Jieun Youn – Graphic Design Portfolio

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JIEUN YOUN GRAPHIC DESIGN PORTFOLIO


JIEUN YOUN 515.357.1257 yje511@gmail.com jieun-youn.squarespace.com

EDUCATION

DESIGN EXPERIENCE

Expected May 2016

Freelance Designer March 2013 – Present Hi-Cosmetic, Manna Church (MDTS), and Miss Dog, Republic of Korea Ames Korean United Methodist Church, Ames, Iowa Designing business card, brochure, logo, poster, weekly report, and blog

Art & English Teacher FTK English Korea, Pangyo, Republic of Korea

DESIGN SKILLS

NOTABLE EXHIBITION

001

Iowa State University (ISU), Ames, Iowa Bachelor of Fine Arts in Graphic Design

Adobe Photoshop Adobe Illustrator Adobe InDesign

Adobe Premiere Pro Sketch Up Cinema 4D

Exhibitor –Accordion Book of Paul Rand ISU Art/Design Annual Exhibition

February 2013 – June 2014

Microsoft Word Microsoft Excel Microsoft Powerpoint

November 2014


WORK EXPERIENCE

English Teacher March 2013 – December 2013 Wise Reader Academy, Yongin, Republic of Korea

Sales Person, Blog Editor August 2012 – January 2013 Samsung Mobile Shop, Yongin, Republic of Korea

Intern, Eumsung Campus May 2009 – April 2010 Global Vision Christian School (GVCS), Eumsung, Republic of Korea

LEADERSHIP EXPERIENCE

Praise Team Leader, Clerk, Bible Study Group Leader, Vice President Ames Korean United Methodist Church, Ames, Iowa

INTERNATIONAL EXPERIENCE

Missionary Trip, Philippines Volunteer, Global Vision Christian School Seniors Missionary Trip, Beijing, China Volunteer, Manna Methodist Church Missionary Trip, Japan Volunteer, Manna Methodist Church

2011 - 2015

2009 2006

2005

002


CONTENTS 003

RESUME

........................001

TABLE OF C O N T E N T S ................003

INFORMATION GRAPHICS Carbon Dioxide Emissions ........007

BOOK DESIGN Paul Rand Accordion Book .......011


BRANDING

ILLUSTRATION

Stella Jewerly ..........................021

“The Giving Tree” ....................045 Technical Illustration ................049

EDITORIAL DESIGN

PHOTOGRAPHY

Interior Magazine Design ........031

Letterform Composition ............052

Experimental Grid System ........035

Visual Narrative Series ............053 Extra Photographs ...................054

SYMBOL &LOGO DESIGN Traditional Costumes ...............041

004


INFORMATION DESIGN

005



WHAT CAUSES GLOBAL WARMING?

Information Designs of Carbon Dioxide Emissions

In order to see the vast amounts of complex information more quickly, it is important to create a clear visualization of data. Throughout this project, I was able to learn about quantitive data and qualitative data. It was also necessary to enhance the presenation of the information in a meaningful way.

6%

OTHERS

CARBON DIOXIDE EMISSIONS

WHICH ARE THE MAIN GREENHOUSE GASES? combustion of fossil fuels and biomass

Methane (CH4)

livestock digestive systems, wetlands

25

Nitrous Oxide (N2O)

tropical soils, oceans, livestock, fertilizers

298

Green House Gas (GHG) is estimated to contribute to global warming.

A HOUSE 80 tons CO2e = 24 economy class trips to Los Angeles to Barcelona

A MILE BY BUS 150 grams CO2e Typical city bus passenger

HOW DO I CONTRIBUTE TO EMISSIONS? Computer and Monitor

22kg

iPod touch

9kg

DRIVING A MILE 850 grams CO2e per 1.9 lbs.

CYCLING A MILE 22 grams CO2e

2.2 lbs potatoes

Carbon Dioxide Emissions are those stemming from the burning of fossil fuels and the manufacture of cement. They include carbon dioxide produced during consumption of solid, liquid, and gas fuels and gas flaring.

5kg

Hamburger

4kg

2.2 lbs cheese

490g 240g 99g 43g 27g

WHAT CAUSES GLOBAL WARMING?

9%

METHANE (CH4)

6%

NITROUS OXIDE (N2O)

3%

REFRIGERANT GASES

82%

CARBON DIOXIDE (CO2)

Driving 12 miles to work

3kg

REFRIGERANT GASES

38%

ELECTRICITY

32%

TRANSPORTATION

14%

INDUSTRY

WHICH COUNTRY EMITS THE MOST CO 2 ?

275kg

5kg

3%

There are“direct” and “indirect” emissions. If we say a plastic toy for example, it includes not only direct emissions resulting from the manufacturing process and the trasportation of the toy to the store, but it also includes a whole host of indirect emissions, such as those caused by the extraction and processing of the oil used to make the plastic in the first place.

1

*Global Warming Potential is a measure of how much a given mass of

A WIND TURBINE 30 tons CO2e a 15-kilowatt turbine, installed

NITROUS OXIDE (N2O)

DIRECT & INDIRECT EMISSIONS GWP*

Carbon Dioxide (CO2)

6%

2

F RO M WHERE?

9%

RESIDENTIAL &COMMERCIAL

METHANE (CH4)

82% CARBON DIOXIDE (CO )

Billion tonnes CO 2 per year

The purpose of this project is to represent data with regard to types of data and create an information design in which data can be accessed in a variety of ways or formats.

9%

7

CHINA 6.83 billion tonnes USA

6

5.20 billion tonnes

INDIA 1.59 billion tonnes RUSSIA 1.53 billion tonnes

4

JAPAN 1.09 billion tonnes ... KOREA 0.52 billion tonnes

2

0 CHINA

USA

INDIA

RUSSIA

JAPAN KOREA

T-Shirt

WAYS TO REDUCE CO 2 EMISSIONS

2.2 lbs wheat flour 2.2 lbs tomatoes Watching TV for 1 hour Microwaving my lunch for 5 minutes 1 egg

AVOID PRODUCTS WITH A LOT OF PACKAGING

*1kg = 1,000g

CHANGE A LIGHT USE LESS HOT WATER

TURN OFF ELECTRIC DEVICES

PLANT A TREE DRIVE LESS

OTHERS RESIDENTIAL &COMMERCIAL

6% 9%

F RO M WHERE?

38%

ELECTRICITY

32%

TRANSPORTATION

CHECK YOU TIRES

14% WHICH ARE THE MAIN GREENHOUSE GASES?

007

INFORMATION DESIGN

combustion of fossil fuels and biomass

1

Methane (CH4)

livestock digestive systems, wetlands

25

Nitrous Oxide (N2O)

tropical soils, oceans, livestock, fertilizers

298

*Global Warming Potential is a measure of how much a given mass of

Green House Gas (GHG) is estimated to contribute to global warming.

HOW DO I CONTRIBUTE

INDUSTRY

DIRECT & I NDIRECT EMISSIONS GWP*

Carbon Dioxide (CO2)

zZZ

There are“direct” and “indirect” emissions. If we say a plastic toy for example, it includes not only direct emissions resulting from the manufacturing process and the trasportation of the toy to the store, but it also includes a whole host of indirect emissions, such as those caused by the extraction and processing of the oil used to make the plastic in the first place.

WHICH COUNTRY EMITS

RECYCLE The most effective way to reduce carbon dioxide (CO2) emissions is to reduce fossil fuel consumption. Many strategies for reducing CO2 emissions from energy are cross-cutting and apply to homes, businesses, industry, and transportation.

STAY INFORMED


CARBON DIOXIDE EMISSIONS A WIND TURBINE 30 tons CO2e a 15-kilowatt turbine, installed A HOUSE 80 tons CO2e = 24 economy class trips to Los Angeles to Barcelona

A MILE BY BUS 150 grams CO2e Typical city bus passenger

DRIVING A MILE 850 grams CO2e per 1.9 lbs.

CYCLING A MILE 22 grams CO2e

Carbon Dioxide Emissions are those stemming from the burning of fossil fuels and the manufacture of cement. They include carbon dioxide produced during consumption of solid, liquid, and gas fuels and gas flaring.

WHAT CAUSES GLOBAL WARMING?

6%

OTHERS

GWP* combustion of fossil fuels and biomass

1

Methane (CH4)

livestock digestive systems, wetlands

25

Nitrous Oxide (N2O)

tropical soils, oceans, livestock, fertilizers

298

Green House Gas (GHG) is estimated to contribute to global warming.

HOW DO I CONTRIBUTE TO EMISSIONS?

iPod touch 2.2 lbs potatoes

5kg

Driving 12 miles to work

5kg

Hamburger

99g 43g 27g

Billion tonnes CO 2 per year

Computer and Monitor

22kg 9kg

38%

ELECTRICITY

32%

TRANSPORTATION

14%

INDUSTRY

WHICH COUNTRY EMITS THE MOST CO 2 ?

275kg

240g

REFRIGERANT GASES

There are“direct” and “indirect” emissions. If we say a plastic toy for example, it includes not only direct emissions resulting from the manufacturing process and the trasportation of the toy to the store, but it also includes a whole host of indirect emissions, such as those caused by the extraction and processing of the oil used to make the plastic in the first place.

*Global Warming Potential is a measure of how much a given mass of

490g

3%

DIRECT & I NDIRECT EMISSIONS

Carbon Dioxide (CO2)

7

CHINA 6.83 billion tonnes USA

6

5.20 billion tonnes

INDIA 1.59 billion tonnes RUSSIA 1.53 billion tonnes

4

JAPAN 1.09 billion tonnes ... KOREA 0.52 billion tonnes

2

0

2.2 lbs cheese

3kg

6%

2

WHICH ARE THE MAIN GREENHOUSE GASES?

4kg

METHANE (CH4) NITROUS OXIDE (N2O)

Instructor: Eric Andren 24” X 72”

82% CARBON DIOXIDE (CO )

F RO M WHERE?

9%

RESIDENTIAL &COMMERCIAL

9%

Carbon Dioxide Emissions Spring 2015 ArtGR 371, Project 2 Information Graphics

CHINA

USA

INDIA

RUSSIA

JAPAN KOREA

T-Shirt

WAYS TO REDUCE CO 2 EMISSIONS

2.2 lbs wheat flour 2.2 lbs tomatoes Watching TV for 1 hour Microwaving my lunch for 5 minutes 1 egg

AVOID PRODUCTS WITH A LOT OF PACKAGING

*1kg = 1,000g

CHANGE A LIGHT USE LESS HOT WATER

TURN OFF ELECTRIC DEVICES

PLANT A TREE DRIVE LESS

zZZ

CHECK YOU TIRES

008

RECYCLE The most effective way to reduce carbon dioxide (CO2) emissions is to reduce fossil fuel consumption. Many strategies for reducing CO2 emissions from energy are cross-cutting and apply to homes, businesses, industry, and transportation.

STAY INFORMED


BOOK DESIGN

009


010


Accordion Book Design - Paul Rand In this project, it was necessary to research and know enough about one of the graphic designers that is chosen. The grid systems and the relationships between the texts, images, and elements were the most important part of this project. Throughout the project, I learned a lot about using Adobe Indesign and organizing the typography. Since it was an accordion book, the high craft skill was needed. Paul Rand was born in New York in 1914. He is a famous American graphic and logo designer in 20th century. Paul Rand’s name was ‘Peretz Rosenbaum,’ but he shortened his given name to ‘Paul’ and ‘Rand’ was from his uncle. Paul’s works were based on European Modernism, and those works began to earn attention in the 1950s. I was interested in his simple and modern logos. Therefore, I decided to make an accordion book about Paul Rand.

011

BOOK DESIGN


012


013

BOOK DESIGN


014


015

BOOK DESIGN


016


Instructor: Paula Curran 8” X 80”

017

BOOK DESIGN

a

Paul Rand Accordion Book Spring 2012 ArtGR 271, Project 2 Editorial Design

P

and then began teaching at Pratt Institute in 1946. Finally, he became a professor of Graphic Design at Yale University in graduate program. After about 30 years of teaching, Paul Rand died of cancer in 1996. Paul Rand’s works were inspired by Swiss painter, Paul Klee, and Ludwig Mies van der Rohe, a German-American architect, who focused on extreme clarity and simplicity. Paul Rand’s works were also influenced by 20th century Russian painter Wassily Kandinsky. Walter Gropius, founder of the Bauhaus School of Design, also inspired Paul Rand’s designs. Many designers and painters who inspired Paul Rand emphasized simplicity, and Paul designed many simple

Ide

PAUL RAND

ous fam tury. is a n d . He 20th ce gn, an e 914 in 1 r of the of Desi d to th ,’ te ork um ool gne wY igra nba cle. , Ne o desi ns Sch imm ose yn un log Parso arents okl tz R his egan Bro r and p , ere m o b in te ’s ‘P e fr s orn rks as gn and stitu use w nd’ wa se wo as b ic desi ratt In 34. R e ill w m a d 9 h P n ‘Ra nd tho part-tim proRan n grap ted at 29 to 1 nd’s nd a a a a aul , 9 ca s R l’ edia m a u erica s edu from 1 Paul ‘Pa dernis orked es in m 941 to Am a . to e w e o 1 u n w e p d g m nM nd om gazi Ran ts Lea Euro n na pea aul Ra d ma sign fr arted to m e n ro o e iv u n fr d is g n E first, P pers a ing de , he st ion Stu tates 4 d h sed o Art a Un At rtis d S rtene 195 wsp ba 0s. per dve Unite e sho ere 195 for ne d in a reer, in e Coo h s w in the rke ges d ca ht at th ork but n ima He wo is thir g l’s w ntio tau rh Pau rn atte g stock sign. d fo 42, he e a n tin d e a r r, ea 19 to ree r, cr cove rom trato n and cond ca ntity. F tio se ide mo s a orate 4a 195 in corp work

He e. ed zin ga lso e. ma e a azin H ire the ag rs. qu Es cove ns” m rk. In d to o at e o s Y y ti r rt erg pan ec ew lA ree ca pare f “Dir in N n em om s to o n his Ap sig s, c anie ld; e an s of overs ibitio g de 950 g h mp lar fi erbe ine e c b ex rtisin e 1 r co v u z ul th th ic a a ad e lu g fo art . P mag nin rs C adv n in ys er, gh to a a p ap u d re e rks tio to sig wo of th e de irec d an volu ant w er in wsp thro ho a le e n Re e w Sty D il n rt n ive uts v e h o , li s ig rt tr l p w o s n se o he l lay lent the A the stria t im a de , log es to tho wiss lean re s n t c u u a S e re t d c ta ed a we mp ori mo jus azin ntin eve the ized co edit rtisti f s the In the o ’t it g s to o c n n d a a ib s n n h an ated his a exh esig ith of wa as m esig now ators mp e d e k d in cre ped was zine 0s. W e on and uch ell orig hich for R lo s ve work aga 194 cam aul lds sion re w the n, w a e f e P m s e in n b es. us fi His 0s, ns ne o esig pa ig d ac 3 is esig o lv o is 19 surf des mse vari g. H d hic ’s . He rap the firm the ut to achin and g e ign ) of d o an ertis red en te aul R des tyle v ad ventu d ev rs. P phic hic S n e ra he g, a sign in g grap in e ted Typo tis ’s d l y res da inte ona t ati no tern (In


id ea

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ct pe ex st

ns.” atio

Bibliography

go od

d an

e od

l “Simp

icity is not the goal. It is t he

by-p rod uct of a

Heller, Steven. Paul Rand. Hong Kong: Phaidon Press Limited, 1999. Print.

liness, readability, and objectivity. American Broadcasting Company (ABC), IBM Corporation, Westinghouse Electric Corpo-ration (Westinghouse), and United Parcel Service (UPS) logos are still keeping their original shapes and styles. This demonstrates Paul’s innovation and creativity in logo design. The logos are simple and clear, but they have deeper meanings. They are clear, but strong. The book, ‘Paul Rand: Designer’s Art,’ states, “It is in symbolic, visual terms that the designer ultimately realizes his perceptions and experiences; and it is in a world of symbols that man lives. The symbols thus are the common language between artist and spectator.” With his designs, people can communicate with the companies because not only is the logo an identity of the company itself, but also it protrays the message of the company. The first picture of the examples is the cover of Direction Magazine

in 1940. It looks like crossed barbed wire, but there is a ‘Merry Christmas’ message on the top-left. It implies that Christmas is not just our celebration. Christmas is the day when baby Jesus Christ was born and will die on the cross. The cover looks simple but contains a serious and powerful message. Paul Rand’s Westinghouse, UPS, and ABC logos are made with simple lines and geometric shapes. Taking unnecessary lines and shapes from the image helps the logos be more memorable. He also uses colors effectively and appropriately. Lastly, Paul Rand designed IBM posters. This Eye-Bee-M poster, made in 1981, is a creative and strong piece of his work. His humorous creativity is shown

well in the design. Paul’s design for IBM is published in logos, packaging, annual reports, manuals and guides, posters, and so on. Paul Rand had a strong philosophy with his design. Some people said that Paul overemphasized modernism and he was stubborn, however, that stubborn streak helped make Paul Rand a great designer in 20th century.

“Paul Rand: A Brief Biography.”<http://www.paul-rand.com/ foundation/biography/> 11 Apr. 2007. Originally published in Communication Art. “Back to American Icons.”<http://www.areaofdesign.com/americanicons/ rand.htm> Mar., Apr. 1999. Rand, Paul., et al. Paul Rand: Designer’s Art. New Haven and London, 1985. Yusaku Kamekura, Trademarks and Symbols of the World. New York, 1965. Rand, Paul., et al. From Lascaux to Brooklyn. Yale University Press, New Haven and London, 1996.

018


BRAND DESIGN

019



Integrated Marketing Systems This project required to create an identity system that includes a mark and various applications. The purpose was to apply the theories of symbology and typography. These are the stationery system.

Jieun Youn

Creative Director

3911 Maricopa Dr. # 203 Ames IA, USA 50014 515 357 1257 yje511@gmail.com

Jieun Youn

Creative Director

stella jewelry

021

3911 Maricopa Dr. # 203 Ames IA, USA 50014 515 357 1257 yje511@gmail.com

BRAND DESIGN


Stella Jewelry. Co | 725 Fifth Avenue NY 10022 | Phone: 877 357 1244 | Fax: 877 357 1245 | www.stellajewelry.com

022


Digital Applications Four different applications were required to create for this project. On this page, iDigital Application is displayed as a part of a design system.

>>>

023

BRAND DESIGN

A three-dimensional application–Store front



Website

025

BRAND DESIGN


026


027

BRAND DESIGN


028


EDITORIAL DESIGN

029


030


Magazine Design– Software Skills Developing the skills for Adobe Illustrator and InDesign, learning the layouts of the magazine. The objective of this project was creating the magazine spreads including the magazine cover. Main texts and the images were given.


The Décor

November & December 2011

In this issue 09

The Dé

Cover Story

11 Editor’s Notes 23

INTERVIEW: 10 Famous Interior Designers in Nowadays

36

STICK’EM UP: Easy-On Decals and Adhesive-Back Decor Details wake up your rooms

iNterViews: 10 Famous iNterior DesiGNers NowaDays

50 Tips to make your room FANCY 91 5 Ways to Decorate the kid’s Rooms 128 Thanksgiving Décor: Thanksgiving Dinner Table Decorations

39 04

151 Christmas Décor: Christmas Tree

Stick ‘em Up! EASY-ON DECALS AND ADHESIVE-BACK DECOR DETAILS wAKE up YOuR ROOmS

10 tips to make your room FaNCy

The Décor• November & December 2011

032


1 Frosty adhesive film adds “pretty” to privacy. To apply, spray the window and the film back with water and “float” the film in place.

2 Striped borders backed

T IPS

Stick ’em Up

with a removable static

et tern tick e In nd-s h th el-a arc e e s p w To e e s n er ts, u oth s: duc for ord pro yw e ke dow thes rs, win als. ke stic dec , or film

adhesive simply pack up and move—to another wall or across town.

Easy-on decals and adhesive-back decor details wake up your rooms

3 Sign-maker’s vinyl is easy to cut with a crafts knife

6

for one-of-a-kind designs. Use water to apply.

4 Repositionable decals peel away yet stand up

Cut double-sided peel-and-stick tape to adhere

5

fabric ribbons to a drum shade.

This premade cutout

to washing with

(add paint) is both

a mild detergent.

sculpture and memo holder. Be sure you

Projects & words Jean Norman

like the location

Photographs Greg Scheidemann

before sticking; the www.The Decor.com

37

adhesive backing has real staying power.

Read the la

bels Reposi tionab le: It ’s ea sy to re move good — news if you rent. Can a lso be

Perma n

ent: Th e surf ace be da mage d during remova l.

might

033

EDITORIAL DESIGN

38

The Décor• November & December 2011


12 Delicate wallpaper decals require a gentle touch. The easiest way to apply them is to slowly peel away the backing while smoothing the decal on the wall. When the design placement is permanent, burnish the decals using a credit card.

13 Turn peel-and-stick paper shades (no mounting hardware needed) from the home improvement center into

7

bargain window treatments. Use a paper punch to make evenly spaced holes from

For a jolt of color when you open the lid,

top to bottom. Thread

attach fabric to the

ribbon through the holes

inside of a container, left,

and secure with wood beads.

with pressure-sensitive adhesive sheets.

14

8

Stainless-steel cutouts with adhesive backing

Make labels using

add a whimsical touch.

blackboard adhesive

Gently bend the flat decal

film. Mark the labels with chalk.

to curve around

9

a cylindrical lamp base.

Slice adhesive-back

40

vinyl floor tiles into

The Décor• November & December 2011

For Resources, see page 26.

www.The Decor.com

41

thirds for this desktop. Vary the colors for interest; press in place.

10 Turn any round container into a stylish desk accessory using peel-and-stick veneer.

11 Adhesive dots on the back of carpet squares make it easy to “lay” carpet over almost any hard surface.

www.The Decor.com

39

034


Magazine Design– Editorial Design Using Adobe InDesign to organize and develop the magazine spreads. Three different stories and three different spreads. All the images for the title should be generated individually.

, R E T SMAR R E T T E B GS. R CYB

utler

topher B

By. Chris

I

nstead of augmenting reality, we should make technology more aware. In the future, you will design the unseen. You will design with sounds, textures, vibrations, smells, and temperature, along with the media you already know so well—text, color, and light. You will design environments and interactions that are immersive. You will once again create things that do more than match eyeballs with ads. I promise. We’ve already begun stumbling in this direction. In fact, today we have the technology needed to cohere this vision— technology that enhances device awareness by sensing, analyzing, and

ELLE 88

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www.elle.com

EDITORIAL DESIGN

predicting—yet our old ways of seeing and doing remain a barrier to using it at its full potential. Take augmented reality. AR is essentially a data-enhanced view of the world around us made visible through applications like Layar, a mobile browser that uses your phone’s compass, GPS, and accelerometer to project data relevant to your location over your camera’s view. If you’ve never used an AR application, imagine what walking a city block might look like to a cyborg. The cyborg is you; the view, yours also, as long as you’re willing to reduce it to a palm-size rectangle. Though an initial AR experience

can be thrilling, it quickly becomes clear, especially to visual thinkers, that AR is a misapplication of the technology currently at our disposal. AR is disappointing precisely because it is so visual. Kevin Slavin, in a recent presentation he called “Reality Is Plenty, Thanks,” pointed out that limiting our field of view—not to mention flooding our newly downsized vista with visualdata displays—can actually be dangerous. Citing an automotive study that found that AR displays placed drivers in greater danger than those who did not use them, Slavin homed in on the counter intuitive relationship between infor-

mation and our apprehension of reality: More can sometimes be less. By projecting a synthetic data stream—the kind we’re used to receiving at our desks— over our real-time view of the world, we create a quasi- reality and disable ourselves in the process. We cut ourselves off from the real world and its own expansive data stream—the kind we’re accustomed to sensing through sound, touch, and our peripheral vision. AR, though it may trick the eye into believing otherwise, is one-dimensional. It will fail for the same reason its predecessor, virtual reality, failed: The mind can only suspend so much disbelief, especially when it’s trying to be productive. I’m with Slavin. We already know that information is everywhere; seeing it on-screen only creates more work for us. But if a machine can collect information and deliver it to our eyes, it should also be able to save us the trouble of analyzing and interpreting that data. “Awareness technology” should be doing much more for us than making advertising more ubiquitous. It should be helping us to do more work, more efficiently and more effectively. Rather than

lord stuff of science fiction). Though significant, the practical developments in this field are, for the most part, unseen and unnoticed. Radio-frequency identification, or RFID, is just one example of an open and broadly adaptable awareness tool already in use for a wide variety of purposes. Because they don’t need to be seen to be read, RFIDs can be miniaturized and embedded in just about anything in order to build networks of information among objects. Right now, cars, roads, tollbooths, tickets, library books, passports, product packaging, machine parts, casino chips, and cattle are being enhanced by RFIDs for such a diversity of purposes that only your imagination could impose a limit. But what’s the benefit of building an internet of things? Consider this scenario: Each wastebasket in your city is fit with a sensor that measures its capacity and sends data back to a central repository. As the database grows, algorithms are run to analyze capacity data, identify patterns, and predict when and where wastebaskets will be full. New pickup routes can now be plotted on the fly, likely saving a lot of wasted time and fuel. I recently watched a garbage truck go through the

Should technology determine what it means to be a designer, or should the progress of technology be designed? trying to enhance how we see reality, we should instead consider augmenting reality for machines. A more aware machine is far more valuable to us than a more crowded visual field. Rapid progress is being made in developing awareness technology right now (and not the dystopian robot-over-

motions of emptying several already empty Dumpsters as I walked to work. A networked system would have prevented that. They may not sound glamorous, but smart sanitation systems are the type of practical, efficient, energy-saving application of awareness technology that will be in extraordinary

demand over the next decade. If you can envision and implement a scenario like this one, you’ll also be granted latitude to dream up applications that are far more creative and inspiring to you. Although what could be more inspiring than designing a city that works? Design students are already experimenting in this field. Projects like SoundAffects, created by undergraduates at Parsons the New School for Design, explore how everyday data gathered in cities— weather, traffic patterns, and the like—can be translated into sound and mined for new understanding. Outside of the academy, innovative firms such as San Francisco’s Stamen, New York’s Rockwell Group, and the London-based studios Berg and Dentsu are producing work as well as investing in research projects that look like the scenario I sketched which was based on MIT’s SENSEable City Lab—work that Dentsu artfully describes as “making future magic.” These designers strategically bolster their approach with new sensor, sound, and programming technologies. Design has always been about possibilities, not hardand-fast definitions. That’s important to remember as technology pushes the boundaries of professional identities and challenges the distinctions among designer, engineer, and technologist. But technology is more than just a tool; it’s an expression of intent. It is how we shape the world around us and conform it to a vision of how we want to live. In considering our futures, we must question how technology will define who we are and what we do. Should technology determine what it means to be a designer, or should the progress of technology be designed? I believe that we’ll find the answers to these questions, but not without participating today in the project of imagining the world we will inhabit tomorrow.

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www.elle.com

75 ELLE

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EDITORIAL DESIGN


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SYMBOLS & LOGO DESIGN

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TRADITIONAL COSTUMES OF THE WORLD 25 Symbols Design The project was about creating 25 different symbols by using one grid that I generated. The concept of my symbols was ‘Traditional Costumes of the World.’ My home country is Republic of Korea, and I was interested in the traditional costumes. Variety of colors, shapes, and figures of the costumes all around the world was diverse, dynamic, and beautiful. 041

SYMBOL & LOGO DESIGN


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ILLUSTRATION

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Book Design— “The Giving Tree” Designing a book by using only the illustrations that are sketched, generated in Illustrator, and organized. I designed a children’s book for those who are learning English. There is a dictionary of this book at the end, so that the person who reads the book can learn about the words.

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ILLUSTRATION


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ILLUSTRATION


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The dictionary of “The Giving Tree” book

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Technical Illustrations The goal of this project was to learn the basic skills to create an illustration in the computer. Gradient Mesh was the main tool for this project. Three different views of the electric object was needed to create three illustrations. Throughout this project, I’ve achieved to create a whole object by using Adobe Illustrator. In order to generate the illustration as a real image, focusing on the details were the key.

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ILLUSTRATION


屋內 夜間 曇 日陰 晴

薄曇

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DIGITAL PHOTOGRAPHY

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Letterform Composition Fall 2014 ArtGR 272, Project 4 Digital Photography Instructor: Carol Faber 17” X 17” 053


Visual Narrative Series Fall 2014 ArtGR 272, Project 5 Digital Photography Instructor: Carol Faber 8” X 8” (each)

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Lesser Depth of Field Fall 2014 ArtGR 272, Project 2 Instructor: Carol Faber 10” X 8” aperture: f/4.5 shutter: 1/1250 ISO: 200

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DIGITAL PHOTOGRAPHY


Frozen Motion Fall 2014 ArtGR 272, Project 2 Instructor: Carol Faber 10” X 8” aperture: f/6.3 shutter: 1/250 ISO: 200

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Greater Depth of Field Individual Photograph 10” X 8”

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DIGITAL PHOTOGRAPHY


Greater Depth of Field Individual Photograph 10” X 8”

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JIEUN YOUN 515.357.1257 yje511@gmail.com


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