Foundations by Rit Limphongpand

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GRAPHIC DESIGN PORTFOLIO OF RIT LIMPHONGPAND

COLOPHON Design / Photography: Rit Limphongpand Email:

ritlimphongpand@gmail.com

Website

ritlimphongpand.com

School:

School of Graphic Design

Academy of Art University

79 New Montgomery Street, 5th Floor

San Francisco, California

94105, USA

Department Chair:

Mary Scott

Department Director:

Phil Hamlett

Typeface:

Din Next / Utopia

Software:

Adobe Creative Suite CS6 / Lightroom 4.4

Book Format

8.625" x 11.5"

Printer:

Giant Horse Printing

Paper:

Finch Fine iD 100 lb. Text

Binder:

Taurus Bookbindery

Photo Credits:

Mikhael Subotsk / Patrick Waterhouse (p.23)

Tony Brady (p.57)

Wara Suttiwan (p.74)

lobbiaz (p.90)

Copyrights ÂŠ 2013 by Rit Limphongpand

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INTRODUCTION

F O U N D AT I O N S 0 4 .13

“The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.” —Frank Lloyd Wright

During my first year of studying interior architecture, I found out that typography, graphics, illustrations and images coexist with and enhance the aesthetics of architectural structures. Also, architecture and graphic design share some common principles, such as structure, space and form, understanding of spatial relationships, symbolism, and visual communication. Since realizing this relationship, I began to have an interest in graphic design. I decided to call this book “Foundations” because of the relationship I have between graphic and architectural design. The name represents the design fundamental and experience that I have gained from the past to present. The number “04.13” represents the year that I started to study interior architecture in 2004 up until the current year of 2013 and my completion of the MFA Graphic Design program. I believe that creativity can be drawn from the world around us. I frequently integrate design elements and inspiration from architecture into my graphic design work. The ability to be fascinated and to explore and discover new ideas open the world to graphic designers and helps us learn new skills, perspectives and resources that we can draw on to solve problems. This book lays out the foundations that I have built for the new chapter of my life as a graphic designer.

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CONTENTS

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SUBTLE SUBTERFUGE

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MINIMAL COMPLEX

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CLEAR COMFORT

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MFA THESIS: NO VACANCY

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D E TA I L S Title:

The Different World

Course:

Experimental Typography

Instructor:

Stan Zienka

Semester:

Spring 2011

Category:

Typogrpahy / Editorial

Typeface:

Sentinel / Verlag

Palette:

DESCRIPTION

The task of this project is to create a book of experimental typography based on an observation of everyday life or surroundings. This book explores the “out of focus” perspective. What would our perception of the world be if every subject that we wanted to see was not clearly defined? How would we see things and how would we interact differently with the world around us? All of the photographs in this book came from an extended walk through Golden Gate Park to Ocean Beach in San Francisco. These photographs are intended to let our eyes see and imagine things beyond the obvious. I created a typographic style that separates words from phrases and place these within circles. The circles are removed from their photographs to create a sense of “out of focus.”

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D E TA I L S Title:

The Hidden Agenda

Course:

Visual Communications Lab

Instructor:

Hunter Lewis Wimmer / Phil Hamlett

Semester:

Spring 2011

Category: Editorial Typeface:

Chronicle / Knockout

Palette:

DESCRIPTION

This is an inâ&#x20AC;&#x201C;depth book on the impact of media bias on audiences, proposing five possible ways to help inform the public of this problem. This project is inspired by issues caused by the media in Thailand. During my research on media bias in the U.S., I have discovered a more insidious problem. The public is minimally aware of the mediaâ&#x20AC;&#x2122;s power to change thinking, even though many realize the media is biased. They may be influenced without knowing they have been manipulated. My design approach uses elements of newspapers, such as big bold type and justfied paragrah columns. My five ways to reach the public include an online dicussion forum, poster campaign, media bias guidebook, documentary film event, and a media literacy website.

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MINIMAL COMPLEX

D E TA I L S Title: JAMARC Course:

Web Design 1

Instructor:

Andrew Delany

Semester:

Fall 2011

Category: Website Gotham / Arial

Typeface: Palette:

DESCRIPTION

The task was to create a website showcasing design consisting of seven pages and focusing on a particular field. The website is about the unique characteristics of modern Japanese architecture: simplicity, beauty and naturalism. These are elements of the Japanese aesthetic that define Japanese architecture through the use of space, Zen aesthetics and the relationship of buidings with their surroundings. My design approach uses elements of color and graphics derived from architectural materials, such as concrete and wood. I also added an editorial look and feel to make the website more like a magazine.

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D E TA I L S Title:

Sweet Disposition

Course:

Experimental Typography

Instructor:

Stan Zienka

Semester:

Spring 2011

Category:

Typography / Print

Typeface:

Sentinel / Verlag

Palette:

DESCRIPTION

This project is an experimental typographic poster based on the song Sweet Disposition by an Australian indie rock band, The Temper Trap. The deliverable uses images, material and typography printed on acetate sheets placed on an overhead projector. The images that are projected on a wall create the elements to be used in a poster. The poster represents the mood and visual translation of the song which captures of the innocence of youth. The main photographic elements in the composition includes vintage images, retro-style with old-style and mid-century modern looking typeface and graphic patterns. I also added saturation and color adjustment to create a sense of nostalgia and the joy of youth.

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D E TA I L S Title:

Eco Glass

Course:

Special Topic: Conceptual Development

Instructor:

Laura Milton

Semester:

Spring 2010

Category:

Branding / Editorial / Print / Website

Typeface:

Dessau / Gotham

Palette:

DESCRIPTION

The task of this project is to rebrand a company within a sustainable industry. I chose ECO Insulating Glass (shortened to Eco Glass). The company sells insulated glass for residential windows, commercial windows and curtain walls for the building envelope (or building enclosure). The project deliverables consist of a logo, business system, catalog book, poster. three web pages and a calendar. My approach in designing this logo was to capture an aspect of glass that maintains the indoor environment, keeping inhabitants comfortable. Thus, the logo design is the sun behind panes of glass. In addition, the brand graphic style is based on a window grid pattern.

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ECOGLASS

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DAY'S REJOICING

D E TA I L S Title:

Celebration (Thailand)

Course:

Type System

Instructor:

Brendan Callahan / Arvi Raquel-Santos

Semester:

Spring 2010

Category:

Typography / Editorial

Typeface:

Gotham / Hoefler

Palette:

DESCRIPTION

This project is a three-person group project. We created book series about how different nations, namely Thailand, Japan, and the United States, celebrate. These three are home countries of our group members. The book focuses on the background of each cultural celebration that demonstrates a common theme. As this is a group project, we need to have some consistency in the design. We decided to use a system that would guide our readers through festivals in our book in chronological order. However, my book is differentiated from others through the use of the Thai Lunar Calendar. We seleted a red and blue color scheme as a pair to represent the United States, Japan and Thailand, using solid red/nav y blue, orange/sky blue, and yellow/aqua blue respectively.

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D E TA I L S Title:

Linger in the Darkness

Course:

Integrated Communications

Instructor:

Hunter Lewis Wimmer / Christopher Morlan

Semester:

Spring 2012

Category:

Branding / Editorial / Print / Packaging / Website

Typeface:

Tungsten / Gotham Narrow

Palette:

DESCRIPTION

The goal was to design a film festival for the director David Lynch, which I had to developed a comprehensive v isual system and communication materials to match the director and his underlying theme. I chose the director David Lynch because he has developed his own style of storytelling and dreamlike atmosphere. I wanted to characterize his festival with the theme of â&#x20AC;&#x153;Dreams are the darkest desires hiding beneath the surface of reality. Upon waking, the dreamers crave to return to this beguiling state.â&#x20AC;? I created dark and ambiguous female image style to imply eroticism and desire in dreams that are often reprensented in his films. As for the graphic style, I incorporated the diagonal angle of slanted typography that has been seen in his movie titles.

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D E TA I L S Title:

Palm Technology

Course:

Nature of Identiy

Instructor:

Hunter Lewis Wimmer

Semester:

Fall 2012

Category:

Branding / Editorial / Website

Typeface:

Planer / United Serif

Palette:

DESCRIPTION

The project is to reimagine Palm, Inc., a defunct handheld computing manufacturer by designing a new visual identity and taking the brand in new directions. To rebrand Palm, it was important to keep the brand equity which differentiates Palm products from other brands. That became the new mission statement “We are a company that lets you express yourself and enjoy life the way you want, wherever you are.” The new direction for Palm is to view the company as the most cutting-edge technology firm in the industry and to expand its reach to those people who live digital and active lifestyles. The apperance of the logo design is an abstraction of “centralizing information within your palm that you can access anytime.”

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There are approximately 1,058 vacant lots in San Francisco.

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These vacant lots have the potential to be utilized as public spaces for neighborhoods.

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NO VACANCY

D E TA I L S Title: d-SPACE Course:

MFA Thesis Project

Instructor:

Ariel Grey / Bob Slote / Heather Clendenin

Semester:

Spring 2011 â&#x20AC;&#x201C; on going

Category:

Editorial / Website / Environmantal / Landscape

Typeface:

Gotham / Whitney

Palette:

DESCRIPTION

San Francisco has many abandoned spaces which have become unsightly to the communities where they are located. There are approximately 1,058 vacant lots which amount to 127 acres, or 5.5 million square feet. These areas have the potential to be utilized to create public spaces for neighborhoods. Another issue that deserves attention is that only 40 percent of construction material is now recycled, reused, or sent to waste-to-energy facilities. I created a non-profit organization called dSPACE (design-SPACE) which seeks to reclaim these unused lots and quickly and inexpensively revitalize them by using recycled and reuseable materials to create public spaces.

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S I T E A N A LY S I S Address:

100 Texas St., San Francisco, CA 94107

Neighborhood:

Potrero Hill

Zoning:

Urban Mixed-Use

Area:

13,433 sq.ft.

Previous Owner: Protero Hill Imagine, LLC.

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History:

Temporary Office

Existing

Anthonyâ&#x20AC;&#x2122;s Auto Collision Center (North)

Land Use:

Arch Drafting & Graphic Supply (North)

Bottom of the Hill Bar (West)

Metal fabrication, Ermico Enterprises (East)

Residential Housing (South)

Existing

Esprit Park

Blocks

Public Space:

Agua Vista Park

Blocks

Jackson Playground

Blocks

Pennsylvania Garden

Blocks

(*Measured from the site within 1/2 miles radius)

Neighborhood

Population Density

Profile:

Residential Density

9,041 per 1/4 mile 7.3 units per acre

Total trees

5 trees per acre

School gardens

75%

Community center access

98%

Public space

27 acres (3.0%)

Recreational Area Score

17 (City: 56)

Recreation facility access 59% (City: 47%)

Community garden access

NO VACANCY

61% (City: 26%)

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MATERIALS SHOWCASE AREA

STORAGE ROOM

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TEXAS STREET

DISPOSAL UNIT STORAGE 1

STORAGE 2

WORKSHOP AREA

ACTIVITY AREA

EXHIBITION AREA

17th STREET

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FUNCTIONS Seating Area / Benches Workshop Area Activity Area Exhibition Area (Enviromental Graphic) Product and Material Showcase Area Reuse / Recycle Center Material Disposal Units / Storage Existing Lawn Area Cleaning and Equipment Storage Room

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ACKNOWLEDGEMENTS Family: Dad, Mom, Ray, Zona, Rine, Beau, Aunty X'mas, Aunty Pom, Uncle Mathee and Granny for your financial and moral support to get me through this point in life. Academy of Art University Instructors: Mary Scott, Phil Hamlett, Hunter Lewis Wimmer, Scott Rankin, Renee D'arcy, Michael Kilgore, Michael Sainato, Laura Milton, Brendan Callahan, Arvi Raquel-Santos, Andrew Delany, Stan Zienka, Christopher Morlan, Ariel Grey and Bob Slote for giving me wisdom and knowledge. Academy of Art Friends: Padcha Supanimit, Vorrarit Pornkerd, Tanyawan Norachit, Stepahie Yufie Liu, Marsha Marsita Ardibrata, Janina Kao and all my Academy of Art classmates for sharing your knowledge and unforgettable experiences. Friends at Their Home Countries: Sirichai Anekbunluekul, Pratran Harntaweewongsa, Monikanaree Lepper, Yanyadech Pornpong, Piyaphong Bhookham, Wisarut Watthanachote, Peerapat Pusantisampan, Koravich Charoenpao, Preut Boonnom, Apisak Angsuchetthanond, Pitchakorn Sangtakerng, Minkhawn Paripattanont, Nichaya Praneejit, Nuchanart Charoensuk, and Phatra Banditwaytikul for your moral support and for not forgetting about me while I am studying in the United States. To my ESL teachers, especially Scot Crisp who helped me with some of the language in the book for your guidance not only about language but also about life experiences. I have learned a lot more from you all. Patima Srivakul for proofreading my projects and always being a great friend. Without you I would not have made it this far. Heather Clendenin for your thesis instruction and critique even though I am not a student in your department. I am very greatful for your time and your kindness.

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ACKNOWLEDGEMENTS

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