Portfolio 2022 by Julie Pasion

J U L I E PA S I O N A R C H I T EC T U R E P O R T F O LI O | 2 0 2 2

JULIE PASION A R C H I T EC T U R A L D E S I G N E R • I LLUS T R ATO R

C O N TAC T (443) 454 9244 julie-pasion@outlook.com Philadelphia, PA 19144

PROFILE Fifth-year undergraduate architecture student minoring in graphic design. Solid artistic background with a training in fine arts and an passion for the presentation and graphic representations of design as well as the curation and creation of architecture itself.

E D U C AT I O N

WORK EXPERIENCE

Bachlor of Architecture Thomas Jefferson University 2017 - Present

Surveyor Assistant Voith and Mactavish Architects | Sept ‘21 Aided the surverying of a residence for a drawing set.

High School Diploma Carver Center for Arts and Technology 2013 - 2017

SKILLS Adobe Suite

Microsoft Office

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Drafted elevations of the residence with measure notations

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Measured and recorded wall, apertature, door and fixure locations and dimensions

Architectural Intern KieranTimberlake | May ‘21 - Aug ’21 Provide support across projects in different design phases to effectively visually communitcate design concepts to clients, property developers and for marketing of the firm. •

3D modeling in both Rhino and Revit

Spanish

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Researching and writing a report on alternatives to on-site

Revit

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Drafting layouts for modular building system KT OpenHome

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Creating graphic renderings using Enscape

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Creating layouts in InDesign of donor naming oppertunities

Rhino 3DS Max Grasshopper

solar power to present back to clients

to be presented and used for prospective donors •

Drawing details for solar panel arrays

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Developing a DD set with tagged floor plans, ceiling plans and elevations

AutoCAD V-ray Enscape Hand Sketching Hand Drafting

Animal Handler Philadelphia Pet Hotel & Villas | Aug ‘20 - Apr ‘21 Caring for and managing canines and felines, multitasking and using accute attention to detail to provide proper attention to animals. •

Ability to manage list of tasks within a fast-pace environment

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Routinely recording information on animal behavior and creating suggestions for better care based on percieving

REFERENCES

Matthew Krissel | Principle mkrissel@kierantimberlake.com Adam Gross | Principle agross@asq-architects.com

animal’s body lanuage and anticipating their needs •

Flexibility and use of quick-thinking to problem solve in highpressure situations

ARCHITECTURE TA B L E o f C O N T E N T S

Arbor Center Health and Wellness | Ability Inclusive Design

Urban Design Landscape Architecture | Environmental Design

Food Hub Educational | Retail | Modular | Adaptive

Sacred Space Non-denominational | Spiritual

Callowhill Arts Mixed-use | Art and Culture

ARBOR CENTER

The Arbor Center is designed to create a universal and inclusive wellness environment through an articulation which considers visual impairments. This fitness center assimilates nature through the use of land marking each program area through senses including touch, smell, and sound. The plan of the building indicates the same rings of those in a cut of tree, which is expressed through massing and floor treatment to distinguish a radial path to avoid deorienting corridors. The vertical slat wall treatment indicates proximity to entrace ways as the spacing becomes closer as you approach a door. The wall treatment also incorporates the engagment with texture with a felt treatment on one side to indicate the directionality of the path taken around the circulation core. Partners: Amanda Mesaros, Elizabeth Jabs & Alex Shamy

sound of water

aroma of plants ambient music

smell of citrus

movement of air

Biofilic inspiration of directionality

Directionality indicated through felt on one side of the wooden slats

Spacing of wood and felt members increases as approaching doorways

UBRAN DESIGN

With shrinking cities and the increased presence of abandoned lots throughout the urban framework, vacant lots precent unique opportunities to enrich neighborhoods and provide ecological advantages. This project proposes a network of community gardens and nurseries as distributional and educational centers in the West Philadelphia Kensington neighborhood in addition to a green corridor. These spaces serve as a “jumping off ” points for smaller subsequent green spaces throughout neighborhoods, created and enabled by access to larger community gardens and nurseries. Additionally, neighborhood visibility is articulated through public installations and gardening practice in a modular and adaptable planter system.

CHESTER AVE GREEN CORRIDOR

VACANT LOT INFILL OPTIONS

Educationally driven

Nurser y driven

Residentially driven

Community driven

CHESTER AVE ADAPTABLE PL ANTERS

Standard

Street fair

Social clusters

PROPOSE L O C AT I O N Seek out a location in need of a planter bench or more! Can be residential or commercial neighborhoods.

ASSISTED BUILD Program provides building instructions and material sourcing. Assisted builds ensure

PLANTING

CARE

Each planter bench contains

Planters undergo regular

a recessed garden bed for

care throughout the

planting. Reccomended are

seasons and an ongoing

native and effecient non-native

practice of gardening

flowering species to attract

and maintenance is

pollinators across varied

essential to the process.

blooming seasons. Plants are provided through the nursery programs. What is learned is encouraged to be applied at your home or community garden!

R E P R E S E N TAT I O N With the completion of each planter is attached a plaque with the year and name or organization of the contributors. It is important to have a

safety and effective

sense of ownership and agency over

transfer of knowledge

neighborhood projects to create a broader sense of community and pride.

PROJECT GOALS

Acess points

Ecological mindfulness

Network of greenspaces

Community visibility

FOOD HUB

With the prevalent issue of childhood hunger and the ongoing struggle of food insecurity in the United States, this Food Hub strives to provide a healthy and affordable marketplace for produce as well as an educational horticulture center for children. The kit of parts assembly allows this model to be easily applied at different locations for additional hubs throughout the city. The wall types are selected as per the program needs for each hub as the basis of the building’s organization. Within this model, the space is dynamic and is used to accommodate varying demographics and programmatic needs as per time of day and day of the week with a modular moving wall system. The flexible wall system was developed to easily adapt the space to different configurations through degrees of rotation and reattachment so that the walls can be reorganized on the gridded structural layout. The Hub has different set layouts for weekday mornings, weekday afternoons and weekends. With several surrounding grade schools, the Food Hub has a commercial kitchen and provides free breakfast to children in the mornings and after school programs in the afternoon. The school programs include gardening and cooking classes as well as a play area for exercise. To generate revenue, the Hub also operates as a marketplace and cafeteria where people can stop by to grab a bite and gather. On the weekends the marketplace space expands to accommodate more local vendors for additional variety of products. Partner: Gabrielle Madison

Access and circulation

Void as ex terior space

Single and double modules

SD O

OR DO

ING GL

ES WI

SS DO ING OR LE

ES OL ID OP

EG LA Z

ED CU

YS HE

LF RO

LIV

ED GL

LID SIN

NG SIN

ING

Marketplace entr y

Playspace on Second Floor

Greenhouse and classrooms on Second Floor

S AC R E D S PAC E

The Sacred Space is a reimagination of what a spiritual building based on a case study of the existing Jesuit Community Center on the Fairfield University Campus in Fairfield, CT. The new design is non-denominational and focuses on the sacred elements such as procession, light and darkness, and the connection to nature to build a sense of spirituality without being exclusive to a singular religion. Residing atop a hill, the building distinguishes space through a leveled hierarchy with the processional program cantilevering over the hill and the more secondary and view restricted program nestled underneath. Programmatically the spaces are organized in orientation based on the solar angles and the lighting conditions they provide. The business-related spaces receive the morning sun and the more contemplative spaces receive the colored and emotional setting sun. Upon arrival at the chapel both the lighting treatments either clerestory or screen timber panels halt to direct the experience of light only towards the direction of the view over the hill. In addition to the benefits from the earth cooling the submerged masses recieve, the building also uses a radiant floor system which draws from a geothermal well to take advantage of the earth’s stable temperature. Parnter: Victoria Oakes

GL AZED WOOD PANELS

CONCRE TE

Solar Angles

SOLID WOOD PANELS

Thermal Mass

Revealed Views

Accessor y Roofs

Framing

Foundation

a c

b e

d g

LEVEL 2

LEVEL 1

m k

n l

LEVEL -1

Approach to chapel

Entr y facing south

CALLOWHILL ARTS

This project was a proposal for community arts center in the Spring Garden neighborhood of Philadelphia with classrooms, performance space, exhibition space and artist studios and residences. The concept for the design was to play off of the interconnectivity between education, creation and exhibition spaces of various art forms. As they each connect to one another at difference instances and overlap, the architectual connections are emphasized through circulation paths and bridged passageways that can be seen from the exterior. The core of the building brings all of the various program together through a central entrance with opens up into an multi-ceiling height atrium gathering space. This epicenter brings an introspective focus from the interior different levels through innerfacing views. The arrangement of the visual arts spaces are on the forefront of the diagonal sidewalk to create hinted views of the creation and education spaces. The performing spaces have a larger separation from the street view and more controlled lighting but can still be viewed from the core. As the building moves up vertically the creation spaces are less visible and given more privacy through larger separation from the atrium and facade treatments. Lastly the living spaces and bridge to the working studios is treated with opaque glass for the most privacy.

EXHIBITION

EDUCATION CREATION

Relationship

Proximity

Circulation

SOUTH SECTION

BELOW GRADE

GRADE LEVEL

UPPER LEVEL

G R A P H I C D E S I G N A N D I L L U S T R AT I O N TA B L E o f C O N T E N T S

Mythology Storytelling | Illustration

Journal Article Publication | Composition

Posters Expressive Typography | Invisible Grid

Vinyl Album Expressive Typography | Package Design

Sketches

M Y T H O LO GY

S TO R Y T E L L I N G | I L L U S T R AT I O N This story card series takes on three different mythological creatures from Philipino folkflore. Each front illustrates my interpretation of the character and showing them in the context of their environment. Each back highlights a key feature of the creature and a breif summary of who they are, where they are found and when they appear. This project required iterative sketching for the creatures and background research for the village landscapes and accessory components of the characters. Once the character design was developed the composition was iteratively drafted before arriving at the final image.

S to r y Ca rd S e ri e s | Da l i g mat a ( f ro nt )

S to r y Ca rd S e ri e s | Da l i g mat a ( b a c k )

S to r y Ca rd S e ri e s | S a n g k a b a g i ( f ro nt )

S to r y Ca rd S e ri e s | S a n g k a b a g i ( b a c k )

S to r y Ca rd S e ri e s | To n o n g ( f ro nt )

S to r y Ca rd S e ri e s | To n o n g ( b a c k )

JOURNAL ARTICLE P U B L I C AT I O N | C O M P O S I T I O N

This project was an extension of a research paper written on Modernism in Mexican Architecture by formatting the text and visual information into a journal. The composition follows a gridded structure and hierarchal text.

Modernism and Spirituality

The Rise of Modernism in North America The Great Depression took a harsh toll on the Western world in the 1930’s and many European artists came to the United States to seek refuge from the Nazi regime. This large increase of immigrants brought widespread exposure to American artists of European Modernism. After the United States entered the World War II, many of these painters and sculptors moved back to Europe but forever left their influence.

Emotional Architecture

Post-World War II there was an attitude change both in North American art and architecture. Art in the United States moved away from realism and regionalism, instead gravitating to an abstract representation driven by emotion – a new beginning after the suffering that the war brought. New York replaced Paris as the center of the art world and was the birthplace of Abstract Expressionism, where artists like Mark Rothko used non-representational fields of color to convey emotion.

Luis Barragán & Mathias Goeritz, View of the altar in the cross niche, Avery/ GSAPP Architectural Plans and Sections, Columbia University, accessed April 25, 2020, https://library-artstor-org.ezproxy.philau.edu/#/asset/ AWSS35953_35953_34634853.

Luis Barragán & Mathias Goeritz, Capuchinas Chapel, Avery/GSAPP Architectural Plans and Sections, Columbia University, accessed April 25, 2020, https://library-artstor-org.ezproxy.philau.edu/#/asset/AWSS35953_35953_34634857.

Fig. 2: Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Detail of the altar space

In Mexico, the war brought greater access to the materials typical of European modernism, which made it easier to adopt modernist design principles in the industrializing Mexico City. As the manufacturing of materials bypassed agriculture in the economy, there was more availability of textiles, rubber and glass than ever before. This new opportunity gave Mexican architects a greater ability to respond and take part in the contemporary movements that were happening globally. Situated in the middle of an urban block and transformed from an existing building, the Capuchinas Chapel in Tlaplan Mexico City, Mexico designed by Luis Barragán utilizes directional light, large spans of color and the contrasting material textures to create an emotionally reveling and spiritual space that showcases the versatility of the simplistic Modernist style.

Julie Pasion

The Modern Interior

Mexican Modernism

Fig. 1: Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Front Elevation

Interior design also transitioned, demonstrated in the “Janus House” simplicity triumphed the ornate and designers became more concerned with color relationships than the wallpapers and patterns that came before. With the art movement shifting toward formal abstraction, architecture similarly moved towards simplicity and formality by balancing sculptural qualities with more strict geometry.

The prominent styles in Mexico preceding modernism were neo-prehispanic and neocolonial.1 Modernism was first introduced by architects Obregon Santacilia and Jose Villagran Garcia in the 1930s, then followed by Juan O’Gorman and Juan Segura. Juan O’Gorman was heavily influenced by Le Corbusier’s five principles of architecture until later in his career when came to reject the mechanistic style and opted for a more organic approach in the late 1930s.2 O’Gorman co-founded the Superior School of Engineering where he taught a more technological and industrial approach rather than one based in architectural history.3

The showrooms in “Janus House” contain contrasting wooden, earthy tones with colored accents and low lighting in the interior design. In the interior of the “den” there is a honeycomb plastic panel that filters and provides diffuse light into the space (Fig. 3).8 The neutral, rougher-textured cloth used on the wall, highlights both the plush texture of the sofa and the hard, glossy surfaces of the tables and drawers. The living room contains warmer earth tones (such as suntan, russet, ivory, and beige) around the fireplace, the focal point of the room, lead the eye up through the space to the exposed wood running along the celling (Fig 4).9

Modernist architecture in Mexico incorporated the use of indigenous techniques as well as the material use of adobe, stucco, cobblestones and unfinished wood to represent a stripped-down version of the traditional style by taking original construction methods and simplifying them to their core.4 During the creation of Capuchinas Chapel, the conceptual intent of Luis Barragán’s designs moved away from functionalism and responded specifically to the region, deviating from pure modernist ideals of the internationalist architects. Federico Zanco describes Barragán’s work as “emotional architecture”, marrying the expressionistic qualities with the vernacular architecture.5 Barragán’s adaptability and blending of the two styles has been a part of his major success.

In the interior of the Chapuchinas Chapel, Barragán similarly uses these linear elements and contrasting colors to create dramatic effect and guide the viewer’s eye through space. There is also a similar intent present in the use of wood for the flooring, exposed horizontal framing and furniture (Fig. 5).10 While the materiality of the walls is quite different from that of the “Janus House”, the exposed concrete texture in the chapel serves a similar purpose as the setting or background for the more dramatic moves in contrast and color. The rough surface of the walls emphasizes the both the softness of the linens (tablecloths and robes) and the smooth texture of the hard wood and stone floors. Barragán’s use of lattice-like grid openings within the walls as well as the color blocked stained-glass windows achieves a similar effect as the honeycomb panel in the “den” showroom. The openings break up the space by allowing natural light to reach a further depth into the interior, coloring the light in the chapel to create dramatic changes in space (Fig. 6).11 The design of the Chapuchinas Chapel demonstrates how light and color can be extended further than the residential level and elevates these elements in powerful shifts in light and semi-darkness. The colors in the chapel are primarily warm tones, with cooler accents in the gardened courtyard. Barragán uses the raw materials of concrete, wood and stone as the primer on which he builds his color and atmospheric light. It is apparent that in both designs, emphasizing contrasts in texture and color, minimalism of form and materiality speaks to the trends in cultivating the modern interior.

Fig. 3 : “Janus House,” 1957, The Den

The modern chapel features no typical ornamentation but still develops a rich spiritual environment. Made from an existing building, the exterior is modular and plain (Fig. 1), but the interior uses large blocking of color and expressive lighting treatments.6(Fig. 2) Unlike many traditional chapels, there is no iconography other than the cross and the stained-glass has no narrative motifs.7 The purity and simplicity of form allows the visitor no distraction by the architecture itself. The arrangement of interior and exterior spaces takes the visitor through the dichotomy of colors from the powerful oranges and yellows in the interior to the greens and greys in the exterior. Fig. 4 : “Janus House,” 1957, The Living Room

Color as a Captivator The artwork of abstract expressionist Mark Rothko deals with the sublime and the “spirit of myth” by focusing on color as a storyteller and the gateway into another reality, his color palettes and brushwork create a field of emotion. Rothko uses large “blockings” of color to create his compositions (Fig. 7).12 His work focuses on eliciting emotional responses by having the viewer consumed in his “landscape” of color. This composition is symmetrical down the middle and the focal point creates a sharp visual contrast to its background. While the texture of mark-making is revealed, he uses a much softer, warmer color to tone the painting he then layers the dark blacks and blues on. Fig. 5:Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, View of the haupaultar

This effect plays with the idea of perception and depth within the composition. The blue colors at the bottom of the painting are much more dynamic and have movement in the brushstrokes while the top portion of black is much more finite. Here Rothko is creating another contrast between the character of this colors. Fig. 7 : Mark Rothko, Untitled, 1955, Oil on Canvas, 68 1/16 x 45 1/2 in, Philadelphia Museum of Art, Philadelphia

Rothko has stated that, “the people who weep before [his] pictures are having the same religious experience [he] had when [he] painted them”13 and that their meaning is far beyond color relationships. And Much like Rothko, Barragán’s use of color is meant to captivate and mesmerize his audience in an emotional and spiritual splendor. Like Rothko’s Untitled (1955), the Capuchinas Chapel uses contrast in color temperature, separating the greenspace and interior. The outside has more neutral tones while the interior spaces utilize loud warm colors. Barragán does so to create juxtaposition of these spaces and their atmospheres. The outdoors provides a relief, bright white light as well as the greens and blues of nature. This emphasizes the experience of the interior by creating such a strong polarity with the darkness and rich warmth of the interior (Fig. 8).14 Barragán also explores the interplay of these spaces and their relationships throughout the building.

Fig. 6: Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Detail of the interior

Fig. 8 : Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Looking into the Sanctuary

Inspiration from Nature Barragán was heavily influenced by the writings of the French painter and landscape architect Ferdinand Bac. He was very moved by the idea of the, “garden as a magic place for the enjoyment of meditation and companionship”.15 After his initial exposure to this idea, he traveled to the gardens of La Alhambra where he was inspired by the incorporation of flowing water into the design. After this, Barragán began to focus on the idea of creating mystic space through silence and staging a tension through his monumental forms whose stillness would be pierced through moving water.

Asymmetrical Balance

Barragán’s philosophy on architecture is deeply rooted in nature, the landscape, and the interaction between the natural and built environments. He chooses to enclose the gardens, making them for the user and not solely for the visual pleasure of the passerby. Barragán believed that by concealing these spaces from public view (Fig. 9)16 and by only giving hint of nature behind the solid walls, creates the element of surprise, magic and mysticism.17

Fig. 9 : Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Patio detail

The configuration of the Capuchinas Chapel – while not completely symmetrical – is balanced by the use of open space on the right and more enclosed spaces on the opposing side (Fig. 10). The implied grid lines in the plan show that the rooms are regulated in three equally sized vertical sections with the largest horizontal section in the middle. The existing conditions of the building contain few apertures, therefore the main focus of this design becomes the central courtyard (Fig 11), in which Barragán manipulates light to create different color variety in the interior. Implied Line The orthogonal and balanced plan keeps the focal point clear and central and allows access to patios and the garden. Each of the Asymmetrical Balance Focal Point components in the program can be accessed through circulating through a “void” or green space (Fig. 12). As visitors arrive, they are guided through these different atmospheres, distinguished more by color than physical threshold. The use of perforated screen openings in the walls blend the exterior and interior spaces together (Fig. 13). Asymmetrical Balance Asymmetrical Balance

Focal Point

Solid vs Void

Fig. 11 : Luis Barragán, Capuchinas Chapel, Mexico City, 19521955. Visual analysis, Focal Point, Ground Foor Plan.

Circulation Path

Private and Public Fig. 10 : Luis Barragán, “Capuchinas Chapel,” Mexico City, Mexico, 1952-1955, Interior detail

Solid vs Void Fig. 12 : Luis Barragán, Capuchinas Chapel, Mexico City, 19521955. Visual analysis, Greenspace Solid vs Void, Ground Foor Plan.

Implied Line

Repitition/Rhythm

Solid vs Void

Fig. 10 : Luis Barragán, Capuchinas Chapel, Mexico City, 19521955. Visual analysis, Asymmetrical Balance, Ground Foor Plan.

Implied Line

Light and Semi-darkness Implied Line

Asymmetrical Balance

Circulation Path

Implied Line

Circulation Path

Private and Public

Private and Public Asymmetrical Balance

Implied Line

Repitition/Rhythm

Barragán’s approach to modern architecture is that it should create the same attraction that pre-columbian and colonial architecture had but utilize a contemporary approach rather than imitate the styles of the past. He believed that through using historical elements it would make the experience and lives of the user more pleasurable.22 This idea of critical regionalism is one that continued to be adopted by future architects like Carlo Scarpa and Rafael Moneo in which new designs in historical contexts are sensitive to the character of place.

The orchestration of light within the design was intended to create a captivating sense of spiritual atmosphere, consuming the audiRepitition/Rhythm ence in mysticism. Barragán treats the light through colorful latticework and yellow stained glass to create compelling lighting conditions that bounce and travel through the space, creating a tranquil atmosphere of semi-darkness (Fig. 10).18 In his work, he claims that the usage of light – both natural and controlled – and color are essential in devloping a spiritual atmosphere.19 Architect Tadao Ando has said that Barragán’s use of these elements has created a new kind of light that had been unseen and would be eternally remembered.20 Barragán underlined in one of his favorite books, The Unquiet Grave by Cyril Connolly that “art is made by the alone for the alone” and this concept guides the stillness and spirituality of the Capuchinas Chapel that is crafted through light, color and texture. This is done through the filtering and limiting of light coupled with his magical and bright usage of color which cultivating a mystifying space of pleasure in solitude. 21

EDITORIALS

N A R R AT I V E J O U R N A L I N G | S TO R Y T E L L I N G These illustrations were made to accompany an episode of This American Life as editorial images for different sections of the story. This project required visual journaling, iterative concept drafting and color stories that would draw the viewer in without giving away a literal component of the narrative. The podcast content was about a telemarketing scammer who got scammed himself by being caught on tape with a civilian FBI volunteer who pretended to assume the identity of an elderly woman.

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POSTERS

EXPRESSIVE TYPOGRAPHY | INVISIBLE GRID These posters are different excecutions of typography meant to engage an audience and inspire visual interest. The symposium poster (left) came from an iterative letter exploration to create movement and the substancial amount of text is organized through an invisible grid. The advocay poster (right) uses gathered wildflowers to create the letter forms and further emphasize the messaging of environmentalism.

The American Film Institure presents

The Museum of Contemporary Art Chicago, IL

California native producer and director, Tim Burton is known for his dark quirky and fantasy style. His films often contain Gothic elements and storylines that focus on

THE LIFE AND WORK OF AN AUTEUR

misunderstood characters. Some of his works include Beetlejuice (1988) Edward Scissorhands (1990) The Nightmare Before Christmas (1993) Planet of the Apes (2001) Burton also works almost exclusively in 1.85:1 aspect ratio.

06.03 4—6 PM Keynote: Burton, Whimsically Dark 7—8 PM Lecture: Aronofsky, Interior Meaning Ongoing Exhibition: Directoral Vision

TIM BURTON Whimsically Dark

WES ANDERSON

Color and Costime

Wes Anderson is an American film director who is known for his visual aesthetics and offbeat comedy. His films often use the same cast, such as Owen Wilson who he has been friends with since college. In his movies, Anderson likes to use bright saturated colors for everything from buildings to costumes, as you can see in The Grand Budapest Hotel (2014). Some of Anderson’s other films include, Fantastic Mr. Fox (2009), Moonrise Kingdom (2012) and The French Dispatch (2021).

CHRISTOPHER NOLAN

06.05 4—6 PM Keynote: Anderson, Color and Costume 7—8 PM Lecture: Cinematographic Framing

Time and Non-Linear Storytelling

Ongoing Exhibition: Signature Style

British-American film director, producer, and screenwriter. Christopher Nolan is known for his time and non-linear storytelling. Nolans breakthrough happened in 2000 with the film Memento, a hit adapted from a short story about his brother. Using a reverse-order storyline to mirror a fractured mental state this film received an Academy Award nomination for best original screenplay. Some of his other best works include Batman Begins (2005) The Dark Knight (2008) Inception (2010) Interstellar (2014) and Dunkirk (2017). Nolan has gone from creating low-budget independent films to working on some of the biggest blockbusters ever made.

06.04 4—6 PM Keynote: Nolan, Time and Non-Linear Storytelling 7—8 PM Lecture: Tarantino, Workflow and Collaborators

JUNE 2022 F i l m ma ke r S y m p o s i u m Po ste r

Ongoing Exhibition: Evocations of Color

P E S T I C I D E U S E H A R M S W I L D F L O W E R S P O I S O N S P O L L I N A T O R S A N D D E S T R O Y S O U R W A T E R W A Y S

E c o l o g i c a l A d vo c a c y Po ste r

VINYL ALBUM

EXPRESSIVE T YPOGRAPHY | PACKAGING DESIGN After selecting ‘It Is What It Is’ by Thundercat as the album to redesign, a mind map and mood board were created to express and encapsulate the feelings of the album and the emotions and images the album elicited. The beginning and ending songs are lo-fi, slow and somber while the middle of the album is jazz and funk. This packaging design was created to reflect the contrast and dichotomy of sounds that the album expresses. With the motifs of space and feeling lost, the album title is scattered and spread apart on the front cover with individual letters as the larger stars forming the constallation and the smaller, further away stars single words “it” and “is”. Inside the song lyrics are arranged in a rhythmic grid that indicates motion. The album sleeve serves as the visual explosion of energy that the upbeat middle tracks have while maintaining cosmic inspired patterns of movement.

LP Fro nt

LP B a c k

I IT T HA IT I AT IT T HA IT AT

IT IS WHAT IT IS IT IS WHAT IT IS

w is

Existencial Dread

Even if you’re really, really sad Just dance You can probably bebe worse You will alright Just have that sink in for a while Keep dancin’ It’s okay if it’s notthough goin’ your waynot alright again Even you’re It never wasIt’s alright Don’t believeDance their hype It’s probablyThe all covered in lies sun will eventually shine

(part 1)

It Is What It Is

Just dance You will be alright Keep dancin’ Even though you’re not alright again It’s alright Dance The sun will eventually shine

(verse 1) When the gold becomes dough and the magic starts to fade When it all comes to an end When there’s nothing left to say It is what it is I tried to make it work My best just wasn’t enough It couldn’t be helped, the end The things I would do for you (verse 2) After all is said It Is What It and Is done And I’m all alone (part When1)I sit back and reflect From a broken heart (verse 1) Sometimes there’s regret When the itgold It is what is becomes dough and the magic starts fade the end It couldn’t be to helped, When it all comes to an end So many things I wanna say When This is there’s the endnothing left to say It is what it is I(part tried 2) to make it work My best just wasn’t enough It couldn’t be helped, the end (intro) The things I would do for you Hey, Mac (Woah)

I will do all that I can (versebe 2: all Lil B) And I can be My emotions Gimme a sip of that potion No, my heart is not broken (chorus: Thundercat) But I feel like it’s open I’ll keep holdin’ you down (Holdin’ you down) Please, somebody, surgery Even though you’redo not around (You’re not around) Tellhard the doctor comeitwork with me So to get over I keep lookin’ at my soulit I’ve tried to get under Prayin’, only God Stuck in but between, it isknows what it is (Is what it is) And I’ve been workin’ nine to nine Bye-bye for now Yeah I’ll keep holdin’ you down (Holdin’ you down) But they it do it for me You’d do ittalk forabout me, you’d But you know it’s all fine (All fine) But who can say that? I would be the man of your dreams I will do all that I can And be all I can be

THUNDERCAT

(verse 2) But you know you gotta pay to play (Pay to play) Love Unrequited At the end of the day (At the end of the day) (verse 1) with your money and your heart Playing Lost in the of love way There’s gotflames to be another Unrequited love Time won’t always heal (chorus) And it eats at my mind Because you’re the one that got away (outro) Love, love, love, love (chorus) Love, love, love, love I’ve been searching high and low, wondering where my feelings go Nothing feels the same, ‘cause there’s no one like you

(verse) Sometimes, existential dread Comes ringin’ through loud and clear I’ll adjust and simply let go I guess it is what it is (Is) I’m not sure of what’s coming next But I’ll be alright as long as I keep breathin’ I know I’ll be alright I know I’ll be alright

(verse 1: Ty Dolla $ign) ‘Til it ain’t Things will never be the same Never be the same again Everything so strange Fair Chance (ft. Lil(Strange) B & Ty Dolla $ign It ain’t a game no more (A game no more, woah) (chorus: Thundercat & Tylifted Dolla $ign) We were just gettin’ I’ll keep holdin’ you down (Holdin’ you down) Yesterday, yesterday Even we though you’re not around (You’re not around) Now just reminiscin’ So to get yesterday over it On hard yesterday, I’ve tried to getabove underwater it Keep my head (Head above water) Stuck in between, it is what is (Is what it is) My eyes gettin’ bigger (Eyesitgettin’ bigger) Bye-bye now smaller the worldfor gettin’ keepgettin’ holdin’richer, you down you down) II’llbeen only (Holdin’ made me crazy (Crazy) You’d do it for me, you’d (Oh do ityeah) for me (It is what it is) Mama said I’m different since I was a baby (Baby) (verse 1: Ty Dolla $ign) ‘Til it ain’t (verse 2: Lil B) Things will never be the same My emotions Never be theof same Gimme a sip thatagain potion Everything soisstrange (Strange) No, my heart not broken It ain’t a game noopen more (A game no more, woah) But I feel like it’s We were just gettin’ Please, somebody, dolifted surgery Yesterday, yesterday Tell the doctor come work with me just reminiscin’ INow keepwe lookin’ at my soul On yesterday, yesterday Prayin’, but only God knows KeepI’ve mybeen headworkin’ above water And nine to(Head nine above water) My eyes gettin’ bigger (Eyes gettin’ bigger) Yeah the world gettin’ smaller But they talk about it I been gettin’ only(All made me crazy (Crazy) But you knowricher, it’s all fine fine) Mama said I’msay different But who can that? (Oh yeah) I was a baby Isince would be the man(Baby) of your dreams

I T IT W S W IH T ITTI T

Chasing cheap thrills (verse 1) it’s gonna cost him He knows You say youhow ain’tmuch got time for games God knows No more games But (versethe 2) world got time for games with you Playyou your ownyou gotta pay to play But know Playing (Pay to with play)your money and your heart Just admit don’t what At the end you of the dayknow (At the endtoofdothe day) I’ve seenwith a lotyour of things come and go Playing money and your heart Lots of pimps tons of hoes There’s got toand be another way How this ends, we’ll never know

Even if you’re really, really sad You can probably be worse Just have that sink in for a while It’s okay if it’s not goin’ your way It never was Don’t believe their hype It’s probably all covered in lies

King of The Hill

(chorus) (intro) A king in his castle Love, love, A kinglove, of the hilllove Love, love, Wasting hislove, timelove

S WH T IT

(chorus) Thundercat & Ty Dolla $ign) (chorus: Baby, one I’ll keepyou’re holdin’the you down (Holdin’ you down) the one that you’re got away Even though not around (You’re not around) Thishard is what it feels So to get overlike it to have regrets It is tried what to it is I’ve get under it Now I’m open,itit’s so hard Stuck in wide between, is what it isto (Isfocus what it is) Now that it’s the end Bye-bye for now I guess always be (Holdin’ you down) I’ll keep you’ll holdin’ you down The one You’d do that it forgot me,away you’d do it for me (It is what it is)

(break)

I Love Luis Cole (ft. Luis Cole)

Ayy, yo Yo, ayy, ayy Yo, ayy Yo, ayy, ayy

(chorus) But I just wanna party with you All night Because you make me happy That’s right I only wanna party with you Tonight Because you make everything Alright

T IS

(verse 3: Steve Arrington) Sometime I wanna say that I’m blessed (Baby) Black man’s grind gon’ answer the test, ah The box you tried to throw me in don’t fit me no more, no Creative spirit talkin’, creative spirit walkin’ And I ain’t tryna hurt nobody, hurt nobody, hurt nobody

(outro) Innerstellar love Ooh-ooh Ah, ah, ah

(verse) Somewhere beneath the stars Beyond just more of our space Nothing is yours, nothing is mine We are decaying over time I’m gonna find someone to love Let’s go together, innerstellar love

Interstellar Love

T I IS IT I

How Sway

(verse 2: Thundercat & Steve Lacy) Just moved out the hood, doesn’t mean I’m doin’ it good Wanna post this on the ‘Gram, but don’t think I should Is it just for me or am I paranoid? Gotta keep it on the low ‘cause I been robbed before

(Post-Chorus: Steve Arrington & Thundercat) I know I give a different vibe, yeah (Then who will?) I’m doin’ what I like, woah, woah, woah (Then who will?) I don’t need your co-sign (Who will?) ‘Cause I’m young enough and I’m old enough, both at the same time (Who will?) Hey, don’t trip on my aggression, baby, oh (Who will?) ‘Cause I can go in different directions, baby (Who will?) I’m just tryna live my life, do my best and that’s alright (Who will?) Yes, I’m comfortable and that’s what’s tight (Who will?) (chorus: Thundercat) ‘Cause there’s no more livin’ in fear No more livin’ in fear If we don’t talk about it, then who will?

(verse 1: Thundercat & Steve Lacy) I just bought a crib on top of the hill And I bought a brand new ride, am I keepin’ it real? There’s nothin’ wrong if you got it I’m not livin’ in fear, I’m just bein’ honest

Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino

IT IS

Lost in Space / Great Scott / 22-26

(verse 2) Someone hold my phone ‘cause I can’t hold my tongue ‘Cause if I get too drunk, baby, then I’m gonna ruin the fun That’s not your problem, it’s because I’ve seen too much, baby Sorry if I get a little PTSD

(chorus: Thundercat)

IT T WHA I

(chorus: Thundercat) Let’s do it all again, Let’s do it again (x2)

(verse 1: Thundercat) Let me say, “Good morning”, my friend About last night, I don’t know how it ended I can’t find my phone and I can’t find my shoes But nothing beats being in a party with you

(verse 4: Childish Gambino) We don’t talk, then we feel safe Each one of us with tiny, tiny, tiny screens I’ve been runnin’, I’ve been runnin’ like a soul, woo Sweatin’ on ‘em, now the beat gon’ breathe But I keep hearin’ Don’t stop, don’t stop, don’t stop, don’t stop, don’t stop (Tell you what) Don’t stop, don’t stop, don’t stop, don’t stop, don’t stop (Can’t even imagine) Don’t stop, don’t stop, don’t stop, don’t stop, don’t stop (Whatever I feel is real) Don’t stop, don’t stop, don’t stop, don’t stop, yeah, ayy, hey (It does not matter, I mean it)

(post-chorus: Thundercat) It’s just more fun when you come around Even if I act up You let me know that I’m not crazy Crazy (x2)

(chorus) ‘Cause when we hit the peak, baby I just wanna party with you All night (verse 1) Do you mind if I wild out A little? ‘Cause I’m just a little drunk and I wanna come party with you A little Can I look into your eyes? I can tell that you’re high too But that’s okay, baby, ‘cause I just wanna party with you

Funny Thing

T I S WH

IS IT

IS AT T HA HI T W

is it

IT IS WHAT IS

is it

IT IS WHAT IT IS WHA is

SIDE A

IT IS WHAT IS

Lost in Space / Great Sc Interstellar Love

I Love Luis Cole (ft. Luis C

Black Qualls (ft. Steve La Steve Arlington & Childish Miguel’s Happy Dance How Sway

Funny Thing

SIDE A

Lost in Space / Great Sc Interstellar Love

I Love Luis Cole (ft. Luis C

is BRAINFEEDER RECORDS

Black Qualls (ft. Steve La Released AprArlington 3, 2020 Steve & Childish Phonographic Copyright ℗ – Brainfeeder

How Sway

Produced by Flying Lotus & Thundercat with Childish Gambino Ty Dolla $ign S Brandon Coleman Taylor Graves

BRAINFEEDER RECORDS

Funny Thing

Produced by Flying Lotus & Thundercat with Childish Gambino Ty Dolla $ign S Brandon Coleman Taylor Graves

SIDE B

I IT IS WH T W SW ITITI IS IT H A T IS W A T H IT

(verse 2: Louis Cole) Yeah, I remember you were punching my friends Made an oil spill that makes Exxon offended Then you fell asleep on the laundry in my room And this is why I love to party with you

I I I T AT IT IS W IT WH T IT T A A WH H IS T IT IS AT I T

Miguel’s Happy Dance

(chorus: Thundercat)

Ayy, yo Yo, ayy, ayy Yo, ayy Yo, ayy, ayy Joy inside your pain That’s alright Sometimes pain, it just fades And then you’ll breathe Just dance You will be alright Keep dancin’ Even though you’re not alright again It’s alright Dance The sun will eventually shine

IS W

SIDE B

So many things I wanna say This is the end

I T I AT IT I H W AT IT IS IT AT I T I S W IT I S

(verse) Do the fuckin’ happy dance Even when you’re really fuckin’ mad I guess that it’s supposed to subside Even though you’re probably really mad Even if you’re really, really sad You can probably be worse Just have that sink in for a while It’s okay if it’s not goin’ your way It never was Don’t believe their hype It’s probably all covered in lies

IS W

(intro) Hey, Mac (Woah)

(part 2)

T TI SW AT

IS W H T IT

(verse 3: Thundercat) When you’re around, you know what to say You brighten my day I feel that it’s crazy When you’re around (x2)

SW IT I I T IT T A H

T HA S W I IT IT IS T T HA

W H AT IT S WHA T I WH S T W IS IS WH TI T WH H AT A T T TI I S S W IT ISIT W HAT I IT IS H AT T I S AT IT IS WHAT IT I T IT I H A S T H I W S I T IS W I S W H AT IT S H I HAT I T I S WH T IS A T I T I IT W TI I S W HAIS W IS WHA IT T T I A S T H W HA TI W IT T IT IS WH S T HA IS A T IT W HA W H AT W A I I I H IT S S WHA T I I W T IT S W IT W IS WHA I S HA T IT AT S A I I T T T H IT I W I W A S S T I WH I I T I S WH I S T I T IS W H A T I IT WH A T IS H I S SIDE AH T I W H IT IS W H A S W AT I A T I T IS IT IS I IT AT S S S (part 2)

IT IS WHAT IT IS WHA

(intro) Hey, Mac (Woah)

I TI S T IT I I T I S AT IT H HA I H H W W WHAT W S I S I IT IT

SIDE B

(verse 2) After all is said and done And I’m all alone When I sit back and reflect From a broken heart Sometimes there’s regret It is what it is It couldn’t be helped, the end So many things I wanna say This is the end

SIDE B

S l e e ve

A T W S

(chorus: Thundercat) I’ll keep holdin’ you down (Holdin’ you down) Even though you’re not around (You’re not around) So hard to get over it I’ve tried to get under it Stuck in between, it is what it is (Is what it is) Bye-bye for now I’ll keep holdin’ you down (Holdin’ you down) You’d do it for me, you’d do it for me

IS W

W S HA T IT WHA T IS I T T IT H IS AT W H A IS I T IS

HAT W AT T IS WH I W T I T HA IT IS WHAT I T IS T A HA WH H W S I IS T IT TI T HA

(chorus) I’ve been searching high and low, wondering where my feelings go Nothing feels the same, ‘cause there’s no one like you

(verse 5) Do you like the way my ice drips in the light? Baby girl, do you like me in my durag? Let me know Would you let me know?

Unrequited Love

(verse 1) Lost in the flames of love Unrequited love Time won’t always heal And it eats at my mind Because you’re the one that got away

Baby girl, I’ma smash in my durag Baby girl, I’ma smash in my durag Stuck in one between, it isaway what it is (Is whatStuck it is) in between,So it many is what it is (Is what itsay is) Because you’re the one that got away Because you’re the that got things I wanna ‘Cause it’s only right ‘Cause it’s only right Bye-bye for now Bye-bye for now This is the end I’ll keep holdin’ you down (Holdin’ you down) I’ll keep holdin’ you down (Holdin’ you down) (chorus) (chorus) (verse 5) (verse 5) You’d dohigh it for me, you’d do it for me You’d do it for me, you’d I’veway been searching and low, wondering I’ve been searching and low, wondering (part 2) do it for me Do you like the way my ice drips in the light? Do you like the my ice drips high in the light? go where my feelings go Baby girl, do you like me in my durag? Baby girl, do where you likemy mefeelings in my durag? Nothing feels the same, ‘cause there’s no (intro) Let me know Let me knowNothing feels the same, ‘cause there’s no you one like you Hey, Mac (Woah) Would you let me know? Would you letone melike know?

(verse 4) You don’t have to like my video games or my comic books But, baby girl, how do I look in my durag? Did I tie it right? Did you wear that dress just for me? ‘Cause I’m tryna smash Baby girl, I’ma smash in my durag ‘Cause it’s only right

IT IT

SIDE A

IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT

IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS IT WHAT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT IT IS WHAT

is Fair Chance (ft. Lil B & Ty Dolla $ign

THUNDERCAT

T IS I T A AT I T

THUNDERCAT

it Ooh-ooh, ooh-ooh Ooh, ooh, ooh Ooh-ooh, ooh Ooh-ooh, ooh Ooh, ooh, ooh King of The Ooh, ooh, ooh Hill (intro) Ooh, ooh Love, love, love, love Love, love, love (Ooh, love, ooh-ooh) How I feel (verse Is this1)real? You say you ain’t got time for games Is this real? No more games Is this real? But the world got time for games with you Play your own Playing with your money and your heart Just admit you don’t know what to do I’ve seen a lot of things come and go Lots of pimps and tons of hoes How this ends, we’ll never know

IT IT

T IS AT I

is (verse) Sometimes, existential dread Comes ringin’ through loud and clear I’ll adjust and simply let go I guess it is what it is (Is) I’m not sure of what’s coming next But I’ll be alright as long as I keep breathin’ I know I’ll be alright I know I’ll be alright

The one that got away (verse 2) Sometimes I feel alone Tried to hold my breath Somewhere deep in space And I felt like you understood What it truly means to be in love

How I Feel

(chorus) (chorus) A king in his castle (outro) A kinglove, of the hilllove Love, love, Wasting hislove, timelove Love, love, Chasing cheap thrills He knows it’s gonna cost him God knows how much

Existencial Dread

(chorus) Baby, you’re the one No one you the onelike that got away And is even though you’re away, even if This what it feels like tofar have regrets my It is time whatdecays it is Nothing feels open, quite the same, the Now I’m wide it’s so hardyou’re to focus one Nowthat thatgot it’s away the end IUnrequited guess you’lllove always be

Did you (verse 3) wear that dress just for me? ‘Cause I’mcovered tryna smash I may be in cat hair, but I still smell good Baby I’maknow, smash in my Baby,girl, let me how do durag I look in my durag? ‘Cause right Don’t lieit’s toonly me, let me rock you all night long I’m tryna impress you, girl (verse 5) Let me know, how do I look in my durag? Do you like the way my ice drips in the light? I’m tryna get intimate Baby girl, do you like me in my durag? Let me love you like you never been before, Let me know baby (Ah, ah) Would you let me know? (Ah, ah, ooh-ooh)

Ooh-ooh, ooh-ooh Ooh, ooh, ooh Ooh-ooh, ooh Ooh-ooh, ooh girl Let me know, Ooh, ooh, Let’s makeooh love until we fall asleep ooh,way oohyou feel next to me IOoh, like the Ooh, ooh Baby, you look so good in this moonlight Stay with me and love me through the (Ooh, ooh-ooh) night, baby How Imake feel love until we fall asleep Let’s Is this real? Is this real? Is this real?

(verse 2) Do you like my new whip? Dragonball Durag Watch me go zoom, zoom Baby girl, how do I look in my durag? (verse 1) Would you tell me the truth? (Lie to me?) I feel kinda fly standin’ next to you Stay me and through the night, Baby with girl, how do Ilove lookme in my durag? endlessly Would you tell me the truth? IStay just wanna howme youthrough feel with meknow and love the night, Tell me, am I doin’ it right? endlessly I’ma keep on all my chains when I’m makin’ love (verse 3) to you I may be covered in cat hair, but I still smell good Hold me close and let me squeeze you tight Baby, let me know, how do I look in my durag? through the night Don’t lie to me, let me rock you all night long But, baby girl, how do I look in my durag? I’m tryna impress you, girl Would you tell me the truth? Let me know, how do I look in my durag? I’m tryna (verse 2) get intimate Let me like lovemy younew like whip? you never been before, Do you baby Watch(Ah, meah) go zoom, zoom (Ah, ooh-ooh) Babyah, girl, how do I look in my durag? Would you tell me the truth? (Lie to me?) (verse 4) Stay with me and love me through the night, You don’t have to like my video games or my endlessly comic books I just wanna know how you feel But, baby girl, how do I look in my durag? Tell me, am I doin’ it right? Did I tie it right?

(verse 2) Sometimes I feel alone Tried to hold my breath Somewhere deep in space And I felt like you understood What it truly means to be in love

How I Feel

(chorus) But I just wanna party with you All night Because you make me happy That’s right I only wanna party with you Tonight Because you make everything Alright

Ayy, yo Yo, ayy, ayy Yo, ayy Yo, ayy, ayy Joy inside your pain That’s alright Sometimes pain, it just fades And then you’ll breathe How Sway Just dance You Ayy,will yo be alright Keep dancin’ Yo, ayy, ayy Even though you’re not alright again Yo, ayy It’s Yo, alright ayy, ayy Dance (break) The sun will eventually shine

(break)

No one like you And even though you’re far away, even if my time decays Nothing feels quite the same, you’re the one that got away Unrequited love

Let me know, girl Let’s make love until we fall asleep I like the way you feel next to me Baby, you look so good in this moonlight Stay with me and love me through the night, baby Let’s make love until we fall asleep

H IS H IT IT T IT IT IS W IS W I T I S WI T TA WH S WH I T IS WI H IST W H HAS W HA TA T IS I S SIDE A SIDE A H H W H HS H AA W A I T I IWT I T T IT IS WIH T AIS IW SW S I T I T IS I II T I S I T I S A T S A TA ST I T IA IT IT S S IS S S

IT IS WHAT IS IS

Because (verse 2) you make everything Alright Someone hold my phone ‘cause I can’t hold my tongue ‘Cause if I get too drunk, baby, then I’m gonna ruin the fun That’s not your problem, it’s because I’ve seen too much, baby Sorry if I get a little PTSD

Ayy, yo Yo, ayy, ayy Yo, ayy Yo, ayy, ayy

(outro: Zack Fox) Ladies and gentlemen, this is, uh, your captain speaking Gonna ask that, uh, on our descent here into Moscow Dragonball Durag Everybody, please put your seatbelts on (verse Winds1)are gettin’ a little bit choppy and IThere feel kinda fly standin’ youman appears to be a next shinyto black Baby girl,in how doclass I look in my durag? up there first Would tellsloppy-toppy, me the truth? Gettin’you some hahaha Stay withallme loveon me through the night, He’s got hisand chains and a durag endlessly Is that Thundercat? I’ma keep all my chains when I’m makin’ love What’s up,on brother? to you Hold me close and let me squeeze you tight through the night But, baby girl, how do I look in my durag? Would you tell me the truth?

(verse 2) (verse 1) Someone hold my phone ‘cause I can’t hold Do you mind if I wild out my tongue A little? ‘Cause if I get too drunk, baby, then I’m ‘Cause I’m just a little drunk and gonna ruin the fun I wanna come party with you That’s not your problem, it’s because I’ve A little seen too much, baby Can I look into your eyes? Sorry if I get a little PTSD I can tell that you’re high too But that’s okay, baby, ‘cause I just wanna (chorus) party with you party with you But I just wanna All night (chorus) Because you make me happy ‘Cause when we hit the peak, baby That’s right I just wanna party with you I only wanna party with you All night Tonight

(verse: Thundercat) Girl, you’re so fly (So fly) You really blow my mind (My mind) Let’s not waste any more time I’ll just meet you overseas We can do it on the plane I just wanna be with you I wanna meet you in Brazil Take you to a place that you never been before We can just lay on the beach And just fall asleep, or maybe meet up in Japan Maybe we can just hold hands Let’s go get drunk in Golden Gai Maybe meet up in Russia Meet up in Russia Overseas (ft. Zack Fox) I don’t really care who sees (verse:join Thundercat) Let’s the mile high club Girl, you’re so fly (So fly) (outro: Zack blow Fox) my mind (My mind) You really Ladies and gentlemen, thistime is, uh, your captain Let’s not waste any more speaking I’ll just meet you overseas Gonna uh, plane on our descent here into We canask do that, it on the Moscow I just wanna be with you Everybody, please put your seatbelts on I wanna meet you in Brazil Winds areto gettin’ a little choppy and before Take you a place thatbit you never been There appears to be a shiny We can just lay on the beachblack man up in first class Andthere just fall asleep, or maybe meet up in Japan Gettin’ sloppy-toppy, hahaha Maybe some we can just hold hands He’s all his chains on and Gai a durag Let’sgot go get drunk in Golden Is that Thundercat? Maybe meet up in Russia What’s Meet upup, in brother? Russia I don’t really care who sees Let’s join the mile high club

Existencial Dread

Funny Thing

Overseas (ft. Zack Fox)

IT IT

IT IS WHAT IT IS

is is

No one like you And even though you’re far away, even if my time decays Nothing feels quite the same, you’re the one that got away Unrequited love

(verse 2) Sometimes I feel alone Tried to hold my breath Somewhere deep in space And I felt like you understood What it truly means to be in love

Funny Thing (verse 1) Do you mind if I wild out A little? ‘Cause I’m just a little drunk and I wanna come party with you A little Can I look into your eyes? I can tell that you’re high too But that’s okay, baby, ‘cause I just wanna party with you (chorus) ‘Cause when we hit the peak, baby I just wanna party with you All night

How Sway

How I Feel

(verse 2: Louis Cole) Yeah, I remember you were punching my friends Made an oil spill that makes Exxon offended Then you fell asleep on the laundry in my room And this is why I love to party with you

(chorus: Thundercat) Thundercat) (chorus: Let’s do it all again, Let’s do it again (x2) (verse 3: Thundercat) (post-chorus: Thundercat) When you’re around, you know what to say It’s just more fun when you come around You brighten my day I act IEven feel if that it’supcrazy You letyou’re me know that(x2) I’m not crazy When around Crazy (x2)

(chorus) Baby, you’re the one the one that got away This is what it feels like to have regrets It is what it is Now I’m wide open, it’s so hard to focus Now that it’s the end I guess you’ll always be The one that got away

It Is What It Is

(verse 2: Louis Cole) (verse Thundercat) you were punching my Yeah,1: I remember Let me say, “Good morning”, my friend friends About lastoilnight, I don’t know how offended it ended Made an spill that makes Exxon IThen can’tyou findfell myasleep phoneon and the laundry in my I can’t find my shoes room But nothing beats being in a party And this is why I love to party with with you you

Fair Chance (ft. Lil B & Ty Dolla $ign

I Love Luis Cole (ft. Luis Cole)

(chorus: Thundercat & Ty Dolla $ign) I’ll keep holdin’ you down (Holdin’ you down) Even though you’re not around (You’re not around) So hard to get over it I’ve tried to get under it Stuck in between, it is what it is (Is what it is) Bye-bye for now I’ll keep holdin’ you down (Holdin’ you down) You’d do it for me, you’d do it for me (It is what it is)

Miguel’s Happy Dance

(verse 3: Thundercat) When you’re around, you know what to say You brighten my day I feel that it’s crazy When you’re around (x2)

(post-chorus: Thundercat) It’s just more fun when you come around Even if I act up You let me know that I’m not crazy Crazy (x2)

I should take my own advice Even if it hurts, it’s always gonna hurt the same Hurt the same Dance away the pain It’s gonna be alright Just do the fuckin’ dance Even if you started to cry It’s okay Everything will be alright Take your time, Rome wasn’t built in a day It’s okay, it’s time to dance away your pain It’s alright Just do the happy dance Even if you’re not alright It’s okay I should take mypain own advice Joy inside your Even ifalright it hurts, it’s always gonna That’s hurt the same Sometimes pain, it just fades Hurtthen the same And you’ll breathe Dance away the pain Just dance It’s gonna alright You will bebe alright Just do the fuckin’ dance Keep dancin’ Even you started Even if though you’re to notcry alright again It’s alright okay It’s Everything will be alright Dance Takesun your Rome wasn’t The willtime, eventually shine built in a day It’s okay, it’s time to dance away your pain It’s alright Just do the happy dance Even if you’re not alright It’s okay Joy inside your pain That’s alright Sometimes pain, it just fades And then you’ll breathe Just dance You will be alright Keep dancin’ Even though you’re not alright again It’s alright Dance The sun will eventually shine

Ooh-ooh, ooh-ooh Ooh, ooh, ooh Ooh-ooh, ooh Ooh-ooh, ooh Ooh, ooh, ooh Ooh, ooh, ooh Ooh, ooh

(Ooh, ooh-ooh) How I feel Is this real? Is this real? Is this real?

King of The Hill

(intro) Love, love, love, love Love, love, love, love

(chorus: Thundercat)

(verse 1: Ty Dolla $ign) ‘Til it ain’t Things will never be the same Never be the same again Everything so strange (Strange) It ain’t a game no more (A game no more, woah) We were just gettin’ lifted Yesterday, yesterday Now we just reminiscin’ On yesterday, yesterday Keep my head above water (Head above water) My eyes gettin’ bigger (Eyes gettin’ bigger) the world gettin’ smaller I been gettin’ richer, only made me crazy (Crazy) Mama said I’m different (Oh yeah) since I was a baby (Baby)

(part 1)

SIDE B

(part 2)

(intro) Hey, Mac (Woah)

SIDE A

/ 22-26

(verse) Somewhere beneath the stars Beyond just more of our space INothing Love Luis Cole (ft. is Luis is yours, nothing mineCole) We are decaying over time (verse 1: Thundercat) I’m gonna find someone to love Let me say, “Good morning”, my friend Let’s go together, innerstellar love About last night, I don’t know how it ended I can’t find my phone and (outro) I can’t find my Innerstellar loveshoes But nothing beats being in a party with you Ooh-ooh Ah, ah, ah (chorus: Thundercat) Let’s do it all again, Let’s do it again (x2)

Overseas (ft. Zack Fox)

(outro: Zack Fox) Ladies and gentlemen, this is, uh, your captain speaking Gonna ask that, uh, on our descent here into Moscow Everybody, please put your seatbelts on Winds are gettin’ a little bit choppy and There appears to be a shiny black man up there in first class Gettin’ some sloppy-toppy, hahaha He’s got all his chains on and a durag Is that Thundercat? What’s up, brother?

Dragonball Durag

(chorus: Thundercat) ‘Cause there’s no more livin’ in fear No more livin’ in fear If we don’t talk about it, then who will?

(Post-Chorus: Steve Arrington & Thundercat) IBlack know I Qualls give a different vibe, Lacy, yeah (ft. Steve (Then who will?) Steve Arlington & Childish Gambino I’m doin’ what I like, woah, woah, woah (Then who will?) (verse 1: Thundercat & Steve Lacy) I don’t need your co-sign (Who will?) I just bought a crib on top of the hill ‘Cause I’m young enough and I’m old enough, And I bought a brand new ride, am I both at the same time (Who will?) keepin’ it real? Hey, don’t trip on my aggression, baby, oh There’s nothin’ wrong if you got it (Who will?) I’m not livin’ in fear, I’m just bein’ honest ‘Cause I can go in different directions, baby (Who (chorus:will?) Thundercat) I’m just there’s tryna live life,livin’ do my best and ‘Cause no my more in fear that’s alright (Who No more livin’ in fearwill?) Yes, comfortable that’s what’s If weI’m don’t talk aboutand it, then who will? tight (Who will?) (Post-Chorus: Steve Arrington & Thundercat) (verse & Steve vibe, Lacy) yeah I know2:I Thundercat give a different Just out the hood, doesn’t mean I’m (Thenmoved who will?) doin’ it good I’m doin’ what I like, woah, woah, woah Wanna postwill?) this on the ‘Gram, but don’t (Then who think I don’tI should need your co-sign (Who will?) Is it justI’m foryoung me orenough am I paranoid? ‘Cause and I’m old enough, Gotta on the low ‘cause I been both atkeep the it same time (Who will?) robbed before Hey, don’t trip on my aggression, baby, oh (Who will?) (verse 3: Steve Arrington) ‘Cause I can go in different directions, baby Sometime I wanna say that I’m blessed (Who will?) (Baby) I’m just tryna live my life, do my best and Black man’s grind gon’ answer the test, ah that’s alright (Who will?) The box you tried to throw me in don’t fit Yes, I’m comfortable and that’s what’s tight me no more, no (Who will?) Creative spirit talkin’, creative spirit walkin’ And tryna hurt nobody, (verseI ain’t 2: Thundercat & Steve Lacy) hurt nobody, hurt nobodyout the hood, doesn’t mean I’m Just moved doin’ it good (chorus: Thundercat) Wanna post this on the ‘Gram, but don’t think 4: I should (verse Childish Gambino) Is it just for me or am I paranoid? We don’t talk, then we feel safe Gottaone keep thetiny, low ‘cause I been Each ofitusonwith tiny, tiny screens robbed I’ve beenbefore runnin’, I’ve been runnin’ like a soul, woo (verse 3: Steve Arrington) Sweatin’ on ‘em, now the beat gon’ breathe Sometime I wanna say that I’m blessed But I keep hearin’ (Baby) Don’t stop, don’t stop, don’t stop, don’t Black man’s grind gon’ answer the test, ah stop, don’t stop (Tell you what) The box you tried to throw me in don’t fit Don’t stop, don’t stop, don’t stop, don’t me no more, no stop, don’t stop (Can’t even imagine) Creative spirit talkin’, creative spirit walkin’ Don’t stop, don’t stop, don’t stop, don’t And I ain’t tryna hurt nobody, hurt nobody, stop, don’t stop (Whatever I feel is real) hurt nobody Don’t stop, don’t stop, don’t stop, don’t stop, yeah, ayy, hey (chorus: Thundercat) (It does not matter, I mean it) (verse 4: Childish Gambino) We don’t talk, then we feel safe Each one of us with tiny, tiny, tiny screens I’ve been runnin’, I’ve been runnin’ like a soul, woo Sweatin’ on ‘em, now the beat gon’ breathe But I keep hearin’ Don’t stop, don’t stop, don’t stop, don’t stop, don’t Happy stop (TellDance you what) Miguel’s Don’t stop, don’t stop, don’t stop, don’t (verse) stop, don’t stop (Can’t even imagine) Do thestop, fuckin’ happy Don’t don’t stop,dance don’t stop, don’t Even you’re really fuckin’ stop, when don’t stop (Whatever I feelmad is real) IDon’t guessstop, thatdon’t it’s supposed to stop, subside stop, don’t don’t Even you’re stop, though yeah, ayy, heyprobably really mad Even if you’re really,I really (It does not matter, mean sad it) You can probably be worse Just have that sink in for a while It’s okay if it’s not goin’ your way It never was Don’t believe their hype It’s probably all covered in lies

(verse 2: Lil B) My emotions Gimme a sip of that potion No, my heart is not broken But I feel like it’s open Please, somebody, do surgery Tell the doctor come work with me I keep lookin’ at my soul Prayin’, but only God knows And I’ve been workin’ nine to nine Yeah But they talk about it But you know it’s all fine (All fine) But who can say that? I would be the man of your dreams I will do all that I can And be all I can be

Hi, hello Is anybody there? Let me know if you can hear me It feels so cold and so alone Just need some sort of sun And I know, I know, I know We’re not alone But it’s hard to tell Just let me know So I can go Because I can feel a pulse Breathe, please breathe Breathe for me (x2) Is it time to go? Go andinstart the show Lost Space / Great Scott Somewhere lost in space Hi, hello Is anybody there? Let me know if you can hear me It feels so cold and so alone Just need some sort of sun And I know, I know, I know We’re not alone But it’s hard to Love tell Interstellar Just let me know (verse) So I can go beneath the stars Somewhere Becausejust I can feelof a pulse Beyond more our space Breathe,isplease Nothing yours,breathe nothing is mine Breathe for me We are decaying(x2) over time Is itgonna time to go?someone to love I’m find Go and the show Let’s gostart together, innerstellar love Somewhere lost in space (outro) Innerstellar love Ooh-ooh Ah, ah, ah

Interstellar Love

Ins i d e

Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino (verse 1: Thundercat & Steve Lacy) I just bought a crib on top of the hill And I bought a brand new ride, am I keepin’ it real? There’s nothin’ wrong if you got it I’m not livin’ in fear, I’m just bein’ honest

(verse 1) You say you ain’t got time for games No more games But the world got time for games with you Play your own Playing with your money and your heart Just admit you don’t know what to do I’ve seen a lot of things come and go Lots of pimps and tons of hoes How this ends, we’ll never know

(chorus) A king in his castle A king of the hill Wasting his time Chasing cheap thrills He knows it’s gonna cost him God knows how much

(verse 2) But you know you gotta pay to play (Pay to play) At the end of the day (At the end of the day) Playing with your money and your heart There’s got to be another way

(chorus)

(outro) Love, love, love, love Love, love, love, love

Unrequited Love

(verse 1) Lost in the flames of love Unrequited love Time won’t always heal And it eats at my mind Because you’re the one that got away

(chorus) I’ve been searching high and low, wondering where my feelings go Nothing feels the same, ‘cause there’s no one like you

Lost in Space / Great Scott / 22-26

Produced by Flying Lotus & Thundercat with Childish Gambino Ty Dolla $ign Steve Lacy Steve Arrington Lil B Louis Cole Pedro Martins Zack Fox Kamasi Washington BadBadNotGood Miguel Atwood-Ferguson Sounwave Mono/Poly Dennis Hamm Ronald Bruner Jr Brandon Coleman Taylor Graves

THUNDERCAT

(verse 1) I feel kinda fly standin’ next to you Baby girl, how do I look in my durag? Would you tell me the truth? Stay with me and love me through the night, endlessly I’ma keep on all my chains when I’m makin’ love to you Hold me close and let me squeeze you tight through the night But, baby girl, how do I look in my durag? Would you tell me the truth?

(verse 2) Do you like my new whip? Watch me go zoom, zoom Baby girl, how do I look in my durag? Would you tell me the truth? (Lie to me?) Stay with me and love me through the night, endlessly I just wanna know how you feel Tell me, am I doin’ it right?

(verse 3) I may be covered in cat hair, but I still smell good Baby, let me know, how do I look in my durag? Don’t lie to me, let me rock you all night long I’m tryna impress you, girl Let me know, how do I look in my durag? I’m tryna get intimate Let me love you like you never been before, baby (Ah, ah) (Ah, ah, ooh-ooh)

(verse 5) Do you like the way my ice drips in the light? Baby girl, do you like me in my durag? Let me know Would you let me know?

Ou t s i d e

BRAINFEEDER RECORDS

it is

is is

is it

it is

It Is What It Is

SIDE A

Existencial Dread

Fair Chance (ft. Lil B & Ty Dolla $ign)

Lost in Space / Great Scott / 22-26

SIDE B

Unrequited Love

King of The Hill

Interstellar Love

Overseas (ft. Zach Fox)

How I Feel

Funny Thing

Dragonball Durag

How I Feel

THUNDERCAT

it King of The Hill

Funny Thing

(verse 1) Do you mind if I wild out A little? ‘Cause I’m just a little drunk and I wanna come party with you A little Can I look into your eyes? I can tell that you’re high too But that’s okay, baby, ‘cause I just wanna party with you

(chorus) ‘Cause when we hit the peak, baby I just wanna party with you All night

(chorus) But I just wanna party with you All night Because you make me happy That’s right I only wanna party with you Tonight Because you make everything Alright

How Sway

It Is What It Is Overseas (ft. Zach Fox)

Unrequited Love

Fair Chance (ft. Lil B & Ty Dolla $ign) Existencial SIDE B Dread

Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino Miguel’s Happy Dance

Unrequited Love

I Love Luis Cole (ft. Luis Cole)

Fair Chance (ft. Lil B & Ty Dolla $ign)

Interstellar Love

King of The Hill

Existencial Dread

How I Feel

Funny Thing Lost in Space / Great Scott / 22-26

THUNDERCAT

It Is What It Is

SIDE A

I Love Luis Cole (ft. Luis Cole)

Dragonball Durag it

How Sway

Miguel’s Happy Dance

is Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino

Overseas (ft. Zach Fox)

Miguel’s Happy Dance

How Sway

Funny Thing

SIDE B

Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino

BRAINFEEDER RECORDS

I Love Luis Cole (ft. Luis Cole)

Interstellar Love

Black Qualls (ft. Steve Lacy, Steve Arlington & Childish Gambino

How Sway

Ayy, yo Yo, ayy, ayy Yo, ayy Yo, ayy, ayy

(break)

Lost in Space / Great Scott / 22-26

it is

SIDE A

(chorus: Thundercat) ‘Cause there’s no more livin’ in fear No more livin’ in fear If we don’t talk about it, then who will?

IT IS WHAT IS IS

it it

(chorus: Thundercat)

Miguel’s Happy Dance

it is

BRAINFEEDER RECORDS

IT IS WHAT IS IS

Lost in Space / Great Scott / 22-26

Interstellar Love

(verse) Somewhere beneath the stars Beyond just more of our space Nothing is yours, nothing is mine We are decaying over time I’m gonna find someone to love Let’s go together, innerstellar love

(outro) Innerstellar love Ooh-ooh Ah, ah, ah

I Love Luis Cole (ft. Luis Cole)

(chorus: Thundercat) Let’s do it all again, Let’s do it again (x2)

(post-chorus: Thundercat) It’s just more fun when you come around Even if I act up You let me know that I’m not crazy Crazy (x2)

(verse 2: Louis Cole) Yeah, I remember you were punching my friends Made an oil spill that makes Exxon offended Then you fell asleep on the laundry in my room And this is why I love to party with you

(chorus: Thundercat)

(verse 3: Thundercat) When you’re around, you know what to say You brighten my day I feel that it’s crazy When you’re around (x2)

SIDE A

isit

SKETCHES