HYEON JEONG PARK
This red color is for the light of electronic scoreoard in baseball stadium.
The reason why I picked baseball for my portfolio concept is my favorite sport game. Whenever I watched games, I brought some valuable messeges away from baseball games. And, I thought the messeges can be relate with our life.
TA B L E OF CONTENTS
[Table of Contents]
st
- Player Introduction
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- ‘Everywear’ Logo - ‘Human Cloning’ Visual Rhetoric
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‘Setisictus’ Typeface & Brochure ‘Massimo Vignelli’ Zine
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- ‘Ethan Coen’ Book Series - ‘Georgia’ typeface Poster Series - ‘Georgia’ typeface Patterns
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- ‘David Bowie’ Magazine - visual literacy
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GAME START!
PLAYER INTRODUCTION
[1st INNING]
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[PLAYER INTRODUCTION]
HYEON JEONG PARK Pronunciation: hee-YUHN jee-YUNG Park Born: 12/26/1991 in Gimcheon, South Korea Player number: 1408585 Belong to: SVA, School of Visual Arts Manager: Richard Wilde Coaches: Scott Buschkuhl Michael Sainato John Ruggeri
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What happens at the beginning might have no relevance at the end.
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[3rd INNING]
EVERYWEAR LOGO
[EVERYWEAR]
This project is about producing a company related to a chosen classmate’s interests. The company that I produced ‘EVERYWEAR’ is an ordinary clothes company. The logo is inspired by ordinary clothes and accessaries such as shirts, pants, shoes, hat, ect. So, the meaning of company is Everyone wear everywhere comfortably. The target client is all ages.
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MEDIUM
INSTRUCTOR
Brand Identity
Scott Buschkuhl
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[3rd INNING]
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[EVERYWEAR]
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[3rd INNING]
Process
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[EVERYWEAR]
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[3rd INNING]
[EVERYWEAR]
[3rd INNING]
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[EVERYWEAR]
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[3rd INNING]
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[EVERYWEAR]
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[3rd INNING]
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[EVERYWEAR]
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[3rd INNING]
HUMAN CLONING VISUAL RHETERIC
[HUMAN CLONING]
This project is to create a poster that visually summarized and analyzes the complex idea, theory, or extended narrative of your chosen theme.
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MEDIUM
INSTRUCTOR
Poster
Scott Buschkuhl
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C L O N I N G
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www.humancloning.org
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[3rd INNING]
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[HUMAN CLONING]
Human cloning is the creation of a genetically identical copy of a human. The term is generally used to refer to artificial human cloning, which is the reproduction of human cells and tissue. It does not refer to the natural conception and delivery
of identical twins. The possibility of human
cloning has raised controversies. These ethical concerns have prompted several nations to pass
laws regarding human cloning and its legality.
Process
Human http://www.humancloning.org humancloning@humancloning.com
Cloning
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[3rd INNING]
http://www.humancloning.org humancloning@humancloning.com Human cloning is the creation of a genetically identical copy of a human. The term is generally used to refer to artificial human cloning, which is the reproduction of human cells and tissue. It does not refer to the natural conception and delivery of identical twins. The possibility of human cloning has raised controversies. These ethical concerns have prompted several nations to pass laws regarding human cloning and its legality.
Human
Cloning
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Human cloning is the creation of a genetically identical copy of a human. The term is generally used to refer to artificial human cloning, which is the reproduction of human cells and tissue. It does not refer to the natural conception and delivery
of identical twins. The possibility of human
cloning has raised controversies. These ethical concerns have prompted several nations to pass
laws regarding human cloning and its legality.
Human http://www.humancloning.org humancloning@humancloning.com
Cloning
[HUMAN CLONING]
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[3rd INNING]
[HUMAN CLONING]
Final work
EVEN THE BEST ACHIEVERS FAIL – A LOT.
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[5th INNING]
SETISICTUS TYPEFACE & BROCHURE
[SETISICTUS]
This project is about producing own typeface. The name ‘Setisictus’ is from mixing two Latin words which are ‘Setis’ and ‘Ictus’. The meaning is ‘Brushstroke’. The structure of this typeface is inspired by Korean Calligraphy, and the main structure of the typeface is based on Sans Serif typeface. As adding the style of Korean Calligraphy, it has a kind of traditional mood. Also, the reason of Sans Serif typeface, which is the main structure of the typeface, it looks very neat and classy.
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MEDIUM
INSTRUCTOR
Typeface Design
Digital
Michael Sainato
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[5th INNING]
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[SETISICTUS]
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F
[5th INNING]
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M
O
[SETISICTUS]
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[5th INNING]
Progress
[SETISICTUS]
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[5th INNING]
[SETISICTUS]
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[5th INNING]
Numbers
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[SETISICTUS]
[5th INNING]
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[SETISICTUS]
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[5th INNING]
[SETISICTUS]
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[5th INNING]
MASSIMO VIGNELLI ZINE
[ZINE]
This Zine project is used five essential typefaces that Bodoni, Helvetica, Times New Roman, Century, and Futura. The structure is based on Massimo Vignelli’s famous styles such as unigrid.
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MEDIUM
INSTRUCTOR
Zine
Scott Buschkuhl
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[5th INNING]
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[ZINE]
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[ZINE]
“A designer should use only these five typefaces : Bodoni, Helvetica, Times Roman, Century and Futura.� - Massimo Vignelli -
BODONI
1790 Giambattista Bodoni Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville — increased stroke contrast reflecting developing printing technology and a more vertical axis — but he took t hem to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
HELVETICA
1957 Max Miedinger
Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann. Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of Münchenstein, Switzerland, its release was planned to match a trend: a resurgence of interest in turn of the century grotesque typefaces among European graphic designers that also saw the release of Univers by Adrian Frutiger the same year. Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer.
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[ZINE]
TIMES ROMAN
1932 Vector Lardent
Times Roman is a serif t ypeface commissioned by the British newspaper The Times i n 1931 and c reated b y Victor Lardent in collaboration with the British branch of the printing equipment company Monotype. Although n o longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and a s a standard computer font, it has become one of the most widely used typefaces in history. Times Roman's creation took p lace through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser t o the Times, w ho recommended that they change typeface from the spindly and somewhat dated nineteenth-centuryDidone typeface previously used to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. T his matched a common trend in printing of the period.
FUTURA
1927 Paul Friedrich August Renner Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfu rt project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922.
CENTURY
1894 Linn Boys Beyd Benton
Century is a family of serif type faces particularlyintended for body text. The family originates from a first design, Century Roman cut by American Type Founders designer Linn Boyd Benton in 1894 for master printer Theodore Low De Vinne, for use in his Century magazine. ATF rapidly expanded it into a very large family, first by Linn Boyd and later by his son Morris.
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[5th INNING]
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[ZINE]
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[5th INNING]
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it’s a team sport with people of muliple specialties coming together.
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[7th INNING]
ETHAN COEN BOOK COVER SERIES
[ETHAN COEN]
A series of three book covers. The stories came from the assigned Ethan Coen short stories, and was chosen of all fifteen stories. This series are including photographic, typographic, and graphic.
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MEDIUM
INSTRUCTOR
Book Cover Design
Scott Buschkuhl
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[7th INNING]
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[ETHAN COEN]
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[7th INNING]
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[ETHAN COEN]
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[7th INNING]
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[ETHAN COEN]
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[7th INNING]
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[ETHAN COEN]
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[7th INNING]
gEORGIA TYPEFACE POSTERS
[GEORGIA POSTERS]
This is a project to know about chosen typeface. My typeface is ‘Georgia’. Before making these posters, I researched about all which is related to the typeface. The posters were made as being based on the progress. The 4 black and white posters using the typeface I was assigned were made first, then color versions were made later. As doing this project, I could learn about what Georgia typeface is, and moreover, I could know the difference between black and white version and color version posters.
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MEDIUM
INSTRUCTOR
Poster
Michael Sainato
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[7 INNING] [7th INNING]
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[GEORGIA POSTERS]
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[7th INNING]
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[GEORGIA POSTERS]
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0123456789
abcdefghijklmnopqrstuvwxyz `~!@#$%^&*()-_=+[]{}\|;:‘’“”,./<>?
ABCDEFGHIJKLM NOPQRSTUVWXYZ
1993
It was intened as a serif font that would appear elegant but legible printed small or on low-resolution screens.
Matthew Carter.
is a serif typeface designed in 1993 by
Georgia
[7th INNING]
gEORGIA TYPEFACE pATTERNS
[GEORGIA PATTERNS]
As developing previous work which is â&#x20AC;&#x2DC;Georgiaâ&#x20AC;&#x2122; typeface posters, this project is making 2 posters of the patterns that I created with the letters. This project also has 2 version which are black and white and color. Before creating posters, I tried to make a pattern as using each letter. Then, as putting them together, I made those 2 pattern posters. For color version, I tried to make the mood as similar as the posters, which I made before, are.
SECTION
MEDIUM
INSTRUCTOR
Pattern
Michael Sainato
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i
i i i
i i i
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i ii ii ii
i ii ii ii
i ii
i ii ii ii i i i
ii i i i i
ii ii ii
ii ii ii i i i i i i i i i i i i ii ii ii i i i i i i i i i i i i ii ii ii i i i i i i i i i i i i
ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii
[7th INNING]
i
f
K
K
f f f f f f
KKK KKK KKK
KKK KKK KKK
K
f
f
f f f f f f
f
f f f
g
a
ggg
a a
ggg ggg ggg ggg ggg ggg ggg ggg ggg
a a a a a a
ggg ggg ggg
f f f
g g g
f f f
f f f
a a a a a a
g g g g g g g g g g g g g g g g g g g g g g g g g g g
a a
f f f
f f f f
K
a a a a a a
f f f
KKK KKK KKK
KKK KKK KKK
a a a a a a
f f f
g
a a a a a a
a a a a a a
[GEORGIA PATTERNS]
ggg ggg ggg
g
K
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j j
j j
jj j jj j jj j
j
jj j jj j jj j jj jj jj
jj jj jj
j j j
j j j
[7th INNING]
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c c cc
c A
c
A
y
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c c c c c c c c c
A A A A A A A A A
yy yy yy
L
LL L LL L LL L
yy yy yy
LL L
yyy
cccc
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cccc cccc cccc cccc cccc cccc cccc cccc cccc LL L LL L LL L
yyy yyy yyy yyy yyy yyy
L LL
c c c c cc ccc ccc c c c c cc ccc ccc c c c c cc ccc ccc
A A A A A A A A A
A
A
L LL L LL L LL
c c ccc ccc ccc ccc cc cc c cc A A A A A A A A A
L LL L LL L LL
c ccc ccc cc yy
L LL L LL L LL
LL L LL L LL L
[GEORGIA PATTERNS]
yy yy yy
yy yy yy
y
A A A A A A A A A
A
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a ja j a ja j a
ja j a ja j a ja j
ja j a ja j a ja j a ja j a ja j a
a ja j a ja j a
ja j a ja j a ja j
ja j a ja j a ja j a ja j a ja j a
a ja j a ja j a
ja j a ja j a ja j
ja j a ja j a ja j
a ja j a ja j a
[7th INNING]
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ja a ja a ja
j j a ja j a ja j
a ja j a ja j
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j j a ja j a ja j
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j j a ja j a ja j j j a ja j a ja j a ja j a ja j
a ja j a ja j
j j a ja j a ja j [GEORGIA PATTERNS]
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a ja a ja
if ii i f fi ii i f y y y y i yy i i i i i i i f f ii i f f i y y y y ifi ii ii f fii ii ii f yyy i yyy i i i i i ii ii i i i
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fii i
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f i f ii f i
fii ii ii f
fii ii iif
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fii ii iif
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fii ii ii f
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fii i
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IT CONTAINS ANOMALIES.
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[9th INNING]
david bowie magazine
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[DAVID BOWIE]
This project is about making magazine spreads to resemble a magazine of my choice. The magazine is ‘CHERRY BOMBE’, which is about empowered women and food.
SECTION
MEDIUM
INSTRUCTOR
Magazine
Michael Sainato
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[9th INNING]
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[DAVID BOWIE]
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RECIPE for DISASTER: A SHEPHERD’S PIE for DAVID BOWIE by Meredith Graves
It feels sacrilegious to write about anything this week other than David Bowie’s surprising and untimely passing. Amidst an avalanche of praise for his very recent release, Blackstar, and just days after celebrating his 69th birthday, Bowie passed away quietly sometime in the middle of the night while most of us were sleeping. Then the world learned he’d been dying of cancer for eighteen months; he’d kept it from Brian Eno, from Iggy Pop, from me and you. That morning we would all reread the lyrics to “Lazarus” with a heavy heart, re-watch his final music video with new eyes, and learn that a “black star” is actually a malicious type of cancerous lesion. Look closely, it’s all there. And now, he’s not. Bowie is as the many-faced god — gender blender, dance floor prince/ss, aesthetic icon, film star, father, controversy. Now he is Bowie the dead, whose last moves were made deliberately in the spirit of keeping his fans safe. He encoded the terrible news in a language we learned from him in the first place, that of not saying everything right away or all at once, of being quieter and braver than you seem. He did all this — arguably the most important gesture of his entire career, one that will inevitably be recorded as one of the greatest moments in music history — for us.
Seeing the music world’s collective response on social media shows that truly, his whole career was a gift. He saved so many people we love. Liberation takes many forms: sonic, sexual, religious. And now he is liberated. The freest man is finally free. Some is known of Bowie’s relationship to food, in addition to his much-mythologized Seventies diet of red bell peppers, milk, and cocaine. Shepherd’s pie was apparently Bowie’s favorite. He’d order it at restaurants and pubs when he was on tour and ask Iman to make it for him at home. Comfort food is this way — warm and familiar, sometimes a little heavy. Two people may cherish the same recipe but need it at different times, in response to different things. You can dance to “Modern Love,” you can cry to “Modern Love,” no matter where you are in the world. I have done both this week, including while I was making this. Thank you, David Bowie. You are awesome and we were so lucky to have you for as long as we did.
Ingredients: 2 big heads of garlic 3-4 medium potatoes (I like the red ones) 1/2-1c heavy cream/sour cream/ricotta cheese/ unsweetened Greek yogurt 1 medium yellow onion 2-3 carrots 3-4 medium-large winter root vegetables (sweet potatoes, beets, turnips, parsnips, what ever’s readily available)* Some sort of green vegetable (I’m using peas, but you could use brussels sprouts, sautéed greens, okra)* 2-3 cups of stock or broth Butter (preferably salted because seriously when has unsalted butter ever been good or fun or right) Salt, pepper *This is an extremely intuitive dish. Use whatever you have on hand. The goal is to make a stew with lots of different, fresh vegetables. Non-vegetarian versions of this dish are often made with lamb, but: no. If you want, add cubes of cooked lamb to the stew before layering it in the pan with the potatoes.
Directions: 1. Preheat the oven to 350. Cut the top 1/2” off heads of garlic so the cloves are sticking out. Put the garlic bulbs on a big piece of tinfoil, then drizzle them with a bunch of olive oil and a little salt and pepper. Wrap the tinfoil around the garlic bulbs and roast in the oven for 30-40 minutes. The garlic, when cooked, should be soft and smushy, and the heat will have made it a little sweet. 2. Boil a big-ass pot of water with a healthy pour of salt. Add cubed potatoes. Boil the potatoes until they’re soft, about 15 minutes. Drain and return to the pot. 3. Add half a cup of heavy cream (Note: you can substitute Greek yogurt, sour cream, or ricotta cheese, which is what I used), four tablespoons of butter, and your smashed roast garlic cloves. Stir to incorporate; add salt and pepper to taste. 4. In another big-ass pot, over moderate heat, sauté a chopped onion and a clove of garlic in butter until it all starts to turn sweaty and gold and translucent — maybe ten minutes. 5. Stir in the remaining vegetables. I used carrots, celery, turnips, a stray sweet potato I had sitting around, and peas. Add to this a tablespoon of chopped fresh thyme, or more if you really like thyme. 6. Stir in your broth and simmer, covered, until the vegetables start to get soft. Then uncover and boil until the veggies are all cooked through and there’s way less liquid in the pan. 7. Transfer the cooked veggies and whatever little juices remain into a pie pan or casserole dish. Top with a healthy amount of mashed potatoes. Broil for 5 minutes or until the top turns golden brown.
[9th INNING]
visual literacy
- A DOLLAR FOR YOUR THOUGHT - THE NEW YORK TIMES
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[VISUAL LITERACY]
In this class, there was a lot of different works, and because of that, I had a broad variety of experience from the course. Also, lots of works needed very basic skills such as hand drawing to do. The two works that I brought here is also used the basic skills. ‘A Dollar for Your Thought’ is only used water-based ink pen. The three are all bilateral symmetry. ‘The New York Times’ is that after reading the whole article of each, then it was painted one item each that I thought very important in the article.
SECTION
MEDIUM
INSTRUCTOR
A Dollar for Your Thought
Ink Pen (Hand Drawing)
Richard Wilde
The New York Times
Pencil, Oil pastel, Oil
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special thanks to
Richard wilde / visual literacy Scott Buschkuhl / Graphic Design Machael Sainato / Basic Type John Ruggeri / Drawing I am so thankful all professor, even all my classmates of each course. Because of all people who I met in classes, I could improve a lot. I was a student who knows nothing about what design is, but I could learn a lot from teachers and friends. Thank you for giving your ideas whenever we had critiques in classes. Thank you for pushing me to do hard works. It was a biggest present to learn from here with everyone to me.
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