451 process book - Tara's Appendages

T A R A’ S A P P E N D A G E S 45 1 // brand ide ntitie s

MAYBE I SHOULD EXPLAIN

T A R A’ S A P P E N D A G E S / / A B O U T This process book features a four step process. It sums up how I work as a designer and encompasses many of the visual language and inspiration. The first step is collecting. I thoroughly research and screen shot many images before I start a project and throughout the project itself. I next try to iterate something in the next step (which usually is terrible), get feedback, and then usually try against and fail.

To help expedite the process, tumblr has been a great resource for my inspiration. It has a balance of hilarious puns and featured artwork I have found and have reblogged onto my own tumblr. After taking a break and coming back to the project more refreshed and thought ready, I am able to finalize and do something much better. Something clicks within my brain even though I have millions of other projects and ideas flowing around.

Setting up this process book visually explains how I think better than I can type out.

THE FIRST APPENDAGE ASSIGNMENT ONE // Create a logo identity for Yokohama International Terminal Port

STEP ONE COL L ECT

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横浜港 大さん橋国際 客船ターミナル “Our proposal for the project start by declaring the site as an open public space and proposes to have the roof of the building as an open plaza, continuous with the surface of Yamashita Park as well as Akaranega Park.

The project is then generated from a circulation diagram that aspires to eliminate the linear structure characteristic of piers, and the directionality of the circulation.”

- FOA

Y O KO H AM A

OS A N BA S H I

TER M I NA L

N TER N ATION A L

P ORT

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-Open design competition: 1995 - Project completion: 2002 - Cost: $195million - Location: Yokohama Why was it built?

To replace the Osanbashi Pier and to boost economy and appeal during 2002 World Cup games.

- Column Free - Ramps - Uses IPE wood - Built for Earthquakes - Multi-functional - Avoids 90 degree angles - Shade panels located around rooftop - Osanbashi Hall & amphitheater used for lectures, concerts, art exhibits - Used as a community 24/7 park and place to view skylines

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SPECS:

“There is a parallel here with urbanism. The city is always changing. And though you can design a certain space, character, and orientation at the beginning of the process, you then have to wait and see how they evolve. And see how they change over time and perhaps make adjustments and rethink as the process is unfolding.�

POSSIBLE IMAGERY?

I LOV E TH E I R W E B SI T E PAT T E R N AND PASSPORTS

TH E I NSPI R AT I O N TO T H E LO G O A N D B OOK

STEP TWO HAVE HO RRIFI C ID EAS

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// SORRY CAN BIRAND

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T H E LO G O I D E N T I T Y // Through numerous inspiration, the idea of mimicking the waves using two color process and multiple lines was what I tried to replicate. I want it to be of a logo of both land and ocean, it being natural and unnatural such as the build of the building. I tried using rounded typefaces to see how it would work and did multiplee studies on line logos and idea. I knew lines would play a dominant role in the logo and I knew it was going to be difficult. I tried to draw inspiration from the folding of paper and looked for similar logos that created a 3D effect or movement using lines.

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STEP THREE G ET UNST UC K

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I NEeeED A BREAK on tumblr

CURVED LADDER LOGO? 6500 Notes

R E F L EC T I O N S O F P R O C E S S //

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I’m kind of stuck wherever I go with this building. During the workshop, I was working my way looking on the architecture of the building hoping it would lead somewhere, but it didn’t go very far. I tried to work with paper, but it was just crumbling and not leading anywhere in my mind. The critique I had during the workshop was to attempt to go more abstract, more texture/wood experiments, also more paper experimentation.

I ran into a lot of workload so I wasnt really able to sit down and think about it as much, but the more I thought about it, I think my concepts were getting better.

I think if I went more of an organic style it would fit in. If I did the paper style, I think it would work within the paper/angles of the roof of YITP.

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MAKE A POETRY BOOK? 16315 Notes

書を捨てよ、町へ出よう

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DUOTONE?!

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STEP FOUR G ET B ET T E R ID EAS

front

back

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T H E F I N A L P R OJ EC T // After looking through Yokohama’s website again, I noticed passports being sold as a novelty. I figured a small passport-sized poetry book housing poems from Yokohama citizens or submtited works from people visiting can be put in. The large space at Yokohama is a very “poetic” space as my friend put it. He visited the space and has been to the terminal port before and gave me words he described. He said any structure would interfere with the atmopshere or be too distracting. The poetry book is a perfect way for the identity to be used as it is a free takeaway gift.

inside view

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T H E F I N A L P R OJ EC T // c o n t i n u e The poetry book would come out monthly or every 2 weeks with a simple saddle stitch as hundreds of tourists visit every month and it being too handmade would be too costly and time-consuming. The left side of the book is English and the right side of the book is Japanese. Since both citizens and international people visit, this is a way for them both to enjoy the atmosphere together.

intro page

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abstract images seperating poems

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T H E F I N A L P R OJ EC T // c o n t i n u e Inside the book includes blue duotone images of abstract images. People can take these images, or they can be grabbed from the internet, but the images are more abstract rather representational to give the reader a break from reading the poems.

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A R T I N S TA L L AT I O N The logo is painted and featured from a bird eye’s view of Yokohama. The rooftop view in the amphitheater. When there are any lectures, art shows, exhibits, or concerts, the identity can be present in the video and underneath the crowds of people at events.

A R T I N S TA L L AT I O N // c o n t i n u e Featured on the decks and on the main halls of the building are white painted (temporary) on the decks. Using the poetry submitted as the same as the poetry books, it can give aid to the feeling of the atmosphere and interesting installation for people to walk around the decks to view the whole piece.

THE SECOND APPENDAGE ASSIGNMENT TWO // Create an identity for yourself in a poster

STEP ONE COL L ECT

R E S E A R C H // In t e r v i e w a b o u t b e i n g a De s i g n s t u d e n t Stacy: Looking over the past few years, what would you say is the most important lesson you’ve learned about being a graphic designer?

Tara: I tend to just do design and not think about other parts of it, so I would say to never forget about the smaller details & spellcheck!

Stacy: What would best describe how you arrived at the decision that graphic design was a good fit for your future?

Tara: After realizing the potential of what graphic design could do for people in our society with no funds to hire a designer or ways to produce a voice for themselves.

Stacy: What about your past led you to this decision? Was there a defining moment?

Are your parents supportive?

Tara: My past was a struggle, & seeing others struggle and being unable to help them probably has lead me to have this mindset of trying to find a solution to someone else’s problem instead of dealing with my own. The moment came when I tried to eagerly express my opinions about LGBTQ issues & I quickly found out visually explaining opinions was better than writing monologues. I was a pre-pharmacy major but reading textbooks wasn’t going to change the world. My dad wanted me to switch to architecture. He’s supportive with the funds he gives me to do projects, however he’s never seen my work. My mom never knew I switched out of pharmacy until this year and criticizes everything I do, in broken english.

Stacey: What goals have you set for yourself as a graphic designer? Where do you see yourself in 10 years and what medium? (print, web, interactive...etc.)

Tara: Not very many, to keep trying and to get better at typography. Within 10 years, I hope to be in the Bay Area working with an interactive design agency…at the same time though I may become a traveling photographer.

Stacey: What do you think the ‘real world’ will be like as a graphic designer?

Tara: Scary, I hear no matter where you go, the wage is the same. If I live in the Bay Area, everyone will make more money than me.

Stacey: What about your design process makes you most self-conscious?

Tara: Kinda everything about it, I’m not very confident in my work Stacey: Do you look at your peers as supportive of you, or do you consider them competition? Do you take their opinion of your designs into consideration at all?

Tara: As competitive as I am, I’ve never thought of them as competitors since we all come from different backgrounds and dip in different mediums, I definitely think of them as supportive & i always appreciate feedback and try to apply it to my design.

Stacey: Do you prefer collaborative work, or independent study? Why? Tara: I’m super independent, but love collaborative work. It can make the process easier and could be more fun having someone sharing the same design pain as you.

Stacey: What designers do you admire most and why?

Tara: I love a lot of designers and don’t have particular favorites because I enjoy look-

ing at the projects more. If I had to choose one, I’d say Bruce Mau because one of my favorite books is “Glimmer”.

Stacey: What do you think the public perception of ‘graphic design’ is? How do you explain what we learn at UT to that public?

Tara: The public’s perception is that it is easy, anyone can do it, and they think its more of a business aid tool. It would hopefully be best to throw the public into an intensive workshop, with no sleep, rather than explain what we do.

Stacey: How much do you think a freelance graphic designer should charge hourly?

Tara: A Nashville designer once told me over coffee, around $35 for starting, around $70 once you get some years of experience. I currently do only $15, sadly.

Stacey: Do you think your portfolio is strong? What area is the strongest?

Tara: I guess my portfolio is and has brought me some interesting luck and great internships. I think most people have been drawn to my interactive solutions to existing/out-of-date information that could really be implemented someday. I’d like to say its the conceptual part that gets across more, not the execution part because I think most of my work could still be redone.

Stacey: As per our conversation on the reading ‘Tools’ today, do you feel that graphic design makes things ‘prettier’ for the masses to consume, or do you think there is real value in something that is well designed?

Tara: Yes we have the tendency to make pretty things, just as much as photographers take pretty photos for instagram or writers make pretty quotes for tumblr. There is definitely value into well-designed work, but I feel with social media most of the work isn’t there for people to experience and social media has an underground feeling of it being “to take a break”.

Stacey: What has been your favorite project so far in your college career? Is this the project you are most proud of?

Tara: Hands-down the Muslim flashcards project. I’ve never done another project that took a lot of research and time. I went to a mosque, learned about Islam, and met wonderful people.

Stacey: Do you think that every design should have underlying ‘smartness’ or a conceptual design behind it?

Tara: No matter what, a concept is always there. If we are excluding the social media part then design should have some sort of concept for it to be successful and accepted by the audiences.

STEP TWO HAVE HO RRIFIC ID EAS

PHOTOS OF MYSELF

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P O S T E R S E R I E S // t h e c r i t i q u e left align text can birand likes the layer idea good feedback on how to make shape workout prefers the demi medium font -> Avant Garde ITC Have the serious portrait too text smaller font color can be used for one side, looks fine in B+W more contrast in image

STEP THREE G ET UNST UC K

I DO OTHER THINGS SOMETIMES on tumblr

N I C K N A M E ’ S TA R AW R , 22, Mboro/Knox,TN: a design thinker, film photographer, daily newspaper reader, M&Ms addict, indie listener, badminton player, & thai food lover

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FASHION PHOTOSHOOT?

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INCLUDE MOHAWKS?!

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What I’ve kinda been doing instead of doing 451 stuff over the past week. Sorry Can Birand!

1 Note

STEP FOUR G ET B ET T E R ID EAS

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S.R.I.P.U.N 14 LETTERS LONG LAST NAME

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P O S T E R S E R I E S // t h e f i n a l I created a poster series involving the way I think and my process of doing a project. Just like this process book, it goes through phrases of misunderstanding, breaks, bad ideas that don’t make sense, until a genius idea comes flowing through when asleep or through an inspirational artwork or what is found on tumblr.

A lot of times, when I first hear phrases, I tend to not understand the context of the project first. A classmate suggested adding in my own name somehow. That was a brancing off point for this new idea. On the left side is what is heard, vs the right side of what it is actually meant after some clarification.

THE THIRD A PPENDAGE ASSIGNMENT THREE // Create an identity for UTK’s M.F.A transmedia program

STEP ONE COL L ECT

E XAM PL ES O F F LU X

ARTISTS I INSPIRED TO Andre Wei David Dimichele Liu Bolin Gabriel Daw Catherine Nelson.

A R T. U T K . E D U / T R A N S M E D I A Transmedia Design is a new merging Masters of Fine Arts graduate program of graphic design and 4D at the University of Tennessee-Knoxville. It is an intensive 3 year program housing seven current teachers from sculpture, 4D, graphic design, storytelling, performance, video, identity, drawing, and communications. The program is created to provide graduate students with a more collaborative and interactive way to connect old traditional methods of art into new convergence media. It gives students a place to study different solutions to problem solving and to explore personal, cultural, or political issues with an engaging environment.

Transmedia Design is a new program with in need of a new brand identity.

It is looking for a way to connect participatory elements into a pattern of what transmedia means to students and to the School of Art. It is looking for a meaningful, vibrant, and unique way of approaching what the process of Transmedia is and could be. It needs to be generative, unstructured, non-direct, shows a collaborative process, can be easily accessible and simple to recreate, encompass the idea of flux and our interpretation of what transmedia is.

I n t e r v i e w w i t h C o r e 7 7 g r a p h i c d e s i g n e r / w r i t e r A n d r e w S h e a o n Tr a n s m e d i a http://tedxtransmedia.tumblr.com/post/31051375442/transmedia-projects-activate-the-senses-and-the

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“I stream the news on my phone most mornings as I wake up, taking it from bedroom to bathroom, from kitchen to wherever. In January I heard a report about behavior change that stopped me in my tracks somewhere along the way. I think a lot about how designers can tweak their process to produce positive behavior change.

That report on NPR, “What Vietnam Taught Us About Breaking Bad Habits,” helped me think about the topic in a new way. In it, reporter Alix Spiegel investigated why people break their New Years resolutions.

Spiegel started her report by reviewing how the US government helped heroin-addicted soldiers who served in the Vietnam War. I was shocked to learn that 15 percent of them got hooked on the drug. President Nixon created the Special Action Office for Drug Abuse Prevention to deal with the problem and appointed Dr. Jerome Jaffe to head up the effort. As part of their agenda of rehabilitation and prevention, the soldiers were required to dry up before leaving the country. To me this sounded like too simplistic of an approach to tackle such a big problem. However, Dr. Jaffe charged psychiatric researcher Lee Robins with the task of surveying the soldiers to learn how many relapsed after returning home. According to Robins’ finding, that number was only 5 percent.

In contrast, nearly 90 percent of heroin addicts who live in the US and try to quit end up relapsing. Could a design initiative produce similarly successful results?

I have had many conversations with designers and educators who are dubious of the recent surge of what some call “social design.” They claim that these projects rarely lead to real behavior change and provide arguments to back up their claim: the limitations of the 16-week semester during which many of these projects take place, the strategic flaw of designing for, not with the people they are trying to help, and the fact that many of the outcomes are inherently difficult to track and measure. Some of the results may not be measurable at all, especially in instances where the design is not being used commercially. While these are good arguments, Spiegel’s report provides more clues that might help designers craft solutions that influence behavior.

Spiegel interviewed psychologists Wendy Wood and David Neal, both of whom research behavior change. Neal pointed out that public awareness campaigns generally work for actions that people perform infrequently, like giving to a charity or donating blood. However, these campaigns do not work well when it comes to habitual actions, like smoking or eating. The reason for this is because our environment comes to shape much of our behavior. According to Wood, 45 percent of our behavior throughout the day is repeated. She describes us as being “integrated” with our environment; we spend most of our time in just a few locations where it becomes easy to form complex routines and a myriad of habits. Neal highlighted a familiar scenario that demonstrates how environments can shape our behaviors: “For a smoker the view of the entrance to their office building — which is a place that they go to smoke all the time — becomes a powerful mental cue to go and perform that behavior.”

He suggests that the best way to create behavior change is to “disrupt the environment” in a way that might help to “alter the action sequence and disrupt the learned body sequence that’s driving the behavior,” which allows us to snap out of our learned behavior and “reassert control” of our actions. So smokers who want to kick their habit might use a different entrance into their workplace in order to eliminate that cue. Vietnam veterans beat their heroin addiction by leaving the place where heroin was easy to get, by changing their social circle, and by adjusting to a new daily routine. All of these changes in environment helped to modify their behavior.”

Read more here http://changeobserver.designobserver.com/feature.html?entry=33108&mobile_disable=on

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STEP TWO HAVE HO RRIFI C ID EAS

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T R A N S M E D I A WO R K S H O P// a n d t h e c r i t i q u e

I found one transmedia program that included a website for each graduate student to be able to upload videos, photos, their projects, etc and for other grads and people to view it and to see the progress. I think it would be beneficial if there was a website that included my questions and visualized it to form the identity. I think also if this site or if it were a microsite, it would link to grad’s work or maybe this goes further and the grad students get their own site to manage.

It should include what we wanted to be years ago, compared to what we want to be now. I think the process in our decisions to be a designer can talk about how we are individually in what were the deciding factors.

IDEAS:

GENERATIONAL POLLINATED PRINT ON DEMAND

TRANSMEDIA…..takes you out of your comfort zone, disrupts habit, your routine, dorms a new change, is not part of your 45% routine you do daily. Everyone is in a flux, how do you get out? with transmedia, mediating, getting the audience/your surroundings to change whether it is micro or macro level.

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The workshop helped me visualize it better and made me realize what I didn’t want in the identity. The ones that asked what medium I used was something I wanted to stay away myself. I don’t think asking the questions such as if you’re a 2D, 3D, or 4D artist, or asking if you draw, do photos, do film, or do sculpture helps individualize myself better.

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LECTURE SERIES POSTER

What a lecture poster would look like, using a template of using the Monthly calendar. Since there are 10 diferent months, it allows for it to be used as a representation on using it as the dates too. Red = October, grey/dark = 25th day Also the red color would be if the thats Jeffrey’s favorite color, which it might be. I figured the two things that can help define an artist is what do they use, and then why do they use it.

L EC T U R E S E R I E S P O S T E R // t h e c r i t i q u e

What does time-based mean to you?

There are other things about time The calendar is not most important still lacks identity in logo

STEP THREE G ET UNST UC K

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NO SLeeP NOVEMBER. Teacher: Oh my god, you are doing 21 hours, are you okay?

Me: No, I am not doing okay

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Science-ify your breakfast with a Möbius bagel You’ve probably heard of a Möbius strip before - it’s a continuous shape that only has one side and one edge.

You can make one pretty easily by cutting a strip of paper, giving it a half twist, and taping the ends together to form a loop. However, if you want to really impress, make a Möbius bagel. By following the instructions, you can cut your bagel (or your donut!) into two interlocking bagel halves. From now on, eat your breakfast like a Scientist!

MOBIUS?

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ADDING PERSONALITY ??

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CONNECTED LINES? 31444 Notes

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LENDERS LIBRARY? 1 Notes

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Moirée Clock by Jana Ferreira “The Moirée Clock has an abstract pointer generated from the interference among 2 graphic patterns, the moiree effect indicates hour and quarter of hour. The Moirée Clock promotes a reflection about time - its abstract and real dimension - and about existence its infinity number of parts and the unicity of life.”

MOIRE PATTERN IDEA? 229 Notes

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Remnants is a series about recollection and remembrance. Each ‘remnant’ in the series is composed of three found photos–each from a different point in the subject’s life–that have been cut into strips and woven together to form a portrait of a person who has passed away. Remnants uses cloth as a metaphor for memory. As Peter Stallybrass writes in Worn Worlds, “The magic of cloth is that it receives us: receives our smells, our sweat, our shape even.” This is one of the marvels of memory as well: we perceive each moment in our lives; these are eventually woven together to form our memory. Each piece in this series creates a likeness of an individual that–rather than depicting an accurate visual representation of that person at any given time–presents a recollected coalescence of that person’s appearances throughout his or her life.

129 Notes

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T H E F I N A L P R OJ EC T // t h e m o i r e e f f e c t

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The moire effect, described in physics as an interference pattern when two patterns are layers on top of one other with an angle or pattern. “Watered textile” is a layered textile pressed together with individual threads producing a new pattern. In order for the effect to work, there must be an extra layer to produce it. Digitally, the moire effect is produced when 2D images are scanned or produced with a new technique. It creates an interaction interference with one another and makes a complex shape that is visible up close or at a far away distance. Moire patterns are seen on screens and photographs, something that is partly found in 4D and 2D mediums and the patterns are produced due to the misalignment of the CMYK values being unique. Even in the natural world, moire effects can be found in the simplest forms of insect eyes. The idea of moire effect allows for a wide range of potential brand identity applications and systems.

T H E F I N A L P R OJ EC T // c o n c e p t The idea of “interference” comes into play in my system. The idea of flux being an “interference. People’s thoughts being overlapped in a way and being able to “interfere” with one another tells the audience transmedia is a collaborative effect and one will always have someone there to give feedback to push you forward..

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TRANSMEDIA IS:

Bridging gaps invicible, infinite collaboration constant growth shifting, changing worlds cross dressing, classifications

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The processing program: Easy to use and is an opensource program anyone can use.

Just by replacing the pngs and the pattern - one can create a template for a poster or business card. The 3 jpgs include the 3 left images and all together form the bottom left corner image.

Printed out and then the bottom right needs to be laser cutted.

Then one can shift and move these in order to produce the word. It’s an easy set up.

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GOALS: to provide a way for students to collaborate. The idea branches off the curbside Lender’s Library, where there is a library centralized somewhere in Art and Architecture that both teachers and students have access to. Each student has a “transmedia” sketchbook and each sketchbook has a moire effect pocket in the back like a moleskin does.

On the front covers of the sketchbook contains a student’s manifesto. A believe a life manifesto tells us what kind of person the student it. Through my research and trying to find multiple ways to represent a student’s identity, I believe it being gender-less and it being only known by the student’s manifesto and then their own handwriting and thoughts. Using a sketchbook gives insight on what they are thinking about on their projects. As each student is different and presentations only last a few minutes, this process can help students collaborate more easily by being able to “rent out” a sketchbook near the space and be able to draw, write, sketch, etc on top and being able to go in and create more page or evolve the existing thoughts of a student’s project.

Lecture poster.

A shifting participatory series poster.

It is the same concept as the business cards, but overlayed are the artists and dates. The audience is able to move the top layer to shift and see which artist is next.

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Possible Applications Lecture series poster Posters Books Sketchbooks Sculpture forms (3D) 4D Business cards Envelopes

THE END OF APPENDAGES

TA R A S R I P U N VO R A S K U L University of Tennessee – Knoxville 451 // Fonts: Knockout Flyweight Minion Pro Verlag Bold

MAYBE I SHOULD EXPLAIN