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003 To my girl dog, Luna, who was ever patient with me during long nights of thesis work, and because she loved every Boston blizzard as much as I did. #wesurvivedbosnow This is, of course, also dedicated to my parents, family and friends alike, who were ever patient with me as I disappeared into the abyss that I refer to as thesis. But most of all, for supporting me in every way through the past two years. Who knew two years could fly by so fast?
To Bruce’s credit, he really did break the rules. It was something he’s clearly inclined to do, and did not hesitate to do that.
CHEE PEARLMAN
I guess that’s one of the nice things about doing something that you haven’t done before—you don’t always know what rules you shouldn’t be breaking. DEBBIE MILLMAN
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I think that’s very important. I mean, I think that those are some of the lessons you learn when you haven’t really ever done something before— how scary it can be—and how you can really bring yourself, in some organic way, to something that maybe didn’t exist before.
Chee Pearlman and Debbie Millman reflecting upon Bruce Mau redesigning ID Magazine on Design Matters.
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CHEE PEARLMAN
I have passion for color, smells, culture, the real and the surreal, the known and the unknown. I believe design should be a great, unexpected experience. Through my thesis research, I invite graphic designers to increase improvisation in their design process. I suggest that we look outside of our comfort zone, step away from our digital devices, and seek inspiration from outside elements such as science and both digital and analogue technologies. I propose the birth of a new kind of designer; a new movement in the field of graphic design. During their mode of creation, this designer will channel the uninhibited spirit of Dada. We will protest fear by welcoming experimentation. I want to
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proclaim a new mentality among designers and offer a new ethic for design. We will invest in ourselves and our future work through efforts of improvisational experimentation. We will open our eyes and look about, always, so to be perpetually curious and aware of our surroundings. We will be hungry to answer the questions that will serendipitously arise. Through our experiments, we will not only gain intuitive knowledge, but we will produce fortuitous happenings that are spontaneous, yet experiencerich and authentic. The designer who creates such work has seen and felt unfamiliar materials and has toyed with eccentric ideas. They have made playful connections and discovered relationships that span across science, art, technology, and design. Experience the magic. Let go, and just perform.
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There is Magic in Letting Go Encouraging Improvisation in the Design Process
There is Magic in Letting Go Encouraging Improvisation in the Design Process
007 Thesis Writing 011 Declaration of Improvisation Supporting Thesis Projects ...in no particular order.
036 Improviposter 054 2015 BU MFA Thesis Catalogue 068 Film Documented DĂŠrive 102 Improvistory
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104 Handwritten Handwritten 124 The Crow 150 E Roon Kang Posters for Boston University 160 48 Hour Project 178 There is Magic in Letting Go 288 [ML DOS Books\version 1.0] 296 Swivel Process 302 #MadeYouLaugh 228 Conditional Improvisation 370 Friendship Video
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There is Magic in Letting Go Encouraging Improvisation in the Design Process
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Through improvisation, designers can explore relationships between the familiar and the unfamiliar, the known and the unknown. We learn confidence in facing our fears through forced failures and spontaneous creation.
There is Magic in Letting Go Encouraging Improvisation in the Design Process
that is not exclusively used by comedians and musicians. I believe it is a specific approach that should be implemented into the design process of all graphic designers. The benefit of increasing
Improvisation is a form of self-learning. Perhaps the most significant element that we can obtain from increasing improvisation is the volume of knowledge we gain about ourselves. Over time, we learn to follow our gut-instincts, our intuition, how to react given only a moments notice, and we discover and can develop or evolve our personal aesthetic through these
improvisation in the design process is
experiments. It is a practice of creating and capturing
strong. As designers, what we experience
magical moments of both success and failure. The
in life is what we bring into our design
quickness of improvising does not allow for rethinking
process and, ultimately, into our work. I believe that designers should adopt a spontaneous and improvised way of creating and looking at the world, and
or reworking, we must think on our feet. We construct the moment as we are creating and it is during this time of spontaneous and impulsive construction that we attain intuitive knowledge. It’s not necessarily a conscious effort, but everything we intuitively learn
I have produced a significant amount
through the experiments we perform eventually
of projects in response to this belief.
materializes in our work through one form or another, whether through a concept or the final execution
This book is an anthology of my documented
of a project.
thesis process. The physical presence and experience of this book is intended to serve as
It is often assumed that improvisation is defined by
a way to reflect upon the act of improvising.
the act of complete and free play, but improvisational
When you spread the foredge of the pages one
experiments are anything but arbitrary. Improvisation in
way, then the other way, you’re challenged with
the design process is a practice that requires a system
the words “Experience Improvisation.”
of research and documentation, and it is necessary to
Thesis Writing
invest the time and effort to do so. The structure of
During improvisational experimentation, there is an
your explorations could range from minimal effort to a
element of metalearning that transpires as we flow
heavily invested effort. An example of full and ultimate
through the act of improvising with both familiar
dedication to the craft of improvisation and learning
and unfamiliar materials and ideas. It is not only a
would be the six months that chef Ferran Adrià and
way of exploring form, but also conceptual ideas and
his team at Spanish restaurant El Bulli invested into
aesthetics, all contributing to the visual element of
research and experimenting in a cooking laboratory.
the storytelling process.
The structure of the workflow at El Bulli is discussed
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Improvisation is an act of performance
in El Bulli: Cooking in Progress, a documentary film by
moments during my dérives. You can experience one
Gereon Wetzel. El Bulli was a three star Michelin rated
of my documented dérives through Boston’s Back Bay
restaurant where detailed research studies of food
neighborhood by flipping through pages 68–101.
and its method of preparation are preformed in their laboratory and fully documented. During their research
There is not one specific way to perform improvisational
and experiment time, they would develop a new menu
experiments. Everyone will have their own preference,
for their next season which is then presented and
but I tend to prefer methods that include investigating
served as avant-garde art. This research time that the
visual storytelling from a new perspective through a
team of El Bulli invested was obviously crucial to the
combination of improvised writings and working with
reputation and success of this highly rated experience
both digital and analogue technologies.
of a restaurant and should be considered crucial to designers in their methodology.
Improvistory (p.102), one of my supporting thesis projects, is a collaborative, semi-interactive experience of a narrative I created with the help of a few participants
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Experimenting with improvisational techniques
and through improvising with technology. The process
requires us to be ever curious and inventive. To fuel
of Improvistory involved three people who selected
my personal curiosity, I engage in dérives, an act that
three photos from a stack of Polaroids that I provided
originated in the 1940’s by the Letterist International,
them, and they then wrote three words on the back of
and was later adopted by the Situationist International
each selected photo. I grouped the photos at random
as a continued explorative and critical effort of exploring
into groups of three’s, and using the words on the back,
the psychogeography of urban landscapes.
I improvised using the iPhones suggested word feature
Dériving is a method of aimlessly journeying through a space aspiring to encounter an entirely new
to create new stories. I consider Improvistory one of the more important
and authentic experience. In performing a dérive, the
and successful projects produced out of my thesis
mind is cleared of typical motivating factors of gestures
explorations. It was a project that is part of a larger
and intentional efforts, and the self is directionally
umbrella of projects I call the Improviseries which I
guided by the influence of the surroundings. I believe
have the opportunity to form into a design curriculum
dérives are an important improvisational effort to
that I will be teaching at Boston University during the
create non-linear narratives that can be applied
summer of 2015. Improvistory can be found online at
to logistics of your creative process, to experience
themarshallcreative.com/improvistory.
new environments, or to re-experience a common
Having this project live as a website presented it as
environment. I highly suggest this method of exploring.
a new way of storytelling, and it also was a discovery
Experiencing a dérive is allowing aleatoric happenings
for me to experiment in collaborating with technology.
to occur. I insist that this is an extremely valuable
I am fond of the collaborative aspect of this project;
method to embody into a designers creative and design
the participants input combined with my provided
process. As designers, looking at a common environment
personal Polaroids, and the final aspect of improvising
in a different light is something we do quite frequently
with suggested words from an iPhone to create a new
as a task of our profession. These simple and enjoyable
narrative really excites me.
events help channel this spontaneous energy into our design process and both personal and professional
Another notable project resulting from my thesis and
work projects. I often photograph specific things or
involving experimenting with technology is 48 Hour
Project (p.160). Through this literal and intense forty-
For this particular project, I ruled that I could only
eight hour project I explored concepts of data relating
use black and white ink on monochromatic paper cut
to narrative experiences. What kind of stories can data
to a particular size, and the challenge was to do as
tell? Can data itself be expressive?
many iterations as possible in one hour’s time and in a maximum time of five minutes per iteration. Quick
Improvisation occurs in nearly every profession.
iteration projects such as this are indeed important
Scientists, biologists and members of the medical field,
and are a good practice for designers to embrace.
such as Doctors without Borders, rely on research
I believe performance art also to be an important
based improvisations to discover new vaccines and
element of improvisation and a very relevant example to
other findings, care for patients abroad, and also bank
designers. I consider Sagmeister & Walsh’s live webcam;
on improvisational skills during surgeries. Sherry
Miranda July’s Somebody, an iPhone application; Stefan
Wren from Doctors without Borders teaches a class
Sagmeister’s The Happy Show exhibition action cards,
where she describes her and her peers trade skills as
and Luna Maurer’s conditional design methods all to be
“something of a lesson in MacGyver-like inventiveness.”
examples of a type of improvisational exercise and an
You have to understand the importance of being able
element of performance art.
to make due with the tools available. Nature is also full of improvisors, such as the Mimic
we are not concerned with the outcome? Push your
Octopus who improvises as a survival strategy. All
fears and your hesitations aside. Open your eyes
octopus are highly intelligent and can change color
and your hands, your head and your heart. Believe
and texture of their skin, but this particular octopus
in the imperfections and failures to be had through
is the only one who can at any moment impersonate
improvisation. I hope my writing and thesis projects
another animal. The Mimic Octopus can mimic up to
inspire and encourage creatives to implement
15 different marine animals and can toggle between
strategies of increased spontaneity, force failure
them all, instantly, depending on the situation. As
and create new, unexpected, outcomes during
designers, I believe we should channel the flexibility
the creative and exploratory process.
of the Mimic Octopus. Through improvisation and experimentation we can broaden our skills, becoming more flexible and diverse multidisciplinary designers. Improvisational experiments should be quick and not drag on; they should never become monotonous or repetitious. Focus on the process of creation rather than the possible outcome or predictions. Handwritten Handwritten is a small, quick project I did that involved handwritten iterations of the word “handwritten.” When I work I tend to create a set of rules for myself to improvise within. Rather than feeling restrictive, the rules tend to really help guide me and help me to focus on the moment of performance and creation.
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What ideas can be expressed and explored when
The Unanimous Declaration of the Improvisors of Design In Boston, April 10, 2015
When in the Course of design, it becomes necessary for each designer to independently dissolve the fears which have disrupted their creative process, and to assume among the powers of the individual designer, the separate and equal station to which the laws of Improvisation and of The Moment entitle them, a decent respect to the opinions of other designers requires that they should declare the causes which impel them to the separation.
We hold these improvisational experiments to be self-explored, that all materials are created equal, that they are endowed by their Designer with certain improvised realities, that among these are Perpetual Curiosity, Material Liberation and the pursuit of an Improvised Life.—That to secure these realities, an insatiable curiosity for discovery is instituted among Designers and in their design process, deriving their just powers from the consent of the moment, That whenever any Form of improvisational experiment becomes monotonous of these ends, it is the Right of the Improviser to alter or to liven it, and to institute new Improvisational Experiments, laying its material experience on such principles
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and performing its powers in such form, as to them shall seem most likely to effect their Curiosity and Expressiveness. Patience, indeed, will dictate that Experiments long established should not be changed for light and transient causes; and accordingly all experience hath failed, that improvising designers are more disposed to suffer of repeated failures, while defeats are sufferable, than to right themselves by abolishing the forms to which they are comfortable. But when a long train of forced failures and spontaneities, pursuing invariably the same predictable result evinces a design process to reduce them under absolute power and control, it is their right, it is their duty, to throw off such an Experiment, and to provide new guidelines to improvise within for their future improvisational means.—Such has been the patient sufferance of these improvisational methods; and such is now the necessity which constrains them to alter their former Design Process. The history of the typical design process is a history of uninteresting, repeated efforts, all having in direct object the establishment of an absolute Tyranny over the state of the process. To prove this, let Facts be submitted to a candid audience. He has not experienced foreign materials. He does not see beauty in failure. He does not appreciate spontaneity. He cannot see with his hands. He does not find value in experimenting. He will not allow events to change him. He has no sense of process. He has not embraced humor. He does not take time to listen carefully. He cannot laugh at himself. He will not make mistakes. He keeps an orderly studio. He only works on a computer. He will not take time to slow down. He thinks before he acts. He has combined with others to subject us to a jurisdiction foreign to our improvisational efforts, and giving his assent to their acts of an assumed successful effort of a design process. For not honing his craft. For not following gut instincts. For abolishing enjoyment through the process of play. For using the same monotonous process. For not experimenting with color. For an unimprovised design process. For not observing the world around him. For not noticing his environment. For shitty storytelling. For not breaking outside of the grid. For not designing for the unexpected. He is guilty of depriving others of collaborative efforts.
In every stage of these creative Oppressions We have Petitioned for a more improvised design process in the most humble terms: Our repeated failures are to occur in our favor. A designer whose character is thus marked by every non-act which may define a Tyrant, is unfit to be the ruler of a free design process.
We have reminded them of the circumstances of our process and settlement to improvise. We have appealed to their native conformity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice of improvisational experiments. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of the non-improvisors, Enemies in Process.
We, therefore, the Improvisors of the Planet Earth, in General Congress, Assembled, appealing to the
excellent design , solemnly publish and declare, That these United Improvisors are, and of Right ought to be Free and Improvising Designers; that they are Absolved from all Allegiance to the monotonous design process, and that all connection between them and the unimprovisors, is and ought to be totally dissolved; and that as Free and Improvising Designers, they have full Power to levy unpredictabilities, conclude evermore experiments, contract Alliances, establish a free form design process, and to do all other curiosities and Things which improvising designers may of right do. And for the support of this Declaration, with a firm reliance on the protection of the divine act of Improvisation, we mutually pledge to each other our design process, our familiar and unfamiliar materials, and our sacred Honor to improvise more.
Declaration of Improvisation
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Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of
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Improviposter
Increased experiences results in increased growth. What can result from multiple people adding elements of different form to a projected pre-designed poster?
ough increased
What does the projected result with the newly
added forms improvisational welook like? Is it still legible? Does
that matter? What do the forms look like when
thegain projector is turned off? ill not only
Improviposter is one of several interactive, intuitive
improvised and collaborative projects contained in the encompassing series titled Improviseries.
knowledge, but
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Improviposter encompasses the process of
we will produce collaborative effort of the participants.
fortuitous happenings that are
spontaneous,
yet are experience-rich
agin g
d authentic.
experiences results in increased growth.
Through increased
improvisational we will not only gain intuitive
knowledge, but we will produce
fortuitous happenings that are
spontaneous,
yet are experience-rich
enco rag u ing
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and authentic.
Supporting Thesis Project
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2015 Boston University MFA Thesis Catalogue
The Boston University 2015 MFA Thesis Catalogue design includes work and statements for graphic design, painting and sculpture Master of Fine Arts candidates. This catalogue is organized alphabetically by last name to showcase the students together as a whole, and also to feature the diverse spectrum of talent that the students embodied. The concept of the spectrum is active and is carried throughout the physical design of the catalogue. Each page spread features a different
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designer, sculptor or painter, and a different color of the spectrum. The spectrum is present in full along the foredge of the book. The students were organized alphabetically, therefore there was no intentional effort put in to matching spreads with particular shades from the spectrum of colors. Noting that, it’s truly amazing to see so many instances throughout the book of the colors complementing the students featured thesis work. This was a successful example of the magic that can occur when letting go. This catalogue was a winner of the 2015 Graphic Design USA Inhouse Design Awards. — issuu.com/melissalambertmarshall/docs/mfa-for-issuu
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Supporting Thesis Project
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A Film Documented Dérive
Where does the self wander when unprovoked? A film documented dérive which is a common creative practice of mine. Included with these images are some of my thoughts during these documented moments. This dérive began at my apartment on Westland Avenue and then throughout the Back Bay neighborhood.
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Supporting Thesis Project
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must eat
070 she is my moon i am her sun we revolve and evolve; together
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green coat in a sea of black
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my door, my home
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por ahora
076 now playing: tonight, tonight – the smashing pumpkins
077 ugly carpet
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what written sentiments has this old chute delivered?
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cappy’s serves all things delicious
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it
ever
melt
?
out of time
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085 but not out of snow
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087 one of many romantic boston streets
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all the snow.
090 now playing: tessellate – alt-j
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white space
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094 i wonder where i can find some real dope machines
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never forget “bs� 2015
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another. thesis. project.
“air quotes”
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“boston snow”
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What kind of stories can be created through collaboration and improvisation with technology? Improvistory is my (humorous) attempt to the answer of this question. — themarshallcreative.com/improvistory
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Handwritten Handwritten
How many different ways can the word “handwritten” be handwritten? An improvisational exercise using quick timed iterations of the same content. Restrictions of this exercise included the use of pre-cut size black, white or grey papers, black or white ink, and each iteration had to be completed at a maximum time of 5 minutes. — handwrittenhandwritten.tumblr.com
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The Crow
In how many different forms can one piece of content exist? I began by writing an improvisational piece and then continued to explore and express that content through two handcrafted books, a song and video using techniques such as processing and slit-scan photography. Each outcome represents the process of using predictable and unpredictable elements. It has become important and interesting for me to set up particular structures and rules in my work while at the same time creating and letting unpredictable elements
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have their own influence in the final piece. — BOOKS The Crow, Slit Scan issuu.com/melissalambertmarshall/docs/issuu-the-crow-pages The Crow, Red Book behance.net/gallery/22841627/The-Crow — VIDEO vimeo.com/114745219 — AUDIO soundcloud.com/iammarshall/the-crow
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Supporting Thesis Project
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E Roon Kang Posters for Boston University*
These posters were designed for a talk at Boston University given by E Roon Kang and were inspired by the use of technology and experimentation in his work. The first image (this page spread) is the original poster designed. The following posters are the result of separate experiments done by inserting the content of the poster (date, time, etc.) into the code of the image of the original saved poster design. While results were not revolutionary, they were unpredictable, unexpected, and each beautiful in their own way. Primary content was added again to each design after the experiments, followed by adding the
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Boston University brand information. *Posters presented sideways. To view, tilt your head counter clockwise ninety degrees, or as an alternative, turn the book ninety degree clockwise.
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48 Hour Project
An intensive, literal, forty-eight hour project aimed to explore and experiment with editing the data of images through several methods and then designing the results into magazine format. Images from this project were published in the first publication L’ADN. — PROCESS & METHODS
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I. WORD INJECTION Masaru Emoto experimented with the idea that human consciousness had an effect on the molecular structure of water. Taking that idea and applying it to technology, if I inject positive words into the data of an image, will it result in a more visually pleasing or happier image rather than if negative words were injected? Would injecting negative words into the data of an image make the image more aggressive or sad? I asked several friends to help me select a group of positive and negative words to use for this method and they are displayed under each image. I converted the original three .jpg images into bitmap (.bmp) files as I found the initial results interesting and quick to process. II. FIND & REPLACE After initial experimentation with this method, I amusingly came up with several find and replace examples. Color images for this method were processed in .jpg 2000 format and the results of Anna and Josh’s photos were placed side by side to see how the same data changes effects different images. The black and white images were processed as .jpg format and the results are also placed side by side, together almost forming their own abstract images. Find and replace words can be found on each page spread. III. REARRANGING DATA & OTHER PLAY For this method I began working with the black and white images as .bmp files that were converted to .txt files. In TextEdit I rearranged the data in a combination of ways–sometimes in smaller chunks of data, sometimes large, sometimes relocating data from the top of the file to the bottom of the file and vice versa. The first three spreads of color images in this section were also processed the same way. In this section, and toward the end of my time working on these experiments, I also played with deleting data and adding content. The last two images of this section, to me, are the most compelling and were achieved by editing the hexadecimal data of the image in .jpg format.
— issuu.com/melissalambertmarshall/docs/48_hr_upload
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There is Magic in Letting Go
This personal project focuses on reflecting upon
To bring the project together, I designed a
phrases or ideas from my nightly writings and
24’’ x 36’’ poster with a complex fold. The square
ramblings and expressing them through poster
posters are inserted into three sections that the
design. From the beginning I wanted to set
large poster creates when it is folded up.
some restrictions for myself, one of them being that the posters would be square format. Some
The design of the large poster reflects the
of the posters happened very spontaneously
project theme. While the many of the motives
and organically during the process of creating,
and elements of this piece are reflective upon
while other posters were more planned and
thoughts and feelings, the outside of the large
executed. Unfamiliar materials and techniques
poster is literally reflective. After I scored and
were explored, and spontaneous capturing of
folded the poster I applied a heavy silver paper
moments occurred. Over time I would define
to the back and finished the edges with a black
different restrictions for new posters I created,
matte tape.
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such as only using a particular typeface or color, or creating the poster entirely by hand in some
The following pages are designed to be a flipbook
way. Some of the posters are very literal, while
for you to experience the action, and magic, of the
some are more abstract. The theme of the project
folding poster and finished piece, and additionally
evolved to be “There is Magic in Letting Go.” I
some samples of the finished square posters.
worked with this phrase in mediums including poster, video, and also with a Lytro camera.
Consider this an analogue way to experience an
The idea of letting go is essential in this point
animated gif—NEAT!
in my career and personal exploratory work. Through this project I learned that there really is magic in letting go, a magic similar to the act of dériving. There are about forty posters total, and I additionally experimented making some investigational videos.
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VIDEO There is Magic in Letting Go Promo vimeo.com/95783966 There is Magic in Letting Go vimeo.com/92091949 Skrilleggs vimeo.com/92297214 Don’t Mask vimeo.com/90718562
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LYTRO PHOTOGRAPHY pictures.lytro.com/iAmMarshall
Supporting Thesis Project
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[ML DOS Books\version 1.0] A digital, analogue, experience.
Sparkle and Spin by Paul and Ann Rand is a
The new written content is in the image of the
wonderful, imaginative children’s book, and
old content, creating new content. It’s a very
even though I am twenty-nine it’s a joy to me to
circular process that excites me. Continuing,
flip through. At some point I noticed that the
I created my own analogue operating system,
written content didn’t really relate much to
ML DOS, which attempts to recreate the
the illustrations associated with it. I wondered
book Sparkle and Spin due to a “system error.”
what the experience would be like if the written
After failed attempts to load all aspects of
content were more of a story, and what that
Sparkle and Spin, images and written content,
story would look like if it were based off of the
ML DOS successfully reconfigures the entire
current illustrations.
book— though, the reconfigured content is the corrupted new images of the old content paired
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Quickly, and without preparation or peaking
with my new written content. I also like working
ahead, I rewrote every spread of Sparkle and
interactive experiences into my work. If this
Spin, ultimately creating a new story. I like to
were a digital experience, the user would click
work with technology, digital and analogue,
a button when presented with a system error.
into my creative process. Pushing the idea
In this case, the reader is prompted at both the
further, I wondered what the experience could
beginning and end of the book with physical
be like if I treated this physical book as a digital
reaction based errors from ML DOS, such as,
process. I photographed each page with the iOS
“turn the page to attempt file recovery” and
Hipstamatic app, although it should be noted
“close book NOW to avoid further corruption!”
that I’ve been shooting from the hip since iPhone
The resulting book embraces the emergence of
hipster phase! Per page, through processing, I
the old content with new content through a new
inserted the new written content into the code of
narrative and a new, curious experience.
each Hipstamatic image, with the result being the
— issuu.com/melissalambertmarshall/docs/single_pages_issuulowres
new imagery for my book.
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Swivel Processing
This swivel book is the result of wanting to make a physical and interactive way to represent the processing and manipulations I had been exploring through my thesis.
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Supporting Thesis Project
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#MadeYouLaugh
#MadeYouLaugh exhibition is an exploration of the science of laughter and experimentation with laughter and humor. Can I increase the happiness of the audience by creating a designed experience? I created an accordion fold booklet for the #MadeYouLaugh exhibition concept. Each three panel section individually opens up to reveal a larger space exploring that particular panels concept and/or the experiment documentation. The pieces for this exhibition concept involve
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my handwriting which I also used as a design element throughout the design of the booklet. In one of the experiments I executed, “Take a Funny, Leave a Funny,” the audience brings their own handwriting, their own mark, to the exhibition. While continuing to play and experiment through design, I have found that I’m driven to incorporate social interaction with my pieces. What is the audience feeling; thinking?
— Take a Funny, Leave a Funny (Experiment) Put the audience at ease by providing a “funny,” then ask them to leave behind a “funny.” Will the audience feel compelled to share a personal funny moment, leave behind their favorite joke, or something else? Will their response be based on the type of “funny” they take first? — See Your Funny (See, You’re Funny!) (Concept Experiment) Laughter is literally contagious– audibly. But what if laughter could be visualized and projected; would the visual presence of laughter also trigger us to laugh?
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Supporting Thesis Project
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TAKE A FUNNY
TAKE A FUNNY
TAKE A F
HEY, WHAT'S UP?" F I TELL YOU, WILL YOU SIT ON IT?"
Q: WHAT DO YOU CALL A NUN IN A WHEELCHAIR? A: VIRGIN MOBILE
I MISS YOUR
TAKE A FUNNY
TAKE A FUNNY
TAKE A F
WAS THE WORLDS FIRST CARPENTER? BECAUSE SHE MADE ADAMS BANANA STAND
Q: WHO WAS THE WORLDS FIRST CARPENTER? A: EVE, BECAUSE SHE MADE ADAMS BANANA STAND.
I REMEMBER WHEN YOGA
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IS SANTA SO JOLLY? USE HE KNOWS WHERE ALL THE NAUGHTY S LIVE.
TAKE A FUNNY IF TOMATOES ARE TECHNICALLY A FRUIT, IS KETCHUP TECHNICALLY A SMOOTHIE?
TAKE A FUNNY
TAKE A FUNNY
KIND OF BEES PRODUCE MILK?
I FINALLY FOUND A DIET PLAN THAT WORKS. IT'S CALLED 'THE COST OF FOOD'.
IES
TAKE A F
CHILDHOOD IS LIKE BEI REMEMBERS WHAT YO
TAKE A F
WINE IMPROVES WITH AGE
FUNNY
TAKE A FUNNY
R ABSENCE.
SOMETIMES I WRAP MYSELF IN BOWS AND CALL MYSELF GIFTED.
FUNNY
TAKE A FUNNY
FUNNY
ING DRUNK, EVERYONE OU DID, EXCEPT YOU.
FUNNY
E. I IMPROVE WITH WINE.
I'M COUNTING ON YOU, FINGERS.
POLICE WERE CALLED TO A DAYCARE WH A THREE-YEAR-OLD WAS RESISTING A R
TAKE A FUNNY
TO WRITE WITH A BROKEN PENCIL... POIN
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A WAS CALLED TWISTER.
TAKE A FUNNY
TAKE A FUNNY THE CONDENSED HISTORY OF A DIVORCE: I DO. ADO. ADIEU.
TAKE A FUNNY THERE MAY BE NO "I" IN "TEAM," BUT THERE ARE THREE IN "NARCISSISTIC."
TAKE A FUNNY
DEPRESSO: WHEN YOU'VE RUN OUT OF CO
TAKE A FUNNY
THE FRUSTRATED CANNIBAL THREW UP HIS
WRITE
OR
LEAVE A FUNNY
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HA!
DRAW
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Conditional Improvisational Experiments
By embracing aleatoric, improvisational and conditional design methods, I can create a system for more unpredictable and interesting designs that can be applied to any medium. These experiments were based on the statement: Create — using — in — amount of time. And, then, — . An extensive amount of time was dedicated to this specific, ongoing project. Presented in the following are some of the results.
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create _________________ type, self portraits, a music video, an illustrated character, editorial spread, geometric patterns, a poem, patterns, a logo, a poster, || anything wildcard ||
using ___________________
in _______ . five minutes, one half hour, one hour, twenty four hours, || any time wildcard ||
Supporting Thesis Project
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collaging, light, , iphone (apps, etc), paper & scissors, food, video, type, paint, markers, a scanner, a projector, photography, computer, your current surroundings, stop motion, dryer lint, toothpaste, a mirror / reflection, || anything wildcard ||
Create patterns using paint in five minutes. And, then, show a situation in which they could be used.
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Create editorial spreads using food in one half hour.
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Create self portraits using iPhone in five minutes.
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Improvised Friendship
Can specific Google image search results tell a story, without being edited? I selected my artist and designer friend Kewei Du ( coke.du) as the subject for this project. I wanted to created a video reflective of our friendship, and one that aesthetically combined both of our personal aesthetics and methodologies. I began by doing a Google image search for “Friendship” and continued by printing the results. I then cut the results into strips, taped them to a large string of fishing line, and used that piece to
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serve as the overall narrative element in the video. I had never used a green screen before, so I this project seemed like the appropriate time to do so. A rule I set was to use a program effect, of After Effects, multiple times so that it would become part of the video’s own aesthetic. I chose to use the equalizer visualizer, which is loudly present. Another rule was to film only once. Appropriately so, and not embarrassed to note that, I used the most friendshipy song of all the friendship songs— mmmbop, by my all time favorite band, Hanson, who unsurprising to me, did in fact show up in the Google image search results. The images presented here represent the process of this project. — VIDEO vimeo.com/119810176
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Supporting Thesis Project
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There is Magic in Letting Go: A Thesis Summary
There is Magic in Letting Go: An MFA Thesis Anthology is a 384 page graphic design thesis book that contains: — Thesis writing totaling 1967 words. — 869 word Declaration of Improvisation. — 14 featured thesis supporting projects with written descriptions totaling 2185 words.
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Thesis Summary more work @ marshall-lambert.com say hi @ iammarshallnotu [at] gmail.com