Inspired by Zihua Chen

PORTFOLIO

ZIHUA CHEN

INSPIRED

PORTFOLIO

ZIHUA CHEN

INSPIRED

Get Inspired from the Rhythm and the Beat s

Wa l k i n g S t a t u e s proj.01

TYPOGRAPHIC BOOK DESIGN

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M O B I L E A P P L I C AT I O N D E V E LO P M E N T

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BOARD GAME DESIGN

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B R A N D V I S UA L D E V E LO PM E N T

Clothesknit!

Lock Down

Chase McKenna

Galliano proj.05

SPIRIT BOTTLE REDESIGN

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TYPOGRAPHIC CONFERENCE

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CONCEPTUAL MOTION PICTURES

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S TO R E B R A N D D E V E LO PM E N T

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S TO R E B R A N D D E V E LO PM E N T

Beyond Present

Medium

Archive

Identities

107

123

139

DISCOVERY

MYSTERIOUS

D O C U M E N TA R Y

W A L K I N G S TAT U E S TYPOGRAPHIC BOOK DESIGN

INSTRUCTOR CLASS

Ariel Grey Typography 03

OBJECTIVE Practising typography in terms of Message / Concept and formulating solutions to problems. The design should be a personal exploration and discovery, and can lead to a more heightened natural intuitive perception.

H I S T O R I C R E S E A R C H D O C U M E N TA R Y The book will take the reader to the Easter Island and give them a detailed introduction to the island. Taking a closer look at the inhabitants, and It will also unveal the myth behind their ritual statues. By studying the culture of the Rapanui, we can learn how human beings, as a group, exploit each other and the environments in history and eventually the inhabitants suffered from what they had done. Rapanui has taught us an important lesson, but the society has yet received the message. We will learn, and witness the history as a reader, taking a journey of hundreds of years back, for the sake of warning the next generation not to repeat the same mistakes.

Identity

Packaging

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Digital Media

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

Zihua Chen 03

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

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The

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

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Panosian

Northern Mesopot case study

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A MYSTERIOUS ISLAND

THE DISCOVERY OF THE ISLAND Mention Easter Island is to just about anyone and the “mystery” immediately comes to mind. The mystery surrounds how so few people on a remote, treeless, and impoverished island have made and had transported hundreds of the eerie, gargantuan statuescalled moai-for which the island has been famous. The aweinspiring, multi-ton stone statues, some standing nearly forty feet high and weighing more than seventy-five tons, were carved out of the island’s quarry or compacted volcanic ash and then somehow transported several miles over the island’s rugged terrain. Not all of them have survived during the journey. Many scattered across the island, some were broken, never to take their intended places on platforms along the shoreline or elsewhere throughout the island. To see these statues, many of them situated upon the equally impressive platforms called ahu, is to sense a hidden drama of compelling human proportions calling out for explanation. Facing inward, rather than out to sea, they seem to be gazing back in a vain search for the noble society that created them. It was in the Polynesian homelands of Tonga and Samoa that the earliest forms of Polynesian monumental architecture emerged, by about AD 1000. When the islanders began migrating again, including religious courtyards made of stone and upright stones, conceived of as backrests for the gods. In some places these “backrests” were transformed into elaborate carved human figures, like those found in the Marquesas, Hawaii, the Australs, and, ultimately, Rapa Nui.

A M ysterious i slAnd

As we were archaeologists who had studied other parts of Polynesia, when we began our work on the island the statues were somewhat familiar. Similar religious statuary are found elsewhere in Polynesian And on other islands, statues were also moved significant distances. The moai, like all the elaborate carved wooden images from the Hawaiian Islands, or the stone tiki of the Marquesas, while much bigger, represented the same deified ancestors so important in Polynesian religion and cosmology. That the moai were religious images explains why the vast majority face inland, watching over their descendants day after day. With their backs to the sea, the moai had not been carved as sentries, warding off potential intruders. Since Easter Sunday 1722, when the first European accidentally sighted this isolated speck in the vast South Pacific, Easter Island has presented a seemingly intractable dilemma for explorers, scientists, and curiosity-driven tourists. By comparison to the cultural and physical richness of such storied Polynesian islands as those of the Tahiti and Hawaii archipelagos, Easter Island seems a poor setting--almost mocking--for one of the great achievements of early Polynesian history. The island itself, which today Polynesians call Rapa Nui (the people who live there are called Rapanui), is almost a moonscape in appearance, little more thvan a barren lump of lava-covered terrain. Lacking the deep valleys, steep mountains, lush streams, and beautiful water falls typical of many of the volcanic islands of Polynesia, Rapa Nui is characterized by a modest landscape of rolling hills. The island was born less than a million years ago when the coalescing eruptions of three seafloor volcanoes reached the surface. One searches in vain here for a refreshing stream, let along a flowing river. Most of the water is found in lakes formed in the three volcanic cones, though some also trickles out of a number of many locations of small springs.

THE

Easter

ISLAND

1978

Easter Island (Rapa Nui: Rapa Nui, Spanish: Isla de Pascua) is a Polynesian island in the southeastern Pacific Ocean, at the southeasternmost point of the Polynesian Triangle. Easter Island is famous for its 887 extant monumental statues, called moai, created by the early Rapa Nui people. In 1995, UNESCO named Easter Island a World Heritage Site, with much of the island protected within Rapa Nui National Park.

A MYSTERIOUS ISLAND

A PIECEFUL ISLAND

one Some archaeologists still accepted Heyerdahl’s earlier date of AD 400 for colonization, but we, like a growing number of others, saw serious problems with Heyerdahl’s date. No one had been able to replicate it from charcoal samples taken from the same layers Heyerdahl had taken his samples from. And worse, Heyerdahl’s AD 400 dates was measured from a sample of unidentified wood charcoal, which probably led to what a radiocarbon experts refer to as the “old wood” problem: because the rings of a tree’s interior are older than the exterior, parts of the wood dated produce different periods. This is why we are now date wood charcoal from short-lived trees or short lived parts such as twigs or seeds. The emerging consensus was for a colonization date at least a few hundred years later than Heyerdahl thought.

Months passed and finally we got the radiocarbon report arrived. The results were consistent, the statistical errors were small, and the laboratory reported that everything had proceeded normally. But there appeared problem. The oldest layers at the base of Anakena were only around eight hundred years old. Eight hundred years? That would mean that the colonizers had arrived much later than even the newly accepted later date, of AD 700 to 800s, thus in the neighborhoodof only about AD 1200. Had something gone wrong? We were far more disappointed. And feeling puzzled, we set the report aside and went on to other tasks. Before long we began to rethink what the evidence might be telling us. Could the data from observations considered as “late” date be correct?

But if our radiocarbon dates were right, then what about the older ones that existed for Rapa Nui? Were there problems that had been overlooked in obtaining these dates? were some of those charcoal bits perhaps also actually portions of ancient trees that began their life about hundreds of years before the humans arrived?

We decided to conduct a critical evaluation of all of the more than 120 radiocarbon dates published for Rapa Nui, excluding the dates measured from many problems materials such as unidentified wood charcoal. We also excluded marine samples such as shell, fishbone, coral, and even seabirds bones, because sea creatures often feed in the areas of oceans where upwellings from the deep open create high nutrient levels. Consuming this old carbon will lead to make marine samples appear older, sometimes by centuries.

The analysis showed that all of the reliable dates--those from short-lived materials--fit with our new evidence. Several pieces now fell into place supporting the AD 1200 chronology for settlement. Recently acquiered dates from new pollen studies on the island had shown the first signs of human presence to be at about the same time, and recent studies also showed sudden environmental changes around AD 1200. New research was also confirming later chronologies across Polynesia, in Tahiti, the Marquesas, New Zealand, and Hawaii islands On Rapa Nui, as elsewhere had happened in Polynesia, shorter chronologies meant rapid disappearance of the native forest occured soon after colonization. For Rapa Nui and other Pacific islands this evidence raised questions about how the forest could decline so rapidly.

Orongo is a stone village and ceremonial centre at the southwestern tip of Rapa Nui (Easter Island). The first half of the ceremonial village's 53 stone masonry houses were investigated and restored in 1974 by American archaeologist William Mulloy. In 1976 Mulloy assisted by Chilean archaeologists Claudio Cristino and Patricia Vargas completed the restoration of the whole complex which was subsequently investigated by Cristino in 1985 and 1995.

Gon

Evaluate

MISLEADING DATAS

Profile and plan view of a statue found along a moai road. The dotted lines indicate the approximate location of the center of gravity

Orongo & Roropa

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The Tribes Continues The analysis

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

A MYSTERIOUS ISLAND

Nor does fruit fall from the trees here, as it does on so many other Polynesian islands. From the mideighteenth century onward, seamen, explorers, Christian missionaries, and other visitors remarked consistently on the pitiable and “wretched” lives of the island’s native inhabitants. Swedish botanish Carl Skottsberg, who compiled the first natural history of Rapa Nui, wrote that “there is in the Pacific Ocean no island of the size, geology and altitude of Easter Island with an extremely poor flora and with a subtropical climate favorable for plant growth, but nor is there an island as isolated as this, and will the conclusion will be that poverty is the result of islation.”

Moai

Those who settled Rapa Nui had accomplished a remarkable feat of seamanship, perhaps the most daunting of the whole colonization of the Polynesian island, only to have arrived at a desperately inhospitable new home. Seafaring colonists known by their distinctive pottery called Lapita, who had set out from the shores of the western Pacific, the team had reached the islands of Tonga and Samoa by 800 BC. It must have seemed to be the edge of the world back in history. Verdant Samoa is today considered to be the heart of Polynesia, but at that time, there on the eastern frontier of their rapid dispersal to their hundreds of islands. A complex, hierarchical chiefdom developed on the island with a religion focused on ancestor worship. As things went from bad to worse, religious and political pressure, fueled by greed and shortsightedness, led to more and more statues being carved and transported. The same fervor led to larger and larger statues. Thousands of the giant palm trees were cut down to construct sleds or other contraptions essential to move ever more statues. Thousands more were cut and burned in order to make more room for more and more agricultural fields to feed the hundreds of statues workers. A centralized political authority held a ruthless stranglehold on the island’s people and was in charge of the owrk of the statue cult. Diamond believes the population grew out of control, and by about AD 1600 had reached to a staggering number 10,000, 15,000, or maybe even 20,000, greatly overtaxing the island’s resources. When the island’s resources had become so diminished that food had become scarce, statue making stopped abruptly—dead in its tracks. Statues were left unfinished in the quarry and many were abandoned along the transport roads en route to display, vivid snapshots of the moment the glory ended. Crisis ensued. Obsidian spear points were manufactured in huge numbers to arm islanders in the fierce battles that broke out in a vicious cycle of violence. Chickens were kept in fortified compounds to stop shieves. Because the forest had been decimated, no canoes could be made for obtaining supplies from other islands.

Those migrating across the eastern Pacific first reached the spectacular islands of the archipelago of Tahiti. Voyaging in large double-hulled canoe soon after AD 1200, in less than a century, the islanders had discovered just about every island in the eastern Pacific, including the far-flung Cooks, Tuamotu atolls, Marquesas, Hawaii, Australs, Gambiers, Rapa Nui, New Zealand, and even the frigid islands of the sub-Antarctic. They also reached South America, where they fetched the sweet potato and perhaps will introduced the humble chicken. Their whole colonization over this vast region was remarkably fast; they had traversed thousands of miles of turbulent seas, and had done so much to against prevailing winds and currents. Today the best known is the Jared Diamond’s popular account in his book Collapse. Diamond asserts that Rapa Nui was first settled by Polynesians, around AD 900 , or perhaps a bit earlier, and taking account of the most modern analysis of pollen grains preserved in the island’s lakes, it was covered in luxuriant forest, a virtual Garden of Eden. Giant Palms dominated the forest which, along with the other trees that once thrived on the Easter Island, are now extinct.

Easter Island is one of the most remote inhabited islands in the world. The nearest inhabited land (around 50 residents) is Pitcairn Island 2,075 kilometres (1,289 mi) away, the nearest town with a population over 500 is Rikitea on island Mangareva 2,606 km (1,619 mi) away, and the nearest continental point lies in central Chile, 3,512 kilometres (2,182 mi) away.

Moai

diversity

Experimenting the transportation Looking at those statues themselves, their locations, breakage, and positions on slopes, confirmed to us that they had walked from the quarry. The first experiments by Heyerdahl, and more recent attempts by Van Tilburg and Lee, showed ways to move massive loads horizontally with varying success, but these methods do not fit what we vertical method of walking proposed by Pavel, or perhaps those tried by Love and Lee, using pods, sleds, or devices with levers. But the theories for pods, sleds, ladders, or other wooden contraptions raise another problem. The large tree known from Rapa Nui is the palm, jubaea chilensis, or a close relative. Palm trunks have a thin, long, dense, brittle kind of bark and a soft, fibrous interior. Palms employed in the heavy work of moai moving would certainly see the bark crack, leaving the soft interior to be crushed. For the same reason, palms did not provide suitable wood for making canoes. Not only were the moai moved vertically, but that was done without the aid of a wooden device, just as Pavel had demonstrated. Some debate and speculation still surrounds why so many statues were left along the roads. Our close examinations of particular moai provide answers. We can identify a number of attributes showing the statues along the roadways reflect abandonment due to failure was occurred during transport. Walking the moai would have required some cooperation, but not a powerful paramount tribe chief will be overseeing a more complex organization of conscripted in carvers and also pullers. Thurther more of the ritual expediently constructed the work of small-scale social groups. And walking the moai did not require vast amounts of timber for wooden sleds, rollers, or sliders. It was not a reckless mania for moai that exhuasted the island’s forest and tipped the ecological scales toward cataphople. Solving the mystery of how the ancient islanders moved the moai pointed us to a dramatically different story for Rapa Nui, one that was written in stone and now it is awaiting our best efforts to decipher it. We reasoned we might find further important evidence for upright “walking” by examining the wearand-tear on the abandoned statues, and as we inspected them, another consistent pattern became clear. Guided by Sergio Rapu, we noticed that many moai had suffered damage along the sides of their base. This damage took the form of concave scars emanating from their bases, and what archaeologists call conchoidal fracture, conchoidal meaning cone-shaped. Conchoidal fracture produces flakes in stone. Physics tells us that conchoidal fracture results from substantial pressure that forces flakes from a stone. The fracturing we found at the edges of the moai bases, from the bottom up, was precisely the damage that would come from the statues being rocked back and forth in a vertical position.

r e r e s s l .

declare

A P ieceful i slAnd

To provide a critique towards the experiment Nova invited Vince Lee, an American architect who had studied how massive stone blocks could have been moved into place for Inca constructions like those at Machu Picchu in Peru. Lee recognized that once the statues readed their destinations, the steep stone-constructed ahu platforms perched on cliffs above the sea, the pullers, who had to be out front, had nowhere to go in order to pull the statue all the way up the steep incline leading to the ahu. So Van Tilburg’s theory quickly met with significant skepticism. Lee hypothesized that using levers could solve the problem. He designed a set of ladderlike frames, where one frame sits atop another and levers operated between them provide the leverage for movement of the statue up to the ahu.

oral

observation

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

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Wa l k i n g S t a t u e s

TYPOGRAPHIC BOOK DESIGN

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ORGANIZED

F R I E N D LY

INTERACTIVE

CLOTHESKNIT! M O B I L E A P P L I C AT I O N D E V E LO P M E N T

INSTRUCTOR CLASS

Todd Schulte Graphic Design 03

OBJECTIVE In this process, student will become familiar with the processes and skills needed to create a wellconsidered, mobile, on-screen, user experience. You will be asked to research & design an iOS app for urban San Franciscans aged 21-25 that must be unique (not a reissue of an existing app, not for an existing brand), be native (not a web app), and - Leverage at least 3 native iPhone functions (GPS, accelerometer, camera, bluetooth, etc.)

O N L I N E FA S H I O N E X C H A N G E P L AT F O R M People nowadays need to adopt the ability of filtering product in order to not get lost inside the jungle of commercials. Examples we commonly encounter is that we bought many unsatisfying clothes due to the lack of connection to some of the desired items. The application is an online filter that allows people to narrow down their choices on purchasing clothes. It also gives the user fashionate suggestions and link out to more useful items on the internet. Itâ&#x20AC;&#x2122;s user interactive. Once the user upload an image of the product he/she owns, the server will automatically read its information, and link it to other clothes that go with the style.

Identity

Packaging

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Digital Media

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Clothesknit!

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

ClothesKnit!

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AT & T

Browsing

Browsing Order

Catagorize

Gender

ClothesKNIT

Loading Page

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Landing Page

Clothesknit!

Switching Catagory

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

AT & T

Knit!

ClothesKNIT

Name

$ 25

Match it with... Back to Top

Single Item

Extended Items

AT & T

Knit!

AT & T

Collection

History

create new

Browsed Purchased Visitors

IMAGE HERE

Title

Description

Upload!

Searching Item

Personal Collection

Browsing History

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AT & T

Friends a

Friends Aaron Gondoza

Aaron Gondoza

Arkadia Mettes

c p

Cathrine Lopez

Page Dammen

Title

Friend Page

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Description

Friendâ&#x20AC;&#x2122;s Collection

Clothesknit!

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

color code

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Clothesknit!

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

account name password

new

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HOME SCREEN

AT & T

new in

BROWSE

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KNIT

COLLECTION

Clothesknit!

FRIENDS

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

I T E M D I S P L AY

R E L AT E D I T E M S

AT & T

ASOS

ASOS ASOS Typography Sweater + More Details

ASOS Typography Sweater

$ 25

+ More Details

BROWSE

KNIT

RETURN TO TOP

COLLECTION

FRIENDS

BROWSE

KNIT

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COLLECTION

SEAR

SEEKING ITEM

AT & T

kniting...

IMAGE HERE UPLOAD!

BROWSE

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Clothesknit!

KNIT

COLLECTION

FRIENDS

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

SEARCHING

R E S U LT F O U N D

AT & T

matching

kniting... PLEASE CHOOSE

LACOSTE Pinstripe Trousers

$ 254

+ More Details

ASOS Deep Blue Jacket

$ 25

+ More Details BROWSE

KNIT

COLLECTION

FRIENDS

BROWSE

KNIT

COLLECTION

FRIENDS

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LOADING SCREEN SIGN UP

Guides

BROWSE ITEMS

Friends

Upload/ Link

Browse Items

their profiles

upload images

favorite brands

their sets of clothing

link out pieces

recent search related

comments

other usersâ&#x20AC;&#x2122; suggestion

user needs

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Clothesknit!

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

User Sets

History

upload images

input

browse history

create a set

select categorize

link back to the items

name/ categorize

get results

receive comments

links to other suggestions

CLICK TO PURCHASE

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Clothesknit!

M O B I L E A P P L I C AT I O N D E V E LO P M E N T

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ABSURD

CARTOONISH

DECEPTIVE

LOCK DOWN BOARD GAME DESIGN

INSTRUCTOR CLASS A S S I S T I L L U S T R AT O R

Christine George Packaging 03 Hilson Au

OBJECTIVE Advancing to the next level of packaging design, the goal of the project is mean to practice building a system that contains many large pieces and small pieces. Every artwork should belong to one theme (concept).

PRISON BREAK DECEPTIVE GAME The board game Lock Down, is a self developed jail breaking game and it has yet appeared within the market. There will be three sides that have different ways to achieve their victory. Hence, this is a deception game that each player would have to lie, or conceal himself/herself to the others in order to keep his/her advantages. No man is innocent within this place, take advantage of every object and make your way through this brawl!

Identity

Packaging

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Digital Media

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Lock Down

BOARD GAME DESIGN

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card front & back

1 THE ARCHITECT Build, Protect, Overseas the big image

6x6â&#x20AC;&#x153;

Practising typography in terms of Message / Concept and formulating solutions to problems. The design should be a personal exploration and discovery, and can lead to a more heightened natural intuitive perception.

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Lock Down

BOARD GAME DESIGN

2-7

PRISONERS Disguise, Deceive, Escape the prison Practising typography in terms of Message / Concept and formulating solutions to problems. The design should be a personal exploration and discovery, and can lead to a more heightened natural intuitive perception.

1-4 G UA R D S

6 x6 â&#x20AC;&#x153;

Patrol, Search, Control the situation Practising typography in terms of Message / Concept and formulating solutions to problems. The design should be a personal exploration and discovery, and can lead to a more heightened natural intuitive perception.

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TOOL CARDS COLLECTION There are many “tools” within the game both the Guards and the Prisoners to use to maximize their advantage in order to achieve victory. These “tools” will present as a form of a card that they could be gained from constructions and events. “Tools” are freely tradable to other players but one must obay the will of another player.

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Lock Down

BOARD GAME DESIGN

S OA P

LOCKPICK

CIGARETTE

Friendship builder, Prisoners will consume Soap to prevent certain unfortunate events from happening.

Prisoners uses this item to escape from the cell, gaining them privilage to stay away from the cell for one night so then the prisoner can obtain benefit from other constructions.

Common trading token in this game. Either the Guards or the Prisoners can exchange items with cigarette. By collecting enough amount of Cigarette Guards will be able to payoff his debt so then he wins his game.

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Lock Down

BOARD GAME DESIGN

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Lock Down

BOARD GAME DESIGN

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TRUSTWORTHY

STRENGTH

EXCLUSIVE

CHASE McKENNA B R A N D V I S UA L D E V E LO PM E N T

INSTRUCTOR CLASS PHOTOGRAPHY

Sean McGuire Visual System 02 Teru Onishi

OBJECTIVE Create meaningful and engaging solutions for complex problems, across both interactive and print media, whrlerefining your understanding of type, composition and imagery.

EXECUTIVE RECRUITMENT IDENTITY Chase Mckenna is set to be a national-wide executive recruiting company. The brand image is decided to be strong, trust-worthy, and dedicated. Executive recruiting company is one of the many high-end, exclusive business that targets very specific clients. However, to fit the the need for the people located at the upper level of the societal structure, the visual should be more static and bold.

Identity

Packaging

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Digital Media

PROTECTION QU ADVANTAGE IMPRESSION CONV ADVANTAGE DE COMMITMEN QUALITY ADVAN COMMITMEN PROTECTION DE ADVANTAGE QUA DETAIL IMPRESS PROTECTION DETAIL proj.04

C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

UALITY E VINIENT TAIL NT NTAGE NT ETAIL ALITY SION N Zihua Chen 55

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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S T A N D A R D P R O C E U R E S

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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C h a s e M c Ke n n a

BRAND VISUAL DEVELOPMENT

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HEROIC

MEMORIAL

A R I S T O C R AT I C

GALLIANO SPIRIT BOTTLE REDESIGN

INSTRUCTOR CLASS

Thomas McNulty Packaging 04

OBJECTIVE Developing new visual system for an existing brand, and student should get new design to incorporate with the new visual system. Experiment different ways that could apply on bottle design, nevertheless, the concept should somehow be able to link back to the original design.

R E VO LU T I O N A RY CO NC E P T D E V E LO P M E N T Galliano is a historic general fought in the World War I. The Italian general led his soldiers to fight bravely. Many great souls fell on the battlefield during the time period. They have never been forgotten, and their spirit of hard fighting for the country shimmer inside the history till now, and the future.

Identity

Packaging

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Digital Media

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Galliano

SPIRIT BOTTLE REDESIGN

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Galliano

SPIRIT BOTTLE REDESIGN

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L’AU T E N T I C O

Imported By: LUCAS BOLS USA Manhasset, NY

GOVERNMENT WARNING: 1) ACCORDING TO THE SURGEON GENERAL, WOMAN SHOULD NOT DRINK ALCOHOLIC BEVERAGES DURING PREGNANCY BECAUSE OF THE RISK OF BIRTH DEFECTS. 2) CONSUMPTION OF ALCOHOLIC BEVERAGES IMPAIRS YOUR ABILITY TO DRIVE A CAR OR OPERATE MACHINERY, AND MAY CAUSE HEALTH PROBLEMS.

L’AU T E N T I C O

Imported By: LUCAS BOLS USA Manhasset, NY

L’AU T E N T I C O

Imported By: LUCAS BOLS USA Manhasset, NY

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Galliano

GALLIANO 1896

30% Alc/Vol

L’Autentico

AN AUTHENTIC RECIPE DEVELOPED AND DISTILLED IN ITALY

GALLIANO 1896

30% Alc/Vol

L’Autentico

AN AUTHENTIC RECIPE DEVELOPED AND DISTILLED IN ITALY

GALLIANO 1896

L’Autentico

AN AUTHENTIC RECIPE DEVELOPED AND DISTILLED IN ITALY

SPIRIT BOTTLE REDESIGN

30% Alc/Vol

color codes

100

1.2 x 6.5â&#x20AC;?

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Galliano

SPIRIT BOTTLE REDESIGN

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Galliano

SPIRIT BOTTLE REDESIGN

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HEROIC

MEMORIAL

A R I S T O C R AT I C

B E YO N D P R E S E N T TYPOGRAPHIC CONFERENCE

INSTRUCTOR CLASS

Ariel Grey Typography 04

OBJECTIVE Continue practicing to convey a message / concept into one unifying design. The commission is to develop a scientific conference that takes place in the near future. Since the subject is solid futuristic, the typographic design comes alone with it should be experimental in compare to what the form it is in the present.

H I S T O R I C R E S E A R C H D O C U M E N TA R Y According to Einsteinâ&#x20AC;&#x2122;s theory of Relativity, the human race is living in a world that is known as Three Dimension. As a matter of fact, the Three Dimension paradigm has limited our ability to travel far away from Earth. In hypothesis, a group of scientists are able to make use of the Fourth Dimension technologies, so that the human race will be able to control time. The book will be demonstrating how the world will look like under influence of the Fourth Dimension technology.

Identity

Packaging

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Digital Media

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proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

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Zihua Chen 85

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A Quick Introduction A Quick Introduction To

To Fourth Dimension Fourth Dimension

5 050070 7 2 82 8

Ignatas et ea doluptatatur Ignatas etaut ea harum doluptatatur aut harum dis ne pe ni alia dis vollabo. ne pe Et ni alia labo-vollabo. Et laboria soluptat es serianos soluptat re dioreprem es se nos re dioreprem facipsapit etur, sum facipsapit rest labetur, illuptat sum rest lab illuptat estem si iliquae ligenditam. estem si iliquae ligenditam.

DrawnWorld duringWar. the Second World War. Drawn during the Second

Udisquo doluptatalici qui sedi repudit alici Udisquo doluptat qui sedi repudit etur? Qui bla si ipit digendi tesequas digendi etur? Quitesequas bla si ipit omnihillit veliquamomnihillit quuntio veliquam quas vol-quuntio quas volorempore orempore nobisquas sinum nobisquas con enimi, sinum con enimi, idenditaest ab incilliquiae eatus sinvel idenditaest sinvel ab incilliquiae eatus et eos quide prorem et eos quide prorem imporercia de et imporercia de et sum quatur? Qui quatur? labor sum quatur?labor Qui quatur?

Hypographic

Sum quia volorumquae Sum quia volorumquae sin nus assum sin nus assum inturendi blaudignam inturendi blaudignam illaut facest, volo illaut facest, volo volupta tiatibust ad quature elluptatia volupta elluptatia tiatibust ad quature hendebis raerspe ribusae solorrum hendebis es raerspe ribusaeessolorrum solum quiant volupta. latium solum quiantlatium volupta.

/ / S aS n ad n rdor o GG l ylpy h ph

Tossi Sam voluptassi Tossiquae Sam delitinvent. voluptassi quae delitinvent. Soloribus quibus ex Soloribus et hic tor quibus accaes ex et hic tor accaes ent aut volest fugiaentpore aut porem volest ab fugia ipispore porem ab ipis nem quam auda nem cumque quamdoluptatum auda cumque doluptatum quam fugiae proritquam et recatem fugiae prorit estAli-et recatem estAliquatur, cus et autem quatur, at. cus et autem at.

Hardly Delivered

In cosmology, In cosmology, the concept the concept of spacetime of spacetime combines combines spacespace and time and to time a to a singlesingle abstract abstract universe. universe. Mathematically Mathematically it is a itmanifold is a manifold consisting consisting of of “events” “events” some some Udisquo doluptatalici qui sedi repudit alici Udisquo doluptat qui sedi repudit etur? Qui bla si ipit digendi tesequas etur? Quitesequas bla si ipit type of type coordinate of digendi coordinate omnihillit veliquamomnihillit quuntio veliquam quas vol-quuntio quas volsystem. system. orempore orempore nobisquas sinum nobisquas con enimi, sinum con enimi,

er since Ever since people people covered discovered the concept the concept ptatatur aut harum m a four of athfour dimension th dimension of of a vollabo. Et laboboace around around a centur a centur y y dioreprem mnos re space atm rest lab illuptat d aand halfaago, half they ago, have they have enditam. ed tried come to come up with up with ssi delitinvent. nt. quae to x et hic tor accaes es at what wouldwould be possible be possible if if ispore porem ab ipis cumque doluptatum m ace space was actually was actually four- fourt et recatem estAliAliem audam m at.Uptae mensional. dimensional. Walking Walking us nustemp ostibususough” “though” wouldwould sciunt ium re volore walls walls re epudit et ut aut vovoone beof one theofsimplest the simplest o ma nos alitati. nsequences consequences of being of being le to able move to move in 4D in 4D Unchanted

Hypographic

Spacetime Spacetime

{ Spacetime intervals in flat space

0 703713215285381321 2

ide sim quo delit voluptasiRum ipiciis ide simRum quoipiciis delit voluptasiserio evellam verem. mus sinisitas eum mus seriosinisitas evellameum verem. Ut mosant quamusdae nonemporum Ut mosant quamusdae nonemporum fugia deliscit fugia deliscit faccum eatur, temfaccum autatis eatur, tem autatis reperroes earunt reperro earunt latiatet anis is latiatet sum es anis is sum iducitiaspietellore dolupta spieteumquo iducitia eumquo ellore dolupta umet voloria andigentproperum umet andigent perum tet voloria pro tet undebis voloren istiber eptat. undebis voloren istiber eptat.

idenditaest ab incilliquiae eatus sinvel idenditaest sinvel ab incilliquiae eatus et eos quide prorem et eos quide prorem imporercia de et imporercia de et sum quatur? Qui quatur? labor sum quatur?labor Qui quatur?

Unchanted

1766006783

Del est, utem fugiatusdam litaspero coruptat aut am, aut dusapicipsam ut repudiam, et harum aut asincia eni te essum cum faccab idit occus mos eium a dem harchil labora ni blam sin et ex et occuste re et alit optatur esequas delis dessum accusda voles dolorib eatemporro blabo. Quos magnimo loremporro bereperunti untiisquas volo con es aliqui core cumquas et enia inimus dolorunturia elecumqui dolenda non eaquiataquam qui alis erferatur, ulliqui volum eos maxime aut unt dolent quas pa voluptaspiet etur, sequam doluptation rehendi psunda inctem.

Igniendit mil et e voluptates venis preni dolest, comn luptas et, conem la quas eiusam, ut l lorro doloremposa Arumqui blaut la c vitem sequo int qu volor saessitis aute voluptur aut fuga. re, sedignat quis e

Generally covariantGenerally covari

Einstein noticed 1937 Einstein- 2noticed to be the number to be the number of 28327878582732 coordinate invariant coordinate invaria 04 - 7

Mus resequa tibus, Musseresequa plicia conse tibus, se plicia conse volorer namendam,volorer quam namendam, fugitem ut quam fugitem ut quae reseque consedi quaesitatur reseque ari consedi auda sitatur ari auda aliquo omni tentianaliquo dissitio. omni Nam tentian iscita-dissitio. Nam iscitatio. Is volupti aerumquati tio. Is volupti tessed aerumquati ut odio. tessed ut odio. Vollaut qui offici bea Vollaut simusam qui offici laccate bea simusam laccate Del est, utem fugiatusdam litaspero est, utem litaspero imeturiberum quis imeturiberum rem rersperoquis quisrem Del rerspero quis fugiatusdam coruptat aut am, ut aut dusapicipsam ut aut am, aut dusapicipsam sed quam consenestium sed quamellaconsenestium aborit coruptat ella aborit et harum repudiam, aut asincia eni te aut asincia eni te que volest, odi doloria que volest, cus quibus odi doloria que cus quibus et queharumrepudiam, cummos faccab essum cum faccab essum idit occus eiumidit occus mos eium quo quiae quae as quo nonsediosam quiae quaedernaas nonsediosam dernaa dem harchil a dem harchil ni blam sin labora et ex ni blam sin et ex tur andem volorit, tur sandaepudita andem volorit, dolumsandaepudita dolum labora et occuste et alit optatur esequas et occuste re et alit optatur re esequas fugit et fugias derum fugit corem et fugias restibus derum corem restibus delisvoles dessum accusda accusda dolorib eat- voles dolorib eatmagnimagnis quiamagnimagnis simin net, cuptatquia simindelisnet,dessum cuptatemporro blabo.loremQuos magnimo loremblabo. Quos magnimo am di utem fuga. am Nemdidolore utem nectate fuga. Nem emporro dolore nectate bereperunti porro untiisquas volo conuntiisquas volo con caeceaquod enis quia caeceaquod nos adisenis net quia et nos adisbereperunti net et porro es aliqui coreinimus cumquas et enia inimus es aliqui core cumquas et enia quas am rerum explaborrore quas am rerum voluptiam explaborrore voluptiam dolorunturia dolenda non dolorunturia dolendaelecumqui non et et eatis recat. Ucit et voluptate et eatis recat. voluptat. Ucit voluptate voluptat.elecumqui eaquiataquam qui alis erferatur, ulliqui eaquiataquam erferatur, ulliqui Quias doluptibus. Quias Et perum doluptibus. reiureicitEt perum reiureicitqui alis maxime eosmilla maxime volum aut unteosdolent quasaut unt dolent quas vellatiur molum repelis vellatiur quiatque molummilla repelis volum quiatque pa voluptaspiet etur, sequam doluptapa voluptaspiet sequam doluptaqui de porem exeriorem. qui de porem Itatia nost exeriorem. Itatia nost etur, rehendi psunda inctem. tionexplaborem rehendi psundation inctem. lanis rerum quid lanis exceriorerum explaborem quid excerio

Aximin explibu pariten saniditestin explibu saniAximin pariten ditestin muscid quo comnissuntur si quo domuscid quo comnissuntur si quo doAximinexplibu paritensanditestin explibu sanAximin Rios pariten ditestin lorepudam quamRiosrat faciistibus. lorepudam quam rat faciistibus. imuscid quo comnissuntur si quo quo comnissuntur si quo serroritquia dolosequistis quiassitia quiaimuscid sequistis serrorit dolo quiassitia dolorepudam quam rat faciistibus. dolorepudam quam rat faciistibus. qui amagnihit apid et inctur ressint magnihit inctur qui a apid et ressint Rios serrorit Rios serrorit dolo quiassitia quiadolo se- quiassitia quia sealibus utemos voluptature nonestibusto alibus utemos voluptature nonestibusto quistis quimagnia apid et ressint magniressint iberis qui pos a apid et ommoluptam rero ommoluptam dolupit iberisrero posdolupit quistis hit inctur alibus utemos voluptature hit incturasalibus utemos voluptature plique nis asium que nonsequ plique aspicta nis ium queaspicta nonsequ nonestibusto ommoluptam. nonestibusto peditatis quam quibusa pidusda ectorpo ommoluptam. peditatis quam quibusa pidusda ectorpo

Aximin pariten ditestin Aximinexplibu paritensanditestin explibu sanimuscid quo comnissuntur imuscid quo si quo comnissuntur si quo dolorepudam quamdolorepudam rat faciistibus. quam rat faciistibus. Rios serrorit dolo quiassiti. Rios serrorit dolo quiassiti.

remodio vername es doleni a remodio vername moluptam es dolenimoluptam a cullacc aerunt volenis conserit. cullacc aerunt volenis conserit.

doluptati berit plitate doluptati dolorisberit eaquiam plitate doloris eaquiam aborest volore veribea aborest quaturi volorebusdae veribea quaturi busdae anditiur? Suntotatur? anditiur? Tatur Suntotatur? aliqui se- Tatur aliqui sequist rerunt. At debitas quist rerunt. non cuptatur At debitas non cuptatur animporum animporum

EARLIER DRAFT DESIGNS

}

04 - 7

consectat imilluptam consectat sapera imilluptam non eum sapera non eum el imperibus, quis elsum imperibus, quo idempernaquis sum quo idempernatia in enditatis ad tia queinpro enditatis bea iuscilliad que pro bea iuscillibus doluptaes audibus remo doluptaes quat volorpo audi remo quat volorpo reperibus. reperibus. Expe apelit, optatus, Expe unt.apelit, optatus, unt. Aximporatem enisiTuriost Aximporatem commosam enisi dero oditam commosam dero Turiost ullaturibus, oditam ullaturibus, ne parunt ne parunt comnihi litatur? Itiautcomnihi officipit eliqui omnis Itiaut officipit omnis omnis eatempor omnis etus eatempor ealitatur? aliquid unetus eaeliqui aliquid unet tota iuntecto doluptia cume tota doluptia cume tiamiuntecto harum ommo aut quiet tiam optius harum soloommo aut ius qui dooptius solo ius dovoluptatur? lore quiati rescipisvoluptatur? lore demqui quiatinienis rescipis arciddemqui nienis arcid

Interval as Area Interval as Area

time intervals Spacetime in flatintervals space in flat space

Ignatas et ea doluptatatur Ignatas etautea harum doluptatatur aut harum dis ne pe ni aliadis vollabo. ne pe Etni laboalia vollabo. Et laboria soluptat es serianossoluptat re dioreprem es se nos re dioreprem facipsapit etur, sum facipsapit rest labetur, illuptat sum rest lab illuptat estem si iliquae ligenditam. estem si iliquae ligenditam.

moluptatem fuga. Ucipsam, moluptatem santo fuga. cumUcipsam, santo cum Ro volecae is enimint Ro volecae reineturis aset enimint reinetur aset qui repernat volupta qui cusam repernatesvolupta sime cusam es sime exerum fugiti te vel exerum int ut fugiti ut optatur? te vel int ut ut optatur? Magnis ea nobis Magnis dolent ea eumnobis eiumdolent eum eium quaes expellenis quaes ipicaboexpellenis rporpos voipicabo rporpos volupta nis ea poribuslupta aut fugia nis eavoloreped poribus aut fugia voloreped expliquunt undis que expliquunt ea doluptate undisdios que ea doluptate dios rerit excescid ut praerrorpor. rerit excescid ut praerrorpor.

Tossi Sam voluptassi Tossiquae Samdelitinvent. voluptassi quae delitinvent. Soloribus quibus exSoloribus et hic tor quibus accaes ex et hic tor accaes ent aut volest fugiaentpore autporem volest ab fugia ipispore porem ab ipis nem quam auda cumque nem quam doluptatum auda cumque doluptatum quam fugiae proritquam et recatem fugiae prorit estAli-et recatem estAliquatur, cus et autem quatur, at. cus et autem at.

Tachyon

World Line

Ucit vendest vitioUcit coresvendest as dictiis vitio cores Ucit as vendest dictiisvitioUcit coresvendest as dictiis vitio cores as dictiis nimusdame la ipsam, nimusdame evel elitiatur la ipsam,nimusdame evel elitiatur la ipsam, nimusdame evel elitiatur la ipsam, evel elitiatur aut quam vere re aut magnitae quam mincias vere re magnitae aut quam mincias vere re aut magnitae quam mincias vere re magnitae mincias iumet labo. Name iumet et a simin labo. pliquis Name et aiumet siminlabo. pliquis Name iumet et a simin labo. pliquis Name et a simin pliquis dis alitinum, utem enis dis alitinum, aut a illectorit utem enisdis autalitinum, a illectorit utem enis dis alitinum, aut a illectorit utem enis aut a illectorit eatiore serit. eatiore serit. eatiore serit, soluptat eatiore aperitserit, eos soluptat a se- aperit eos a sequi as sim nectur. qui as sim nectur.

Quantized Quantized spacetime spacetime

exriaeossincit,Ipsam conseria quae audaepra Ipsam quo quaevelaudaepra escit quo Ipsam vel escitquae audaepra Ipsam quo quaevelaudaepra escit quo vel escit nit rae. Itatem remcomnit qui omnis eosremesequidendit qui omnis placeos esequidendit rem placqui omnis eosremesequidendit qui omnis placeos esequidendit placmonis repe comnihil ers pererspe mo- non preribus ers pererspe sequatist non preribus et Light Cone sequatist ers pererspe et Lightnon preribus ers pererspe sequatist non preribus et sequatist et Cone que abores ciduciis as reictatis disque nam ium as reictatis aut es molupta nam ium aut es asmolupta reictatis nam ium as reictatis aut es molupta nam ium aut es molupta liquaec doturecesto turissumdoqui debisturissum cor sequam qui debis et, om-cor sequamturissum et, om-qui debisturissum cor sequam qui debis et, om-cor sequam et, oma volorrunt. nim voloreribusa sapidunt, nim voloreribusa ut enectus sapidunt, utnim enectus voloreribusa sapidunt, nim voloreribusa ut enectus sapidunt, ut enectus conseque rrovolore ciminullatur corro- apicaeciminullatur que repudaeapicae ipsamque repudae ciminullatur ipsam apicaeciminullatur queWaves repudaeapicae ipsamque repudae ipsam Gravitational WavesGravitational aut uatur, nectem quasped qui autqui ut hilquasped inihili gentur qui utashiletinihili gentur quasped as et qui ut hilquasped inihili gentur qui utashiletinihili gentur as et um et et aut quiparum officium voluptiscietparum aliquam voluptisciet facepud aliquam parum facepudvoluptiscietparum aliquam voluptisciet facepud aliquam facepud nos Nem restioitiatur culpa nos aut moluptatem. itiatur Ne aut eum moluptatem. que Ne eum itiaturque aut moluptatem. itiatur Ne aut eum moluptatem. que Ne eum que eosae parcia. est odiatqui delliquoestcorodiatqui ma quedelliquo velibus cor ma que estvelibus odiatqui delliquoestcorodiatqui ma quedelliquo velibus cor ma que velibus dolupta inveruptus dolupta ut in nobis inveruptus dolor autut in nobis dolupta dolor autinveruptus dolupta ut in nobis inveruptus dolor autut in nobis dolor aut apel molestionsed apel et rehentur molestionsed am, autet rehenturapel am,molestionsed aut apel et rehentur molestionsed am, autet rehentur am, aut magnita tiberchit eistan. magnita tiberchit eistan. magnita tiberchit eistan. magnita tiberchit eistan.

— —— —

Igniendit mil et exIgniendit eossincit,milconseria et ex eossincit, Ipsam conseria quae audaepra Ipsam quo quaevelaudaepra escit quoIpsam vel escit quae audaepra Ipsam quo quaevelaudaepra escit quo vel escit voluptates venis voluptates rae. Itatemvenis comnit rae. Itatem rem comnit qui omnis eosremesequidendit qui omnis placeos esequidendit rem quiplacomnis eosremesequidendit qui omnis placeos esequidendit placpreni dolest, comnis preni repedolest, comnihil comnis mo- repe comnihil ers pererspe mo- non preribus ers pererspe sequatist non preribus et ers sequatist pererspe et non preribus ers pererspe sequatist non preribus et sequatist et luptas et, conem labores luptasciduciis et, conem disque labores ciduciis as reictatis disque nam ium as reictatis aut es molupta nam ium aut as es reictatis molupta nam ium as reictatis aut es molupta nam ium aut es molupta quas eiusam, ut liquaec quas eiusam, turecesto ut liquaec doturecesto turissum doqui debisturissum cor sequam qui debis et, om-cor sequam turissum et, omqui debisturissum cor sequam qui debis et, om-cor sequam et, omlorro doloremposa lorro volorrunt. doloremposa volorrunt.nim voloreribusa sapidunt, nim voloreribusa ut enectus sapidunt, nim ut enectus voloreribusa sapidunt, nim voloreribusa ut enectus sapidunt, ut enectus Arumqui blaut la conseque Arumqui volore blaut lacorroconseque volore ciminullatur corro-apicaeciminullatur que repudaeapicae ipsamque repudae ciminullatur ipsam apicaeciminullatur que repudaeapicae ipsamque repudae ipsam vitem sequo int quatur, vitemnectem sequo int quiquatur, aut nectem quasped qui aut qui ut hilquasped inihili gentur qui utashiletinihili gentur quaspedas qui et ut hilquasped inihili gentur qui utashiletinihili gentur as et volor saessitis autetvolor et aut saessitis qui officium autet et aut qui parum officium voluptiscietparum aliquam voluptisciet facepud aliquam parum facepud voluptiscietparum aliquam voluptisciet facepud aliquam facepud voluptur aut fuga. Nem voluptur restioautculpa fuga.nos Nem restio itiatur culpaaut nos moluptatem. itiatur Ne aut eum moluptatem. que Neitiatur eum aut que moluptatem. itiatur Ne aut eum moluptatem. que Ne eum que re, sedignat quis eosae re, sedignat parcia. quis eosae parcia. est odiatqui delliquoestcorodiatqui ma quedelliquo velibus cor maest queodiatqui velibus delliquoestcorodiatqui ma quedelliquo velibus cor ma que velibus dolupta inveruptus dolupta ut in nobis inveruptus dolor autut in nobis dolupta dolorinveruptus aut dolupta ut in nobis inveruptus dolor autut in nobis dolor aut apel molestionsed apel et rehentur molestionsed am, autet rehentur apel am, molestionsed aut apel et rehentur molestionsed am, autet rehentur am, aut magnita tiberchit eistan. magnita tiberchit eistan. magnita tiberchit eistan. magnita tiberchit eistan.

} }

2748 . 0005

Einstein’s resolution

Four-Vector

All our spacetime verifications invariably

In the theory of relativity, a four-vector or 4-vector is a vector in Minkowski space, a 4D real space.

events consisted merely in the motion of material points. 13 - 24

4x4

274824. 0005

2748 . 0005

274824. 0005

2748 . 0005 274824. 0005 24 special theory of relativity special theory of relativity

Aximin pariten ditestin Aximinexplibu pariten sanditestin explibu Aximinsanpariten ditestin Aximinexplibu pariten sanditestin explibu sanimuscid quo comnissuntur imuscid quosi comnissuntur quo imuscid si quoquo comnissuntur imuscid quosi comnissuntur quo si quo dolorepudam quam dolorepudam rat faciistibus. quam rat faciistibus. dolorepudam quam dolorepudam rat faciistibus. quam rat faciistibus. Rios serrorit dolo Rios quiassitia serroritquia dolose-quiassitia Riosquia serrorit se- dolo Rios quiassitia serroritquia dolose-quiassitia quia sequistis qui a apidquistis et ressint qui amagniapid et ressint quistis magniqui a apidquistis et ressint qui amagniapid et ressint magnihit inctur alibus utemos hit inctur voluptature alibus utemos voluptature hit inctur alibus utemos hit inctur voluptature alibus utemos voluptature nonestibusto ommoluptam. nonestibusto ommoluptam.nonestibusto ommoluptam. nonestibusto ommoluptam.

Aximin pariten ditestin Aximinexplibu pariten sanditestin explibu sanimuscid quo comnissuntur imuscid quosi comnissuntur quo si quo dolorepudam quam dolorepudam rat faciistibus. quam rat faciistibus. Rios serrorit dolo Rios quiassitia serroritquia dolose-quiassitia quia sequistis qui a apidquistis et ressint qui amagniapid et ressint magnihit inctur alibus utemos hit inctur voluptature alibus utemos voluptature nonestibusto ommoluptam. nonestibusto ommoluptam.

Unconventional Profession Unconventional Profession // 2748 . 0005 // 274824. 0005

2748 . 0005

274824. 0005

09 - 213

Con-

Relativity Relativity s t a l l a t i o n of Simultaneity of Simultaneity Lorentz Lorentz C o l l i s i o n TransformTransformmations mations

Relativity of simultaneity

Ti m e Tr a v e l Ti m e Tr a v e l

Joseph Lo u i s La g r a n g e Lutatium intiaest, quaturia volupta quatiur aliquas adit magnimus. Agnisit intiusam niendit es eos pelit pername ntibus quaecto blab int est re quatios dolest, omnihic te pa pro cum hit, corio blam id quasperrum fuga. Pelendae sequidernam quod ut quaecus est ligenis alit endit quat ex ex et rerum quia dolento conse entusda nihit recae officipsant la veri nam fugitat labores natures sequas nim quodit, sint pratemp erferum, ute re parumetur? Qui cusdae num nihicab orrores adis etur minvel est, que nusdandant vernam voluptis qui dolor ariam reperia tioneca temped qui ut que volorior sitatiae maxim rempore aliam, et pedicip sanditatus aut doloreium fuga. Oluptatus, eum voluptium ipsapedit essimin conet, temporr orrovit am que nimporum re simaios volorpo sapitatios alitistium intio dolor simus con pro comnis aliquib eriat. Ernatib ernatenti utent. Enetur moluptaquist omnimin et etur adis dus ut odi ad quae. Et maximi, aliquia serit earunte mporia qui bercid eumquis venimil id mo dolore volumqui officid ellectur? Nam destia coriat. Lenihite necte doluptae ra doluptur maxim simperiant esequi volupta sus, que doloriatis pedis consendit que ea ex expedi beaquia ndemporrum essit, soluptae quibus volupta com-

Wrapping

Electric Fields Electric Fields

ConTr a n s f o r m s t a l l a t i o n

Po e

A FULL CYCLE

Um iunt ilignihitiis Um magni iuntoptibus, ilignihitiis sequimagni optibus, sequi Um iunt ilignihitiis Um magni iuntoptibus, ilignihitiis sequimagni optibus, At es sequi ratem fugia Atporenderunt es ratem fugia pernamporenderunt pernam blanda que ped quiblanda odionsequid que pedeliquo qui odionsequid eliquo blanda que ped quiblanda odionsequid que pedeliquo qui odionsequidharum eliquoilibus eicit harum que vent ilibus et ipsaere eicit que vent et ipsaere Quanta Quanta qui blam quidellupta quideblam nimquidellupta nonsequis de nim nonsequis qui blam quidellupta quideblam nimquidellupta nonsequis de nim nonsequis eatur? Qui odisit ineatur? ra quianihil Qui odisit entur? in ra quianihil entur? volupta tion Accumnimporr. ari occaerovid magnime nimporr. Occuptas dita corem ea quiam, Occuptas quaeditaascorem ea quiam ex et volorio toratesexautet res volorio quiatorates simolo-aut res quia simoloex et volorio toratesexautet res volorio quiatorates simolo-aut res quiaSediossum simolo- quia excernam, Sediossumcum quiaquos excernam, cumAccum quosari occaerovid magnime Magnatic Field Magnatic Field unknown unknown et unt. Ut remolorit, numCusapiciam ullut et unt.alibus. 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proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

Zihua Chen 89

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that space-time began at the big bang singularity and would come to an end eitherat the big crunch singularty or at a singularity inside a black hole. Any matter that fell into the hole would be destroyed at the SINGULARTY and only the gravitational effect of its mass would continue to be felt outside. On the other hand, when quantum effects were taken into account, it seemed that the mass or energy of the matter would eventually be returned tothe rest of the universe, and that the black hole, along with any singularity inside it, would evaporate away and finally disappear. Could quantum mechanics have an equally dramatic effect on the big bang and big crunch singularities? Thoughout the 1970s I had been mainly studying black holes, but in 1981 my interest in questions about the origin and fate of the universe was reawakened when I attended a conference on cosmology organized by the Jesuits in the Vatican. The Catholic Church had made a bad mistake with Galileo when it tried to lay down the law on a question of science, declaring that the sun went round the earth. Now, centuries later, it had decided to invite a number of the conference the participants were granted an audience with the Pope. He told us that it was all right to study the evolution of the universe after the big bang, but we should not inquire into the big bang itself because that was the moment of Creation and threrefore the work of God. In order to explain the ideas that I and other people have had about how quantum mechanics may affect the origin and fate of the universe, it is necessary firstto understand the generally accepted history of the universe, according to what is known as the “hot big bang model.” This assumes that the universe is described by a Friedmann model, right back to the big bang. In such model one finds that as the universe expands, any matter or radiation in it gets cooler. Since temperature is simply a measure of the average energy — or speed of the particles, this cooling of theuniverse would have a major effect on the matter within the object the matter in it. At very hight temperatures, particles would be moving around so fast that they could escape any attraction toward each other due to nuclear or electromagnetic forces, but as they cooled off one would expect particles that attract each other to start to clump together. Moreover, even the types of particles that exist in the universe would depend on the temperature. At high enough temperatures, particles have so much energy that whenever they collide many different particle / antiparticle pairs would be produced and although some of these particles would annihilate on hitting antiparticles, they would be produced more rapidly than they could annihilate. At lower temperatures, however, when colliding particles have less energy, particle / antiparticle pairs would be produced less quickly and annihilation would 0 become 1 1 0 1 faster 0 1 0than 1 1 production. 0 1 0 1 0 1In0 the 1 0classical 1 0 1 1 theory 1 0 1 0 0 1 0 0 1 of 0 gravity, 1 1 0 1 which 0 1 0 is 1 based 0 1 0 on 1 0real 1 1space-time, 0 1 0 1 0 1 0 1 1 0 1 0 0 0 1 there 1 0 0 are 0 1only 0 1 two 0 1 possible 1 0 1 0 ways 1 1 0the 1 0 1 0 1 0can 1 1 0 1 0 0 0 1 universe 0 behave: 1 1 0 1 either 0 1 0 it1 has 1 0 existed 1 0 1 0for1 an 0 infinite 1 0 1 0 time, 1 1 1or0 else 1 0 0 0 0 1 1 it0had 1 1 a0beginning 1 0 1 0 1at0a 1singularity 0 1 0 1 1at0some 1 0 1finite 0 1 0 1 1 0 1 0 0 0 1 time 1 0 in 0 0the 1 past. 0 1 0In1the 1 0quantum 1 0 1 1 theory 0 1 0 of 1 0gravity, 1 0 1 on 1 0 1 0 1 0 1 0 the 1 1other 0 1 0hand, 1 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 1 1 0 1 0 0 1 0 0 0a1third 1 0 possibility 1 0 1 0 1 arises. 1 0 1 Because 0 1 0 1 one 0 1 0is 1using 0 1 Euclidean 1 1 0 1 0 0 1 0 0 1 space-time, 0 1 1 0 1 0in1 which 0 1 0 the 1 0timedirection 1 0 1 1 0 1 0 1 0the 1 0same 1 1 0 1 0 0 as0 directions in space, it is possible for space-time to be is on footing 1 and 1 0 yet 0 0to1have 0 1 no 0 1singularities 1 0 1 0 1 1that 0 1formed 0 1 0 a1 boundary 0 1 1 0 1 0 0 0 1 0or1 edge. 1 0 1 Space-time 0 1 0 1 1 0would 1 0 1be0 like 1 0the 1 0surface 1 0 1 of 1 1the 0 1 0 0 0 0 1 1 earth, 0 1 1 only 0 1 with 0 1 0two 1 0more 1 0 dimensions. 1 0 1 1 0 1 The 0 1 surface 0 1 0 1of1 the 0 1 0 0 0 1 earth 1 0 0 is 0 finite 1 0 1in0 extent 1 1 0 but 1 0 it1doesn’t 1 0 1 0have 1 0 a1boundary 0 1 1 0 1 0 1 0 1 0or1 edge: 1 0 1 if0you 1 0sail 1 1off 0 into 1 0 the 1 0 sunset, 1 0 1 0you 1 0don’t 1 1 fall 1 0 off 1 0 0 1 0 0 0 the 1 1edge 0 1 or 0 1run 0 into 1 1 0a singularity. 1 0 1 0 1 0Each 1 0 history 1 0 1 1in1 the 0 1sum 0 0 1 0 0 1 over 0 1 histories 1 0 1 0 1will 0 describe 1 0 1 0 1not 0 only 1 1 0the 1 space-time 0 1 0 1 0 1 but 1 0 1 0 0 0 1 everything 1 0 0 0 1 0in1 it0 as1 well, 1 0 1including 0 1 1 0 any 1 0 complicated 1 0 1 0 1 1 organisms 0 1 0 0 0 like 1 human beings who 0 can 1 1 observe 0 1 0 1 the 0 1history 1 0 1 of 0 the 1 0 universe. 1 0 1 0 1This 0 1may 1 1 provide 0 1 0 0 0 0 1 1 another 0 1 1 0justification 1 0 1 0 1 0for1 the 0 1 anthropic 0 1 1 0 1principle, 0 1 0 1 for 0 1if1 0 1 0 0 0 1 all 1 the 0 0 histories 0 1 0 1 are 0 1possible, 1 0 1 0 then 1 1 0so1long 0 1 as 0 we 1 0 exist 1 1 0 in 1 0 1 0 1 0 one 1 1 of 0 the 1 0 histories, 1 0 1 1 0we1 may 0 1 use 0 1 the 0 1 anthropic 0 1 0 1 1 principle 1 0 1 0 0 1 0 0 0 to1 explain 1 0 1 0why 1 0 the 1 1universe 0 1 0 1 is0 found 1 0 1 to 0 be 1 0the 1 way 1 1 0it 1is.0 0 1 0 0 1 Exactly 0 1 1 0that 1 0 meaning 1 0 1 0 1can 0 1be0attached 1 1 0 1 to 0 the 1 0 other 1 0 1 1 0 1 0 0 0 1 histories, 1 0 0 0 in 1 0which 1 0 1we 1 do 0 1not 0 1exist, 1 0 is 1 not 0 1 clear. 0 1 0This 1 1 view 0 1 0of0a 0 1 quantum theory of gravity would be much 0 more 1 1 0satisfactory, 1 0 1 0 1 1however, 0 1 0 1 if0one 1 0could 1 0 1show 0 1 1that, 1 0using 1 0 0the 0 sum 0 1 over histories, 1 our 0 1universe 1 0 1 0 is1 not 0 1 just 0 1one 0 1of0 the 1 1possible 0 1 0 1histories 0 1 0 1 1 0 1 0 0 0 1 but 1 0one 0 0of1 the 0 1most 0 1 probable 1 0 1 0 1ones. 1 0 To 1 0do1 this, 0 1 we 0 1 must 1 0 1 0 1 0 1 0 perform 1 1 0 1 0the 1 0 1 1over 0 1 histories 0 1 0 1 for 0 1all0 possible 1 0 1 1 1 0 1 0 0 1 0 0 sum 0 Euclidean 1 1 0 1 0space-times 1 0 1 1 0 1that 0 1have 0 1 no 0 1boundary. 0 1 0 1 1 1 0 1 0 0 1 0 0 1 Under 0 1 1 the 0 1 “no 0 1boundary” 0 1 0 1 0proposal 1 0 1 1 one 0 1 learns 0 1 0 that 1 0 the 1 1 chance 0 1 0 0of0the univers being 1 found 1 0 0 to0 be 1 0following 1 0 1 1 most 0 1 0of1 the 1 0possible 1 0 1 0histories 1 0 1 1 is0 negligible, 1 0 0 0 1but there is a particular family of histories that are 0 much 1 1 0more 1 0 1probable 0 1 1 0than 1 0 the 1 0 others. 1 0 1 0 1 0 histories 1 1 1 0 1may 0 0be 0 pictured 0 1 These as being 1 like 0 1 1the 0 surface 1 0 1 0of1 the 0 1earth, 0 1 0which 1 1 0the 1 0distance 1 0 1 0from 1 1 0 1 0 0 0 1 the 1 0 North 0 0 1Pole 0 1 representing 0 1 1 0 1 0 imaginary 1 1 0 1 0 time 1 0 1 0 1 1 0 1 0 1 0 1 0 and 1 1 the 0 1 size 0 1 of0 a1 circle 1 0 1of0constant 1 0 1 0 distance 1 0 1 0 from 1 1 1 0 1 0 0 1 0 0 0 the 1 1 North 0 1 0Pole 1 0 1 unpredictable 1 0 1 0 1 0 1 0 1 measurements 0 1 0 1 1 1 0 1 0 0 1 0 0 1 representing 0 1 1 0 1 0 the 1 0spatial 1 0 1 sizeof 0 1 0 the 1 1universe. 0 1 0 1 The 0 1 universe 0 1 1 0 1starts 0 0 at 0 the North Pole

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proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

Zihua Chen 95

proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

Zihua Chen 99

proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

Zihua Chen 101

T EN

E ER

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proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

B C

TE IVA

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Zihua Chen 103

DI S

proj.06

Beyond Present

TYPOGRAPHIC CONFERENCE

Zihua Chen 105

DISCOVERY

SUCCESSIVE

FRACTURED

Medium CONCEPTUAL MOTION PICTURES

INSTRUCTOR CLASS

Roland Young Visual System 01

OBJECTIVE The project is about to discover, encounter, and research the many ingredients of life. It encourages students to find out the very detail objects within our living, and extract the essense that build up one’s happiness.

S L I C E O F L I F E D I S COV E RY People tend to believe in “what they saw is what it should be.” Judging an object by its appealing directly seemed to be the easiest way to perceive others. Medium stands in between this logic. Giving its audience a chance to think differently. Is this what you have seen? The vedio targeted mostly adult who have responsibility to take care of their own business, and for whom have an individual strong mind. The purpose of the video is not to change their mind, but it is to raise up a question.

Identity

Packaging

proj.07

Digital Media

107

proj.07

Medium

CONCEPTUAL MOTION PICTURES

Zihua Chen 109

proj.07

Medium

CONCEPTUAL MOTION PICTURES

Zihua Chen 111

01:17

SEQUENCE SCREENS

proj.07

Medium

CONCEPTUAL MOTION PICTURES

00:37

00:40

01:03

01:07

01:15

01:22

Zihua Chen 115

proj.07

Medium

CONCEPTUAL MOTION PICTURES

Zihua Chen 117

proj.07

Medium

CONCEPTUAL MOTION PICTURES

Zihua Chen 119

proj.07

Medium

CONCEPTUAL MOTION PICTURES

Zihua Chen 121

HEROIC

MEMORIAL

A R I S T O C R AT I C

ARCHIVE S TO R E B R A N D D E V E LO PM E N T

INSTRUCTOR CLASS

Thomas McNulty Packaging 04

OBJECTIVE Learning to extend areas of branding innovation while maintaining awareness of client goals and specific target audiences. A wide variety of prototypical client areas are used as project subjects. Research and comparative market analysis are emphasized. Group collaboration is required in completing the end result.

MUSEUM STORE Modern Art transcends all boundaries that involve all forms of visual expression, and in doing so, moves foward. It allows the exploration of ideals and interests, giving room to a sense of community. Just like Modern Art, your environment has the potential to be innovative and inspiring. Our mission is to make shoppers understand and enjoy the art of our time, in a way that is intriguing and fuctional. Untitled is a store based in New york City committed to injecting creativity in all aspects of life. Our mission is to redefine the art of living by providing products of high quality with a contemporary spin, part. We embrace change, functionality, and intrigue.

Identity

Packaging

proj.08

Digital Media

123

proj.08

Archive

STORE BRAND DEVELOPMENT

Zihua Chen 125

width

workspace

A RC HI VE

proj.08

Archive

Uni Sans

STORE BRAND DEVELOPMENT

Heavy Cap

represenative logo

emblem size

clear space

x-height

color

100

Zihua Chen 127

proj.08

Archive

STORE BRAND DEVELOPMENT

Zihua Chen 129

proj.08

Archive

STORE BRAND DEVELOPMENT

Zihua Chen 131

GLAZE

proj.08

ELEVATE

Archive

STORE BRAND DEVELOPMENT

OPAQUE

MOMENTUM

PRIMARY

Archive

STORE BRAND DEVELOPMENT

Zihua Chen 135

proj.08

Archive

STORE BRAND DEVELOPMENT

Zihua Chen 137

D E L I C AT E

PRECISE

D E TA I L E D

IDENTITIES BRANDING IDENTITY DESIGN

OBJECTIVE Branding Identities are meant to reflect the core value of a brand. It must be taken carefully and designed with the concept that fits the brand the most. All of those logo marks are practices during the years of academic study.

Identity

Packaging

proj.08

Digital Media

139

Plantium

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Identities

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S I N C E R E G R AT I T U D E BRANDING IDENTITY DESIGN

T O M Y PA R E N T S Being my biggest supporters during the whole academic year. Hereby I would like to send them with the most sincerely gratitude to them. Without their support, I wouldnâ&#x20AC;&#x2122;t be able to study aboard. They backed me up when I got lost on a crossing road deciding whether or not I should devote myself onto design. You made who I am today!

TO M Y B E LOV E D O N E We met at the first day of school, looking in your eye and I realized I have found the precious thing in the world. And here I am, walking away from the academy a step earlier, non the less we will still helping each other. Thank you for the horrible days I felt into those despairing holes you spent with me and together we worked it out. It will be only you, can comfort my soul.

TO MY INSTRUCTORS Phillip Hamlett, Mary Scott, Christine George, Thomas McNulty, Ariel Grey, Roland Young, Todd Schutle, Sean McGuire. It has been a pleasure to have you as my instructors. I will see everything you told me as the most precious treasure along with my future career.

[ PORTFOLIO ]

Summer 2016

DESIGNER

WEB

PHONE

PRINTING

BINDING

T Y P E FA C E S

S O F T WA R E

Zihua Chen arsenlona4@hotmail.com zihua.design 925.577.5852 Giant Horse Printing The Key Lexia / Museo Sans Adobe Photoshop CC Adobe Illustrator CC Adobe Indesign CC

BOOK TITLE

PA P E R

SCHOOL

I N S T RU C T O R

PHOTOGRAPHY

Inspired 100# Finch Fine text Stock Academy of Art University Phil Hamlett / Mary Scott Zihua Chen

Vol.1

INSPIRED

ZIHUA CHEN PORTFOLIO