Altered Vision

Page 1






CONTENTS

12 - 25

26 - 43

44 - 57

01

02

03

M Y NA KE D EY ES

THE RIG HT LE NS

THE BLIND SP OT

THROUGH AN UNUSUAL SPHERE

TOY CAMERAS : A WORLD THROUGH PLASTIC LENSES

AT FIRST SITE

114 - 125

126 - 155

156 - 167

168 - 181

08

09

10

11

I N T H E B LI NK

I N V I S UAL ME MORY

LOOK DOWN BE LOW

E Y E FOR E LEME N TS

APPEER

RAYS OF MOONLIGHT SHADES OF SUNRISE

TADAO ANDO POSTER SERIES

INGREDIENTS BOOK

[ PAGE]

[ CHAPTER ]

[ PROJECT ]


58 - 75

76 - 87

88 - 97

98 - 113

04

05

06

07

F O RWA R D LO O KI NG PLA N

M OUTH WATER I NG SIG HT

THE DOUBLE BLIND

THAT LOOKS G OOD

YOUNG MODEL CITIZENS ACADEMY : THE YMCA REBRANDING

RICE RICE BABY

PLAY LIKE PRO : THE BEST GAME EVER PLAYED

NICASIO VALLEY CHEESE COMPANY

182 - 191

192 - 237

12

13

P OI NT O F V I E W

I N S I GHT

SAN FRANCISCO’S CHINATOWN : A WALKING TOUR GUIDE

FORWORD : A GRADUATE GRAPHIC DESIGN THESIS



T H E E Y E S A LT E R I N G , A LT E R S A L L . : WI L L I A M B L A K E

MY PORTFOLIO “ALTERED VISION” IS ORIGINALLY INSPIRED BY M Y P O O R E Y E S I G H T . W H E N E V E R I TA K E O F F M Y G L A S S E S , T H E WORLD IS NO LONGER IN FOCUS. MY GLASSES ARE A CONSTANT REMINDER OF CLARITY AND ADJUSTMENT. MY VISION MAKES ME RE A L I Z E D T H AT E V E R Y T H I N G D E PE N D S O N H O W I C H OO SE T O S E E . T H AT N O T I O N C A R R I E S O V E R T O G R A PH I C D E SI G N W H E R E IDEAS ARE MADE VISUAL WITH PRECISION AND SHARPNESS. T O M E , G R A P H I C D E S I G N I S A B O U T L O O K I N G AT A P R O B L E M THROUGH DIFFERENT LENSES TO DELIVER A UNIQUE DESIGN S O L U T I ON . I T I S A L L A BOU T PE R SPE C T I V E A N D PE R C E PT I O N. GR A PH I C D E SI G N I S M Y E Y E S I N T O T H E W OR L D .


A LT E R E D V I SI ON

10 10

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

6

7

8

9

10

1 1

12

1 3

0 1 M

ONE

EYE

SEES,

Y

THE

N A K E D E

Y

:

p

A

E

U

L

K

L

S

E

OTHER

FEELS.

E

11 11


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

T H RO U G H A N U N U S U A L S PH ER E

COU R S E

OBJECTIVE

MAKING IDEAS

TO EXPLORE AN ABSTRACT TOPIC. USE THE PROCESS

VISIBLE

A S T H E M AT E R I A L T O C O M B I N E I N O R D E R T O C R E AT E A FI N AL B O O K.

I N ST R UCTO R

SCOTT RANKLIN

A P P R OAC H

I BASED MY EXPLORATIONS ON MY POOR EYESIGHT. YEAR

MY PROCESS INVOLVED DOING EVERYTHING WITH

20 1 0

THE NAKED EYE FROM COLLAGES, PHOTOGRAPHY, TO

TIMEFRAME

S P O N TA N E O U S A N D D E L I B E R AT E LY U N P R E D I C T A B L E

WRITING. EVERYTHING IN MY PROCESS BOOK WAS

15 WEEKS

B E C A U S E I C O U L D N O T S E E W H AT I W A S D O I N G AT THE MOMENT. THIS PROJECT WAS NOT IN MY SAFE

12 12

C AT E G O R Y

ZONE SINCE I HAD NEVER TRIED ANYTHING LIKE THIS

PRINT / PROCESS

WI T H O U T MY GLA SSE S BE F OR E .


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

6

7

8

9

10

1 1

12

1 3

13 13


A LT E R E D V I SI ON

14 14

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

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8

9

10

1 1

12

1 3

15 15


A LT E R E D V I SI ON

16 16

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

6

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8

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10

1 1

12

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17 17




A LT E R E D V I SI ON

20 20

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

6

7

8

9

10

1 1

12

1 3

21 21


A LT E R E D V I SI ON

22 22

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


THROUGH AN UNUSUAL S P H E R E PROJECT

[ 1 ]

2

3

4

5

6

7

8

9

10

1 1

12

1 3

23 23


A LT E R E D V I SI ON

24 24

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

[ 2 ]

1

3

4

5

6

7

8

9

10

1 1

12

1 3

0 2 T

IT’S NOT

H

E

T H AT M AT T E R S

R I G H T

WHAT YOU

L

LOOK AT

:

H

E

E

N

R

Y

D

N

A

V

I

D

T

IT’S WHAT

S

H

O

R

E

A

YOU SEE.

U

25 25


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

TOY CAMERAS : A WORLD THROUGH PLASTIC LENSES

COU R S E

OBJECTIVE

TYPE SYSTEMS

TO CREATE A BOOK ON A TOPIC OF INTEREST.

I N ST R UCTO R

A P P R OAC H

LIA N N G

I CHOSE THIS SUBJECT BECAUSE FILM PHOTOGRAPHY IS ONE OF MY FAVORITE HOBBIES. TOY CAMERAS USE

YEAR

FILMS AND THEIR PLASTIC LENSES CREATE FUN AND

20 1 1

QUIRKY EFFECTS TO THE PHOTOS. THIS BOOK IS FOR P E O P L E W I T H E X P E R I M E N TA L M I N D S S I N C E N O O N E

TIMEFRAME

C A N P R E D I C T W H AT K I N D O F P I C T U R E W I L L C O M E

15 WEEKS

OUT OF TOY CAMERAS. I CHOSE TO USE BLACK AND

C AT E G O R Y

IMAGES IN THE BOOK THAT ARE SO COLORFUL. I ALSO

PRINT / DIGITAL

I N C O R P O R AT E D M E C H A N I C A L L I N E W O R K A N D H A N D

WHITE AS MY MAIN COLORS TO CONTRAST WITH THE

DONE TYPE WITH SANS SERIF TYPEFACES TO SHOW THE QUIRKINESS OF TOY CAMERAS.

26 26


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

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8

9

10

1 1

12

1 3

27 27


A LT E R E D V I SI ON

28 28

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

29 29


A LT E R E D V I SI ON

30 30

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

31 31


A LT E R E D V I SI ON

32 32

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

33 33


A LT E R E D V I SI ON

34 34

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

35 35




A LT E R E D V I SI ON

38 38

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

39 39


A LT E R E D V I SI ON

40 40

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TOY CAME RAS : A W ORL D THROUGH PL ASTI C LE N S E S PROJECT

1

[ 2 ]

3

4

5

6

7

8

9

10

1 1

12

1 3

41 41


A LT E R E D V I SI ON

42 42

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

1

[ 3 ]

2

4

5

6

7

8

9

10

1 1

12

1 3

0 3 T

PERCEIVE THAT

H

E

WITH

B L I N D

WHICH CANNOT

S

BE SEEN

:

P

M

I

Y

A

M

O

O

T

O

M

U

THE

T

S

A

S

H

EYE.

I

43 43


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

AT F I R S T S I T E

COU R S E

OBJECTIVE

VISUAL COMM. LAB

TO INVESTIGATE A TOPIC OF CHOICE AND PRODUCE A FINAL BOOK THAT ENCOMPASSES THE RESEARCH AND

I N ST R UCTO R

DES I GN S O LU T I ON S.

PHIL HAMLETT HUNTER WIMMER

A P P R OAC H

I Q U ES T I O N ED TH E C R E D I BI L I T Y OF T H E I N T E R N E T YEAR

AND FOCUSED MY RESEARCH ON THAT SUBJECT MATTER.

20 1 1

T H E TITLE “AT FI RST SIT E ” REFERS TO HOW PEOPLE

TIMEFRAME

T H E I N T ERN ET . F O R T H E D E SI G N D I R E C T I ON , I W E N T

O FT EN S EE AN D BE L I E V E E V E R Y T H I N G T H E Y SE E ON

15 W E EKS

B AC K T O A N 8 - B I T M O D E B E C A U S E T H E C O M P U T E R W A S F I R S T U S I N G T H AT L O O K A N D T H E R E W E R E N O T

C AT E G O R Y

SO MANY RUMORS OR MISLEADING INFORMATION ON

PRINT

THE INTERNET BACK THEN. I USED PIXEL TYPEFACE COMBINED WITH COMPUTER ICONS TO STYLISTICALLY CONVEY THE CONCEPT.

44 44


AT F I RS T S I T E PROJECT

1

2

[ 3 ]

4

5

6

7

8

9

10

1 1

12

1 3

45 45


A LT E R E D V I SI ON

46 46

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

1

2

[ 3 ]

4

5

6

7

8

9

10

1 1

12

1 3

47 47


A LT E R E D V I SI ON

48 48

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

1

2

[ 3 ]

4

5

6

7

8

9

10

1 1

12

1 3

49 49


A LT E R E D V I SI ON

50 50

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

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2

[ 3 ]

4

5

6

7

8

9

10

1 1

12

1 3

51 51


A LT E R E D V I SI ON

52 52

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

1

2

[ 3 ]

4

5

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8

9

10

1 1

12

1 3

53 53


A LT E R E D V I SI ON

54 54

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


AT F I RS T S I T E PROJECT

1

2

[ 3 ]

4

5

6

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8

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10

1 1

12

1 3

55 55


A LT E R E D V I SI ON

56 56

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

[ 4 ]

3

5

6

7

8

9

10

1 1

12

1 3

0 4 IN ORDER TO

CARRY A

POSITIVE ACTION,

F O RWA R D L O O K I N G P

L

:

D

A

L

A

A

I

L

A

N

M

WE M U ST

DEVELOP A

POSITIVE VISION.

A

57 57


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

YOUNG MODEL CITIZENS ACADEMY : THE YMCA REBRANDING

COU R S E

OBJECTIVE

NATURE OF

TO GIVE A DEFUNCT BRAND NEW LIFE. BR A NCHING OUT

IDENTITY

THE NEW POSSIBILITIES FOR THE BRAND WHILE STILL FOCUSING ON ITS ORIGINAL CORE EQUITY.

I N ST R UCTO R

HUNTER WIMMER

A P P R OAC H

I CHOSE TO REBRAND THE YMCA (YOUNG MEN’S YEAR

C H R I S T I A N A S S O C I AT I O N ) . I C A R R I E D O N T H E I R

20 1 2

CORE C O N C E P T

TIMEFRAME

Y M C A I S S E T TO BE IN THE YEAR 2048. I BROUGHT

OF

MAXIMIZING

THE

POTENTIAL

B U T S ET I T I N A D I F F E R E N T C O N T E X T A S T H E N E W

1 5 W EEKS

SCIENTIFIC AND TECHNOLOGICAL ADVANCEMENTS I N T O P LAY. I DE V E L OPE D A N E W N A M E (Y OU N G M OD E L

C AT E G O R Y

C I T I ZEN S AC ADE M Y ) T O G O W I T H T H E A PPR O A C H O F

PRINT / DIGITAL

THIS NEW YMCA SINCE THE OLD NAME WAS ALWAYS MI S LEADI N G. T H E N E W Y M C A I D E N T I T Y E X PR E SSE S A N AUTHORITATIVE ORGANIZATION AND THE TRIANGULAR MARK SYMBOLIZES CHANGE AND ACHIEVEMENT. I USED A F U T U R I S T I C T H E M E B Y I N C O R P O R AT I N G C L E A N TYPEFACE AND AN INDUSTRIAL COLOR SCHEME IN

58 58

O R D E R T O P O RT R A Y T H E C O N C E PT .


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

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5

6

7

8

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10

1 1

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1 3

59 59


A LT E R E D V I SI ON

60 60

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

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5

6

7

8

9

10

1 1

12

1 3

61 61




A LT E R E D V I SI ON

64 64

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

[ 4 ]

5

6

7

8

9

10

1 1

12

1 3

65 65




A LT E R E D V I SI ON

68 68

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

[ 4 ]

5

6

7

8

X

9

X

10

1 1

12

X

1 3

X

X X

X

X

X

X

69 69


A LT E R E D V I SI ON

70 70

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

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5

6

7

8

9

10

1 1

12

1 3

71 71


A LT E R E D V I SI ON

72 72

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


YOUNG MODE L CI TI ZE NS ACADE MY : THE YMCA RE BR A N D I N G PROJECT

1

2

3

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6

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8

9

10

1 1

12

1 3

73 73


A LT E R E D V I SI ON

74 74

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RI CE RI C E B A B Y PROJECT

1

2

3

[ 5 ]

4

6

7

8

9

10

1 1

12

1 3

0 5 M O U T H

IT’S MORE

APPEALING TO

THE EYE,

:

AND EVEN

W A T E R I N G

MORE FLAVORFUL

S

THAN BEFORE.

M

I

A

R

I

L

G

Y

N

V

H

O

S

S

T

A

V

A

N

T

75 75


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

RICE RICE BABY

COU R S E

OBJECTIVE

TYPE EXPERIMENTS

T O P RO DU C E A P O ST E R BY U SI N G A H A N D D O N E T Y PE THAT WAS CREATED FROM SELECTED MATERIALS.

I N ST R UCTO R

KATHRIN BLATTER

A P P R OAC H

I CHOSE TO CREATE MY HAND DONE TYPE FROM RICE YEAR

BECAUSE I WAS CURIOUS TO SEE THE TRANSFORMATION

20 1 2

OF THE LETTERS WHEN THE RICE WAS IN THE COOKING. I USED COOKIE CUTTERS TO FORM THE RICE AS

TIMEFRAME

3 WEEKS

LETTERS. I RECORDED THE PROCESS STEP-BY-STEP FROM THE BEGINNING UNTIL THE END WHEN THE RICE WAS FU LLY C O O K E D .

C AT E G O R Y

TYPOGRAPHY / PR I NT

76 76


RI CE RI C E B A B Y PROJECT

1

2

3

4

[ 5 ]

6

7

8

9

10

1 1

12

1 3

77 77


A LT E R E D V I SI ON

78 78

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RI CE RI C E B A B Y PROJECT

1

2

3

4

[ 5 ]

6

7

8

9

10

1 1

12

1 3

79 79


A LT E R E D V I SI ON

80 80

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RI CE RI C E B A B Y PROJECT

1

2

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[ 5 ]

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1 3

81 81






A LT E R E D V I SI ON

86 86

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


PL AY L I KE PRO : THE BE ST GAME E VE R P LA Y E D PROJECT

1

2

3

4

[ 6 ]

5

7

8

9

10

1 1

12

1 3

0 6 TIME

YOU ENJOY

WASTING,

T

H

E

D O U B L E B

L

:

J

O

I

H

N

L

N

E

N

N

O

D

IS

NOT

WASTED.

N

87 87


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

PLAY LIKE PRO : THE BEST GAME EVER PLAYED

COU R S E

OBJECTIVE

VISUAL LITERACY

TO MAKE AN INFOGRAPHIC SHOWING AN OBSERVATION IN A TIMELINE FORMAT DURING AN EVENT.

I N ST R UCTO R

HUNTER WIMMER

A P P R OAC H

I C H O S E T O REC O R D A PO K E R G A M E T H AT I PL A Y E D YEAR

W I T H M Y F R I E N D S . I N T H E F I N A L P R O D U C T, T H E R E

20 1 1

A R E T WO DEC KS OF C A R D S, ON E I S T H E T I M E L I N E I N AN AC C O RDI AN F O L D F O R M AT A N D T H E O T H E R O N E I S

TIMEFRAME

A SET OF POKER GLOSSARY. I CHOSE BLACK, WHITE

4 WEEKS

AN D GO LD C O LO R S T O M I M I C T H E R E A L PLAYING CARD WHILE THE CHOICE OF TYPEFACES WERE SELECTED TO

C AT E G O R Y

PRINT / PACKAGING

88 88

SHOW THE FEELING OF A CASINO.


PL AY L I KE PRO : THE BE ST GAME E VE R P LA Y E D PROJECT

1

2

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5

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8

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10

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12

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89 89


A LT E R E D V I SI ON

90 90

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


PL AY L I KE PRO : THE BE ST GAME E VE R P LA Y E D PROJECT

1

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91 91


A LT E R E D V I SI ON

92 92

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


PL AY L I KE PRO : THE BE ST GAME E VE R P LA Y E D PROJECT

1

2

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5

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8

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12

1 3

93 93


A LT E R E D V I SI ON

94 94

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


PL AY L I KE PRO : THE BE ST GAME E VE R P LA Y E D PROJECT

1

2

3

4

5

[ 6 ]

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8

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12

1 3

95 95


A LT E R E D V I SI ON

96 96

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

2

3

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5

6

[ 7 ]

8

9

10

1 1

12

1 3

0 7 YOU

KNOW

Y OU

T H A T L G

O

O O

K O

S D

WANNA

TASTE

IT.

: A N O N Y M O U S

97 97


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

NICASIO VALLEY CHEESE COMPANY

COU R S E

OBJECTIVE

VISUAL LITERACY

TO CREATE A DESIGN SYSTEM BASED ON A HANDMADE SIGN FOUND ON THE STREET. THERE IS A STRICT

I N ST R UCTO R

CONSTRAINT TO INCLUDE THE ORIGINAL MESSAGE OF

HUNTER WIMMER

THE SIGN.

YEAR

A P P R OAC H

20 1 1

THE ORIGINAL PURPOSE OF THE SIGN I FOUND WAS TO INTRODUCE AND SELL CHEESES FROM NICASIO VALLEY

TIMEFRAME

4 WEEKS

C H EES E C O MP AN Y . SO, I C R E AT E D A D E SI G N SY ST E M FO R T H E C O MP AN Y T H AT C ON SI ST S O F A PACKAGING SYSTEM, A BOOKLET, AND A WEBSITE. I CHOSE BRIGHT,

C AT E G O R Y

O RGAN I C C O LO RS T O PA I R W I T H BL A C K A N D W H I T E .

PRINT / DIGITAL /

AN D I ALS O U S ED H A N D W R I T I N G , K R A F T PA PE R , A N D

PACKAGING

WOOD VENEER TO COMMUNICATE THE FRIENDLY, LOCAL, AN D N AT U RAL S E N SE O F T H E PR O D U C T .

98 98


NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

2

3

4

5

6

[ 7 ]

8

9

10

1 1

12

1 3

99 99


A LT E R E D V I SI ON

100 100

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

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101 101


A LT E R E D V I SI ON

102 102

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NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

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5

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[ 7 ]

8

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103 103


A LT E R E D V I SI ON

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NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

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105 105


A LT E R E D V I SI ON

106 106

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NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

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107 107


A LT E R E D V I SI ON

108 108

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NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

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109 109


A LT E R E D V I SI ON

110 110

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NI CASI O VAL L E Y CHE E SE CO M P A N Y PROJECT

1

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111 111


A LT E R E D V I SI ON

112 112

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


APPEER PROJECT

1

2

3

4

5

6

[ 8 ]

7

9

10

1 1

12

1 3

0 8 I

IT’S BY

N

T

CHANCE THAT

H

B

WE MET,

:

H

L

E

BY C H OI C E

N

R

I

E

I

M

A

C

H

N

I

E

L

N

THAT WE

K

O

U

W

E

BECAME FRIENDS.

N

113 113


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

A PP E E R

COU R S E

OBJECTIVE

NATURE OF

TO CREATE A SOCIAL APP FOR A TARGET AUDIENCE OF

INTERACTION

YOUNG URBAN PEOPLE.

I N ST R UCTO R S

A P P R OAC H

AMIR BAHADORI

THE CONCEPT OF MY APP IS TO HELP PEOPLE FIND

BRYAN PIERATT

FRI EN DS N EARB Y D E PE N D I N G ON T H E I R I N D I V I D U A L SCHEDULES. SO, I BROUGHT THE ELEMENT OF TIME

YEAR

S U C H A S A C L O C K A N D A P L A N N E R I N T O P L A Y. T H E

20 1 3

CORE FEELINGS OF THIS APP ARE SUPPOSED TO BE FU N , ALI VE, AN D ST R A I G H T F O R W A R D . I T OO K U X / U I

TIMEFRAME

MAT T ERS I N T O C ON SI D E R AT I ON BY U SI N G A L E G I BL E

15 WEEKS

T YP EFAC E, B I G I C O N S, A N D G E ST U R E I N T E R A C T I ON S TO CREATE A SEAMLESS AND ENGAGING EXPERIENCE

C AT E G O R Y

PRINT

114 114

FOR THE USER TO REDUCE COMPLICATIONS.


APPEER PROJECT

1

2

3

4

5

6

7

[ 8 ]

9

10

1 1

12

1 3

115 115


A LT E R E D V I SI ON

116 116

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


APPEER PROJECT

1

2

3

4

5

6

7

[ 8 ]

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10

1 1

12

1 3

117 117


A LT E R E D V I SI ON

118 118

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


APPEER PROJECT

1

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4

5

6

7

[ 8 ]

9

10

1 1

12

1 3

119 119


A LT E R E D V I SI ON

120 120

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


APPEER PROJECT

1

2

3

4

5

6

7

[ 8 ]

9

10

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1 3

121 121


A LT E R E D V I SI ON

122 122

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


APPEER PROJECT

1

2

3

4

5

6

7

[ 8 ]

9

10

1 1

12

1 3

123 123


A LT E R E D V I SI ON

124 124

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

[ 9 ]

8

10

1 1

12

1 3

0 9 I

EVERY CLOSED

EYE ISN’T

SLEEPING,

N

AND EVERY

V I S U A L M

E

:

B

M

I

L

L

O

C

O

R

S

B

Y

OPEN EYE

ISN’T SEEING.

Y

125 125


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

RAYS OF MOONLIGHT SHADES OF SUNRISE

COU R S E

OBJECTIVE

INTEGRATED

T O C R E AT E A L I M I T E D E D I T I O N K I T F O R A F I L M

COMMUNICATIONS

FES T I VAL I N FL U E N C E D BY A D I R E C T O R OF C H OI C E ’ S VISION AND STYLE.

I N ST R UCTO R S

HUNTER WIMMER

A P P R OAC H

CHRISTOPHER MORLAN

RAYS O F MO O N L I G H T SH A D E S OF SU N R I SE W A S A FES T I VAL T O C E L E BR AT E T H E SU C C E SSF U L C A R E E R OF

YEAR

T H E DI REC T O R , M I C H E L G O N D R Y . M O ST OF H I S FILMS

20 1 2

DEPICT THE STAGE BETWEEN DREAMS AND R E A L I T Y .

TIMEFRAME

QUALITY. I INTERPRETED THESE QUALITIES BY USING

15 WEEKS

WATERCOLOR AND HARD-EDGED SHAPES. I CUSTOMIZED

H I S W O R K H A S A D R E A M L I K E A N D E X P E R I M E N TA L

EVERY ELEMENT IN THIS PROJECT TO FIT THE C AT E G O R Y

CONCEPT WITH CUSTOM TYPOG RAPHY, ILLUSTRATIONS

PR I NT / DIGITAL /

AND PHOTOGRAPHY, INTEGRATED TOGETHER IN ORDER

PACKAGING

T O D E L I V E R A U N I Q U E S O L U T I O N T H AT R E F L E C T S GO N DRY’ S VI SI O N A N D ST Y L E .

126 126


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

127 127


A LT E R E D V I SI ON

128 128

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

129 129


A LT E R E D V I SI ON

130 130

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

131 131


A LT E R E D V I SI ON

132 132

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

133 133


A LT E R E D V I SI ON

134 134

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

135 135


A LT E R E D V I SI ON

136 136

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

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137 137


A LT E R E D V I SI ON

138 138

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

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12

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139 139




A LT E R E D V I SI ON

142 142

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

143 143


A LT E R E D V I SI ON

144 144

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

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4

5

6

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8

[ 9 ]

10

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145 145






A LT E R E D V I SI ON

150 150

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

151 151


A LT E R E D V I SI ON

152 152

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


RAYS OF MOONL I GHT SHADE S OF S U N R I S E PROJECT

1

2

3

4

5

6

7

8

[ 9 ]

10

1 1

12

1 3

153 153


A LT E R E D V I SI ON

154 154

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TADAO ANDO POSTE R S E R I E S PROJECT

1

2

3

4

5

6

7

8

[ 10 ]

9

1 1

12

1 3

1 0 L O O K

IF YOU

D

CHANGE WAYS

O

B

YOU LOOK,

:

W

E

A

Y

N

E

W

N

O

W

L

W

A

L

THINGS YOU

T

E

R

D

Y

E

LOOK AT

CHANGE.

R

155 155


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

TA D A O A N D O P O S T E R S E R I E S

COU R S E

OBJECTIVE

TYPE EXPERIMENTS

T O C O MP O S E A S E R I E S OF A R C H I T E C T U R E PO ST E R S WI T H H AN D DO N E T Y PE .

I N ST R UCTO R

KATHRIN BLATTER

A P P R OAC H

I BASED THE CONCEPT OF MY HAND DONE TYPE AROUND YEAR

TADAO ANDO’S ARCHITECTURAL WORK. TADAO ANDO’S

20 1 2

APPROACH TO ARCHITECTURE IS ABOUT DESIGNING

TIMEFRAME

T H E A P P E A R A N C E O F S I M P L I C I T Y. I C AT E G O R I Z E D

COMPLEX SPATIAL CIRCULATION WHILE MAINTAINING

5 WEEKS

HIS WORK INTO 3 KEYWORDS BASED ON 3 DIFFERENT B U I LDI N GS ­. T H ER E F O R E, E A C H PI E C E OF H A N D D ON E

C AT E G O R Y

T YP E U S ED I N EA C H PO ST E R C A R R I E D T H E SE N SE OF

TYPOGRAPHY /

T H E A C T U A L B U I L D I N G S A N D M AT E R I A L S .

PR I NT

156 156


TADAO ANDO POSTE R S E R I E S PROJECT

1

2

3

4

5

6

7

8

9

[ 10 ]

1 1

12

1 3

157 157


A LT E R E D V I SI ON

158 158

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TADAO ANDO POSTE R S E R I E S PROJECT

1

2

3

4

5

6

7

8

9

[ 10 ]

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159 159




A LT E R E D V I SI ON

162 162

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


TADAO ANDO POSTE R S E R I E S PROJECT

1

2

3

4

5

6

7

8

9

[ 10 ]

1 1

12

1 3

163 163




A LT E R E D V I SI ON

166 166

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

12

1 3

1 1 THE DETAILS

ARE NOT

THE DETAILS,

E

Y

E

F

O

R

E L E M E N T S

:

C

H

A

R

L

E

S

E

A

M

E

THEY

MAKE

THE DESIGN.

S

167 167


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

INGREDIENTS BOOK

COU R S E

OBJECTIVE

TYPE COMPOSITIONS

TO REDESIGN AN EXISTING BOOK FOR A NEW TARGET AUDIENCE.

I N ST R UCTO R

AMY HAYSON

A P P R OAC H

I CHOSE THE BOOK “INGREDIENTS”, A COMPILATION YEAR

O F D E TA I L E D D E S C R I P T I O N S F O R E A C H C AT E G O R Y

20 1 1

OF INGREDIENT. I WANTED THE BOOK TO HAVE A

TIMEFRAME

I N S O M E O N E ’ S K I T C H E N . I S I M U L AT E D A H A N D D O N E

6 WEEKS

TYPE ON A CHALKBOARD, ROUGH EDGES, AND NEUTRAL

HOMEMADE FEELING LIKE SOMETHING YOU WOULD FIND

COLORS TO CONVEY THIS MESSAGE. THE COVER OF THE C AT E G O R Y

BOOK IS MADE OUT OF A CHIPBOARD WITH DIE-CUT

PRINT

SHAPES IN THE FORM OF KITCHEN UTENSILS. IT IS PLACED ON TOP OF A PICTURE OF THE INGREDIENTS THAT ARE IN THE BOOK AS IF A COOK IS ABOUT TO ADD THEM TO A MEAL.

168 168


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

12

1 3

169 169


A LT E R E D V I SI ON

170 170

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

12

1 3

171 171




A LT E R E D V I SI ON

174 174

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

12

1 3

175 175


A LT E R E D V I SI ON

176 176

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

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1 3

177 177


A LT E R E D V I SI ON

178 178

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


I NGRE DI E NT S B O O K PROJECT

1

2

3

4

5

6

7

8

9

10

[ 1 1 ]

12

1 3

179 179


A LT E R E D V I SI ON

180 180

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


SAN F RANCI SCO’ S CHI NATOW N : A W AL KI NG TOUR G U I D E PROJECT

1

2

3

4

5

6

7

8

9

10

1 1

[ 1 2 ]

1 3

1 2 TRAVELER SEES

P O I N T

WHAT HE

SEES, T OUR IST

V

: G I L B E R T

O

F

I

E

K E I T H

SE E W H AT

HE’S COME

W

TO SEE.

C H E S T E R T O N

181 181


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

S A N F R A N C I S C O ’ S C H I N AT O W N : A WALKING TOUR GUIDE

COU R S E

OBJECTIVE

TYPE EXPERIMENTS

TO CREATE AN EBOOK FOR A PLACE OF CHOICE.

I N ST R UCTO R

A P P R OAC H

KATHRIN BLATTER

I P I C K E D S A N F R A N C I S C O ’ S C H I N AT O W N A S M Y SUBJECT AND CREATED A WALKING TOUR GUIDE FOR

YEAR

I T . S A N F R A N C I S C O ’ S C H I N AT O W N I S U N L I K E A N Y

20 1 2

CHINATOWN IN THE WORLD, THE CULTURAL ASPECT OF

TIMEFRAME

THIS MESSAGE TYPOGRAPHICALLY BY WORKING WITH

6 WEEKS

ONLY ONE TYPEFACE BUT PLAYING AROUND WITH THE

IT IS SO RICH AND DIVERSE. I CHOSE TO CONVEY

CHANGE OF SCALE AND COMPOSITION TO SHOW THE

182 182

C AT E G O R Y

CONTRAST AND VARIETY OF THINGS THAT MIGHT BE

DIGITAL

FOUND IN SAN FRANCISCO’S CHINATOWN.


SAN F RANCI SCO’ S CHI NATOW N : A W AL KI NG TOUR G U I D E PROJECT

1

2

3

4

5

6

7

8

9

10

1 1

[ 1 2 ]

1 3

183 183




A LT E R E D V I SI ON

186 186

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


SAN F RANCI SCO’ S CHI NATOW N : A W AL KI NG TOUR G U I D E PROJECT

1

2

3

4

5

6

7

8

9

10

1 1

[ 1 2 ]

1 3

187 187


A LT E R E D V I SI ON

188 188

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


SAN F RANCI SCO’ S CHI NATOW N : A W AL KI NG TOUR G U I D E PROJECT

1

2

3

4

5

6

7

8

9

10

1 1

[ 1 2 ]

1 3

189 189



T H E M O S T I M P O R TA N T T H I N G I S N O T T O STOP QUESTIONING. : A L B E R T E I N S T E I N , DYS L E X I C

THIS MASTER’S THESIS IS THE CULMINATION OF EXPERIENCES I N M Y G R A P H I C D E S I G N E D U C AT I O N AT T H E A C A D E M Y O F A R T U N I V E R SI T Y . I T D E R I V E S F R OM T H E SY N T H E SI S O F E X T E N SI V E I N V E ST I G AT I ON S, F I N D I N G S A N D R E SE A R C H OV E R T H E C O U R SE OF TIME. AND IT MANIFESTS MY UNDERSTANDING AND ABILITY TO USE GRAPHIC DESIGN AS A VEHICLE TO EFFECTIVELY SOLVE A CHOSEN ISSUE.


A LT E R E D V I SI ON

192 192

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A


F ORW ORD : A GRADUATE GRAPHI C DE SI GN T H E S I S PROJECT

1

2

3

4

5

6

7

8

9

10

1 1

12

[ 1 3 ]

1 3 I

THE VALUE

OF AN

IDEA LIES

N

S I G [ T

: T H O M A S

H

A .

E

IN THE

H T S

E D I S O N ,

I

S ]

USING

OF IT.

D Y S L E X I C

193 193


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

P R OJ E C T

FORWORD : A G R A D U AT E G R A P H I C D E S I G N T H E S I S

OV E RV I E W

DYSLEXIA

IS

A

GENERAL

TERM

FOR

A

READING

DIFFICULTY IN WHICH A PERSON FINDS IT HARD TO READ, WRITE OR INTERPRET WORDS AND LETTERS. IT IS A LIFE-LONG CHALLENGE THAT PEOPLE ARE BORN WITH. ACCORDING TO RESEARCH, 20% OF AMERICANS H A V E D Y S L E X I A . I T A F F E C T S P E O P L E D I F F E R E N T LY , DEPENDING UPON THE SEVERITY AND THE SUCCESS OF ALTERNATIVE LEARNING METHODS. SOME DYSLEXICS CAN HAVE TROUBLE WITH READING, SPELLING, AND WRITING, SOME EVEN HAVE A HARD TIME TELLING LEFT FRO M RI G H T . M O ST D A I LY TA SK S R E QU I R E T H E COU R S E

A B I L I T Y T O R E A D A N D U N D E R S TA N D S O D Y S L E X I C S

GRADUATE THESIS

SUFFER THE PAIN OF NOT FEELING LIKE THEY ARE

PROJECT

A B L E T O F U L LY C O M P R E H E N D A N D C O M M U N I C AT E EVERYTHING, GRAPHIC DESIGN COMES INTO PLAY TO

INSTRUCTORS

HELP SOLVE THAT PROBLEM.

PHIL HAMLETT BOB SLOTE

OBJECTIVE

ARIEL GREY

TO IMPROVE LITERACY SKILLS AMONG DYSLEXICS.

YEAR

A P P R OAC H

2012-2013

ONE OF THE OPPORTUNITY GAPS THAT AROSE FROM MY RESEARCH IS THAT WORD IDENTIFICATION OR READING

TIMEFRAME

DIFFICULTY TRAVELS WITH DYSLEXICS EVERYWHERE.

1 YEAR

ALTHOUGH IT MAY FIRST EXHIBIT ITSELF IN SCHOOL

C AT E G O R Y

INVOLVE WRITTEN WORDS AND LANGUAGE. MY THESIS

DIGITAL / PRINT

OFFERS DYSLEXICS A WAY TO INTERACT WITH WORDS

BUT IT MAY EXIST IN ALL PARTS OF DAILY LIFE THAT

MORE EASILY. FORWORD IS AN APP THAT WILL HELP PEOPLE WITH DYSLEXIA ESTABLISH BETTER WORD 194 194

RECOGNITION AND UNDERSTANDING.


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If you are dyslexi work fine, your br but there is a littl in the wire that g the eye and the b is not a fluid proc —Bruce Jenner, dyslexic.


ic, your eyes rain works fine, le short circuit goes between brain. Reading cess.


A LT E R E D V I SI ON

S ELEC TED WO R KS O F V A N SU KA C H IN D A V IJAK, MF A

TYPICAL BRAIN

DYSLEXIC BRAIN →

BROCA’S AREA, INFERIOR FRONTAL GYRUS (ARTICULATION AND WORD ANALYSIS) PARIETO-TEMPORAL (WORD ANALYSIS) 200

OCCIPITO-TEMPORAL

200

(WORD ANALYSIS)


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a book (a symbol of literacy)

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an arrow (a symbol of going forward)


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forword

209 209




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AC K N OW LE D G E M E N T

THANK YOU MOM AND DAD FOR YOUR UNCONDITIONAL SUPPORT AND FOR ALWAYS BELIEVING IN ME. WITHOUT YOU TWO, I WOULD NOT HAVE COME THIS FAR. EVERY SINGLE THING THAT I HAVE ACHIEVED IN MY LIFE IS BECAUSE OF YOU. THANK YOU MY SIDEKICK, TONPAI, FOR BEING HERE WITH ME THROUGH GOOD AND BAD TIMES IN SAN FRANCISCO. THANK YOU HUNTER WIMMER, MARY SCOTT, PHIL HAMLETT, BOB S L O T E A N D T H E R E ST O F T H E A C A D E M Y O F A R T I N ST R U C TO R S FOR MENTORING, SHARING YOUR INVALUABLE KNOWLEDGE AND PROFESSIONAL GUIDANCE. THANK YOU SCOT CRISP, THE WRITING IN THIS BOOK WOULD HAVE BEEN A MESS WITHOUT YOUR HELP. THANK YOU MY FELLOW AAU STUDENTS FOR STAYING CREATIVE AND I N SPR I R E D . I H A V E L E A R N E D A L O T F R O M Y O U G U Y S. T H A N K Y O U J A Y PE R E Z , J I L L BA L L A R D , A N D T H A N K Y O U A L L O F T H E A M A Z I N G PE OPL E I N M Y L I F E , E V E N I D I D N O T M E N T I ON Y O UR N A M E S, Y O U K N OW W H O Y O U A R E .


WRITTEN AND DESIGNED

VANSUKA CHINDAVIJAK VA N S U K A C H I N D AV I J A K

WWW.VANSUKA.COM HELLO@VANSUKA.COM AC A D E M Y O F A R T UNIVERSITY

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100lb. FINCH FINE TEXT S O F T WA R E

ADOBE CREATIVE SUITE 6.0 COPYRIGHT©2013 B Y VA N S U K A C H I N D AV I J A K

ALL RIGHTS RESERVED.






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