Work_Collection

TEDDY KURNI AWAN Brand Designer Selected Work

2.0 _ 21

in addition • Selected Works of Teddy Kurniawan

Pg._ 2

hello!

20

TEDDY KURNI AWAN Brand Designer

foreword_ Learning process never stops. As an individual and designer, I want to always improve myself through my skills, knowledge or experience. “Addition”, is meant to be a collection of my design philosophy and learning process as a visual person. This book is also meant to be a platform for me to spread positivity through my work. By doing design in any medium, I want to continue improving and adding my long life journal in the world of visual communication. This book is also a tribute to the purpose of continuous learning process in solving any conceptual problem in a timely manner with effective solutions.

The act or process of adding or uniting The process of uniting two or more numbers into one sum, represented by the symbol + 3.

The result of adding 1.

2.

Pg._ 3

00 / CONT ENTS /

in addition • Selected Works of Teddy Kurniawan

Pg._ 4

contents

I.

screen_

II.

tangible_

01.

Monkey in Paradise

02.

Rentini Website

11.

forbidden fruit

03.

Loch & Union Distilling

12.

la crosse distiiling co.

04.

Sequoia Grove winery

13.

american fifth spirits

05.

cfnapa web redesign

14.

backhouse

06.

Gandona winery

15.

frontera holiday edition

07.

Bodega 202

16.

clarice wine co.

08.

Flaunt wine co.

17.

outcast

09.

Roots Run Deep

18.

hahn

III.

m arks & icons_

10.

LOng road distillers

19.

river road wines

20.

voodoo

21.

valle BRUT

22.

montoya

IV.

academic_

23.

UNIVERS FORMULA GUIDE

24.

VISUAL ILLUSION TYPE BOOK

25.

R3 SNEAKER BOOK

Pg._ 5

in addition • Selected Works of Teddy Kurniawan

Pg._ 6

I

SCREEN_

Pg._ 7

in addition • Selected Works of Teddy Kurniawan

Pg._ 8

monkey in par adise website

01

I. / SCR EEN /

MONKEY IN PAR ADISE WEBSITE

project background_ The objective of the project was to redesign an existing brand website while rebranding the whole look & feel for the brand image. The idea was to keep the fun & approachable aspects while elevating the premium quality feel of the brand. Using bold and interesting color combination, I created a system that’s translated from its packaging into the website while keeping the photography aspect fun yet premium.

Designed at CFNapa Brand Design.

/ sit em a p /

www.monkeyinparadise.com SPLASH PAGE (AGE GATE)

HOMEPAGE

• TAGLINE/ WELCOME

MONKEY BUSINESS

ACCOLADES

• MONKEY IN PARADISE “HOW WE MAKE IT” STORY

• MONKEY IN PARADISE VODKA

• SIGNATURE COCKTAILS RECIPES

• LIST OF AWARDS RECEIVED

• SOCIAL MEDIA SHARING CAPABILITIES

• CONSUMER PHOTOS FUN AREA

LEGAL

TRADE/ DOWNLOAD ASSETS

PARADISE COCKTAILS

SOCIAL MEDIA

FIND A BOTTLE

• WHERE TO FIND MONKEY IN PARADISE VODKA

EMAIL LIST SIGN-UP

DYNAMIC CONTENT

CONTACT INFO

TIER 1

FOOTER

Pg._ 9

in addition • Selected Works of Teddy Kurniawan

Pg._ 10

monkey in par adise website

Pg._ 11

in addition • Selected Works of Teddy Kurniawan

Pg._ 12

monkey in par adise website

Pg._ 13

in addition • Selected Works of Teddy Kurniawan

Pg._ 14

monkey in par adise website

Pg._ 15

in addition • Selected Works of Teddy Kurniawan

Pg._ 16

rentini inc.

02 I. / SCR EEN /

RENTINI WEBSITE

project background_ Rentini.com was an online property rental media that specializes in helping homeowners and property managers to rent out their space.

The project objective was to rebrand the company and revamp their web presence to expand their market.

I worked closely with the owner to refresh the company look and its website, and came up with icon system to show the company process.

Client: Rentini Inc.

Pg._ 17

in addition • Selected Works of Teddy Kurniawan

Pg._ 18

rentini inc.

Pg._ 19

/.

in addition • Selected Works of Teddy Kurniawan

i co n o g r a p h y

./

Pg._ 20

rentini inc.

Pg._ 21

./ i n fo g r a p h i c

/. in addition • Selected Works of Teddy Kurniawan

Pg._ 22

rentini inc.

Pg._ 23

03 I. / SCR EEN /

LOCH & UNION DISTILLING WEBSITE project background_ The objective of the project was to design a website for a new Distillery in American Canyon, California that will serve primarily as an informational & promotional platform.

Highlighting the brand identity and packaging, as well as the distillery’s equipment and its process, the website was broken down into five main pages.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 24

loch & union distilling

/ sit em a p /

Pg._ 25

loch & union distilling

in addition • Selected Works of Teddy Kurniawan

Pg._ 26

Pg._ 27

04 I. / SCR EEN /

in addition • Selected Works of Teddy Kurniawan

SEQUOI A GROVE WINERY WEBSITE

Pg._ 28

sequoi a grove winery

project background_ The objective of the project was to redesign and rethinking the structure of Sequoia Grove Winery. The client wanted to organize the website by simplifying and increasing speed to desired destination (2-3 clicks max).

To increase the load speed of pages and better align navigation for the user to experience the site flawlessly, I came up with dynamic load images and scrolling pages for less clicks to get to section.

Designed at CFNapa Brand Design.

/ sit em a p /

Pg._ 29

in addition • Selected Works of Teddy Kurniawan

Pg._ 30

sequoi a grove winery

Pg._ 31

in addition • Selected Works of Teddy Kurniawan

Pg._ 32

sequoi a grove winery

Pg._ 33

05 I. / SCR EEN /

CF NAPA WEBSITE REDESIGN

project background_ The objective of the project is to redesign CFNapa Brand Design company website and make it user friendly and responsive.

My approach was to showcase each capabilities as filters for user to choose and sort work samples from. I developed a system to simplify about page and list awards in more modern way yet easy to follow. Also, revamp the look of the Case Studies page to make it more cohesive with the rest of the page.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 34

cf napa web redesign

Pg._ 35

in addition • Selected Works of Teddy Kurniawan

Pg._ 36

cf napa web redesign

Pg._ 37

in addition • Selected Works of Teddy Kurniawan

Pg._ 38

cf napa web redesign

Pg._ 39

in addition • Selected Works of Teddy Kurniawan

Pg._ 40

cf napa web redesign

Pg._ 41

in addition • Selected Works of Teddy Kurniawan

Pg._ 42

cf napa web redesign

Pg._ 43

06 I. / SCR EEN /

GANDONA WINERY WEBSITE

/ sit em a p /

in addition • Selected Works of Teddy Kurniawan

Pg._ 44

gandona winery

project background_ The challenge of the project was to design a new website for Gandona Winery with the intention of user-friendly, ease of navigation, represent overall brand aesthetic.

Our approach was to utilize full-bleed beautiful photography of their property and products, more structured contents as well as responsive back-end for better user experience.

Designed at CFNapa Brand Design.

Pg._ 45

in addition • Selected Works of Teddy Kurniawan

Pg._ 46

gandona winery

Pg._ 47

07 I. / SCR EEN /

BODEGA 202 WEBSITE

/ sit em a p /

in addition • Selected Works of Teddy Kurniawan

Pg._ 48

bodega 202 winery

project background_ The challenge of the project was to design a new website for Bodega 202 winery that incorporate their family story as well as showcasing their process and products.

Our approach was to implement a drone video of the valley where their property is located as a homepage with a welcome message.

Organized pages in more fluid layout throughout the site and make it user and responsive friendly.

Designed at CFNapa Brand Design.

Pg._ 49

in addition • Selected Works of Teddy Kurniawan

Pg._ 50

bodega 202 winery

Pg._ 51

08 I. / SCR EEN /

FL AUNT WINE COMPANY WEBSITE project background_ The project objective was to design a new website for a new sparkling wine brand called Flaunt. The goal was to reflect and expand the brand through its roots, process and packaging.

The website consists 5 main pages with an e-commerce store for user to buy the product directly.

Designed at CFNapa Brand Design.

/ sit em a p /

in addition • Selected Works of Teddy Kurniawan

Pg._ 52

flaunt wine co.

Pg._ 53

in addition • Selected Works of Teddy Kurniawan

Pg._ 54

flaunt wine co.

Pg._ 55

in addition • Selected Works of Teddy Kurniawan

Pg._ 56

roots run deep winery

09 I. / SCR EEN /

ROOTS RUN DEEP WEBSITE

project background_ The challenge of the project was to refresh an existing website of the winery, make it more structured and responsive friendly.

My idea was to showcase their products as a rotating slides in the homepage. While maintaining the consistent style throughout the sites, I developed a system for their product detail and wine club details without leaving each pages so it’s easier for user to go back to the previous page.

Designed at CFNapa Brand Design.

/ sit em a p /

Pg._ 57

in addition • Selected Works of Teddy Kurniawan

Pg._ 58

roots run deep winery

Pg._ 59

in addition • Selected Works of Teddy Kurniawan

Pg._ 60

roots run deep winery

Pg._ 61

in addition • Selected Works of Teddy Kurniawan

Pg._ 62

II

TANGIBLE _

Pg._ 63

10

II. / TANGIBLE /

LONG ROAD DISTILLERS REDESIGN

project background_ The objective of the project was to redesign an existing brand to reinforce the authenticity behind the product and communicate “craft” quality and feel.

Our approach was to create a unique diecut that specifically tied to the identity of the brand combined with more contemporary type and detailed information.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 64

Pg._ 65

in addition • Selected Works of Teddy Kurniawan

Pg._ 66

long road distillers

Pg._ 67

in addition • Selected Works of Teddy Kurniawan

Pg._ 68

Pg._ 69

in addition • Selected Works of Teddy Kurniawan

Pg._ 70

long road distillers

Pg._ 71

in addition • Selected Works of Teddy Kurniawan

Pg._ 72

long road distillers

Pg._ 73

in addition • Selected Works of Teddy Kurniawan

Pg._ 74

forbidden fruit cider

11

II. / TANGIBLE /

FORBIDDEN FRUIT CIDER

project background_ The objective of the project was to develop a packaging that positions the brand as a premium craft hard cider that can compete in local, regional and potentially national market.

Our approach was to make a unique diecut shape of the label combined with hand-done type and illustration to tie back to the handcrafted look yet still have the premium feel.

Designed at CFNapa Brand Design.

Pg._ 75

in addition • Selected Works of Teddy Kurniawan

Pg._ 76

forbidden fruit cider

Pg._ 77

in addition • Selected Works of Teddy Kurniawan

Pg._ 78

forbidden fruit cider

Pg._ 79

in addition • Selected Works of Teddy Kurniawan

Pg._ 80

forbidden fruit cider

Pg._ 81

12

II. / TANGIBLE /

L A CROSSE DISTILLING CO.

project background_ The challenge of the project was to develop a distillery brand that will have local, agrarian and heartland feel as well as farm-tobottle.

Our approach was developing two sub-brands that will distributed in the market and on-premise only. The distributed sub-brand was called Fieldnotes and it’s endorsed using the brand logo as part of the design.

The in-house sub-brand leveraged a custom bottle and elevated the brand to look more crafted and give limited edition feeling.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 82

Pg._ 83

in addition • Selected Works of Teddy Kurniawan

Pg._ 84

la crosse distilling co.

Pg._ 85

in addition • Selected Works of Teddy Kurniawan

Pg._ 86

la crosse distilling co.

Pg._ 87

in addition • Selected Works of Teddy Kurniawan

Pg._ 88

la crosse distilling co.

Pg._ 89

in addition • Selected Works of Teddy Kurniawan

Pg._ 90

la crosse in-house rye whiskey

Pg._ 91

in addition • Selected Works of Teddy Kurniawan

Pg._ 92

la crosse in-house rye whiskey

Pg._ 93

in addition • Selected Works of Teddy Kurniawan

Pg._ 94

la crosse in-house rye whiskey

Pg._ 95

in addition • Selected Works of Teddy Kurniawan

Pg._ 96

la crosse in-house rye whiskey

Pg._ 97

in addition • Selected Works of Teddy Kurniawan

Pg._ 98

american fifth spirits

13

II. / TANGIBLE /

AMERICAN FIFTH SPIRITS

project background_ The objective of the project was to redesign the line from a house of brands to a branded house and leverage the Art Deco influence and give an American “spin” to to the brand. In addition, the brand needs to appear “craft” and recognizable as American Fifth regardless of the type.

Our approach was to create a unique dieline that ties only to the Art Deco elements that the distillery has in their tasting room.

Using colors to differentiate the SKUs as well as the liquid color.

Designed at CFNapa Brand Design.

Pg._ 99

in addition • Selected Works of Teddy Kurniawan

Pg._ 100

american fifth spirits

Pg._ 101

in addition • Selected Works of Teddy Kurniawan

Pg._ 102

american fifth spirits

Pg._ 103

in addition • Selected Works of Teddy Kurniawan

Pg._ 104

american fifth spirits

Pg._ 105

14

II. / TANGIBLE /

BACKHOUSE WINE REDESIGN

project background_ The objective of the project was to redesign an existing wine brand to be more premium and luxury in look. The strategy from the client was to move the brand to become more on-premise.

Our approach was to make the label more of a handcrafted illustration combined with contemporary classic typography.

The idea was to let the illustration as the art piece of the brand.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 106

backhouse wine redesign

Pg._ 107

in addition • Selected Works of Teddy Kurniawan

Pg._ 108

backhouse wine redesign

Pg._ 109

in addition • Selected Works of Teddy Kurniawan

Pg._ 110

fronter a wine holiday edition

15

II. / TANGIBLE /

FRONTER A WINE HOLIDAY EDITION project background_ The objective of the project was to design a limited edition of a wine that is released for the Holiday Season. My idea was to treat the bottle as a giant snow globe and using the screenprint technique to make the bottle look like one of a kind but still on point with the brand personality.

Designed at CFNapa Brand Design.

Pg._ 111

16

II. / TANGIBLE /

CL ARICE WINE CO.

project background_ The challenge of the project was to design a new Pinot Noir brand with custom bottle fit to the brand. The brand is called Clarice based on the name of the family member of the owner. The client wanted to use this brand to share knowledge and experiences with fellow wine lovers and learn more about wine in an in-depth manner.

Our approach was to come up with an icon or monogram that speaks to the identity of the brand as a signature on the bottle and designed a label that looks classic yet contemporary for the wine lovers to appreciate.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 112

clarice wine co.

Pg._ 113

in addition • Selected Works of Teddy Kurniawan

Pg._ 114

clarice wine co.

Pg._ 115

in addition • Selected Works of Teddy Kurniawan

Pg._ 116

clarice wine co.

Pg._ 117

17

II. / TANGIBLE /

OUTCAST WINES REDESIGN

project background_ The challenge of the project was to redesign an existing brand to improve quality perception, to create a look, touch and feel that has weight that conveys a positive energy. The brand had a low quality perception before and wanted to change the strategy to be more premium and serious without losing presentation or impression impact and disruptive personality.

Our approach was to differentiate the tier into three price point and personality. Using paper label with a diecut technique to screenprinting method, while maintaining one main element throughout the tiers and communicating a hidden message in the illustration of the highest tier.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 118

outcast wine redesign

Pg._ 119

in addition • Selected Works of Teddy Kurniawan

Pg._ 120

outcast wine redesign

Pg._ 121

in addition • Selected Works of Teddy Kurniawan

Pg._ 122

outcast wine redesign

Pg._ 123

in addition • Selected Works of Teddy Kurniawan

Pg._ 124

outcast wine redesign

Pg._ 125

in addition • Selected Works of Teddy Kurniawan

Pg._ 126

h ahn wine redesign

18

II. / TANGIBLE /

H AHN WINE REDESIGN

project background_ The objective of the project was to redesign an existing brand to improve quality cues; continue to make the brand feel premium and increase sophistication. The look and feel of the brand needs to be conservative contemporary, modern with purpose and pesonality. Also, to command shelf presence via authenticity and strong quality cues of the brand.

Our approach was to elevate the founder’s signature as a signoff and centering the elements while cleaning up the wordmark and icon to look more premium.

Designed at CFNapa Brand Design.

Pg._ 127

in addition • Selected Works of Teddy Kurniawan

Pg._ 128

h ahn wine redesign

Pg._ 129

19

II. / TANGIBLE /

RIVER ROAD WINES

project background_ The objective of the project was to redesign an existing wine brand to make it more premium and elevate the brand perception to be more sophisticated while using the same shape dieline.

Our approach was to introduce script fonts as the sub-brand differentiator combined with more contemporary typefaces. In addition, keeping the capsule more unified and using a better bottle brought the brand to the more premium level.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 130

road river wines

Pg._ 131

in addition • Selected Works of Teddy Kurniawan

Pg._ 132

road river wines

Pg._ 133

in addition • Selected Works of Teddy Kurniawan

Pg._ 134

voodoo wine

20 II. / TANGIBLE /

VOODOO WINE

project background_ The objective of the project was to create a new premium brand named Voodoo. While the name speaks for more mysterius quality, the client wanted to keep the brand strategy to be more about quality.

We came up with icon treatment that speaks for the name but still maintaining the premium quality of the brand. Using unique dieline throughout the SKUs to show the craft feel of the brand.

Designed at CFNapa Brand Design.

Pg._ 135

in addition • Selected Works of Teddy Kurniawan

Pg._ 136

voodoo wine

Pg._ 137

in addition • Selected Works of Teddy Kurniawan

Pg._ 138

voodoo wine

Pg._ 139

21

II. / TANGIBLE /

VALLE BRUT SPARKLING WINE project background_ The objective of the project was to redesign an existing sparkling wine brand based in Merced, California to maintain the art and look and feel of being authentic to the area and California culture.

Our approach was to keep the craft feel of the label to represent the agriculture quality of the brand. Also, cleaning up the artwork and adding colors to it without moving too far from its authenticity to the farming culture of the area.

Designed at CFNapa Brand Design.

in addition • Selected Works of Teddy Kurniawan

Pg._ 140

valle brut sparkling wine

Pg._ 141

in addition • Selected Works of Teddy Kurniawan

Pg._ 142

valle brut sparkling wine

Pg._ 143

in addition • Selected Works of Teddy Kurniawan

Pg._ 144

montoya wine

22 II. / TANGIBLE /

MONTOYA WINE REDESIGN

project background_ The objective of the project was to redesign an existing brand and to unify the brand to be more cohesive between the SKUs and look more premium for the price point.

Our approach was to introduce illustrations that serve as art of the label which speaks for the botanicals that are found in the Monterey area while keeping the label clean and classic.

Designed at CFNapa Brand Design.

Pg._ 145

in addition • Selected Works of Teddy Kurniawan

Pg._ 146

montoya wine

Pg._ 147

in addition • Selected Works of Teddy Kurniawan

Pg._ 148

montoya wine

Pg._ 149

in addition • Selected Works of Teddy Kurniawan

Pg._ 150

III

M ARKS & ICONS _

Pg._ 151

in addition • Selected Works of Teddy Kurniawan

Pg._ 152

m arks & icons

Pg._ 153

in addition • Selected Works of Teddy Kurniawan

Pg._ 154

m arks & icons

Pg._ 155

in addition • Selected Works of Teddy Kurniawan

Pg._ 156

m arks & icons

Pg._ 157

in addition • Selected Works of Teddy Kurniawan

Pg._ 158

IV

ACADEMIC _

Pg._ 159

in addition • Selected Works of Teddy Kurniawan

Pg._ 160

univers formula guide

23 IV. / ACADEMIC /

UNIVERS FOR MUL A GUIDE

project background_ The Universe is essentially like a giant scale that sometimes it tips a little bit to the left and 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.

There’s a definite rhythm and balance in the Universe; the way we breathe, the way our heart beats, the way planets orbit around the stars. The objective of the project is to design a tribute card set that reflects typographic rules that will be sold in the MoMA.

Pg._ 161

in addition • Selected Works of Teddy Kurniawan

Pg._ 162

univers formula guide

Pg._ 163

in addition • Selected Works of Teddy Kurniawan

Pg._ 164

univers formula guide

thought process 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 reflects 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.

Pg._ 165

in addition • Selected Works of Teddy Kurniawan

Pg._ 166

univers formula guide

Pg._ 167

in addition • Selected Works of Teddy Kurniawan

Pg._ 168

visual illusion t ype book

24 IV. / ACADEMIC /

VISUAL ILLUSION T YPE BOOK project background_ 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 create a promotional book with the concept of visual illusion. Just like visual illusions, we usually overlook the beauty of typefaces and the thought that the designer has to put into them to create such harmonious letters. Therefore, this visual illusion book was created based on the matching formula HF&J type foundry that complements one typeface to another.

Pg._ 169

i i i iii i i

iiiii iiii iiii iii

nt eeper i kd

o

ii

iiiii

iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ii iiiiiiiiiiiiiii

iiiiiiiiiiiiiiiiiiiiiiiiiii

i i i i i i iii

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii iiiii iii ii i ii

iiii ii ii iiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii ii ii i i i i iiiii iiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiii iiiii iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

i iii iiii iiiiiiiiiiiiiiiii ii i iii iii iii iiiiii iiiiiiiii iiiiiii iiii

i iiiiii iiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii ii i iiiii iiiiii iiiiii iiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiii iiiii iiiii iiii ii

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

i

tics o

ion

logy

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

→ mind → behavio

ur → pe

symmettry

→ as ym

op le

me

→

try

V

ern al

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

ad

f o p

s o

i iii iiii iiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii i i i i iiiiiiiiii i i i

ii

e o

llus

cho

sm

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

iiiiiiii iiii iii i i

ii

e n t s ngem

rstanding → human → unde fee ling → int

i iii iii iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii iiii ii iiiiiii iiii iii i ii i ii i iiii iiiiiii

iiiiiii

i i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ii iii iiiii

g

nc

i s → ck psy

v in

se →

i

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii iiii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

ec

ei

→

ge

om

et

→ m ake

i

iii i iii ii

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii i i i i i i iiiiiiiii iiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii ii

ii i i i ii ii iiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ii iii

iiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i i i i i iiiiiiiiii iiiii iiii iiii iiiii iiiiiiiiii

iiiii

d

iiiiiii iiii ii ii iiiii iii iii iiii iiii ii

s

lo

iiiiiii

arra

gn

c ysi ph

iiiii iii i

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii

Sen

m the eanin

iiiiii

→

o

iiiiiiiii iiiiiiiiiiiiiiiii iiiiii iiiiiii iiiiii

rts

iiiiiiiiiiii

iiiiiiiiiiiiii

pa

i iiii

→

→

i iiiii iiiiiii i iiii iiiii

i iiiiii ii

iiiiiiiiiiiiiiiiiii

iiiiiii iiiii iiiii iiiiii iiiiii iiiii

gic

i iiii iiiii iiiiiii iiiiiiiiii

somet hi

ma

ric

i iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiii iiiiii iiii ii ii iiiiii iiiiii iiii ii iiiii iiiiii iiiiiiiiiiiiiiiiiiiiiiiiii iii i

of

on titi

create → plan → prod uce

ii iiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii iii

g

ks →

ic

tric

opt

etic → figures rithm

i iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii iii ii iiii iiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiii iiiii ii

ii iiiiii iiiiiiiiiiiiiiiiiiiiiiii

Illusion →

ual → study of

ie

a rs →

ii iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii i

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiii iiii

sc

divis

ion

→

ma th

i iii ii i i iii i i iiiiiiiiiiiiiiiiii i i iiii i ii iii i i ii ii iii iiiii iiiiiiiiiii iiii ii iii ii iiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiii iiiiii iii

ea → vis

the

vision → look → t est → tr i

. 2. Relat ed to

e mb nu

iiiii ii iiiiiiiiiiiiiiii iiiii ii i

iii ii ii ii iiiiiiiiiiiiiiiiiiiiii iiiii iii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iii iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii i i i i

iiiiiiiiiii

ii

e

corn

sion

pe

→

iiiiiiiiiiiiiiiiiiiii

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iii

ctiv

r v i

OPTIC

i i ii iiii iii ii iiiiiiiiiiiiii ii iiii iiiii iiiiiii iiiiiii iiiiiiiiiiiiiii

i i i iiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiii iiiiiiii iiiii iiii iiiiiiii iiiii iii iii i i iiiii iiiii iiiii iii iiiiiiiiiiiiiiiiiiiiiiiiiiii iiii ii

→

pe

e

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

i iii

on

tina,

th

ers

d to

m

re

1. Relate

ca

ii ii iiii iiiiiiiiiiiiiiiiiiii

target → accuracy

ati

of

i iiiii iiiii iiiiiiiiiiiiii

h t →

n]

mi n

dy

i iii iiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii iii

S ig ou

Illu

stu

i iii iiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiii iii i ii i ii i ii i i i i ii i i i ii iiiiii i i i iiii i i iii iii i ii

Light →

a →

ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

ep

mer

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

iii ii i ii ii iii iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i iii iiiiiiiii iiiiiiiiiiiiiiiiiiiii iiiiiii iiiii iii ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ages → capture → ca

e o

hy th m

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

ment → equilib rrange ri u m → r

struc

→ a

m →

ony

GEOMETRIC

→ im

ey

rm

for

h a

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.

e →

e →

07/09 The word optic came from the idea behind verlag typeface design

nc

ture

P

ala

pic

e →

→ b

de →

e →

Ey

try

se

a

s y m me

l →

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

ii iiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiii iii

form

a isu

er

st

ake

ap

definition

t t → ru c

sh

→ co n

iiii iiiiiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i i i i i i i iiii iiiii iiiiii iiiiiiiiiiiiiiiii iiiiiiii i

t always w

appear to

s w ha t t

he

y

ha

w

gs

ay

thin

what you

no

ar

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

ER

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 l t o ea w lve tly t e to ut In su bje ran ord d in o o an it is ch ne e d t ct ce w ca to ap of ill b he p of rror iffic ad se th pe a c e l re o ult s n va ars olo eft sen e m f ju in s eit nta ta o dg o la re to he ge rg d o th tion st c me me r th in er b e p s o ontr nt case e v th th jec sy b e p isu an t v ch 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 b r th je de ut it nse ion tio he c ec ct ra a ep ge a s n e i of bly app re n in p of ause 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 ca y ira ot are ud r ev ns. is n r be f st nti on a ses o F ge du v ien en o a o f ra e s ast ce so lat t pe orm ting n on gre f err are rc u ys tric ly e in d t o t e is of tly n its ast as eiv late he fi he a n ba rs o lig to tert im ro m ed d. n u ck f ht e ain a us ay as Ge al w tho gro judg g rr co a r’ u m ors o ing, inati that pp infin nera ord b s p nd men ing f u art is t. e o it th ll 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 ac ea o iv e 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 e ro t s e e e ye in r c io are te us, d to f oun n o rical ar 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 eir o on he e s tic a fl s ess e al ta usu f th th m kil a o d. tt n le il e al ese vie agic d a lus ene din f pe stra are w rc ian rtis ion d v g t p ep s t h igh th oin a au han o t-li e m t. I as e r art re s lt. T wh tion . ne ir nc mp is h o e m en i n a co g ide lo an urs e an nta yed . Th ume 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.

iiiiiiiiiiiiiiiiiiiiiiiiii

se e

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii iii i i i ii i

is

ge t

P179U

. be

P3285U

u yo

P180U

t

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

AL

L

O

LE

RS

R PA

RO G

AR

D

UL

R ST

isc

d

ct,

fa

In

K10

RGB

DISTANCE AND SIZE PERCEPTION

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. ///////

in addition • Selected Works of Teddy Kurniawan

Pg._ 170

T

M25

S

Y25

EN

IP

C15

EM

It i

G

JU

AN

F

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.

verlag | v verlag | v verlag | ver verlag | verla verlag | verlag | verlag | verlag verlag | ve verlag | ve verlag | v verlag | ve verlag | verl verlag | verla verlag | verlag verlag | verla verlag | verl verlag | ve verlag | verlag | ve verlag | ver verlag | verlag verlag | verlag verlag | verla verlag | verl verlag | ve verlag |

visual illusion t ype book

iiiiii

iii ii iii

object consistencies

→

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.

i

i

iiii ii iiiiiiii

ii

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.

iiiiiiiiiii iiiiiiii iiiiiiiii

iii iii i iiiiiiiiiiiiiiii iii

i iiiiiii i i iiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i

iiiii

ii i iiii iiiii i iiiiiiiiiiiiiiiiiiiiiiiiiii iiiii iiiiiii iiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii

iiiiiiiiiiiiiiiiii iii iiiii ii ii iiii i

future perceptions

08/10

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

+ 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 + + + + + ture a spare eye in case one is damaged. Second, it gives a periphery into a region where sensation ceases. It might be tiresome + wider field of view. For example, a human has a horizontal + + + + + to follow detailed analyses of the many modes by which visual per+ + + + + field of view of approximately 180 degrees with two eyes but ception is attained, so only a few generalizations will be presented. + only 150 degrees with one. Third, it gives binocular summa+ + + + + For 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 accomaxes meet on the object looked at and the images of the object fall + panied by singleness of vision or binocular fusion, in which + + + + + 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 + + + + + holding a finger before the eyes and looking at a point beyond it. The third dimension of space and of objects and other aspects + + + + + + + + + + + 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. elis 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 + + + + + 6. cast shadows; 7. perspective; 8. variation of the visor angle points in the two visual fields is not so simple. It is + 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 + + + + combined in almost an infinite variety of proportions.Wundt in his attempt “paired” as the result of experience. The one view + 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. + + + + + + + + + + + + + + + + + + + + + +

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

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

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

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

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

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

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

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

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

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

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 comparison with an object of supposedly known size. + + + + + + The measuring power of the eye is more liable to error when the + + or the + objects compared + distances lie+ in different+ directions. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

iiii

iiii iiiiiiiiiiiii i iiii ii i iiii i

iiiiii iiiii iii

the science of human's eyes

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

>>

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

y

appear to

. be

he

"

THE CENTRAL AUDITORY

thin

s w ha t t

door is opened and closed.

14pts

gs

ay

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

PERCEPTUAL ORGANIZATION

w

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

RIGHT VISION

e not a l

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.” ////

ar

verlag | verlag | verlag | verlag | verlag verlag | verlag | verlag verlag | verlag rlag | verlag | verlag |verlag | verlag ag | verlag | verlag |verlag | verlag | verlag | verlag | verlag | verlag g | verlag | verlag | verlag | verlag erlag | verlag | verlag verlag | verlag erlag | verlag | verlag |verlag | verlag verlag | verlag | verlag |verlag | verlag erlag | verlag | verlag | verlag | verlag lag | verlag | verlag | verlag | verlag ag | verlag | verlag verlag | verlag | verlag | verlag |verlag | verlag ag | verlag | verlag |verlag | verlag lag | verlag | verlag | verlag | verlag erlag | verlag | verlag | verlag | verlag verlag | verlag | verlag verlag | verlag erlag | verlag | verlag |verlag | verlag rlag | verlag | verlag |verlag | verlag g | verlag | verlag | verlag | verlag | verlag | verlag |verlag | verlag ag | verlag | verlag |verlag | verlag lag | verlag | verlag | verlag | verlag erlag | verlag | verlag | verlag | verlag verlag | verlag | verlag verlag | verlag

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

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 visual procertain physical, physiological, and psychological facts of light, color, and lighting. Furthermore, acquaintance with the

cess 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 include the physiological illusions of light and color such as after images, irradiation, and contrast, and the also 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 no simple the perception of space and the character of objects although motion is often included. It should be obvious that or even single theory can cover the vast range of optical illusions considered in the broad sense because there feasible in are so many different kinds of factors involved. For this reason explanations will be presented wherever 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 occasionally in some of the chapters understand some of the numerous interesting optical illusions. That the ancients sensed chapters which follow in order to indicate or to suggest a train of thought should the reader desire to attempt to the existence or possibility of carefully is indicated by the absence of true shading. The architecture of ancient Greece reveals optical illusions is evidenced by the fact that they tried to draw and to paint although their inability to observe a knowledge of certain attention of scientists until a comparatively recent period. Not with standing this belated attention there optical illusions in the efforts to over come them. However, the study of optical illusions did not engage the 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 literature pertaining to the multitudinous phases of the subject; however, most of it is fragmentary and complex optical have been few attempts to generalize and to group examples of typical phenomena in such a manner as to illusions are met but at present it would be futile to attempt to explain them in detail. Furthermore, there enable avarious arts and the prominence of optical illusions on every hand have not been especially treated. It is the hope that general reader to see the complex fabric as a whole. Finally, the occurrence and application of optical illusions in 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 in connection with specific optical illusions. optical illusions of the type considered in the foregoing restricted sense. Hypotheses vast range of optical illusions considered in the broad sense because there are so many different kinds of factors 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 conspicuous. In fact, mostproposed the principle of mechanical esthetic unity, according to which we unconsciously give to generally lacking in agreement, but for the special case of what might be more safely termed every space formmodified by this anthropomorphic attitude. For example, we regard the circle as being the result of the action theories are variants of these two systematic “explanations” of optical illusions (in the restricted sense). Lipps 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. 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.

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.

Pg._ 171

in addition • Selected Works of Teddy Kurniawan

Pg._ 172

visual illusion t ype book

Pg._ 173

in addition • Selected Works of Teddy Kurniawan

Pg._ 174

visual illusion t ype book

Pg._ 175

in addition • Selected Works of Teddy Kurniawan

Pg._ 176

visual illusion t ype book

Pg._ 177

in addition • Selected Works of Teddy Kurniawan

Pg._ 178

visual illusion t ype book

Pg._ 179

in addition • Selected Works of Teddy Kurniawan

Pg._ 180

r3 sneaker book

25 IV. / ACADEMIC /

R3 SNEAKER BOOK

project background_ This academic project was a process for designers to make a change in our consumption cycle with the hope of less waste. 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. In this project there were a couple of components: designing a book by examining an existing product’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.

Pg._ 181

in addition • Selected Works of Teddy Kurniawan

Pg._ 182

r3 sneaker book

Pg._ 183

in addition • Selected Works of Teddy Kurniawan

Pg._ 184

r3 sneaker book

Pg._ 185

specs_ Copyright © 2019 All rights reserved.

No part of this publication can be reproduced in any form without permission from Teddy Kurniawan.

De sign & Photogr a ph y_

Sof t wa r e _

Teddy Kurniawan, T&H Photography

Adobe CC

Con tac t Info _

fxteddyk@gmail.com +1 415 216 3100 Pr in t er & Bindery_

Blurb Stock _

C a mer a _

Nikon D5100, D750 T y peface s _

Calluna, Granjon, NeutraText, Eames Century Modern

Premium Matte, 100 # (148gsm)

in addition • Selected Works of Teddy Kurniawan

Pg._ 186

acknowledgement_

Thank you to all those who have supported me in my creative endeavors.

I want to dedicated this book to my beloved Dad; I know you’re watching me from up there. To my Mom, thank you for neverending-support. To my beloved friends and colleagues who always support me in everything I do, Thank you.

Pg._ 187

Copyright © 2 021 All rights reserved. f xteddyk@gmail.com • 415 216 3100 • designbyteddy.com