30

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ch2oh

total energy input

ch2oh

81,090 57,504 47,948 76,093

enerGY posiTive

total energy output 111,679 120,361 120,361

cellulose vs Grain

199,500

percent gain

Cellulosic ethanol promises several advantages over corn-based ethanol which, fueled by government policies and investor capital, is now undergoing a massive build-out. Making ethanol from forestry or agricultural waste does not involve the same intensive farming as corn, which requires more water and labor, cellulosic ethanol proponents say. Also, in the ongoing food-versus-fuel debate, cellulosic ethanol advocates say that forests don't compete for land with food crops. The Soperton, Ga., plant will be using wood cast away by loggers. Trees are hauled to a central point where their tops and branches are cut off, providing the material for Range Fuels' multi-step thermochemical process. Tree branches will go into a large tank where enough heat and pressure are applied to the mix to turn it into a gas. That synthetic gas is treated and then passed through a chemical catalyst which converts the gas to alcohol. Finally, the alcohol gas is converted to fuels and then turned into liquid. Companies are pursuing different routes to cellulosic ethanol. Iogen, one of several companies using enzymatic processes, has built a demonstration plant in Ottawa that uses specially designed enzymes to convert agricultural wastes, such as corn stalks and straw, to ethanol.

38% 109% 151% 162%

“ As the ethanol industry expands, it will increasingly rely on more abundant and potentially lower-cost cellulosic crops (fast growing trees, grasses, etc.).”

Ethanol:

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Industry Average Industry Best State-of-the-Art Cellulosic Crop Based

“ The first plant will be completed within 5 years and will be capable of making 20 million gallons of ethanol a year. It intends to later expand to 100 million gallons per year.”

*Data is based on actual energy consumption data from farmers and ethanol plant operators from ILSR 2008.

chemishift 2011

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project 05

t ype promotion book

5 project _

proj ect course

visual illusion book

t ypography 3

instructor f o r m at fonts

ariel gre y book

poster

archer, verl ag

sym m etry

t ed dy k ur ni awa n p or t folio

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objective

SEEING IS DEC EIVING Sometimes we overlook things that are right in front of us, and take small things for granted. The objective of this project is to promote typefaces and to create a book based on the visual illusion concept. Just like visual illusions, we usually overlook the beauty of typefaces and the thought that the designer has put into them to create such harmonious letters. Therefore, this visual illusion book was created based on the matching formula that HF&J type foundry has to match one typeface to another. In this particular project, the typefaces are Verlag and Archer with their variations.

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t ype promotion book

t ed dy k ur ni awa n p or t folio

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process

d e sign pro ce ss Typefaces can be overlooked simply because we only look at the messages they deliver. We often glance at things without even realizing how much they are actually worth. This is like the idea of visual illusion that tricks our eyes so it delivers the message to our mind that it’s actually more than just an illusion. There is a deceptive simplicity to a well wrought typeface. The beauty and proportion of each letter in a type family has been carefully thought out to create such a harmonious system. Not only did shapes play a big role in this illusion, but colors could also trick our mind with their beautiful range. “Sometimes things are not always what they appear to be,” and the idea behind this book is to remind us that there’s more in the typeface than just letters.

k ey wor ds

illusion optic tricks geometric

p_069

project 05

t ype promotion book

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eeper i nt kd

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iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

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s of an optical instr um irro r en r m t. [ ] n tive jec

s o

ur → pe

symmettry →

asym

op le

→

try

ern al e n t s ngem rstanding → human → unde fee ling → int

se →

Any of t he l e ns es, r optical equ p ipm en ri t. [

→ mind → behavio

tics o

arra

f o p

ion

logy

c ysi ph

e o

llus

cho

Sen

i i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

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→

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ii iiiiiiii iiii ii i ii i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii ii i ii

psy

v in

→

→ m ake

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i i iiiiiiiiiiiiiiiiiiii iiii iii iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii ii i i ii iiii

i s → ck

i iiiii iiiiiiiiiiiiiiiiiii iiiii iii iii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii iiii i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iii

iii i i ii iii ii i

rts

ii iii

iiiii iii i

→

iiiiii

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gic

m the eanin

iiiiiiiiiiii

ric

iiiiiiiiiiiiii

on titi

create → plan → prod uce

i iiii

iiiiiiiiiiii

somet hi

etic → figures rithm

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iiiiiiiiiiiiiiiiiii

a rs →

i ii iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ks →

tric

opt

divis

ion

→

ma th

i i i i i i ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

i iiiii iiiiiii i iiii iiiii

ci e

Illusion →

ual → study of

e s

vision → look → t est → tr i

. 2 . R el at ed to th

e mb nu

ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

iiiii

sion

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ea → vis

r v i

→

ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i

corn

e o

hy th m

ture → build → forma t → patt ern → r e

ment → equilib rrange ri u m → r

struc

→ a

m →

ony

OPTIC

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ctiv

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iiiii

→

i i i i iiii iii i i iiiiiiiiiiiiii ii iiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiii i i i

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ati

tina,

d to

ers

1. Relate

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target → accuracy

h t →

mi n

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S ig ou

Illu

stu

i iii

Light →

a →

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ii ii iiii iiiiiiiiiiiiiiiiiiii

mer

for

h a

GEOMETRIC

ages → capture → ca

e →

07/09 The word optic came from the idea behind verlag typeface design which is actually designed for easy and optically pleasant to read. While geometrical came from its design form based on geometrical structure of modern architecture.

→ im

ala

ture

e →

→ b

pic

try

de →

e →

s y m me

isu

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form

→ al

ake

definition

str

→ t c t

→ co n

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iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii iiii iii iii iiii i

appear to

s w ha t t

t always w

thin

what you

se e

iiii

e not a l

extra light

light

book

EXPERIMENT WEIGHTS

bold

extra light italic

black

light italic

book italic

bold italic

black italic

07/09

A s re mis An o ali tak pti ze en ca uss d th est l illu ion at th ima sio s o e te n d f th fore of th oe e p go e d s no t in sy ch g c istan gen olo om ce era gic p o ll al ariso f a m y ex jud is n gm lea oun t ph A b Th Th ent ds d tain ysic rig e a e fin inv irec is d ally b pp u o h a t o ea l w lve tly t e to ut In su bje ran ord d in o o an it is ch th ne e dif c w c e ca t a to o rr ad se pp of a ill be e pre f th or ficu s n ea co le va e m of ju lt in eit nta ft se rs la lore to ntati ost dgm som he ge rg d o th r th c o in e e e r th bje e p ns o ontr nt b case e v th e p isu an ct v sych f th ove ut s to al ra a d ari olo e v rsia the e cti se nse ark es c gis isua l q pe xpla ce T o he o onsi ts b l se uest rcep in t no f d sta bje d ut n io ti h r th ec ct era it a se a ns on o e ca ep ge a e i of bly pp re n in p f use tio rtis nte th w ea n d t sy a p . C lle e s ith rs p ot in ch iec e uri em ct ng plo The am its e oss trod olo e o rtain err th ys y m e p nv ib s. I uc gy, f w ly t e r th h n t b e ir le h ec em ay b ysic onm tha d w ut th ite p here he en t it e ca a e t ere ap are se wh t w o ca so u l dim nt. T it m h th i er m e o ich ar. rr f th a T y t sefu en he ay n ho s no as p an pe i in y sio sk ev e m re n hey he a l o e o nte k o case y r n n f s is r b ira ot are ud ev n ge du v ien en . Fla not e fo stati tion a g s of o re err ra e s ast ce so n p t n t e are erc rmu g t ys tric ly e in d o of tly n its isast as eiv late he fi he a n ba rs o lig to tert im ro m ed d. na uth ckg f ju ht e ain a a a G u l co rro in gin s th y ap s in en wo or’s roun dgm rd e m rs o g, ati at fi p n b part d is ent. ing f u e o it rall th fro th sefu n to ey ar to e sp y sp ut to to an e g clin rr m e vis l, d oth hav ha ace ea o iv k th u ec e e o al se eiv r e e be ve a nor ing, e th g do r of e th as a t g se bje n ing nvir en ir a h re rea ma nse ct se o , o on uti to r r d m lize d dim em e wil der tica . th of is en ll l e e th ast ts o d or en isph app an id y to t sio eri ea e ye e in rou r to co are te s, d f un n o cal r lo a of he o pin th f d do ng b llect. ep ar c tera e m e en ion e t fr Exa nd oun cted epth e, b r wh inn s e om m ing trie by en er u . x th ples up s. T th Op t as it is proc press ti a eir o on he e s e usu f th th m kil cal flatt stan ss o ed. le il e al ese vie agic d a lus ene din f pe io stra are w d v g t rc ia rt igh th poin n ha ist o ns a au han epti t-li e m t. I s e r art re s lt. T wh on ne ir nc mp is o n he en . co ag ide lo an m i u urs e an nta yed . Th me oo t is l e a d c lly th e a ro n a yin us p g o nd ert , a f em rc th ain ew in hite an pare n t d v n he e o o so h c ari tly d gro bje pti -c is e t an ct cal alle nte d p ed im un ap eff d o rta ain th inis d. at he pe ec p inm te r th s ars ts e tica to m l il ents have ey in s b plo lusi an u ha ize e w y o a v d se he ed b ns w the d o e lo s it r n r re it y th ill b cam avo g c ises ha to re e m e d o u ide all lle wa y i ag iscu fleu d t ng rd s n icia ss r h t ot. n ed use em. ed t he z . d t he in enit he m te h. re st of th

e s

cie

nti

st.

PERCEPTUAL EXPERIENCE RELATED TO HOW VISION FUNCTIONS. IT IS A DYNAMIC VISUAL ART, STEMMING FROM A DISCORDANT FIGURE-GROUND RELATIONSHIP THAT CAUSES THE TWO PLANES TO BE IN A TENSE AND CONTRADICTORY JUXTAPOSITION.

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get

P179U

. be

P3285U

u yo

P180U

P390U

Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be Sometimes things are not what they appear to be

isc

It i

ct,

R ST

p _ 070

RGB

K10

M25

The error in the estimate of size is in reality an error in the estimation of distance except in those cases where the estimate is based directly upon a comparison with an object of supposedly known size. An amusing incident is told of an old negro who was hunting for squirrels. He shot several times at what he supposed to be a squirrel upon a tree-trunk and his failure to make a kill was beginning to weaken his rather ample opinion of his skill as a marksman. A complete shattering of his faith in his skill was only escaped by the discovery that the "squirrel" was a louse upon his eyebrow. Similarly, a gnat in the air might appear to be an airplane under certain favorable circumstances. It is interesting to note that the estimated size of the disk of the sun or moon varies from the size of a saucer to that of the end of a barrel, although a pine tree at the horizon-line may be estimated as 25 feet across despite the fact that it may be entirely included in the disk of the sun setting behind it. The measuring power of the eye is more liable to error when the distances or the objects compared lie in different directions. A special case is the comparison of a vertical distance with a horizontal one. It is not uncommon to estimate a vertical distance as much as 25 per cent greater than an actually equal horizontal distance. In general, estimates of direction and distance are comparatively inaccurate when only one eye is used although a one-eyed person acquires unusual ability through a keener experience whetted by necessity. A vertical line drawn perpendicular to a horizontal one is likely to appear bent when viewed with one eye. Its apparent inclination is variable but has been found to vary from one to three degrees. Monocular vision is likely to cause straight lines to appear crooked, although the "crookedness" may seem to be more and or less unstable. The error in the estimate of size is in reality an error in the estimation of distance except in those cases where the estimate is based directly upon a comparison with an object of supposedly known size. ///////

t ed dy k ur ni awa n p or t folio

Y25

DISTANCE AND SIZE PERCEPTION

R PA

C15

sym m etry

OPTICAL ILLUSIONS OF INTERRUPTED EXTENT

Distance and area appear to vary in extent, depending upon whether they are filled or empty or are only partially filled. For example, a series of dots will generally appear longer overall than an equal distance between two points. This may be easily demonstrated by arranging three dots in a straight line on paper, the two intervening spaces being of equal extent, say about one or two inches long. If a series of about twelve dots is placed in one of the spaces, the empty space will then appear shorter. However, if only one dot is placed in the middle of one of the empty spaces, this space now is likely to appear of less extent than the empty space. The filled or divided space generally appears greater than the empty or undivided space, but certain qualifications of this statement are necessary. In a the divided space unquestionably appears greater than the empty space. Apparently the filled or empty space is more important than the amount of light which is received from the clear spaces, for a black line on white paper appears longer than a white space between two points separated a distance equal to the length of the black line. An idea of the magnitude may be gained from certain experiments by Aubert. Various experimenters obtain different results, and it seems reasonable that the differences may be accounted for, partially at least, by different degrees of unconscious correction of the optical illusion. This emphasizes the desirability of using subjects for such experiments who have no knowledge pertaining to the optical illusion.

spreads

iiiii

iiii iiiiiiiii

iiiiiiii

→

08/10

VISUAL PROCESS A long step toward understanding is made by becoming acquainted with certain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the visual process and with the structure of the eye aids materially.

future perceptions

08/10

the science of human's eyes

+ + + + + + + + + + + + + + + + + + + + + + + + + +

+ + + + + + + + + + + + + + + + + + + + + + + + + + +

+ + + + + + + + + + + + + + + + + + + + + + + + + +

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + The error in the estimate of size is in reality an error in the estimation of + except + in those cases + where the + estimate+ + upon a distance is based directly an object of supposedly known size. + + comparison + with+ + + The measuring power of the eye is more liable to error when the + + or the + objects compared + distances lie+ in different+ directions. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

26pts.

→ 30pts.

seeing objects

CONTOUR ILLUSION

PERCEPTION

→

We are amazingly good at recognising objects by sight. have you ever poured, for example, our extraordinary ability for recognising cartoons of public figures? A few ell-chosen strokes of the artist's pen capture a ‘likeness’ of a person, or his photograph. We can see all three objects – person, photograph, and cartoon – as alike in some fundamental respect even though they differ enormously in their details. At first sight, our success at recognising cartoons suggests that the information crucially required for recognition consists of the sharply-defined contours of an input image, all else not being used for the job. We can just be as good at recognising a blurred photograph as we can at recognising one which preserves only the sharp contours of the original. Another frat of recognition is the ease with which we read different typefaces. We can easily see all the patterns as upper case and or lower case. Our ability to cope with different specimens of handwriting is another achievement in the same high class. We have little difficulty in seeing which handwritten numbers are which, despite considerable differences in the details of numerals of the same value. The visual system's fluent ability to recognise objects obscures its great achievements in this regard, and can mislead us into thinking that the task is a simple one. But its true complexity is so great that understanding how it is done at the brain's level of sophistication has so far defeated all those who have ever studied it, be they psychologists, engineers, neuropsychologists, amthematicians or whatever. This failure is all the more noteworthy when it is remembered that large sums have been spent on investigating the ‘objectrecognition problem’, as it is sometimes called, because of the immense industrial and military potential which successful understanding would bring. Competent visual robots, if competence is measured on anything like the human scale of achievement, are a long way off. None the less, advances in recent yearshave been sufficient to enable us at least to see more clearly the nature of the problems to be tackled and to sketchs in a conceptual framework within which research can be better directed. The aim of this study is to eluciate this framework. When we see objects our brain always think from grouping point of view.

→

what you see is not always what you got

CMYK

CMY

CYK

CMK

LEFT VISION

07/09

door is opened and closed.

PERCEPTUAL ORGANIZATION

14pts

THE CENTRAL AUDITORY

Negative afterimages are caused when the eye's photoreceptors, primarily those known as cone cells, adapt from the over stimulation and lose sensitivity. Normally the eye deals with this problem by rapidly moving the eye small amounts (see: microsaccade), the motion later being "filtered out" so it is not noticeable. However if the colour image is large enough that the small movements are not enough to change the color under one area of the retina, those cones will eventually tire or adapt and stop responding. The rod cells can also be affected by this. When the eyes are then diverted to a blank space, the adapted photoreceptors send out a weak signal and those colors remain muted. However, the surrounding cones that were not being excited by that colour are still "fresh", and send out a strong signal. The signal is exactly the same as if looking at the opposite color, which is how the brain interprets it. Herling explained how the brain sees afterimages, in terms of three pairs of primary colors. This opponent process theory states that the human visual system interprets color information by processing signals from cones and rods in an antagonistic manner. The opponent color theory suggests that there are three opponent channels: red versus green, blue versus yellow, and black versus white. Responses to one colour of an opponent channel are antagonistic to those to the other colour. Therefore, a green image will produce a red afterimage. The green color tires out the green photoreceptors, so they produce a weaker signal. Anything resulting in less green, is interpreted as its paired primary colour, which is purple.

AFTERIMAGE

appear to

. be

like color, the brain has the ability to understand familiar objects as

having a consistent shape or size. for example a door is perceived as rectangle regardless as to how the image may change on the retina as the

RIGHT VISION

thin

s w ha t t

Vision is frequently in machinelike terms, with the eye portrayed as a kind of camera and the visual nervous system a computer that “processes visual information.” It isn’t wrong to describe visual perception in purely physical terms, but it is wrong to make an analogy that confuses certain technological objects (cameras and computers) with our sensory physiology. An analogy isn't an explanation in and of itself. Comparisons of this sort are misleading not only because eyes aren’t cameras and brains are not electronic calculators, but also because they ignore a great deal of the complexity and uniqueness of visual perception. Among the most widely recognized of these distinctive visual characteristics is a phenomenon called completion. Completion means that we tend to regard as whole a variety of objects (or their images within the eye) in which portions are missing. In this sense we might say that vision “completes” the stimulus, an indirect way of acknowledging that a specific underlying biological mechanism remains unknown. Vision is portrayed as a kind of camera and the visual nervous system a computer that “processes visual information.” ////

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iiiii

That the ancients sensed the existence or possibility of optical illusions is evidenced by the fact that they tried to draw to paint although their inability to observe carefully is indicated by the absence of true shading. The and architecture of ancient Greece reveals a knowledge of certain optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the attention of scientists until a comparatively recent period. Not with standing this belated attention there is a vast scientific literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and much of it is controversial. Some of it deals with theory for a particular and often a very simple case. In life complex optical illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there have been few attempts to generalize and to group examples of typical phenomena in such a manner as to enable a general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in various arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that this will be realized in the following chapters in so far as brevity of treatment makes this possible. Undoubtedly, thoughtful observers of ages ago would have noticed optical illusions, especially those found in architecture and nature. When it is considered that geometrical figures are very commonly of an illusory character it appears improbable that optical illusions could have escaped the keenness of Euclid. The apparent enlargement of the moon near the horizon and the apparent flattened vault of the sky were noticed at least a thousand years ago and literature yields several hundred memoirs on these subjects. One of the oldest dissertations upon the apparent form of the sky was published by Alhazen, an Arab astronomer of the tenth century. Kepler in 1618 wrote upon the subject. Philosophers of the past centuries prepared the way toward an understanding of many complexities of today. They molded thought into correct form and established fundamental concepts and principles. Their chief tool was philosophy, the experimental attack being left to the scientists of the modern age. How ever, they established philosophically such principles as “space and time are not realities of the phenomenal world but the modes under which we see things apart.” As science became organized during the subjects including optical illusions. One of the earliest investigations of the modern type was made by Oppel, an present experimental era, measurements were applied and there began to appear analytical discussions of various dealing with optical illusions. There are many facts affecting vision regarding which no theory is necessary. They account of which appeared in 1854. Since that time scientific literature has received thousands of worthy contributions explanation does not prevent their recognition. In fact, only the scientist needs to worry over systematic explanations speak for themselves. There are many equally obvious facts which are not satisfactorily explained but the lack of to his storehouse of knowledge. A long step toward understanding is made by becoming acquainted with visual proand theoretical generalizations. He needs these in order to invade and to explore the other unknowns where he will add cess and with the structure of the eye aids materially. For this reason the next two chapters have been certain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the added even at the risk of discouraging some readers. In a broad sense, any visual perception which does not harmonize with physical measurements may be termed an “optical illusion.” Therefore, this term could include physical also optical illusions obtained by means of lenses, mirrors and prisms and also optical illusions such as the mirage. It could include the physiological illusions of light and color such as after images, irradiation, and contrast, and the extended to include all these aspects, but confines consideration only to “static” illusions. In a more psycho physiological illusions of space and the character of objects. In fact, the scope of the following chapters is arbitrarily the perception of space and the character of objects although motion is often included. It should be obvious that common sense, attention is usually restricted to the last group; that is, to the psycho-physiological illusions attending no simple are so many different kinds of factors involved. For this reason explanations will be presented wherever or even single theory can cover the vast range of optical illusions considered in the broad sense because there feasible in connection with specific optical illusions. However, in closing this chapter it appears of interest to touch upon sense. Hypotheses the more generally exploited theories of optical illusions of the type considered in the foregoing restricted be more safely termed “geometrical-optical illusions” two different theories, by Lipps and by Wundt pertaining to optical illusions are generally lacking in agreement, but for the special case of what might respectively, are (in the restricted sense). Lipps proposed the principle of mechanical esthetic unity, according to which we conspicuous. In fact, most theories are variants of these two systematic “explanations” of optical illusions unconsciously give to every space form a living personality and unconsciously consider certain mechanical forces acting. as being the result of the Our judgments are therefore modified by this anthropomorphic attitude. For example, we regard the circle action of tangential and radial forces in which the latter appear to triumph. According to Lipps’ overcome the tangential forces theory the circle has a centripetal character and these radial forces toward the center, which apparently have during the process of creating the circle, lead to underestimation of its size as compared of the former equal to the length of a with a square of the same height and breadth. By drawing a circle and square side by side, with the diameter side of the latter, this optical illusion is readily demonstrated. Of course, the square where the areas of the circle and square are has a greater area than the circle and it is difficult to determine the effect of this disparity in area. In Figure 60 equal and consequently the height of the former is considerably greater square, varying in dimensions from equal heights to than the latter, is of interest in this connection. By experimenting with a series of pairs consisting of a circle and a equal areas, an idea of the “shrinking” character of the circle becomes direct perception. According to his explanation, the laws quite apparent. Wundt does not attribute the optical illusion to a deception or error of judgment but to of retinal image (fixation) and eye movement are responsible. energy is greater in raising the eyes than in turning them through For example, vertical distances appear greater than horizontal ones because the effort or expenditure of an equal angle in a horizontal plane. Unconscious or certainly Wundt’s explanation does not suffice for all optical illusions involuntary eye-movements also appear to play a part in many linear or more accurately, angular illusions, but It may be said to be of the “perceptive” class and Lipps’ theory to be of the “judgment” or “higher-process” although it may explain many geometrical illusions.class. As already stated, most of the other proposed explanations of related to one of these two theories. There is the “indistinct vision” theory of Einthoven; the “perspective” theory geometrical illusions may be regarded as being of Hering, Guye, Thiery, and others; the “contrast” theory of Helmholtz, Loeb, theory of Muller-Lyer. In order not to discourage the reader at the outset, theories as such will be passed by and Heyman; and the “contrast-confluxion” with this brief glimpse. However, more or less qualified explanations are presented chapters which follow in order to indicate or to suggest a train of thought should the reader desire to attempt to occasionally in some of the chapters understand some of the numerous interesting optical illusions. That the ancients sensed optical illusions is evidenced by the fact that they tried to draw and to paint although their inability to observe the existence or possibility of carefully is indicated by the absence of true shading. The architecture of ancient Greece reveals optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the a knowledge of certain attention of scientists until a comparatively recent period. Not with standing this belated attention there literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and is a vast scientificmuch of it is controversial. Some of it deals with theory for a particular and often a very simple case. In life illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there complex optical have been few attempts to generalize and to group examples of typical phenomena in such a manner as to general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in enable avarious arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that thoughtful observers of ages ago would have noticed optical illusions, especially those found in architecture and nature.this will be realized in the following chapters in so far as brevity of treatment makes this possible. Undoubtedly, When it is considered that geometrical figures are very commonly of an illusory character it appears improbable that optical illusions could have escaped the keenness of Euclid. The apparent enlargement of the moon the horizon and the apparent flattened vault of the sky were noticed at least a thousand years ago and nearliterature yields several hundred memoirs on these subjects. One of the oldest dissertations upon the apparent form of the sky was published by Alhazen, an Arab astronomer of the tenth century. Kepler in 1618 wrote upon the subject. Philosophers of the past centuries prepared the way toward an understanding of many complexities of today. was philosophy, the experimental attack being left to the scientists of the modern age. How ever, they established which we see They molded thought into correct form and established fundamental concepts and principles. Their chief tool things apart.” As science became organized during the present experimental era, measurements were earliest investigations of philosophically such principles as “space and time are not realities of the phenomenal world but the modes under the modern type was made by Oppel, an account of which appeared in 1854. Since that time facts affecting vision regarding applied and there began to appear analytical discussions of various subjects including optical illusions. One of the which no theory is necessary. They speak for themselves. There are many equally obviousfact, only the scientist needs to worry scientific literature has received thousands of worthy contributions dealing with optical illusions. There are many over systematic explanations and theoretical generalizations. He needs these in step toward understanding is made by facts which are not satisfactorily explained but the lack of explanation does not prevent their recognition. In becoming acquainted with certain physical, physiological, and psychological facts eye aids materially. For this reason the next order to invade and to explore the other unknowns where he will add to his storehouse of knowledge. A long two chapters have been added even at the risk of discouraging some readers. termed an “optical illusion.” Therefore, this term of light, color, and lighting. Furthermore, acquaintance with the visual process and with the structure of the could include physical optical illusions obtained by means of lenses, light and color such as after images, irradiation, and In a broad sense, any visual perception which does not harmonize with physical measurements may be mirrors and prisms and also optical illusions such as the mirage. It could also include the physiological illusions of contrast, and the psycho physiological illusions of space and the but confines consideration only to “static” illusions. In a more character of objects. In fact, the scope of the following chapters is arbitrarily extended to include all these aspects, common sense, attention is usually restricted to the last objects although motion is often included. It should be obvious that group; that is, to the psycho-physiological illusions attending the perception of space and the character of no simple or even single theory can cover the vast involved. For this reason explanations will be presented wherever feasible vast range of optical illusions considered in the broad sense because there are so many different kinds of factors in connection with specific optical illusions. optical illusions of the type considered in the foregoing restricted sense. Hypotheses pertaining to optical illusions are “geometrical-optical illusions” two different theories, by Lipps and by Wundt respectively, are However, in closing this chapter it appears of interest to touch upon the more generally exploited theories of generally lacking in agreement, but for the special case of what might be more safely termed conspicuous. In fact, mostproposed the principle of mechanical esthetic unity, according to which we unconsciously give to theories are variants of these two systematic “explanations” of optical illusions (in the restricted sense). Lipps every space formmodified by this anthropomorphic attitude. For example, we regard the circle as being the result of the action o a f living personality and unconsciously consider certain mechanical forces acting. Our judgments are therefore centripetal character and these radial forces toward the center, which apparently have overcome the tangential forces tangential and radial forces in which the latter appear to triumph. According to Lipps’ theory the circle has a same height and breadth. By drawing a circle and square side by side, with the diameter of the former equal to the length during the process of creating the circle, lead to underestimation of its size as compared with a square of the than the circle and it is difficult to determine the effect of this disparity in area. In Figure 60 where the areas of the circle of a side of the latter, this optical illusion is readily demonstrated. Of course, the square has a greater area interest in this connection. By experimenting with a series of pairs consisting of a circle and a square, varying in dimensions and square are equal and consequently the height of the former is considerably greater than the latter, is of Wundt does not attribute the optical illusion to a deception or error of judgment but to direct perception. According to from equal heights to equal areas, an idea of the “shrinking” character of the circle becomes quite apparent. distances appear greater than horizontal ones because the effort or expenditure of energy is greater in raising the eyes his explanation, the laws of retinal image (fixation) and eye movement are responsible. For example, vertical also appear to play a part in many linear or more accurately, angular illusions, but certainly Wundt’s explanation does than in turning them through an equal angle in a horizontal plane. Unconscious or involuntary eye-movements “perceptive” class and Lipps’ theory to be of the “judgment” or “higher-process” class. As already stated, most of the other not suffice for all optical illusions although it may explain many geometrical illusions. It may be said to be of the theories. There is the “indistinct vision” theory of Einthoven; the “perspective” theory of Hering, Guye, Thiery, and others; proposed explanations of geometrical illusions may be regarded as being related to one of these two In order not to discourage the reader at the outset, theories as such will be passed by with this brief glimpse. However, the “contrast” theory of Helmholtz, Loeb, and Heyman; and the “contrast-confluxion” theory of Muller-Lyer. indicate or to suggest a train of thought should the reader desire to attempt to understand some of the numerous more or less qualified explanations are presented occasionally in some of the chapters which follow in order to interesting optical illusions.

+ Binocular + + Vision + + and+ + + + + + + Perspective + + Affect + + Optical + Illusions + + + + + + + + + + + + + + + + + + + + + + + + + + + + Binocular + vision is vision + in which both + eyes are + used to- + retinal field of vision is that of an eye at rest as compared with the + + + + + + gether. The word binocular comes from two Latin roots, bini + + + + + monocular field, which is all that can be seen with one eye in its entire + + + + + for double, and oculus for eye. Having two eyes confers at range of movement and therefore of experience. The retinal field has + least four advantages over having one. First, it gives a crea+ + + + + no clearly defined boundaries because it finally fades at its indefinite + + + + + periphery into a region where sensation ceases. It might be tiresome + ture a spare eye in case one is damaged. Second, it gives a + + + + + to follow detailed analyses of the many modes by which visual per+ + + + + wider field of view. For example, a human has a horizontal is attained, so only a few generalizations will be presented. + field of view of approximately 180 degrees with two eyes but + + + + + ception + + + + + only 150 degrees with one. Third, it gives binocular summaFor every voluntary act of sight there are two adjustments of the eyes, + tion in which the ability to detect faint objects is enhanced. + + + + + namely, focal and axial. In the former case the ciliary muscle adjusts + + + + + Fourth it can give stereopsis in which parallax provided by the lens in order to produce a defined image upon the retina. In axial + the two eyes' different positions on the head give precise + + + + + adjustments the two eyes are turned by certain muscles so that their + + + + + depth perception. Such binocular vision is usually accom+ panied by singleness of vision or binocular fusion, in which + + + + + axes meet on the object looked at and the images of the object fall + + + + + on the central-spots of the retina. These take place together without act of looking. + a single image is seen despite each eye's having its own im+ + + + + distinct volition + for each but + by the single + voluntary + + age of any object. Other phenomena of binocular vision inThrough experience the intellect has acquired a wonderful capacity + clude utrocular discrimination, eye dominance, allelotropia, + + + + + to interpret such factors as size, form, and distance in terms of the + + + + + + and binocular rivalry.At this point it appears advantageous + + + + + muscular movements + in general + without + the observer + being con-+ to set down the principal modes by which we perceive the scious of such interpretations.Binocular vision is easily recognized by + third dimension of space and of objects and other aspects + + + + + holding a finger before the eyes and looking at a point beyond it. The + + + + + result is two apparently transparent fingers. An object is seen single of the external world. They are as follows: 1. extent; 2. clear+ ness of + + color as affected + by distance; + 3. + when the two retinal images fall on corresponding points. Direction + + + + + brightness and + interference of near objects with those more distant; 4. el+ + + + + is a primary datum of sense. The property of corresponding points of + + + + + evation of objects; 5. variation of light and shade on objects; the two retinas (binocular vision) and consequently of identical spatial points in the two visual fields is not so simple. It is + 6. cast shadows; 7. perspective; 8. variation of the visor angle + + + + + + + + + + in proportion to distance; 9. muscular effort attending accommodation of still a question whether corresponding points (that corresponding + the eye; 10. stereoscopic vision; 11. muscular effort attending convergence + + + + + + is, the existence + of a + + point in one + of the axes of the eyes. It will be recognized that only the last two are necesretina for each point in the other retina) are innate, + sarily concerned with binocular vision. These varieties of experiences may be + + + + + + instinctive, and are antecedent of experience or are + + + + “paired” as the result of experience. The one view + combined in almost an infinite variety of proportions.Wundt in his attempt + + + + + + + + + + to explain visual perception considered chiefly three factors: 1. The retinal results in the nativistic, the other in the empiristic of one eye; + theory. Inasmuch as some scientists are arrayed on + image of + the eye at rest; + 2. the influence + of the + movements + + + + + and, 3. the additional data furnished by the two eyes functioning together. one side and some on the other, it appears futile to + There are three fields of vision corresponding to the foregoing. These are + + + + + + dwell further upon this aspect. It must suffice to state + + + + + the retinal field of vision, the monocular field, and the binocular field. The + + + + + + that binocular vision, which consists of two retinas. + + + + + + + + + + + + + + +

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The ancients sensed the existence or possibility of optical illusions is evidenced by the fact that they tried to draw and to paint although their inability to observe carefully is indicated by the absence of true shading. The architecture of ancient Greece reveals a knowledge of certain optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the attention of scientists until a comparatively recent period. Not with standing this belated attention there is a vast scientific literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and much of it is controversial. Some of it deals with theory for a particular and often a very simple case. In life complex optical illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there have been few attempts to generalize and to group examples of typical phenomena in such a manner as to enable a general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in various arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that this will be realized in the following chapters in so far as brevity of treatment makes this possible. Undoubtedly, thoughtful observers of ages ago would have noticed optical illusions, especially those found in architecture and nature. When it is considered that geometrical figures are very commonly of an illusory character it appears improbable that optical illusions could have escaped the keenness of Euclid. The apparent enlargement of the moon near the horizon and the apparent flattened vault of the sky were noticed at least a thousand years ago and literature yields several hundred memoirs on these subjects. One of the oldest dissertations upon the apparent form of the sky was published by Alhazen, an Arab astronomer of the tenth century. Kepler in 1618 wrote upon the subject. Philosophers of the past centuries prepared the way toward an understanding of many complexities of today. They molded thought into correct form and established fundamental concepts and principles of vision system that perceives lights from the objects. In a broad sense, any visual perception which does not harmonize with physical measurements may be termed an “optical illusion.” A long step toward understanding is made by becoming acquainted with certain physical, physiological, and psychological facts of light, color, and lighting.

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WHAT IS VERLAG

THE AFFABLE MODERNIST From out of the six typefaces originally created for the Guggenheim Museum comes Verlag, a family of 30 sans serifs that brings a welcome eloquence to the can-do sensibility of pre-war Modernism. Originally envisioned as a riff on the Guggenheim’s iconic Art Deco lettering, Verlag developed into its own family of versatile typefaces in order to suit the needs of a modern identity program. Because the fonts would ultimately represent a range of individual artistic voices — from Cézanne to Kandinsky to Matthew Barney — Verlag was carefully planned so that its distinct personality would be checked by a sense of objectivity. From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag’s “fairminded” quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.

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project 05

sym m etry

足_

t ype promotion book

t ed dy k ur ni awa n p or t folio

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Different point of view

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VERLAG

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COMPRESSED

Brain translates the signal into a visual perception of the world.

CONDENSED

extra light extra light italic light light italic book book italic bold bold italic black black italic

LIGHTSDARK

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The use of perceptual organization to create meaning out of stimuli is the principle behind other well-known illusions including impossible objects. Our brain makes sense of shapes and symbols putting them together like a jigsaw puzzle, formulating that which isn’t there to that which is believable.

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Personal background

A physiological imbalance.

Every person perceived different things

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Cognitive illusions are assumed to arise by interaction a jigsaw puzzle, formulating that which isn’t there to that which is bewith assumptions about the world, leading to "uncon- lievable. Our brain translates the signal into a visual perception which scious inferences", an idea first suggested in the 19th creates different images from what we should see. No simple classicentury by Hermann Helmholtz. Cognitive illusions are fication of optical illusions is ample or satisfactory, for there are many commonly divided into ambiguous illusions, distorting factors interwoven. For this reason no claims are made for the various illusions, paradox illusions, or fiction illusions. It starts divisions of the subject represented by and in these chapters exceptwith a neural lag that most everyone experiences while ing that of convenience. Obviously, some divisions are necessary in awake. When light hits your retina, about one-tenth of order that the variegated subject may be presentable. The classificaa second goes by before the brain translates the signal tion used appears to be logical but very evidently it cannot be perfectly into a visual perception of the world. Physiological il- so when the "logic" is not wholly available, owing to the disagreement lusions, such as the after images following bright lights found among the explanations offered by psyor adapting stimuli of excessively longer alternating patterns (contingent chologists. It may be argued that the "geometrical" perceptual aftereffect), are presumed to be the effects on the eyes or brain type of optical illusion should include many optical of excessive stimulation of a specific type - brightness, tilt, color, movement, illusions which are discussed in other chapters. Inetc. The use of perceptual organization to create meaning out of stimuli is deed, this is perhaps true. However, it appears to the principle behind other well-known illusions including impossible objects. suit the present purpose to introduce this phase of Our brain makes sense of shapes and symbols putting them together like this book by a group of optical illusions which involve plane geometrical figures within the contents.

Phylosophical aspect

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contrast

THE EFFECT OF LOCATION IN VISUAL FIELD

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We perceive things at a distance through vibration (electromagnetic waves called light) conveyed by a subtle, intangible, universal medium which is unrecognizable excepting as a hypothetically necessary bearer of lightwaves or, more generally, radiant energy.

grid illusion

cognitive movement

geometic | Visual Illusion

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project 05

EXPERIMENT OF OBECTIVITY A long step toward understanding is made by becoming acquainted with certain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the visual process and with the structure of the eye aids materially. For this reason the next two chapters have been added even at the risk of discouraging some readers. In a broad sense, any visual perception which does not harmonize with physical measurements may be termed an “optical illusion.”

Therefore, this term could include physical optical illusions obtained by means of lenses, mirrors and prisms and also optical illusions such as the mirage. It could also include the physiological illusions of light and color such as after images, irradiation, and contrast, and the psycho physiological illusions of space and the character of objects. In fact, the scope of the following chapters is arbitrarily extended to include all these aspects, but confines consideration only to “static” illusions.

CREDITS

In a more common sense, attention is usually restricted to the last group; that is, to the psychophysiological illusions attending the perception of space and the character of objects although motion is often included. It should be obvious that no simple or even single theory can cover the vast range of optical illusions considered in the broad sense because there are so many different kinds of factors involved. For this reason explanations will be presented wherever feasible in connection with specific optical illusions.

DIRECTOR: Ariel Grey DESIGNER: Teddy Kurniawan

+ +

TOOLS: Adobe Indesign, Illustrator, Photoshop TYPEFACES: Verlag regular, condensed, compressed (extralight, light, book, bold, black) Archer hairline, thin, medium, semibold. PAPER: Brilliant Supreme coated 2 sides, 230gsm, ISO brightness 90

PHOTOGRAPH: Mark Fineman, Teddy Kurniawan, Mando Gomez

bold

book

7/8.4pt

ILLUSTRATION: Teddy Kurniawan, Craig Cassin, John Frisby

That the ancients sensed the existence or possibility of optical illusions is evidenced by the fact that they tried to draw and to paint although their inability to observe carefully is indicated by the absence of true shading. The architecture of ancient Greece reveals a knowledge of certain optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the attention of scientists until a comparatively recent period. Not with standing this belated attention there is a vast scientific literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and much of it is controversial. Some of it deals with theory for a particular and often a very simple case. In life complex optical illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there have been few attempts to generalize and to group examples of typical phenomena in such a manner as to enable a general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in various arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that this will be realized in the following chapters in so far as brevity of treatment makes this possible. Undoubtedly, thoughtful observers of ages ago would have noticed optical illusions, especially those found in architecture and nature. When it is considered that geometrical figures are very commonly of an illusory character it appears improbable that optical illusions could have escaped the keenness of Euclid. The apparent enlargement of the moon near the horizon and the apparent flattened vault of the sky were noticed at least a thousand years ago and literature yields several hundred memoirs on these subjects. One of the oldest dissertations upon the apparent form of the sky was published by Alhazen, an Arab astronomer of the tenth century. Kepler in 1618 wrote upon the subject. Philosophers of the past centuries prepared the way toward an understanding of many complexities of today. They molded thought into correct form and established fundamental concepts and principles. Their chief tool was philosophy, the experimental attack being left to the scientists of the modern age. How ever, they established philosophically such principles as “space and time are not realities of the phenomenal world but the modes under which we see things apart.” As science became organized during the present experimental era, measurements were applied and there began to appear analytical discussions of various subjects including optical illusions. One of the earliest investigations of the modern type was made by Oppel, an account of which appeared in 1854. Since that time scientific literature has received thousands of worthy contributions dealing with optical illusions. There are many facts affecting vision regarding which no theory is necessary. They speak for themselves. There are many equally obvious facts which are not satisfactorily explained but the lack of explanation does not prevent their recognition. In fact, only the scientist needs to worry over systematic explanations and theoretical generalizations. He needs these in order to invade and to explore the other unknowns where he will add to his storehouse of knowledge. A long step toward understanding is made by becoming acquainted with certain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the visual process and with the structure of the eye aids materially. For this reason the next two chapters have been added even at the risk of discouraging some readers. In a broad sense, any visual perception which does not harmonize with physical measurements may be termed an “optical illusion.” Therefore, this term could include physical optical illusions obtained by means of lenses, mirrors and prisms and also optical illusions such as the mirage. It could also include the physiological illusions of light and color such as after images, irradiation, and contrast, and the psycho physiological illusions of space and the character of objects. In fact, the scope of the following chapters is arbitrarily extended to include all these aspects, but confines consideration only to “static” illusions. In a more common sense, attention is usually restricted to the last group; that is, to the psychophysiological illusions attending the perception of space and the character of objects although motion is often included. It should be obvious that no simple or even single theory can cover the vast range of optical illusions considered in the broad sense because there are so many different kinds of factors involved. For this reason explanations will be presented wherever feasible in connection with specific optical illusions. However, in closing this chapter it appears of interest to touch upon the more generally exploited theories of optical illusions of the type considered in the foregoing restricted sense. Hypotheses pertaining to optical illusions are generally lacking in agreement, but for the special case of what might be more safely termed “geometrical-optical illusions” two different theories, by Lipps and by Wundt respectively, are conspicuous. In fact, most theories are variants of these two systematic “explanations” of optical illusions (in the restricted sense). Lipps proposed the principle of mechanical esthetic unity, according to which we unconsciously give to every space form a living personality and unconsciously consider certain mechanical forces acting. Our judgments are therefore modified by this anthropomorphic attitude. For example, we regard the circle as being the result of the action and radial forces in which the latter appear to triumph. According to Lipps’ theory the circle has a centripetal character and these radial forces toward the center, which apparently have overcome the tangential forces during the process of creating the circle, lead to underestimation of its size as compared with a square of the same height and breadth. By drawing a circle and square side by side, with the diameter of the former equal to the length of a side of the latter, this optical illusion is readily demonstrated. Of course, the square has a greater area than the circle and it is difficult to determine the effect of this disparity in area. The areas of the circle and square are equal and consequently the height of the former is considerably greater than the latter, is of interest in this connection. By experimenting with a series of pairs consisting of a circle and a square, varying in dimensions from equal heights to equal areas, an idea of the “shrinking” character of the circle becomes quite apparent. Wundt does not attribute the optical illusion to a deception or error of judgment but to direct perception. According to his explanation, the laws of retinal image (fixation) and eye movement are responsible. For example, vertical distances appear greater than horizontal ones because the effort or expenditure of energy is greater in raising the eyes than in turning them through an equal angle in a horizontal plane. Unconscious or involuntary eye-movements also appear to play a part in many linear or more accurately, angular illusions, but certainly Wundt’s explanation does not suffice for all optical illusions although it may explain many geometrical illusions. It may be said to be of the “perceptive” class and Lipps’ theory to be of the “judgment” or “higher-process” class. As already stated, most of the other proposed explanations of geometrical illusions may be regarded as being related to one of these two theories. There is the “indistinct vision” theory of Einthoven; the “perspective” theory of Hering, Guye, Thiery, and others; the “contrast” theory of Helmholtz, Loeb, and Heyman; and the “contrast-confluxion” theory of Muller-Lyer. In order not to discourage the reader at the outset, theories as such will be passed by with this brief glimpse. However, more or less qualified explanations are presented occasionally in some of the chapters which follow in order to indicate or to suggest a train of thought should the reader desire to attempt to understand some of the numerous interesting optical illusions. That the ancients sensed the existence or possibility of optical illusions is evidenced by the fact that they tried to draw and to paint although their inability to observe carefully is indicated by the absence of true shading. The architecture of ancient Greece reveals a knowledge of certain optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the attention of scientists until a comparatively recent period. Not with standing this belated attention there is a vast scientific literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and much of it is controversial. Some of it deals with theory for a particular and often a very simple case. In life complex optical illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there have been few attempts to generalize and to group examples of typical phenomena in such a manner as to enable a general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in various arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that this will be realized in the following chapters in so far as brevity of treatment makes this possible. Undoubtedly, thoughtful observers of ages ago would have noticed optical illusions, especially those found in architecture and nature. When it is considered that geometrical figures are very commonly of an illusory character it appears improbable that optical illusions could have escaped the keenness of Euclid. The apparent enlargement of the moon near the horizon and the apparent flattened vault of the sky were noticed at least a thousand years ago and literature yields several hundred memoirs on these subjects. One of the oldest dissertations upon the apparent form of the sky was published by Alhazen, an Arab astronomer of the tenth century. Kepler in 1618 wrote upon the subject. Philosophers of the past centuries prepared the way toward an understanding of many complexities of today. They molded thought into correct form and established fundamental concepts and principles. Their chief tool was philosophy, the experimental attack being left to the scientists of the modern age. How ever, they established philosophically such principles as “space and time are not realities of the phenomenal world but the modes under which we see things apart.” As science became organized during the present experimental era, measurements were applied and there began to appear analytical discussions of various subjects including optical illusions. One of the earliest investigations of the modern type was made by Oppel, an account of which appeared in 1854. Since that time scientific literature has received thousands of worthy contributions dealing with optical illusions. There are many facts affecting vision regarding which no theory is necessary. They speak for themselves. There are many equally obvious facts which are not satisfactorily explained but the lack of explanation does not prevent their recognition. In fact, only the scientist needs to worry over systematic explanations and theoretical generalizations. He needs these in order to invade and to explore the other unknowns where he will add to his storehouse of knowledge. A long step toward understanding is made by becoming acquainted with certain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the visual process and with the structure of the eye aids materially. For this reason the next two chapters have been added even at the risk of discouraging some readers. In a broad sense, any visual perception which does not harmonize with physical measurements may be termed an “optical illusion.” Therefore, this term could include physical optical illusions obtained by means of lenses, mirrors and prisms and also optical illusions such as the mirage. It could also include the physiological illusions of light and color such as after images, irradiation, and contrast, and the psycho physiological illusions of space and the character of objects. In fact, the scope of the following chapters is arbitrarily extended to include all these aspects, but confines consideration only to “static” illusions. In a more common sense, attention is usually restricted to the last group; that is, to the psycho-physiological illusions attending the perception of space and the character of objects although motion is often included. It should be obvious that no simple or even single theory can cover the vast range of optical illusions considered in the broad sense because there are so many different kinds of factors involved. For this reason explanations will be presented wherever feasible in connection with specific optical illusions. However, in closing this chapter it appears of interest to touch upon the more generally exploited theories of optical illusions of the type considered in the foregoing

08/10

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A J VISUAL PROCESS

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STRAIGHT APEX

compressed

condensed

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p _ 075

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project 05

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t ed dy k ur ni awa n p or t folio

p _ 078

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p _ 079

project 05

sym m etry

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t ed dy k ur ni awa n p or t folio

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posters

p _ 0 81

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kmart rebr anding

6 project _

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kmart rebr anding

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

instructor f o r m at fonts

michael osborne pa c k a g i n g berthold ak zidenz grotesk , cl arendon,

g o t h a m , s a b o n , b e l l e v u e , e n g r av e r s pa rt n e r s

sym m etry

i n g r i d n j o n o , r i k a p u t r i , j ay d e c a r d i n a l l i

t ed dy k ur ni awa n p or t folio

p_082

objective

WELCOME TO A MODERN LIFEST YLE Kmart decided to change their marketing strategy by rebranding themselves. With the intention of reclaiming their brand from a bad reputation, Kmart came up with the strategy to divide the brand into four different sub-brands. This strategy is expected to distinguish Kmart brand from their competitors like WalMart. The objective of this project was to position Kmart to compete well with Target and similar competitors. This was a collaborative project to develop four sub-brands based on four different lifestyles: Ready! for a busy and on-the-go lifestyle, RedYellow&Blue for a family and daily basic lifestyle, Habitat for an eco-friendly lifestyle, and Bliss for an upper echelon lifestyle that appreciates and can afford unique elements from different parts of the world.

p_083

project 06

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kmart rebr anding

An economic line featuring multipurpose, space-saving, and/or on-the-go products for a busy and on-the-go lifestyle.

toolbox:

_tone-on-tone color palette _single vector line art with highlight color of the product _knock out logo on the sides

home

sym m etry

A basic line for daily family needs that offers basic value products spread across home, food, pet, and outdoor department.

f o o d & h e a lt h

t ed dy k ur ni awa n p or t folio

outdoor

_black and white pattern _highlight one of the pattern in red, yellow & blue color _solid panel/band/label holds information _divides panel to quarters

home

f o o d & h e a lt h

pet

outdoor

p_084

b r a n ds c uat b -e bg ro ar n idz at l oi o go n

Kmart’s eco-friendly line with organic and sustainable nature of duality that offers range of healthier, alternative and affordable products.

toolbox:

_sustainable materials _duality purpose _collage of images ref lecting the products’ purposes _bright colors related to the products

home

Kmart’s higher-end line, mainly imported unique products packaged in a collectible form of materials.

f o o d & h e a lt h

outdoor

_collectible materials _etching illustration related to the product _product of origin emphasized _subtle color palette with emphasis on product

home

f o o d & h e a lt h

p_085

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_086

red, y ellow & blue

home

p _ 0 87

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_088

red, y ellow & blue

f o o d & h e a lt h

d e sign pro ce ss Red, Yellow & Blue is the sub-brand for daily family needs. It spreads across the lines of Home, Pet, Outdoor, and Food. The categories are divided by the patterns and the layouts. Home products have patterns that cover half of the packaging; Pet products have patterns with a black based color; Outdoor products have a black label wrapped around the pattern; Food products have side patterns and white panels.

k ey wor ds

fuse modul ar recl aim base

p_089

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_090

red, y ellow & blue

home

p _ 0 91

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_092

red, y ellow & blue

home

p_093

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_094

red, y ellow & blue

pets

p_095

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p_096

re a dy ! sub - br a n d

p _ 0 97

project 06

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kmart rebr anding

plush toy

sym m etry

pillow

t ed dy k ur ni awa n p or t folio

blanket

p_098

re a dy ! sub - br a n d

p_099

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p _10 0

re a dy ! sub - br a n d

r e a dy ! su b - b r a n d

Ready! brand uses bright colors with its shades to catch peopleâ&#x20AC;&#x2122;s attention and to differentiate itself from other similar products. The brand is targeted for a busy and on-the-go lifestyle within the category of Home, Food & Health, and Outdoors. By using simple illustrations to describe the products, Ready! brand emphasizes the efficiency and effectiveness of that lifestyle. In addition, detailed step-by-step instructions are added to the back panel to explain how the products work.

p _101

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sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p _10 2

h a b i tat s u b - b r a n d

p _10 3

project 06

sym m etry

足_

kmart rebr anding

t ed dy k ur ni awa n p or t folio

p _10 4

bliss sub - brand

p _10 5

足_

p r o j e c t 07

c a r n i va l r e d e s i g n

7 project _

proj ect course

c a r n i va l c r u i s e r e d e s i g n

identit y design 2

instructor f o r m at fonts

j e s s i c a p e lt z identit y

manuals

gotham, archer, verl ag

sym m etry

t ed dy k ur ni awa n p or t folio

a p p l i c at i o n s

p _10 6

objective

C RUISING THE FUN SHIP Carnival Cruise is known for its fun yet classy cruising experience. Although the whale tail mark has been its identity for a long time, as time goes by, it doesnâ&#x20AC;&#x2122;t show the original fun and refreshing idea the brand promises anymore. The objective of this project is to rebuild Carnival Cruise to meet its goal of being fun yet retaining all of its class and elegance. While still being faithful to the strong tradition of the whale tail mark, the new logo is expected to add a modern twist to attract new customers while reinvigorating its existing ones.

p _107

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p r o j e c t 07

c a r n i va l r e d e s i g n

A D

1 E

E B

Carnival C

CARNIVAL CARNIVAL ECARNIVAL D 1 D E B Carnival Carnival

CARNIVAL carnival

CARNIVAL

E C

CARNIVAL CARNIVAL

CARNIVAL 2 Carnival

CARNIVAL

CARNIVAL CARNIVAL

CARNIVAL

CARNIVAL CARNIVAL Carnival

CARNIVAL CARNIVAL

CARNIVAL

nival

Carnival

CARNIVAL

CARNIVAL CARNIVAL CARNIVA Carnival CARNIVAL CARNIVAL carnival CARNIVAL CARNIVAL CARNIVAL CARNIVAL D E B A A C C D D E E 3 CARNIVAL CARNIVAL CARNIVAL 1 2 Carnival carnivalCarnival CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL carnival CRUISE LINES C Carnival D E B CARNIVAL C D E B CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL 1 1 CARNIVAL al CARNIVAL CARNIVAL CARNIVALCARNIVAL Carnival CARNIVAL Carnival CARNIVAL CARNIVAL CARNIVAL lival

CARNIVAL

Carnival CARNIVAL C nival

CARNIVAL

CARNIVAL CARNIVAL

al RNIVALCARNIVAL CARNIVAL 3 CARNIVAL NIVAL UISE LINES CARNIVAL CARNIVAL CARNIVAL Carnival CARNIVAL CRUISE LINES

2 3

CARNIVAL carnival

CARNIVAL CARNIVAL

CARNIVAL

CRUISE LINES

Carnival val CARNIVAL CARNIVAL Carnival Carnival

CARNIVAL

CARNIVAL AL CARNIVAL CRUISE LINES LINES AL CRUISECARNIVAL CRUISE LINES

sym m etry

CARNIVAL CARNIVAL CARNIVAL

CARNIVAL CARNIVAL CARNIVAL CARNIVAL CRUISE LINES LINES Carnival CARNIVALCRUISE CRUISE LINES CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL Carnival CARNIVALCARNIVAL

CARNIVAL

Carnival

CARNIVAL CARNIVAL Carnival CARNIVALCARNIVAL Carnival CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL CARNIVAL Carnival carnival Carnival carnival CARNIVAL CARNIVAL 2Carnival 2 CARNIVAL Carnival CRUISE LINES

CRUISE LINES

CRUISE LINES CRUISE LINES

CARNIVAL CARNIVAL

CARNIVAL

CRUISE LINES Carnival

CARNIVAL CARNIVAL CARNIVAL CARNIVAL

CARNIVAL

CRUISE LINES

Carnival

CARNIVAL CRUISE LINES

3 3 CARNIVAL CARNIVAL CARNIVAL CARNIVAL CRUISE LINES CARNIVAL CRUISE LINES CARNIVAL CARNIVAL CARNIVAL Carnival CARNIVAL CARNIVAL CARNIVAL Carnival CARNIVAL Carnival

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CRUISE LINES

Carnival Carnival

CRUISE LINES CRUISE LINES

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process

d e sign pro ce ss The design strategy was to keep the fun and welcoming, yet classy feeling that the brand promises and take it to a more modern level. While maintaining the whale tail mark, which is the main element of the brand, the approach was to improve the real shape and to make it more engaging with an expanding target audience.

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fun welcoming cl assic e xperience

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spreads

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ENTER

CAR

CARNIVAL

ALL AB

ALL ABOARD FUN

BOARDING PASS

PASSENGER NAME

BOAR

PASSE

JOHN DOE , MR. SET SAIL JULY

CARN IVAL

CARNIVAL ALL ABOARD FUN

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STARTING SAIL PORT

28, 2009

BOARDING

09.45

JOHN

SEWARD, ALASKA ROOM

DATE

JULY

ROOM

215

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RNIVAL

BOARD FUN

CARNIVAL

RDING PASS

DOE, MR.

CARNIVAL

NGER NAME

28, 2009 :

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project 09

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objective

BAL AN C E IN CULTUR AL BEAUT Y Riedel brand is known for the quality and beauty of their glassware products. They are also known for becoming the pioneer of using unique materials in their glassware to give each item its own characteristic. Therefore, the objective of this project was to redesign Riedel Vivantâ&#x20AC;&#x2122;s tequila glass to bring out its uniqueness that is carefully designed to work together with the spirit.

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preliminary ide as

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structure

d e sign pro ce ss The design strategy was to rethink the origin of the spirit and to apply the cultural beauty of where it comes from. In this case, the inspiration comes from Mexicoâ&#x20AC;&#x2122;s rich cultural background combined with strong yet warm colors. The structure and materials are also derived from the Mexico cultural beauty by using wood materials combined with a translucent cover to show the uniqueness of the products.

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wa rm mexico modern backed by tr a dition refreshing

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pat t e r n

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project 09

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structure

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graphic design 2

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objective

RECALLING HISTORY The Uptown Tenderloin district has a rich historical background which now has all but faded away. In addition, the bad reputation of this neighborhood has made it even worse. So, the management of the Tenderloin Historic Clinic wants to reclaim the beauty of the old Tenderloin to bring more tourism activities into the area. The new rebuilding project in the neighborhood that has been going for months needs a fitting identity. The objective of this project was to recall the beauty of the history behind the Uptown Tenderloin District to create an identity that will attract more positive activities into the neighborhood.

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process

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s tat i o n e r y

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ICATION_PROMOTIONAL BUMPER STICKER

SHARE YOUR HISTORY UPTOWN TENDERLOIN HISTORIC DISTRICT

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N_PROMOTIONAL PEN & COVER

EST.

1906

UPTOWN TENDERLOIN HISTORIC DISTRICT

APPLICATION—PROMOTIONAL KEYCHAIN

UP H IS T O W N TO R IC T E N D D IS E R L TR O IC T IN

APPLICATION—PROMOTIONAL MUG

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APPLICATION_BUS AD

SHARE YOUR

HISTORY WWW.UPTOWNTLOIN.ORG

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a p p l i c at i o n s

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l u p i c i a t e a pa c k a g i n g

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lupicia te a

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objective

FRESH AROMA OF TR ADITION Lupicia tea is known for its freshness and many different selections of its products. Also, Lupicia brings unique teas from all over the world, such as Japan, China, Taiwan and India. With the concept of fresh tea and pioneering in quality products, the objective of this project is to bring those elements to the packaging. In addition, this project sets out to re-brand Lupicia brand and to take it to its original yet contemporary idea about its products.

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process

d e sign pro ce ss The design strategy is to bring back the Japanese tradition combined with the freshness of the tea. Furthermore, the approach is to find the simple yet elegant use of subtle line art combined with delicately set serif and color variations to distinguish the different f lavors of the tea. In addition, the idea of fresh aroma from the Lupicia tea is shown by the use of line variation mixed with fresh colors. k ey wor ds

fresh contempor ary tradition aroma

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fresh te a series

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te a bag series

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te a bag series

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identit y

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logo collec tion

IDENTIT Y DESIGN The balance in branding is not only in its product only but also in its identity. Having the right mark and the right color choice will help to make a lasting impression of a brand. Thus, a strong logo is extremely essential because it shows the brandâ&#x20AC;&#x2122;s unique characteristics.

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identit y

CARNIVAL ALL ABOARD FUN

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logo collec tion

CARNIVAL ALL ABOARD FUN

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ALBUQUERQUE I N T E R N AT I O N A L

BAL LOON F

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identit y

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logo collec tion

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identit y

QUEEN BEE DESSERT

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QUEEN BEE DESSERT

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acknowledgements

acknowledgements fa m i ly

Mom in heaven who has always been watching and taking care of me, Mom & Dad who has always believed in me and given me their unconditional love and support, Evan, Audrey â&#x20AC;&#x153;my bunn 2 â&#x20AC;? who has always been there for me to support and inspire me. friends

Yinpeng Ma, Ingrid Njono, Angela Wijaya, Rika Putri, Misa Inoue, Rose Ma, Lauren, Victoria, Rollin, Benjamin Rocha, Jayde Cardinalli, and others who helped me. s o u r c e o f i n s p i r at i o n

Lord my Savior, Scott Hansen, Paul Rand, Stefan Sagmeister, Si Scott, Andy Warhol, Paula Scher, Debbie Millman, Lazlo Moholy Nagy. academy of art universit y

Mary Scott, Sami Saaud, Ariel Grey, Tom Sieu, Paul Kagiwada, Thomas McNulty, Michael Osborne, Jeniffer Sterling, Jessica Peltz, Christopher Morlan, Coco Qiu, Hunter Wimmer, Scott Rankin, Monica Dengo. vendors

Rami Geller, Lily Cheng, Randy Greer, Danya Winterman.

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credits

credits design

p h o t o g r a p h y b y t e d dy k u r n i awa n ÂŠ 2010.

79 New Montgomery Street San Francisco CA 94105 senior portfolio

Mary Scott c o v e r m at e r i a l

Arrestox BV Black text stock

Finch Fine 100 lbs text endsheets

Canford Buttercup s o f t wa r e

Adobe Creative Suite 4 t y p e fa c e s

Univers, Trade Gothic, Serifa camera

Canon Rebel XT pr i nted by

Giant Horse 1336 San Mateo Avenue South San Francisco, CA 94080 boun d by

The Key Printing & Binding 5851 Ocean View Drive Oakland, CA 94618

THANK YOU

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c o n ta c t

keep in touch

T E D DY KURNIAWAN

f xteddyk@gmail.com

designby teddy.com

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