Graff-it-up

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MFA G RAP HIC DE SIGN THE SIS PANUPONG (P ARKO) PREMV ARANON

MFA THESIS BY PANUPONG PREMVARANON

A Graduate Graphic Design Thesis Written and Design by Panupong Premvaranon Graduate student of the Academy of Art University 79 New Montgomery Street (5th Floor) San Francisco, California, USA Find out more about Graff-it-up at: graff-it-up.com View more work by Panupong at: parko-design.com Printed and bound in the United States of America ALL RIGHTS RESERVED CopyrightŠ 2016 Panupong Premvaranon

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MFA THESIS BY PANUPONG PREMVARANON

MFA THESIS The challenge for a graphic design MFA thesis was to define a problem, come up with unique point of view, and use graphic design skills that include typography, composition, illustration, color, and photography to solve a problem. The design solutions will reach the audience on multiple levels and across multiple design platforms.

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GRAFF-IT-UP AIMS TO REDUCE ILLEGAL GRAFFITI

BY ENCOURAGING GRAFFITI ARTISTS OR NEWCOMERS TO USE LEGAL SPACES,

BY EDUCATING PEOPLE IN THE COMMUNITY TO SEE GRAFFITI IN A POSITIVE LIGHT AS AN ART FORM, AND

BY CREATING A GRAFFITI ART COMMUNITY CONNECTING GRAFFITI ARTISTS AND PEOPLE IN COMMUNITY TOGETHER

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MFA THESIS BY PANUPONG PREMVARANON

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CHAPTER

CHAPTER

CHAPTER

CHAPTER

CONTENTS 01

ISSUE

02

RESEARCH, CONCEPT AND SOLUTION

03 04

BRAND IDENTITY AND DELIVERABLES DEVELOPMENT

FINAL DELIVERABLES

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01 THE ISSUE Why graffiti become and issue?

Why does it matters?

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“ GRAFFITI COSTS AMERIC MORE THAN BILLION DO IT HURTS PROPERTY VAL BUSINESS, AND SENDS T NOBODY CARES ABOUT T GRAFFITI IS EVERYBODY –National Crime Prevention Council

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CAN COMMUNITIES OLLARS PER YEAR. LUES, DRIVES AWAY THE MESSAGE THAT THE COMMUNITY. Y’S PROBLEM.”

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WHY GRAFFITI BECOMES AN ISSUE? Graffiti vandalism is a big problem in the United States and in many parts of the world. Many cities across the country suffered from illegal graffiti and spend more than billion dollars to clean up graffiti vandalism and to create graffiti prevention and clean up programs.

However, graffiti vandalism still exists and continues to increase each year, with no signs of stopping.

ILLEGAL GRAFFITI COST MONEY In every year, the United States spend estimated more than billion dollars to cleanup graffiti vandalism.

Figures from a variety of cities across the United States, graffiti cleanup alone cost taxpayers about $1-3 per person each year. For smaller communities the amount dedicated to graffiti cleanup annually may be less than $1 per person.

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THE UNITED STATES ESTIMATED SPEND MORE THAN

$ 1,000,000,000 PER YEAR TO CLEAN UP ILLEGAL GRAFFITI

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“ ILLEGAL GRAFFITI RUINS THE ENVIRONMENT. IT MAKES OUR NEIGHBORHOODS FEEL LESS SAFE, AND DECREASES PROPERTY VALUE.” –GraffitiHurts.org

THE IMPACT OF ILLEGAL GRAFFITI AND COMMUNITY SAFETY Graffiti Hurts Community

Decrease in Property Value

Business owners and home owners incur a tremendous expense in graffiti removal. Additionally, stores lose business when shoppers decided to leave the community to shop at a safe, cleaner-looking store.

According to the National Association of Realtors, property located within a community where there is graffiti will lose 15 percent of its value. If the graffiti is profane or hateful, the property owner can expect to lose up to 25 percent of the home’s value.

Increase in Fear Illegal graffiti, especially tag and gang-related graffiti, creates fears and trepidations to people in the community. As a result, people may try to sell their homes.

Potential buyers see graffiti as a neighborhood eyesore.

The combination of graffiti and “For Sale” signage will lead people to believe that the neighborhood has become a “bad” neighborhood.

Illegal Graffiti leading to other crime According to the The Graffiti Resource Council, a community that has a heavily vandalized area will experience increases in other sorts of crimes as well, such as shoplifting materials used for graffiti, including paint and markers. It also leads to violence around the area between property owners, gang members, and graffitists.

Gang-related crimes and violence are also the crimes most commonly associated with graffiti.

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WHY DOES IT MATTERS? From what I found during my research about the graffiti issue, I concluded that illegal graffiti is a really serious problem in our community, and it is leading to many other problems.

As a member of community, I think everybody should help solve this problem; I believe that I can use my graphic design skill to find the solution and the way to communicate to help solve this problem.

So, the first goal of my MFA Thesis is to find the way to reduce illegal graffiti in American communities, using graphic design.

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02 RESEARCH AND SOLUTION Research Plan

Key findings

Secondary Research

Insight, Solution, and Deliverables

Survey Group Discussion Personal-interview

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RESEARCH PL AN

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My Thesis requires a lots more research about the illegal graffiti issue because the issue is mostly based on the perspective of people in the community. But I want to understand the perception of graffitist side too. I also want to find the insights of people who are involved in this issue to help find the right solution.

RESEARCH METHODS

SECONDARY RESEARCH SURVEYS GROUP-INTERVIEW PERSONAL-INTERVIEW

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SECONDARY RESEARCH My Thesis requires a lots more research about the illegal graffiti issue because the issue is mostly based on the perspective of people in the community. But I want to understand the perception of graffitist side too. I also want to find the insights of people who involved in this issue to help finding the right solution to solve this problem.

HISTORY OF GRAFFITI ART MOVEMENT Before finding facts about graffitists, I decided to educate myself a little bit about graffiti by understanding the history of the graffiti art movement.

If we tracked back to the first graffiti wall, may be we need to goes back to ancient Rome. But the style of urban graffiti that most people have seen and know about, the kind that uses spray cans, came from Modern graffiti art, which originated in Philadelphia around 70’s. Cornbread is credited as the first graffiti writers. He wrote his name all over the city, gaining attention from the community and local press.

This concept made its way to New York City by Taki183. He wrote his name everywhere he went, at subway stations and also the insides and outsides of subway cars.

In 1971, Taki183 was interviewed for an article by the New York Times. Teenagers all over New York, realizing the fame and notoriety that could be gained from “tagging” their names on subway cars began to emulate Taki183. The goal was to have their name in as many places as possible, and competed against each other to get famous, the amount of graffiti on trains exploded.

After the invented of tagging, graffiti started to evolve to another level that competed with style of their tag.

They would try to make their tags more stylish than anyone else’s. Later on, they would add more colors, special effects, and they’d make their name bigger.

Spray cans allowed large pieces of graffiti to be created fairly quickly, which was important because writers didn’t want to get caught by the police.

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Gang-related graffiti formed in the middle of 1980’s as a way to mark their territory. Some graffiti writers would travel together to avoid gang troubles, but they were rarely violent. A common misconception is that graffiti is all gang-related. Most graffiti is not gang-related. Gangrelated graffiti use less effort in its creation.

As graffiti became associated with crime, many demanded that the government take a more serious action towards it. By the 1980s, increased police surveillance and implementation of increased security measures (razor wire, guard dogs) combined with continuous efforts to clean it up led to the weakening of New York’s graffiti subculture.

After the weakening of graffiti subculture, graffiti influenced many contemporary artists, such as Keith Haring, and started the contemporary graffiti art era. Graffiti art has been featured in exclusive galleries, and has exerted its influence on the world of graphic design.

By the 1990’s, graffiti was considered one of the four elements of hip hop (along with emceeing, DJing, and B-Boying). Graffiti culture started to spread to the rest of the world because of the raised of hip-hop culture.

By the end of the 20th century, graffiti had evolved into complex forms of artistic expression. From graffiti, stencils, prints, and murals, through large-scale paintings and projects of artistic collaboration, to street installations, as well as video art, it is safe to say that graffiti have found its way into the core of contemporary art.

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THE MEANING OF GRAFFITI IS DIFFERENT BETWEEN GROUP OF GRAFFITI ARTISTS AND PEOPLE IN THE COMMUNITY.

GRAFFITI IS THE UNAUTHORIZED WRITING OR DRAWING ON A PUBLIC OR PRIVATE SURFACE. GRAFFITI MAY CONSIST OF INSCRIPTIONS, SLOGANS, AND/OR DRAWINGS THAT ARE CREATED BY SCRATCHES, SCRIBBLES, ETCHING, STICKERS OR PAINT. Meaning of graffiti from Anti-graffiti.org

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GRAFFITI IS THE NAME FOR IMAGES OR LETTERING SCRATCHED, SCRAWLED, PAINTED OR MARKED IN ANY MANNER ON PROPERTY. GRAFFITI IMPLEMENTS HUMAN DESIRE TO COMMUNICATE, LATER DEVELOPED INTO UNIQUE ARTISTIC STYLE AND CONSIDERED AS A LEGITIMATE ART FORM. Meaning of graffiti from .org

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TYPES OF GRAFFITI (AS ART) Tag, Pieces, Throw-Ups and Stencil are the main 4 types that carry the aesthetics of graffiti and represent style of graffiti as an legitimate art form. Each type of graffiti has a different purpose of doing and also have different in artistic effort in each type.

TAG

THROW-UPS

Tag is the simplest type of graffiti, consisting of the writer’s street name in one color. Tags are basically the graffiti writer’s signature to brand themselves in graffiti community.

A throw-up is a little more complicated than a tag, usually having two or three colors, but not nearly as elaborate as a piece. A throw-up is something that can be done quickly and repeatedly, while still identifying the writer.

ARTISTIC SKILL LEVEL

ARTISTIC SKILL LEVEL

ARTISTIC EFFORT

ARTISTIC EFFORT

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STENCIL

PIECES

Stencil graffiti takes that idea of painting on walls and tagging random signs by using a stencil made of cardboard or another medium. Artists mostly use this medium of expression for social and political commentary.

A piece (short for masterpiece) is a graffiti painting, much more complex than a tag and having at least three colors. Pieces are hard to do illegally because of the time and effort involved, so a good piece will gain a lot of respect for that particular graffiti artist.

ARTISTIC SKILL LEVEL

ARTISTIC SKILL LEVEL

ARTISTIC EFFORT

ARTISTIC EFFORT

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TYPES OF GRAFFITI (AS VANDALISM) What people in the community really focus about graffiti is nothing involve with the design of graffiti or aesthetic of graffiti at all. They mainly focused on purposes of people who did vandalism by scratches, scribbles, etching, stickers or paint. So, it’s really clear that what people hate is not about art of graffiti but people who did vandalism.

Most of graffiti prevention programs categorized different types of graffiti vandalism into 4 types of graffiti vandalism.

GANG GRAFFITI Are often used by gangs to mark turf, convey threats of violence, and also insult/taunt other gangs.

TAGGER GRAFFITI Ranging from high-volume simple tags to complex street art.

CONVENTIONAL GRAFFITI Often isolated or spontaneous acts of “youthful exuberance,” but sometimes malicious or vindictive.

IDEOLOGICAL GRAFFITI Such as political or hate graffiti, which conveys political messages or racial, religious, or ethnic slurs.

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COMMUNITY PREFERRED STREET ART MORE THAN GRAFFITI 031

In 2015, Artcrime.org did a survey and found that more than 80 percents of their participants preferred street art more than graffiti.

I always found that most people were confused between graffiti and street art. Graffiti and street art are closely related contemporary art movements.

What really makes graffiti and street art different is intent and audiences. Graffiti artists place their work in public, speaking to other graffiti artists. In contrary, street artists want everyone to view and be engaged by their work.

GRAFFITI ART AND STREET ART If we considered graffiti as vandalism from culture in the past, graffiti is nothing related to street art and contemporary art movement. But if we considered graffiti as a legitimate art form. Graffiti is a part of contemporary art movement same as street art.

GRAFFITI ART, DEVELOPED SINCE 1960’S

STREET ART, MOVEMENT INSPIRED BY GRAFFITI MOVEMENT BUT FOCUSING MORE ON AESTHETIC AROUND 1990’S

CONTEMPORARY ART MOVEMENT

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MOST OF GRAFFITI VANDALISM DONE BY “TAGGER” In 2014, Anti-Graffiti.org reported the majority of illegal graffiti in the United State is “tagger” graffiti–artist’s personal signature, most often in the form of initials or a stylized name.

15%

GANG-RELATED

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03% 01% 01%

COMMUNICATIVE / POLITICAL HATE GRAFFITI ART PURPOSE

% 80 TAGGER

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MOST OF ILLEGAL GRAFFITI CREATED BY “TEENAGERS” Almost every organization that is trying to solve graffiti vandalism aims their target to teenagers aged around 12-20. It also related to the information of National Crime Prevention Council that collected illegal graffiti arrest data from 8 different major cities and it shows estimated 83% of all street-level graffiti is created by teenagers.

83%

OF ALL STREET-LEVEL GRAFFITI IS CREATED BY “TEENAGERS”

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SURVEY

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I surveyed 124 participants, men and women between the ages of 17-44. The purpose of this surveys is to find the general ideas and what people think about graffiti from various group of people based on age range.

AGE RANGE

AGE: 17-22 / 25 PARTICIPANTS AGE: 23-34 / 63 PARTICIPANTS AGE: 35-44 / 36 PARTICIPANTS

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IS GRAFFITI GOOD OR BAD? WHY?

24% BAD / GRAFFITI IS VANDALISM

76% GOOD / IF IT DONE LEGALLY

AGE GROUP: 17-34

80% BAD / GRAFFITI IS VANDALISM

20% GOOD / IF IT DONE LEGALLY

AGE GROUP: 17-34

WHAT COME TO YOUR MIND FIRST WHEN SOMEONE TALKING ABOUT GRAFFITI? 038

OPEN-END QUESTION

TOP 3 ANSWERS

ART / 23 PARTICIPANTS CRIME / 21 PARTICIPANTS GANG / 17 PARTICIPANTS

OTHER INCLUDING: SPRAY CAN, STREET ART, ETC.

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DO YOU THINK GRAFFITI CAN CONSIDER AS AN ART FORM?

YES / AGE GROUP: 35-44

YES / AGE GROUP: 17-34

GROUP DISCUSSION Group discussion is a good way to get insights that could help me find better design solution.

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I started with designing invitation, planning discussion flow and the topic for discussion to guide a conversation.

The participants are in age ranged around 25-36 with different background including art students, photographer, architecture, business man and programmer.

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GROUP DISCUSSION PARTICIPANTS

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“HONESTLY, I DON’T FAMILIA I DON’T REALLY INTEREST IN I LEARNED DURING THIS EV BELIEVE THAT GRAFFITI IS A FOCUSING ON EDUCATE PEO ME, THIS PROBLEM SURELY

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GROUP DISCUSSION RESULTS Almost every organization that is trying to solve graffiti vandalism aims their target to teenagers aged around 12-20. It also related to the information of National Crime Prevention Council that collected illegal graffiti arrest data from 8 different major cities and it shows estimated 83% of all street-level graffiti is created by teenagers.

–Thanik Yindeepit

“I THINK GRA STYLE OF A MUCH VALU

– Chia Wen

“GRAFFITI MAKE STREET OF SAN FRANCISCO LOOK DANGEROUS. I ALWAYS AUTOMATICALLY AVOID THE PLACE THAT HAD GRAFFITI” – Pear Weerawong

“IF THE MAIN PROBLEM OF GRAFFITI VANDALISM CAUSES BY TEENAGERS, THEREFORE, PARENTS SHOULD BE THE KEY TO SOLVING THIS PROBLEM.” – Andrea Novo

“I DIDN’T HATE GRAFFITI; SOMETIMES IT LOOKS INCREDIBLE WHEN I WALK PASSED. BUT IT HURTS TO KNOW HOW MUCH I NEED TO SPEND TO CLEAN UP IF I’M A VICTIM.” –Alfred Huang

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AFFITI HAS A VERY UNIQUE ART. BUT IT DOESN’T GET UE FROM ART COMMUNITY.”

n Tsu

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AR WITH GRAFFITI BECAUSE N ART STUFF. BUT FROM WHAT VENT, I THINK I STARTED TO AN ART FORM. SO, IF YOU OPLE LIKE WHAT YOU DID TO Y CAN BE SOLVE.” “I THINK GRAFFITI ARTISTS NEED SPACE TO PRACTICE AND PRESENT THEIR WORKS. I DECIDED TO DO GRAFFITI BECAUSE I LIKE THE STYLE OF GRAFFITI AND ALSO NEED RESPECT BOTH IN GRAFFITI SOCIETY AND ART SOCIETY.” –Yan Yeung

“I’M OK WITH WELL CRAFTED AND BEAUTIFUL GRAFFITI. SOMETIMES IT HELPS SOME SPACES LOOK BETTER. I THINK THE MAIN REASON THAT MADE GRAFFITI LOOK BAD IS THE TAGGING.” – Lee Li

“THE STREET ART SOUND COMFORTABLE THAN GRAFFITI”

–Tony Woo

PERSONAL INTERVIEW

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After all the research I did, I still want in-depth information. So, I decided to get more information by interview two group of people that really related to this problem.

GRAFFITI ARTISTS INTERVIEW I was curious and want to understand more about the though of graffiti artists, Why they start doing graffiti?, Do they concerned about the effect to community? and Will they use legal spaces, if it provided?

I didn’t familiar much with graffiti community here in the United States. So, I decided to send message to start a conversation with 10 graffiti artists that I found on facebook.

WHY THEY START DOING GRAFFITI? The answers is various, from hip-hop culture, follow their friends, interesting in extreme culture of graffiti and want to rebel society. But the common answers is that they started when they were young and they’re all appreciate the art of graffiti.

DO THEY CONCERNED ABOUT THE EFFECT TO COMMUNITY? The answers divided into 2 big group. The first group really concerned about society, they keep doing vandalizing because they don’t have legal spaces to work. The second group is really tied with graffiti culture that graffiti suppose to be vandalism. They though what they did make street look better.

IF SOMEONE PROVIDE LEGAL SPACES, DO YOU WANT TO USE IT OR YOU’LL KEEP DOING VANDALISM? Most of interviewers agreed with legal spaces and think that it can make some change in graffiti community. But some interviewers gave an interesting insight that some group of graffiti artists was too proud about their culture of graffiti and vandalism, so they won’t doing it because they think that is street art, not graffiti.

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“ TELLING YOUTH NOT TO DO GRAFFITI WILL ONLY ENCOURAGE THEM.” CHILD AND TEENAGER PSYCHOLOGIST INTERVIEW First, I tried to interview with teenager but the results didn’t go well. I think they didn’t honestly answer the question and I realized that they felt uncomfortable to discuss about something that cause negative image to them. So, I decided to change target to interview from teenager to teenager psychologist.

I had great opportunity to talk to a child and teenager psychologist during my trip back to Thailand.

Dr.Piengthip Penjun is a child and teenager psychologist who graduated in child and adolescent psychiatry from St. Louise, Missourri. During the long talk with Dr. Piengthip about graffiti and teenagers, she helped me summarize the relation between teenagers and graffiti in really interesting way. She explained that parents are one of the most important factors that make teenagers do graffiti vandalism.

In the past generation, graffiti was involved with gang culture and crime that made people in the past generation have bias about graffiti. Teenagers aged around 12-20 often proudly asserts individuality from what parents like or independence of what parents want and in each case succeeds in provoking their disapproval. So, the bias about graffiti of parents transfers to teenagers and lets them do it.

Moreover, Dr. Piengthip gave another point that graffiti is a tool used by teenagers to rebel against their parents, society or express their anger. So, it’s really easy to summarize that graffiti is just a tool that teenagers use to rebel against parents and society. Dr. Piengthip gave a case that really related the graffiti issue that is the rise of tattoo in teenager. Tattoos also have similar issues with graffiti that contain negative aspects in some parts of history. But the difference is that tattoo art didn’t cause any negative effect on a community.

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TEENAGERS RECEIVE NEGATIVE PERCEPTION

ANTI-GRAFFITI THOUGH - Gang-crime - Only vandalism

GRAFFITI ARTISTS

DOING VANDALISM - No legal space - Graffiti culture

TEENAGERS

IGNORE COMMUNITY AND KEEP DOING VANDALISM

PEOPLE IN COMMUNITY

USE GRAFFITI AS A TOOL REBEL AGAINST THEIR PARENTS, SOCIETY OR EXPRESS THEIR ANGER.

NEGATIVE PERCEPTION ABOUT GRAFFITI

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KEY FINDINGS

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From the research, I separated insights based on 3 different groups that involved with illegal graffiti issue to make it easier to understand and help finding the design solution.

PEOPLE IN COMMUNITY

TEENAGER

KEY FINDINGS

KEY FINDINGS

> People mostly agreed that graffiti can get more positive aspect if it done legally.

> The main issue that make people hate graffiti in present day is “tagging” and mostly caused by teenagers.

> Many people still believe that graffiti associate with gang and crime even many organizations provided information that graffiti in present didn’t related much to gang crime culture.

> Teenagers use graffiti as a tool to rebel against their parents, society or express their anger.

> Graffiti issue can’t be solving immediately, because The negative perception of graffiti already settled in most people’s mind from what it done with community in the past. > People mostly lack of knowledge about graffiti culture and art of graffiti that made them conclude that all kinds of graffiti is vandalism.

> People in younger generation have better perception about graffiti than the older generation.

GRAFFITI ARTIST KEY FINDINGS > The extreme oppose against graffiti is one of the reason that make graffiti artists continue doing vandalism. > Some graffiti artists want to work legally but they don’t have enough legal spaces.

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INSIGHT, SOLUTION, GOAL, AND DELIVERABLES After a lots of research, I finally found the insight that is the key of this problem. I’m ready to address the way to solving the problem. I creating a strategy matrix based on problem between each group of people who involved in the illegal graffiti problem and pairing them to find the best design solution and deliverable.

INSIGHT Negative aspect of people in community to graffiti is the key problem that keep graffitists and teenagers doing vandalism.

SOLUTION & GOAL to reduce illegal graffiti by educating and encouraging people in the community to see graffiti in a positive light as an art form, by connecting graffiti artists and people in the community together, and by encouraging established graffiti artists or newcomers to do legal graffiti.

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EXHIBITION Exhibition is the main deliverable that aims to educate people in community to see graffiti in a positive light as an art form. The Exhibition will mainly focus on history, art of graffiti and solution to help our community that can lead to understanding between people in community. Exhibition is just a beginning of journey through the art of graffiti, exhibit will also promoting the outdoor art gallery concept of mobile app. It’ll lead to understanding between people in community and graffiti artists.

MOBILE APPLICATION Mobile app is an social network app that connecting graffiti artists and people in the community together.

Mobile app will act as a hub between people in community and graffiti artists. Graffiti artists or newcomers can create their profile, portfolio to promote their artistic skill and share the location of their legal artwork. People in community can also share their free wall for artists by creating location profile and let artists ask for permission. This app will help encourage graffiti artists to work legally and create connection between them.

GRAFFITI ART TOOLS Graffiti art tools are create to working as a promotional tool and also act as a symbol of legal graffiti according to the mission of our organization. Graffiti products including spray can, respirator, marker and other related art tools.

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03 BRAND IDENTITY AND DELIVERABLES DEVELOPMENT Branding

Exhibition development

Logo

Mobile apps development

Visual Inspiration

Product development

Visual System

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BRAND

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A brand refers to the percieved image and subsequent emotional response to a company, its products and services. It also represents the conversation that audiences are having with each other about the brand, and how that spreads.

NAMING From the insights that I got from my research process, the word “graffiti” already contains negative aspect to many people in our society. However, I still need a name that related to word “graffiti” because draws people who interesting to do graffiti and let people immediately know what my project is about.

So, I decided to invent a new name that related to the word “graffiti” and add some word that show the positive aspect. Finally, I came up with “Graff-it-up” that borrowed “Graff” from graffiti and show the aspect that we want to making it better or improving it by using the word “Up”.

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LOGO

LOGO DEVELOPMENT In order to create a successful logo, I started with idea brainstorming and find the inspiration that related to my topic. I found that my logo need to be abstract but hide the meaning of graffiti inside, because the concept of Graff-it-up is to create totally new identity that separate from graffiti in the past.

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FINAL LOGO

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The final logo of Graff-it-up is the combination of initial, arrow that contain meaning of the word �up� and the vernacular of street sign.

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LOGO ANATOMY

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CLEARSPACE

SYMBOL

SIGNATURE 01

SIGNATURE 02

WORDMARK

VISUAL INSPIRATION

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I tried to find inspiration through a variety typography, photography, graphic elements, color palettes, and visual style with different kinds of material platforms.

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VISUAL SYSTEM

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The goal of visual system is to draw people in at their first glance and convey appropriate message.

TYPOGRAPHY I decided to use Conduit STD as the primary typeface because of the strong look but have round corner that make it look playful. I also custom-made Conduit into stencil typeface add more unique aspect about graffiti.

The secondary typeface is Museo Sans and Museo Slab that contain the positive look that suit to Graff-it-up.

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PRIMARY TYPEFACE

Aa Aa HEADER 01

CONDUIT ITC / BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz CONDUIT ITC / REGULAR ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

HEADER 02

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SECONDARY TYPEFACE

Aa Aa Aa QUOTE & SUBTITLE 01

MUSEO SLAB ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

MUSEO SANS 500 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

MUSEO SANS 500 ITALIC ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

076

COLOR I picked colorful color that create positive feeling. The color that I picked is red blue and yellow.

R:242

G:145

B:18

C:0

M:50

Y:98

R:55

G:166

B:219

C:70

M:14

Y:0

R:232

G:40

B:35

C:0

M:100

Y:97

K:0

K:0

K:0

MFA THESIS BY PANUPONG PREMVARANON

077

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

078

GRAPHIC ELEMENT Graphic element is the key visual of Graff-it-up. The key design concept of Graff-it-up need to be simple, positive and fun. So, I use simple triangle shape that emphasize the word “up� and place it in different composition to make it look like scatter from spray can. I also combined it with graffiti style arrow.

MFA THESIS BY PANUPONG PREMVARANON

079

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

PHOTOGRAPHIC STYLE Photographic style of graff-it-up need to look positive and also show the art of graffiti or street art.

080

EXHIBITION DEVELOPMENT

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081

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

082

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083

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

LOCATION According to the purpose of Graff-it-up that want to educate people about art. So, the most suitable location is the art museum. I did some survey about art museum in San Francisco and finally decided to place my exhibition at De Young. The gallery 5 is the most suitable room because it mainly to exhibit contemporary art of 20th century and have high wall that suitable for graffiti.

084

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085

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

086

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087

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

ELEVATION This is the part to start design each wall that we already measure.

088

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089

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

090

MOBILE APP DEVELOPMENT

WIRE FRAME Before going to design process, this is the planning stage that help me design the function of mobile app.

MFA THESIS BY PANUPONG PREMVARANON

091

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

092

USER INTERFACE DESIGN After I clearly finish design the function, now it’s time to design the interface and apply the key visual of the brand.

MFA THESIS BY PANUPONG PREMVARANON

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CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

PRODUCT DEVELOPMENT

094

The product will help emphasize the concept of graffiti as a legitimate art form. Key visual will apply to the products including spray can, respirator, marker, and etc.

PRODUCTS LISTING First step, I tried to list out all the product that related to graffiti art. The example of the product is spray can, marker, respiration and swag that related to the exhibition.

MFA THESIS BY PANUPONG PREMVARANON

095

CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

096

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CHAPTER 03: BRAND IDENTITY & DELIVERABLES DEVELOPMENT

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PRODUCTS DEVELOPMENT After I got the list of all product, Then I started to design and apply the key visual to products.

ACRYLIC

PROFESSIONAL SPRAY PAINT DANGER: EXTREMELY FLAMMABLE CONTENTS UNDER PRESSURE VAPOR HARMFUL IRRITATES EYES, SKIN AND RESPIRATORY TRACT BEFORE USING READ CAREFULLY OTHER CAUTIONS ON BACK PANEL.

ACRYLIC

NT/11OZ. 320g E

PROFESSIONAL SPRAY PAINT

ACRYLIC

PROFESSIONAL SPRAY PAINT

DANGER: EXTREMELY FLAMMABLE CONTENTS UNDER PRESSURE VAPOR HARMFUL IRRITATES EYES, SKIN AND RESPIRATORY TRACT BEFORE USING READ CAREFULLY OTHER CAUTIONS ON BACK PANEL.

DANGER: EXTREMELY FLAMMABLE CONTENTS UNDER PRESSURE VAPOR HARMFUL IRRITATES EYES, SKIN AND RESPIRATORY TRACT BEFORE USING READ CAREFULLY OTHER CAUTIONS ON BACK PANEL.

ACRYLIC

ACRYLIC

PROFESSIONAL SPRAY PAINT

PROFESSIONAL SPRAY PAINT

320g E NT/11OZ.

320g E NT/11OZ.

ACRYLIC

PROFESSIONAL SPRAY PAINT 320g E NT/11OZ.

098

MFA THESIS BY PANUPONG PREMVARANON

04 FINAL DELIVERABLES Exhibition: The World of Contemporary Graffiti Art Mobile app: Graff-it-app Products: Graff-it-up products for artists

099

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100

EXHIBITION: THE WORLD OF CONTEMPORARY ART OF GRAFFITI

MFA THESIS BY PANUPONG PREMVARANON

101

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102

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104

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106

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107

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108

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110

EDUCATE

Mobile app: Graff-it-app Products: Graff-it-up produc

APPRECIATE PARTICIPATE

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111

CHAPTER 04: FINAL DELIVERABLE

112

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114

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Quake, 201 6

Spray paint on dry wall: 5x30 f

t.

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the ďŹ rst century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the ďŹ rst century BC to the fourth century AD

122

Quake, 2016

Quake, 2016

Quake, 2016

Spray paint on dry wall: 5x30 ft.

Spray paint on dry wall: 5x30 ft.

Spray paint on dry wall: 5x30 ft.

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

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CHAPTER 04: FINAL DELIVERABLE

Spray paint on dry wall: 5x30 ft.

Spray paint on dry wall: 5x30 ft.

Quake, 2016

Quake, 2016

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

Quake, 2016

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD ons scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD

Spray paint on dry wall: 5x30 ft.

124

GRAFFITI FOR GOOD

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125

CHAPTER 04: FINAL DELIVERABLE

126

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127

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128

MOBILE APPLICATION: GRAFF-IT-APP

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129

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130

DISCOVER

LOCATE

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131

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SHARE

CONNECT

132

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133

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GRAFF-IT-UP PRODUCTS FOR ARTIST

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137

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138

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139

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THANK YOU Thank you to my dad, mom, and my lovely sisters who always give me tremendous support and push me to chase my dreams. I love you so much, I wouldn’t be where I am now without your support.

Thank you to all my friends in Thailand and SF for always being there with me and cheering me up. Thank you Aum, Cherry, Kamin, Nan, Bell, Jeff, Pear, Alberto, Joanne, Ziv, Jayeeta, Amal, Yu, Lili, Mook. This journey wouldn’t have been so fun and happy without you guys.

Thank you to all the instructors who gave me the best journey of my life. Many thanks to Dave Gottwald, Phil Hamlett,and Bob Slote.

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A Graduate Graphic Design Thesis Written and design by Panupong Premvaranon parkone.design@gmail.com

Academy of Art University: Graduate School of Graphic Design 79 New Montgomery Street San Francisco, CA, USA Thesis Advisor: Phil Hamlett, Dave Gottwald and Bob Slote Bookbindery: Blurb Paper stock: Proline Uncoated 100# Typeface: Conduit STD, Museo Sans, Museos For more about Graff-it-up project: graff-it-up.com Contact: parkone.design@gmail.com Copyright © 2016 Panupong Premvaranon Written and designed by “Panupong Premvaranon” Allrignts reserved.