push PULL
designer
mfa portfolio
WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
Contents Selected Works
Obser vations of a New Era / 09 The intellectual consequences of technology The Education Effect / 27 Exploring the positive effects of education on health Slick / 43 The best magazine James Lick Middle School has to offer Capture, Interpret, Share / 55 Re-branding Life Magazine Tomorrow Began Yesterday / 75 A Paul Thomas Anderson film festival Dancing Through Cultures / 93 Celebrating Canada’s multiple cultural heritages Cocoon / 101 Notes on finding a home A Master’s Thesis: Re/view / 113 A visual approach to classic literature
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
Let yourself be silently drawn by the stronger pull of what you truly love. RUMI
00 Introduction
abstract In design, as in life, there are no rules: we are making it up as we go along. However, there are certain forces – people, places, things – that silently guide us along, pulling us near one thing, pushing us away from another. Design is one of those forces, something regarded as exerting power and influence, causing change and producing motion. It has certainly drawn me in.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
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WHITNEY CLARK
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
01
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
We look at the present through a rear-view mirror. We march backwards into the future. MARSHALL MCLUHAN
01 Observations of a New Era
abstract This book is the culmination of a semester-long project that required in-depth research into a topic of our choice. We were asked to translate complex ideas into meaningful messages while also considering the traditional format of a book. approach For this project I was drawn to Marshal McLuhan’s apt predictions and “inventory of effects” of life in the age of digital media. From Plato’s famous mistrust of the advent of the written word to the wariness of the screens we now have within arms reach at all times, I plunged into the debates, the science and the opinions of our generation’s new technologies. I explored the intellectual consequences of technology on our hearts, minds and souls, finding that while we should not dismiss these new technologies as merely distractions, we should acknowledge their influence.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
CONSUMING INFORMATION Exploring how technology affects our minds naturally involved a modest understanding of how the mind works. One of the aspects I enjoyed learning about the most was how our brains processes information through short-term and long-term memory. When we talk about consuming information, it is helpful to understand how that information is digested.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
V I S U A L C O M M U N I C AT I O N S L A B
PHIL HAMLETT, HUNTER WIMMER
O B S E R V AT I O N S O F A N E W E R A
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
02
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
Education is our passport to the future, for tomorrow belongs to the people who prepare for it. M A LC O M X
02 The Education Effect
abstract This group project was completed for a type composition class. Each member of the group was asked to contribute one volume within a series of books all related to the same topic. We were pushed to expand on previously learned principles while also incorporating more advanced concepts such as hierarchy, organization and grid systems. approach Our group explored the positive effects of education on quality of life. My book specifically explored the positive health benefits that correlate with higher education. However, I proposed considering education not only as a way to higher learning but as a means of survival: as a place where life skills are learned, relationships are developed and habits are formed. It is these skills, friends and habits that lead to a greater quality of life.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
A R V I R A Q U E L - S TA M O S , B R E N D A N C A L L A H A N
T H E E D U C AT I O N E F F E C T
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE SYSTEMS
BRENDAN CALLAHAN, ARVI RAQUEL-SANTOS
T H E E D U C AT I O N E F F E C T
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
03
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
Humans are divided between those who can still look through the eyes of youth and those who cannot. DAV E E G G E R S
03 Slick
abstract As an intern at 826 Valencia, a non-profit organization founded by the writer Dave Eggers dedicated to helping under-resourced youth with their writing skills, I created and designed promotional materials as well as print publications of student work. The following magazine was created for the students of James Lick Middle School. approach While working with the James Lick writers, I was able to visit their classroom and discuss the design process for this kind of publication. I worked with the students to find a voice in the photography and quotes that best represented their interests and concerns. Art direction for this project was provided by the 826 Valencia Creative Director, María Inés Montes.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
WRITINGS ON THE WALL For this issue of Slick magazine, I picked an article discussing the murals found in the Mission District of San Francisco to highlight for the cover. The local focus allowed me to photograph the murals myself.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
DIRECTED STUDY INTERNSHIP
MARÍA INÉS MONTES
SLICK
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
04
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
By the 1930s it was no secret that individuals responded strongly to photographs, though their spectrum was narrow, consisting largely of cheesecake and murder. V I C K I G O L D B E R G & R O B E R T S I LV E R M A N
04 Rebranding Life
abstract For this project we were asked to re-imagine a dead, dying or defunct brand. By exploring our chosen brand’s history, personality, heart and soul we brought these elements back to life through the creation of a new brand identity complete with programs and extensions. approach What better brand to bring back to life than Life (magazine) itself? While creating new expressions for Life, the identity continued to focus on telling a story, namely on capturing the narrative that visualizes the dreams, meaning and significance of our times.
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A WINDOW INTO THE WORLD Founded in 1883 by John Ames and Andrew Miller at a studio in New York City, Life magazine became a window into the world of the arts, sciences and technology. Photojournalism as we know it today is thought to have been invented by Life.
Project 00 01 02 03 04 05 06 07 08
course
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title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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WHITNEY CLARK
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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NEW LIFE, NEW MARK The new Life mark is a logo enclosure that houses value-adding content, such as color or photo elements, allowing it to be remixed in a variety of ways. The mark was created with this flexibility and adaptability in mind because it aspires to do more than tell a story but create a shared experience as well. This establishes a more personal connection with the new Life brand audience.
Project 00 01 02 03 04 05 06 07 08
course
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title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
N AT U R E O F I D E N T I T Y
H U N T E R W I M M E R , GA S TO N YAG M O U R I A N
REBRANDING LIFE
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
05
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
I had older brothers and sisters who were doing drugs and playing rock music. I was watching. PA U L T H O M A S A N D E R S O N
05 Tomorrow Began Yesterday
abstract Over the course of the semester we planned and designed a film festival around the works of a director of our choice. One of the first things we were tasked with was to find a common thread, or theme, throughout our chosen director’s films. This theme would not only inform our design decisions but the type of festival we imagined as well. approach I chose Paul Thomas Anderson as the director for my festival. His films are emotionally direct and keenly felt as he shows people as they truly are: messy, tragic and desperate, and life as it really is: often uncomfortable, sometimes beautiful, but always out of our control. The characters in Anderson’s films attempt to escape their past but find that not only can they not break free of their personal history, but their past informs, and often ruins, their future as well.
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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Project 00 01 02 03 04 05 06 07 08
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I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
LARGOT AT THE CORONET THEATER Largo’s understated aesthetic and wildly varied creative legacy was a perfect venue for Anderson’s film festival. Like the different side of the San Fernando Valley that Anderson shows us in many of his films, Largo at the Coronet Theater shows you a different side of Hollywood as well.
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
I N T E G R AT E D C O M M U N I C AT I O N S
HUNTER WIMMER
TO M O R R OW B E GA N Y E S T E R DAY
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE FORMS
M I C H A E L S A I N AT O
D A N C I N G T H R O U G H C U LT U R E S
06
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Project 00 01 02 03 04 05 06 07 08
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TYPE FORMS
M I C H A E L S A I N AT O
D A N C I N G T H R O U G H C U LT U R E S
And those who were seen dancing were thought to be insane by those who could not hear the music. FRIEDRICH WILHELM NIETZCHE
06 Dancing Through Cultures
abstract While building on principles of typography such as hierarchy, scale and composition, we were asked to create a brochure and poster for a dance festival of our choice. The folded deliverable needed to be both useful and usable as an order form as well. approach The dance festival I chose focused on modern dance and sought to incorporate all of Canada’s multiple heritages. I wanted the overall look and feel to be modern while also showing the idea of many elements coming together to create a more beautiful and compelling whole.
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE FORMS
M I C H A E L S A I N AT O
D A N C I N G T H R O U G H C U LT U R E S
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
TYPE FORMS
M I C H A E L S A I N AT O
D A N C I N G T H R O U G H C U LT U R E S
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
07
101
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Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
At a certain season of our life we are accustomed to consider every spot as the possible site of a house. H E N R Y DAV I D T H O R E A U
07 Cocoon
abstract With our immediate environment as our subject, we were tasked with creating a book that explored our visual observations of the world around us. The result was a compilation of personal writing, research and photography. approach While creating this book I was in the midst of moving from a four bedroom apartment I shared with friends to a one bedroom apartment I would be sharing with my boyfriend. I wanted to convey the logistical side of moving possessions from one space to another while juxtaposing that imagery with more personal observations. These considerations were accompanied by literary and historical antidotes focusing on the concept of a home.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
instructor
title
E X P E R I M E N TA L T Y P E
S TA N Z I E N K A
COCOON
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
advisors
title
DIRECTED STUDY
CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
08
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A Master’s Thesis
abstract The thesis project is the primary means by which graduate students acquire and demonstrate the advanced abilities that set them apart from their undergraduate peers. After proposing an idea for a complex design project in front of a review committee, graduate students complete the goals they set for themselves through a series of oneon-one advisement with designers in the community at large. Over the course of completion, emphasis is placed on resourcefulness, risktaking, initiative and productivity.
Project 00 01 02 03 04 05 06 07 08
course
advisors
title
DIRECTED STUDY
CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
advisors
title
DIRECTED STUDY
CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
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Project 00 01 02 03 04 05 06 07 08
course
advisors
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DIRECTED STUDY
CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
Design needs to be about making complex, abstract ideas visible. HUGH DUBBERLY
08 Re/view
abstract While completing my bachelor’s degree, and before I even knew what graphic design was, I had already begun my thesis journey. My love of language and books began early and I followed this passion into the comparative literature and French departments of my undergraduate university. I was compelled by what the words had to say, but often this was not so easily discernible and I began drawing diagrams for myself in my tougher literature and philosophy classes. Whether they were character maps charting relationships between characters in a novel or drawing out Plato’s cave allegory, I always found it helpful to have a diagram to organize, compress and simplify what I was reading. When I entered the world of graphic design I began thinking about how this inkling of better understanding complex ideas through visuals could be transformed into something bigger. I questioned if there were better ways to teach novice students of literature the abstract concepts that are sometimes difficult, inaccessible or overlooked.
approach Re/view, an educational company with a focus on alternative approaches to literature, is my solution to the idea that written works can be made more approachable and understandable through visuals. Re/view acts as an umbrella organization for smaller facets of the company, such as Re/view Shakespeare or Re/view Melville that focus on creating materials for specific authors.
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PUSH / PULL
Project 00 01 02 03 04 05 06 07 08
course
advisors
title
DIRECTED STUDY
CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
The tools produced by Re/view act as a way to delve deeper into well-studied themes, to prompt thoughtful, nuanced questioning and to show that there is more than one way to approach and access literature. see what you’ve been missing Since the advent of television and the photojournalism of Life magazine,
Re/view Shakespeare is a collection of visual tools for novice students
we have been transitioning to a more visual world. We have come to
of the Bard. The tools are intended to provide a highly visual, and
favor pictures over words, sound-bites over novels. This cultural shift
alternative, approach to the written word and focus on problems often
parallels a recent study done by the National Endowment for the Arts
faced by readers of Shakespeare such as language, plot, structure as
that documents not only a decline in both book and literary reading
well as character hierarchy and relationships. The tools produced by
over the last 20 years but an increase in the rate of that decline as well.
Re/view are in no way a replacement for the text; instead they act as a
Over this same period, young adults have gone from being those most
way to delve deeper into well studied themes, to prompt nuanced and
likely to read literature to those least likely. This is not to say that we
thoughtful questioning and to demonstrate that there is more than one
should abandon our Austen and our Faulkner, but we should take this
way to approach and access not only this text, but any text.
opportunity to explore how we can put these new tools and insights to work for our old information, poetry and prose. While it has been shown that supporting written or spoken language with charts, diagrams or photographs, learning can be facilitated and retention reinforced this is not very common in literature classrooms.
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PUSH / PULL
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CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
VISUALIZING SHAKESPEARE Other than the educational tools and classroom resources, the Re/view brand hosts lectures, conferences and events focused on how technology, social media and reading can combine to create better learning.
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CA R O L I N A D E B A R TO LO , DAV I D P E T E R S & GA S TO N YAG M O U R I A N
RE/VIEW
THAT’S WHAT HE SAID The cards featured on this page are intended to be used in classrooms as a way for teachers to support their instruction of Hamlet. Shakespeare’s language can feel intimidating and inaccessible. This language game, based on the same idea used in the game Mad Libs, shows students that the text is not sacred and that it can be more manageable when it’s played with and made to be their own.
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READY TO SLING SLANDER Whether you are new to Shakespeare or simply eager for another way to approach his work, 55 Insults: Ready to Sling Slander from William Shakesepare provides a visual interpretation of the best expletives and abuse the Bard had to offer. While not a complete index, this book supplies both the novice and the aficiando with a novel rendering of many of Shakespeare’s insults.
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CA R O L I N A D E B A R TO LO , DAV I D P E T E R S
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SHAKESPEARE IS JUST THE BEGINNING While Shakespeare is a start, Re/view provides those reading and teaching any text with resources to approch that text in a new way. Whether you’re reading Moby Dick or The Adventures of Huckleberry Finn, Re/view demistifies the text through a visual and alternative approach.
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WHITNEY CLARK
PUSH / PULL
Project 00 01 02 03 04 05 06 07 08 +
It takes a whole village to raise a child. NIGERIAN PROVERB
Thank You
my family While I am no longer a child, this journey would not have been possible without the love and support of my own village of people. I want to thank my parents, Merri Sue and Richard Clark, for instilling the pursuit of a passion and of happiness above all else. Thank you for alleviating my many moments of doubt and fueling my few moments of confidence.
my other half To Matt for keeping me grounded and laughing at my stress, you give me perspective and truly save me from my self. I imagine that you didn’t know what you were getting into with this master’s program but I can’t thank you enough for your patience and understanding while I followed my dreams.
my instructors, advisors and peers Thank you for always pushing me to do better, for offering insights and sharing frustrations. A special thanks to my thesis advisor, Gaston Yagmourian, who never ceases to instill a child-like sense of excitement in me, and my portfolio instructor Mary Scott, whose endless dedication and genuine interest in each and every one of her students makes this grand feat not only possible, but enjoyable.
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WHITNEY CLARK
Š 2012 All rights reser ved. No part
course
of this publication can be reproduced
W H I T N E Y. C A . C L A R K @ G M A I L . C O M
PORTFOLIO SEMINAR
without the express permission of
telephone
instructor
Whitney Clark.
541 206 4235
MARY SCOTT
website WHITNEYCACLARK.COM
title of book PUSH/PULL
academy of art university
typefaces
SCHOOL OF GRAPHIC DESIGN
GARAMOND, DIN
79 NEW MONTGOMERY STREET SAN FRANCISCO, CA 94105
photography W H I T N E Y C L A R K , E R I C LO
printing department chair MARY SCOTT
department director PHIL HAMLETT
assoc. dept. chair
GIANT HORSE
binding & stamping THE KEY
text stock 100 LB FINCH
HUNTER WIMMER
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