EQUAL +
OPPOSITE
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EQUAL +
OPPOSITE
MFA PORTFOLIO Selected works of Vincent Tam from 2013-2017
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// This book, along with all that I have accomplished throughout this journey in graduate school, is dedicated to my mom.
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FOR MOM... In no greater way has my life and personhood been formed than by you. In more ways than I can ever even know, you are the reason for the level of grace, humility, love, and compassion I have for life, and the ultimate faith and hope I have in God. I would not be the thoughtful, caring, and passionate person that I am without the example of your character, and the pieces of my heart and soul that stand as a direct gift of your being. Naturally, such qualities extend to my very strengths as a designer, and the work that is reflected in the pages of this book. I love you, and as much as I know you are looking down proud, a part of me will always wish you were here to see me through as I continue on fulfilling my life and enriched career as a designer. Nevertheless, I take comfort in knowing that you will forever be in my heart as I strive to honor you and make you proud...
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// For every action there is an equal and opposite reaction. — I S A A C
( – ) 0 0 6
N EWTON
INTRODUCTION
EQUAL +
OPPOSITE
MFA PORTFOLIO
A BALANCE OF UNLIKE FORCES...
Selected works from 2013-2017
The paradox of stillness and harmony is that it comes as the result of a balance between unlike but necessary forces. As it is with all things in the human world, there are blacks and whites which exist as conditional opposites. However, it is the gray between them that creates a meaningful relationship amid the two, providing true depth to the overall picture. Just as the laws of gravity govern the balance of order and chaos in our world, the opposing realms of technical and creative thinking and application are vital entities which play a fundamental role in yielding optimal design solutions. While practical investigation and analysis engages the mind to understand and define purpose, creative thought and experimentation is what connects that information to beauty and value. It is the age-old push and pull between function and form. The logic of science and the elusiveness of art both stand as opposing forces, but remain equally integral to creating design that not only works, but also bears substance and meaning.
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// Table of Contents
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TABLE OF CONTENTS
011
NATURAL + CONSTRUCTED
_
Rooftop Architecture Poster Series
029
CHAOS + FATE
_
Grave Happenings Film Festival
061
WILD + HUMAN
_
Jack London Book Series
073
CONCRETE + GRAY
_
Street Dreams
103
ORGANIC + ORDERED
_
Nature’s Footprint
119
UNITE + DIVERSIFY
_
Scouts of America
147
CONSERVE + WASTE
_
Sandform
161
CREATIVITY + GRIT
_
MakeKit (MFA Thesis)
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// To develop a complete mind: study the science of art; Study the art of science. Learn how to see. Realize that everything connects to everything else. — L EO NA RD O
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D A
V IN C I
NATURAL + CONTRUCTED // ROOFTOP ARCHITECTURE POSTER SERIES
NATURAL + CONSTRUCTED
PROJECT
(-) objective
Rooftop Architecture Poster Series
A set of three posters were created in order to reflect the spirit of architecture through the exploration of 3D typography as a central piece of
COURSE
imagery. More specifically it was determined that the posters would
Type Experiments
function together to represent a lecture series around the central topic of “Rooftop Architecture,” and the valuable ways that it can impact the
INSTRUCTOR Katherin Blatter
TERm Spring 2014
DELIVERABLES Poster Series (3)
future of sustainability and conservation in the design of buildings.
(+) concept After identifying the appropriate set of subtopics, rooftop runoff, rooftop landscapes, and solar rooftops, a cleverly allusive, yet sharp and simple, set of the corresponding words, “Flow,” “Grow,” and “Stow” were chosen to signify each poster. The words were also intended to reflect the elements of water, plant-life, and the sun as the three pillars which exist at the core of sustainable living.
(=) design Outdoor photography was chosen as an appropriate medium to capture a certain environmental feel and sensibility. Each photo was taken within an appropriate rooftop setting to communicate a literal picture of being in an elevated space. In a more figurative sense the vast backdrop of the sky is used to communicate a sense in which conservation and green design exist as the answer to a bright and open future. The type itself was formed and created out of bent steel wire and modeled after a condensed san-serif typeface to reflect a geometric form and sense of structural height consistent with the subject matter and theme of architectural design. The use of metal, a material commonly associated with outdoor structures, was displayed in an environmental context in order to depict a sense of being “exposed to the elements.”
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UNIQUE LOOK AT
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LECTURE 01_
THE TOP A lecture series about the world of rooftop architecture, and the valuable ways it can impact the future of sustainability and conservation in the design of our buildings.
DECEMBER 2014_12th through 14th SF MOMA_San Francisco, CA
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A UNIQUE LOOK AT
THE TOP A lecture series about the world of rooftop architecture, and the valuable ways it can impact the future of sustainability and conservation in the design of our buildings.
DECEMBER 2014_12th through 14th SF MOMA_San Francisco, CA
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LECTURE 03_Solar Rooftops
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// A good marriage would be between
a blind wife and a deaf husband. — M I C H EL
( – ) 0 2 8
D E
MON TA IGN E
CHAOS + FATE // GRAVE HAPPENINGS FILM FESTIVAL
C H A O S w i l d +
F AT E
PROJECT
(-) objective
Grave Happenings Film Festival
This was a semester-wide project in which a large unified set of deliverables was created to reflect a conceptual thread identified through the
COURSE Integrated Communications
director’s artistic style, and common themes spanning across each film.
(+) concept
INSTRUCTOR
Grave happenings is a hypothetical film festival positioned around a
Christopher Morlan
select number of films by the Coen Brothers. The unified film festival thread is denoted by the following:
TERm
THE FOLLY OF BLIND AMBITION, FUELED BY DESPERATION, IS WHAT INEVITABLY
Spring 2015
TRIGGERS A DOMINO EFFECT OF POOR DECISIONS THAT ARE ULTIMATELY DOOMED TO DESOLATE CIRCUMSTANCES. DISGUISED AS MERE HAPLESSNESS, SUCH GRAVE MISFOR-
DELIVERABLES
TUNES ARE IN FACT A PRODUCT OF OUR OWN UNDOING; WE ARE UNAWARE THAT WE’VE
Poster
BEEN IN FACT “DIGGING OUR OWN GRAVE” ALL ALONG.
Catalog DVD Box Set
(=) design
Sountrack
Aesthetically, careful designs considerations were made to both symbol-
Products
ize and capture the central themes identified in the film festival thread.
Event Ticket
A consistent photographic style was illustrated by a staged hodgepodge
Website
of seemingly random items. The visual inconsistencies inherent to a
Stationery
typewriterface were used to reinforce the theme of uncontrolled haplessness and instability. Nonsensically scribbled lines and circles, scattered throughout as a graphic element, were also applied in the same vein. As an extension, core materials used were scuffed paint, worn wood, and rusted metal to communicate a sense of deterioration and the exposure to the unforgiving nature of circumstance. In keeping with this notion, burnt and wrinkled vellum paper was also consistently applied across all printed materials. Deliverables were encased in salvaged containers (a pipe, film reel canister, tool box, etc.) as a point to house each item within cases that they don’t necessarily belong in.
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THE COEN BROTHERS
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E Q U AA LL ++ OOPPPPOOSSI TI TE E / / / S SEELLEECCTTEE DD W O R KK SS OOFF VVI NI NC CE EN TN TT ATMA M
// There are unknown forces in nature; when we give ourselves wholly to her, without reserve, she lends them to us; She shows us these forms, which our watching eyes do not see, which our intelligence does not understand or suspect. — A U G U STE
( – ) 0 6 0
ROD IN
wild + human // JACK LONDON BOOK SERIES
W I L D w i l d
+
H U M A N
PROJECT
(-) objective
Jack London Book Cover Series
A book cover series redesign was performed for renowned American author Jack London, and his most noted novels, Call of the Wild and White
COURSE Type Composition
Fang, along with a collection of short stories.
(+) concept
INSTRUCTOR
A large illustration of the entire state of Alaska bridging each of the three
Andrew Loesel
books was used in part as an overarching element to visually join them as a set. In a larger sense, the primary intention was to conceptually commu-
TERm Spring 2013
DELIVERABLES Book Cover Series (3)
nicate the immense and overwhelming vastness of the Yukon wilderness.
(=) design Design decisions were made to carry out the unified themes identified in the books. The elemental properties of watercolor were used to evoke a sense of organicness and nature. In much of the same way, fingerpainted and handwritten type were applied to further integrate a certain human component.
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wild + human // JACK LONDON BOOK SERIES
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wild + human // JACK LONDON BOOK SERIES
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wild + human // JACK LONDON BOOK SERIES
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wild + human // JACK LONDON BOOK SERIES
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// After a high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form. The greatest scientists are also artists as well. — A L B ER T
( – ) 0 7 2
EIN STEIN
concrete + gray // STREET DREAMS
C O N C R E T E w i l d + G R AY
PROJECT
(-) objective
Street Dreams
This was a semester-wide project in which the scope was to choose an existing non-profit organization to then develop an entirely new brand
COURSE
and identity system for. The organization chosen for the project was
Type Systems
Stand Up For Kids, a non-profit that aims to support homeless and at-risk youth and equip them with resources and skills that will help get them off
INSTRUCTOR Katherin Blatter
TERm Fall 2013
DELIVERABLES Logo Book Event Ticket Website App Sinage + Wayfinding
the streets in pursuit of a more fruitful life.
(+) concept As a point to humanize the life and struggle of homeless and at-risk youth, design choices were made to reflect the overarching theme that “we all have dreams” despite our backgrounds and experiences. This central concept was delivered through a foldout feature within the book design. Each included a front-facing photograph of two different people that would then open from the center to reveal each of their dreams and passions. The idea was to provide an interactive juxtaposition of two people, who on the surface both have their own dreams and passions, however one also happens to be struggling with homelessness.
(=) design Aesthetically, designs were carried out entirely in black, white, and gray. This was to offer an underlying symbolism in the irony of homelessness as a social issue, which many people treat as black and white when in reality there is much misunderstood gray area. Core materials used were cardboard, duct tape, and newsprint paper to support a vernacular that conveys a certain sense of grittiness and the constant need to collect salvaged items, and “make due with what you have.” A mentality that is often associated with homelessness and the city streets.
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concrete + gray // STREET DREAMS
STAND UP FOR KIDS
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concrete + gray // STREET DREAMS
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concrete + gray // STREET DREAMS
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concrete + gray // STREET DREAMS
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OLD, YOUNG, RICH, POOR, HOUSED, OR HOMELESS
WE ALL DESERVE A second chance, a third... As many as it takes. The safety of a roof to sleep under. A full stomach. The chance at an education. An opportunity to earn a living. Genuine friendship and community.
BUT MORE THAN ANYTHING...
A CHANCE TO DREAM. Enter Site
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concrete + gray // STREET DREAMS
ABOUT US
STAND UP FOR KIDS
OUR MISSION
I LOVE TO PLAY SPORTS.
SIGN UP TO GET CONNECTED, AND RECEIVE NEWSLETTERS AND UPDATES ABOUT OUR WORK.
First Name
OUR KIDS
SUPPORT
MEDIA
BLOG
CONTACT US
I HOPE TO ONE DAY OPEN MY OWN BAKERY. Last Name
Your Email
Submit
OUR RECENT NEWS STREET KID OF THE MONTH
OCTOBER ART SHOW PHOTOS
DOWNLOAD OUR NEW APP!
Read about how Jeanie, one or our kids at our Los Angeles chapter, buckled down and finally got herself a job and off the streets for the first time in three years.
See featured artwork and gallery of our most successful art show turn out so far as we travel across the country on our second annual Art Walk Across America.
The Stand Up For Kids App is finally out! Download it to connect with your local chapter right on your phone and keep up with what our kids are up to.
READ MORE
READ MORE
READ MORE
STAND UP FOR KIDS | 83 WALTON STREET, SUITE 300 | ATLANTA, GEORGIA 30303 | 800.365.4 KID
CONNECT WITH US
©2009-2013 . Stand Up For Kids is a 501(c)(3) not-for-profit organization
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OLD, YOUNG, RICH, POOR, HOUSED, OR HOMELESS
WE ALL DESERVE A second chance, a third... As many as it takes. The safety of a roof to sleep under. A full stomach. The chance at an education. An opportunity to earn a living. Genuine friendship and community.
BUT MORE THAN ANYTHING...
A CHANCE TO DREAM. Enter Site
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concrete + gray // STREET DREAMS
STAND UP FOR KIDS
OLD, YOUNG, RICH, POOR, HOUSED, OR HOMELESS
WE ALL DESERVE A second chance, a third... As many as it takes.
I LOVE TO PLAY SPORTS.
The safety of a roof to sleep under. A full stomach. The chance at an education.
MENU
I HOPE ONE DAY TO OPEN MY OWN BAKERY.
An opportunity to earn a living.
MUSIC AND ART SHOW IN NOVEMBER
A CHANCE TO DREAM. Enter Site
STAND UP FOR KIDS
Join your local chapter for our November music and art show to support the dreams of homeless youth who have a passion for the arts. If you sponsor, this is a great opportunity to meet your kid! HOLIDAY GIVE-AWAY For some people, the holidays are the hardest time of year. For homeless kids its just another reminder for everything that they don’t have. Join your local chapters weekly give-away to support our kids through the holidays. Read more.
WHO WE ARE
MENU
Stand up for kids is a not-for-p organization founded in 1990 t
ABOUT US OUR MISSION
Genuine friendship and community.
BUT MORE THAN ANYTHING...
STAND UP FOR KIDS
MENU
OUR KIDS SUPPORT MORE...
I LOVE TO PLAY SPORTS.
I HOPE ONE DAY TO OPEN MY OWN BAKERY.
rescue homeless and at-risk y Our main headquarters are loc Atlanta, Georgia. We are run a entirely by volunteers, and hav established more than 35 outr programs in over 18 states. Vo teers fill a variety of positions as executive director, public re manager, community resource tor, outreach and apartment su directors, and adult training di tors. The Stand Up For Kids organization is currently recog as the largest all-volunteer cha organization dedicated to mak difference to street kids that a at-risk or homeless within the States.
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CHOOSE LOCAL CHAPTER
STAND
OLD, YOUNG, RICH, POOR, HOUSED, OR HOMELESS
WE ALL DESERVE A second chance, a third... As many as it takes.
California
Choose City...
The safety of a roof to sleep under. A full stomach. The chance at an education.
DONE
An opportunity to earn a living.
STAND UP FOR KIDS
Genuine friendship and community.
BUT MORE THAN ANYTHING...
Select San Francisco (CA)
(CA) A CHANCE TO DREAM. A CHANCE Oakland TO DREAM.
Hollywood (CA) San Diego (CA)
1
Hello, my name is Skylar and I love to paint. When I was eleven years old, I was
14
SKYLAR
put in foster care because my Mom was addicted to drugs and couldn’t hold a decent to support After moving AGEjob EIGHTEEN | SAN me. FRANCISCO, CA
LQ DQG RXW RI DERXW ÀYH IRVWHU KRPHV , hitched a bus out to the city at age
I LOVE TO PAINT.
(–) 098
VL[WHHQ WR PDNH LW RQ P\ RZQ , ÀJXUHG LW was better than relying on people that didn’t want me around anyway. My dream is to one day get off the streets for good and become a successful painter.
RECENT POSTS
1
ARTWORK
3
SPONSOR ARTIST
6
concrete + gray // STREET DREAMS
EXPLORE ARTISTS
STAND UP FOR KIDS SF
Search artists
NOVEMBER MUSIC AND ART SHOW
JOSEPH
7
14
3d ago
I HOPE ON DAY TO OPEN MY OWN BAKER
COOK PORTLAND, OR
BRIAN WRITER DENVER, CA
SKYLAR PAINTER ATLANTA, GA
CASSIE WRITER SAN FRANCISCO, CA
DRE
Come join us for our November music and art show to support the dreams of homeless youth who have a passion for the arts. To learn more about our 35 outreach programs in over 18 posi states. Volunteers fill a variety of positions, such executive director, public relations manager.
MUSICIAN NEW YORK CITY, NY
DEZZIE SINGER CHICAGO, IL
BRIAN WRITER DENVER, CA
ARTWORK Adolescent Awe
26 likes
SPONSOR
Help Skylar meet her monthly allowance for art supplies!
TARGET THIS MONTH: AMOUNT RAISED:
skylarthekid Thanks guys! Hope to see you at the show in november! @vincent.tam @sfpainter55 vincent.tam Awesome! Good work! @skylarthekid sfpainter55 Agreed! @standup4kids.sf Can’t wait to see more at the art show next week! #novmusicandartshow
$30 $21
VINCENT.TAM
$5 DONATION AMOUNT
SPONSOR ME!
$1 $2 $5 $10
ONE TIME DONATION
DONATE!
VINCENT TAM GRAPHIC DESIGNER SAN FRANCISCO, CA
MY PROFILE ALERTS SPONSORED KIDS MY POSTS
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// Those Dutchmen had hardly any imagination or fantasy, but their good taste and their scientific knowledge of composition were enormous. — V I NC ENT
( – ) 1 0 2
VA N
GOGH
ORGANIC + ORDERed // NATURE’S FOOTPRINT
O R G A N I C w i l d + O R D E r e d
PROJECT
(-) objective
Nature’s Footprint
An iPad brochure was created around the chosen topic of Dendochronology, or the study of tree-ring growth patterns as a method of scientific
COURSE
dating. The goal was to explore the ways in which typography itself can
Type Experiments
tell it’s own story both in its physical appearance and representation, as well as in a figurative manner.
INSTRUCTOR Katherin Blatter
(+) concept The paradoxical combination of bold wood type and a clean geometric
TERm Fall 2014
DELIVERABLES iPad Brochure
san-serif type were chosen to represent the contrasting relationship between science and nature. Tall vertical columns of body text, varying in height, were utilized to mimic the physical properties of trees.
(=) design Other more subtle treatments in layout and type were also used, such as a stacked vertical page numbering system, to simulate the counting of tree-rings themselves. Nonsensically set type was used to mirror the unpredictability of nature. In addition, the playful and purposeful interaction of type and imagery was applied to relate to the subject matter.
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ORGANIC + ORDERed // NATURE’S FOOTPRINT
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NATURE’S FOOTPRINT THE S C IE NC E O F TRE E RING DATING
(–) 106
ORGANIC + ORDERed // NATURE’S FOOTPRINT
TABLE OF CONTE NTS
21 A Connected World
08 The Science
03 The History
24 Contact & Info
11 The World of Dendro
06 Dendro Defined
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EA EN
NW TH A (–) 108
A
P T IS
ERCEIVED
URF ACE
H
WH
HID
ANT S LAT
AT
S LI E
L
YB
DE
NB
US
IO
L
K L O U DE R
OB V
WI
EA L SP
THE
T
ON
H
ORGANIC + ORDERed // NATURE’S FOOTPRINT
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Were does it all begin?
1937
Life always finds a way Growth from within
1894
24 23
Douglas establishes Laboratory of Tree-Ring Research at University of Arizona
22 21
Dendochronology is established by Douglas
20 19
Beginnings
18 The roots of time
17
Where there is a will there is a way The circle of life
16 15 14
Only time will tell... Mother nature speaks
Introduction of the Principle of Uniformatism
13
1785
12 11 10 09 08
Nothing is nigh
07 06 05 04 03 02 01
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ORGANIC + ORDERed // NATURE’S FOOTPRINT
CONNECTED
A WORLD
24 23
The physical world is connected in all facets, and trees exist as the natural
PILLARS OF TIME
22 21 20 19
on
18 17 16
our earth—standing as a powerful timeline of the past.
15 14 13 12 11 10 09 08 07 06 05 04 03 02 01
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ORGANIC + ORDERed // NATURE’S FOOTPRINT
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The way dendrochronology works is relatively simple. As a tree grows, it puts on a new growth or tree-ring every year, just under the bark. Trees grow, and put on tree-rings, at different rates according to the weather in any given year: a wider ring in a favourable year and a narrower ring in an unfavourable year. As a result, over a long period of time (say 60 years or more) there will be a corresponding sequence of tree-rings giving a pattern of wider and narrower rings which reflect droughts, cold summers, etc. In effect, the span of years during which a tree has lived will be represented by a certain unique fingerprint, which can then be detected in other significant and also geographically-similar tree-ring chronologies.
UNTIL RELATIVELY RECENTLY, RADIOCARBON dating of wooden objects was the only known scientific method of dating wooden objects. Although in general it was always successful, dated produced would have a range of plus or minus 20 years at best, and at worst could span two centuries or more. And this only dated the actual rings sampled for C14 analysis; the tree may well have continued to live for decades or even a century or more afterwards. In the 1970’s a new scientific method of dating buildings was developed in this country - dendrochronology. Here was the answer to the building historian’s dream, an absolute dating process accurate to a single year, if not the season the tree was felled. The potential of this in studying the development of timber-framing was quickly realised by one of the early pioneers of the science, Dr John Fletcher, who began to investigate the medieval buildings of the Oxford region between 1974 and 1986.
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To obtain this fingerprint, a radial section of timber from the pith or centre of the tree out to the bark edge is required (see sampling procedures). Once prepared, they are then measured under a x10/x45 microscope using a travelling stage electronically displaying displacement to a precision of 0.01mm. Thus each ring or year is represented by its measurement which is arranged as a series of ringwidth indices within a data set, with the earliest ring being placed at the beginning of the series, and the latest or outermost ring concluding the data set. It should be noted that, for a variety of reasons, tree-ring dating can not always be successfully applied. For example, timbers may be too fast-grown with fewer, complacent rings, or from slower grown trees with distorted ring sequences due to pollarding or other damage. In neither case are they generally datable. Most historic roofs and timber-framed buildings were made from oak, which is the most suitable species for successful tree-ring analysis. Although elm and beech can also be dated and matched with the oak chronologies, elm in particular can often contain distorted and fast-grown rings making routine dating at times difficult.
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ORGANIC + ORDERed // NATURE’S FOOTPRINT
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THE SCIENCE THAT USES TREE RINGS TO STUDY present climate and reconstruct past climate. For example, the process can be used in analyzing ring widths of trees to determine how much rainfall fell per year long before weather records were kept.
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.. T H AT C O N N E C T.
T H AT W E F I N D . S CLUES BUT ALSO CLUE
T H E PA S T I T I S N O T O N LY
T H E L AY E R S ,
WHEN WE PEEL BACK
THE FUTURE ...THE PRESENT TO
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// The creative process is a cocktail of instinct, skill, culture and a highly creative feverishness... a mixture of consciousness and unconsciousness, of fear and pleasure. — F R A NC I S
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B A C ON
UNITE + DIVERSIFY // SCOUTS OF AMERICA
U N I T E w i l d +
D I V E R S I F Y
PROJECT
(-) objective
Scouts of America
A semester-wide project in which a dead, dying, or defunct brand was chosen for re-branding. The goal was to reimagine and resurrect the
COURSE
brand in a new light without departing from the core soul that gave it
Nature of Identity
original significance and meaning. The re-branding process was carried out through three phases of research, development, and standardization
INSTRUCTOR Hunter Wimmer
TERm Spring 2016
DELIVERABLES Visual Development Guide Visual Strategy Guide Visual Standards Guide
of a renewed identity, mission, and vision.
(+) concept The original soul of the original Boy Scouts of America was identified under the statement, “To empower young boys with the kinds of upstanding values and practices that will help build them up as tomorrow’s leaders.” The renewed brand mission extends this notion of “building up tomorrow’s leaders” in more explicit terms that centered around service of others and the extension of “community, empathy, and service to all people.”
(=) design The new “Scouts of America” brand and logo is represented by the illustration of three points coming towards one another and clasping together to symbolize the three unified pillars of “community, empathy, and service.” However, at the same time, certain ambiguities of the symbol pay homage to its roots with vague resemblances to the trefoil represented by the original logo. To carry out the vision of the renewed “Scouts of America,” three brand guidebooks were designed and created to capture the phases of research, development, and standardization of its new identity. The design of the books themselves was to encompass a modern take of the scouting handbook. In addition, a website was created as a platform to illustrate a comprehensive set of brand extensions that would bring the renewed identity and vision to life.
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// Try to put well in practice what you already know; and in so doing, you will in good time, discover the hidden things which you now inquire about. — R EM B R A N D T
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H A RMEN SZOON
VAN
RIJN
Conserve + waste // SANDFORM
C O N S E R V E w i l d + WA S T E
PROJECT
(-) objective
Sandform
A project in which the goal was to define a real world problem and explore how design can be used to educate, inspire, and empower action and
COURSE
change. The topic that was selected surrounded the issue of ocean and
Visual Thinking
beach litter, and how it continues to critically threaten our natural world. A campaign was employed consisting of a poster series, aimed toward
INSTRUCTOR Sandra Isla
TERm Spring 2014
DELIVERABLES Brand Logo Poster Series (3) Event Materials
educating and engaging people to the problem, and a beach cleanup event with accompanied materials, as a method to empower action around the subject.
(+) concept Design objectives for the poster series were to convey the threatening contrast between the beauty our beaches and the oceans against the ugliness of the trash and litter that are often found on them. A tone of irony was used in formulating the messaging, while each poster focused separately on one of the top three litter items found on our world’s beaches and ocean. The event revolved around the theme of “reuse more and trash less” as simple but primary actionable components of the solution to the problem.
(=) design Watercolor was used to graphically integrate with photography in way to engage a dueling sense of appeal and distaste for the visuals and the subject matter. The manmade qualities of watercolor paint along with handwritten type were used to illicit and reflect the notion that we as humans are equally the source of the problem, and also solely responsible for solving it. Event materials were designed in manner that would promote and encourage a positive, and also convicting, attitude towards the need for change.
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One plastic water bottle can take up to 500 years to decompose even then they it will likely never biodegrade. Plastics are a serious detriment to our environment. Tap water is cleaner, cheaper and healthier than storebought water. Plastic bottles are the second most common litter item found on beaches. Over 50% of all ocean debris comes from land-based sources. Three out of every four single-use beverage containers are thrown away. Ten percent of the plastic produced every year worldwide winds up in the ocean. Seventy percent of ocean debris ends up on the ocean floor where it will likely never degrade. BY COMMITING TO THIS REUSABLE WATER BOTTLE YOU ARE SAVING THE DISPOSAL OF MORE THAN 150 SINGLE-USE PLASTIC BOTTLES EACH YEAR.
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// A man paints with his brains and not with his hands. — M I C H EL A N GEL O
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B UON A RROTI
CREATIVITY + GRIT // MAKEKIT
C R E AT I V I T Y + G R I T
PROJECT
(-) objective
MakeKit
A comprehensive project which spanned three semesters of intensely focused research and development, exploration, and refinement in the
COURSE
completion of an academic thesis. The project focused on the topic of
MFA Thesis
creative self-expression, and how it remains an important platform which can help at-risk youth develop a sense of identity and resilience.
INSTRUCTOR Phil Hamlett
(+) concept
Carolina DeBartolo
All deliverables were designed underneath the following brand statement:
Anthony Jagoda
When we express ourselves in a visually creative manner, we uncover the
TERm Spring 2017
DELIVERABLES Brand Materials Visual Art Kits Community Workshop
true grit of confidence and individuality that lives in every soul.
Deliverables primarily centered around a series of visual art kits which also operated as a symbol of how young people can explore and discover their own individual “kit” of resilience factors when they pursue personal avenues of creative expression.
(=) design Careful design considerations were made to encourage and inspire youth through the creative process without detracting from their own artistic originality. A core component of the visual system consisted of simple and engaging words, phrases, and statements represented by large bold serif type. This was done as a method to incite a level of thoughtfulness and intentionality around the concept of self-expression. A bright and bold color palette was used in conjunction with the neutral qualities of kraft paper and cardboard to communicate an excited, yet unintimidated, connection to the notions of creativity and art. All design goals centered around the intention to create visual intrigue while also keeping a certain unbiased aesthetic, leaving space for one’s own unique creativity to take shape.
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When we express ourselves in a visually creative manner, it uncovers the true grit of confidence and individuality that lives in every soul. —MakeKit Manifesto
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THE POWER OF CREATIVE EXPRESSION... Creative expression is an important platform which can empower young people to develop a sense of personal resilience. MakeKit exists to provide at-risk youth with a platform to explore, discover, and express themselves, so that they can find their identity through their creativity. We believe that everyone can benefit from engaging in the creative process. Pursuing visual means of creative self-expressing can help fill in the blanks where words cannot, and allow more room for self-discovery to take shape. Our visual art kits exist as a central component of how we aim to support youth. They sit as a symbol of how young people can establish their own individual kit of personal self-confidence and resilience when they pursue personal avenues of creative expression. As an extension, our workshops expand the impact of our MakeKits to engage more community and environmental support. It is a space where youth can engage in creative collaboration with peers, and adventure through the creative process with the help of creative mentors and art therapists.
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MakeKits exist to equip young people with the means to creatively explore, discover, and express themselves in a fun and meaningful way.
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MakeKit workshops extend the impact of creativity and selfexpression within a supportive community environment.
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Create to explore. Take risks to discover. Express to be known.
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SCHOOL Academy of Art University Graduate School of Graphic Design
instructor Mary Scott
DESIGN + photography Vincent Tam
print + binding Blurb, Inc. www.blurb.com
TEXT STOCK Proline Uncoated, 100# Text
TYPEFACES T-Star Pro from Die Gestalten
Copyright © 2017 Vincent Tam All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, including photocopy or any storage and retrieval system, without prior written permission from Vincent Tam.
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