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
6
7
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
7
8
9
10
1 1
12
1 3
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
7
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
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
1
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
6
7
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
7
8
9
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
[ 4 ]
5
6
7
8
9
10
1 1
12
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
[ 4 ]
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
[ 4 ]
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
[ 4 ]
5
6
7
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
3
4
[ 5 ]
6
7
8
9
10
1 1
12
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
3
4
5
[ 6 ]
7
8
9
10
1 1
12
1 3
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
2
3
4
5
[ 6 ]
7
8
9
10
1 1
12
1 3
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
3
4
5
[ 6 ]
7
8
9
10
1 1
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 ]
7
8
9
10
1 1
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
4
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
2
3
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
101 101
A LT E R E D V I SI ON
102 102
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
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
103 103
A LT E R E D V I SI ON
104 104
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
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
105 105
A LT E R E D V I SI ON
106 106
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
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
107 107
A LT E R E D V I SI ON
108 108
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
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
109 109
A LT E R E D V I SI ON
110 110
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
4
5
6
[ 7 ]
8
9
10
1 1
12
1 3
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
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 ]
9
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
2
3
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
1 1
12
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
1 1
12
1 3
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
1 1
12
1 3
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
3
4
5
6
7
8
[ 9 ]
10
1 1
12
1 3
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 ]
1 1
12
1 3
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
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 ]
12
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 LT E R E D V I SI ON
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A LT E R E D V I SI ON
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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
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A LT E R E D V I SI ON
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A LT E R E D V I SI ON
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A LT E R E D V I SI ON
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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 .
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