Why Do by elizabeth vereker

Vol. O1

Why Do Design Portfolio Elizabeth Vereker

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Portfolio Elizabeth Vereker

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Why Do Selected Works Pgs. 08-203 Tramonti In Lampioni Pgs. 08-31 Melancholy & Hysteria Pgs. 32-53 Dick & Jane Pgs. 54-69 See. Think. React. Pgs. 70-87 Revise & Resubmit Pgs. 88-97 Job Captain Pgs. 98-107 Bauhaus Box Pgs. 108.117 The Vandercook Pgs. 118-127 Tea Cozie Summer Pgs. 128-143 Burning Bridges Pgs. 144-151 Going Home Pgs. 152-177 By The Numbers Pgs. 178-187

A Masters Thesis: Form Pgs.188-217

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Why Do Forward Why Do is a design portfolio completed at the Academy of Art Universityâ&#x20AC;&#x2122;s Graduate School of Graphic Design. It showcases work completed both professionally and academically, culminating with Form, my Masterâ&#x20AC;&#x2122;s Thesis. The name Why Do reflects my curious disposition and analy tical approach to design. Each of the projects featured in Why Do, as well as the countless others completed over my professional and academic career, began with questioning the world around me, and wondering what I, as a designer, could do to change it.

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Tramonti in Lampioni Challenge To plan and design a multi-faceted film festival based on the works of a single film maker. The complexity of this project, as well as the multitude of deliverables, posed a unique challenge that included not only design but also project management, strategy, research, and production across a variety of media. The first step in this project was to select a filmmaker and thoroughly research his life and body of work. From the body of work, a common theme was to be drawn, forming the basis for the festival’s events.

Strategy In organizing a festival around Fellini I strove to create and experience that was reminiscent of the landscapes he evoked in his films. I chose to focus the festival on the link between Fellini’s plots and the subconscious. As a devout follower of Jungian psychology and an avid journalist, Fellini used his films as a means to justify, validate, and portray his unconscious as well as his subjective view of the world.

Results Tramonti in Lampioni, which translates to Sunsets in Streetlamps, transforms participants into figures in Fellini’s landscape, allowing them to interact with his films on both an emotional and physical level. Each detail of the festival experience was designed to heighten the user experience and elevate the dramatic storytelling of Fellini’s legacy. The festival takes place at San Francisco’s Palace of Fine Arts, which is, in a sense, the architectural equivalent of a Fellini film, scientifically grounded, loosely interpretive, and highly illustrative. A grayscale palette, hand painted rorschach-esque ink blots, and bold, curvaceous typography resulted in a cohesive set of artifacts that enhanced the festival attendees experience, as well as increasing their knowledge of and appreciation for Federico Fellini.

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Why Do Title Tramonti in Lampioni Date Spring 2007 Course Integrated Communications Instructor Hunter L. Wimmer Abstract Fellini Film Festival Audience Foreign Film Enthusiasts Inf luences Jungian Psychology, Fellini, Rorschach Tests Contents Text and illustration by designer. Photography by other. Format Schedule Posters Catalog DVD Packaging Books CD Packaging Uniforms Event Signage Tickets Champagne Postcards Materials Moab Entrada Paper Epson Inks Watercolors Foil Rubdowns India Ink Silk Cording Found Bottles Vintage Postcards Leather Typeface Bodoni Futura Palette Grayscale

Question Do films need to be watched in a theatre?

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Melancholy & Hysteria Challenge To design a compelling typographic narrative with a scientific subject matter. The text was to be appropriated from a variety of sources, and reconstructed to tell a unique visual story.

Strategy Melancholy & Hysteria tells the story of mental illness from both a scientific and an emotional viewpoint. In gathering tex t for the piece, I referenced both the Diagnostic and Statistical Manual of Mental Disorders and the online blogs and journals of persons living with and affected by mental disorders. By combining these texts with expressive typography and minimal abstract line drawings, I hoped to illustrate the complexity and characteristics of a variety of disorders. A subdued color palette, somber tone, and plastic casing reinforce the medicinal concept.

Results The final book had a stark, minimal appearance and cold, uninviting cover. Each categor y of mental disorder was carefully designed to mimic the symptoms of the disorder as well as the side effects of pharmaceutical treatments. The DSM classifications were woven in with fist hand accounts of sufferers, resulting in a multi-dimensional experience.

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Why Do Title Melancholy & Hysteria Date Fall 2008 Course Typographic Directed Study Instructor Jennifer Sterling Abstract Scientific Text Audience Persons Affected by Mental Disorders Inf luences Pharmaceuticals, Patient Blogs Contents Texted sourced from the DSM & various blogs. Illustration by designer. Format Book CD Packaging Poster Materials 1/4â&#x20AC;? Plexiglas Epson Inks Epson Paper Typeface Orator Helvetica Neue OCR-A Palette White Warm Gray Orange Pink Brown

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290.0

Dementia

290.10 Dementia Of

290.11 Dementia

290.12 Dementia

290.13 Dementia

Dementia

Alzheimer’s The

Type,

Alzheimer’s

The

Type,

AlzheImer’s

290.40 Vascular

Dementia,

290.42 Vascular

Dementia,

290.43 Vascular

Shared

Elirium

298.8

Brief

Delusions

298.9

Psychotic

Depressed

Type,

Late

Disorder

304.20 Cocaine

Dependence

304.30 Cannabis

Dependence

Disorder

304.40 Amphetamine

Dependence

Disorder

304.50 Hallucinogen

Dependence Dependence

Nos

299.10 Childhood

Disintegrative

Dependence Hypnotic,

304.60 Inhalant

Onset

299.80 Asperger's

Disorder

304.80 Polysubstance

299.80 PervaSive

Developmental

300.00 Anxiety

Disorder Disorder

300.01 Panic

Disorder

Mood

300.02 Generalized

W/Out

Nos

304.90 Phencyclidine

Nos

304.90 Other

Agoraphobia

Anxiety

Disorder

305.10 Nicotine

Intoxication

Delirium

300.11 Conversion

Disorder

305.20 Cannabis

W/Drawal

Delirium

300.12 Dissociative

Amnesia

305.30 Hallucinogen

291.1

Alcohol-Induced

Disorder

300.13 Dissociative

Fugue

291.2

Alcohol-Induced

Dementia

300.14 Dissociative

291.3

Alcohol-Induced

Hallucinations

300.15 Dissociative

291.5

Alcohol-Induced

291.8

Alcohol

291.8

Alcohol-Induced

291.8 291.8

Psychotic

Disorder

Delusions

300.16 Factitious

W/Drawal

300.19 Factitious

Mood

Disorder

300.19 Factitious

Alcohol-Induced

Anxiety

Disorder

300.19 Factitious

Alcohol-Induced

Sleep

Disorder

300.21 Panic

291.8

Alcohol-Induced

291.9

Alcohol-Related

292.0

Substance

Psychotic

Disorder

Sexual

Dysfunction

Disorder

Nos W/Drawal

Induced

292.12 Substance

Psychotic

Induced

Disorder,

Psychotic

292.81 Substance

Disorder,

Induced

292.83 Substance

Persisting

Delirium

Depersonalization

300.7

Body

Disorder

300.7

Sleep

Disorder

300.9

Unspecified Paranoid

Medical

301.4

Medical

301.50 Histrionic

293.9

Mental

294.0

Amnestic

Due

Disorder

294.1

Dementia

294.1

Dementia

294.1

Dementia

294.1

Dementia

294.8

Dementia

294.9

Dementia

294.9

Cognitive

Due

Disorder Due

301.6

Dependent

301.7

Antisocial

Medical

Condition

301.81 Narcissistic

Due

Condition

301.82 Avoidant

Medical

Condition

301.83 Borderline

Head

Nos

Medical

Parkinson’s To

Due Due

Condition

General

Huntington’s

Other

General

Medical

Amnestic

Due

Disorder Hiv

Disease

301.9

Personality

Trauma

302.2

Disease

302.3

Transvestic

Condition

302.4

Nos

302.6

Gender

Disease

302.6

Gender

Catatonic

Type

302.72 Female

295.30 Schizophrenia,

Paranoid

Type

302.72 Male

Disorder Type Disorder

Major

296.3x

Major

296.40 Bipolar 296.4x

Bipolar

296.5x

Bipolar

296.6x

Bipolar

296.7

Bipolar

Undifferentiated I

Disorder Depressive

Single Disorder

Depressive I

Disorder I

Disorder

Disorder Disorder,

296.80 Bipolar

Most

Recent

Most Most

Recent Recent

Most Most

Recent Recent

Portfolio Elizabeth Vereker

Manic Single

Disorder

296.89 Bipolar

Type

Episode Episode Episode Episode Episode

Identity

295.20 Schizophrenia,

Residual

302.71 Hypoactive

295.70 Schizoaffective

Personality

Identity

302.70 Sexual

Bipolar

Anorexia

Phobia

307.20 Tic

Children

Gender

Desire

Sexual

Arousal Erectile

302.73 Female

Orgasmic

302.74 Male

Orgasmic

302.75 Premature 302.76 Dyspareunia

(Not

Due

Episode

302.79 Sexual

Episode

302.81 F

Recurrent

302.82 V

General

Medical

Disorder

307.47 Nightmare

Disorder

307.47 Parasomnia

Disorder

307.50 Eating

Disorder

307.51 Bulimia

Disorder

307.52 P

Disorder

307.53 Rumination

Disorder

307.59 Feeding

Disorder

307.6

Enuresis

Nos

Identity

Nos

302.9

Paraphilia

Disorder

Disorder t

307.7

Encopresis

Disorder (Not

Infancy To

General

Constipation

And

Disorder

Associated

General

307.9

Communication

Nos

308.3

Acute

Identity

309.0

Adjustment

Nos

309.21 Separation 309.24 Adjustment

Disorder

309.28 Adjustment

Disorder

309.3

Adjustment

Disorder

309.4

Adjustment

Disorder

309.81 Posttraumatic Adjustment

Condition)

310.1

Personality

311

Depressive

1 0

Condition

Disorder

Nos

Disorder

Depressed

Mood Disorder

MiXed

Disorder

Anxiety

And

Depressed

Disturbance

Disorder

Mood

Mixed

Conduct Disturbance

Stress

Disorder

Disorder Disorder

Due

Unspecified General

Medical

Condition

Disorder

Nos

Disorder

Nos Gambling

e y

Disorder

312.34 Intermittent

313.81 Oppositional Disruptive

Thesis

Explosive i

Nos

1 2

Factors

Medical

Anxiety

312.81 Conduct

1 1

Incontinence

Psychological

Disorder

Nos

312.9

Childhood Condition)

Stress Disorder

Disorder

312.39 T

Early Medical Overflow

307.89 Pain

Fetishism

312.31 Pathological

Of Due

W/Out

DisorDer

Nos Nervosa

Adults

Disorder Disorder

Associated

Condition]

Nos

Medical Sleep

Disorder

Intoxication

[General

Disorder

309.9

Nos

Condition]

Disorder

312.30 Impulse-Control

Medical

Disorder

[General

Terror

303.00 Alcohol

Project 0 1 2

Adolescents

307.80 Pain

Disorder

312.33 P

Tic

Rhythm

307.47 Dyssomnia

312.32 K

Sexual

Nos

VOcal

Hypersomnia

Disorder

Sadism

302.9

307.46 Sleepwalking

Masochism

302.89 F

Insomnia

Disorder

302.84 Sexual 302.85 Gender

Disorder

307.45 Circadian

302.83 Sexual

Mixed

Disorder

307.44 Hypersomnia

MAnic Depressed

Condition)

Movement

307.46 Sleep

Hypomanic

Unspecified

Abuse

Medical

Tic

Motor

Disorder

General

Nervosa

Ejaculation

Aversion

307.42 Primary

307.44 Primary

Dysfunction Sexual

Stereotypic

307.42 Insomnia

Disorder

Due

Substance

Disorder

Unknown)

(Not

Disorder

NoS

295.40 Schizophreniform

Personality

Type

296.2x

307.1

(Nonpsychotic)

Personality

Disorganized

296.0x

307.0

Nos

Disorder

Personality

Disorder

295.90 Schizophrenia

306.51 Vaginismus

Phobia

Personality

295.10 Schizophrenia,

295.60 Schizophrenia,

Abuse (Or

Disorder

Personality

Condition

General

305.90 Other

Disorder

Obsessive-Compulsive

Medical

Personality

Medical

Due

Personality

General General

PersonaliTy

General

Mental

301.22 Schizotypal

General

Disorder

Somatoform

301.20 Schizoid

General

293.89 Catatonic

301.13 Cyclothymic

300.81 Somatoform

301.0

Undifferentiated

Disorder

Condition

300.81

Due

Panic

300.81 Somatization

Dysfunction

Nos

Medical

Due

Dysmorphic

Disorder

History

Signs

307.3

300.6

Disorder

W/Out

305.90 Inhalant

Agoraphobia

300.29 Specific

293.82 Psychotic

293.89 Anxiety

Physical

300.23 Social

293.81 Psychotic

293.83 Mood

Abuse

Signs

307.23 Tourette's

Perception

General

Abuse

Disorder

Sexual

300.22 Agoraphobia

Delirium

Intoxication

Due

Abuse

Physical

Abuse

305.90 Phencyclidine

Disorder

292.89 Substance

293.0

PRedominantly

Disorder

Dementia

Disorder

And

Anxiolytic

Nos

307.22 Chronic

DisordeR

Substance

Disorder

Psychological

Abuse

307.21 Transient

Mood

292.9

Combined

Abuse Hypnotic,

305.70 Amphetamine

Disorder

Amnestic

Induced

Abuse

305.60 Cocaine

Disorder Disorder

Dependence

Symptoms

Disorder

Anxiety

Persisting

And

Dysthymic

Induced

Signs

Obsessive-Compulsive

Nduced

292.89 Substance

Nos

Psychological

300.4

292.89 Substance

292.89 Hallucinogen

Predominantly

300.3

292.84 Substance

292.89 Substance

SubsTance

305.50 Opioid

W/Delusions

Persisting

Induced

Disorder

Disorder Disorder

Dependence

305.40 Sedative,

W/Hallucinations

W/Drawal

292.82 Substance

Identity

Dependence

Unknown)

Abuse

Alcohol

Persisting

Dependence

Alcohol

Amnestic

Anxiolytic

305.00 Alcohol

291.0

Persisting

(Or

291.0

292.11 Substance

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304.10 Sedative,

Disorder

299.00 Autistic

Dependence

304.00 Opioid

Disorder

Delusions

Depressed

Psychotic

303.90 Alcohol

Disorder

299.80 Rett's

Delirium

Nos

Psychotic

Mood

Uncomplicated W/

Dementia,

Mood Delusions

Dementia,

290.41 Vascular

Delusional

297.3

Depressed

Type,

Disorder

297.1

296.90 Mood

Disease Uncomplicated W/

Type,

Alzheimer’s

The

Type,

Alzheimer’s

The

Type,

Alzheimer’s

The

Type,

Creutzfeld-Jacob Alzheimer’s

The

290.21 Dementia

Alzheimer’s

To The

290.20 Dementia

290.3

The

Due

290.10 Dementia

a Disorder

DisOrder Defiant Behavior

Disorder Disorder

Nos

Mutism l

Defiant

Disorder Problem

Attachment Of

Disorder

Infancy,

Infancy

Childhood,

Early

Childhood

Adolescence

Nos

eficit/Hyperactivity

Disorder

eficit/Hyperactivity

Disorder

Combined

Type

eficit/Hyperactivity

Disorder

eficit/Hyperactivity

Disorder

Nos Disorder

Disorder Of

Written

Expression

Language

Disorder

Receptive-Expressive

Language

Disorder

ntal

Coordination

Disorder

Factors

Nos

Affecting

Medical

Condition

Mental

Retardation

Mental

Retardation

Mental

Retardation

Mental

Retardation

Retardation,

Severity

Unspecified

-Induced

Parkinsonism

Induced

Tremor

â&#x2030; Postural

-Induced

Acute

Dystonia

-Induced

Tardive

Dyskinesia

Induced

Movement

Disorder

Nos

Malignant

-Induced

Acute r

ectile

Dyspareunia le

Disorder

Dyspareunia

male

Sexual

Dysfunction

[General

Due

CondItion]

Medical

[General

Condition]

Medical

Condition]

Medical

[General

Condition]

Medical

[General

Due

Medical

[General

Due

Disorder

Due

[General

Desire

Dysfunction

Sexual

Akathisia

Due

Sexual

active

Syndrome

Condition]

Medical

Condition]

poactive Sexual Desire Disorder Due To [General Medical Condition] Nos

sorder

Due

order

Due

sorder

[General

Due

Medical Medical

[General

elated

Condition], Condition],

Medical

Insomnia

Type

Hypersomnia

Type

Condition],

Parasomnia

Sleep

sorder

Due

[General

Disorder

Medical

Condition],

Mixed

Type

Cognitive W/

Constipation

Decline

And

Overflow

Incontinence

Or Condition Deferred On Axis I Or Diagnosis Deferred On Axis Ii Effects Of

Child

buse

Of (If

Attention

Victim)

Attention

Victim)

Child

(If

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Adult

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Attention

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Nos

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buse

Child

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nce

Treatment

Relational Or

Problem

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Adult

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Problem Related To [A Mental Disorder Or General Medical Condition]

Problem Problem

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Nos e

Life

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Spiritual

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Intellectual l

g Antisocial

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g Behavior

Question What does a mental hospital feel like?

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Right. That's it. I've been to hell and back over the last few weeks and toda y, of all days my shelves all collapsed making that bottle of asprin look mighty temptating. I bet I'm making you all REAL LY uncomfortable talking abot me offing myself... Meh I've tried it five times before might aswell give it another go eh? My BPD is worse than ever and i just fel so....hopeless you know? Might go to the docs tomorro w, I bet he'll give me another dosage of th ose REALLY effective pills....But if any of you don't hear from me for a couple of weeks I'm probably six feet unde r, so qty yeah...Although last time I took like 30 asprinis it hurt like hell so i'm debating whether to go through with it but yeah...Night All. .

⁄ ⁄ ⁄ 000

was When i depressed i picked myself.up this habit of cutting i dont know wh y. hats 10 million times worrse than depression? hen your all better and ever ything sucks just as much as before. hen your "all better" and you still want to die. thing is crap and life isn't worth livin g not that anybody cares anywa y me la n c h oly & h y s t eri a

⁄ ⁄ ⁄ 000

me la nc holy & hy ster ia

qty

⁄ ⁄ ⁄ 000

me la n c h oly & h y s t eri a

qty

me la n c h oly & h y s teri a

was When i depressed i picked up this habit of cutting myself. i dont know wh y. hats 10 million times worrse than depression? hen your all better and ever ything sucks just as much as before. hen your "all better" and you still want to die. thing is crap and life isn't worth livin g not that anybody cares anywa y

⁄ ⁄ ⁄ 000

I am so tired of willing myself well. Right. That's it. I've been to I have hoped, prayed, thought only good thoughts, etc trying to make hell and back over the last few myself well and, well damn it I am tired! I just want to lay down, close my eyes and not deal with weeks and toda y, of all days my shelves all "I am a nuclear anything anymore. How do you collapsed making that bottle of get through each day? weapon when I am ang ry." asprin look mighty temptating. I bet I'm making you all "No, you're not. Y ou're biological." REALLY uncomfortable talking about me offing "How so?" by elizabeth vereker myself... "When you go off, all the buildings remain—but ever yone dies." i’m so scared all the time.

Question What does a mental hospital feel like?

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03.12

Title

Dick & Jane Challenge In this course, Instructor Roland Young challenged students to create an evocative print campaign that both raised awareness and elevated understanding of a social, political, or environmental cause. Within the wider scope of social problems, I chose to find a subject that is often overlooked; that of sex education.

Strategy Everyone goes through puberty, but no one wants to talk about it. It’s an awkward, confusing, and sometimes horrifying time, but it’s also humorous, exciting, and inevit able. Currently, most public schools in the US either do not teach sex education or teach abstinence only sex education, both of which have led to a dramatic increase in unplanned pregnancies, STDs, and heightened anxiety among youth. When materials are made available, they are poorly designed, clinical, outdated, and ‘uncool’. I strove to create a line of sex education products that spoke to teens in their own language, used humor to ease awkwardness, covered the topic s they c ared about most, and empowered them with the re source s necessary to make healthy decisions.

Results Dick & Jane is whimsical, culturally relevant, and factual. The materials transform ‘the birds and the bees’ from an uncomfortable conversation into a bold, interactive experience. The line, which is comprised of a deck of sex education cards, locker posters, discreet safe sex kits, large format posters, and a web site, provides youth with information that can be read privately or shared with others. The line not only includes medical information, but also culturally relevant, factual information about the topics that teens are most curious about. While the cards, kits, and web site are aimed at youth, the poster campaign targets parents and educators, encouraging them to take an active role in the sexual health and understanding of our youth.

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Question Why are sex education materials so obtuse?

Title Dick & Jane

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Why Do Title Dick & Jane Date Fall 2009 Course Design Outside of the Box Instructor Roland Young Abstract Sex Education Campaign Audience 10-18 year olds and their parents Inf luences Urban Dictionary, Pop Culture Content Illustration by designer. Text sourced from Scarlet Teen, Kaiser Permanente, SexEd Library, & Planned Parenthood. Format Deck of Cards Posters Smart Phone Ap Web Site Safe Sex Kits Materials Moab Lasal Paper Epson Inks Personal Care Items Aluminum Tins Typeface Archer VAG Rounded Palette Black Pink White

Question Why are sex education materials so obtuse?

Title Dick & Jane

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unprotected because it's the “wrong hole”

Fact: While it ’s true that pregnancy cannot occur

from the act of anal sex by itself, and that the risk of pregnancy from ana l sex is less than the r isk from vaginal intercourse, the anus and the vaginal openings are very close together. It’s easy enough for ejaculate (even when ejaculation occurs inside during anal sex) to run down and into contact with the vulva which then presenst a pregnancy risk. Additionally, anal sex has a high chance for the spread of STIs. Condoms and lubricant should be used for all anal sex play.

Myth: If a girl has sex when she’s menstruating she can’t become pregnant.

Fact: All women have their own cycle of ovulation and menstruation, and with that some for some women ovulation can occur very near after menstruation. Just the same, women’s bodies are built in a way that allows pregnancy to occur, and thus sperm can live for days in the female reproductive tract. So, it’s certainly possible for a woman to become pregnant if she has sex during her period.

all about your new breasts

Myth: If you ejaculate three times in a row then you’ve

gotten rid of all of your sperm and can’t get someone pregnant.

Fact: Men produce millions of sperm each and every day. Just as any sperm that isn’t used is reabsorbed

tips for trimming the hedges

the rag

Myth: It ’s impossible to get pregnant before ever having your first period.

Fact: Ovulation and menstruation are not one in the same, but t wo par ts of one cycle. Women generally f i nd out t h at t he y f i r s t ov u l ate d w he n t he i r f i r s t menstrual period comes. Because this occurs before first menstruation, a girl could be taking a huge risk with unprotected sex and not even know it. Additionally, because most women first suspect a pregnancy when they miss their period, a girl not expecting to get one could not know about a pregnancy until months after conception.

bloody mary

the curse RED WINGS

OMP

Myth: When having penis-in-vagina intercourse, if

the guy doesn’t ejaculate at all then the girl can’t get pregnant.

Fact: Sper m can be present in pre-ejaculate. The likeliness of sperm being present in pre-ejaculate is far higher if the man has ejaculated recently or has not urinated before intercourse. It ’s much safer not to assume that sperm isn’t present if the man has not ejacu lated recent ly or d id u r i nate before sex– a nd generally intercourse w ithout ejaculation using no rel iable met hod of bi r t h cont rol present s a low to moderate risk of pregnancy.

time of the month period MENSTRATION

use, especially when you’re very young.

Fact: Withdrawal is generally less effective for young

adults than it if for older adults, and even for older adults this not a ver y reliable method. Pre-ejaculate containing sperm can contain thousands of them, and that alone is enough to cause pregnancy.

Nocturnal Emissions A no c t u r n a l em i s sion i nvolves eit her ejac u l at ion during sleep for a male, or lubrication of the vagina for a female. It is also called a "wet dream", or a spontaneous orgasm. Nocturnal emissions are most common during adolescence and early young adult years. However, nocturnal emissions may happen any time during or after puberty. The emission may happen with or without an erection, and it is possible to wake up during, or to simply sleep through, the ejaculation. Though nocturnal emissions are mostly attributed to, and more noticeable by men, women also have them.

Causes And Myths

The Back Door

Frequency

Th e f r e q u e n c y o f n o c t u r n a l e m i s s i o n s i s h igh l y variable. Some men have experienced large numbers of nocturnal emissions as teenagers, while others have never experienced one. 83% of men in the United States will experience nocturnal emissions at some time in their life. For males who have experienced nocturnal emissions the mean frequency ranges from 0.36 times per week for single fifteen-year-old males to 0.18 times per week for forty-year-old single males. For married males the mean ranges from 0. 23 times per week for n i neteen-yea r- old ma r r ied ma les to 0 . 1 5 t i mes per week for fifty-year-old married males. In some parts of the world nocturnal emissions are more common. For example in Indonesia sur veys show that 97% of men experience nocturnal emissions by age of twenty four. Some men have the dreams only at a certain age, while

a guide to anal sex

saving face with a clean shave

The Big ’O’MG

Homosexual vs. Bisexual

Do we choose our orientation?

Wet Dreams

debunking the myths about nocturnal emissions

Your Pink Parts

Vulva, Not Vagina

The proper name for the outer female genitals is the vulva (vuhl-vah). The vagina is only one part of these organs, and not the whole of them, and many people mistakenly call the vulva the vagina. Where your pubic hair is, below your belly button, is a fatty area of tissue (skin) called the mons (mahns). Your pubic hair will move downward, as will that fatty tissue, around your labia majora (lay-bee-ah) or "lips." If you pull your outer labia open, you will see your labia minora, or lips, which are not covered with hair, and look a bit like flower petals or two teeny-tiny tongues. The size, length and color of the inner labia and other parts of the vulva will differ from woman to woman. The labia may be long and thick, or barely visible, and may look purple, red, pink, blackish or brown, depending on you r ow n color i ng . A l l of t hese v a r i at ion s a re absolutely normal, as are the labia being two different sizes or shapes . The pur pose of your inner labia is prett y impor tant; they have sensor y ner ve endings which contribute to sexual pleasure and also keep icky bacteria away from what is called the vestibule.

The Infamous Clitoris

to the glans, which is the tip - and only the tip - of the clitoris ( klit-or-iss). If you pull up the hood with your fingers, you can get a closer look. In women, the clitoris - which in total, both internal and ex ternal, is nearly of the same size as the male pen is - is usua l ly t he most sensit ive spot on , a nd i nvolved i n t he most sensit ive a reas of, t he v u lva . It's got t w ice the number of sensor y ser ve endings the penis does, and it also interacts with over 15 ,000 ner ve endings throughout the whole pelv ic area . It is created of the same sort of erectile tissue that the head of a penis has (for an interesting comparison of male and female genital organs, see here). Before we are born, until about the sixth week of our lives as an embryo, our sexual organs are slightly developed, but are completely the same. You feel the clitoris with your fingers, you'll probably feel a tingle or a tickle. Rubbing it a bit, you can feel a hardish portion that is the shaft of the clitoris. The clitoris (sometimes called the "clit" or the "spot") is the primary source of most female genital sensation. When you masturbate, it is what you will most likely ( but not always) touch and manipulate to pleasure yourself. The clitoris is, in fact, the only organ on the entire body that is solely for sexual arousal, and is attached to ligaments, muscles and veins that become filled with blood during arousal (when you get sexually excited) and contract during orgasm. The clitoris is what most women like to have stimulated during oral or digital (with hands and fingers) sex , dur ing masturbation , and dur ing intercourse, and not just the tip of shaft. The clitoris is internal as well as external - and the whole thing is a lot bigger than it looks from the outside - with legs, called crura, that are within the outer labia, as well as the clitoral (or vestibular) bulbs, which surround part of the lower portion of the vaginal canal. Women are different in how and where we like our clitorises touched (or if we do at all). For some, rubbing too fast or hard, or right on the tip or shaft may be uncomfortable, but for others, it's just the thing. Like near anything else in sex, the best way to find out is usually to experiment by masturbating.

a girls guide to birth control

•••• TH U WED TUE

MON SUN T SA I FR

Sexual Orientation a teen's guide to homosexuality

Understanding Sexuality Ty pically, a homosexual is defined as someone who is exclusively or primarily attracted, physically and emotionally, to others of the same sex or gender. A bi s e x u a l i s def i ne d a s s ome one w ho c a n b e or i s at tracted to those of any sex or gender, though not necessa r i ly at t he sa me t i me. I n ot her word s , l i ke heterosex ua ls , homosex ua ls a nd bisex ua ls ca n be monogamous. A heterosexual is someone attracted exclusively or primarily to those of the opposite, or another, sex or gender. Remember, sexual orientation and homosexuality, bisexuality (or heterosexuality) aren't just about sex, nor are the relationships for anyone of any of those or ientat ion s . A lot of t he t i me , we' l l see a ny t h i ng except heterosexualit y slandered based on the idea that differing orientations are just about what someone wants sexually or just about sexual desires. While it it's still okay when they are, for most people, homosexual and bisexual relationships are also about all of the same things heterosexual relationships are for most people: about love a nd compa n ionsh ip, about fa m i ly a nd / or community, about friendship and bonding, about discovering ourselves and discovering those we get close to. And yes, about sex, too.

learning how to please yourself

A lot of questions about how to have intercourse, how to masturbate, and worries about what's all going on down there can be solved by simply getting to know your own body. In fact, I' d gander to say that before you let anyone else get to know it, you'd best know it yourself as well as you know your own face. Just like you wouldn't go out rollerblading until you knew where the brakes were, how to fix the bearings on your wheels, or how to find your way home from the park where you blade, the same holds true with your sexual anatomy. Here's the scoop for female-bodied folks. Let's get started! Go get yourself a mirror, make sure you have some real privacy (or at least a door that locks) and some quality time to get to know your body and yourself. We'll just look at what you can see and feel, to get you started. Sit with your knickers off, and your legs spread open, and get ready to take a good look.

Take A Chill Pill •••• •••• ••••

Little is know n about the actual cause of nocturnal emissions, leaving explanation of the phenomenon to wide speculation. Popular claims include stimulation of genitals by a mattress or sheets, erotic dreams, or memor ies of sex ua l act iv it y or t houghts . However research has shown no conclusive connection between masturbation frequency and nocturnal emissions (see Frequency below) nor has it shown that erotic thoughts or dreams accompany nocturnal emissions. Although these causes have not been conclusively r uled out, they also have not been substantiated by experiment; currently, what can be agreed upon is they begin only after puberty due to increased hormone production.

ot hers have t hem t h roughout t hei r l ives fol low i ng puberty. The frequency that one has nocturnal emissions has not been conclusively linked to one's frequency of masturbation. Widely know n sex researcher A lfred Kinsey found "There may be some correlation between the frequencies of masturbation and the frequencies of nocturnal dreams. In general the males who have the highest frequencies of nocturnal emissions may have somewhat lower rates of masturbation. Some of these males credit the frequent emissions to the fact that they do not masturbate; but it is just as likely that the reverse relationship is true, namely, that they do not masturbate because they have frequent emissions." One factor that can affect the number of nocturnal emissions a man has is whether they take testosteroneba se d d r ugs . I n a 1 9 9 8 s t udy, t he nu mb er of b oy s reporting nocturnal emissions drastically increased as their testosterone doses were increased, from 17% of subjects with no treatment to 9 0% of subjects at a high dose. During puberty, 13% of males experience their first ejaculation as a result of a nocturnal emission. Kinsey found that males experiencing their first ejaculation through a nocturnal emission were older than those e x p e r ie nc i ng t he i r f i r s t e j ac u l at ion b y m e a n s of masturbation . The study indicates that such a first ejaculation resulting from a nocturnal emission was delayed a year or more from what would have been developmenta l ly possible for suc h ma les t h rough physical stimulation. A lthough pur por ted treatments to help prevent or d i m i n i s h no c t u r n a l em i s sion s a re av a i l able i n abundance, none are known to have undergone any kind of rigorous experimentation or approval process such as that required by the FDA. Like the hiccups, there are a huge variety of "home remedies" with no scientific basis. Moreover, because no proven physical harm ( beyond the inconvenience of cleaning the semen ejaculate) is caused by the event, and it is not sy mptomatic of any underly ing problem , it is genera lly considered inadvisable to undergo any sort of treatment.

W E TU D E MON SUN

Man Grooming

Falsies things aren't always what they seem

Myth: Withdrawal is a safe and reliable method to

TH U WE D TUE MON SUN T SA I FR

Myth: A girl can’t get pregnant if you have anal sex

Caring For Twins

Pubes

into the body, men aren’t likely to “run out” of sperm after ejaculating three times – nor does it take away enough sperm to take away the viable pregnancy risk. On average about 50 sperm will be able to reach the egg from one ejaculation, and it only takes one sperm to actually fertilize an egg, though that sperm needs the help of those other sperm to do that. When sperm is released with semen, the man’s body continues to do its job in replenishing the supply.

TH WE U D TUE MON

Ever feel like there’s a mass market for wrong information about pregnancy and pregnancy risks? Do you leave a conversation with a friend or reading an ar ticle or website and wonder if what you’ve learned is the truth or one of those nasty myths? Just about any subject you’d hear about has them … and pregnancy and pregnancy risks are no different. Now we're taking the time to debunk some of the most common misconceptions. We believe that all sex should be something anyone chooses for t hemselves , based on sou nd , rea l ist ic information. In order to do this, it is vitally important to be able to distinguish bet ween the facts and the myths about what is safe. Do you know the facts about pregnancy and pregnancy risks, or have you fallen for some myths?

I FR U TH

tips for clear, healthy skin

Baby Myths

SUN SAT

Pizza Face

Moustache Rides everything you wanted to know about oral sex

Most sex ualit y researchers and scholars agree that orientation is fixed and unchangeable to some degree, though how we enact it, how we identify, and what it means for us as individuals is more mutable or f lex ible. We a lso don' t tend to k now, r ight away, what our orientation is: again, that's often a process of gradual discovery over time. While we choose what to call ourselves, and perhaps go through many different stages in our lives to really feel out who and what we are on many different levels, for the most part, our orientation is believed to be at least partially hard-coded into us from a very early age. The AMA states that, "sexual orientation emerges for mos t p e ople i n ea rly adolescence w it hout a ny pr ior se x u a l e x p er ience . A nd some p e ople rep or t t r y i ng ver y ha rd over ma ny yea rs to c ha nge t hei r sexual orientation from homosexual to heterosexual w it h no success . For t hese reasons , ps ycholog ists do not consider sex ual or ientation for most to be a conscious choice that can be voluntar i ly changed ."

If you're heterosexual, ask yourself if you can choose who, of the opposite gender, you're attracted to? Can you really choose, or does it often seem pretty random a nd out of you r cont rol , perhaps even su r pr isi ng? Ca n you c hoose who you love? Rememb er : se x ua l orientation isn't just about sex or having sex: it's also about who we love.

BANG

Is it unnatural?

It most certainly is not. Not only is it natural in people, it occurs commonly in other mammals and animals as well, such as chimpanzees, cows, ducks and other birds, cats, dogs, insects, gorillas, horses, sheep, monkeys, and a plethora of other creatures. It also is nothing new. Though through much of histor y many homosexuals and bisexuals have not been "out," - due not to their or ient at ion , but to t he cu lt u ra l a nd i nter p er son a l condemnation of any thing that isn't heterosexuality -- most anthropologists and biologists agree that it has occurred in humans for just as long as heterosexuality.

Is it an illness or mental illness?

Absolutely not. Psychological and sexual research has shown clearly that orientation in and of itself is not a cause for emotional or social problems. More of ten, when such problems are associated with homosexuality or bisexuality they are rooted in the nonacceptance of those orientations, and taunting, scolding or punishment because of the perceptions of them. The APA adds that, "Homosexuality was thought to be a mental illness in the past because mental health professionals and society had biased information about homosexuality since most studies only involved lesbians and gay men in therapy. When researchers examined data about gay people who were not in therapy, the idea that homosexuality was a mental illness was found to be untrue."

Baby Scare?

PUMPING BANGING

WHOOPIE

a girl's guide to shaving

dispelling pregnancy myths

Hall Pass

The Herp dispelling the herpes stigma

condoms: a users manual

Leg Warmers

Tall Tails

how the average man measures up

Looking at the vestibule, bet ween those inner labia from the top down (right below your mons), you'll first see the top of the the inner labia, which create a little skin fold called the clitoral hood. That hood connects

Blowing The Horn

Condom Etiquette Practice Makes Perfect

Using a condom is easier than it looks, but the first few times, it can be tricky, especially if you're nervous about k now ing how to use one, or have never even opened one before. It's important to know how to use condoms like a pro, both to assure that they work to help prevent unwanted pregnancy and sexually transmitted infections and because you want them to feel as good as possible. Condom use is just like tying your shoes: tying them all the time may be a bother sometimes, but if you don't do it, you'll trip and fall on your face. The consequences here can be far worse. A few STIs are incurable, and once you have them can create some health issues you may need to deal with for your whole life. A couple of them can shorten that life, and all of this also goes for your partners (and their partners, and their partners...). All of them can impact your health and the public health and cost you time, energy and money to deal with.

everything you wanted to know about blow jobs

Pit Stains how to stay fresh and clean

Six simple steps to safety

01 Use a good quality condom that is new, and well before the expir y date. Ever y condom has an expiration date on the package, so just take a look at it before you open one. be sure you're also using a condom that hasn't been kept any where where it can get worn or too warm or cold (it isn't a good idea to keep them in your car, wallet or pocket for that reason). When you first buy condoms, see if you can't get a few different brands and styles for yourself. It can take some trial and error to find the kind that best fit you and feel best, so getting assortment packs, or a few small boxes of a couple different kinds is a good idea. 02 Open the condom wrapper carefully with your fingers, and roll it out a little so that the edge is rolled on the outside of the condom . That rolled-up edge needs to be on the outside, facing up, or the condom won't roll down right. Put a few drops of water-based lube ( like Astroglide, KY Liquid or Liquid Silk) inside the tip of the condom: that not only helps with getting it on, it makes condoms feel a lot better during use. Only put a condom on AFTER there is a partial or full erection (after the penis has "gotten hard").

03 Squeeze the tip of the condom with your fingertips to leave some extra space in the tip, and roll the rest down the length of the penis, while still pinching the top. The rim of the condom should be as close to the base of the penis as possible. When you're down to the base, run your fingers from the tip all the way down to press out any air bubbles: this helps keep condoms from breaking. 04 Put some more latex-safe lube of the outside of the condom, and you're good to go. While you are using the condom, you or your partner do not need to hold its base: condoms are designed for hands-free use. 05 After ejaculation (or not, but you're finished having genital sex) -before you withdraw-hold the base of the condom (the rolled-up part) with your hand. If you withdraw without holding the base, the condom could slip off. Keep your hand there while you withdraw, and until the penis is all the way out of the vagina, anus or mouth. Pull it off with that one hand on the rim of the condom and your other hand by the tip. Pulling it off by the tip alone not only makes a big mess, you could drip all over yourself what you just worked so hard to keep out. Tie a knot near the base of the condom. 0 6 Th r o w t he c ondom aw ay i n t he r ubbi s h bi n NEVER reuse condoms. And please don't just toss them outside a car or in a park: not only is that just plain gross and uncouth, it's unhealthy for the rest of us. (Plus, that also means that now and then, as happened to me when I used to teach Kindergarten, some poor teacher winds up with some little kid finding one, waving it all over everyone and everything, and then said teacher having to quickly come up with a very good story about what exactly the "slobbery balloon" is, knowing her wee ones have just been exposed to gawd knows what.) Never use two at a time to try and be "extra safe." Both of them will most likely break due to extra friction, and it just doesn't work or feel very nice for the wearer. One condom, used properly, is as safe as it gets.

Question Why are sex education materials so obtuse?

The Big ’O’MG learning how to please yourself

Is Your Penis Size Normal? What's Average?

Let's start by looking at some basic averages, based on broad, credible studies of a variety of men. When you flip through most studies, what you'll usually find is that: • The average adult penis flaccid is around 3 to 4 inches long. • The average adult penis erect is around 5.5 to 6.2 inches long. • The average adult penis erect is around 4-5 inches around (in circumference).

What size a penis is when it's flaccid (not erect) doesn't necessarily indicate what size it will be erect. Some men's penises flaccid are very nearly the same size as they are when they are erect, while others are smaller than they are erect. Neither "growers" nor "showers" are better than the other: they're just different. Those statistics above are, as they say, about fully grown adult men, not teen men.

Are Teens Smaller?

We are often asked what the average penis size is for, say, a 15-year-old guy. The trouble is that where someone is at in puberty isn't the same for people of the same age. For most guys, penis growth starts anywhere between the ages of 11 and 16, and on average, around 13 or 14 years of age. Before penis growth starts, you'll usually have both a growth spurt in terms of your height, as well as testicle growth. Penises also will tend to grow faster or earlier in length than they will with width. During the time that young men are going through puberty, before growth is completed, the average size for an adolescent male of any age varies from between two to five inches. Penis grow th doesn' t happen overnight: it's gradual, just like any other kind of body growth,

and may also happen in spurts. In other words, you may have times of some growth, then a long pause, then some more growth again later. By the time you're done with puberty, your penis will be done growing. Men will usually be done with puberty by the time they're 20 - 25 , and when you're done with it can vary, and is influenced by when you started. Overall, someone who starts puberty on the earlier side will usually be done on the earlier side, while someone who started puberty later will usually end it later.

Unwanted Company preventing and treating sexually transmitted diseases

Masturbation And Size

Pen i s si z e i sn' t c h a nge d by m a s t u rbat ion : whether someone masturbates or not, does so often or infrequently, the size of their penis is going to be the size their penis is. What a guy weighs also isn't going to have much to do with the size of the penis, though thin men's penises may look bigger in perspective to the rest of their bodies, and larger men's penises may look smaller in the context of the rest of their bodies. Like most of our bodies, the size of someone's penis is mostly determined by genetics. Just understand that that doesn't mean because your Dad 's penis is big or small or tilts this way or that yours will be the same. Genetics are more complex than what comes from just one parent or family member. There's never been any credible data which shows that the size of someone's feet or hands correlate to penis size, nor that, overall, any one race has a smaller or larger penis size than another. Penis size also can differ a bit for one man f rom d ay to d ay w hen we're t a l k i ng ab out erections. Not all erections that happen to a guy are the same size all the time. In other words, some days, a guy has an erection that's bigger than it was the last time, perhaps because he's more aroused this time, because of what time of the day it is, even what temperature it is at a given time.

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Guidelines & Policies

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Dealing With Acne What To Expect At Your First Gyno Appointment

Breast Self Examinations

CONDOMS 101 Sexual Orientation

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am i still a virgin if i use a tampon?

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About

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WWW.PLANNEDPARENTHOOD.ORG

Question Why are sex education materials so obtuse?

Title Dick & Jane

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04.12

Title

See. Think. React. Challenge As a part of World Studioâ&#x20AC;&#x2122;s Design Ignites Change Initiative and The Academy of Ar tâ&#x20AC;&#x2122;s Sustaining San Francisco project, students were asked to use the tools of graphic design to positively impact the social and environmental sustainability of their local environment. Having been a part of numerous sustainable building and planning projects, I strove to increase community involvement in brownfiled redevelopment and empower citizens with the tools necessary to take an active role in community planning and development.

Strategy Community redevelopment of ten falls into the hands of brokers and financial investment firms, rather than the people whose lives are directly af fected by the change. The Revision Project aims to empower citizens with the tools and knowledge to spur brownfield redevelopment in their own neighborhoods.

Results The Revision Project is a grass roots organization founded in San Francisco. Our aim is to encourage community involvement in the redevelopment of brownfields and other under utilized sites. We operate on the simple belief that communities should reflect the needs of its citizens, not just the desires of a select few. The Revision Project is a three step initiative that provides local citizens with the tools to initiate positive redevelopment. By way of three pocket sized zines, postcards, hands on planning tools, and an interactive blog, Revision takes urban planning out of the board room and places it into the hands of local citizens.

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Title See. Think. React.

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Why Do Title See. Think. React. Date Spring 2008 Course Design & Sustainability Instructor Phil Hamlett Abstract Sustainable Campaign Audience San Francisco Residents Inf luences SPUR, Ellen Lupton, D.I.Y., Elsewhere Public Works Agency Contents All contents by designer. Format Posters Books Postcards Stickers Web Site Materials Epson Inks Mohawk Paper Newsprint Fonts Helvetica Neue Palette CMYK

Question How can you build a community where none exists?

Title See. Think. React.

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05.12

Title

Revise & Resubmit Challenge In this project, professor Stan Zienka asked students to use experimental typography to tell a personal story in an unorthodox and compelling manner.

Strategy While designing this project, I was entering my four th year as a junior architect, and fe eling over whelme d wi t h c lient de adline s , c o de regul at ion s , and t he ever yday minutia involved with paying ones dues in the design industr y. I used this assignment as an opportunity to vent my frustrations, illustrating the day to day musings of a junior designer.

Results Revise & Re submit is a c andid por trayal of my daily to - do list s, daydreams, achievements, and frustrations. It is a visual representation of my own internal strug gle in making the job I held align with job I dreamed of. By using of fice products, job-site photos, and construction documents juxtaposed with illustrative type, I produced an accurate archive of the life of a young designer.

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Why Do Title Revise & Resubmit Date Spring 2008 Course Experimental Typography Instructor Stan Zienka Abstract Typographic Essay Audience Architects & Designers Inf luences Modernist Architecture Contents All contents by designer. Format Book Materials Epson Paper Epson Inks Electrical Tape Stamps Typeface Helvetica Neue Palette Black White Red Gray

Question Whatâ&#x20AC;&#x2122;s a punch list?

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06.12

Title

Job Captain Challenge The work on the following pages provides a glimpse into my professional experience as a job captain in Genslerâ&#x20AC;&#x2122;s Northern Virginia and San Francisco offices.

Strategy During my time with Gensler, I worked on a large variety of commercial projects for c or p or ate, f inancial s er v ic e s , e duc at ional, and te c hnol og y c lient s . M y responsibilities included: providing project team coordination for the finished plans, specification, and material selections required for construction, preparing and ensuring accuracy of technical documents, participating in the construction administration of project assignments, including quality control, and working with consultants, contractors, fabricators, specification writers, and regulatory agencies to meet overall project objectives.

Results My experience with Gensler provided me with invaluable experience. Through working with a wide variety of team members and consultants, I developed a strong aptitude for the production and execution of commercial interior spaces.

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Whatâ&#x20AC;&#x2122;s the difference in issuing for bid, issuing for construction, and issuing for permit?

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Why Do Title Job Captain Date 2006-2009 Employer Gensler Locations Washington, DC San Francisco, CA Abstract CD sets from my years as a job captain with Gensler Contents Text & Illustration by designer and various team members. Audience Design Team, Construction Team, Engineers, Permit Inspectors, & Misc. Clients Inf luences Misc. Professional Mentors Format Drawing Sets Materials Epson Inks HP Paper Fonts Misc. Palette Black & White

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Whatâ&#x20AC;&#x2122;s the difference in issuing for bid, issuing for construction, and issuing for permit?

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Whatâ&#x20AC;&#x2122;s the difference in issuing for bid, issuing for construction, and issuing for permit?

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07.12

Title

Bauhaus Box Challenge In order to train the eye and learn the technical precision of typesetting, students were to create a type specimen box based on antique type specimens and the exercises of typographic masters such as Wolfgang Weingart and Emil Ruder.

Strategy Af ter choosing a t ypeface to work with, I recreated antique specimen sheet s and classic typography exercises by measuring xeroxed copies to nearest point. Professor Jennifer Sterling ensured that our work was precise by comparing my recreations to the originals, encouraging me to fines se them until they were mathematically perfect replicas.

Results The resulting t ype specimen box is not only a compelling ar tifact, but also a visual representation of my grow th as a designer. By first recreating the works of the masters and then designing my own visual exercises, I developed a keen understanding of the subtle nuances of type, as well as a great appreciation for the art of typography.

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Why Do Title Bauhauss Box Date Spring 2007 Course Type Composition Instructor Jennifer Sterling Abstract Type Specimen Audience Typography Enthusiasts Inf luences Vintage Type Specimens Contents Exercises by Weingardt and Ruder. Experimental typography by designer. Format Presentation Sheets Clamshell Box Materials Fabriano Papers Epson Inks Davey Board Fonts Futura Palette Black & White

Question How has the Bauhaus influenced modern typography ?

Title Bauhaus Box

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08.12

Title

The Vandercook Challenge To learn how to properly hand set type, car ve linoleum blocks, create polymer plates, and successfully execute designs using the Vandercook letterpress.

Strategy In in effort to both lessen my attachment to the computer, and gain an appreciation for hand set typography, I completed a sixteen week letterpress course. The course was both cathartic and frustrating, as the quest for precision and perfection was met with cumbersome equipment, hand registration, and on-press revisions.

Results Upon completion of this course, I developed a greater appreciation for hand skills, typesetting, and the history of the graphic design profession. Through the design and production of postcards, broadsides, calling cards, and books, I was able to leave the comfor t of computer design and create a body of work that is tactile, elegant, and one of a kind.

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Why Do Title The Vandercook Date Fall 2008 Course Graduate Letterpress Instructor Macy Chadwick Abstract Letterpress Studio Audience Letterpress Fans Inf luences Push Pin Studios, Folk Art Contents All text and illustrations by designer. Format Calling Cards Postcards Books Broadsides Materials Van Son Rubber Inks Polymer Plates Wood Type Lead Type Fabriano Papers Moab Papers Fonts Trade Gothic Bodoni Letter Gothic Caslon Rockwell Stymie Misc. Wood Type Palette Full Color

Question Do graphic designers need to know how to hand set type ?

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09.12

Title

Tea Cozie Summer Challenge In this course, students randomly drew the name of a product and a corresponding brand, and were charged with designing a successful print campaign celebrating the productâ&#x20AC;&#x2122;s launch.

Strategy Tasked with creating a line of Burberry tea cozies, I took a tongue-in-cheek look at the luxury goods market. Inspired by international fashion magazines and the bizarre editorial styles of Harmony Korine and Marc Jacobs, I produced a unique campaign that focused on the utter frivolity of designer tea cozies.

Results The resulting product launch consisted of large format posters and an oversized tea cozie look book. Photographs featuring malnourished, under caffeinated super models were sourced from a variety of fashion annuals, and reworked to create an eccentric yet cohesive visual language. Vector tea pots placed beyond the modelâ&#x20AC;&#x2122;s reach represent the cat and mouse chase of the luxury market, while elegantly set text in both English and Japanese tell of the relationships between owners and their beloved Burberry cozies.

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Why Do Title Tea Cozie Summer Date Summer 2007 Course Typographic Systems Instructor Jennifer Sterling Abstract Print Campaign Audience Luxury Goods Consumers Inf luences Marc Jacobs, Harmony Korine, Japanese Fashion Magazines Contents Text & Illustrations by designer. Photography by other. Format Book CD Packaging Poster Materials Moab Entrada Paper Epson Inks Fonts Avant Garde Gothic Clarendon Kozuka Gothic Palette Full Spectrum

Question Does anyone under 65 use a tea cozie?

Title Tea Cozie Summer

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No. 1622

P L A I D P I L L C A S E S A N D E V I A N B O T T L E S IN THE UPCOMING COLLECTION.

M OST M O D ELS, MY D I E T CO N S ISTS O F G R E E N T E A, WAT E R, A N D L A X AT IVE S. L W AY S S T A S H E D T H E L A T T E R T W O I N T H E S I D E P O C K E T S O F M Y B U R B E R R Y H A N D A N D B E E N L E F T C A R R Y I N G A N U N S I G H T LY A N D U N C O O R D I N AT E D T E A E. N OW W I T H T H E N E W B U R B ER R Y T E A COZ I ES, I A M A B L E TO CO O R D I N AT E E T T L E W I T H T H E R E S T O F M Y L U G G A G E , T U R N I N G H E A D S W H E R E V E R I G O. E B U R B ER RY I N CLU D ES

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Question Does anyone under 65 use a tea cozie?

Title Tea Cozie Summer

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私に与えることができない。

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月が決してスタイルをぬくぬくとした各

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ティーポットカバー思っていなの B U R B E R R Y 発進居眠り擦りの前に、私の居眠り病が一定の当惑だった. 思って今、私が湯沸かしを取思ってる私との今にも眠りそうな時間紅茶であらゆるところでいっぱいにされた通行人がもはや私をかわいそうに思っていないが、代わりに私の側で擦り寄せられた美しいの包まれたやかんがひどく羨ましいことを知っていて私が彼らが決して治療を見つけてあげないことを一区切りでの望む無意識 B U R B E R R Yや私をかわ

番号. 0 0 1 3

H E L AU N C H O F T H E B U R B ER R Y T E A C OZ Y L I N E, M Y N A R C O L E P SY WA S E S S E M B A R R A S S M E N T. N O W, I TA K E A S I LV E R T E A K E T T L E F I L L E D W I T H M E T E A W I T H M E E V ER Y W H ER E I G O, R EL I S H I N G I N T H E B O U TS O F I O U S N E S S , K N O W I N G T H AT PA S S E R S - B Y A R E N O LO N G E R P I T Y I N G M E A D A R E D E V I L I S H LY E N V I O U S O F T H E B E A U T I F U L B U R B E R R Y W R A P P E D E S T L E D AT M Y S I D E . N O W T H E O N LY T H I N G D I S T R U B I N G M Y S L E E P

N o. 0001

時折の悪夢がそうである

N o.

1622

CASIONAL NIGHTMARE, T H AT I M AY N E V E R B E A B L E TO AFFORD ONE COZY OF EACH ST YLE.

N o. 0081

そのアバーガベニーぬくぬくとしているどのである示した反対側イングランドのの主要産物〔ステープル〕になるのは確実ですヒップ紅茶部屋。アバーガベニーのぬくぬくとしたのキー、以下の通り: 9 ” H X 7 ” W £ のの剃られたミンクカョウ革の選択ラー砂糖と生糸 £ チェックの古典の運送で裏を付けられた余分なティースプーンために £ ファスナー式の内側の £ ポケット二 BURBERRY 重のの £ ポケット二重のストレッチカシミヤダチョウ革の選択で入手可能な小袋外殻ホ £ ワイトゴールドかけられたの調整ョウ革の選択可能なトうな時間性の証明書で完了し紅グル革ひも

N o. 0947

AV E N N Y C O Z Y, W H I C H I S S H O W N O P P O S I T E , I S S U R E T O B E C O M E A S TA P L E H I P T E A R O O M I N E N G L A N D . K E Y F E A T R E S O F T H E A B E R G AV E N N Y C O Z Y L O W S : 9 ” H X 7 ” W £ W AT E R R E S I L I E N T C A N VA S L I N I N G £ S C U B A S T I C H E D £ FAV O R I T E C O Z Y O F T H E R O YA L FA M I LY £ O U T E R S H E L L AVA I L B L E I N O F T E X T U R E D L E AT H E R S £ A D J U S TA B L E P Y T H O N H A N D L E £ PA I R S E X C E L L E N T LY C B L AC K T E A S £ C O M E S C O M P L E T E W I T H A C E R T I F I CAT E O F AU T H E N T I C I T Y

N o. 1658

No. 0013

番号 0 0 1 3

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10.12

Title

Burning Bridges Challenge As a part of a graduate book arts course, students were asked to design a one of a kind artist book around a personal narrative.

Strategy Burning Bridges is an autobiographical account of personal relationships that have been terminated over the course of my lifetime. Deemed beyond repair, these tumultuous relationships were permanently cast aside, an act which was both emotionally and physically taxing. In designing the piece, I attempted to represent the relationships both literally and metaphorically, using scale, materials, and textures to weave a rich narrative.

Results The resulting piece took the format of a series of small books nestled within a matchbox slipcase. Each book was hand bound with raw hemp and beeswax. An excess of hemp, the length of which related to the intensity and duration of the relationship, continues from the binding and wraps around the book, restricting the content from the viewerâ&#x20AC;&#x2122;s eyes.

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Why Do Title Burning Bridges Date Fall 2008 Course Book Arts Instructor Macy Chadwick Abstract Artist Book Audience Book Collectors Inf luences Rachel Melis, Sandy Webster Contents All contents by designer. Format Miniature Books Slip Case Materials Epson Inks Neenah Paper Beeswax Found Matchbox Hemp Twine Diamond Matches Fonts Franklin Gothic Didot Helvetica Neue Rockwell Palette Black & White

Question Can a book tell a stor y without being read?

Title Burning Bridges

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11.12

Title

Going Home Challenge In the Nature of Identity course, students were asked to select a defunct brand and reinvent it through the development of a new identity, visual standards, and the introduction of brand extensions.

Strategy Like many adolescents of the rural Midwest, Boone’s Farm was my first foray into alcoholic beverages. Although I now prefer California Pinots to gas station malt liquor, I retain a nostalgic affection for the brand, which has become a classic symbol of Americana. In reinventing the brand, I returned Boone’s Farm to it’s origins, as locally produced, fruit based liquor. I connected with online Boone’s Farm fan clubs to gain feedback throughout the design process, ensuring that the brand’s evolution would attract new customers as well as retaining loyal followers. Recipe s for the produc t line were garnered by visiting home brew loc ations throughout Ohio and Kentucky, where I learned how to make wines from a diverse list of ingredients that included roadside dandelions and store brand jelly.

Results The resulting brand revolution transformed Boone’s Farm from a sugary malt liquor to an affordable organic wine. Capitalizing on the home brew movement, the brand not only produces organic wines and liquors but also educates consumers on how to legally brew their own. The new brand retains the whimsy of the original Boone’s Farm, replacing Fuzzy Navel and Bahama Breeze with Kentucky Bathtub Whiskey and Dandelion Wine Coolers. In addition to affordable alcoholic beverages, the brand also produces a line of savory snacks and home brew kits.

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Why Do Title Going Home Date Spring 2009 Course Nature of Identity Instructor Hunter L. Wimmer Abstract Booneâ&#x20AC;&#x2122;s Farm Branding Campaign Audience Wine Drinkers & Organic Consumers Inf luences Rex Ray, Farmers Markets, Ohio Contents Text & Illustration by designer. Photography by designer & other. Format Business System Book Packaging Materials Moab Entrada Paper Neenah Paper Epson Inks Birch Veneer Hemp Twine Found Bottles Fonts Lubalin Graph Avant Garde Gothic Crayon Palette Full Spectrum

Question How can the essence of the countr y be captured in a brand?

Title Going Home

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12.12

Title

By The Numbers Challenge In this Urban Archeology project, students were asked to take a quantitative look at San Francisco culture. By selecting a specific artifact and evaluating it from a variety of angles, an in depth cross cultural analysis was produced.

Strategy Using this as signment as a precur sor to my the sis re search, I analy zed the professional design community in San Francisco. I first analyzed the events held by professional design organizations over a three month period, looking at format, location, intent, cost, participation style, subject matter, etc. This material was supplemented by an overview of the design profession, as well as a statistical breakdown of designers living and working in San Francisco.

Results The research conducted for this report was invaluable to the success of my thesis. Through in depth analysis I was able to not only produce a cohesive and factual report, but also learned best practices for data collection and information architecture.

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Title By The Numbers

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Why Do Title Design By The Numbers Date Spring 2009 Course Information Design Instructor George Slavik Mark Roudebush Abstract Quantitative Report Audience Bay Area Designers Inf luences Feltron, Tufte Contents Text & Illustrations by designer. Format Oversized Booklet Materials Moab Lasal Paper Epson Inks Waxed Thread Fonts Trade Gothic Palette Full Spectrum

Question Why do designers join professional organizations?

Title By The Numbers

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A Master’s Thesis Challenge As the culmination of the graduate program, the Master’s Thesis showcases the student’s full range of design skills through the proposal and execution of a complex design project. After proclaiming their thesis intent in front of a review committee, students complete their thesis through a series of one-on-one advisements with local design practitioners.

Strategy My thesis journey star ted with questioning the professional design community. Frustrated with what I saw as missed opportunities in organizations such as the IIDA and AIGA, I wondered, why don’t we have a more integrated design community? Form, my Master’s Thesis, addresses this question, along with numerous others related to the success of the local design community, and the future success of the design industry as a whole.

Results Form, a not for profit organization, is my solution to the fragmentation of the professional design community. An umbrella organization, Form works to unify exis ting national de sig n organiz ations while creating new c ommunic ations platforms that extend outreach to the local community.

Question Why don’t we have a more integrated design community ?

Title Form

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Title

Form Challenge To create an interdisciplinar y design organization that increases collaboration, education, and inspiration in the local design community.

Strategy In completing the research, development, and design of Form, I collaborated with dozens of local and national designers. I structured my process in three phases: research and concept, identity and voice, and environment and application. For the research phase, I worked with design strategist and SPUR designer David Peters. I conducted numerous user group surveys, site observations, community analysis, and one-on-one conversations that were then synthesized into the scope and intent of my thesis. I used this information to write the business proposal for Form, which informed all successive design decisions. After establishing the what and why of Form, I worked with graphic designer Brad Rhodes to develop the visual identity and written voice of Form. I then worked with designer George Slavik to develop the physical and virtual Form environments.

Results Form is not just a thesis, Form is a proclamation for change. It is my hope, that this thesis serve as a catalyst for future discussions, and future change throughout the design community. The single question, ‘why don’t we have a more integrated design community?’ has been answered in the final deliverables of Form: Form: A Maser’s Thesis, Form@ Magazine, & www.formsf.org. The following pages provide a glimpse at Form, please see Form: A Master’s Thesis for the entire thesis story.

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Why Do Title Form Date Summer 2009-Spring 2010 Course Directed Studies Advisors George Slavik David Peters Brad Rhodes Phil Hamlett Abstract Graduate Thesis Project Audience Bay Area Designers Inf luences European Design Organizations, John Thackara, The Bauhaus, Mid Century Modern Design, Origami Contents Text, Illustration, and technical drawings by designer. Photos by designer & other. Format Book CD Packaging Poster Materials Mohawk Papers Moab Papers Finch Papers Arrestox B Bookcloth Epson Inks HP Inks Van Son Rubber Inks Foil Stamping Polymer Plates Fonts Futura Palette Full Color

Question Why donâ&#x20AC;&#x2122;t we have a more integrated design community ?

Title Form

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ENGINEERING

INTER DESI INTERACTIVE DESIGN

LANDSCAPE DESIGN

2D GRAPHIC DESIGN

FASHION DESIGN

FINE AR T

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INDUSTRIAL DESIGN

Intent

Form is giving San Francisco design a place to call home. San Francisco is home to one of the largest and most diverse design industries in the world. Its proximity to the technological innovations of the Silicon Valley as well as its close ties to the Asian market have attracted thousands of design students and practitioners, many whom have made the city their permanent home. In order to understand how Form will support this diverse population, we must first look at how the design community currently functions, as well as identifying the target user groups within the larger design community. The design community of San Francisco has a rich history of talent and innovation. A colorful mix of world renown firms and quirky startups, the industry is supported by local branches of national professional design organizations such as the American Institute of Architects (AIA), International Interior Design Association (IIDA), The Professional Association for Design (AIGA), American Society of Interior Designers (ASID), The Industrial Designers Society of America (IDSA), and The Interactive Design Association (IxDA) among others. In addition to these organizations, the city is home to four universities offering graduate and undergraduate design programs, and playing host to an assortment of lecturers and visiting design fellows.

URBAN DESIGN

While these organizations have, over the years, proven invaluable to professional development and career advancement, they have failed to adapt to changes taking place in the profession, and thus are failing to optimally meet the needs of the local design community. It is Formâ&#x20AC;&#x2122;s goal, that through the establishment of a new type of interdisciplinary design center, the needs of the diverse design community will not only be met, but exceeded. By supporting the agendas of existing design organizations while simultaneously developing new programming, Form will encourage interaction among design disciplines, champion a more active design community, raise the publicâ&#x20AC;&#x2122;s awareness of and appreciation for design, and create a clearer and more accessible network of design resources.

RCHITECTURE

Question Why donâ&#x20AC;&#x2122;t we have a more integrated design community ?

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Studio

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Technology Center

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Visitor Questions Integrated pads allow visitors to ask their own questions, receive feedback, and take the results with them upon leaving Form Question of the Month Each month Form poses a new question about current design events, encouraging the visitors s h ar e t h e ir o p ini o n s o n t h e adjacent note pads

Opinions Industy Trends Form Programming Design Advice Community Development New Products

Story Telling Nooks Plug in your ear buds to hear local designers share design experiences Upholstered Stools Brightly colored stools invite visi tor s to sp end time at the Community Forum, and provide over flow seating for the main hall and gallery

Community Forum-Main Hall Side

Project Rooms Demountable partitions & privacy panels provide visual and acoustical privacy while overall openness of the office space

Project Room

Flexible Signage Room signs with integrated white boards can be updated with daily program changes.

Pin-Up Spaces Located along the perimeter of the open office, pin-up spaces promote collaboration and communication among project teams

Team Spaces & Project Rooms

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FORM Opinions

Opinions

Project Rooms

Industy Trends Form Programming Design Advice Community Development New Products

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About

Education Workshops Design Schools Bookshelf Case Studies Initiatives

Collaboration Pin-Up Space Design Link Mentor Match Job Board Local Resources Our Partners Form Publications

Inspiration Virtual Library Exhibits Weekly Playlist Blog Sphere Conversations

Events Upcoming Events By Category By Series Past Events Space Rental

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Form is based on the principals of radical collaboration, transparency, and bias towards action. By means of the built design center, the central web presence, and an aggressive calendar of programs, Form will rejuvenate the San Francisco design communit y, making the transition from a communit y of obser vations to a communit y of interactions. Form is dedicated to fulfilling each of the following objectives as it strives to promote a more active design community.

Form aims to encourage the enthusiasm that designers have for experimentation rather than deter it. Form aims to encourage the enthusiasm that designers have for ex p eriment ation rat her t han d et e r it. Form aims t o encoura ge t he ent husiasm t ha t d e signe rs ha ve f o r experimentation rather than deter it.

ENGINEERING

URBAN DESIGN

INTERIOR DESIGN LANDSCAPE DESIGN

INTERACTIVE DESIGN

Form embodies a visionar y approach to design, we are not limited by discipline or title, but instead strive to broker relationships & promote projects that reach across all genres of design.

ARCHITECTURE

INDUSTRIAL DESIGN

3D GRAPHIC DESIGN

FASHION DESIGN

FINE ART

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...

What Next Thank You I would like to thank my parents Diana & Richard Vereker for encouraging my curiosity. Thank you to my peers, colleagues, and professors for your suppor t, guidance, and much needed humor. Thank you to my roommate and fellow MFA Stephen Harris III; your patience, laughter, and shared frustration have made this process all the more enjoyable. Special thanks to Phil Hamlett, Mary Scott, Jennifer Sterling, George Slavik, Hunter L. Wimmer, and my colleagues at Gensler for your invaluable mentoring and instruction.

Design Notes This portfolio was designed on a MacBook Pro using Adobe CS3 software. All photos were taken with the Nikon D5000 camera. Art direction was provided by Mary Scott, with photography instruction by Pat Sathienthirakul.

For More Information Why Do was completed by Elizabeth Vereker at the Academy of Ar t Universityâ&#x20AC;&#x2122;s Graduate School of Graphic Design. For more information, please email vereker@ gmail.com or visit www.elizabethvereker.com. Thanks for stopping by.

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Why Do Title Why Do Date Spring 2010 Course Graduate Portfolio Instructor Mary Scott Abstract Graduate Portfolio Audience Potential Employers Inf luences Art Books, Fashion Magazines Contents All photography, text, and illustration by designer. Format Book Web Site Stationary Postcards Materials Finch Paper Fabriano Papers Canson Papers Epson Inks Arrestox B Bookcloth Foil Stamping Typeface Franklin Gothic Bodoni Palette Full Spectrum Printing Andresen Binding The Key Hand Model Ian Cassidy

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