Design Equation by Patti Lemene

$$$$

PAIGN

REJUVENATE

ENVIRONMENTAL

= PACKAGE DEVELOPMENT

REDUCE + REUSE + RECYCLE

RAISE AWARENESS

ASYMMETRY + SYMMETRY

DESIGN EQUATION SYMBOLS + ICONS

GEOMETRIC (GENDER NEUTRAL )

FRANK GEHRY

STATISTICS + ANALYSIS + RESULTS LACK OF COMMUNICATION + SOLUTION

(TORONTO + ARCHITECT + EDGY )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT CONTAINERS ( BOXES + CANS )

$$$$$$$

MATERIALS

GROWTH + CHANGE + SUCCESS

RISKS + PROCESS + TRIAL + ERROR

MATERIAL

D BLACK

++ SOLUTIONS ++

GLOCK 9mm = STATISTICS

AIR TIGHT METAL TINS

SUSTAINABILIT

RECYCLABLE

REDUCE + REUSE + RE

A POINT OF VIE

ILLUSTRATION STYLE LOOSE + ORGANIC + GEOMETRIC

SHAPES

CONSISTENCY

BEES

WORKS BY PATTI LEMENE

SPACE

COLOURS

UNIVERSE + MEMPHIS

D + POWER )

MIND

IMPACT OF DES

HOSPITAL + STAKEHOLDERS +

RESEARCH X EDITING X WRITING X SKETCHING

EYE-CATCHING + MEMORABLE + BOLD PROTOTYPE + REVISIONS ++++++++++++++++++++++++++++++++++

PROB

{ INNOVATIVE }

MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + + +

BOOK D

PACKA

FREELANCE

COMPANY + PACKAGE RESEARCH

DIRECT X INDIRECT COMPETITION

STRATEGY + STORYTELLER

++ SOLUTIONS ++

(TWO DIMENSIONAL + THREE DIMENSIONAL )

SYMBOLS + I

FACULTY

PROCESS + TRIAL + ERROR

ASYMMETRY

ICONS

DESIGN + EQUATION

ALL NIGHTER ++++++++ CAFFEINE = SATISFIED CLIENT

( PERU + EGYPT + ISRAEL + FRANCE + SPAIN +++++++)

SYMBOLS

PRINT DEADLINE

PERSUASION + ( REACTION )

VARIABLES

PATTI LEMENE + GRAPHIC DESIGN

WEIGHT + CO

K.I.S.S.

EXPRESSION

(MOCK-UP)

HIERARCHY + BALANCE SCALE + COLOUR

GRID

BLUEBERR

PACING

WEIGHT + CONTRAST

ASYMMETRY + INSTINCT SYMBOLS + INFOGRAPHICS

DIGITAL + CREATIVE

(ABSTRACT + EXPRESSIO

Design Equation defines the way I think and workâ&#x20AC;&#x201D; insightful strategic thinking and authentic creative expression. Equation is defined as ( 1 ) an element affecting a process ( 2 ) a complex of variable factors ( 3 ) a state of being equated ( 4 ) a state of close association or identification and ( 5 ) a statement of the equality or equivalence of mathematical or logical expressions.

DESIGN EQUATION

1 FRANK GEHRY LIQUID SPACES 2 500 STONES PER DAY

[ P008 ]

[ P020 ]

3 BARKER BEES ORGANIC HONEY 4 ILLEGAL GUNS N’ AMERICA 5 EXPERIMENTS WITH TYPE

[ P048 ]

[ P058 ]

6 A DAVID LEAN FILM FESTIVAL 7 ORGANIC TURKISH TEA

[ P066 ]

[ P082 ]

8 MIND BENDER FILM FESTIVAL 9 MEDICALLY SPEAKING

[ P034 ]

[ P096 ]

[ P090 ]

TABLE OF CONTENTS

COMMUNITY FACULTY

DESIGNER + EDUCATOR + MOM STRATEGY + STORYTELLER

{ INNOVATIVE }

BOOK DESIGN

X PACKAGING

FREELANCE

SYMBOLS

RESEARCH

CONCEPT

PROBLEM + SOLUTION

COMPOSITION

MIND MAPS + (ADJECTIVES)

EXECUTION

HISTORY + CULTURE + TRAVEL

TIME MANAGEMENT PRECISION

PATIENCE

BOOK DESIGN PACKAGING

DEADLINE DRIVEN ALL NIGHTERS ++++++++ CAFFEINE ( PERU + EGYPT + ISRAEL + FRANCE + SPAIN +++++++) PROCESS + TRIAL + ERROR

++ SOLUTIONS ++

SYMBOLS

ORGANIZED + PATIENT

FACTORS

EXPRESSION

ASYMMETRY + SYMMETRY

MATERIAL

PERSUASION + ( REACTION )

CLEVER

VARIABLES

DESIGN + EQUATION

A BRIEF INTRODUCTION

( P008 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH FRANK GEHRY

(TORONTO + ARCHITECT + EDGY )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT CONTAINERS ( BOXES + CANS )

PAINT COLOUR + REFERENCE NUMBER

COMPANY + PACKAGE RESEARCH MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + +

DIRECT X INDIRECT COMPETITION

ILLUSTRATION STYLE

GROWTH + CHANGE + SUCCESS

LOOSE + ORGANIC + GEOMETRIC

DIGITAL + MANPOWER

STICKERS

( SIMPLISTIC + COMPLEX )

STATEMENT Liquid Spaces uses paint containers that are unified, economical

the interior and exterior paints based on the side panel reversal

and memorable. The resealable container allows the customer

of gray and white. The line art is one of Frank Gehry's computer

to store unused paint for years. Frank Gehry's Liquid Spaces

assisted architectural compositions. The design is very effective

is a unique package—designed to look different and stand out

conceptually and as a pattern. The finished package design holds

on the shelf. Consumers will easily see the difference between

the power and pop Gehry is known for.

CONCEPT TO EXECUTION BOXED PAINT CONTAINER

CORRUGATED CARDBOARD

PLASTIC BAG INSERT

INNOVATIVE

RECYCLABLE PACKAGING

ARTISTIC EXPRESSION

FRAGMENTED GEOMETRY

PRECISION

DECONSTRUCTIVIST THINKING

PATIENCE QUALITY

EMOTIONAL

IRRATIONAL TARGET AUDIENCE

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

GALLON = 124 FL OZ

$$$$$$$$$$$$$

HIGH-END CONSUMER

SUSTAINABILITY

QUART = 31 FL OZ

REDUCE + REUSE + RECYCLE

PINT = 15 FL OZ

PACKAGE DEVELOPMENT

( P009 )

( MOCK-UP )

( TWO DIMENSIONAL + THREE DIMENSIONAL )

CHILDLIKE SKETCHES = UNIQUE

PAINT BRUSH A POINT OF VIEW + THE PAINT BUSINESS + DIFFERENT

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

PAINT TYPE

X TIME MANAGEMENT (HOURS)

PACKAGE SIZE

FRANK GEHRY LIQUID SPACES

( PROJECT 01 )

( Category = PRINT ) + ( Course = PACKAGE DESIGN 2 ) + ( Instructor = VALERIE TAYLOR-SMITH )

ARTISTIC EXPRESSION + ICONIC BUILDINGS

EDGY + NEW BRAND + PAINT

FRAGMENTED GEOMETRY

PROTOTYPE + REVISIONS +++++++++++++++++++++

ICONIC BUILDINGS

LATEX

SIMPLIFYING INSTRUCTIONS

EXTERIOR INTERIOR

MEMORABLE + ECONOMICAL

LIQUID SPACES

( P010 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

ARCHITECT

PRECISION

INNOVATIVE INTERIOR AND EXTERIOR COLOUR CODING

ATTENTION TO DETAIL

LIQUID PAINT ENVIRONMENTAL

FRANK GEHRY ( LIQUID +

PAINT

UNIQUE )

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

( P011 )

( P012 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

013

( P013 )

( P014 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

( P015 )

( P016 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

( P017 )

( P018 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 01 ) = FRANK GEHRY LIQUID SPACES

( P019 )

( P020 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH BOOK DESIGN

( ANGLES + PENDULUM + STONES )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT LAYOUTS ( DESIGN ELEMENTS )

BAR GRAPHS + LINE GRAPHS + TABLES

TYPE SYSTEMS = GOOD TYPOGRAPHY ATTENDS TO DETAIL + CLARIFIES AND CREATES ORDER

DIRECT X INDIRECT COMPETITION GROWTH + CHANGE + SUCCESS

ILLUSTRATION STYLE

LINE + WEIGHT + GEOMETRIC

DIGITAL + MANPOWER

SIMPLE INFOGRAPHICS

( LINE DRAWINGS + SHAPES )

STATEMENT On average, there were 500 stones per day used to construct a pyramid. This book design focuses on information design and visual hierarchy. Simplified illustrations, visual hierarchy and the use of colour all played a role in the layout of this book.

Pyramid angles inspired the grid layout as well as coloured square blocks to represent stones. Book design is a specialized domain within the field of graphic design. All material is contained in a small, highly detailed structure.

CONCEPT TO EXECUTION PERFECT BOUND BOOK

BOOK CLOTH AND GLUE

BOARDS AND MULL

ATTENTION TO DETAIL

SEWN SIGNATURES

GIZA (DRY + DUSTY + HOT + INTELLIGENT

EGYPTIAN PYRAMIDS

GRID LAYOUT AND PACING ILLUSTRATION STYLE

WEIGHTS

PRIMITIVE TOOLS

PULLEYS LEVERS

( PROJECT 02 ) = 500 STONES PER DAY

ARCHITECTURE

500 STONES PER DAY

MATHEMATICS

( P021 )

EDWARD TUFTE'S BOOKS ENVISIONING INFORMATION + INFOGRAPHICS

HISTORIANS

BOOK BINDING

(MATERIALS + MOCK-UP)

( MOCK-UP + FAILURE (3) + MOCK-UP + SUCCESS )

LOCATION + PYRAMID TYPE

HERITAGE A POINT OF VIEW + SPIRITUAL BELIEFS + DIFFERENT

PERFECTION

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

X TIME MANAGEMENT (HOURS)

EGYPTIAN

500 STONES PER DAY

( PROJECT 02 )

( Category = PRINT ) + ( Course = TYPE SYSTEMS ) + ( Instructor = CAROLINE DE BARTOLA )

LAYOUT EXPERIMENTATION

RESEARCH X EDITING X WRITING X SKETCHING ANGLES

SQUARES

COLOURS

GRID

PACING

CHAPTER OPENER PAGES

COLOUR

COVER

INSIDE

TITLE PAGE

STRAIGHT SLOPING RAMP WRAP AROUND RAMP

500 STONES = MAN POWER

WRAP AND SLOPE RAMPS

X RAMP TYPES

( P022 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 02 ) = 500 STONES PER DAY

On average, there were 500 stones per day used to construct a pyramid. This book design focuses on information design and visual hierarchy. Simplified illustrations, visual hierarchy and the use of colour all played a role in the layout of this highly detailed book.

( P023 )

( P024 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 02 ) = 500 STONES PER DAY

( P025 )

( P026 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

STANDARD PYRAMID COMPLEX The standard pyramid complex was based on the pyramid of Unas, but with the addition of three queens pyramids as found at PepiI’s pyramid.

Queen’s pyramids

Inner sanctuary

Satellite pyramid (‘Kad tomb’)

MORTUARY TEMPLE

Open courtyard

Entrance hall

CAUSEWAY

Magazines

( PROJECT 02 ) = 500 STONES PER DAY

( P027 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

Sound waves passing through the layer of insula-

ACOUSTIC ENERGY Experiments using scale models indicate that

tion are continual reflected and refracted by the

a team of around 20 men could quite easily generate just the right

several thin fibres. Vibrations of the fibres change

amplitude, energy of vibration and impact momentum to shift 5 ton

sound energy into mechanical energy.

stones into the tightly packed formation of a pyramid. The men could shift the stones by using a large 500 kilogram wooden battering ram. The battering ram is suspended by straps from poles that are shoulder yoked between pairs of men. By swinging the ram back and forth like a pendulum, slowly building up momentum until the ram impacts on

CONTENTS

one end of the stone, sufficient acoustic and mechanical energy is pro-

1 Ramps, Counter-Weights, and Acoustic Energy 2 Large Stone Manipulation

duced to shift the stone along the top of other stones without the use of

rollers.

■

Some authors mention the way layers of gypsum were spread

on completed courses for sliding the stones more easily and cementing

them into position. Mathematical predictions and the 1:1000 scaled down

3 Step Pyramids

4 Obelisks

working model [220 gram wooden ram and 2400 gram concrete block] shows that although the stone shifts only in very small increments it can

still be moved in a well controlled manner into a very precise position. For 5 The Great Pyramid

6 Tomb and Temple

10 ton stones 2 teams are needed each with a 500 kilogram ram, 4 teams for 20 ton stones etc.—some simple technology that the ancient builders could have worked out by trial and error.

SHADOOF LIFTING DEVICES WITH COUNTER-WEIGHTS For lifting stones relatively short distances up onto the lower courses of a pyramid, a variant of the shadoof lifting device with a counter-weight works very efficiently, provided the stones weigh no more than about 3 tons. The best way of setting up the shadoof would be to excavate round holes or sockets in the ground for securing tall tree trunks as the upright poles. In fact rows of sockets have been found in the ground around the perimeter of a few pyramids. Some authors have suggested that these sockets were used for surveying or for securing tent poles. But their size, location and spacing around the perimeter seem perfectly suited 500 STONES PER DAY

to securing the poles for shadoof lifting devices. Twenty meter tall poles would be set in the sockets—a pair of poles for each shadoof. A thirty meter cross-beam tied to a fulcrum would be hauled up by ropes running over the top of the poles. CHAPTER 1 11

THIS SHOWS THAT

TEST THE SCALING FACTOR The next step in the

When the wood was removed she could only haul the 170 Kg slab on rollers up a 1:20

experiment was testing a much larger scale model

concrete slope. These results show that the girl could haul almost six times her own

to see what the scaling factor would be. In other

weight up the 1:10 slope if it was supported on rollers but only a little over her own

words to check if certain unexpected physical

weight when the rollers were not used.

effects that are not operating with very small scale

up a 1:10 wooden track covered with oil, water and sand. The counter-weight technique

models could change the way large scale opera-

was tested at this scale using a smooth steel pole mounted on a frame for the rope to

■

She could haul nearly twice her own weight

tions work in real life or vice versa. To check for

turn over. The girl simply dangled on the hanging section of the rope. Her own weight

this the experiment was scaled up by a factor of

could not initially shift the 170 Kg load mounted on rollers. Friction between the rope

50. Instead of 70 gram weights and a 2400 gram

and steel pole was considerable however a sharp knock with a pole sent the loaded

THE FORCE REQUIRED

block, an athletic 31 Kg girl and a 40 Kg concrete

slab moving up the smooth wooden board on the 1:10 slope. It was also quite obvious

TO OVERCOME THE

slab was used. The girl was easily able to haul the

that once in motion, the loaded slab accelerated [with the girl dangling on the rope]

slab across a horizontal wooden board. The slab

to about twice the speed at which she could haul the load along on foot. The results

EFFECTS OF FRICTION

Burial chamber, 3.63 × 2.65 m, h. 3 m

THE LAYER PYRAMID OF ZAWIYETEL-ARYAN The base length of the uncompleted Layer Pyramid was 84 m (275 ft) and it was probably intended to rise to the height of up to 45 m (148 ft). It is entered by a flight of steps in an open trench. A sloping passage runs to the bottom of a vertical shaft from which an unfinished pas-

was mounted on a flat piece of wood and hauled

of the real life, large scale tests were not much different to the very small scale work-

sage leads south. A lower passage also leads south to a

AND INERTIA IS

with a thick cotton rope.

ing models. Finally, experimenting with levers showed that dismounting a heavy block

stairway and horizontal passage to the burial chamber.

MUCH LARGER THAN

was moved to an area with a 1:10 slope she was

TO OVERCOME THE

■

When the experiment

EFFECTS OF GRAVITY

ber soles kept slipping on the concrete. Similarly a

[REDUCED IN THE 1:20

75 Kg man was able to haul no more than 100 Kg

RATIO] ON A GENTLY SLOPING RAMP.

from a sledge in a controlled manner was very tricky and cumbersome.

■

The use of

only just able to haul the slab up the wooden board, but not when more weight was added. Her rub-

Rope Pull

up the 1:10 wooden slope without slipping. When the wooden track and sledge were saturated with

Ffric

Steps

vegetable oil and water the girl could not haul the load up the 1:10 wooden slope without slipping.

But when the wood was sprinkled with sand over

Vertical shaft

the oil she succeeded. She could haul 58 Kg [but

no more] up the oil, water and sand covered wood.

At least 30 minutes of rest was provided between

32 magazines

each trial. When the slab was supported on 25 mm

Entrance

diameter wooden rollers and loaded with additional

stairway

slope was overlaid with smooth wooden boards.

According to the views of earlier Egyptologists, the diag-

teams have to wait turns to haul around the same corner.

onal orientation of the brick walls became commonplace

there’s a flaw in the square spiral ramp design [as described in an earlier section.

from the Twelfth Dynasty on, but in 1995 that method, also shown to have been used in the pyramid Lepsius,

needed to check and ensure the corners of the pyramid will meet at the top to form

built in Abusir in the Fifth Dynasty.

an apex. In contrast, building and dismantling small zigzag ramps built mainly with

view of the work of the stonemasons who built not

the stone material for the pyramid itself is not only economical but it can also be

only this pyramid but apparently also other pyra-

done without disrupting other parts of the building program.

we can follow the individual phases of construction

CREATING A SPIRAL STAIRCASE The most practical way of constructing the

almost step by step.

The construction of the

inner chambers would be as follows. Once the pyramid reaches the height

first step of the core, about five meters high, began

required to start constructing the chamber, subsequent courses are only par-

with the erection of a perimeter wall, in which a

tially completed in certain pre-selected and staggered zones surrounding the

■

gap was left on the north side. A regular opening as

chamber. They are partially completed in a stepped pattern creating a ter-

high as the wall was left for the delivery of materials

raced surface in the fashion of a spiral staircase that leads up and around

for the construction of the burial chamber and the

the chamber with four flat quadrants on each corner of the pyramid where

corridor leading to it, which began on the north wall

the blocks can be turned as they progress up the staircase.

some twenty centimeters above the base of the pyr-

then be constructed on the spiral staircase using smaller blocks in graded

amid. Another opening, irregular and about three

sizes overlaid with planks or split poles to slope across each step. The ramp

meters wide, was located in the south wall near the

and counter ramp style could be an option. This structure [primary ramp

■

Ramps can

southeast corner. Through it a passageway proba-

followed by spiral ramp] serves as the perfect system for transporting the

bly led down the space, which was surrounded by a

largest stones for the walls and roof of the chamber.

perimeter wall of the first layer composed of a layer

ramps appear in stages as construction of the chamber progresses. Once

■

The terraces and

of pieces of limestone, over which builders appar-

the inner chambers are completed the primary ramp can be dismantled

ently put sand, rubble, and construction waste. The

and the stones comprising that ramp transported up the secondary ramps

second level of the core consisted of a system of

for building the remaining higher courses of the pyramid. While some

diagonally aligned walls built of irregular stone frag-

authors have suggested the concept of a horizontally stepped pyramid

ments. The different construction methods used for

as a preliminary stage of construction with ramps constructed on the

the first and second levels significantly increased

steps in a spiral series, I believe the proposal that the interior parts of

the stability of the pyramid core. The core of the

the pyramid courses themselves form the spiral ramp represents a new

whole pyramid probably had three levels.

insight.

SYSTEM X PACING X 96 PAGES X THREE COLOURS DIRECTION

ANGLES

PYRAMID

MATHEMATICS

moves forward. The square discontinuity automatically resets the rollers in correct parallel formation after each movement to ensure trouble-free transportation of the stones. In the case of split poles on a horizontal surface, the slight gradient required to reset the position

Other authors have not explained how to progress beyond

the horizontal stepped stage for completing the pyramid. The problem

each pole. Each time a stone moves over the rollers they move up the plank and lodge in the next discontinuity or notch. This means that the rollers are automatically transported upwards to the top of the pyramid where they can be laid out on the next newly built ramp, ready for the next stones. Overlapping planks create just the right smoothly curved transition in the direction of travel from horizontal to upward sloping. A ramp system without that smooth transition would make the slight change in orientation impractical since the leading edge of the stones are prone to catching on the ramp or bumping waiting rollers out of the way instead of rolling over them. Probably most valuable of all, the overlapping planks [or poles] and rollers form a ratchet type system so that the stones are unable to roll backwards down the ramp.

■

The degree of control that this auto-

braking system provides is invaluable, preventing serious destruction and fatalities if a rope breaks or if the hauling team trips and loses control of the hoisting operation. Wooden ramps of this type would possibly qualify as the short wooden scaffolds described by historian Herodotus. Remains of ancient brick and clay ramps have been excavated in Egypt with wooden beams partly submerged in the track at regular intervals like railway sleepers. Some authors assume these to be the fixed tracks along which oiled sledges were drawn. The beams [sleepers] could just as well have been anchors for fixing planks or split poles in place for a roller ramp design as explained above. As commonly claimed, the non-rectangular casing stones would be chipped and chiseled into final shape from the top down. Redundant ramps are dismantled one by one as the faces near completion making them accessible for the chiseling work. That

is that as the steps are filled in to complete the pyramid, the very steps CHAPTER 1

CHAPTER 1

■

discontinuity of the overlap at the upper edge of each row of planks or poles. There’s no need for laborers to insert them as the stone

of the rollers can be achieved by cutting a notch near the lower end of

mids in Abusir during the time of Niuserre. Thus

500 STONES PER DAY

STONEMASONS.

More significantly,

■

Furthermore, covering the corners with ramps would obstruct the alignment surveys

which increased the cohesion of the core masonry, was

inside and outside. The remains allow an instructive

OF THE WORK OF THE

during the Ramesside period and especially during the Saite period, in connection with the construc-

AN INSTRUCTIVE VIEW

150 ft

LEPSIUS PYRAMID The extensive damage wrought

tion of shaft tombs—laid open this pyramid both

THE REMAINS ALLOW

50 m

0 0

CHAPTER 3

500 STONES PER DAY

α = 52°

52°

a 1:10 slope with rollers but only when the concrete

CHAPTER 1

500 STONES PER DAY

weights the girl was able to haul a total of 170 Kg up

500 STONES PER DAY

( P028 )

( PROJECT 02 ) = 500 STONES PER DAY

TRIALS TO TEST THE EFFECTS OF FRICTION A 1:1000 scale model was built to

turning point was used. The rougher material required 360 grams of lead and wire

A shadoof will lift the smaller stones

test the effects of friction on a roller ramp system with a 1:20 slope. Strings of 70

to haul the block up the ramp.

anti-gravitational force on the stone

up to about 15 meters above ground. Other techniques are needed to take them

gram lead sinkers were used to represent the weights of average men on the scale

fixed in the horizontal position 310 grams of lead was required to move the block

will in effect be multiplied by 10 or

beyond that height. For hauling up slopes, simple mathematical predictions and

Depending on the ratio of the slope

or battering rams of different sizes would have played an important facilitating role

of the upward ramp in comparison

in moving and hauling large stones around.

to the downward sloping ramp the

20 times the force that the men can generate by their body weight alone.

DIMENSIONS OF AUXILIARY RAMPS

Row 175 to 194

10.3 m

31.2 m

Row 153 to 175

11.5 m 45.6 m

■

tion and inertia is much larger than to overcome the effects of gravity [reduced in

pulled up narrow gradually sloping wooden or stone and wooden ramps by 5 to 20

the 1:20 ratio] on a gently sloping ramp. For sliding the block along a plain wooden

men hauling with ropes. Building several sets of gently sloping ramps built on the

block was hauled up the ramp by 210 grams of lead sliding down the opposite 50

horizontal track [with no rollers] 1900 grams was required to keep the block mov-

ledges that form the faces of the pyramid [zigzagging across the faces] supported

degree angle ramp made of glass wet with soapy water to represent the frictionless

ing [i.e. 30 men to haul 2.4 tons]. Almost the same weight was required [1720

on the layered steps has been suggested by others. The problem arises with

walking of men.

grams] when the block was mounted on a smooth thin piece of wood to act as a

much larger stones.

The casing stones of the great pyramid are estimated

weight of three men [70 Kg each] pulling downwards on a 50 degree angle stairway

sledge.

to be around 11 tons before final shaping. These are more difficult to haul

■

This would be equivalent [in terms of the 1:1000 scale] to the

■

tons]; however the movement along the track was irregular and characterized

rollers from dried twigs simply cut into lengths without trimming and the same steel

by constant jumps and starts. When sand was blown over the track movement was surprisingly improved by eliminating the jumps and starts and only 780

the wooden track was wet and covered with a 5 mm deep layer of slippery wet clay this reduced to just over 980 grams [14 men to haul 2.4 tons]; however

ramp the anti-gravitational force on the stone will in effect be multiplied by 10 or 20 times the force that the men can generate. 101.6 m

■

the movement along the track was extremely slow compared to rollers. A little sand mixed with the clay did not have any detrimental effect. A thicker

A stepped wooden

structure or clay plastered over stone rubble and edged with wooden batons

layer of clay [10 mm] improved the speed of movement initially as the block

on other faces of the pyramid would provide the stairways needed for the

pyramid. All that we additionally require is a smooth round polished wood 159.5 m

starts off but then a lot more clay slides out sideways from under the stone

men pulling the ropes to tread the shortest route down the side of the

Row 55 to 93

grams [11 men to haul 2.4 tons] was required to keep the block moving. When

Ffric

ratio of the slope of the upward ramp in comparison to the downward sloping

22.5 m

as it moves and the speed of movement slows down accordingly. For that technique to work in real life canals would be required to contain the large

volumes of clay and retain the water content of the clay.

or metal pole mounted at the edge of the pyramid for the ropes to turn

25.9 m

When the wooden track and sledge were saturated with vegetable

oil or oil and water this reduced to just over 1100 grams [15 men to haul 2.4

blocks. Next a more realist ramp was constructed with sawn Balsa wood planks, the

virtually impossible to haul around corners. However with massive stones the

a steep ramp [stairway] on another side of the pyramid. Depending on the

16.7 m

71 m

■

in order to haul a 2.4 ton stone up a ramp of this design. Or about 12 men for 11 ton

given the limited space on the edges of the pyramid for large teams of men and

principle multiplies the force of the men walking and pulling the ropes down Row 125 to 153

When the rough realistic ramp was adjusted and

[almost five men]. This shows that the force required to overcome the effects of fric-

the ramp, smooth round pencils for rollers and a highly polished steel pen was used as the turning point for the cotton thread [rope] to turn over. A 2400 gram concrete

task becomes easier using a counter-weight and counter-ramp principle. This

Row 93 to 125

■

of the model. First, smooth urethane coated wooden board was used to construct

experiments with scale models shows that 1 to 2.5 ton stones on rollers can be

over. A refinement of this arrangement would be to grease the wooden or

metal pole and then wrap it in a scroll of leather or beaten copper. The grease would allow the leather and rope to turn more freely over the pole

KINETIC (OR DYNAMIC) FRICTION OF THE ROPE ROLL

like a roller and reduce friction of the rope on the pole without making

Coefficient of kinetic friction [μ]

dry

lubricated

the rope slippery. The journey of the stones would admittedly be slow

Wood on wood

0.2–0.4

0.04–0.16

500 STONES PER DAY

teams to complete the work in 20 years.

which laborers are able to grip in their hands and tie around stones or poles. A very

PULLEY TOOLS

effective solution is available. In the course of experimenting it became clear that

■

The mushroom-shaped hard stones have either one or two holes through the stem

the problem is eliminated when friction is drastically reduced through the use of

and three parallel grooves cut into the head.

rollers, fewer laborers and shorter ropes. The ancient Egyptians may have used ■

primitive technology but they would have been very intelligent and experienced in

It is suggested that they could have been bearing stones or proto-pulleys, with the

their use of it. In conclusion it appears that the use of wet clay or wet, oiled timber

stem inserted into a pole or scaffold and the

facilitates the transportation of smaller stones on wooden sledges along tracks and

grooves acting as guides for rope.

Wood on metal

0.2–0.5

0.02–0.1

Metal on metal

0.1–0.25

0.01–0.15

CHAPTER 1

500 STONES PER DAY

compared with modern cranes but fast enough with sufficient hauling

rollers] the wood needs to be constantly wetted and oiled and as such the laborers

need to pull around the corner to bring the stone level with the summit. These illus-

would not be able to get a good foot grip on slippery wood.

The third advantage of

trate only the early or middle stages of pyramid construction when the summit is still

the counter-weight system is that it allows strain on the muscles to be alternated from

fairly large. However as already mentioned, a corner is needed when the summit

arms to legs so that the lifting operation can be sustained for longer before fatigue sets

becomes small. A solution would be to erect a temporary but robust corner built

in. The simple uphill hauling operation continuously places great strain on both arms

with a stack of small blocks that can be pushed and hauled up by only four or six

and legs whereas the counter-weight system strains mainly the arms while pulling on

men, but that means making, breaking and remaking each corner on all the upper

the way down and only the legs while walking back up.

courses of the pyramid.

■

Fourthly, the counter-weight

■

Alternatively a temporary wooden corner could be

For later

system allows blocks to be hauled very close up to the edge of the pyramid or ledge.

built, however, the wooden frame would need to be secured in place with a stack

pyramid designs using much larger stones the wooden plank and roller system

This is important when one considers that the working space is very limited on the top

of temporary stones to restrain it from toppling over due to the massive force

would have been essential, especially near the top of the pyramid where work-

of ledges, ramps and the summit particularly as the pyramid nears completion. Pulling

exerted on the corner frame by the men hauling on the ropes. Such counter-pro-

ing space for large teams of laborers is very limiting making some maneuvers

down a stairway can bring the stone closer to the edge than when pulling around a

ductive methods of constantly making and breaking corners are not needed and

impossible. Remains of ancient brick and clay ramps have been excavated in

corner. There’s a fundamental flaw in the square spiral ramp design described by other

do not credit the Egyptian engineers with sufficient practical intelligence. The

authors where the stone is pulled around a corner.

counter-weight technique would be a far more neat and secure arrangement.

ramps for the construction of the more primitive smaller pyramids.

■

Egypt with wooden beams partly submerged in the track at regular intervals

All it requires is a temporary wooden frame on the top part of the wooden stair-

like railway sleepers. Some authors assume these to be the tracks along which A FLAW IN THE SQUARE SPIRAL RAMP DESIGN In the final stages of construc-

way where it is secured in place by the weight of the men hauling down on the

for fixing planks or split poles in place for a roller ramp design as explained

tion as the summit becomes much smaller, the distance along one side of the summit

ropes rather than around the corner. The distance along the top edge of the

in a later chapter.

would not be long enough to accommodate the stone hauling maneuver without pulling

summit for accommodating the maneuver would only need to be about six

around the corner. The minimum distance required along the edge of the summit for

times the length of the block.

this maneuver is equal to the length of the stone plus the length of the hauling team

is that while large blocks can be simply hauled along wide gradually sloping

that there is no advantage of the counter-weight technique [in terms of

plus that same distance [the stone and the hauling team] repeated in front of the team.

ramps on rollers it becomes impractical to do that near the top of the pyra-

the minimum number of laborers required for hauling a given load up a

The extra space [in front of the team] is needed to allow movement for the laborers to

mid. As the slope becomes steeper slipping becomes more problematic

slope] compared to the simple hauling technique. However, there are four

advance as they haul the stone from a lower level up to the summit; i.e. a total distance

and the advantage of the counter-weight technique over the simple hauling

other advantages. Firstly, once set in motion the block moves faster up

of nearly forty meters for hauling up casing stones.

A detailed experimental test of

technique becomes greater. To complete the highest layers without mas-

the ramp using the counter-weight technique.

Secondly, the double

this situation will make the point quite clear—when the summit becomes smaller than

sive external ramps, the counter-weight technique employed on narrow

ramp design means the laborers would not slip on the wooden planks

oiled sledges were drawn. The beams could just as well have been anchors

COUNTER-WEIGHT HAULING TECHNIQUE Experimental results indicate

■

The conclusion reached by experimenting

forty meters a corner is needed for the rope to turn around. The flaw is that the corner

zigzag ramps would be the only safe and practical method and the only

since they have their own stairway to tread. On narrow ramps there is

can only be built on each new course with blocks that have been hauled up to the

practical way of lifting the capstone into place.

insufficient space for providing both wooden tracks and lanes of bare

precise elevation of that new and not yet built course. But how does one haul blocks

stone surface for good tread. For stones to move easily [with or without

up and around a corner that does not yet exist and cannot exist until that course is at least partially built?

■

It’s the chicken and egg situation. Some published illustrations

CHAPTER 1

500 STONES PER DAY

position a good distance before the corner and then continued level with the summit to provide space to accommodate the advancing team of laborers. That eliminates the CHAPTER 1

500 STONES PER DAY

of spiral ramps show the last stretch of the spiral ramp transitioned to the horizontal

the known texts and includes ones not found in later editions. The most recent royal edition, in the small pyramid of Ibi, includes spells unknown in older ones. This suggests a fair degree of fluidity and individual choice of repertoire for each king. On the basis of both archaeological and historical evidence, scholars recognize references to the Old Kingdom state, and therefore date their earliest composition to the period after the unification. People documented legal documents by etching in stone.

as ‘gate of the estate’ of a family line of Wedjehten’s priests. The inscribed etched stone reads: As for anyone who shall lay a finger on this pyramid and this temple which belong to me and to my double…, he will be judged by the ennead and he will be nowhere and his house will be nowhere; he will be one proscribed, one who eats himself. During the First Intermediate Period and Middle Kingdom,

ROTATING STONES WITH RAMS Another feature dis-

AS FOR ANYONE WHO SHALL LAY A FINGER ON THIS PYRAMID AND THIS TEMPLE WHICH BELONG TO ME AND TO MY DOUBLE…, HE WILL BE JUDGED BY THE ENNEAD AND HE WILL BE NOWHERE AND HIS HOUSE WILL BE NOWHERE; HE WILL BE ONE PROSCRIBED, ONE WHO EATS HIMSELF. Pyramid Texts, 1278–79

Pyramid Texts were also inscribed in the tombs of high officials. They were then

covered while experimenting with scale models was the

subsumed into the Coffin texts, found inside the coffins of important people.

convenient way a stone on rollers can be directed to

Pyramid Texts were still included in the tombs of officials in the New Kingdom,

turn to the right or the left using a rear action battering

in the Book of the Dead and in late Period funerary papyri. They can also be

ram either when the stone is stationery or being slowly

recognized, after radical reworking, in New Kingdom temple ritual. Copies of

hauled along. This maneuver would be helpful for rotating

Pyramid Texts have been found in Late Period tombs and sarcophagi. The

and positioning 11 ton stones on the top of the structure

fact that such copies, carefully executed in Old Kingdom style, include spells

after the ropes are removed for fit up and there’s nothing

both known and unknown in Old Kingdom editions, hints that the known Old

to pull on. With limited space available for laborers to work

Kingdom texts are a selection from a larger body of texts.

from, the ram would become an essential tool particularly as the pyramid nears completion and working space becomes extremely limited. A massive stone that accidentally tips off its rollers in the wrong place can still be moved using the ram. The ram would also be useful to maneuver the stones off the rollers more quickly than with levers when the stones approach their final resting place. In fact experimentation shows just how difficult it is to remove the last roller underneath a very large stone.

■

Scale models suggest that

the use of both levers and a ram is the only practical way of doing that—the level to lift and the ram to bump off the lever

PYRAMID TEXT A legal document etched in stone: the doorway to Wedjehten’s

secondary enclosure was inscribed as ‘gate of the estate’ of a family line of Wedjehten’s priests. CHAPTER 6

500 STONES PER DAY

Etched in stone: the doorway to Wedjehten’s secondary enclosure was inscribed

LARGE STONE MANIPULATION

( P029 )

( P030 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

used for pyramids. Tools were made from gold, silver, copper and iron.

( PROJECT 02 ) = 500 STONES PER DAY

( P031 )

KEY

Memphis

diorite

■

granite

▼ quartzite

◗ ▲

★

Beni Hasan

sandstone TYPES OF RAMPS

basalt Straight sloping ramp

■

Wrap around ramp limestone

■

◆

■

Wrap and slope ramps

alabaster

▲ copper

Hatnub ★

● lead

Abydos

Gebelein

Aswan Qirtassi

▼★

●

◗

500 STONES PER DAY

★

Gebel ▼ Ahmar Turah ◆

■

+ ( ILLUSTRATIONS ) X 500 STONES

( P032 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

ought

According to the views of earlier Egyptologists, the diag-

uring

onal orientation of the brick walls became commonplace from the Twelfth Dynasty on, but in 1995 that method,

struc-

which increased the cohesion of the core masonry, was

both

also shown to have been used in the pyramid Lepsius, built in Abusir in the Fifth Dynasty.

uctive

lt not

pyra-

When the wood was removed she could only haul the 170 Kg slab on rollers up a 1:20

Thus

concrete slope. These results show that the girl could haul almost six times her own

uction

hanging wooden scaffolds to be built for the masons to work from. The reason is that

PYRAMID BUILDING

the ledges for standing on while chiseling the most recently placed stones would have

■

Early Dynasty [3100–2686 BC]

been chiseled away at the previous stage. Every stone brings with it a sledge that

■

Old Kingdom [2686–2040 BC]

■

Middle Kingdom [2040–1640 B

of the

weight up the 1:10 slope if it was supported on rollers but only a little over her own

began

weight when the rollers were not used.

ich a

■

She could haul nearly twice her own weight

needs to be transported back safely down. Quite clearly the program of constantly

ng as

up a 1:10 wooden track and covered withframes oil, water sand.scaffolds The counter-weight building removing andand hanging would becometechnique far too disruptive

erials

was tested at this using a smooth steel poleofmounted frame creates for the so rope to unnecandscale time-consuming. That technique hauling upon onasledges much

d the

Millions of cubic meters of stone

turn over. The girl simply dangled thedisruption; hanging itsection of the rope. Herasown weight essary additional workon and would only be employed a last resort on the

e pyr-

■ There is one other trick that very top the layers where no other techniques can work. could not initially shift 170 Kg load mounted on rollers. Friction between the rope

Generations Djoser

three

be used to elevate a massive stone blockwith near athe verysent top when space for zigand steel pole could was considerable however a sharp knock pole the loaded

Sekhemiskhet

ar the

is too small—the in an earlier usingobvious a set of rollers slab moving up zag theramps smooth wooden boardtrick on described the 1:10 slope. It waschapter also quite of different sizes. By placing the rollers parallel to one another on the ledge, the stone

Sneferu

block can be pulled up over the rollers from smallest to biggest until it is level with the

Djedefre

h wall

roba-

d by a layer

Khaba

that once in motion, the loaded slab accelerated [with the girl dangling on the rope]

Khufu

to about twice the speed at which she could haul the load along on foot. The results

next highest course. If space on the ledge is very limited then back and forth move-

of the real life, large scale tests were not much different to the very small scale work-

Khafre

e. The

ment see-sawing from smallest to biggest rollers works just as well. Once level with the

Menkaure

em of

ing models. Finally, experimenting with levers showed that dismounting a heavy block

Shepseskaf

ppar-

frag-

ed for

next highest ledge, a thin roller is place on the higher ledge, the stone is then swiveled

Userkaf

from a sledge inaround a controlled was tricky roller and cumbersome. use of on the slightly,manner balancing on very the largest until a corner of ■theThe stone rests

Sahure

eased

thin roller waiting to receive it.

The stone is then pulled over in stages onto the

Neferirkare

of the

new set of thin rollers on the higher ledge. That procedure can then be repeated from

Raneferef

■

Niuserre

one level to the next. This elevating technique was tested in practice at the 1:1000

technique would require approximately the same manpower to operate as the zigzag Ffric

ramp and counter-ramp technique but it is not as fast, safe and controlled.

Djedkare-Isesi CHAPTER 1

scale using a spring balance hooked to cotton threads that were tied around the stone Rope block as the only means of moving the stone. The model suggested thatPull this elevating

Menkauhor

Unas Teti Pepi I Merenre Pepi II

Ibi amenemhet I Senwosret I Amenemhet II

Senwosret II

Senwosret III

500 STONES PER DAY

Amenemhet II South Mazghuna Khendjer

CHAPTER 1

52°

α = 52°

0.5

1.0

1.5

( PROJECT 02 ) = 500 STONES PER DAY

ons to work from. The reason is that

PYRAMID BUILDING

st recently placed stones would have

■

Early Dynasty [3100–2686 BC]

y stone brings with it a sledge that

■

Old Kingdom [2686–2040 BC]

e clearly the program of constantly

■

Middle Kingdom [2040–1640 BC]

olds would become far too disruptive Millions of cubic meters of stone

p on sledges creates so much unnec-

y be employed as a last resort on the

There is one other trick that

Generations Djoser

ear the very top when space for zig-

Sekhemiskhet

ork.

■

earlier chapter using a set of rollers one another on the ledge, the stone

est to biggest until it is level with the

2.5

3.0

3.5

Khufu Khafre Shepseskaf Userkaf

til a corner of the stone rests on the

Sahure

then pulled over in stages onto the

Neferirkare

rocedure can then be repeated from

Raneferef Niuserre Menkauhor

eads that were tied around the stone

Djedkare-Isesi

model suggested that this elevating

Unas

fast, safe and controlled.

2.0

Djedefre Menkaure

manpower to operate as the zigzag

1.5

Khaba

y limited then back and forth move-

was tested in practice at the 1:1000

1.0

Sneferu

works just as well. Once level with the

her ledge, the stone is then swiveled

0.5

Teti Pepi I Merenre Pepi II Ibi amenemhet I Senwosret I Amenemhet II Senwosret II Senwosret III Amenemhet II South Mazghuna Khendjer CHAPTER 1 41

( P033 )

( P034 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH BARKER BEES

(BEE APIARIES + HONEY + CROPS )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT PACKAGING ( SHAPE + UNIQUE )

COMPANY + PACKAGE RESEARCH MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + +

DIRECT X INDIRECT COMPETITION GROWTH + CHANGE + SUCCESS

COLOUR SYSTEM + ORGANIC HONEY FLAVOURS

ILLUSTRATION STYLE

GEOMETRIC + CONTEMPORARY

INNOVATIVE + PSYCHOGRAPHIC

FLOWER CENTERS + BEE WINGS

STATEMENT This gift set for Barker Bee Apiaries helps raise awareness on

The one piece package is easily recyclable—no glue required.

the importance of bees and crop pollination. This two colour

The octagon carton creates a final unity to the product line with

gift box pops off the shelf and creates interest—a bold graphic

a form-fitting display. The dynamic graphic on the lid is also

meant to be eye-catching and highly memorable. This one

emphasized on the top of the package. The gift pack once opened

piece gift box is sustainable because of the choice of materials.

looks like a flying bee.

CONCEPT TO EXECUTION 2 COLOUR GIFT PACKAGE

PRESSED CARDBOARD

COLOUR SYSTEM

FLOWERS + BEES

RECYCLABLE PACKAGING

CROP POLLINATION + DECLINING BEE POPULATION

APIARIES + AWARENESS + FUNDS

OCTAGON DIE LINE + NO GLUE REQUIRED GREEN CONSUMER + RECYCLED PAPER

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

$$$$$$$$$$$$$

CROP POLLINATION

FUNDING CAMPAIGN

REJUVENATE

REDUCE + REUSE + RECYCLE

RAISE AWARENESS

ENVIRONMENTAL

PACKAGE DEVELOPMENT

( P035 )

(MOCK-UP)

( TWO DIMENSIONAL + THREE DIMENSIONAL )

BRANDING = COLOUR CODING

DESIGN SYSTEM A POINT OF VIEW + THE APIARY BUSINESS + DIFFERENT

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

HONEY TYPES PACKAGE SIZE

X TIME MANAGEMENT (HOURS)

BARKER BEES ORGANIC HONEY

( PROJECT 03 )

( Category = PRINT ) + ( Course = PACKAGE DESIGN 2 ) + ( Instructor = VALERIE TAYLOR-SMITH )

FUND RAISING + SPREAD THE WORD + BEES

OPERATES 6,500 BEE HIVES

EYE-CATCHING + MEMORABLE + BOLD PROTOTYPE + REVISIONS ++++++++++++++++++++++++++++++++++

K.I.S.S.

HEXAGON + TESSELLATING PATTERN

SYMBOLS ICONS

X CREATIVE

( P036 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

( P037 )

( P038 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

( P039 )

( P040 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

COLOUR SYSTEM + ORGANIC HONEY FLAVOURS

FLOWER PETALS + BEE WINGS

( P041 )

P042EQUATION ) DESIGN=EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE ) (PORTFOLIO = SELECTED WORK OF PATTI LEMENE) ( P006 )(DESIGN

Photoshop work needed

( P043 )( P007 )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY (PROJECT 02 = ILLEGAL GUNS N' AMERICA) ( COURSE = GR 600 VISUAL COMMUNICATIONS LAB)

( P044 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

2 COLOUR GIFT PACKAGE

PRESSED CARDBOARD COLOUR SYSTEM RECYCLABLE PACKAGING

( P045 )

( P046 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 03 ) = BARKER BEES ORGANIC HONEY

( P047 )

( P048 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH ILLEGAL GUNS

( PRESTIGE + POWER + WEALTH )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT CHILDREN ( GAMES + MOVIES )

BAR GRAPHS + LINE GRAPHS + TABLES

ILLEGAL GUN TRANSPORTATION IRON PIPELINE + WALMART + POSTAL + WORLD WIDE WEB

DIRECT X INDIRECT COMPETITION GROWTH + CHANGE + SUCCESS

ILLUSTRATION STYLE

LINE + WEIGHT + GEOMETRIC

PRESTIGE + POWER + WEALTH = INSIGHT

SIMPLE INFOGRAPHICS

273 MILLION GUNS +

STATEMENT Prestige and power has brought wealth to many people involved

attained reminds us to be mindful of society’s influences on the

with illegal guns. Through research, interviews and personal

glorified status of owning a gun—illegal or legal. Illegal guns

experiences, this book provides a 360 degree view, by looking at

is a lucrative business. Together we can make a change if people

the economical, political, cultural, environmental, personal and

start realizing this business needs stricter regulations and

geographic aspects of illegal guns in America. The information

stronger penalties.

CONCEPT TO EXECUTION PERFECT BOUND BOOK

BOOK CLOTH AND GLUE

BOARDS AND MULL

ATTENTION TO DETAIL

GRID LAYOUT AND PACING

PERFECT BOUND

SOCIETY'S INFLUENCES + OWNERSHIP

LEGAL VERSUS ILLEGAL

PHOTOS AND ILLUSTRATION

X MOOD BOARDS + AUDIENCE

RED AND BLACK THEME ( BOLD + POWER ) DIRECTION + CONSISTENCY

( PROJECT 04 ) = ILLEGAL GUNS N’ AMERICA

$$$$$$$$$$$

GLOCK 9mm semi-auto

COMMERCIALISM $ $ $ $ $ $ $ X

S & W 9mm semi-auto

TRAFFICKERS

$$$$$ +

HIPOINT 9mm semi-auto

COCAINE + DRUGS + CRIME

( MUSIC X MEDIA X SPORTS ) BUSINESS SUCCESS

STOLEN GUNS + ILLEGAL GUNS

COMMUNITY POINT OF VIEW + GUN BUSINESS + ROMANCE OF GUNS

POLICE

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

X TIME MANAGEMENT (HOURS)

GANGS

ILLEGAL GUNS N’ AMERICA

( PROJECT 04 )

( Category = PRINT ) + ( Course = VISUAL COMMUNICATIONS LAB ) + ( Instructor = JEREMY STOUT )

LAYOUT EXPERIMENTATION

RESEARCH X EDITING X WRITING X SKETCHING ANGLES

SQUARES

COLOURS

GRID

X PACING

CHAPTER OPENER PAGES

COLOUR

UNIVERSE + MEMPHIS

GLOCK 9mm = STATISTICS

HIERARCHY + BALANCE SCALE + COLOUR

COVER

INSIDE

TITLE PAGE

WEIGHT + CONTRAST

ASYMMETRY + INSTINCT SYMBOLS + INFOGRAPHICS

( P049 )

( P050 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 04 ) = ILLEGAL GUNS N’ AMERICA

( P051 )

( P052 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 04 ) = ILLEGAL GUNS N’ AMERICA

( P053 )

( P054 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 04 ) = ILLEGAL GUNS N’ AMERICA

COMMUNITY POINT OF VIEW + GUNS + POLICEMAN'S DAUGHTER IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

INSIGHT OPEN MIND

( P055 )

( P056 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 04 ) = ILLEGAL GUNS N’ AMERICA

( P057 )

( P058 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH CELEBRATION DAYS

CALENDAR + HOLIDAY RESEARCH

(MONTH + EVENTS )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT ( NATURAL + SYNTHETIC )

RISKS + PROCESS + TRIAL + ERROR

MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + + +

INTERPRETATION + CONCEPTS

PERSONAL STYLE

GROWTH + CHANGE + SUCCESS

HANDCRAFT + PHOTOGRAPHY

DIGITAL + CREATIVE

MATERIAL

(ABSTRACT + EXPRESSION)

STATEMENT This calendar developed higher levels of typographic concept

expression, ones that combine type and image into a seamless

and interpretation. Questioning the boundaries of typography

whole. The calendar focuses on political, social, cultural, and

created a more abstract, experimental and interpretive calendar.

religious events within a calendar year. The overall visual

Upon completion, I was able to subvert the established rules

approach articulates purity of form, unity of visual expression

of typography and produce unique examples of typographic

and a reflection of the new machine age.

CONCEPT TO EXECUTION FRAMED POSTER CALENDAR

SHADOW BOX FRAME

DIGITALLY PRINTED

INNOVATIVE

SUSTAINABLE FRAME

ARTISTIC EXPRESSION

VISUALLY COMPELLING

ALTERED

RISK-TAKING COMPOSITIONS

PATIENCE QUALITY

EMOTIONAL

INCARNATION TARGET AUDIENCE

( PROJECT 05 ) = EXPERIMENTS WITH TYPE

$$$$$$$$$$$$$

TYPOGRAPHY

VISUAL + MATERIALS

IMAGERY

RESOURCEFUL REDUCE + REUSE + RECYCLE

LAYOUT

( P059 )

CALENDAR DEVELOPMENT

(TWO DIMENSIONAL + THREE DIMENSIONAL )

CONCEPT + INTERPRETATION

GRAPES + VINES A POINT OF VIEW + VISUAL CALENDAR + DIFFERENT

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

PETALS + SATIN

X TIME MANAGEMENT (HOURS)

WOOD + CHALK

EXPERIMENTS WITH TYPE

( PROJECT 05 )

( Category = PRINT ) + ( Course = TYPE EXPERIMENTS ) + ( Instructor = LIAN NG )

ARTISTIC EXPRESSION + TYPE SYMBOLISM

DIFFERENT + FUNCTIONAL

PROCESS + EXPERIMENT

PROTOTYPE + REVISIONS +++++++++++++++++++++

VARIOUS SURFACES + DIMENSION

APPROACH

IMAGERY AND GRAPHIC ELEMENTS

OUTDOORS INDOORS

MEMORABLE + ECONOMICAL

TYPE AS IMAGE

( P062 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 05 ) = EXPERIMENTS WITH TYPE

( P063 )

( P064 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 05 ) = EXPERIMENTS WITH TYPE

( P065 )

( P066 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH FILM FESTIVAL

( DIRECTOR + FILM + GENRE )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

FILM DIRECTOR DAVID LEAN ( EPIC FILMS )

MAP + PHOTOGRAPHY + FILM CLIPS

INTEGRATED COMMUNICATIONS IDENTITY + POSTER + CATALOG +

BIOGRAPHY + HISTORY + OVERVIEW SUCCESS + 50TH ANNIVERSARY

SCHEDULE +++++++

MODULAR SYSTEM

COLOUR + BRAND + VERSATILITY

GRANDIOSE + EPIC + LANDSCAPES

COVETABLE PRESENCE

WATCHING MOVIES

STATEMENT Lean dishes out every ingredient we secretly want to guzzle. Lean uses epic panoramic landscapes, precision editing, grandiose compositions, and action packed themes. There is only one word that can describe the films breathtaking exteriors and

grand narrative—EPIC. I researched everything from fashion, politics, culture, and economics during the time period between 1960 to 1980. I chose the vintage suitcase to package all of the contents because the theme is based around traveling to epic locations.

CONCEPT TO EXECUTION COMPLEX SET OF MATERIALS

BOOKS + CASES (3)

POSTERS + TICKETS

ATTENTION TO DETAIL

STORYTELLING + TRAILER

PRODUCTS + TRAILER

SOCIETY'S INFLUENCES + VIEWERS

CLASSIC STORIES

PHOTOS AND ILLUSTRATION

X MOOD BOARDS + AUDIENCE

KEEPSAKES BINOCULARS + LANYARD SHEMAGH + MATCHES

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

WINTER GARDEN

TIME + SPRING

ELGIN THEATRE

COMMERCIALISM $ $ $ $ $ $ $ X

DATE + MAY + 3 DAYS

$$$$$ +

LOCATION + TORONTO

BREATHTAKING EXTERIORS

( INDIA X KWAI X ARABIA ) CLASSIC LOCATIONS

LAWRENCE OF ARABIA + DOCTOR ZHIVAGO PASSAGE TO INDIA + THE BRIDGE ON THE RIVER KWAI

VINTAGE + TRAVEL + EXPLORE + ACTION + PASSION

TIME MANAGEMENT (HOURS)

IMPACT OF DESIGN + CELEBRATION + SHOWCASE

A DAVID LEAN FILM FESTIVAL

( PROJECT 06 )

( Category = PRINT ) + ( Course = INTEGRATED COMMUNICATIONS ) + ( Instructor = MARC ENGLISH )

OUTDOOR ADVERTISING

RESEARCH X EDITING X WRITING X SKETCHING SHAPES

SPACE

COLOURS

GRID

PACING

VERTICAL TILING

MOCK-UP

PROXIMA NOVA + IDENTITY

TARGET AUDIENCE = 40 TO 60

HIERARCHY + BALANCE SCALE + COLOUR

HORIZONTAL

SCALE

LOCATIONS

WEIGHT + CONTRAST

ASYMMETRY + INSTINCT SIMPLISTIC + IMPACT

( P067 )

( P068 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P069 )

INTEGRATED COMMUNICATIONS IDENTITY + POSTER + CATALOG + SCHEDULE +++++++

( P070 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

GRANDIOSE + EPIC + LANDSCAPES WATCHING MOVIES

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P071 )

( P072 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

FILMS BY DAVID LEAN

ENVIRONMENTAL SIGNAGE

FILMS BY DAVID LEAN ENVIRONMENTAL SIGNAGE

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P073 )

( P074 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P075 )

( P076 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P077 )

( P078 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P079 )

( P080 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 06 ) = A DAVID LEAN FILM FESTIVAL

( P081 )

VIP TICKET GIFT PACK + MATCHES + VIP LANYARD BINOCULARS + SHEMAGH + COLLECTION SERIES

( P082 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH TEAVANA BRAND

(HEALTHY + LOOSE LEAF TEA)

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

THINK DIFFERENT PACKAGING ( SHAPE + USAGE )

COMPANY + PACKAGE RESEARCH MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + + +

DIRECT X INDIRECT COMPETITION

GROWTH + CHANGE + SUCCESS

COLOUR SYSTEM + MIXED APPLE TEA FLAVOURS

ILLUSTRATION STYLE GEOMETRIC + CONTEMPORARY

INNOVATIVE + PSYCHOGRAPHIC

BACKGROUND PATTERN

STATEMENT A new tea line for Teavana. Inspired by Turkish letterforms,

colour of each piece. The pattern of the cityscape creates

tulips, national symbols, and Istanbul's cityscape/skyline.

an interesting divide between the bottom informational part

This package design delivers a mystical and sophisticated

of the can and the visual pattern above. Every last detail

presentation. The identity design is strong and fits well into

was thought about.

the Teaopia system. The flavour of the teas influenced the

CONCEPT TO EXECUTION TEAVANA GIFT PACKAGE

AIR TIGHT METAL TINS

COLOUR SYSTEM

TURKISH APPLE TEA BLENDS

THE SUB-BRAND

RECYCLABLE

BLUEBERRY + STRAWBERRY + MANDARIN + APPLE

SIMPLE DIE LINE + MINIMAL GLUE GREEN CONSUMER + RECYCLED PAPER

( PROJECT 07 ) = ORGANIC TURKISH TEA

$$$$$$$$$$$$$

PREMIUM QUALITY

UPSCALE AUDIENCE

FLEXIBLE INCOME

ENVIRONMENTAL REDUCE + REUSE + RECYCLE

RAISE AWARENESS

PACKAGE DEVELOPMENT

( P083 )

(MOCK-UP)

(TWO DIMENSIONAL + THREE DIMENSIONAL )

BRANDING = COLOUR CODING

DESIGN SYSTEM A POINT OF VIEW + BRAND EXTENSION + DIFFERENT

APPLE TEA TYPES

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

X TIME MANAGEMENT (HOURS)

CONTAINER SIZE

ORGANIC TURKISH TEA ( PROJECT 07 )

( Category = PRINT ) + ( Course = PACKAGE DESIGN 2 ) + ( Instructor = VALERIE TAYLOR-SMITH )

FUND RAISING + SPREAD THE WORD + BEES

OPERATES 6,500 BEE HIVES

EYE-CATCHING + MEMORABLE + BOLD PROTOTYPE + REVISIONS ++++++++++++++++++++++++++++++++++

K.I.S.S.

TULIPS + TESSELLATING PATTERN

SYMBOLS ICONS

X CREATIVE

( P084 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 08 ) = ORGANIC TURKISH TEA

( P085 )

( P086 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 07 ) = ORGANIC TURKISH TEA

( P087 )

( P088 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 07 ) = ORGANIC TURKISH TEA

( P089 )

( P090 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH FILM FESTIVAL

( DIRECTOR + FILM + GENRE )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

FILM DIRECTOR PHILIP DICK ( SCI-FI FILMS )

MEMORABLE IMPRESSION

SUCCESS + AWARD-WINNING FILMS

TYPE COMPOSITION

WORDS + IMAGES + IMPRESSION

ALTERNATIVE REALITY + SPECIAL EFFECTS + FOUR FILM REVIEWS

COVETABLE PRESENCE

WATCHING MOVIES

STATEMENT These promotional materials are inspired by the works of Philip Dick who has explored the metaphysical and the eerie in all its manifestations. This festival pushes cinematic form to new levels of creativity and originality without sacrificing

narrative cohesion. The promotional deliverables allow the viewer to quickly comprehend the concept without the aid of mass amounts of text. The image is a clear strong statement—simple yet effective.

CONCEPT TO EXECUTION SET OF MATERIALS

INITIAL REACTION

BOOK + MOVIE RELEASE

ATTENTION TO DETAIL

SANITY + PERCEPTION

PRODUCTS + POSTER

SOCIETY'S INFLUENCES + VIEWERS

ORIGINAL TITLES

POSTER DESIGN + IMAGERY + TYPE + SCALE

BIOGRAPHY + HISTORY + OVERVIEW

PHOTOGRAPHY + FILM CLIPS

TYPE AND ILLUSTRATION

X MOOD BOARDS + AUDIENCE

KEEPSAKES MIND BENDER + TOYS DVD GIFT PACK + T-SHIRTS

( PROJECT 08 ) = MIND BENDER FILM FESTIVAL

WINTER FESTIVAL

ANGLES + DIRECTION + NARRATIVE

MIND BENDING FILMS

COMMERCIALISM $ $ $ $ $ $ $ X

MARCH + 3 DAYS

$$$$$ +

SAN FRANCISCO

HISTORIC AMERICAN NOVELIST ( FANTASY + REALITY ) CREATIVE STORY WRITER

METAPHYSICAL + EERIE + PSYCHE

BLADE RUNNER DRUG EXPERIMENTATION + SCHIZOPHRENIC BEHAVIOUR

IMPACT OF DESIGN + STORYTELLING + SHOWCASED

MINORITY REPORT

X TIME MANAGEMENT (HOURS)

PAYCHECK TOTAL RECALL

MIND BENDER FILM FESTIVAL

( PROJECT 08 )

( Category = PRINT ) + ( Course = TYPE COMPOSITION ) + ( Instructor = CHRISTOPHER MORLAN )

OUTDOOR ADVERTISING

RESEARCH X EDITING X WRITING X SKETCHING SHAPES

SPACE

COLOURS

GRID

PACING

VERTICAL TILING

MOCK-UP

SPACE + SYMBOLISM

TARGET AUDIENCE = 20 TO 40

HIERARCHY + BALANCE SCALE + COLOUR

HORIZONTAL

SCALE

LOCATIONS

WEIGHT + CONTRAST

ASYMMETRY + INSTINCT SIMPLISTIC + IMPACT

( P091 )

( P092 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 08 ) = MIND BENDER FILM FESTIVAL

( P093 )

( P094 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

PROMOTIONAL ITEMS MIND BENDER + SCI-FI GLASSES SHRINK WRAPPED + T-SHIRTS

( PROJECT 08 ) = MIND BENDER FILM FESTIVAL

( P095 )

( P096 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

RESEARCH INEFFECTIVE COMMUNICATION RESEARCH + CONCEPT + COMPOSITION + EXECUTION

SYMBOLS + ICONS GEOMETRIC (GENDER NEUTRAL )

MEDICAL CONTEXT

STATISTICS + ANALYSIS + RESULTS

LACK OF COMMUNICATION + SOLUTION

BRAINSTORMING (COMMITTEE + INDIVIDUALS)

UNCLEAR + TEXT HEAVY CONTENT + CONFUSION

HOSPITAL + HOME STAKEHOLDERS + TRANSITION

MEDICAL + FAMILY + YOU + SERVICE PROVIDERS + COMMUNITY

SURVEYS + FOCUS GROUPS

HEALTH CARE

STATEMENT Strategic thinking, problem solving, developing innovative conceptual solutions and presentation skills are all part of the 18-month process. There are several stages the student works through in order to find a solution that can make a change.

The strategic thinking stage includes intensive research and brainstorming to identify burning issues. In the end, this thesis has made an impact on the target audience. A great solution has legs and keeps on running. This thesis has legs.

CONCEPT TO EXECUTION COHESIVE SET OF MATERIALS

BROCHURES/PAMPHLETS

COMMUNICATION CARDS

CALENDAR (PRINT + APP) POSTERS (WIDE-FORMAT)

SOCIETY'S INFLUENCES + VIEWERS

REVISITED CONTENT

INFORMATION CARDS

X SUB-BRAND + HOSPITAL + HOME

INFOGRAPHIC

DESIGN SYSTEM COLOUR + BALANCE TYPOGRAPHY + IMAGES

( PROJECT 09 ) = MEDICALLY SPEAKING

LONG-TERM CARE

CLARITY + ORGANIZATION + CONCISE

COMMUNICATION KIT

MEDICAL ERRORS $ $ $ $ $ $ X

HOME CARE

$$$$$ +

SERVICE WORKERS

CCAC + MEDICALLY SPEAKING ( COMMUNITY CARE ACCESS CENTRE ) CREATIVE

MEDICAL + EDUCATION + DESIGN

REGISTERED NURSE PHYSIOTHERAPIST + PERSONAL SUPPORT WORKER

SPEECH THERAPIST + OCCUPATIONAL THERAPIST

DIETICIAN

X TIME MANAGEMENT (HOURS)

SPEECH THERAPIST

MEDICALLY SPEAKING

( PROJECT 09 )

( Category = PRINT ) + ( Course = DIRECTED STUDY ) + ( Instructor = JEREMY STOUT )

RESEARCH X EDITING X WRITING X SKETCHING SHAPES

SPACE

COLOURS

GRID

PACING

COMMUNICATION KIT X

+ VERTICAL + MOCK-UP + TESTING + IMAGE

SPACE + SYMBOLISM

TARGET AUDIENCE = 60+++

( P097 )

HIERARCHY + BALANCE SCALE + COLOUR

SCALE SUCCESS

WEIGHT + CONTRAST

ASYMMETRY + INSTINCT SIMPLISTIC + IMPACT

( P098 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

{

Medically Speaking is a design studio specializing in health care communication.

}

( PROJECT 09 ) = MEDICALLY SPEAKING

0.75"

Preferred (Stacked) Minimum Size

1.5"

Special Use (Horizontal) Minimum Size

x = x-height

Preferred (Stacked) One-Colour

Special Use (Horizontal) One-Colour

( P099 )

( P100 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 09 ) = MEDICALLY SPEAKING

( P101 )

( P102 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 09 ) = MEDICALLY SPEAKING

( P103 )

( P104 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 09 ) = MEDICALLY SPEAKING

{

12,000 CCAC patients complained about poor communication. Source: Client and Caregiver Experience Evaluation Survey

( P105 )

}

( P106 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

{ THE STAKEHOLDERS } The Keep Me Informed initiative included feedback from doctors, nurses, managers, service providers and patients. In order to come up with a strategy all stakeholders needed to identify the challenges and opportunities in this initiative in order to lay the groundwork for all future health care communications.

There were over 1,300 interviews, emails, and meetings conducted in order to understand issues, form ideas, and create a plan. After three months of discussions, Ideas started to form and plans came together. The plan was to create a visual template system to include icons, symbols, imagery, and typography. All of the deliverables focused on patients transitioning from hospital to home. The success of this initiative, relies on devotion and commitment from all stakeholders involved.

( PROJECT 09 ) = MEDICALLY SPEAKING

( P107 )

( P108 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

{ THE SOLUTION } A solution was derived after sifting through massive amounts of information gathered from interviews, focus groups, conference calls, emails, testing, and other studies on ineffective communication in health care. The solution targeted the elderly.

Clarity, language barriers, simplicity, type size, and all access足ibility issues need to be considered. The home care kit will be given to patients that are about to receive, or are receiving home care services arranged through the Community Care Access Centre (CCAC). In health care, good communication involves a shared understanding of a situation. This requires a wide range of communication skills, from negotiation and listening, to goal setting and assertiveness, and being able to apply these generic skills in a variety of situations. Recent testing has been successful. There are recommendations to extend the communication card symbols in some of the sections. The symbols are all effective based on user testing.

BRAINSTORMING SESSIONS TAKE HOME KIT + PATIENTS + TOOLS + RESOURCES +++++++

( PROJECT 09 ) = MEDICALLY SPEAKING

( P109 )

( P110 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

COMMUNICATION HOME CARE KIT CLAMSHELL BOX + BROCHURES + PAMPHLETS + CALENDAR + COMMUNICATION CARDS + INFOGRAPHIC +++++++

( PROJECT 09 ) = MEDICALLY SPEAKING

( P111 )

( P112 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

TRANSITIONING FROM HOSPITAL TO HOME

HOME FIRST

ENGLISH

SPANISH

FRENCH

ITALIAN

GERMAN

905-345-3333 Call any time if you need assistance.

TRANSITIONING FROM HOSPITAL TO HOME DINNER

TRANSITIONING FROM HOSPITAL TO HOME

TRANSITIONING F HOSPITAL TO HOM

ALERT ALERT NURSE COMING AT 1:00PM NURSE COMING AT 1:00PM TODAY, MONDAY, APRIL 19

TODAY, MONDAY, APRIL 19

EXERCISE TODAY

YOUR EXERCISE ROUTINE FOR TODAY

FOOD TODAY

LOW SALT DIET SUGGESTED RECIPES

YOUR EXERCISE ROUTINE FOR TODAY

FOOD TODAY

LOW SALT DIET SUGGESTED RECIPES

905-345-3333

Call any time if you need assistance.

TRANSITIONING FROM HOSPITAL TO HOME

905-345-3333 Call any time if you need assistance.

TRANSITIONING F HOSPITAL TO HOM

PATIENT PLANNING APP DINNER COORDINATES + PATIENTS + SERVICE WORKERS +++

VEGETARIAN CHIPOTLE CHILI VEGETARIAN CHIPOTLE CHILI Total Time: 1 hr

Prep Time: 20 mins

CookTime: Time:140 Total hr mins

Prep Time: 20 mins

Cook Time: 40 m

GERMAN

905-345-3333

( PROJECT905-345-3333 09 ) = MEDICALLY SPEAKING

Call any time if you need assistance.

TRANSITIONING FROM HOSPITAL TO HOME

TRANSITIONING FROM HOSPITAL TO HOME DINNER ALERT NURSE COMING AT 1:00PM TODAY, MONDAY, APRIL 19

BREAKFAST LUNCH

EXERCISE TODAY

DINNER VEGETARIAN CHIPOTLE CHILI

YOUR EXERCISE ROUTINE FOR TODAY

FOOD NOTES Total Time: 1 hr

FOOD TODAY

Prep Time: 20 mins

Cook Time: 40 mins

Ingredients 1 medium red onion, diced

Directions

2 tbsp chili powder

Step 4: Stir in tomatoes and broth; bring to a small boil. Step 5: Toss in beans; cover and reduce the heat to a simmer. Cook for 1 hour. Step 6: Serve garnished with green onions, sliced radishes and low sodium Colby Jack cheese.

Stepthis 1: In deep skillet or stock pot cook red recipe Chicken Tortilla Soup Get onions until soft with 2tbsp of water. 1 green bell pepper, diced Step 2: Stir in green peppers and sweet the but reduce the spices, had 2Loved sweet potatoes, peeled recipe and cut into cubes potatoes; cook for 5 minutes. 4 garlic cloves, minced Step 3: Stir in garlic, chipotle chiles in adobe indigestion for a few hours after. 2 tbsp chipotle chiles in adobo sauce, chopped sauce, chili powder and cumin.

LOW SALT DIET SUGGESTED RECIPES

1 tsp ground cumin 1 cup of diced tomatoes 2 cups low sodium vegetable broth 3 cups black beans 1½ cups light red kidney beans green onions, radishes, and Colby Jack cheese

905-345-3333

905-345-3333 905-345-3333

Call Call any any time time ifif you you need need assistance. assistance.

Callany anytime timeif ifyou youneed needassistance. assistance. Call

TRANSITIONING FROM HOSPITAL TO HOME

VEGETARIAN CHIPOTLE CHILI Nutritional Facts Per Serving Energy

135 calories

Protein

VEGETARIAN CHIPOTLE CHILI Total Time: 1 hr

Prep Time: 20 mins

Ingredients 1 medium red onion, diced 1 green bell pepper, diced 2 sweet potatoes, peeled and cut into cubes 4 garlic cloves, minced 2 tbsp chipotle chiles in adobo sauce, chopped 2 tbsp chili powder 1 tsp ground cumin 1 cup of diced tomatoes 2 cups low sodium vegetable broth 3 cups black beans 1½ cups light red kidney beans green onions, radishes, and Colby Jack cheese

Cook Time: 40 mins

Directions Step 1: In deep skillet or stock pot cook red onions until soft with 2tbsp of water. Step 2: Stir in green peppers and sweet potatoes; cook for 5 minutes. Step 3: Stir in garlic, chipotle chiles in adobe sauce, chili powder and cumin. Step 4: Stir in tomatoes and broth; bring to a small boil. Step 5: Toss in beans; cover and reduce the heat to a simmer. Cook for 1 hour. Step 6: Serve garnished with green onions, sliced radishes and low sodium Colby Jack cheese.

Carbohydrate

21 g

Fat

4.3 g

Fibre 4.3 g Sodium

20 g

Calcium: 7% / 77 mg Vitamin A:

57 %

Vitamin C:

31 %

Folate:

20 %

Niacin:

12 %

green onions, radishes, and Colby Jack cheese

905-345-3333

Call any time if you need assistance.

( P113 )

( P114 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

Blood, Heart, Circulation

Suction

Bones, Joints, Muscles

Toilet

Suction

Cold

Thirsty

Digestive System

Hot

Cold

Ear, 8 Nose, Throat

Endocrine System

Afraid z zz

Brain, Nerves

z zz

Eyes, Vision 9 8

z zz

Oxygen z zz

Short of Breath

Immune System Kidneys, Urinary System 2

Need Comfort

Remote Control

Quiet z

Sleep

Light On/Off

Home Bed

Tired

Lip Moistened

Feeling Sick

Head Up/Down

Lungs, Breathing

Hungry

Turn

Tired

Walk

Short of Breath Mouth, Teeth

Skin, Hair, Nails 8 9

Female Reproductive System

Feeling Sick

Male Reproductive System 1

Exercise Dizzy Nurse Angry Doctor

Mammory, Breast Afraid

Hungry Physiotherapist 1

Sad

Frustrated

Lip Moistened

Personal Support Worker Dietician

Family

Health Care Communication Card Need Comfort

This card has been prepared to assist you in communicating with service workers and family members.

Patti Lemene | Thesisâ&#x20AC;&#x201D;Revisited Symbols | November 4, 2012

I AM

Short of Breath

Tired

Hot

Cold

In Pain

Dizzy

Thirsty

Hungry

Bed

Head Up/Down

Turn

Frustrated

Home

Angry

Afraid

Sad

Walk

Exercise

Lip Moistened

Feeling Sick

I WANT

Light On/Off

Pain Scale: Touch Where it hurts

1 2 3 4 5 6 7 8 9 10 Suction

Remote Control

Quiet

Need Comfort

Sleep

Oxygen

Toilet

Good

YES

Not Good

COMMUNICATION CARD ITERATIONS FACIAL EXPRESSIONS + STYLES + SHAPES + COLOUR

STOP

English

COMMUNITY CARE ACCESS CENTRE

COMMUNICATION CARD

(

( P115 )

This card has been prepared to assist patients PROJECTand 09service ) = MEDICALLY SPEAKING workers who encounter cross cultural communication problems during home care.

I AM

Hot

Cold

Feeling Sick

Frustrated

Confused

Sad

Dizzy

Exhausted

Worried

Afraid

Lonely

Happy

Hungry

Thirsty

Turn

Walk

Exercise

Bath

I WANT

Light On/Off

Bed

Head Up/Down

English

COMMUNITY CARE ACCESS CENTRE

COMMUNICATION CARD Shower

Brush Teeth

Shave

Watch TV

This card has been prepared to assist patients and service workers who encounter cross cultural Sleep Toilet communication problems during home care.

Family

I HAVE PAIN

Heart

Bone

Brain

Stomach

Kidney

Lungs

Mouth

Skin

Ear

Endocrine

Eye

Female System

Male System

Breast

1 Good

Pain Scale: Touch Where it hurts

10 Not Good

( P116 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

( PROJECT 09 ) = MEDICALLY SPEAKING

( P117 )

( P118 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

Roasted Chicken Alfredo

Total Time: 55 mins

Prep Time: 20 mins

Vegetarian Chipotle Chili

Cook Time: 35 mins

Total Time: 1 hr

Directions Step 1 Cook noodles as label directs; drain. Step 2 Mix cheeses, chicken broth, and garlic until fairly smooth. Step 3 Gently stir in noodles, celery, green pepper, chicken and chopped mushrooms. Step 4 Pour into spray-oiled baking dish (9 x 13 inches). Step 5 Cover and bake at 350° Farenheit for 35 minutes.

Ingredients 8 oz spinach noodles ½ cup chopped green peppers 8 oz cream cheese 2 cups chicken breasts, roasted and chopped 2 tbs basil 1 cup mushrooms sliced ¼ cup low salt parmesan cheese grated 1 garlic clove 1 ½ cup diced celery

Prep Time: 20 mins

1 cup low sodium chicken broth

3 cups black beans

¼ cup plain bread crumbs

1½ cups light red kidney beans green onions, radishes, and Colby Jack cheese

JANUARY 2013 SUNDAY

MONDAY

TUESDAY

WEDNESDAY

FRIDAY

SATURDAY

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

Total Time: 15 mins

Prep Time: 10 mins

3 garlic cloves ½ cup of chopped almonds 2 tsp olive oil 1 tsp low sodium parmesan cheese

FRIDAY

SATURDAY

SUNDAY

Ash Wednesday

St. Valentine’s Day

Groundhog Day

MONDAY

TUESDAY

1 cup breadcrumbs 1 tablespoon crushed red pepper 1 teaspoon garlic powder ¼ teaspoon cayenne pepper 1 pound uncooked pasta 1 cup cold lowfat milk

WEDNESDAY

Cook Time: 30 mins

Directions Step 1 Pour Texas Pete over shrimp 30 minutes prior to cooking. Preheat oven to 350° Farenheit. Step 2 Combine breadcrumbs, red pepper, garlic powder, cayenne pepper together in a food processor. Step 3 Coat the marinated shrimp with the bread crumb mixture; bake for 15 minutes until breading is crispy. Step 4 Cook the pasta, drain and stir in cheese and milk. Step 5 Cover the pasta and cheese with the crispy shrimp. Step 6 Garnish with green onion and serve.

MAY 2013

THURSDAY

FRIDAY

SATURDAY

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

April Fool’s Day

Groundhog Day

Orthodox Easter

Orthodox Christmas

1 cup Texas Pete (hot sauce)

APRIL 2013

THURSDAY

Prep Time: 10 mins

Ingredients 1 pound raw, peeled, deveined shrimp, tails off

¾ cups sharp low fat cheddar cheese

Total Time: 40 mins

Cook Time: 5 mins

Directions Step 1 Snip ends off of fresh green beans; wash and drain. Step 2 Toss the beans in a pot of boiling water for 4 or 5 minutes; drain. Step 3 Heat olive oil in the pan; add chopped garlic and chopped almonds. Step 4 Saute until the garlic is soft. Step 5 Sprinkle with low sodium parmesan cheese and serve.

Ingredients 2 cups of fresh green beans

New Year’s Day

Cook Time: 40 mins

Directions Step 1 In deep skillet or stock pot cook red onions until soft with 2tbsp of water. Step 2 Stir in green peppers and sweet potatoes; cook for 5 minutes. Step 3 Stir in garlic, chipotle chiles in adobe sauce, chili powder and cumin. Step 4 Stir in tomatoes and broth; bring to a small boil. Step 5 Toss in beans; cover and reduce the heat to a simmer. Cook for 1 hour. Step 6 Serve garnished with green onions, sliced radishes and low sodium Colby Jack cheese.

MARCH 2013 FEBRUARY 2013

FEBRUARY 2013

THURSDAY

Firecracker Shrimp with Cheese

Almond Garlic Green Beans

Ash Wednesday

St. Valentine’s Day

Daylight Savings Time Begins

Family Day

St. Patrick’s Day

Family Day

Mother’s Day

First Day of Spring

Victoria Day

Palm Sunday

31 Easter Sunday

BBQ Turkey Meatballs

Total Time: 40 mins

Prep Time: 10 mins

½ cup onion, minced 1 egg

Cook Time: 30 mins

¼ cup breadcrumbs 1 tsp garlic powder 1 tsp chili powder 1 tsp paprika ¾ heart smart BBQ sauce 2 tbsp olive oil

Total Time: 40 mins

1 tsp spicy mustard 2 tsp dried parsley 1½ cups apples; peeled and thinly sliced 3 tbsp margariner ¼ tsp nutmeg ½ tsp cinnamon 1 medium red onion, thinly sliced 1½ cups gouda, shredded 8 burger buns Toppings: lettuce, tomatoe, etc.

MONDAY

TUESDAY

WEDNESDAY

Total Time: 25 mins

Cook Time: 30 mins

Directions Step 1 In large bowl mix together the ground turkey, bread crumbs, egg, mustard, and parsley. Step 2 In medium pan combine the apples, margarine, cinnamon and nutmeg. Cook until apples are soft. Step 3 Remove apples and add red onion to saucepan. Cook until carmalized. Step 4 Mix together the turkey mixture, apples and carmalized onions. Form into 8 patties. Step 5 Refrigerate until ready to BBQ. Step 6 Serve on buns with extra toppings.

½ cup plain bread crumbs

FRIDAY

SATURDAY

Total Time: 35 mins

Cook Time: 5 mins

Directions Step 1 In a large bowl toss together the black beans, red onion, corn kernels, red and green bell peppers, cilantro, jalapeno peppers, and garlic. Squeeze the lime juice over the mixture then stir. Step 2 In a bowl combine the cumin, pepper, garlic powder, and onion powder. Step 3 Stir the red wine vinegar with the spices. Continue stirring until the oil and vinegar are combined, pour over the beans and vegetables. Step 4 Toss the salad to coat, steam for 5 minutes and then refrigerate until you’re ready to serve.

1 cup red onion, finely chopped 1 cup whole kernel corn ¼ cup green bell pepper, finely chopped ¼ cup red bell pepper, finely chopped ¼ cup cilantro, chopped 2 cloves garlic, minced juice of 1 lime 1 tsp cumin ¼ tsp garlic powder ¼ tsp onion powder ½ cup red wine vinegar

AUGUST 2013

THURSDAY

Prep Time: 20 mins

Ingredients 4 cups cooked black beans (2—15oz cans)

Prep Time: 10 mins

Ingredients ½ cup margarine, at room temperature 1½ cups granulated sugar 4 eggs (remove yolks) zest of 1 lemon 1 cup reduced fat buttermilk 1½ cups chopped fresh or frozen strawberries 2 cups whole wheat flour 1 cup all purpose flour 1 tsp baking powder ½ tsp baking soda ½ tsp salt

½ cup extra virgin olive oil

JULY 2013 SUNDAY

Prep Time: 10 mins

Ingredients 3 pounds ground turkey

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

SEPTEMBER 2013

THURSDAY

FRIDAY

SATURDAY

SUNDAY

MONDAY

Canada Day

TUESDAY

WEDNESDAY

THURSDAY

Crock Pot Chicken Tacos

Whole Wheat Strawberry Muffins

Black Bean Confetti Salad

Carmelized Onion Burger

Directions Step 1 Pre-heat oven to 375° Farenheit; line a baking sheet with parchment paper. Step 2 In large bowl mix together all the ingredients except the BBQ sauce and olive oil. Step 3 Heat the oil in the skillet. Step 4 Roll turkey mixture into 1½ inch balls and drop them into the heated skillet. Remove when they are brown and place them on the baking sheet. Step 5 Spoon BBQ sauce over each meatball and bake for 15–20 minutes, until they are cooked through. Step 6 Serve with more BBQ sauce if you like saucy meatballs.

Ingredients 1 ½ pounds ground turkey

Good Friday

Slow Cooker Prep Time: 6–8 hours (3–4 on high)

Cook Time: 25 mins

Directions Step 1 Pre-heat the oven to 350° Farenheit. Step 2 In a large mixing bowl, cream the margarine and sugar together until its light and fluffy. Add the eggs one at a time, beating until just combined. Step 3 Mix in the lemon zest and buttermilk. Stir in the chopped strawberries. Step 4 In another bowl whisk together the flours, baking powder, baking soda, and salt. Gradually stir the dry ingredients into the wet and divide the batter between the prepared muffin cups, filling them about ¾ full. Step 5 Bake for 25-30 minutes, until golden brown on top.

Ingredients 1-2 pounds of boneless skinless chicken breast 1 (8oz) jar of low sodium salsa 1 package taco seasoning 8 Soft taco shells Topping: shredded lettuce, tomatoes, cheese, sour cream, etc.

OCTOBER 2013 FRIDAY

SATURDAY

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

Prep Time: 15 mins

Directions Step 1 Dump everything into the slow cooker, cover, and cook on low for 6-8 hours, or high for 3-4 hours. Step 2 When the chicken is cooked through, use two forks to lift it gently onto a clean work surface. Step 3 Let it rest for a few minutes and then shred, using two forks. Step 4 Spoon the salsa-sauce over the shredded chicken before serving. Step 5 Create your own tacos.

NOVEMBER 2013

THURSDAY

FRIDAY

SATURDAY

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

Labour Day

Civic Holiday

Thanksgiving Day

Halloween

( PROJECT 09 ) = MEDICALLY SPEAKING

Chicken Gyros & Tzatziki Sauce

Total Time: 30 mins

Prep Time: 15 mins

Cook Time: 15 mins

Directions Step 1 Stir together 2 garlic cloves, lemon juice, red wine vinegar, 1 tbsp olive oil, oregano and 2 tbsp of Greek yogurt. Step 2 Cut chicken into pieces (or strips); marinade for at least 1 hour. Cook after marinading is done. Step 3 In a separate bowl stir together the cucumber, 1 garlic clove, remaining Greek yogurt, white wine vinegar, 1 tbsp lemon juice, 1 tbsp extra virgin olive oil and pepper to taste; refrigerate for at least 1 hour. Step 4 Layer the pita with the tzatziki sauce, cooked chicken and toppings.

Ingredients 2 Â˝ pounds boneless skinless chicken breast 3 garlic cloves, minced 1 lemon (juiced) 2 tbs extra virgin olive oil 1 cup Greek yogurt 1 tbsp dried oregano 1 cucumber, grated and squeezed dry 2 tsp red wine vinegar 1 tsp white wine vinegar 8 pitas Toppings: shredded lettuce, diced tomatoes, and thinly sliced red onion

JUNE 2013 SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

Fatherâ&#x20AC;&#x2122;s Day

First Day of Summer

Spaghetti Carbonara with Green Onions

Total Time: 25 mins

Prep Time: 5 mins

Cook Time: 20 mins

Directions Step 1 Cook bacon until crisp and then set aside on a paper towel to drain. Step 2 Cook the pasta, reserving a cup of the cooking liquid before draining. Step 3 In adeep skillet heat the olive oil. Over medium low heat, stir the green onions and garlic for a couple of minutes. Step 4 Pour in beaten eggs and then the cooked pasta, stirring to coat with the eggs. If the mixture is too thick or too sticky pour in little bits of the reserved cooking water. Step 5 Stir in bacon pieces and the cheese, tossing to coat everything; serve.

Ingredients 1 pound of spaghetti 1 pound of bacon, cut into pieces 1 bunch of green onions, chopped 2 garlic cloves, finely chopped 2 tbsp of extra virgin olive oil 4 eggs, beaten well 1 cup of grated parmesan cheese

DECEMBER 2013 SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

Christmas Day

Boxing Day

First Day of Winter

( P119 )

( P120 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

A BED IN LONG-TERM CARE Services are planned and coordinated by your Care Coordinator. While waiting for a bed in a Long-Term Care home, you should expect: • CCAC offers assistance for up to 45 days— if your wait is longer, CCAC will help make alternative plans. • Some LTC homes may have longer wait times, your Care Coordinator will help you make short- and long-term decisions. • Each LTC home will respond back to CCAC once you are accepted or denied. If you are denied, your Care Coordinator will review alternatives with you. • When a bed becomes available, CCAC will contact you to accept or reject the bed offer. You are required to provide a response to the LTC home within 24 hours.

• If you accept the offer, you are expected to move within 5 days. • If you cannot move within 5 days, your are required to pay full costs for each vacant day after the 5 days. • If the bed offered is not your first choice, you can accept the offer and remain on a waitlist for other choices. • If you refuse your bed offer, your applications to all homes will be cancelled. Your reapplication can occur after 12 weeks. If you are concerned about your health care needs while at your home, speak with your Care Coordinator. Our main goal is to ensure that you are in a safe environment and that your needs are met.

COSTS The Ministry of Health and Long-Term Care pays for the healthcare you receive, but you are required to pay for the accommodation costs while in Long-Term Care. ACCOMODATION

ROOM TYPE

DAILY RATE

MONTHLY RATE

Long Stay

Basic*

$53.23

$1,619.08

Semi-Private

$61.23

$1,862.41

Private

$71.23

$2,166.58

Varies

$34.63

Short Stay

Rates as of July 2012, subject to annual change. *Subsidy may be available

COMMUN

YOUR FIRST HOME CARE VISITS 

Care Coordinator



Personal Support Worker



Date:



Date:



Time:



Time:



Contact/Details:



Contact/Details:



Dietician



Physiotherapist



Date:



Date:



Time:



Time:



Contact/Details:



Contact/Details:



Nurse



Social Worker



Date:



Date:



Time:



Time:



Contact/Details:



Contact/Details:



Occupational Therapist



Speech Language Pathologist



Date:



Date:



Time:



Time:



Contact/Details:



Contact/Details:

Important



Fast Centre

If you are able to walk or be transported and require a nurse for wound care or need intravenous (IV) medication administered, you will receive your care at one of our FAST Centres from one of our specialized nurses. Your Care Coordinator will arrange this.



Date:



Time:



Contact/Details:

COMMUN

( PROJECT 09 ) = MEDICALLY SPEAKING

INDIVIDUALIZED LONG-TERM CARE ABOUT CCAC We work with you to understand your needs to build a care plan that best supports you. The move to Long-Term Care can be a difficult one for you and your family. We help you to: • determine if Long-Term Care can support your needs; • complete your application, if it is the best option for you; • select up to five Long-Term Care home choices (your doctor will be involved with these discussions).

TRANSITIONING TO LONG-TERM CARE 1.

Hospital admittance occurred due to illness or surgical needs.

Identified as in need of assistance and long-term care.

Home Care assigns you a personal Care Coordinator prior to your discharge.

Care Plan is developed with your input and service providers are scheduled to visit you at home.

Home with a care plan, your service provider(s) will call within 24 hours of arriving home to schedule visits (some patients will be discharged directly to LTC from the hospital rather than going home first).

Visit by your Care Coordinator at home for Long-Term Care (LTC) Assessment.

Initiating your LTC application requires a physician to complete a medical health report (CCAC helps with this process).

Signing the LTC consent form, including the LTC Care application. CCAC sends all forms to the selected LTC homes on your behalf.

Waiting for responses from LTC homes can take up to 12 weeks. CCAC will keep you informed.

Important For questions surrounding your return home and follow-up medical care, please connect with your doctor, nurse, or social worker. If you go directly to a Long-Term Care home follow-up medical care will be arranged by the health care team.

“Our family wishes to thank you and your staff for the good care and support provided to our dad during his illness. Your support took a big weight off our family’s shoulders by making it possible to keep dad comfortable when he was unable to walk. All of the staff were very professional, friendly and caring.” —Rita, John, Scott and Julie

10. Move in within 5 days of being accepted by a LTC home.

INDIVIDUALIZED HOME CARE ABOUT CCAC

OVERVIEW OF HOME CARE

ARRANGING CARE

We work with you to understand your needs and to build a care plan that best supports you. Community Care Access Centre’s (CCAC’s) objective is to connect you with the care you need, at home and in your local community.

1. Hospital admittance occurred due to illness or surgical needs.

CCAC Care Coordinator Services are planned and coordinated by your caring and knowledgeable Care Coordinator.

We help you to: • remain at home while managing your health care needs; • avoid hospital re-admission; • access support services upon discharge from the hospital; • explore long-term care options when it becomes too difficult to live independently in your home; • access local community support services and health care information.

Important CCAC home care services are put on hold if you are in the hospital.

2. Home Care will assign you a Care Coordinator prior to your discharge. 3. Care Plan is developed with your input and service providers are scheduled to visit you at home. 4. Home with a care plan in place, your service provider(s) will call within 24-hours of your arrival home to schedule visits. 5. Meeting with your Care Coordinator at your home will be scheduled regularly to review your care plan needs. 6. Revisions are made to your care plan by your Care Coordinator as your health needs change. 7. Independence is CCAC’s goal to help you live at home with or without supports.

Your Care Coordinator will: • assess your needs; • determine your requirements for care; • create a customized care plan; • answer your questions, and; • arrange for service providers to support you at home. Your Care Coordinator will follow up with you after your hospital discharge with a scheduled home visit. This visit ensures that you receive the services outlined in your care plan. Your Care Coordinator will link you to all of the community services that you will require and adjust your care as your needs change.

I would like to thank CCAC for the wonderful care my grandmother received this winter. The Personal Support Worker, Nurse and the Dietician provided her with excellent care in her home. —Kathy

CHOOSING SERVICE PROVIDERS Dietician helps you with nutritional needs and develops your nutritional care plans. Nurse helps you with medication needs (medication management, wound care). Occupational Therapist completes holistic assessments of your life skills and provide help in living your life independently. Personal Support Worker helps you with personal care (grooming, bathing, dressing, and toileting). Physiotherapist helps you improve your body movement and body function. Social Worker helps you function in environments, and work through family dynamics by developing strategies for you to improve coping at home. Speech Language Pathologist identifies, evaluates and treats your communication health issues, as well as oral motor and swallowing disorders.

Important

Your Service Providers will call to set up your first visit. Please be home at the agreed time frame and let us know if you need to reschedule your visit.

( P121 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

TREATM

ENT

A team of medical specialists help you get better (Doctors, Nurses, Therapists, etc.)

DIS

Doctors and medical staff assess you

YOUR SUPPORT TEAM

HOSPITAL

CCAC staff meet with you and your family to discuss a care plan for you at home.

RGE

SION

CHA

ES UP

Arranged service providers will contact you prior to visiting your home.

Service provider(s) such as Personal Support Workers, Physiotherapists, Dieticians, etc. and community support teams such as the Alzheimer Society are available if needed.

VIC S U P P O RT S E R

INFOGRAPHIC POSTER COLOUR + EDWARD TUFTE + RESEARCH BALANCE + TYPOGRAPHY + IMAGES

CCAC staff monitor how you are doing and follow up with you.

SME

HOM

YOU

HO M E

SES

Service providers are scheduled to visit you in your home.

NTS

You are admitted to the hospital

ADMIS

( 122 )

( PROJECT 09 ) = MEDICALLY SPEAKING

( P123 )

( P124 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

For patients in need of a Personal Support Worker in the home

For patients in need of a Dietician in the home

PERSONAL SUPPORT WORKER RESPONSIBILITIES

HELP IN THE HOME

Your Personal Support Worker is responsible for your care and physical well-being.

Safety aids can help you with everyday tasks and we supervise exercise routines.

Your Personal Support Worker will: care for you during periods of incapacitation or family disruption; • help you with bedside and personal care such as aid in movement, bathing, personal hygiene, dressing and undressing; • plan and prepare meals, including a special diet, and feeding or assisting you to eat; • change non-sterile dressings, administer medications and collect specimens under the general direction of the home care agency supervisor or nurse; • perform routine housekeeping duties such as laundry, washing dishes and making your bed; • measure your blood pressure, take your temperature or pulse, or take specimen samples if required; • administer suppositories, give you colonic irrigations, enemas (bowel disimpaction), or medications.

Mobility assistance is sometimes required to help you get around (walking or assisting with mobility in bed).

•

Housekeeping is sometimes required to help you with laundry, cleaning dishes, and making your bed. Meal Plans are provided if you require help with grocery shopping, meal preparation or feeding yourself. Personal Hygiene help is available if you need help with bathing, dressing, non-sterile dressings or toileting. Family is educated on how to help you with your daily living needs.

DIETICIAN RESPONSIBILITIES

HELP IN THE HOME

Your Dietician is responsible for designing menus and diets that are beneficial to you.

Safety is required to avoid food poison, we assist you with safe food handling practices.

Your Dietician will: • analyze the food you eat and the nutritional value of your food choices; • develop a specialized diet for you; • prepare a budget for you to purchase food based on your specialized diet; • ensure proper safety regulations are being addressed in the home for you; • inspect you meals before they are served; • develop a nutrition care plan with you and your family (monitored by your dietician); • educate you and your family members about your diet restrictions, including texture-modified and food allergy diets.

Menus are created weekly to assist you with cooking at home.

Important

Your Dietician is administered though CCAC for home care not the hospital.

CONTACT Your Personal Support Worker (PSW) is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care.

Your Personal Support Worker (PSW) is administered though CCAC for home care not the hospital.

Meal planning, shopping, meal preparation and feeding are available if needed. Family is educated on how to help you avoid malnourishment. Services for home-delivered meals are available if you are unable to make your own nutritional meals in the home.

CONTACT Your Dietician is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care. Your Dietician will respond to your call within 3 hours. Your Dietician Name:

Your Personal Support Worker (PSW) will respond to your call within 3 hours.

Important

Nutrition care plans are created to help monitor your food intake.

Phone:

Your Personal Support Worker (PSW) Name:

Visit Details: Phone:

TRANSITIONING FROM HOSPITAL TO HOME

Visit Details:

TRANSITIONING FROM HOSPITAL TO HOME

COMMUNITY CARE ACCESS CENTRE

416.506.9888

SERVICE PROVIDER

416.506.9888

SERVICE PROVIDER

For patients in need of a Physiotherapist in the home

PHYSIOTHERAPIST RESPONSIBILITIES

HELP IN THE HOME

Your Physiotherapist assists you in rehabilitation processes that can help you improve your injured body system.

Safety aids can help you with everyday tasks and we supervise exercise routines.

Your Physiotherapist will: • assess your mobility, strength, endurance and other physical abilities to determine the impact of illness or injury; • diagnose your physical conditions and develop treatment plans to restore movement and function and reduce pain; • establish your treatment and goals based on a physical diagnoses; • communicate with your physicians and other health care professionals regarding your problems, needs and progress; • measure your progress regularly and adjust treatment accordingly; • help you understand how the condition affects your ability to function; • advise you on ways to prevent potential health problems.

Mobility assistance can help you build up endurance and strength while recovering from your injury or illness. Treatment rehabilitation processes help your body improve from illness or injury. Collaboration with other health care professionals might be required and is based on your physical diagnosis.

For patients in need of a Social Worker in the home

Family is educated on how to help you with your daily living needs. Exercise is administered daily to restore movement and strengthen body function.

CONTACT Your Physiotherapist is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care.

Important

Your Physiotherapist will respond to your call within 3 hours.

Your Physiotherapist is administered though CCAC for home care not the hospital.

Your Physiotherapist Name:

Phone:

Visit Details:

TRANSITIONING FROM HOSPITAL TO HOME

COMMUNITY CARE ACCESS CENTRE

416.506.9888

SERVICE PROVIDER

TRANSITIONING FROM HOSPITAL TO HOME

COMMUNITY CARE ACCESS CENTRE

416.506.9888

SERVICE PROVIDER

( PROJECT 09 ) = MEDICALLY SPEAKING

For patients in need of a Registered Nurse in the home

For patients in need of a Occupational Therapist in the home

REGISTERED NURSE RESPONSIBILITIES

HELP IN THE HOME

Your Registered Nurse (RN) is responsible for assessing your care and physical well-being.

Charting all medical needs and changes are done to have for any future medical reference.

Your Registered Nurse will: Initiate a plan of care and necessary health care revisions for you; • perform services in accordance with the plan of care; • prepare clinical progress notes for each visit to your home; • coordinate services in the home to address your health needs. • counsels you and your family and significant others about health care; • process orders and notify your physician about any changing condition; • measures your blood pressure, temperature or pulse, and take specimens if your Personal Support Worker is unavailable; • administer suppositories, colonic irrigations, enemas, or medications if your Personal Support Worker is unavailable.

Counselling you and your family about all of your health care needs in the home.

•

Medical Aide procedures are performed on you in the home based on physicians orders. Personal Hygiene help is available if you need help with bathing, dressing, non-sterile dressings or toileting if your Personal Support Worker is unavailable. Family is educated on how to help you with your daily living needs. Medication is administered based on the prescription provided by your physician.

CONTACT Your Registered Nurse is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care.

Important

Your Registered Nurse will respond to your call within 3 hours.

Your Registered Nurse is administered though CCAC for home care not the hospital.

Your Registered Nurse

OCCUPATIONAL THERAPIST RESPONSIBILITIES

HELP IN THE HOME

Your Occupational Therapist is responsible for your physical, emotional and mental disabilities. We help you with fine and large motor skills, as well as mental, reasoning and processes.

Mobility assistance can help you regain strength, endurance, and body movement.

Your Occupational Therapist will: • assess and record your daily activities and progress in the home; • evaluate your level of functioning; • enable you to learn new ways to perform daily chores and shop for groceries; • help you develop skills to cope with drug or alcohol abuse, stress, decreased energy or normal aging; • adapt your home environment to assist you in your daily living; • help you regain the use of an injured body part or improve your strength, endurance, movement and self-confidence; • help you use assistive technologies such as mobility devices and safety equipment to help you participate in daily activities.

Important

Your Occupational Therapist is administered though CCAC for home care not the hospital.

Name:

Coping can help you develop skills to cope with your anxiety and stress. Chores can be difficult but we help you learn new ways to perform daily chores. Technology is provided to assist you with activities you are having difficult with. Evaluations are done to assess your level of functioning in the areas of self-care and leisure activities. Family is educated on how to help you with your daily living needs. Self-help strategies are developed to help you in daily living activities and group outings.

CONTACT Your Occupational Therapist is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care. Your Occupational Therapist will respond to your call within 3 hours. Your Occupational Therapist Name:

Phone: Phone: Visit Details:

TRANSITIONING FROM HOSPITAL TO HOME

COMMUNITY CARE ACCESS CENTRE

TRANSITIONING FROM HOSPITAL TO HOME

416.506.9888

COMMUNITY CARE ACCESS CENTRE

SERVICE PROVIDER

SOCIAL WORKER RESPONSIBILITIES

HELP IN THE HOME

Your Social Worker will assist you with coping and solving problems in daily life.

Safety methods can help you with coping mechanism to deal with mental issues.

Your Social Worker will: suggest solutions for relationship, family, and personal problems causing stress; • provide coping mechanisms for social problems and domestic violence; • counsel families and you in dealing with terminal, acute, and chronic illnesses; • provide coping mechanisms; • make financial referrals to assist with medicine, rent, mortgages, utilities, food and transportation; • provide crisis intervention; • develop prevention and intervention programs if you are homeless, have addictions, racism or family violence issues. •

Important

Your Social Worker is administered though CCAC for home care not the hospital.

Intervention can help you work with family members and loved ones to avoid additional stress in the home. Counselling can help you and your family overcome emotional, behavioural, social and financial difficulties. Assessments done in the home can address needed services to assist with undiagnosed mental health treatments.

416.506.9888

SERVICE PROVIDER

For patients in need of a Speech Language Pathologist in the home

Family is educated on how to help you with your daily living needs. Community information on seminars, group sessions and workshops may help you and your family cope.

CONTACT Your Social Worker is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care.

SPEECH LANGUAGE PATHOLOGIST RESPONSIBILITIES

HELP IN THE HOME

Your Speech Language Pathologist assists you in restoring and improving your ability to communicate or swallow properly.

Tests are performed to assess speech, voice, swallowing and other ailments.

Your Speech Language Pathologist will: perform a variety of formal and informal tests and procedures to assess and identify language, speech, voice, resonance, fluency and swallowing disorders; • develop and implement treatment plans; • design and employ alternative communication strategies and devices; • consult with other caregivers regarding how they can help you with your communication disorders; • assist you with speech problems related to a stroke, stress, emotional problems or a brain injury. •

Important

Your Speech Language Pathologist is administered though CCAC for home care not the hospital.

Your Social Worker will respond to your call within 3 hours.

Treatment in the home is based on your physical diagnosis in collaboration with other health care professionals. Communication strategies employ augmentative and alternative communication devices for in the home. Family is counselled to assist you with communication and swallowing disorders. Detection determines variances in speech patterns to find the root of your problem by listening to how you pronounce words.

CONTACT Your Speech Language Pathologist is available every day from 9 am to 8 pm, please do not hesitate to call if you have any questions regarding your health care. Please allow a 3 hour window for a response. Your Speech Language Pathologist Name:

Your Social Worker Name:

Phone: Phone: Visit Details: Visit Details:

TRANSITIONING FROM HOSPITAL TO HOME

COMMUNITY CARE ACCESS CENTRE

416.506.9888

SERVICE PROVIDER

Visit Details:

( P125 )

( P126 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

USER TESTING + TARGET AUDIENCE TAKE HOME KIT + PATIENTS + TOOLS + SATISFACTION

( PROJECT 09 ) = MEDICALLY SPEAKING

( P127 )

( P128 )

DESIGN EQUATION = PORTFOLIO ( SELECTED WORK OF PATTI LEMENE )

{ THANK YOU } Especially: My loving husband George My son and daughter: Sean and Allysa Most of all: In loving memory, Mom and Dad Supportive friends and family: Susan, Arthur, Karen, Alana, Mel, Liz, Joan, Sue, John, Mike, Molly, Andrew, Tom Web developer: Micky Socaci Insightful advisors: Marc English, Jeremy Stout, Valerie Taylor-Smith To these, and to the countless others without whom I could not have completed this project.

ÂŠ 2013 Patti Lemene. All rights reserved. Design Equation MFA Graphic Design Portfolio Academy of Art University, San Francisco, CA. For more work by Patti Lemene: www.pattilemene.ca Contact: plemene@mac.com +1.905.937.3378 Advisor: Jeremy Stout Printing: Cober Print Paper: Cougar Opague Smooth 100lb text Photography: Patti Lemene

BARKER BEES

(BEE APIARIES + HONEY + CROPS )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

COMPANY + PACKAGE RESEARCH MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + + +

ILLUSTRATION STYLE LINE + WEIGHT + GEOMETRIC

VINTAGE + TRAVEL + EXPLORE + ACTION + PASSION IMPACT OF DESIGN + CELEBRATION + SHOWCASE

$$$ +

HINK DIFFERENT

ILDREN ( GAMES + MOVIES )

$$$$$$

FUNDING C

+ IMAGERY AND GRAPHIC ELE

STOLEN GUNS + ILLEGAL GUNS

DICAL ERRORS $ $ $ $ $ $

+ BRANDING = COLOUR

BAR GRAPHS + LINE GRAPHS + TABLES

SIMPLE INFOGRAPHICS

MEDICAL + EDUCATION + DESIGN

Design Equation defines the way I think and work— insightful strategic thinking and authentic creative expression. Equation is defined as ( 1 ) an element affecting a process ( 2 ) a complex of variable factors ( 3 ) a state of being equated ( 4 ) a state of close association or identification and ( 5 ) a statement of the equality or equivalence of mathematical or logical expressions.

OUTDOOR ADVERTISING VERTICAL TILING

+ HORIZONTAL + SCALE + MOCKUP + LOCATIONS

FILM FESTIVAL

APPLE TEA TYPES

TER DESIGN + IMAGERY + TYPE + SCALE

GIFT PACKAGE

TIME MANAGEMENT (HOURS)

WATCHING MOVIES

(MONTH + EVENTS )

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

EMORABLE IMPRESSION

SCALE + + +

CONTAINER SIZE

GRANDIOSE + EPIC + LANDSCAPES

CELEBRATION DAYS

VERTICAL

DESIGN SYSTEM

IMPACT OF DESIGN + MAKING A CHANGE + SOLUTIONS

OVETABLE PRESENCE

RESEARCH + CONCEPT + COMPOSITION + EXECUTION

A POINT OF VIEW + BRAND EXTENSION + DIFFERENT

P + PHOTOGRAPHY + FILM CLIPS

( DIRECTOR + FILM + GENRE )

RAMP TYPES

CALENDAR + HOLIDAY RESEARCH

MAGAZINES + BOOKS + PHOTOGRAPHS + INTERNET + + +

SOCIETY'S INFLUENCES + OWNERSHIP

LEGAL VERSUS ILLEGAL

X MOOD BOARDS + AUDIENCE

$$$

VISU

RED

THEM

DIREC

PRESSED CARDBOARD COLOUR SYSTEM

FUND RAISING + SPREAD THE