Portfolio Pre Thesis by Sine

PORTFOLIO by CHANISA.}

01 EDITORIAL DESIGN concept : Self Promotion

02 EDITORIAL DESIGN concept : Mash Magazine Illustra of street

DECEMBER 2012

MN “TWINS LOVER”

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DECEMBER 2012

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Very few terms have been used so habitually and carelessly as the word â&#x20AC;&#x2DC;experimentâ&#x20AC;&#x2122;. In the field of graphic design and typography, experiment as a noun has been used to signify anything new, unc onventional, defying easy categorization, or confo unding expectations. As a verb , â&#x20AC;&#x2DC;to experimentâ&#x20AC;&#x2122; is often synonymous with the design process itself, which may not exactly be helpful, considering that all design is a result of the desig n process. The term experiment can also have the connotation of an implicit disclaimer; it suggests n ot taking responsibility for the result. When studen ts are asked what they intend by creating certain forms, they often say, â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s just an experimentâ&#x20AC;Śâ&#x20AC;&#x2122;, when they donâ&#x20AC;&#x2122;t have a better response. In a scientific context, an experiment is a test of an idea; a set of actions performed to prove or disprove a hypot

hesis. Experimentation in this sense is an empirical approach to knowledge that lays a foundation upon which others can build. It requires all measurements to be made objectively under controlled conditions, which allows the procedure to be repeated by others, . thus proving that a phenomenon occurs after a certain action, and that the phenomenon does not occur in the absence of the actio A scientific approach to experimentation, however, seems to be valid only in a situation where empirical knowledge is applicable, or in a situation where the outcome of the experiment can be reliably measured. What happens however when the outcome is ambiguous, non-objective, not based on pure reason? In the recent book The Typographic Experiment: Radical Innovation in Contemporary Type Design, the author Teal Triggs asked thirty-seven internationally-recognized designers to define their understandings of the term experiment.

Among the designersâ&#x20AC;&#x2122; various interpretations, two notions QH GZRGTKOGPVCVKQP YGTGFQOKPCPV 6JG Ă&#x152;TUV QPG YCU HQTOW lated by the American designer David Carson: â&#x20AC;&#x2DC;Experimen tal is something I havenâ&#x20AC;&#x2122;t tried before â&#x20AC;Ś something that ha snâ&#x20AC;&#x2122;t been seen and heardâ&#x20AC;&#x2122;. Carson and several other desig ners suggest that the nature of experiment lies in the formal novelty of the result. There are many precedents forthis opi nion, but in an era when information travels faster than ever before and when we have achieved unprecedented archival QH KPHQTOCVKQP KV DGEQOGU UKIPKĂ&#x152;ECPVN[ OQTG FKHĂ&#x152;EWNV VQ ENCKO a complete novelty of forms. While over ninety years ago Ku rt Schwitters proclaimed that to â&#x20AC;&#x2DC;do it in a way that no one has FQPG KV DGHQTGÂż YCU UWHĂ&#x152;EKGPV HQT VJG FGĂ&#x152;PKVKQP QH VJG PGY V[RQI raphy of his day â&#x20AC;&#x201D; and his work was an appropriate example of such an approach â&#x20AC;&#x201D; today things are different. Designers are more aware of the body of work and the discourse accom panying it. Proclaiming novelty today can seem like historical ignorance on a designerâ&#x20AC;&#x2122;s part.

06 ILLUSTRATION DESIGN concept : Season Of Love

07 ILLUSTRATION DESIGN concept : Cook Family

COOKING FAMILY SWEET HEART . SWEET LIFE

BEST EVER Desserts cook magazine in the world

Freeh and Fruity Cool-off Treats!

Amazing Cakes That Make Any Party Special

Your holiday Cook bool cupcake fresh & frosty makeover treats !

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